Académique Documents
Professionnel Documents
Culture Documents
CONTRIBUTING
of
Director-General
Ralian
the
the
Archaeologist
of
the
the
Christian
Lateran
the
at
MONSIGNOR
Member
of
the
PAUL
Prussian
DR.
Historical
of
the
DR.
of
the
Royal
National
Royal
of
Inspector
Roman
of
of
the
Member
Vatican
of
the
Ambrosian
Academy
of
the
Royal
BARON
Director
Fine
Director
of
the
Gregorian
UGO
of
the
Vatican
and
Polytechnic
Numismatic
Academy
the
the
Vatican
Museums,
of
the
Councillor
Vatican
Museums,
of
Member
of
the
Rome.
VILLARD
of
Milan.
SERAFINI
Collections,
Fellow
of
the
Archaeology.
SALVATORE
of
of
Arts, Member
Museum.
of
DE
Capitoline
PROFESSOR
Director
and
NOGARA
CAMILLO
Pontifical
Medieval
Brera.
Profane
Commission
COMMENDATORE
Director
the
Christian
and
the
of
History
Academic
of
MONNERET
of
the
Rome.
Fine
BARTOLOMEO
Professor
of
KANZLER
Etruscan
Archaeological
DR.
Arts,
Vatican
COMMENDATORE
the
Director
of
Academy
the
and
CAVENAGHI
RODOLFO
of
Art
of
University
Council
of
Genoa.
Rome.
of
Gallery, Artistic
Superior
of
at
LUIGI
Picture
Roman
Pope.
Rome.
Ancient
Prints
Professor
the
at
the
MUNOZ
COMMENDATORE
Director
of
Gallery
ANTONIO
Art
to
OZZOLA
Monuments,
Modern
Prelate
SETA
University
Cabinet
DR.
S.T.D.
REICHENFELD
Gallery,
LEANDRO
Archaeology
Domestic
DELLA
Royal
and
Museum
Propaganda.
di
J.U.D.,
DE
National
the
ALESSANDRO
DR.
Professor
Istituto
Rome,
at
HERMANIN
of
Director
Milan.
Egyptian
BAUMGARTEN,
Institute
under
Arts
in
Christian
of
the
at
MARIA
FEDERICO
Inspector
and
Rome
Fine
Brera
Vatican
the
Professor
Museum,
of
University
of
Director
Palaces,
Sacred
the
MARUCCHI
ORAZIO
COMMENDATORE
of
of
Director
formerly
and
Antiquities
of
Department
Government,
RICCI
CORRADO
ATORE
COMMEND
NOBILI
Mosaic
Factory.
Editors
ERNESTO
BEGNI,
J.D.
JAMES
THOMAS
J.
KENNEDY,
B.A.
C.
GREY,
Ph.D.,
B.C.L.
CONTENTS
Part
HISTORY
DESCRIPTION
GENERAL
AND
PALACES
THE
VATICAN
Vatican
Palaces
OF
GARDENS
AND
PAGE
Description
General
and
History
3
.
BAUMGARTEN
MARIA
PAUL
By
The
the
of
37
Gardens
Vatican
By
MONNERET
UGO
Part
THE
STATE
The
APARTMENTS
of
Chapel
By
The
Sistine
MONNERET
UGO
Pauline
MONNERET
UGO
of
Stanze
107
CORRADO
RICCI
137
Raphael
of
Loggie
ANTONIO
MUNOZ
ANTONIO
MUNOZ
Raphael
167
Part
MOSAIC
The
MUSEUMS
III
COLLECTIONS
AND
New
Picture
Gallery
By
Gallery
of
Egyptian
LUIGI
THE
189
......
CAVENAGHI
Tapestries
By
The
AND
FACTORY
The
VILLARD
DE
Borgia
Appartamento
VATICAN
DE
REICHENFELD
101
By
THE
VILLARD
Chapel
By
The
DE
61
HERMANIN
By
The
51
FEDERICO
By
The
CHAPELS
Chapel
By
The
II
AND
Nicholas
VILLARD
DE
231
LEANDRO
OZZOLA
Museum
251
By
OBAZIO
MARUCCHI
[viin
viii
CONTENTS
PAGE
The
Etruscan
Gregorian
BARTOLOMEO
By
The
Museum
of
281
Museum
NOGARA
Sculpture
291
Paintings
Ancient
and
By
The
of
Gallery
ALESSANDRO
Christian
Numismatic
Hall
Vatican
of
the
RODOLFO
Vatican
UGO
Mosaic
421
CAMILLO
SERAFINI
MONNERET
DE
PAUL
Secret
MARIA
BAUMGARTEN
Archives
PAUL
473
MARIA
BAUMGARTEN
Factory
499
SALVATORE
NOBILI
Part
VATICAN
IV
ADMINISTRATION
By
VILLARD
431
By
THE
425
Charts
Library
By
The
KANZLER
Geographical
By
The
MARUCCHI
Collection
By
The
ORAZI0
399
By
The
381
Museum
By
The
SETA
Inscriptions
By
The
DELLA
507
PAUL
MARIA
BAUMGARTEN
LIST
VATICAN
THE
OP
ILLUSTRATIONS
DESCRIPTION
GENERAL
AND
HISTORY
OF
VATICAN
THE
Continued
GARDENS"
PALACES
PAI
Bed-room
of
Leo
adjoining
XIII
the
PAGE
View
General
and
of
the
Palaces
Vatican
of
Part
Piazza
the
of
Courtyard
Loggia
ing
show-
Pietro,
Palace
Vatican
the
S.
di
Casino
the
Caffeaos
or
Casino
44
Leonina
Torre
5
Gardens
of
of
Pius
the
opposite
Pius
45
IV
46
IV
....
Cortile
di
Cortile
di
Relvedere
S.
Casino
of
Pius
10
Damaso
THE
Scala
Pia
10
Scala
Nobile
10
Rronze
Gate
Section
of
Concistoria
NICHOLAS
of
Chapel
the
Nicholas
V
52
Angelico)
53
Angelico)
(Fra
Aquinas
Thomas
Concistoria
Sala
of
(Fra
St.
12
OF
CHAPEL
Ceiling
11
Sala
Ceiling,
the
47
IV
12
St.
The
Bonaventure
(Fra
53
Angelico)
.
The
Decano
13
Sala
Clementina
14
Throne
of
St.
Distributes
Stephen
St.
Stephen"
Alms
(Fra
gelico)
An53
16
Room
Sermon
The
16
Antechamber
Privy
Ordination
of
St.
Stephen
St.
"
phen
Ste-
......
Sala
del
of
Library
the
the
(Fra
Judges
Angelico)
18
Pope
with
Disputes
17
Tronetto
Private
54
...
of
Writing-table
Pius
Pope
Scala
of
Sala
Ceiling,
the
Regia
.
of
Section
Sala
Wall,
Dragged
of
out
Jerusalem
Regia
Section
Stephen
St.
19
.
20
"St.
22
Angelico)
Stoned
Stephen
Death
to
(Fra
55
Regia
St.
22
Laurence
Ordained
Deacon
(Fra
...
Sala
Section
Angelico)
22
Regia
of
Sala
Ceiling,
the
Ducale
24
St.
Laurence
St.
Laurence
56
Entrusted
with
the
ures
Treas-
Sala
Ducale
of
24
the
Church
(Fra
56
Angelico)
.
Medieval
del
leading
Gate
the
to
Cortile
25
Papagallo
Distributes
the
among
Poor
the
(Fra
Treasures
Angelico)
57
.
Cortile
Pigna,
della
cio
showing
Laurence
St.
Brac-
the
Nuovo
before
Decius
26
(Fra
the
Emperor
58
Angelico)
....
General
View
Bas-relief
of
with
the
Cortile
Warriors,
della
The
27
Pigna
Laurence
(Fra
58
28
Pigna
THE
of
Apotheosis
Cortile
Antoninus
and
of
Tower
the
29
General
30
Moses
View
of
CHAPEL
and
Sistine
the
Sephorah
Chapel
62
and
(Perugino
Pinturicchio)
31
Winds
Four
SISTINE
Faustina,
Pigna
della
Pigna
The
St.
Angelico)
della
Cortile
of
Martyrdom
63
....
Tunnel
Exit
leading
of
the
to
Vatican
of
Chapel
Pope
Pius
Moses
34
.
from
Moses
and
and
and
(Perugino
33
Tunnel
Private
Detail
33
Gardens
the
Sephorah
Pinturicchio)
of
Daughters
64
Jethro
(Botticelli)
VATICAN
THE
Detail
GARDENS
of
of
Corner
St.
of
Cupola
Vatican
the
Gardens
and
38
Moses
Jethro
Details
Peter's
65
from
the
Daughters
(Botticelli)
from
Sea
and
the
(Rosselli
65
Passage
and
of
the
Red
Pupils)
66
....
Torre
Leonina
Grotto
of
Chalet
and
39
Lourdes
The
40
Leonina
Torre
and
40
The
....
Casino
of
Reception
Leo
Sala
Leo
XIII
Room
in
41
the
Casino
in
the
Torre
The
Leonina
Red
the
Sea
(Rosselli
Pupils)
Adoration
66
of
the
Golden
Calf
(Rosselli)
of
XIII
Rotonda
of
Passage
42
Abiram
43
gnorelli)
[ixl]
67
Punishment
and
of
On
Korah,
(Botticelli
Dathan,
and
Si68
LIST
THE
SISTINE
CHAPEL"
OF
ILLUSTRATIONS
Continued
SISTINE
THE
Continued
CHAPEL"
PAGE
PAGE
The
Testament
Detail
of
from
the
Moses
(Signorelli)
Testament
of
from
the
Baptism
(Pinturicchio
and
of
Baptism
and
of
Temptation
Detail
from
of
the
Candelabra
70
Side
Christ
(Botticelli)
of
of
Peter
(Domenico
and
....
(Last
94
Balustrade
on
(Fifteenth
95
View
of
and
Choir-loft
(Fifteenth
95
Century)
The
Ghirlandaio)
(Fifteenth
95
Balustrade
Andrew
Choir-loft
the
Century)
70
Christ
71
Calling
Damned
the
93
Judgment)
(Last
of
Century)
(Pinturicchio
Temptation
the
Judgment)
(Botticelli)
The
69
of
Emblems
Perugino)
The
Figures
Christ
Perugino)
Christ
69
Passion
The
Angels
Moses
(Signorelli)
Detail
the
Bearing
68
.
Sistine
Cantoria,
(Fifteenth
72
Choir-loft
or
Century)
96
....
Detail
from
the
Andrew
Calling
(Domenico
of
Peter
Portion
and
Ghirlandaio)
of
Marble
Balustrade
(1481-
1483)
72
97
The
Sermon
the
on
Mount
(Bosselli)
73
Panels
of
the
Balustrade
(1481-1483)
98
Detail
from
the
Sermon
the
on
Mount
(Rosselli)
Christ
Last
the
Keys
The
(Rosselli)
Michelangelo
The
the
showing
THE
77
(Botticelli)
Hall
77
Soterus
(Botticelli)
77
...
of
Ceiling
the
Sistine
Deluge
(Michelangelo)
80
.
Sacrifice
Noah
(Michelangelo)
of
Noah
(Michelangelo)
The
Creation
of
Adam
The
Creation
of
Eve
81
(Michelangelo)
108
(Pinturicchio
and
the
Hall
of
the
Mysteries
109
Annunciation
(Pinturicchio
Sin
and
the
Expulsion
The
Creation
of
The
Creation
of
Light
the
The
and
HO
Adoration
of
(Pinturicchio
82
The
83
The
from
(Michelangelo)
Sun
and
the
the
and
Magi
Pupils)
110
of
Land
the
from
Prophet
Joel
The
Delphic
Sibyl
(Michelangelo)
(Michelangelo)
86
Cumaean
and
112
of
the
(Pinturicchio
Ghost
Holy
and
86
Isaiah
(Michelangelo)
86
(Michelangelo)
87
Assumption
Pupils)
113
(Pinturicchio
113
Besurrection
(Pinturicchio
and
Pupils)
Details
114
from
the
Resurrection
(Pinturicchio
and
Pupils)
115
.
Sibyl
The
Persian
The
Prophet
Daniel
The
Prophet
Jeremiah
The
Prophet
Ezekiel
Sibyl
(Michelangelo)
The
87
The
Last
Figure
Judgment
of
the
87
(Michelangelo)
(Michelangelo)
(Michelangelo)
Redeemer
The
87
88
and
90
Child
of
no
the
Saints
(Pinturicchio
Pupils)
117
Visitation
Anthony
(Pinturicchio
and
us
and
(Pinturicchio
St.
and
Paul
the
Hermit
Pupils)
118
.
Group
(Last
of
the
Blessed
around
Christ
Judgment)
91
....
Angels
(Last
Summoning
Judgment)
the
Detail
Dead
to
Rise
the
Detail
92
from
Hermit
from
Sebastian
(Pinturicchio
Pupils)
St.
Judgment)
and
Pupils)
Hall
The
89
(Last
Madonna
and
(Michelangelo)
and
Pupils)
The
86
.
Prophet
(Pinturicchio
Coming
The
(Michelangelo)
Pupils)
85
Zechariah
The
The
and
Hi
Ascension
The
the
(Michelangelo)
The
(Pinturicchio
Separation
Prophet
84
84
....
Nativity
Pupils)
Moon
(Michelangelo)
Pupils)
(Michelangelo)
Water
(Pinturicchio
109
in
The
82
(Michelangelo)
.
The
Mysteries
Enthroned
Door
81
.
The
the
Pupils)
David
Eden
BOBGIA
Pupils)
78-79
of
Original
APPARTAMENTO
Drunkenness
The
of
and
Chapel
(Michelangelo)
The
103
77
(Michelangelo)
Stephen
St.
St. Peter
Popes
Fabianus
...
Pope
of
102
Martyrdom
(Michelangelo)
Wall
and
St.
St. Paul
Last
....
Pope
of
76
of
Caryatid
Conversion
75
(In
Judgment)
Lucius
CHAPEL
(Michelangelo)
....
of
Section
PAULINE
St. Peter
to
74
Supper
Portrait
THE
73
Delivering
(Perugino)
The
St.
Anthony
(Pinturicchio
the
Martyrdom
(Pinturicchio
and
St.
and
of
and
Paul
Pupils)
119
St.
Pupils)
119
OF
LIST
XI
THE
Continued
BORGIA"
APPARTAMENTO
THE
ILLUSTRATIONS
RAPHAEL"
OF
STANZE
Continued
PAGE
PAGE
of
Martyrdom
The
and
from
Detail
of
the
St.
and
Osiris
from
Ceiling
the
of
the
Hall
The
125
The
Hall
the
of
the
Liberal
the
and
(Pinturicchio
Pupils)
Geometry
(Pinturicchio
and
Pupils)
(Pinturicchio
Detail
from
the
Credo
of
Hall
in
the
129
129
in
Hall
the
Hall
of
Pupils)
Frieze
showing
147
the
and
from
the
(Raphael
and
of
Mass
Bolsena
148
Pupils)
....
of
Mass
Bolsena
149
Pupils)
....
the
Expulsion
the
Temple
from
of
rus
Heliodoand
(Raphael
149
of
Expulsion
Temple
Heliodorus
from
the
Pupils)
IV
St.
and
149
Attila
and
150
Pupils)
....
131
Ancient
131
The
132
Details
133
Detail
134
The
Mosaic
of
Hall
from
Peter
in
the
Prison
150
Pupils)
and
(Raphael
130
St.
of
....
of
Centre
the
151
Heliodorus
of
Hall
Fire
the
in
and
(Raphael
from
Fire
the
the
and
Borgo
152
Pupils)
in
Borgo
the
and
(Raphael
Alexander
Pupils)
and
Pupils)
Leo
Freeing
(Pinturicchio
of
and
of
(Raphael
The
Ceiling
Pupils)
(Raphael
Meeting
The
Saints
the
Portrait
(Pinturicchio
and
(Raphael
of
Pupils)
and
Sibyls
the
and
VI
of
Bolsena
from
Appartamento
and
(Pinturicchio
of
and
(Raphael
Pupils)
129
.
Borgia
Frieze
Heliodorus
(Raphael
128
129
Hall
the
and
(Pinturicchio
Another
146
Pupils)
of
from
Detail
128
Pupils)
Pupils)
and
(Pinturicchio
Astronomy
Heliodorus
Pupils)
and
Ceiling
the
of
Pupils)
and
(Pinturicchio
Music
Hall
(Pinturicchio
Rhetoric
Archaeology
127
Pupils)
and
(Pinturicchio
Arithmetic
the
Pupils)
126
and
and
145
in
(Pinturicchio
(Pinturicchio
(Raphael
147
Mass
Detail
Grammar
Dialectic
145
Pupils)
Sacramento
and
Hall
Detail
Arts
.
and
Pupils)
Liberal
Pupils)
and
Pupils)
Ceiling
126
of
(Baphael
(Raphael
del
Disputa
The
126
in
Hall
The
124
of
Arts
The
The
and
Pupils)
Fireplace
Jerome
145
(Raphael
(Pinturicchio
Arts
and
Alighieri
and
Pupils)
Liberal
123
and
(Pinturicchio
144
Bernard
Pupils)
and
144
and
(Raphael
Pupils)
St.
of
(Pinturicchio
of
and
(Raphael
Sodoma
Aristotle
and
Dante
Disputa
the
144
and
Pupils)
Sts.
and
Pupils)
and
from
the
Plato
Catherine
St.
of
Catherine
Detail
121
Martyrdom
(Pinturicchio
(Pinturicchio
Death
Raphael
122
Disputa
Details
120
Pupils)
Pupils)
Pupils)
The
and
(Raphael
Rovere
St.
and
Flight
Barbara
144
.
of
Martyrdom
(Pinturicchio
Barbara
della
Francesco
Pupils)
Pupils)
Pupils)
and
and
Flight
The
Elders
the
(Pinturicchio
119
Pupils)
and
(Pinturicchio
St. Susanna
and
(Raphael
Philosopher
Sebastian
St.
from
the
(Raphael
and
in
Borgo
the
154
Pupils)
of
Victory
153
Pupils)
Fire
St.
Leo
IV
the
over
Saracens
Ostia
at
and
(Raphael
pils)
Pu155
STANZE
THE
OF
RAPHAEL
Coronation
The
of
and
(Raphael
Hall
The
of
(Raphael
Poetry
and
Signatura
in
and
the
Pupils)
Hall
(Raphael
of
139
Athens
140
of
and
and
from
Parnassus
Scala
....
and
(Raphael
157
140
Pupils).
Pupils)
(Raphael
(Raphael
and
141
Detail
142
The
143
The
Bridge
160
Pupils)
in
Door
the
Stanze
161
Barili)
Chiaroscuri
Giovanni
Milvian
the
and
from
(Giovanni
and
(Raphael
Constantine
159
of
and
the
158
of
(Raphael
near
Pupils)
Battle
The
discovered
Santa
Vision
The
140
.
the
Pupils)
Pupils)
156
Pupils)
Constantine
of
Mosaic
Ancient
Pupils)
and
(Raphael
School
Temperance
Pupils)
(Raphael
Parnassus
Hall
Pupils)
and
(Raphael
Ceiling
Detail
The
138
Prudence
(Raphael
Theology
The
Signatura
Pupils)
and
Fortitude,
The
the
Charlemagne
da
Chiaroscuri
Hall
Udine
with
and
Frescoes
P.
by
163
Maratta
.
Hall
164
LIST
Xll
LOGGIE
THE
OF
ILLUSTRATIONS
RAPHAEL
OF
THE
Continued
GALLERY"
PICTURE
NEW
PAGE
PAGE
leading
Door
(Sixteenth
Loggie
the
to
168
Century)
of
Loggia
The
169
Raphael
Toil
First
of
Man
Sodom
Leaving
Family
171
Loggia
Isaac
and
Rachel
and
of
Moses
and
Nile
the
(Raphael
of
Loggia
the
decorated
Ornaments
in
(Raphael
the
the
XIII
Gregory
over
of
in
and
Presenting
People
the
Law
and
(Raphael
and
showing
the
(Sixteenth
Solomon
Arms
of
the
177
The
178
The
179
The
Clement
VII
of
the
Rota
the
(Antoniazzo
208
Enthroned
Madonna
Saints
with
209
Coronation
of
Virgin
the
210
Sheba
of
Madonna
The
and
(designed
painted
and
Raphael
Romano
Monteluce
Giulio
by
210
Penni)
Annunciation
211
(Raphael)
.
(Raphael
Door
and
(Sixteenth
The
Pupils)
the
showing
181
of
Arms
XIII
Gregory
Century)
Adoration
of
The
Adoration
The
Presentation
182
the
Magi
207
Spagna)
(Lo
Virgin
207
of
Virgin
by
180
Queen
of
(Raphael)
Century)
and
Magi
the
Coronation
Pupils)
Door
The
and
(Raphael
of
the
or
(Perugino)
Pupils)
Rathsheba
206
Spineta,
della
Romano)
David
177
the
to
206
(Niccold
Triptych
(Pinturicchio)
Nogari)
Moses
(Francescuccio
Child
and
Adoration
Sermoneta
(Mascherini,
205
Marches
Madonna
The
the
Loggie
Candelabra
and
Arms
Door
Umbria
of
Alunno)
177
Pupils)
and
showing
School
the
Camerino
The
.
Decorations
204
Forli)
da
(Melozzo
and
IV
Ghissi)
The
177
the
Pilasters
the
176
in
Sixtus
Pope
of
Hall
Madonna
Mantovani
by
The
203
Forli)
da
from
202
II Platina
and
Pupils)
Detail
174
175
from
Candelabra
Details
....
Vinci)
da
IV
Sixtus
II Platina
Loggia
saved
173
201
Conti)
de'
(Leonardo
Pope
and
(Raphael
Pupils)
Portion
201
Sforza
Jerome
(Melozzo
Pupils)
Jacob
....
Vinci)
da
Francesco
St.
of
172
and
(Raphael
Rebecca
of
(Bernardino
Head
Pupils)
and
(Raphael
Another
200
Cossa)
(Leonardo
Jerome
Portrait
and
(Raphael
170
His
and
del
(Francesco
St.
Ferrer
St. Vincent
of
Pupils)
Lot
Miracles
The
(Raphael
of
the
in
Magi
the
212
(Raphael)
Temple
213
(Raphael)
The
Madonna
of
Foligno
(Raphael)
214
.
and
Pupils)
183
Detail
from
the
Transfiguration
(Raphael)
THE
NEW
PICTURE
GALLERY
215
Transfiguration
The
(Raphael)
217
.
Madonna
and
Child
(Carlo
218
Crivelli)
.
One
of
the
Halls
in
the
Old
Picture
Pieta
Gallery
The
(Carlo
Crivelli)
219
190
The
of
Ceiling
Hall
in
the
Madonna
of
St. Nicholas
dei
Frari
Old
(Titian)
Picture
(L. B.
Gallery
Alberti)
Hall
The
Hall
of
the
Trecento
Primitives
or
St.
Hall
of
Melozzo
The
the
Trecento
Slaying
the
Dragon
(Paris
192
Mary
Quattrocento,
the
Angels
Magdalen
Christ
Child,
(Fra
the
Anointing
Dead
or
(Montagna)
194
and
220
193
.
Hall
Madonna
and
George
Bordone)
of
The
220
191
.
The
with
The
Saints
Angelico)
195
Deposition
Detail
from
222
(Caravaggio)
the
Last
222
.
Communion
of
Episodes
of
The
from
Bari
Miracles
(Francesco
The
Miracles
(Francesco
The
Miracles
(Francesco
the
(Fra
Life
of
Angelico)
of
St.
del
of
St. Vincent
del
Cossa)
197
The
198
St.
Last
(Domenichino)
Communion
223
of
St.
224
of
Martyrdom
St.
Laurence
(Ribera)
Ferrer
A
199
Margaret
Rest
225
of
during
(Baroccio)
Jerome
(Domenichino)
Ferrer
Cossa)
Jerome
196
The
Ferrer
Cossa)
St. Vincent
del
of
Vincent
St.
St. Nicholas
Cortona
the
(II Guercino)
Flight
into
226
Egypt
226
LIST
THE
NEW
PICTURE
ILLUSTRATIONS
OF
GALLERY"
xui
Continued
THE
EGYPTIAN
MUSEUM
PAGE
The
of
Espousals
St.
Catherine
Red
(Murillo)
Statue
227
Granite
of
(285-247
Philadelphus
II
Ptolemy
b.c.)
253
...
Statue
THE
GALLERY
OF
of
Arsinoe,
Wife
of
Ptolemy
Philadelphus
TAPESTRIES
Statue
of
254
Unknown
an
Princess
257
.
The
Miraculous
Draught
(Designed
of
Statue
Fishes
Raphael)
by
of
Queen
Century
232
Tuaa
(Fourteenth
b.c.)
258
....
Detail
from
the
Horizontal
the
Miraculous
(Designed
Frieze
Draught
by
of
Sandstone
of
Head
of
Dynasty;
Fishes
Raphael)
2000
233
Mentuhotep
enth
(Elev-
between
3000
(1366-1333
b.c.)
and
b.c.)
259
....
"Feed
Sheep"
my
(Designed
Statue
by
233
from
Paul
the
by
Detail
Frieze
of
Areopagus
Frieze
Sheep"
(Designed
by
of
Rasalt
Statue
of
Ut-a-hor-resent
Naophorus,
the
260
Priest
(Sixth
Century
Shrine-bearing
or
261
b.c)
Statue
262
.
234
Lateral
the
Green
St.
signed
(De-
Raphael)
from
my
Lateral
the
before
Seti
Raphael)
Detail
of
Naophorus,
of
"Feed
Raphael)
showing
the
Carved
Figure
Osiris
263
234
Opisthographic
235
Mummy
Sandstone
Stele
The
Healing
of
Lame
Man
(Fourteenth
signed
(De-
Raphael)
Death
of
Ananias
(Designed
The
Table
.236
Stoning
by
St.
of
Stephen
b.c.)
St.
of
Paul
(Third
264
.
Century
after
266
of
Offerings
(Eighteenth
Dynasty)
(Designed
Raphael)
Conversion
Cover
Christ)
by
Raphael)
The
Century
by
The
the
237
Funeral
238
Funeral
239
Stele
267
Carving
Dynasty
(Designed
of
Nineteenth
(Fourteenth
Century
268
b.c)
.
by
Raphael)
Stricken
Elymas
with
of
Apa
Twenty-sixth
Rlindness
(Sixth
Century
Dynasty;
b.c)
270
.
(Designed
Raphael)
by
Sacrifice
The
Stele
of
of
Hori
(Eighteenth
Century
b.c)
271
....
Lystra
(Designed
Hieratic
by
Raphael)
Papyrus
Dead,"
240
of
the
belonging
"Rook
of
the
Neskem
to
272-273
.
St.
Paul
in
Prison
(Designed
Statue
by
Raphael)
St.
Paul
241
before
the
(Designed
by
Areopagus
of
the
or
"Egyptian
Apollo"
275
Princess
Raphael)
Antinous,
242
holding
and
Canopic
two
....
Table
of
Offerings,
Vases
276
....
The
Adoration
by
of
Raphael
the
and
Magi
(Designed
Lion
Pupils)
243
II, last
....
The
Adoration
of
(Designed
by
from
Shepherds
the
Raphael
and
the
of
Monument
the
of
Pharaohs
Nectanebo
(Fourth
tury
Cen-
b.c)
Pupils)
278
243
.
The
Massacre
of
(Designed
the
by
Innocents
Raphael
and
Pupils)
244
THE
GREGORIAN
ETRUSCAN
MUSEUM
The
Massacre
of
the
Innocents.
Two
Objects
Sections
(Designed
by
Raphael
found
Tomb
Pupils)
of
Christ
the
to
Armlet
by
Raphael
and
Regolini-
Tomb
Supper
at
(Designed
245
(Designed
and
(Designed
in
by
the
Raphael
246
Amphora
Regolini284
246
The
247
Terra-cotta
247
Bronze
248
Statue
Exechias
by
(Sixth
b.c)
with
285
Full-length
Figure
of
Achilles
Temple
and
made
Century
.
the
Tomb
Amphora
by
Pupils)
Presentation
from
by
Pupils)
Resurrection
Raphael
Galassi
Emmaus
and
283
Rere-piece
245
Raphael
282
pils)
PuGolden
The
b.c)
the
from
dalen
MagGalassi
(Designed
The
Regolini-Galassi
Century
245
Apparition
The
the
(Seventh
Golden
The
in
and
Pupils)
285
Vulci
Rowl,
showing
Hermes,
The
Ascension
and
The
The
(Designed
by
Dionysus,
Raphael
Descent
of
the
(Designed
by
Raphael
Three
Virtues
Raphael
and
Holy
(Designed
Pupils)
in
Ghost
and
Pupils)
Silenus
and
Nymphs
286
.
Pupils)
Objects,
Bold
and
Frieze
Relief
Statuettes
by
including
286
of
Boys
with
Bulla;
Inscriptions
287
of
288
Mars
OF
LIST
XIV
THE
MUSEUM
OF
SCULPTURE
ILLUSTRATIONS
MUSEUM
THE
AND
SCULPTURE
OF
ANCIENT
PAINTINGS
ANCIENT
AND
Continued
PAINTINGS"
PAGE
PAGE
The
Gallery
of
Statues
292
The
Gallery
of
Statues
293
The
Gallery
of
Statues
294
The
Sala
della
The
Hall
of
Greek
Cross
296
...
of
Portico
Cortile
the
Cortile
The
Hall
of
the
The
Hall
of
the
298
299
Muses
300
Animals
(Fourth
324
B.C.)
of
Muse
(Fourth
Tragedy
325
B.C.)
Century
Thalia,
323
B.C.)
Century
Citharaedus
Century
Ottagono
(Leochares[?](
Belvedere
Melpomene,
297
Ottagono
.
The
Fourth
Apollo
295
Rotonda
the
del
Apollo
of
Muse
(Fourth
Comedy
325
b.c.)
Century
Artemis
(Fourth
Century
326
b.c.)
....
of
Hall
The
Animals
the
301
Zeus
of
302
Meleager
Otricoli
(Fourth
Century
b.c.)
327
....
The
Gallery
of
the
Candelabra
The
Gallery
of
the
Candelabra
The
Gallery
of
the
Candelabra
The
Museo
Fourth
(Scopas[?](
...
303
Century
...
304
328
b.c.)
Headless
Statue
of
Niobid
(Fourth
...
Chiaramonti
305
Century
328
b.c.)
....
Part
of
Rraccio
the
306
Nuovo
....
of
Part
Braccio
the
307
Nuovo
Carried
Ganymede
(Fourth
Century
....
The
Braccio
One
End
Part
of
308
Nuovo
of
Braccio
the
309
Nuovo
Nuovo
Citharaedus
Apollo
Fourth
329
b.c.)
310
Crouching
311
Jupiter
311
Personification
(Archaic
329
....
of
Figure
Aphrodite
....
Seated
Eagle
b.c.)
(Lysippus,
Century
Braccio
the
Apoxyomenus
the
by
up
(Daedalus
[?],
Hellenistic
329
Period)
.
Period)
of
Figure
Nude
(Archaic
Apollo
Three
Girl
Runner
312
Period)
(Archaic
Graces
(Archaic
Nile
The
Hellenistic
(Alexandrian
313
Period)
and
Gymnast
his
Slave
Period)
330
School,
Hellenistic
Period)
....
Young
Antiochia
.
313
.
Penelope
Hellenistic
329
of
(Eutychides,
Period)
(Archaic
(Bryaxis,
Period)
Period)
The
Serapis
(Archaic
Marine
Centaur
331
(Hellenistic
Period)
332
.
313
Period)
Discobolus
Classical
(Myron,
313
Period)
.
Centaur
Triton
or
Pergamos,
(School
Hellenistic
of
Period)
333
.
Classical
(Polycletus,
Doryphorus
Centaur
314
Period)
Crowned
(Hellenistic
with
Vine
Leaves
Period)
333
.....
Classical
(Polycletus,
Amazon
Amazon
(Cresilas,
Amazon
(Phidias,
314
Period)
Classical
Silenus
315
Period)
315
Period)
.
Pericles
Classical
(Cresilas,
Young
316
Period)
Classical
Phidias,
317
of
(School
Phidias,
of
334
Carrying
Lysippus,
Dionysus
Hellenistic
Period)
Period)
Artemis
Dionysus
Period)
Satyr
(School
of
(School
Demeter
Infant
(Hellenistic
Classical
with
Classical
Faun
in
334
antico
rosso
(Hellenistic
Period)
317
Period)
Maenad
.335
(Hellenistic
Period)
336
.
of
(School
Caryatid
Classical
Phidias,
Niobid
Ulysses
(Hellenistic
of
(School
336
.
Period)
(Hellenistic
Menelaus
for
Preparing
the
Relief
of
318
Horseman
(Classical
Century
338
Period)
(Agesander,
339
Polydorus
Hellenistic
and
Period)
341
.
319
(Fourth
Laocoon
Athenodorus,
Period)
Hera
(Hellenistic
Throw
Period)
(Classical
337
.
Period)
317
Period)
Discobolus
Barberini
Period)
Classical
Phidias,
Ariadne
Boeotian
(Hellenistic
317
Period)
Athena
Fugitive
320
B.C.)
del
Torso
Belvedere
Hellenistic
(Apollonius[?],
Period)
343
of
Aphrodite
Fourth
Apollo
Cnidus
Century
Century
(Hellenistic
Period)
344
.
B.C.)
Sauroctonus
Fourth
Fisherman
(Praxiteles,
320
Demosthenes
320
Semo
(Polyeuctus,
Hellenistic
Period)
(Praxiteles,
B.C.)
344
Sancus
(Graeco-Roman
Period)
345
.
Torso
of
Fourth
Antinous
School,
an
Eros
Century
del
(Praxitelic
Juno
B.C.)
Belvedere
Fourth
School,
Century
320
(Praxitelic
Sospes
322
.
(Graeco-Roman
Period)
Sacrifice
b.c.)
Lanuvina
Period)
345
of
Mithra
(Graeco-Roman
347
Sacrificers
of
Stele
349
Tablet
350
Period)
Grseco-
(Painting,
352
353
Aldobrandini
Nozze
the
Detail
from
the
Nozze
Aldobrandini
Detail
from
the
Nozze
Aldobrandini
354
.
of
(Graeco-Roman
Faustina
the
MUSEUM
French
Cross
(Graeco-Roman
Silver
of
(Graeco-Roman
his
(Graeco-Roman
of
Son
402
Metal
Wood,
of
from
with
(Jean
Peni403
Century)
the
Christ,
with
Triptych
364
and
Virgin
(circa
Saints
with
Medallion
403
1000)
Portraits
man
(Graeco-RoSts.
and
Peter
404
Century)
(Third
Paul
of
366
from
the
Pacis
Ara
and
Silver
German
Chalices
Augustse
and
405
Century)
(Fifteenth
Paten
369
Period)
(Grseco-Roman
....
(Grseco-Roman
371
Period)
found
Capsella
Silver
Figure
the
showing
Relief
Rome
Limoges,
Passion
the
Sixteenth
Italian
Honorary
....
from
Triptych
Scenes
402
Century?)
(Sixteenth
Enamel
and
Vibius
Period)
Bas-relief
(Fifteenth
Gilt
Bronze
Century)
caud,
Period)
Lucius
and
ries)
Centu402
Bronze
Wife
(Back)
Gilt
Fifteenth
and
Cross
Italian
Byzantine
of
402
Centuries)
Silver
of
364
Tablet
teenth
(Four-
Gilt
Fifteenth
(Fourteenth
Enamel
Period)
Dacus
401
Museum
.
Crosses
363
of
400
Museum
Christian
the
359
363
Period)
Rraschi
Christian
the
to
of
Cross
363
Antinous
CHRISTIAN
French
363
Period)
of
396
358
(Graeco-Roman
Elder
Empress
and
394
Restorations
with
361
Period)
Sepulchral
the
a.d.)
Interior
361
Period)
(Grseco-Roman
Hadrian
Head
from
Period)
.
The
(239
357
Venus
Trajan
and
Period)
(Graeco-Roman
[?]
of
Fragment,
(Grseco-
Augustus
(Grseco-Roman
Julia
Inscription
Period)
Claudius
of
Temple
Arvalian
Entrance
of
Period)
.
Nephew
Titus
393
Julianus
THE
Period)
(Graeco-Roman
Roman
Postumius
355
Slaughter
the
(Grseco-Roman
Niobids
Caius,
of
356
showing
Sarcophagus
390
Bassus
Statue
of
Graeco-
(Mosaic,
Athena
Augustus
Anicius
of
Honor
Period)
the
in
Auchenius
Fragment
Period)
from
of
(Eques
388
erected
Pedestal
351
Roman
Julius
Grseco-Roman
Aldobrandini
Head
386
....
Flavius
singularis)
Period)
Period)
Roman
and
Names
Soldiers
of
Titus
of
the
(Painting,
Detail
348
Artemis
to
(Graeco-Roman
Charioteer
Nozze
giving
Birthplaces
Grseco-Roman
(Painting,
Pasiphae
Inscription
Continued
PAGE
Period)
Procession
PAGE
(Graeco-Roman
Procession
Isiac
INSCRIPTIONS"
OF
Continued
PAINTINGS"
ANCIENT
xv
GALLERY
AND
SCULPTURE
OF
MUSEUM
THE
ILLUSTRATIONS
OF
LIST
(Sixth
Carthage
at
405
Century)
of
some
General
Polychrome
Triumph
the
depicting
Sarcophagus
372
from
Painting
the
Farnaces
St.
373
of
375
St.
from
377
Letters
in
Procope's
Site
the
near
of
Temple
in
INSCRIPTIONS
OF
found
Inscription
and
of
407
with
Diptych
of
Christ
the
407
Century)
(Fourteenth
St.
representing
Glass,
Cemetery
from
Scenes
Peter
Striking
Moses
(Fourth
Rock
the
of
408
Casket
Reliquary
the
382
Mars
of
St.
John
Painted
with
Figure
(Eleventh
Chrysostom
....
Verse
Hexameter
against
her
Column
of
giving
Roman
383
Bronze
384
Silver
the
showing
Reliquary
St.
Names
385
.
Reliquary
Praxedes
Century)
in
was
which
fixion
Cruci-
the
409
Century)
(Eleventh
Early
Legions
409
Century)
with
Relief
Protest
Numbers
or
Century)
Death
Fragment
(Sixth
Century)
French
as
Ancient
Scenes
with
....
GALLERY
Inscription
406
....
Christ
of
from
Scenes
Cross
Life
the
Life
Constantia
Period)
(Grseco-Roman
THE
and
Virgin
the
Gold
Seventh
(Graeco-
Helena
Period)
Roman
Sarcophagus
of
donna
Ma-
....
of
Sarcophagus
of
Tomb
Life
Enamelled
Period)
(Grseco-Roman
the
with
Triptych,
Child
and
riod)
Pe-
(Grseco-Roman
Greek
...
the
preserved
Head
of
(Tenth
410
LIST
XVI
THE
CHRISTIAN
OF
ILLUSTRATIONS
Continued
MUSEUM"
VATICAN
THE
LIBRARY"
Continued
PAGE
Reliquary
Casket
and
the
(showing
Saints)
and
Crucifixion)
Reliquary
Century)
(Sixth
of
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Cover
of
(Ninth
lost
with
(Fourth
tury)
Cen-
Manuscript
413
Silver
Evangeliary
of
(Tenth
of
ers
Pray-
Boetius
(Ninth444
Terence's
Comedies
Century)
Maria
445
of
Binding
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Tract
Liturgical
Century)
412
....
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and
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Figures
French
with
411
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republica"
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443
the
Century)
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of
Page
410
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from
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the
PAGE
showing
Palimpsest
and
dating
Pre-Carolingian
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(showing
Centuries)
Fragment
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Capsellae
Eleventh
gin
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tury)
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447
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of
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King
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(Fifteenth
Hungary
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449
of
Century)
450
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Diptych
(Eighth
Another
Century)
414
Fragment
of
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Material
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Pope
have
to
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in
he
'Capture
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at
worn
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of
of
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Hungary
teenth
(Fif-
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415
of
said
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(Seventh
Century)
Armor
of
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Map
is
1506
Pope
(1492-1503)
of
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marked
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Spanish
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416
451
which
on
in
VI
Boundary
and
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453
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of
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Map
of
Europe
of
the
Year
1506
454
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fell
who
in
during
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1525
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416
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Henry
Anne
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457
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showing
and
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with
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Third
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De
Century)
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scripts
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some
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Century)
417
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(Ninth
the
from
Centuries)
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Upper
for
417
Luxe
458
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from
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(1577)
459
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showing
Saints
the
Madonna
(Sixteenth
and
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Century)
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of
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Casket
John
Sixtus
Fresco
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Century)
and
with
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Cross,
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418
begun
Century)
418
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Clement
Portion
the
of
building
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Rome
462
showing
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the
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(1592-
Mexican
Figures
1605)
COLLECTION
Coins
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for
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463
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by
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of
NUMISMATIC
to
461
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of
ments
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(1585-1590)
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showing
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(Ninth
St.
417
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of
423
with
showing
Explanatory
Inscriptions
and
Comments
THE
HALL
OF
THE
GEOGRAPHICAL
De
CHARTS
464
Luxe
of
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showing
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the
Arms
(1605-1621)
465
.
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Hall
of
Geographical
the
Charts
427
The
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of
Dante
(Ferrarese
School,
Sixteenth
Century)
466
.
THE
VATICAN
Bronze
LIBRARY
Bust
of
Palaeologus
Emperor
John
VIII
(1421-1448)
467
....
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Vatican
Library
(D.
Fontana,
The
Wing
Clock
469
433
of
the
Vatican
Library
434
.
Another
Farnese
....
Architect)
Left
Famous
View
of
the
Vatican
Library
THE
VATICAN
SECRET
ARCHIVES
435
.
Painting
the
Plan
of
Pope
of
the
Sixtus
New
437
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of
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approving
Library
the
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Virgil
(Fifth
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441
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443
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13, 1206)
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13, 1245)
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439
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Registers
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477
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Fifteenth
Papal
Centuries
480
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481
.
LIST
THE
xvn
VATICAN
THE
ARCHIVES"
SECRET
VATICAN
ILLUSTRATIONS
OF
ADMINISTRATION"
Continued
Continued
PAGE
Letter
of
of
of
Sicily
(August
Papal
Surgeon,
de
Chingalo
Decoration
King
to
the
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Cedula
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of
ard-bearer
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or
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IX
519
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1369)
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483
1316)
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II
520
of
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489
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of
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in
25,
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Conclusion
Papal
the
the
Registers
491
1493)
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of
523
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523
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or
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524
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Page
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the
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493
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527
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533
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535
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537
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539
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542
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543
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509
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544
545
546
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510
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548
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511
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550
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after
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of
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513
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514
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517
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Erected
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559
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.
""""[""
PIAZZA
i.
Papal
Sala
"
Apartments.
Chapel
"
PIETRO
of
dello
V.
Nicholas
Spogliatoio.
(Lower
4-7
.
4-7
.
(Upper floor.)
Torre
floor.)
Borgia
Appartamento
of
Raphael.
(including
portion
Stanze
9
.
Chapel
of
Pius
Borgia.
V.
of
the
Appartamento
Borgia).
CORTILE
fa
DELLA
PIGNA
MB
MUSEO
10-14
(Ground
floor.)
Picture
New
CHIARAMONTI
Gallery.
10-25
(First floor.)
of
Halls
the
Library,
(Cf.
10-25
floor.)
(Second
.
Gallery
"
26
(Lower
26
.
27
of
Gallery
the
floor.)
(11)
Museum
of
of
Charts,
Gallery
Gallery
of
Tapestries,
of
Museum.
Etruscan
Gregorian
the
Geographical
Candelabra.
Egyptian
(Upper floor.)
Cabinet
Christian
the
including
470-473).
pp.
Museum.
Masks.
28
Hall
of
the
Busts.
29
Scala
Bramante.
Note.
"
portions
on
the
The
Mosaic
The
Numismatic
plans
These
of
the
different
is
Factory
are
Vatican
floors,
situated
Collection
intended
Palaces.
more
only
under
adjoins
to
Inasmuch
than
the
approximate
show
as
the
arrangement
exactness
Borgia.
Appartamcnto
general
the
the
Inscriptions.
could
of
location
of
not
the
be
the
rooms
attained
most
important
differs
here.
greatly
Part
HISTORY
AND
VATICAN
GENERAL
PALACES
One
DESCRIPTION
AND
OF
GARDENS
THE
"
PALACES
VATICAN
THE
OF
DESCRIPTION
GENERAL
AND
HISTORY
a
always awaken
special and
Icientific excavations
the spade of the digger
wide-spread interest, when
reaches
ruins
the
and
begins
of
sion,
royal palace or a lordly manthe
the
to
ten
long-forgotlight
bring
to
of the past.
treasures
in this direction, to
the
and
the
time
coordination
proper
is
reason
simply
supplied
periods
scientific appraisal
concerning
needed
was
held
single example,
breathless, and
for
earliest
the
the
of his discoveries.
excavations
such
do
Why
that much
but
quote
information
achievements
Schliemann's
of culture
world
much
so
of civilization
whole
especiallyarouse
in the
that
palaces
Whatever
period is,as it were, focussed.
kind
cultural, social, or material
interest?
our
Doubtless
the
of
apparatus
of
men
of
tific,
scien-
will
age possess,
in the mansions
an
so
to discover
as
handsome
castle
the
or
of
palace
ished
van-
dynasty.
And
holds
what
good, mutatis
to-day. We
century
need
only
their
and
the
and
for
mutandis,
seats
Christian
for
turn
successors
of the
civilization
That
so
earth, holds
which
remain
to the modern
there
we
travellers; and
back
into
also
standing
Baedeker
and
throughout
described
are
in the
the pages
rulers
further
pilgrims and
royal palaces
down
for
the
over
interest
perfect, as
convinced
to be
good
entire
in detail
the
the
as
world
such
past,
the
of
palaces
richer
ception,
ex-
pagan
of
centres
older
Murray
without
special
are,
and
the
more
ancient
dynasty
resided
as
in Rome
that
always
large palace for the accommodation
reception of distinguished guests,
"
of the
Popes
needed
from
of the
and
"
who,
the
very
ecclesiastical
for other
with
few
ceptions,
ex-
beginning
court,
for
requirements, is
the
seen
THE
from
fact
the
Church,
the
was
the
of
course
of
of art
works
from
the
their
century,
the
as
after
centre
of
Trastevere,
to
the
of
di
Palazzo
Still
it is
has
Venezia,
which
All
of
the
outside
the
on
the
attempts
tically
pracdoes
the
this
it
for
"
the
purpose
does
finally,
fifteenth
that
mean
intervals.
long
the
century,
Vatican
term
not
were
permanently
for
the
the
in
or
Viterbo,
Rome,
elsewhere,
the
yield
right
Great
the
"
in
Pope
his
the
many
near
originally
adjacent
of
most
began
had
with
chief
the
Perugia,
palm
on
Anagni,
the
to
princes
St. Peter's.
modest
to the
residence
Basilica
The
Vatican
residence
the
basilica.
pilgrims
from
all lands,
glorious
ecclesiastical
the
Vigil
that
"
occasions
kings
Thus,
for
had
under
developed
Constantini.
the
the
to
the
into
The
be
the
Pope.
St.
On
this
lowed
hal-
and
here
the
of
great
As
afternoon
night
St.
at
necessity
of
in
the
Again,
received
Pope
grave
the
on
urgent
force
lay
of
functions.
spend
to
arose
residence
is,
buried
and
Over
lay
however,
spot,
martyred
Tiber.
Hence
and
Lateran
glorious
such
larger
the
city.
was
the
his
on
retinue.
whole
vicinity
time
Pope
feasts
of
erected
the
the
to
earth
on
bank
crowds
held
of Rome,
corner
belonged
Vicegerent
the
great
with
of
course
whether
and
assembled
the
preceding
erecting
that
unoccupied
associate
finally
This
Popes.
residence
that, since
say
and
especially during
mean
Nor,
tion
posi-
its
remained,
has
the
to
first to S. Maria
went
destined
remain
not
distant
the
repeatedly
Peter's
first
city,
the
of
most
of
papal
erected.
subsequent
Quirinal),
palace
had
damage
recovered
Popes
(the
it
fourteenth
the
Rome,
to
uninterruptedly,
does
in
never
The
residence
chief
to
walls
city
spot
Popes
Papacy
last-named
the
to
palaces,
Constantine
Peter
by
correct
in
Christ's
where
did
Gandolfo,
situated
within
tiful
beau-
more
no
protest.
While
was
with
Popes.
Castel
Avignon,
without
the
papal
other
equipped
the
Lateran.
considerable
suffered
Maggiore
II, who
accustomed
been
so
interval
Lateran
Nor
he
Vatican
the
the
the
year.
and
the
life.
the
elsewhere
perfectly
residence
of
there
Paul
occasionally
world
then
under
example,
for
the
there
long
decay
Maria
S.
to
the
transfer
to
into
they dwelt
months
made
declared
for
return
interruption,
that
sultry
Rome
(1417),
Since
without
Dante
ecclesiastical
then
Vatican.
mean
the
Constance
in
not
fell
palace
of
Council
that
left
Popes
fire; and
the
kind
from
named
became
palace
the
This
Pope.
and
family;
briefly
was
this
its
to
earth.
on
when
papal
palace
of
shackles
the
Roman
residence
centuries
every
residence
But
the
the
such
old
an
removed
he
as
assigned
Great
Laterani,
the
family
this
time
same
the
of
Palace
of
name
In
that, at the
Constantine
VATICAN
and
lodged
circumstances,
palace
only
did
ately
immediwhat
the
E5]
THE
6
nations
Christian
for
The
on.
a
of
grave
of
indirectly
walls.
It
In
was
Without
plain
This
The
the
at
Saracens
Vatican
towers,
thus
was,
after
of
Leo
of
in
City
the
two
ful
power-
settlement
istration
admin-
municipal
the
district.
Vatican
century
that
(as the
district
the
separate
named,
was
administration
general
adjacent
to surround
The
yet the
over
invasion.
the
with
portion,
as
sixteenth
Leonine
the
all
and
Gardens.
authority
no
the
merged
was
the
over
group
determined
small
Vatican
the
city, although
the
until
not
IV)
these
seen
of
administration
papal
Of
exercised
Rome
indeed,
less
number-
hostile
every
(847-855)
IV
in
to
Basilica
the
Leo
walls.
portion
city
lished.
estab-
there
was
artistic
by
the
houses,
streets,
an
so
served
all
lay outside
which
of
in
which
of
all
kind
exposed
sacked
that
still
be
may
became
of
It
with
And
spread
was
occasion
thoroughly
Hill
was
and
surrounded
thus
buildings,
peculiar
were
however,
one
on
so
Apostles
pilgrim-
pilgrims,
Oriental
jects
sub-
their
Vatican.
Mount
settlement,
buildings
the
of
foot
arose
arrangement
cemeteries
and
St. Peter's
St. Peter.
orderly
any
churches,
of
for
Germans,
the
to
settlement
early centuries
around
pretentious
veneration
show
to
the
of
less
or
more
these
circle
Prince
the
in
small
Anglo-Saxons,
the
number
did
Europe
Rome.
visiting
houses
in
VATICAN
of
City
the
Rome.
History.
Architectural
origin
the
further
buildings
known.
(1145-1216),
fairly
that
the
Nicholas
Pope
extensive
through
Hill
In
old
so
immediate
his
Apostolic
and
represent
far
buildings
may
to
the
right.
up
Vatican
is not
III, inclusive
St. Peter's,
around
the
What
centuries
Innocent
to
grew
and
as
the
erected
this
Hill
the
Popes
of
Nicholas's
beside
by
from
Nicholas
St.
into
so
ful
beauti-
very
the
Papal
for
plans
of
erection
approximate
extensive
The
of
possession
very
of
land
Finance),
of
Vatican
present
ering
cov-
tion
comple-
purchases
Ministry
can
Vati-
the
Gardens
purchase.
the
Peter's
and
to
undisturbed
property.
investigations
the
began
surrounding
deduced
He
By
Chamber
the
magnificent
brought
was
successors.
Palace
be
conceived
buildings.
and
large portion
Apostolic
history
there,
his
assured
Nicholas
with
Hill
palace
by
buildings
St. Peter
of
left and
we
built
(498-514)
following
III
Eugene
(1277-1280)
III
Vatican
the
Portico
near
the
on
the
cerning
con-
St. Peter's,
arisen.
had
palace
extensive
in
there
Popes
conjectures
Symmachus
Basilica,
to the
of
maze
the
Pope
from
Popes
the
Under
between
that
erected
were
of
dwelling
adjacent
immediately
palace
the
Neglecting
"
first
the
information
certain
the
meet
of
history
his
successors
the
in
and
extend,
masonry,
of
we
may
building
so
far
state
occupied
of
as
that
the
this
the
approxi-
HISTORY
site
the
mately
1305
In
stood
"
high
on
of
in
the
of
was
opposed
by
Peter.
Felix
the
1417,
whole
Another
(1439-1449),
Pietro,
after
in
Schism
the
after
world
whose
was
name
the
the
Vatican
going
in
when
as
the
until
Anti-Pope
VI)
Martin
Pope
only
later
If he
caused
is closely associated
Clement
Rome.
the
time
the
of
the
with
VII
The
of
Council
V)
rightful
by
began
(Martin
and
for
beginning
in
at
put
never
Thus
the
Roman
indeed
he
Rome,
to
(Urban
of
the
France.
at
Palace
Avignon.
lasted
V.
College
irresolutely
wandering
bishop
Arch-
Clement
Sacred
showing
of
the
"
title of
and
southern
election
the
which
Catholic
schism
the
Basilica
in
rightful Pope
by
the
which
palace,
new
him
which
1378,
took
Curia
finally settled
Papacy,
this
the
and
the
thought
For,
he
the
S.
the
finally settled
in
Constance
of
of
Western
Avignon
schism
di
execution.
Exile
great
meet
Piazza
the
France,
southern
Avignon
them
entertained
into
plan
directly
to
of
dominated
to
with
Maresciallo.
del
Pope
of
boundaries
eastern
communicated
and
completion
and
elected
was
of
Cortile
the
Hill
Vatican
summoned
seriously
this
years
the
Part
ever
after
and
situated,
now
the
proceeding
he
Perugia,
few
Bordeaux
of
Instead
are
lie around
DESCRIPTION
southern,
western,
Papagallo
which
buildings
the
where
del
Cortile
the
GENERAL
AND
was
cepted
ac-
successor
Anti-Pope
the
Council
THE
of
but
Basle,
the
it exercised
feuds
general
the
on
of
peace
from
edifices
the
chief
The
but
it.
of
Loggie
the
of
extension
to
Alexander
VI
Torre
(the
The
south
1464)
Paul
and
fundamental
Peter,
St.
that
he
this
Nicholas
the
the
century
ally
gradu-
was
At
the
strong
of
bastion
Innocent
have
crown,
VIII
For
the
It
of
defence,
the
known
Pope
direction
awaken
named
of
quently,
Conse-
since
walls
was
it.
been
Hill, in
Portico
rebuilt
has
mighty
visitor.
such
the
to
purposes
Vatican
(1458-
II
undertook
adjacent
buildings
Pius
by
practically
whose
every
adjacent
its militant
beautified
was
VIII.
foot
of
an
century
same
tower.
Vatican
the
immediately
tower
deprived
now
of
to
of
and
to build
undertook
end
the
Borgia,
Appartamento
first palace,
the
the
of
buildings
these
Vatican
only
a
gutted
admiration
wondering
(1447-1455)
said
the
powerful
which
ace,
Pal-
even
of
day
to-
II Torrione
di
V.
the
The
at
the
Palace,
with
while
Innocenzo
astonishment
Niccolo
All
di
erected
Angelo,
be
of
portion
Palazzo
the
as
of
might
Popes
Vatican
palace
old
renovation
Lateran
fifteenth
of
being
(1464-1471),
II
the
completely
impression
the
been
hitherto
of
rooms
erected
which,
of
side
material
almost
buildings.
(1492-1503)
the
in
beat
the
to-day
state
existing
longer
rains
restoration.
Nicholas
Raphael,
the
Borgia),
no
conveys
the
by
shared
was
the
remarked,
the
beholds
Raphael,
Stanze
pass
complete
that
residence
visitor
the
had
already
as
sank
pilfer building
to
decay;
Rome
city
the
leaked;
the
interference.
Popes
the
to
chief
undergoing
Where
of
came
their
as
desired
who
without
so
fire had,
it
thus
adopted
did
residence
fierce
And
those
windows;
of
roofs
The
into
impoverished
fate
general
The
St. Peter's.
fell
palaces
and
streets,
left
(1305)
Avignon
to
bloodshed;
grievous
around
the
through
at
effect
Rome
Churches,
caused
buildings
from
Popes
insignificance.
into
away
the
desolate.
City
internal
the
of
departure
Eternal
of
appreciable
no
Church.
The
S.
VATICAN
exception
of
distance
in
the
thus
was
seven
How
this
other
and
portions
of
Casino
Innocent
to
Vatican
the
d'lnnocenzo
Museum
one
Statuary,
sides
St. Peter's.
VIII
erected
of
and
VIII,
into
of
of
north
(1769-1774)
decorations,
princely
the
XIV
southern
vicinity
which
metres
Clement
and
eastern
immediate
hundred
transformed
ceilings
lay
the
to
in the
summer-house,
about
Gardens.
(1775-1799)
important
confined
were
Hill, and
with
of
the
ace
pal-
Pius
VI
its glorious
the
will
most
be
cussed
dis-
below.
Pope
Sixtus
erected
IV
on
(1471-1484),
the ground
the
floor
gifted founder
in the
northern
of
wing
the
of
Palatine
the
brary,
Li-
buildings
del
Cortile
the
enclosing
GENERAL
AND
HISTORY
DESCRIPTION
Papagallo
the
state
9
for
rooms
his
collection
books.
of
this
To
added
long
extends
leria
fairly
to
the
the
to
at
right angles.
of
Innocent
(a
Chiaramonti
above
built
and
long
the
to-day
accommodated
Cortile
large portion
Archives.
as
The
owes
the
and
same
building
connecting
to Pius
of
the
and
are
Gallery).
Pius
Tower,
IV
in which
buildings
Gallery),
the
also
the
Secret
the
of
ends
these
Loggia
monumental
Niche).
of
buildings
three
to be
palace
and
between
erected
row
the
Gal-
Inscriptions)
(Picture
Museum,
link
Pontiff
north
and
the
Belvedere
established
to the
Loggie
Sculpture
of
row
(1503-1513)
to-day
of
Borgia
Pinacoteca
(the Great
(1566-1572)
the
the
narrow
connecting
Nicchione
buildings
its origin
of
above-mentioned
PiusV
all the
and
II Gran
the
Where
Tower,
Library
the
kind
buildings,
parallel
known
of
As
di
near
(Gallery
from
Vatican
II
the
contains
of
section
and
Julius
begins
This
Iscrizioni
beginning
similar
It
VIII.
delle
Corridoio
or
the
(1559-1565)
are
buildings
Casino
Museo
Parallel
of
group
gallery
Lapidaria
and
uniform
and
his successor,
chapels,
credited
the
one
the
to
Torrione
Gregory
the
meets
XIII.
Borgia
the
over
Pope.
same
di
other,
Niccolo
The
power-
THE
10
Cortile
Scala
Pia
VATICAN
di
S.
Dama
Scala
Nobile
HISTORY
ful
in
block,
themselves
live,
still
this
which
had
building
connecting
and
of
spurs
the
by
1590),
but
under
Hill
Extending
slopes
Piazza
di
S.
hill
southern
towards
erected
upon
cyclopean
substructures.
low
almost
mighty,
These
quite
not
were
until
the
III
some
buildings
buildings
the
Julius
Pietro,
(1550-1555)
(1585-
completed
the
along
the
gun
be-
(1592-1605).
VIII
of
the
was
only
was
Clement
to
last
in
It
Sixtus
great
to
the
of S. Angelo.
11
and
and
covers
Vatican
the
direction
DESCRIPTION
Popes
lived
right angles
at
Torrione,
the
the
long
runs
GENERAL
AND
of
reign
pleted
com-
Pius
IX
(1846-1878).
Sixtus
building
erected
joining
Nicchione.
mighty
court
in
Nuovo,
of
the
Pius
built
The
by Paul
scattered
they
Leo
are
of
Palace
of
last
shall
Papal
hurrying
we
the
choice
buildings
about
built
small
sures
trea-
the
arched
valuable
this
Braccio
Gran
rebuilt
or
wing,
containing
under
the
over
antiquities,
from
for
the
on
"
the
the
unsightly
passed
top
of
clerks
has
and
hill in
which
erected
of
the
the
as
palace.
dens
Gar-
serves
as
large building
of
servants
smaller
Vatican
now
a
of
inasmuch
over,
history
the
front
Vatican.
the
the
near
Of
below.
Visitors
Borgo
here
in
Other
century.
architectural
the
lie
gendarmes
dimensions,
modest
further
speak
rather
be
may
in
the
nineteenth
Finally, Pius
Sixtus
through
the
erected
of
and
Guard
importance
Apartments.
but
as
either
very
and
buildings
Observatory.
the
mighty,
Swiss
(1878-1903)
the
the
of
of
other
and
number
placed
the
were
(1605-1621
summer-house
Vatican
Museum
Museum
date
groups
without
XIII
All
Gran
half
upper
known
wing,
the
library,
new
The
parts.
transverse
(1775-1823).
the
and
Torrione,
the
the
to
run
of
quarters
two
(1800-1823)
the
the
established
Gate
which
wings
two
into
Gallery.
VII
to
he
by
VII
to
leading
passage
was
Pius
Sculpture
and
the
divided
divided
devoted
VI
middle
building
now
which
Nicchione
Pius
was
further
was
the
this
In
court
in
Bronze
transverse
crossing
Nuovo
palace
to
the
bridge
St. Peter's,
towering
high
of
see
S. Angelo
to
above
the
the
and
right
Colon-
THE
12
Section
of
the
Sala
VATICAN
Ceiling,
Sala
Concistoria
Concistoria
HISTORY
of
nades
of
but
open,
Sixtus
the
of
the
of
row
Pius
the
third
and
Sixtus
State
the
to
the
portal
the
officer
first floor.
the
di Bronzo),
of
beginning
and
directed
are
flight, with
second
of
the
Swiss
IX
leads
to
door
on
the
the
steps
His
ustrade,
bal-
with
Palace
Scala
of
the
leads
landing
last
the
Holiness,
Pia.
Sub-Prefect
the
and
This
there.
marble
the
as
of
sioned
non-commis-
and
Vatican
the
third
of
the
posted
known
office
the
Chamberlain
High
Guard
provide
to
Decano
by
granite
is consequently
and
while
of
staircase
up
its massive
Pius
by
landing
the
The
the
sergeant-major
Apostolic Palaces,
offices
itors
Vis-
through
stairway,
on
of
Secretary
erected
the
of
or
was
the
Palace
broad
monumental
door
second
private audience
right colonnade,
abnormally
were
the
(Portone
at
west
the
palace
Gate
Bronze
of
the
occupies
by
while
on
his
and
invited
enter
erected
V.
stories
V,
by
XIII,
the
on
dwells
Pope
side
is bounded
Nicholas
by
The
is
palace
north
Gregory
buildings
built
The
buildings
and
merly
for-
enclosed
The
court
three
were
now
V.
open
lies
on
are
13
DESCRIPTION
Pietro.
palace
windows.
by glass
of
S.
which
Loggie,
by
that
di
the
surrounded
courtyard
sides
Piazza
the
left
the
To
GENERAL
AND
to
di
Maestro
Camera.
A
St.
steps further
few
Damasus).
visitors
to any
which
court
wonder
part
we
awaiting
Cardinal
Our
way
unsightly
careful
ascend
stationed
This
leads
now
the
few
at
staircase
of
steps
the
Scala
diagonally
which
meet
some
di S. Damaso
entrance,
being
and
is the
now
fills
disturbed
only
and
S. Pietro,
by
across
who
envoys
two
the
courtyard
gendarmes
two
to the
sentries
(Noble
Nobile
is lighted
di
Cortile
are
of
direct
and
open
with
us
the
by
visiting
State.
invitation
our
to
Piazza
guard
the
ambassadors
of
us
This
(Court
di S. Damaso
Cortile
quiet majesty
some
before
tower
gendarmes
its
Secretary
scrutiny
a
from
see
the
palace.
the
admiration,
and
automobiles
the
papal
of
reach
we
on
Two
stained
are
audience,
of
the
Staircase)
on
we
Swiss
with
glass windows,
to
somewhat
guard.
are
After
admitted
Guard,
halberd
restored
who
on
and
are
arm.
by
the
14
THE
late
Prince
Louis
the
Regent
had
been
marble,
destroyed
Over
arches
artificial
yellow
the
to
Guards
which
chambers
see
coffered
On
of
this
we
the
here
Clementina
we
from
family
frescoes,
in
which
the
combination,
stand
Camera
visitor
the
deep
and
of
rooms
the
sentry
on
di
by
this
at the
goes
this
to
end
of
wait
lasting.
It is the
Father,
Holy
the
the
ing
lead-
the
Swiss
ing
Hav-
landing.
glass
with
doors
of
one
next
door
through
hall
square
visitor
arched
Aldobrandini
him.
the
"
Sala
of
of
unaware
in
of
every
Swiss
while
impression
to
the
with
covered
architectural
antechamber
account
on
The
its great
magnificent
arms
Clement
Pope
roof
picket
present
Holiness.
hall, with
be
appear
A
hall, and
His
and,
are
its founder,
the
sprang,
the
on
wonderful
the
after
informs
quickly
of
are
lined
Clementina
Should
of
by
which
the
State;
King
in
seen
the
almost
and
named
Pope
arms
us
confronted
high
Hall),
of
by
explosion
walls
are
to
of
steps
the
Secretary
directs
(1592-1605).
which
landing
are
immensely
(Clementine
Aldobrandini
first
also, and
Sala
VIII
roof,
Cardinal
landing,
an
the
powder
itself, the
while
donated
those
of
shock
staircase
the
after
Bavaria
the
by
marble.
is stationed
reached
of
Leopold
neighborhood.
white
VATICAN
sible
pos-
Guards
the
tro
Maes-
made
on
is
beauty,
the
reception
used
for
reception of pilgrims.
Behind
the
Sala
Clementina
is
the
Sala
Concistoria
(Consistorial
Hall),
in dark
Decano,
of
the
dei
well-lighted
is
Palatine
the
room
lilies
conspicuous
might
"
of
in
they
suggest,
fourth
render
room
we
keep
service
size
of
coat
in
and
the
to
this
Pope
del
Can-
division
In
Gobelins;
these
the
as
XV.
Noble
the
the
tapestries
Louis
by
of
in
apartment
Sala
festivals.
on
three
members
as
because
decorating
arms
presented
were
here
first
Sala
the
gendarmes
the
as
hang
"
The
second
Palatina,
Guardia
honorary
the
The
the
apartments
turn.
two
known
vants
ser-
overcoats
is known
pass
guard.
of
our
occasions
solemn
moderate
is narrow,
room
which
From
where
is called
who
series
await
to
us
Venice.
their
dress-coat,
us
della
Sala
the
of
Rassa,
entirely pleasing
remove
through
is therefore
and
room,
Guard
third
black
rises
background
an
to
fered
richly cof-
The
Anticamera
leaves
on
not
visitors
the
busbies
high
called
it is also
tone;
the
through
here
corner
there
rooms
with
uniform
full
and
because
Gendarmi,
traversed
of
our
by
the
Catholics
the
leads
invitation,
In
gold.
to
in
servant
Room,
Throne
the
to
assist
head
The
takes
proceed
we
damask.
red
exercising
Pius
to
uniforms
red
with
of
but
presented
was
wraps.
caparisoned
Clementina
Sala
lustre
15
DESCRIPTION
hung
room
with
gleams
effect; this
and
narrow
richly
throne,
the
but
long
roof
GENERAL
AND
HISTORY
The
Guard
are
stationed.
The
prelates
which
we
the
find
now
manufactured
Spain
is of
his
valuable
walls
French
silk
draperies;
the
Pincio,
steep
by
roof
and
The
arms
the
from
clocks
Leo
time
by
Palace
new
windows
stands
is
the
carpet
present
from
that
On
Louis
XVI.
view
of
the
with
consoles
Two
and
green
of S. Angelo,
with
Justice,
its
element
disturbing
it dates
damask.
silk curtains
delightful
The
of
in
Room,
show
red
to
thick
a
a
marble
white
ornamentation,
its obtrusive
by
XIII
with
there
Throne
is
carpet
the
command
between.
the
of
the
of monumental
light softened
city
of
The
hung
are
pair
windows
these
Opposite
have
allow
just
the
hear
him.
had
time
glorious
decorations
we
hall.
Communion
covered
entirely
this
walls
a
floor
of the
private chapels
Easter
in
surmounted
plain throne,
canopy.
We
to
seen
chimney
and
picture.
the
The
are
admit
windows
huge
for
value.
pontificate.
longitudinal
is
ourselves,
great
of the
one
The
Thursday.
specially
and
from
to
administers
sometimes
Maundy
on
leads
background
who
Father,
Holy
the
in
door
of all the
voice
the
We
of
first
of
the
examine
simplicity
enter
Pope.
and
carefully
in
Chamberlain
another
which
The
to make
yellow
characterizing
their
impression,
waiting summoning
the
room,
corner
is occupied
by
tint of
the
the
and
surroundings,
our
restfulness
pure
traversed
rooms
the
(Privy Antechamber),
attendants
to
Anticamera
immediate
old
and
us
the
when
to
low
fol-
Segreta
personal
very
valuable
16
VATICAN
THE
Throne
Privy
Room
Antechamber
HISTORY
Gobelin
quiet
that
which
carpet
refined
but
GENERAL
AND
the
covers
the
separates
the
various
the
large
and
for
floor
stationed
there.
of
grades
private audience.
used
library
by
We
receptions.
the
Holy
are
next
Sala
whose
atmosphere
is then
reached,
is
of
one
known
with
harmony
the
the
indicates
corner
Privy Antechamber
those
which
the
end
Father
both
as
led
through
At
of
used
for
suite
lies
are
this
working
room
small
two
rooms
Tronetto
restfulness.
supreme
the
as
del
in
This
from
rooms
17
complete
little table
reception
general
is in
The
decorations.
official is regularly
some
DESCRIPTION
del
Sala
from
Tronetto
smaller
the
room
plain
throne
it contains.
We
in
from
and
fixed
on
reassuring
Three
as
walls;
large
private
a
room,
and
he
greets
make
eyes
us,
then
the
of
an
our
The
announces
to take
At
triple
prescribed
us
lain
Chamber-
us.
aged, gray-haired
motions
dispels
draperies.
red
reverence,
clothed
man
places
our
with
embarrassment
sign
his
near
his
kind
words.
light the
windows
library
of
table
mahogany
of the
kindly
quickly
and
with
hung
enter,
we
the
Standing,
writing-table,
the
us
door
genuflects,
Chamberlain
the
see
knocks,
waiting
in white.
and
before
stand
now
and
the
lofty and
Pope.
of gigantic
is littered
with
broad
number
dimensions
books,
room,
of
which
serves
book-cases
runs
documents,
through
line
the
presents
the
dle
mid-
of
all
Private
kinds,
few
resting
from
all
and
thence
evening,
or
this
for
rooms
room,
to
the
From
meals
XIII
with
at
the
observed
with
bedrooms,
All
of
houses
Only
alone.
dine
the
than
immemorial
time
(for example,
to
occupies
Castel
high
more
these
was
Gandolfo)
officers
strictly, but
reserved
for
on
and
Pius
was
on
journey
specially
X, who
predecessors,
the
in
stairway
ing
pertain-
not
much
possess
Pope.
Pope
to
he
plicity,
sim-
great
his
take
holidays
summer
is very
could
sitting-
the
the
was
the
secretaries.
rooms
invited
and
this
with
of
books
is done
by
burgesses
he
presents
by
private
furnished
customary
or
work
apartments
1870)
other
On
vestibule,
two
the
well-to-do
private
to
dining-room,
and
are
small
ascends
his
the
rooms
(before
court
Pope
with
kitchen,
many
the
it
when
this rule
his
the
hall
After
story.
the
of
unoccupied
the
busts
furnishings.
the
left
paintings,
Three
number
from
he
servants,
furniture
costly
more
the
third
comes,
are
housekeeping.
and
the
to
which
floor
upper
leads
oil
book-cases.
table
the
on
door
meal-time
when
living-rooms
the
On
leads
stairway
the
over
valuable
of
row
clock, and
space
second
Pope
pillars complete
valuable
fill every
lands
documents.
hangs
marble
ticks
the
objects.
other
magnificent
on
of
Library
animals,
wild
writing-table
the
and
vases,
representing
to
VATICAN
THE
18
accustomed
guests.
sociable
sentence
as
Leo
pared
com-
himself
HISTORY
to loneliness
of
he
as
join
done
Venice.
He
and
when
consecrated
the
kin
modified,
and
X,
thus
nation
coro-
this
been
for
to
the
in
has
least
at
traditional
has
since
ceased
ceremonial
had
Communion
Pope
Pius
of
he
The
Mass.
of the
extent
quently
fretrious
illus-
whom
Holy
his
nearest
also
to breakfast
administered
great
his
He
to
guests
isolation
he
invited
he
bishop
invited
during
ther,
fur-
even
occasionally
lunch.
to
meals,
Patriarch
went
prelate
new
of
private
at
as
and
spect
re-
greatly
the
present
Southern
the
the
Sistine
Pietro.
Thence
but
is also
and,
than
to
very
vault,
which
the
on
staircase,
project
to
repose
informs
Piazza
the
di S.
leads
Scala
Regia
Alexander
VII
of
arrangement
further
imposing
very
happy
which
under
remarkable
quiem
Re-
the
on
approach
Bernini
by
owing
above
built
the
corridor
long
immediate
was
the
the
the
Solemn
invitation
our
below
Gate,
along
the
This
Staircase).
As
received
the
for
Pius
have
we
year
Pontiff.
Pope
attend
to
us
each
Rronze
proceed
pillars supporting
below
celebrated
the
through
Suppose
"
entitles
reigning
the
we
(1655-1667),
the
is
of
is
Peter's,
St.
(Royal
which
Chapel,
predecessor
entrance
to
Sections.
invitation
the
us,
Eastern
and
black-bordered
of
of
Writing-table
pontificate.
in
19
cate,
pontifi-
two
him
to
DESCRIPTION
After
his
his
had
secretaries
just
of
days
invited
he
GENERAL
at meal-time.
first few
the
AND
from
the
perspective
wall
effect
gained.
At
end
the
turn
to the
high
door
has
to
middle
and
to
door
Ducale.
of
gives
huge
To
the
huge
the
access
door
the
to
that
to
the
Sala
Pauline
Vatican
to the
left of the
we
door
del
by
which
an
the
the
door
opposite
Portico
Maresciallo
from
we
the
enter
we
extraordinarily
(Cappella
the
staircase
Hall).
(Royal
On
leads
corner
to
entered,
over
Cortile
left
steps
Chapel
parish.
situated
Aula,
of
Regia
which
by
the
in the
flight
broad
a
us
Besides
church
leads
staircase;
ascend
right leads
the
of
admits
which
doors.
parochial
door
Sala
right
seven
wall
of this
of
hall
This
in
the
small
Paolina),
wall
the
the
first
St. Peter;
over
Sala
is the
the
servants'
Regia
sixth
to the
door,
VATICAN
THE
20
leading
leads
enter,
The
to
annals
in the
the
On
the
the
the
lat-
ter
ops,
of
generals
accord-
seniority,
dinals
of
of
other
many
high
officials,
of
chapel,
the
vited
persons
land.
In
is held
of
is
always
of
Public
Ducale
the
the
the
Spogliatoio,
await
more
their
will
be
in
has
exercises
the
light
for
door
the
and
his
spiritual
the
of
any
the
Pope
also
from
below.
held
the
leads
assumes
which
said
usually
suitable
in
function
some
Vatican
the
bishop,
and
are
Ducale
cardinals
Pope.
of
care
Palaces,
Apostolic
in
office
tioned
above-men-
the
the
hundred
many
palace.
especially
Sala
of
Pastor
Chapel,
ordinarily
Pope
receive
or
titular
the
for
new
Consistories
is
From
every
Regia
Pauline
residents
in-
Chapel
clave
Con-
Sacristan,
The
who
other
Sistine
Scala
election
accredited
from
the
the
as-
aristoc-
and
See,
porbehind
are
mats
diplo-
Holy
rear
Roman
the
to the
the
riers,
bar-
the
or-
Papal
the
tion
racy,
the
prelates,
In
sembled
bish-
religious
and
marble
sta-
are
bishops,
the
Courts,
on
seated
are
and
judges
ders, the
assists
quadrangle
ranged
car-
Re-
the
Pope
In
colleges
the
the
tered
regis-
now
celebrates
Deacon
Cardinal
arch-
the
tioned
lined
history.
the
ingtotheirrank
Behind
pared
pre-
feasts,
great
events
cardinals,
the
we
as
was
electors
the
other
many
it
of
the
throne.
behind
for
seats
for
and
Church
occasion,
present
and
quiem,
canopied
Consistories,
of
right
when
celebration
the
for
XIII,
Leo
all the
(when
Secret
for
walls),
the
to
chapel
celebrated
this
seen
of
exequies
the
door,
room.
has
writer
Conclave
the
the
present
for
for
servants'
seventh
The
Chapel.
Sistine
the
to
the
the
The
to
the
Sala
reception
the
Sala
pontifical
the
in
in
Regia,
of
dei
bodies
Loggie
walls
halls.
neighboring
prelates
of
of
take
their
Giovanni
these
of
when
vestments
rooms,
pilgrims.
in
room,
places.
da
he
The
the
These
of
to
which
takes
underbled
assem-
Sala
Udine,
access
Sala
the
Paramenti,
above-mentioned
the
while
dello
halls
which
which
is
the
denied
After
Father
in
are
by
orders
his
absence
the
We
here
are
from
the
look
down
of
vanni
these
The
once
by
the
marble
open
tendril-work
of
full
are
Near
the
this
to
of
of
special
inscriptions
Pius
VII
other
da
is
as
Leaf-
the
of
and
effect
of
the
fashion,
suggested
hall.
coloring.
portions
Gio
master
decorations
groining
adorn
ascending
extremely
This
continued
the
is
the
small
sparely
mented
orna-
figure
Loggie
and
offer
livened
en-
vaults
few
the
of
Leo
on
this
nothing
steps,
in
corridor
Pius
Gaetano
Appartamento
Passing
few
collection
under
(1800-1823)
lies
long
shown.
are
Udine
elsewhere.
treatment
and
an
(1769-1774),
under
value
the
protect
particularly striking
The
Giovanni
Appartamento
Inscriptions,
XIV
is
can
note.
Loggie
receives
joyous
essentially simpler
in
artistic
and
out
it, we
stucco
the
casions.
oc-
step
we
great
lines, and
the
artistic
great
the
of
while
gaiety
vestments.
furnished
special
which
with
these
Among
papal
kind,
every
if
himself,
head
the
such
on
before
and
by Raphael
at
architectonic
airy
of
figures
walls.
story
of
of
work
itual
spir-
cants
communi-
windows
bay
figures.
the
Majordomo,
and,
situated
paintings
the
master
picture instinct
earthenware
in
the
the
border
animals
by
presents
for
the
honors
palace,
The
the
made
were
of
the
also
are
to
The
the
does
Loggie
are
sketches
bust
the
to
Communion
Thursday,
S. Damaso.
which
halls
of
and
life-sized
breakfast.
at
Camera,
story
di
Loggie,
Udine.
da
of
di
second
Cortile
the
Maundy
on
Maestro
with
Holy
entertained
here
Paramenti
dei
the
on
family
the
on
Sala
paintings
XIII
his
of
richly
21
damask,
red
ornamented
administered
has
his
with
covered
are
Gobelins
some
Holy
the
portion
or
public,
general
with
adorned
DESCRIPTION
GENERAL
AND
HISTORY
VI
the
about
begun
the
sand
thou-
Clement
and
famous
Gallery
six
under
(1775-1799),
Marini,
leading
the
reach
we
which
was
Borgia,
door
completed
scholar,
who
has
been
his
great
named
the
the
astonishment
marvellous
inscriptions,
in
pagan
of
founder
second
and
diligence
of
and
the
the
right.
the
Latin
epigraphy,
learning
Christian
Marini's
visitor,
every
of
the
to
is
of
in
ment
arrange-
left wall
the
work
magnificent
and
applied
systematic
inserted
being
here
awakens
incalculable
the
value
the
to
student.
At
the
door
on
the
was
are
now
end
which
main
as
As
the
Museo
already
of
Gallery
is written:
is that
will
Inscriptions
Bibliotheca
to the
entrance
arranged
Inscriptions
the
of
be
portion
of
with
the
see
Vaticana.
reading-room
dealt
we
of
the
Until
Sculpture
Gallery
huge
recently
Library.
Adjoining
later.
left
the
on
the
which
How
this
things
Gallery
of
is known
Chiaramonti.
mentioned,
the
Holy
Father
has
his
reception
rooms
on
THE
22
Section
of
the
Ceiling
of
the
Sala
VATICAN
Section
Regia
Sala
Regia
of
Wall
in
the
Sala
Regia
of
to the
proceeding
opposite
door
Straight
before
in
collected
art
described
Peter's
and
to
arises
before
we
us
from
the
devoted
rooms
wing
on
Library,
Sixtus
On
and
large
second
the
occupied
huge
in the
Antiquities
and
reader
easily identify
can
in
Sculpture.
interest
for
Courts
Cortile
of
of
the
leads
Cortile
steps
and
situated
level.
into
this
inner
An
mighty
ducks
the
behind
the
of
Vatican
of
belong.
the
Gallery
of
Gallery
will
be
grouped
of
Museums
the
the
the
palace,
palace
tioned
men-
all
practically
which
by
also
wing,
of
this
built
which
the
plans
palace
the
the
deep
possesses
courtyard,
of
murmurs
numerous
passage
of
court
Cortile
outside
here
which
fancy
of
S. Damaso
court,
will
repay
the
Guards
breeds
on
we
over
In
formerly
in
as
some
court
much
reach
themselves.
S.
di
V, known
leads
visitor.
fountain,
disport
Cortile
Sixtus
but
of this
magnificent
the
round
three-cornered
wall
Swiss
guidance,
reopened,
Triangolo,
to the
to return
right of
Palace
recently
di
the
a
writer's
the
the
del
requested
now
the
on
entrance,
halt
is
under
Cortile
the
short
exercising-ground,
which
the
Passing along
of
V.
to
passages
reader
The
"
courtyards.
exactly
Belvedere.
the
northern
represent
mighty
to undertake,
di Sisto
di
of
Museum,
divisions
They
the
wing
to
light
of the
length
of
Collections
the
to
numerous
and
Right
number
rooms
entirely
referring
By
Vatican.
the
various
Damaso
devoted
ings,
build-
everybody.
di S. Damaso
the
lie
full
Raphael,
of
of
cross-building
the
Vatican
which
their
receive
The
of
It is situated
Gallery.
floor,
state
row
door
science.
and
arches
the
middle
long
art
Picture
of
of
buildings
are
the
portions
really noteworthy
in
sections.
preceding
the
halls
of the
Nicchione,
Gran
by
the
and
St.
arched
an
the
opposite longitudinal
sections
The
to
ground
tapestries
"
in
Archives.
special portions
are
elsewhere.
fully
around
on
Secret
two
renowned
Charts
Geographical
the
royal
around
proceed
whole
fire-proof
the
celebrity,
through
pass
palace,
Vatican
of
works
through
we
This
entrance
The
of this book.
exclusively
is
rooms
story
the
containing
treated
the
which
to
the
on,
first floor
the
also
Vatican
the
to
we
the
the
at
universal
floor.
second
Raphael.
Should
tower.
the
floor, and
Further
east.
of
the
and
rooms
enjoy
"
to the
entrance
ground
the
on
small
Collections,
IV, is devoted
the
see
Loggie
Sections.
quadrilateral
by Pius
of
the
through
passes
of
Loggie
special chapters
long wing
very
powerful
Raphael,
in
pens
Vatican
erected
of
Popes,
Western
the
encounter
Stanze
left, the
Renaissance
and
visit
the
instead
Clementina,
right,
at
comparatively
by expert
Northern
the
the
to
these
the
liberality of
are
lie
him
on
23
Sala
the
arrives
left, he
the
on
the
entering
on
papal apartments
immediately
thereto,
visitor
If the
floor.
second
the
DESCRIPTION
GENERAL
AND
HISTORY
lower
the
Cortile
the
middle
used
the
as
basin
Every
an
of
side
VATICAN
THE
24
Section
of
the
Sala
Ceiling,
Ducale
Sala
Ducale
HISTORY
of
the
is
flanked
From
this
court
buildings.
Picture
AND
Gallery
the
side,
Picture
and
the
mentioned
above
of
the
abuts
side
of
on
the
and
corner,
curve
below,
tamento
Borgia
Raphael
greet
the
The
and
sharp
the
the
with
lery
Gal-
second
in
here
us
right
nal
longitudi-
protrudes
and
row
nar-
one
the
other
Inscriptions.
side
runs
in
court
the
the
lections
col-
Library
accommodates
short
erful
pow-
other
The
of
the
on
support
steep carriage-drive.
side
on
the
which
Gallery
Sixtus
seen
Beneath
arches
the
opposite
being
entrance
floor.
ground
be
of the
Appar-
Stanze
their
of
small
Medieval
windows.
for
visitors
are
here
of
the
who
one
of
which
Pius
to
tinella,
so
We
entrance.
Chapel,
which
inserted
in the
Torre
Borgia
above.
Parrot's
The
of
few
steps
Court).
first parrots
the
land
An
were
Canary
Islands.
offer
novelties
to
of
of
old
are
that
of
(Tower
XIII
Gregory
worked
were
they
and
Venti
their
out
celebrated
once
held
occasionally
the
the
air
story
brought
reach
here
it
was
as
present
the
della
guards
of
the
to
access
which
with
this
southern
Italy
after
to
the
Pope,
for
the
the
the
these
Senthe
Sistine
plain portal
Cortile
della
mentioned
was
associated
customary
for
riageway
car-
here
St. Peter's.
gives
middle
adjoining
substructure
beside
the
Cortile
Guard
del
then
in
specially
the
Cortile
to
As
Swiss
Tower),
Borgia
is
and
reach
thus
the
building
we
drive,
constructed
Gallery
massive
the
and
more
Papagallo
science
by
Chaconius,
covered
of
the
into
high
(Court
of
Quattro
festivals
We
behold
buttresses
realize
and
engaged
passage,
sentry
now
dei
festivities
Picture
the
Gardens.
because
can
and
Great
subterranean
under
mounts
Torre
above-mentioned
Vatican
the
called
del
Cortile
Father.
Holy
leads
the
to
treasures
scholars
days
our
the
the
begins
X, which
the
calendar.
the
ascend
now
which
in
even
of
presence
us
the
leading
its beauties
precious
Lilius, Clavius,
of
and
in
most
defiantly the
in
under
reform
in this court,
Let
rises
Winds),
(1572-1585),
famous
drink
the
by
Gate
view
slowly
can
corner
Four
in the
glorious
surrounded
In
art.
is
It
25
DESCRIPTION
lofty
by
point
may
the
GENERAL
Papagallo
strange
the
rulers
birds
(the
name.
discovery
of
were
every
sent
26
THE
della
Cortile
and
assigned
were
with
all the
Later
a
them
of
the
wings
hall
to
the
court.
of
library
see
facing
the
southern
Sixtus
us
Court),
Vatican
for
we
of
the
of
election
Chigi,
the
Cortile
new
covered
of
Pope,
here
passage
Avignon,
the
passage
is
hereditary
to
us
we
the
to
as
in
the
of
the
from
Conclave
back
old
Marshal's
held
Marshal
the
protect
brings
the
serves
(the
being
the
right,
This
in
lay
from
the
on
Maresciallo
Conclave
the
hall
contains
court,
nection
con-
possessed
extended
St. Peter's.
del
When
this
in
account-books.
papal
in
hall,
separate
incurred
was
name
through
Vatican
the
of
Colonnade
is stationed
interference.
side
now
the
enter.
now
Prince
Conclave,
of
boundary
which
outside
Passing
roof
the
court,
northern
the
on
IV.
in
As
the
that
even
the
in
expenses
in
detailed
Hall).
the
enclosing
All
Italy, and
in
Nuovo
housed
were
attendant.
(Parrots'
floor,
ground
they
found
be
may
papal palaces
one
The
special
Papagalli
dei
Sala
arrival
Braccio
the
showing
Pigna,
their
On
Vatican.
the
to
VATICAN
Cortile
di S. Damaso.
The
of
owes
on
the
Cortile
Torre
its
name
this court
della
dei
to
which
is accessible
Stamperia
Quattro
fact
the
are
now
Venti
that
or
the
only through
through
Vatican
incorporated
the
Press
in
the
Vatican
once
Vatican
the
vestibule
Library.
occupied
Library.
rooms
It
HISTORY
The
last
court
di Belvedere
Cortile
three
by
parts
The
Nuovo).
with
level
Sixtus
(Library
di
Belvedere
the
the
skill
the
has
walls
great
lie
the
large
number
surrounding
the
the
the
court,
stands
times.
(Braccio
della
Pigna
column
lies
of
of
belong
court
of
and
art
in
1870.
its
gardener's
can
well
was
the
claim
of
foot
place
no
exclusively
Nuovo,
in
attention.
worth
preserved
Braccio
on
erected
Around
almost
being
the
the
This
nevertheless
bronze
given
has
precious marble,
antiquities, which
are
narily
extraordi-
huge
This
stands.
Council
the
which
court,
St. Peter
works
Nicchione
forms
this
high
which
principal
Gran
of
Vatican
buildings
Museum,
into
Cortile
della
which
early
very
middle
of
third
this
from
figure of
itself, but
behind
the
Pigna
della
Niche),
rises
Museum
the
The
which
of
commemoration
in
the
greatly enhanced,
pinnacle
the
In
court.
of
of
boundary
Cortile
the
(Great
(pigna), dating
to
name
of
View
Nicchione
impressive
pine-cone
the
Cortile
the
VII
Pius
low-lying;
while
higher,
metres
V)
is very
with
divided
then
was
and
As
Pigna.
formed
once
which
Sixtus
della
first floor.
the
Gran
of
27
Cortile
courts
General
In
is the
last-mentioned
Cortile
is several
Stamperia
on
the
DESCRIPTION
mention
for
call
to
already
GENERAL
AND
in
to
the
the
ings
build-
which
lies
opposite.
A
view
of
all the
above-mentioned
courts
may
be
secured
by
ascend-
VATICAN
THE
28
Bas-relief
ing
the
to
of
ashlars
mighty
view
reposing
of
of
of
may
see
path
in
sunlight
Pope
who
From
the
takes
Entrances
position
of
the
air.
If
fortune
top
walk
short
to
but
the
with
half
short
us,
-hour's
while
near
the
the
the
survey
Pope
favor
his
Gardens
Vatican.
can
when
the
and
the
carriage
halts
the
in
the
dens,
Gar-
wishes
clear,
be
along
Wall,
chief
handful
tiny
day
of
been
Vatican
outing
Leonine
the
also
he
and
grave
possessions
this
of
religious
centuries
and
markable
re-
peacefully
succession
of
it has
their
palace
white-haired
taking
a
five
all
we
side
indeed
years
this
of
very
almost
practically
possess
of the
for
been
long
into
It is
palace,
scenes
the
by
forty-three
For
during
important
erected
has
present
Gardens.
enacted
the
lost
now
Holiness
at the
been
neath
be-
bring
repose
this
the
us
yawn
buildings.
in
that
below
courts
majestic
surrounding
meditate
refuge
open
His
the
who
our
only
the
For
Popes,
and
earth.
in
Apostles,
their
far
see
smaller
in
palace,
Papacy.
the
1870,
walk
the
the
of
prison
year
This
the
larger
the
Pigna
we
of
of
chain
della
there
palaces;
who
feet, have
history.
Prince
the
lines
those
endless
an
secular
abode
their
at
centuries
the
the
for
From
different
the
prominence
sharp
Peter's.
St.
pits, while
like
us
of
Cupola
Cortile
Warriors,
with
the
in
and
to
we
broad
the
full
then
the
his attendant.
"
The
guarding
of
all
the
entrances
to
HISTORY
GENERAL
AND
of
Apotheosis
Antoninus
and
Cortile
the
from
palace
their
under
of
approach
these
of
line
at
official
gives
the
of
all
or
sentry
are
wings
personally
They
of
and
Portal
of
the
the
the
salute.
of
to
portal.
During
appropriate
in
If
the
the
the
night
The
middle
not
is here
gate
they
very
dwell
sentries
the
second
and
entrance
behind
the
the
in
door
high
Vatican
identity
one
of
undress
wear
and
night,
their
establish
his
alone
suspended,
at
in
into
wear
as
is closed
small
fall
latter
the
Guards
must
of
sentry,
At
approach
picket
such
unless
does
mand
com-
prelates,
at the
visitor
and
the
and
bishops,
corps,
the
afternoon.
the
occasions,
This
sentry,
under
and
are
Roman
every
the
the
Swiss
the
through
cape.
the
to
gates
under
Gate,
guard,
dress,
police
or
uniform.
admission,
known
VI,
by
solemn
banner
seeking
their
known
On
admitted
Alexander
to
archbishops,
sentry.
personally
then
are
strongest
military
parade
wears
then
the
or
Four
Guard.
Rronze
is known
Pietro,
such
as
Vatican
is
Swiss
of
but
S.
Bas-relief,
"
entrance,
dignitaries,
feasts, the
persons
fully.
the
prescribed
ecclesiastical
the
all
summons
dress,
the
chief
recognizable
are
all officers
di
29
Pigna
to the
main
is stationed
of their
the
and
Here
one
when
of
Piazza
the
on
visitor.
Faustina
della
entrusted
The
protection.
Colonnades
every
city is
the
DESCRIPTION
the
form
uni-
is through
the
Colonnades.
the
30
THE
It is
use
this door
of
canteen
third
The
the
Swiss
the
Torrione
family
general
X
at the
for
is the
Chapel,
The
public
road
is
entrance
to
possess
salute
leading
especially
the
to each
of
courts,
in
certain
regard
the
solidity,
and
certain
as
magnificence,
but
the
brisk
serves
been
pensary,
dis-
ness
busias
the
erected
Behind
"
we
for
The
as
by
St. Peter's,
situated
on
the
to
Persons
of
the
If
and
several
receive
the
architectural
guarding
of
this
automobiles
The
way.
and
envoy,
exterior
features
whole,
has
and
cars
so
disappointed.
sense
individual
palace
the
It
entrance,
this
persons
Palaces.
view
all
enter
ambassador,
and
vicinity.
and
the
passes
Collections.
S. Damaso
Vatican
the
the
neighborhood
offices.
which
fourth
since
for
in
Press
the
to
Pigna
Vatican
memory
Vatican,
are
di
cardinal,
of
the
the
important,
Cortile
excellent
an
Exterior
tour
to
door
The
going
are
one
families.
their
Guard.
immediate
printing
and
employes
Sistine
they
some
building
new
Swiss
Vatican
the
this
and
to the
Vatican
of the
in
Through
V.
dispensary
the
the
to
street
the
unless
visit
to
situated
are
entrance
the
foot
which
di Niccolo
with
traffic
Pius
of
wish
or
the
is from
of
quarters
prohibited,
is
Guard
entrance
the
to
by strangers
both
of
adjacent
immediately
of
VATICAN
give
the
prelate
who
we
as
from
leave
poetical
impression
beauties
must
appropriate
he
make
palace
ceeding
pro-
guards
passes.
complete
the
various
of
out
eration
considand
corners,
of
we
vastness,
seek
in
The
vain.
this
attention
little
external
of
wall
a
few
whole
we
see
haps
per-
walls
and
only
very
few
this
fact
V,
for
erected
purpose
in
as
Sixtus
buildings
constructed
palace
over
of
buildings
only
and
palace
passing
definite
the
taking
and
the
the
architectural
possess
But,
charm.
main
Pigna,
of
portions
indeed
do
della
Cortile
the
palace.
the
di S. Damaso,
other
markably
re-
the
to
of the
appearance
Cortile
The
devoted
of buildings,
mass
of
erection
the
to
31
DESCRIPTION
all contributed
who
Popes,
share
their
GENERAL
AND
HISTORY
the
plainest
way.
That
only
of
conscious
visitors
are
be
ply
sim-
may
visitors
because
explained,
as
Tower
desire
class
with
acquainted
with
content
chiefly
from
itself
of
Chapel,
picture
as
The
the
which
pause
very
The
who
If,
we
on
have
from
It is of
there
Of
quiet
Cortile
the
thus
which
of
sents
prethe
with
Sistine
the
the
of
grandeur
the
the
to
di
tower
charming
the
of
and
views
S.
huge
elms
its
left
the
on
is
Angelo,
with
of
many
the
towards
Christianity
there
are
times
the
recovered
many,
the
Borgia
of
Gallery
it recalls
view
glorious
How
by
sible
acces-
softly
wave
Appartamento
the
Belvedere
above
and
elect.
the
to
beauty,
rare
the
in
such
Museum,
window
the
Cortile
Castle
some
Museum
from
retreat
only
V
of
Niccolo
the
and
Sixtus
of
Palace
the
di
the
is known
the
of
with
behind
view
across
chronology.
a
and
gable
in
quite
usually
associated
bare
details
all
Torrione
palace
garden
the
Venti?
XIII, when
deserve
Winds
are
intimately
so
foot
the
this
In
hurry
obliquely
Quattro
the
the
few.
admire
to
right by
associations,
thousands
and
picture
The
aspiring
it were,
as
at
connects
to
ancient
and
is
the
to
lying
court
breeze.
the
visitor
owing
loses,
eye
Four
whole.
on
wall
only
in
the
quiet
bounded
the
Peter's
St.
that
the
of Sixtus
Palace
the
di S. Pietro.
of the
gaze
interior,
the
of
survey
Piazza
the
the
to
of
treasures
leisurely
di S. Damaso
front
the
of
become
to
and
tions
Inscrip-
Torre
of
dei
ory
Greg-
its
rect
cor-
they
all
visit.
the
on
other
our
hand,
right
we
a
proceed
bare
around
interminable
St. Peter's
wall
whose
to
the
Museum,
monotony
is
broken
only
look
frescoes
facing
see
wall.
close
him,
he
of
the
with
room,
within
the
numerous
half
one
shelves
are
and
latter
churches
objects
at
hand
when
Father
live
of
Colonnades
the
in
the
of
and
brought
his
sisters
and
the
Sundays
conversation.
For
their
other
distinctions.
counts,
Pius
relatives
although
completely
was
the
hundred
raise
of
he
in
to
Leo
the
had
ignored
be
simpler
so
far
cold
in
in
the
as
to which
chief
meal
in
His
room,
bed-
appearance.
in
sleeping
he
moment
the
next
have
may
for
he
of
in
the
assigned
of
ill
they
or
in
custom,
and
sister
cently
re-
Bishop
of
Pius
fortable
com-
Thursdays
hour's
an
spent
long
sick-room.
for
princes
been
Holy
but
On
naturally
instance, raised
previously
the
vicinity
for
customary
Roman
of
Pope,
presence
his
those
simple
pension.
his
needy
was
became
them
sufficient
or
younger
he
the
have
poor
immediate
a
only
with
In
sisters
while
to
into
the
the
he
Pope,
always
with
Pope
been
for
may
Two
the
provided
are
vestments
When
it has
by
store-rooms.
as
situated
seriously
this
Pope
that
so
admitted
rank
his
occupied
Together
but
XIII, for
they
the
Antechamber
years
of
remainder
all the
Venice.
are
is extraordinarily,
little while.
at any
them.
house
and
for
story
by
him,
to
modest
When
several
used
Rome
sisters
daily either
period
of
and
residence
general
cooking,
secretaries
The
Peter's.
kept
to
to
distance
In
rather
that
third
Rusticucci,
Patriarch
the
scarcely
partakes
are
so
requires
St.
these
deceased,
Mantua
he
life
no
from
to Venetian
rests
example,
Palazzo
face
sur-
religion.
the
presented
are
could
He
private
of
are
for
keeps,
that
Life
occupancy.
and
presses
Pope
the
his
on
for
either
circumstances.
between,
rooms
fitted
that
of life Pius
mode
life.
his
of
wall
Belvedere,
give
fact
long
begun.
extraordinary
can
the
viewed
his diet
in
consolations
the
his
In
dining-room
one
the
only
reach
Of
on
alter
afterwards
and
marble,
cut
Palace,
simple.
and
day,
insists
Pope
not
moderate
all
sitting-room,
The
does
adheres
accustomed
middle
of
"
in
burgess
allow
letters
the
earlier
whose
long,
Even
windows.
we
lasting.
and
Vatican.
the
few
Vatican
astonishingly
of
been
huge
is deep
of
fact
home
by
the
by
at hand,
doctors
has
broken
of
made
in
the
great
when
was
di
Cortile
the
times
in
palace
metres
from
of
traces
the
the
to
hundred
several
this, however,
All
Ruler
The
he
formed
impression
the
us
Press
Vatican
the
of
walls
external
the
wall
scarcely
seems
of
air
that
show
Papagallo
del
Cortile
the
few
courts.
narrow
from
proceed
now
inscription,
or
in
the
decoration
the
we
this
of
walls
impressive
if
forbidding
leading
carriage-road
The
assumes
remaining
vanished
windows.
large
the
at
up
we
by
di S. Damaso
Cortile
If
VATICAN
THE
32
or
his
to
family
simple
left
the
his
Popes
grant
to the
country
relatives
to
them
rank
squires.
in
the
HISTORY
AND
Tunnel
GENERAL
leading
to
DESCRIPTION
the
Vatican
""
".,",*",,
\*ai**-'
T?""g!%,
Exit
Gardens
"*v".,.
-*"
33
of
Tunnel
VATICAN
THE
34
believes
that
their
with
the
hands
own
is
assigned
to
his
use
one
Rome,
that
he
agitated
of
will
the
which
and
prayer
his
of
position
he
nervous
or
Father.
Holy
refuses
to
or
comes
Chapel
of
the
have
his
paternal
diverted
ripe consideration,
from
he
or
with
prefers
of
Italian
stock.
Despite
the
feels
been
to
throne
Pius
unaffected.
Pius
Pope
visitor
may
With
be
and
in
come
intercourse
pronunciation
Venetian
of
the
near
fields
mix,
to
family
pilgrims,
his
From
sympathetic
host,
his
his
In
Venetian
desire
no
of
sisters.
his
dialect.
is very
have
members
rightly
their
cultivating
spent
and
He
born.
were
special platform
and
Private
exalted
been
easily mix,
them
to
they
individual
at
deduce
Pius
manner
have
Venetian
native
readily
can
In
lives
private secretary,
his
relatives,
in
When
festivities
great
which
circle
cannot
circles.
altar
his
whose
men
fashionable
attend
modest
and
simple
very
quickly
when
he
has
decided
and
liturgical
ence
pres-
an
after
when,
on
the
unites
he
ever
how-
ease,
entered
kindness
its goal
at
iron
constant
definite
of
course
action.
Besides
the
distinctive
pontifical garments
dress
material
woolen
moire
the
silk, and
encircles
his
with
a
of
the
double
broad
waist.
sleeves
cincture
A
consists
Pope
white
of
and
the
of
cape.
same
skull-cap
in
vestments
white
The
material
completes
general,
of
soutane
cuffs
with
the
are
fine
of white
gold
tassels
distinctive
the
called
Leo
although
Advice
Visitors.
to
visitors
isolated
only
reduced
to
and
in
to the
to attend
city
the
when
Rut
flood
the
said
almost
artistic
so
many
of
them
guides
absolutely
the
invitation
an
Holy
Every
di
Camera
the
Rome
visit
in the
works
of art
remembers
free,
was
however,
When,
was
the
may
as
The
the
and
proper
is free
on
the
the
owing
of the
the
large.
Holy
crowds
to
of charging
example
was
thereby
the
extraordinary
to pay
Museums.
visitors
As
for
entrance
on
that
tro
Maes-
ence,
experiNever
the
Palace.
Vatican
a
was
The
tions
Collecin Rome.
lira
to visitors
followed
relieved
number
the
in
hope
the
peacefully
Museums
See
draws
visitors:
Vatican
State
to
granted
extended
to the
the
the
for
in the
of
and
this
annually
of
the
of
hunt
are
service
intending
of
regulation
Museums,
The
endurance
admission
enjoyment
Sunday
of
the
suggesting
Palm
result
and
brings
drone
hive.
properly
of
what
to
be
of
opinions
crowd,
to do
to
those
when
push
audiences
and
the
enjoy
to most
is realized
sum
Sundays,
of
to
especially
time
State
since,
maintenance
uncomfortably
wish
reasonable
the
budget
burden,
sufficient
and
As
suggestion
one
the
as
no
patience
crowds
mercenary
gigantic
may
art, for
of
is made
test.
admission
was
for
introduced
Curia.
city
well
the
begins
Museums
wonders
one
of
and
reason
the
hard
if you
at Easter,
writer
offer
banal
its climax
is closed
to
put
are
writer
the
most
The
of
the
works
question.
imaginable
of strangers
to
and
the
buzzing
privilege, and
this
securing
in
intervals
regular
at
the
by
lives
State
There
the
view
reaches
audience
an
hands.
conversation
and
vacation,
on
discharged
of
comes
visitor
with
to
loud
the
all
are
is
is
stream
in clouds,
of the
Antechamber
the
Week.
people
the
a
his
rises
out
murmur
to
since
near,
with
mingles
listener
the
of
thousands
in
is filled
dust
the
treasures;
is
air
the
another;
one
Easter
life
his
take
to
legations
is
affairs.
arrive
months
Towards
palace.
Chapels
and
Antechamber
the
is
Collections
of
but
Rome,
the
in
Secretary
the
of
in
seen
Appartamento
there
business
pressing
to
winter
X,
Palace
Vatican
while
staff
of the
heads
neighborhood
the
the
The
months
two
is
head-dress
the
few,
very
seen.
The
For
agents.
country
may
by Pius
used
never
This
months
Stanze,
be
diplomatic
little
younger
are
and
minimum.
what
pull
Loggie
the
Galleries,
and
swanskin,
Popes.
summer
Strangers
deserted.
almost
of
strip
gold
border.
gold
narrow
is
with
hat
the
In
"
red
narrow
camelaucum)
Renaissance
the
35
a
very
fairly frequently.
it
of
wears
a
with
lined
velvet
wore
pictures
numerous
of
XIII
Pope
with
mantle
(the ancient
camauro
the
palace
red
red
of
hood
large
The
and
tassels
and
string
the
Outside
dress.
papal
DESCRIPTION
GENERAL
AND
HISTORY
of
by
significan
in-
no
of
tors,
visi-
administration
to the
day
are
Museums
naturally
whether
But
is
much
it
of
August
wooden
for
of
the
still
the
run
and
forth
in
Pope
he
of
grave
lie
risk
remains
the
of
long-prepared
his
Pope
the
the
carrying
Prince
of
of
Leo
them
resting-place
the
at
choir
all
the
XIII,
the
the
through
in
the
St.
the
Lateran.
is
then
monies
cere-
the
solemn
palace
to
first
of
Rome
find
within
Peter's,
authorities
streets
Palace,
the
his
in
will
that
dwelling,
amid
leave
Apostles,
remain
impressive
then,
the
himself,
he
earthly
chapel
since
he
must
and
the
or
Pope,
When
last
last
country
Vatican
leave.
remains,,
humblest
the
He
change,
his
will
it.
one
when
when
of
from
never
may
corpse,
near
the
his
received
dead,
the
but
coffin
Room,
Throne
resting-place
temporary
final
has
desire
may
the
greatly
however
remains
now
life
general
the
his
or
of
breezes
forth,
go
physicians,
his
about
house,
lamentations
to
as
the
to
enacted
are
There
life
carried
solemnly
not
there
borne
his
during
sight
is
he
when
which
the
in
may
his
him
for
is;
he
where
small
He
fresh
tors
visi-
contemplation
advisers
highest
and
variation
no
especially
more
come
or
all.
of
lord
supreme
and
little
seems
or
his
relaxation
some
is
there
sea,
sun;
enjoy
servants
tongue,
whether
done
with
in
rest
to
be
to
overflooded
is
Palace
Vatican
the
and
business
the
whether
summer;
or
whether
nation
every
the
winter
is
little;
or
under
VATICAN
THE
36
of
his
do
not
to
line.
dare
their
THE
Vatican
|he
Gardens
and
it
They
Important
is, for
instance,
nature
coast,
made
country
City, which
"
Roman
place
II
Pius
to
served
as
that
his
work
the
While
of
conieri
at
by
up
angles
in
different
d'Este
of
tower
Vatican
Observatory.
Lourdes
Basilica,
and
into
of
the
old
Not
a
Tivoli),
little
when
the
took
from
Julius
rebuilt
the
Belvedere,
see
and
this
about
in
time
Falda
by
in
1683.
the
that
and
remained
wall
existed
we
Leo
in
with
they
below
of
By
changes
XIII;
distant
C37n
copy
dens
garFal-
Two
example
main
alleys
subdivided
are
have
been
buildings,
now
occupied
be
the
seen
Lourdes
set
Torre
these
are
of
the
Villa
good
very
shapes
of
may
the
above-mentioned
the
both
with
of
which
various
Near
are
century.
fortifications,
far
beauty
those
sections,
four
gardens.
the
old
Guiscard
1379,
published
compare
instance,
buildings
and
Casino
not
sixteenth
the
them
of
the
at
in
art
parts
stands
second
do
walks,
minor
very
(for
divide
The
Borgo.
was
they
as
the
slight.
villas
Villa
the
landscape
many
Leonina
as
of
Italian
are
It
sea-
Leonine
old
of
gardens
present
Gardens
Boman
many
or
right
place
Vatican
them
the
enlargement
the
852,
waste
the
Popes
this
and
laying
completely
but
Gardens.
shows
the
848
in
notable
various
the
eval
medi-
of
Robert
again
and
bastion
the
and
began,
with
when
were
Vatican
gardens
the
taken
have
rebuilt
the
Gardens
Roman
on
comparing
that
for
boundary
Vatican
the
entire
1084,
advice,
military
had
Michelangelo
after
even
century,
best
the
under
the
in
under
fortifications
the
when
but
dens
Gar-
usual
originated
the
terrorized
and
States,
Thus
Rome,
the
between
IV
Sea
S. Angelo.
of
Fortifications
Papal
Rome.
from
Castel
sixteenth
the
IV,
extended
of
seized
people
during
the
the
especially
IV,
Henry
Emperor,
the
Leo
St. Peter's
only
not
demolished
of
City.
area.
still remain;
point
tower
Tyrrhenian
of
Wall
Leonina).
under
into
gates
very
included
often
were
drove
the
to
the
held
incursions
frequent
up
walls
who
Saracens,
the
built
were
extensive
highest
circular
(Torre
of
an
tween
be-
palace,
Leonine
Leonine
the
the
ancient
and
old
at
of
west
the
shape
the
battlemented
of
in
of
the
to
walls
traces
character
when
lie
the
irregular
are
there
GARDENS
VATICAN
copy
Grotto,
well
as
by
the
of
the
set
up
THE
38
in
1905
as
The
the
of
reggio,"
small
alley.
del
It had
an
dated
1560
work
In
and
of
envoy
1574,
done
took
was
in
House
renewed
very
was
Gardens
IV.
fond
of
of
and
structions
con-
of
name
the
and
of
the
letter
St.
In
or
broad
written
Marius
"Boscadere
Belvein
1558
Kartarus,
papal registers
the
Domenico
stone-cutter,
gan
IV, be-
Peter's
print by
Paul
wood"),
ing
buildPietro
Rosselli,
for
for
building.
Pius
vigor,
Milanese
house
in
Giovanni
beyond
Garden.
to
the
Cupola
and
important
most
from
learn
of Florence,
work
took
Gardens
we
Belvedere
his
hearing
with
Vatican
the
of
name
as
papal
new
the
("building
Vatican
payment
1559,
the
pleasure
was
the
on
December,
the
the
a
appears
the
Signory
showing
there
"he
Medici
the
of
modern
very
attention.
special
II and
boschetto"
in
These
undoubtedly
fountain,
Corner
by
is
deserves
Marcellus
house
France.
merit.
Pius
and
succeeded
"fabbrica
the
of
Catholics
Pope
gardens,
who
Caraffa,
the
little artistic
Casino
in
of
gift
have
VATICAN
Gian
In
the
words
building,
praised,
builders."
among
the
Medici
Angelo
of
wont
was
In
1560
papal
to
work
bills
Pope,
Venetian
the
liberally,
spent
and
became
we
sador,
ambastook
say
on
find
great
that
the
the
Casino
payments
THE
Peruzzi,
Salustio
Manfredi,
Bernardino
foreman
the
to
and
and
Bresciano
marble
the
worked
Among
other
on
in
Jacobo
del
Bosco
basin
piazza,
and
took
who
S.
di
marble
the
Casignola
Schella,
were
Giovanni
of
da
da
within.
work
at
the
middle
the
Battista
Tommaso
made
who
of
charge
the roof
Montepulciano,
Agata,
portico.
the
had
artists
sculptor
the
facade
the
pavement.
Frasino
of
worked
of
vault
the
Nicolo
plasterers.
of
work
stucco
da
ters,
stone-cut-
Montefiascone
da
the
at
of
host
carpenters,
Rocco
to
Francesco
mason
and
Como,
39
tendent
superin-
the
to
GARDENS
and
Ligorio
Pirro
architects
the
to
VATICAN
and
detto
Benein
part
the
Torre
The
decorations.
da
Giulio,
who
died
of
arms
of
the
and
be
Chief
by
credit
architect,
field
gives
him
he
the
in
year
Rome
Archbishop
1555
he
was
an
Paul
as
in
1542
the
doing
he
fresco
some
of
became
of
seven
was
says
Francesco
della
Cardinal
scudi
official
Leo
and
in
He
Barocci
da
in
also
work
Pirro
in
At
on
arms
VIII.
Ligorio, the
Ligorio
the
da
sixty-three
any
rate,
the
palace
the
baiocchi
Papal
last
Lanciani
Naples:
Ferrara
was
history
this
In
Between
Rovere.
of
the
additions
and
archaeology,
born
coat
Urban
epigraphy.
Ippolito
architect
V, whose
ways.
1510.
Pius
XII.
to
other
in
when
Pope,
belongs
dabbled
Hiilsen
da
November,
are
redone,
was
XIII,
forger.
as
Barberini
particularly
while
service
salary
but
St. Pius
Casino,
the
record
sorry
bold
Benevento,
IV
Pierleone
from
Casino
Pope,
work
the
Vadis,
da
Antonio
Pier
Borgo),
in
still unfinished
the
Clement
and
1527,
in
with
Under
has
as
of
parts of
VII, and
architect,
monuments,
is famous
Ghisleri
the
was
exquisite building
who
be
to
the
XIII,
this
for
by
Albani
XI
Benedict
man
satisfied
ancient
Pope,
at
work
Giovanni
came
all, Federico
of
greatest
the
many
del
Angelo
of
Urban
Clement
Pope
made
in
S.
worked
have
Then
Santi
(or
da
and,
Much
seen
Tito
Zuccaro
succeeded
was
Castagna
Under
not
1563.
may
di
to
appears
Venale.
Pietro
Urbino,
da
till June,
1561,
Santi
Leonina
ers
paint-
was
Federico
Como,
Genga
Urbino,
were
This
Veneziano.
Cherso
Alciati
of
1561.
in
came
IV
first of the
The
find
we
of
1549
as
an
a
the
and
quarian
anti-
month.
Court
at
40
THE
VATICAN
Grotto
of
Lourdes
vamt^m
The
Chalet
and
Torre
Leonina
THE
of
salary
He
Pius
under
IV
work
his
dates
he
made
of
in S. Maria
1567
he
of
Pius.
magnificent
his death
in
their
on
which
are
ever
he
Alfonso
where
In
service
beautiful
most
Ferrara,
by
Minerva.
in the
working
Duke
of
tomb
Casignola,
Afterwards
planned.
1566
In
the
gardens,
the
di
and
is adorned
sopra
d'Estes,
among
for
at Tivoli
was
the
Nicchione,
Pope
Giacomo
now
period
Cortile
Gran
IV, which
statue
famous
the
the
design
Paul
Pope
a
of
Casino
with
this
in
the
Belvedere,
the
of
son
From
Baldassarre.
also
post
association
in
Peruzzi,
Salustio
this
held
41
GARDENS
scudi
twenty-five golden
month.
VATICAN
panied
accom-
d'Este
he
resided
to
until
The
Ligorio
is said
Casino
is
not
was
to be
and
Gabinio,
and
pleasant
view
as
sixty
is
probably
built
of
the
structures,
The
many
These
and
interior
proper
behind
this
the
stucco
work.
end
which
of
The
In
the
a
boy
each
riding
spend
lie at
of
the
the
on
the
the
covered
courtyard
of
Villa
is
is
courtyard;
wall
with
rectangular
two
graceful
with
vaulting
a
vestibule
the
the
is
side
one
on
round
stands
the
courtyard.
oval
other
Casino,
barrelled
dolphin.
and
siderably
con-
of
in.
ends;
runs
the
form
are
the
close
over-pretentious
not
day
There
differ
the
elongated
balustrade
and
but
recently
as
seen."
not
at
Caprarola
somewhat
side
does
built
gracious
to
while
walls
of
Casino
are
entrances
style,
centre
and
steps
simple
The
classic
The
plan,
the
enjoy
and
still to be
were
of
Lake
might
they
"This
Neapolitan
the
near
its
houses
places
arched
niches.
in
is
light
by
on
original
which
fountain,
A
balustrade,
with
mosaics
of
of
reached
arches.
adorned
all
consists
Casino.
that
dens
Gar-
wrote:
Ligorio,
stood
so
here.
chief
pleasant
overlooking
XIII
Vatican
the
Venuti
Pirro
original
summer
very
Loggia
1766
In
by
Romans
of the
plan
entrances
of
the
were
Arched
Leo
of
in
work
Ligorio copied
ruins
other
period,
Julius.
the
by
his
made
The
exaggeration
some
from
Pope
antique
waters.
the
ago
Renaissance
the
and
antique.
the
architect.
was
years
from
copy
from
copy
antiquarian
architect,
great
Casino
1583.
October,
rooms
ored
multicol-
is covered
fountain,
rative
deco-
with
at either
THE
42
The
the
two
with
floor
four
the
has
two
flanked
this
upper
by
of
consists
above
front,
In
above
floors
interior
two
is
of
Room
with
stuccos,
Casino
proper
small
hall, and
and
above
leading
one
rooms,
a
the
to
This
manner.
the
the
Above
the
ground
the
floor
staircase
The
by
the
is very
other
are
On
staircase
Leo
plan
in
by
paintings by
in
Beyond
the
side
one
which
hand,
also
is
itself
the
Loggetta.
room
to the
in
out
to
lie
vestibule
second
both
is laid
The
niches.
of the
leads
lends
the
the
story
same
sumptuous
gilding by Venale,
The
Barocci,
Genga,
Santi
Tito, who
di
frieze,
other
facade
statues
and
by Rocco,
the
in
XIII
floor
upper
work
stucco
decorated
are
of
simple.
other.
The
Zuccaro
were
Casino
The
no
side
stucco
the
on
has
each
great
Casino,
portico
Loggia
on
cornices.
alto-reliefs,
the
runs
The
architectural
simple
paintings
in
basement.
pictorial decoration.
and
into
the
on
floor,
Greek
by
The
of
the
on
Doric
terminates
and
have
"
masonry.
tympanum.
separated
Reception
over-decorated
heavy
ground
the
and
arrangements
facades
the
are
symmetrical,
are
single hall
triangular
features
architectural
same
columns,
apse.
and
which
Casino,
the
floor, but
upper
an
and
Loggia
ground
architectural
important
most
VATICAN
and
two
also
on
rooms
their
pupils.
decorated
THE
of
one
the
and
Barocci's
Giovanni
work
notice.
earliest
his
works:
Cathedral.
the
influence
he
which
is
painted
It
in
and
Louvre
the
Barocci
which
is
his
later
to
did
in
the
of
Martyrdom
Bellori,
Rotonda
in
he
there
and
St.
fell
that
ticular
par-
painted
of
the
Cecilia
early
in
under
"smoky
man-
Leonina
Torre
of
Federico
the
Descent
the
produced
for
Chapel
he
learned
with
masterpieces,
and
biographer,
him
the
calls
Confraternity
characteristics
chief
years
at
and
St. Sebastian
his
from
and
Boscareggio
noteworthy,
so
well
are
as
in
describe
also
the
the
the
the
Boys
executed,
are
detail
and
much,
Besides
them.
compose
Margaret
to
done
was
his
paintings.
Zuccaro.
from
Madonna
In
the
1561
In
1569
he
Cross,
di S. Simone
at
and
Madonna.
is difficult
where
Urbino,
the
the
on
of
one
Perugia;
of
one
at work
was
to-day,
1526
Sala
The
ner"
celebrity
Correggio,
floor
upper
in
According
of
the
born
the
and
of
room
43
Cherso.
great
was
St.
GARDENS
other
da
enjoys
Barocci
Domini,
Corpus
the
the
above;
rooms
Zucchero
by
VATICAN
the
paintings
arabesques
and
the
Holy
surrounding
Virtues
Family
in
and
the
the
figures which
grouped
in
the
first room,
in
central
the
ners,
cor-
panel
paintings representing
the
44
THE
Baptism
of
Woman
Christ,
taken
of the
in
the
have
in
four
grouped
of
of
one
and
Santi
the
one
The
di
the
the
four
in
wall),
the
Last
Christ
appearing
work
of
XIII
of
room
Pius
adjoining
IV,
the
in
the
following
shows
Jesus
four
Supper
(on
to
decorated
in
the
precincts
was
with
Vatican
Besides
and
are
Monk
some
room
in
walls
the
Garden
the
are
the
also
are
the
south),
(on
of
Way
the
of
whole
are
is the
decorations
the
Via
by Santi
di
to
are:
Flaminia,
In
the
like
female
those
the
by
The
the
north
west),
and
other
among
corners,
The
and
the
(on
(on
figures.
executed
Tito.
Gethsemane,
Calvary
Ascension
east)
beautiful
very
arabesques,
is
gallery
Giovanni
da
Udine
Loggie.
the
of
tions
decorathese
the
the
one
decorations,
staircase
Leonina
Torre
Cavallo,
the
medallion
around
views:
introduced
Monte
central
The
and
four
and
and
Woman,
the
Barocci.
of
figures
views
one
the
on
second
Nicchione.
medallion
paintings
Leo
The
itself,
Gran
paintings
central
of
Samaritan
the
the
arms
with
Tito.
Casino
of
the
middle
medallions
Bed-room
work
In
is also
the
with
Meeting
Adultery.
Annunciation
VATICAN
the
main
formerly
there
garden
Vatican.
part
of
One
of
the
old
are
these
Cortile
other
smaller
is known
di
as
Belvedere.
within
ones
the
Pigna
An
the
Garden,
important
GARDENS
VATICAN
THE
45
"i^m
of
Courtyard
of
feature
front
Its
in
St. Peter's.
Here
it
the
middle
was
seen
faccia
"La
Come
St. Peter's
When
garden
near
the
it
It is the
victorious
Pope
by
has
Bramante;
in
its
to
given
Symmachus,
who
refers
to
it up
set
in
front
of
it in
Canto
xxi
quadri-porticus
who
name
old
of
II.
space
lying
rectangular
work
the
Pietro
grossa
Roma."
gigantic pine-cone
Innocent
of
is
Palaces
"That
between
between
of
lunga
parea
di San
pina
in
VIII
the
near
the
Cincius
Publius
the
represented
Belvedere,
in
Nicchione
Salvius
there
and
the
it
seventeenth
Libertus,
coronation
to the
brought
was
and
rests
acclamation
and
prize-fighter.
Vatican
Julius
mi
sua
erected
was
which
capital, on
a
a
The
of
to
the
of
built
which
pine-cone
by Dante,
rebuilt,
was
until
century.
la
Palace
the
remained
of
IV
"Inferno":
his
on
Pius
of
Nicchione
is due
preservation
ornament
an
Gran
bronze
the
up
the
is
garden
this is set
of
Cortile.
the
as
this
Casino
the
the
court,
were
Pontiff
the
joined
had
an
buildings
flanked
by
idea,"
and
Belvedere
of
together
the
two
says
the
old
long
by
Vasari,
Palace."
palace
was
corridors
in
Bramante
"to
The
to
be
the
of
use
small
valley
formed
through
days
make
which
into
one
Loggia
could
in
VATICAN
THE
46
proceed
which
have
we
Garden
charge
the
the
on
but
columns
antique
was
and
Inscriptions
outside
by
four
the
porticoes
the
clinging
shorter
contained
sides
the
more
and
in
Falda.
note
from
the
it
open
In
the
octagon
of
of
other
Pigna
the
on
who
had
rather
place,
mean
is shown
as
XIV
placed
ancient
is
four
art.
small
little
of
point
many
on
walls,
sarcophagi
are
and
fountain,
rooms
of
copies
the
in
is
architect
the
by
view
peristyle
octagonal
An
gathered
many
are
has
artistic
Clement
were
centre
precious objects
an
shape.
were
air
various
architect
the
the
(Cf. p. 28.)
its
for
which
pine-cone,
work
imposing
from
bas-reliefs
the
ivy.
of
of
the
Cortile
an
Nicchione,
with
with
the
Ligorio,
was
of
in
that
The
it
erected
Simonetti,
Michelangelo
here
Pius.
called
Besides
begun
was
Cortile, the
is decorated
Pirro
by
the
work
inscriptions
strange
state
Pope
so
of
IV
The
buildings.
to
Pius
Belvedere.
this garden
Cortile
Court,
Octagonal
the
formerly
Vatican
second
the
close
of
above-mentioned
The
the
to
Casino
the
of
Casino
the
description
us
is sufficient
to-day,
appearance
by
gives
brought
was
of
to
just spoken,
It
antiquities.
palace
decorated
architect
famous
opposite
stairs, and
the
fountains,
the
Caffeaos
the
Vasari
and
1503,
from
or
which
tiques.
an-
and
ered
cov-
on
the
are
The
in
Famous
as
which
of
tombs
of
north
City against
three
about
thousand
give
in
us
the
days.
wall
of
opened
on
second
the
which
was
modern
the
which
under
Bridge
the
coincided
the
Porta
with
The
arch
the
first
The
the
third
of
and
Porta
two
of
the
Porta
the
fourth
gardens
Leonine
wall
postern
more
or
in
doors
which
Angelo;
Sancti
Cavalleggeri;
Rome
Gate,
S.
to
Angelica
defended
was
was
fifteen
di Porta
Castel
to
the
the
Peter's
St.
of
tian
Chris-
old
from
that
agreed
which
was
Via
troops
was
protect
length
being
was
Cornelia
Via
these
varied
the
bastion
Angelica;
the
of
to
height
gateways
S. Angelo,
of
Castello;
with
the
three
City.
Postern
Porta
coincided
Turrione,
Leonine
Elio
on
its
concerning
were
IV
Saracens.
and
metres,
There
the
the
the
old
St.
of
and
pagan
the
it is the
front
St. Peter's
large part
by Leo
erected
of
information
some
those
wall
inscriptions
Two
twenty-two.
of
circus
of
in
now
many
line
the
is
Agrip-
and
remains
when
occasions
along
invasions
the
were
that
but
found
Horti
portico
All
circus,
other
on
the
gardens,
contained
Agrippinse.
the
within
Roman
the
gardens
and
Horti
the
enclosed
was
adorned
these
IV
its builder.
discovered
were
old
Pius
which
after
then
both
and
rebuilt,
Cornelia,
formerly
Traces
of
Casino
the
were
Gaianus,
the
obelisk
the
Via
the
pinae, along
known
Peter's.
history
47
GARDENS
VATICAN
THE
less
the
with
Peregrini,
the
Porta
in
finally, there
48
VATICAN
THE
the
was
the
Postern
of
monumental
When
of
precinct
di
Porta
Antonio
Rome
present
shape
Roman
Court
and
Sangallo
into
changed
art
extended
III,
Vatican
from
date
when
epoch
happy
the
Vatican,
They
area.
Paul
under
the
near
da
Spirito.
Santo
Sangallo,
da
Antonio
which
Saxons,
the
an
and
rebuilt
Gardens
era
of
flourished,
took
prosperity
and
lands.
And,
by
greatness.
Italy
gardens
though
visitors,
being
were
to-day
they
they
still
bear
made
are
that
often
more
traces
were
of
their
to
be
passed
former
the
where
every-
models
over
their
in
when
"
in
the
for
and
beauty
all
gotten
forand
Part
THE
STATE
APARTMENTS
Two
AND
CHAPELS
THE
CHAPEL
the
|n
called
the
Rome.
to
by
his
that
the
was
modestlj7
Rome
Fra
tells
to
the
Christ,
contemporaries.
used
as
With
Mark's
in
him
with
Orvieto.
an
It
decoration
and
return
Vatican
January
and
in
Antonino
10,
1452
city.
1450,
to
decoration
refused,
of
the
we
his
the
the
all
influence
was
the
1447,
that
V,
and,
do
we
made
Angelico
prior
Commune
of
of
in
the
out
"513
their
by
Fra
all
leave
the
artist
his
Prato
persuade
chapel
carried
the
to
of
Filippo
at
the
of
Miintz,
1449.
On
Florence;
Archbishop
on
to
the
again
by
to
up
convent
artist
the
registers
called
cathedral.
of
that
Rome
investigated
carefully
been
to
In
dance
accor-
Lord
undertook
spite
to
know.
not
in
Cathedral,
Angelico
in
go
St.
at
Orvieto,
to
Monaldeschi,
refused
painter
payments
principal
work
28,
have
the
Enrico
Messer
not
him
1447
the
as
did
he
in
the
in
of
which
known
helped
him
Brigit
St.
Nicholas
Why,
find
of
head
use
of
and
do,
which
record
of
could
their
to
with
Chapel
Treasury,
is
there
the
Orvieto
of
people
Chapel
September
after
was
of
of
Pope
Rome,
oratory
now
had
the
famous
appreciative
Rome,
to
who
accompanied
who
agreement
went
by
Vasari,
from
to
private
is
to
later
to
many
equally
which
Gozzoli,
Angelico
scenes
of
says
which
down
painter
the
Angelico
Fra
and
V,
and
study,
Benozzo
the
painted
they
where
and
few
the
decorate
he
According
portraits
of
coming
to
Fra
he
having
when
pulled
Chapel
Nicholas
him
on
went
Florence,
the
of
Florence,
called
was
introduced
after
When
Nicolina.
Cappella
Sacrament
he
workroom
alone.
the
who
fame
when
credit
of
Michelangelo.
by
successor,
called
work,
Angelico's
he
his
but
died,
Eugene
in
the
and
him
won
mistaken
which
Chapel,
which
j^ear
IV
Florence,
had
archbishopric
Eugene
was
redecorated
painted
is likewise
he
the
lowed
fol-
adorned
is mistaken
belongs
in
been
he
Mark,
Vasari
Nicholas
had
which
says,
But
Italy.
artist
It
Vasari
as
and
the
Sacrament
into
of
Rome,
to
and
III
Angelico
life
that
us
refused.
paint
to
Paul
Pope
throughout
St.
was
creations
Fiesole
with
of
famous,
artistic
at
visions
Convent
there,
success
offered
Pope
the
all
Angelico
Fra
called
of
walls
Dominic
St.
already
delightful
frescoed
the
Angelico,
His
of
Convent
the
Fra
1445,
year
NICHOLAS
OF
undertake
Fra
Lippi.
the
Angelico
It is
prob-
52
THE
The
VATICAN
of
Ceiling
Chapel
the
that
able
In
the
no
divide
in
the
of
lie
above
door
Gregory
and
window
are
Leo
Sts.
Athanasius.
On
enthroned
with
In
on
are
told
the
green
Stephen,
first
robe
who
in
and
two
on
kneels
on
St.
before
to
blue
the
series
of
the
beside
sky,
stories
is ordained
with
are
of
scenes
arcades
two
the
ers
flow-
red
vaultings
and
Augustine,
the
the
and
door
the
and
Sts.
the
Evangelists,
on
cape,
handing
the
chalice
him.
Behind
the
Saint,
The
the
and
six
and
Stephen
series
dealing
below.
St. Laurence
priest.
left, is standing
rence.
Lau-
Chrysostom
paintings,
dealing
In
and
Bonaventure,
walls
that
door.
Ambrose
starry
Stephen
yellow
different
and
and
leaves
the
the
St.
resemble
the
pilasters
and
to
for
and
Sts.
the
painted
laurel
Calling,
of
and
frame
the
parallel
above
St. Peter,
with
the
but
the
separate
the
as
are
in
of
window
Aquinas
roof,
being
picture
is shown;
serve
painted
Stephen
is
us,
sections,
window
Thomas
the
1449,
after
has
St.
Garlands
the
respectively;
clouds,
St. Stephen
church
above
the
of
tells
four
into
saints, and
and
Angelico
Fra
Venturi
as
respectively
the
Laurence
the
feast-day.
ceiling
the
lives
which
for
Rome
in
Martyrdom
the
chapel,
decorated
room
work
some
Nicholas
and
Apostolate,
The
of
Nicholas
of it.
mention
Chapel
the
did
Angelico
Fra
make
records
of
Angelico)
(Fra
interior
altar
steps,
paten
persons
of
to
in
St.
assist
THE
CHAPEL
OF
NICHOLAS
53
S.80NA.VENTVRA'.
St.
Thomas
(Fra
The
Ordination
St.
Aquinas
(Fra
Angelico)
of
St.
St.
Stephen
(Fra
Angelico)
Stephen
Bonaventure
Angelico)
Distributes
Alms
54
THE
The
Sermon
St.
of
VATICAN
Stephen
St.
(Fra
the
at
of
and
second
robe
extends
seen
in
judges
by
the
The
means
has
been
witnesses
Beautiful
constructed
is
solemnity
ardent
of
spirit
other
alms.
distributing
is
and
him
giving
stands
Judges
Giotto
of
the
nor
love
brotherly
He
coin
is
to
and
deacon,
against
persons
public
in
the
as
who
woman
before
background
in
standing
him
are
showing
as
the
the
these
scenes
right
two
shows
events
are
architectural
Chapel
of
group
and
the
To
events.
him
disputing
kept
distinct
fresco
seated
women
features,
in
left, the
at
the
on
with
in
plan
Saint
the
the
ture
pic-
employed
St. Mark's
where
Garden.
presence
are
the
to
The
history of
outside
dragged
to
square
Brancacci
the
distinct
two
intervening
in
scene
in
contains
picture
in the
is shown
last
Saint
synagogue.
of
by Angelico
Christ
on
the
while
ground,
the
an
mantle,
and
picture
preaching
seen
the
landscape.
third
The
is
the
Beside
beggars
some
Oriental
dim
neither
it expresses
yellow
hand.
her
with
fervor.
scene
and
has
but
religious
the
gray
whole
Masaccio,
deep
In
The
scene.
force
Disputes
Stephen
Angelico)
the
Jerusalem,
of
crowd
they
scenes,
from
the
Protomartyr
and
is
being
of curious
are
not
shows
his
stoned
by
death
he
false
two
onlookers.
quite
so
well
in the
balanced
panels
below.
or
THE
Nicholas
basilica, Pope
and
chalice
the
executed,
the
In
of
seem
second
of
palace.
St.
Stephen
Dragged
in
Pope
The
who
of
One
trays.
noise
is kneeling
of
the
dwelling.
the
third
Through
poor.
the
on
naves;
holding
Around
him
blind
purse
bends
over
lame
joy
in
are
to hold
at
open
man
sight
his
out
of
the
door
with
his hand;
on
Stephen
his
to break
you
Saint's
Stoned
his
men.
the
yard
court-
blesses
Lau-
Death
to
in
he
in
the
an
the
faces
with
of
to
three
of giving
of
with
her
Pope's
priestly robes,
act
man
the
treasures
natural
most
clasps
The
of
gorgeous
old
at the
life.
basilica
is in the
in
treasures
surprise
door
with
spacious
in
mother
charity.
the
distributing
stick;
crutch.
the
thrills
see
afflicted
bear
in
and
which
giving
treasures
in
and
suddenly
Laurence
from
the
door
servants
is shown
hands
ground
leans
large
turns
trying
stands
grouped
taps the
man
and
with
an
door-step
while
is graphic
scene
the
is laid
scene
tiara
Angelico)
him,
Laurence
scene
is
deeply religious
The
large
the
marvellously
are
to Laurence
St.
are
of
II, wearing
painting
earnest,
companions
who
whole
aisle
by priests, and
this
from
comes
before
Pope's
soldiery
The
the
In
the
in
of
alms.
(Fra
rence,
as
55
centre
Sixtus
Jerusalem
of
out
the
In
is entrusting
Pope
distribution
for
Church
the
portraits
the
picture
surrounded
heads
The
be
to
Deacon.
is seated
He
Laurence.
to
and
NICHOLAS
is represented
dalmatic.
blue
OF
is ordained
Saint
first the
the
In
CHAPEL
babe
all
to
are
poses:
long
her
alms.
beard
bosom,
lighted
up
56
THE
VATICAN
CHAPEL
THE
the
In
next
dragged
in
cius, clad
throne;
the
his
at
of
feet
are
by
frightened
The
design
rise
of
study
in
tops
this
In
scene.
discern
we
motives
friezes
in
every
the
Classical
capitals,
and
architraves.
the
is
The
in
correct
soldiers'
accurately
as
architecture
detail
way,
just
the
marked
beautiful
architectural
The
trees.
leaf-work,
"
an
which
is very
art
tence.
sen-
shows
behind
exotic
of ancient
is
of
to the
background
architectural
the
he
crowd
listen
people
his
Laurence
soldier, while
57
ments
instru-
which
to
torture,
is
on
the
points imperiously.
held
sits
robe,
NICHOLAS
De-
Emperor.
rich
Saint
the
scene
before
OF
is
armor
drawn,
and
the
Distributes
bust
of
Decius
from
copied
A
breath
The
last
bars
of
In
the
on
which
prison
was
the
Here
niches;
whole
had
says,
Laurence
imbibed
times,
on
indeed,
towards
These
gelico.
in
the
the
the
perhaps
the
his
that
historical
study
Gridiron
of
see
martyrs
who
looks
be
must
we
in
have
the
guiding
placed
nothing
Osservanza
mind
on
among
but
Church
behind
the
the
the
the
As
from
last
Armadi
up
his
works
painting
near
rated
is deco-
from
raising
them
work.
in
of
Mugello,
the
The
strength.
which
gladiator;
represented
figures,
his
statues
monuments.
fallen
down
powerful
his
in
of
grate
his torture.
at
tribune
symbol
the
most
are
on
execution.
out
The
sentiment
Roman
is like
the
there
and
column,
tyrant
we
them
Wood
pilasters,
window
under
unusual
is clear.
art
the
at
bring
quite
work.
the
laugh
picture
artist, to
vigor
the
paintings
After
by
from
the
assist
assistants
this
whole
jailer, while
Classical
carries
statues
his
are
that
the
is beautified
scene
hands
the
of
between
the
retinue
three
displays
i co)
Behind
consoling
considered
out
and
influence
of
one
he
points
tints
niches
artist
was
when
the
with
ture
right
Angel
his
executioners
Treasures
Poor
pervades
martyrdom.
and
is stretched, and
his
also
Emperor
He
Rome
was
Saint's
Laurence
see
the
(Fra
Saint
chapel.
heightened
we
the
foreground
Venturi
the
depicts
scene
the
that
the
the
among
statue.
greatness
without
terrace
in
the
his
been
ancient
an
of
have
to
seems
saintly
Venturi
tine
Byzan-
their
right
tribune.
of
Fra
An-
St. Bonaven-
although
he
in
the
(cupboards)
58
THE
VATICAN
CHAPEL
THE
Annunziata
the
up
in
pages
Angelic
the
which
of
he
him
as
naturalistic
which
antiquity
faith
deep-rooted
his
of
Paradise.
of
of
portions
wherein
borders
of the
of
heads
there
details, and
where
Laurence
far
very
If by
cry
master's
figures,
the
In
to
the
to
deal
here,
of
of
this
his
in
genius
soul
had
In
the
the
artist
of
new
at
the
his
to
mystic
is face
his soul
as
the
to
sary
neces-
have
fullest
up,
trol
con-
unimpaired.
and
free
as
of
had
visions.
with
in
subject
We
tabernacle
face
is lighted
his
dreamer
ecstatic
and
change
the
full
colors
full
saw.
vision
artistic
the
naturally
of
his
escapes
it is not
of
in
the
nals
exter-
The
natural
Angelico
Uffizi, in
St. Mark's,
Itself
phase
the
no
style
things
of
of
the
heavy,
nature
outlet
scene
Angelico.
to
always
he
serenity
found
Coronation
"
the
gross;
are
very
the
by
Angelico
the
at
the
by
his Assumption
great.
Gozzoli
was
keys
certain
movement
and
later
of
It is, however,
the
equally
It
and
of
Angelico
Angelico's
on
previously
paintings
of
Gozzoli.
forced
with
this chapel
daily
in
of
reacted
and
the
life, and
is
difference
the
change
lending
paintings
of
soul
spiritual; those
of
the
of
cacies
intri-
charming
charge
Decius.
is rough
executed
tiara
Montefalco,
at
grasp
hands
for
influence
and
him
rative
deco-
the
background
Emperor
see
had
these
the
the
on
the
background
the
moment
fully developed
the
chapel.
Linaiolo,
his
realities
ecstatic
His
in
mystical
with
then,
for
the
the
introduce
style
does
and
explain
To
we
result
caught,
pure
are
the
as
of color
matter
Angelico
realistic.
the
been
have
only
him.
he
chance
any
the
and
Gallery
Gozzoli,
have
in
finely
rest
painter
some
in
his
as
phase
the
among
showing
may
between
before
appears
from
which
garlands
Gozzoli
the
in
intervals
student
This
hand
the
from
far
so
in
by
had
at
with
but
things.
seen
have
medallions
the
Picture
Vatican
the
in
likeness
been
appear
in the
also
and
is
has
light,
new
close
in
to find
expected
may
roses
Furthermore,
V.
secular
on
him
as
beauty
truth
freshness
Florence,
also
him
see
up
others
pure
a
in
links
in
with
by
and
paintings, particularly
the
to make
of
monk
good
esting
inter-
most
go
accent
ancient
have
that
enhanced
vogue
dwell
to
least
Gozzoli
beautiful
boys,
Nicholas
in
We
of
Gozzoli
art.
leaves, and
the
in
aloof.
him
The
realities,
restorer
Benozzo
Angelico's
in
of
the
entirety, together
the
us
paintings, then,
of
one
qualities
is here
then
might
we
influence
changes
are
sign.
no
shows
was
allowed
development
The
of
which
and
the
their
59
These
All
in
observer
gifted
Medici.
artist,
given
which
the
creations
his
previously kept
Classical
of
are
all
school
had
he
art.
here
previously
had
observation
reveals
of
art
de
of
of
history
the
NICHOLAS
Pietro
by
testament
painter's
minute
of
last
characterizes
which
of
built
Chapel
make
that
OF
the
showing
in
the
free
But
in
realities
him
to
be
a
VATICAN
THE
60
the
of
greatest
mystic
Who
listening
his
poking
way
quarrelling,
the
the
age
few
the
far
IV
Sixtus
Pope
the
memory
of
heart
and
Order,
an
Angelico
Christendom,
that
lies
He
years.
that
on
said
epitaph
quod
Sed
Altera
nam
Urbs
"Say
0
not
Christ,
Thus
heaven.
Etruria."
in
John
was
opera
gave
one
my
to
my
portion
name,
this
not
realism
of
to
1477,
in
ages
painted
known
but
chapel,
II
as
call
to
up
depicting
the
my
my
of
age
in
the
is
figure
Nicholas
in
was
Rome,
sixty-eight
of
convent
carved
his
together
himself:
alter
Apelles,
dabam;
coelo.
altera
Etmrice."
Apelles;
second
what
brethren
it
the
at
Christe,
and
work,
velut
tulit
was
and
(and
precious
age
nothing
1455,
Pope
extant,
of
did
ascetic
omnia,
an
Forli,
Minerva,
his
Flos
that
last
sopra
eram
terris
the
School
Sacchi,
in
in
died,
quod
tuis
he
his
of
lucra
praise
my
keeps
laudi,
end
II.
work
Iohannem
me
is that
earth
sit
the
to
in
there
it transmitted
Bartolomeo
left
the
feel
we
is
in
da
Angelico
tomb
his
be
to
mihi
"Non
of
slab
the
we
pieces,
master-
executed
work
which
lessons
Sixtus
Maria
S.
in
buried
his
vision
Melozzo
he
these
Florentine
off),
Library,
by
When
retained
the
ideal
of
creating
by
Laurence
of
afar
Fra
arms?
wonders
man
children
gift.
the
Vatican
the
painted
St.
Rome
to
was
with
of
of
act
the
or
which
they
prayer
blind
the
wrought
the
that
When
own.
the
scene
of
ordination
the
in
Prefect
Platina,
It
his
from
removed
of
her
he
before
type
of
women
astonishment
the
indeed
because
in
time
the
idealists
the
of
babe
in
stick,
his
of
happenings
the
gesture
of
aid
her
creative
the
follow
but
or
show
artists
it perpetuates
because
naturalism,
and
we
stand
of
remains
who
humble
the
the
mystic
faces
the
at
from
last
follow,
who
alone
the
is
Angelico
If
artist
refrain
and
execution
of
power
with
clasping
Both
Michelangelo.
by
road
when
Chapel
Pauline
Stephen,
the
of
hardly
can
we
the
brush
the
on
St.
mother
the
or
remember
of
along
look
the
forget
words
namely,
"
his
with
recording
can
the
to
painters
religious
when
even
earth.
all
work,
native
works
my
but
town
only
my
brought
the
rest
was
is
the
laid
Flower
glory,
to
up
me.
in
of
THE
|s
CHAPEL
SISTINE
it stands
work
the
Dolci
(Dominus
Sistine
the
to-day,
from
begun
1493
de'
Giovannino
by
honorabilis)
vir
et
somewhat
differs
Chapel
about
the
at
of
request
Sixtus
Pope
roof
the
Prophets
with
dotted
built
at
gave
way
gold
the
least
at
It
sculpture.
was
renaissance
which
Tuscany.
of
Brigit
of
the
II invested
Holy
III
in
of
1473,
sanctuary
such
he
If
down
come
in
pages
There
the
to
the
it
Giovannino
de'
and
The
has
into
that
looks
roof,
with
to-day,
three
of
in
and
zones,
at
and
day
our
Dolci
(the
which
out
is
on
side
each
walls
zone
in
and
were
being
del
more
subdivided
C613
had
or
the
of
IV's
new
his
and
him
that
and
Renaissance.
the
Chapel
the
much
by
to
the
of
part
and
have
glorious
to
bear
out
its builder,
Ronciglione
that
less
them
most
it owed
Papagallo
corbels,
ing
build-
gave
of
most
one
in
found
be
Cortili
las
Nicho-
building
of
fortified
had
1468,
its decorations.
which
sternness
St.
the
at
devotions
his
Sixtus
Pope
of
15, 1482,
new
period
the
in
of
III, Emperor
hints
it is because
complete
to
who
to
of
beauty
of
"
still
the
to
things
man
the
arts
consecrated
Pope
fulfil
the
night,
August
on
that
us
painting
its lunettes
the
the
interior
the
latter
hours
help
Italian
outside
wore
tells
all
these
on
This
of
Chapel
which
document
about
bringing
the
and
Cosmati,
The
canonization
of
tle;
lit-
very
painting
in
Frederick
sword
Assumption
praising
little
story
sternness
Palace
of
nothing
was
there
went
the
Volterra,
da
weary
dwell
we
Lady
he
never
of
in
know
Christmas
on
is made
IV.
and
were
the
place
and
cap
1477
Sixtus
by
Giacomo
that
joy
was
Our
to
in
again
chapel
new
historian,
and
was
flowering
and
Mention
Empire.
which
Rome.
school
wondrous
7, 1391,
with
arts
sky
Palace
rich
in
the
Chapel,
we
been
his
took
chapel
there
Roman
the
and
the
October
on
having
of
the
and
Vatican
Lateranense,
as
heyday
the
and
blue-tinted
Palatine
near
now
Sibyls
the
once
was
1278
Cavallini
ancient
Sweden
Paul
Pope
it
anticipated
that
In
the
Pietro
and
in
Patriarchio
picture
may
then
seen
original
the
III
the
to
we
Vassalletti,
Of
Nicholas
eventually
but
the
of
be
wall,
windows,
of
figures
where
Michelangelo
of
pair
giant
to
are
stars.
order
originally
where
the
of
Judgment
Last
held
stands,
instance,
For
IV.
famous
the
end
and
tavecchia),
Civi-
Vatican
the
del
Maresciallo.
same
shape
same,
pilasters
being
and
as
divided
windows.
it
62
THE
General
View
VATICAN
of
the
Sistine
Chapel
THE
Very
in
probably
in
the
first
with
zone
division
of
ancient
to
that
say
Before
it
middle
It
Giovannino
in
original Chapel
Last
the
show
and
Dalmata
Mino
following
marbles
broken
bits of
there
mati
been
pagan
are
and
even
that
artistic
whole
down.
the
to
side
patches
belonging
by side with
of
to
old
the
frescoes.
and
screen,
the
ment
pave-
the
the
of
Giovanni
schools
are
scraps
Christian
of
choir
manship
work-
is Roman
traditions.
pavements,
Chapel
on
two
of
Roman
there
win-
two
decorations
splendid pavement
old
it up
make
of
that
frescoes
with
choir,
output
the
of
lines
inscriptions
probably
pulled
go
to add
adorned
safe
wall,
were
large
two
were
also
was
plan
Fiesole,
the
there
and
Whereas
the
da
Pinturicchio)
wall
entrance
de' Dolci's
screen
Sephorah
and
in
III.
end
there
Rome
probably
the
on
Above,
and
in
third
Such
figures.
usual
it is
monized
har-
The
of Nicholas
Judgment
sections.
Alexandrinum.
opus
and
his
three
with
ters
pilas-
tints
zone.
quite
was
painted
into
The
painted
the
whose
second
the
painted niches,
section.
was
and
four
the
in
to
Moses
and
niches
between
stuffs
monuments,
(Pcrugino
dows
in
pilasters
Christian
divided
was
by
adhered
was
little
zones
Michelangelo
also
wall
into
curtains
painted
frescoes
the
and
medieval
and
of
colors
walls
63
replaced by precious
were
windows
CHAPEL
the
early days
zone
the
the
held
the
SISTINE
of
all
kinds
ejaculations
the
Nicholas
the
Among
work
of
III
the
which
"
"
and
Coshad
THE
64
But
which
hasten
we
must
on
October
27, 1481,
the
decorators
undertook
the
architect.
Later
assistants
their
wall
Golden
of
Death
following
the
from
scenes
raoh
the
Calf,
the
Engulfed
Adoration
and
also
Temptation
Peter,
the
ing
Last
Judgment
is
frescoes
show-
of
Moses
and
Magi.
for
the
Body
ruin
in
the
places
the
The
from
of
Old
it
fact, many
Jacob,
which
Waters
Sons
Christ;
Detail
of
from
Adrian
Moses
and
and
Sephorah
Pinturicchio)
by
the
New
the
the
from
"
the
redemption
out
the
Old
took
Adoration
against
Moses
the
old
here
in
e.g.,
the
idea
of the
Baptism
"
story
to
Child
Magi;
of
to
their
later
from
school
of
As
Isaac,
of
the
face
Moses
of
Law
as
with
Abram,
Christ;
of
and
were
all
sufficing
in
"
the
Saved
Circumcision
the
scenes
dance,
Concor-
matter
Christ
everything
face
The
went
correlating
the
dominates
place.
of
precursors
Testament
the
these
wall
Michelangelo
churches
found
Struggle
and
time
some
the
has
Fiammingo.
the
in
and
the
Arrigo
sway
Genesis
figure of
symbolize
balances
stands
held
"
of
that
shows
early theologians
and
to
and
Testaments
called
in whom
1522,
paintings
Lecce
da
subjects
and
was
VI, about
two
Matteo
stories
discarded
himself
Moses
list of
very
the
as
of
taken
were
of
wall
of
time
brushes
were
Finding
the
ing
when
On
Last
there
the
trance
(Perugino
lost
were
Keys
the
ing
show-
Resurrection
the
Adoration
en-
frescoes,
the
Supper.
seen,
the
The
of
where
now
and
on
the
wall,
end
of
Peter
mon
Giv-
and
of
ing
Ser-
the
Mount,
to
Call-
the
of
Baptism
Christ,
the
the
to
right
the
the
wall
The
Moses,
of
Destruction
Korah,
of
of
Moses
the
Christ,
ment
mo-
life
the
contains
Andrew,
and
the
Journey,
Family
the
for
general.
more
contains
left
work,
the
Dolci,
artists
but
Sea,
Red
the
of
of
de'
various
Pha-
Egypt,
the
be
in which
Perugino,
the
particularize
for
Rosselli,
Cosimo
Giovannino
for
scenes
particular piece
must
by
to
Pietro
and
decorations
the
Moses's
Moses:
in
ten
to
mean
each
the
on
agreed
was
paint
to
explanation
our
The
in
contract
of
account
an
Ghirlandaio,
we
on
give
to
on
Botticelli, Domenico
Sandro
VATICAN
Adoration
in
New,
from
the
of Moses's
of
the
THE
Moses
SISTINE
and
the
CHAPEL
Daughters
of
65
Jethro
(Botticelli)
Detail
from
Moses
and
the
Daughters
(Botticelli)
of
Jethro
THE
66
Details
from
VATICAN
the
of
Passage
(Rosselli
and
Passage
of
the
Red
The
(Rosselli
and
Sea
Pupils)
the
Red
Pupils)
-.7-,.
Sea
r.v
SISTINE
THE
the
for
Thus
Body
of
Moses
find
in
this
we
of
close
itself
finds
Calf
Golden
the
the
opposite
faces
The
Sermon
and
Adoration
the
on
of
Chapel
matured
67
Resurrection
the
Palatine
Quattrocento
CHAPEL
of
of
the
Roman
theological
the
Golden
the
Mount;
gle
Strug-
Christ.
Pontiff
the
at
of
expression
those
Calf
(Rosselli)
wordless
in
sermons
of
the
Catacombs
churches;
served
indocta
if
we
at all.
the
as
the
up
had
cheered
coldness
severe
of
who
poor
the
scattered
was
an
Art
great
but
the
and
Pietro
the
Vatican
Umbrians
the
Nola
could
the
of
ness
dark-
the
tian
Chris-
elegantly
so
read:
not
middle
said,
rusticitas
some
of
cities
the
they
nipped
were
Eternal
to
of
City, and
whom
to decorate
to
the
When
and
fall
in
very
is not
Rome
when
Sistine
on
so
Popes
bethought
back
is
note
acter
char-
found
there
the
end
Popes
of
went
artists, among
owed
the
of
who
minor
at
the
Roman
Giotto
Italy.
Trecento
had
art
artists
artist
one
of
Viterbo
for
the
to
not
work
Lorenzo
Cavallini,
of
that
blossoming
in the
Palace,
came
did
blossoms
the
themselves
observe
to
great
of
era
the
waned
throughout
about
pictures
it is true,
but
chapel,
Ages,
Avignon.
the
it is instructive
There
Middle
Rome
centuries
St. Paulinus
the
to
from
Antoniazzo,
in
them
lighted
teachers
pass
them,
painted
Roman.
to
and
for
legendi.
Now
the
which
pictures which,
silent
as
colors
much,
returned
them
of
Tuscany,
and
Chapel.
Together
were
to
rating
decocans
Tuswith
68
THE
The
Punishment
VATICAN
of
Korah,
(Botticelli
The
and
Testament
Dathan,
Abiram
Signorelli)
of
(Signorelli)
Moses
and
On
Detail
the
from
Testament
Moses
of
69
CHAPEL
SISTINE
THE
Detail
(Signorelli)
Domenico
Botticelli,
Sandro
Ghirlandaio,
Pietro
Perugino,
Pinturicchio,
schools
of
and
masters
no
Umbria
matter
easy
actually painted by
been
it will
as
be
then,
painting
and
(Zipporah)
angel
of God
been
not
the
in
painted
as
the
as
both
chapel,
is also
Andrea
his.
In
d'Assisi
and
on
the
these
halts
It
was
the
painted
wall
end
that
and
was
were
the
altar, representing
works
(known
he
as
was
assisted
LTngegno),
the
Luca
towards
the
of
the
right.
Sephorah
as
by
frescoes
is performed.
gino,
Peru-
destroyed
Coronation
of
works
of
gem
on
later.
an
have
sons
Pietro
the
far
ning,
Begin-
earliest
the
ture,
pic-
as
rite
of
not
to
halted
hand
it is
has
the
with
Sephorah's
upon
of
so
sacramental
one
four
great
that
masterpiece.
together
reveal
These
it and
handmaidens
looked
once
we
because
proceed
the
picture
know
round
go
and
coloring
as
Moses
us
came
whom
kinds,
from
in each
will
we
master.
Perugino
two
to
caravan
and
far
as
all
along
go
we
servants
them
design
Umbrian
on
and
The
the
painting
come
to shows
sons
great
the
left wall,
forbids
who
decoration.
well
the
we
their
circumcised.
Here
whole
on
As
Rosselli
in
painter's design
one
collaborators
the
were
usual,
as
first
The
who
allows,
space
of
Christ
Perugino)
harmoniously.
from
point out,
to
and
Cosimo
by assistants
another.
of
Baptism
Signorelli,
so
fresco
endeavor
our
blended
works
whether
to say
and
Luca
and
Tuscany
in their
aided
were
the
from
(Pinturicchio
the
the
walls
Moreover,
the
Virgin,
principally by Pinturicchio,
Signorelli,
and
Piero
Dei.
70
THE
VATICAN
Baptism
(Pinturicchio
The
of
Christ
and
Temptation
(Botticelli)
Perugino)
of
Christ
SISTINE
THE
he
to
assisted
was
ricchio,
whose
coloring
is to be
his
hundred
of
the
Moses
of
the
truly
too
landscape
the
with
angel
to meet
of
heads
sion
circumci-
the
at
to him.
They
of
Perugino.
But
is
exclusively
by
it
he
and
Pinturicchio,
of
virile
attributed
be
can
speak
the
the
assist
who
ever
How-
forward
coming
nor
those
of
figure
sword
the
decorate
to
neither
design
the
Borgia.
Appartamento
splendid
in
paintings
those
chosen
being
the
the
was
Pinturicchio
for
won
figures
showed
on
ways
honor
by
It
he
skill
wondrous
ferred
re-
Pintu-
in the
seen
71
flowerlike
lovely
designed.
master
that
above
fresco
first
the
On
CHAPEL
also
was
Detail
of
figure
art
Christ,
of
have
we
idyllic
life
of
all around
near
and
was
of
work
of
the
In
the
corner
in
bush.
by
the
accompany
Moses
the
and
do
inorganic
not
Botticelli's
and
movement
dear
medieval
to
fresco
whole
the
of
fullness
the
figure
Moses
with
sweet
is the
charm
of
bearing
that
so
for
eyes
is to
another
this
by Cosimo
Sea
the
From
Midian-
the
as
the
be
seen
he
is
in
story
of
off
pulling
the
his
other
two
the
Moses
the
slaying
the
these
absorb
they
his
set
tian
Egypshoes
frescoes
Filippino Lippi.
and
of
accuracy
save
no
In
youth
Bed
of the
passage
with
has
of
so
central
as
And
Moses
importance,
to details
It is thus
meek
the
of
land
single
their
thus
burning
assisted
less
chose
well.
flight to Midian;
attention
and
one
was
people.
modest
so
which
of
chosen
the
visitor, who
in
God
adore
fresco
the
taking
Botticelli
Christ
was
skill of Sandro
breadth
frame
he
theme,
Jethro
them.
and
the
the
the
in
and
link
to
custom
the
of
Moses
beauty
how
the
within
leader
of
of
attention
of
Temptation
contribution
sole
of
the
well
so
maidens
fair-haired
to
the
of
daughters
of
example
knew
tells
concept
own
the
(Botticelli)
works
the
Following
he
story
from
tism
Bap-
Perugino's
showing
real
peace.
painters,
which
to
that
art
an
"
of the
Bedeemer.
the
fresco
the
In
ites
fresco
the
painted
who
fresco
Bosselli
and
the
engulfing
the
drawing
from
his
of
of
criticism
pupils,
Pharaoh.
the
The
people
badly
as
to
the
is the
who
ceived
con-
work.
genuine
relief
that
we
turn
our
eyes
painting
72
THE
The
VATICAN
of
Calling
Peter
(Domenico
Detail
from
the
Calling
(Domenico
and
Andrew
Ghirlandaio)
of
Peter
Ghirlandaio)
and
Andrew
THE
SISTINE
The
Sermon
73
CHAPEL
on
the
Mount
(Rosselli)
Detail
from
(Head
the
of
Sermon
Rosselli
on
to
the
the
Mount
left)
THE
74
that
next
comes
the
had
Never
graciously
the
have
the
Arch
into
brought
Christ
to
of
Chapel
of
other
Keys
read:
we
to
St.
so
of
Korah,
by
divine
followers
the
among
it
on
the
Delivering
the
met
ways,
down
magnificence
background,
written
and
Constantine,
of
the
struck
of
Signorelli.
followers
the
souls
in
the
Luca
in many
been
Luca
by
add
To
Orvieto.
the
as
painted
damned
of
Duomo
artists
much
so
so
just
have
and
unlike
figures of
The
who
On,
nothing
the
and
artists,
two
picture.
and
resemble
wrath,
these
this
in
as
Abiram,
Dathan,
of
souls
Botticelli
Sandro
of
work
the
"
VATICAN
of
christ
anti-
St. Brigit
the
scene,
ruins,
Boman
"Nemo
in
the
sibi
assumat
Peter
(Perugino)
privileges
and
rights
dispute
doubt
every
1481, that
done
it
the
he
was
by
Piero
was
glad
composition
being
lend
of
the
hand
but
allusion
patent
the
at
it,and
of
here
picture
the
original
to
the
and
divides
least
the
is
by
drawn
painting
one
banished
has
contract
was
Luca
in
up
ally
actu-
slight assistance
some
in
at
was
design
the
that
staff, with
Luca's
one
Venturi
that
in
there
Moses,
Adolfo
debate
assist
of
one
who,
to
to
of
Testament
included
in
called
Dei,
the
beyond
not
"
Pope.
historians,
art
was
Aaron"
tanquam
of
shown
Pinturicchio,
masters,
The
of
among
and
Signorelli, that
from
Deo
fresco
the
Concerning
time
nisi vocatus
honorem
that
fair
occasion
there
as
itself
into
of
company
offered.
episodes.
In
the
foreground
a
feet
his
their
dead
patriarch.
of
by
death
the
herald
the
time
the
it
of
There
is
of
the
Christ,
central
on
The
of
frescoes
work
Last
figure
whole,
sacrifice
Santo
the
feeble
Spirito
rising flames,
away
tempting
the
Land
from
tired
weeping
the
effect
son,
which
miracle
of
over
that
who
figure,
the
done
was
to
seems
for
drawing
Supper
the
work
with
by
and
the
curious
from
the
little
Saviour.
with
begins
Pinturicchio
which
in
the
designed
Sixtus
crowd
scene
with
in
IV,
of
showing
the
of
onlookers,
which
the
weird
demon
masterful
Pietro
take
Peru-
Springtime,
Christ,
characters
of
Baptism
the
by
of
Temptation
its background
Pope
the
for
save
was
overcrowded
leper,
restored
wall
Sandro
of
is
ground
back-
Rosselli)
right
of
Redeemer,
gracious
painted by
the
the
on
throughout
of
Another
gino.
that
of
Israel
to
the
Promised
down
of Luca's
glorious
Michelangelo,
The
series
of
appears
In
done.
was
(Cosimo
The
the
tradition
portrait
This
centre
rod.
coming
people
old
the
his
Moses
to
Moses
all, the
an
in
law,
receiving
out
then
is the
painters.
works
mighty
when
scene
Levite
jealous
is
pointing
75
the
reading
Aaron
touch,
to
last
and,
is
left
angel
never
splendid figure
to
Moses
the
to
the
were
mountain,
the
right
and
shown
are
that
the
to
Levite,
naked
CHAPEL
SISTINE
THE
and
the
altar
the
appears
which
is
is,
details.
Hospital
with
eye
its
pletely
com-
vainly
VATICAN
THE
76
of
series
The
said,
have
stories
on
of
Circumcision
the
next
is
and
in evidence
clearly
he
youthful,
designs
and
Andrew,
assisted
his
subjects,
To
for
painted
of
the
on
the
Dutch
the
all
the
of the
great
group
of
the
time.
as
though
ters
had
the
making
as
as
pearance
of
theatrical,
good
to
was
the
pupil
of
Neri
di
seems
to
have
lacked
have
to
bit
nothing
covered
best
feature
the
Mount
of
on
the
shown
that
Knight
of
by
style
the
in
Bhodes,
and
ambassador
these
of
two,
Cyprus,
A
fresco
Delivering
symbolical
the
in
painter
together
of
the
that
right
with
On
the
Keys
to
to the
kneeling
first
left
originalup
but
f or
himself.
his
Sermon
side
Louis
the
Apostle.
of
next,
centre
The
the
the
has
disThe
on
himself
left Jesus
leper boy.
successfully
d'Almedia,
brother,
also, and
bit
landscape,
is Giacomo
his
He
picked
healing
Chapel,
row
mediocre
there,
To
of Lusignan,
comes
In
is
stands
Carlotta
husband,
St. Peter.
he
in
Cosimo
modelled
school.
Sistine
the
him
beside
placed
her
in
Dutch
right
the
on
Borne.
has
the
who
pupil
the
peculiar importance
keys
ap-
Bicci.
the
Cosimo,
on
work
to the
Judgment)
and
and
great
figure
di
Leonardo
crowds,
his
the
of
Piero
Michelangelo
of
(Last
painted
addressing
Steinmann,
Portrait
is
was
an
painters
of
and
porbent
were
school
and
charactheir
all
Quattrocen-
Bosselli,
com-
sible.
pos-
Weakest
whole
have
to
come
on
is
at
to
various
painted
largely
the
Vespucci,
what
some-
and
which
of
Borne
instance,
the
traits
ity,
in
tonio
But
is
position
here
learned
spokesman
Pope.
the
aged
men,
for
Florence's
the
tine,
Floren-
portraits
Guid'an-
stands
of
David.
he
tines
There,
We
execution
accuracy
masters,
we
wall.
brother,
young
in the
right,
with
us,
the
by
in
as
balances
opposite
distinctive
so
begins,
Christ, which
Floren-
great
the
the
studying
from
has
Israel
Peter
here.
Testament
of
Baptism
of
was
his
grouping
of
method
New
the
the
of
Calling
Ghirlandaio
Domenico
The
with
Children
the
the
to
on
pass
which
from
taken
wall
right
the
the
little
formerly
guese
Portubehind
Queen
Savoy.
its
subject
stands
lower
being
Christ
Christ, giving
portion
of the
the
pic-
THE
Section
of
Wall
showing
Popes
Lucius
Fabianus
Pope
St.
SISTINE
and
CHAPEL
77
Caryatid
(Michelangelo)
Stephen
(Botticelli)
Pope
St.
Soterus
(Botticelli)
78
THE
is
ture
painted
so
with
glowing
with
porticoes,
Old
the
and
Law,
stand
and
out
be
of
the
in
On
is fdled
The
of
Ceiling
is said
of
figures
Sistine
the
pavement
building
and
typifying
Roman
clearly
follow
various
are
the
Solomon
attitudes
hair
with
in
of
arches,
sides
brownish
with
against
large octagonal
Temple
various
both
dark
rises
triumphal
Apostles
one
and
strong
background
to
Peter.
background
The
the
pair
Six
near
robes,
in
supposed
style.
five
to stand
as
light;
VATICAN
in
Christ,
while
in
eval
medi-
personages
be
to
the
in
men
tectural
archi-
painter
various
himself.
costumes.
Chapel
(Michelangelo)
In
this
in
Florence,
fresco
great
have
times
to
see
him.
the
Perugino
as
vivid
on
Adolfo
figures
is
of
that
in
the
much
so
charm
works
of
atmosphere
the
assertion
no
painting.
has
bearded
so
His
clearly
Apostles
only
of
that
who
great
Rome
Luca
helper
was
designed
shown,
are
been
seen
working
figures,
one
theless,
never-
which
sweetness
majesty
truth
in
this
had
The
and
and
power
this
himself.
impression
this
two
Umbrian
to
up
of
the
Venturi
the
who
revelation
new
of
breathes
There
Perugino,
wearisome
so
work
us
much
grow
whole
Pietro
gives
had
made
Piero
us
upon
Signorelli
on
the
it enables
that
and
at
But
master.
helped
Dei,
who,
painted
either
the
side
Christ.
The
last
fresco
on
the
right
is the
work
of
Cosimo
Rosselli,
as
empty
of
SISTINE
THE
feeble
and
the
cat
dog
all his
nor
Christ
to-day,
frescoes
has
Christ
the
spaces
in
the
Garden,
us
charming
perspective
which
on
how
forget
the
even
roof
in
make
can
after
marvellous
the
broken,
been
the
of
group
he
gives
us,
large windows
the
Betrayal
mean
and
IV
The
of
Christ,
feeble
this
of
the
this series
feeling
help
enjoyed
Ceiling
of
unity
cannot
we
Sixtus
it all is.
eloquent
nor
Not
excellent
the
79
the
and
whole
is.
composition
Even
Cross,
did.
ever
painting
at
showing
the
on
play,
at
pains
scenes
open
he
anything
as
and
CHAPEL
noble
Sistine
of
how
work
Quattrocento
beautiful
but
and
short
time,
Chapel
(Michelangelo)
for
died
he
the
consecrated
Mantegna
exists),
Rome
to
and
in
When
task
give
life.
up
which
to
meantime
VI
had
year
1483.
after
he
The
chapel
VIII
Innocent
his
decorate
25,
August
on
the
almost
had
private chapel
solemnly
remained
called
(which
Pinturicchio
enjoined
had
to
no
Andrea
longer
decorate
the
Borgia.
May,
of
work
He
In
Alexander
Appartamento
mighty
chapel
till 1508.
untouched
12, 1484,
August
on
on
had
1508,
decorating
the
already
was
the
roof
of
of
Julius
monument
completed
smashed
Buonarroti
Michelangelo
by
the
for
his
he
had
Sistine,
the
II which
Bologna
infuriated
set
people
the
was
statue
hand
of
in
the
to
perforce
of
curse
the
1511.
great
to
his
tiff,
Pon-
Michel-
THE
80
angelo's
first
roof
drawn
was
him
it caused
desired
he
have
been
have
the
whose
be
to
give
to
all the
of
that, out
to
cease
as
so
him
put
so
The
of
the
his
to
it the
great
emphasize
the
pain
putting
though
mind
in
which
It may
been
well
plotting
Tuscan
great
shade.
Sistine
to
body.
long
the
the
monument
and
had
thwart
name
to
the
on
his
of
to
decoration
as
Bramante
jealousy,
had
the
in
work
strength
decorated
works
recent
for
Pope
sculptor,"
"a
obliged
up
Sistine
the
May
up
himself
signed
master
with
contract
VATICAN
to
master
However
that
may
Deluge
(Michelangelo)
to
go
His
see,
was
as
first
and
painter,
parallel
for
Jacopo
one,
Bugiardini,
it
Sandro,
and
Michelangelo
and
he
roof
are
preserved
cut
up
walls
to
Agnolo
Jacopo,
into
of
his
by
was
his
in
di
chapel.
in
the
great
L'Indaco.
we
sides
Granacci,
Among
da
They
them
Sangallo,
were
all
ning
run-
angelo
Michel-
preparations
work.
now
design
The
sizes with
Francesco
Bastiano
what
Museum.
his
to
openly.
from
various
In
friend,
Domino,
surnamed
of
squares
faithful
help
British
the
have
to
sorry
disappointment
different
very
the
sincerely
was
showed
the
painters
many
di
the
to
assisted
was
selected
for
plan
studies
geometric
that
who
were
Giuliano
excellent
THE
CHAPEL
SISTINE
Drunkenness
The
of
Noah
(Michelangelo)
The
Sacrifice
of
(Michelangelo)
Noah
81
82
THE
The
VATICAN
Creation
of
Adam
(Michelangelo)
The
Creation
of
(Michelangelo)
Eve
SISTINE
THE
fresco
had
let
locked
them.
said, and
four
For
there
on
below
He
so
high
do
scaffold,
in
the
Original
on
Sin
and
the
the
five
looked
chapel
painters
door
around
all alone.
October
31, 1512, he
his
creations,
own
Expulsion
for
eager
Michelangelo
with
changing
church,
very
found
work
mighty
with
alone
work
no
the
all
were
time
they
day
ending
years
ceremonies
the
could
For
do.
one
set about
he
continuous
his
then
talk, and
them
against
he
him,
they could
83
and
Rome,
to
come
what
of showing
them,
at
who
painters
chance
CHAPEL
from
from
worked
up
while
down
of
festivals
joy
to
Eden
(Michelangelo)
periods
by
day
of
visions
new
from
the
time
with
marked
mourning,
of
mass
the
and
men
he
forced
he
the
could
found
no
allowed
August
relief
work
mighty
uplifting
and
of
him
the
to
paint
sons
recruit
that
of
man.
himself
the
first
and
with
part
exertion
for
of
few
the
the
and
in the
of
Julius
days'
frescoes
brief
was
home
life
being
position,
thought
God
II
his
endless
from
strained
honor
again
his
torture
in
was
passed
the
by
of
he
as
he
ecstasy,
head
Day
men.
off
cut
Wounded
physical
his
on
Now
common
and,
infelicities
the
with
engaged
was
mind,
suffering
roof
for
fantasy.
over
in ever-increased
save
he
and
time
superhuman
his
sorrowful
forget,
never
to draw
of
of
great
in
rapt
children
mighty
flight
fill his
to
came
the
and
of
the
unwillingly
rest.
And
uncovered,
on
we
VATICAN
THE
84
The
Creation
of
Light
(Michelangelo)
The
Creation
of
the
Sun
(Michelangelo)
and
the
Moon
THE
find
brief
mention
of
SISTINE
of
ceremonies,
who
artist.
The
remainder
of
October
Let
door
run
of
which
in
the
the
over
the
earliest
we
can
various
find
painters
point
any
schools
or
The
of
the
and
Land
from
find
we
one
the
between
the
great
uncovered
on
beginning
of
the
at
the
Deluge
few
the
in touch
come
papal
the
death-bed.
where
similarity
of
and
roof,
also
Grassi,
name
his
on
the
on
and
had
de'
the
was
paint
of
he
Separation
II
time,
points
Paride
completed
was
to
of
of
mention
painted
began
85
diary
to
Julius
subjects
in
the
work
time
Michelangelo
where
one
"
31, 1512,
us
in
forgot
the
which
at
fact
the
master
CHAPEL
subjects
and
master
with.
Water
(Michelangelo)
Between
Maria
the
if to
paintings
of
the
nudes
well
than
in
the
owing
into
these
others.
to the
and
is
if
introduced
the
on
draperies
paintings
height
two
his
you
was
his
and
size
love
will
the
of
Leaving
for
find
roof
believe
us
that
had
for
figures
he
to
them.
quickly
enlarge
two
instant
an
are
as
enness
Drunk-
these
In
antiquity.
the
and
he
real, but
for
lif e -^the
Ark.
classical
S.
of
Michelangelo,
from
the
than
look
to
Death,
scenes
make
Cloister
rather
where
first attempt,
of the
Green
ideal
are
knows
spectacle
Sacrifice
displaying
This
links
one
horrible
has
the
in
Uccello,
the
Deluge
the
view,
and
Michelangelo
look
that
the
Noah
Paolo
there
are
vision
mitigate
of
that
they
his
Around
this
and
Novella,
nevertheless
of
Deluge
If you
smaller
found
them.
out
86
THE
The
Prophet
Zechariah
VATICAN
The
(Michelangelo)
The
Delphic
(Michelangelo)
Prophet
Joel
(Michelangelo)
Sibyl
The
Prophet
(Michelangelo)
Isaiah
THE
The
Sibyl
Cuiiiiran
SISTINE
87
CHAPEL
The
The
Prophet
Daniel
(Michelangelo)
Persian
Sibyl
(Michelangelo)
(Michelangelo)
The
Prophet
Jeremiah
(Michelangelo)
88
THE
Let
us
scenes
and
of
roof.
centre
very
pinnacle
against
out
God,
from
the
who
calm
fair
earth,
still
at
are
human
teach
lot
it is
that
of
of
efforts
In
of
the
has
synthetic
that
Roman
but
the
"
that
Man
but
Land
face
picture,
broods
Schools
in
of
commerce
quality
place
and
of
of
led
around
the
race
as
to
companion
with
Petronio's
S.
before
the
finding
of Adam.
work
The
of
art
realism
the
on
its
"
of
monumental
passing
with
others.
between
great
the
on
Creation
of
contact
build
the
not
human
ter
mas-
Michelangelo
the
lamps
every
to
the
and
Creation
Duecento
Michelangelo
it,
the
Giotto
which
the
of
for
necessary
of
facade
points of
that
our
scenes,
which
halo,
or
with
mind
the
first appearance
relief
Bologna
equal
on
man's
the
denying
these
by Raphael
the
to
first sin
allegory
crown
adorned
taught
compositions,
plicity
simof
events
day
forth
Deity
is set
compose
the
Creation
of
pictures,
the
Creation
of
Water.
the
is lighted
over
so
which
Sienese
synthetic
Light,
The
his
here
scene
of
imitated
has
no
look
of
vision
the
and
we
as
ocean
without
search
is
and
was
to
Eve
of
birth
his
which
might
quality
eternal
in
God
Ezekiel
Prophet
(Michelangelo)
infinite
depict
which
The
ken;
our
the
attention
sculptured
to
the
is, indeed,
one
to
ator.
Cre-
Quercia
There
and
and
to
call
quality
of
souls
in
della
synthetic
the
the
divine
representing
to
works,
simple
terialism
ma-
and
conception,
Jacopo
two
one
tragic
within
how
In
Bologna.
at
their
more
known
It is usual
which
to
the
drowned
earth.
introduced
that
pictures showing
is
not
are
this
way
the
very
est
great-
our
imprisoned
artist
souls
ever
bodies
to
its
imaged
between
our
our
their
the
lessons
has
struggle
to
wing
easiest
mind
us
in
of
of the
one
and
symbols
the
touch,
seems,
part
once
that
divine
that
body
through
limbs
The
life at the
inertia, to be
alone
forward
angels
sky.
into
been
stands
Adam
comes
of
the
has
art
of
group
Here
solitary peak,
crowd
spring
the
of
figure
The
with
the
Noah
Eve
Adam
in the
scaled.
the
from
on
pass
to the
VATICAN
the
Creator,
up
wide
with
expanse
which
paternal
of
to
seems
the
lack
tenderness
seas
that
all emotion
in
know
the
in
third,
not
yet
the
where
the
first
he
shock
THE
CHAPEL
SISTINE
The
Last
Judgment
(Michelangelo)
89
VATICAN
THE
90
The
Figure
(Last
of
the
Redeemer
Judgment)
SISTINE
THE
of
the
purest
of
Michelangelo
color
of
idea
a
Seven
the
did
he
us
to
the
Sistine
of
of
the
the
of
side
Prophets
the
with
whole
concordance
in
manifest
legendary
paganism
which
The
is not
figures
a
deep
who
here
in
of
her
meaning
had
as
them
on
person,
five
together
the
the
her
the
the
of
story
Next
come
whose
inner
first touch
very
entertained
the
by
in
Last
the
Judgment
1535.
Christ
and
New
the
with
spiritual
expectation
Hill
transcending
Prophets
the
decorations
The
side
law
of
Testament
of
of the
the
and
and
the
speaks
historicity of
to
to
Sibyls
the
the
worlds
of
love.
Christ
the
phetic
pro-
dispensation
new
of its great
by
is clearly
associated
were
union
foretold
spirit is here
The
in
whom
ures
fig-
imposing
Law.
New
bonds
the
Ages
used
the
in the
Capitoline
but
Sibyls,
always
chapel
been
Old
in their
companions.
often
of
Five
Middle
the
Prophets,
proof
Serpent.
he
around
of
Saints
the
Christianity
to knit
Sibyl
Sibyls
the
Goliath;
the
Judgment)
of
and
of
case
Sibyls
the
until
period
between
the
and
was
and
Apostles
the
painted
that, from
roof,
Blessed
(Last
has
Brazen
the
think
to
decoration
Group
Throughout
the
and
really undertake
not
slaying
and
Prophets
leads
put
the
completing
work
David
Moses
Haman;
91
Michelangelo
above
heroism:
significance
symbolical
of
lunettes
human
and
Esther
pictures
the
"
of
types
Judith;
the
In
storm.
CHAPEL
Augustus
us
in
have
person
the
each
or
the
THE
92
and
legend,
the
meaning
Zechariah,
of
books
the
the
of
temples
in
day
of
is
the
and
the
index
an
of
to
the
the
for
dread
to
the
mind
in this
in
the
them
Christian
be
to
seems
of
prophecy
church
Lost
worship.
pagan
Pythoness
light
Between
Jehoshaphat.
of
secrets
seeking
there
reading
up
be
to
Valley
the
vision,
her
is
treated
are
seems
man,
Joel
Apollo
greatness
very
old
Sibyl, calling
Delphic
the
they
convey.
wisdom.
judgment
great
stands
old
the
would
learned
as
which
in
manner
artist
the
VATICAN
in
the
hearkening
to
Mkt
Angels
Summoning
the
(Last
voice
in
the
that
great
idea
The
lamp.
the
by
her
over
The
plump
Lost
or
page
the
the
right
her
deep
the
who
intimate
interior
eyelids,
be
curly-headed
grace
to
have
of
charm
closed
youth
arm,
in
the
the
by
loosely
of
turning
sought.
the
renewing
of
she
act
that
passage
pages
shown
hanging
the
more
light
skilfully
paused
climes
is
over
by
left
of
and
Sibyl
turns
been
the
act
this
oil
in
the
scene.
youthful
over
by
have
the
all times
reading
the
caught
in
seems
he
has
of
of
Erythraean
as
attitude
seems
eyes
Rise
men
carefully
her
vision, the
almost
of
Zechariah,
to
of
to
The
Deity.
recalls
unconscious
whereon
to
lifts his
call of
the
union
coming
seems
servant,
adds
in
and
attention
side, while
lamp,
rapt
in
master
the
Supreme
She
Writ.
Holy
of
figure,
sympathetic
of
of
tells her
Dead
Judgment)
the
his side.
Isaiah
hardly
thoughtful
turns
eyes,
at
his
the
head
eager
THE
Angels
bearing
the
(Last
Angels
bearing
the
(Last
93
CHAPEL
SISTINE
Emblems
of
the
Passion
Judgment)
Emblems
Judgment)
of
the
Passion
THE
94
How
much
of
maiden
she
him,
the
surely
and
all
Rome
the
the
faith
and
strength
of
history
book.
Wrapped
in her
from
head
events
almost
in
foot
to
hidden,
the
with
Pallas
ancient
in
traces
the
great
robes
ample
with
Persian
of writing.
act
talked
mien
and
the
rent
tor-
in his God.
of
placid
the
that
Evander,
with
and
He
of
as
Sibyl
iEneas,
has
the
prophet
with
Cumaean
if
the
Glory.
impetuous
filled
The
of
the
Resurrection,
him
to
around
King
here
the
as
seems
animals
of
throne
with
who
ure
fig-
of
words
describing
were
many-eyed
is
the
at
near
is the
alert
more
Ezekiel
VATICAN
Sibyl is
ity
conform-
In
the
traditions
the
symbolism
face
handed
Figures
in
down
Middle
Ages,
against
all threats.
his
attitude
written
Daniel
the
on
Libyan
within
faces
and
the
the
figures
case
in
the
nudes
seems
Lord
doubting.
closes
the
the
for
"
is
too,
sorrow,
as
symbolical
stretched
he
of
Judge
off
of
on
Nineveh,
in
Prophets
the
tional
tradihis
fingers
the
last
roof
those
over
pronounces
tion
deten-
the
his
the
are
by his
under
out
tells
Preacher
series
beauty
if still confused
while
The
Divine
Lamentations
and
thoughts,
as
leviathan,
the
take
to
the
whereon
life
more
in
and
universal
and
the
flood
dignity,
and
holding
the
on
pilasters
depicted
the
symbolic
cycle based
Borinski
who
bear
personages
in
given
the
genealogy
overcoming
for
the
discovered
eight
all
beams
the
the
of
names
of
type
above
risen
of
the
to
this
the
from
the
on
the
the
in
even
which
the
Purgatory.
of
various
these
shields
of
ancestors
and
Gospel,
fatigue, has
roof
and
the
only
but
Sibyls,
shields
meaning
Jonah,
is not
Dante's
on
St. Matthew's
difficulty
down
and
Prophets
and
Michelangelo,
adornments
the
the
the
as
on
pieces
scene
seated
Carlo
was
of
representation
seem
has
master
Jesus
the
his
over
faith
the
dead.
From
It
which
than
corporeal
at
of
followers.
Jonah
of
Resurrection,
Judgment
the
for
sorrow
his
Damned
Judgment)
upholder
an
brood
to
of
young
Jonah.
gazes
reasons
of the
his
for
of
type
seems
the
of
belly
he
gourd
foolish
Jeremiah
rather
Sibyl
the
the
of
(Last
the
is there,
expressing
Remarkable
of
and
whom
placed
corresponding
as
THE
Candelabrum
on
(Fifteenth
Side
View
of
(Fifteenth
the
Balustrade
Century)
the
Choir-loft
Century)
SISTINE
CHAPEL
95
Candelabrum
on
(Fifteenth
Balustrade
(Fifteenth
the
Balustrade
Century)
and
Choir-loft
Century)
VATICAN
THE
96
and
figures
that
poem.
Thus,
Nathan
have
happy
calls
added,
he
tells
is the
bitter
to
named
and
Cantoria,
(Fifteenth
guida
of
us
Dante
as
wife
the
and
of
story
lines
diso,
(Para-
stranger
riage
mar-
the
Caccia-
husband
Rehoboam
lies
Abiah
and
dead
in
remind
(Paradiso,
France
19).
xv,
The
of wood,
to
came
chosen
was
for
it which
quite
and
with
together
he
in
of
lunettes
two
load
is
up
Joseph
of
us
the
and
and
dowry
of
and
nurse
Jacob
house
Dante's
Choir-loft
or
17).
xv,
while
her
Dantean
remind
call
in
Century)
tells it (Paradiso,
alone
the
showing
Eleazar
names
daughter's
Achaz
those
in
maxims
the
Eliud
in
and
Sistine
The
his
over
bread
Joatham,
Ozias,
xvii, 58).
reference
Achim
103).
xv,
how
xv,
the
121);
is worried
who
father
succeeded
religious
which
that
between
similarity
has
and
to
find
we
(Paradiso,
parents
(Paradiso,
moral
certain
by
Borinski
Dante,
composition
the
been
the
up
where
in
characters
in
Guided
windows.
the
figures typify
the
the
of
lunettes
twelve
the
paint
by
Jacob
mighty
Clement
were
keeping
and
Perugino
the
the
held
once
Judah,
but
vision
by
Abram
these
of
the
Last
Michelangelo
Paul
spirit of
III.
the
and
years
Judgment.
made
The
choice
times,
which
some
of
was
with
Isaac
Michelangelo
twenty-three
frescoes
VII, and
approved
with
wall
end
the
his
destroyed
later, when
subject
The
early studies
such
wont
subject
to
pass
lightly
of
from
the
pagan
joy
of
Trent
and
the
of
Council
the
remember,
must
formed
an
which
to
was
the
the
sixty
was
occupy
when
the
the
he
It
years.
with
her
rigid orthodoxy
Counter
Reform.
dread
sack
We
of
1527,
citizens, who
own
had
party.
old
seven
wall
the
the
of
blows
the
to
of
endured
Imperial
years
him
entrance
had
the
97
Renaissance
asceticism
under
with
alliance
Michelangelo
decorate
fallen
had
Florence
and
the
Rome
that
too,
CHAPEL
SISTINE
THE
Fall
was
of
began
this
at
time
one
Lucifer,
but
work,
great
intended
to
nothing
ever
Balustrade
Marble
(1481-1483)
of
came
the
should
and
in
the
idea.
door,
entrance
be
the
on
the
facing
and
Formis,
in Trastevere
in
thus
too
an
iconographic
he
altered
by
it
to the
in the
for
Michelangelo
He
tradition.
at
so
the
wall
held
Judge
was
ing
fac-
that
to
it
come
and
at
S. Angelo
Cavallini
in
S. Cecilia
Chapel
Sistine
retained
the
Pietro
the
which
Torcello,
Scrovegni
the
on
broken
whence
painted by
was
Judgment
was
east
It is
apse.
the
at Padua.
not
was
Christian
to be
But
chained
idea, indeed,
the
by
but
its form.
Michelangelo's
there
wall
the
by Giotto
of
tradition
old
an
entrance
altar
and
giant imagery
by placing
Moreover,
the
smoke
masterpiece
from
the
has
altar
come
candles
down
and
to
us
darkened
repainted by
here
Daniele
and
da
THE
98
Panel
VATICAN
of
the
Balustrade
(1481-1483)
Panel
of
the
(1481-1483)
Balustrade
THE
Volterra,
by
so
his
who,
had
master
its
Of
in
the
for
of
in
and
are
who
lost,
who
aside
in
though
as
St.
Peter,
In
call
the
centre
dead
the
on
forth
come
high
by
twice
who
have
shore,
where
the
by
the
even
the
giant
whole
the
up
And
closes:
and
the
with
last
green
the
of
so
with
the
final
chain
the'
first
problem
painted
trees
laughter
of
of
land
so
the
and
the
of
of
joyously
smiling
beautiful
judged
hurried
on
with
struggle
now
about
bound
regions.
of
trace
mercy;
the
of
shores
of
his
awful
Acheron
Christ's
to
passion,
terror.
the
life
of
which
by
with
children.
mind
gloom
and
the
Judgment
link
trumpets
towards
eyes
the
on
wheel
be
to
who
single
emblems
state
life, and
his
dark
Sephorah
pain,
and
her
down,
ashore
infernal
smile,
turn
headlong
bear
who
represents
portion
not
hurled
woe,
single
dares
with
upright,
the
St.
demons.
by
boat,
of
Eve,
are
either
driving
stands
judge
turns
lower
about
are
below
accursed
the
those
demon,
trembles
martyr's
angels
and
ages,
the
murderers.
own
and
the
mercy,
and,
her
elect
with
Christ
of
picture
damned
work
and
that
to
his
Mino,
high
of
theme
dragged
the
his
down
fiery-eyed
of
demons
of
sleep
in
is afraid
of
the
the
Creation
of
throned
en-
towards
struggling
piece
wide,
open
or
whole
on
portion
of
black
tail of
speaks
bow
their
one
angels
the
copy
approval
with
around
broken
bend
Tombs
the
the
everything
The
in
Virgin
From
sight.
Bartholomew,
with
crossed
coiled
is not
There
Laurence,
his
face
adviser
gentle
blessed
messengers
as
the
now
his
fire.
St.
after
heavy
of
eternal
preserved
hand
concerned
the
lower
rise.
is there
those
the
to
limbs
Judgments,
his
be
Among
to
the
to
God's
Charon
oar
about
of
of
Paradise,
the
Mary,
Alexandria
of
of
mount
even
St.
Sebastian
St.
and
the
engravings.
wrath
to
the
turn
towards
fright.
Stephen,
Catherine
St.
of
from
medieval
gesture
not
to
few
other
with
seems
the
and
Judge,
in
as
but
them
drag
its
before
he
climb
to
not,
hand,
right
try
demons
beauty
Farnese,
from
and
Naples,
is
Here
his
on
shocked
were
conception
some
Alessandro
indicating
condemnation.
or
who
feelings
the
across
gain
Cardinal
Jesus
glory
in
99
II, whose
veils
can
we
Nazionale
figure
The
Paul
throw
to
form
Venusti
Museo
of
request
dared
CHAPEL
painted.
original
by
painted
the
at
nudity,
much
SISTINE
of
with
Michelangelo
which
he
gave
ing
durself
him-
death.
chain
was
of
the
Peruginoand
the
joy
pictures
charming
of
in
the
idyl
Pinturicchio
springtime
of
Sistine
Moses
among
and
joyous
THE
Hue
PAULINE
Pauline
-;":"f|
built
Chapel,
according
I tonio
I work
as
BBHbhSB
Zuccari
Cornelius
the
St.
Anxious
chapel
to
immortalized
had
The
finished
was
called
master
weighing
were
him
down
it
and
his
fallen
of
profanation
"Braghettone"
by
up
even
all
these
this
old,
creations
of
his
writes
of
Judgment
Biagio
his
"the
finds
hand
his
brain.
an
no
"Fresco
Vasari.
the
In
tragic
anger
mighty
of
that
a
artist
and
who
year
angelo
Michel-
1542,
work.
too,
in
echo
longer
the
overcome
c 101:1
in
1545,
ailments
of
the
whose
the
Aretino
The
work;
own
Volterra,
dling
med-
nickname
in
of
1545,
of
backed
Ceremonies
but
however,
writings
of
Vasari:
to
fix
true
beyond
this
giant
saying
of
by
beat
"
had,
was
of
his
Master
answered
work
years
illness
wounded.
was
of
of
the
did
The
centuries
Papal
He
soul.
sixty-eight
interruption
da
taunts
Cesena,
sorrow
god
his
soul,
succeeding
recalls
of
an
Daniele
; the
de
II
year
given
decorations
the
1546,
appreciation
by
for
tyrdom
Mar-
had
the
Julius
and
caused
his
of
two
the
"
winters
1544
completed
body:
lack
him
regret
and
sublimely
speaks
the
The
in
Fire
the
calling
who
artist
the
for
years.
Borne,
of
in
of
Baptism
and
entrust
tomb
the
Paul.
building.
man.
he
of
So,
new
(Breeches-maker)
Cardinal
growing
man,"
of
won
oppressed
and
regret,
Last
its nudes
with
that
all
the
twice,
labors.
city;
his
old
and
his
last
living
Judgment.
1550
not
were
of
woes
halt
Paul
could
III
in
the
an
St.
his
St.
however,
are,
in
restorer
greatest
soul
Last
him,
until
not
was
master
titanic
now
upon
and
the
decorate
to
was
Paul
but
the
the
IV,
the
of
Michelangelo
Chapel,
none
his
had
by
Sixtus
Pope
Conversion
"
also
did
of
and
There
the
were
1577),
and
once
known
Baptism
importance
critic.
or
chapel
Magus
little
An-
had
Angelico,
about
the
was
Sacrament
Sabbatini,
and
Simon
of
the
painted
Sistine
of
Fall
the
new
(died
Bologna
visitor
chapel
the
to
new
before
the
rival
to
name
his
the
Peter,
the
III,
architect
where
Lorenzo
Stephen
works
either
from
in
St.
the
Centurion,
masterpieces
of
of
painted
slight attention
of
da
the
Fra
by
of
Paul
Pope
by
site
originally
artists.
many
Stoning
Federico
his
of
the
decorations
Lorenzino
after
made
plans
on
decorated
The
called
so
to
Sangallo
da
j Chapel,
J stood.
:%^%b*
CHAPEL
matter."
the
power
mind
the
in
there
modern
real
one
he
was
color
the
of
old
an
is
poet
thing
some-
who
VATICAN
THE
102
The
Conversion
of
St.
Paul
(Michelangelo)
has
Michelangelo
of
scenes
Crucifixion
chosen
of
than
points
In
in
the
with
the
with
the
Venice.
his
around
St.
history
Conversion
glory
same
power
the
horse,
their
of
fallen
Paul
"
heroic
two
of
Way
to
themes
could
the
regarded
as
master
has
fundamental
the
Damascus
two
and
have
the
been
culminating
Apostles.
St. Paul
angels,
that
the
on
be
may
the
walls
more
the
of
problems
of
sight of
which
the
on
No
of
difficult
most
At
Peter.
these, which
the
by
depicted
Christianity
nascent
the
the
rears
leader,
aerial
to
seems
Angel
marvel,
and
while
has
the
unseats
one
once
perspective.
down
swoop
in
the
him.
of
their
The
Christ,
on
by
canvas
affrighted
grappled
more
Apostle
the
Apostle
Tintoretto
cannot
legionaries
number
rounded
sur-
holds
in
trol
con-
gather
by
the
PAULINE
THE
The
CHAPEL
Martyrdom
St.
of
103
Peter
(Michelangelo)
the
bridle
The
of
majesty
pointed
out,
fair
is not
of
through
to
call
nothing
in
the
sort
of
attitudes
in
sees
body
his
different
vision
eternal
skill
infinite
the
can
of
the
attitudes
went
the
beyond
was
affairs
of
Had
he
it here.
it would
have
scenes
like
revelled
in
he
meant
has
nude
to
to
poses
idea.
draughtsman,
the
to
for
nudes
and
of
agree
artist
ever
he
not
sees
drawing
figures in
sky
the
of
knowledge
his
show
into
does
overcome
the
fails
who
Blanc,
it
But
subject
whole
with
has
did.
Michelangelo,
excuse
an
of
Michelangelo's
was
reality, so
as
we
but
employment
excuse
in
even
the
for.
eyes
Burckardt
as
are,
that
had
which
the
human
tortured.
be
may
Far
deliberate
and
anatomy
the
Paul
Michelangelo
things
which,
Nor
difficulties, and
only
wilfulness
choice
of
critic does,
mannerism.
Stendhal
only thing
attitude
German
the
as
the
the
happiest
the
among
hesitate
and
Christ
to say,
horse,
white
wonderful
rid
those
a
meaning.
deeper
them
of
at
least
Just
our
daily
merely
been
in
as
easy
for
disrobing
part of their
to
him
and
deeper
to
choose
Paul's
concreteness,
his
off
show
dwarfs.
by contemporary
By
to
wanted
Chapel
Sistine
the
life
tastic
fan-
His
use
legionaries
and,
as
THE
104
in
the
famous
soldier
of
the
lines
as
and
the
be
the
body
over
of
mirror
all else
may
The
second
be
world
is not
confined
executioners
nailed
head
downwards
the
the
His
is the
noble
The
pain
One
took
own
clouds
It
These
his
two
brush,
body
and
art
of
the
man
through
as
which
in
the
he
idea
and
his
it is
even
at
self.
him-
time
in
four
very
it
saw
to
he
Christendom.
he
was
called
re-
seventy-three
mighty
if the
he
years,
that
of
now,
moment's
by
the
He
with
face
present
age
in
drawn.
bitterness
years,
matter
finished?
work
than
hills
tomb.
twenty
the
What
of
the
down
cupola
At
planned
cupola.
actual
more
of
delay
though
as
Michelangelo
at
as
ceive
re-
nesses,
wit-
is the
his
on
of
so
of St. Peter's.
building
here
beyond
his
is
to
to
gives back,
face
loftiest
the
a
around
weighed
beyond
sky
Peter
prepared
landscape
symbol
more
St.
is marvellously
is built
a
the
In
awe-stricken
are
looks
and
was
that, after
saw
as
wondrous
never
He
forward
been
move
his
artist
unworthiness
Judgment
and
which
he
has
Peter
Last
figure
as
into
1547
the
which
on
blurred
the
happenings.
women
martyred
first, as
declared
horseback
Saviour,
this
cross
hole
is
the
as
actual
his
of
on
Church
his
Bramante's
and
in
was
of
the
above
Michelangelo's
is reflected
dug
inspired.
looked
raise
to
resume
to hold
were
as
things
of
to
group
in
tortured
have
fact,
up
only
minor
triumph
the
There
the
take
triumph
in
to
he
the
and
planning
It was,
of
almost
eternal
was
one
might
Racked
the
of
eternity
the
that
to
and
certainly
must
such
the
to the
newly
men
of
keys
the
to
sight.
figure
the
stoic
"
accessories
"the
interesting
so
raising
and
head
same
gesture,
of
once
us,
attracted
creation
"
him
tells
Vasari's:
all else
more
right
horrible
distance.
the
in
deference
did.
foot-soldiers
at
of
ing
paint-
moved
Vasari
was
motive
of
in
that
such
whole
of
are
the
To
cross.
amused
"
about
reality
network
motives
as
he
lest
quite
in
Christ
as
and
him,
nothing
form
himself
the
exactly
His
individual
The
"
those
as
fearful
in which
picture
centre
die
same
Sistine; and,
phrase
other
thing
though
The
this
vigor.
the
shown."
to have
seems
in
every
the
as
for
and
thoughts.
told
art, caring
genius.
up
the
master
houses,
his
summed
human
of
wall
less
ideal
an
the
were
the
his
of
and
trees
distract
should
end
what
perfection
landscape,
St. Paul
the
on
repeating
perhaps
may
of
stand
strength
loftiest
the
suggesting
curves
Conversion
at work
when
of human
Michelangelo
is for
body
them
make
cartoon,
expression
an
human
the
by
battle
than
VATICAN
pillars
Fates
cut
complete
when
it
last
days
hangs
that
short
in his
in
the
Rome.
such
mighty
frescoes
the
in
crowning
that
thoughts
the
Pauline
works
the
Chapel
of
life
giant's
are
spent
the
in
last
were
paintings
noting
every
spent.
from
move-
THE
and
ment
the
From
awful
he
face
of
world
than
calm
majesty
could
once
gesture
every
reality
caught
PAULINE
so
of
triumph
of
Christ
death
the
to
as
the
the
realm
glimpse.
fix
it
and
the
now,
divine
ideal
his
on
David
that
convinced
of
105
faithfully
youthful
Judge;
unafraid,
to
CHAPEL
he
had
like
his
it
would
of
painted
walls.
arrived
at
dying
own
which
lead
Peter,
from
he
had
the
this
more
APPARTAMENTO
THE
[n August
11, 1492,
VIII,
Innocent
He
be
not
only
far
not
was
well
of
desire
his
himself
at
indulge
his
taste
because,
broken
down
Siena.
It
own
vices
with
which
his
because
as
he
immoral
Giulia
to
lurk
to
to
rich
at
were
of
public
Cesare
nation
indighis
crimes,
his
darker
earlier
shadow
with
amours
in
perpetrated
than
cast
own
had
of
These
hatred
had
orgies
because
indeed
more
his
than
his
Cesare.
son,
him
victims
of
or
find
no
that
his
remorse
and
time
be
In
gave
patron's
the
or
gaiety
the
of
Vannozza
gilding,
in
left
marbles,
most
that
and
C107]
marvel
in
the
of
his
fore,
therethe
ability
desires
"
of
mind
might
memory
Everywhere,
his
ture,
furni-
breadth
and
summoned
proof
satisfy
hand's
space
Alexander
satisfactory
be
resolved
majolica,
eye
recollections.
prevail.
disposition
The
unoccupied
he
would
in
not
untouched.
tiniest
when
that
apartments
painful
must
Vatican
the
magnificent
so
should
repose.
awaken
in
suite
walls
entered
suite
reliefs,
in
hangings;
splendor
who
The
barely
himself
for
splendor,
ceiling
were
his
which
upon
Alexander
had
then,
prepare
in
of
and
he
priest,
for
much
so
ecclesiastical
that
however,
luxuri-
his
throne,
yet
II
to
temperament
the
not
Pius
not
him
Farnese.
Alexander,
of
then
crimes
life.
of
reputation
and,
found
had
indulge
of
part
of
he
was
Calixtus
enabled
pontifical
period,
and
brought
sorrow,
and
the
later
connection
no
the
reproof
him,
the
the
on
to
age
upon
of
Spanish
freely
nation
termi-
the
nephew
which
the
now
bounds,
stern
much
of
had
wealth
could
knew
therefore,
twenty-five,
and
approval
the
a
of
coming
against
aroused
exceeding
dissolute
and
until
not
was
He
of
could
he
exclusively
executed.
age
he
but
when
age
an
of
VI.
that
man;
intelligible,
Very
the
ecclesiastical
in
depend
not
so
year,
by
death
Alexander
of
old
Pope
the
upon
name
an
lived
he
pleasures
like
himself
on
was
over
all
through
called
Pope,
possession
before
even
sixtieth
did
luxury.
something
with
ousness
world,
to
his
at
worldly
him
past
promptly
in
age
for
the
ailments.
Cardinalate
early
an
life
be
plans
the
to
inclined
which
to
his
raised
and
III
that
took
elected
was
assembled
and
that
natural
and
Borgia
had
for
called,
too
Rodrigo
which
Conclave
the
BORGIA
to
artist
prehend
com-
Bernardino
Hall
The
di
called
Betto,
only
shame
in
Rome
dei
the
in
Vatican
the
Sistine
and
in
and
forms.
bas-relief,
of
forms
himself
to
It is
His
but
by
in
he
had
grand
vogue.
revel
as
of
the
the
the
craze
the
animal
and
fever
and
with
variety
confined
for
were
Bufalini
to
of
if not
and
new
he
like
and
grew
revealed,
the
cultivator
of
chiaroscuro,
excavations
the
fore,
there-
was,
because,
so
her
Palazzo
the
He
of
worked
the
enthusiastic
most
art
first
decoration
colors
describe
The
been
in
Belvedere
Popolo.
more
ailing,
lives
already
of
the
ing
hear-
paraded
then
frescoes
del
the
who
had
and
decorated
all the
"
at
were
pictorial
to
and
S. Maria
enriched
degrees,
impossible
then
had
attempts
ancient
in
decorator,
grotteschi,
method,
lively
the
into
joy
wife
Perugino,
executed
of
frequently
Pinturicchio
with
Cceli
chapels
as
vogue
employ
that
Ara
worthless
hard
creature,
life to bring
Siena.
also
decrepit
II Sordicchio),
his
of
Chapel
of
various
much
of
Mysteries
as
all
claws
had
Church
the
and
first to
the
the
little
known
market-place
in
"
in
end
to
of
indefatigably
Penitenzieri,
Chapel
of
sometimes
yet working
others,
Pinturicchio,
II
thus
(and
and
in
VATICAN
THE
108
new
abandoned
gilding.
for
research
vegetable
and
kingdoms
for
were
the
tastic
fancom-
APPARTAMENTO
THE
David
in
bined
Enthroned
crawled
monuments
all fours,
on
and
candles,
As
exhausted.
from
risen
of
the
copied
when
he
Leonardo
strength,
the
inferior
was
been
have
acquired
the
of
in the
and
gift of
personality.
qualities
after
as
by
reputation,
of
of
decorator.
swarm
given
were
from
was
very
Botticelli,
also,
princes,
had
He
he
as
not
liked
the
not
sincerity
that
elegance
other
and
hand,
his
in
crowds
Ghirlandaio.
he
would
would
nor
possessed
vivacity,
genius
and
he
was
was
is
the
able
highest
in
to
never
he
in all their
rich
vanni
Gio-
of
of
he
himself
recognized
perhaps because
and
character
discerning individuality, divining
the
Man
Signorelli's
color,
On
one
mention
to
ideality
the
was,
to draw
as
Dead
(The
possessing
it is clear
he
the
portrait painter
power,
or
and
and
grotteschi,
pale
as
Feltre
who
(caves),
of
name
and
and
stupefied
grotte
picture; but,
from
Domus
Titus,
painters
half
remarkable
far
the
of
light of torches
the
da
Mysteries
of
underground
II Morto
a
the
of
the
called
were
emerged
others
to many
such
them
was
by
feeling, Mantegna's
grace
sought
qualities
form
he
Vinci,
Perugino's
Bellini,
He
chambers
of
Baths
begrimed,
Sanseverino
the
by
labor
nicknamed
was
as
by
Hall
recesses
the
decorations
Pinturicchio
sufficiently proved
some
the
in
The
invaded
their
buried
dead,
da
from
from
That
Feltre).
color.
by
the
copied
these
Luzo,
Lorenzo
of
were
out
came
ornamentations
and
riot
identified
been
has
buried
other
Door
joyous
wild,
one
which
Aurea,
109
BORGIA
as
have
degree
tumult
lacking
depicting
such
produce
external
an
art
110
THE
VATICAN
APPARTAMENTO
THE
BORGIA
Nativity
The
Hall
magnificence
in
abounding
but
of
smiles
in
he
work,
of
in
returned
the
his
return
was
Any
to
his
who
one
now
about
two
painting,
The
certainty.
mediocre
from
of
the
the
immense
must
To
presided
over
was
the
astonished
by
in
derived
perhaps
exception,
one
examined
from
guiding
detail, shows
from
Perugino,
still
because
the
been
more
distant
single
hands
brain
of those
the
Pinturicchio
having
broiled
em-
of
charge
the
tion
decoraunder
for
cathedral,
their
of
work
it
in
Signorelli
climes.
done
him
methods
with
good
and
The
conceived
who
partament
Ap-
about
different
of
the
all
was
identified
traits
he
1494.
gathered
by
the
shelter
in
end
that
distinguished
him
won
clamored
of
while
with
we
angrily
learn
to
ornament
over
amount
it, Pinturicchio
who,
in
Taking
begun
the
of
but,
to take
complete
preserved,
work,
Orvieto;
Orvieto
had
at
artists, hints
whole
he
looks
never,
or
frescoes
Vatican
work,
Tuscany
of
people
which
Pope,
authorities
able
art
that
was
1492.
the
assistants
have
thus
was
in
years.
of
number
in
the
an
"
wealth
it
became
of
with
work
be
it
splendor
November,
the
the
complete
to finish
Borgia,
in
in
when
in
Cathedral
and
Rome,
please
to
Borgia
there
Appartamento
Pope's protection
able
Rodrigo
lawsuit
to
the
for
This
the
painting
himself
Mysteries
calculated
heart.
When
princes.
the
meretricious,
of
poverty
engaged
was
call
to
venture
may
covered
of
and
111
executed
any
and
of
others
unity
it all and
it and
THE
112
VATICAN
The
Hall
when
retouching,
into
the
result
merit
the
that
given
Hall
time
are
the
of
Arti
Liberali,
Sala
considerable
the
However,
The
two
of
other
the
uplifted
ox
passant
walls
portions
latter, facing
in
are
he
with
garland
the
four
window,
with
the
green
in
accept
and
by
the
Sala
second
great
spaces,
arabesqued
the
and
in
two.
it into
to simulate
in his
holding
gold
fretwork,
and
In
ones.
bearings
of
these,
last
large
two
gold,
did
dividing
armorial
a
delle
whole.
stands
bend
the
Credo,
Sala
the
is made
angel
the
first of
in
arch
decoration
an
of
the
none
lunettes
Mysteries,
Pinturicchio
in
to
recently
names
Santi,
directed
a
the
decorated
Hall
dei
on
attributed
the
the
Borgia-Doms
the
of
Hall
third, and
small
the
care
with
chambers
hands
own
the
The
it
personal
him,
been
Sibille).
delle
his
have
Arts,
Misteri,
in which
corbel
with
the
spanned
decorated
foliage surrounding
with
the
we
indispensable
recognizing
it.
shall
conceived
is
Mysteries
lunettes
hands
with
little in
repeat,
the
rectangular
two
The
must
of
work
very
work
the
Liberal
Sala
Credo,
of
second,
we
Hall
one
del
of
dei
(Sala
Sibyls
amount
in
much
the
in
bring
to
as
so
every
Stevenson:
the
this
critics
and
of
painted
that
animated
and
and
had
from
glory
Hall
the
Saints,
the
be
away
the
and
Ehrle
by
Hall
and
It may
five in number,
them
to
of
they
guided
conceived
spirit which
the
at
that
took
have
might
which
quality
rest.
Pinturicchio
of
part
the
Mysteries
the
what
necessary,
with
harmony
Ascension
of
"
an
and
azure.
and
gilded
show
num
THE
APPARTAMENTO
BORGIA
113
114
THE
VATICAN
The
Hall
ber
of
and
and
The
is enlivened
of
bearings
garlands
shower
gilding.
figures,
Solomon,
of
little
In
very
and
wall-veil
badly
and
done,
of
David,
is
within
and
varied
placed
work
tiara,
in
in
every
pellets
disc.
These
Jeremiah,
of
some
of
in
the
of
the
interspersed
falls
wax
golden
covered
with
show
half-
discs
Joel, Micah,
Umbrian
reliquary
and
designs
everything
over
this
and
way,
objects
sacred
are
papier-mache
flattened
Zephaniah,
the
cornice
the
and
which
triple-crowned
above
stucco
Borgia,
compressed
each
Isaiah
painting
with
the
Mysteries
niches
tabernacles;
and
the
plates,
vases,
"
bell.
halls
heraldic
with
furniture
small
other
of marble
representations
church
Resurrection
of
who
Malachi,
seems
to
APPARTAMENTO
THE
Details
from
followed
have
the
dwelling
upon
(Presepio),
of
church
Sala
the
it is
before
Sistine
with
this
as
pointed chins,
folds
of
these
produce
without
their
Signorelli,
But,
executed
again,
the
the
old
master,
Pinturicchio
the
violent
and
appeared
great
feet
and
the
and
the
in
than
ten
the
decorated
of the
and
inflated
joints
however,
derived
Holy
faces
youthful
heavy
works,
other
character;
dislocated
evidently
pomp,
the
more
Coming
The
with
The
effect.
the
the
beneath
On
who
hand.
in
by Perugino
Tuscan
this
Nativity
Nativity
much
masters
and
another
if rugged
supplied
of
not
at
painter,
same
Albani.
Villa
for
adjacent
Nativities
somewhat
buried
hands
above-mentioned
the
Ascension
of
solemnity
as
in
to the
men
the
well
the
had
the
work
somewhat
sublime
who
The
the
Pinturicchio's
has
Magi
in
recalls
and
assistant
an
garments,
certain
while
the
artist
evidently
are
of
Then
Chapel.
Ghost
Perugia
as
is not
it is not
see,
may
Foppa.
motives
time
Popolo,
one
any
Of
worth
are
characteristics,
of
disciple
at
some
as
two
Annunciation
The
Umbrian
Romano.
only
spaces,
master.
Umbrian
same
del
Cambio
by
any
mean
the
at
Adoration
perhaps
years
and
the
Lombard,
exclusive
S. Maria
del
the
hand,
who
would
the
fact, keeps
better, Antoniazzo
or,
it reveals
of
work
Lombard
period
in
of
work
Mysteries
semicircular
the
for, while
is it the
nor
the
as
Pinturicchio's;
his,
adorn
which
frescoes
the
di Lorenzo,
Fiorenzo
Resurrection
the
of
Hall
115
BORGIA
are
from
all
"
not
Luca
uncouth.
designs
paintings,
direction
and
his
own
hands
to
those
worked
THE
116
only
of
figure
St. James
of
Pastura,
is the
of
sleek,
the
now
the
his
is
Calixtus
of
the
of
room
of
"
the
of
VI
ander
this
hard,
iazzo
interesting
very
ly,
the
models
the
that
the
master's
per-
mitted
The
Pope,
which
The
triple-crowned
are
encased
the
from
the
too,
type,
in
rough,
fierce
ground,
risen
are
Christ.
the
is
Saints
this
Pope
artist.
plump
the
soldiers
startled
that
on
himself
who,
by
the
time
and
These
wide
there
of
this
also
the
gray
of
the
full
It
man.
we
with
take
wine
commotion
actually
lips
that
worthy
of
suggests
and
deduce
"
of
from
the
are
place
and
beard
platform
may
the
is
studies
the
face
the
youthfulness
figures
were
the
they
contour
but
and
mounted
as
the
living
the
with
three
the
sprawling
about
set
are
joined;
with
way
extraordinary
"
extreme
sodden
hands
is
border
ground,
hands,
nose,
also
sudden
his
no
with
head,
hooked
Portraits
grace
has
in
on
the
conventional
not
are
light falling
the
him,
He
character
painting.
At
before
mitre.
brocade
gold
Child
to interfere
as
They
hair,
costumes,
youths
the
luxurious
the
the
and
the
are
that
for
posed
as
the
that
thought
their
so
cropped
reveal
truly
note,
the
gems;
thin
fingers.
life, just
of
and
tiara
gloves
shapely
and
of
and
pearls
the
of
right,
of
in
Madonna
Hall
by
a
touch
to
openSepulchre.
of
riot
no
kneeling
the
to
the
is
in
sons)
such
be
surrounded
im-
ins
(Alex-
could
mantle
Pintu-
are
deed,
was
adoring
the
ures,artistically
but
His
figure
Romano.
In-
facing
all
like
hand
and
rooms
This
other
them.
the
which
and
picture
right
represent
master.
iconographicalportance
II
who,
the
in
and
ricchio's.
robe,
of all the
fig-
other
called
III.
and
Anton-
beautiful
the
see
to
to
"
Resurrection,
the
work
the
denied
"
red
kneels
joined,
and
namely,
"
Christ
hands
son
masterpiece
in
the
Pinturicchio's
assuredly
enveloped
we
Viterbo,
and
of
The
of
on;
is said
Borgia,
Borgia
figure
heavy
work
the
to
with
of
but
In
Heaven
to
Massaro
man,
figure
Francesco
come
the
speak
and
This
Appartamento
except
is
hair
flowing
del
later
beardless
old
Resurrection.
the
ascending
Mary
Antonio
of
and
Virgin
of
that
shall
the
treasurer,
We
in
we
of
Sepulchre.
papal
of
whom
figure
with
and
characteristics
pictorial
the
of
Assumption
the
on
VATICAN
grave
usual
on
of
Alexander
the
the
And
Catanei.
strange
the
always
is
real
and
about
age
The
youth,
the
handsome
ground,
of
shadow
figure is
within
of
that
all in
dressed
was
his
then
dead,
youngest
Giorgio
ricchio
has
the
Vasari
painted
of
the
but
of
image
cuirass
Pier
surviving
writes
"the
yet
remained
who
of his
Lady
the
that
youth
years
his fair
hair,
the
colors
this
at
was
later
very
to
heraldic
old, which
from
was
dered
mur-
the
second
with
eighteen,
is gentle
fallen
upon
him.
Jofre,
then
twelve
is broken
Luigi,
his
and
over
the
He
left breast,
fourth
ineffaceably imprinted
on
the
strangest
old.
years
on
for
serene,
But
his
Alexander's
left knee
is
and
son,
who
the
heart
brothers.
"over
Giulia
The
died
in
picture
(the
four
who
Saints
about
blond
his
but
of
the
blue
years
about
countenance
not
gentle,
armor,
appears
the
His
crimes
of
Hall
youngster
is Cesare.
twenty
judging
Tiber;
the
into
thrown
over
who
in
Luigi,
unnoticed.
turquoise
and
Giovanni,
of
even
Vannozza
by
sons
Pier
place
passed
is evidently
Borgia),
see
117
four
his
how
found
red
in
right, dressed
the
time
old, has
years
which
way,
extreme
of
five
of
three
presently
shall
we
about
when
Lucrezia,
besides
Rome,
in
VI
BORGIA
APPARTAMENTO
THE
the
Farnese
door
as
of
a
one
chamber"
Madonna,"
Pintuand
in
the
118
THE
frame
same
the
Alexander;
simply
but
of
one
which
show
he
of
painted
in
much
in
in
the
the
in
of
been
the
but
her,
be
to
we
see
the
with
round
be
to
Vatican
in
Tomb,
he
the
adoring
the
To
hers
halls
Madonna
shown
Pope.
adoring
While
rising from
faults
portrait
of
caused
fresco
the
of
his
act
Madonna.
this
Farnese,
the
less
painted
as
the
once
Giulia
caused
are
proofs
many
of
had
neither
Pope
tion
largely imagina-
audacity
sure,
lover
of
words
exaggerated
the
be
the
how
has
and
head
Vasari's
VATICAN
Christ
the
the
him
scene
Infant,
frame
in
can
discover
the
The
Hall
of
the
but
nothing
but
sweet,
As
most
the
Saints,
we
the
usual
altogether
have
work,
Hall
we
of
said, it
Pinturicchio
conventional
beginning
the
in
was
with
Mysteries.
the
the
Amid
of
type
Madonna
Hall
of
the
Visitation,
all
Saints
with
to
those
of
each
the
Madonna
who
meet
to
St.
desert,
the
Paul
the
to
time
of
even
are
Paul
the
of
the
saints
The
the
brought
down
and
which
them
haps
per-
hermit
steep
in
icono-
two
bread
to
the
Hermit
lasted
against
sharing
by
rock,
has
the
Hermit
1
Haii
is
St. Anthony
the
Velasquez
later.
saints, seated
been
which
St.
embrace
simple
faithful
motive
graphic
figures,
and
picture, showing
and
the
manly
wo-
beauty
and
More
in
heightened
central
two
is
and
upon
give
the
other.
adjoining
children
intimate
an
"
there
beauty
the
to
Elizabeth,
for
intent
seems
relief
did
familiar
women
which
master
suitable
splendor,
intimate,
scene,
the
more
its architectural
tasks
St.
delicate, gentle,
that
subject
young
and
Saints
"
this
Anthony
the
of
type.
an
St.
Visitation
Hall
raven,
"
which
"
is
seen
cleaving
.,
the
Detail
from
St.
Anthony
Hall
of
and
the
St.
Paul
the
Detail
Hermit
from
the
Hall
Saints
The
of
Martyrdom
Hall
of
119
BORGIA
APPARTAMENTO
THE
the
St.
Sebastian
Saints
Martyrdom
of
the
of
Saints
St.
Sebastian
120
VATICAN
THE
St.
Susanna
Hall
air
his
look
and
closely,
Critics
demonesses,
brush
him
fresco
nothing
you
their
appear.
of
will
in
general
still less
but
Pinturicchio;
interesting
representing
is
his
the
except
technical
and
general
St.
bloom
the
of
seductiveness.
sprouting
sharp
unwilling
of
idea
much
more
the
that
us
fine, broad
falcon
the
three
mild
the
to
assign
than
reason
in
heads,
the
from
compels
St. Sebastian,
"
of
claws
come
you
their
to admit
saints,
examination
with
from
which
to
in
and
youth
If, however,
feet, the
austere
in allusion
Anthony,
horns
been
two
Martyrdom
the
behind
in
are
of
have
work,
Saints
and
grace
the
the
the
women
there
skirts, instead
and
this
of
find
Elders
and
But
three
are
full
gesture
below
and
forest.
to the
there
temptation,
aspect
to
back
its way
on
of
the
perhaps
composition.
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Flight
and
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rather,
figure
resembling
of
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speak
painters
at
Cergneto.
seated
presently,
on
when
the
we
"
saint
Alone
ground
shall
iiiinTiiji
ii.iiiuii.i
Martyrdom
of
the
of
who
are
with
have
oiiii
.11.11
11
it'iiih 1
1x1
Barbara
revealed
worked
shows
and
St.
i" d
Saints
Perugino's
arrow-pierced
by Perugino
a
the
perhaps,
121
ii.imiurii";("'i"
The
Characteristics
BORGIA
APPARTAMENTO
THE
its
apart
here.
seen
legs crossed;
occasion
In
to
that
of
"
the
painted
singular
but
to refer
painter
particular,
relationship
is
the
by
figure
this
we
to other
of
shall
Turkish
figures.
All
the
the
rest
St. Susanna,
of
the
the
pictures
in
St. Barbara,
this
the
hall
St.
are
the
work
Catherine,
and,
of
on
the
master
the
"
ceiling,
THE
122
of
histories
the
of
Argo.
its
with
of
with
the
but
palace
cool
the
the
Susanna
and
worth
two
story
painted
that
the
blue
afterwards.
added
was
self,
it-
attitude
the
had
nude,
robe
enter
by
The
Pinturicchio
that
to
refutes
elders
two
the
people.
the
that
noting, too,
of
fountain
is attacked
she
of
judges
of
of
waters
when
villa
about
centre,
some
Susanna
period.
in the
stands
on
lonian
Babyof
that
delicious
or
Renaissance
the
and
resting
Joachim's
garden,
rich
magnificent
placidly
is not
grass,
hedges
basins,
three
animals
the
the
and
Susanna,
and
paling
bushes,
rose
of
garden
gilded
fountain
Isis
Osiris, of
The
VATICAN
It is
painter,
our
Detail
usually
by
no
expression,
has
known
only
life
into
to
put
salaciousness
show
fulness
in
even
"
his
with
fleeing,
which
takes
tower
to
One
escaped.
interesting:
of
is
her,
into
turn
puta,
sought
she
between
however,
and
white,
and
caused
the
youth-
of
the
St.
bara
Bar-
streaming.
heavy
chokes
through
punishment
like
and
to that
shepherd
in
shepherd,
greedy
pictures
two
hair
fdled
episodes
of
of
figure of
Saint
crack
demands
become
to
the
wide
little
the
next
is the
be
to
that
Saints
beauty
drapery
of
to
tower
it up
open
which
she
"
it,
in
raculously
mi-
background
the
direction
for
his
is
of
betrayal
around
him,
and
admired,
is the
Dis-
sheep
stone.
or
brought
as
beginning
which
large fresco,
The
the
flight, and
daughter's
his
of
the
feminine
her
space
the
and
the
of
pleasing owing
so
the
father
Barbara's
indeed
clasped,
of
Trinity,
the
Graceful
Martyrdom
Barbara
expression
an
and
in
windows
three
the
give
to
This
pleasure
is not
however,
has
allusion
hands
two-thirds
up
which
Hall
but
and
Flight
St.
faces.
took
saints.
her
composition,
The
in
VI
the
not
scene,
senile
the
to
Alexander
that
how
the
from
in
strong
means
Disputation
of
by
the
together
for
the
preference
born
was
the
at
the
St.
the
Pope
lighted
this
city
had
Saint
there
and
chosen
most
that
by
shown
may
of
fifty philosophers
the
Maximinus.
Emperor
for
and
with
Catherine
Alexandria,
of
name
that
is best
be
the
Alexander
It is
as
the
been
VI, and,
connection
suggested
Pope.
St. Catherine
has
reason
our
opinion,
natural
pa-
APPARTAMENTO
THE
to
troness
The
scene,
whose
special protection
which
is
takes
Disputation
more
which
among
held
in the
spare
by
also
in
sides
thus
Saint
The
the
of
of
Hall
in
engaged
horsemen
discussing.
with
expedition,
his people,
been
with
the
with
the
Several
and
art
perhaps
held
like
not
superb
Borgia
things
critics.
long
the
to
seems
right
have
halted
of
to recall
before
to
for
and
the
chief
book
moment
foot-soldiers
from
on
the
great
triumphal
of
Court
and
Catherine
architecture,
the
and
hunting
throne
rounded
sur-
is saying.
costumes,
festivities
coronation
the
with
his
to what
landscape,
posterity
this
attendance
"
sight of
the
at
seated
Emperor,
effect
in
out,
is at
returned
listening attentively
truly marvellous
colors, intended
had
is
become
the
Catherine
on
unexpectedly
left, the
the
on
by
It is
has
"
The
Saints
the
group
greyhound
and
Maximinus;
The
St.
their
Keys.
figures,
pointing
Saint
the
which
Constan-
which
groups,
a
is
who
the
the
and
into
arch
of
few
of
that
this
for
children.
valley,
like
arch
room
his
over
spirited
Sage
passage
Disputa
commend
stretches
Conferring
two
leaving
and
the
page,
his
in
123
introduced
have
to
Perugino
the
the
are
should
Roman
great
a
seem
middle,
graceful
near
towards
cluster
figures
place
notably
compositions,
he
plentifully peopled,
painters
Other
tine.
BORGIA
of
which
Alexander,
arches
adorned
device.
in
In
this fresco
the
first
have
place,
we
engaged
must
say
the
attention
that
Vasari's
of historians
observation
VATICAN
THE
124
Details
from
the
Hall
Details
from
the
Hall
Disputa
of
the
Disputa
of
the
of
St.
Catherine
St.
Catherine
Saints
of
Saints
BORGIA
APPARTAMENTO
THE
125
*$"'..5"
The
Detail
artistic
the
on
in
more
even
he
made
the
great
heresy
of
shadow
should
this
sagacity,
painting,
Janissary
seem,
as
point
of
which
the
watching
Seitz
says,
fact, they
Pinturicchio,
which
the
Gentile
to
have
have
when
Bellini
in
this
in
"jumped
"jumped
in
made
the
come
in
figures
the
and
ings
buildward
for-
more
in
size
"
instances
some
the
figures
worthy
as
figures
which
foreshadowed
out
which
during
took
a
residence
of
seen
in
seated
which
world."
another
them
the
it is
figures
"
of another
of
out
are
by
Sebastian
St.
here
here
St. Catherine,
light.
painted them,
had
that
reflection,
of
martyrdom
size
parts of
on
the
already
were
depicts
increased
are
true
of
history
be
to
seems
ones,
front
in
eye,
Oriental
different
he
the
falls
and
still than
in
Pinturicchio,
by
and
stand
certainly
buildings
foreground
are
and
to
It is
"a
says,
relief
diminished
are
Saints
the
introduced
in
figures
according
stucco
the
of
neighboring
Rome
the
art."
our
interesting
more
Vasari's
the
in
appear
in
Hall
halls," he
which
which,
those
Osiris
the
the
in
of
arches
things
those
than
But
the
of
reliefs
the
said
the
that, while
manner
behind,
very
in
represents
such
of
than
picture
of
Death
Ceiling
the
impropriety
this
just. "Having
in
from
In
world,"
from
at
the
cause
be-
ings
draw-
Constanti-
126
THE
Detail
Hall
from
of
the
the
Ceiling
Liberal
of
VATICAN
the
Fireplace
Arts
in
Liberal
The
Hall
of
the
Liberal
Arts
the
Hall
Arts
of
the
Grammar
Hall
that
nople
They
as
early
as
originals
Louvre,
use
and
but
Siena.
allusion
the
of
also
not
for
It is not
to
uncertain
some
of
part
individuals,"
of
the
Arts
1479
and
Institute
only
those
of
improbable
particular
conjectures,
at
for
the
Piccolomini
that
historical
British
such
personage,
iconography
the
the
Museum,
the
Library
Oriental
1480.
Pinturicchio
of
frescoes
of
either
and
century,
the
part
by Angiolello
Frankfurt-am-Main.
these
Turkish
latter
mentioned
sixteenth
in
the
to
are
still preserved
are
Stadel
them
Liberal
the
latter
beginning
copies
or
and
Borgia,
of
the
the
"of
drawings
are
made
from
lasted
of
Appartamento
in
the
Cathedral
figures contained
but, apart
has
made
from
an
various
little prog-
128
THE
VATICAN
THE
APPARTAMENTO
BORGIA
129
Arithmetic
Hall
of
Hall
of
the
Liberal
Rhetoric
Arts
Hall
of
Archaeology
the
Liberal
Liberal
the
Arts
Music
Arts
Hall
of
the
Liberal
Arts
THE
130
ress
the
see
towards
identifying
Disputa
of
the
on
another
Djem,
his
attempt
would
fain
here,
figure
the
their
to
those
who
is
Borgia
Saint
not
Next
to
it may
perhaps
writer
has
one
of
his
this
the
work
learning
Grammar,
the
Moreover,
keep
pace
took
usually
hence
to
merge
there
where
with
him
and
so
and
of
is
one
confine
as
their
they
are
products
engaged
themselves
to
his
together,
on
manner,
the
color,
and
same
rally
natu-
tonality
same
the
to
painter
one
from
the
another.
work
or
in
In
difficult
of
who
type
figures
to
spirit, all
predominating
metic,
Arith-
modern.
brush
in
in
fications
personi-
and
which
and
school
same
greatest
formed
rule, very
Artists
the
harmonized
already
and
the
work?
the
one
long
one
where
say
variety
the
feeling,
same
up
from
being
to
to
as
artist
fied
identi-
which
emblems,
and
it is,
and
the
Geometry,
artists, ancient
due
possible
another's
and
is
present
accordingly,
see,
Astronomy,
instruments
the
decorations
quadrivium
We
Ages.
collaborators
many
it
and
Dialectic,
of
that
the
years.
Arts, and
question
of
scheme
trivium
Middle
and
portion
is
and
seek
and
by
coming
locality
the
personages
indeed,
besides
in
the
thirteen
discerned
beyond
"
The
the
Credo
Liberal
the
first
have
of
Ceiling
the
impropriety
to
hall.
of
Hall
without
admitted
appropriate
which
the
comes
here
this
the
of
scarcely
period
this
collaborators
in
from
Hall
at
Rhetoric,
with
executed
determine
stopped
Saints
in
of
learned
How,
was
the
"
of
Detail
does
who
is found
anteroom
the
by
Pinturicchio's
Music,
of
Lucrezia
remarked
collaborators
basis
the
placed
generally
been
of
be
surely
of
be
some
here
girl
Hall
is
greater
that
which
a
the
he
is accorded
represented
represent
trait
por-
that
is to
hold
figure
"
his
No
than
opinions
torians
his-
and
foot.
on
however,
credence,
in
find
horseback,
on
figure
man
Otto-
brother,
holding
some
in
and
critics
art
Bajazet
time
the
his
II, the
hammed
Mo-
country
own
wrest
from
sceptre
the
his
to
that
of
son
that
at
was
from
Italy, exiled
near
fact
the
Zizim,
II,
for
view
Recalling
called
we
left, and
the
full
in
In
back,
horse-
on
on
Turk
Saint.
the
Turk
Albanian
an
them.
Catherine
St.
right
VATICAN
same
work.
endeavor
even
to
when
THE
BORGIA
APPARTAMENTO
Astronomy
Hall
Another
Hall
of
in
the
the
Liberal
Arts
Appartamento
Borgia
131
132
VATICAN
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altogether
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for
great
Liberal
Arts
in
this
the
the
promptly
accepted
Arithmetic
work
In
last
himself
the
upon
is
altogether
elegant
decorative
lunette
are
Prophet.
composed
in
world,
so
one
read
those
are
such
verse
was
great
on
of
the
of
the
to
way
the
the
one
and
haps,
per-
in
that
II Pastura;
in
agrees
now
of
the
Virgin,
who
Astronomy.
Venturi,
Grammar,
Geometry
Dialectic
be
which
called
and
the
probably
as
of
one
to
It
give
artist,
be
or
one
has
its
hand
that
of
them
of
them,"
us
of
whoever
the
in
painted
Tiberio
of
advised
ceiling
in
each
other
of
Credo
verses
these
the
it,
be
as
in
hall, there
last
which,
Grammar,
"let
of
may
figures,
Assisi.
was
article
one
him,
own
evangelize
to
and
next
that
and
the
which
that
its
the
wrote
his
but
on
legend,
separated
to
name
and
Apostle
appears
everything
devices,
Borgia
to
seems
of the
would
aims,
the
an
one
each
scrolls.
decorative
of
medieval
work
Here
Credo
by
constructed
tower
his
they
each
to
the
conception.
usual
before
that
which
by
Hall
"according
indications
Sibyls,
Mysteries
Pope, Pinturicchio's
given
and
attributed
Venturi,
degree
cannot
moment
Assumption
in
directive
figures,
manner
flowing
included
The
Apostles
Sibyls,
considerable
according
of
absent.
since,
the
by
mitted
per-
fleeting,
are
such
every
Assisi, and
became
direction
half
which
Viterbo,
indicated
are
he
as
the
motives
two
And
the
been
personality
the
and
"
has
certain
them
bring
L'Indaco.
soon
in
except
more,
still turns
hand
as
of
and
of
with
one
of
and
next
halls, which
two
Hall
Rhetoric
Tiberio
of
called
Jacopo,
the
Borgia
no
works
as
of
the
was
and
artist
an
his
Massaro
Ghost
Holy
hand
own
traits
it
certainly
view,
our
in
And
del
are
Music,
latter
his
groups
out
in
played
of the
Coming
in
flashes
his
with
inevitably
by Antonio
hall
Saints
whole
revealing.
part
former
the
"
and
and
the
revealed
of
clear
the
If, however,
and
then
but
of
parts
figures
breadth,
suppressed,
but
Hall
another.
one
upon
and
the
various
the
retouch
not
in
^!
-ff
Hr
iA.
'i
In
the
himself
tion
selecbe
JS
C 133
and
of
dress
from
by
from
the
The
and
figures
the
which
subjects
passage
is
ceiling
taken
are
Frieze
the
Osiris
device
the
on
settings,
of
the
crowded
Venus,
Through
Mercury,
Signs
the
with
he
displayed
of
the
human
an
Zodiac
set
are
which
presided
and
armillary
Janus
the
are
works
received
appearance
each
the
Prophets
which
appear
did
it
his
on
glorify
Apollo,
the
emblem
clouds,
favored
actions
the
the
by
and
their
justice, piety
into
Latium;
below
logical
astroof
by
gon
octa-
Astrology.
love,
Venus,
The
unfolded
influences.
and
urn,
Sat-
dragons,
another
are
and
octagonal
chariots
In
of
Isis
under
drawn
respectively.
the
in
displays,
proceed
and
of
histories
terrestrial
horses
of
the
Saints),
heavens
him
drew
besides
For,
and
mythology
or
but
invent,
not
being
one
Alexandei
as
the
sphere,
among
"did
legends
of
Diana
Jupiter,
activities
after
of
the
of
Saints
(just
Hall
the
representing
scenes
influences.
the
the
of
one
artist
Egyptian
of
Borgia
ceiling of the
oracles
from
Portrait
Hall
ox,
the
which
particularly interesting.
from
showing
in
use,
is described,
analogous
the
here
But
popular
in
Testament."
an
New
books
these
scrolls."
[Sibyl]
each
accompanied
text
then
little books
the
by
guided
the
VATICAN
THE
134
Saturn,
over
with
which
Love
THE
dart, watches
the
speeding
himself
devoting
entrusted
matters
looks
Apollo
artist
The
That,
as
of
Pope
soon
other
chambers
stand
designs
work
perished,
gallo
in
the
great
were
scattered
the
artists
of
Castel
the
acquired
had
Rome
watching
is
the
proved
Lastly,
in
direction
the
fact
frescoes
Pope
by Antonio
was
destroyed
all
left
they
methods
have
its
order
this
at
decoration
territory
works
San-
da
by
of
the
frescoes
enthusiastically labored
and
of
that
with
These
festive
cussion.
dis-
Perugino.
sole
by
Peter's.
this
of
dog
battle;
engaged
decorate
to
other
souls."
astrolabe,
Angelo
master's
where
dwellings,
S.
with
is
under
for
hunters,
"great
some
St.
of
follower
him
who
throughout
and
was
constructed
of
The
and
work
the
VI
Courtyard
hall
tower
great
VIII.
Urban
the
and
pass
cury,
Mer-
number
Mars
completed
Alexander
lovers, while
the
of
under
commissioned
on
since
churches
fishermen.
assemblage
fully satisfied
afterwards
Jupiter
Moon,
these
the
whole,
Pinturicchio
of
on
of
overlooks
quiet
astrologers
and
geomancers
135
couples
only,
Under
the
under
various
over
him.
down
BORGIA
students
to
to
and
falcon;
and
APPARTAMENTO
in
paint
to
ascribed
commonly
to
Pinturicchio.
As
of
tempest
as
point
of
the
Later
nail
knife
or
and
were
and
palace,
in
that
1816
had
understood,
France
the
halls
quarters
there
them
of
Treaty
of
during
for
Cardinal
Mai.
Angelo
soldiers.
during
officials
It
period
clave,
Conof
only
was
then
IX,
from
finding
them
replaced
there
the
was
returned
Pius
the
halls
the
restoration
remained
This
of
the
of
or
pictures
and
pictures
with
years
Week.
as
later
made
time
that
use
Holy
the
the
minor
restored,
amid
straightway
servants
the
to
up
At
the
by
cells for
be
to
Vienna.
removed
that
of
given
were
blood
was
from
abode
accommodation
dark,
too
of
library
the
caused
afford
to
after
VII
the
of
inscriptions
and
to suppose
us
number
they
lake
Vatican
the
there, dating
become
into
their
Pius
found
in
set
in
Scratches
leaving
had
still later
who
suite
are
divided
had
Borgia
place accursed.
Appartamento
they
the
Alexander's
early Cinquecento
of
of
star
curses,
abandoned
the
the
as
soon
the
by
until
the
day
when
it seemed
cleared
public,
of
the
our
Leo
XIII
which
power
to assuage
the
of
Cesare
the
to
witness
melted
anger
away,
Borgia
the
ruin
but
to the
back
of
place
Appartamento
thoughts
the
graceful
from
of
his
dreams
and
presents
terrible
of
paintings
the
calm
VI
on
or
All
and
the
to
built
tower
Pinturicchio
opened
smiling
when
hours
fortune.
own
solemnly
ought
to
to
be
the
1897.
March,
grief of Alexander
when,
the
in
Borgia
Appartamento
restored,
took
travel
the
that
encumbrances,
all
event
an
To-day
but
to
his
the
walls
lessen
by
remain
splendor
had
the
no
of
for
of
longer
paroxysms
he
had
glory
had
his father,
dreams
aspect,
ever.
"F*ite
Alexander
abhorred
still is
and
was
Angelico.
to
rooms,
Andrea
to
the
work
between
also
and
Signatura,
mantino
and
and
Lotto,
Lorenzo
decorative
entire
the
come
to
Rome
harsh
on
the
part
and
his
companions,
his
create
art
of
the
human
and
at
the
but
in
the
in
in
the
Hall
of
in
the
he
were
new
of
Raphael
recently
have
been
elderly
gino
Peru-
Raphael
to
Bra-
dismissed
had
the
the
with
It may
birth
of
Hall
of
dismiss
gave
figures
Antonio
Heliodorus.
who
old,
gave
ity
Trin-
the
were
hands
Pope.
to
so
with
them,
years
the
act
of
Fire
together
the
by Raphael
painted
men
autumn
allegorical
roof
in
with
doing
destroyed
Giovanni
Satan.
Pope
Pope's
The
be
the
roof
masters,
over
Rovere
Delia
been
has
such
the
of
the
the
put
won
once
these
by
to
In
the
roof
twenty-five
once
Stanze
of
by
was
at
chance
in
era
new
to
the
for
triumph
mind.
as
with
the
Signatura
and
began
the
library of Julius
been
rapture
only
of
the
and
Raphael
has
had
masterpieces.
Italy,
known
man
young
works
that
worked
who
to
Fra
by
work
"
these
scheme
hardly
Urbino,
1509
there
Francesca.
between
the
where
opinion
masters.
rooms
the
V,
frescoes
these
Vatican
of
worthily
his
della
painted
of
set
decorate
Piero
on
rooms
frescoes
with
important
Peruzzi
his
up
portion
though
tempted
beginning
the
Vasari,
Christ
Sodoma,
II
as
of
to
the
Apostles,
spoke
architect,
groinings
Christ
Baldassarre
the
towards
But
the
everything
chapel
caused
of
the
Nicholas
by
modern
by
one
painted
Twelve
known
Bazzi,
In
that
the
and
II
works
Justice,
and
Julius
in
artists
many
Bonfigli,
began.
the
Grace
already
new
Perugino
"
believe
it that
for
room
Borgo
of
have
will
make
1508
had
Castagno,
del
Vasari
together
to
in
glorious
Bramante,
get
are
we
contested,
recently
as
if
which,
and
occupied
formerly
living
gave
took
VI,
above,
floor
next
Palace
where
Borgia,
Appartamento
up
II
Julius
26, 1507,
|n November
the
RAPHAEL
OF
STANZE
THE
ever
as
the
II.
since
work
that
esthetic
ideal
he
the
breathes
its
own
have
art
early
as
created
of
wonder
of
to
seems
Therein
the
which
room
been
one
lovers,
spirit of
but
age,
eternity.
C 137
of
and
all
1513
as
intended
his
already
was
as
private
the
which
masterpieces
has
time
breathes
inspired
and
a
pages
expresses
very
breath
of
not
of
138
THE
The
Hall
VATICAN
of
the
Signatura
To
Signatura
must
we
the
on
mosaic
stand
and
surrounded
(Diuinarum
and
holds
be
to
is
Disputa
throne
supported
tomes
be
shown.
her
on
Prudence
absorbed
Poetry
in
afire
Justice
In
the
Trecento
deep
figures
left
is
suum
the
Moralis
lyre
Below
these
figures
Quattrocento,
the
but
with
mind
how
throned
imitation
scrolls.
with
her
ogy
Theol-
olive
right
wall
below
Ephesus,
leaves
she
hand
of
Athens
winged
in
her
figure
right
sword
calls
are
we
up
to
and
on
to
with
even
her
book,
comes
scales.
allegories
trace
sive
mas-
below.
Lastly
the
seems
crowned
hand
and
the
the
seated
is shown
is shown.
the
where
is holding
Naturalis,
and
Parnassus
uniciiique tribuit)
of
and
of
cognitio),
of
School
attractive
an
hand
the
on
Diana
The
thought.
we
losophy,
Phi-
Temperance
{Causamm
of
the
Theology,
labelled
with
of
where
figures,
crowned
while
painting
written
inspiration.
presence
and
are
in her
with
(lus
two
afflatur)
laurel, holding
eyes
by
(Numine
the
out
roof,
forms,
holding
and
on
Hall
the
background
seated
knees,
Philosophy
which
on
golden
is
in
the
beautiful
four
notitia)
pointing
female
by angels
book
paintings
under
These
Fortitude,
seems
on
139
paintings
the
against
out
rerum
closed
Justice.
clouds,
are
little
containing,
and
Poetry,
various
the
between
dwell
medallions
four
find
link
the
grasp
RAPHAEL
OF
STANZE
THE
an
of
the
ideal
140
THE
The
Ceiling
in
the
VATICAN
Hall
of
the
Signature
and
Details
his
from
them
used
attributes
as
label
symbols
such
of the
his
on
the
by
to
and
point
superfluous
since
at
sight
whereas
case
the
cal
symboli-
in
actually
own,
figures
very
figures
figure of Theology
the
the
the
subject,
of
his
their
with
days
the
out
the
in
creations
all
colors
that
so
former
of
painters
identify
seems
Signatura,
lofty thoughts,
own
wonderful
with
them
clothed
141
his
drew
Raphael
brain,
and
mind
own
nurtured
served
them?
between
connection
RAPHAEL
OF
STANZE
THE
of
use
the
Hall
calls
up
Parnassus
thoughts,
divine
the
of
eyes
all the
has
Justice
and
and
Philosophy
of Law,
dignity
filled with
are
and
ing,
understand-
has
Poetry
all the
divine
of Art.
fire
In
rich
the
four
borders,
and
Marsyas,
the
larger
spaces
in
painted
for
oblong
he
has
the
pictures
of
angles
the
roof,
set
in
us
of
Solomon,
them,
and
Judgment
below
the
subjects
all
with
of
and
Apollo
closely
treated
frames
related
charm
to
and
originality.
On
four
windows
In
the
the
of
walls
great
the
powers
is the
centre
hall
that
least
of the
the
intricate
wall
has
Raphael
rule
is set
of all
a
of
life
:
the
window,
depicted
man.
On
the
Glorification
and
in
the
to
the
opposite
the
relating
scenes
wall
of
Jurisprudence.
lunette
above
it the
c; 142
THE
has
painter
STANZE
the
placed
companions
They
are
in
studies
usual
with
carries
sword
the
the
Delia
Temperance,
on
is
side,
bridle
turned
is
higher
branch
of
Rovere
in
the
pointing
up
with
whom
opposite
winged
genius
is
sky;
noble,
Prudence
boys,
of
one
mirror,
and
the
centre
two
presents
oak
ily.
fam-
hand
Janus-headed
together
the
figure
her
towards
the
and
of
serious
space.
instead
towards
in
mirably
ad-
helmet
modest
gentle,
holding
who
leafy
of
oak
ance.
Temper-
fit the
to
armed
breastplate,
Law,
and
arranged
143
wonderful
womanhood
Fortitude,
"
and
three
RAPHAEL
separable
in-
three
of
Prudence,
Fortitude,
OF
and
the
Detail
other
torch.
has
the
Emperor
Pandects
to
chief
the
the
we
seated
before
vedere,
the
the
elegance.
Homer,
limpid
blue.
soul
the
The
work
in
the
to
manner
presence
the
is
there
his Decretals
Around
him
it
on
of
cient
an-
more
handing
is full
of
book
of
where
scene
Forli
da
the
are
to
many
nobility
Raphael
Platina
the
Cortile
and
have
must
representing
of
Pindar,
the
him
the
The
in
poets
its
of
and
ing
kneel-
of
Poetry.
is
charm,
antiquity
This
rare
trees
grace
and
playing
breathes
in
poets:
elegance
under
live again
Belnassus
Par-
grace,
is seated
of
laurel
and
di
laurel-crowned
figures
the
ease
on
Apollo
Muses
among
picture
all
mount
Virgil, Dante,
conversing
whole
Triumph
wherein
sacred
are
looking
the
composition
top
Renaissance.
window
represented
around
are
groups,
with
wall,
the
ringed
at
him,
the
feet.
The
his
of
the
IV.
joyous
On
When
by Melozzo
has
Sappho,
in
of
same
before
II
Giving
wall
the
handing
is
window,
his
of
part
Julius
as
at
symbols.
the
painted
after
the
portraits.
time.
fresco
Raphael
viola, and
scene
is treated
of
has
throne,
is kneeling
depicted
IX
Parnassus
adventitious
narrower
on
who
right
of
he
the
jurist kneeling
opposite
is
the
To
Sixtus
the
The
aid
window
Justinian,
Gregory
at
in mind
On
the
characteristic
and
simplicity
of
the
On
jurists.
see
prelates
without
Tribunianus,
consistorial
had
left
from
ter
mas-
Law.
bas-reliefs.
space,
idea
Ecclesiastical
and
left the
of
his
and
right
the
again
conveyed
To
Civil
Here
tered
scat-
sky
the
of
very
Raphael's
144
THE
Raphael
VATICAN
Francesco
Philosopher
and
Sodoma
Plato
Details
from
the
School
of
Athens
della
and
Rovere
Aristotle
THE
The
STANZE
Disputa
del
OF
Sacramento
RAPHAEL
and
Details
145
The
fresco
the
if
as
the
clear
the
cruciform
between
majesty
of
of
divine
light
there
group
gathered
the
old
man
around
of
Diogenes,
where
the
deep
two
in
Socrates,
are
thought.
is
No
the
two
the
philosopher
of
the
two
princes
of
Aloof
the
counting
to
the
right
representing
left
off
band
of
syllogisms
do
longer
steps
ing
lead-
forth
with
great
ters
mas-
their
making
are
of
background
with
coming
disciples
figures
To
the
from
us
dignity
and
and
seen
who
radiates.
beautiful
who
of
figures
in
cupola
of their
to
respect.
find
known
wall
came
gravity
our
door
Poetry
of
air.
the
left
the
on
we
by
Aristotle,
intelligence
are
claim
the
lines
and
with
but
surmounted
Plato
From
face
Parnassus,
From
steps
reclines.
humbly
of
opening
the
philosophy,
edge
an
sky
building
spaces
of
breath
of
Cinque-
playing
if at the
as
filling the
and
admiration
our
seems
composition
to
of the
movement
it
and
is
the
as
face
are
we
its entrance.
to
up
and
win
and
Athens,
Heliodorus
Humanist
in the
delight
of
Hall
magnificent
the
here
that
see
noble
the
of
the
brothers,
of
wave
to
Parnassus,
thought
we
come
School
the
Christian
god
we
in
Ceiling
sharing
were
their
young
Now
the
they
with
cento
as
VATICAN
THE
146
simplicity,
knowledge
of
boy
the
his
tral
cen-
writing
dialecticians
on
to
way
is
fingers.
THE
OF
STANZE
The
Mass
of
RAPHAEL
Bolsena
147
this
In
child's
stands
to
holding
the
in
Oriental
what
reading
in
man
Francesco
Maria
handsome
Over
the
in
there
figure
della
centre
the
slate, and
is
opposite
and
there
celestial
his
right
gold,
whom
as
is
terrestrial
globe
are
showing
ground
fore-
right
numbers.
this
looking
the
on.
is
before
young
him
book.
Farther
in
writing.
explaining
Behind
as
is
and
geometricians
Ptolemy,
stars
is
are
identifies
is engaged
of
Boetius
group
in his
is there
He
be
to
and
group
sphere.
his
on
tradition
is written
Bramante,
pupils
the
Pythagoras
and
said
of
Urbino,
of
Bolsena
philosopher
ures,
fig-
study
In
Pythagorean
another
of
beautiful
book,
other
are
musicians.
the
what
out
steps
depicted
of
of
Duke
corner
four
king holding
holding
the
the
To
Rovere,
in
there
Gonzaga.
and
Mass
with
pointing
of
Euclid,
astronomers.
on
trimmed
personage
in
over
Pythagoras
robe
the
writes.
is
represents
armor
pillar
Federigo
showing
from
body
him
near
writing
Averroes,
garb,
white
and
slate
Detail
man
and
young
knee
and
of
base
arithmeticians
of
one
on
the
book,
be
group
kneeling
is there
on
said
head,
stands
around
reading
youth
helmet
with
youth
Farther
one
boy
fair
group
Alcibiades.
VATICAN
THE
148
this
and
ure
fig-
group
another
is Zoroaster,
and
STANZE
THE
Detail
from
the
Mass
of
OF
Detail
Bolsena
149
RAPHAEL
from
the
from
The
Expulsion
of
Heliodorus
from
the
Expulsion
the
Temple
Temple
of
Heliodorus
VATICAN
THE
150
The
The
Meeting
Freeing
of
of
St.
Leo
St.
Peter
IV
and
from
Attila
Prison
THE
in the
extreme
of
and
give
for
have
efforts
work;
that
us
we
glorification of the
unaided
man's
often
mentioned,
of
pression
of
the
by
the
his
and
mind,
of
the
and
youthful
the
friends,
artist
and
natura,
thought
the
same
the
Mosaic
Ancient
in
known
the
as
than
parts, separating
the
by
appears
the
earthly globe
Redeemer,
there
in semicircular
figure
of
the
of
so
to
very
of
blessing
are
Holy
of
clouds
from
the
the
In
is seated
two
Baptist
and
speak,
the
right;
the
point
the
of
form
union
of
and
in
the
heaven,
out
food
his
for
elect
dove
the
left hand
either
on
martyrs.
of
the
stretching
down,
between
of
in adoration.
holding
lower
the
composition
centre
Madonna
representing
groups
in
the
title,as
in honor
in oblation
Spirit
Sig-
the
beautiful
the
clouds,
on
Father,
his
glory
divides
earth.
Eternal
with
times.
is another
inappropriate
offering himself
are
of
the
of
opposite
there
hymn
of
girdle
heaven
rows,
the
Christ
forming,
him
bust
and
sitting
earth,
though
as
Beside
glory, Christ
golden
hands
faithful.
the
centre
dispute, presents
into
his wounded
Classic
archi-
Heliodorus
of
Disputa,
Redemption.
mystery
surrounded
us
most
of the
Above
the
its
fig-
the
wall
and
rather
two
but
finds
remind
Hall
picture,
so
human
where
Hall
composition
longer
no
attributes
of
important
seats,
schoolmen;
of Athens
School
face
or
are
grace
on
strik-
longer
the
in
this
In
the
and
new
we
lines
beauty
ex-
of
thrones
setting
noblest
no
light of
tectonic
of
personifications
expression
ure
one
glory
activity
of
was
is
the
this
to medieval
in
Raphael
belongs
with
pure
light
Sadoleto
allegories;
the
quest
and
that
ambiguous
dear
noblest
unending
and
alone
and
Enough
the
power
probable
learned
time.
beauty
with
confronted
of
of
It is very
of
some
to
human
of
waste
harmony
knowledge,
reason.
but
is but
wonderful
in it everywhere,
symbolism
that
of
this
concerning
are
face
himself
Raphael
in
We
way.
and
the
of
pictures
the
mind
human
with
151
created
having
to
find
All
miracle
and
human
in
ing
that
truth
his choice
aided
have
made
to
activities
spirit for
of man's
RAPHAEL
we
been
made
figure.
in
see
right
have
been
to every
name
the
on
OF
co-workman.
his
explanations
Many
to
corner
Sodoma,
STANZE
side
in heaven,
Beneath
is coming
two
parts
the
to
of
VATICAN
THE
152
The
Hall
of
the
Fire
in
the
Borgo
and
Ceiling
THE
Details
the
The
picture.
of
centre
the
whole
the
are
doctors
of
representatives
and
Dante
are
Gregory
and
hermit,
Giovanni
altar
the
It is
certain
quite
here,
us
to
suggest
he
began
and
in
1508
bond
earth.
No
other
that
links
In
the
foundations
on
the
but
that
Raphael
well
finished
artist
all of
ever
so
visible
and
the
of
left
building
a
a
of
said
lordly edifice
advice
in
Julius
the
by
many
round
making
and
III and
nican,
Domi-
the
blessed
there,
are
proof
too,
world,
to the
which
selection
went
only
not
closeness
the
heavens
right
the
men
we
see
so
the
as
which
of
of
the
he
far
work,
understanding
expressed
to be
the
in this
master,
invisible
landscape
painter,
II himself
1511, gives
well
Augustine
artists
and
spontaneous
tion,
medita-
Innocent
angelic
either
hermits,
in
Franciscan,
the
food.
mystic
But
has
background
the
Poets
On
engaged
and
of
point
once.
the
golden
cardinals,
is there,
of
that
in
stands
at
are
see
holds
central
popes,
They
we
had
be
idea.
above
the
the
altar
Bonaventure.
Angelico).
it may
and
the
onlooker
left
portrait
rests
fundamental
the
insight
love.
whereon
the
altar, which
is the
saints,
and
on
the
(Fra
Borgo
On
St. Ambrose
and
153
the
arts.
Thomas
and
Fiesole
da
around
right,
the
on
the
of the
eye
and
adoration.
in
fresco.
Church,
sciences
and
Fire
Host, which
the
the
RAPHAEL
towards
the
sacred
of
the
disputation,
Jerome
gives
the
the
turned
of
catching
composition,
hand
and
half
lower
from
is
dove
showing
monstrance
OF
STANZE
logical
theodivine
of
and
the
the
massive
new
are
busily
working.
THE
154
Detail
from
VATICAN
the
Fire
in
the
Borgo
i: 1553
The
two
and
the
buildings
building
said
are
up
which
Theology,
Christian
of
decadence
the
symbolize
to
of
is
Paganism
destined
never
to
completed.
be
Much
library
papers
and
nearly
Nowadays
put.
and
of the
workroom
decoration
Church
and
culture
the
The
wonder
him
also
Heliodorus.
from
the
the
the
these
walls
with
the
the
year
caused
Hall
of
decoration
The
it
first
the
the
was
ture
Signa-
private
(signare)
signed
mentioned
upholds
the
in
Faith.
traditions
alliance
the
more
his
1513.
The
work
of
the
tual
intellec-
of
of ancient
blending
skill in bringing
determined
Signatura
of
to
that
of
philosophy,
to
came
end
an
1511.
original
Apocalypse
Hall
Charlemagne
once
by Raphael's
the
this
he
name
the
of the
tenets
therein
roof
and
knowledge,
sacred
law
of
marks
and
Papacy
of
course
of
the
and
and
poetry,
of
that
the
Coronation
agrees
one
every
find
which
to
use
Pope,
We
documents.
The
The
the
about
written
been
has
was
in
VATICAN
THE
156
the
hall
plans
harmonize
by,
near
for
this
with
to
the
which
hall
close
Pope
was
contained
Peruzzi's
to
the
later
called
on
to
the
taken
scenes
pictures
ration
deco-
entrust
the
roof,
I 157
THE
158
which
Louvre
the
Book
and
Papacy
to
depict
wall
about
this
Ancient
took
of
was
while
hands
miracle
an
Mass
place
Orvieto.
at the
he
the
of
saying
making
the
at
German
Mass
a
priest
feast
one
one
in
seen
the
Seal
the
of
particular
the
to
Christi
Bologna,
devotion
it
that
so
of
on
resolved
was
Julius
the
the
to
II.
On
the
suggestion
of
Santa
Scala
the
is
to the
red
was
the
of
blood
from
To
color.
of
over
the
miracle
the
Duomo
Host
sacred
Julius
at
corporal
Orvieto
As
Christ.
in
Host
Bolsena
in
his
this
commemorate
instituted.
blessed
the
St. Catherine
flowed
stopped
of
building
contained
blood
famous
the
to whether
as
Church
Italy,
corporal
Corpus
day
in
glory
new
at
subject
doubts
really
day
plans,
the
led
and
had
in
brought
triumph
near
The
1263
in
pilgrimage
stained
expedition
with
of
Constantine)
Bolsena.
Bolsena
of consecration
moment
and
is to be
Breaking
painted,
Discovered
Mosaic
at
the
Raphael
(Hall
Pope,
the
in
room
window
the
opposite
the
the
years
very
change
of
walls
the
those
in
events
brought
on
that
there
and
showing
Life.
important
But
Testament;
Raphael
by
design
of
Old
the
from
taken
were
the
VATICAN
II, while
and
preserved
on
rated
vene-
in
the
THE
Raphael
wonderfully,
behind
miracle;
and
on
he
caught
in
and
priest before
young
have
his enemies
over
Vatican.
well
it may
and
Duorao,
victory
STANZE
the
been
that
the
spirit and
of
centre
the
assistants
and
at
159
made
the
he
by
the
painted
in the
most
with
the
of
sight
adoring
velvet-covered
the
at
congregation
altar
of
case
fresco
his patron
of
astonished
in
that
vow
miracle
intuition
arch
and
kneeling
side,
he
glorify
up
are
RAPHAEL
would
him
one
OF
the
the
der,
won-
faldstool,
is the
Vision
The
Pope,
Two
and
the
up
victory
the
two
priest
no
as
surprised
way
if to
suite
and
him
reprove
prelates, together
Pope's
over
the
left, whereon
the
he
II, in
Constantine
are
with
the
by
the
for
his
miracle,
officers
all characteristic
of
lack
of
the
but
faith.
Papal
paintings
and
likenesses.
speaking
from
and
make
The
at the
severely
cardinals
Court,
to
Julius
resembling
looking
of
Scriptures,
was
As
ordered
he
was
schismatics
is shown
the
Heliodorus
to
in the
act
of
Expulsion
was
off
carry
is symbolically
the
the
of
carrying
of
treasurer
treasures
out
depicted
Heliodorus.
of
the
the
this order,
on
As
King
temple
a
horseman
the
we
of
of
wall
learn
Syria,
salem.
Jeruwith
THE
160
The
the
before
the
his
with
assistants
in
children
we
Julius
see
have
We
II, borne
here
allusion
Attila.
Pope
bears
meet
the
swords
in their
Huns
in,
as
in
On
the
the
wall
the
many
the
of
Julius
is
the
of
corner
over
of
II
the
of
women
the
fresco
the
crowd
the
Church.
Papacy
them
bethought
prayer
of
group
sovereignty
triumph
princes
the
over
of
others
with
the
the
window
St. Peter
in
this
holding
that
the
had
taken
tranquilly
horse
French
place
and
dismay
troops
Raphael
has
from
painted
ous
vari-
Rome,
near
to
the
with
appear
in
the
on
in
warriors;
Apostles
the
Great
painted,
was
his
his
spurs
the
Colosseum.
Prison,
"
of
background
the
looking
from
hall
In
Attila
fresco
by
Leo
Pope
moving
seen
flight of
The
including
with
of
Attila
sight
paralleled.
is
this
surrounded
the
the
of
meeting
time
and
Huns
scene
At
the
by
Leo
the
meeting
scenes,
Freeing
dead
of
of
hands.
is here
though
the
the
to
is the
terror-stricken.
1512
the
sight,
in
in
horseman
Heliodorus,
flogging
gestatoria, towering
fresco
being
king
of
are
Roman
there
and
sedia
time
the
likeness
the
fierce
upper
Italy
II
Julius
portion
the
in
Heliodorus
the
Opposite
and
who
left
miracle
the
clear
right
the
council.
antipapal
an
his
on
through
a
cardinals
rebel
at the
is
young
background
high priest
and
the
flight. To
amazement
affirming
and
to
the
two
the
In
the
see
To
robes, attacking
golden
take
followers
whose
and
we
candlestick.
in
him.
flogged
altar,
by
accompanied
robes,
and
down,
columned
seven-branch
Bridge
Milvian
gorgeous
the
under
fresco,
Battl
him
struck
appeared,
men,
of
and
countenance
stern
VATICAN
on
a
is, the
the
Belvedere
subject
victory
well
of
he
in
the
has
painted
harmony
Church
with
and
its
head
over
prison
awakens
Angel
he
as
in
soldiers
II
Julius
was
pilgrimage
1512,
hall
of
planned
If
X,
the
Heliodorus
help noting
altering
and
II.
in
in
been
had
his
ing
color-
effective
more
compositions.
his
in
vivacity
more
was
cannot
we
of
tonality
it
those
Raphael
in
is
until
Julius
and
putting
movement
There
although
pictures
Hall,
that
the
hence
yet
the
Hall
the
for
under
begun
Signatura
in
completed
Leo
the
on
church
that
compare
we
went
French:
the
not
was
and
title
give thanks
under
1514,
gone.
the
of
and
conclude
may
other
this
to
to
withdrawal
the
ished
aston-
each
prisoner
Chains
in
St. Peter
we
the
Cardinal
of
June,
rouse
is
way
stair-
the
on
their
find
and
tle
Apos-
there
but
left, where
the
to
the
the
accompanies
moonlight
the
also
from
is also
freedom;
his
who
then
Peter;
sleeping
light outside
the
the
Angel
the
from
the
are
light within
the
comes
fresco
this
in
effects
lighting
wonderful:
The
plot.
human
every
161
RAPHAEL
OF
STANZE
THE
these
Detail
classic
and
purity
pictures
in the
coloring
alone
owes
in
some
much
1511
of
not
the
coldness
of
the
The
from
difficult
the
schools
learned
had
the
Rolsena
of the
fresco
here
to
that
of
more
Door
the
meeting
of
in
of
who
and
Leo
and
coloring
and
in
largely
the
coloring
with
Raphael
Heliodorus,
The
to Rome
came
This
Pope
life.
his
and
Giorgione.
Miracle,
Stanze
the
effect, and
Michelangelo
from
in
Barili)
warmth
Piombo,
del
of
it is
the
this
with
do
It is weaker
recognize
from
(Giovanni
Sebastiano
he
these.
to
lot
Venetian
of
manner
find
we
have
may
glow
St. Peter.
different
the
affected
and
special
of
Signatura
to the
of
instead
and
frescoes,
later
is true
the
Attila
in
is
widely
it is
design,
and
of
master's
work
the
Freeing
pupils.
Raphael
was
now
overweighted
with
work.
He
was
engaged
not
THE
162
in
only
of
Penni,
In
the
uncle
third
third
and
room,
from
such
of
one
the
which
In
sturdy
father
aged
Troy.
the
to
In
Pope.
Giulio
his
on
the
harmony
In
IV
the
over
of
due
second
the
the
child
himself
as
from
the
fresco
her
foreground
the
Penni
finer
without
no
The
balcony
hind
be-
foreground
the
on
right
men
carrying
to
who
is
much
us,
flames
the
fiercest,
are
father
is
below;
carrying
from
work
which
overmuch
one
off
his
fire
of
for
help
to
for
his
belongs
the
ground.
back-
pupils
wards
after-
attention
to
the
proportions.
fresco,
Saracens,
depicting
the
Pope
the
is
Naval
again
Leo
Fight
X
at
seated
Ostia
on
won
a
the
mainly
is responsible
paying
the
is
them:
this
groups,
of
There
despair appeal
of
guished
extin-
cross
To
Anchises
in
phael
Ra-
ensemble.
the
another
carried
of
records
to
the
to
these
water
back
above
children
Francesco
designed
are
mind
quarter
from
in
all
IV.
form.
raging.
are
by flight, and
and
of
blessing
and
scenes
which
the
of
unity
left, where
JEneas
that
St. Peter's;
with
one
to
women
to
old
women
and
Raphael
transferred
of
of
act
of
of
it.
taking
In
the
Borgo,
in unit
no
roof,
Leo
sign
hold
than
and
execution
Romano,
rather
flames
back,
centre
The
the
flames
her
is saving
youth
with
the
that
for
canonized,
day.
go
of
X, with
least
at
in
the
building
is throwing
hand,
the
III and
the
Borgo,
part
on
own
Leo
Fire
where
is
of
the
drawings
Leo
been
In
almost
any
the
to
had
taken
the
facade
there
the
in
was
in
his
that
1517.
might
left
their
incidents,
Pope
the
had
episodes
the
the
women
admired.
woman
in
the
the
Fire
deference
parts
who
IV,
fire that
fighting the
the
among
of
the
of
matter
with
the
June,
tells
learn
we
in
paint
not
IV, who
if not
Leo
buildings
are
engaged
Leo
plays
between
appears
side
of
which
We
glorified
out
is that
of
shows
the
connection
is told
story
background
are
and
discerned
connection
either
III
devastating
real
walls,
Pope
miracles
The
city.
the
did
in
say
wherein,
painting
one
of
that
hand.
himself
Christ
some
Medici
is to be
even
showing
Leo
documents
as
ing
paint-
he
other
freer
the
in
from
above
Romano.
already
him
completed
over
commissioned
from
was
little to
had
the
room
as
was
signs
defor
Francesco
Giulio
disciples brought
he
the
hand
to
Giovanni
to
known
his
drawing
commissions
letter
Raphael
very
of
it, and
given
that
Lippi,
and
have
with
had
particularly
close, and
named
we
he
Giulio
to
charged
was
Raphael
third
as
paintings
The
1514
decorated
events
pupils,
and
this
say
life
the
constrained
Ciorla
fresco
pupils
the
was
about
had
Perugino's
that
his
We
were
to
as
he
Hall
which
pupils
and
room.
of
room,
far
so
Sistine
to
of
painting
the
he
the
II Fattore,
Heliodorus
but
for
portraits, so
work
Simone
the
and
summer
the
paint
to
his
styled
of
Stanze,
tapestries
the
pictures
sacred
much
the
painting
for
VATICAN
by
throne
Leo
and
THE
his
raises
the
foreground
the
in
and
ground
fight
rages.
In
this
of
order
and
face
school,
The
more
of
some
Of
the
the
Leo
on
December
that
other
that
the
in
Court
ceremonial,
forget
we
is shown
with
the
in this third
The
room.
in the
all
defects
Pope's idea
reminds
Charlemagne
Peter's;
of
and
and
the
Having
there
Hall
it must
Oath
the
Lateran
thus
remained
and
alluding
to
leading
to
his
of
of
own
on
Francis
calling
to
in
the
Leo
III
the
pontificate, Leo
the
tions
decora-
Heliodorus
so
bow
to
to
easy
the
with
the
the
of
the
thority
au-
explain
rebuilding
that
to the
end
Supreme
of
of
in
St.
the
Head
alone.
frescoes
Loggie.
ment
mo-
Coronation
it must
to
the
allusion
an
the
is not
out
of
in the
is
is connected
pointing
God
decorated
the
Borgo
that
glories of
for
glorified especially
are
Ostia
reference
Council,
by
power
ing
paint-
splendid
Charlemagne
idea
root
paintings
at
the
that
us.
crusade;
new
the
some
Pope
before
Papacy
Battle
imperial
judged
be
the
III,
depicting
The
to the
of
Leo
lowed
fol-
who
other
the
trappings,
I.
The
Fire
in
genius
reference
the
completed
Maratta
by Penni,
by
composition
greatness
of
be
can
the
have
the
Church
of
the
Church;
but
symbols,
Schism
the
P.
Giovanni
by
frescoes
and
Miracle;
Charlemagne
such
infidels.
Medicean
of
of
Bolsena
its magnificent
has
and
against
in the
displays
the
Udine
mainly
pupils, perhaps
down
crowning
room
with
Hall
da
entirely
features
power
war
laid
with
the
Chiaroscuri
The
brought
is
Penni
which
false
Raphael's
the
scene
800,
Basilica
work
scheme
represents
the
year
from
of
it.
which
by
been
This
hands
out
in
in
Vatican
had
him.
the
for
the
himself
from
did
oath
23,
absolved
against
himself
studies
Justification
in
the
his
Giulio
by
frescoes
the
the
or
in
charges
of
principal figures
IV,
Pope
phael's
Ra-
entirely
painting
give
depicts
of
is
master
two
one
room,
the
undoubtedly
than
the
to
probably
very
Romano.
no
with
face
to
oners
pris-
picture
are
we
163
in
background
the
sense
lacking,
Saracen
hurled
being
are
RAPHAEL
He
while
heaven,
to
eyes
OF
cardinals.
by
surrounded
STANZE
in
large
Here,
X
gave
the
Hall
room
instead
orders
of
the
near
of
the
Borgo
continuing
that
the
Fire,
Heliodorus
main
scenes
events
164
THE
VATICAN
Chiaroscuri
The
from
(Leading
history of
in the
it
Now,
the
the
entrusted
being
drawings
frescoes,
for
as
of
trace
vian
Bridge
places,
many
its
but
Details
aim
of
has
plan,
we
how
much
far
short
beauty
of
only
find
the
gray
finest
cold
peror
Em-
officially recognized,
was
with
the
nings
begin-
battle
miss
the
his
pupils
stature.
coloring
eye
paint,
the
Not
he
of
the
its
what
towered,
the
sight
so
on
following
of
of
and
to
seeing
their
of
the
us
the
greatest
canons
in
mano,
Ro-
which
Raphael.
the
what
from
no
Mil-
done
Giulio
of
speak
reveal
stantine,
Conis
dash,
master's
Giulio
the
painter Raphael
that
of
is hastily
all
other
there
Battle
hand
it differs
a
the
Baptism
sweep
world,
but
how
better
in
work
all
Popes,
work
Raphael's
all
in
the
The
and
and
Eight
shows
in the
at first
had
the
Cross,
the
the
prevent
they
that
style.
scenes
to
showing
truly great,
it in
order
after
begun
were
room
that, while
the
scene
movement
understand
his
the
master's
of
that
of
figures
in
something
above
life of the
e.g., the
this
in
case
any
Vision
the
and
with
done
of
we
the
produce
to
do
in
pretended
in
the
and
breadth
of
it one
make
instance
the
V)
associated
was
pupils,
Michelangelo,
hint
the
and
Donation
Raphael,
gift
paintings
It is certain
it.
the
the
that
master,
to
for
Christianity
or
Nicholas
depicted
be
whom
donation
to pass
of
death
of
States.
Papal
came
Hall,
Chapel
the
to
should
under
legendary
of the
Stanze
Church
the
Constantine,
whose
and
the
mano
Ro-
master's
was,
efforts
of
his
and
fall
art,
STANZE
THE
of
because
not
through
genius
this
In
other
studies
the
of
Raffaellino
but
Cross,
afterwards
centre,
The
by
of
his
of
gentle
is
There
frescoes
in
home
voice
of
before
the
lyric
chord
lyre
and
of
the
Ages,
singer
their
will
beautiful.
of
gods,
ever
these
frescoes
has
too,
to
the
Raphael
The
them
where
humanity
the
the
and
his
is
in
the
equally
at
Philosophy,
the
of
tones
thought
or
soul.
but
too,
who
the
here
passes
that
imagined
in
voice
that
the
dramatic
is
has
for
us
Faith
in
in
is
the
and
our
as
eternal
on
and
liberal
arts,
found
the
to-day
wonder
dead,
chord
have
power
heard
antiquity
the
theology,
beauty;
is
every
Classical
divine
in
voice
epic
an
touched
Bible,
and
again
of
Signatura;
has
philosophy,
live
even
of
Heliodorus;
painting.
Pagandom
speak
of
scene
clothed
in
art.
Hall
temporal
war,
who
so
of
Borgo.
of
time
paintings
of
and
from
humanism,
and
peace
a
Muse
the
beauty
thought
the
the
of
work
Stanze,
awe-striking
has
melody
around
artist
visage
the
of
poem
us
the
Faith,
sweetness
humanity
to
Vision
long
the
thinking,
the
stern
and
in
sacred
the
of
man,
the
his
In
power
Faith,
dominates
flames
Middle
religions
of
speaks
note
the
law,
him
Whatever
vibrates
through
the
Judgment.
sublime
and
Poetry,
is
of
frescoes
all
out
whole
of
mystery-awaking
The
the
mysteries
eyes.
and
great
all
the
Divine
our
of
charms
of
the
is
the
of
school.
poured
portraits,
halls
these
with
recesses
his
in
insight
by
painted
was
ency
Clem-
Penni,
the
Donation
Exaltation
cycle
his
and
and
showing
the
room
Justice
Palermo.
the
artist
the
and
this
The
of
ends
Raphael
Madonnas,
of
brothers.
Laureti
Constantine
masterpieces
Penni,
by
roof
Zuccari
Tommaso
Hall
is
but
trade,
executed
fresco
the
the
peaks.
of
being
one
is
of
topmost
figures
also
The
Colle.
the
by
is
master,
Baptism
the
del
the
the
Romano's
tricks
by
allegorical
two
165
not
touches
art
the
by
Romano.
by
of
the
room
same
are
the
Raphael's
only
from
technic,
of
secrets
any
RAPHAEL
OF
at
Raphael's
language
the
art
in
dead
images
speaks
of
the
LOGGIE
THE
the
frescoed
order
of
g^JFTER
the
Raphael,
Leo
and
rooms
tapestries
work
Pope
S.
di
Cortile
the
on
by
by
ordered
opening
in
comes
important
decorations
the
galleries
the
the
another
chronology
namely,
for
RAPHAEL
OF
Damaso.
The
building
of
1513,
and
in
mante
in
Raphael
because
We
it
Raphael's
or
new
work
in
the
with
adorned
of
Raphael
Michiel
long
tier
of
which
the
and
arcades,
here
liberally the
hand
in
friezes
the
makes
from
up
of
noble
of
scenes
Bible
tribute
to
paint
is
adorned
been
the
art
C167
leaf
with
is the
thing
anyMarc
one
and
antique
blend
domed
spirit of
the
execution.
thirteen
poured
out
sculpture
and
stuccos
wonderfully
roof.
tier,
upper
over
has
besques,
ara-
follow
They
the
spread
paintings
the
and
hasty
Raphael
pilasters
some
gallery
decorated
in
more
are
that
on
one
surpasses
designs
later
imitation
and
in
whole
restored.
and
genius:
the
on
lows:
fol-
others.
two
decorations
the
and
as
Venetian
had
to
16
planning
the
largely
said
on
The
Raphael
paid
painted
perhaps
describe
represented
to
and
1519,
artistic
beauty
pagan
the
his
is
Moreover,
be
truly
may
the
and
depicting
it
always
the
June
d'Este
music,
fancy
simplicity
the
is
character.
see
shall
greater
with
up
work
in
ducats
and
Isabella
latest
May,
we
story
or
treasures
hand,
scenes
by
tier
second
galleries,
He
to
have
which
characterized
are
In
that
to
in
galleries
unfortunately
similar
plan
twenty-five
antique
fair
about
was
the
of
and
the
ledger
mous
fa-
master.
walls
that
in
the
taken
school."
that
by
most
the
the
say
find
we
the
by
on
safely
Marchesa
his
an
really
us
and
gallery
first
The
tells
the
and
of
is
modern
the
by
in
ever
here,
work
and
11,
is
one
designed
may
architecture.
in
palace
centre
since
June
to
Bra-
completed
was
decorations
we
done
than
more
stucco
done
Antonio
wrote
delights
another
way
but
is
Pope
"The
but
1519
on
by
begun
was
death
pictures
of
work
Castiglione
Baldassarre
work
for
the
these
begun,
entry,
an
assistants
which
when
summer
his
thereabouts.
Bible
to
as
were
the
Archives
Vatican
the
in
advanced
very
tiers, of
vaulting
and
pilasters
was
three
certain
quite
not
are
after
or
contains
comprise
They
1518
galleries
these
The
Renaissance.
go
the
with
whole
The
THE
168
sacred
scenes
in
the
and
Christendom,
the
along
classic
of
of
centre
of
coat
love
into
of
the
forty-eight
from
Old
the
as
The
The
artist
great
difficult
art
of
Christian
of
light
The
artists
find
had
the
in
painters
choice
thing.
Hence
mosaics
in
to the
fifth
the
the
Book
fourth
in
as
the
of
religious belief.
Monreale,
the
in
Art
St.
Door
the
the
all
along
therein
Mark's,
leading
to
(Sixteenth
of
Rome
from
the
smallest
the
Bible
taught
attention
on
in
colored
Vatican
the
of
designs
dating
tenth
from
subjects
lines
and
inculcating
Venice,
the
of
faith.
upper
more
The
church
back
Codex
the
century
fixed
in
The
sixth
roll
parchment
of
all
great
dating
Rome,
the
but
accuracy.
Bible
thrall
the
purple parchment
of
tianity
Chris-
symbolic
them
have
is the
of
Gospels,
the
for
in
Vienna,
Library,
Loggie
number
biblical
Maggiore
miniatures
Library
and
were
to
the
Century)
early days
possible
it
S. Maria
the
in
the
dogma
great
faintly
in
but
in
taken
of
nave
original,
century
no
Imperial
Joshua
character
in
to
and
and
as
to
it; he
Catacombs
central
well
had
speak,
the}r paid
century,
by
Renaissance.
symbol
the
Genesis
century,
he
for
subjects
The
had
again
limited
was
elements.
was
that
to
the
employed
of
Log-
and
it, so
of
language
their
the
and
age,
recreate
The
to
expression
new
to
dim
master
time
every
cry
steps
the
theme
attempted
in
Catacombs
with
face
to
far
faltering
Raphael.
in
the
is known
It is
painting
confronted
been
from
face
was
the
the
gie of
Pope's
scenes
set
task.
from
in
the
Bible.
Raphael's
with
in
are
four
and
Testament.
priate
appro-
fifty-two
these
frescoes,
New
an
tains
con-
is the
seventh
arms.
thirteen
and
color,
Of
for
which
in
set
of
us
decoration
The
scenes
touch
mighty
each
frame
of
pagan
is divided
four
ruler
to
antiquity.
compartments,
ting
fit-
carries
Leo's
roof
the
the
the
walls
of
memory
of
palace
are
roof
the
on
VATICAN
of
copy
or
less
of
a
plex
com-
lessons
of
picture cycles
at
Assisi,
the
THE
LOGGIE
One
of
the
RAPHAEL
OF
Loggie
of
Raphael
169
THE
170
The
work
Quattrocento
and
Novella,
had
painted
figures
the
face
we
titanic
idyl
clothe
the
by
of
afresh
the
S. Maria
of
Cloister
Green
in
Santo
Campo
at
certain
on
Pisa
depicted
pictures, episodes
genre
of
the
Raphael
stories
Creation,
of
So
ures
fig-
these
with
the
were
that
we
it
gave
may
visions
galleries,
all
place
the
and
of
the
No
we
where
he
and
charm
has
grace
space
up
longer
Ages
on
at
the
in
lotted
althe
are
the
graceful
known
of
vice
ser-
no
took
Middle
look
of
the
Raphael
say
Sistine, but
in the
be
could
utterance.
new
dominating
imposing,
his
but
Michelangelo
before,
years
compositions
his
fearsome
giants
in
ten
or
different
and
the
with
sacred
the
particular emphasis
with
the
totally
so
decoration.
struggles
told
in
Sistine, eight
the
for
face
to
Man
Gozzoli
less
or
and
theme
to him
well-known
of
Uccello
more
scenes
Raphael,
to
Toil
Benozzo
tragic strength
the
and
First
special importance.
of
roof
the
On
of
details
and
of
truth
and
sincerity
with
Paolo
hand,
other
the
on
are,
of
works
the
VATICAN
how
to
fables
of
antiquity.
It
"
was
among
master
long
critics
himself.
of
matter
how
much
dispute
of
these
"
and,
that
for
galleries
is
matter,
actually
the
it is
work
so
of
still
the
by
begun
architect
the
wish
leave
to
Raphael
used
only
not
but
Lot
the
Penni,
da
Vincenzo
painters
brought
more
il
it is that
inventive
we
placed
His
did
safely
it is
and
say
the
on
impossible
Pellegrino
and
Caravaggio,
generosity,
be
to
scenes
in
charge
of
in
charge
of
making
from
it
or
da
Modena,
to
other
many
masterpiece
paintings,
for
to better
Giovan
details
and
figures
pavement
that
the
himself.
work
Vaga,
scenes
Pope
and
Romano
Giulio
and
da
for
Leo's
Sodom
Leaving
del
These
model
scope
was
Udine
da
death.
more
it
and
Giovanni
Polidoro
intent
gave
that
galleries
wooden
magnificence,
little of
Robbia
della
may
genius
so
but
ornaments
Perino
the
on
was
Luca
Family
arabesques,
Gimignano,
Raphael
even
he
Bologna,1
there
worked
which
work,
Thus
San
stucco
the
at his
made
Seeing
greatness,
Giulio
paintings, though
Francesco
and
the
and
work
stucco
the
who
planned
the
and
and
left unfinished
plan.
his
designed
decoration,
the
in
of
record
better
Bramante's
did
than
decoration
stairways
papal
but
anew
171
says:
the
by Raphael,
only
not
were
Loggie,
Rramante,
designed
and
them,
the
designed
Raphael
galleries were
of
of
speaking
in
Vasari,
"Moreover,
RAPHAEL
OF
LOGGIE
THE
of
work,
imagine
he
for
Florence
stucco
that
that
it.
skill
anything
perfect."
Hence
we
see
that
Vasari
lBartolomeo
attributes
Ramenghi,
called
the
whole
also
plan
Bagnacavallo.
and
its
designs
to
THE
172
the
and
master
attempted
exclude
to
supervision,
is
there
in
than
of
justified
far
As
as
not
the
His
in
in
the
guiding
three
remaining
them
is it
paintings
their
one
these
nowhere
in
first
eight
is also
to
of
was
for
save
and
which
other
the
rino
del
All
of
called
presents
the
under
Raphael
and
those
only
and
Dtirer
is also
in
a
the
of
of
the
the
name
of
the
Not
scene
that
so
of
the
with
at
plan
to
striven
for
these
find
of
leave
classical
the
to
have
too
not
ciently
suffi-
and
warm
are
say
interpreted by
the
whole
living
men
in art.
find
the
out
of
not
by
any
Masaccio,
Rachel
sculpture.
at
from
sources
The
Michelangelo's
meets
list,
wondrous
lines
almost
compositions.
traces
Jacob
where
memory
work
merit,
iconographic
colors
whose
might
we
to
recall
Noah
few
times
period
have
with
landscapes
Cinquecento
barocco
Pe-
Loggie
down
weighed
were
tints, and
critics
their
strong
remain-
the
his
severity.
the
arcades
relating
for
among
on
heads
effect
and
The
shared
down,
drew
work
the
ought
spell
Students
be
Udine.
flesh
the
scenes
animals,
to
painters
toned
II Fattore,
of
One
brick-colored
ar-
Fran-
landscape
which
guided
the
nine
that
the
that
first
thirteen
impression
but
work
Vaga
designs
very
the
and
it
to-day,
believed
work
ing arcades,
have
time,
any
ment
pupils
them
the
that
to
form
da
is
to
time
said
are
pupils.
work
the
Giovanni
the
perhaps
rations
pictures
the
in
are
ing
the
his
truly
are
actual
Penni,
cesco
but
evidence
Raphael's
generally
painting
doubt
seen
we
judg-
is
general
galleries,
arcades,
have
No
more
hand
entirety
of
theory.
to
easy
cades
but
anywhere
in
save
from
accurate
of
such
resto-
made
it
for
ow-
wretched
is
the
brain.
for
As
part
critics
recent
it
the
concerned,
been
which
Some
in
and
place,
attributing
in
brush
master's
the
follow.
that
two
of
arcades,
the
children
all
foundation
no
whole
the
pupils.
from
of Raphael's
spirit animates
the
is
his
to
Raphael
there
but
trace
no
itself
work
the
VATICAN
work
means
and
the
which
Creation
in
in
there
well,
scenes
the
Sistine,
their
is
while
vigor
hint
of
there
THE
petty thefts,
these
But
from
away
the
that
saying
of
almost
might
scenes
the
the
by
the
When
reach
we
that
recognize
owing
framing
and
the
motion
Arcade:
the
style
The
dark
cupola
of
red
is the
Waters.
the
work
Beneath
Udine,
of
the
the
X,
were
tions
crea-
beauty
and
filled
with
so
whole
cycle.
the
work
ning
beginchanges;
becomes
coloring
brighter.
work
is somewhat
the
without
the
aid
New
Testament
of
the
the
the
Separates
being, which
flesh
of
for
same
tints
Giulio
the
each
Light
is here
decorations
mosaics
figures,
used
bears
figure of
God,
about
the
Vasari
Divides
suspended
With
exaggerated
and
what
God
Darkness.
the
brings
out
(2)
Romano.
arcades.
two
from
enlarged
God
we
master
begin, which,
The
completed.
never
and
feeble,
We
Rebecca
from
scenes
Michelangelo
of the
da
working
are
Leo
(1) God
his whole
of
the
of
frescoes
flying angels)
First
the
death
the
to
pupils
is where
This
hand.
the
the
thirteenth
the
and
of
poem
and
Isaac
full
character
in
beautiful
most
moving
the
take
not
hesitation
no
Giovanni
the
dominate
elements
the
charm
do
recourse,
have
we
of
one
idyllic
arcade
ninth
has
and
breathes
work
173
artist
work;
simple
to
RAPHAEL
through
"
that
this
run
light, add
say
dramatic
the
to
landscape
After
to end.
every
of
Renaissance
and
atmosphere
which
to
about
are
The
serenity.
OF
importance
we
the
LOGGIE
in
the
after
separation.
says,
the
that
this
Land
from
bright
heav-
C 174
shape,
rounded
waters
whereon
the
and
is
also
is
in
as
he
is
space
of
through
the
shapes,
figure of
The
of
God
wards
toand
rolling
(4)
The
Moving
God
all
causes
of
tastic
fan-
appear
upon
it.
is
longer
some
to
his
and
sun
Animals.
earth,
God
but
is
below.
the
animals,
of
arms
the
world
Creation
the
his
of
globes
through
sign
de-
spectator
forth
The
moon.
This
design,
to the
stretching
the
of
figure of
former
the
has
trees
Creation
Moon.
The
is turned
back
land,
reminiscence
Michelangelo.
the
the
of
(3)
to appear.
Sun
the
from
clump
begun
which
on
distinct
are
175
its
takes
globe
terrestrial
the
ens,
RAPHAEL
OF
LOGGIE
THE
them
no
in
Portion
the
strong
we
here
discern
Second
Arcade:
who
Michelangelo
has
here
put
Giulio
Sin.
is
for
Expulsion
gate
of
and
such
from
Adam
First
of
Toil
while
Third
showing
ark, the
Man.
Cain
his
hide
sons
of
face.
is
Abel
how
Ruilding
seen
must
in
set
the
two
the
tradition
is too
(7)
stands
The
at the
shame-stricken
with
figures
are
her
hands,
copied
from
Florence.
at
ground
back-
coloring
sword
of
act
The
is
the
The
Church
in
side.
nakedness
These
is coiled
reserve.
flaming
her
around
but
without
a
two
cover
sowing
seen
Eve,
certain.
which
There
the
that
says
left, is in
sinners.
Carmine
play
they
is
the
of
in
means
no
have
We
folds
The
other
God,
landscape,
Vasari
the
the
Romano.
helpmeet.
art.
painting.
with
the
fertile
it is by
to
accepted
his
in
Giulio
tree, around
on
figure
to
(9.) The
which
erect
can
in
Adam
and
Eve,
angel
away
she
Masaccio
Arcade:
hull
to
the
be
An
driving
strives
arcade,
this
to
of
his
but
landscape
painted
tradition
Loggia
wonderful.
are
is seated
of
piece
best
as
by
who
In
Adam
stands
head.
hand
subject
cloak
this
Paradise.
Paradise
fresco
the
the
the
Eve.
of
showing
centre
Adam,
himself
seeks
woman
the
wondrous
Raphael
severe
in
human
to
is
Father's
In
fruit
Creation
treating
worked
with
serpent
offering
that
Eternal
the
Romano
(6) Original
a
of
of
traces
earth,
on
method
of
drapery
(5) The
of
and
unmistakable
foot
new
style,
Eve
field, and
(8)
appears
The
ning,
spin-
her.
of
the
about
distance.
Ark.
Noah,
preparing
The
the
work
an
old
timber
bears
man,
is
for
the
traces
of
THE
176
VATICAN
Saved
Moses
Penni's
Francesco
the
and
One
another,
drowning
While
and
another
men
are
Here
but
Promise
back
to
to
numerous
it is not
the
to
believe
quite
(13)
The
onlooker,
offspring.
and
sons
In
Vasari,
have
we
are
centre
the
lamb
two
rear
Ark.
seen
the
slaughters
the
arms,
the
family
In
is
from
from
in the
appears
his
woman
Sacrifice.
ready.
camel
his
rider
in
ground
back-
young
background.
work
of
Giulio
certain.
Abram
forth
and
of his
one
Forth
Coming
Noah
victim
bulls, and
two
The
ark,
dies
rescue
(12) Noah's
second
to
is surrounded
Abram.
(11)
who
to
the
foreground
the
woman
trying
In
Deluge.
in
on
altar, while
an
a
and
is
the
flood.
the
are
brings
He
wine.
her
hair.
holds
we
child,
Nile
Universal
terror
up
before
Arcade:
Jerusalem,
of
if
The
leaving
of
leading
seen
Fourth
of
ruin
the
waters,
in
a
are
son
again,
Romano,
man
praying
the
on
holding
the
(10)
looks
animals
lamenting
is
seen
by grasping
the
Noah
is
ark
drowning.
style.
from
by
two
(15)
is
on
appears
The
Visit
Melchisedeck,
baskets
warriors
patriarch
God
Melchisedeck.
and
Abram
of
and
his
him
of
the
and
shepherds.
knees
to
bread
in the
on
Three
King
four
(14)
jars
God's
foreground,
high, promising
Angels
to
his
him
Abram.
THE
Candelabra
in
the
Loggia
LOGGIE
decorated
by
OF
RAPHAEL
Detail
Mantovani
Decorations
Door
from
the
Ornaments
in
Pilasters
the
showing
over
177
Arms
in
the
of
Gregory
Loggie
Candelabra
XIII
(Mascherini,
Sermoneta
and
Nogari)
the
the
In
men,
of
front
who
his
is
to
seen
forward,
been
Fifth
his
on
seated
to
the
and
from
father's
on
Esau
Francesco
bedside
work
in
Jacob
salt.
This
In
in
to
be
the
In
Lot
who
the
ground
backcomes
looked
work
also
back
is said
In
(19)
his
This
country.
Asking
seen
her
Isaac
looking
watches
in
Him.
at
At
shows
door.
is
ground
back-
certainly
patriarch
the
The
who
The
son.
is
them
Jacob.
Jacob,
to Bless
the
of
country,
open
bless
to
encouraging
wild
atrium
Blessing
Isaac
hand
is
Rebecca
the
the
on
Isaac
landscape
clouds.
Abimelech
blessing, while
are
fair
the
looking
King
seen
(20) Esau
is asking
wife,
Rebecca.
raises
is
hunting
style of Penni.
to
is Penni's.
couch,
The
him
balcony
The
People
Isaac.
to
in embrace.
Rebecca
and
of
thought
distance
near
the
to
Embraces
is
the
young
door.
Penni.
appears
seated
Penni.
Esau
Rebecca
is in the
Isaac
his
foot.
at the
surprise.
work
The
patriarch,
of
(18)
are
window.
shows
work
God
in
statue
Appears
and
background
Rebecca
kneeling
by
left.
whose
palace,
Isaac
into
is
the
Sodom.
Leave
hand.
Francesco
(17) God
knees,
the
by
turned
executed
Arcade:
seen
aged
been
has
Sodom,
to have
is
his children
leading
on
three
the
from
fresco
The
Law
the
before
looking
city, and
Presenting
Moses
knees
Family
his
burning
is
landscape.
and
Lot
(16)
is to be
his
on
Sara
him.
charming
Penni.
of
is
Abram
house
speaking
are
background
work
at
VATICAN
THE
178
the
his
his
The
LOGGIE
THE
in
and
angels
in
lost
glory
Rachel
and
hand
the
at
before
to Jacob,
speaking
and
has
who
David
The
(23)
his
Jacob
an
ass
the
road
and
injured.
own
by
country.
his
The
which
his
on
her
their
quench
is
Jacob
(22)
holds
who
staff
pilgrim's
six
of
top
Father.
flocks
the
ground
fore-
by
thirst.
shoulder.
Bathsheba
by
Jacob
goes
Jacob
stands
(24)
to
Jacob's
flocks
see
Laban,
who
the
seated
camels,
on
shepherds
has
tending
Jacob,
children
and
landscape.
Rachel,
Flight.
and
women
charming
are
seen
is
on
ahead.
Seventh
Arcade:
as
dream.
Near
accompanied
his
to
Hand.
him.
is badly
and
the
God
is enhanced
scene
Rachel's
with
Leah
fresco
The
returning
whole
the
Seeking
daughter
flock.
on
of
poetry
the
the
where
in
centre,
bond-servant
while
well
asleep
the
ladder
of
figure
the
Rachel
Well.
the
descending
and
surrounding
standing
are
is
Rachel
ascending
seen
are
lies
towards
head
his
turns
ecstasy
Jacob
Ladder.
Jacob's
(21)
Arcade:
Sixth
179
RAPHAEL
OF
young
They
are
(25)
boy,
Joseph
Telling
is standing
reclining
on
while
of
his
he
Dream.
tells
sloping ground.
Joseph,
his
brethren
The
flock
sented
repreof
is to
his
one
THE
180
side.
In
the
sky
the
dream.
Sold
by
has
handed
who
Joseph
his
leaves
cloak
in
and
designs,
(28)
Romano.
Pharaoh's
with
explaining
the
dreams,
are
represented
light
the
on
Giulio
to
portico
the
background
him
to
his
perhaps
Interpreting
and
puzzled,
seen
The
tapestry
is
On
landscape
is
hands.
Joseph
and
flight
rich
Dreams.
king
is in
her
draw
to
attributed
properly
very
Poti-
and
work
the
the
is seated
with
is adorned
room
one
tries
He
out
of
woman
her.
to
four
to
Joseph
and
couch
on
to
The
Wife.
phar's
open
Joseph
counting
are
(27)
brethren.
Joseph
over
price
agreed
the
of
foreground.
the
merchants
events
The
Brethren.
been
just
in
(26)
Romano.
his
circles
is attributed
work
The
is in
well
the
depicted
are
Giulio
to
luminous
two
VATICAN
the
meaning
events
of
in
is
Joseph
of
which
of
circles
two
upper
portion
Arcade:
(29)
of
the
picture.
Eighth
from
Saved
Nile
as
the
looking
are
very
fine.
(30)
The
host
of
his
(32)
drowning.
The
rod
figure
Ninth
Father,
of
God
Arcade:
in
the
is
sea,
while
forth,
among
seen
Moses
and
the
hits
look
is
on
is
in
the
The
Moses
right.
his
the
by
Sea.
Red
is
hands,
are
army
rock,
from
amazement.
clouds.
Receiving
surrounded
his
work
the
and
Moses
Hebrews
in
to
the
it is uncertain.
of the
off
from
distance,
the
This
Pharaoh
Rock.
the
the
hidden
Crossing
which
taking
in
but
appears.
moving
are
in
is
itself
face
his
maidens
beautiful
six
Romano's,
God
VII
Clement
Century)
women
losing
(31 ) The
baggage,
Striking
(33)
clouds
which
one.
the
Moses
gushes
water
with
Moses,
their
over
river
is Giulio
within
preceding
Israel, with
stretches
which
the
as
the
of
one
the
work
Bush.
bush
and
of
Arms
(Sixteenth
daughter
that
the
showing
the
with
the
says
Burning
artist
child
landscape,
Vasari
Door
Pharaoh's
male
before
kneeling
same
at
The
basket.
With
Water.
background,
Moses
the
by
Tables
a
glory
of the
of
Law.
angels,
is
God
the
seen
on
(34)
knees,
going
the
mountains,
the
to
on
(35)
them.
breaks
his
as
the
among
it.
in
the
Law
of
the
law
the
cross
(37)
old
an
man
priests carrying
dry-shod.
over
followed
the
by
fall, giving
designed
free
this
in command
to stop
the
of
tables
cloud
Eternal
rises
is
of
one
being
Moses
(36)
Moses
mound
This
the
drops
pillar
the
it.
before
people.
from
Sheba
figure of
raised
he
dances
shows
the
cealed
con-
Presenting
the
finest
tables
tions
composi-
galleries.
in the
TenthArcade:
as
assembled
the
to
From
of
Queen
the
The
their
on
down
coming
seen
Cloud.
kneeling
seen
People.
the
to
is
Moses
and
Hebrews,
encamped
is
is
shown.
altar, while
an
upon
Moses
are
people,
spectacle
the
of
Pillar
Israelites
Hebrew
The
set
meet
eyes
The
Solomon
up
gold
tables.
sacred
the
left Moses
the
On
right.
and
Calf.
of
calf
of
tents
Golden
the
worshipping
are
are
and
of
Adoration
The
the
the
Moses
to
over
below
plain
the
In
kneeling.
handing
Sinai
of
summit
the
181
RAPHAEL
OF
LOGGIE
THE
in their
The
Passage
in classical
as
ark,
the
(38)
of
courses
his
so
of
that
Halts
Joshua
the
the
men,
the
makes
warriors
of
Sun.
to
the
walls
Joshua,
sign
to the
may
sun
to
warriors,
and
whether
Israel
sonified
perallow
warriors
the
While
city, the
It is doubtful
Jordan,
its waters
Israel, and
of Jericho.
circuit
fighting
of
people
besiegers.
(39)
Theriver
days, separates
Taking
the
to the
entry
the
The
ark, make
picture.
of the Jordan.
towers
Raphael
on
and
complete
back
horsemoon
their
victory
the
and
of
seated
urns,
takes
this
Arcade:
Eleventh
Anointed
King
temple,
David,
Perino
(41)
David
by
surrounded
is
sacrifice
while
altar.
an
Slaying
hit by
the
pressing
his
off
the
sight
being
are
conqueror,
in
his
David
his
on
the
river
is seated
of
is
whom
child
in
he
their
by
servants
who
of
his
Amorites
of
XIII
Gregory
Century)
and
prisoners
window
the
high
the
he
(44)
booty.
is
palace,
when
The
throne,
her
a
soldier
bends
Raphael.
laden
to
and
knees
embrace
figure
of
of
Solomon.
in
sight
while
the
not
harm
to
The
picture
(47)
The
with
Solomon.
looking
chances
to
old
an
at
see
the
The
very
design
mothers,
him
to
one
divide
The
wise
little, if any,
of Sheba.
Queen
background
infant.
the
has
gifts,advances
her.
two
towards
of
king
symbolizes
the
asks
other
presence
as
man
In
of
the
In
Solomon
anoints
priest
Judgment
on
of
reclining
admiration.
from
Solomon,
the
orders
drawn
her
the
Anointment
the
his
on
two,
express
followed
(46)
suppliant
at
The
(45)
crowd,
Tigris.
Solomon
the
foreground
the
Arms
(Sixteenth
against
out
the
showing
terrace.
applauding
In
Door
along
David,
Arcade
Israel.
an
stands
bear
marching
Twelfth
an
Hebrews.
surrounded
Bathsheba.
Bathsheba
and
Like
who
warriors,
and
At
flee
David
chariot,
soldiers
of
sword.
the
by
cut
to
Triumph.
upright
by
his
the
knee
one
is about
pursued
ancient
giant,
on
Philistines
David's
(43)
with
with
the
(42)
The
is stretched
chest,
head
on
here.
David,
his
his
ready
Goliath.
stone,
and
earth,
by
suggestions
are
Romano
Giulio
of
the
Samuel,
by
made
There
David
In
Samuel.
anointed
is
brothers,
of
to
arcade
all
Vaga.
del
men
is
It
assigns
Vasari
in
works
the
gives
he
tribe.
the
boy
which
of
work.
feeble
before
paper
head
are
two
which
of
one
out
the
Eleazar
thrones
on
from
Joshua
Lands.
the
priest
high
(40)
Amorites.
the
over
Division
The
to
VATICAN
THE
182
The
the
is faulty
spiration
in-
queen,
throne
and
can
C 183]
be
hardly
the
Solomon
has
workmen
To
side
other
been
the
Child.
of
on
disrobing
the
Saviour.
the
table
are
full
for
baptism.
(52)
of
of
his
these
sacred
one
Christ
is
pouring
are
men
of
garments
of
figures
The
around
the
and
Apostles
which
run
and
details
ments
monu-
grotte.
as
at
these
to
go
rich
arches
Roman
from
was
that
the
over
from
known
are
roof
pilasters
given
derived
are
Aurea,
Domus
the
copied
were
were
ornaments
us
on
the
on
to
usually
name
they
scenes
for
coloring
which
of
of
one
use
recording
Antiquity,
firlano.
galleries,
adapted
ancient
the
He
took
of the
one
of
the
finest
dreams
work
but
and
and
visited
in
San
the
the
Roman
remains,
time
one
there
called
the
and
creations
fancies.
of
this
real
he
made
of
the
The
new
whole
Renaissance,
pictures: mythological
how
Raphael
pupil
and
graffito
painter:
tribute
with
pilasters
and
to
quite recently,
under
so
which
Aurea,
his
Nero
plagiarism.
did
a
Domus
Moreover,
laid
no
the
ordered
of
artist, together
that
Vincoli,
he
House
name
and
in
that
that
was
models,
of
Pietro
was
tells how
rooms
Loggie.
in
very
indeed,
parts
the
decorations
galleries
the
Udine,
da
near
their
with
for
them
discovered
Giovanni
discovered
been
of
copies
life of
Raphael,
pleased
so
stucco
his
master
just
full
and
because
away,
Nero's
in
Vasari,
these
follow
seated
are
the
lid of
of
the
the
of Titus.
Baths
roof
In
and
Christ.
group
Apostles
has
the
John
hold
The
it remains
Loggie.
the
that
from
notably
work
"grottesche,"
It is certain
was
The
centre.
the
Bible,
stucco
long buried
had
fresco
slaves
of
St.
St. John
near
the
briefly described
and
windows
with
Supper.
is in
Raphael's
up
decoration
is that
Last
Saviour
the
thus
make
and
The
angels
and
Christ
the
Virgin
curiosity
bank
On
Magi.
The
Baptism
of
figure
Two
the
the
foot.
The
river
the
The
of
gin
Vir-
dropping
gifts.
near.
much
The
are
with
before
Child's
(51)
the
on
Behind
angels
Adoration
with
the
of movement.
Having
to
hands
head.
lifting
kings.
the
joined
his
and
is
foreground
is
and
Shepherds.
draw
knees
the
kissing
Joseph
by
with
water
on
is
brought
their
the
coming
to
The
(50)
the
two
seen
shepherd
are
king
left
the
vases
stands
kings
oldest
To
the
to
are
Temple,
In
of
whom
on
Temple.
the
the
wood.
sawing
Adoration
shepherds
of
architect.
the
and
of
Building
foundations
Child,
the
the
considerably.
three
The
behind.
by
stones
beckons
Joseph
damaged
centre
left
the
him
(49) The
before
kneeling
the
hewing
busy
Arcade:
flowers.
visit
shown
plan
Thirteenth
is
out
come
are
to
The
(48)
Raphael.
of
work
the
examining
is
VATICAN
THE
184
juan
for
of
a
been
ideas
da
in
Udine
ment.
judg-
taste
and
and
the
result
in
colors
dotted
with
them,
story-book
walls
the
on
vdene
da
the
Giovanni
exquisite
has
make
are
LOGGIE
THE
animals,
vases,
musical
statues,
is
master
of
truly
for
save
heaven
in
Udine,
the
of
in
times.
of
which
soon
to
the
later
we
whom
of
but
began
day
find
laid
thickly
too
to
with
again
excess
pall.
But
on,
we
beautiful
the
an
outcropping
the
work
is
artists
the
became
lent
preva-
employed
ornaments
and
in
the
which
style
the
the
shock,
work
at
Raphael
into
arabesque
The
which
without
was
and
earth,
in
poem
that
under
pitfalls
fall.
great
spirit
Classic
and
Christendom
the
to
heaven
one
of
Cinquecento,
and
heavy
method
imitations
classic
da
avoid
liable
half
and
the
Udine,
to
into
world
understand
not
so
second
the
that
cold
da
were
stiff
became
do
how
known
time
his
lence
excel-
the
excellent.
more
faith,
and
drawn
the
meets
Giovanni
has
the
on
proclaim
to
work
any
poetry
here
are
who
Renaissance.
that
legend,
story,
those
imagine
to
easy
Pagandom
of
world
not
of
are
while
wall,
work.
Bible
winds
whom
supported
canvas
trumpet
nook
of
seen
window
some
on
on
blows
Fame
down
pupils,
be
to
are
in
painting
design
dainty
his
with
others
drawing,
ribbons,
frame
stucco
ancient
of
copies
and
flying
birds,
together
painted
185
originals
charming
making
whole
antiquity,
in
others
lower
the
is
It
pass
fishes,
is
busy
and
knees,
of
instruments,
and
colors,
mixing
due,
fantastic
himself
Raphael
the
landscapes,
hand;
every
on
RAPHAEL
OF
hence
it
confuse
not
must
creations
of
of
came
the
to
the
Giovanni
beauty
of
Part
THE
MUSEUMS
VATICAN
AND
THE
Three
AND
MOSAIC
COLLECTIONS
FACTORY
NEW
THE
difficult
is very
of
predecessors
the
With
arts.
the
the
The
gelico.
latter
the
Up
painted
known
and
there,
pictures
1815
out
Vatican
the
had
to
kind,
coins,
and
pictures
of
Congress
original
be
first
was
was
but
and
which,
of
all
transferred
on
under
up
the
alone
the
to
stitution
in-
restoration
being
light
to
in
the
fail
of
Fra
by
An-
entrusted
with
the
dows
win-
small
in
be
by
the
all
claims
the
they
for
lovers.
would
Appartamento
189
not
public
Cardinal
of
by
Alps
Thus
of
these
Gregory
envoys
of
of
be
view
Sixtyof
returned
in
the
the
Old
and
Soon
on
the
every
imperial
agreement
Consalvi
XIII
from
paintings.
began
Borgia.
Treaty
1797
Pope's
collection
the
of
the
in
difficulties
and
to
Marini,
by
The
of
contained
Marino
French
States.
able
unsuit-
safety
works
and
the
by
precious
exposed
the
up
these
that
entirely
place
The
was
climb
fact
recovering
Allies
the
Apartment
the
what
steep
Canova
of
direction
in
Moreover,
re-cross
art
was
for.
in
Pinacoteca
Old
Palace,
lament
to
Papal
that
the
up
the
It
taken
more
to
would
opened
to
of
XIII.
the
condition
the
of
succeeded
in
give
back
copied
made
treasures
allowed
were
owners,
had
VII,
to
that
floor
provided
prejudices
got
Vienna
studied
Gallery,
it
they
particular
frescoes
back
Papal
they
refer
We
complete
honor
Antonio
churches
forced
were
in
so.
sions
occa-
by
that
glorious
sequestrated
which
Pius
the
before
to
its
Gregory
sufficiently
the
and
the
accommodations.
countless
overcome
seven
to
the
down
success
artists.
bringing
top
were
those
of
of
to
on
laid
do
several
undertakings
all
great
hardly
space
not
was
representatives
of
of
could
and
mainly
were
the
on
treasures
lighting
in
there
visitor
the
in
paintings
Apartment
artistic
priceless
the
the
as
the
together
gathered
were
was
enjoy
they
sides.
1909
year
the
had
world,
able
course
and
for
famous
succeeded
the
of
the
of
patrons
as
opportunity
great
so
Gallery
writer
and
the
gratitude
V,
present
the
to
Nicholas
work,
with
the
Picture
New
of
Chapel
him
win
to
of
artistic
with
in
their
rival
to
period
the
nor
up
nowadays
will
Pius
Two
initiated
Popes
best
Pope
traditions.
enough
Renaissance
follow
to
are
the
the
means
Nevertheless,
he
for
the
the
neither
GALLERY
PICTURE
the
to
the
Vatican
Picture
Canova,
afterwards
third
floor
of
Loggie;
the
the
then
of
Apartment
back
the
to
it to its
In
to
refined
taste
culture
of
this
about
of
Seitz
One
of
the
to
Transfiguration
the
the
that
of
during
the
of
Library,
night
paintings
in
the
small
but
Museum,
throughout
di
he
in
Seitz
Pius
work
the
succumbed
the
old
and
the
the
to
then
removed
of
the
Picture
was
away
other
storerooms
labor
with
to
so
attack
works
the
great
writer's
New
of
pulleys
heart
Gallery
in
the
apartments
value
of
when
from
emotion
disease.
has
the
sides
Be-
tion
collecof
the
Byzantines
of
glass
the
not,
was
day
with
overcome
of singular
and
he
love:
and
collection,
Lateran
the
present
on
cords
an
previously
of
for
was
the
of
the
Gallery
completed,
he
the
nical
techof
Palaces,
Misciatelli, and
Old
collection,
celebrated
Apostolic
d'Achiardi,
lowered
was
Pius
himself
availed
of
it
Belvedere,
hidden
Primitives,
Christian
scattered
Cortile
the
Halls
later
are;
now
quarters.
Professor
his
see
Raphael's
top
Pope
Sneider
Professor
destined
however,
paintings
change,
and
Tapestries;
the
XIII, whence
Sub-prefect, Monsignor
the
For
last
Architect
of
Professor
predecessor.
worthy
of
modern
the
Gregory
and
Hall
the
now
V, where
of
ample
present
bringing
is
what
Pius
Apartment
experience
the
VATICAN
THE
190
cases
that
the
had
been
Apostolic
NEW
THE
the
showing
Palaces.
and
of
the
The
decorated
the
pictures
for,
di
Cortile
the
an
no
with
In
are
by
of
inscription
in
which
and
leads
of
bust
the
to the
Pius
of
best
the
quarters
nine
are
the
in
number,
is
door
by
the
Floreria
well
is
the
and
and
are
known
slab
sculptor
Aurelio
Monsignor
so
vided
proof
east
of
and
wherein
amply
so
the
on
entrance
carved
traditions
halls
safety
Museums
arranged
were
artistic
of
with
Seeback.
Galli, Secretary
Heic
Vaticanam
splendore
Sacri
through
Max.
Accessione
operum
Statuendam
enters
the
their
the
Pont.
X.
Pinacothecam
Laudatorum
light
collection
reads:
Letters, and
Pius.
The
Alberti)
storerooms
halls
Over
pen
with
and
the
visitors.
is from
this
these
that
The
Gallery,
(L. B.
elegance
displayed
Vatican.
191
Picture
severe
formerly
were
Old
Zodiac
keeping
imagine
Vatican
the
the
the
favorably
street
in
of
GALLERY
to receive
nobility
of the
that
Hall
were
would
one
inscription
Latin
so
Signs
admiring
Relvedere
thousands
The
for
which
coach-house
reached
to
halls
Vatican.
of
Ceiling
The
PICTURE
Attributa
the
windows
Sede
Curavit
Ordinandam
Principatus
Auctam
Anno
VI.
which
overlook
the
Cortile
192
The
di
S. Damaso.
so
that
of
the
concealed
comfort
the
chairs
pieces
of
variety
from
of
at
of
the
of
chief
painter
charms
its most
Seitz
and
are
of
the
of
coat
the
boldly;
of
the
of
the
the
which
in
there
called
Pius
the
formly
uni-
marble
carved
in
pure
X.
The
gilding
rich
arrangements
the
near
room
shape
of
arms
of
are
appears
heating
panelling
of
hall
white
stucco-work
with
the
the
with
Pope
designs,
restoration
of
framed
silk, against
out
floor, and
is
are
to
plete
com-
of
abundance
an
raffaelesca,
task
demands
Professor
of
the
paintings,
Greeks
of arranging
and
Picture
Vatican
valuable
and
rare
The
esthetic
extent
and
tive
decora-
marble.
early imitations
Lawrence.
once
lounges,
certain
adorned
walnut
nobility
precious
the
the
and
elegant
and
One
in
ancient
to
decorations
with
green
stands
frames
picture
to
name
are
olive
with
covered
skilfully
the
according
cut
doors
style, interspersed
Cinquecento
are
The
Primitives
or
The
Cortile.
ceilings
The
Trecento
were
architrave
the
gilt lettering.
the
entailed
noble.
and
over
of
Sneider
majestic
the
severe
slabs, and
walls
of
plans
Hall
windows
These
the
side
one
of
VATICAN
THE
sound
d'Achiardi.
down
such
to
a
scientific
On
Gallery
for
the
the
so
requirements
death
of
great
can
pass
paintings
modern
collection
the
is the
visitor
as
to
fell
satisfy
to
the
Seitz, d'Achi-
ardi
had
work
the
of
right
Primitives
known
"
of the
the
as
it has
because
the
of Umbria
of
School
again
at
of
the
Secentisti,
to
the
Beginning
left,
the
to
Hall
the
the
Hall
Hall
the
all the
kept
that
nine
are
Hall
the
including
paintings
there
Gallery,
The
of
all, then,
In
the
School
which
and
are
in
place
of
devoted
Painters.
wherein
amples
ex-
Marches,
School,
Venetian
Foreign
are
the
successively
the
of
vestibule,
of
of
fresco
schools
Raphael.
meet
we
the
hall
the
Hall,
Cinquecento.
Hall
and
the
precedes
Melozzo
and
the
or
second
painter"
Quattrocomes
the
Italian
of many
the
Library
famous
the
Romagnolo
Then
tines,
Byzanfor
In
Museum.
Christian
room
the
to be
are
and
in
part kept
193
to
room,
hitherto
paintings
most
first
vestibule,
the
the
found
the
In
GALLERY
glorious
the
complete
to
alone.
PICTURE
NEW
THE
the
of
Trecento
atrium
considered
not
are
skilfully
rooms
the
and
room
store-
worthy
and
logically
planned.
The
the
but
Gallery,
They
kept
in
part they
date
date,
the
glass,
from
and
Crucifixion,
in
and
the
which
is
Sts.
Francis
Baptist.
draperies
and
In
properly
not
only
its dramatic
attributed
is supported
by
half
lower
Sts. Paul,
work
of
the
holy
Peter
Louis
of
because
force.
to
In
Giotto:
Cochin,
women;
in
seated
are
and
who,
at
of
our
in
the
foot
Toulouse.
This
opinion, therefore,
is also
view
of
Berenson's
the
fact
and
sorrow
are
John
the
before
a
the
some
truly
but
it has
to
the
Cross
terly
mas-
also
been
opinion,
that
"
half
the
is
treatment,
of
Schools
of her
of
attitudes
most
some
upper
hieratic
of
are
belonging
weight
the
the
and
the
Italian
Apostle
its breadth
such
there
the
Sts. John
Magdalen,
in
the
falls beneath
For
painting
It shows
times
light
poor
Central
framed
cized.
criti-
or
recent
them.
though
the
to
A
interest.
the
were
to the
owing
of
novelty
identified
until
to examine
belong
Virgin
by
Mary
and
century,
Bolognese.
special
being supported
and
was
majority
the
is of
first school
difficult
fourteenth
the
tasteful
most
satisfactorily
been
paintings,
Library, where,
it
the
represent
yet
never
in the
Sienese
Florentine,
first hall
all small-sized
cases
of
earlier
have
are
glass
reflections
the
in the
Primitives
cause
bevery
and
Bishop
he
of
Hall
The
Toulouse
here
whom
Giotto
work
belongs
the
by
Madonna
of the
the
Naples
of
parts
Florentine
are
against
Faithful
advent
the
and
of
some
Crucifixion,
of
but
of Angelico,
for
Nativity
are
are
ner
mancised
exer-
of these
best
work
of
the
heralding
example,
"
the
the
background,
painter.
influence
great
one
group
of
the
Story
certainly
the
that
Giotto
the
for
Anjou,
holds
famous
in
ones
tradition,
"
the
the
to
day;
own
which
the
and
of
of
1332,
to
smaller
golden
Giotto
the
to
his
Robert
of
activity
many
in
Hall
1330
Italy, testifying
master
Child
from
the
in
Melozzo
or
relative
near
at
period
Monaco,
the
Benedict,
Quattrocento,
was
painting
Quattrocento
Lorenzo
by
this
to
and
Daddi.
the
painting
was
various
from
of
portrayed
around
Grouped
is
VATICAN
THE
194
by
nardo
Berdawn
pictures
of
his
St.
own
hand.
The
that
Sienese
give
Fredi's
pupil,
of
the
tablet
School
particular
Angel
Taddeo
upper
shows
is
evidence
Appearing
di
Bartolo,
chapel
with
to
in
the
charming
fully represented.
more
even
of
the
Giotto
St. Joachim,
whose
Communal
and
influence
the
is linked
name
Palace
simplicity
the
are
Death
of
with
the
of Siena.
soul
of
those
Among
The
the
Bartolo
Mary
di
by his
decorations
little
latter
Virgin
in
the
THE
NEW
PICTURE
GALLERY
195
WM
The
Madonna
and
Child,
(Fra
with
Angelico)
Saints
and
Angels
196
VATICAN
THE
from
Episodes
the
Life
(Fra
form
of
arms
of
Christ,
body.
also
the
Greek
Martini,
excellent
of
influence
and
state
of
especially
of
importance,
art,
on
is the
the
Duccio
the
golden
and
apostles
several
great
history
in
wrapped
influence
pronounced
the
while
of
work
A
for
child
young
St. Nicholas
of
not
Christ
Sienese
di
Bari
draperies
angels
alone
are
for
Blessing
School,
Boninsegna.
Crucifixion
preservation,
of
Angelico)
by
among
and
and
stand
by
This
Lippo
the
round
the
its intrinsic
an
helped
most
in
but
had
who
to free
the
dead
value
artist
picture
Menni,
in
resting
it from
by Simone
view
precious
of
its
docu-
The
Miracles
of
St.
for
ments
the
Of
missing.
are
before
Pilate,
of
manners
the
less
no
Lorenzetti
two
in many
which
table
Mention
Saints
work
the
with
1372,
Vatican
interest
of
It is also
the
saints
especially
panel
the
This
of
example
an
on
on
of
The
tinguished
dis-
and
eight tablets
in
certainty.
is, for
there
signature,
ple,
exam-
blessing
Child
and
effective
the
left.
in
the
Vitalis
de
of
the
the
cusps
for
its
for
of
in the
the
wild
her
of
whom
however,
face
panel;
of the
this
hermit
the
New
in
of the
sion
expres-
expression
St.
the
peculiar
half
second
the
neglected
possesses
the
other
no
until
lain
previously
This
above
size, but
unknown
was
and
Son
polyptych.
the
Bonsi,
itself
it had
intrinsic
sides
of
painting from
Tuscan
with
exceptional
artist, Giovanni
painting
works
important
Enthroned
Madonna
polyptych,
great
the
of
noteworthy
opened,
was
storerooms.
Trecento.
the
with
the
Christ
tablet
studied
Madonna
bears
one
figures
the
Indeed,
Gallery
as
is
of
of
the
other
and
signature
is known.
Picture
in
showing
made
school,
and
is dated
for
be
here
must
Florentine
ancient
work
the
wings
Cavalcaselle.
by
represented;
Raly.
the
Lorenzetti's
to either
disciples, which
kneeling
which
particularly
group,
well
are
of
I.
Bonomia
Four
in this
Cavalli,
Vitale
by
of
group
all
Primitives
Bolognese
a
a
to-day
even
The
triptych,
in
painting
advantageously
attributed
be
of
art
described
be
can
paintings
cannot
and
to
the
is Pietro
importance
known
work
of
of
panel
Ferrer
Cossa)
beginnings
central
is the
Crucifixion
The
the
of
study
Vincent
del
(Francesco
197
GALLERY
PICTURE
NEW
THE
comes
be-
Honuphrius,
THE
198
VATICAN
Miracles
The
of
St.
The
the
saints,
angel
is
of
the
artists
the
To
and
in
coal
the
is
the
seen
left
sky
of
an
Isaiah.
prophet
figure
four
are
above
with
object
the
corpse,
the
is framed
gold,
predella
decaying
of
lips
background
the
The
motif
the
dear
to
the
fear
salutary
meditation.
and
From
the
valuable
Florentines
icons
arranged
the
While
room.
old
works
the
"
or
nuele
Zanfurnari,
early
Renaissance
traces
of
(Margarito
from
of
The
the
de
be
to
by his
the
deep
unusual
Burial
eleventh
century,
done
of
oldest
Byzantine
me
the
St.
style,
fecit)
from
and
for
that
these
truth
or
most
to be
signed
is that
bears
the
Margaritone
of
this
fabulously
are
under
half
part
in
artists
which
by
the
is said
the
second
ing
Free-
windows
the
that
artists
painting
the
"
many
St. Catherine
St. Nicholas
it is really
artist
Greek
group,
is
of
Ephraem
whereas
and
di Niccolo.
are
it said
of
by
the
Museum
sixteenth-century
works
and
apertures
have
we
St. John
Lorenzo
son,
hear
to
Gaddi
with
Gerini,
Christian
instance,
Aretio
Child
and
the
Agnolo
di Pietro
the
sides
it is not
for
tenth
influence.
is said
taken
on
Madonna
to Niccolo
Knights
Three
The
followed
who
the
paintings;
is attributed
of
angels.
saints,
live
the
on
"
two
glistens with
while
Trecento
by
picture
Biondo.
del
against
enthroned
female
a
tablet, which
Annunciation,
of
four
with
purifying
seen
beautiful
This
drapery
right
the
to
held
Giovanni
by
Child
and
by
represented
are
Sanctorum
Madonna
purple
and
gold
male
Cossa)
its traditions
Regina
the
rank,
shows
scene
of
first
and
School
Oncagna
of the
Ferrer
Vincent
del
(Francesco
the
by
work
Etna-
they
are
Greek
clearest
d'Arezzo
Dugento,
PICTURE
NEW
THE
The
Miracles
of
St.
and
Speco
of
feel the
breath
The
various
New
works
Here
Gallery.
shows
Catherine.
The
of Bari:
first of
these
dowry
poor
preconizing
of
the
holy
youth
while
of
crowd
other
panel
grain
and
tells
Church
are
of
the
panels
two
1437
for
the
St. Dominic
still treasured
in
in
the
of
part
of
Chapel
Perugia,
Picture
of
S.
and
Gallery
to
of
save
a
of
in
the
and
St.
St. Nicholas
asleep,
to
flowering
of
vessel
dei
city.
gift
and
the
church,
sward;
the
the
sacks
from
Guidolotti
parts of the
that
the
of preservation,
life of
are
to
tic
authen-
predella painted
Niccolo
some
view
on
entrance
a
on
St. Nicholas
formed
story
multiplication
the
visitors
state
the
the
at
ism
ideal-
sented
repre-
St. Dominic
from
they
assembled
are
of
the
while
bishop
as
miracles
apparition
the
These
about
faithful
the
tells
sisters
three
to
which
undoubtedly
Child,
episodes
panels
the
not
are
room,
for
excellent
an
Ages
the
century
were
the
with
contain
to
in
one,
Sacro
Pove-
the
Middle
second
three
same
room.
surprise
works
able
vener-
at the
is linked
the
in
a
the
the
the
of
one
this very
instance,
glory
others
two
the
in
Virgin
the
of
of
fifteenth
the
of
document
whom
in
holds
for
are,
with
importance
of which
Angelico,
Fra
by
earlier
obscurity
in
art
majority
the
Gallery, since
Picture
Old
the
and
size, and
in
pictures
the
as
is
painting
other
gathered
art
Italian
of
others
the
all
of
exceptional
of
like
The
iconographic
dawn,
coming
works
Ferrer
well
as
first in
the
currents
works
by
exceeds
a
was
the
in
Arezzo,
noteworthy
of the
revealed
of
is
Subiaco,
of Assisi, who
rello
and
Pisa
at Siena,
period
199
Cossa)
Stigmata.
relic, and,
important
most
the
Showing
St. Francis
Vincent
del
(Francesco
depicting
GALLERY
third
of
wreck.
ship-
by
in
gelico
An-
the
panel
VATICAN
THE
200
Miracles
The
St.
of
Around
these
in
Magi,
the
Jerusalem;
into
belong
to
shows
the
influence
of
power
of
the
altarpiece
to
school
by
Fra
Fra
da
hole,
works
Panicale
of
the
As
pini, secretary
is well
to
the
known,
Florentine
the
Virgin
the
uted
long attrib-
was
Church
the
the
the
tradition
the
the
as
St.
by
central
are
here
admirable
of
part
declares
ciation,
Annun-
Dormition;
just
Under
of
predella
Espousals,
and
early
an
cento,
Quattro-
surrounded
On
and
dently
evi-
the
in
used
was
nuns.
the
the
which
master,
it
for
Entry
and
is
of
that
evident,
more
which
of
"
Birth
Gozzoli.
Masolino
and
the
tion
Adora-
the
which
middle
done
grouped
the
Library,
scene,
the
Circumcision
of
speaks
Filippo Lippi,
her
"
in
the
St. Thomas.
to
is still
by painting technique,
coloring.
shows
the
Angelico
Angelico
works
and
to cloistered
Masolino
of
tempera,
life
One
Angelico
in
girdle
Christ,
Tuscan
of
in
kept
painted
was
Birth,
the
Transfiguration,
Angelico.
influence
the
rectangular
other
Among
made
of
Fra
Communion
giving
and
Virgin's
drawings
is
of Fra
giving
the
Birth
the
formerly
were
judiciously
been
Christ:
of
the
Temple,
painting
and
from
scenes
the
Montefalco,
near
of angels
six
school
It is
Fortunatus
choir
the
clearly
so
him.
to
these
Gozzoli
of Benozzo
work
in
Jesus
all
have
life
the
Ferrer
Cossa)
works
precious
most
Vincent
del
(Francesco
and,
early Quattrocento
Crucifixion
are
is held
seen
to
the
be
one
of
notwithstanding
still astonished
the
and
united
work
was
Republic,
the
the
Vasari
ordered
who
in
two
Dormition.
by
The
famous
the
tych
trip-
istic
character-
most
great
by its
is shown
uted
attrib-
are
progress
freshness
Carlo
in
of
Marsupa
panel
to
THE
NEW
PICTURE
GALLERY
201
THE
202
left
the
shows
garb
left also
an
ermine-lined
by
two
in
assisted
saints.
the
the
In
panels
playing
angels
on
personage,
cassock,
of
by
panel
the
monastic
three
astical
ecclesi-
presented
shows
background
the
on
in
donor
saints;
the
ing
crown-
panel
being
monastic
two
on
marble
the
the
The
Christ
shows
Virgin;
the
of
Chapel
Oliveto.
precious
of
throne
the
at Mount
panel
central
right
it to
offering
St. Bernard
VATICAN
appear
musical
on
instruments.
from
Coming
of
the
the
hitherto
of
background
is
della
this
In
taken
the
crucified,
There
are
grino
del
various
but
many
Mariano
the
which
the
significant
can
Florentine
Vinci)
of
Piero
exercised
influence
him,
conceive
Pietro.
Espousals
girl musicians,
the
Sienese
Poggio,
of
one
of
of
the
ledger to-day
are
from
the
Golden
and
is
School
of
masters
latter
Virgin,
the
during
the
Sienese
whose
works
Siena
during
with
such
here
love
a
the
School
the
wonderful
which
admirable
an
cover!
Christ
shown
art
as
Pelle-
attributed
Legend;
is crowded
ment
embodi-
Quattrocento.
must
years
of
graceful
Thoma."
such
the
To
of
me,
II Sassetta,
by
artists.
adoring
scripsisti de
depict episodes
tax-register
"Bene
imitated
who
robes
teenth
fif-
the
after
sought
is attributed
monk's
his
of
prominent
most
tablets
small
School
much
so
the
II Sassetta,
in
saying:
di
now
by
of
group
Sienese
the
to
are
as
artists
and
instance
interesting
very
represented
some
of
delicacy
del
cover
Jerome
da
characteristics
some
the
which
Sano
and
of
Aquinas
by
Giovanni
for
of
known
to
works
celebrated
very
Who
is
Giovanni,
other
Among
school
elegant
figures of boy
the
shows
belonging
of
of all is the
of
as
and
works
speaks
tablets
most
with
is
St. Thomas
who
and
there
the
di
showing
St.
It
traces
as
Library
This
Stefano
work
work,
room
century,
To
of
Lippi.
same
lovers.
art
Head
(Leonardo
well
as
and
from
the
landscape-work.
Francesca,
by Angelico
painting
marvellous
fifteenth-century
art
Receiving
against
Stigmata
fore
thereto
precious
St. Francis
showing
and
unknown
is
students,
private apartments
Vatican,
1444
in
be
was
tioned
men-
used
and
1445,
those
days.
THE
NEW
Pope
GALLERY
PICTURE
Sixtus
(Melozzo
IV
and
da
II Platina
Forli)
203
THE
204
Details
from
VATICAN
Pope
(Melozzo
Sixtus
da
IV
and
Forli)
II Platina
THE
visitor
the
But
relics
of
being
here
Picture
St. Peter
(like the
Vincent
the
showing
Old
the
Ferrer,
in
now
Griffani
the
berto;
same
shows
the
Queen
of
by
his
Aragon
from
of
fantastic
in
to
down
of
All
these
and
luminous
child
scenes,
who
healing
by
who
which
landscape
the
St.
altar
of
that
de
The
of
a
a
predella
sister
mason's
been
take
with
of
the
tant
assis-
kept suspended
had
Bo-
it is the
painted
rock,
Vasari
Ercole
Palace.
and
the
It is true
Schifanoia
construction
belonged
and
to
Farrarese,
the
comes
Marches
artist
great
woman,
life
the
another
the
struck
been
house
and
Milan,
London)
epoch
work
shown,
at
Bologna.
at
the
leprous
had
who
mother.
of
Umbria
to
that
decorated
of
the
of Francesco
this
has
Brera
Gallery
of
masters
Ferrer;
the
splendid
more
predella
Frizzoni
in
of
even
celebrated
as
now
School
the
by
St. Vincent
National
agree
now
restoration
the
insane
background
of
who
one
healing
falling
saint, and
Gallery,
predella doubtfully
all critics
the
as
of
and,
in St. Petronius's
Chapel
the
but
Miracles
205
famous
most
the
have
We
the
Hall
The
attributes
the
St. John,
and
GALLERY
is confronted
room
Renaissance,
represented.
Cossa,
del
from
this
to
Italian
the
PICTURE
NEW
by
the
pieces
place against a
torn
ruins
to
and
archi-
206
VATICAN
THE
tecture,
pretext
for
nothing
are
for
the
the
by
ever
the
the
of
days
this
In
large
Peter
lomeo
della
in
of
the
by
is
pure
seated
and
Child
(Francescuccio
painting,
showing
and
with
Child
St. Anne,
del
at
the
of
of
rare
Leonardo's
work
revealing
has
painting
window
the
Lorenzo
the
da
very
few
It
has
as
of
two
the
different
how
His
to
it
separated.
ever
master's
the
and
into
no
the
one
came
The
tory.
his-
Cardinal
the
Eminence
of
the
strange
come
times;
the
to
pieces
form,
surpassed.
by
had
collection,
lucky
of
out
is among
belonged
that
runs
know
which
executed
hand,
nique
tech-
bringing
been
never
picture,
Fesch
and
story
was
so
possession
canvas
at
seems
to
to
church
be
torn
in
the
The
Camerino
(Niccold
are
was
tainly
cer-
Triptych
Alunno)
and
of
Virgin
opening
and
vigorous
we
Virgin
is
master's
ter
Silves-
by Raphael
The
and
room
knowledge
This
own
the
its best
perfect
which
the
St. Jerome,
at
his
of
gem
if
Both
Andrea
to
merly
for-
them
Raphael.
donna
Ma-
St. John
is attributed
work
Barto-
St.
and,
one
St.
were
of
School;
a
Fra
by
Church
beautiful
two
seen
these
Sarto.
The
and
Porta;
bright landscape,
Ghissi)
the
small
St. Paul,
Michelangelo.
Tuscan
in
apostles,
influenced
were
Madonna
of
Vasari,
finished
and
Ferrara
also
are
Montecavallo,
to believe
Child
of
cisive
in-
his
Renaissance.
room
and
and
the
figures
of
costumes
life
every-day
crystallize
to
magic
drawing
the
than
more
artist
on
whole
Credi.
the
is
a
is
A
THE
NEW
PICTURE
GALLERY
207
VATICAN
THE
208
The
of
Virgin
from
in
this
In
we
may
this
room
Northern
Moroni
Battista
might
and
period
his
of
with
foot
of
silver
the
portrait
of
of
as
the
the
Brescian
tones
began
Conti,
and
Novella,
S. Maria
being
as
the
The
throne.
master,
be
is
before
the
1489, that
and
dated
the
the
Pears
little dulled.
and
is,
Here
by
from
II
boy
of
Galeazzo
of
Gian
though
is
Madonna
it
this
Moretto;
belongs
the
cesco
Fran-
too,
two
characteristic
to
containing
son
School,
apparently
the
the
characteristics
Venetian
work
belonging
of
portrait
Bartholomew
of
when
portraitist.
great
St.
paintings
five-year-old
the
reveals
with
Madonna
the
signed
as
man
and
the
to
of
boy
Bergamo,
St. Jerome
is known
the
de'
fittingly be placed
more
Child
painting
near
sketch
these
Among
identifies
Sforza.
the
some
by Bernardino
which
legend
Maria
of
architecture
of
period.
School.
Italian
the
exhibited
are
Sforza
a
of
date
Florentine
master's
the
one
fix the
reminds
background
Rota
the
Romano)
(Antoniazzo
piles of
fruit
the
later
to
brightness
of
whole
this
But
from
Hall
fresco
by
1537;
dated
by
angel
plays
other
of the
of
the
belong
artist's
are
an
fewer
last
sonages.
per-
which
are
size,
bear
influence,
and
same
Venetian
to
variation
pictures,
the
Son,
instrument.
is
with
theme
practically
traces
her
figures
musical
Both
is
saints, while
painting
same
One
with
six
vases
can-
Marco
canvases
central
the
surrounded
The
two
Enthroned
Madonna
good
Lateran.
the
place
pupils,
These
from
priately
appro-
the
given
his
209
Melozzo
two
of
one
Palmezano.
come
is
GALLERY
Forli, whose
da
between
honor
of
the
as
Melozzo
celebrated
is
room
known
PICTURE
NEW
THE
of
period
activity, although
the
they give
The
Madonna
with
Enthroned
Saints
(Perugino)
of
evidence
no
We
now
to
come
the
between
the
the
Leo
the
Raphael
entirely
action
here
of
and
The
As
of
the
to
then
shows
to find
anything
by
the
reign
The
spectator
satirical
and
without
aims
equal
The
at
figures
indomitable
Pope
Rovere,
special
perfection
the
first glance
spirit of
in
as
truth,
accompanied
the
of
with
must
the
of
the
go
which
to
is
characters
living
peculiar
humanist
works
grouping
we
into
the
wards
after-
the
of drawing,
relief
their
of
was
by
but
of
Prefect
who
but
vesting
in-
Library
connection
penetration
have
preserved
the
is
might
it
miraculous
nothing
is
in
was
(later Governor
representing;
to the
in
immortalized
was
work
profound
the
della
any
at
The
Riario
Giuliano
and
whose
artist's
portrayed.
to the
perfect.
is
IV
seen
be
that
Platina,
with
is rendered
Gerolamo
so
II
be
may
been
it has
Sixtus
Pope
scene
and
painting
canvas
space
Apos-
fresco
the
time
Sacchi, called
Library
portraits,
his
in
arranging
re-
was
the
Floreria
the
as
original decoration
since
and
for
painted
known
it transferred
The
II, and
the
persons
reveal
floor.
Michelangelo.
intensified
the
the
Melozzo
Giovanni
distinct
which
Mantegna
and
and
of
setting,
Raffaello
Julius
Pope
now
Bartolomeo
perspective
Papal States),
hall
traces
had
Library.
by his nephews,
of
XII
Gallery.
Apostolic
the
majolica
humanist
the
and
and
worthy
more
Picture
the
to-day
even
ceiling
of
this fresco
had
IV
Sixtus
When
masterpiece.
in 1477, he
windows
condition,
poor
given
powers.
Melozzo's
Library
two
tolica, where
on
enfeebled
persons,
tics.
characterisis shown
in
210
THE
VATICAN
GALLERY
PICTURE
NEW
THE
211
Annunciation
The
(Raphael)
his
Pope
appears
fifteenth
of the
aerial
of
artistic
worth
unless
century
to-day
even
and
execution
seen
we
for
Pacioli
Luca
lucidity
ter
mas-
this fresco.
from
us
ing
shar-
Melozzo's
grasp
incredible
at the
astounded
are
unrivalled
the
prevent
of
splendor
and
the
sible
impos-
Romagnolo
studied
and
of
will
It is
jaw.
this great
perhaps
may
vigorous
powerful
of
and
Vasari
of
his
has
one
painting
of
but
perspective,
the
of
skill
true
enthusiasm
in all the
firmness
the
developments
later
of
the
appreciate
to
The
in
the
lips, while
tightly closed
and
visage
sharp
future
the
coloring.
The
and
third
in
assembled
the
School
gentle
grace
right, is
of
also
once
formed
faloniere
Virgin
are
of
native
of St. Ursula,
masculine
who
attributed
part of
Quaratesi
at
four
and
candor
small
in
in
kept
the
Florence.
beautiful
the
wherein
to the
panel
Michael
the
He
Gentile.
Library,
Virgin suckling
the
Sienese,
is Francescuccio
of
which,
to
the
Archangel
the
precursor
the
on
influence
tablets
predella belonging
St. Nicholas's
of
vigor
and
Fabriano
1365,
painted
Sienese
shows
of
in the
evident
dated
Fabriano,
being
introduction.
especially
is very
Umbria
works,
whose
logical
more
Marches
da
and
the
by
incomparable
Gentile
Nuzi
artist
Another
characteristic
To
the
accentuated
armor.
Ghissi,
of the
and
of
School
the
to
Raphael,
receive
Florentine,
Allegretto
of
coming
thus
room,
the
exclusively
over
the
Primitives
the
on
triptych by
with
next
of
influence
The
given
before
Marches
the
in
is
room
according
polyptych
These
of
has
showing
her
Child.
to
Siren,
the
Gon-
paintings
de-
THE
212
The
VATICAN
Adoration
of
Magi
the
(Raphael)
miracles
the
pict
the
Maidens,
the
Saint
very
the
be
the
as
painted
Three
from
this
Men,
shipwreck.
and
the
actively paved
the
to the
such
for
way
Three
Apparition
certainly
They
exercised
who
Gift
Birth, the
his
Young
master,
and
Italy,
of Gentile's
with
know
research
to
background
Niccolo
so
in
away
The
di
of
approach
great
the
ence
influ-
advent
of
and
and
d'Achiardi,
the
Virgin's
this
head
fortunate
as
it
find
the
painting
part
the
head
of
the
ment,
fraghead
ing
interest-
diligent
the
removed
of
is
uted
is attrib-
the
that
addition,
of
remainder
the
to
noticed
her
be
It may
recent
Child
supposed
graceful
having
is due
picture
was
to
in
This
having
who,
beneath
discovered
Gentile,
Sanseverino.
di
of
di
Virgin
gold.
and
large coleopter
also
the
shows
blue
woven
because
master;
which
Madonna
in the
Francesco
by
Fabrianese
restoration
gold
this
St. Anne.
painting
den
hid-
storeroom.
Umbrian
Liberatore
in
Montelpare,
male
the
principal
three
attention
of
Professor
and
then
Butterfly
(Jr.) d'Alessandro
background
was
the
St. Anne,
cloth
that
of
great
and
Lorenzo
to
to
the
Virgin
encircled
is evident
art
Virgin's shoulder),
of
son
of
Madonna
the
near
the
the
of
in
the
of
style
rapid spread
(known
He
of
vessel
Bari:
of
Benaissance.
The
to
save
to
painting
on
the
St. Nicholas
Freeing
to
close
of
this
(known
dated
female
as
Niccolo
room.
1466;
it is divided
saints
Perugino,
masters,
around
Niccolo
has
Alunno),
into
a
complicated
many
central
zones,
panel
Pinturicchio,
claim
the
and
visitor's
polyptych
from
has
rows
and
two
representing
the
NEW
THE
GALLERY
PICTURE
The
Presentation
in
213
Temple
the
(Raphael)
known
Its three
town.
with
the
with
four
of
the
but
turicchio,
is
Virgin
as
This
pure
Raphael,
at
gino.
the
oval
the
part
also
the
that
and
of
tradition
even
of
the
Friars
has
the
Unfortunately,
risen
the
the
Christ
picture
the
pression
ex-
indeed
to Pin-
ship
of its authorof
Coronation
of
Fratta
twelve
the
painted,
was
the
well-known
Perugia
in
in
seen
and
near
apostles
and
Minor.
Perugino's
that
in
anguish
This
the
are
upper
David
discussion
Minor
painting
The
grotesque.
is the
Friars
the
St.
and
is attributed
by cherubim.
St. Francis
declares
that
gether
to-
cross,
outlet
the
the
Child
Pinturicchio's
for
the
with
St. John
an
scene;
and
restored
contains
Church
sight of
of
order
finds
reaches
Virgin
surrounded
1500
lower
of
room
for
painted
so
the
In
the
much
so
about
says,
saints
several
is
almost
of
Resurrection,
artist
Crucifixion
in the
foot
shows
that
decorated
peaks
St. Venantius.
the
showing
Assuredly
luminous
Vasari
Perugia.
been
useless.
now
in
it has
right
and
St. Peter
of St. John
showing
fragment
on
Folignese
the
grief
face
the
panel
in
Crucifixion
the
the
at
the
triptych
Collegiata
with
shows
panel
is the
work
the
framed
Magdalen
scenes
of
and
piety
distorts
fresco
have
intensity
of
which
the
the
left shows
the
on
triptych
The
Isaiah.
and
from
comes
central
this
than
richly
are
The
angels;
that
Porphyry;
parts
compartments
St. John,
Madonna,
it
because
flourishes.
Gothic
famous
More
Camerino,
the
as
Virgin.
the
of
Coronation
this
has
figure
portraits
been
many
Resurrection,
1502.
the
painting
sleeping
are
in
of
and
collaboration
the
Raphael
times
drawing
The
of
figure
and
restored.
ing
flee-
Peru-
In
better
state
and
preservation,
of
in color
intense
more
is the
expression,
and
Benedict),
Perugia,
Peter's,
carried
was
France
to
away
of
end
which
of
smaller
few
pieces
Perugia
at
now
and
section
this
only
at
Sette-
the
and
cento,
were
recovered.
ever
fine
very
of
the
ing
paint-
Umbrian
the
private
Pope's
is
apartments,
of
Virgin
the
showing
the
between
Sts.
Paul
the
An-
Romano's
toniazzo
and
in
formerly
school,
Rota,
Virgin
Peter
receiving
of
homage
faces
of
the
1507
It
Spagnolo.
in
depicts
work
ricchio,
by
bright
novel
it has
even
his
as
announcing
is bounded
the
St.
in
the
which
good
above
are
della
attributed
the
Magi.
So
to
Child
on
retinue
the
shepherds.
angels
holding
other
an-
The
of
Lo
or
and
Todi,
is
Pintu-
to
being
cushion,
the
angels.
is
beautiful
Perugino,
seen
to
Spagna
near
three
three
1515,
Spineta
of the
the
Spineta, painted
Lo
as
and
tidings
by
in
portraitist.
dated
della
known
better
It shows
Joseph
as
Assumption,
Madonna
Convent
been
times
Raphael.
to
the
Adoration
the
way
at
Mother,
landscape
of
is the
di Pietro,
in
of Antoniazzo
fame
the
also
formerly
was
Foligno
triptych
work,
most
that
and
adored
angels
confirms
Giovanni
by
The
Rota.
the
Auditors
important
about
of
Madonna
(Raphael)
dell'Amatrice's
Cola
this
The
the
of
Auditors
twelve
in
altarpiece
which
the
the
from
fragment
great
St.
Fla-
(Placidus,
and
via
Three
the
picture of
Saints
VATICAN
THE
214
is
background
the
Magi
The
scroll.
and
noble
the
position
com-
Notwith-
only
not
must
that
by
artist who
rare
the
In
next
of
works
Raphael
this
the
the
of
preceding
well
known
toric
to
themselves,
of
his
the
"
special
is
paintings
who
master
ence
gin
Sts.
Louis,
of
of Monteluce,
Monteluce
the
Giovanni
not
Pistoia,
the
which
before
no
to
after
the
Raphael
it
possible
his
and
the
same
was
to
the
school,
only
to influence
Vir-
death,
by
painted
of
the
the
the
Penni;
munal
Com-
Madonna
father,
since,
years
in
any
works
as
according
this
was
is
to
one
The
painting
around
is well
it;
known,
old, and
way.
of
Convent
style of Raphael.
mighty
eleven
him
of
nuns
Santi, Raphael's
comparison
influ-
the
was
chapel
painting,
Romano
actively spread
this
the
by the
executed
Giulio
for
second
Raphael
Giovanni
when
was
The
was
by
most
belong
even
died
and
by
bears
and
1496.
the
by
surrounded
Constantius;
by Perugino
from
master,
St. Jerome
tempera,
it does
of
in
three
most
namely,
Transfiguration
and
coloring
ordered
works
two
the
the
Herculanus
Perugia
was
near
designs
third,
in
of
special vigor
Palace
of
from
(Raphael)
Laurence,
with
the
Detail
Raphael's
the
Enthroned
Ba-
three
these
work
Raphael,
on
the
bear
of
had
work
and
to
first
The
work.
of
"
which
relation
by
master
della
paintings
other
was
minor
tion
his-
these
great
pre-
too
It
fora
Deposi-
glioni
of all
long
leave
save
the
are
need
the
of
epito-
unborn,
here.
plan
the
all
tries,
to
and
noblest
the
coun-
works
the
it
yet
as
treatment
wise
in
in
and
art
paintings,
and
the
Foligno,
Transfiguration,
ages
of
characteristics
of
art
the
are
Perugino
its immortal
itself
of
shadowed
over-
genius
wherein
forms
Umbrian
it not
finally surpasses
These
works
vestibule,
Madonna
mizes
painting
best
were
the
influence
the
develops
it later
of
graces
shrine
unrivalled
under
appears
one
right from
the
to
In
of the
greater
even
this
Louvre,
it is
himself.
Urbinate
great
Virgin;
of the
Coronation
the
first
artist
been
have
215
the
but
all the
himself
in
fourth
Sanzio.
in
seen
original,
an
would
the
the
room,
marvellous
in
of
that
by
as
united
fame
whose
and
School,
regarded
be
GALLERY
be
is to
which
replica
the
standing
PICTURE
NEW
THE
But,
quently
conse-
apart
from
altogether
the
be
It will, however,
Perugino
purer,
The
of
development
old, is still
years
depicting
the
the
and
Magi,
in
of
work
the
in
of the
Virgin,
both
its form,
and
fell
in
Madonna,
who
is
bearing
tablet.
This
other
many
during
long journey
tablets
like
the
had
to-day,
written
was
Tannay
sotto
The
in
by
the
those
of
the
the
sul
pictures
picture,
but
which
and
such
to
such
canvas
dei
di Foligno,"
has
in
suffered
Vatican
the
is still
on
dei
wood,
di
the
boy
much
suffered
not
only
small
of
Madonna
operation
Guijon
Raffaello
X).
anno
if to
of it
Vincent
conosciuto
vicissitudes
become
the
together
special report
collection,
has
1797,
delicate
very
feet
In
fiery-tailed
the
as
is shown
celebrated
for
sea;
was
bomb
angels.
have
Parigi, piovoso
also
of
in
cittadini
quadri
purity
at the
Baptist
Paris
that
novelty
the
prelate
which
tables
"
("Rapporto
ristauro
by
large
The
must
Foligno,
his Coronation
from
is the
to
which
ox-wagons
days
restorer
Transfiguration
number
Thus,
and
di Madonna
nome
in
transferred
Berthollet
il
be
taken
of
masterpiece
glory
foreground
was
sure-
Coronation.
escape
against
donor,
the
canvases,
Mysteries,
to
the
In
Here,
Chapel.
over
the
spired
in-
directly
Madonna
his
sent,
repre-
cavalcade;
is
the
This
in
mystery;
composition,
St. John
Son
her
nunciation
An-
incomparable
of
siege.
and
with
its
of
the
to
rich
advance
for
voto
during
painting
that
of
twenty
of
and
and
in the
great
convey.
altarpiece
scene
Sistine
the
coloring.
ex
St. Francis
precious
and
to
opportunity
an
is
reveal
Adoration
charm
altarpiece
its
an
the
the
drawing
same
composition
with
in
hardly
this
The
given
maturity
of
of
of
tradition,
the
Foligno
house
is
the
is able
was
personality
in
as
hurled.
been
projectile
Foligno,
brief
is
1503,
then
intimate
modernity
is seated
the
seen
of
marks
the
Conti
St. Jerome,
has
even
in
figures already
Temple.
Fano
own
than
splendor
with
distance
with
the
his house
on
in
his
in
by Sigismondo
the
by
Coronation
in
alone
well-balanced
1511, and
painted
praying
near
purpose
treatment;
who
Umbrian
attained
was
which
the
artist
Perugino
better
much
the
the
affirms
Raphael
design
ordered
work
place
Annunciation,
full
the
picture
of
predella
is, the
in
Magi
third
which
of
the
the
Raphael
of
of
the
atmosphere
an
in
of
the
Raphael
in
Presentation
the
accordance
however,
compare
completed
painter,
that
"
in
by
took
individual
which
great
with
while
ness
of
evident
mysteries
Adoration
the
and
the
more
is set
the
which
breadth
greater
attraction
the
beauty
has
composition
the
to
work,
Raphael's
but
manner,
and
instructive
more
painting.
Perugino's
that
artistic
this
valuable
serves
evolution
placing
time.
of
interval
arrangement
marvellous
the
showing
of
significance
sentimental
the
Transfiguration,
the
in
VATICAN
THE
216
of
a
dulled,
less
great
extent.
principally
THE
PICTURE
NEW
The
Transfiguration
(Raphael)
GALLERY
217
THE
218
the
artist made
the
said
woman,
the
apostles
infinite
were
again
that
it
then
was
of
account
it would
Raphael,
Raphael
is
1520,
of
details
the
in
figures
the
the
in
inferior
so
which
the
work
near
the
nate
to
work
this
"
relief
and
will
towards
exhibited
of
body
felt
once
critics
was
the
Urbiof
expression
Raphael
his
his
words
those
work:
was
the
no
"The
warped
rivalry
tween
be-
he
ing
touch-
more
in
occur
which
though
al-
Michelangelo
and
schools,
able
favor-
not
rule, and
judgment
Raphael
their
is
as
exaggerating
great
of
Vasari
Although
than
which
on
soul.
mighty
and
few
fitly placed
which
as
larly
particu-
prejudices
true
could
in
Monteluce
been
dead
coloring
work.
and
Transfiguration,
profound
even
the
last
foreground
coloring
the
dissipate
by
the
of
has
beside
to
plain
Madonna
painting,
by
Friday
comparison
stand.
with
his
death
negligible,
flowering
this
be
his
"Lives"
applies
most
to this
famous,
Madonna
(Carlo
out
and
foot
to
recognize
Romano,
landscape,
the
if the
thus
we
da
the
restricted
been
have
must
on
it would
and
the
kneeling, points
and
evident
Good
on
master
on
on
used
more
Giulio
almost
"
that
corrections
even
fumo
it after
completed
of
by
be
of
work
the
that
who
felt
blackened
(soot-black)
spampatori"
who,
of
absorption
ent
(transpar-
"nero
the
the
he
as
by Vasari,
air) spoken
by
instance,
for
"
the
certain
consequence,
demon
varnish,
old
the
lucida"
"aria
of
though
greatest,
of
freed
table
"
his
to make
wished
bestowed
zeal
and
care
the
by
possessed
boy
detected
Fornarina,
the
be
to
As
be
can
resulting from
colors
the
wood.
the
into
varnish
the
which
of
drying
the
of
account
on
VATICAN
Child
Crivelli)
which
of
the
the
he
If the
display
THE
PICTURE
NEW
GALLERY
219
Pieta
Crivelli)
(Carlo
most
beautiful
seems
have
to
power
it, as
though
his brush
Antonio
In
the
and
the
Sts. Peter,
of
Jerome,
pieces
of
the
which
The
of
by
polyptych
the
Masegne
painting
comes
importance
Venetian
Near
of
de
executed
the
Christ,
Child,
art
for
in the
Vivarini's
Marchesian
the
dated
Madonna,
1482,
which
had
from
evidence
centres
work
two
are
School
of
which
of culture
"
St. John
formerly
characteristic
kept
in
sits
was
of
in
the
Lateran
and
altar-
like
that
earlier.
Pesaro,
and
is
of
spread
coast.
paintings by
Pieta,
the
ture:
signa-
last
great
Adriatic
are
architecture
century
at
in
the
the
the
Bas-
panels
ogival flourish,
the
seated
Christ
read
we
one
Magdalen,
the
splendor.
the
of
by
in which
Abbot,
of
bust
gives of
along
the
the
at Venice
it
room
Christopher,
St. Anthony
admirable
and
Sts.
reproduces
employed
first
polyptych
Anthony,
Anthony
an
down
decorative
portion
It
the
is
upper
of
Church
the
in
are
he
form
archaic
Brothers
the
which
in
the
put
compartments,
St.
pixit, 1469."
Murano
life, he
the
with
St.
finished
in
panels
Benedict,
on
Antonio
the
the
In
and
chair
the
"Antonius
Vitus.
side
all
had
he
them
to
of
statue
the
set
is shown
ten
equally
to
here
forth
him."
among
into
"who
says,
when
do
to
paintings
painted
Paul
him
earliest
he
genius
called
is divided
in
his
for
came
The
and
of
and
Venetian
blessing;
Raphael,"
of Christ; and
contribute
is
below
Under
centre.
of
of
remained
this work
Venantius
tianus,
face
death
sculpture
act
effort
in the
vestibule.
the
centre
in
and
ever
work
every
else
and
Vivarini;
painting
art
collection
left of
to the
of
nothing
for
rich
divine
most
strained
wealth
and
The
and
lunette
a
Crivelli
Carlo
showing
Madonna
Gallery.
The
and
latter
220
THE
VATICAN
is
of
one
its
for
of
strength
ancient
is the
(dated 1481),
of
of
work
the
It formed
attribute
all
its
it did
than
in
Venice
at
lucidity
marvellous
bearing
in
rich
ruined
near
garbed
the
in
the
of
portion
upper
Old
hang
also
clouds
Madonna
no
of
the
gentleness
of
picture
well
cut
are
somewhat
so
that
it
group
of six
Nicholas,
and
and
restored,
Transfiguration
the
is that
damaged
blood
and
the
lovers.
to art
and
most
flesh
seems
angels
St.
known
face
figures
the
Among
of
sky of
two
St. Catherine,
damaged
might
In
St.
and
wonder
between
over
of
admiration
less
dignity
solemn
nevertheless
which
St. Sebastian,
the
The
Gallery.
Picture
Son,
from
the
been
has
was
her
in this
St. Sebastian
painting, however,
The
to-day
forth
blossoms
the
because
and
Madonna
exedra.
many
St. John.
the
the
and
led
monumental
this
by Titian,
1523, awakens
episcopal dress,
of
figure
Bellini
Cinquecento
Cinquecento
of flowers,
garlands
saints
the
the
table
in
the
and
of its coloring
richness
virile
finished
dei Frari,
Nicholas
of
sorrow
of
art
famous
The
splendor.
Crivelli.
virile
the
Carlo
restorations,
Montagna
search
re-
Giovanni
pupils of Giambellino,
best
the
Venetian
Giambellino,
After
in
and
Magdalen
the
grief of
or
di
Magazine,"
by
by
Its many
Bartolomeo
by
of Carlo
careful
the
is
Pieta
the
that
in
Burlington
altarpiece planned
an
the
is dominated
"The
preserved
work
After
Louvre.
at Pesaro.
Bonconsigli
to
the
to be
some
(see
doubt
no
among
common
which
work,
be
can
of St. Francis
Church
the
Frizzoni
part of
upper
peculiarities
to
there
by
the
is in
original
Gustavo
1913)
February,
for
the
Crivelli;
Vittore
is thought
and
formerly
was
copy
Saints
St. James
in which
compartments,
This
represented.
is
Museum,
Lateran
the
five
altarpiece with
an
Marches
the
tic,
authen-
and
Child
and
and
vigor
certainly
are
Madonna
Crivelli's
of
copy
which
works,
these
Near
design.
its
the
and
splendor,
decorative
its
sentiment,
deep
is remarkable
and
works,
best
and
latest
master's
singular
this
221
GALLERY
PICTURE
NEW
THE
than
rather
paint.
it has
but
Paris
a
fresh
but
art;
also
that
fruit.
fancy
and
St.
brings
This
the
last
wealth
of
detail
in
Baptist,
is
del
vivid
the
and
Worthy
Piombo,
landscape
the
at
Virgin
and
by
of
the
note
genial
fantasy
restorer's
hands,
with
Child
offering
artist's
of
as
Joseph,
basket
characteristic
also
here
against
Bernard
tions.
restora-
many
St. Elizabeth
showing
St.
the
the
plicity,
sim-
masterly
painted against
Dragon,
manner
suffered
distinguished
coloring.
and
has
Veronese,
the
work
painting by Sebastiano
architectural
out
painting
St. John
Slaying
George
his
from
greatly
suffered
unfortunately
of
example
is another
Doge
Bonifazio
of
St. Zechariah,
of
Bordone's
landscape,
Venetian
has
of
Portrait
Titian's
is
large
background
crushing
chained
of
222
THE
VATICAN
THE
artist's
the
in
painting
The
demon.
bad
of
state
of
art
and
Rome
that
of
hall
this
the
works
Seicento
in the
in
great
the
sixth
these
Among
high
so
been
of
the
depreciated
fashion,
to the
The
escape.
in
which
of
art
not
can-
dominating
hall
this
from
works
greatest
why
explain
can
has
large
the
tyranny
even
by
period
one
the
it is natural
possess
that
period
of
find
Gallery.
some
value
the
Hence
on
mous,
enor-
centre
works
of
painters
is
Papacy
was
should
of
and
that
the
we
number
the
during
world.
civilized
223
from
dates
Seicento
became
GALLERY
preservation.
of
the
PICTURE
period,
Roman
influence
The
the
NEW
is
ture
pic-
Caravaggio's
Detail
the
from
Last
Communion
of
St.
Jerome
(Domenichino)
Deposition,
in
solemnity
for
observation.
followed
tomb,
embodies
whither
the
the
Last
of
concepts
of
and
the
are
this
exhibited
These
Mary
are
of
the
of
room
the
and
still felt in
dead
and
Christ
the
to
the
proclaims
and
of
the
between
either
of
Caracci,
of
school
these
veer
Incredulity
painting
of
greatest
to the
of
St. Thomas,
of
Cortona.
the
the
of
St. John
The
Incredulity
of
this
the
influence
of
mels
tram-
realism
the
cento.
Sei-
which
Barbieri)
worth
his
landscape,
from
artists
(Giovanni
index
an
by
poles, Caravaggio's
the
the
which
work,
charming
spirit freed
II Guercino
as
combines
assisted
man
a
Domeni-
by
glorious
old
against
all
offset
which
This
of the
youth
serve
been
tottering
hover
St. Margaret
the
direct
upon
Nicodemus
tradition
work
Bologna.
angels
of
has
Jerome,
of
eclecticism,
paintings
the
strife
the
based
epoch
world.
St.
eternal
Towards
in this
in
preceding
see
the
to
work
school
we
painting
opposition
refuge
the
sincerity
modern
efficacy the
the
entitled
Magdalen,
in
of
group
flesh.
four
of
carrying
of
monumental
eclectic
Domenichino's
The
rude
Women,
taken
school
symbolize
to
spirituality
and
canons
touching
friends, while
seems
Holy
the
Communion
the
with
depicts
the
had
rightly
chino's
realism
Caravaggio
painting
Very
and
spirit and
ideals
stern
by
of
gospel
sculptured
the
The
John,
new
of
which
sacrificed
are
work
painter.
Baptist,
of
vaggio,
Cara-
St. Thomas,
dis-
THE
224
The
Last
VATICAN
Communion
(Domenichino)
of
St.
Jerome
THE
in
appears
the
225
GALLERY
mains
re-
of
one
II
greatest
works,
though
even
been
it has
PICTURE
dalen,
Mag-
which
Guercino's
NEW
restored
by Camuccini.
imitator
vaggio's
in
of
Martyrdom
the
Peter,
St.
Caracci
in
in
the
donna
Ma-
with
Glory
Thomas
of
Cathedral
Child,
and
with
glory of
of
the
to
Bolognese
soft
the
School,
of
graces
he
which
The
accentuates.
spirit of
in
Ribera
tradition
apart
aspect
of
new
art
the
soldiers.
His
or
an
altar
seated
in
of
at
of
of
Laurence
and
acts
saint
is
the
the
mystical
an
aged
ladder
the
profile
in
seen
completely
herald
the
of
the
his
in
kneeling
old
Settecento.
of
to flow
and
man
founder
heaven,
different
Miracle
blood
of
tree, relating
of
probably
to believe
are
man,
causing
seen
work
himself.
us
the
we
old
efficacy by
rare
a
is evident
shows
of
if
master
as
of
presence
foot
of
gives
St. Romuald
the
period,
technique
the
with
Laurence,
that
Sacchi
the
wherein
Vision
dream
and
color
St.
figure
portrait
period,
that
of
Great,
on
monks,
vision
of
the
Andrea
painter
the
corporal
that
is
scene,
elegance
Gregory
dolese
the
of
artist's last
Spanish
declares
Roman
St.
of
expressed
are
Martyrdom
old
the
from
forms
new
famous
which
The
Martyrdom
(Ribera)
for
his
from
dating
The
Seicento
the
its hunger
and
the
to
influence
Caracci
and
trait
Por-
Cardinal
faithful
are
ubim,
cher-
his
and
his
Pe-
Sassoferrato's
Madonna
for
painted
saro.
St.
and
Jerome,
the
wards
to-
veers
the
method
St.
Cara-
Reni,
Guido
to
which
the
his
St.
from
some
Camalmonks
is shown
226
THE
VATICAN
of
Espousals
The
227
GALLERY
PICTURE
NEW
THE
St.
Catherine
(Murillo)
the
by
by
simplicity
when
seized
the
of
and
of
death
called
skill
the
more
in
to
Ecstasy
of
were
the
works,
it
scene,
it
age,
and,
so
highly
was
held
was
work
whole
Barocco
to be
undoubted
an
is characterized
the
notwithstanding
valued
of the
one
influence
The
this
that
four
1797,
in
great
French
on
to the
light
marked
St. Michelinus
which
was
place
exaggerated
shade
and
on
Duke
Gallery,
took
of
ings
paintin
painting
thought
and
Maria
be
one
lost
and
of
tercentenary
30, 1612,
from
has
his
Besides
glorious
Baroccio's
was
Correggio,
design.
d'Urbino,
of
the
among
of
power
to-day
to
the
derived
seeing Jerusalem,
have
group
September
on
effects,
Francesco
we
distinct
sweetness
really majestic
and
for
form
celebration
recent
artist, which
attention
Old
Baroccio
of Federico
Seicento.
painted
in
the
French,
contrasting
his
the
century.
paintings
works
in
faces
It had
eighteenth
The
in
rare
the
by
Rome.
in
The
background.
the
most
of the
monotony
the
in
painter
both
of
most
previously
his
ciation
Annun-
which
ful
beautiknown
228
THE
from
only
the
Flight
Perugia,
time
in
landscape
gilded
in
water
cherry
of
is not
the
New
before
Christ
There
vaggio.
could
name
of
artists
The
of
direct
described.
an
hung
While
his
Sacchi,
in
signed
"Nicholaus
truly
German
also
were
School
of
Rubens,
may
read
in
the
Roman
the
Private
famous
figure
by
initials
symphony
of
"D.
of
S."
George
in
remarkable
gray
St.
The
art.
Lucas
The
IV
and
importance
of
might
room
have
we
his
dom
Martyr-
St.
work
the
held
attractive
work
in the
by
Spouse.
painting
Thence
of
the
Seghers.
after
by
two
painting
Sir Thomas
at
history
of
ish
FlemIn
the
one
manner
angels,
in
the
we
room
Lawrence,
of
once
an
which
mystic
paintings
he
works
Vatican.
painted
of
has
Elder,
Daniel
flowers
of
Catherine,
the
las
Nico-
which
lack
School
her
of
especially
no
the
of
of England
tones
only
Cranach
Ignatius,
most
they
and
before
flowers,
of
crown
show
teristics
charac-
characteristics
Spanish
Gallery
of
them
in
the
the
Apartments
of
the
is, however,
rapture
painter
the
that
in
trinsic
in-
of
peculiar individuality,
Espousals
by
Many
all
foreign
their
of
study
Domenichino,
Picture
the
has
of
besides
Seicento
Erasmus,
intense
Pieta
the
artists
a
There
Murillo's
surrounded
and
Carawhose
of
works
Frenchman,
own
of
St.
has
the
his
foreign
in
to
large portrait
splendid
value
of
bending
showing
the
of
for
the
Martinianus,
fecit."
in
of
Valentin,
all
the
schools.
Seicento
influence
Pusin
kept
by
these,
is the
and
transferred
of
ing
Denyto
Maratta,
possess,
here
art
of the
retaining
School
works
foreign
in
Italian
Martyrdom
saint
these
instance,
expressive
previously
ing
color-
discovery,
assemblage
to
over
importance
on
masterpiece
the
by
his
attributed
Carlo
complete
quence,
conse-
Peter
showing
been
his
charm,
and
fortunate
canvas
has
given
room
works
the
shows
authentic
this
Family
such
number,
Sts. Processus
Poussin
The
the
For
Caravaggio.
shows
in
additional
with
just
Holy
has
dependence
be
This
from
religious painting
well
absent
few
value,
more
moreover,
Gallery
While
of
Handmaiden.
be
Besides
with
domestic
usual,
as
from
gives
as
spring
fruit
reign;
on
sweet
In
Seicento.
the
artists.
enriched
is,
not
New
such
the
scene
at
Baroccio
free
the
by
1909.
plucking
takes
excessively
in
discovered
in
is seated
scene
of
Anastagi
until
seen
this
observation
virtuosity.
been
has
Gallery
is
In
sacred
so
of
during
Rome
to
Vatican
Virgin
Joseph
Jesus.
the
its conventional
loses
St.
its way
the
the
Rest
Simonetto
sight
of
sun,
naturalistic
character
artist's technique
the
while
Infant
the
towards
the
setting
bowl,
lost
Apartments
the
by
for
tree
predilection
Private
the
entitled
for
it found
then
was
work,
1573
Jesuits;
the
but
XII,
This
in
painted
was
it to
gave
Clement
d'Achiardi
taking
Egypt,
who
of
engravings.
and
copies
into
VATICAN
great
modern
sic
intrin-
paint-
THE
of
in
place
This
this
is
but
of
of
collection
Garofalo,
artistic
artist,
there
if
be
the
added
with
surrounded
These
constitute
are
now
of
expression
added
to
the
the
by
supplied
galleries,
retouching
are
the
will
authorities
preservation
the
The
artistic
neglect
precious
world,
no
treasures
already
of
the
the
to
known
the
in
highest
expects
to
increase
in
need
feel
for
their
lic
pub-
profound
As
may
angel
surpassed.
and
which
for
painted
writer
of
tic
artis-
fittingly
very
where
necessary
entrusted
Vatican,
triptych,
however,
measures
inal
orig-
great
never
works.
tables
of
Spagnolo).
the
figures
source
the
of
most
ingenuously
present
further
and
that
might
master,
fragmentary
canvases
The
many.
of
of
restoration
the
of
worthy
Lo
famous
an
of
indication
Peter's,
St.
Basaiti,
are
beauty
of
chosen
few
Ascension,
radiant
of
Giotto's
also
work.
his
the
his
Stefaneschi,
Gallery.
Picture
important
that
of
representative
degree
those
sentiment
religious
the
is
Cardinal
of
Ciborium
of
other
containing
(called
its
hold
in
are
of
fresco
among
carefully
throughout
increase
in
intrinsic
properly
work
out
Gallery
singular
the
Sacristy
the
There
them.
sees
the
as
revelation
in
hung
badly
the
Sacraments,
fragments
the
Gandolfo,
Castel
famous
including
Apostles,
which
seldom
this
the
of
Church
musicians
Gallery
Only
scattered
would
works
is
there
instance,
are
Melozzo's
famous
this
Bolognese
gems
eleven
the
to
is
Seicento.
for
figure
Seicento
Crespi
Thus
annexed
at
these
time;
collection,
this
value.
but
Seven
the
many
are
to
esthetic
and
the
Maria
Antonio
the
of
Room
of
currents
Furthermore,
which,
the
number,
Palmezzanos.
palace
of
expressive
in
For
many
Papal
the
New
from
work
the
most
the
excluded
works.
and
from
exposed
the
valuable
the
might
they
rightly
Sassoferrato
episodes
being
storerooms
while
been
the
this
beyond
that
for
not
least,
at
of
show
to
serve
229
extend
not
survey
world,
The
have
highly
a
realistic
the
which,
paintings
seven
of
works
galleries,
public
will
does
hasty
and
it
paintings.
its
other
many
as
brief
famous
most
worth
but
Gallery,
the
which
collection
opinion
writer's
the
in
Consequently,
ing.
GALLERY
PICTURE
NEW
see
will
all
be
other
and
care
confident
the
proper
safe-keeping.
"Life
his
[n
OF
GALLERY
THE
of
wishing
of
had
its
on
walls
of
Draught
the
Man,
of
St.
St.
Paul
be
of
the
four
the
four
St.
left
in
space
the
right
side
which
the
friezes.
latter
rule
prison.
The
of
the
service
each
The
idea
Sistine
was
in
of
the
other,
and
tapestries
decorating
did
simply
to
of
the
on
there
with
originate
not
of
case
had
replace
It
was
the
the
back
horizontal
no
tapestries
with
old
Leo
X.
tapestries
C2313
the
It is
which
at
the
St.
Paul
in
probably
friezes
fairly
rated
sepa-
for
each
them.
part
were
the
lateral
two
to
above
lower
pilasters
added
by
lateral
frieze
the
those
friezes
exception
most
were
two
while
showing
tapestry
wall
thus
were
also
space,
the
presumably
of
an
wall,
to
vertical
bounded
"
is,
right
owing
was
The
artists
painted
placed,
continuation
tapestry
narrowness
tapestries
two
from
the
made
was
The
tapestry.
of
choir.
the
and
Judgment
the
the
were
the
now
others,
friezes
above;
each
that
so
view
In
frescoes
the
walls
in
Lystra,
long,
Last
for
wall.
Lame
of
by
are
the
the
opposite
tapestries
the
Conversion
metres
painted
were
and
Including
42
tapestries
Peter
Gospels.
of
the
than
tapestries
the
along
the
the
estries,
tap-
already
Sacrifice
by
where
and
Paul
St.
the
estries
tap-
Miraculous
Healing
curtains
narrower
the
ran
between
separated
of
ends
all
of
balustrade
the
St. Peter
placed
were
was
that
One
wall.
Sts.
the
Stephen,
deep
wall,
end
of
the
were
frescoes
the
these
which
Areopagus.
the
metres
the
on
St.
imitation
the
made
between
with
dealing
two
right
Prison,
limited
on
the
on
Paul
before
below
where
wall,
of
sent
the
of
and
the
Keys,
toons
car-
Apostles),
Chapel,
Rlindness,
4.80
the
Testament
Stoning
Paul
walls
the
on
Quattrocento,
on
and
hung
the
lives
of
Acts
gold
were
ten
the
tapestries
with
about
These
finished,
were
X,
colored
size.
Sistine
Old
new
the
St.
and
measured
the
the
when
and
from
the
of
Giving
Stricken
Prison,
they
of
the
the
Ananias,
Elymas
in
to
were
for
the
of
Paul,
friezes,
scenes
Fishes,
Death
from
from
chosen
subjects
The
scenes
Leo
of
made
paint
to
There
(mostly
decorations
tapestries
and,
woven,
depicting
Paul
the
completed
they
shape
Rome."
to
came
and
be
to
"Pope
says:
himself
right
the
Flanders
to
rich
most
Raphael
silk, got
and
Vasari
Raphael"
have
to
TAPESTRIES
of
certain
in
the
walls
that
poor
his
con-
THE
232
Miraculous
The
which
dition, and
with
depicting
draperies,
of
the
1515,
tapestries
defects
shown
from
entirely
composition
his
to
his
of
for
pupils
of
"Life
this
that
the
the
The
for
to
cartoons
Vasari
enlarge.
"was
for
very
As
may
Francesco
of
the
of
great
Raphael
perhaps,
but
the
many
The
but
the
Penni"
(II Fattore),
to
of
Raphael
the
Pope's
this
in
and
the
not
general
hypothesis
painting
chapel,
were
were
where
was
cartoons
the
for
sketches
confirms
work
referred
be
himself,
sketches
of
the
details.
himself
help
tapestries
in
about
Begun
seen,
may
woven
weaving
and
years.
be
of
pieces
age,
before
effects
designing
few
the
of
taste
Papal
of
this hastiness
to
figures,
some
Giovanni
painter
drew,
of
The
1519.
the
number
in
direction
He
his hand.
and
of
tapestries, especially
the
under
prepared
were
and
with
inventory
Passion.
in
ready
were
the
by
the
completed
were
hastily performed,
somewhat
the
Fishes
harmony
made
of
scenes
tapestries
new
the
is indeed
mention
time
Leo's
in
In
works.
appropriate
more
of
Draught
longer
no
were
VATICAN
he
left
in
says
large part
especially
friezes."
weaving
was
entrusted
to Peter
Van
Aelst
of Brussels,
under
the
THE
GALLERY
OF
TAPESTRIES
233
^w^
Detail
from
the
The
Horizontal
Giving
Frieze
of
the
of
Keys,
the
or
Miraculous
"Feed
My
Draught
Sheep"
of
Fishes
THE
234
Detail
from
the
supervision
Lateral
the
before
of
Frieze
of
St.
VATICAN
Paul
Detail
the
School
of
Chapel
in
Roman
correspondent
Raphael.
December,
from
of
Areopagus
Bernard
artist
first
The
seven
the
1519.
On
of
famous
the
Orley,
Van
"Feed
who
the
Lateral
My
belonged
in
their
twenty-seventh
of
were
Venetian
set
Frieze
Sheep"
dilettante,
places
that
to
the
in
the
month
Marcantonio
GALLERY
THE
Michiel,
in
his
the
wrote
Chapel
of
fame
Julius
tegna,
is
of
Raphael
Pope
five
total
cost
and
for
ducats
has
gossip
means
Raphael
the
as
was,
Small-sized
Rome
ducats
copies
Veneziano
The
cartoons
that
the
cartoons
the
after
sent
cost
completion
the
to
Death
Rrussels
of
Man-
gold
was
the
have
been
thousand
one
that
so
ducats
cost
the
each,
ducats
each."
$150,000,
design.
tapestries
the
Ananias
to
from
received
and
tapestries
these
of
designer
The
Naples.
thousand
two
each
of
by
designs
six hundred
the
for
Pope
all included;
silk and
money,
$1,000
about
of
then
they
of
weaving
the
the
Antechamber
Silk
design.
are
from
has
who
displayed
considered
notwithstanding
of
thousand
one
modern
our
the
Mantua
of
tapestry,
reproduces
were
cost
said,
Pope
paid
was
each
it here
that, in
immediately
tino
The
in
Pope
the
They
done,
Federico
each
for
last
west.
painter
excellent
an
the
of
and
Alfonso
quantities.
great
hundred
though
This
Urbino,
Man
ever
those
as
Marchese
the
Kings
hundred
one
in
used
of
those
or
of
those
or
kind
235
day
in
woven
the
such
tapestries,
other
II,
of
work
Lame
the
Christmas
tapestries
seven
beautiful
most
"On
follows:
as
of
Healing
The
TAPESTRIES
OF
be
made
were
originals, since
in
copied,
cut
and
dated
were
in
Agos1518.
cut
in
The
strips for
of
Van
the
days
in
it mentioned
others
made,
were
for
his
weavers,
purchase,
as
of
that
restore
the
and
century
the
were
England
XIV
was
The
gobelins.
fragments,
Court
Gallery
South
Kensington
near
English
London.
Museum,
sections.
with
Charles
which
they
London,
were
there
where
II
they
the
their
facture
manu-
the
the
close
piece together
passed
may
for
the
Towards
preserved
they
1662
annulled
however,
to
tered
scatPaul
models
as
In
establishing
Cook
been
Peter
originals
England.
William
From
of
the
ministers,
in
III ordered
after
into
thinking
remained
cartoons
of
Two
now
of
seven
agreement
then
reproductions
advice
it.
have
must
in
the
in
be
and
Hampton
1865
seen
to
find
we
sight of
be
cut
1528
and
lose
the
the
back
sent
was
copies
many
On
to
Paul
we
shop
work-
the
throughout
1521
however,
bought
an
St.
Then
in
remained
Brussels
between
the
them
to
came
William
X,
woven
allowed
the
of
and
collections.
I of
Louis
at
successors
Brussels,
In
them
Conversion
Leo
and
ambassador
of
Collection.
various
Charles
French
contract
these
the
among
Rubens,
Pope
lost.
soon
from
and
the
Grimani
the
Ananias
Seven
his
and
Only
of
of
Death
weavers.
Aelst
century.
in
Rome
various
the
Peter
sixteenth
of
VATICAN
THE
236
to
the
to-day.
THE
subjects
The
of
Draught
the
the
Death
the
of
the
of Ananias,
and
Blindness,
TAPESTRIES
237
of
Giving
Lame
the Sacrifice
Lystra, Elymas
of
OF
Miraculous
the
Healing
the
with
the
are:
Fishes,
Keys,
Man,
GALLERY
Stricken
St. Paul
before
Areopagus.
fate
The
of
was
they
they
Vatican
of
de
1798
In
the
from
the
had
in
but
taken
Pius
VII
them
having
lower
Julius
again
were
Vatican,
The
1553
Pope
to
they
succeeded
some
year
in
Montmorency
returned
pieces
III.
the
to
that
stolen;
were
Connetable
two
in
in
Chapel;
removed
were
1521
In
stormy.
Sistine
Palace;
them
selves
them-
tapestries
less
no
in the
were
1527
the
turned.
re-
part of the
Ely
The
tapestry
mas
1527
in
burned
fashion.
"The
on
work
It is
houses
of
are
painter
work
of
work
and
certain
appeared
give
the
Van
the
the
This
initiated
painted
Aelst, however,
of
and
coloring,
color
evoked
of
their
to
like
in
the
the
the
the
textile
this
of
and
animals,
work
rather
the
the
taste
it resembled
delusion
fully.
faith-
so
merits
method,
new
holder
be-
thread
great critic of
professional
new
his
beard
water,
the
to
with
seems
of
Raphael":
marvel
and
man;
whole
so
having
of
which
was
the
weaver's
closely
before
his
to
real
eyes,
canvas.
shows
strong
gradations.
universal
great
hair
the
of
since
the
was
eulogy
for
read
of
"Life
his
succeeded
to
work
that
spectator
have
account
gloss
valuable,
but
discord
must
on
and
Thanks
allegiance.
mezzotones
they
then
more
have
possibly
than
in
it
that
exclusively
who
much
of
done
be
may
yield
in
Gallery.
tapestries
wreaver."
texture,
work
field of
of
Aelst,
to
as
woven
This
rather
the
the
remainder
the
treat
information
in
the
cheek
is intended
became
to the
than
Van
painting
not
weaver
universal
secure
of
to
above
and
truly reproduced
so
Renaissance
the
could
miracle
of
wonderfully
softness
giving
Stephen
St.
Fortunately,
texture.
vandals
tapestries
so
the
gold of the
opinion
of
Stoning
and
the
portion
his
was
the
tempt
the
gives
how
in
to
great
inscriptions
Vasari
melt
to
enough
not
was
off
cut
was
distinct
tones
stiffness
appearing
Despite
these
admiration
novelty,
since
design
isolated
in
ever,
defects, how-
when
they
of
they
foretold
first
veri-
Conversion
The
table
more
Flemish
be
less
or
Although
the
pupils,
of
execution
the
Italian
much
directed
the
the
work,
of their
An
of
the
of
case
his
long
Another
Van
years
in
of work
new
and
the
models
countless
feature
was
had
was
majesty
of
analysis
of
this
succeed,
engaged
were
vision
and
No
tapestries.
their
Italian
and
their
less
become
to
and
Van
no
Orley,
not
Flemish
be
his
how
matter
it, could
it.
on
fineness
models,
executed
was
of
development,
the
was
collaboration
pictorial
temperament
his
decorative
which
Aelst, who
methods
whose
Aelst,
important
to
of
and
breadth
extensive
by their
bound
Van
Northern
himself
the
method
new
completely
influenced
have
and
the
and
hands
the
unity
were
of
not
with
quite disappear
rid themselves
adaptation
of
The
tapestry.
did
work
preserve
they
Paul
illustrative
variety
may
St.
combining
by Raphael
that
School
the
the
cartoons
how
matter
to
executed
than
with
of
of
technique
If the
painting.
attributed
who
the
fresco-work
Italian
to
in
revolution
nothing
to
VATICAN
THE
238
quite
taste.
expected
in
crystallized owing
repetitions.
the
importance
given
for
the
time
first
in
of
frames
narrow
tapestry
horizontal
by
in
made
1797.
Francis
owned
Spanish
1649.
One
the
of
belonged
formerly
of Ercole
has
another
of
mention
but
duplicate
with
of
who
nine,
in
is made
of
Fishes
of
the
Cardinal
of
vanni
Gio-
of
seven
them
burned
were
which
the
in
acquired
was
Revolution
English
is that
and
The
Crown
in
in
now
the
at
owns
mission
com-
Collection
Imperial
similar
of
inventories
the
this
Vienna;
made
was
1563.
Spanish
set
but
Blindness
Mantua,
died
the
and
framing.
figures,
they
copy,
during
Stricken
Dukes
the
last-named
the
Copies
France,
London
the
frieze
X.
precious replicas
Gonzaga,
of
set
were
made.
I of
in
most
to
Leo
superb
Elymas
of
Pope
life
the
of
Each
of
to
even
allegorical
from
scenes
later
Ambassador
and
decorations
function
extended
ever,
how-
bas-reliefs.
to
the
served
set
were
Raphael,
parietal
similar
and
similarity
tapestries
for
1534
the
to
below
with
was
the
VIII
Henry
the
who
of
copies
Many
were
are
ones
Medici,
de'
similar
decorative
filled
tapestries
woven
geometric
aspect
the
contain
friezes
vertical
The
and
Renaissance,
the
of
239
ornaments.
friezes
the
assumed
thus
or
friezes
horizontal
and
pilasters
flowers
vertical
employed
all such
Hitherto
friezes.
the
to
TAPESTRIES
OF
GALLERY
THE
set;
II
Philip
(1527-1598).
The
Miraculous
Luke's
Gospel (v,
figures;
of
water
seen
is not
from
Moreover,
being
the
proportion
of objects
while
houses,
of
in the
friezes
lateral
frieze
related
event
an
contain
to
and
ornaments
but
the
of
shown
are
distance,
but
These,
horizon,
far
preserve
however,
the
of
the
time;
on
vegetation
and
fishing
The
successful
the
the
towards
figures
foreground.
Pope.
most
defects
inclined
figures,
great
the
and
the
shows
the
by
de'
Giovanni
Cardinal
shows
received
creations,
finest
horizontal,
depicts
St.
rative
deco-
perspective
above,
The
horizontal
and
Raphael's
The
4 sqq.
the
Rome
entering
one
Draught
level
away
of
is
scene
the
plane
just
Medici
tries.
tapesof
though
as
our
have
the
eyes.
the
metric
geo-
the
clearness
of
are
scientific
defects
line
out-
240
THE
which
would
not
for
the
costumes
of
shore,
detract
not
the
real
the
VATICAN
discord:
for
which
forms
too
scenery,
the
faulty
several
instances
of
the
dresses.
harshness
the
skill
illustrative
and
of
the
beautiful
of
countenances
clearly
fishes
express
the
and
But
"
and
the
the
birds
of
the
water
admirable
more
for
the
example,
soft
curves
and
bank
and
in
in
the
the
do
various
not
prevent
draw
in
the
presence
worship
drawn
the
illusion
linear
outlines
of
tints
mezzo-
of
tints
in
the
the
the
folds
of
of
with
of
of
the
has
figures
noble
which
so
The
truth;
are
purely
in
the
derful.
won-
artistic
with
moves
and
the
done.
reflection
of the
which
All
the
and
Christ,
He
the
joying
en-
are
astonishing
expression
rhythm
from
the
physical beauty
nets,
what
at
us
Urbinate.
Admirable
the
of
tints
the
by
created
are
still is the
in
of
requisitioned.
apostles
and
were
some
general
strong
interpretation
who
youths
marvel
on
the
it
Lystra
scene
in
the
outlines
the
crudity
here
is
two
their
representation
elements
of
of
serene
Raphael
mind
bodies
in
Sacrifice
and
of
human
of
in
red
the
to
if
effect
deep
contrast
details, however,
in
sublime
the
esthetic
the
modulation
unpleasant
defects
These
fully
the
and
dresses,
the
example,
violent
The
of
from
anything
artistic
the
tinuous
con-
folds
GALLERY
THE
of
the
souls
of
the
sweet
of
as
us
which
and
scene,
the
No
right.
of
characterizes
frieze,
reproducing
plasticity of
in
the
original
in
the
left
from
inspired by
Sistine
work
pupils
The
of
the
by
the
and
of
the
Healing
of
The
is
Keys
in
fresco
subject; of
same
is
coloring
other
its
like
pearl-
figures
the
tered
al-
is much
interpretation
the
de'
1494.
in
master
of
the
shows
Perugino
the
Parcae
Giuliano
Christ, with
In
tones.
to
sons,
Sea-
the
beautiful
figure of
the
Four
right
the
on
particularly
the
the
and
of
frieze
lateral
Giving
the
of
and
eight
Florence
the
Gospel
Museum,
frieze
The
Pietro
or
on
preserved
are
of
the
flight of
the
John's
shown
on
Keys,
fragments
the
On
are
of
position
com-
founded
is
cartoon
(Fates).
scene
the
St.
heads
and
Medici
solidity
clear
very
Chantilly
the
the
Three
(xxi, 15-17).
apostles.
lower
the
Sheep,"
My
show
is the
monochrome
of
Giving
incident
an
cal
verti-
the
bas-relief.
in
"Feed
and
the
which
The
site
exqui-
sonorous
and
tance
dis-
the
less
color
More
friezes.
the
arabesques
of
delicacies
in
in
itself
linear
the
are
of water,
obliquely
loses
the
on
on
vades
per-
placid
that
expanse
deepens
clear
serenity
gaze
we
sea.
majestic
transparent
our
tion
undula-
endless
tranquil
that
of
sense
and
and
241
TAPESTRIES
contemplation
the
in
rest
to
lulls
and
garments,
OF
of
his
weavers.
the
Lame
Man
St.
shows
the
miracle
worked
by
St.
or
Paul
the
in
Prison,
Earthquake
VATICAN
THE
242
Peter
frieze
lame
we
and
man
the
see
the
two
female
chief
Paul
in
lated
friezes,
Acts
and
v,
in
man
young
the
Tribute
The
1512.
on
this
bears
horizontal
fresco
of
right.
St.
picture
abundant
The
been
traces
particularly
of
de'
Medici
Conversion
of
The
and
Stephen
has
Giulio
the
frieze
virtues
Romano.
into
St. Paul
the
return
fine
are
is
the
scene
of
the
Florence
is founded
of
the
lar
particu-
which
is
the
vertical
the
Carmine
st.
re-
Acts
on
de'
of
frieze
as
Acts
Ananias
Papal
to
the
and
the
at
dressing
ad-
Medici
in
Christ
Florence.
vii, 1-59.
sixteenth
horizontal
1492
Ridolfi
recalls
Church
from
in
of
figures
St. Peter
the
in
shown
Cardinal
collaboration
The
miracle
Gonfaloniere
of
of
since
lost
after
figure
deserve
scene
are
the
see
we
in
Medici
The
zontal
hori-
Areopagus
attitude
by Masaccio
of
Cardinal
before
Particularly
the
represents
theological
The
Florentines,
Stoning
of
work
the
on
the
Florence
1-11.
in this
the
In
de'
escape.
figures
Ananias
of
Death
The
attention.
subsequent
his
and
Giuliano
Cardinal
of
iii,1-11.
in Acts
related
as
capture
Ravenna
of
Battle
the
Temple,
of the
door
at the
The
century,
Raphael's
the
pupils,
the
shows
toon
car-
and
entry
legate.
ix, 1-9.
The
cartoon
THE
GALLERY
The
The
TAPESTRIES
OF
Adoration
Adoration
of
of
the
the
Magi
Shepherds
243
244
of
THE
this
of
frieze
Prato
in
tion
protec-
In
Michelangelo
horse
by
fresco
Pauline
in the
subject
terrified
the
sack
to its inhabitants
same
Chapel,
The
the
the
and
Medici.
de'
the
on
lost.
shows
1512,
extended
Cardinal
been
has
tapestry
horizontal
VATICAN
has
copied
the
falling
of
rider.
Elymas
the
or
first
of
suggestion
Paul
is
to
Church
Rome
of
one
and
the
tapestry
the
the
sack
of
lower
figure
The
is missing.
is
Carmine
This
during
1527,
in
of
coes
fres-
to
the
Florence.
at
mutilated
was
traced
in
The
attitude
the
be
Masaccio
by
an
on
xiii, 6-12.
in Acts
told
sul
Procon-
the
is based
Paulus,
Sergius
Blindness,
of
Conversion
incident
St.
with
Stricken
part
Elymas
of
phael
Ra-
expressive
most
created.
ever
The
Sacrifice
The
friezes
vertical
lost.
show
To
work,
we
fresco
in
the
left vertical
the
right
from
table
de
frieze
in
sack
the
1553
by
added
the
the
of
demands
of
of
recording
frieze
in
we
The
St.
see
synagogue.
of
Gallery
Uffizi
the
is
Acts
space.
The
xvi, 20-40.
the
of
the
Gigantomachia
horizontal
The
is
cartoon
large portion
with
tapestry
from
scene
Fame
frieze
1527,
holding
back
fact.
frieze
pletes
com-
contains
the
the
The
but
the
coat
tapestry
angel
is
globe;
dents
inci-
frieze
missing
of
to Julius
by
lated
muti-
was
portion
of
arms
the
In
several
holding
first-mentioned
The
in
xvii, 19-34.
Acts
Hercules
and
horizontal
gave
the
wall
Mantua.
from
scene
Prato.
Rome
angel
performed
this
The
who
Innocents
xiv, 8-17.
Acts
the
in
is
St. Paul.
of
sack
the
faithful
the
among
represented
life of
in
horizontal
the
Earthquake,
Te
arabesques.
are
Montmorency
inscription
the
of
sacrifices.
compare
are
in
Romano
del
recorded
bas-relief
the Areopagus
the
during
replaced
of
before
to
Giulio
only
scene
St. Paul
in
is due
Palazzo
the
the
or
that
need
of
offering
shape
narrow
St. Paul
utilized
Raphael
the
St. Paul,
grottesche;
and
in Prison,
St. Paul
life of
both
are
scene
representing
Its
the
Massacre
trates
illus-
Lystra
Antioch
leaving
this
For
in
event
an
John
of
French
the
was
Conne-
III and
artist.
an
THE
The
The
Massacre
Apparition
of
of
the
Christ
GALLERY
Innocents
to
the
OF
TAPESTRIES
The
Magdalen
245
Massacre
The
Supper
of
at
the
Innocents
Emmaus
THE
246
The
The
VATICAN
Resurrection
Presentation
in
the
Temple
GALLERY
THE
The
which
does
Paul
given
to
the
death
after
of
tapestry
Paul
and
have
figures copied
in
meters
and
from
in
now
throne
the
and
of
the
Tapestries
as
the
the
Acts, which
originally
ordered
by Leo
within
and
three
which
long
VI
in
reached
towards
Pope
are
up
on
angels
two
from
the
enormous
death
Life
of
the
and
above
of
amount
Leo
probably
halted
modified
the
tapestry
Christ
on
Sts. John
contract
But
the
at the
five
of
were
and
were
to furnish
high
meters
(about
gold thread,
The
indifference
Clement
Van
from
ducats
the
ducats.
known
They
Aelst
gold
cost
when
with
scenes
Van
3,600
14,000
are
the
Consistory,
than
more
These
School.
Old
the
the
and
it.
"
Peter
receive
to
was
of
ously
vari-
small,
foreground,
from
them
of
tapestries
over
3.55
angels.
the
tively;
respec-
in breadth,
shows
Christ.
commissioned
of
two
The
two
in
of
Halls
the
1520
series
is between
tapestries
decorate
in
Peter
and
scene
side, and
distinguish
to
Sts.
reading.
the
School,
weaver
The
and
either
change
measures
background.
The
the
Jerome,
centimeters
sirens
birds,
gold
who
Madonna,
money)
arts
the
Sisto
tapestry
30
fruits,
and
sign
de-
In
way.
altered,
di San
This
measure
against
are
The
the
the
took
friezes
flowers,
to
out.
addition.
an
the
called
modern
drawn
he
Madonna
private apartments.
X, who
sixty long.
$40,000
the
1537
Oxford
is at
Baptist
Acts,
in
Liege
composition
new
and
Disputa
Scenes
years
the
the
New
are
In
of
entirely
the
in Flanders
different
notably
almost
replaced by
are
intended
been
the
the
of the
in
from
woven
There
Raphael.
and
was
Ghost
Holy
scenes
Marck
John
Jerome
with
Series
de
the
of
the
It
Everard
pupil.
genii
throne,
of
set
Sts.
Pope's
crowning
Descent
School.
subject
some
with
boy
the
Baptist
foot
to
angels
adorned
are
has
height by 2.93;
colored
is
due
the
even
Leo
part
been
Old
Cardinal
by
both
lower
certainly
being
of the
treating this
by Raphael
the
III
to the
belong
not
Series
the
called
are
and
The
Ascension
Coronation
The
247
TAPESTRIES
OF
Aelst.
work
of
was
Adrian
VII
became
In
October,
248
THE
VATICAN
The
1524,
he
20,750
gold
silk, "of
and
of
the
in
the
it
at
Lengles
of
to
of
Leo
the
X, and
of
Nativity
the
Magi,
(in three
of
the
pieces),
Christ
the
to
the
the
loyally
and
gold
in
of
the
Descent
Magdalen,
Temple,
into
sent
by
The
Supper
the
at
same
the
and
the
the
the
to
Aelst
were:
Adoration
of
Resurrection,
Emmaus,
were
of
Van
subjects
Massacre
pleted
com-
12,000
superior
were
the
tories
his-
Cremona
tapestries
Shepherds,
the
Limbo,
the
the
be
the
tapestries
of
wrought,
silk."
the
the
Farfengo
Paul,
and
that
that
to
of
gold
the
as
was
account
on
declared
Adoration
Presentation
de
in
woven
contract
payment
of
account
on
perfection
same
The
Angelo
and
in
the
Aelst
tapestries
14, 1531,
who
of Sts. Peter
finally richer
Christ,
the
June
"well
for
Paul."
artist
Calais,
were
histories
of
Van
to
all
and
after
the
by
of
Christ
in
and
until
not
was
paid
paid
Peter
months
Virtues
ducats
quality
same
Rome
approved
those
be
to
Apostles
Johannes
Nativity
gold
ducats
eighteen
but
ducats,
12,000
had
Three
the
of
Innocents
the
tion
Appari-
Ascension
GALLERY
THE
and
the
they
were
their
disappeared
at
As
Bologna.
father,
as
for
realize
of
it
the
used
the
composition
there
and
does
accepted
the
of
Adoration
from
basket
the
of
eggs
of
the
are
the
purely
the
the
and
Apparition
of
in
of
The
by
the
and
on
of
violent
the
the
floor.
the
strong
crudities
are
decadent
taste
the
of
the
scape
land-
the
table
tapestries
red,
as
the
the
and
tints.
brightness
on
other
in
taste
of
all
with
such
scenes
show
harmony
The
seen
ures
fig-
Magdalen
glassware
colors
scent
De-
ated
exagger-
three
over
glistens
of
the
to
smiles
Emmaus
the
monumental
better
mezzotints
the
are
turquoise,
shading
Mannerists
of
the
of
the
Cinquecento.
tapestry
of
of
the
this
Three
series
Virtues,
of
high, including
meters
broad.
middle
(sic), the
at
vase
with
accordance
the
of
with
showing
tapestries
Christ
is
tinct
is dis-
and
the
is
style
Shepherds
and
the
of
there
transparency
monotony
yellow,
centimeters
in
the
the
in
glasses
part
5.11
Supper
table-cloth,
the
and
tones
end
the
Presentation
here
have
might
Resurrection
of
ment,
arrange-
shepherd
with
to
may
Only
Raphael's
young
groups
Apparition
which
vivacity
flowers;
great
the
in
the
own.
compositions
Two
Innocents.
namely,
the
Other
the
but
the
the
who
Flemish,
or
to
of
The
of
pair
Ascension,
the
of
figure
movements.
the
Adoration
Those
Raphael
nearest
proof
interpretation
cartoons.
which
comes
noticing.
are
Emmaus,
characterized
green
the
of
Flemish,
and
of
worth
Ghost
The
the
is well
Massacre
Supper
the
In
Magi.
and
in
at
that
others,
in
found
preserve
scene
the
Holy
agitation
of
The
touch
his
subject
same
the
all their
are
on
of
Massacre
by Raphael,
execution
a
and
1520,
Antonio,
the
Italian
were
subjects
toons
car-
of
further
the
these
they
the
the
and
figure
his.
as
of
design
colored
tapestries, whether
sketch
of
print reproducing
and
in
without
tapestries
the
Vencidor
mentions
But
Raphael's
composed
rough
work.
Gallery.
Flanders
to
go
Vatican,
that
states
Tommaso
by
did
the
compare
between
who
these
designed
part
the
Marcantonio
difference
those
by
have
the
and
Innocents
in
now
writer,
this
and
which
the
to
in
Settecento
auction,
Limbo,
back
Francesco
Moreover,
to
one
are
colored
the
at
into
brought
Vencidor
of
sold
Descent
Acts, and
were
end
were
the
were
the
fact,
X.
taken
having
enough
of
Leo
they
except
249
the
sixteenth-century
matter
from
mission
1798
They
of
tapestries
these
in
Louvre,
period.
d'Olanda,
for
but
tapestries
the
Francesco
it is
this
Until
Ghost.
Holy
the
to
way
with
together
the
Vatican,
the
in
all found
of
Descent
TAPESTRIES
OF
of
motto
The
the
of
arms
horizontal
the
same
the
the
Life
the
or
of
friezes,
of
Pope
frieze
Pope.
Lions,
Christ.
and
The
Like
the
Clement
is
has
friezes
the
lateral
VII
falcon
are
with
of
been
long
friezes
seen
the
this
sidered
con-
others,
are
above,
word
it is
80
and
Samper
tapestry
are
VATICAN
THE
250
richer
than
by
of
glory
on
the
either
with
side.
her
The
feet
in
Below,
lions
baldachin.
school.
same
light,
crouching
two
surmounted
keys
two
Charity
landscape,
broad
the
and
Justice
with
and
in
of
work
other
any
seated
Religion
shows
of
of
those
The
the
lions
are
world
foreground
Papal
support
tapestry
the
on
standards
allusion
an
to
"
Leo
Pope
X.
The
cartoon
the
pupils
Raphael's
the
landscape
many
very
the
throughout
instances,
fine.
Flemish
but
this
series
weaver
the
tonality
shows
tapestry
the
illustrating
has
of
the
designed
who
perhaps,
same,
"
figures
of
the
Life
overloaded
the
friezes,
the
of
hand
of
graceful
more
Christ.
original
grayish
one
of
In
design
mezzotint,
the
in
is
EGYPTIAN
THE
Bhe
Museum
Egyptian
I XVI,
MUSEUM
and
opened
bringing
made
Collection,
greater
part
Naples;
(3)
Egypt;
the
the
the
Baseggio
Leo
XIII
explorer,
Pius
and
such
gifts,
the
Guimet,
From
Father
by
very
Luigi
the
of
work
period
been
and
was
since
to
made
to
for
provide
particularly
which
now
papyri
new
the
cases
accommodate
from
of
charge
make
the
case
have
the
the
the
for
in
been
the
set
The
for
up
of
the
Papyri,
antiquities
[251
the
in
and
Emile
few
arranged
followers
Museum
in
smaller
recently
housed
have
acquired,
in
rooms,
and
increased
Egyptian
This
here.
smaller
objects,
this
at
slight changes
the
the
are
who
subsequently
in
for
as,
M.
first
the
eminence,
already
and
Hemicycle
Collection
Library.
those
ciscan
Fran-
by
Cairo,
of
of
A
of
tant
impor-
many
excellently
manuscripts
display
of
Paris.
one
museums.
by
"
decorations
sculptor
papal
room
better
was
Egyptian
Fabris,
de
Museum
and
presented
individuals
at
in
the
by
government,
consul
tiquarians
an-
lection
Col-
pontificates
by
private
Museum
Barnabite,
The
Italy.
Cavaliere
in
Guimet
Egyptian
the
Ungarelli,
in
by
Spanish
the
famous
start
Champollion
of
is
of
the
the
the
enriched
Khedive's
the
(6)
others
During
and
the
Rome
to
in
the
by
1838;
and
1818,
been
and
Egypt,
Pelizeus,
Cavaliere
head
has
by
sent
in
in
Guidi
made
brought
Consalvi.
Museum
those
as
Pofi
da
those
of
rarities
many
and
the
Collection,
Silvestro
and
1835
Borgia
Museum
Palin
De
days
Velletri,
the
bought
documents
Cardinal
to
missionaries
instance,
the
Angelo
missionary
VII,
between
Spagna
the
(4)
the
Egyptian
in
at
to
and
grouped
Borgia
travellers
Pius
Pope
comprising
Papyri,
the
Belzoni,
of
time
the
by
Rome
in
(2) the
way
who
Turkey,
to
made
and
its
Collection;
Gaddi's
Minister
collections
in
found
however,
may
Tivoli;
Stefano
by
antiquities.
be
carved
at
erable
consid-
Egypt,
in
to
statues
Villa
Cardinal
from
way
collected
or
Hadrian's
learned
which,
the
Franciscan
of
Gregory
at
collections,
dealers
brought
statues
Empire
ruins
the
Swedish
Gavazzi
of
(1)
Roman
Monsignor
(5)
Pietro
of
by
of
the
by
made
as
Pope
various
the
here
by
formed
was
from
objects
various
follows:
in
found
and
style
others
purchasing
The
all
objects
some
It
uniting
by
expense
by
founded
was
1839.
in
which
by
Museum
the
VATICAN
THE
252
The
as
There
Hall
of
from
Chiaramonti
the
outline,
idea
of
are
very
of
be
not
history
of
Greece
the
of
survey
reader
ancient
to
preface
to
unnecessary
of
or
of
the
of
have
so
Worship;
(6)
Hall
the
more
least
or
the
there
what
Hence
they
it may
Museum
allow
to
in
less clear
mythology,
of this
of
of
at
forgotten
as
importance
Coffins
Imitations.
Egypt.
description
the
known,
a
special
Naophorus;
Roman
Classical
ancient
civilization,
clearly the
has
who
of
to the
Egyptian
more
grasp
every
mythology
of
Etruscan
tino
Pio-Clemen-
Second
is well
one
legends
heard,
never
and
history
and
and
Hall
(10)
Rome
and
people,
have
Papyri;
(8)
the
from
have
of
Objects
and
the
to
the
Hall
(1)
by
entrance,
rooms
Hall
(3)
floor
same
occupied
leading
various
Gods
the
Papyri;
personages
many
heard,
the
the
who
as
the
on
the main
follows:
Ma-
time).
dividing
Statues;
of
of
main
the
of
Hall
all educated
by
screen
The
the
Hall
First
(9) Third
Whereas
of
(5) Hall
(7)
the
(1888);
present
are
staircase
1912
in
following Egyptologists:
formerly
the
Museum.
Hall
(2)
Hall;
Papyri;
of
catalogued
were
Hemicycle;
Funeral
near
the
Piehl
Museum
were
entrances
two
front
in
the
Sarcophagi;
(4) the
Cross,
second,
and
names,
Greek
the
the
to the
down
and
are
by
(1885);
Egyptian
Museum,
Librarian.
Museum;
and
to the
over
Pio-Clementino
Cardinal
the
given
rooms
the
1889
from
works
(in various
works
Wiedemann
(1839);
Ungarelli
rucchi
illustrated
special
in
described
been
have
brief
the
general
antiquities
in
the
collection.
Outline
that
Ancient
of
civilization
Egyptian
civilizations
and
of
of
of
than
that
early
Chaldeans.
have
and
if
of
of
the
and
by
as
culture,
it
became
Greek
was
form
of
of
beginnings
approximate
Egypt
history,
from
date
date
Menes
went
along
powerful
later
under
of
her
in
turn
the
the
Ptolemies,
ancient
whole
cult
so
the
although
even
glorious
much
when
by
she
the
and
periods,
5000
B.C.,
of
the
After
fifty centuries
spread
was
Mediterranean.
of
dawn
Greece
was
the
hand,
dynasty.
remained
she
other
through
the
the
back
about
foundation
first
of
us,
remotest
dynasties,
basin
on
influenced
the
to
farther
indeed
on
of
chronology,
to about
the
developing
on
influence
back
of
of
the
speak
information.
dates
little
very
monuments
of
truth
down
come
order
with
we
accurate
Chaldea
its
and
said
if
world,
possess
know
we
be
have
that, in the
Pharaoh
under
civilization
exercising
hieratic
year
Egypt
the
we
Egypt
its first
that
the
monuments
yet
historical
to say
Phoenician
After
primitive
It may
"
in
inhabitants
Concerning
under
oldest
history
Egyptians,
that
accept
kingdom
Menes
the
the
it is certain
important
it is safe
we
whose
course
the
is
History.
important
about
of
civilization
we
which
peoples
For, though
Egyptian
Greek
that
Egypt
true
to
lashed
to
the
the
THE
Later,
Rome.
her
and
began
to
especially
after
the
the
to
her
over
our
Middle
Ages
the
the
Pharaohs
writings
could
still be
became
in
when,
of
he
the
notices
few
and
Bible
the
of
history
they
in
more
whole
the
down
who
its civilization,
and
tered
al-
and
Pharaohs,
people,
of
the
less
or
periods
great
of
with
writers,
incapable
were
to
content
handed
of
names
ignored
and
life,
land
confused
commonly
very
study
new
preserved
the
Roman
or
the
this
be
to
stories
Greek
by
of
with
inaccurate
And
anxious
was
had
few,
closed
on
something
mystery,
by
epoch,
and
era
world.
took
student
the
know
cious
pre-
Roman
time
whole
antiquity
and
the
of
later
famous
understood
the
at
of
Egypt's history,
course
for
standing,
contained
during
even
the
tombs
other
which
for
data
book
on
long
over
the
and
personages,
which
the
remained
that
temples
mained
re-
almost
down
inscriptions
and
and
out
through-
Thus,
day.
own
they
hordes
Arab
dead
and
historical
gotten,
for-
ous
victori-
territory,
buried
253
speech
be
Christianity;
lost when
utterly
swept
her
writing
of
MUSEUM
conquering
however,
advent
were
of
chariot
triumphal
EGYPTIAN
of
the
because
ing
appreciatespecially
its religion.
This
almost
complete
Egypt's story
would
down
own
to
our
not
occurred,
the
nineteenth
in
have
times
the
eclipse
persisted
had
there
beginning
century,
of
the
of
derful
wonRed
discovery
of
Champollion,
Granite
Statue
of
(285-247
Ptolemy
B.C.)
II
Philadelphia
254
THE
VATICAN
which
the
buried
secrets
hieroglyphics
of
known
the
vealed
re-
the
in
Egypt. It is well
deciphering of
made
Egyptian hieroglyphics was
that
the
possible by
famous
Rosetta
British
Museum),
with
its bilingual
inscription (Greek
the
it
name
discovery
was
with
the
the
day
the
Island
of
name
to
our
of
parts
been
own,
From
that
the study of
tian
Egyp-
has
been
of
Egypt;
works
of
and
hieratic
And
thus
of
of
the
and
been
in
the
merous
nu-
written,
monuments
demotic
of the
ancient
writers
have
been
Egyptian
papyri.
that
to pass
come
history
Egypt
Greek
in connection
and
civilization
gradually
chronology
rected;
cor-
has
raohs
verified; the lists of the Phaof the various
the
have
and
Europe;
Egyptian
it has
Roman
been
various
museums
have
the mistakes
with
tions
excava-
every
and
great
in
in Cairo
with
dealing
made
cities
principal
made
successful
have
opened
of Isis
Temple
Cleopatra.
very
scription
in-
bilingual
Philse, containing
antiquities
progress;
was
another
from
on
and
tian),
Egyppossible to
of Ptolemy.
The
verified
parison
by com-
wherein
read
in the
(now
stone
the
of
discovery
spelling
of
their
dynasties and
have
names
been
has
been
legends, religious
statue
and
of
Ptolemy
Arsinoe,
Wife
Philadelphus
of
EGYPTIAN
THE
its
been
has
world
Egyptian
private and
been
have
once
brought
more
restored
public life. On
255
MUSEUM
to
to
light. In
word,
of
us
discovery of Champollion
the fortunate
the science
The
(Menkaura).
we
known
possess
epoch, which
the
the domination
the Hebrews
settled in Egypt.
Independence was
eighteenth dynasty, and with this "New
Empire" began
the
glorious period of Egyptian civilization,during which
in the
most
Tuthmosis
who
the
Its apogee
was
(eighteenth dynasty)
generally identified
in
and
Meneptah
whose
I, the
glorious
from
the
era
as
the
in
Rameses
as
reign Moses
people of Israel
the
reigns of
nasty),
dypersecuted
who
born.
Under
led from
were
of
(nineteenth
II
the Pharaoh
was
banks
the
the
the
next
land
of
B.C.).
followed
was
far
reached
as
and
captivity(thirteenth century
This
extended
was
is now
Hebrews,
Pharaoh,
lasted
great period, of
succeeded
that
time
this
restored
the
of its kings
one
remains, was
by a less
"Middle
the
Period," and
might be designated
thirteenth to the seventeenth
dynasty, thus including
ing
durof the foreign Hyksos, or Shepherd Kings. It was
monumental
rich
from
lasted
Abram
twelfth
and
eleventh
The
b.c.
the twelfth
of
Pharaoh
the
was
which
4000
is about
date
dynasties followed;
twenty-first
to
the
(525 b.c.)
Alexander
the Great
of the Ptolemies
came
fast
on
the heels of
in the seventh
after Christ.
Originally
form
the rule
in the days of
to the eagles of Rome
decay of a people arrived with the Arab
century
but
then
the
polytheism
arose,
with
certain
was
probably monotheistic,
all ancient
modifications
religions, and
for
the
initiated
the
and
ism,
The
learned.
the
including
regarded
were
based
on
mythology
were
beneficial
generative
each
action
of
deity,
emblem
the
place;
(3)
of
the
after
who
Pharaoh,
after
from
as
Man
body.
for
dead
of
stain
long
rest
lived
the
and
body,
and
there
in
Hence
shape
also
arose
they
earth.
so
that
of
of
custom
the
earthly
life
lengthy
prayers,
so
of
the
that
and
his
soul,
death
The
selves
them-
guilty,
themselves
But
centuries,
the
souls
tomb
the
gave
retain
soul
and
returning
to
as
to
long
which
tombs
with
souls
the
as
was
with
were
tombs
to
were
to
of
custom
possible
to
had
they
rest
pictures
inscriptions
might
during
they
life that
same
rise
their
if
length
at
were
preserved
the
decorating
and
neath
be-
regions
cleansed
earth
of
themselves
the
it.
to
the
souls
annihilated;
through
one
dead
present
with
deceased,
the
soul
they
might
they
tomb.
and
from
so
of
purify
Having
well
the
whom,
to
became
belief
This
comfort
the
the
the
and
If found
to
for
even
of
pilgrimage,
find
to
within
on
for
had
deity
person
after
the
then
wander
occasionally
over
corpses,
human
and
divinity
returned
this body
painful
one
widely
emanated,
regions
trials.
the
life and
the
earth,
Osiris.
case
every
in
and
and
and
takes
sun
The
during
beyond
of
lasting perhaps
which
live
in
many
this
the
wanderings,
transformed
visit
into
female
most
one
composed
deity,
life
the
the
offered.
men,
tortures
body,
to
during
back
absorbed
their
exposed
earth,
every
the
the
tribunal
had
just
in
committed
the
of
various
to
of
idea
of
activity of
deities
mysterious
the
before
adjudged
faults
the
was
lesser
or
groups
Horus.
on
sacrifices
live
to
while
god
of
and
himself
race
laws
into
the
adored
was
the
the
through
pass
subjected
were
and
the
obey
judgment
were
which
to
raised
deity
his body,
believed
were
real
forth
came
who
supreme
to
was
from
separated
were
the
deities
lesser
be
to
and
Isis
manifested
also
other
or
divinity; (2)
is, of the
Osiris,
one
underlying
action
triad,
of
Apis,
ox
held
was
that
complex
deity, emblem
the
the
two,
that
deity
temples
death,
Just
the
the
but
death;
most
of
power
famous
was
male
rious
glo-
its mysterious
to
The
was
most
its
typifying
Egypt.
which
of these
born
in
incarnate
became
in
(1)
within
sky
Egypt,
in
follows:
as
of
deities, divided
many
generative
The
other.
worshipped
these
the
sun-god
is
the
and
sun
were
the
gods
referring
or
sun
deity.
the
it better,
represent
other
theology,
of
know
we
to
to fetich-
was
ancient
the
attributes
emanations,
the
masses
in
all the
and
special locality
triad
or
group
within
There
its
the
when
taken
being
solar
from
time
the
at
deity;
the
derived
having
various
sun
nothing
power.
each
triads,
the
but
effect
and
least
at
of
manifestation
animals,
which,
symbols
as
worship,
sun
part of
on
of
worship
merely
the
step
next
religion of Egypt,
The
of
VATICAN
THE
256
balming
em-
their
there.
senting
repre-
ing
contain-
delight
in
the
EGYPTIAN
THE
recite
and
scenes
for
formulae
the
scribed
pre-
their
during
use
257
MUSEUM
long
wanderings.
funeral
The
in
seen
of
museums
or
tombs
in adoration
from
taken
phrases
books.
Shorter
nature
are
religion
the
sacrifice.
The
doors
the
dead,
texts
in
like
those
stelae.
shape
lid
is in
the
and
the
of
mummies,
and
the
take
the
surmounted
of
the
head
by
the
adorned
Within
and
too, they
representation
head-dress
with
characters
walls
cases
many
were
izing
symbol-
decorated
are
of the
receptacles
with
dwelling-place
on
calantica.
stone
sand-
houses
thus
hieroglyphic
defunct,
of
sometimes
are
Sometimes,
the
by
eternal
of
offering
sarcophagi
windows,
and
the
particularly
resemble
to
serve
pre-
religious
the
granite
or
carved
of
and
symbols,
depicting
scenes
the
organization
various
us
funeral
and
tant
impor-
us
Egyptians
for
funeral
concerning
social
ancient
similar
the
give
information
and
of
on
also
sacred
the
texts
found
stelae, which
of
names
dignitaries, and
titles of
the
scriptions
in-
long
the
giving
kings,
carved
with
and
god,
sive
exten-
the
defunct
figure of the
often
are
showing
scenes
The
with
decorated
splendidly
before
papyri.
of
doors
and
walls
with
mummies
and
amulets,
tombs,
coffins,
painted
statuettes,
their
of
doors
stelae, sarcophagi,
vases,
fragments
are
walls
the
usually
monuments
known
these
placed
as
of
culiar
pe-
the
enormous
the
coffins
Statue
of
an
belonging
the
Unknown
to
the
Ptolemies
Princess
House
of
THE
258
of
of
and
the
with
out
figures
the
deities,
the
painted
wood,
sycamore
inside
glyphic
hiero-
inscriptions
in
or
from
the
chief
were:
of
the
or
(1)
the
resurrection;
scarab,
easel,
or
the
necklace,
the
Dead."
Near
the
These
are
heads
any
of
crowned
of
of
in
seen
and
the
Alexandrine
are
more
neous
erro-
Canopi,
ure
fig-
Canopus
era.
properly
called
or
they
grotesque
god
the
the
because
vases,
the
animals.
be
under
resemble
also
museum,
name
Canopic
not
were
may
known
are
deities.
minor
vases
vases
almost
"Book
diminutive
coffins
four
placed
with
the
the
the
There
the
of
statues
or
of
amulets,
mention
to
pent,
ser-
usech,
reward
other
many
or
female
of in the
just, spoken
eye,
symbol
the
the
(6)
of
or
ureus,
of
symbol
(2)
all-seeing
anch,
deity;
uta,
the
bol
sym-
symbol
the
of
symbol
of
used
the
tat,
little
amulets.
amulets
stability; (3)
of
swathing
with
covered
objects
pious
coffins
in
tightly
and
the
mummies,
the
placed
wrapped
The
of
these
In
bands
chapters
"Book
Dead."
were
ducing
repro-
instances
most
whole
verses
of
gods
and
underworld,
VATICAN
of
They
neral
fu-
Statue
of
and
vases,
because
they
Queen
Mother
(Fourteenth
Tuaa,
of
Wife
Rameses
Century
of
Seti
II
B.C.)
EGYPTIAN
THE
defunct.
of
The
names
(1)
Amset
on
these
genii
(2)
(4) Keb-
The
deal
contain
various
in
works
even
of
degree
funeral
They
of their
tises,
trea-
thus
the
high
of the
("Book
by
history.
Most
known
and
as
"Chapter
of
each
which
contain
called
in
bearing
at its head
these
papyri
bought
when
person
was
the
the
plain
took
left blank,
and
in
place,
thus
we
of
travels
prepared
were
funeral
who
"Ro
and
been
one
dred
hun-
"(i.e.,
en
colored
the
advance
the
space
the
see
by
the
for
the
vignettes
in
souls
the
world.
under-
scribes,
of
name
inserted
name
was
thus
into
.
with
in
has
the
hem
em
per
divided
was
all of
or
Lepsius,
which
and
It
are
museums
Sciat
which
the
from
portion
Dead."
decorated
incidents
in
Dynasty,
b.c.)
2000
even
found
Egyptian
but
various
and
3000
Egyptians
Todtenbuch,
the
(Eleventh
Mentuhotcp
of
papyri
Daytime"),
the
of
and
."),
.
the
As
dead
"Book
sixty-five chapters,
showing
were
the
ancient
of the
was
in the
first to
since
the
those
which
Out
Going
Head
between
reached
book
sacred
Sandstone
are
papyri, particularly
of the
text
showing
civilization
days
remotest
tombs
medicine
on
They
records
precious
the
subjects.
mathematics.
and
Selk.
tales, moral
poems,
and
ties,
divini-
and
found
papyri
with
of these
four
the
Neit,
Isis, Neftis,
tell
vases
influence
of
speak
and
Usually
the
on
protecting
genii,
were:
(3) Tuau-
(hawk-headed).
of the
lid.
(man-headed);
inscriptions
the
genius
the
(jackal-headed);
senuf
of
one
the
(baboon-headed);
Hapi
mautef
the
of
appeared
head
four
dedicated
were
protection
the
under
whose
balmed
em-
were
containing
and
viscera,
the
They
each
in number,
the
of
viscera
the
contain
259
MUSEUM
and
the
by
other
an-
of
the
hand.
The
"Book
mysterious
of
as
the
Lepsius
good
the
Dead"
is of
religion of Egypt,
Ancient
Navilli
mystical
of
Egyptians."
frankly
The
secrets.
and
Navilli;
English
one
we
Le
is
Page
importance
it has
text
have
principal
there
by
and
Its
confesses,
great
rightly
is very
not
editions
good
been
French
Renouf
of
able
this
the
study
called
and
obscure,
been
the
book
are
"Bible
to-day,
even
to penetrate
translation
Another
for
into
those
by Pierret,
important
document
its
of
and
260
THE
is the
of
book
of
Opening
known
the
as
often
and
taken
was
journey
the
the
rare
and
olis
necrop-
closed.
was
the
are
ceedingly
Ex-
papyri
taining
con-
which
is of
It
importance.
by Schiaparelli
published
the
during
in the
document,
highest
where
during
tomb,
tomb
this
the
corpse
exposed,
the
tains
con-
from
used
house
long ceremonies
until
It
embalmed
the
to
with
Dead."
from
been
had
it
identified
service
the
usually
Funerals,"
of
the
burial
moment
("The
Ro
en
"Book
of
the
the
Ap
Mouth"),
wrongly
"Book
the
the
the
VATICAN
in
was
1881-
1882.
There
is
distinctive
something
about
peculiarly
so
Egyptian
that
art
Seated
at
can
we
distinguish
once
productions
the
of
symbol
solar
urei.
and
accumulated
figures of gods
This
monuments.
its
that
hieratic
only
and
the
the
of
and
the
And,
worship
lasted
forty
a
chronological
the
taste
of
to
forms,
in
imitative
as
This
singular
Romans,
people
owing
or
imitate
the
history,
of
it, either
the
from
of the
characteristics
to-day
glyphic
hiero-
of
unaltered
Egyptian
and
are
long
almost
imitate
we
columns
and
developing
of
Greeks
conquered
artistic
with
comparison
ages.
the
attempted
the
the
various
strange
preserved
centuries
the
with
decoration
appropriate
was
being
everywhere
been
tecture
archi-
ornamented
doors
and
b.c.)
In
pyramid
are
walls,
had
(1366-1333
so
ments,
monu-
the
ings
paint-
art
caught
who,
when
as
to
the
salve
to
tion
attrac-
productions
the
East.
just
change,
of
pride
strange
Far
the
Egypt,
conquered
and
distinguishing
of
pleased
wounded
of
in
sculptures
fancy
they
through
succeed
can
crowned
are
Pharaohs,
dynasties,
Egyptologist, by
an
the
on
art, which
first
the
Seti
people.
the
architraves
real
style of
form
of
ancient
columns
the
and
form
of
periods
remotest
in
The
and
Everywhere
inscriptions
other
any
predominated,
sun.
flowers,
lotus
of
effect
radiant
the
discs
those
pyramidal
of
capitals
from
Statue
tian
Egyp-
as
Egyptian
of
during
this
religion
Isis, which
a
grew
large part
of
likewise
up
the
Egyptian
process
in
Roman
took
the
on
new
form
Graeco-Alexandrine
period.
Of
underwent
art
all the
"
that
of
period
divine
the
and
triads
THE
in
worshipped
of
land
olden
Egypt
that
one
that
of
in
was
worship
ceremonies
retained
with
The
Isis
ual.
rit-
spread
rapidly
and
the
pire,
Em-
from
all
flocked
people
parts
be
initiated
in
that
souls
turned
from
loathing
polytheism
of
Rome
Greece
it
that
in
in
the
of
Empire,
honor
imitations
or
belonging
to
Ptolemies
and
the
domination.
from
which
I.
is the
of
them
to
made
Ut-a-hor-resent
b.c.)
the
painted
Classical
of
the
lid of
Coffins
a
mummy
from
the
marks
and
putting
which
the
even
national
may
the
of
be
ancient
from
antiquities,
time
of
of the
aside
sculptures
art
difference
of
of
period
the
since,
deities
style,
remarkable
clearest
so;
those
from
merely
do
Egyptian
imitation
present
of
of
to
truly Egyptian
the
Pharaohs,
dating
from
home.
at
distinguish
the
of
those
their
bear
Hall
Priest
the
Century
inscriptions brought
and
statues
is it hard
the
attempted
and
enter
from
reproductions
in
Room
epoch
Nor
recognized
been
of
it is well
museum
Roman
Statue
of
Serapis, containing
and
Basalt
Green
were
(Sixth
in
Egypt,
In
first
temples
erected
Isis
the
the
splendid
pened
hap-
Rome
principal
cities, from
days
trine.
doc-
purer
Thus
and
the
sought
and
higher
the
in
where-
mystic religion
and
of
worship
throughout
in
invented
newly
to
only
connection
old
were
the
survived
whose
the
261
Horus,
with
MUSEUM
the
in
the
days,
EGYPTIAN
the
Roman
the
Grgeco-
unfailingly
and
tions
inscrip-
Egypt
indigenous
has
ductions,
pro-
imitation.
Sarcophagi.
coffin, with
"
On
the
right
hieroglyphic
as
you
inscrip-
262
THE
to
of
longs
It be-
1).
(No.
tion
priestess
named
Ammon,
of
six
prayers,
is
there
come
the
her
On
with
an
dead
(No.
1)
paintings
inscription.
clad
shown
robe
altar.
Her
of
is
priestess
white
that
to
It is decorated
belongs.
The
2)
(No.
lid
the
and
left is
the
coffin
which
of
spirits
the
light.
to
disc
together
sun
with
that
radiant
the
see
as
and
granted
it be
the
lady
forth
living soul,
of
prayer
dead
the
may
tical
ver-
contains
lines
sacrificial
that
scription
in-
The
Neschonsu.
and
VATICAN
in
before
an
and
name
her
husband,
Tet-Hor-auf-ank,
are
W^
There
given.
are,
Naophorus,
moreover,
the
cartouches
of
which
this
is
and
preserved
the
cortege
as
on
of
as
the
boat-shaped
prayers
and
it, is
which
mummy,
in
to the
drawn
carrying
the
to
coffin
cartouches
his
time,
from
dates
to
and
above
priestess
dates
from
and
cover,
hieroglyphic inscriptions.
remarkable
goes
from
of Funerals."
"Book
vehicle
Tet-maut,
belonging
and
The
1, belonging
No.
named
coffin
face
you
the
described
a
5 is the
to
dynasty),
as
the
B.C.).
century
lid similar
coffin
painted figures
right
Statue
subsequent
veneration.
great
Chonsu-pa-krat
No.
period.
to
Shrine-bearing
(eighteenth
monuments
on
even
in
(tenth
dynasty
Amenophis
found
held
was
Bubastitic
No.
Pharaoh
be
to
are
ruler
or
royal
by
sacred
oxen
scene
the
house
showing
to the
The
mummy
and
surrounded
instruments
shows
On
mon
Amsame
well-
the
outside,
the
funeral
tomb,
is shown
and
of
the
exactly
resting
by priests
the
ritual
citing
re-
papyri.
THE
of
front
In
hall,
and
you
enter,
to
walls
both
which
hieroglyphic inscriptions
refer
and
(seventh
dynasty
The
b.c).
591
who
b.c),
to
of
is the
same
belongs
one
temple,
first
as
Of
of
favorite
the
Necht-Hor-menk-ab;
placed upside
the
tik, and
live in
Hall
II.
colossal
of
the
breathes
Osiris
of
Figure
Psam-
priest, named
wish
other
attitude
same
side
of
the
the
26).
III
under
that
"that
life
his
name
may
hall
On
of
(dating
whose
is another
the
the
several
front
of
goddess,
from
reign
Egypt
the
throne
of
ment
punish-
the
of such
in
the
the
other
On
in
the
right, and
same
to
the
cartouches
fifteenth
of
city
Museum.
royal
zenith
the
reached
the
on
middle
the
the
goddess,
the
still remain
about
on
the
was
the
and
this
in
are
of
goddess
over
dynasty
came
which
the
lioness
long series
were
statue
is
is seated
She
This
eighteenth
of
of
head
presided
There
the
enter,
you
and
sun,
as
(ureus)
(the anch).
hell.
of
the
has
serpent
of the
III
right
to the
8,
city undoubtedly
goddess,
figure
Amenophis
heat
the
of
Egyptian
from
the
(No.
left of
symbol
and
by Amenophis
and
of
disc
No.
"
Sechet, which
goddess
lost in the
the
statues
the
devouring
erected
Thebes,
b.c),
to another
belonged
Statues.
the
the
holding
of the
statues
of
by the solar
throne,
symbol
the
This
inscription
of
statue
surmounted
of
Carved
eternity."
Room
the
showing
have
must
ground.
brief
the
is
show
to
Naophorus,
the
to
the
other
as
so
which
inscription,
reached
left,
of
king named
down
the
the
on
high-priest
of
part
the prenomen
Pharaoh.
to
of
Nefer-
called
sarcophagi
two
on
(596-
II
the
above
the
other
turies
cen-
courtier
was
ab-ra-meri-Neit,
which
sixth
of Psammetichus
time
the
Saite
sarcophagus
right belonged
the
or
twenty-sixth
the
to
as
cophagi
sar-
ten
closely writ-
with
in basalt
263
MUSEUM
the
large
three
are
of
left
and
right
the
EGYPTIAN
of
century
and
its power
culture.
No.
12, standing
red
cartouche
repeated
granite
with
in
the
out
statue
his
name
from
of
the
Ptolemy
wall
II
is inscribed
hieroglyphic
to the
right
as
inscription
the
on
front
the
in, is
go
(285-247
Philadelphus
on
you
of
small
his
The
b.c).
girdle,
obelisk
sal
colos-
on
and
which
is
264
THE
he
leans.
of
this
The
reign
tory
his-
in
for
splendor
the
under
reached
Egypt
in the
especially
him,
which
sciences,
were
the
in
cultivated
schools
famous
at
he
where
Alexandria,
his
founded
great
his time
To
library.
also
is
sovereign
memorable
mous
fa-
the
belongs
of
translation
tures
Scrip-
Hebrew
the
Greek
into
known
as
the
Sep-
the
right
On
tuagint.
and
are
placed
red
other
two
granite
of
statues
of
princesses
house
of
the
No.
14,
right, is
of
the
emies.
Ptolon
the
statue
of
and
sister
Arsinoe,
wife
VATICAN
Ptolemy
Sandstone
Opisthographic
and
Philadelphus;
(Fourteenth
No.
10,
the
statue
of
in
statue
crowned
of
of
her
the
To
marble
bear
the
and
were
Pantheon,
and
larger
cartouches
Pharaohs
with
than
(362-340
brought
where
the
on
of
statue
were
of
the
found
the
two
time
when
head,
on
the
and
with
the
and
touches
car-
ure
fig-
cartouche
plinths
the
pieces
set
alterations
veined
gray
dynasty,
magnificent
of Augustus
some
in
rectangular
thirtieth
and
Het-ma-ra."
lions,
two
diadem
left is the
Mother,
Royal
Seti
the
carved
are
is
wall,
of
On
To
head,
Tuaa,
stretched
These
in
the
II of
Nectanebo
b.c).
her
end
consort
herself.
Queen
ureus
life, are
to Rome
they
the
her
on
the
b.c).
century
wears
daughter
left of
of
of
the
"Royal
name:
right
the
II and
Rameses
daughter,
telling her
she
Tuaa,
Queen
(fourteenth
II
urei, which
with
of
marble
veined
Rameses
17, before
No.
princess.
unknown
an
gray
of
mother
left, is
the
on
Stele
B.C.)
Century
up
were
and
last
of
near
of
ture
sculpthe
being
THE
(1585-1590)
Termini
four
had
of the
basalt
of
of
the
who
dynasty,
Hebrews,
the
reign
of
who
is
birth
of
the
representing
of
name
written
right
as
down
into
of
Rameses
Room
custodian
the
twenty-sixth
in
carrying
figure
carved
a
as
the
of
look
tells
reign
of
metichus
that
us
III
Brugsch's
in
in
the
Cambyses,
Egypt
conferred
to prepare
Ra-mesut
on
Osiris.
priest
the
the
head
bore
this
in
is
to the
Museum,
who
Abram,
25
B,
went
seated
father
dynasty,
he
the
Pharaoh
the
is No.
the
from
reigned
satrapy
priest
royal
city
dignity
in
name
of
of
the
the
Sais, and
the
hall
all
is No.
the
won
of
the
He
explained
the
The
it.
temple
of
of
new
he
did
left
tion
inscripthe
Neit
Pelusium
long
Psamat Sais
and
ruler, it tells
and
under
of
charged
form
the
the
the
is
with
to the
of
Cambyses
meaning
the
statue
during
rule
as
seen
The
brief
Sun,
showed
is
this
front,
offices
Grand
the
of
at the
battle
which
then
which
literallycovered
the
of
of the
end
is represented
around
under
(525 b.c).
the
head
is
begins
priest
about
within
important
and
Egyptian,
Sun).
of
priest
statue
which
was
Persia,
of Sais
long-haired
many
He
of
Persian
(i.e.,Born
of
b.c.
monument,
centre
The
extends
b.c)
b.c)
the
(naos),
of
and
held
(564-526
In
b.c).
The
body
statuette,
King
the
1288
to
who
nineteenth
city
shrine
inscription,
(526-525
whose
green
small
The
II
to
the
statue
by
the
sandstone
chronology,
"
when
the
teenth
nine-
computations
1349
of
tion
por-
the
during
of
era
Close
I of
Naophorus.
god
the
Amasis
Seti
of Neit
the
the
at
the
dynasty.
(sixth century
hands
long hieroglyphic
you
side
royal
antedates
to
the
Temple
of
name
oldest
and
dynasty
of
her
persecuted
25 A,
The
20,
in
lower
II of
to recent
is No.
the
is the
from
eleventh
on
is the
twelfth
restoration.
modern
one
This
Exodus,
is No.
bearing
23
who
reigned
b.c).
and
No.
According
the
2000
Pharaoh
dynasty
his
who
fountain,
Here
are.
erect
Rameses
of
window,
of
kings
statuette,
of
the
to
b.c.
Hall
famous
113, the
places
Pharaoh
Book
II
the
According
to 1333
III.
the
granite, of King
II.
1366
about
brought
around
windows
the
cartouche
it.
this
Egypt
in green
statue,
its founder,
famous
place.
(before
in
(1831-1846),
sceptre.
the
Rameses
the
at
of
reign
of the
were
the
left the
in
before
of
look
you
the
and
of
rectangular
where
of
took
Moses
Mentuhotep
in
of Sixtus
Fountain
Finally they
their
probably
spoken
one
time
the
the
near
Sechet, standing
statue
was
wall,
same
XVI
in
up
in her
chronology,
Egyptian
Near
set
goddess
granite
seated
built.
Gregory
left wall
and
anch
the
hand
In
original inscriptions.
to the
statue
(1431-1447)
ornaments
as
up
had
statues
come
now
right
by
Museum
bearing copies
We
set
Pontiff
imitation
265
were
this
which
MUSEUM
IV
Eugene
Pope
they
Egyptian
the
of
time
in the
made
EGYPTIAN
duced
re-
us,
him
of
ments
monu-
religious
THE
266
of
worship
Egyptian
able
finally
the
This
collection,
the
excavations
of
car-
Hadrian,
we
twenty
92,
the
is
found
be
to
are
dy-
sixth
of
statue
other
dignity of
scription
taken
of
of
table
of
yellow
of
touches
table
this
six
are
four
hori-
zontal
carved
in
the
(Third
opisthographic
after
in-
statue,
of
lxxxix
where
the
of.
spoken
the
the
re-
window
87)
on
in form,
royal
car-
III of
the
(1503-1439
surface
in
midst
low
of
relief,
of which
Around
runs
the
an
in-
lines, containand
prenomen
-
mentioned
Century
III.
Christ)
sandstone
the
brief
(No.
above
the
Tuthmosis
an
bore
the
is
zontal
Mummy-cover
is
is
altar
with
an-
wasnamed
of
in the
ing
hom-
of
86
and
91
Neit,
shows
also
bowl.
the
and
No.
of
92
and
altar,
of
cognomen
No.
hall.
this
ings
loaves,
cartouches
Pharaoh,
in
dynasty
sides
the
91
rectangular
base,
libation
scription
from
Theban
to
statues
Nos.
taining
con-
or
hence
nasty,
Tuthmosis
sacred
stands
brought
was
body
offer-
the
On
b.c).
and
Pharaoh
eighteenth
Villa
Tivoli,
Dead,"
hieroglyphics
with
at the
Chapter
the
granite
gem
during
it
There
thesouland
wall
on
back
from
the
On
is
on
"Book
union
ried
Sun
the
partly
found
who
Seneb.
Psamtik
the
Grand
the
was
No.
of Sais,
priest
the
perhaps
priest
Patebchu
named
of
valuable
also
dating
(naophori),
conqueror,
gratitude
bearing
shrine-
other
his
orders.
Hadrian's
by
Two
that
infer
may
Rome
near
was
from
most
is
of
He
the
great
the
which
monument,
of
of
anger
people.
mysteries
avert
to
in-
Neit,
ligion.
re-
meriting
his
the
into
the
thus
goddess
the
itiating him
country
VATICAN
stele
set
on
pivot.
On
the
THE
front
we
leans
man
on
and
figure, showing
the
learn
thus
we
belongs
to
of
part
the
the
nineteenth
this
Following
dynasty.
on
that
wife
The
and
husband
stick, and
grasps
sechem.
left rests
her
while
right hand,
figures of
seated
the
sceptre, called
267
MUSEUM
which
left hand,
his
on
the
holds
the
outline
in
see
EGYPTIAN
his
grasps
his
shoulder.
the
cartouche
right hand
with
arm
is
There
of
King
the
wife;
his
in
her
tion
inscrip-
an
Amenhotep,
ment
monu-
tion
inscrip-
i_i
II
"
is the
standing
and
sons
their
of
are
tions, including
hold
and
is the
in
who,
vases,
of
table
are
"
three
I
'
"
70
with
%{M"m
oblaa
ft
'i
ket
cas-
statuettes,
Below
figure of
70
is
the
Table
girl harpist
of
of
Offerings
posture,
plucks
the
strings
offerings.
Near
her
are
the
On
his
named
(Eighteenth
Tuti-mes
of
her
Dynasty)
in
instrument
"The
words:
the
basalt
and
that
of Hori
rus
with
Singer
base
that
the
treasury,
The
tau.
a
like
and
It shows
on
to
was
vertical
the
named
god
vase
pyramid
scenes
baboon,
lines
with
to the
and
for
holding
set
upside
depicting
the
Persian
the
down.
the
and
lady
worship
of
before
and
his
he
No.
breast
is
to
this
we
of
guardian
Nefer-
household,
is
fragment
It is
belongs
various
which
inscription
was
99
we
naopho-
invocation
the
work
of
along
Pesatah,
on
oblations.
This
94
called
of the
period.
of
No.
inscription
an
that
sacred
relaxed
son
and
From
Thot.
man's
the
the
statuette
holds
Chet-hir,
of Men-chat
is the
He
dead
was
of
lines
period.
arms
From
97
crouches
four
belongs
alabaster
truncated
period.
No.
back.
he
Saite
royal scribe,
the
sacred
son
statuette
yellow
a
was
an
the
that
his
with
obelisk.
his knees.
on
vertical
that
to the
belongs
Asit-ur.
in
priest
three
are
priest standing
which
on
resting
are
arms,
of Ammon,
lady
inscription
which
animal,
the
arms
officer
Egyptian
an
left, telling us
to
work
against
priest
of
long inscription
an
learn
was
and
cylindrical
carved
leaning
he
the
This
of
his
calantica;
right
was
statue
granite, showing
under
from
he
Pa-un.
sides
son
the
that
small
learn
robe,
reading
Aa,
was
officer
an
his
black
the
wearing
of
front
hieroglyphics
name
of
statuette
and
crouching
of
some
Amnion."
No.
is
various
crouching
of
front
of
seen
f
I
figures of
the
mirror.
round
whole
their
funeral
the
r\y
"v
together
Below
5W
Amen-
couple
of
daughter,
names.
to
the
mi
defunct,
wife,
figures
children
the
the
his
front
In
tu-tut.
the
of
and
Neb-sen,
of
name
shaped
to
divinities.
late
THE
268
Room
a
of
Samtaui,
In
the
the
with
of
glass
in
excavations
of
left
acclamation.
Funeral
hand
pressed
Around
Carving
showing
(Nineteenth
to
it
the
the
are
1903.
the
runs
Deceased
Dynasty;
body
breast
a
cornice
seated
Fourteenth
cloths
and
The
of
and
to
notice
is still well
and
Century
the
to
the
surmounted
before
other
Table
B.C.)
by
of
the
served.
pre-
Coptic
Museum
among
third
right raised
the
of
that
century
standing
woman
A,
mummy
important
most
120
daughter
given
belongs
probably
the
It shows
era.
of
neck
mummy's
wall
in
Paris
containing
is worthy
at Antinoe,
which
mummy-cover,
Christian
the
the
is No.
enter
you
lady Chen-em-hat,
It
the
the
as
coffin,
period.
near
case
Museum
Guimet
is
them
the
right
to the
around
flowers
of
found
objects
by
the
the
sycamore
belongs
Saite
latest
wreath
funeral
It
its bands.
in
To
"
unpainted
well-preserved
wrapped
of
Hemicycle.
The
IV.
VATICAN
upright,
in
Offerings
gesture
solar
disc
THE
and
struggling;
woman
to
this
In
is
and
the
The
dynasty.
a
prayer
of
wall
the
On
These
Ammon.
fragment
from
two
130, in
No.
the
the
god
in
his
hand.
on
and
of
the
celebrated
and
the
magnificent
of
archaic
of
one
statues
of
in
the
dark
most
the
which
history
130, is
One
Hemicycle
comes
her
while
the
left
inscription
an
the
to
ity.
divin-
Egypt,
in
runs
of
sceptre
the
to
arrows
it refers
containing
is inscribed
of
kings
from
opposite
his
of
above
Queen
woman
who
glorious
deeds
erected.
cabinet
vase
ancient
collection
gifts
of
or
figure
is the
Upper
carvings
III.
I, wife
centre
with
pouring
Hatasu,
holding
of
crown
account
on
she
the
and
stone
sand-
Tuthmosis
Queen
offering
since
is
of
act
of
Deir-el-
at
Tuthmosis
cartouches
the
important
monuments
In
personified,
the
of
few
priestesses
the
over
of
head
Queen,
Under
hand.
is
vases.
the
This
dynasty.
wall
No.
on
is
Thebes
in
in
stele
III.
his
the
stands
Egyptian
in
131, below
Den,
lines
monument
tains
con-
symbolic
window,
the
daughter
III, wearing
of
right
in the
was
the
City
feathers
painted
cachette
near
large panegyric
Ammon,
This
No.
is
is Tuthmosis
teenth
eigh-
the
table
are
to various
of Tuthmosis
anch
appear.
showing
him
of
the
rounded
sur-
scribe, Tuti-mes,
with
divinities
two
with
horizontal
five
Hemicycle,
adviser
right
the
of the
II, and
Behind
his
the
eighteenth
Before
the
bas-relief
windows
the
famous
from
symbolic
corner,
of
animals
of
of
dead
dynasty
dynasty,
Tuthmosis
of
containing
the
of
Ramaka,
dicating
in-
recess
offerings
the
that
come
scene
the
vases
Osiris
in
numbers
the
cornice
inscriptions relating
end
the
of
the
"Oil
offerings.
coffins
Towards
Bahri.
of
table
twenty-second
hieroglyphic
and
is
around
Hemicycle
the
of
mummy-coffins
scenes
the
in
reproduction
depicted
numbers
various
125, also
trait.
por-
rectangular
by
separated
It is
127
and
Ra
is
window,
on
Egyptian
is
bas-relief, showing
reeds.
inscription
funeral
all his
receive
may
of
inscription
the
oblations,
tating
dic-
ancient
an
which
on
with
the
No.
funeral
No.
to Ammon
of
table
and
tomb.
Egyptian
of
offerings.
of
flowers
lotus
man
painted
collection
ampullae,
recess
of
while
head
The
small
compartments
is
of the
fragment
by
the
from
into
This
quantity
is
window,
are
shows
seated
example
rare
by camels,
the
them
man
book.
open
a
of
: one
shows
terra-cotta
118, in
characters.
Egyptian
an
as
case
divided
block,
sandstone
in
surrounded
No.
St. Menna."
of
pictures
other
there
few
St. Menna
famous
the
two
the
important
glass
same
lamps,
Christian
are
and
writes
who
woman
mummy-cloth
this
right
the
To
urei.
among
269
MUSEUM
EGYPTIAN
Egypt
the
the
granite representing
with
and
goddess
the
at
we
tion
collec-
noteworthy
of
name
referred
excavations
windows
the
to
Abydos.
find
Sechet.
four
King
the
first
Along
life-size
They
date
270
THE
Funeral
Stele
VATICAN
of
Apa
(Sixth
Dynasty)
THE
from
the
Room
is
of
time
all
II, and
sandstone
Amenophis
found
were
sarcophagus,
calantica.
the
wearing
head
mentions
135
is
containing
Taf
nut.
the
defunct
the
Amiasi,
of
lines
horizontal
divinities, together
in adoration
is shown
important,
because
ancient
Egyptians
called
137
is
which
the
to the
belonging
the
the
to
with
it is
the
an
from
Sun,
The
the
the
It bears
right
nineteenth
of
this
sacred
Grossing
of
the
the
The
usech.
of
the
its
face
crossed
The
against
also
the
decorated
On
the
the
dead
bands,
uncovered
arms
breast.
the
like
left
wall,
of
as
is
as
is
manner.
the
woman's
on
coffin
lid, which
in
is given
139
mummy
in
the
fairly
preserved
placed
No.
paintings
containing
with
is
coffin,
with
wrapped
riod
peNo.
art.
wooden
this
classic
Egyptian
is
well
the
made.
of
fine, and
the
decorated
and
has
is very
to
list of
workmanship
belongs
and
he
offerings
ten
Writ-
is
table
sculpture
139
an
and
head-dress
the
on
'"'.;".
of
table
necklace
."
resenting
rep-
wearing
elaborate
deceased
before
offerings,
the
^
dynasty,
the
seated
of
carving
funeral
coffin
name
Hotep-hir-tes.
is
lid
Of
the
Stele
of
Hori
to left
above,
seen
^^^
of
(Thirteenth
"
No.
priest Pasetach,
fragment
scription
in-
The
Ti-hotep.
text
from
extract
of
are
136
man's
names,
them.
"Book
epoch.
Sepulchres.
their
before
No.
in
named
in
described
Karnak.
Saite
priest
of
at
culminates
from
Priest
or
already
two
temple
of
It dates
invocations
and
prayers
These
Theban
lid
the
the
do
as
the
271
hieroglyphics, running
is very
No.
III,
in
stele in sandstone
title of
the
MUSEUM
an
sepulchral
bore
who
EGYPTIAN
Dynasty)
enteen
sev-
and
and
and
tion
inscripwork
of
Eternity."
Hieratic
of
Papyrus
'Book
the
of
the
above
coffin.
hir-tes
The
praying
and
part
world.
The
before
the
soul
bird
and
of
the
human
other
phrase:
view
giving
lines
of
of
one
the
both
of the
back
in
most
nature
of
of
inside
on
with
is
his
prayers
peace
towards
important
of
its
for
the
the
soul
the
lid.
the
of
good
and
stands
of
life to
body
of
is headed
this there
are
has
This
Egyptian
inscription
of which
one
inscriptions
She
which
end
the
lotus
nether
the
Anient."
in
the
the
water
dead,
coffins
in
with
Dead,"
At
of
into
long vertical
the
heart."
"Book
dead
of the
represented
of
"Book
others.
and
transformations;
of the
hands
is, moreover,
the
man
both
the
other
the
There
xxvi
soul
tells
Ra
of the
lxxxi
depicted
which
of
go
the
Chapter
life
offers
showing
Apis, Kebsenuf,
Osiris,
the
containing
she
"May
as
in
head.
Amset,
concerning
woman,
Chapter
for
"Chapter
is
and
portraits of Hotep-
are
Chnum,
which
lxxvi,
and
tree,
dead
of
transmigration
Neit
there
world,
Thot,
Neskem
to
Osiris
nether
portion
xliv,
goddess
the
deities
Chapter
sacred
containing
few
to the
of
of Chapter
part
the
to
belonging
of
breastplate
of
gods
the
Dead,"
the
Tribunal
the
contains
relating
flower;
the
to
and
inscription
Dead,"
below
Just
Tuaumautef,
VATICAN
THE
272
is
the
garded
re-
Museum,
its excellent
state
of
preservation.
No.
143
is
funeral
stele
dating
from
the
Ancient
Empire
(sixth
273
MUSEUM
EGYPTIAN
THE
ii^r-3i
r"^TfC
lr-*ssto\njUj,
frwife*!
*iT;
Hieratic
of
Papyrus
as
are
the
They
the
represent
who
children,
similar
dead
the
guardian
a
No.
and
(a
man
rites, as
may
the
on
wife
and
seen
on
be
door,
the
woman)
a
are
his
part of
lower
and
perhaps
man,
cult
an
of
145
of
the
The
of
Temple
funeral
from
hieroglyphic
boat
the
sarcophagus
was
of
Above
are
sides.
three
many
glass
case
the
King
Chufu,
placed
with
of
with
the
The
lid
was
glass
head
case
the
pulchral
se-
represented
a
the
papyrus
who
was
right
tains
con-
It
oarsmen.
prjest
of
priest
on
the
of
Cheops,
or
left contains
figures of
twelfth
he
of
telling that
fragment
Tuthmosis,
small
the
that
showing
on
name
Ammon.
days
Ara,
it is
stele
inscription
called
Empire,
Ancient
the
contains
Hemicycle
pyramid
B.C.).
inscription giving
dating
is
of
the
belonged
the
painted.
wooden
tomb
it
(4000
dynasty
with
men,
the
on
like
shaped
in prayer)
one
funeral
with
Empire,
sculpture
to
Dead"
It is
and
two
dead
of
centre
to whom
to
profile
the
in
Ancient
man
fourth
case
of the
fulfil the
to
cupboard
of the
belonging
in
which
(of
the
page)
Apa.
Empire,
of
others
family
come
named
man
Ancient
two
of
opposite
monuments.
The
time
the
the
and
door,
figures,
four
carved
to
the
under
usual
was
front
on
belonging
and
dynasty),
"Book
the
from
(Continued
belongs
dynasty.
terminating
in
human
head
belonging
to
in
coffin
the
and
neck,
Below
of
(Saite)
Hall
of
of
first
glass
in
his
the
calantica,
Neit,
her
dead
more
syca-
the
with
the
outstretched
of
Chapter
in the
given
man
of
king
the
mother
of
portion
of
that
the
twentyfrom
dates
monument
noteworthy
of
vases
glass
the
the
glass
glass
fifth
In
the
eighty-two
of
precious
the
some
backs
small
twenty
the
figures
object,
right
of
an
small
are
of
in
the
triad
bronze,
in
The
stone,
obelisk.
standing.
ancient
bell
stilettos, nails
censer,
and
and
some
spoons
On
the
like
those
sistra
Horus
(one
may
shelf
at
her
is
wooden).
seen.
and
contains
case
five
being
in bronze
seventh
glass
breast;
seen
in
Osiris.
bronze
group
the
see
be
to
wood,
In
the
In
Below
and
ures).
graffitifig-
offerings
glass
fourth
urei
with
small
we
presented
fourteen
and
this
part
upper
wood.
sixth
third
of
and
Horus.
the
enamel,
bronze
small
eyes,
The
in
and
especially
Thebes.
the
rosso
bronze
crocodiles,
are
worthy
note-
of
bottom
in bronze
one
case.
small
the
stone
cabinet
Nefer-tum
glass
figure
are
the
goddess
epoch,
In
and
presenting
god
Osiris
against
for
the
shapes,
In
near
noteworthy
of
case
baboons.
Luxor
enter,
Bes, symbolic
Ammon.
central
altar
in this
of
Egyptian
the
represents
are
their
of
exhibited
statuettes
with
seated
of
god
The
animals
you
Roman
various
of hawks
the
is the
statuettes
also
are
(including
the
as
female
papyri.
sacred
and
glass
of
the
and
the
and
follow
Hemicycle
left
Bes
god
from
statuettes
of
case
middle
Twenty-four
feathers
thirty-five cats
glass
situlce
fourteen
of
gods
the
second
mummies
are
the
amulets
missionaries
contains
case
with
some
case
the
figures
the
and
exhibited
Franciscan
the
stone
small
In
the
on
Aphrodite
an
the
of
cabinet
of
the
and
objects
figures
robe.
boxes
heart
are
third
are
also
being
case
the
bronze
long
amulets,
the
statuettes
which
a
In
After
"
lesser
statuettes
cult.
small
also
wearing
wooden
In
of
contains
case
among
are
life
the
name
Cult.
of
the
contains
rooms
and
antico
To
the
probable
containing
objects
as
Hathur
two
of
name
was
it is
Objects
and
rooms
these
well
first
Gods
the
small
some
case
The
which
and
of
table
around
goddess
is written
goddess
dynasty
lid
is carved
the
symbols
two
the
wears
ceased
de-
time.
that
by
the
is the
head
of
wife,
his
149
necklace
image
Dead."
the
dynasty,
winged
image
the
the
sitting before
No.
mummy;
of
name
thirteenth
figures of
names.
black.
of
is Ua-ab-ra,
inscription
sixth
and
head
the
"Book
of the
as
it is the
her
on
of
the
is shown
kneeling
their
with
painted
are
below
disc
hands.
lxii
see
form
the
eyes
and
solar
also
We
sister, together
his
and
who
The
from
stele
Hori,
the
beard.
pointed
is
named
man
offerings.
of
with
146
No.
Samtaui.
is
and
calantica,
the
wearing
of
VATICAN
THE
274
only
and
rare
bas-reliefs.
the
centre
these
are
THE
Statue
MUSEUM
EGYPTIAN
of
Antinous
("The
Egyptian
275
Apollo")
nineteen
Ra.
In
the
and
glass
eighth
of the
of
twenty-seven
finger
of
for
calling
silence,
Horus,
silence.
the
In
The
small
high
sacred
glass
right
sacred
hawks
on
up
urei
case
glass
the
large
wall
is
in bronze,
six
stands
a
a
and
terra-cotta
a
wooden
wooden
wooden
and
Offerings,
sacred
in
to
as
left of
the
figure
Osiris;
below
bronze
Osiris.
of
this
the
figure,
five of
and
crocodiles,
glass
late
the
riod,
pe-
window
window
this
case
birds'
and
of
where
of
Osiris; beside
god
birds
To
and
the
statuettes
tenth
terra-cottas
wall
the
action
Vases
vase.
Osiris
an
with
The
the
On
his
suggest
Imhotep
various
Anubis
with
animals:
oxen.
wood,
is devoted
arms.
of
sacred
exhibited
ten
Canopic
Two
of
to
five
are
three
Kem,
god
nine
Greeks
four
are
Horus
confused
case
Amnion
hand
meant
the
thus
glass
right
child
was
of
three
Ptah,
god
the
which
ninth
of
case
heads
the
is,
was
and
the
interpreted by
are
serpents
Bes
on
that
"
Horus
the
of
and
votive
is
Table
god
of
seven
the
In
part
eleventh
including
is, to the
child
four
fourteen
claws.
was
The
the
cabinet
attitude,
later
lower
the
frogs, lions,
contains
This
holding
Sechet,
goddess
Horus.
Sechet,
Harpocrates.
Princess
the
Harpocrates
mouth.
his
near
childhood
of
case
goddess
of
Isis, three
of
figures
small
statuettes
of
VATICAN
THE
276
and
are
Finally,
and
five
on
standing
EGYPTIAN
THE
glass
on
Hall.
Funeral
the
Dead."
the
second
glass
five
glass
of
case
funeral
and
necks
of
small
scarab
of
scarab.
another
on
of various
funeral
sizes.
with
discs
Canopic
The
seventh
glass
funeral
statuettes
contains
the
Barneses
II
enamel.
On
This
In
the
case
wood,
middle
wall
three
in
contains
is the
with
scription
in-
case
are
is devoted
the
of the
to
honorary
bronze
and
of
mirrors
used
objects
lower
scarabs
vases
figure
bronze
dead
five
and
funeral
as
section
gether
to-
inscription
ninety-four
lamps,
funeral
ments
orna-
preserved
are
objects
chairs,
casket, and
of the
of
whose
is
window,
wooden
enamel.
of
II; almost
statuette
room
the
and
right contains
statuettes,
dynasty),
of the
domestic
fragments
to the
alabaster
funeral
containing
small
cabinet
of Barneses
(nineteenth
the
contains
baskets,
resting
of the
twenty-four
noteworthy
slats
glass
see
sandstone
many
the
In
sisting
con-
laces
neck-
vases.
of Seti I, father
tomb
are
of these
origin.
case
in
also
Many
domestic
in eight
grains
Here
tomb.
long
three
case
we
contain
is the
cases.
(eighteenth dynasty),
contains
case
taining
con-
with
vases
the
impression
shelves
of notice
rosettes.
of
chalk
two
glass
Worthy
white
are
case
sixth
The
in his
Amenophis
and
lower
The
ornaments.
standing
man
of
scarabs
ing
offer-
cases
enamel,
glass
shelf
III
third
adornment,
part of
fifth
third
The
similar
gilded
two
lower
The
the
On
Tii, wife
other
ten
the
In
glass
blue
and
gold
caskets.
scarabs.
Queen
with
here.
painted
of
collection
the
turquoise
of
of
funeral
of
and
terra-cotta
wooden
small
Objects
of
bracelet
four
of
In
funeral
sections
painted
alabaster.
ancient
three
"Book
statuettes,
preserved.
the
bers
num-
coffin.
the
twenty-four
for
some
of
vi
cause
be-
labors
great
sandstone
funeral
been
preserved
necklaces
found
also
small
in the
their
in
placed
contains
exhibited
are
vases,
are
of
case
scarabs,
stone
sections
wood
left contains
in
dead
were
has
part
are
and
of white
one
of
the
Chapter
substituted
Below
glass
they
still rests
cabinet
statuettes
fourth
the
to the
in
one
contained
lower
the
were
bread.
funeral
In
cabinet
twenty-eight complete
only
which
grain
them
central
the
cones,
of
cats,
helped
they
statuettes
are
case
of which
others
of
of these
One
Usebtiu
that
to this belief,
all
and
graves,
on
two
are
of the
case
called
believed
Owing
tomb.
the
first glass
statuettes
Egyptians
the
respectively,
seven
The
"
funeral
forty-one
beyond
and
in bronze.
other
the
and
five
cases
277
MUSEUM
which
seven
statuette
canvases
which
all
some
from
are
cially
Espe-
Ka-em-uas,
is
name
glass
of wood.
are
Prince
forty-four
eighth
of
son
painted
the
on
painted mummy-coffin.
to
were
The
the
used
left
as
is glass
funeral
insoles, three
of sandstone.
in which
funeral
The
the mummy
case
nine.
ornaments:
statuettes
tenth
glass
of Queen
VATICAN
THE
278
Lion
the
from
Monument
of
Khopeshef,
resting
four
son
or
Room
wooden
On
the
of
frames.
wall
right,
the
of
the
fairly
well
scene
the
(No.
7).
and
On
of
very
the
the
wall
contains
nineteenth
headings
in
belonging
to
part
is
No.
the
of
the
hieratic
priestess
cxxv,
the
papyrus
of
preserved.
of
Ii-mut
figure
the
where
are
the
dead
of
the
"Book
of
Abai
and
xvm
are
The
are
the
teenth
(eigh-
"Book
in
magic
end
are
tains
con-
papyrus
the
of
clxxxi.
written
6), with
and
the
which
of
(No.
beginning
Ammon,
Dead"
ning
Begin-
and
son
i, xvn,
papyrus
papyrus
the
finally
room
deeds
here.
to
scene,
its headings
and
been
and
of Osiris
into
Chapters
the
both
of
Judgment
tribunal
hieratic
having
5 is
"Book
Amen-em-apt,
to
dynasty;
fragments
red.
this
hieroglyphic
rest
enclosed
referred
Set-ar-bant.
c,
xxx,
In
condition,
wall
right-hand
five
is
others
two
cabinet
papyri
be
was
which
in
belonged
It
fragmentary
only
missing,
the
scales
those
back
the
dynasty),
It is in
Dead,"
Osiris
On
Dead"
red.
Set-ar-bant,
xxvi,
see
the
mother
is introduced
who
and
ten
can
of
papyrus
period).
can
we
were
central
contains
room
whose
(Saite
wrapped.
wood.
Chapters
meet
preserved,
before
placed
we
hieratic
the
noteworthy
most
Neskem,
to
Judgment
dead
weighed.
is
On
of Prince
that
in wood,
here.
This
"
the
Only
left-hand
at
text
Papyri.
and
dynasty),
statuettes
petrified
of
the
11), belonging
(No.
the
are
(twentieth
exhibited
also
Pharaohs
the
dynasty),
(nineteenth
funeral
of
B.C.)
Century
III
two
five fragments
in
of
Rameses
casket
on
First
is
of
II
painted caskets,
of
Lids
of Rameses
wife
Nefertari,
II, last
Nectanebo
(Fourth
of
the
(twenty-second
EGYPTIAN
THE
this
dynasty);
wall
is
World
Below
wall
nineteen
are
Dead,"
right
we
of
of
fragments
we
the
on
in
to the
of
scene
the
to
(i.e.,of
ostraca
same
belonging
the
see,
Duat"
the
by
see
window
the
"Book
the
Near
of the
the
to
279
headings.
"Book
containing
of
papyri
hieroglyphic
red
the
(Saite period);
the
On
Judgment.
has
of
fragment
Arpit
Ta
woman
also
papyrus
hieratic
MUSEUM
left, two
the
demotic
Nether
and
tic
Cop-
characters,
Hall
Second
35,
also
down
on
of
the
left hand,
the
Duat,"
Patu-asar
period)
of
of
papyrus
(of
kept by
the
wall
the
on
hieratic
the
of
belonging
to
funeral
of
hieratic
Third
Hall
two
large
in
priest
scribe
the
to
Dead"
in
of
tomb
of
No.
also
8, sacred
be
seen
first century
No.
of
with
the
inscription
our
painted
era.
of
the
is the
wall
of
the
of
taining
con-
rather
ing
belong-
dynasty);
and
scenes,
of
No.
the
under
23,
from
The
a
on
in
the
In
hall
the
scriptions
in-
most
Palace
the
palace;
same
Here
dating
are
markable
re-
city during
from
the
characters,
the
cuneiform
Nineveh.
assault
the
squares,
dynasty).
and
Assur-nazir-habal.
up
of
from
comes
inscriptions
Nabataean
glass,
"Book
thirty-one large
inscription
Finally, high
to
Dead,"
Dead,"
is exhibited
sculptures
some
deity;
of
belonging
of
the
(twenty-sixth
of King
in
down
"Book
papyrus
excavations
similar
name
accounts
origin).
19, cuneiform
No.
18, another
tree
an
the
26, Assyrian
of Sennacherib;
Sargon;
inserted
during
Low
(nineteenth
It contains
with
are
"Book
Ta-sat-
portion
upper
part
Pa-chen-ah
room
No.
(of
In
late
complete
characters
same
the
Kenen-hor
Museum.
priest named
are:
war
the
by
obtained
the
papyrus
most
of
Pa-tu-amen-neb-res-taui;
of
of Hor
the
of
son
Dead,"
the
(Saite
hieroglyphic
Hor,
the
lower
of
glyphic
hiero-
Nes-chonsu,
fragments
of
the
papyrus
treasury,
"
of
the
of
son
to Asit-urt,
preserved
On
"Book
No.
scene
Dead"
to
the
damned;
Chonsu-Tot,
fragments.
On
Ammon,
Papyri.
cases,
hieratic
of this
walls
the
the
possessed
written
of
papyrus
of
the
hieratic
hieroglyphic
fragmentary
of
the
low
from
scene
Judgment
hieratic
dynasty.
amulets;
belonged
the
badly
is No.
well-preserved
belonging
three
Asit-ur.
a
of
of
left
beginning
wall,
of
left the
"Book
hieratic
papyrus
are
the
the
Dead,"
are
Ammon,
window
the
hand
right
sacred
which
Dead,"
nineteenth
the
fragmentary
priestess
the
dynasty);
of
scribe
the
with
with
origin);
on
to the
rear
text
glass.
wall
punishment
origin);
late
of
"Book
the
(twenty-second
Kem
of
papyrus
Ammon
of
of the
contains
and
the
funeral
late
(of
papyrus
papyrus
the
sacred
"Book
the
Na-asit,
hieratic
; a
priestess
with
of
papyrus
daughter
representing
the
on
On
32,
No.
with
covered
down
fragments.
Sat-Chonsu
and
Low
"
are:
papyrus
casket
hieroglyphic
demotic
are
hieratic
funeral
wooden
Papyri.
the
six
of
"Book
23,
of
fragment
here
in
contained
the
may
from
fixed
the
some
280
THE
Mussulman
The
Hall
of
from
first
the
are
artists, who
form
the
in
of
from
of
on
The
Museo
of
reproduction
in
above
the
of
original monument,
of
figure
the
Fountain
the
of
On
model.
the
of
in
placed
the
of
shows
in
each
on
from
of
side
the
the
is
represent
god
also
the
following
the
Dea
of the
hermes
represented
goddess
Isis, obtained
figure of
marble
(No.
and
68
the
On
A)
Isis and
goddess
from
the
other
the
base
god
in
(No.
basalt;
of
the
bull
Iseum
Bes
this
royal
touches
car-
49); colossal
two
of
last, which
was
supposed
hall
A);
of
senting
reprebasalt
the
from
50)
one
in
baboon
crouching
obtained
god
veiled
(No.
crocodiles,
a
to
be
may
of the
; statue
Martius
sacred
form
viscera
statue
statue
Campus
granite figure
the
this
28
while
their
were
illustration
derive
(No.
responding
cor-
numerous
to contain
basalt
are
the
on
the
offerings,
In
seen
They
our
fine
very
63);
the
sacred
is, Isis-Fortuna
(No.
the
in
where
origin.
the
Mercury
as
completed
of
vases
were
Alexandrine
that
be
sample
used
piece of
may
period of imitation,
monuments:
Isityches,
fragment
they
These
with
cusp
also
found
of
Navona,
fragments
the
painted
276,
cured
se-
is the
Domitian,
some
of
are
was
hall
Piazza
Domitian.
table
the
and
page
vase.
the
of
Canopus
Anubis,
awesome
in
which
Egypt.
emblem
statue
of
been
Titus
which
vases
which,
the
seen
on
Canopic
funeral
but
corpses,
given
is
last
been
obelisk.
priestess holding
seen
antique
in
that
This
united
have
have
original
hall
this
Egyptian
an
which
model
as
the
the
study
by Emperor
are
statue,
Apollo."
the
divinities, and
On
Vespasian,
order
same
various
colossal
magnificent
this
have
rian's
Had-
symbolizing
large portion
obelisk.
the
Emperors
sides
sculptures
of
side
the
of
characters,
hieroglyphic
some
With
front
the
the
which
"Egyptian
middle
erected
of
namely,
of
surface
southern
middle
Bernini.
in
Emperor
obelisk
the
the
stands
the
of
sections
large recumbent
river.
the
maintaining
amphora,
an
sacred
In
Sphinx,
claws
Capitolino.
which
to-day
the
the
Roman
Antinous,
in
god
27,
era), and
other
most
called
on
her
of
portion
arm
between
inundation
the
from
his
era.
mostly
the
of
Tivoli.
near
is No.
our
our
all the
Egyptian
window
of
while
type
surpasses
also
of
style of
monuments,
an
as
leans
front
in
the
beauty, is
the
Nile, who
beneficent
the
its
opposite
holds
latter
of
of
centuries
imitation
Hadrian,
of
represented
is
wall
River
the
Villa
the
account
the
Near
of
excellence
year
Egyptian
section
early Arabic).
or
1133
(first two
the
This
art.
and
the
study of the
the
(ancient
from
monuments
Empire
reproduce
to
Classical
favorite,
The
"
the
for
strove
secured
which,
of
period
number
the
been
Imitations.
important
very
characters
dates
inscriptions
these
Roman
of
Cufic
in
inscriptions
oldest
VATICAN
the
Iseum
of the
Campus
Martius,
is
Greek
inscription
with
the
name
of
the
artist.
ETRUSCAN
GREGORIAN
THE
remarkable
Jhis
of
Cortile
the
della
floor
di
or
the
on
until
it
huge
was
in
century,
the
and
known
1829,
be
the
fact
which
in
was
of
brarian
Li-
which
became
these
Librarian,
and
such
tinued
con-
them
in
dating
the
Museums.
from
the
containing
room
many
which
the
year
Rego-
XVI,
the
secondly,
to
"Museum
of
formed
objects
idea
for
in
the
without
at the
define
title would
correct
or
Museum
the
have
Classical
only
its formation
smaller,
grave
special
been
more
risk
of
to
fragile
be
or
exhibited
n28n
of
the
more
it
the
in
the
was
the
was
after
first,
to
tiff,
Pon-
same
to
serve.
Vatican
seum,"
Mu-
can
strictly Etrus-
collection,
suitable
precious
more
the
which
added,
of
since
Camer-
by the
which
furnish
small
"Gregorian"
was
"Antiquarium
portion
was
the
purpose
tures,
sculp-
Museum,
and
founded
Antiquities,"
small
1836
"Etruscan"
Lateran
the
of
various
by
This
called
was
title
vases,
end
were
when
terra-cottas,
museum.
the
at
the
and
sculpture
1836,
whatever
collected
of
2, 1837,
February
as
been
nucleus
approved
was
on
it from
as
no
of
November,
mention
such
had
the
in
find
we
which
here
and
objects,
pieces
what
present
originally,
Gregory
distinguish
not
the
eighteenth
Zelada,
office
inscription,
of
Belvedere
di
of
incorporated
wall
rest,
tenure
VII
an
for
the
here,
his
cause
be-
it looked
that
Xavier
quarters
After
Cardinal
at
say
smaller
placed
founder,
and,
to
discussion,
opened
could
his
Ritiro,
name
Cortile
of
on
di
fact
end
Francis
the
the
on
under
formally
quarters
Pius
gold-work,
and
and
dominant
by
read
rooms
of
more
had
Zelada.
in
easy
these
formation
be
means
but
its
Cardinal
State,
until
case
VI,
is commemorated
no
Museum
lenghi
of
the
the
and
rooms
thither
the
the
Tomb.
It is by
bronzes
Pius
occupied
may
lini-Galassi
placed
of
Appartamento
still
to
last
by
to
as
Towards
of
former
the
retire
from
known
V.
suite
Appartamento
wont
title
of
side
century
the
given
floor
second
north
seventeenth
the
as
latter
was
Sixtus
Secretary
were
This
which
reign
the
as
rooms
court
on
the
was
were
the
the
eighteenth
It
Popes
derived
In
the
the
occupies
stands
known
was
and
divided
of
Belvedere.
the
out
which
Pigna.
half
first
this
collection
building
the
MUSEUM
and
and
objects,
spacious
rooms
the
safer
which
of
THE
282
Objects
found
in
the
VATICAN
Regolini-Galassi
Tomb
(Seventh
Century
B.C.)
THE
the
Sculpture
other
rooms
side,
the
hall
in
the
Falcioni
the
the
the
as
of
since
increase
of
accumulation
the
unfortunately
adhered
to
during
the
first
century
was
plan
been
the
the
but
exhibits,
mediately
im-
Hall.
with
proceeded
space
tion
Collec-
last-named
Leonine
Step by step
Leo
room
this has
added;
now
when
1903,
Viterbo,
was
Hall
hall
the
beyond
known
the
on
Regolini-Galassi
the
acquired
from
1838
the
including
Later,
XIII
added
and
by
occupied
Tomb.
after
soon
Bronzes
the
Cortile
the
were
northern
of
but
Pigna,
prised
com-
and
vestibule
overlooking
rooms
della
in
all
half
museums
of
followed
the
the
last
Golden
objects
Armlet
from
grouped
according
of
(regardless
in
arranged
were
in
rooms
which
until
they
the
pottery;
bronzes
paintings
bucchero
in the
eleventh,
of
Such
in
of
correlated
objects
of
rearrangement
the
the
the
Vatican
of
the
and
"
to
over
of
copies
the
and
terra-cotta
centuries
and
B.C.,
placed
was
Bolsena
when
be
never
the
duction
repro-
antiquities
of
undertaken
task
in
defended
described
the
the
in
general
a
requiring
hibited
ex-
case
detail
Etruscan
Gregorian
cooperation
difficult
the
and
group
of
have
Museums,
exhibits
can
separate
and
of
terra-cotta
twelfth.
directors
encouragement
fragments
Collection
from
vailed
preto
given
sixth
and
Falcioni
justified only
origin,
the
seventh
ornaments
be
forming
Hence
excavated.
with
can
uncertain
room;
in
tomb
the
the
bronze
some
chamber
of
jars
or
devoted
to
room;
rough
Tarquinii,
at
and
were
ninth
the
occupied
rooms
halls
objects
were
exclusively
eighth
the
arranging
rooms
and
them),
of
alabaster,
or
and
tombs
tenth
arrangement
an
are
when
the
and
was
wine
of
first three
allotted
seventh
some
with
vases,
b.c.)
with
decorations
method
travertine
jewelry
in
form
The
room
and
exhibited
were
of
urns
fourth
found
This
found
objects
to
as
way
times.
fifth, sixth,
objects;
other
to
stood.
recent
funeral
the
sculpture;
Century
classes
to
relation
such
very
sarcophagi,
of
their
Tomb
Regolini-Galassi
(Seventh
were
283
MUSEUM
it
Museum
small
the
ETRUSCAN
When
Gallery.
the
opened
was
GREGORIAN
seum,
Mu-
istration
admin-
fundamental
much
work
Golden
of
Rere-piece
technical
and
successfully.
One
arrangement
of
Tomb,
tombs
from
of the
the
at
first
objects
Cervetri
civilization,
discovered
Tomb
Regolini-Galassi
practical
discovered
of Etruscan
the
VATICAN
THE
284
and
nature
(Seventh
much
time
results
of this work
found
in
in
has
by Schliemann
1836,
an
the
to
has
famous
which,
in
importance
at
Century
Mycenae.
B.C.)
been
the
proper
Regolini-Galassi
its relation
not
through
carry
inferior
Thanks
to
to
to the
the
that
tory
hisof
studies
GREGORIAN
THE
by
made
Amphora
Achilles
from
the
with
bronze
with
the
the
to
fairly
the
most
To
the
of
even
and
in
to
disc, the
largest
This
ornaments.
Etruscan
jewelry,
by soldering
on
in
of
public
the
which
bronze
it is
now
time
the
1912)
of
whole
the
visitor
can
in
flourished
in
which
ornamentation
the
"
at
niture
fur-
objects
these
gold,
special
work
of the
rest
Etruria
any
at
the
covered
the
seventh
quarian
anti-
interest
in
shows
ness
correct-
which
worthy
are
of
civilization.
known
are
only
a
specimen,
and
ornamentation
intricate
designs being
grains
or
fibula,
style of
it minute
culture
southern
without
the
Thus
cases.
and
art
this exhibit
Especially noteworthy
a
glass
marvel
wealth
highly developed
gold objects
the
chair
October,
in
reconstruct,
to
terracottas,
the
to
Congress
persons
cannot
the
full-length
Achilles
whereas
with
gold
(opened
cities
fail
and
And
with
appropriate
celebrated
technique
the
"
room
idea
of
wooden
the
corpse.
terra-cottas
tenth
in
and
studies
of
separately,
accurate
most
B.C.,
the
with
Amphora
possible
been
chariot,
ornamentation,
Archaeological
assembled
century
the
the
International
of
one
in
see
the
with
the
it has
Pinza,
buried
and
Attic
Red-figured
figure
incised
shown
bronze
collection
form
with
trappings
formerly
and
B.C.)
preserved,
plates
were
Ajax
Century
Professor
fragments
or
possible
showing
(Sixth
of
researches
and
Exechias,
dice
playing
285
MUSEUM
ETRUSCAN
very
brooch,
or
armlets
two
is
worked
globules
few
of
words
in the
with
gold.
on
There
shape
voted.
de-
of
granulated
distinctive
out
be
can
feature
a
of
gold object
are,
more-
VATICAN
THE
286
JK %fi
"
Vulci
showing
Bowl,
Silenus
of
formed
Attached
to each
Among
of
the
of
its
among
on
the
Sisyphus.
B.C.;
other
the
several
of
punishment
Exechias,
number
an
return
red-figured
on
one
of
Attic
and,
of
its treasures.
is,
Athenian
it shows
the
Etruria,
its exhibits,
and
potter
side
Castor
vases
by
an
moreover,
Ajax
and
the
in
in
to
the
the
and
Pollux
others
half
Achilles
to
principal
of
tions
collecand
portance
im-
here,
to
the
be
Tityus
and
of
trade-mark
the
father's
a
of
prises
com-
it is called,
some
that
playing
their
are:
by
as
the
from
mention
Cup,
with
amphora
second
be
to
in
It
some
beauty
to
said
scene
and
8.
and
inferior
Cyrenaic
a
in
worked
specimens
It is sufficient
famous
rated
deco-
possession
and
any
ornaments,
5, 6,
though
is depicted
in
traders.
by
work
rims.
flower.
goblet
other
necklace
gold
being
notable
it rivals
the
vases,
which
the
East
Rooms
Attic
and
borders
most
in
pottery
Prometheus
There
the
of
of
part
the
Corinthian
black-figured
lower
unlike
from
Tomb,
of
and
Campania
in
entirely
in
set
and
plates
probably
and
terminating
the
and
Relief
which
discs
tassel
are:
imported
three
figures
are
collection
examples
Apulia,
note
the
scenes,
works
probably
is the
Museum
of
including
Bold
chasuble,
amber
three
hang
Regolini-Galassi
the
shaped
nfc
Objects,
in
ornaments,
like
spindle-shaped
objects
These
therefore
incised
with
mantle
which
is
hunting
gold relief.
After
rim
silver
with
of
in
ii
/; 5
Frieze
from
chain
the
were
back
the
'in
Nymphs
and
over,
ornamented
"
"'
Terra-cotta
Dionysus,
Hermes,
'
7*
The
'
"
the
sixth
dice,
and
house.
large amphora
century
on
the
Among
with
GREGORIAN
THE
Statuettes
Bronze
of
over
grasping
the
near
interpose
is, above
white
on
all,
in
nymph,
while
his
On
third
in
Seven
the
playing
and
lyre
mantle
takes
figures
look
lyre;
be
fant
in-
the
on
rock,
On
on.
second
the
nymph
about
seeming
to
seems
painted
are
is sitting
scene,
and
There
carrying
who
refuge
Aphrodite
Hermes
see
of
side
jar, depicting
husband.
outraged
Silenus,
aged
another
holding
wrapped
we
is seated,
Muse,
or
her,
side
each
on
one
the
he
tripod,
who
(Persuasion),
of
at Vulci.
one
wine-
or
Helen,
water-jar
spear;
winged
on
on
Peitho
fury
the
to
and
cenochoe,
rushing
found
arms
nymphs,
before
stands
bowl
background.
two
reverse
appease
the
unique
Dionysus
while
while
and
Inscriptions
seated
an
sea;
and
Athena,
of
statue
the
and
cuirass
lyre while,
sword
his
Bullae
with
armed
of
surface
the
Menelaus
Eros
playing
Apollo
with
Boys
287
MUSEUM
ETRUSCAN
sing,
to
making
ready
to
dance.
The
principal
from
in
hand,
one
(perhaps
scene
of
a
an
Apulia,
winged
offers
him
work
of
old
holding
hat
main
of
ears
is shown
wide-brimmed
southern
Italy
surface
the
a
a
with
corn
famous
woman
(petasus)
the
looks
and
up
is
Demeter,
other;
and
his wand
phora
am-
Triptolemus
seen
bowl
while
at her,
voluted
holding
Asteas),
window
holding
glorious
which
potter
at
ladder,
are:
of
while
by serpents,
in which
man
the
on
drawn
car
the
from
vases
from
depicting
Zeus,
in
Hermes,
(caduceus)
torch
in
Lucania
a
the
comic
guise
wearing
in
one
THE
288
holds
hand,
These
the
Greekceramic
ingspecimensof
funeral
the
Among
shows
this
vetri;
on
perhaps
ceremony,
are
frieze
of
sepulchral
of
a
with
(known
in
his
wearing
hound
of
life
Chief
11)
left
the
shaft
wheels
and
biga
give
in
with
(Room
extremely
mented
orna-
designs
flowers
kets,
cas-
or
and
shape
of
the
on
cistce,
incised
borders
dence
evi-
(two-horse
being
two
oval
one
full
are
and
ornaments
preserved;
and
while
bronzes
votive
thigh
truly perfect.
the
among
of
foreground.
the
technique
Urn
death-bed,
monuments
chariot),
well
his
beauty,
are:
his
in
these
and
of
on
figure
hunting-boots,
crouches
Both
and
the
as
the
showing
gash
showing
influence,
stretched
boy
of
bold
urn
Adonis),
principal
relief
Hellenic
cession.
pro-
terra-cotta
the
4),
in
festive
nuptial
Among
hints
figuring
some
the
(Room
objects
chrome
poly-
bas-relief
the
depicts
which
there,
of
rich
the
in
and
Cer-
at
traces
in
work
lid
the
gus
sarcopha-
found
travertine,
in
art.
monuments
3) is
1, 2 and
(Rooms
remain-
beautiful
most
other.
the
numbered
be
must
vases
among
in
lantern
VATICAN
gant
ele-
"
and
the
Statue
battle
between
Penthesileia
which
the
the
and
has
one
the
dishes
of
found
at
of
donor
the
From
Etruscan
Todi
the
Greeks
an
endless
various
in
in
forms.
1835, which
the
Umbrian
foregoing
Museum
is
brief
most
bearing
Mars,
of
Inscription
Umbrian
an
under
under
inscription
an
and
Amazons
on
Achilles;
the
left
collection
bears
on
the
language:
account
worthy
candlesticks,
of mirrors,
is also
There
the
of
border
ahal
famous
the
statue
cuirass
complement
the
that
and,
so
of
on
tripods,
Mars
of
the
name
dede.
dunum
trutiois
it is evident
boys,
other
the
and
arm
upper
of
figures
two
to
Gregorian
speak,
the
GREGORIAN
THE
of
crown
in
objects
the
the
but
will
there
time
The
it
is
to
be
attract
are
and
an
few
attention
might
to
that
Etruscan
that
hoped
the
devoted
quiet,
which
receptive
derives
one
is
for
number
which
to
promise
examining
most
of
of
mystery
art-lovers
its
fuller
unique
the
the
number,
appreciating
without
by
of
fascination
ever-increasing
collections
them
of
modest
comparatively
pass
Museum
289
distribution
the
to
importance
in
Museum
equal
nourishment
literature.
their
the
and
this
visits
vital
visitor
rarity
Owing
and
halls,
weary
or
the
interest,
whosoever
of
various
the
distracted
Museum.
Sculpture
the
MUSEUM
ETRUSCAN
But
monuments.
will
mood
from
the
visitors
and
recompense
exhibits.
it
works
great
a
which
in
find
hidden
gem,
it
envelops
for
students,
for
the
MUSEUM
THE
OF
PAINTINGS
ANCIENT
II, the
|ulius
of
della
laurel
and
sculpture.
Vatican
Museum,
ages,
had
lent
In
the
of
inexorable
us;
Rome,
the
of
of
the
supposed
On
of
the
over
Roman
general.
here
scattered
and
others
have
of
vicissitudes
was
even
the
that
the
found
Julius
keys
during
there;
their
the
later
political
to
Pope
gird
turmoil
the
these
of
C29n
the
as
the
his
sword
as
the
shrubs,
into
triumph
the
of
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St. Paul,
to
be
whom
of
of
the
barbarians
importance
in
the
arrival
were
Vatican,
one
but
other
or
collection.
pontificate
pose
Cleopatra,
the
of
result
the
of
was
bold
as
and
less
Vatican
who,
mortal,
the
Ariadne,
the
still
are
which
stream
submission
of
Virgilian
that
between
hero
stars,"
Urbiana,
identified
sculpture
the
on
Barbia
blazoned
befell
warrior
St. Peter
flight of
Florence
to
way
which
of
of
some
time
other,
pieces
in
the
to
the
the
and
sarcophagus,
the
"like
victim
chastised
niches,
the
was
the
on
Other
II, the
of
the
sarcophagi
Amazons;
deity
Greece
the
the
the
to
and
its inexhaustible
of
between
the
of
clamor
worshipped
second
on
imagination
sleep
one
front
god
recalling
down
sons,
Sallustia
Tigris poured
and
his
"dread
and
god
perhaps
In
the
popular
restless
god.
Greeks
down
of
statue
and
her
slept
empress
Severus.
his
which
flattery
"
swooping
in
press
Em-
an
young
mankind,
embodied
avenging
obsequious
sarcophagus;
cultured
to
poem
The
Homeric
the
that
the
Roman
Alexander
Roman
the
Belvedere,
and
raised
gods,
Bramante
Apollo
as
himself
between
between
personified
Venus
the
and
between
imaged
wife
of
vendetta
Virgil
in
punished
gone
by-
neglected
which
Laocoon.
on
him
the
of
had
the
vengeance
describes
turies
cen-
heirlooms
to
the
and
the
placed
in
wall,
of
four
Rome
centuries
end
and
of
of
pieces
of
artistic
many
the
Venus,
himself
which
tells
creation,
of
soil
the
nucleus
course
the
intervening
were
naked
hurl
to
of
niches
grace,
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Laocoon,
night";
three
of
guise
about
seemed
as
the
from
territory
the
the
years
murmuring
few
were
in
ten
among
the
Belvedere
These
which
ignorance
architectonic
in
image
the
around
di
receive
to
surrounding
which
buried.
Cortile
the
during
collected
and
trees
the
ancient
was
Pope,
(1503-1513),
orange
in
fountains
and
Rovere
pontificate
his
AND
SCULPTURE
Thus
has
never
what
it
it, laid
ceased
he
had
VATICAN
THE
292
been
as
Cardinal
rested
the
on
indeed,
of
VIII.
in
and
but
virile, soft
of
such
or
had
Vatican
glory
of
art
to
that
Christian
the
was
"
not
Empress,
Venus
beauty
to
the
Rome,
martyrdom.
just
of
and
the
the
the
he
The
who
those
gave
"
he
Capitol
Vatican
as
of
Greece
their
out
displayed their
IV
austerity
through
della
of
the
Rovere
the
Vatican
relegated
region
Vatican
the
to
passed
Sixtus
had
Innocent
sought
Laocoon
Rome
continued
to
spoke
Library
of all who
invade
bronzes
Hill.
as
to
eyes
for, when
collection
Capitoline
to
marbles,
made
simply
entry
an
the
predecessor,
ventured
images;
a
only
Julius's
Belvedere.
pagan
ancient
the
found
of
II
Nicholas
from
had
codices
heroes,
these
had
he
antiquity, Julius
Humanism
and
tortured
(1471-1484),
with
gods
of
which
Vincoli.
predecessors
The
occasionally
St. Paul
Some
letters.
in
Classic
Humanist
Apollo,
di
Cortile
to
eyes
of
sword
collection
private
however,
of
of
man
at S. Pietro
literary guise.
Rome,
pages;
to
his
Hitherto,
only
the
the
palace
his
turning
work
the
his
at
of
Statues
The
Humanist.
codex
belonged
Cardinal
In
"
of
Gallery
The
been
it far
the
embraced
from
hill
the
of
the
the
valley
PAINTINGS
ANCIENT
AND
SCULPTURE
OF
MUSEUM
293
W//
The
Hence
committed
and
with
he
of
victory
effect
his
stern
centuries
But
which,
of
joys
spot
Roman
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for
itself
bending
battlemented
the
decades
later
Casino
of
lines
given
of Mantegna
Innocent
it
been
in
spirit had
VIII
of
vincible
in-
the
captivated
for
where
at
the
torn
down
with
the
di Pietrasanta
same
the
build
roam
of nature
tower
This
lasting
more
which
to
could
(1484-1492),
Pinturicchio.
was
Italic
and
the
Italic
spirit,
of
contemplation
to the
(1447-1455)
the
here
ignored.
beauties
the
far
evolution
eye
who
courage
auspices penetrated
slow
the
whence
victory
ancients
the
same
help admiring
we
Renaissance
Nicholas
by Giacomo
and
the
was
find
this
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the
Pontiff
siege of Mirandola
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to
of
his
with
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can
art
youth
the
tower
and
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under
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with
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life, had
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of
marvellous
more
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few
and
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army
the
the
at
helmet.
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was
of
heart,
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even
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from
austerity
his
for
mitre
victory
Pontiff's
admiration
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ageless youth
and
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the
spirit
the
than
he
which
changed
Statues
of ecclesiastical
this breach
success
when
withhold
cannot
we
of
Gallery
on
this
will
over
source
to
make
graceful
the
very
the
of art.
way
tectonic
archi-
rations
pictorial deco-
spirit in
Julius
THE
294
II
for
of
art
in
ancient
niches
purpose
than
of
Pietrasanta,
di
as
ensemble,
architectural
has
almost
frescoes,
Laocoon
art
of
a
the
and
whole
the
ancients,
which
house
of
Empress
stole
in
marbles
art
way
decorative
of
part
were
the
of
the
Giacomo
To-day,
built
figures,
of statues
army
Venus
these
however,
Statues
the
few
of
Pinturicchio.
of
paved
of
pieces
the
to fulfil
they
adjunct
an
"
of
Gallery
save
there
first
the
had
Certainly,
were
alterations,
disappeared:
for
art
admiration;
and
Mantegna
successive
whereas
the
as
the
to
of
speak
to
so
Rome.
fountains
objects
Casino
Christian
and
The
owing
this
near
Greece
adorning
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rather
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sculpture.
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placed
into
entry
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won
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but
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VIII
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of
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The
rules
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Papacy
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events
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and
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marbles
introduced
intellectual
Church
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have
and
by
Museum
Vatican
present
Julius
II for
political experiences
passed.
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so
far
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decorative
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Renaissance
to
develop
purposes,
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of
an-
MUSEUM
cient
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of
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life
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claim
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might
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buildings
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monuments
rifled
ideal
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to
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works
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ization
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surest
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most
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to
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part
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Rome,
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restored,
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marbles,
patrimony
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part,
Greece
then
of
pathetic
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its
of ancient
for
their
living commentary
the
Vatican.
century
understanding
and
meed
were
for
secured
done
greatness
their
the
Rotonda
literature
when
admiration
an
sculpture
And
ages.
literature
intellectual
an
Sala
The
different
for
it into
rhetoricians
been
had
295
about
Through
and
times
Classical
establishing
of
means
literature.
Quattrocento,
the
and
Trecento
of
devoted
already
historians
philosophers,
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introduced
certainly
had
Roman
and
Greek
poets,
of
II
PAINTINGS
ANCIENT
AND
Renaissance
the
period
this
At
SCULPTURE
OF
and
ruins,
civilization
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words
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had
writers.
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The
Finally
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also
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through
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his
above
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at
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period
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place
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And
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and
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Latin
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codices
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artists
literature.
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great
hint
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art
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the
from
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to
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form,
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sentiment
Quattrocento
Greek
him
the
But
say.
in
appreciate
to
overlooked
different
Plato
neous
contempora-
than
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only
of
Romanesque
eyes
whereas
of
"
but
"
matter
art, which,
Nicolas
appreciation
an
easier
Gothic
sarcophagi,
in
attained
philosophy
renaissance
with
be
Between
When
Roman
nature
was
pages,
and
the
high
greatness
Venus.
body.
radical
later.
the
possible for
eyes,
for
the
posed
presuporder
lofty intellect
could
ideal, had
when
the
on
more
required
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change
figures
to
human
properly
of
It
of Livy's
or
the
indeed
was
paganized
"
which
it
began,
reliefs
that
course,
which
of Romanesque
and
of
literature.
to link
or
with
the
fruit
harmonize
to
them
imagination
mind,
Apollo
an
world
the
their
run
art
his
of
ignored
all
of
the
Classical
preoccupations
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the
of
Cross
appreciate
glorious Rome
the
lay
Greek
usually
Christian
beauty
exclusive
had
is
of
study
with
unveiled
the
To
religious instructions,
appreciation
art
and
preparation
long
Rome
the
of
particular quality
Quattrocento
Hall
sculptures.
is rare,
thorough
for
the
came
not
a
VATICAN
THE
296
decessors'
prewhole
that
This
cento
Trebeen
of
MUSEUM
SCULPTURE
OF
Portico
literature,
of
as
that
Quattrocento
the
of
call
might
one
ANCIENT
AND
the
Cortile
them,
Ottagono
it
"
until
not
was
collections
the
297
PAINTINGS
of
the
sculpture,
or
half
second
of
museums
art, began.
Growth
of
of
one
these
the
Vatican,
the
greatest
which
had
collections
which
Leo
Medici
work
the
princes
of
to
III
for
join
But
of
the
X
is
while
these
the
at this
and
the
for
associated
Popes
Classical
in
time
not
with
was
were
at
into
the
race
to
their
the
two
keep
up
first among
Florence.
at
or
at
Paul
his
predecessors.
pieces of sculpture were
Clement
group;
of
name
their
lent.
excel-
were
VII
for
Michelangelo;
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Italic
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To
sent
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hand.
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own
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offer
interrupted
footsteps
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Laocoon,
the
entered
were
of their
Thus
could
urging
made
Pope.
(1523-1534),
VII
Medici
the
indulging
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art, clouds
Reformation
the
that
Antinous,
been
had
time
all
individuals
traditions
collection
continued
responsible
so-called
of
family
II, since
that
part
Clement
who
became
"
for
development,
most
Julius
Rovere
only private
the
and
to form
Apollonius,
of
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the
of
storm
Italy
it is true
Leo
Torso
by
(1534-1549)
while
sent
had
begun
III Farnese
And,
(1513-1521)
Popes,
the
for
Cardinal
founded
continuity
had
that
della
institution
interested
work
whose
Giuliano
an
of
promise
It chanced
"
"
as
previously
princes),
death.
Museum.
the
to
cite
nature
the
these
as
in
north,
the
Paul
youth.
the
and
"shameless"
miration
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marbles
most
unfortunate
of
Shepherd
of
of
purity
the
The
was
marbles
exile
to
The
(thanks
best
the
to
Rome.
outside
Vatican
It
stops.
Council
of
Puritanism,
works
audacity
in
defence
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was
And
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but
executed
go
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them
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so
Cortile
time
of
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love
and
have
most
helped
those
the
need
other
to
collecting
face
the
Christian
of
inspiration,
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tive
apprecia-
to
the
not
collections
art
walls
of
be
of
not
was
it would
could
and
the
art, the
noble
the
of
been
Vatican
cited, but
the
the
of
attacks
Council
fended
de-
material
works
have
the
of
activity
Counter-Reformation
of
contemplation
his
passed
in
even
a
while
Pope,
and
and
fallen
doctrine,
Vatican,
not
few,
the
though,
destroy
prince,
in the
only
the
had
Ottagono
moment
collecting within
no
that
only
secular
indeed
that
that
Papacy
Christian
were
this
even
the
original
proved
discrimination),
declared
and
images
to
from
Trent.
this art
of
Pope's
But
and
the
besides
Europe,
Protestant
reconquer
They
error.
there;
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them
of
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and
Church,
the
joys.
natural
Church
the
that
proof
from
a
the
final
the
as
away
was
of
VATICAN
THE
298
ship
wor-
God
or
excessive
sculptures
which,
on
the
MUSEUM
OF
SCULPTURE
AND
The
had
perforce
But
only of
spoke
contrary,
not
the
even
ceased
to
earthly
prince
and
villa
and
Baronino
and
Taddeo
Here
have
and
itself.
at least
and
it
the
when
Church
he
every
the
Church;
for,
anger
nearly
of
with
venerable
Council
the
lost
its
of
Trent,
and
each
the
to
hill,
Ammanati
Fontana
fountain,
those
if not
in
his
forget
during
the
in
spirit,must
between
that
siege
the
he
assuredly
must
cient
an-
treasured
struggle
could
he
Monte
pictorial decoration.
number
if he
Lanzichenecchi
river
and
Way
Prospero
of the
even
his life.
the
an
spiritual
del
III
the
as
ancient
Flaminian
around
Pontiff,
memory
both
the
of
but,
his
Vasari, Vignola,
and
in
head
from
Julius
the
skill, while
far
exceeding
the
that
spirit of
as
marbles,
far
Parioli, between
walk
the
Pope,
of
of
beginning
his body
at
about
came
entrusted
the
Yet
in
The
himself
Michelangelo,
along
kill
collection
built
the
were
the
delegate
remembered
religion the
could
Italy.
architectural
reliefs
and
borne
and
the
to
their
collected,
he
might
thus
Zucchero
Vatican
in 1527,
Vatican
Italian,
from
lent
were
Ill's
the
to
villa, to which
Reformation
Paul
life in
he
Bridge
statues
the
to
And
art.
Milvian
come
an
extended
wonderful
civilization
pagan
Puritanism
in which
(1550-1555)
the
Muses
of
add
contemporary
his
the
threats
had
that
Church,
home
of
destroy.
to
Renaissance
Hall
299
PAINTINGS
ANCIENT
of
was
have
Rome
300
THE
The
VATICAN
Hall
of
the
Animals
MUSEUM
and
agriculture
of
can
displayed
less
no
in
marbles
as
Hall
The
in
now
the
Braccio
and
Posidippus
Museum
just
their
which
willed
that
besides
the
reaction
growth
of
inspiration
profit
Papacy
on
of
the
the
Holy
for
of
the
Popes,
Julius
own
villa.
complicated
See;
but
IV
Pius
of
will
while
he
gave
old
the
Caryatid,
acted
of
the
Papal
indeed
was
Fabian
(1559-1566)
and
private
not
the
to
the
Under
to build
character,
reap
funds
in
interfered
villas
For,
tion
gratifica-
own
such
predecessor, upholding
lands
as
began
did
lavished
had
destiny
halted
their
of
also
of
nepotism.
families
for
can
Vati-
the
villa
Papacy.
cause
of
be
to
to
kind
another
their
said
date
they
marbles
Pope
to
glory
nephew
his
collecting
Julius's
Pope
when
of
of
the
because
was
he
as
later
referred
namely,
his
and
tector
pro-
pline,
disciYet
statues,
from
be
Ill's collection
Baldwin
in
(such
at
way
even
collections
private
art.
Pontiffs
Reformation,
the
Classical
Greek
ultimate
members
it, it
his
should
collections,
brother
from
their
statues
of the
glory.
if his
found
Pontiffs,
work
of
these
seated
the
church
Animals
the
Vatican
form
and
and
and,
of
the
of
of
this
"
these
should
villas
some
thither
way
individuals,
the
as
of
some
the
or
Menander)
"
found
Nuovo,
preceding
If
Montalto.
as
as
of
restorer
restorer
than
eagerness
Villa
his
industry
conceived
be
hardly
and
famous
Pontiff
vigorous
301
PAINTINGS
ANCIENT
AND
(1585-1590),
Peretti
Sixtus
SCULPTURE
OF
the
the
the
much
of
the
ment
settleclaims
Medici
of
302
The
Milan
and
Elios
to the
Aristides
but
Belvedere,
To
the
would
have
Vatican
not
the
profound
1768,
In
met
his
in
especially
the
works
in
which
genius,
der
of
had
Borne.
Kunst
Greek
of the
exhibited,
was
sophist
in
not
and
villas
the
collections.
Trieste,
been
he
nurtured
was
his
Alterthums").
Boman
its
towards
a
left
on
an
the
of
"History
sap
not
with
antiquities.
of
had
the
away,
about
old,
to
monument
Ancient
Winckelmann
sculpture,
died
the
Cor-
the
fifty years
over
everlasting
vital
of
it
thus
brought
Classical
little
due
masterpieces,
had
century
and
are
And
adjunct
Benaissance
Winckelmann,
but
(1644-1655)
modest
the
nal
Cardi-
(1621-1623),
XV
and
attitude
(1605-1621),
Gregory
eighteenth
the
general
This
des
Paul
of Innocent
remained
of
Joachim
death
of
first thrill of
the
the
of
nephew
Panfili
have
half
Johann
violent
schichte
after
second
in
this
that
"
that, notwithstanding
pass
would
change
statue
one
and
nephew
and
to
come
Candelabra
only
Vatican,
nephew
Pamphilj,
collection
the
Library.
Ludovisi
tile di Belvedere
had
of
the
Ludovisi,
Camillo
Borghese,
Gallery
Scipio Borghese,
Ludovico
Cardinal
entered
in the
Cardinal
VATICAN
family,
Borromeo
"
THE
ancient
Art"
art,
("Ge-
approached
esthetic
eyes
of
MUSEUM
SCULPTURE
OF
The
Renaissance
the
from
which,
Seicento
the
of
manifestations
the
engraved
but
that
documents
other.
phases,
It is
To
by
human
the
of the
study
leads
was
the
way,
plan
however,
philologists, and
ancient
art.
If
least
Classical
of
boasts
busied
the
as
of
the
thus
of
of
Art"
of
said
sculpture
were
and
the
admired,
life
the
and
one
in
again
"
all its
art.
that
archaeology
with
the
its researches
when
toric
hisinto
it
began
mankind.
of
the
all
Renaissance;
modern
long
appeared
have
a
it live
with
examine
and
towards
of
literature
to
to
to literature,
march
be
nature
Classical
touchstone
Ancient
be
of
to
relief
the
forms
make
itself
esthetic
reconstruction
may
to
manifestations
in
303
spirit
begun
statue,
intellect
intellectual
the
another
attitude,
the
The
historic
had
men
conception
knowledge
recourse
"History
for
of
the
beautiful
only
hitherto
late-comer
Winckelmann's
similar
of
had
actions, had
Art
of
one
spirit, which
with
another
this
PAINTINGS
Candelabra
Settecento,
not
true
the
activity.
him
attitude
possess
means
no
human
appreciate
to
was
the
revealing
the
of
permeated
to
for
were
gem
also
Gallery
but
period,
ANCIENT
AND
occurred
given
document
history.
before
to
new
to
be
it
the
any
minds
impulse
studied
to
for
The
further
the
admired
hospitable
if the
And,
marbles
A
XIV
to
was
new
further
death.
illustrious
the
over
of Clement
which
the
collection
and
who
in
portico
Hall
1775
and
these
of the
not
Popes
Busts.
only
columns,
few
chief
and
built
VI
the
is
activity
the
the
the
Belvedere,
Hall
of the
in the
tificates
pon-
(1775-1799),
of
of
as
chapel
is due
intentions
the
Popes
these
in the
the
of
space
Vatican
Villa
the
of
ues
Stat-
to Pius
the
added
Biga,
the
Antonio
existing Gallery
credit, however,
the
Visconti,
grouped
known
now
Winckel-
Battista
purity
all be
and
rooms
after
Braschi
the
could
what
transformed
of
Clement
with
Museum
Pius
and
established
The
charge
collections
Quirino
Giovan
required,
into
no
year
Ennio
Through
the
father
II, which
By altering
VIII,
the
work.
new
stress
such
indeed
Pio-Clementino
be
proof
art,
much
too
fostering
began
1769,
of
his
of the
developed
Gallery.
Innocent
with
of Julius
Belvedere,
Sculpture
of
the
underlay
small
in
(1769-1774)
if
conclusively,
proves
of
XIV
in
well
Vatican.
archaeology.
personality
formation
the
of
Classical
aim
Pope
who
archaeologist
presided
for
the
be
to
it might
of
laying
thing
halls
for
blamed
whose
than
supplanted,
austere
collections
became
And
be
study
Vatican
who
had
the
in
zeal
Popes
the
the
Ganganelli,
their
in
against
for
era
mann's
even
might
rather
thought,
Christianity
Popes
enjoyment
brought
be
that
Candelabra
the
human
welcome
Humanist
earthly
on
could
civilization
of
Gallery
of
development
in
receive
the
VATICAN
THE
304
Hall
VI,
interior
of
the
MUSEUM
and
Gallery
SCULPTURE
the
Hall
of Masks,
but
also
which
touch
finishing
The
allotted
to
in
1803
his
with
the
the
Braccio
Bramante's
the
But
and
Church,
and
Nuovo,
which
gallery
with
the
Greek
halls,
and
had
been
cities
carried
the
of
of
the
their
the
VI,
After
Gallery
Chiara-
VII
to
into
corners
built
of
the
hall
the
cabinets,
of
the
the
connect
and
great
dere
Belve-
1821, he added
Library
new
violence
Classical
honor
conquerors
to Paris.
to
1817
equal
material
treasures
booty
to
forces
with
Roman
mals
Ani-
and
joins
wing.
with
Puritan
the
the
arrangement
northern
had
opposite
installed
Pius
Pope
at the
the
of
to the
corridor.
its final
atria
form
305
Chiaramonti
broke
VII.
Pius
conduct
by
parallel
runs
storm
and
open
work
Finally, between
the
against
XIV
an
gave
the
Museo
Palace.
Napoleonic
Clement
revived
the
Vatican
fight
he
Bramante
spiritual
of
II and
Julius
was
Hall
the
Muses,
its present
Chiaramonti
Museo
The
gallery which
the
gave
the
on
transforming
di Belvedere,
Cortile
put
was
PAINTINGS
ANCIENT
of
originally
when
(1800-1823),
monti
AND
Rotonda,
Candelabra,
the
and
the
Cross,
Greek
of
OF
art
within
in
the
violence
of old
art, stripped
Only
three
fine
the
over
had
finally
won
without
and
galleries
of
artistic
and
Napoleon,
when
these
works
its
the
halls
who
they spoiled
galleries
of
and
Canova,
THE
306
VATICAN
""K
Part
Perseus
the
and
works
of
the
with
the
Nuovo
Damoxenus),
and
the
his
could
did
nor
for
that
the
ancient
spoils
Apollo,
shudder
of
of
the
their
Canova's
originals.
but
Greece,
the
empty
for
compensate
never
brute
violence
with
offer
encounter
through
ran
left in the
were
the
as
place
echo
themselves
gathered
Boxers
took
showing
of
Braccio
dreary-looking
as
genuine
Perseus
the
(Kreugas
which
indeed
advance
godlike
the
were
Laocoon
were
grace
Boxers
these
and
Belvedere,
Apollo
the
and
of
the
the
which
parison
com-
any
flesh
crushed
of
Laocoon.
just
But,
it had
as
Museum
After
of
1816,
in
restored
elsewhere.
than
as
of
was
five years
the
no
Gregory
of
here
XIII
and
devoted
the
its
on
to
there, but
the
to
were
of
Gregorv
and
aspect
the
since
XVI
Pius
of
the
Etruscan
of
treasures
his
For,
them,
for
old
violence.
the
in
if the
they
were
here
passage
retained
gratitude.
history,
it.
material
the
trace
vicissitudes
(1878-1903)
himself
less
however,
overshadows
with
added
left
of
can
Vati-
the
oppression,
over
number
of
token
Greece
seal
been
Leo
XVI
marbles,
in
triumph
to
Napoleon
dealing
has
chapter
pieces
that
and
it were,
as
(1846-1878),
few
greater
souvenir
masterpieces
also,
exile, the
so
intellectual
over
also
Canova's
documents
are
triumphed
destined
at
lection
col-
the
proximity
least
are
litical
po-
They
Museum.
Pius
VII
(1831-1846),
Pius
IX
(1903-1914)
added
the
Museum
Museum,
of
days
is
unchanged.
and
Pius
IX
SCULPTURE
OF
MUSEUM
of
Part
had
the
clouds
When
to-day
we
from
its humble
admit
that
Some
no
like
at Athens,
The
as
thought,
the
of
current
to
the
work
always
aided
documents
as
evil
the
XIV
and
and
of
Papacy
their
the
Papacy
for
its
origin
it
to
the
its first
owes
the
VI
its
mighty
of
of
the
to
of
Roman
of
Catholic
state,
life
of
since
the
only
can
existence,
be
throughout
people,
in the
For, just
lease
new
the
archaeology
recognizing
past.
its
tendom,
Chris-
current
answer
of
function
still
something
world-wide
in
zealous
of life.
its rule
seum
Mu-
glorious
the
of Catholic
world
halt
aid
of
and
continuity
spirit
in its work,
own
in
people
to
spring
to its
enjoyed
it owed
teaching
Pius
to
history.
National
the
to
existence
Museum,
like
people,
namely,
the
British
contrary,
Counter-Reform;
sense
fortune,
the
"
it called
of
such;
these
owed
Renaissance,
and
state
towards
Museum
Clement
and
good
looked
awakening
of
and
their
owe
of
devotion
forced
are
we
remarkable
the
travelled
has
II,
Munich,
like
the
on
Julius
state; others,
patriotic
has,
all of
than
thought,
interpreted
the
prince
Vatican
of the
Museum
both
which
the
the
with
preoccupied
Museum
such
has
at
he
was
the
of
days
world
307
time.
road
prince; others,
satisfy
important
the
function
Vatican
of
support
more
of
zeal
the
Glyptothek
the
educational
an
past.
in
museum
collecting
from
in
deeply
so
the
over
beginnings
museums,
the
back
look
PAINTINGS
Nuovo
of his
political horizon
the
on
Braccio
the
things of art,
for
little time
but
ANCIENT
AND
ancient
who
have
marbles
if currents
But
if functions
the
those
than
of
work,
depend
has
the
more
of
the
which
the
himself
the
as
in
General
history
that
as
from
of
the
whole
few
exhibits
or
If
Greek
are
modest
received
by
we
an
could
and
originals
copies
"
and
creations
ancient
often
of the
in
what,
Greek
only reply
that
and
dynasty
our
or
he
on
the
mental
monu-
work
did
whose
the
organic
his
head
confidently
line, lent
trustful
strength.
But
"
it is
some
cipality
prin-
humbly
would
following
we
the
Greek
sider
con-
tion
excep-
works,
of
the
admit
must
With
"
to
stop
we
Boman
copies
operation
co-
all
of
pieces
master-
chisel.
opinion,
Boman
if
character,
excellent
regarding
temporary
after
now,
disappointing.
mediocre
Boman
his
collection,
its distinctive
standpoint
this
princes,
bowing
endless
Vatican
this
to grasp
as
asked
were
we
of
esthetic
the
a
so
an
individual
rested
smaller
even
in
of
success
world;
dominion;
Nuovo
Museum.
the
of
Pope,
his
filled with
work,
development
of
of
predecessor
the
Character
and
it
traditions
glorious
each
Braccio
The
before
vary,
limits
agencies
the
but
small
within
life of
brief
less
in
Papacy,
confined
because
happened
or
within
co-operating
been
have
state,
civilized
whole
the
confined
were
people,
predispositions might
and
tastes
of
this
on
which
state
pride
affected
which
thought
of
of
historic
if the
not
VATICAN
THE
308
on
would
be
entering
probably
the
the
impression
Vatican
experience
the
seum,
Musame
feeling
as
SCULPTURE
OF
MUSEUM
when
do
we
visit
we
of
composed
the
works
those
of
the
marble-workers
and
of
archives
documents
back
date
of
ages
from
the
ancient
crude
of
copies,
with
its
the
of
the
little
the
destroyed;
part
Museum
works
the
executed
to
the
for
be
to adorn
"
Roman
with
has
the
relics
of
the
very
they
the
of
at
the
the
the
squares,
parts
baths
for
Thus
of
The
the
the
the
and
nearly
succeeded
art
still adorn
from
Temple
have
Roman
intended.
Roman
Mausoleum.
conquest
art
festations
mani-
Munich,
far
Museum,
which
scattered
gardens,
midst
Glyptothek
and
luckily
precious
Parthenon,
the
after
were
the
British
Nereids,
works
mid-
this
tracing
most
it, in
the
Rome
the
through
art,
to the
in
like
to
people,
down
Classical
nor,
the
which
content
of
meets
is not
original
whose
Nuovo
period
original
reliefs
honorary
monuments
had
of
brought
and
Braccio
galleries
our
Museum
Vatican
and
age
dawn
one
the
whole
Neither
it show
works
the
archaic
the
oases
can
Greek
"
of
the
to
Monument
original
creating
End
sculptures;
all been
in
spirit
Mycenaean
genius.
Greek
Greece,
Phigalia,
of
essays
Greek
iEginetan
of
sky
Hellas
of
art
cemeteries.
for
mainly
cater
modern
and
infest
who
copyists
Athens,
at
the
to
One
die
cheap
who
creative
the
of medieval
museum
Museum
National
the
Unlike
the
the
of
309
PAINTINGS
ANCIENT
AND
most
Vatican
decorative
cemeteries.
310
THE
while
But
Greek
it has
is lacking
in
from
the
grown
Roman
Greek
up
feel
of
formed
the
in
native
flower
pure
chosen.
From
the
by
Before
they
as
and
nander,
from
this
the
centuries
Greece
had
we
Catullus
and
glory
of
before
had
Rome
our
established
previously
done
Greek
the
after
Horace
had
with
trade
in
Etruria
works
in
just
value
that
violently
creative
and
adopted
it shows
we
and
ered
gath-
originality only
of
carry
what
it has
affected
was
the
away
Terence
and
Sappho
of
towards
which
genius
Homer,
same
after
Me-
Pindar.
itself, in the
seventh
and
artists
the
and
sculptures
and
quality
at Athens,
yet unfolded
merchants
era,
with
Roman
after
Virgil
Museum,
has
re-elaboration
how
genius,
read
Rome,
forth
loss
great
our
taste
genius,
in
process,
Vatican
the
Roman
learn
we
if not
Museum
creative
and
copies of
call
Nuovo
National
Greek
of
Braccio
Roman
keenly
countries
which
the
collection
when
the
other
the
the
soil of
very
the
in
more
It reveals,
function
manifestations
impression
sixth
to
of
its discriminating
of
attitude
contrast
the
view
were
still
in
home.
spirit, the
In
art.
as
us
out
collections
their
these
originals, historically
the
Part
torn
point of
esthetic
make
and
of
deprived
being
because
the
ill treated
masterpieces,
admiration
our
from
even
VATICAN
from
with
Campania.
Latium,
Rich
East
just
decora-
as
Citharaedus
Apollo
Seated
of
the
of
the
life
the
by
of
fashion
the
and
of
adoption
their
foreign
funeral
hypogea
common
so
in
episode
into
with
by
were
used
work
of
the
to
the
of
the
Greek
adorn
state
if the
art
the
found,
of
temples
now
as
and
in
never
B.C.,
when
touched
un-
the
their
conservative
we
marked
were
of
find
those
would
have
of
conquests
in its native
Greek
gave
by
had
great
and
Greece
home.
the
The
Romans
and
and
public buildings
ever
in
life of
change.
little influence
greatness
Asia
booty
tance
acquain-
painting,
Rome,
had
Minor,
artistic
an
of
art
provincial
very
military
sculpture
the
no
Greek
insignificant
an
rise of her
generals
Roman
masterpieces
centuries
art, and
her
need.
Campania.
remained
country,
Greek
more
real
neighbors,
their
particularly
third
have
trade
moderate
fact, in Latium
in Latium,
through
the
and
and
sway
with
contact
home
brought
of
Rome,
brought
direct
story
life
the
on
not
the
of
matter
would
art, indeed,
remained
Etruria
fourth
the
in
undisputed
exercised
Latin
as
in
were
taste
the
altogether
which
Unlike
religion.
to
religious
was
with
artistic
external
death
evidence
gave
the
urgent
any
of
Latins
They
art.
art, and,
Conditions
their
the
Oscans,
from
and
2)
Period)
of
thing
311
(Fig.
Apollo
temples
than
trappings
decked
moment
Etruscans
gods
external
artistic
the
was
spring
not
the
of
conception
rather
art, indeed,
did
and
for
ornaments
prosperity
and
This
country,
Latin
the
pretentious
purchasers.
of
Figure
(Archaic
comfort
social
of
The
and
tombs
for
Nude
1)
Period)
(Archaic
tions
(Fig.
PAINTINGS
ANCIENT
AND
SCULPTURE
OF
MUSEUM
which
Rome.
This
many
imita-
VATICAN
THE
312
The
Three
Graces
(Archaic
tors
the
among
provinces
works
had
of
art
our
The
at
pitch
to
was
add
by
and
an
this
his
own
of ancient
knowledge
who
original
could
copies
of
them
industry developed
signature,
Cresilas,
an
Apollonius
so
Antiochus
boasting
art
that
in
bronze
that
the
we
has
have
or
authorship
of
his
the
often
and
went
claiming
Athena
of
art
time
the
numerous
the
house
marble;
Sosicles
appropriating
of
for
copyist
a
of
greatest
industry
the
did)
works
the
been
namely,
"
for
to meet
originals
Verres
antiquities
works
distant
to govern
know
we
of
which
have
not
out
this taste
market
industry
new
(as
when
and,
the
sufficient
sent
force
by
that
extent
arose
have
Magistrates
took
they went,
an
Roman
least
or
supply
there
for
could
wherever
longer
no
demands,
value
bought
to such
grown
could
citizens.
private
either
(Fig.
Period)
of
ing.
copy-
garden
or
to
such
so
far
an
zon
Ama-
Parthenos,
Polycletus's Doryphorus.
a
as
MUSEUM
OF
Girl
Runner
(Archaic
Young
Gymnast
and
(Archaic
SCULPTURE
(Fig.
AND
4)
Penelope
Period)
his
Slave
Period)
PAINTINGS
ANCIENT
(Archaic
(Fig.
6)
The
(Myron,
(Fig.
313
5)
Period)
Discobolus
Classical
(Fig.
7)
Period)
THE
314
(Fig.
Doryphorus
houses
of
villa
the
of
Hadrian
like
periods
imitator
rocks
of
train
of
maenads
it
he
Dionysus
"
than
denizens
gracious
that
art
And
these
and
turned
home
walks
when
at
demigods,
the
a
who
whose
his eyes,
of
later
not
of
the
had
to the
but
Roman
in
forms
passions
would
stone
peak
the
major
this
of
artistic
and
it
for
the
rative
deco-
among
the
garden,
to
Olympus
creations
istic
Hellen-
industry.
of
Phidias,
of
to
with
associate
to the
rather
and
And
gods!
same
weaknesses
of
the
was
sentiment
marble
wished
the
satyrs
this
was
give joy
figures
main
and
Roman
of
the
Olympic
grace
woods,
to
all
taste
exposition
an
in
nymphs,
much
sculptor
awe-striking
to
so
the
inspiration
all the
the
lent
and
sea
the
period
cloud-kissing
garden,
sea-horses,
of
figures
had
of
of
most
appropriate
borders
green
call
suited
best
more
the
"
which
its chief
gave
divinities
was
art
much
the
along
awesome
Hellenistic
was
How
antiquity;
subjects
but
owner
cultured
whence
"
might
one
of
models
Poseidon
or
the
his
Tivoli
near
the
specimen
with
Greek
of
subjects
desire
emperor
what
sculpture
mind.
or
an
villa
decorate
to
eclectic, like
might
art;
"
not
Period)
mostly
all the
erudite
An
his
in
come
as
fountain,
Greek
and
in
had
that
Herculaneum,
have
chose
intended
were
copied.
assemble
treasures
effect
the
at
of
architecture
all the
Roman
Pisos
might
Vatican
the
as
the
only
equally
been
and
styles
the
of
have
copies
natural
9)
Classical
(Polycletus,
these
it is
gardens,
and
should
art
Period)
that
however,
Seeing,
(Fig.
Amazon
8)
Classical
(Polycletus,
VATICAN
than
gods
man,
beholder,
whose
he
fitting
the
sanded
Praxiteles,
whose
MUSEUM
Amazon
(Fig,
are
so
her
robe
side
as
she
the
trunk
of
between
two
As
further
decorative
was
Not
to
behind
an
age
of
the
later
ashamed
a
even
brow
"
than
whole,
the
Republican
of, the
old
world-empire,
statues,
of the
and
in
but
of
of
of
may
Imperial
went
which
stern
teach
the
say
to
on
genre
fill the
on
space
that,
it
and
went
of Polycletus.
canon
that
"
tion
personifica-
deep
thoughts
of
the
Doryphorus
which,
in
preparation
frame
him
to
the
gymnasiums,
harbor
to
by
remember
century
Lysippus
model
the
would
simplicity
and
being
lizard
its choice
but
fourth
seemed
solid
the
only
the
and
rugged
find
to
we
to become
in
gardens
not
athlete
the
have
we
carving
subtleness
however,
laying
in
where
slaying
swayed
was
decorating
world-conquest,
Cnidus,
appropriately
very
taste
the
Roman
the
Period)
modesty
curious,
Sauroctonus,
Apoxyomenus
when
was
highly
On
search
11)
at Cnidus,
temple
the
315
foliage.
delicate
and
in
knitted
wars
more
the
soft
gaze
Roman
of
nimble-limbed
Polycletus
the
that
question
fifth
the
in the
of
the
spurned
back
proof
of
Apollo
with
of
Aphrodite
open
tree, might
possibilitiesof
it
when
The
laden
trees
and
to the
exposed
The
the
little round
leafless
sensual.
so
fountain.
(Fig.
Classical
(Phidias,
entered
the
was
figure beside
Amazon
and
she
from
transported
PAINTINGS
ANCIENT
Period)
human
gods
aside
AND
10)
Classical
(Cresilas,
every
SCULPTURE
OF
prize bodily
of
for
strength
brain.
that
days
had
coquetting
"refined"
grew
given
with
sated
Roman
with,
society of
almost
and
it the
strength
strange
tastes
to
lish
estab-
and
ideas
THE
316
until
itself
it found
last
at
fourth
and
century
century
of
gross
insipiency
when
oon.
When
the
Roman
the
archaic
true
but
He
the
in
Demeter
the
the
beside
to
not
the
soft
the
to
turn
Laoc-
lenistic
Hel-
commanding
gests
whose
but
pers,
of
crowd
dite
;^
it in
of
Rotonda,
^^^^
Aphro-
sensual
the
seek
not
and
I
The
but
gracefulness
severe
worship-
devout
of
did
fifth
seemed
beauty
he
art
the
ideal.
works
tortured
in
of
of
severity
the
learned
sensuous,
archaic
simplicity
of
output
archaism
and
the
succumbed
did
sug-
presence
with
of
the
i.e., the
"
simplicity
desired
works,
imitations.
period
superficiality
placed
with
sympathy
than
"
Greece's
and
rigidity
Greece
of
period
the
"
anatomic
in
more
Hellenistic
the
sceptical epoch
and
VATICAN
of
the
to
Daedalus,
her
in
crouching
Da^
the
under
it
plastic
body.
This
lighted
^'M
of
EH
did
not
gods
with
art.
And,
least
own
Greek
H
fl^K
9H
^e
the
the
fifth
with
century
of the
that
as
and
the
halls
of the
this
lack
of
works
the
Hellenistic
of
Italy
art
been
chosen
of
for
have
period
to
either
thus
belonging
the
in
the
consists,
in
been
former
the
main
ask
of
archaic
dating
of
compared
century
the
or
the
the
most
to
fixed
visitor
readers
and
this
from
the
belong
in
fourth
of
periods.
view,
so
Greek
while
and
century
also
originals
some
intermediate
part,
corrected
It should
of
ber
remem-
fifth century
the
end
passing
to
development
with
"
period
intentionally
left unnoticed.
class
to
our
period
criticism
Roman
for
than
here
survey
the
little importance
no
that
has
evident
would
we
balanced
works
all been
less
collection,
and
The
art.
many
Roman
and
Period)
Classical
appear
proportion
complete
almost
reached
works
istic
b.c.) should
Roman
have
of
fourth
Hellen-
give
to
tionate
dispropor-
as
12)
the
{circa 290-150
through
(Fig.
peneies
TT
the
in
period
of
review
our
tation
(Cresilas,
and
the
archaic
at
or
their
works
;
those
gods,
creations
represenof
no
identify
rrrff
VaticanMuseum
lectuals
intel-
who
"
"
principal
the
quality
the
Rome,
in the
"
of
believed
longer
charms
soft
,."
de-
that
was
better
her
of
the
water
the
reveal
to
.^J?*-
cold
of
stream
be
membered
re-
which
period.
copies
The
of
Roman
Greek
terpieces
mas-
copyist,
MUSEUM
SCULPTURE
OF
Demeter
(School
of
(School
of
Phidias,
Caryatid
Phidias,
(Fig.
Artemis
Period)
(School
of
Phidias,
Athena
15)
Classical
Period)
(School
317
PAINTINGS
ANCIENT
13)
Classical
(Fig.
AND
of
Phidias,
(Fig.
14)
Classical
(Fig.
Period)
1G)
Classical
Period)
318
THE
however,
was
imitator.
In
refer
fairly
able
libelled
their
and
the
and
which
in
its copies
Vatican.
parts
of
to
of
work
addition
Roman
the
showing
does
or
humbly
of
all
its
of
Here
belongs.
various
will
periods,
different
from
well-defined
Vatican
works,
will
derived
from
flower
style
Museum
amounting
attention
and
has
to
of
and
many
actual
an
flower,
must
remarkable
hundreds.
be
a
reader
visit
and
period,
stock
To
cull
to
confined
to
a
of
these
these
so
of
the
far
impression
ing
Hav-
Museum.
only
few
which
works
school
work
each
originals
the
thetic
es-
careful
whose
an
to
little
which
of
copies
to the
convey
characterize
a
the
eclectic
torment
affords
to
Roman
in the
patient archaeologist
stratum
the
which
which
tury,
cen-
rule, he
by
doubts
and
reality such
although
the
material,
historic
case
review
our
our
the
in
as
between
specimens,
the
the
of
none
this
All
to-day.
determine
that
to choose
they
aroused
As
market
the
on
original productions,
own
also,
dumped
mass
fourth
or
in
but
kind;
ceeded
suc-
archaeologist,
the
period.
Hellenistic
tist,
ar-
often
particular
fifth
to the
this
he
in
for
riddle
of
mediocre
brain,
style
no
them
of
cases
still awaits
satisfaction,
classification
to
are
the
or
in
hybrid
time
archaeologist
works
century
his
as
of the
true
to attribute
ignorance
marble-worker
purchasers
Such
periods
was
his
17)
something
being
but
in
(Fig.
Throw
Period)
introducing
at
conqueror;
and
that
whether
to the
belong
aimed
styles
the
(Classical
Roman
the
for
Preparing
Discobolus
of
was
own.
fourth
the
to
all
work
know
not
pleads
statues
he
of
producing
style
no
who
nomenon
phe-
work
the
that
jumble
in
to
copyists.
servile
his
with
in
rather
general
mechanically,
own
is
There
characterizes
the
to
or
ent
differ-
to
this school
copying
of
figures
desire
We
which
the
statues
periods.
attention
call
had
Empire,
combined
of
single work
In
Republic
the
figures belonging
the
the
the
of
(of individual
styles and
we
ished
flour-
which
deliberately
not
do
nor
Graeco-Roman
of
beginning
groups)
or
even
sculptors
Pasiteles,
end
not
wherein
original,
the
at
do
we
Roman
special
of
whole
this
saying
the
to
School
mechanical
infidelities
to
refer
not
VATICAN
or
an
dozens
have
artist.
The
non-classifiable
many
sections
of
MUSEUM
collection
the
is
as
the
feel
we
the
conveyed
of
must
of
not
Roman
she
though
of
under
the
to
exercised
but
which
lay the
campaigns
the
and
in
now
Ennius,
is
an
treats
The
maiorum,
tomb,
idea
modified
themselves
developed
in
at
the
all this.
service
confined
the
in
to
portrait
every
of
corner
of
the
the
contemporary
the
of
would
in
tomb
a
Greek
To
the
the
mained
re-
ple
tem-
Scipios,
of
portrait
the
the
exploits
Conservatori;
style, while
of
the
came
From
Empire.
Emperor,
the
the
the
ing
paint-
manner.
Rome
privacy
public
Latium.
of
to be
had
have
art, like
dei
Museo
idea
forefront
reliefs
idealistic
the
of
of their
imperial
painting recording
Greek
purely
torious
vic-
the
incidents
Greek
is said
in the
now
of the
tions,
genera-
which
of
from
and
a
future
in
the
to
"
life
bust
of
for
of
source
maiorum,
imagines
if the
honorary
the
Museum
the
tableaux
and
ornaments
fragment
subject
loyalty multiplied
Emperor
Q. Fabius,
Roman
hitherto
the
of
the
18)
reliefs.
republic,
in
(Fig.
Period)
principal
the
and
Horseman
found
deceased
great
historical
tomb
imitation
the
the
laurel-crowned
by the
In
art.
Forum
episode
Vatican
and
imperial
place
the
insipid
a
"
the
the
and
Fannius
for
portraiture
by
in
of
in the
way
unimportant
is proved
is
original
individual
of
political, Rome
one
remained
of
(Classical
portraiture;
the
Relief
her
remembrance
had
one
art
and
displayed
decorations
bust
then
of
two
of
paved
an
M.
created
were
germ
if Rome
brought
poet
only
until
the
generals
which
also
In
preserved
This
even
not
domestic
one
inspirations
life,
pursuit
Boeotian
customs,
But
art;
tion
its cultiva-
Greece
had.
never
which
to
discrimination
copying,
that
tached
at-
and
she
certain
something
had
left
Greeks,
her
it
citizen,
Empire
the
positive
importance
we
Rome
considered
unworthy
the
art,
its
Though
little
so
to
riations
va-
and
indicating
overlook
achievements.
of
of
Greek
great
thus
deficiencies
not
rhetoric
orators.
after
But,
in
319
PAINTINGS
boredom
its didactic
the
ANCIENT
examining
the
by
AND
nous
monoto-
same
with
Empire,
Roman
their
owe
for, after
aspect;
them,
SCULPTURE
OF
the
home
which
Empire.
great
the
or
either
The
artists
imagines
the
family
flattery or
eulogistic
no-
THE
320
Apollo
(Praxiteles,
Sauroctonus
Fourth
(Fig.
Century
21)
B.C.)
VATICAN
Torso
(Praxitelic
of
an
School,
Eros
Fourth
(Fig.
22)
Century
B.C.)
for
tices, which
few
Forum,
the
historical
reliefs
the
centuries
the
were
again,
his
of
the
past
M.
an
for
himself
bread-making,
modest
the
of
subjects
a
of her
way
of
honor
of
days
of
art
the
when
it
Hellenism
Thus
the
the
as
seen
and
was
We
have
two
Greece
is
Trajan
change
the
rapid
from
when
the
seen
that
always
of
form
the
quite
shake
off
idealistic
came:
of
inspiring
portraiture
the
tutoress,
relief
and
often
of
work.
an
art
at
from
even
from
of
ages.
Augustus
to
nature
cadence
De-
accurate.
and
Constantine
and
Rome
the
figures
indiscreet
graceful.
un-
limited
was
But
to
the
Between
is given
and
the
idealistic
tradition
the
to
poor
influence
of
still ideal
naturalism.
Antonines
and
early
later, the
of
point
in
call naturalism
may
was
period
became
the
subjects directly
less delicate
the
we
duces
intro-
artists, the
even
burden
freedom
more
becomes
compositions
the
the
a
us
subjects
From
and
period
of
in
to
only
these
the
at
tomb
while
Greek
which
its
art, in
costly
not
Rome.
drew
with
days
up
battle.
living!
Rome
the
to
or
of
bequeathed
treats
and
Imperial
strongly tinged
branches
was
never
path
this
and
processes
meagre
times
namely,
of
art
unesthetic
of
to
it down,
but
took
Rome
Greek
could
directly, and
Theodosius,
the
the
first output
Flavii,
Flavii
as
only
Rome
fortune;
has
practised by
was
belong
successive
reliefs
conceded
it pursues
life.
had
his
out
Greeks,
their
turmoil
the
baker,
Constantinian
to
the
Hellenism
be
laid
because
the
glorify
of
ideal
boatman,
eked
that
the
administration,
all
the
honorary
this art
falls
represented
nature.
by
on
he
and
his
in
made
to
sarcophagi
of
had
mentality
instru-
portraits
citizens
the
served
show
he
which
down
directly
where
reliefs
the
in which
it must
and
these
wealthy
empire,
the
immortalizing
towns,
private
facts
his
own
insignificant magistrates.
represented
Though
Empire
rises
naturalism,
salient
untouched
own.
based
point
the
portraiture
originating
Rome
of
did
zens.
citi-
his
through
honorary
of
faithfully
with
tub
the
of
this art
In
desire
painting Farnaces,
sepulchral
picture
features
had
trade
through
private
speak,
to
so
notified
countless
Nor
which
on
the
have
we
among
emperor
provincial
Virgilius Eurisaces,
influenced
was,
duly
those
himself
had
who
general
Even
built
who
lesser
business
small
excessive
in
loungers
thus
perpetuated
example
to be
was
the
immortalize
to
of
monuments.
magistrate
wished
the
the
arose
honorary
the
to
was
intellectual
very
too,
in
imperial
arose
of
squares
always
Hence,
Hence
stone,
which
slabs
the
and
321
Emperors.
citizen
posterity
art.
the
routine
daily
which
concerning
not
always,
of
monuments
of
of
attention
the
honorary
the
prominent
clients, and
studded
the
on
memory
as
Every
by
replaced
the
Here
attracted
days
PAINTINGS
ANCIENT
AND
SCULPTURE
OF
MUSEUM
even
one.
in
to
these
Under
the
into
the
abolished
she
ornaments,
sarcophagi
the
of
Rome
when
Greece
and
of
to
Empire
the
under
races
aid
to
the
out
with-
the
new
surfaces
bereaved.
Oriental
had
diffused
so
was
^_^_--__^^^___|___|
It seemed
agent.
the
on
meditation
artistic
had
triclinium
in the
them
crowded
lend
to
on
myths
facades
and
decorations
of
subjects
called
mingling
wall
as
her
architecture
friezes
the
into
even
of
plethora
Roman
the
left
banqueters,
supply
to
was
the
which
cults
eye
full
since
them
employed
of the
the
pour
generally
and
metope
delight the
to
decorations,
architectural
the
And
Unable
reliefs.
honorary
gods
her
introduces
she
forms
idealistic
traditional
the
to
VATICAN
THE
322
Greece
though
as
,
had
would
ill
How
had
fared
of
B^^^^i
^^
^1^^
^Hx
^^.
the
of
especially
they
had
a
task
fact
nor
in
her
to
create
an
is
till
tO
man
all
above
could
too,
not
history, Romulus
must
we
spirit, which,
Base
In
the
Casali,
on
harks
the
origin
votive
side
one
back,
this
through
general,
of
altar
the
therefore,
not
^Eneas,
with
of
found
Romulus
Trojan
these
are
in
War,
the
as
the
by
first
the
in
and
to the
works
an
of her
how
the
who
of
Judgment
it,
in
the
her
the
Greek
tabulce
Thus,
the
and
real,
un-
them
of myths,
to
Troy.
of
the
figures
and
Remus,
which
for
hU"
were
of
but
Belvedere,
in
myth
aureole
Roman,
ruin
an'"
know
myth;
Stesichorus
the
literature
creators
a
the
R"me
Romans,
art
the
to
pious
birth
the
and
Rome
be
The
illuminated
are
her
wherein
fantastic
origin
own
is due,
to
b.c.)
the
by
not
23)
Century
not
literature
Remus,
through
iliacce, linked
and
their
if in
that
(Fig.
Fourth
divine.
the
quest,
con-
shown
\ roic
[7],
grossed
en-
for
capacity
'
J"
Belvedere
history
even
And
and
forget
not
real
conceive
history.
was
l#"bs*l
into
develop
of
makers
mind,
was
(Praxitelic
might
germ
"
Serapis.
man
\ ]
del
Egypt
-\~as::]material
'-
"'
MM
SOil
the
School
mies
Ptole-
of
in
Antmous
ed
perform*ne
presented
hedid
over,
more-
ready
%
^
art
She
own.
"
neither
that
no
ideal
divine
Greece,
:"-
with
had
of
k
A
Ro-
the
subjected
^or
figure
the
That
she
when
^ave
"()('s
been
TM
"
with
"1C
w\
-"/P-Vl
al-
similar
ideal.
"
mentality
Romans!
the
ideal, and
the
divine
rough
the
to
W^m
monopoly
on
artist
the
in
the
brates
celeother
Paris.
Roman
art
is
ex-
MUSEUM
of Greek
pressed: copies
devoid
of
sepulchral
definite
the
in
of Rome.
develop-
was
we
do
does
art
with
for
some
Rome
the
the
j|
in
lized
in
less
the
of
lection
pres-
works
But
artists
this
is
art
man
of
for
just
life under
in
ter
in
the
destiny
walked
he
variety
there.
of
of
of
contrast
the
it the
real, and
Empire.
the
different
Ro-
reason
mirror
by
the
which
from
from
which
crowds
Roman
other
do
eclectic
the
an
have
spiritual
picture against
even
been
the
Greeks
of
the
the final
of
art
the
times
to the
stronger
of
sense
in
and
fanatical
background
the
history,
of
as
same
taste
the
joyment
en-
when
the
had
plane
conveyed
of
the
refined
examined
man
Ro-
course
art
and
of
and
Roman
exactly
us
Roman
spirit
peaks
see
we
tortuous
of
affords
early
bet-
mani-
and
myth
in it the
public garden
art
must
of
of
between
contemplation
an
Far
b.c.)
trace
we
The
paths
descending
motley
exerted
sentiments,
sionand
24)
Century
civilizations
experienced
works
Empire
in
see
and
the
was
multicolored
made
Fourth
of different
derive
the
(Fig.
(Leochares[?],
col-
under
Greek
we
along
But,
life, we
Belvedere
del
Apollo
ideal
amalgamation
as
this
and
era
of
the
scien-
by
the
repul-
elements;
between
of
Empire.
the
coalescence
are
ence
worth-
faithful
of
the
clash,
of
ism
very
the
it than
festations
crystal
fluences
simultaneously
epochs,
and
created
in-
various
the
tion
evoluMental
school
evolution-
tific
esthetic,
the
by
ed
the
man
Ro-
ment,
enjoy-
an
as
Greece.
form-
categories
well
k^-^^^
hands.
people.
ed
of
art
offer
is afford-
as
of the
cm
one
ginnings
be-
centuries
uninterrupted
m
h|^hh^^^^m|
as
the
with
by Greek
and
straight
life of
Oriental
the
during
ures
fig-
reliefs,
myths,
dealing
scenes
produced
behold
not
Greek
part executed
most
in
humble
the
not
logical
such
life (even
sarcophagi
style, and
periods),
masterpieces
of
spirit
the
by
these
portraits, honorary
Roman
is all that
this
undoubtedly
Here
Greek
This
and
Empire,
of the
of
323
of definite
(preferably
elements
and
PAINTINGS
ANCIENT
stylistic character,
pictures
executed
gods
the
glorifying
monuments
tradesman),
AND
masterpieces
of
combinations
arbitrary
the
SCULPTURE
OF
great
collected
of every-day
that
vastness
Forum
by
Orientals
dignified
Romans.
the
who
VATICAN
THE
324
The
Vatican
of
the
all
of
the
as
of
works
their
better
It is
who,
passing
on
having
of
marbles,
all
them
ages
honorary
and
an
relief
which
treats
of
offered
athlete,
forum
Hellenistic
of
trees
satyr
the
countless
The
dim
of
fountains
of
Museum
the
of Rome,
idea,
scepticism,
its
his
of
presents
worship
Mithra,
which
We
us
in
witness
turn
sincere
its fanatical
physical
and
energy,
solemn
practice
of
phases
its
among
lowers
folthe
around
succession,
the
of
preoccupation
melancholy
cults, and
an
the
characteristics
the
political glory
devotion
the
of
among
reposed
and
at
in
Oriental
is lost
or
its faithful
public
smile
his
an
solemn
towered
capricious
satisfaction
shrine,
of
the
joviality
by
ing
frequent-
some
of
immodest
coarse
in
Thus,
with
the
struggled
once
the
front
figure of
statue
in
place
In
venerated
mysterious
courtyard.
ultramundane
its
of
youth
formerly
by
its
diffused
The
to the
its
from
an
ment
monu-
ours.
dignified
rulers.
greeted
are
animals
civilization.
Roman
we
Sacrifice
some
the
in
supports
grave,
of
divinity, which
earlier
recesses
figures
Vatican
with
which
life
health
near
of
authority
Greek
temple,
villa.
in
the
of
stands
were
which
and
commemorative
this
priest, which
the
fifth-century
niche
mighty
baths,
of
in
of vigorous
mortal
heroes,
the
25)
B.C.)
poor
Greek
beyond
(Fig.
Century
some
from
victories
high
or
spoke
once
of
life
the
at
model
and
of
detached
was
of
remains
protection
hints
as
general
emperor,
the
Citharardus
Apollo
(Fourth
the
Roman
gymnasia
the
image
death
as
marble.
which
under
of
its treatment
ideas
to
to
an
take
to
and
marble
piously consigned
The
with
compelled
sarcophagus
The
series
alike.
of
from
passes
through
long
is
eye
leaps
giddy
are
place.
impression
a
views
who
historic
it so,
person
the
him
almost
of
they
rapidly
before
of
student
willed
uncultured
the
only
gether,
to-
order
certain
halls, receives
the
he
to
parate
dis-
placed
esthetically
adapted
history
most
the
has
acquisition
because
or
The
because
either
plicated
com-
the
been
have
styles
ages,
of
result
collection.
the
here
further
is still
subjects
posed
com-
but
works,
original mixing
and
is
Museum
these
the
and
calm
to the
perial
im-
sarcastic
serenity
MUSEUM
Muse
Melpomene,
of
(Fourth
to the
Forum
Visitors
who
temple,
this
nurture
the
through
This
Muse
Thalia,
Rome
that
than
the
of
extension
profound
and
that
archaeological
(Fig.
of
rich
the
home
and
penetration
the
tery.
ceme-
and
who
lives, can
own
this
and
and
the
to
evocation,
their
from
27)
B.C.)
the
to
"
historic
is derived
ages
Comedy
Century
public gardens,
sense
which
this
the
to
delightful
of
wherever
us
ended
and
developed
baths,
possess
as
takes
collection
325
PAINTINGS
(Fourth
and
sense
joy
greater
no
of
life
tumultuous
26)
B.C.)
life.
its domestic
of
(Fig.
Tragedy
Century
ANCIENT
AND
SCULPTURE
OF
feel
vertiginous
into
the
flight
of
heart
cient
an-
man.
is true
It
of
disorder
our
wise
which
part,
makes
British
the
the
nor
in
thoughts
cantered
conveyed
places
by
of
far
the
of
through
removed.
belligerent
historic
the
Parthenon,
which
casting
the
the
of
our
as
ages
What
attitude
eyes
we
of
the
Juno
for
the
not
the
Temple
of
in
funeral
us
historical
Lanuvina,
pleasant
from
below,
scene
glimpse
the
ments
monu-
that
looking
the
over
wealth
of
given
caught
But,
Mausoleum
of the
felt when,
we
vitality
of view,
of
the
and
chronological
very
point
has
Athens,
the
living thing.
or
catalogue
destroy
the
classification
of
exhilaration
and
sight
Nereids,
the
Museum
Vatican
the
that, from
marbles
thus
of
Museum
meticulous
the
National
Rotonda
of
the
would
and
care
the
at
Vatican
the
Monument
of intellectual
sense
of
of
Museum,
in
restless
confess
must
we
distribution
Phigalia, of
and
feels
collection,
the
punctilious
with
everything
arrange
which
science,
of
messages
the
the
our
schools
are
ridicu-
THE
326
lous
as
of
banality
Jupiter,
of
Claudius
the
the
of
Hercules
of
these
no
from
of
energy
of
the
Serapis.
so
harmonious
the
by
grasping
to
may
go
high
or
of
other
fuller
sounds
and
is
confused
of
works
the
an
those
sounds
art
which
Christian.
which
ourselves
humble
when,
of
from
herald
Those
so
we
the
the
whose
say,
characterize
an
we
the
the
of
dawn
attuned
Greece
so
every
but
lending
towards
to
itself
out
in
age,
of
the
grand
we
note,,
historical
another
to the
must
that
teria
crience
sci-
archaeological
line
grand
of
its origin,
reminiscent
are
is order
seek
products
are
that
shall
retrace
horizon
emit,
by following
which
"
for
alert
and
of
needs
work
contributing
disciples
works,
each
sisters,
may
now
here, it
thus
ears
marble
but
better
archaic
the
on
concordant
is to
many
shall
on
as
which
marbles
each
ignored
harmony.
upset
not
are
That
idea; and
ancient
which
feeble,
intimate
of
first train
must
concerning
of
far
image
must
image
every
from
gratification
we
message
its most
Museum,
the
message
The
elements
of the
voices
the
which
texts
power
sound;
28)
B.C.)
many
enjoy
to
its full
of
that
so
various
function.
Vatican
voices
collection
artist,
so
of
individual
with
with
But
individually
or
making
which
the
each
(Fig.
Century
those
even
"
evoking
word.
previously
higher
and
fdled
the
precision
and
the
those
to
texts,
has
this concert
delivered
strong
Latin
any
written
in
note
through
only
ear
the
Artemis
(Fourth
fered
of-
tradition
and
correlated
low,
an
of
Greek
significance
mentally
at
been
never
of
and
expression
appreciate
already
age,
be
suous
sen-
Poz-
tion
concentra-
perusal
every
ourselves
of
and
varied
an
that
transcends
have
So
fullness
In
past.
the
countenance
life has
all-conquering
the
tated
agi-
Elder,
the
mystic
of
us
but
personifying
and
ancient
which
feminine
pathetic
hermes
once
come
Otricoli, the
the
nating
alter-
notes
genial
kindly
and
zuoli,
And
Faustina
Hadrian,
ancholy
mel-
messages
the
of
the
calm
severe
charming
Zeus
Barof
Antinous!
with
vibrate
Hera
morbid
the
and
less
open
the
Righetti,
of
the
the
olent
benev-
bravado
crude
Demeter,
sion
expres-
the
Nerva,
aged
indulgence
berini,
posing
suffering
the
VATICAN
receives
"
this
great
school,
an
development
late
Roman
civilization
harmony
"
of
MUSEUM
OF
and
scenes
Period.
Archaic
The
of
detect
with
of
of
the
gods
of
be
would
su-
the
reliefs
who
men,
before
such
beings,
amply
their
of
the
rrfla
-^
P5#v
'--'^
j"
in
**A
mystical
.ry
Hfc^JpJ
sense,
agents
To
and
of the
dim
his
reason
The
otHcoii
(Fig.
Century
hand
one
of
also
The
opposite
to
the
namely,
in
the
and
honorific
which
regarded
past
29)
in
the
the
we
the
statues
and
image,
his
among
sepulchral
reliefs
of his usual
ability displayed
on
surviving
most
earthly
at
other
the
the
the
honorific
figures of
the
heroes
of
as
the
bined,
com-
reliefs, because,
hand
and
show
at
friends.
the
the
through
they aimed
relatives
commonly
as
variously
sense,
sepulchral
ultramundane
the
the
as
yesterday, just
were
honorific
these, in perpetuating
peaceful
owe
immediate
not
enterprises.
same
athletes,
were
and
sense
his
of the
memory
the
even
origi-
B-c)
atmosphere,
heroes
who
mystic
one
power
the
at
were
securing
at
mystical
of
human
the
recognized
be
the
on
the
Theseus,
The
can
aimed
into
these
and
past.
while
or
own,
| living, but
ZeUS
translated
Hercules
protective
very
athletes;
which
I heroes,
(Four,h
for
of-
and
in
great
this
sense,
talized
immor-
they
peared.
"
of
images
scenes
gods
of
offerings
the
memorative
protectors
prayers
their
scene
ap-
one
historical
safed
vouch-
prayers
sense
to
their
terial
M"A
mythological
nated
tection
pro-
readily
of
only,
constant
if
mystical
protection
mWrn
their
The
perior beings,
some
and
desires
images.
to the
origin
or
figures
in
the
are
the
satisfy
to
desirous
P5J^
^^^r^fiJf
ma-
reliefs
expression
owe
were
their
former
sepulchral
^^^^^^^^_^^^^^^^^^_
and
made
deities
votive
material
reliefs, mythological
and
if
recited
were
the
dividual
in-
discord
apparent
and
sufficed
for
votive
the
more
them
to
and
gods
statues
These
art.
that
hope
the
athletes,
craved
inclined
which
sense
of
Greek
which
civilization
figures
com
327
gratification the
deeper
through
run
of
Figures
"
figures
products
the
much
which
PAINTINGS
ANCIENT
ensemble.
the
first
AND
motifs
precious
and
of
will
line
fundamental
this
SCULPTURE
ating
perpetuFor
this
deceased
gaged
en-
occupations.
first by
Greek
art
in
the
cultivation
of
all
VATICAN
THE
Meleager
branches
these
in
art
its
ran
in
rigidly
of
natural
over
perspective,
without
line
stern
limbs.
In
the
scenes,
in
head
designs,
art
of
parts,
body;
in
shoulders
motions
the
are
the
thorax
conceived
in
to
ments
move-
arbitrary
perspective
of
stone
with
represented
in
eye
which
angular
of the
result
the
developed
are
motion
few
yet
as
art
transference
being
the
profile;
the
struction
recon-
is crushed
perspective
in
at the
in
errors
the
In
the
this
statue
design
the
on
of
which
head
to
similar
gestures,
accompany
advance
and
with
is made
and
is represented
the
had
the
human
in the
it.
body,
rendered
towards
weight
trunk
greater
keen
idealizing
inclines
the
distorted
with
nature
reality by
knowledge
of
rigid
smoother
hips begins
limbs.
ennobled
these
looked
beginning
very
and
the
from
apparent
advanced
bends
move
of the
real,
distorted.
arms
to
in
be
the
correcting
leg
one
the
legs
from
the
Thus,
with
the
of
figures
syrian
As-
or
shows
oblique
or
31)
Egyptian
where
the
and
are
(Fig.
B.C.)
profile.
it gradually
as
it succeeded
lateral
instead
by
country
trunk,
Niobid
Century
fact, Greece
statuary,
reliefs, which
little it may
Greek
observation
And,
in
however
But,
and
the
figures,
shown
in
other
any
of
of their
head
that
nature;
In
of parallel views.
the
of
any
course.
coordination
between
than
greater
whatever
of
(Fourth
independent
the
decorative
not
the
Statue
B.C.)
interpretation
the
disturb
might
Headless
30)
Century
was
superiority
no
and
(Fig.
Fourth
(Scopast?],
from
freedom
the
one
of the
the
the
representation
MUSEUM
Carried
Ganymede
(Fourth
Crouching
SCULPTURE
OF
Figure
(Da?dalus[?],
by
up
the
Century
of
Eagle
(Fig.
32)
ANCIENT
(Fig.
Period)
34)
PAINTINGS
Apoxyomenus
(Lysippus,
B.C.)
Aphrodite
Hellenistic
AND
Jupiter
(Bryaxis,
Fourth
Serapis
Hellenistic
(Fig.
33)
Century
(Fig.
329
35)
Period)
B.C.)
VATICAN
THE
330
of
which
draperies,
the
the
smothered
body
first
at
like
sheath;
previously fell in
superficial
parallel and
folds, which
the
regular
lines,
diverge,
now
in
trunk
and
position,
natural
to
that
of
eye
into
detached
is
It
easy
itself
for
never
art
elsewhere.
the
abandon
This
Greek
fact.
the
work
preparatory
century
of
archaism
crude
in
period
natural
Of
Roman
few
so
idealizes
output
with
which
works
us,
from
produced
the
period
mature
of the
the
"
this
era
and
excesses,
riod
pe-
distorted
and
part of
is,
that
"
era
it.
"
the
makes
forms.
crude
copy.
of
both
Vatican
in
excavations
era
its statuary
latter
the
and
the
archaism
desired
have
in
in
idealizes
first half
rigid
is
the
and
force
per-
cognizance
and
archaic
the
century
the
it corrects
"
subjects
both
the
familiarized
would
art
reality,
ledge
know-
must
we
take
at least
during
seventh
to
should
we
need
But, if
ever.
to
we
denied
was
should
we
may
we
But
ever.
peculiar psychological
the
for
for
research,
is to say,
that
primitive art;
of crude
such
in
its
art, and
Oriental
which
that
granted
During
archaism
mature
and
the
period,
have
of
all
latter
causes,
Greek
"
the
approaches
of the
Christ.
before
fifth
from
performed
was
half
second
the
between
into
slowly
art
off
obscured
has
inquiry
our
above
occasioned
people;
time
high
truth
which
Greek
plane
36)
(Fig.
Period)
accomplished
gradually
art
was
the
to
causes
things which
art
Antiochia
Hellenistic
to
shut
to Greek
of
(Eutychides,
Greek
which
attain
of the
constitution
of
Personification
nical
tech-
horizon
To
know
of
the
by
why
know
can
to
of
its size.
indicate
means
tirely
en-
action
liberation,
need
some
of
and
ways
opening
the
to
spective,
per-
if
as
space
from
loses
figure,
the
in
previously
had
vacant
the
and
posture;
shown
which
the
to
further
still
the
enormous
gazed
this
Gradually
increasing
naturalness
legs
the
is extended
slight obliquity
limbs,
more
assume
head.
the
to
vertical
between
posture
and
begins
rigidly
its
the
turn,
reliefs
the
from
deviate
its
in
Then,
deepen.
and
curve
The
nothing.
possesses
Greece,
Asia
Minor
figures of which
Vatican
indeed
archaism,
and
and
no
Sicily
intelligent
possesses
even
This
these
very
date
MUSEUM
from
rather
the
of
exception
of
find
art
end
than
the
or
athletic
see
the
first
of
may
The
figure of
few
and
which
in the
soil
of
"
wherein,
peculiarly
it
genres
the
statue
of
and
the
or
to
heroine,
is
genres
the
ment
orna-
to
easy
of Greek
deity, the
relief.
sepulchral
interpretation,
our
or
the
an
not
was
all the
according
of
331
Still,with
period.
were
statue,
above-mentioned
the
this
Rome,
specimens
goddess,
PAINTINGS
therefore
mythic
work
one
of
reliefs, which
of
in these
ANCIENT
beginning
fragments
have
even
the
and
temples
relief, the
we
AND
mythological
represented
votive
we
SCULPTURE
the
specimens
are
And
OF
of
mortal.
represented
three
by
*sm
The
(Alexandrian
of
statues
As
Apollo.
special tendency
us
when
we
statues,
the
copyist
has
from
the
older
and
guilty of
of
skilful
the
glassy paste
been
Roman
to
some
give
of
the
the
inaccuracies
has
Empire.
as
which
be
examined
Of
the
the
of
was
to be
folds
the
living glance.
reconstruction
The
of
The
dates
technical
of
filled with
in
two
(Fig. 1).
following
and
the
tails
de-
chiton
metal
restorer
the
by
other
original which
of the
the
transformed
characterizes
Seated
bronze
hair
been
thus
and
Citharaedus
century,
eyes,
illusion
of the
marble
of the
carving
cavity
art
Apollo
fifth
Period)
these
spirit,it will
religious
into
the
of
Sancus,
Semo
of the
the
translated
Hellenistic
archaic
god,
speak
shows
here
the
the
later
beginning
show:
(tunic)
shall
(Fig. 37)
School,
most
Latin
of
the
Nile
two
or
has
arms
THE
332
with
the
has
with
been
the
the
the
of
nape
neck.
the
of
body
the
The
this work.
his
fall
which
Yet
has,
restorer
in
lightly wrapped
The
Centaur
Marine
(Hellenistic
clines
his
which
he
to
the
must
of the
is
of
slightly
than
also
in
but
it is
the
as
the
century
Vatican
yet unable
left
this
the
face
the
head;
of the
we
Museum.
to breathe
Greek
into
not
and
gracefulness
with
face, and
in
in
the
in-
eyes
sounds
conveys
astonished
the
into
In
original.
is firm;
the
have
nothing
of
music,
studying
the
perceptible
trunk
another
soul.
the
stares
we
of
is
catch
Hardly
the
yet
power
find
it
so
calm.
As
art
to
he
is inert;
other.
shall
the
or
superficial folds,
cavity of
that
was
enrapturing
later,
and
at the
copyist
oval
shoulder
impression
that
the
accords
knot
38)
If the
all is composure
in advance
fury,
a
the
remember
of
his
towards
(Fig.
latter
in
with
and
Period)
his instrument.
figure
inclination
Apollonian
more
from
spectator
we
attitude
foot
slightly
modern
vacancy,
the
head
draws
of
and
fine
with
hair
expressive
his delicate
chiton
the
destroy
can
god, with
young
all the
infidelities
the
even
the
shoulders;
bers
mem-
fortunate
less
footwear,
clumsy
gathered
which
not
the
on
of these
been
however,
in too
enveloped
has
restoration
his
general
in
He
original coiffure,
disfigurements
of
he
of curls
mass
but
lyre,
conceived.
well
feet, which
added
ill with
and
plectrum
VATICAN
which,
figure
the
of
human
is
left
that
little
Apollo,
body,
MUSEUM
Centaur
The
one,
only
into
the
and
this
muscles
its size.
than
In
the
the
left arm,
has
besides
of
rhythm
has
been
in
this
right
the
able
to
with
of
the
fifth
century,
to
make
give
to
melancholy
eyes
and
figure
the
through
mouth.
the
hair
the
showing
god
figure
ever
and
neither
arrow
has
firmness
of
of
of
of
head
created
ing
increas-
tal
detrimenof
elbow,
he
and
ing
reconstruct-
nor
the
work,
Greek
while
and
so
restoration
from
the
of
has
reproduced
the
expression
the
time
completely
when
well
search
re-
copyist
the
less
his
copyist
aims
the
it and
at the
delicate,
more
in
been
Apollo dating
benevolent
inclination
bent
the
two
of
of contrast,
in
he
preceding
smoothness,
has
character
the
the
hands
sake
40)
increased
almost
big
(Fig.
the
by ruffling
work
whole,
original
than
down
the
Leaves
Period)
probably
more
adding
the
the
however,
of figures of
the
the
for
been
case
shoulders
the
to
and
of
in
the
Vine
shows
classical
refine
to
have
any
series
whole
of
squareness
In
lived
restorer's
On
obliterate
linked
the
to
at
with
of
the
arm.
legs.
who
besides,
mass
taste
poor
it also
is mistaken,
ought
which
the
the
He
copyist's.
later
(Fig. 2)
suffered
as
has
instance
shown
of
part
He
with
decades
imbued
quality
shadows
pronounced
copyist,
bones.
and
has
It too
therefore
was
few
body
nude
The
restorer.
Crowned
(Hellenistic
Apollo,
ideal
an
exaggerated
the
Centaur
333
PAINTINGS
ANCIENT
Period)
expression.
and
Hadrian
far
of
AND
39)
Hellenistic
figure
other
is not
(Fig.
Triton
or
Pergamos,
of
(School
SCULPTURE
OF
the
the
restorer
which
is
first half
artists:
first,
retaining
trunk;
and
the
and
a
the
ondly,
sec-
subdued
shape
of
the
VATICAN
THE
with
Silenus
From
the
genre
for
divine
statues
of
does
example,
the
to
Charites
addressed
as
high
were
human
desires.
Hygeia,
the
this
relief
of
of the
Acropolis
Boeotian),
the
ancient
the
great
secondary
and
more
The
belief
in
will
tradition
the
Athens,
never
to
philosopher
was
be
the
That
original
the
work
determined.
who,
that
before
relief,
of
In
an
any
constituting
rather
gods,
inclined
to
satisfy
^Esculapius,
to
Museum
has
in
at the
artist Socrates
this work
educated,
un-
benefits,
lower
Vatican
is shown
of
the
himself
the
the
the
divinities
more
cated
dedi-
vows
of
earthly
that
was
but
this
and
need
(for
that
material
and
of
graceful
willed
humble
original, which
the
effect
body
addressed
Graces.
Whether
of
therefore
thus
celebrated
was
health
prayer
chance,
not
all
is, to
gods
and
young
the
above
especially
and
of
Like
that
"
its statues
which
votive
42)
Period)
solemn
however,
one
votum
and
and
the
(Fig.
to his
among
of
(Fig. 3).
ancient
Greek
duplicates.
the
of
The
copy
only
reliefs
expression
spirit
Greek
possess
accessible,
Nymphs,
the
votive
great
It was,
of Olympus.
gods
more
the
Dionysus
Hellenistic
Lysippus,
Museum
statues
chance.
Graces
to
of
only
Carrying
of
material
Vatican
those
of
desiring
themselves
to the
such,
to
the
Satyr
the
to
pass
gives
but
or
days,
who,
we
the
possess
should
modern
than
gods
That
entirely
Museum
Young
believer
characteristic
particular
41)
(School
Hera),
or
is due
Vatican
more
not
Zeus
(Fig.
the
the
protection.
period
Apollo,
Dionysus
Period)
in which
that
this
Infant
the
(Hellenistic
case
is
we
a
cannot
youthful
himself
the
entrance
(perhaps
accept
creation
gadfly
of
the
a
MUSEUM
OF
Athenians,
sought
of
means
if wise
this
housewife,
was
The
three
could
gracefulness;
heavy
and
three
they
of
they
indeed
the
the
in
the
the
of its form
artist
in such
also
highest
with
that
he
allowed
individual
head
the
the
third
side
of
shows
that
and
of
the
artist
has
the
three
simple
Byzantine
in
and
sweetness
the
icon
nesian
School,
effects
and
to
"
and
which,
in
that
figures
Grace,
its
in
the
who
displaying
liberate
work
Greek
to
make
of
art
the
an
from
body,
design,
of
for
the
the
its archaic
two
one
spectator
of
who
the
the
central
posed
supIn
and
dynamic
quite
ures,
fig-
of
in perspective;
spectator.
the
the
established
of
heaviness
artist
Besides,
positions
figures,
Though
all
each
variety
side
seems
nimbus.
is the
the
two
with
second
real
the
conveying
even
in
the
in
while
benefit
is, for
render
spectator,
group,
the
the
been
the
to
the
for
the
have
ing
cloth-
folds.
in
it
does
of the
its greater
the
varying
once,
of
in
superficial
this relief
strove
at
succeeded
displays
by
relation
their
relief
central
grace,
Thus,
is made
the
the
coordinated
43)
and
"
all to
of
contained
been
movement
movement
and
relief
distortions
forms
above
courses
high
(Fig.
Period)
heaviness
first is foreshortened;
and
the
of
various
have
profile.
the
heavy
the
and
drapery
of
the
through
even
the
antico
rosso
bodily
to
differentiated
figures
in
(Hellenistic
attention
pay
body
The
indicate
of
is
to
appear
the
Faun
technique.
fidelity the
out
functions
which
in
be
to
opinion,
of
been
in
no
value
trunk.
the
figures
has
technique
of
have
and
slow
expression
they
the
parts
motion
in
correction
which
dance,
work
tries
possible
the
round
of
tries to vary
help of
the
of
its
only
way
but
"
the
rigidity
great
and
not
to
part
if
for
bersome
cum-
nothing
that, instead
figures, it is of
The
The
add
But,
of
appearance
and
attraction
relief
models
taking
are
view
this
as
engaged
parade.
opher
philos-
have
legs suggests
being
the
in
spinsters.
grace,
their
the
taken
gowns
their
for
child.
stiff
aged
335
PAINTINGS
between
when
Graces
be
not
ANCIENT
excitable,
Xanthippe;
B.C.,
still
AND
sculpture
the
executed
was
460
and
in
placating
work
480
SCULPTURE
our
static
hair-dressing,
but
is elaborate
display
devoid
of
could
the
of
of
it
as
Attic
Peloponcoordinate
uniformitv.
Maenad
(Fig.
(Hellenistic
the
athletic
thoughts
inevitably
in
ruse
her
the
defeat.
from
This
of
heroine,
the
attached
to
it
Olympia
has
led
and
worn
who
in
at
the
to
is
of the
other
that
peculiar
the
But
does
the
the
and
this
to represent
girls' races
worn
wears
which
all their
heroic
no
might
grace
and
the
be
ner.
win-
of
races
attributed
vigor
the
girl
chiton
short
would
reached
(for example,
maid
at
of Hera
some
idea
very
torical
his-
held
of
the
ing
mean-
were
statue
such
tories
vic-
true
feast
in
figures
the
of the
with
mortal
such
while
other
the
a
graved
en-
of
arbitrary
some
that
statue
and
of
occasion
chiton
palm
copyist; and,
appreciate
honorary
Ata-
"
through
The
not
harmonize
not
modification
in
the
the
this
divine
fact
on
was
short
whereas
Amazons),
public.
desired
to
this
merely
did
The
cities
the
girl, our
contradiction
in
of
and
excellence
bride.-
of
one
singular
most
graceful
reminiscent
be
may
contain
statue.
ancient
Olympia:
knees,
an
palm
not
outdistanced
his
seems
45)
athletic
an
par
who,
addition
copyist, who
detail, however,
competitor
almost
the
to suggest
some
One
which
in
and
her
is
also
it may
by
significance
the
heroine
became
the
and
slim
Meleager,
beside
view
of
this
Hippomenes,
but
both
perhaps
athletic
the
and
however,
stump,
(Fig.
Period)
possesses,
athletes,
is
view
we
tree-stump
point
one
work
to
Peleus
with
race
on
turn
of
rival
the
lante,
as
Museum
of
statues
This
figures.
Vatican
the
ordinary
figure, because,
mythic
Niobid
(Hellenistic
(Fig. 4)
and
numerous
all
Fugitive
44)
Period)
Runner
its Girl
In
of
VATICAN
THE
336
mis
Artehave
ever
to the
agile
artist,
limbs
of
MUSEUM
the
OF
winner.
the
Evidently,
posture
of
the
to
that
corresponds
that
granted
Even
be
closer
the
of
the
the
should
than
body
which
purpose
lower
and
position
rather
the
of
the
not
because
the
of
the
air,
"
to
and
she
ground,
been
the
the
Neither
the
for
looked
with
foot
one
have
We
situation
by
Marsyas
"
There
Girl
Runner,
Some
of the
example,
the
air, she
that
the
viewing
are
hair
in
elements,
and
have
the
the
Myronian
general
however,
the
the
his which
ground
some
especially
to
folds
too
of
of
ground.
would
centrating
con-
have
the
figure,
back
drawing
knees.
the
at
of unstable
of
deals
with
rium.
equilib-
movement,
a
flute
traits in the
and
archaic
be
were
in
artist
double
the
alone
would
as
conformation
seem
the
down,
arms
example
an
well
may
she
example,
the
on
employed
head
forward
bent
of
work
on
its
offers
the
instead
body;
immediately
one
certainly
especially
other
would
her
upon
of
her
librium
equi-
explanation
looking
extending
nearer
turn
to
of
free
was
object
halts
gazes
poise
lating
trans-
unstable
some
an
If, for
the
figure
the
thus
girl
the
girl, instead
of
by
which
Such
the
nor
of
foot
crafty Hippomenes
hand.
which
instead
particularly
Athena.
her
arms
them
thoughts
and
Myron,
in
the
right
moment
object
circumstances.
start, the
drawn
stated
Our
the
different
the
surprised
which
Period)
figure stability in
original
at
this
win
and
of
the
when,
fixity with
the
have
In
And
the
give
represented
apples
speed
the
could
moment
straight ahead;
would
she
girl was
motion
justified under
thus
to marble.
golden
for
(Hellenistic
addition
an
running.
her
account
neath
under-
only
is, at
stops
overcome
can
is
of
act
starting,
block
bronze
that
gests
sug-
girl is
the
of
act
who
copyist,
in the
have
the
in
little
it from
with
on
the
artist
right foot
her
express
which
head,
in
running,
held
their
well
Again,
by
be
concentrated
ground.
caught
for
race,
to
accords
attention
the
extended;
so
and
poise
the
ance
to bal-
as
they should
seems
surprise,
should),
such
during
not
as
restoration
is not
body
better
Atalante.
arms
modern
position
337
PAINTINGS
ANCIENT
however,
AND
figure
the
to
in
shown
SCULPTURE
for
similar
cast
face
in
away
of the
the
Myron
chiton, which,
eyes.
"
for
con-
THE
338
fined
by
with
archaic.
works
Myron's
(that
But
belongs.
Attic
the
if it is not
even
in
School
the
Ariadne
(Fig.
delicate
of
treatment
contains
no
to
of
trace
by
us
the
the
the
nude
"
of
greater
of
period
its
be
garded
re-
part
of
mature
period
certainly
of
descends
must
chaism
ar-
statue
our
be
attributed
and
proportions
its
47)
Period)
particularly
Peloponnesian
contest
the
which
to
elegance
(Hellenistic
that
it must
by Myron,
of
view
460),
and
480
figure
the
latest
the
during
executed
were
is, between
that
it is true
hand,
other
breast,
uncovered
partly
undulating
and
the
On
the
under
superficial
so
as
to
sash
pectoral
folds
VATICAN
of
the
style, which,
and
Olympia
the
lower
limbs.
however,
Doric
It
is suggested
spirit of
such
custom.
Even
in the
in
a
torso,
are
the
of
since
This
in
though
work
interpretation
of another
is the
Penelope
relief.
thus
while
ancient,
consists
so-called
which
other
It should
restorations,
statue,
our
original, of
also
but
this
is
Museum.
celebrated
statuary
hand
to
Vatican
of
copy
uncertain
more
the
does
not
belong
altogether
the
head
youthful
in
(Fig. 5)
to
be
regarded
left foot,
which
the
figure.
its posture.
In
not
as
poor
only
simply
the
and
has
statue
"
exist,
duplicates
properly
right leg,
singular
right
been
added
The
tion
attrac-
so
far
as
its
MUSEUM
simply
the
of
scheme
statuary
relief, which
his
for
As
various
thoughts
in
as
other
the
beneath
the
basket,
statue
as
seated
before
her
interminable
the
shroud
for
for
with
well
Persephone,
image
or
placed
certainly
statue
reveals
the
Though
(mantle)
the
figure
the
technical
body,
position
sobriety
expressed,
and
style, helps
us
In
far
so
closes
with
(Fig. 6).
the
Attic
as
the
and
of gesture
this
to
legs,
of the
surprise
with
sobriety, coupled
Vatican
sepulchral
This
is not
School
of
the
in
this
Museum
stele
Boman
middle
the
but
copy,
of
the
fifth
Greek
the
original,
b.c.
With
were
of
period
his
Slave
belonging
The
in
art.
archaic
and
of
trunk,
soul.
of Attic
Gymnast
century
the
characteristics
product
Young
left, is
of Atalante
halt
is concerned,
of
ders,
shoul-
the
the
of the
certain
also
work
himation
on
of
and
of
expression.
over
state
sudden
and
end
by the expression
head
interior
at the
the
fall
which
unaided
the
and
this
art, and
Greek
into
is crossed
wifely
house-
her
mortal,
rely
chiton
curls
even
or
could
this
life.
earthly
research
the
the
are
bending
the
the
recognize
the
of
daughter
through
spirit of
its
her
passer-by
goddess,
this art
in
figure,
the
equal
heroine,
her
folds
also
the
of the
for
B.C.)
as
the
But
the
longing
a
the
of the
position
to
resources
(470-450
greater
convey
equally
agree
of
who,
woman
commemorative
the
personifies
unnatural.
stiff and
of
basket
loss
mortal
any
would
the
the
mourning
regretful
still artificial,
are
and
her
period
given
Demeter
grave,
and
posture
48)
Period)
(Hellenistic
the
of
(Fig.
Menelaus
of
But
her
few
how
on
archaic
text
pre-
advances
that
it be
whether
her
of
and
at
weaving
"
with
on
industry
But
of
figure
the
pensive
loom
suitors.
importunate
her
is
diately
imme-
the
on
which
Laertes
rejecting
ure
fig-
but
the
task
and
the
was
identified
Penelope
grave
grief;
rock,
be
figure
on
in
on
ture,
pos-
might
duplicates
not
(chair)
sedile
this
is the
buried
or
tween
be-
spectator.
of
statue
is seated,
a
the
concentrated
woman
sculptor
hypotheses
The
offered.
of
the
significance
the
in
relations
and
figure
into
conceived
definite
339
ture
pos-
translation
allowed
establish
to
PAINTINGS
ANCIENT
AND
this
concerned,
is
technique
is
SCULPTURE
OF
study
to
of
340
which
expression
accentuated,
The
who
slave
tenders
for
(scraper)
of
with
the
use
had
has
but
while
head,
the
And,
bas-relief;
and
which
eye,
and
surprise
the
rendered
of
the
legs.
human
such
simply
it modifies
the
the
part of
at least
be
referred
of
genius,
to
The
as
to
The
tree-trunk,
muscular
of
in
copyist
and
reliefs
of
has
the
and
smoothened
been
the
the
greatly
in
century
of
the
the
Amid
Polycletus
Uplifted
or
of
nurtured,
were
and
cessfully
suc-
arms,
relief.
the
on
raised
Greek
of
movement,
of
had
little
made
almost
the
rendering
and
Phidias
poor
restorer
as
of
decades
three
these
figure
has
art
superficiality
statuary
fifth
halt
must
wings
art
to
divine
the
nity
dig-
athlete.
of the
body
the
have
few
reproduction
the
earliest
has
possesses
copyist
the
archaism.
mature
within
undraped
render
of
activity of Myron,
Museum
if the
endeavors
both
in
and
figures.
melancholy
archaic
the
head
sudden
the
head,
the
and
the
and
change.
ex-
technique
thorax,
of
in
larities
irregu-
gymnast's
Penelope,
in
the
to the
faces
the
The
figures
slave's
these
"
clines
in-
exist
not
the
surprise
ability
posture
artists
the
the
of
increased
rigidity
period
Slave
movement
in
of
sorrow
his
of
tor
sculp-
master.
do
of the
size
the
gymnast
forget
we
ter
mas-
if death
as
his
partly
The
"
the
sculptors
Vatican
Myron
by
great
the
perfection
of the
and
looks
these
of
pinnacle
the
Art.
and
displays
developments
since
perspective
and
it corrects
body;
drapery;
expression,
attributed
be
to
never
The
heads
has
beloved
grief,
which
to be
Greek
of
Gymnast
It also
two
looks
foreshortening
of
towards
the
in
Period
his
the
disproportionate
concentration
silent
disposal.
such
is still almost
the
Atalante,
in
unsuccessful
Classical
The
are
the
forget
we
the
arms,
the
with
which
bodies,
from
spring
confronted
of the
of
but
forms,
physical
raises
perceive
we
this
This
him
towards
his
at
means
little slave
the
looks
his
tude
atti-
the
is suffused
return.
to
strigil
is in
face
now
little
the
it is
tender
Yet, to express
which
sadness
and
wonder
he
in
but
slave
young
technical
few
very
the
them.
separated
wonderingly
strigil,and
the
and
stares
his
of his
the
and
the
sent
repre-
flower
there
but
gymnast
to
left hand
eloquence
daily occupations,
will
the
(oil flask)
What
of
purpose
in
his
salutes,
slave
their
again
Never
already
the
of
ariballus
the
the
and
one
repeated.
The
with
is here
namely,
"
died
has
who
works
the
and
sculptor
ariballus
the
palaestra.
figures!
two
been
the
the
salutes
and
at
him
to
in
melancholy,
indeed
looks
gymnast
of
gymnast
preceding
two
subject
the
intention
the
the
in
of
clearness
the
daily occupation
at his
youth.
noticed
have
we
and
distinctly reveal
stele
of
VATICAN
THE
the
sculptors.
vied
athletic
figure
body
of
copy
so
diminished.
with
and
Discobolus
The
work
each
indeed
other
in
impressive
as
lean
against
much
that
Besides
their
sible.
pos-
immense
an
the
of
bone
adding
the
and
left
MUSEUM
OF
SCULPTURE
The
(Agesander,
Polydorus
ANCIENT
AND
Laocoon
and
(Fig.
Athenodorus,
PAINTINGS
49)
Hellenistic
Period)
341
342
right leg,
and
arm
head,
but
it the
rest
has
of
the
he
had
over
From
and
the
standpoint
of
naturalness
of
point
first
view,
with
Vatican
the
As
to this
references
of
the
Of
and
first
as
Doryphorus
the
be
acterized
char-
destroying
at
the
When
great
pared
com-
in
progress
decades.
that
from
his
conveyed
school,
of
speak
we
with
can
is here
greatness
while
must
works
coming
our
works
the
Polycletus
the
innovation
him
of the
at
all
of
works
whole
is confined
is well
the
of
making
these
making
contains
Doryphorus
the
for
criticism
of
to
conceived.
certain
the
figures
The
and
arm
contrast
and
copy
defects
in
and
to
the
the
the
ideal
latter
and
his
square
of
in
the
sees
nasium."
gym-
attributing
stand
on
uniform.
which
are
Vatican
elements,
the
movement
to
one
The
teristic
charac-
is not
left forearm,
violent
the
former
the
the
and
while
figures
those
felt for
battle-field
sturdy
the
artist
theoretically
Quintilian;
insignificant
right
In
the
for
antiquity,
excellences
Polycletus.
from
and
Pliny
fit for
rule
admiration
(viriliter puerum),
"equally
artistic
traditional
by
youthfulness"
the
the
of
copies only
determined
already
The
shared
the
practically
our
works
and
Diadumenus
has
had
"Canon."
But
foot, blamed
he
the
in
that
of three
copies
possess
Museum
established
which
youth
we
Vatican
doubt
beyond
Doryphorus,
Doryphorus
fully
was
its "virile
statue
the
nude,
the
called
antiquity
"
three
the
In
athletic
his writing
the
his
established
the
master
proportions
admires
from
these
last.
robust
bodily
of
and
postponed
has
research
Argive
great
Amazon.
in
be
few
copies of
sculptures
may
inheritance
sculptural
the
within
any
Phidias,
Myron
than
motive
decorative
the
what
nical
tech-
innovator
excellence.
par
shows
the
the
statuary
aimed
he
ground.
from
an
by
it
Polycletus.
Archaeological
of
art
made
possess
through
artist
stable
art
not
to
rather
visitor
the
does
attributed
be
certainty
to
Greek
movement
for
Discobolus
the
Atalante,
the
expressing
is the
which
stability of statuary,
of
body
concerning
among
work
of audacity,
stroke
distinct
as
this
of
into
found
the
graze
statue
is less
better
his
direct
and
said
the
Myron
Nevertheless,
relief.
the
might
already
was
be
introduced
only
form,
of which
viewing
that
say
has
swing
arm
pausing
obtain
bending
ground,
the
toes
much
posture;
may
the
on
of
To
with
right
athlete's
moment
discus.
follow
to
athletics,
he
distorted
of
designs
we
since
appears,
in
which,
ready
athlete's
the
firmly
the
to hurl
set
was
advancing
and
represented
arm
the
at
modern
down
drag
to
seems
original the
bronze
was
his
right foot
his
it
that
badly
so
the
he
forward
right knee,
raising
head
In
and
back,
the
this
has
only
not
restorer
body.
bringing
swing,
the
applied
drawn
was
before
at
VATICAN
THE
one
tion
restoraand
on
of
agile Discobolus,
the
the
it of
limbs
Equal
of
one
which
already
seen
similarly placid
elbow
it rests
as
The
right.
trunk;
the
on
the
the
javelin
the
of
but
his
his
passes,
body
is
thought
this
is
figure,
what
of
has
whose
of
fas-
taste
can
of
escape.
the
and
contour
The
in still water.
reflection
violent
the
simply
and
the
eyes,
acknowledge
calm
head,
one
robust.
and
not
the
the
as
of
the
And
outline
the
win
to
of
But
of
of
art
advance
in
of
careful
success
the
with
is
body,
the
of the
the
we
face,
body
view
the
regular
which
restful
as
artist
all of
smooth
efforts
recourse
have
be
the
soul,
equally
of
large
the hair,
been
has
of the
dimensions
of
as
the
the
he
must
forehead,
arrangement
his
no
reason
condition
ample
of
to create
have
which
son
pereye
light lines
this
For
no
the
to
wished
need
internal
the
the
this
in
cination
which
appreciation.
parts of
and
so)
that, in refining
the
body
made
Period)
robustness
mirror
when
(Fig.
Heiienuuc
feel
physical
movement
firm
Belvedere
Doryphorus
We
planes
conscious
as
del
Torso
"Apoiioniu.[?].
the
due
| human
the
art
work,
great
full,
Behind
student
study
head,
The
amination
Greek
calm
and
ex-
the
treated
little
inert
the
find
image
find
this
closer
will
of
will
great
to
mand
de-
result
movements.
this
who
emotions,
his
calmness
lateral
quadrireminds
empty.
no
of
the
phorus
is
and
and
ure.
Doryhead
forehead
on
j^
fig-
unemotional
the
this
the
v4J
most
body,
lent
poses,
clined
in-
is felt
scends
Those
left
shoulder.
supports
And
in
the
slightly
the
partly
case
it in
movement
vio-
significance
the
is
pilaster.
are
the
of
the
on
which
of
lower
of
body
art
in
art
movement
head,
effect
the
instances
solid
acrobatic
oval
Greek
in
figure,
to relieve
of
de-
of
but
first time
movement
ascends.
loin
to
slight
inert
little aside
^^^^^^^^^^^^^^^^^^^_
shoulder
we
it
of
weight
the
the
have
powerful
draws
this
for
the
the
superficially by
but
and
characterize
towards
faces
and
the
at
firmness
and
calm
Doryphorus
To
corresponds
"
bends
which
the
knee
body.
appears
now
figures
moving
arm,
leg
at the
figures, although
static
of
in
see
343
PAINTINGS
ANCIENT
AND
we
the
of
weight
which
"
left
the
bends
which
of
SCULPTURE
OF
MUSEUM
we
crowned.
the
and
must
THE
344
Fisherman
(Fig.
(Hellenistic
After
human
for
body.
sole
the
title of
who
be
may
Doryphorus
soldier.
An
anecdote
told
Ephesus,
Phidias,
with
works,
the
the
in
Argive
sculptor
second
third
placed
was
copies
Roman
numerous
half
of
is headless.
applied
the
first
the
fifth
It is
head
second
three
century
one
type
to
for
his
his
three
two
of
these
body
own
zons
Ama-
Polycletus,
in
petition
com-
judgment
palm
on
cletus,
Poly-
to
own
rivals.
We
are
to
entire, while
times,
another,
of
possess
belonging
in ancient
of
the
of
them
the
types
even
figure
their
of
to pass
Amazon
the
of
statues
surrendered
in
however,
made
of
B.C.;
believe,
four
invited
by
opinion that,
our
of
place
were
the
works
artists
the
herein
erected
was
Romans,
with
the
artist
suggested
to honor
anticipation
statues
that
unwittingly
all claimed
the
Greek
that, when
and
others
three
for, while
eyes
these
Phradmon;
another;
of
is
as
statue
to-day
some
connection
in
that
as
the
than
else
states
one
In
Pliny
by
and
Cresilas
finally,
or
by
the
and
wished
this
whom
to
of
expression
created
Polycletus
of
Doryphorus
athletes,
(or "Type")
and
god.
nothing
was
ideal
the
of
ideal
been
for
model
that
be
really lived,
the
have
may
a
as
"Canon"
the
as
It may
image
the
at
serving
enclosure;
sacred
some
it
Doryphorus.
athlete
an
of
purpose
describing
his
by
figure
glorious
the
why
Roman
settled
the
to
This
understand
well
can
we
appeared
Polycletus
51)
Period)
inquiry
this
VATICAN
the
because
the
the
ists
copy-
only
MUSEUM
OF
Semo
Sancus
(Graeco-Roman
thus
can
three
of
both
which
affinities
were
the
of
figures
to
of
subject
the
view
affinities
of
do
not
in
the
traditional
have
type
(Fig.
54)
of
and
type,
one
fact,
in
had
they
between
done.
the
contradict
successive
the
a
associated
story
with
while
the
of
the
contest,
traditional
Temple
of
figures
temperate
to
approach
one
suggest
type.
Artemis
lem.
prob-
same
the
since
three
the
the
three
quainted
ac-
modern
our
from
might
works
of
preexisting
to
the
acquainted
ashamed
and
the
already
with
was
Amazons
three
examination
in
that
in
denying
not
attempted
Thus,
three
the
was
were
consisted
artist
great
one
accordance
repeatedly
No
the
the
in
only
find
for
that
we
superficial
original
reason
if
and
posture
it, may
the
by his predecessors,
followed
was
In
in
originality
as
holding
art, however,
figures being
necessarily
may
had
after
might,
after
regard
preceded
for
other.
types.
as
of
artists
we
who
conception
Amazon
and
the
ancient
treated
standpoint
the
Pliny,
traditional
already
same
of
both
has
of
types
anecdote
single artist
of
what
attribute
criticism,
a
345
Period)
affinities
art, and
from
of the
the work
similar
modern
three
Pliny's
Originality
variation
a
and
the
anecdote
canons
Lanuvina
heads
numerous
undeniable
successively by
with
with
find
hold
absolutely
of
Sospes
(Graeco-Roman
we
who
between
made
PAINTINGS
Juno
a.d.)
have
ancient
authenticity
ANCIENT
53)
130-180
types
differs
AND
body.
Persons
costume.
case
the
only
These
(Fig.
Period,
explain why
we
another
SCULPTURE
take
up
it from
point
the
of
sibility
pos-
artists, they
all the
petitors
com-
That
such
at
Ephesus
all the
be
may
the
so
so,
Pliny
the
mon,
of
an
bronzist
sister
of
and
in
body
and
the
has
here
the
the
touch
pain
wound,
raises
of
artists.
all
ures
fig-
his
three
extant
confronted
by
with
eyes
the
to
defeated
with
"
failure.
well
indeed
a
breathes
How
lower
the
the
resembles
limbs
(which,
towards
all these
drawing
wound
the
on
the
details
the
aside
edge
her
underneath
compassion,
expects
to
seems
suiting
well
say:
a
"See,
feeble
appeal
the
is the
is here
to
rested
in
mute
has
This
not
in
even
has
met
posure
com-
defeat,
supreme
posure
com-
her
chiton,
for, unless
wounded
woman,
her
to Cresilas
in
the
position
reversed),
in
the
inclination
the
of
raising
the
right
knows
language
I am!"
characterize
hand
on
to
the
that
of
Such
right
of
arm;
less dignified.
impression
showed
She
the
attributed
Polycletus
an
convey
with
right breast.
mortal
pity.
head,
virgin
this
not
give
sorrow!
In
ical
phys-
bent
feminism
who,
Amazon
of
right shoulder,
how
The
indomitable
is this
not
movement
lips, also
Ancient
our
Amazon
however,
of
The
of
Doryphorus.
hand,
the
does
expressive,
dolor.
parted
virgin
to
is
figure
contained
strong
other
figure
the
original
by
the
to
the
man!
utilized
are
The
of mental
spirit.
should
wounded
chiton
this
ever,
howwhich
arm,
characteristic
that
leg
restorer
has,
been
armless
forgetting
the
and
spirit of
She
head
the
befits
and
different,
(Fig. 10)
of
the
the
left
left, which
has
movement
looks,
the
He
right
the
light
head,
especially
calm
woman
her
wound.
defeated
how
But
to be
deigns
to her
suffering
and
of
the
woman
young
but
original.
of
and
although
wandering
the
of
that
restorations,
of
head,
her
It is true
restoration
The
arm
physical pain,
utterance
been
her
of
the
his
conformation
general
are
instinctive
the
but
large
she
tant,
ex-
Phrad-
four
the
here
are
of
making
of
are
limbs.
posture
the
edges
wider
opens
alone
in
and,
the
down,
pillar.
with
in
lower
the
nearer
a
on
she
knee
fortunate
right breast;
the
the
divined
been
rested
near
and
We
(Fig. 9)
three
of the
which
"
artistic
Inasmuch
is that
for
the
details
an
only
one
capable
determine
both
of
the
from
less
have
have
In
of
missing
least
the
reveals
when
that
see
in
attributes.
censured
was
to him
rhythm
correctly
should
but
the
and
Polycletus
mental
duplicates
that
immediately
Doryphorus,
the
right,
been
the
and
figures
there
And,
shall
we
that
us
refuge.
is visible
three
and
bodily
tells
full
the
the
known
least
attributed
be
its
hypothesis
can
we
of
myth
statues,
ensemble
Amazons,
the
"
that
uniform,
must
of
different
the
in
each
four
obvious
Remembering
types
that
expressive
speaks
it is
the
wanting
is
indeed,
individuality
as
of
the
found
Amazons
examination
originality which
much
wounded
and
the
to
since
readily admitted,
more
vanquished
turn
we
of
VATICAN
THE
346
she
forms
spear,
spectator
the
is observed,
deceives
sentiments,
ill the
and,
woman
us,
while
war-
MUSEUM
The
rior.
With
being
therefore
Her
body
her
neck
with
its
is undoubtedly
form,
her
of
Cresilas
other
is less
hampered
more
and
types
virile
by
the
below
falls
rectilinear
lower
The
Sacrifice
edge
of
Mithra
these
draperies
offer
in
head
of
victory
detailed
this
Vatican
restorer,
act
of
the
adding
taking
the
her
arms
bow
of
solid
we
and
appreciate
well
and
be
by
made
most
we
from
parts of
her
soft
whose
terminate
below
why
in
even
the
shoulder
in the
case
tiquity
an-
of the third
critics to Phidias,
its original
is borrowed
from
is her
When
Polycletus.
to
cannot
and
rigid
folds!
Polycletus,
nude
yielded
is referred
head
which
(Fig. 55)
Amazon
line,
comparison
parallel
how
zon.
Ama-
an
(cloak)
and
the
on
Period)
to the
was
is missing,
type
copy
in
the
contrast
the
with
undulating
palm
similar
Amazon
in
fine
so
harmonious
the
the
details
is less
is, she
of
extent
But,
himation
knees;
and
to the
even
Amazon.
that
"
long
her
(Graeco-Roman
compare
copied,
pain.
ideally pathetic,
more
of
of
expressive
more
is also
head
frequently
more
bodies
of
is
surrounds
chiton
been
the
to
Amazon
the
of
347
PAINTINGS
ANCIENT
AND
Cresilas
delicacy
applied
whole,
of
Amazon
higher
it has
and
SCULPTURE
OF
the
uncertain.
posture
Cresilas
legs, has
and
since
type,
and
represented
surrendering
the
In
the
her
her-
348
VATICAN
THE
Isiac
Procession
(Pig. 56)
(Grseco-Roman
self
defeated
and
lean
with
less doubtful
no
her
horseback.
hands
two
It is far
her
on
this
uncertainty,
shown
in
in
drapery,
the
falls
the
in
the
the
we
has
been
works
Pericles
genius
on
comitial
(Fig. 12).
that
"
famous
can
we
Pericles,
great
epoch
called
either
of the
see
of
the
him
history.
this
leave
in
the
works
of
copy
the
the
Certainly
or
few
represented
peculiar elongated
matter
the
tion
literary tradi-
to
of these
Through
"squill-shaped."
in
to
three
than
womanly
according
is
the
Polycletus.
possesses
Athenian
allowed
less
to
nearest
knowing
of
is
forms,
bodily
successful
that
Museum
which
office
helmet
comedist
flattered
The
the
even
duplicates
numerous
than
especially conspicuous
approaches
is
of
Here
torso.
least
She
than
view
In
the
without
Vatican
The
this is the
expression.
lucky
were
that
less virile
and
few,
preserved.
(general)
and
Cresilas,
folds, and
hands
two
elegance
excessively
Nevertheless,
declare
attitude
masking
is
her
to
greater
this elegance
vivacious
most
Parthenon.
safely
of
Cresilas
and
of
proportions
though
limited
on
wounded
was
with
bitrary,
ar-
Amazon
spring
to
too
behind.
lamely
be
the
prepares
figure
is
however,
makes
by leaning
must
figures;
which,
the
in
Amazon
been
two
may
Amazons
his
admire
other
finest
of
style
head
our
this
left foot
her
examination
certainly
must
we
body
which
she
as
that
probable
dragging
that
spear
her
restoration,
to be
her
on
sustained
while
spear,
Such
seems
more
and
of
adversaries.
her
to
Period)
as
the
features
portrait
strategus
of
impress
of
eyes
skull
his
have
the
which
artist
of
his
his
high
an
has
face
cient
an-
not
"
MUSEUM
the
in
particularly
he
accentuated
the
upper
This
lurk.
deep preoccupations
has
Cresilas
given us
phorus!
without
it is not
gratitude
certain
of
Procession
Sacrificers
would
otherwise
the
have
of
shadows
antiquity
Pericles, which
has
Myron
of
the
body;
alone
Phidiac
School
but
divine
ideal.
Artemis
of
the
Braccio
Of
gives
all
(Fig. 13).
arms
are
have
the
the
what
57)
we
from
reemerging
see
and
dignity
words
own
in
the
the
of
nobility
of
panegyric
four
is the
of
the
the
of
works
which
perfect expression
This
figure might
restorations,
and
be
and
consequently
the
four
ears
the
figures,
the
embody
second
is the
is the
Caryatid
ancient
dignity
identified
but
From
of
of Athena.
from
matronal
ness
robust-
portrait;
different
the
statue
inherit
the
gods.
all
third
the
gigantic
also
the
Rotonda;
the
we
of
of
the
representing
Candelabra;
is the
of
power
drapery;
Demeter
the
and
dignity
statues,
and
fourth
Polycletus,
movement;
strength
composure
glorious
a
his
render
to
come
Gallery
Nuovo;
such
that
ever,
of
audacity
us
able
their
One
the
in
of
sense
centuries
Period)
goodness,
Cresilas, the
was
in
similar
for
(Fig.
man,
states-
by Thucydides.
taught
Phidias
the
mirrored
are
recorded
Athens
lost
been
Artemis
to
Grseco-Roman
(Painting,
feel
Dory-
the
and
the
through
preserves
of
emotion
eyes
we
of the
image
grave
historic
those
face
empty
some,
hand-
is not
shadow,
strange
the
all the
349
behind
and
is not
above
art, which
figurative
to
lend
eyelids
if Pericles
But,
brow
thoughtful
that
and
beard.
curly
this
Behind
PAINTINGS
ANCIENT
AND
and
short
is ideal.
to which
SCULPTURE
OF
as
Hera,
as
of
corn
art,
the
for
in
none
Demeter
the
the
two
right
THE
350
folds
along
rests
the
in
this
peplum;
and
parallel
in
bent
at
leg,
knee.
the
the
the
looks
the
from
of
bear
its pure
the
sentiment
her
gods
under
seek
to
us
some
figure.
along
the
youthful
a
its arch
the
are
must
the
comparison
more
in
increased
of
belt
these
of
Phidias,
of
Artemis
head
the
this
a
the
hips,
original they
still further
with
and
figure.
extended
the
the
litheness
third
sented
repre-
of
fatality.
acter
give char-
to
It is not
the
in
longer
The
the
of
ter
Deme-
apoptygma
in
of the
statue
the
arms
along
sober,
more
are
while
the
covers
matronal
the
than
to
in
falls
which
column,
folds
sible
pos-
type,
belong
to
seems
peplum
the
In his
have
determining
rectilinear,
to the
must
channelled
is
make
later
divine.
so
serve
rather
statue
will
(Fig. 14).
in
eyes,
Reverence
goddess
School,
that
is here
figures
of
Huntress
this
litheness
the
them
suggests
In
fullness
the
gives
restoration:
have
sides; the
reveals
peplum
thus
or
Hera.
make
Phidiac
the
Virgin
the
she
the
feel, however,
of
and,
all in
serene
hair.
little variation,
the
and
of the
Greece
firmness
its
planes,
while
pupil
from
right leg
body
at
will
with
from
We
firm
re,
which
lies above
goddess
arch
austere
guidance
Demeter
particularly
of
figu
the
yet delicate
and
again
the
emanating
other
body
such
elements,
it, while
of
beauty
Agoracritus,
manner
of
58)
Period)
"splendid-armed,"
epithet
harmonious
never
same
since
the
the
for
the
of
the
(Fig.
Charioteer
(Graeco-Roman
vine
di-
its firm
with
human,
the
her
one
But
Nemesis
yet
folds
her
inspired by
more
in similar
to
at
to
to Hera.
brow
Rhamnusian
And
folds
remind
and
applies
and
emerging
witness
majestic face,
her
the
breast.
ample
arms,
charms,
Homer
her
coronet
shoulders,
to
physical beauty,
naked
the
But
reveal
not
conceals
peplum
Since
mortals.
may
her
humanity
straight
benevolent
any
towards
goddess
is
carriage
proud
it without
inclination
Doric
impression
which
head,
before
figure
of
stability
by
but
is free
which
The
this
accentuated
which
on
body,
the
the
and
column,
of
of
left
the
has
thus
deep
right leg,
the
the
and
heavy
weight
moulds
goddess
The
falls
gown
are
addition.
modern
is dressed
Demeter)
of
(the symbol
hand
VATICAN
this
ure
fig-
sides, and
body.
the
Phidiac
School,
of
the
give
stability
more
had
which
fill
to
function
bent
on
nearly
that
body
column
curve
given
the
illusion
opment
the
flat
in
join
the
folds
the
ampleness
thus
the
divine
the
increase
bearing
an
But
on
That
in this
a
Here
dominating.
new
her
which
spirit
in
and
that
the
her
face
and
of
really
such
the
breast
is
draped
colpos
head)
Erechtheum.
of
with
breast
almost
towering
wisdom
posture
stability.
(Fig. 16),
was
celebrated
the
but
folds,
her
high
face, which
the
and
that
her
body
Corinthian
seems
expression
of
of
which
over
of
nothing
figure,
of
goddess
sad
appear
and
Athena
delicate
into
recedes
duced
repro-
communicated
has
shows
the
by
the
the
to
ates
accentu-
the
dignified matron,
the
sides
the
(like
original
artist
goddess
overshadowed
part
of
made
from
statue
the
the
fold
architectural
of
is, the
hips. Draping
the
light chiton
even
Period)
is crowned
make
thus
that
prove
himation,
is
own
of
the
effect
been
and
Demeter,
however,
Clad
ample
small
so
occupy
not,
roundness
to the
as
forearm,
the
helmet.
"
general
finally belongs
of
59)
along
of
line
have
body,
the
descend
to
School
virgin.
austere
is thrown
except
alike
This
that
"
original Caryatid
to the
the
this statue,
To
folds
curved
down
the
colpos
fact, while
In
the
and
elbows
cling
duplicates
many
the
belt.
hips.
with
Phidiac
the
one.
the
the
arms
contribute
To
colpos,
of
from
the
of
front, channelled
the
(Fig.
Graeco-Roman
ot
the
over
accordance
they
narrow,
of
Pasiphae
(Painting,
|j
apoptygma
chiton
almost
which
develfolds
the
and
For, while
created
numerous
the
by pulling
in
has
artist
opment
devel-
great
"
below
the
convex
still greater
the
by
ticity
elas-
the
.1
l_
peplum
arms,
(or
hips, and
of
the
to
to
middle),
Caryatid
at the
"
entasis
the
the
has
ing
lend-
conveyed
the
by
firmly
and
strength
was
below
leg of
possible
as
same
which
not
of
Desirous
ground.
as
an
has
left
the
it still rests
knee,
at the
the
support
of the
weight
figure,
the
artist
relieved
completely
To
architectural
an
the
351
15),
art.
to
is, to
(that
entablature),
the
Greek
in
PAINTINGS
ANCIENT
significance
is the
great
drapery
AND
(Fig.
Caryatid
the
how
shows
SCULPTURE
OF
MUSEUM
war,
to
is
centrated
con-
thoughts.
animates
all Greek
art
at
this
period
is shown
also
THE
352
by
this
figure of
athletic
an
scrutinizes
the
Myron;
free
rhythm
posture,
the
with
Nozze
about
mind.
trained
the
Boeotian
fifth
may
Noble
the
which
have
Art
gods
in
dignity
their
therefore
dignity
human
more
Even
grew
the
fourth
of
century,
of
remote
in
works
more
Phidias.
the
its
ond
sec-
of
Horseman
he
wished
should
and
be
ideal
is
spirited head,
both
In
figures
we
of
men
of
such
"
the
fifth
real, and
this
of
figures
the
are
the
in
the
fourth
to
masters,
spirit proved
of
qualities
But
and
men,
art
its chief
the
century.
from
The
in
Nobility
men
time
in
century
make
the
especially
deities.
Hera
bears
"
of
reality.
the
men
of
its master.
remote
grew
from
of
noble
and
test,
con-
have
Parthenon.
figures
artists
great
of
is
the
also
evidently
less
which
fragment
posterity,
not
in
art
man
to
Century.
the
nobility
and
the
the
figure
the
bearded
of
touch
so
Discobolus
throughout
in
also
But
but
must
of
art
seen
the
we
Fourth
in
the
figures
Barberini
the
the
their
be
bequeathed
neck,
at
us
body;
influence
diversion.
Cavalcade
endeavored,
productive
the
the
characterize
these
he
ample
during
and
gods
which
gods
of
echo
an
its
proudly
tosses
Greek
the
with
horse,
which
and
examina-
that, to win
Greek
dignified, this
favorite
his
at
his
will,
you
which
warn
original showing
an
"
and
image
represented
this
relief
funeral
in
century
elegant
so
of
emptiness
makes
if
action
the
recognize
once
athlete
trained
the
Period)
to
dominated
the
of
(Fig. 60)
the
seems
possess
we
at
the
exaggerated
spirit of Phidias
(Fig. 18).
that,
to
this
In
of
half
figure
sufficient
it is not
That
The
perform.
to
is
intellectualizes
almost
and
ennobles
which
Graeco-Roman
which
concentration
"
it is from
as
Aldobrandini
(Painting,
tion
swing,
characteristic
nude,
The
the
taking
admirable
most
of
concentration
It is the
before
who,
The
delicate
the
is it the
nor
free.
Discobolus,
(Fig. 17)
ground
is not
figure
VATICAN
no
affinity to
the
belongs
to
austere
matron
the
first part of
whom
we
Detail
have
in
seen
who
her
be
is human,
in
oval
of
Instead
waist
her
Under
human
also
grace
the
may
the
too
is to
gestion
sug-
found
be
fixed
eyes
her
on
feeling which
is the
confidence
chiton
Here
in
and
heavy
himation
the
the
is uncovered.
And
but
chiton,
fine
dess
god-
in
buried
being
downwards.
countenance,
reverence
by
benevolent
is the
she
Rotonda;
divine.
not
(Fig. 61)
scarcely veiled
her
of
Not
worshippers.
the
portion of which
and
delicate
the
is
body
breast,
Aldobrandini
mortals.
from
only
the
seen
of
towards
upper
added
Nozze
the
Demeter
bends
peplum,
being
the
from
the
inspires.
goddess
with
But
the
remained
It
goddess.
human
and
of
copy
Hera
for
their
shared
a
possesses
Barberini
his
are
we
Praxiteles
only half
way,
make
gods
to
of
(Venus)
Aphrodite
mortal
with
characteristics
for
she
who
of
and
truly
were
Vatican
The
men.
Cnidus
is still
his
Apollo
Sauroctonus.
In
the
in the
position
left arm,
to
have
shoulder:
(Fig. 20),
Aphrodite
of
which
the
he
head,
been
but
the
raised
he
has
too
high;
belongs
somewhat
encased
to
not
the
he
only
another
and
more
the
has
which
right forearm,
raises
which
only
not
lower
too
low,
given
places
has
been
restorer
he
copy,
face
portion
and
more
of
mistaken
and
in
towards
figure
the
tion
posi-
wrong
should
the
in
this
ure
fig-
the
left
with
Detail
mantle
heavy
of
the
she
her.
No
her
natural
fear
head,
which
eyes
is still
graceful
is here
god
forms,
and
and
by
unmasculine
against
the
into
the
her
slight
lacks
thus
water
in
seen
of
tremor
bath,
near
vase
but
yet
naked
her
delicate
the
in
reveals,
dignity,
is
woman,
has
she
the
that
yearning
Aphrodite
divine
sented
repre-
her
goddess,
which
and
pletely
com-
had
conceal
to
is to be
distance,
if she
the
upon
impel
has
to enter
the
on
of Praxiteles,
work
and,
one;
fall
however,
lips, the
the
also
development
with
dignity
his
of
and
god,
of his
but
an
is rather
the
still
coiffure
youth
with
which
beautiful
when
prank
of
knot
which
he
he
certainly
occupation
a
in
curves,
moment
feminine
almost
ends
hips conspicuous,
the
(Fig. 21).
Sauroctonus
Apollo
gentle
With
awaits
Such
arrow.
a
as
is the
large band.
tree-trunk,
of
is that
image
represented
effeminate
is held
lizard
In
ulness
about
was
garment
to
and
Praxiteles
figure.
she
last
62)
charm.
Another
The
her
looks,
look
(Fig.
marble,
the
when
bashf
half-open
modest
of
supposed
was
profane
to
and
Aldobrandini
to resemble
aside
and
mortality.
she
divine
of
seems
transcends
Nozze
moment
laying
look
modesty
body.
humid
the
at
was
profane
No
the
original aspect
goddess
when
and
from
tin, varnished
the
altered
but
VATICAN
THE
354
naughty
rests
can
behind
make
his
left
transfix
accords
children.
the
arm
the
ill with
And,
MUSEUM
SCULPTURE
OF
Detail
though
even
the
at
figure either
the
seek
some
few
the
fascination
neck
are
hidden
melancholy
inspiring
fallen
has
still less
to
Hermes
a
to
is most
Psychopompus
to
Hades.
trunk
makes
"
badly
however,
that
as
if
he
to his
the
of
the
sideward
movement
still fewer
and
forehead
and
as
seems
occupied
pre-
disturbance
his
deed,
in-
Perhaps,
man.
so-called
This
the
the
is
were
with
replica
has
when
an
image
was
the
delicate
such
of
has
vedere
Bel-
statue
changed
ured
disfigfound.
of
in
grace!
It
Hermes
of the
souls
body,
soft
del
somewhat
broken
conducted
but
Antinous
palm-trunk,
restorer
original
who
firm
(Fig. 22),
art!
School.
the
is this
he
heart
refer
god
and
in
the
in this
Praxiteles.
by
boy's
great
legs, which
that
figure,
The
what
which
and
nude
knew
own
we
may
Torso
created
juvenile curls,
wrought
is, of the
beautiful
How
of
the
Erotes
head.
inally
orig-
was
recognizes
lyre.
in
seen
this
of
copyist, by adding
Agonisticus,
probable,
of the
beautiful
wave
of the
god
there
Apollo
longer
no
is also
one
Praxitelic
the
the
by reattaching
the
delicacy
victim
which
Hermes
has
certainty
(Fig. 23)
of
love
as
of
spectator
or
School
this
under
and
he
the
of
the
355
(Fig. 63)
conception
bow
identify
have
statues
of
of the
to
have
With
this
PAINTINGS
ANCIENT
Aldobrandini
Nozze
Praxitelic
Very
work
of
root
god
spirit of the
which
the
from
religious significance,
The
AND
which
But
dead
the
even
THE
356
beautiful
more
which
is
of
the
and
the
jaws
his
firm
the
chin.
in
shares
the
relinquish
and
regret.
If
the
rhythm
of
of
the
and
remind
us
of
Praxiteles
at
the
Praxitelic
cle,
cir-
Hermes
the
limbs
face
the
forehead
the
and
body
lower
Lysippus,
all
above
the
souls
yearning
nude
reminiscent
of
School
he
the
with
life
of
more
seem
of
the
it
fulfils
humanity;
sorrow
who
of
filling
is ful-
god
he
compassionate
with
brows
eye-
planes
The
office, but
by
the
beneath
by
and
forehead,
the
on
furrows
deep
which
voluminous
the
by
curls
shadow
face, and
the
emphasized
mass
the
is
suffuses
VATICAN
Olympia.
^Mi
outside
Even
Head
fourth
the
plethora
of
the
in
bow
but
grasped
bound
laurel
and
they
and
Achseans
their
expiatory
accepts
artist
the
the
Rising
strides,
great
his
But
worshippers,
the
on
his
left, and
bow.
suggest
"
the
god
and
terrible
ire.
in
not
brings
delicate
good,
his
We
half
point
litheness
he
turns
of
stern
parted
cannot
his
his
and
toes,
head,
identify
him
Iliad
the
lently
benevothe
statue
the
that
advances
his
are
forehead
his
can
the
are
with
them
eyes,
certainty
phasized.
em-
faithful
enemies
broad
he
of
aspects
Apollo
His
frowning
with
of
menacing
and
lips indicate
of
two
him
branch.
face
men
is still further
body
before
lustral
tises
chaswhen
later
these
his
his
in front:
the
oval
his
of
but
posture
rendering
of
of
deity
who
first book
the
In
The
on
the
they approach
Chryse,
at
copy,
for
certainly
numen
when
in the
who
god
as
"
branch
show.
vengeance
guilt
outrage
on
them
is
tree-trunk
their
the
are
he
towards
if the
And
that
enemies
whom
the
hecatomb.
the
that
so
nostrils, and
dilated
ire
to
their
almost
on
wreaks
admirably
succeeded
has
numen.
with
is the
This
for
right
is
god
held
hand
his
his divinity
of
them
The
in
He
purifies.
who
repentant.
the
chastises
of
aspects
relieves
but
wrong,
humble
two
traces
as
also
of
god
limited
are
forearm.
right
and
hand,
ribbons,
numen
left
in the
the
and
the
as
This
and
few,
are
Period)
Apollo
have
(Fig. 24).
Belvedere
restorations
hand
his
with
represented
do
left
in
the
The
one.
bow
of
statue
the
to
part
most
is
the
We
gods.
64)
(Fig.
(iracco-Roman
(Mosaic,
human
and
juvenile
excellent
an
created
century
Athena
of
slightly
also
artist
feel
who
OF
MUSEUM
could
in
thus,
of
artist
the
works
the
Vatican
the
The
(Fig. 25).
have
of the
fourth
a
possesses
of
stride
Apollo
does
sounds,
half
forms,
Some
soul.
an
in
quiver
Sarcophagus
but
by
and
chiton,
His
head
is buried
not
are
his
by
small
heart
man.
Citharaedus
Together
encircled
with
bears
him.
His
long
archaic
clear
this
Among
the
a
of
crown
these
looks
were
were
in
for
the
tic
authen-
in
Museum
lyre, which
(Fig.
also
is
65)
of
This
influence
found
several
moment
men,
but
in
less
figure
of
his
are
soothes
than
of
two
the
raptured
en-
eyes
the
turies
cen-
Apollo
Praxiteles.
statues
of
niche.
oval
the
which
in
flowing
a
this
of
music
traversed
images
long
shadow
and
upwards,
the
his
at
purification
the
the
the
but
laurel,
Apollo!
of
musical
Vatican
the
the
under
as
have
we
of
rhythm
Niobids
sways
of
sweetness
evidence
Apollo
the
face
Seated
statue
mantle
large
road
an
Period)
body
towards
feel
we
the
with
the
music.
How
from
his
directed
mouth
of
in
the
of
Slaughter
His
balteus.
is bound
thoughts
and
the
but
one,
Athenian
of whose
one
to
exchanged
(Greeco-Roman
supported
of
century,
another
the
to, not
Leochares,
suggested
357
copy.
been
showing
PAINTINGS
give expression
avenger,
advance
has
ANCIENT
AND
of
language
the
second
with
Not
the
of
states
two
SCULPTURE
of
Melpomene,
Muses
the
who
Muse
358
THE
of
(Fig. 26),
Tragedy
the
of
Muse
the
Though
in
happy
these
Apollo, they
his
power
of
Some
figures
but
has
they
the
In
Thalia
the
the
except
for
some
tragic
the
forearm
restorations.
other
hand,
are,
the
elements,
mask
of
the
comic
mask
the
pedum
Thalia,
arm
forein
left
are
on
statues.
left
and
the
tympan,
Ancient,
rectly
cor-
correspond
ancient
the
of
of the
been
have
sword,
the
part
with
tion.
characteriza-
and
Melpomene
with
of
restorations,
in other
those
in
as
attributes
to
seem
so
evidence
course
divined,
with
figures
precise
of
are
been
not
bear
of the
27).
(Fig.
two
the
Thalia,
and
Comedy
artist
VATICAN
Hercules
in
and,
of
the
vant
serAugustus
and
which
over
the
material
which
The
soft
serious;
with
to the
Moon)
who
Tragedy,
which
lent
that
on
of
folds;
and
descends
majesty
to
dressed.
the
latter
The
face
there
is
in
her
forms
wears
limbs.
to the
from
their
ments.
senti-
high block,
fine
dress
while
chiton,
the
Tragedy
reminding
is
one
energetic
look,
hair
hair
Comedy's
former
the
wondering
refer
on
brow,
tragic mask;
of
Comedy.
Tragedy's
In
the
part
great
different
foot
rock.
on
over
the
both
ivy
left
her
lower
the
entirely apart
Comedy
her
around
New
bodily
rests
sits calmly
deep
in
dant
abun-
furnished
had
the
of
But,
their
in
express
hero
genres
the
at
indicate
crown
literature.
shoulders
elaborately
sister
(Fig. 28).
two
wrapped
pedum
literary
hints
this
especially
Thalia's
and
the
is
and
untinged
not
melancholy.
Full
body,
is
oncus
and
with
heavy
mantle
loose
of
of
the
played
agitation; Comedy
and
simple
figures
two
posture
her
suggests
the
life
Period)
of Hercules
mask
and
of vine
crown
the
attributes,
of
rural
between
adventures
mask
origin of dramatic
Dionysiac
falls
the
which
and
The
66)
(Fig.
(Graeco-Roman
distinguish
preside.
servant's
Melpomene's
Muses
domestic
rich
themselves
with
the
Tragedy;
is
in
attributes
These
(crook).
since
to the
Critical
the
which
arms
are
Apollo,
even
of
examination
ancient,
head, though
make
restorations.
the
statue
The
an
quiver
posture,
this
figure
belongs
Artemis
behind
to
is the
statue
must
be
another
Lucifera
the
of Artemis
limited
figure,
(Selene,
right shoulder
to
and
or
the
the
the
shows,
MUSEUM
however,
that
in
the
bow
held
and
the
through
draperies
been
made
this
Olympia.
the
the
stormy
which
tion,
is reflected
of
Ac-
cording
fied
and
to
be
lashed
of
his
Caius,
of
Nephew
disturbance.
gods,
67)
Period)
of
father
is the
he
(Fig.
Augustus
(Graeco-Roman
men
"
in
and
eyes,
the
under
we
read
but
care
than
Rather
of
and
the
by
small
calm,
filled
men
the
with
agitation.
in
While,
the
few
general
spiritual
rather
original
century.
of
head
of
than
the
in
boar
body
his
the
to
of
and
to be
copy
one
of
subject?
the
Perhaps
great
he
to
of
the
artists
is the
has
has
represent
we
Why
a
of
cannot
trace
The
copyist.
of
fourth
the
added
the
dog,
ness
smoothfailed
furthermore
Medici.
figures
expression
excessive
which
fourth
the
these
we
to the
copyist
pathos
Villa
at
gods,
That
is due
only
but
in
aim
to
the
to him:
choose
all
the
that
not
head
mortals,
attributes.
characteristic
a
of
(Fig. 30)
chlamys;
credited
that
or
period
probable
the
in
for
the
Scopas,
replicas, particularly
this hero
heroes
Meleager
is it
only
not
the
of
statues
numerous
purely physical
in
is attributed
But
the
figures
tendency
expression
an
with
comparison
created
century
retain
which
hair,
brows,
anxious
was
calm;
kindly
so
an-
forehead
tated
and
such
to
latter
Otricoli,
the
must
Phidias
the
of
of
the
29)
(Fig.
eye-
show
hufrom
serenity
father
the
strength
ferent
and
of
great
arched
great
in
tamper
Zeus
seem
art
dominant
agi-
deep
the
whom
the
waves
the
of
Zeus
appears
of
age
grace.
to
digni-
in
gin
Vir-
sensual
with
writers,
cient
solemn,
her
show
statues
Otricoli
been
of
austere
bodily
dif-
Far
of
have
and
dignity
the
of
spirit
Zeus
not
divine
for
her
Belvedere,
the
by
woman
huntress,
beauty
Even
tradi-
manity.
of
sacrificed
del
Apollo
limbs.
359
approached
the
to
religious
but
the
her
as
and
robustness
mortal
as
inclined
less
deference
at
of
mould
she
gods,
supreme
was
perhaps
the
us
represented
was
the
in
Even
has
which
Praxiteles,
reminds
which
has
hand,
advances,
which
Huntress
goddess
left
her
goddess
body,
youthful
in
PAINTINGS
ANCIENT
AND
the
this statue
the
As
quarry.
SCULPTURE
OF
to
see
in
other
did
the
artist
beautiful
youth-
360
THE
f ul
body,
heroes
the
the
his
of
receiving
in her
the
this
girl
Demeter
has
an
calm
eagle,
but
the
tree,
was
now
he
the
is being
in
these
another
one
looks
of
toward
to
teristics
characfrom
the
escape
of
safety
whereby
life!
If, in
insurpassable
an
gave
fourth
the
peplum,
to
apart
her
flight
its
in
tury
cen-
flowing
the
look
of
of
Olympus;
the
varying
the
and
the
towards
Ganymede
The
sculptor
are
ascending
nude
(Pan's
of the
are
derly
ten-
flesh,
under
pipes), but
correctly
has
The
body
the
heads
artist
his
problem
his dog
heights, which
syringa,
scene
not
with
syringa
the
Nike)
towards
Ganymede's
lying
upwards,
or
pretty clearly.
its claws,
sun.
Iris
stability,the
holds
the
on
the
towards
reeds
of
with
of
problem
if the
and
of
art
of
in
Although,
the
descending
or
intention
Ganymede,
by playing
bodies
idea
his
attempted
(Fig. 32).
Olympus;
is the
grasping
Ganymede,
been
with
spectator
to
precious booty,
aloft
Eagle
grappled
the
which
ago
has
one
the
conveying
minute
the
by
ascends
himself
three
the
the
gave
hurried
the
had
before
shoulders,
like
fundamental
the
in
borne
like
of
for
symbol
movement
who
of
hurled
belongs
figure
the
century
folds
up
art
statuary,
eagle, which,
And
for
succeeded
amusing
her
to
ascending
an
Greek
passing
as
chlamys.
of
expressed
but
however,
the
Artemis
one
longing
fifth
only
the
Niobe,
expressive
draped
violence
the
Carried
if conscious
as
behind
What
the
previous attempts
least
at
the
besides
perforce judged
is in this
in the
majesty
times,
difficult
too
has
sentiment
pre-
himation.
Ganymede
Ganymede,
was
In
the
soul.
(Fig. 31)
gather
by rushing
motion
represented
him.
even
is to be
the
and
most
Niobid
now
gods!
in
Apollo
the
though
there
the
dignity
and
horizontal
all
can
Rotonda,
less
no
of
we
death
of
archaistic
were
not
mother
own
over
destiny.
figures which,
as
of
statue
witness
the
chiton
flight, in
that
expressed
struggles of
which
But,
of
the
taken
was
which
we
also
arrows
eagerness
of
with
group
from
of
for
myths
indicate
headless
to evade
embodiment
is
Meleager
his
like
that
adverse
escape
of which
the
movement.
do
tries
the
the
in
all the
of
arms
Not
will
vengeance
mother's
the
body,
bosom
what
group,
inexorable
of
seek
kind,
that
"
folds
to
love.
of
the
show
to
can
of
end,
fleeing children,
her
mother's
group
look
approaching
begins
now
struggles
of
they
even
victory
wished
also
instrument.
voluntary
against
not
"
adventurous
an
he
melancholy
and
of
but
boar;
happy
are
profound
Art
to celebrate
perhaps
or
Calydonian
the
VATICAN
dog
restored.
placed
well
and
near
expressed
flight.
The
eagle
towards
its master.
The
gods
Vatican
and
Museum,
heroes,
has
which
only
one
has
so
athletic
many
fourth-century
figure.
Such
lack
figures
of
propor-
of
MUSEUM
SCULPTURE
OF
Claudius
(Fig.
(Graeco-Roman
tion
be
cannot
for
had
heroes,
the
body,
for
bronzist
of the
the
art
and
sand
the
Doryphorus
the
treating
small
head
for
in
of the
an
of
action
the
Discobolus
the
this
of
as
of the
in view
Apoxyomenus
which,
even
to the
by Polycletus
and
How
the
can
he
we
be
athlete,
explain
was
explained
was
Doryphorus.
unable
to follow,
only
to
as
give
what
emotion
in
the
banal
so
be
brains
ciated
apprestare
vague
"manner"
empty
pression
ex-
attention
could
the
stituted
subis still
nervous
concentrated
but
by
movement,
Lysippus
But
(Fig. 17)
ground
ing
scrap-
excellent
adopted
almost
and
The
greatest
an
which
much
so
guished;
extin-
of this figure
elastic
Polycletus.
body?
the
which
forms,
thoughtful
one's
examined
action
type
the
method
standard
of
was
than
tradition
not
(or athlete
new
Lithe
winning
soul
Argolic
possesses
glory
ture
litera-
as
the
comparison
the
or
the
about
the
of
the
Lysippus,
Vatican
shows
canon
heavy
just
Apoxyomenus
athlete.
scraping
can
to his
the
figure is
face.
that
as
was
robust
striking
more
of
body
however,
came
the
Polycletus
period
Polycletus
moment's
But
of
such
"
the
his
body)
(Fig. 33)
copy
Sicyon
Of
his
of
name
of
century.
oil from
intact
the
School
fourth
and
69)
to celebrate
palaestra.
the
361
Period)
was
inquisitive
more
grown
to
century,
Bacchylides
around
the
almost
in
and
visits
from
fourth
the
Pindar
developed
fifth century
The
In
rarer
pays
had
with
chance.
games.
a
(Fig.
(Graeco-Roman
sculpture likewise,
which
and
Titus
68)
to
longer
no
PAINTINGS
ANCIENT
Period)
due
Hellenic
the
AND
of
an
of
age
assigned
VATICAN
THE
362
produced
losing
recognize
longer
no
the
(Fig. 34),
artist
nobility,
of
presence
the
embarrassment
the
This
if this
at
the
once
Greek
conception
the
confused
indicated
to
countries
new
of
as
in
in
bronze
The
final
Tyche, amply
her
at
feet
gesture
which
the
of
but
and
corn
these
not
details
value
of
harmonious
Not
the
arms
out
city
in
plains
the
group
in
of
flora
of
And
embody
while
the
to
impress
of the
which
is lent
which
seems
as
city thus
Orontes
which
as
on
the
youth,
as
of
head
city, mount
and
creates
Orontes
rocky
sonificatio
per-
refuge
(Fig. 36).
with
river
is
goddess
with
even
river
the
if
well
the
the
queen
the
cast
Silpios, and
emerges
But
appreciate
can
with
Eutychides,
right forearm
modern.
are
we
on
The
the
while
one,
the
touch
takes
sense
named
dominates
fertile.
so
in
came
divine
sits
mantle,
it
civilization,
the
Antiochia
her
cient
an-
of
ears
leave
we
tic
naturalis-
the
are
united
but
as
in
ensemble.
with
the
powerful
reclining comfortably
man
art,
images
of consideration,
this
under
to
fanaticism,
its
Greek
represented
The
of
in
possessed
intended
face, the
pupil of Lysippus,
original
swimming
figure
the
the
the
these
Orontes,
her
hair, and
welcomed
In
swimmer.
rendered
created
in its occultness,
longer, Greek
wrapped
river
of the
recognized
"
simply
(Fig. 35), by
which
was
tention.
at-
still retains
was
Osiris.
Egyptian
benevolence
any
Thus
image
an
the
in fact,
is
art.
which
work
tain
cer-
dess;
god-
invite
to
Jupiter Serapis
this
modest
seems
numen
water.
feels
the
eyes.
nature.
of
"
cold
its appeal
Egyptian
the
of
spectator
Greek
she
show
to
as
jet
hand,
Bithynian
modesty,
so
the
from
that
and
which
retreat.
of
Serapis,
of the
gods
create
image
forget
be
must
masses
the
The
the
by the upturned
Unable
the
Hades
is due
to
religion
faith.
Greek
conception
Oriental
by
of
richness
greater
body
the
other
We
Aphrodite
the
of
surprised
exiled
point
not
another
been
of
sense
under
after
gods,
Crouching
spiritual chord;
the
as
must
we
of
inspiration
the
Bryaxis,
the
no
still
can
back
on
has
Praxiteles
indiscreetly
touches
epoch
dignity,
solemn
having
reverence
artist
Carian
Aphrodite
of
Daedalus,
statue
Divine
And
the
of
goddess
sensual.
her
the
work
her
composed
places
at
by
come
be-
already
gracefulness.
the
the
disturbed
Having
she
outline,
in
had
century
had
and
divine
perhaps
was
these
work,
mortal
being
bath.
her
harmonious
the
from
Far
takes
boldly
which
of
original
Daedalus.
the
their
fourth
and
gods,
of
but
goddess,
The
"
finished
deprived
are
of
figures
Hellenism
human.
their
Art.
Greek
of
of
abundance
an
too
In
Period
Hellenistic
The
the
and
Nile
fauna
(Fig. 37).
of
the
on
strokes
his
Reliefs
river's
banks.
of
youth,
ample
couch,
running
around
Leaning
on
is
able
vener-
represented
the
the
plinth
Sphinx,
the
show
which
OF
MUSEUM
Julia
[?]
(Fig.
the
Elder
(Graeco-Roman
AND
(Fig.
Period)
PAINTINGS
ANCIENT
70)
Hadrian
Period)
(Graeco-Roman
Faustina
SCULPTURE
(Graeco-Roman
72)
Venus
Empress
(Grseco-Roman
(Fig.
71)
Period)
(Fig.
Period)
73)
363
THE
The
Braschi
Antinous
(or horn
of
the
the
Egypt,
of
fertilitywhich
their
grouping
who
play
with
infantile
we
in
the
Egypt
if the
But
the
express
excellence
the
of
of
cortege
abundant
in
Bearing
dashes
trumpet,
the
of
boldly
is
original.
over
work
the
was
every
arms
the
gods
were
Centaur
we
gods
the
and
the
those
have
toriously
vic-
cornucopia,
Greek
art
and
humor,
which
was
in
epoch
were
and
planted
trans-
the
fourth
of
the
century,
Marine
Though
the
left
with
was
who
the
to
age
par
formed
the
Tritons
and
came
be-
figures
in
and
them
sentiment.
and
that
endeavored
it
These
the
believe
and
Maenads.
nymph,
drowns
rises,
from
who
in
beings
was
passion
gentle
waves.
it
Satyrs
human
of
of nature,
semi-human
Dionysus;
the
and
spirit
in
poor
personifications
Centaurs,
those
(mostly
waters
god,
to
grace
Greek
the
the
before
such
symbol
the
"
epoch.
Hellenism
in
Never
with
Alexandrian
restoration,
The
united
of
of
cornucopia
little boys
level
foot
right
flood.
the
this
and
the
as
his
his
semi-divine,
those
personified
were
idea
Poseidon
Nymphs,
as
of
period
divine
the
bodies
easily recognize
which
the
corn
Sixteen
75)
(Fig.
Period)
of
ears
bring.
near
rising
adult
the
gigantic body
the
the
to
gradual
Dacus
left hand
his
right
his
cubits
crocodile
in
to
the
around
the
and
in
inundations
his
clambered
the
suggests
and
in
holds
river-god
personify
and
of
(Graeco-Roman
abundance),
restorations)
Head
74)
(Fig.
Period)
(Graeco-Roman
symbolizes
VATICAN
it is in
his
Centaur
arm,
with
(Fig. 38)
the
marine
with
correspondence
victorious
blasts
the
pro-
of
tests
SCULPTURE
OF
MUSEUM
the
to which
nymph,
ANCIENT
AND
Cupid
one
lends
an
ear,
PAINTINGS
365
while
poses
im-
another
silence.
immense
only
either
not
are
the
or
joyous
like
grandiose
the
School
Similarly
intact
of
replicas
little
of
of
tenderness
his
and
young
god,
of
child!
the
and
posture,
in
the
the
the
of
of
cause
his
on
in
seen
his
of
affection
hands
the
the
nude
sus
Dionyat
gazes
the
on
in
the
tender
the
body
of
rhythm
is still reflected
are
image
An
Infant
the
Silenus
group,
who
joys.
rest
tant
ex-
victim
at will.
of Dionysus,
holding
of
some
is the
him
guides
Silenus
of
vine-
with
he
healthier
rough
gracefulness
and
wave.
Amphitryon.
from
and
and
what
of
sorrows:
back
product
crowned
companions
the
With
his
sigh of
and
Centaur
if
as
figure by Scopas,
Poseidon
been
Poseidon
seems
this work
replica
affections
fullness
like
"
have
of
it
and
sighingly upwards,
delicately
how
In
of
in the
(Fig. 41).
arms
companions
proclaims
train
perched
is
therefore
The
the
being, of
other
may
Triton
than
the
soothing
more
this
who
terrestrial
is found
susceptible
in
the
looks
has
composure
fatherly
the
eyes
by
conveyed
of
Dionysus,
the
forms
the
rather
know
we
of
lips of
of
too
who
Cupid
Greater
the
is
He
the
and
companions
unjoyous
melancholy
in
(Fig. 39).
portray
to
(Fig. 40).
leaves
Triton
the
Pergamos
first
the
was
infinite
part remains,
character
of
the
is reflected
sea
from
escapes
The
who
the
human
Centaur
sigh
deep
of
plane
whom
but
triumph
buoyant
Not
the
Praxitelic
the
School.
Satyr carrying
restorations
minor
and
so
We
a
steed.
The
School
of
Finally
gazes
in
in
his
wrinkles
arms
in
the
the
the
that
thinking
agility
the
of
the
ments
ele-
tions,
restora-
are
and
of
legs
little
tyrannically
many
Besides
Satyr
arms
Young
The
original.
legs of
onward
the
(Fig. 42).
urged
and
rapturously
the
color
He
at
has
his
the
Dionysus
improvised
bespeak
movement
of
and
about
personification
the
the
the
of
neck;
the
mouth
primitive
"
rural
extant
elements,
laugh,
coarse
of
these
life.
hide
hand
perhaps
was
animal
all
by
with
the
Faun
rural
with
grapes
the
figures.
to
which
causes
in
fruits,
gift for
similar
the
the
master's
meant
which
make
in
joy
his
"
right
is attested
the
his
grapes
his
which
antico),
skin;
of
Though
its correctness
animal
purely
replenished
bunch
mind!
{rosso
of
expression
an
(Fig. 43).
of
face
shoulders
and
astray
and
forms
find
we
marble
the
and
much
hand,
his
of
group
Lysippus.
restoration,
earthy
the
head
be
lithe
recreation
red
the
are
of
the
misrepresented
importance,
antico
rosso
and
certainly
cannot
whip
characterizes
astride
Dionysus
have
of
child.
had
camaraderie
brotherly
Gay
reproduce
the
is
The
the
accentuated
are
the
figure
numerous
significant
THE
366
mmmssM
*."""
VATICAN
Sepulchral
of
mm
Lucius
Vibius
Just
in
as
nymph
feminine
the
Greek
The
vases.
curves
of her
examination
to
not
to
belong
preference
lend
to
the
to the
that
already
the
body
mantle
step
which,
body.
for
subjects
marine
the
myth
of
and
referred
to
which
is to
(Fig. 45).
be
seen
in
of
the
of
From
contrast
her
of the
dance.
the
and
to such
(cf
31 )
belongs
sails
of
cycle
the
Uffizi
of statues,
Gallery
at
of
figure
most
of
Florence,
it strove
to
the
turn
re-
recent
than
young
tive
fugi-
complete
was
our
Maenad,
also
we
the
the
witness
more
the
the
and
extend
which
This
ship,
Hellenism
group,
art
The
grace.
that
century
a
or
their
archaic
cannot
and
led
fourth
the
light chiton,
strength
beings,
captor,
coarse
the
to
We
ancient
the
as
of delicate
emotional
the
of
of
body
accentuated
through
Niobids,
Fig.
form
image
though
Niobid
an
Dionysiac
myths.
the
sharp
one
that
seems
head,
is
remind
delicate
Hellenism
visible
are
(Fig. 76)
represented
never
offers
to the
of
investigation
her
Son
the
coarse
contrary,
(Fig. 44)
Maenad
light rhythm
Its
thus
of her
the
to
the
and
Centaur
Satyrs)
On
and
of
forms
graceful
contrast
Wife
Period)
Marine
the
the
art.
elements,
beautiful
does
in
(unlike
were
by
brutish
of
group
retained
was
Maenads
on
the
His
and
(Grseco-Roman
i lA'l"Pi\I M"
Vt
"
copy
of
artistically
conceived
is
vindictive
of
statue
Polyphemus.
the
and
foxy
of the
in
though
the
is
so
the
copyist
could
Tension
has
was
horror
the
the
at
in
and
his
Greek
hero
it
folds, gives
the
The
as
and
companions
conception,
inadequately
forms
bodily
work
lack
has
Thus,
of
the
with
drapery, however,
the
and
Art
mentally
somewhat
are
to
detect
(Fig. 47)
pregnant
been
face.
her
should
soul.
his
This
art, has
cautious
hero's
of Dionysus.
with
train.
from,
tions.
restora-
Ariadne
arrival
matronal
too
the
reconstruct
the
which
modern
if he
of
figure
wine
giant shepherd.
state
we
one,
of
the
emotion,
the
the
different
was
suggests
her
carelessness
this
distinguished
of
appreciation
of
Menelaus
representing
and,
of the
to her
of
the
also
given
escapes
the
the
by
which
dignity
finally to
human
of
Menelaus
pressed
divine
has
(Fig. 48),
episode
extant.
hard
The
gods, she
an
are
though
melee.
mouth
open
head
duplicates
Patroclus,
it out
the
group
numerous
of
drag
from
in
seen
of
longer give
no
but
is
part
body
to
can
mind
of which
and
the
heroes,
gesture
dubious
the
Cyclops
of the
with
with
of
once
endeavors
Hellenism
to
irregular
and
body
grasped
her
can
Vati-
hurries
destroy.
of
War,
enemy,
the
he
as
in
hurriedly
movements
of
even
the
shown
withdraw
isolated
god
too
not
that
departure
richness
which
Trojan
his
to
an
the
and
woman,
which
original
composition:
its sumptuous
beauty
the
of Theseus
the
of
to
figure admirably
characteristic
in
work
is
statue
approach
young
In
who,
upwards
367
originally grouped
was
tenders
panting
desertion
witness
and
treated
children,
looks
hero
expression
and
sleep
of the
which
the
mother,
than,
in the
intention
dreams
the
in
larger
given eloquent
Buried
group,
figure of Niobe.
of
(Fig. 46)
readiness
his
sinister
here
The
attitude
The
any
Ulysses
bowl
wine
advance
of
liberty; but
him
is to win
and
central
youngest
his
towards
PAINTINGS
ANCIENT
gods.
the
With
the
the
preserved
strides
long
AND
from
radiating
as
statue
with
SCULPTURE
OF
MUSEUM
of
one
of
outcry
rage.
Hellenism
The
work
reached
is
artists
of the
right
arm
body,
should
an
of
unstable
pyramidal
Trojan
of
elder
restorations.
are
expression
Rhodes
and
especially
which,
been
bent
on
Laocoon's
Twin
his
right
But
appearance
aspect.
lived
who
the
of
and
in
the
of
the
of
head;
have
proceed
desecration.
Laocoon
Polydorus
sons,
younger
is the
the
which
then
is the
The
oon
Laocof
the
from
away
the
has
now
acquire again
in
accomplish
This
of
son
group,
and
b.c.
restoration
stretching
enmeshed
to
(Fig. 49).
first century
serpents
sons,
act
the
the
two
mistaken
instead
over
the
arm
in
his
and
and
Laocoon,
have
priest
for
of
apex
original by Agesander
an
Athenodorus,
right hand
the
their
the
terrible
coils
divine
and
its
the
geance
ven-
blind
THE
VATICAN
chastises
even
368
of
vengeance
of
their
which
The
which
on
they
The
father.
his
effort
as
seems
"rise
will
his
and
sons
of
fusion
incomparable
the
with
Compared
of
image
Nestor,
is the
copyist.
or
it,we
Only
an
a
of
From
the
of
what
Greek
qualities of
on
and
in
soul,
than
other
harmony
the
student
calm
the
these
head
was
expressive
the
this
of
or
it
Hellenism
should
be
constructed;
re-
Mars
surrounds
powerful
and
of
ideal
be
youth.
and
anatomy
linked
well
so
ideally.
the
as
the
In
ideal
of
qualities
also
characteristic
of
conception
of
are
nude
the
was
In
problem
nude,
rather
when
grace
and
of
than
art
the
strength
and
fourth
tury,
cen-
the
gentleness
in
even
century,
the
qualities.
the
central
fifth
the
bodily
mental
that,
recognized
remained
always
adopted
of
named
signature,
of
which
of
an
master's
Prometheus,
or
create
is
uncertainty.
legs
image
oon
Laoc-
art.
some
his
period
so
the
Athenian
an
profound
it will
said
nude
were
of
and
and
(Fig. 50)
mystery
an
as
the
bones.
still conceived
hand,
with
all
of
his
of
make
bears
arms
apex
from
vengeance.
greatest
Polyphemus
"
could
already
the
son
dread
knowledge,
of
exact
aureole
once
the
and
at the
as
of ancient
which
head,
above
and
expression
rather
the
was
the
of
conception
muscles
firmness
the
at
was
period,
and
at
to
the
figure
have
we
art, and
strength
firmness
who
of
Hellenistic
aimed
the
sublime
composition
say
neglecting
But,
sculptor
artist
work
what
it represents
admire
must
this
movements
whom
or
Hercules.
of
cannot
in
enveloped
his
divine
work
it
convulsive
Belvedere
the
Apollonius,
artist
creator
We
the
is
the
dolor
del
chanical
me-
father.
contraction
creation
Torso
undoubtedly
work
the
original
how
belongs;
the
whether
It is doubtful
mere
of
the
it is
Though
history
human
most
Laocoon,
his
rises
anatomic
mental
foot, but
of
head,
spasmodic
and
left
which
of
ing
seek-
upwards
while
back
target
the
breast,
moment,
dolor
profound
physical
and
the
calm.
chisel, the
The
vital
the
in
the
elder
serpent's head,
breath,
of
wave
body.
of
emotional
most
huge
face
the
his
thrown
his
of composition,
unity
Marvellous
In
the
the
Conquered
pents
ser-
coils, makes
suffering
away
in
the
eyes
his
the
push
to
in
the
surrounds
is for
draws
tortured
makes
muscles
which
body.
stars."
glassy
in
two
it the
near
bitten
involved
concern
his
the
to
own
coil
The
firmly
and
with
violently against
son
his
fault
the
anguish
compare.
hold
coils
less
movement
triangle, culminates
an
sole
through
passes
outcry
of
of the
and
turns
side, strives
in the
tension
shudder
as
the
his
he
can
for
sons
paternal
younger
huge
son,
loosen
to
bitten
Laocoon,
in the
elder
if almost
the
the
by
his last
of
alone
and
sacrificing,
were
breathes
boy
younger
the
strangled
Already
son.
father
innocent
the
expressive
Niobe
of
grief
hurled
have
is
group
maternal
the
altar
who
god
father.
and
and
delicacy,
benevo-
SCULPTURE
OF
MUSEUM
Bas-relief
from
the
Ara
Pacis
(Graeco-Roman
lence
of
ideal
the
of the
face.
psychological
which
not
was
for
to
on
the
and
body,
which,
of
face.
an
in
In
Fisherman,
man
as
in
"
but
portraiture
of
the
of
from
the
attracted,
was
is
old
desire
or
in
head,
it
search
sculpture
odorless
for
cities
certain
ers
flow-
individuals
trades
body
has
for
printed
im-
had
is
his
now
treated
is
of
none
glassy
eye
as
the
as
This
and
the
the
but
by this
by
taut
the
through
of
result
evidently
his
figure
brutishness
rendered
sends
is relaxed
life.
of
the
on
been
liberation
in whom
by
creation
commentary
muscle
man
especially
the
Greek
but
by his trade,
not
muscle
every
the
every
an
physical
the
passionate
spurred
practice
the
Consequently
beautiful
since
to
soul.
Hellenistic
the
of his wretched
of
is shown
which
warped,
which
shudder
of the
ugliness, but
pleasure
it
Laocoon
colorlessness
survives,
Even
the
subservient
of forms
or
an
of
soul.
(Fig. 51),
the
and
old
for
of
derived
and
as
became
hothouse
streets
the
seasoned
internal
atony
effect
expression
origin
of
if Hellenism
Fisherman
limbs;
the
ethnic
bodies
of the
the
"
in
condition
the
period, however,
relaxation
body
language
palaestra
seek
to
whose
the
or
the
all the
eloquent
more
Thus,
of
energy
(Fig. 77)
Augustae
Period)
Hellenistic
pathological preference
abandon
"
was
condition,
concentrated
was
the
During
nude
369
PAINTINGS
ANCIENT
AND
the
the
body
spiritual energy
trembling
mirror
of
mouth.
the
soul.
THE
370
We
parted
with
Greek
the
nobility
with
(Fig. 52)
the
of
original
after
years
in
body.
of
The
and
body
of
Greeks
by
these
artistic
the
An
of
beginning
into
their
in
the
left
when
deities
were
of
Aphrodite
of
face
the
body
and
the
shield,
goatskin,
this
is
body
the
an
tion
affec-
and
dress.
sorrow.
patrimony
intervening
inherited
was
their
the
tween
bethe
Romans
esthetic
course
at
ure
pleas-
it is
mostly
of the
opment
devel-
and
availed
social
from
the
themselves
of
needs,
they did
not
of
the
sixth
the
by
the
correctly
with
in
even
the
It is
rigid figure
the
nude
of
posture
but
bow,
by
that, in
noteworthy
given
Greek
the
storer
re-
addition
the
position
still awaken
could
of the
and
the
interpreted
immodest
the
art
softened
the
or
Romans
Roman
(Fig. 53)
preserved
been
end
transformed
arbitrary.
represented
gers
fin-
of
an
age
of
the
sense
some
religiosity.
with
features
half
second
in
is
eyes;
around
flung
which
the
was
right forearm
bird
Daedalus,
mysterious
A
the
the
crossed
them.
a.d.) has
has
his
for
and
Fidius"
also
the
the
the
trated
concen-
Macedon
Romans
from
B.C.,
(130-180
posture
with
the
Deus
is
were
for
small
centuries
tracing
of
hands
wonderful
one:
forty
fixed
masterpieces,
in
readapted
has
remaking
mosthenes
De-
as
seems
arms,
This
period,
Greek
dating
his
the
of
six
than
mourning
concern
"
religious
century
thin
to reflect
used
their
but
hair, but
hand
of
created
Demosthenes
in
attraction
when
the
to
This
original.
in
restoration
expression
Philip
esthetic
an
Sancus
Antonines
the
later
himation
of the
the
Apollo,
fifth
"Semo
freedom
more
of
the
own
of
period
of
type
gaged
en-
more
century,
wherein
and
the
Period.
here
for
originals,
archaic
once
little
mistaken
the
the
The
Later,
art.
all
face
course
of
have
we
patrimony
Greek
was
brooding
of Athens,
son
used
was
made
copies
Greek
it
third
represents
Hellenistic
the
works
of
copy
in the
and
the
directly
not
Imperial
or
which
for
does
in
copies
erected
breast,
therefore
are
these
the
original,
which
civilization.
had
the
sight,
lean
Roman
first found
they
in
devoted
with
thus
Archaistic
the
it
meet
we
of
copy
Demosthenes
of
accumulated
works,
this
the
Gr^eco-Roman
The
when
century
melancholy
to
furrowed
deeply
dress
was
this
first
At
are
and
mind,
the
the
Owing
the
as
city.
and
hatred
fifth
artist
an
which
attitude
him
carelessness
the
The
with
rotula,
his
also
expressive
and
Pericles;
dignity
death.
the
his
lean
the
of
orator's
reader;
lost liberty of
but
and
Polyeuctus,
represented
linked,
the
statue,
with
thoughtful
in
this
the
forearms
the
portraiture
period, engaged
Hellenistic
the
VATICAN
Juno
the
the
of
Sospes
feet
goddess
of
reminiscent
the
and
fifth
century
the
serpent
in
B.C.,
are
or
The
attitude;
Covered
but
the
the
art
Hellenistic
with
arms
restorations.
menacing
of
least
at
with
is united
(Fig. 54).
Lanuvina
stands
Polycletus,
the
spear
with
spectator
MUSEUM
OF
SCULPTURE
Honorary
High
AND
Relief
the
showing
(Graeco-Roman
feels
not
for
the
under
the
through
religious
the
dignified
chiton
transparent
be
also
must
much
so
credited
to
the
of
Figure
PAINTINGS
Rome
371
(Fig. 78)
Period)
of this
power
head
the
ANCIENT
of
Greek
agile
figure
limbs
as
Hera
of
artistic
an
he
Maenad.
superficial religiosity of
the
recognizes
This
age
tion,
irrita-
of
work
the
An-
tonines.
And,
gods,
the
when
but
and
Roman
for
Empire,
Sacrifice
Rome
of
the
she
Mithra
has
to
create
(Fig. 55)
bull,
reproduced
which
always
recourse
the
figures,
cults
Oriental
new
had
stabbing
art
had
that
"
while
the
to
the
dog
of
Greek
indigenous
own
Sun-God
serpent
group
throughout
tradition.
Persian
and
a
her
spreading
were
is, the
scheme
of
not
which
lap
In
the
ing
overtak-
its blood
perhaps
"
dated
372
back
far
as
to
the
face
of
Mithra.
also
extends
Compared,
Isiac
an
and
the
goddess,
spirit
priestesses
and
the
with
Sarcophagus
depicting
the
of
Triumph
has
the
artist
ridiculous
seems
Greek
aspect,
vainly
Even
when
mingle
with
forms,
but
even
tries
to
but
when,
it created
the
imperial
athlete
the
who
of
to
they
the
alone
infantile
exaggerated
from
honor
had
Charioteer
continued
the
their
figure
carry
features
regular
garments.
of
Artemis
(Fig. 79)
of
the
athletes
to
of
with
contests
awaken
of
the
that
children
the
is Roman
for
not
(Fig. 58),
able
the
realms
latter
in
won
of
sincerity
the
the
Artemis
masquerade.
gravity
in
lacking
imitation
in distant
an
descended
desired
victories
figure
the
rigid gait
of
General
some
idealized
Period)
fact,
how
art
and
men,
in
conceal
Roman
for
in
"
to
hurling
the
Classicistic, rather
their
folds
that
in
and
of
parallel
this procession,
however,
is
solemn
coldness
and
Victory
reflected
(Fig. 56)
with
(Grseco-Roman
(Fig. 57)
represented
is also
procession
channelled
the
to
and
B.C.,
Classic
Priests
of
symbols
century
The
showing
Classic.
than
fifth
ground.
relief
The
the
as
bull
the
VATICAN
THE
the
gods
their
to
bodily
other
tals;
mor-
fifth century,
vulgar
the
giosity.
reli-
type
enthusiasm
of
MUSEUM
from
Painting
the
Tomb
of
(Grseco-Roman
of
the
forms
which
which
the
the
the
But
to the
remind
from
the
sarcophagi
in
the
homes
the
"
of
guise
celebrated
This
decorations
the
reliefs.
of
sinners
of
the
Not
aims
painting
that
61, 62 and
of
the
Hymen,
impatiently
Aphrodite,
of
proceed
on
who
the
the
undisturbed
music
god
and
of
the
in
of
love
however,
the
near
of
their
lustrations.
the
will
cluded
Ex-
the
homes
and
the
sarcophagi
seen
is the
the
with
beautiful
believe
ivy
Near
efficacy
of
Greek
us
to the
and
the
the
for
an
ancient
(Figs. 60,
bride
is
bling.
tremsits
seated
and
friends
the
chaste
and
flowers,
Aphrodite's
that
her:
on
of
strength
perturbed
while
ment
presenti-
down
Aldobrandini
crowned
her,
quences
conse-
forms.
most
seems
(Fig. 59)
fatal
by
painting taXes
also
the
represented
bring
the
preparations
We
myth.
disturbed
bodily
couch.
encourages
confident
with
this
marriage,
and
be
Nozze
the
and
which
illustrated
again
head,
legs, which
Greek
it invaded
guiltiness
is
straps
the
the
figure of Pasiphae
to
seems
sentiment
who,
the
was
and
the
athlete.
paintings
villa
of
corset
and
not
figure
Moreover,
guise of paintings,
possesses,
floor
calms
bride,
the
arms
temples,
her
criminal
bride,
the
art
this
in
in
Greek
religious gravity,
Vatican
From
63).
apartment
which
full of
the
the
of
expressing
but
mythic,
of
this hesitation
in
at
Roman
Pasiphae
opprobrium
hesitates,
art, which
of
cycle
walls
love.
and
of the
in the
To
the
guilty
figure,
the
and
antiquity belongs
cycle decorated
of
have
certainly
it could
then
even
"
enveloped
one
obsession
greatest
We
Doryphorus
belongs
perhaps
Empire
most
correctly restored,
are
she
of
thorax
powerful
(Fig. 80)
Period)
the
tradition.
Polycletus
the
forget
of
crowds
cosmopolitan
Farnaces
373
PAINTINGS
ANCIENT
AND
SCULPTURE
OF
vants
ser-
eloquence,
nuptial
Hellenistic
monies,
cere-
artist
374
VATICAN
THE
would
Helen
the
on
reduced
to
Athena
stern
be
may
resembling
heroic
whether
the
approach
sarcophagi
of
side
the
and
nurse
divine
are
once
Hellenistic
group
in
relief
the
the
must
for
breathe
of
in
world
all
the
the
aegis
an
it of
her
that
figures,
on
rocky
he
the
imperial
but
readapted,
have
they
their
with
life
the
the
"
the
for
agi
sarcophfrom
of
statues
the
the
In
of
the
hills.
sorrow;
fatality
created
the
honorary
is
us
of
now
sphere
atmo-
an
dominated
have
They
art.
let
Here
who
people
in
also
the
different
fatalism,
Boman
slaves
mere
reliefs
mother,
man.
Greek
for
power,
be
not
the
either
escape
expression
every
of
of
to
foreshadowed
saw
the
public garden.
strong
overtake
air
by
entirely
of
the
of
from
their
strive
the
of
scene
arrows
vainly
wall
one
us
find
shall
we
On
contemplated
only
later
vital
their
ordered
life, let
terrible
sheltered
sensation
he
the
again
the
hurl
with
myths.
with
who
soul
when
or
politics could
intimately
his
its
and
atmosphere
the
related
in
there
children
admired
sooner
and
and
Artemis
sarcophagus
while
of
while
to rid
to
gave
pression
ex-
myths
it with
able
resounding
tomb,
Boman
in
gloomy
honor
and
copied
he
the
the
supported
gathered
the
Leaving
been
the
all
head
; and
surrounded
on
the
the
tating
hesi-
Hymen
and
wherein
(Fig. 64)
finally
innocent
the
felt
garden
which
death
forms
Even
not
confronted
experienced
of
has
has
home,
and
the
But
group
in
he
of
paintings
of
works,
mosaic
triumphant
while,
character
he
of
Apollo
group,
which
in
on
more
pedagogue,
this
crude
the
figure
the
element.
Roman
ideal
vengeance.
of
these
Hellenism
the
Greek
we
peace
(Fig. 65).
Niobids
that
from
solemn
spiritual
the
from
gracefulness
which
divine.
or
departing
But
extended
flower,
which
pathetic expression
lover.
decoration,
the
of
calyx
or
All
in
trampled
with
artist, preoccupied
bridegroom
ornamental
purely
the
lost
in
scene
the
floor.
are
Paris,
for
myths
the
the
of sentiment
are
waiting
homes
mosaics
the
to
of
that
Roman
the
In
walls
be
follow
to
the
spirit
different
no
persuaded
is
also
might
in
conceived
have
two
the
certainly
most
genres
portrait
the
and
memorative
com-
relief.
Both
found
statue,
the
as
emperor
at
the
which
claimed
any
original
element
nor
is there
Julia,
except
held
foot
anything
Villa
the
in
for
figure
one
spear
of the
descent
his
rather
statue
from
in its posture
particularly
in
of
the
soldiers,
than
may
refer
Venus.
to
Vatican
Livia
insignificant
some
haranguing
general
have
must
dolphin
in
Porta
Prima
is intact
which
Augustus
the
at
united
found
are
genres
elements,
but
distinguish
it from
the
mantle,
left
Cupid
of
does
Greek
the
gustus
AuThis
presents
his
origin
statue
in
in
The
sceptre.
to the
the
(Fig. 66).
This
Boman
"
hand
with
the
Gens
not
offer
figures,
rich
folds
MUSEUM
SCULPTURE
OF
of
Sarcophagus
Helena
St.
which
work
lies in
regular
mouth
copies
in
of
the
hair,
broad
the
almost
seem
Augustus
face
the
in the
nature.
commemorative
to
fifth
In
cuirass
reliefs.
man
his
round
expression.
Below
great
cuirass.
deeds
is the
of the
earth,
of
face
The
and
eyes
The
value
the
the
presses
ex-
while
command,
to
idealizes
the
accustomed
the
forehead,
idealize
decade
the
the
in
artistic
real
The
and
emperor
of
(Fig. 81)
thighs.
emperor's
tranquil majesty
the
the
the
envelop
375
Period)
(Grseco-Roman
of
PAINTINGS
ANCIENT
AND
delicate
sculptor portrays
rather
than
emperor
happy
under
are
exactly
lauded
the
rule
the
of Augustus;
of
VATICAN
THE
376
Cybele
to its
attest
Artemis
two
important
so
happy
earth,
dawn,
for
is
After
art,
the
the
statue
the
and
the
and
lend
mouth,
and
the
small
the
civic
Claudius
The
us
forget this
of
the
in
the
The
attention
much
And
to
before
here
face
artist
features
the
of
His
bulky
the
onelorica.
imperial
of
art
the portrait
"
almond-shaped
of
Jupiter,
(Fig. 68).
subjects
his
left
and
the
the
we
who
to
seem
so
Sphinx.
and
almost
is buried
frame
face
devoted
Etruscan
sensual
let
But
examine
him
his
hand;
thunderbolt.
of
though
on
ages
on
flatterer, for
concerning
benevolent,
remote
Parthenos,
in
the
no
of
reign
his
intelligence
studies
the
attributes
sceptre
held
certainly
(Fig. 69)
Titus
of
the
have
of
grace.
figure of Jupiter
was
is the
us
bearing
placed
the
the
the
adoration
narrow
erudite
ideal
signia
in-
left
to which
while
these
to
synopsis
from
To
figures
Caius
head,
an
of
of Roman
genres
lend
rather
unrealistic
most
emperor.
discern
should
few
Roman
the
Athena
itself
supposed
and
the
appropriately
has
however,
right hand,
two
chin
oak
for
himself
presents
restorer
crown
in
individuality,
of
the
and
of
myths
the
cuirass.
exploits
his
is in
childish
delightful
ears
Wearing
glories
the
In
conspicuous
the
eyes,
relief.
have
we
of
separately the
honorary
of Augustus,
together
to
by
taken
return
the
Aquitani,
other
pedestal
which
The
her
the
recent
Augustus,
examine
shall
we
of
in
two
"
which
figures of
defeated
gathered
sculptor summarizes
Roman
Caere.
this
on
preceded
military insignia
central
ceded
con-
is about
day
on
and
and
And
new
day
new
of
advancing,
the
tympan
gryphon
Sceculares.
sky,
sun
battle
two
and
Ludi
the
is the
Celtiberi
her
sandals
the
shield,
the
in
If Phidias
Augustus.
the
the
sits Gallia,
tamed
the
This
at
in
the
the
the
of Augustus
beloved
of
Parthians
the
represented
Hispania,
of
Aurora.
Crassus
of
legions
the
in
and
with
Apollo
are
arch
chariot
from
recovered
him
by
mighty
the
see
of abundance,
horn
divinities
two
part
the
personifications of
army
fertility.
Above
under
we
the
stag, the
the
with
children,
barrassed
em-
the
under
folds
immense
of
his
body.
of
matron
The
head
Attic
of
of
has
most
Venus
been
placed
(Fig. 71)
Faustina
the
of the
To
this
greatly
second
chapter.
century,
of
and
period
reference
Julia
recognize
we
open
Rome
belongs
has
in
been
"
sical
to Clas-
type
statue
already
head
the
(Fig. 72),
the
of
(Fig. 70).
spirit,while
Pius
shape
portrait
belonging
body
of ancient
woman
bold
daughter
Antoninus
still later
to which
own
and
restored
intelligent
wife
Elder,
(Fig. 73),
of
on
his
of
to the
corresponds
intellectual
that
that
mobile,
type
sensual.
Empress
beginning
see
to the
Coming
art.
and
we
face
his square
toga, and
him
period, perhaps
authentic
energetic
the
his
Hadrian
image
the
of his
Near
in
the
have
we
at
once
of
made
the
at
MUSEUM
the
itself
deified
create
to
and
of
an
dreamy
the
only
figure
his
head
his
shoulder
Greek
he
god
by
and
will
the
In
the
noble
If
(Fig. 76)
son
work
of
read
of
couple;
and,
that
at
age
slab
from
Augustus
Spain
that
a
And
Ara
erected
in
part
of
the
if
here
the
we
sober
we
the
the
miss
not
the
dignity
of
82)
the
and
Dacus)
in which
L. Vibius
has
that
his
on
represented
The
walked
wearing
the
similar
scene
the
harmonious
Romans
more
slab
towards
toga
"
the
rhythm
and
of
bud!
possesses
which
from
Gaul
Vatican
right:
and
lictors,
some
of
the
of
the
his cavalcade,
compact
preserves
Our
group.
nobility
the
pression,
ex-
son,
imperial procession
the
the
We
faces
the
monument
cortege
and
grace
the
in
the
form
the
return
the
art.
father's
Vatican
and
of
is his
the
wife
delicate
from
develop
find
Martius
was
nity
dig-
this
lines
he
such
Though
of
irregular
pressive
ex-
imperial
his
view.
scope
that
the
and
this
the
will
all its
from
middle
flower
owed
it drew
clearly
sacrifice.
find
of
the
the
Augusta?
reliefs
the
in
reliefs, we
which
in
Campus
at the
to
do
(Fig.
Period)
characteristics
somewhat
prove
the
votive
men
instinctively
ears
or
tablet
ugliness
day
cortege
priest and
Phidias, if
all
In
Constantia
portraiture
which
it shows
child
Pacis
to assist
went
veiled
turn
the
(13 a.d.).
which
Roman
modify
to
if their
the
to
now
ethnic
(like Antinous
and
future
some
Turning
that
inspiration
his
expressed
marble-worker,
vulgarity,
St.
(Graeco-Roman
sepulchral
help
old
the
the
the
will
of
Sarcophagus
Dacus
has
subjects
modest
the
to believe
reflected,
was
of
slavery.
to
from
or
suicide.
to
and
strength
dignity,
row
sor-
obsession
art
tempted
are
we
as
because
prisoner
of defeat
nevolence
be-
inner
him
and
of
features
and
chieftain
sorrows
his
mental
drive
head
leans
adorers,
do, but
by
of
parts
He
out
his
might
nysus,
Dio-
strong
not
"
is oppressed
which
young
as
original.
are
towards
a
ous
Antin-
the
nude
towards
square
the
(Fig. 74),
but
the
not
melancholy
is represented
Bithynian
377
it strove
In
beauty.
Braschi
PAINTINGS
beloved
by Hadrian,
of
ANCIENT
figures:
Antinous,
ideal
AND
does
imperial
to
statues
of and
SCULPTURE
portraiture
Roman
But
restrict
in
OF
mass
thoughts
Parthenon.
figures
we
of
of
behold
the
im-
THE
378
the
of
conquest
advance
the
crowd,
(Fig. 78).
Although
the
her
art
celebrated
of
in
in
main
face
Martius
of
eagles,
in
the
left hand,
the
own
dominated
That
who
this
(Fig. 79).
while
general, before
if the
And
of
honorary
best
Christ.
being
Empress
the
high
longed,
it be-
after
Rome
of
one
City
ing
open-
expressions
is
the
by
of
the
that
of
the
the
the
the
might
religious spirit of
this
in
recognize
Rome
the
only
in
these
in his
the
ence
influ-
Orient;
the
which
but
salutes
imperial
his
wings
In
holds
traced
of
Campus
the
on
genius
be
the
figure
29).
page
the
On
holding
seated
which
banners
the
and
(see
there
perhaps
their
from
the
Pigna.
army,
imperial
ground
Olympus,
from
ensigns.
aloft
eagles
globe
the
and
della
with
borne
to
two
of
carrying
on
far
Cortile
horsemen
are
emperor
Antoninus
not
the
review
are
scene,
can
in
now
the
of
erected
presence
lying
of
column
Verus
elements,
the
whom
still
of
his
branch
in
her
which
sense
places
the
not
the
manner
loading
of
we
the
a
see
his boat.
uncivilized
on
victory,
head
of
recorded
general
of
perpetuate
action
"Magister
The
the
deeds
the
imploringly.
boatman
field
their
of
trophies
crown
if the
modest
magistrates
among
kneels
enemy
and
celebrating
under
provinces
apotheosis,
modest
generals
sarcophagus
conquered
should
more
the
by
remote
seated
are
palm
had
why
ancient
pilot,superintending
in
slab
the
emperor
in
shared
was
ideal
prisoners
his
one
of
sense
bearing
stone,
In
the
with
monument
apotheosis
28)
celestial
and
we
from
in
life?
cult
Roman
victories
tomb
L.
Augustus)
the
some
Some
genius
the
art.
the
see
scene
the
honorary
Faustina
other
imperial
we
in
youth
of
emperors,
upheld
nations,
as
figure of
Roman
of
of
legionaries
and
conception
deified
head
showing
accompanied
Mithraic
general
the
scene
pedestal,
in
an
public
one
pedestal
the
Pius
and
of the
emperor
and
genius
mingling
first century
the
the
(see page
Obelisk
the
the
and
and
in
the
"
and
This
around
the
of
and
Aurelius
(personified
hand
to
personify
to
left hand
what
remains
of
pedestal
Antoninus
Rome,
left
of
we
drapery,
seems
triumpher
this
"
crowd
contain
the
circle
advance
witness
idea.
M.
sides
of
honor
ride
the
Augustus.
of the
the
Pacis
Posture,
her
to
restored
the
which
Obelisk
Ara
Pacis
the
work
restorations
the
on
Faustina,
Two
in
imperial
given
glory of the Roman
army
The
the
Ara
know
not
is much
work
of
has
witness
we
of
world.
the
of
is certainly
through
way
in
banner
do
important
more
real
chariot
the
We
it too
the
"
Parthenon
frieze
the
all
bearing
precedes
but
the
Rome.
herself,
relief
faces
the
of
strength
Rome
of
conquest
of
expression
solid
of
ideal; in the
the
the
to
frieze
the
In
crowd.
perial
VATICAN
idea
of
his
Farnaces,"
of
his
on
daily
the
representing
occurred
have
never
of
ship
the
the
given
state
But
was
which
That
of
heart
art
of
art
sometimes,
people,
of the
capacity
we
of
but
seen
and
Faustina
the
in
been
But
If
That
flourish.
in
the
idea
of
midst
began
to
Roman
from
and
from
this
And
by
the
the
pass
in
very
the
Gospel
exerted
of
which
had
we
triumph
of
the
notes
of
cortege
has
the
while
an
have
fourth
and
of
heart
force
imperial
an
contemporary
this
But
whole
will
appeared
figures
of
third
the
also
the
when
figures
inspiration
which
art
Its first
the
of
of
turies,
cen-
art
new
and
man;
altogether
Consequently,
the
ent
differ-
day
some
Michelangelo.
two
works
to
seem
which,
and
imperial
barbarians
are
the
These
and
terized
charac-
different
works
(Fig. 82).
St. Constantia
war
while
forecast
Christianity.
and
(Fig. 81)
of
by
idea.
forms,
Empire
St. Helena
the
of
possesses
poverty
above,
genius,
there
forms
day
inspiring
an
imperial
Moses
Museum
have
of
self
him-
the
decay
moment
the
won
had
the
by
awaited
of
poverty
availed
and
Farnaces."
"Magister
Christ
the
equal
an
less
grace-
column
the
poverty
as
some
the
at
paintings
our
become
and
poor
dignified
Christian.
is the
Catacomb
that
rich,
uglier than,
not
art
proved
civilization
art
for
be
been
has
This
the
fatal
so
idea
religion which
sarcophagi
former
this
Vatican
the
destinies
will
Moses
is true,
resembles
Moses
Bible
this
In
art.
sprang
inspiring
to, where
similar
aspect
is not
the
wane.
suggestive
this growing
artist
the
the
since
carrousel!
forms
of
poverty
the
of
hearts
the
of
it
god,
And,
grew
What
from
forms
the
on
the
Campus
perial
im-
the
emperor
Martius
review.
the
the
religiosity; though
pedestal
where
side
the
Rome,
art
Of
the
on
the
on
and
childish
to this
subject.
or
not
composition
both
Pacis
Ara
indication
containing
sides
two
imperial
pire.
Eminto
deep
state.
declined.
imperialism
for
the
of
Roman
Though
from
rising
political
the
the
dependent
are
in
figures
an
models
Greek
on
of
already
Antoninus
the
of
vague
of
by
people
conception
subject,
attraction
the
as
have
of
idealism
and
the
upon
of
instead
which,
made
eagles.
fascination
religious.
itself in
it had
as
reach
roots
all, the
posture,
art
an
imposed
was
beauty
figure
lasting
clothed
also
and
whose
is
Antoninus
with
the
fall
actual
the
is, above
art
had
to be
ceased
never
as
and
what
Farnaces
two
together
faded;
ideal
long before
such
Rome
in
decay
this
that
tub
his
between
genius
to
boatman
notice
of
poop
the
it occurred
modest
we
triumphed
and
is vital and
and
man;
of
wings
born
waned
alone
And
would
forms,
poor
period;
to the
was
at the
position
such
Classical
emperor.
the
was
to
idea
imperial
the
the
on
doomed
the
freight-boat
to
occupy
art
an
ideal
little
was
of
in
and
incident,
an
Greek
dominating
same
Faustina
and
to
his
because
Roman
banal
and
insignificant
so
379
PAINTINGS
ANCIENT
AND
SCULPTURE
OF
MUSEUM
glory:
dragged
into
are
In
horsemen
captivity
The
below.
glory:
Christian
the
scene
in
perform
below
he
who
will
the
the
still
imperial
the
now
soon
bend
their
raise
them
Cupid
the
earth.
the
of
the
menacingly
lamb,
and
in
St.
in
will
under
and
masks
itself
will
victoriously
lamb
Shepherd
the
be
under
day
reversed.
overthrow
the
peacock
far
Roman
the
Empire,
of
dominion
and
distant
barbarians
the
symbols
its
And
Helena
not
The
of
hoofs
extend
faithful
the
St.
is
this
the
and
of
sarcophagus
the
in
immortality.
and
the
will
which
the
natural
and
grapes,
work
Constantia,
humility
the
press
good
of
atmosphere
an
while
Good
heads
captive
which
Faith
and
the
buoyancy
and
buoyancy
humble
of
with
the
Lord,
the
that
in
humility
when
of
symbols
the
gather
symbolized
saw
vineyard
the
saw
is
there
Christian
Cupids
some
filled
is
sarcophagus
second
and
peace
if
VATICAN
THE
380
the
horses
while
peacock,
out
through-
THE
OF
GALLERY
of
Jhe Gallery
built
V
Innocent
the
the
had
the
to
Pius
date
slabs
of
Vatican,
the
not
discovered
dealers
in
under
Leo
gallery
it also
holds
of
time,
will
in
be
would
who
is
the
namely,
in
Persons
wherein
who
fact
wish
to
been
tion
collec-
of
IT 381
in
the
fit
ideas
for
make
to
his
chaeologist
ar-
any
ment,
arrange-
been
have
scribed
de-
Inscriptionum
Gallery
properly
of
great
present
"Corpus
the
ment
arrange-
the
not
the
Vatican
collection
ledge
know-
some
classified
different
respect
ancient
researches,
has
inscriptions
the
example,
the
anew,
of
thought
the
who
While
of
his
for
form
thus
world.
Marini
retaining
for
position
examine
out
the
archaeological
done
yet,
many
(for
their
be
to
reason
that
works
various
Latinarum"),
critical
it, it has
another
visitor
Gaetano
and
student
materials
every
the
work
to-day,
planned
There
change.
had
followed
richest
for
the
to
antiquity.
with
the
made
various
the
to
3000,
in
stone
on
manner
the
interest
accordance
Gaetano
from
made
than
more
writings
find
classical
and
although,
and
number
special
or
and
Capponi,
excavations
the
the
various
from
and
bought
were
This
in
X.
ancient
here
wonderful
history
collection
of
in
appeals
who
epigraphy,
Pius
in
found
additions
adjacent
epigraphist,
Ostia
and
new
inscriptions
collection
greatest
Rome
Many
and
XIII
these
marbles
many
is
Borgia.
together
at
here,
assembled
Pietro
famous
that
by
at
antiquities.
Altogether
this
the
formerly
Galletti,
But
which
Appartamento
brought
was
walls
the
Museum
those
Di
in
set
Museum.
corridor,
the
XIV,
and
Museum,
being
the
were
Zelada,
authorities
of
near
which
those
mention
to
papal
the
Loggie,
with
inscriptions
Marini,
place
end
comprises
Cardinals
by
many
the
of
other
inscriptions
together
quarters
the
to
tier
lowest
collection
by
taken
by
of
Clement
Chiaramonti
his
Tower
collection
under
Pio-Clementino
the
of
built
palace
The
slabs
the
ridor
cor-
palace
Borgia
(the
Vatican
the
old
smaller
begun
was
VI,
to
the
the
along
the
Belvedere.
of
near
anxious
VII,
the
Pius
by
Corridor
Bramante
later
in
founder
enriched
link
VI
with
inscriptions
real
situated
to
Alexander
and
VIII
ancient
the
of
Bramante
Appartamento)
and
is
Inscriptions
by
Nicholas
INSCRIPTIONS
is indicated.
should
begin
382
THE
the
at
leading
gate
lowest
tier
mento
Borgia,
walls,
on
point
out
the
the
through
that
first two
of
have
left
the
is
screens,
of
door
Way,
where
Walls
once
of
in 368
between
(386
IfiG^foyBL
plement
com-
the
two
:GENfD
near
Appian
Outside
temple
IT
the
cated
dedi-
was
after
b.c),
.INPLANfTfAM
the
found
on
This
a.u.c.
of
Inscriptions.
of Mars
Temple
fine
the
Gallic
found
Inscription
War,
is famous
and
inscription,
work
of
and
been
sacristy
of
because
some
Nero,
them
The
and
to
be
{collegium
lived
in
)
.
are
the
or
huts
days
of
the
near
of Pius
the
on
in
the
his
is
hall
have
left, that
the
of
Baths
record
winning
small
VI
with
connected
right,
Scirtus, again
an
been
advertisement
in
made
omnis
the
and
of
horses
inscription
giving
and
the
names
that
an
vinariorum
announcement
which
all the
humanitas
association
(collegium
or
country,
inscriptions concerning
mulierum),
taverns
right,
urbico
(more
from
in the
work
latter
temple,
inscriptions
are:
names
the
the
records
expense.
victories
the
on
the
named
establishment
have
whose
of
Mars
of his victories.
the
on
bathing
there
also
tium
number
the
them
among
recorded;
charioteer
set up
during
Below
Site
of
to the
Way
few
here
been
found
victories.
the
contains,
gallery
the
near
Temple
Republic,
public
brought
had
ancient
Appian
at
ball-player
are
of the
the
Senate
the
were
the
days
time, containing
his
improvements
found
to
The
from
important
Trajan
and
concerning
latest
the
they
most
circus
of his horses
1
by
leads
been
Togatus,
enumerating
Wall
led
They
had
in Nero's
later
that
out
which
to Ursus
Titus
relating
slope
placed.
of
charioteer
and
the
the
to
building.
relating
history.
belongs
vestibule
recently
Roman
carried
was
the
that
which
levelling
which
In
in
MARTI
cence
munifi-
groups
a
inscription,
stood.
the
to
seum,
Mu-
the
as
St. Sebastian's
the
ROMANS
pass
visit
up
enter,
you
large
we
pay
set
POPVLVSQVI
Museum
shall
through
Gallery
as
shall
we
remarkable
been
the
to
the
Pio-Clementino
recently,
X, three
inscriptions
On
the
of
inscriptions.
gallery,
and
of
Pius
along,
Chiaramonti
museum,
the
Apparta-
line
the
go
we
the
rooms
near
important
the
where
the
as
of
end
the
follow
most
from
gallery
Loggie,
reached
the
the
to
and
which,
Having
at
of
VATICAN
city
tells that
comforts
prcestatur).
a
of
woman's
canabis
will
worthy
Note-
association
wine-merchants
in
the
who
consisten-
383
INSCRIPTIONS
OF
GALLERY
THE
mm
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y
v)Vi:.'Hi'X3i:M0(
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m;vs"
in
Inscription
Wall
shows,
It relates
how,
divinities
who
are
in
the
of
the
days
monument
"
to five
Mars,
inscriptions
in
letters
Roman
Caracalla.
Saturn,
among
the
cerning
con-
Seventh
the
this
curiosity
with
of
tomb
of
above
names
inscription,
to
relief
in
who
devm
contra
Procope
died
woman
bearing
profane
this
all
JVSSERIT
whom
VLTIMVS
her
relief
and
Cas-
named
judge
tomb
he
die
to
an
loved
inscription
SVORVM
die
die
also
Here
the
before
MORIATVR.
small
threatening
last
he
of
his
did:
race
that
"
qvisqvis
The
lero
[levo]
that
improbable
bust
is, that
svstvlerit
of
should
whosoever
hoc
scription
in-
against
sepulchral
that
are
Procope
manvs
It is not
is
which
on
opened.
named
procope
young:
slab
hands
woman
svstvlit.
death.
would
the
with
young
so
marble
sepulchral
arms
innocentem
me
violent
protest of
caused
qvi
see
raised
two
the
records
deity
right, we
7, to the
Wall
sculptured
see
relating
verse,
is
There
an
in
dedicated
their
inscription
an
soldier
Agrippinus.
On
the
Hercules.
with
Cohort
Relief
in
Sabine
he
it,with
on
Letters
relief
a
vision,
namely,
wall,
very
hexameter
sius
carved
and
Jupiter, Mercury
on
to
answer
votive
Antonine
the
called
with
Verse
Remus,
Quartinius
Cohort,
in
this
Hexameter
right,
the
on
Marcus
Praetorian
IS'N VM
IWSVMWSMO;
he
would
avt
384
THE
Wall
On
8, to the left, is
Kalatores
the
of
the
was
of the
cippi
refers
to
(or chief
magyrus
The
Gallus
and
of the
and
cook),
contains,
Wall
the
on
zone
inscription
cooks'
inscription from
an
tron
the
Appian
that
we
are
to
be
be
properly
represented
the
likeness
On
able
Protest
QVI
reader
LEGES
ET
this phrase
is warned
NON
that
ORAVERIS
is hard
to
ERIT
TIBI
in
explain
DEVS
to
to the teachings
analogous
statue
On
Wall
Constantius
14, to the
from
the
third,
this series
is rather
and
of Rome.
the
especialty
would
overshadowed
be
of
from
immense
in Rome
but
meaning
it may
be
Christian,
with
of
This
in the Roman
left,begins
Luin
that
of
the
professed
of Christianity.
large pedestal
Constantius, son
stood
to
ending
The
not
Orfitus, Prefect
found
While
Emperor
to
Vitrasius
of
truly
maybeChristian,
not
prayed :
sense,
while
who,
one
dedicated
mius
some
on
remark-
if he has
TESTIMONIO.
pagan
inscription belonged
Wall
lies
and
will be witness
God
doctrines
On
her
against
which
the
which
Death
Early
since
deities
Deorum).
relating
Procope's
after
statues
nium
see
Ralerius,
formula
should
various
inscription
cius
and
perfections,
by
10,
left, we
the
of
parts
treated,
om-
Wall
inscription
her
of
on
Rasilica
monument,
that
(in forma
found
various
noble
told
ma-
the
The
the
most
sepulchral
near
St. Sebastian,
of
describes
in
met
Roman
Semne,
Way
Archi-
palatio).
the
the
Claudia
the
tion
inscrip-
which
in
the
during
up
club
one
near
is called
consistit
quod
cocorum
which
seen
free
who
lege).
Col-
tions
excava-
Another
b.c.
of
monument
TV
year
old
also
set
was
of
names
Regia,
be
may
Hadrian
mentions
right,
it
us
in the
the
as
to remain
was
tells
the
during
Here
the
Pontifical
the
known
Emperor
also
the
house
that
freedman
was
College.
Tiber.
of
found
off the
marked
of Censorinus
consulship
(Ushers
the
near
list containing
of the Pontifical
which
of the
banks
Forum
residence
flaminum
et
inscription
important
Roman
the
of
fragment
pontificum
This
VATICAN
Constantine,
pedestal
once
inscription
by Memheld
the
Forum.
series
of
inscriptions,
nearly all dating
Christian
Catacombs,
the
honorary
an
fourth
importance
by the unrivalled
and
and
fifth
in any
centuries.
other
collection
city, it
of Chris-
GALLERY
THE
tian
Christian
of
wealth
that
and
Museum
view
one
the
of
may
here
and
pagan
we
ease
notice
generally
of
careless
in
will
the
Then,
the
their
often
the
Christ
tine
and
we
altar
of
cult
Marcus
dedicated
was
the
Sun
by
Cripanto,
an
college
the
to
now
(No.
or
in
president
the
this
series
left of
the
the
Persian
of
(magister)
Sun
"
religion.
practised
which
from
inscriptions.
to
the
inscription
the
of
of
gallery
pagan
the
in
days
the
This
dedicated
63)
society
title; and
the
of
name
in
on
more
Constan-
the
as
separates
conceived
as
Greek
walls
all the
which
altar
the
afterwards.
use
return
Sun
this
under
Aurelius
the
is
of
fish, and
particularly
used
screen
the
known
generally
was
along
We
right,
is, to
that
"
and
Legions
Roman
dove,
letters
common
the
Museum.
15, to the
Wall
Soli Invicto
The
to
come
Chiaramonti
On
it
is continued
inscriptions
gallery, until
is
symbol
into
the
anchor,
first two
the
last
came
of
Names
the
giving
Column
on
the
of
This
of
Fragment
Numbers
( "fc ), because
monogram
Christian
of
scratched
combination
Constantine,
the
emblems
monuments:
(Xptatdc).
in-
inscriptions.
are
sepulchral
mcim
and
pace
HIAitf
XV-APO
lite )
expressions
early
Christians
the
JM
reference
in pagan
too,
it
tions:
inscrip-
in
c\u
LftfK aIwAVDJK'vM
IVU
Mll-CFMflfAVC
tolVf MITVLMMl'C^;
also
formulae
Christian
resurrection),
found
IlfMMVM'rrc
are
expression
obvious
(an
the
are
set
mn
stance,
in-
Moreover,
that
example,
depositus
never
in
in the
for
to
both
noticed
used
were
date,
palaeography.
be
For
which
later
inijcm
tian
Chris-
that
inscriptions,
and
which
epigraphy.
may
11ADM
UAVC
vi-vicm nir-HAv
also
but
the
compare
NOAMNMEC
tance,
impor-
with
Christian
more
combs
Cata-
high
itself
in
alone
not
in
is of
collection
the
Nevertheless,
themselves.
this
the
by
in
found
be
385
inscriptions
important
to
are
INSCRIPTIONS
Lateran
the
in
inscriptions
OF
special
of
name
association,
the
is mentioned.
On
Wall
times
17,
served
statue
of Gallus,
it
the
was
dignitary
the
to
base
of
two
as
for
the
right, is
we
an
fourth
distinct
learn
from
honorary
century
which
It
purposes.
a
relief
statue
of
the
carved
of Furteius
Christian
right side;
the
Tertullus,
era,
ent
differ-
originally
supported
on
at
as
we
consular
may
later
learn
from
the
this
wall
which
tells
their
21,
Wall
erected
children's
right,
is No.
91.
the
on
top
of
Commodus,
Inscription
giving
the
Names
Corps
of
that
and
was
93
is
a
boy
bearded
Very
his
offices
year
we
of
is set
From
the
181
the
scription
in-
dedicated
was
time
the
of
the
peror
Em-
a.d.
inscription,
Soldiers
told
are
and
that
contained
tells
on
high
and
unusual
an
namely,
the
the
sepulchral
garden,
us
that
probably
he
the
us
buried
was
sepulchral
chair
between
girl carrying
inscription gives
The
Cornutus,
seated
Harpocrates
as
children.
On
temple
belonged
they
wall, and
left; this is
man
mantle.
and
of
the
on
seen
portrayed
her
by
the
grow
stable
outhouses.
other
No.
surrounded
in
will
children.
monument
Birthplaces
and
wherein
Narcissianus,
Claudius
monument
the
Pupus
Eucha-
and
they
On
script,
and
size.
noteworthy
which
to
block.
cursive
dear
miniature
century
in
precisely,
in
that
their
different
that
is another
there
declare
of
Over
Praetorian
more
or,
wall
death
learn
we
marble
Cajanus
parents,
apparently
an
the
Torquatianus
and
praises,
the
temple
same
Pupus
the
of
of
inscription
their
by
of
protecting genius
this
In
named
children
was
front
sepulchral
because
carved
the
to
fine
the
on
time
to
another
carved
two
slab
their
sing
of
top
of
us
The
before
On
is also
there
ris, who
old
inscription
later
Laetianus.
of
VATICAN
THE
386
figures of
the
the
flowers
of
name
there
the
and
senting
repre-
figures,
in
the
his
girl represent
folds
individual
with
together
boy
group
two
as
eight
two
children.
25,
Wall
in the
instance,
to
the
imperial
there
is
an
right,
are
household
arranged
or
referring
inscription dealing
inscriptions concerning
many
with
to various
a
workmen.
hairdresser
For
(ornatrix)
THE
and
through
that
quod
Wall
in
of
as
praetorian
which
calling.
which,
on
and
their
Alongside
that
this
Wall
On
brick
the
has
of the
been
cohort
of
the
to
his
in
inscribed
are
Herewith
their
the
of
name
ancient
Mcesia
also
native
we
ing
showtowns.
Roman
one
cippolino
(latercoli militari),
to, and
as
is
proper
leg[ionvm],
belonged
military
There
column
sons.
per-
cohorts
sixth
outfit
tury.
cen-
two
legion
Bulgaria),
(now
the
to
this
to
altar
of
in the
132), with
Juturna.
goddess
Goddess
recently discovered
(No.
the
is
Forum
of
one
whose
Waters,
Roman
tion
inscrip-
an
This
tuary
sanc-
the
near
foot
Palatine.
Wall
31
double
contains
Claudia
who
metus,
Turcius
also
was
era,
and
the
as
an
sepulchral
gulares,
famous
list of
On
afterthought.
pillars containing
that
is, with
her
the
large cippus
of
to
the
support
the
the
There
the
of
his
are
who
made
also
up
of
statue
on
of
century
the
this
with
Hy-
Lucius
is
given
Asterius, has
surname,
Planciana.
honorum)
inscriptions dealing
knights
Julius
Diana
fourth
(cursus
served
cated
inscription dediCaius
honorary
of
honors
plinth
or
that
138),
tutor,
Temple
personage
his
(No.
second-century
pcedagogus,
custodian
inscription thereon.
added
all, it has
to
used
was
Secundus,
Christian
right
of
Quinta
cippus
the
the
on
First
purpose.
by
Later
dedicated
was
monuments
rare
very
it
of
these
urban
legions.
travertine
of
Musicus
first
the
watch.
the
soldiers
in
of
found.
recently
left, is
or
Paulina
recording
and
of the
with
Roman
Danube
the
was
30, to the
telling that
soldier
nomina
lists of
they
college
Gavius
end
of the
fragments
many
corps
near
brick
heading
many
legions
inscription, containing
stationed
was
where
se-
named
Sergia
figures
cohorts
portrait
the
are
the
of
the
names,
is
too,
the
the
and
was
of
the
at
inscriptions
many
of
his
numbers
example
an
sive
named
cippus
lived
Thysdrus,
carved
under
of
find
there
lady
characteristic
cohorts
with
is
Important,
names
give
(iter privatum
Paulino?).
who
soldiers
concerning
the
on
marble,
the
from
goldsmith
Via
ran
sepulchre
to
that
sepulchral
has
left, we
particular dealing
watch,
an
slab
29, to the
and
events,
the
monumentum
dedicated
noble
Sergio?
Januaria,
noteworthy
Wall
well
and
which
road
a
ad
it shows
of
left, is the
the
to
domo
in
est
Volumnia
wife,
since
house
in the
met
26,
This
On
belonged
to
in the
employed
Appia
private
pertinens
inscription,
importance
some
(collegium
his
Via
is of
association
and
per
387
servant
the
to
and
hortum
Still another
pulchmm)
On
garden
publica
via
imperial
an
between
lay
inscription refers
Another
highway
Ilarus,
which
Gardens,
Ostiensis.
the
telling of
another
and
nurse,
Servilian
INSCRIPTIONS
OF
GALLERY
wall
the
in
been
several
equites
horse-guard
the
of
sinthe
THE
388
Roman
were
various
the
empire.
give
They
one
these
whom
northern
the
empire.
we
have
to
and
Titus
one
for
rentinus,
To
Hercules
be
On
197
cippus
on
is
showing
seen
which
a
on
of
scenes
represented
their
his
work;
goods
which
to
were
the
to
a
by
on
the
customer.
found
The
Saturn.
pedestal,
(No.
H.
V.
V.
S.,
No.
seen
In
this
during
the
same
association
in
an
shop
in
wall
excavations
sepulchral
is the
is
and
of the
assistants
Atimetus
which
are
noteworthy
left
the
whose
Atimetus,
the
in
147
To
sides.
144), dedicated
of
Atimetus,
two
of
right is
to
of the
curator
of
patrons
comes.
workroom
the
two
Cornelius
carved
the
well-top
monument
Lucius
of
dedicated
solvit.
votum
sacred
Nymphs
tribune,
friend."
best
142),
Treasury
part
Victori
city this
the
to
their
(No.
military
us,
Singularis)
(Eques
"to
cohort,
upper
Julius
Flavius
pedestal
Ruf
the
on
to the
named
the
right, is
cutler
urban
attached
Herculi
and
Ceres
account
intent
be
Titus
votive
Julius
and
33, to the
Ostia, from
of
32, is
by Caius
interpreted
to
eleventh
the
of
Stele
Flo-
of
i.
LI
VVG
Wall
to
Wall
a.d.
VS
Vic-
Hercules
abbreviations
must
his
by
on
Victor
of
Temple
old
Flavius
left,
CVR-
ment
monu-
soldier
the
OPTIMO
'
as
er
standard-bear-
TitUS
AMICO
H-
FAC
Aurelius
and
TINJVSMILCoH-XFVRBANAESK
of
years
erected
torinus,
XlII-TiWRELIVSViaORM
VfXlLARJVS-H-ETTFLFLOREN
years,
The
Titus
heirs,
""
Fla-
thirteen
was
NOWCVS-VA-XXXMIfcA-
served
death.
his
AVGIVRVLPI-ImiiClNA
of
native
thirty
was
M.
TfHVLIOSESQEQSING
which
stele
who
Noricum,
reproduced
Julius,
soldier
from
came
here
belongs
tries
coun-
knights,
provinces
the
vius
since
native
the
of
of
by
valuable
show
most
ing
hold-
tions
inscrip-
These
are
they
quet
ban-
below
horses
two
or
the
on
orderly
reins.
the
of
and
his
sees
ally
gener-
portrait
couch,
one
in
countries
reclining
knight
from
chosen
the
at
and
emperors,
who
VATICAN
set
several
carried
out
looker
onare
is
scriptions
in-
by
THE
Pius
in the
VII
in
of
names
old
of
Of
which
set
was
On
Zeus
to
the
had
by
up
centurion
erected
in
the
Third
152)
inscription
an
on
of
inscription
to
protect
who
Heliopolis
known
Legion,
Tau-
Ostia.
at
him
citizen
Mithra
god
with
calling
by
certain
wood-workers
noteworthy
(No.
Heliopolitanus,
was
the
(dendrofori)
stele
the
inscriptions dealing
some
Cybele
marble
This
Gordian.
been
once
are
scription
in-
an
giving
to
of
by effigies of
is, moreover,
association
an
are
list
contributed
had
also,
of
priests
left, is
Maximus
Optimus
Emperor
to
them
and
Vespasian
refers
There
389
among
who
college
importance,
the
34, to the
Wall
Remarkable
cult, accompanied
(Bull-slayer).
roctonus
INSCRIPTIONS
Emperor
of
inscription
Mithraic
the
OF
Ostia.
the
members
the
(fabri lignarii).
with
of
city
honor
Another
work.
GALLERY
the
as
Flavia
Gordiana.
contains,
35
Wall
Flaminia
contains
153,
freedman,
the
from
for
Adrastus,
and
building
for
Adrastus
are
relating
the
168
year
something
Wall
civic
in
Gallus
the
the
the
College
celius
that
to
so
birthday
every
lines
of the
of
days
the
of
these
the
year;
Aurelius,
the
the
construction
of
with
the
tribunal
umn.
col-
with
rimony,
patumn.
col-
the
near
to ancient
tion
inscrip-
an
defender
of
names
the
imperial
house
building
to
of
of
the
town
flight of
soldiers
who,
in
there, probably
basilica.
may
be
Tiber,
set
Augustales
the
cippus
the
is addressed
custody
his
and
patron
gives the
Augustus;
college
is
records
building
these
Among
banks
of
Among
third
for
of
for
divine
other
better
are
give Adrastus,
inscriptions relating
few
might
fragment
an
of
mentioned:
up
by
the
terminus,
consuls
the
him
and
a
records
statue
of
and
magistrates
or
mark,
land-
Censorinus
inscription recording
Laurentum
erect
of
various
with
inscriptions dealing
contains
dignitaries.
from
Septimius
to
administrators
inscription
erected
the
along
37
wall
Two
Severus:
materials
the
On
of
the
by;
and
custodian.
was
of the
column
the
use
Frumentius,
and
a.d.,
the
build
to
transcribed.
him
asking
plot of ground
Rome.
another
in Laurentum,
steps
been
near
the
this
Valerius
Laurentum;
to
on
outside
to
of
is from
also
have
No.
imperial
an
permission
he
patrimony
habitation
letter
granting
which
to
the
near
fragment,
Adrastus,
for
of
house
him
authorizes
municipalities
imperial
of
The
by
Severus
letters
custodian
Aurelius
Marcus
addressed
Epaphroditus,
and
the
third
There
the
to
destined
house
The
of
of
of
column,
three
154,
freedman
imperial
said
relating
monument
Colonna).
Septimius
the
near
honor
Piazza
petition
remarkable
in
modern
Emperor
is addressed
materials
of
procurator
first
the
part
stele, No.
long
the
the
house
right,
erected
(on
the
to
himself
of
column
triumphal
the
Via
the
on
Ostia
by
and
the
Ludi
and
legacy
one
celebrate
left
Rustihis
sceculares,
390
VATICAN
THE
which
brated
cele-
were
in
the
Rome
of
days
and
in
tus,
Augusthe
at which
famous
"Carmen
of
culare"
was
SseHorace
sung.
There
also
are
of
number
scriptions
in-
small
bearing
the
of
names
times
various
and
once
underneath
placed
their
of
learn,
statues,
QHDoromysciVEcivirA
we
dedicated
was
Titus
TISTRAENE
Cornasidius
Sabinus
his
and
the
by
One
statues.
these
to
sonages
per-
of
STIHAffOJMERS
son
of
College
:'-"*^
Dendrofori
La-
at
Tablet
vinium.
dedicated
was
Martinus,
the
fairly
old
recently
set
Honor
up
Valgus,
town
of
Anicius
Bassus
Auchenius
tablet
Auchenius
of
patron
set
this
the
of
in Ocri-
An
who
is
and
important
been
has
a.u.c,
around
city
gates
and
there
to the
having
for
that
wall
same
Campania,
patrons
walls
of
The
Praeneste
Clavius
century
of
building
On
Proconsul
Bassus,
seventh
brother
also
city.
municipality.
the
were
and
quadrumvirate
by the city of
up
and
of the
the
mentioned.
his
municipality
the
the
by
and
a.d.
south
from
It records
there
are
that
the
to
dating
here.
century
to
Baths
Beneventum,
honorary
and
styled
C.
by
of
towers
is
curious
Anicius
noble
most
Ecla-
the
restitutor
in
bas-relief
Aniciorum.
generis
On
in
Saturninus
fourth
munificence
inscription,
Quintius
the
in the
Juvernal
near
the
lived
their
restored
Cesonius
Marcus
to
who
coli, for
num,
erected
Another
Wall
effigy
38, to
of
left,
the
centurion
is
of
cippus
a
a
Roman
163)
(No.
legion
in
bearing
time
the
of
Septimius
Severus.
Wall
39
the
Praeneste
was
in
set
contains
statue
who
up
accordance
lived
in the
the
385
will
Julianus,
end
of
the
which
(No.
pedestal
Postumius
at
year
with
marble
large
of
of
the
fourth
Christian
left
several
era
165)
noble
which
citizen
century.
in the
farms
once
of
ported
supancient
inscription
The
forum
of
to the
town
Praeneste,
on
con-
THE
dition
that
his
each
There
tells
few
The
him,
the
from
works
which
forum
391
and
anniversary
an
imperial days
buildings
done
were
citizens
honor
of
of
in
sixth
the
brated
cele-
consulate;
voted
was
Lastly, there
Constantius
Emperor
other
an-
Antoninus
Aurelian
Castronovum.
the
One
walls.
Emperor
of
statue
these
on
his
by
the
supported
the
in
erected
Wall
40,
the
to
which
inscription
a
INSCRIPTIONS
is
an
by Memmius
Orfitus.
Vitrasius
On
in
up
certain
some
told, by
inscription
set
inscriptions
pedestal
are
we
OF
his memory.
restored
that
relates
Pius.
in
Trajan
how
be
statue
year
are
GALLERY
the
to
we
the
gives
belonging
farm
left,
large cippus
see
of
names
Bruttia
Gens
in
170
(No.
Atimetus
Cornelius
known
Sabinum,
with
B)
and
an
refers
Villa
the
as
to
Bruttiana.
On
of
Claudius.
Emperor
FINIBVS
pomoerium,
the
that
telling
wall
of
the
of
of
43
year
imperial
bears
to Caracalla
by
of
time
the
popvli
other
two
already
of
the
romani
The
carved
been
filled
Trajan
(No.
is also
Divers
whole
built
and
his
the
at
173),
with
be
spouse
of
end
the
tering
let-
easily
can
from
cippi
to
There
era.
having
Trajan
referred
Association
the
of
but
divine
the
to
are
Christian
the
city walls,
in
avctis
inscriptions.
traces
Temple
also
that
like
Claudius,
the
Here
forum.
splendid
was
portion remains,
the
on
the
extended
TERMINAVITQVE.
dedicated
was
stood
and
from
173)
(No.
formula:
usual
several
are
central
it
reconstructed:
Plotina,
the
large inscription
one
Only
bronze.
It has
there
cippus
city boundary,
or
AMPLIAVIT
POMERIVM
this
On
right, is
41, to the
Wall
his
pomoerium
dating
and
from
inscription dedicated
an
(stricafores)
.
No.
173
dedicated
is
The
the
of
narium.
The
it gives
because
other
instance,
the
cloacae
which
monumental
was
was
in
the
run
built
in
the
the
through
imitation
Ostian
in
municipal
of
forum
the
Tiber
far
Capitol
to
banks
been
also
and
and
from
Hadrian
(119
as
in
the
capitol of
Rome;
an
43:
the
for
works
begun
by
Diocletian
inscription
Emperor
as
had
dedicated
the
Juno-
tion
informa-
Wall
on
recorded
are
which
Baths,
of
the
Praeneste,
follow
which
inscription
the
as
of
of
statues
(Isis-Fortuna).
Isityches
imperial times
curator
of
ancient
of
with
known
view
was
citizen
adorned
in
it
Pius;
Sariolenus,
noteworth}^
consulship
the
Antoninus
building
topography
important
an
Lucius
another
and
from
Balbus,
third
in
says
of
Sariolenus
inscription
Pius
(sewers);
time
by
that
goddess
inscriptions
by Acilius
that
the
is very
the
the
Hadrian;
Emperor
Maximian
street
inscription
concerning
by Antoninus
done
learn
divinity
it mentions
Some
the
inscription
that
from
Primigenia
Fortuna
to
Praeneste.
temple
dating
slab
the
and
Roman
which
a.d.)
the
we
new
town,
inscription
on
THE
392
Nerva;
On
Wall
Emperor
45
are
its
words
buildings
from
Rome,
(3)
banquets;
first milestone
the
at
High
Vulcan
lower
of
part
from
the
this
wall
rules
second
and
told
that
the
near
of
Temple
association.
the
berini,
in
Wall
whose
47
ministers.
with
vus,
the
on
of
had
few
the
been
of the
Palatini, giving
they filled.
altar
an
the
(4)
the
early days
for
the
On
health
Wall
Sun,
virgins
of
of
its
the
it
points
Queen
Dido,
colony
shield.
era,
containing
in
the
lex,
Hygeia.
or
We
her
band,
hus-
meeting-place
the
gift from
On
of
the
Ostia,
at
the
memory
list of
military
inscription
and
between
a
the
silver
first and
ond
sec-
festivals
Prince
kept
Louis
and
dedicated
Sabine
god
by
this
many
the
on
the
Bar-
into
Island
time
and
of
Sol
to
alluding
the
those
to
found
tian
Chris-
city
inscription
the
of
Tiber;
of
the
whose
Caere
(2)
Salii
places
Aurelius;
and
ancient
dedicated
that
thinking
Invictus
the
Gradi-
that
of the
Marcus
sacred
Sancus,
priestly college
elected
the
from
Semo
and
Mars
to
critics
inscription
another
an
divinities
cippus
newly
from
(5)
of
important
is
ing
Ostia, bear-
at
of the
concerning
Magus
brought
history;
Emperor
48, to
by
fragment
were
of
association
thought
the
date
important
an
Vestal
the
to
was
(fasti) of
of
names
records
dedicated
/Eterna;
that
the
These
records
funeral
because
an
Way
the
to
It is
to Simon
statue
fragments
of
preserved.
(1)
misled
was
inscription
custom
^Eseulapius
this
been
sacred
Marcellina,
inscription
are:
Tiber.
Justin
of
inscriptions
inscription
an
Island
apologist
there
it had
principal
Curtianus
The
prefect
head
placed
inscription
many
The
Ager
found
and
Christian
Appian
to this
palace
contains
gold
given
the
on
and
milestones
sister
architrave
of
the
had
This
the
Silvanus
third
the
remarkable
religious
Salvia
named
Added
in
Regilla,
broken
Association
Mars
and
and
way
recently
of
the
second
isters.
min-
Scurreius
Flaminia.
statue
was
by
fifth
their
of
of
St. Calixtus).
Aunia
and
the
cippus, beginning
College
iEgrilius Plavianus,
Apollonius,
milestones.
by
of
lady
Flavius
is
century
statutes,
of
of
Vulcan,
to
dedicated
inscription
Monime
calendar,
Via
Acilius
of
pontifex
treasury,
are
of
inscription
an
who
near
up
the
window
done
in
and
gods
(2)
the
to
of
right
the
to
an
the
Julia
honor
on
the
relating
one
of
in
kept
(1)
Catacomb
the
fragment
relating
between
concerning
festivals
the
plot of
the
notices
contains
and
Appia
(i.e.,near
aqueduct,
Primigenia;
Fortuna
Via
work
erected
(31 a.d.).
follows:
as
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to
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gallery
the
of
the
small
Inscriptions
came
from
Via
Appia
1780.
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the
is in
of
beauty
Taurasia
brought
back
cornice
"eek
with
art
of
is the
had
room
456
our
best
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dentils.
already
a.u.c.
to
of
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that
in
Borne.
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is of
penetrated
where
he
The
frieze
great
into
the
consul,
the
of
statue
in
placed
the
inscriptions
Lucius
in
Cornelius
of
of
all
importance,
as
the
and
and
Lucania,
decoration
and
ment
monu-
aedile, captured
and
censor
roses
the
wisdom
strength,
overcame
in
the
on
discovered
front
architectonic
Borne
in
placed
were
were
of
the
on
with
scriptions
In-
great-grandfather
B.C.),
Samnium,
scriptions
In-
the
Scipio family
sarcophagus
was
(1) the
important
they
praises
lected
col-
those
Belvedere.
famous
carved
verses,
tells
the
important
as:
been
of
Directors
to
where
has
Torso
(298
inscription
deceased,
consists
sarcophagus
of
The
most
groups
most
of
Gate,
the
two
group
the
These
tomb
Saturnian
and
of
Sebastian's
The
ancient
the
"
consul
Africanus.
Scipio
in
dates
Inscriptions; (3)
Museum,
Hall
Scipios.
of
known
are
first
third
the
the
complement
Triumphal
The
and
the
on
the
middle
530.
year
groups
groups
the
(2)
stood,
St.
Barbatus,
Scipio
These
underground
near
their
century
1912
In
"
worthy
Pio-Clementino
the
of
the
Arvales.
opening
recess
square
fix
bear
they
inscriptions, however,
three
together
proper.
Fratres
originally
Meleager
that
sixth
the
latest
Inscriptions.
form
which
Scipios;
of
hall
fact
thus
the
to
the
consular
of
gathered
of
and
Christian
Gallery
the
inscriptions,
in
363
the
can
we
fourth
Trajan
Museum.
Museums
Papal
the
year
of
Christian
Lateran
ancient
the
run
of
account
office, and
of
Temple
the
on
from
the
being
collection
Additions
the
dates
earliest
the
in
consuls
the
The
case.
every
special importance
names
from
Inscription
of
Fragment
and
triglyphs
it shows
third
the
on
us
century
that
B.C.
GALLERY
THE
The
lid
the
cushion-shaped
has
is
spectator
remain
have
In
read
wall
the
found
of
their
antiquity.
son
of
tells
text
he
that
us
referred
"Te
is
lid
placed
in
painted
was
sixth
book
letters
red
of
the
the
the
of
Scipio,
496.
the
The
where
that
good,
cated
dedi-
and
he
is
and
Capena
writes:
fatemur
aquis."
while
sarcophagus,
of
name
Scipio
account
on
in
Porta
"Fasti,"
classis
of
the
Corsica
delubra
obruta
front
best
conquered
near
his
I 0
of
censor
the
meritam
the
on
he
I P
Cornelius
and
right
letters, which
S C
Lucius
of
left
to the
importance
a.u.c.
stood
Corsis
est
of
consent
Tempestas,
paene
495
aedile, that
the
quoque,
inscription
in
red
inscriptions
great
inscription
which
in
F.
other
having
the
to
original part
CN.
common
Winds,
in
Cum
The
by
and
the
all
portion
inscription
added
consul
was
by Ovid
to
and
395
the
the
CorneliO
been
was
he
to
L.
2 is the
censor
temple
No.
On
original
have
tomb,
who
consul,
was
left
in the
family,
Barbatus,
the
follows:
as
but
restoration.
of
to the
INSCRIPTIONS
ornaments,
modern
traces
some
must
OF
the
individual
the
on
it
whom
to
belonged.
No.
is the
Africanus
known
of
body,
that
his
ancestors.
Cornelius
(587
up,
Scipio,
and
a.u.c.)
that
his
had
father,
was
and
man
No.
7,
the
sacred
as
No.
in
broken
King
This
564
of
consul
is
On
Cn.
panegyric
great
the
us
that
wall
travertine
at
verses
his
of
Lucius
the
back
architrave
with
quaestor
was
that
of
told
of
added
are
and
the
an
and
Scipio
in
600
of
son
deceased
legal decemvir,
the
praising
the
still
dead
of
his
of
the
nobility
Scipio,
though
pater
Consul
of
the
set
was
sixteen,
that
tribune,
sires
and
years,
inscription
age
are
knowledge
of
Lucius
[mortuus]
Cornelius
defunct,
and
of
Scipio Hispanicus,
military
glory
the
the
We
a.u.c.
of
wisdom
is the
at
Cornelius
archaic
the
died,
aedile, quaestor,
tells
to
No.
who
he
after
place
and
that
inscription
the
took
life
his
outshone
that
Mortnos
later
conqueror
of
thirty-three
when
Syria:
a.u.c.
famous
inscription
us
no
Paulus,
have
an
lived
time
victory
in 578
Some
5,
Scipio
having
man,
brevity
tells
he
of
the
would
glory
that
at the
preceding,
emulated
which
years.
is
dead
decemvir.
one
the
is No.
Cornelius
yEmilius
Minor,
which
tribune,
inscription
who
wall
same
subegil.
the
his
Asiaticus,
was
Scipio,
attained
twenty
of
son
curule
praetor,
son
P.
This
Lucius
Africanus
longer
Antiochus,
the
Cornelius
preceding,
there
On
who
of
son
lineage.
had
lived
Thermopylae
at
Comatus,
a.u.c;
he
of
son
Hannibal.
of
inscription deplores
conquered
Glabrio
of
the
or
military
antioco[m]
regem
Cn.
had
Scipio,
conqueror
adopted
The
Carthage.
Publius
iEmilianus
Scipio
as
declares
of
the
Major,
his
of
heirs
of
inscription
young
lived
sarcophagus
inscription
son
little
of
of
man,
over
Barbatus
one
Pan'
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palace
until
1910,
are
included
They
Latinarum"
tionum
of
group
to
the
the
733
these
years
which
inscriptions
have
precious
They
Africa,
High
to
originally,
all
relate
to
Illyria,the
up
Jupiter
having
are
to
on
the
Victor
destroyed
Republic.
of Julius
appear
won
by
by
Corinth
the
Mummius,
and
as
you
enter).
he
of
century
the
of
in the
generals
in
of
Sicily.
most
famous
consul
conquered
in this
that
711
has
a.u.c,
date
Of
note
era.
dedit,"
triumph.
order
the
they
These
must
Inscriptionum."
republic
inscription,
in 609
is,
the
"palmam
the
Greece,
seum.
Mu-
Inscrip-
Rome;
last
"Corpus
and
in
Vatican
from
Christian
Roman
wall
Palace,
recorded
first dates
"
the
Roman
the
"Corpus
triumphs
the
in
remained
the
of
The
the
of
by
The
Rome
They
Caesar, and
on
they
placed
to
"Triumphavit,"
ceremonies
Alps, Macedonia
is
when
Rarberini
the
acquired
before
year
placed
Lucius
died
in
collection
eighth
to the
right
Tables."
sq.).
the
as
first
were
phrases
triumphs
wall
who
neighborhood
at
the
were
and
the
famous
477
belong
death
reference
inscriptions
had
the
twenty-first
the
or
a.u.c,
they
in
Roman
the
a.d.)
discovered
"Barberini
when
the
to
were
in
taken
name
all
the
following
year
in
of
wall
the
(on
(Vol. I, pp.
inscriptions
last
of
have
the
(239
a.u.c.
therefore,
were,
and
MANE
PRIMO
Scipio Hispallus,
(1623-1644)
VIII
ADCLAMAV
Restorations
inscriptions
important
Urban
Forum.
578
year
Inscriptions
most
days
Cornelius
"
comCEPIT
Diae
with
Fragment,
Cn.
the
Dean
sacrificium
VOCES
in
Spain,
dedicated
a.u.c
It tells how,
which
became
the
GALLERY
THE
of
and
the
during
the
within
1786
in
146
a.u.c;
temple
made
vow
found
was
(608
dedicated
and
triumph
in
Achaia
of
province
Roman
397
INSCRIPTIONS
OF
celebrated
the
near
Rome
to
Victor
Jupiter
to
This
war.
wall
returned
B.C.), he
statue
filment
ful-
in
monument
St.
of
hospital
John
Lateran.
of
priestly college
fields
(arva),
wood
at
to
carve
of
Temple
is that
of
for
as
Arvales
the
of
our
in
the
meetings,
in
the
there
many
collection
in
the
tom
cus-
near
up
Terme
from
their
and
important
delle
the
sacred
describing
set
were
most
extends
of
but
Rome,
time
Nero
of
up
of
belonging
to
of
the
Temple
hymn,
or
the
ceremonies.
few
recited
was
lines
or
and
with
the
time
of
as
it has
in
by
the
the
cessively
suc-
from
date
of
the
the
Fratres
longing
be-
fragments
145
of
era;
our
(218
for
preserved
primitive
Fratres
(3)
era;
date
by
(4)
of
time
fragments
Elagabalus
of
sentences
the
bearing
Concord;
have
and
Christian
announced
composed
poem,
which
Latium,
of
language
of
Pius,
from
of the
reign
sacrifice
the
from
(2)
era;
59-60
years
period of Antoninus
Arvalian
of their
Christian
inscription
inscription is most
important
last
ancient
the
were
them
Taking
inscription
an
Domitian's
from
It records
pronaos
(1)
the
to
position.
present
see:
we
collection
this
the
their
in
in
inscriptions
near
room
Arvalian
an
This
the
met
wood,
Museum
among
58-59
date
era.
the
to
(5)
their
in
it was
and
tablets
The
National
along,
go
we
of Nero,
91
year
found.
fertilityof
the
They
Portuensis,
of
charged
importance,
for
above-mentioned
and
set
inscription dating
an
be
been
giving
time
the
in
time
long
recently
Nero,
Dia
marble
is older,
noteworthy
most
only
great
Dea
were
Gordian.
The
kept
the
the
in
Via
accounts
been
collection
Vatican
that
in
have
of them
records
the
the
and
Arvales.
name
These
Dia
of
the
on
marble
Dea
fragments
these
their
came
milestone
on
honor
Arvales
Fratres
The
"
origin
in
ceremonies.
their
detail
very
whence
sixth
the
ancient
sacrifices
solemn
the
with
Arvales.
Fratres
of the
Inscriptions
a.d.).
rough
in
Arvales
this curious
the
us
and
some
text
may
of interest:
Lases
"Enos
fields
This
to
be
The
luerve
sini
incurrere
to
us,
marma
in
Lares,
and
do
not
allow
."
the
crops
of
the
spoiled.")
Arvalian
is thus
and
Neve
propitious
("Be
is
hymn
of
great
remaining
one
of the
oldest
documents
in
the
Latin
tongue,
philological importance.
inscriptions
are:
(5 A)
tablet
(the back
of
the
pre-
ceding
the
when
sacred
of
time
the
of
wood
for
time
the
curtailed,
person
it
deserves
who
1911,
of
the
not
has
the
only
pp.
visit,
opportunity
Gallery
that
but
and
the
near
and
give
which
della
ment
fragFebruary,
field
Ela-
mediately
im-
was
elsewhere
published
was
Commissione
arche-
2-3).
Vatican
show
nevertheless
will
("Bulletino
in
Portuensis,
We
of
Arvalian
an
in
restorations),
writer
description
above
The
Via
Collection.
(with
Roma,"
di
on
was
from
days
found
made
the
the
(7)
era;
dates
text
from
It
being
Vatican
the
our
a.d.).
Arvales
present
comunale
ologica
that
the
by
(239
inscription
this
of
of
were
Fratres
the
bought
facsimile
year
Gordian
The
two).
inscription
221
excavations
some
in
sawed
another
the
from
dating
and
from
1911,
(6)
Elagabalus;
of
days
been
having
slab
the
one,
gabalus
at
VATICAN
THE
398
it
is
the
patient
the
the
time
of
Inscriptions,
richest
study
to
examine
in
of
the
if
world,
every
its
educated
treasures.
very
and
THE
Sacred
Ihe
by
of
as
we
commonly
was
calling
the
it barbaric.
declare
Middle
the
earlier
then
collect
glassware
with
seals,
ivories
to
gems,
medallions,
pious
objects
of
Pope
that
Church.
had
As
then
of
in
existing
Cardinal
family
of
door
Pope
the
Before
of
entering
not
which
its institution,
exhibits.
by
This
the
The
on
be
of
of
the
he
step
so
in
was
to
insertions,
of
the
precious
unjustly
despised
of
time
as
few
relics
specialized
less
and,
thus,
that
these
of
beauty
or
made,
and
went
and
far
comprehensive
stricted
remen
on,
inscribed
bas-relief
Vatican
carved
or
alto-relief,
Library
bearing
other
and
Filippo
Conti
the
collections.
minor
recorded
famous
Buonarroti
of
of
in
Rome,
illustrious
inscription
an
tions
collec-
Florence;
and
patrician
the
on
the
over
of
that
Roman
action
This
tive
Primi-
the
most
Carpegna
of
private
of
history
three
he
when
various
the
the
on
the
bought
Vettori,
is
more
Cavaliere
dei
patron
ecclesiastical
and
of
description
amiss
formed
to
the
say
of
and
even
of
industrious
archaeological
offices,
was
priceless
of
part
entrance-
of
to-day
these
the
studies,
C399]
after
Cardinal
of
at
important
collections
Cardinal
created
each
Museum
an
here
treasures
concerning
portion
form
which
the
word
main
noteworthy
most
discriminating
great
more
era;
century
been
Middle
the
intention
the
this
Museum.
it may
collections
was
important
some
Lambertini
the
be
in
any
that
"
gold-leaf
hall
Francesco
besides
"
of
one
Gaspare
Commendatore
previously
to
idea
first
artistic
the
of
sance
Renais-
the
with
importance
there
reason
barbarous
more
and
materials.
various
uniting
at
began
Benedict's
collections
that
had
collections
character
began
aimed
which
piety
the
appreciate
to
Private
ignored.
But
and
realize
to
of
with
been
after
seventeenth
the
in
only
was
the
"Gothic,"
collect
connected
here
that
1756
in
to
previously
connected
relic
desired
understand
architecture
began
Ages,
of
works
and
It
minds
enlightened
of
style
ogival
To
everything
considered
who
scattered
remember
must
founded
objects
had
were
curiosities.
mere
period
Ages
and
neglected,
neglect,
small
which
worship
less
XIV,
various
the
was
Museum
Benedict
Pope
place
one
Christian
or
Christian
or
order
in
MUSEUM
CHRISTIAN
Carpegna
was
that
Pope
lected,
colthree
the
part
time
of
the
made
(1626-1714).
filling various
by
the
Clement
tant
imporX
on
THE
400
he
days
the
chiefly regarded
were
of
fresh
the
mortar
was
might
Entrance
would
enable
their
the
last
of
heirs
sionei.
Owing
collection
to
when,
there
of
Sacred
end
the
of
Museum,
the
the
the
no
Library,
the
the
Christian
in
as
the
room
for
room
it had
which,
Profane
the
to
of
from
save
excavations
the
was
custom
insert
in
tomb,
to
of
inscription,
an
deceased
by
the
to
in
Museum.
be
the
whole
recognize
to
from
purchased
was
of Cardinal
order
however,
until
delayed
part of
absence
collection
catalogued
was
or
those
bodies
the
the
It
in
Museum
of
precious
was
further
Museum,
in
circumstances,
Vatican
being
is known
and
various
to
which,
of
in
ivories.
capacity
which
likewise
found
loculus,
relatives
His
Cardinal,
the
closing
and
resting-places.
be
this
In
receptacles
anxious
the
to
friends
the
precious
objects
article
some
Vicar.
Catacombs,
Cardinal
when
early Christians,
the
Roman
particularly
and
place there,
took
that
other
whatever
dispersion
the
the
as
the
But
early martyrs.
Cardinal
appointed
jurisdiction
his
under
had
and
1670,
22,
December
VATICAN
the
time
of
of
transfer
Clement
collection
in
accommodated
contradistinction
Pas-
at
to
XIII,
the
the
the
the
cases
other
Sacred
THE
of
of which
of
glasses.
leaf
formed;
are
figures
was
with
removed
which
The
owner
was
Collection
through
Cardinal
by
the
one
of
objects
scudi.
like
the
the
suggested
of
two
the
of
to
the
but
or
layer
glass
ornaments
closed
en-
were
remainder
leaving
thus
to
the
of
which
Pope
Pope
Museum
contained
of
Benedict
the
XIV
and
plan
the
of
not
relics
limited
of
various
its
probably
it
founding
monthly
glass.
by
collections.
at
was
background
texture
above-mentioned
the
surface
of
layers
Guadagni,
Collection
Vettori
others,
to
lower
Museum
Antonio
Giovanni
custodian
The
offered
an
two
symbols
Christian
known
are
acid, another
leaf, the
gold
according
azure
was
purchase
Vettori
named
hundred
that
gift
very
museum
Pope
or
Vettori
this
of
the
pointed implement,
some
transparent
was
certain
left in
of
the
highly important
to the
cups,
means
fused,
which
Interior
was
by
and
senator
discovery,
their
of
bottoms
When
of
were
place of
attached
Buonarroti,
constitutes
Crusca,
the
401
Filippo
the
added.
leaf, out
gold
the
the
from
They
then
glass being
the
of
of gold
MUSEUM
Florentine
glasses which,
cemetery
as
the
Academy
the
of the
part
of
collection
The
member
CHRISTIAN
The
salary
to
one
of
class
centuries
THE
402
French
(Fourteenth
Italian
Cross
and
Cross
(Fifteenth
of
Silver
Fifteenth
of
Bronze
Century)
Gilt
Centuries)
Gilt
VATICAN
French
Cross
Crosses
of
and
(Fourteenth
of
Wood,
(Sixteenth
Silver
Gilt
Fifteenth
Metal
(Back)
Centuries)
and
Century?)
Enamel
THE
Enamel
Triptych
(Jean
Byzantine
CHRISTIAN
from
Limoges,
Penicaud,
Triptych
MUSEUM
with
(Circa
with
Scenes
Sixteenth
Christ,
1000)
403
from
the
Passion
Century)
the
Virgin
and
Saints
of
and
and
history
Christian
acquired,
lawyer, was
catalogue
manuscript
of
by
we
way
one
the
old
and
Mariotti,
most
rate
accu-
Cancellieri
Francesco
other
an-
or
pontificateof
Agostino
Don
still have
Abbate
in
Later, in the
owned
of this
and
connected
worship.
and
made
collection
VII, the
Pius
all, however,
materials,
different
with
VATICAN
THE
404
(Codex
Vaticanus9189).
Museum
The
of
thirteenth,
the
Laureani
signor
and
Gallery.
While
bought
he
seum.
disastrous
he
lecting,
arrange
in
rich
ing
founded
Portraits
restored, and
history
("Gli
ever
Rome,
and
Archaeology
thus
progress
Museum.
Giovanni
since, and
abundant
to the
in
1913
the
Musei
profano
of
six
His
the
Rossi,
de
had
zontal
hori-
system
Christianity has
enriched
was
and
by
rected
di-
should
Hall
Battista
of
Museum
della
sacro
the
material.
centuries
Pontiff
works
Museum,
new
early
this
1855
In
Christian
the
undertaking
of these
collections
dei
Danesi,
Having
the
ered
Corn-
the
Paul
Catacombs,
"
of these
avori
of
objects relating
followed
the
the
the
Commendatore
to receive
made
in
during
in
Prefect
named
additions
new
Peter
Hav-
IX.
Century)
excavations
objects found
systematically
arranging
been
Sts.
of
been
cases
of
of
pe-
arrived
1852
with
Medallion
Bronze
to
as
new
of Pius
Sa-
was
opment
purpose
had
things
both
ter.
scientifically planned
Museum
with-
frames
in
arranged
regild
metrically
lated
all
also
tablets, and
the
reign
that
some
and
store
re-
(Third
the
had
fortunately
of
mission
Mu-
wanted
un-
devel-
the
the
in
suits
charac-
with
all
however,
unre-
of
of
tance
golden
riod
of
increas-
greatly
sym-
and
now
Mon-
objects
of
entirely
are
Library,
satisfied withcol-
bottom
to
small
Primitives
not
to
who
and
re-
for,
cases;
be
of the
enamels
Gregory
the
which
work,
His
for
centuries,
Prefect
was
of
the
panels painted by
fifteenth
valuable
many
by Pope
collecting
impor-
the
age
small
the
the
to
thereby
kinds,
the
and
enriched
and
attention
fourteenth
Picture
New
in the
ing
tablets
Greek
painted
special
devoted
who
XVI,
greatly enlarged
was
the
bronzes.
by
The
writer
present
Vaticana,"
Biblioteca
1903).
taken
hurried
survey
of
the
history of
the
Museum,
THE
CHRISTIAN
MUSEUM
405
THE
406
shall
we
now
various
the
on
the
lend
its
Museum
tried
not
of
with
ends
they
of
into
cases,
horizontal
Rossi
himself
To
as
long,
Previously
in
held
Peret
dieu
of
has
the
in
pion),
which
on
remarkable
that
In
the
Child
this
bell
written
in
bells
and
the
the
eighth
in
and
is
of which
the
to
view.
all
is
the
signs
a
bell
clasp, which,
ring
out
Esperan-
and
in
is
object
lon.
caril-
However,
this
cross,
pain.
figure of
there
case
Catacombs,
this
incised
be
II may
to be
represented
also
shows
the
of
to
physical
the
bronze
bells
fixes
cruci-
Such
glorious,
the
(a
view
probably
century.
Case
fourteenth
from
support
by
the
causes
dates
intended
one
joined
straps
shaken,
of
and
of
part
upper
colobium
customary
for
support
crosses
representing
separately.
triumphant
as
the
two
and
Noteworthy
of
and
Virgin
the
of
the
expression
an
merely
in
it became
when
with
cross
been
on
hand
crosses
bronze
colobium.
crosses
than
the
Among
cross
hung
recently
earlier
not
of
collection
is robed
is nailed
century,
absent.
the
of
Madonna
Life
bronzes
especially
figure
foot
represented
was
says
shape
the
from
important
an
the
each
the
on
had
cross
chimes
many
when
and
is
gathered
are
thirteenth
suffering being
of
with
Triptych,
Scenes
de
by
generally
Saviour
Christ
Crucified;
Greek
Polychrome
six
there
tunic),
the
or
the
enter
Case
the
the
two
added
Cross;
antedate
are
and
you
sleeveless
represent
of
besides,
In
the
on
to the
1855.
crucifixes.
Christ
which
compartments
cases
in
left
the
objects
presses
groups
are,
glass
tain
to at-
of
The
eight
there
ern
mod-
according
or
twenty
in
three;
grouping
origin.
divided
in
material
the
to
place
accord
tried
Rossi
by
made,
were
arrangement
exact
followed
De
according
and
the
an
have
directors
into
methods
the
both
of
atmosphere
of
bring
to
museums.
or
idea
Museum
the
of
the
the
collection,
value
great
With
the
preserving
which
important,
most
celebrity.
old
ing
dwell-
it contains,
which
the
over
archaeological
of
groups
treasures
and
quickly
pass
VATICAN
a
are
and
a
mentioned
figure
a
number
fifteenth
Calvary
round
worn
with
of
the
of
the
sepulchral
neck
Saviour
Italian
centuries,
small
Greek
one
figures
encol-
(an
wearing
the
processional
of
of
the
the
most
Virgin
THE
CHRISTIAN
MUSEUM
407
THE
408
and
admirable
is of
of
is
Crucified
the
older
beautiful
and
horizontal
of
some
glass
of
series
in
object
precious
from
precious
fourteenth
added
was
the
left
in the
with
in
born
was
gram,
two
form
of
with
ewer
it,
and
in
medallions
chief
is
Glass,
Paul
dates
of
Striking
the
(Fourth
Century)
IV
to
is
important
Ccelian
is
beautiful
John
Pope's
mitre
is
most
Hill
own
to
over
and
is in the
staff
found
was
attention
been
the
tioned
last-men-
and
century,
special
Museum
silver
in
in
found
view
in
perpetuated
in
his
; it is in
specimen
of
an
niello.
first
garden
silver-gilt and
in
and
the
the
about
from
found
was
important
The
other.
have
which
mentioned:
be
was
dates
pastoral
XXII
It deserves
objects
will
articles
and
each
third
me-
of
heads
altered
un-
day.
inscription, which
the
produced
the
the
as
characteristics
our
given
as
back
Moses
as
Rock
towards
turned
far
Peter
St.
representing
St. Domitilla.
iconographic
down
well-known
un-
and
and
Peter
inscrip-
fugitivus,"
re-
Catacomb
the
on
the
the
probably
Pope
mono-
the
Apostles
an
lamps
in
ures
showing
Case
centuries
with
which
frequently
the
dat-
baptismal
Cemetery
the
all
bronzes
lamps
Dei
doubtedly
dallion
first
stantine
several
of
relief,
tury,
cen-
found
first
collar
finally
ous
glori-
hanging
dove,
"servus
ing
Scourg-
This
sixteenth,
tant
graffito fig-
tion
most
triptych
the
be
to
Con-
slave's
the
teenth
six-
the
the
bronze
a
the
fifteenth
the
the
has
crosses
panel,
impor-
the
with
to the
right.
the
on
are
from
with
later
enamel
Christianity:
of
figure
But
an
central
Thorns
Penicaud,who
Jean
dating
Saviour.
undoubtedly
is
Crucifixion
Crowning
the
of
III
most
ing
in
this
The
from
in
years
Case
In
the
panels
of
Passion
the
worked
and
thirty
by
the
containing
case
enamel
collection
this
the
and
is
treasure
of
ticularly
Par-
stones;
century.
and
work,
the
to
small
depict
showing
Limoges,
on
next
case
eighteen
which
century,
and
the
fifteenth-century
with
set
cross
from
dates
and
cross.
The
the
is
origin
French
enamel
with
ornamented
St. John,
VATICAN
tomb
which
state
cially
spe-
chalice
Gregory's
of
on
second
the
belonged
This
Avignon.
fourteenth-century
two
votive
century;
niello
at
Only
St.
near
eighth
excellent
is
to
same
preservation,
white
damask.
THE
CHRISTIAN
MUSEUM
409
410
THE
VATICAN
THE
Case
the
to
contains
of
the
origin,
the
on
of the
bottom
varied
very
of
note
thought
to
be
with
greater
the
of
of
to be
follows
more
an
the
Quint:
in
holding
the
by
among
other
in
excavations
the
There
and
enamel,
from
date
of
the
small
two
of
child:
it
by
of
was
removed
one
in
but
it is
whose
by
difficult
from
one
another.
among
held,
now
of
apotheosis
the
other
the
his
this
or
from
to
in
must
to
wear
metal,
ably
probfix
to
easy
silver, found
ancients
century.
dating
style is
distinguish
case,
found
wood,
and
means
We
bolizing
sym-
glass
sixth
planes
reliquary,
intagliated
no
head
same
the
Athos
on
warriors
iconographic
it is
and
In
Mount
that
gold
customary
in
of
monks,
these
traditional
was
attire, is seated
above
capsella,
dating
crosses
century;
time
is
the
attached
are
Emperor.
monks
the
depicts
sword;
which
and
Carthage
sixteenth
bells,
to
eucharistic
silver
which
but
ancient
in
the
by
It
object
first
long
of
objects
The
Centuries)
and
chain
interesting
some
far
centuries
at
works
relief
Capsellae
Eleventh
globe
a
a
for
Cellini,
dressed
conquered
wrought
the
and
of
hands
relics, is
also
are
and
contains
which
Leoni.
Leone
Emperor,
his
lands
as
German
in
Redeemer
acquisition.
Renvenuto
in its beak
eagle holding
in
form
cusps,
is of
chalice
the
figures
inserted
are
the
of
small
toothed
Case
plaque
Reliquary
Charles
of
figure
recent
silver
large
reason,
which
case
(Sixth
throne
which
with
fourteenth
works
the
for
beautiful
very
being
and
work
the
is remarkable
enamel,
Another
glass
is
being
bounded
the
Italian
paten.
nature
worthy
latter
from
dating
majority
niches,
feature
unusual
chalices
translucent
chalice.
horizontal
The
a
the
the
these
niches;
of
an
of
made
Apostles
knob
the
of
One
411
MUSEUM
of
the
century,
century.
Gothic
many
collection
seventeenth
fifteenth
CHRISTIAN
so
the
also
in
these
the
servative
con-
output
mention
the
tomb
bells
to
THE
412
ill-luck.
off
ward
Here
also
are
ring
belonging
the
to
Clement
Anti-Pope
pal
episco-
several
VII,
ous
vari-
century,
bronze
little
Visen-
by
plaques
tian
Chris-
bronze
which
medals
used
were
as
en-
and
colpia
around
hung
neck
the
by
chain
small
and
others,
and
many
teenth
fif-
the
of
rings
tino
VATICAN
or
string.
In
vertical
the
that
find
the
the
has
their
be
simply
the
Agnes,
who
little
the
times,
the
the
in
agrees
of
of
source
the
dulcis."
is
date
New
It
so
than
was
is
the
the
found
third
and
in
and
artistic
an
picture
the
century.
with
Cemetery
accurate
The
bottoms
of
that
to
scene,
of
the
point
the
of
of
figure
is shown
be
with
as
several
of
to
object
anima
"Eusebi
ship
its workman-
referred
robed
water
finest
the
and
Peter
styled
spring
for
and
rock
who
signifying
recurs
view,
or
St.
represent
thus
inscription,
it cannot
saints,
two
which
St. Agnes,
any
very
cups
from
flow
the
most
meaning,
Fathers,
likened
spoken
the
fastened
mystic
the
few
the
without
between
Vestals,
the
water
This
idea
the
Testament
From
grace.
Classical
with
of
have
causing
Petrus.
name
may
all
them,
of
speak
shoulders,
her
that
of
already
which
of
one
whereas
few
to
Paul.
and
over
and
have
We
portrait
Peter
Others
Moses
well
collection
gems
The
a
or
like
virgin.
showing
the
veil
six
a
very
unique.
owner,
wears
the
as
constitute
very
remains
collection,
this
Apostles
fifty.
only
it
in
the
the
died
with
Moses
of
with
set
that
inscribed
of
always
Saint
instance
described
heads
brooch
Epoch
Museum,
only
and
hundred
one
portrait
Itaty,
found
types
have
from
dating
These
whole
contain
manufacture;
and
origin
characteristic
often
in
than
more
exaggeration
Cloth
spoken.
the
in
collections
even
museums,
already
have
we
precious
Vatican
of
Pre-Carolingian
to
which
most
other
Fragment
gilt
similar
of
those
that
we
many
glasses
of
case
next
comes
in
to
a
later
chlamys
THE
CHRISTIAN
MUSEUM
413
414
THE
VATICAN
THE
fastened
brooch.
round
the
vertical
next
glass
which
samples
of
bearing
palm
cemetery
vases
of
glass
beautiful
1912
Cemetery
is set
relief.
Roman
collection
cially
Espe-
gems.
the
latter
ring found
Domitilla;
hard
of
lection
col-
excavations
St.
In
the
are
among
the
of
shapes,
besides
small
golden
during
ring
in
Christian
noteworthy
is
various
case,
and
carved
beautiful
fragments
fine
in
fine
many
gilt glasses,
enamel-ware
zontal
hori-
floor,
and
leaves
or
of
on
phials
vertical
the
the
contained
of
fragments
through
and
case
case
also
are
the
extends
collection
The
of
415
MUSEUM
with
shoulder
the
on
CHRISTIAN
carved
in
in
the
in
the
stone,
of
Fragment
on
left
the
of
dolphin
the
which
beak
branch
the
an
olive-tree
of
VIII, IX
small
number
for
the
is
other
French
fourth
objects
from
here,
large
ivory
solar
bone
dolls
the
In
found
in
and
and
his
among
on
sheep
in
holding
dove
of enamels,
her
with
the
important
some
beautiful
rochets,
episcopal
German
Passion
the
compare
but, except
plaques;
referred
above
scenes
exhibits
bone
in
the
to,
Louvre
tombs
these
all
of
to close
XIV
of
as
acquisition
are
Upper
them
the
lack
of
space.
enamels,
hard
weights,
arms,
objects
or
exhibited
Egypt
in
and
are
and
are
stones,
toys,
and
the
small
shown
possessed
These
scourges,
in
very
that
detail, but
found
were
loculi,
are
leaden
of
those
many
balance
and
number
recent
for
shown
sword-hilts,
that
and
of
to bronzes,
describe
used
the
but,
jointed legs
reader
contains
case
others
be
cannot
to
XIII
glass
of
and
with
mortar
Cases
two
Italian
Catacombs,
clocks,
is unnecessary
in the
to
number
but
in
perched
collection
Limoges,
Penicaud
horizontal
the
Museum,
objects
is
Christ
collections.
The
Greek,
here
seated
Shepherd
which
on
contain
from
small
nothing
Good
of
symbol
(a well-known
olive-tree.
same
urns
of
triptych by
there
right the
the
and
reliquary
and
Century)
trident
on
of
shade
Cases
the
round
and
cross),
in the
is represented
entwined
Material
Silk
(Seventh
range
nard
by
from
boxes,
medallions,
so
forth.
it is well
Catacombs,
to
It
mind
re-
fixed
tombs.
few
fragments
donated
to
the
of
Coptic
Museum
cloths
by
the
Armor
have
to
Julius
Pope
of
the
at
worn
of
Committee
II, which
the
specimen
was
found
in
signor
and
Xenodochium
of
shells
bear
with
lamps
glass
on
potter's
the
century
and
be
seen
silver
for
of
the
the
March,
The
wheel.
These
of
there
meaning
of
images
it had
Four
of
for
are,
well
is
lain
Crowned
this
its foot
On
inside
still much
the
Martyrs,
one
in
the
was
is the
It
was
put
of
the
century
brought
to
of
cases
of
bowl,
as
the
to
with
reliquary
inscription
from
in
by
on
fourth
about
taken
are
is also
dedicatory
was
also
fragments
monogram
seventeenth
and
shape
intended
the
terracotta
of
these
of
Here
symbols
of
of
silver-rimmed
part, works
beautiful
discussion.
since
hidden
In
Mon-
by
excavation
series
this
number
magnificent
Christian
most
reliquary
decorations;
the
on
the
preserved.
beautiful
niello
and
in 1898.
XIV;
niello.
whole
saints
St. Sebastian.
IV, and
Gregory
where
bearing
lid with
and
Case
beautiful
in
1525
Turin
are
the
who
in
Museum
cases
inscriptions,
and
the
to
in
cross
of
Bourbon,
Rome
of
at
wall
Very
the
de
Siege
met
same
found
at Porto.
surface
Connetable
the
end
given
these
objects
symbols,
very
the
was
of
the
during
Art, which
on
and
part
palms
singularly
head
hanging
Akmim,
inside
of
fell
Sacred
terracotta
with
are
of
lower
important
bowls
Armor
1500
Pammachius
the
tubes
bronze
at
the
In
silver, bronze
in
is that
tomb
Sogaro.
said
is
Bologna
Exposition
finest
he
of
Capture
The
VATICAN
THE
416
whose
its
the
case,
Church
Museum
in
1913.
next
case
and
the
fifth
horizontal
glass
case
contain
the
highly
THE
Tablet
showing
the
Man
with
(Sixth
Born
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and
Third
Blind
CHRISTIAN
and
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Upper
Scene
Surface
Silver
Centuries)
Tablet
417
MUSEUM
(Ninth
showing
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(Sixteenth
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Century)
and
of
Engraved
Reliquary
Saints
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Casket
THE
418
Side
View
of
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Engraved
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Byzantine
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Silver
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THE
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and
century
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are
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objects
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Rambona,
of
cover
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rests
cross
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the
right, above,
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their
shown,
in
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of
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The
The
is
is carved
whose
of
In
Sancta
When
the
under
lingian
beauty.
discovery
that
cloth,
within
Lack
of
which
things
enamelled
gold
in
which
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head
of
the
it
other,
we
tury.
cen-
art
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which
on
Madonna
saints
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of
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and
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ninth
of
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result
ivory tablets
St. Joseph
were
this
for
relics
ancient
preserved
giving
our
silver
St. Praxedes
or
was
with
the
found,
and
of
call
by
value.
were
description
seventh-century
reliquary
for
led
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reliquaries
must
the
Agnes,
inestimable
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we
of
opened
St.
Sassanide
many
collection, but
sixth-
of
opened
was
of
were
of
head
sures
trea-
enclosed
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not
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chapel
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bags
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relics
had
the
other
altar
altar
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contain
case
precious
many
seeking
the
glass
middle
the
succeeded
tenth-century
the
Saviour,
time
renaissance
1000,
year
with
of many
of
cross
the
the
and
the
of
the
as
than
that
of three
reliquaries
prevents
space
important
magnificent
In
small
some
date
of
horizontal
Lateran
enclosed
layer of dust,
the
but
palm
them.
last
only
not
to the
an
above
one
while
1903,
earlier
about
near
the
work,
centre
a
Abbey
long
are
given
is in
which
the
For
example
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throne,
valuable
In
slab
is
Sanctorum.
authorities
search
saints
being
panels, showing
Magi.
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the
and
and
centuries.
it to
zones,
near
ancient
Church
on
five
the
of
is from
sixth-century
Byzantium
written
are
the
into
refer
three
Sanctorum
very
an
nimbused
the
Infant,
the
St. Flavian)
codex
50),
Lat.
of
specimen.
following
case
Sancta
to
side.
Palat.
triptych
in
the
evangeliary,
was
Redeemer
names
The
the
cannot
we
the
either
most
below
Sylvester,
To
knees
her
on
three
which
Remus.
and
the
two
all, in the
panels. Below
and
bearing
figure having a nimbus
Adoration
Byzantine
glorious
Vat.
ivory
flourished
which
and
the
the
studies
recent
their
Romulus
diptych
in
Calvary
of
large Byzantine
Rambona
left
holding
St.
It is divided
and
that
thought
is
(Cod.
at Lorsch.
Angels,
some
five
fed
seraphim;
of
cover
Library
Nazarius
in
that
is seated,
two
The
the
to
But
diptych
are
and
Lorsch,
century.
shows
she-wolf
inscription,
Vatican
on
and
(St. Gregory,
names
of
teenth
fif-
and
triptychs.
attention
our
eleventh
fourteenth
remarkable
some
of
Most
Chiusi.
at
the
sixth
or
inscription separating
branch.
relic
the
work,
by
are
deserve
well
wooden
fifth
the
to
from
evangeliary
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Madonna
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of
date
contains
also
case
is referred
and
them
from
the
glass
bottom
particularly
eighth-century
an
The
origin
419
MUSEUM
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the
among
triptych dating
is
in
French
and
centuries,
the
ivories.
symbols,
found
was
ivories
the
of
collection
important
comb
CHRISTIAN
Caro-
of
rare
even
the
attention
workmanship*
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preserved.
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lions,
medalremark-
THE
420
able
is
too
bags
as
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The
two
art.
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of
Christian
present
at
of
desirous
The
from
excavations
the
is
cases
every
it
is
and
sacro,"
of
these
interesting
most
shape.
placed
at
existing
decorated
with
this
Although
the
eval
medi-
Greek
important
most
richly
"steatites,"
the
of
specimens
lamps,
of
symbols
on
the
earthenware
exhibition,
woodwork
interesting
of
part
disposal
grams,
mono-
collection
of
any
student
it.
examining
Christian
the
lower
and
crosses
not
Leroux,
discovery
the
works
tesoro
suo
the
of
photographs
unusually
some
In
collection
is
il
ful
care-
the
to
Paris,
ed
since
medieval
contain
cases
include
which
referred
exhibits.
the
among
treatment
require
Sanctorum,"
published
displayed,
cloth-weaving
would
may
used
were
and
discursive
be
blind,
decorated
which
of
more
Sanctorum
reproduce
born
case
cloth
bags
seventh-
man
unfolded
Sancta
du
1907),
works
These
the
are
silver
specimens
reader
Sancta
("II
Grisar
the
appreciation,
the
tresor
interest
of
now
rare
adequate
("Le
Lauer
Philippe
1906)
for
in
For
description,
extensive
and
and
fastened
of
pieces
Charlemagne.
which,
collection
of
time
the
to
of
which,
and
beautiful
most
which
healing
precious
finally,
reliquaries,
the
constitute
cord
enclosed
gammata
crux
contain
the
depicting
and,
bas-reliefs,
with
the
features
Other
III.
bas-relief
Greek
splendid
of
state
Nicholas
of
ivory
century
a
well-preserved
the
seal
the
and
VATICAN
Museum
is
of
the
being
Catacombs
constantly
or
enriched
donated
by
by
new
friends.
objects
Vatican
|he
by
in
of
eighteenth
as
many
as
the
cardinals
of
end
the
fifteenth
Cardinal
which
Clement
coins
which
of
medals
and
collected
by
belonged
formed
to
of
the
surprising
more
collections
here
that
glorious
his
in
early
as
cite
to
extend
collection
into
became
the
result
of
dispersal
stolen
not
were
collection
in
the
of
part
or
lost
the
the
French
VII
immediately
did
museum
Popes
the
set
followed
excavations
collections
which
coins,
his
around
extended
at
as
of
formation
example
Borne,
the
C421]
adding
and
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of
had
collection
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was
of
the
plete
com-
coins
as
in
the
incorporated
the
Only
the
all
coins
of
of
to
special
1815,
which
retained.
collection,
1870
portant
im-
less
Treaty
the
being
new
by
series
1798
after
as
every
secured
which
Vatican
such
Paris.
well
in
age.
in
and
back
which
and
VI
Sweden,
the
duplicates,
possess
the
when
Pius
for
France
given
was
not
about
to
Nationale
Boman
strove
Rome
collection,
sent
collection
of
of
occupation
Bibliotheque
Papal
the
of
famous
coins
numismatics.
and
of
Odescalchi,
Livio
most
were
that,
so
sedulously
Papal
Scilla,
on
Christina
numismatic
this
the
Saverio
coins,
Queen
and
acquired
collections,
of
Prince
French
collection
unique
during
the
of
series
richest
the
were
been
ancient
the
these
to
portant
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an
medallions
had
work
minor
of
of
hands
of
one
One
existing
added
country
making
Roman
which
numismatist
acquired
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XIV
fundamental
his
towards
step
celebrated
Later
famous
for
Popes
celebrated
passed
the
to
first
the
and
Carpegna.
basis
the
Subsequent
the
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formed
II, had
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age
every
Cardinal
the
bought
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Albani.
Cardinal
to
took
XII
when
collection,
belonging
the
Paul
afterwards
lection
col-
middle
sufficient
be
ever,
how-
important
the
splendid
It will
century.
Barbo,
1738
About
way
to
all
is
had
to
of
Venezia.
Palazzo
had
This
have
an
until
donated
is known,
as
possess
medals
century.
known
are
not
and
far
So
when
Cabinet
were
form
to
estly
mod-
very
century,
seals
pontifical
did
coins
sixteenth
the
Library.
Vatican
began
individuals
private
Papal
the
the
of
leaden
and
Popes
Coins
middle
the
coins
few
the
Collection
Numismatic
about
a
COLLECTION
NUMISMATIC
THE
it all
by
Pius
and
coins
ceeding
suc-
found
vate
pri-
acquiring
importance
for
the
422
VATICAN
THE
history of
fifty
the
series
which
the
collection
the
richest
of
one
be
must
pontifical coins,
Leo
by
richest
the
These
Italy,
of
Cardinal
which
upon
XIII.
in
made
he
spent
accessions
for
and
dered
ren-
special
some
Europe.
Collection
seals,
medals,
mention
bought
was
in
Numismatic
The
of
collection
and
years,
Particular
See.
Holy
Randi's
Lorenzo
tesserae,
at
possesses
bullae
and
about
present
incised
of
stones
80,000
every
coins,
and
age
country.
The
of
series
it
which
silver, and
in
has
one
unbroken
series
1870, and,
together
year
and
seals, furnishes
fall
of
Roman
down
period
Camelio,
and
had
The
that
The
of
is not
series
is continued
the
history
the
of
series
the
number,
7000
its
of
rarity
coins,
or
interest
records.
combined
events
in
in the
Republican
the
is
its
small
epoch
of
heroes,
coins
history of Rome,
first
of
and
from
with
both
since
furnishing
us
and
with
eighth
artistic
thus
form
lections,
colin
the
than
more
age,
and
it furnishes
legendary
of
the
primitive
few
notices
the
whether
It contains
the
this
As
numerous
left but
has
Imperial
of
part
merous
nu-
collection.
and
centuries,
recognized,
which
and
and
other
reflection
of
teenth
nine-
Girometti
as
unsurpassed,
ones
tury,
cen-
the
preservation.
specimens.
universally
in
excellent
any
Selected
is
bronze
heavy
an
Portraits
these
faithful
coins
of
the
twenty-four
world.
of
information
in
excellence
including
historical
give
for
of
which
family,
so
of
lini
Cel-
during
seventeenth
Republican
state
or
coins
the
coins
of
are
Geremia,
mint
Papal
such
from
dating
di
Benvenuto
of the
with
the
Renaissance
artists, who
department
Papal
City
Eternal
series
noblest
the
the
bullae
from
art
Hamerani
excellent
rarity
in number,
collections
two
the
the
an
the
to
century
and
Francia,
in
comparison
coins
contains
Cristoforo
successors,
this
tant
imporenjoyed
Papal medals,
Ages
early part
of
fear
not
by
the
famous
in
ancient
inferior
Rome
in
most
engraving
worked
centuries;
equally
need
Middle
Sperandio,
number
specimens
they
collection
century,
to
the
artists
Rome
large
century
Cerbara.
Leoni,
sixteenth
Germany
Italian
of
over
always
eighth
series
of
collection,
collection
the
Guazzalotti,
celebrated
and
furnished
time.
own
other
many
through
Leone
Grechetto,
from
came
our
from
splendid
history
Empire
to
fifteenth
the
the
has
in
are
with
the
and
The
art.
1100
volumes
large
tant;
impor-
most
This
considered
existence,
of
and
about
copper.
three
coins
Papal
with
which
or
rightly
in
largest
of
alloy
in
is
students
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leaden
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in
rest
series
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appreciation
high
the
specimens,
plates,
modern
and
the
undoubtedly
described
eighty
and
medieval
almost
the
recentfy
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hundred
is
15,000
about
comprises
8000
gold,
coins
Papal
the
almost
thentic
au-
neous
contemporahistoric,
most
are
celebrated
contemporary
423
COLLECTION
NUMISMATIC
THE
ft
Ancient
(1)
Gregory
(5)
Valentine,
III, 731-741.
famous
either
it furnished
Of
all
and
ends
with
the
number
and
Italian
of
Rome,
collection
value
the
Less
has
specimens
for
historical
numerous
the
from
in
worked
of
than
and
researches
of
this
important,
of
high
of
other
in
have
been
the
among
about
rare
exquisite
an
of
the
city,
documents
extraordinary
if considered
place
pared
com-
Most
products
any
historical
which
be
coins, of which
These
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specimens
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Rome
with
medallions.
bronze
preservation.
longer
development
100
because
if it cannot
12,000
than
lacking,
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multiform
starts
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over
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state
and
besides
Imperial
Paris
Baron
or
of
taken
many
and
This
that
and,
less
of
names
studies.
profound
Augustulus,
no
II, 942-946.
development
its
to
Marinus
Tessieri
Garrucci,
students.
collection
It contains
of artistic
the
their
of its medallions),
and
linked
series, however,
original
marvellous
which
for
Romulus
with
value
gold,
unique
a
material
(8)
II, 824-827.
Eugene
(4)
III, 855-858.
are
Borghesi,
as
attention
collections.
are
in
with
most
Benedict
(7)
they collaborated
numismatic
the
Caesar
of
such
III, 795-816.
Leo
(3)
collection
rare
because
them
the
received
art
this
827-844.
IV,
Coins
Papal
741-752.
Zacharias,
Gregory
numismatists,
d'Ailly,
and
(6)
With
comment.
500
827.
(2)
of
mint
form
the
instituted
est
highinto
city.
separately,
is the
collec-
VATICAN
THE
424
of
tion
great
of
study
of
artistic
down
to
of
Roman
of
for
thenceforth
artists,
deserting
beauty,
best
of
and
interest
the
and
nounced
pro-
of
land
activity,
every
turned
favored
the
chief
care
coins
so
to
of
Popes
the
of
as
of
the
make
Vatican.
to
this
which
increase
collection
of
series
there
the
ment
develop-
For
that
is
from
been
example,
to
necessary
from
Gifts
coins
have
aries
mission-
India,
China,
donations
some
of
America.
South
of
all
numismatic
of
completion
collection
all
times.
modern
and
from
the
collections.
contains
with
directors
the
institute
which
in
in
art
lands,
the
to
scope
the
country
traditions
all
longer
no
medals
gallery
the
especially
present
to
Italian
of
time
their
limiting
or
which
representative
and
Asiatic
coins,
the
coins
study
other
American
also
are
enriched
have
At
of
centre
beginnings
sudden
in
arts
the
follow
to
its
the
plastic
the
as
province
Italian
the
complete
Japan
Rome,
to
series
of
series
the
and
ample
of
us
from
marks
event
technical
the
allows
numismatics
This
is
products
and
Syracuse,
it
although
genius.
other
The
insurpassable
Greek
conquest.
decadence
coins,
and
and
Tarentum
development
the
colonial
unsurpassed
those
engravers
the
and
Graeco-Roman
Greek,
the
for
series
those
collection
the
is
the
ever
is
situated.
series
more
collections
that
part,
Thus
of
to
has
pontifical
worthy
of
are
or
it
aim
of
most
the
been
and
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at
city
the
Roman
artistic
HALL
THE
OF
THE
|he Loggia
GEOGRAPHICAL
delle
Carte
Charts,
former
adorned
and
takes
door
read
we
all, under
and
gallery
face.
to
Under
caput,
minutissimis
sedem
post
Under
to
which
the
and
the
building
Florentine
Giovanni
age
Near
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of
ad
St.
and
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Italy,
of
Strabo
and
an
repairs
and
suggest
an
Venice
and
Liguriae
opulentia
atque
clarissimae
tutam
"Venetiae
Rege
Aquileiam,
inclyta,
Reipublicae
civitas
Civitavecchia,
the
admirabilis
condita
anno
maps
Paul's
with
known
as
of
later
are
was
the
figures
II
Santi
on
Ptolemy.
buried
in
portraits
opposite
After
C425]
painted
S. Rocco
of
between
these
at
alia
was
them
is Ancient
on
the
see
the
St.
of
the
Peter's,
Antonio
Tem-
pupil
Rome
in
first
1630
at
Ripetta.
famous
two
side
old
by
He
died
Tito,
di
of
we
on
Baptistery
building
Tempestino.
it
decorations
the
us
the
Volterrano;
the
The
of
name
Facing
used.
runs.
show
ancient
the
is
legend
Constantine,
Raffaele
while
find
these
and
paintings
and
maritimae
read:
of
artist
and
ture,
sculp-
Bacchus,
Genoa
"Genua,
Centumcellas)
as
seventy-five,
these
figures
of
we
we
Baptism
Strada
Biondo
of
the
the
the
pesta,
of
with
Pope
us
virtute
moenibus,
other
with
corresponding
Lateran
is written:
civium
et
Genoa
Dorica,
Civitas
of
this
CCCCLIV."
Trajanus
"
ceiling
of
map
maps
of
pieces
trance
en-
in
placed
alterations
show
entering
on
Hunnorum
restituta
(Portus
Ancona
the
VII
hermes
that
the
over
completed,
numerous
of
arms
Muzzani
Pius
Other
or
Girolamo
and
double
figures,
charts,
us.
former
Attila
hominibus
Next
the
aedificatis
ab
eversam
salute
an
as
studio
nuper
praebet."
are
Aristotle.
meet
the
militiae
and
vaulted
Giovanni
inscription
1581.
year
the
historian
was
begun
seats
informs
we
maps
navalis
the
of
graphical
Geoof
painted
The
large
was
/Which
VIII,
1631
two
in
and
Urban
dated
first
face
of
the
gallery
marble
some
valuable
by
inscription
The
the
Pythagoras,
made
in
the
site
large
number
architect
of
the
a
and
the
walls.
first
and
XIII,
Gregory
most
Epicurus,
were
that
ornaments
as
the
its
says
Brescia,
its
is
It
from
on
of
portion
arabesques
name
Hall
or
Bramante.
with
its
Baglioni
of
del
painted
maps,
Geografiche,
occupies
Cortile
hall
CHARTS
geographers,
is
tion
representa-
Italy
roof
are
between
painted
426
VATICAN
THE
St.
Sylvester
of
Apparition
large
two
the
maps,
to Constantine.
Cross
ferrato;
the
corresponding
showing
the
Translation
harbor
the
of
the
and
Genoa,
is St. Ambrose
centre
the
the
of
the
on
Remains
of
his
side
other
decorations
the
of
holds
On
and
Liguria
of
one
Constantine
while
horseback
on
ceiling
of
forbidding
Emperor
the
of
the
Mon-
the
scene
in the
Baptist
Shroud
Holy
see
and
are
the
Turin.
at
Theodosius
the
next
we
Piedmont
St. John
Exposition
stirrup, and
walls
In
enter
his
order
on
to
church.
of
Maps
opposite walls;
stigmata
Po.
On
the
homage
This
follow
VII
his
on
Maps
of
the
from
Frederick
the
sacred
enemies
this
of
Venice
picture.
Pope
healing
central
large
III is in the
of
the
life
shows
panel
of
act
who
Barbarossa,
by pictures
the
the
from
scenes
Alexander
Frederick
beyond
kneels
Bolsena
miracle
preaching.
Papal
Estates
of
ceiling
the
Duchy
of
meeting
of
on
of
IV
frees
and
is St.
the
town
and
Clare
her
sessions.
pos-
and
of
Attila, King
above
Parma
map
ory
Greg-
follow,
the
freeing
and
of
all
Piacenza
IV
the
Pope
him
offers
Saracens,
the
shown
are
Leo
Pope
and
Tuscany
we
Parma
side
one
in
Matilda
Countess
invasion
Latium
In
St.
Moses
Magus.
Over
miracle
of the
Modena
utitur
the
away
St. Constantius
The
the
the
Innocent
territory
of
Emperor
window
the
of
map
preventing
which
see
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the
from
town
opposite
the
of
siege
II.
Mantua.
painted
we
driving
two
where
while
the
of
receiving
prison window;
panel
and
the
Pope
The
map
of
central
over
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Padua
throne,
ceiling
window
of
Umbria
Huns;
We
the
of the
is flanked
scene
the
In
the
hermitage
St. Francis
Bishop
his
side
of
see
in
next
come
the
St. Ambrose
that
Palace,
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Milan
Milan.
shown
are
either
of St. Anthony
of Friuli.
gates
we
order,
of
faces
from
on
him.
Next
map
and
the
we
Venetian
the
and
of
Alvernia,
infirm
stand
before
of
roof
the
of the
receiving
of
his
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of
of Jacob
the
founded
from
map
crowd
on
Mount
on
Church
the
The
us
on
Duchy
ceiling above
the
St. Romuald
where
of
and
Tuscany
now
has
the
the
from
one
of
blood
to
of
the
of the
map
Duchy
are
St. Januarius,
following
the
we
faces
country
the
the
the
on
terrarum
of
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Duchy
represented
side
of
Naples
side
are
Simon
the
and
the
town
of this Saint.
di Lavoro,
the
foecunditate
On
the
Fall
opposite
inscription: "Campania
ea
of
City
of
is
either
on
shows
scene
shown
intercession
Terra
while
Rome,
and
that
Christ
ceiling above,
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through
a
the
leaving
window
coeli benignitate,
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of
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centre
Peter
is freed
come
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roof
ea
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est
..."
Felice,
amoenitate,
Facing
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is
ea
this
seen
OF
HALL
THE
The
discovering
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represented
care
work
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the
of
Monastery
among
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in
Hall
GEOGRAPHICAL
of
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This
St. Michael
and
last
Above
in
in
and
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the
following
entrusting
painting,
to
outside
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panel
Peter
the
its life-size
with
below
427
CHARTS
Charts
Geographical
the
disguise,
the
Romanelli.
of
THE
this
scene
Bologna,
are
and
Christ
supreme
figures,
a
a
view
scene
is
is the
of
the
show-
THE
VATICAN
miraculous
image
428
of
transfer
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ing
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the
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miracle
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have
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of
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people
by
the
deacons.
the
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Liberius
Anthony
of
Padua
the
window
as
the
We
the
of
left
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Pietro
Celestino
beside
this
map
of
John
I and
map
Avignon
of
the
we
and
St. Paul
On
is
come
next.
of
by
us
he
Danti,
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the
Paul
seen
ceiling
heals
setting
above,
the
out
this
father
from
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of
the
the
while
City
of
to
the
to
the
Ancona
territory of Ancona.
seek
to
went
elected
roof
roof
are
for
Pope;
The
above,
Pope
small
The
this
with
accurately
of
Perugia
who
Rome.
was
an
and
scription
inthese
drew
Valentinian
Publius,
is that
map
tablet
next
around
territory
Opposite
and
Mount
shown
Archangel.
is, the
for
House
Holy
Henry,
the
destruction.
Emperor
Malta
in
window
the
native
the
On
of
Paula
and
Bernardine.
the
is
Duchy
of
was
that
carefully
who
and
he
Popes.
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Peninsula.
that
the
cloak,
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Michael
St.
tating
dicone
and
to
On
Venaissin,
of
possessed
Padre
St.
King
of
Over
Ulterior
which
Abruzzi.
the
that
robes
the
the
the
when
the
St. Severus
his
of
saving
cavalcade
of
on
St.
and
faces
and
over
and
Corsica
Theodoric
Apulia
County
Salentine
St. Martin,
Emperor
Mountains
of
that
apparition
formerly
Preacher.
the
Symmachus
Pope
consign
the
telling
maps
to
the
Majella
are
faces
the
was
panel
of
maps
the
on
painting
and
the
and
After
Francis
translation
In
miraculously
shows
St.
the
siege.
Calabria
of
the
of
roof.
sea
Citerior
of
manna
possessed,
solitaries.
the
the
Bernard
which
from
miracle
the
sea-shore.
of
group
maps
miracle
the
roof
Boetius
shows
us
and
cardinalitial
in
Calabria
the
follow
have
of Sicily and
Garganus
wait
among
election
the
us
crossing
of
maps
shows
Marcellinus
Sardinia
Maps
the
on
Gubbio
liberating
on
the
on
to
gives Communion
Next
scene
angels
of
Sts.
the
the
Damian
life
of
Lucania,
show
Paula
of
The
St.
see
fire.
laborer
Salerno
miracle
from
of
St. Peter
Then
Ancona.
Pope
we
from
window
with
distribution
its
fishes
map
the
of
paintings
are
roof
hermit's
ceiling
is shown
the
right
work
table
at
while
Principality
and
the
to
the
and
furnace.
of
on
to
next
The
Loretto
life
to
monastery,
demons
out
the
St. Ubaldo
come
March
of
see
fiery
also
St. Francis
other
Urbino.
Here
to
Ravenna,
rules
we
the
over
Andrew
preaching
Scenes
of
window
back
delta
the
the
St. Dominic
painting depicts
St.
driving
come
we
Romagna.
Bishop
of
body
Rainulf,
tenth
his
be
to
Beside
and
the
show
central
The
Bologna.
rising
follow
that
maps
from
of
refectory
Monte
to
thought
are
bringing
column,
Madonna
bread.
with
them
on
St.
the
in
companions
his
Petronius
under
crushed
been
has
of
the
Domenichino.
of
pupil
of
paintings
These
Bologna.
at
Friar
receives
ill at
Malta,
HALL
THE
the
At
Tiber
the
wall
the
Near
the
the
time
the
of
the
of
the
it
as
of
arms
Malta
and
harbor
old
in
was
Gregory
are
the
on
XIII.
Gregory
have
we
seen,
freed
Malta
showing
scene
and
of
time
the
of
mouth
the
at
Claudius,
Emperor
Pope
429
CHARTS
shown
are
harbor
same
Island
GEOGRAPHICAL
we
in
where
exit,
of
view
the
THE
hall
existed
it
as
opposite
this
of
end
OF
the
from
Turks.
is
It
Gallery.
this
But
of
Danti
of
Giovanni
have
Bologna
were
the
since
merely
serve
They
real
great
it
grandeur
with
connected
by
the
various
German
can
them,
the
for
and
Gallery,
halls
make
of
no
this
painter,
the
the
Vatican,
the
claim.
F.
Overbeck,
Reggio,
da
Faenza,
and
Loren-
little
The
of
the
seven
between
culture.
where
also,
Here
topography.
why
reason
of
and
of
and
ever,
how-
maps,
but
art
geography,
study
merit
artistic
gallery.
view
others
regrettable
very
so
to
da
many
very
not
although
Besides
contains
Gallery
J.
of
history
cities,
is
the
of
point
the
names
have
of
the
Sementa,
fact
exceptions,
for
of
this
decoration
Marco
of
ceiling.
Antonio
that
Raffaellino
Giacomo
The
but
art,
from
not
value
the
among
few
pleasing
the
represent
the
of
valuable
most
are
they
as
precious,
are
employed
here.
it
to
deserves
tion
men-
tic
artis-
remarkable
but
maps,
large
1857
the
impossible
is
know
We
Mascherini,
Massei,
with
pictures,
work.
of
the
on
it
in
pictures
designer
the
that
Muziano,
Girolamo
historian
the
escaped
his
and
the
frescoes
the
gallery
Ottaviano
Cati,
Modena,
da
da
this
geographer),
Pasquale
Nogari,
zino
artist
the
of
names
painted
in
painted
who
the
who
worked
of
artists
given
artists
the
individual
(brother
Paris
the
already
artistshave
each
identify
have
some
many
so
determine
to
We
and
maps
lies
task
easy
no
in
no
cartoons
and
way
cuted
exe-
1862.
THE
VATICAN
of
collection
IE
of
persons
more
the
rarer
their
of
exclusively
monks
learned
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books
The
when
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parchment
of
the
language
fact
manuscript,
time
of
are
palimpsests,
centuries
and
made
is very
of
its
by
and
the
of
and
compasses
The
since
the
early
especially
Christian
era.
Greek
Until
recent
did
script
manu-
sible
impos-
or
interest
and
for
time
are
recognized
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or
with
in
common
usually
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owner
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be
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efface
use
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may
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custom
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C431
the
fell
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and
ment,
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was
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quently,
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and
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traces
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had
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ment.
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the
antiquated
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book
example,
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alone
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manuscript.
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speak
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works
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parchment,
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In
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Parchments
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their
their
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dimensions,
active
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of
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for
libraries;
age,
collection,
this
was
course,
nence
promithe
earlier
The
manuscript
necessitated
procuring
by
met
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antiquity
monasteries
great
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of
position
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libraries
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books
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large portion
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by
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was
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the
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at
the
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to
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our
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then
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escape
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(1334-1342).
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to
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all
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when
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right
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pontificate
Palaces.
concerned,
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the
Library
rival
copied
that
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XII
manuscripts
Vatican
to
Angelorum
selves
them-
papal
to
glorious
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without
brought
were
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Library
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fell
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of
was
and
age,
library
of
that
beside
of
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erected
latter
collected
number
in
applied
of
Apostolic
library
(1316-1334)
declared
Library, unfortunately,
that
residence
the
literature
even
the
Papal
misfortunes
of
their
manuscripts
of
of
erations
gen-
of the
century.
spolii, which
Papal
proper
result
Ages,
XXII
The
greatest
future
the
John
prefecture,
or
located
been
had
speaking,
The
the
raised
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for
again
exercise
Exchequer.
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Library
Angels),
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in
Popes
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in
ius
But,
having
and
these
library,
no
preserve
books.
asteries,
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among
provide
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tions
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Beginning
Middle
later
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management,
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to
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The
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especially prominent.
antiquity.
and
books
lay
and
necessary
to
strove
century,
increase
(1342-1352)
VI
splendor.
use
speak
to
of
to churches,
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materials
manuscripts
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that
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In
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end
collection
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of
source
possessions
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Ages
tirelessly to
early
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inheritance
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by
the
to
beginning
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the
important
development.
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fourteenth
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Middle
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of
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made
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literary
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shall
speaking,
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during
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hope
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chapter
render
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renowned
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libraries
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of
possible completeness
discharge
present,
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and
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433
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434
Left
Martin
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private
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Pope
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although
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establish
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were
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could
him
to his
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formed
the
bought
their
first
Turks
owners.
commissioned
which
sale.
same
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competent
translate
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were
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time
Italian
Greek
to
the
Pope
scholars
classics
into
founding
when
to
those
England,
At
Rome
for
for
all the
and
adding
division
of
and
books
induced
Denmark
even
fall of
the
Constantinople
Imperial Library.
valuable
his
by
queathed
be-
originals which
for
passion
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the
his collection
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Pope
Imperial Library
invited
Latin
increased
made
IV
the
public
he
important
copy
acquire
to the
belonged
he
His
to Germany,
experienced men
for and
purchase manuscripts.
scattered
the
had
extremely
Papal agents
manuscripts
also
from
to send
to search
the
be
of
for
only
library. Eugene
forty manuscripts, and,
and
he
idea
private library,
In systematic fashion
the new
collection.
by employing
copyists at a fixed salary to
these
intended
now
in Rome
resumed
papal
great
hundred
(1431-1447)
Curia.
the
Library
IV
first to Nicholas
library occurred
fourth
of
Wing
)"and Eugene
of books,
the collection
VATICAN
exiled
all valuable
and
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commissioned
library.
were
Before
them
for
and
to
this inde-
THE
View
Another
manuscripts
Library
as
habitation,
the
Library
collection
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the
and
comprising
surprising.
in
the
arrangement
serve
as
was
Sixtus
in
commonly
these
palace
hundred
And
the
the
that
not
second
and
store-rooms
precious
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high
the
of
worth
mere
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crease
in-
numerical
then
so
which
That
treasures
in
of
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of
the
Papal
had
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not
del
those
who
as
should
dark
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choose
These
view
first
at
came
bethe
have
and
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Papagallo
yet discovered
public library.
and
IV
that, in
could
to
thus
Library
rather
Cortile
ments
develop-
Vaticana,
the
and
determined
Sixtus
the
remembered
that
These
who
originated
known.
place experience
for
The
Palace.
be
special, fixed,
any
(1471-1484),
IV
extensive
requirements
yet
as
special librarian.
floor
ground
it should
But
not
any
Vatican
the
in
had
Library,
now
accommodated
little
time.
that
increased
anything
there
was
for
Palatine
the
rooms
nor
reserved
were
house
for
additions
beyond
twelve
assembled
had
number
his
Nicholas
of
collection
public
he
indicate.
would
The
far
whole
Library
Vatican
the
1455,
of
value
and
importance
of
extraordinary
an
"
in
died
collector
fatigable
435
LIBRARY
VATICAN
is
place,
pleasure,
the
rooms
these
proper
now
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to-day
ters
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were
Many
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stained
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and
In
the
when
moment
the
of
management
from
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the
collections
the
majority
with
but
only
Codices,
of the
in those
days.
from
purely
Librarian,
Middle
II, but
of
of
the
forty manuscripts
be
said
books
will
After
the
that, with
and
the
immediately
was
be
dealt
this
with
in
known
were
III
known
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however,
cases,
individual
who
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nent
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then
was
used
who
entrusted
was
in the
stood
1555
Cervini
Cardinal
books
many
of
invention
begun,
the
the
of
throne
printing,
two
Marcellus
his
It need
term
and
hundred
which
the
Church,
as
collection
of
development
nally,
Fi-
during
During
days.
Library.
the
Cardinal
Roman
Holy
papal
of
mention
Correctores.
care
presented
to
ning
Begin-
highest repute
of the
to the
and
the
to
Librarian
in
find
we
Scriptores
the
as
Custodians.
the
as
(1534-1549),
title which
detail
fundamental
assembling
Paul
succeeded
librarian,
as
Under
to-day.
lists of those
one
with
ture
furni-
of
pieces
not
scholars,
of every
Vatican
the
equipped
exceptional
of
him
to
decorated;
extant
him
removed
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even
were
In
talized
immor-
beside
entrusted
manuscripts
the
over
name
first Cardinal
This
enjoyed
the
Library
office and
an
Cervini,
office
of
the
we
Library
officials
1548,
rooms
has
nowned
re-
the
in Rome.
the
time
turn
by
met
circles
Ages.
Marcello
As
Forli
these
purpose
specially prominent
to
are
scientific
in
usual
out.
we
officials
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grow,
of
well
of
still further
were
important
in learned
The
halls
most
lent
were
serve
catalogue
treasures
then
their
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since
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presses.
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favor
were
to
was
as
as
halls
continued
and
chains,
library
and
(1503-1513)
II
one
preserved,
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fresco
now
benches,
desks,
shelves,
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of
is
named
IV
and
V,
and
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was,
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Platina
received
Library.
and
The
Gallery.
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library,
old
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da
two
trace
artists
Sixtus
Melozzo
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the
any
rooms
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a
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has
German
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prepared
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by his Court,
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and
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latter
mighty
of his
one
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windows.
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Antoniazzo.
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Nor
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by
gloominess
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the
The
librarian.
Platina
collection.
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of
director
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aggravated
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course,
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Ghir-
David
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remained
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glorious paintings
period has entirely disappeared.
of this
floor
mosaic
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activity.
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landaio,
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brisk
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suppress
scene
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Pope
The
the
VATICAN
THE
436
scarcely
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paintings
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task
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important
execution
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completed
16, 1588.
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the
437
extremely
an
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which
far
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most
and
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home
magnificent
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were
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books
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life-size
figure
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the
his memory.
extensive
and
beautiful
to be
conveniences
proper
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books
these
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how
terms.
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situated
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leading
lofty windows
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have
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was
Library
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and
to
splendor,
the
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established,
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former
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decided
of
window
borings
adjacent
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Appartamento
XIII
directed
be
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old
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to
therefore
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Pius
in itself shows
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of
treasures
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years
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of the
large number
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single
scientific
accommodation,
ample
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over
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gia,
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too
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collections.
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new
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palace, running
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painted
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Sanctissimi"
especially
changes
supplied
rule
were
proprio"
be
no
of
Sixtus
be
the
( 1740-1758)
XIV
audientia
"Ex
Decree
of
should
the
which
safety
formerly
was
serve
of
were
of
kind
special
Benedict
which
their
Ehrle,
may
marble
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for
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to
time
the
regulations
these
("Manuscripts,"
(1730-1740)
works
quantity
Library
the
chiselled
seen
highly important
Father
by
from
dating
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under
conditions
and
Archives.
regulations,
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in
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out
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scholar,
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Father
course,
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and
manuscript.
manuscripts
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regulation,
Secret
in the
of
regarding
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require.
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might
Of
taken
are
to refer
had
time,
to-day
was
Codex
the
Vatican.
the
and
documents
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summarily
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in
custom,
photographs
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only
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at
than
examine
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not
nately.
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scholars
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custom
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on
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contents,
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common
precautions
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old
rare
all the
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to
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application
delivering
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entirely suspended
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instance
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attendants
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to
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of
because
at
decided
who
delivered
be
which,
place
to
When
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to mark
customary
was
manuscripts
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advisable
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it
times
former
In
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e
servizio
della
ordinance
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administration
was
proprio"
of
the
VATICAN
THE
456
ease
for
working,
which
were
memorial
certain
Prefect,
satisfactory
the
in this
administration
present
preferential
is
also
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the
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could
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respect
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when
holidays,
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this
for
reasons
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work
to
9 to
ber
Octo-
Carnival
Father
Since
are
from
from
Thursdays
Christmas,
admitted
holidays
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the
true
complaints
of
extends
year
feasts.
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have
and
Thursdays
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of
the
number
all
on
conditions
it is indeed
least
working-room
is closed
ecclesiastical
scholars
the
Vaticana
manuscripts,
favorable
at
working
Feriae
the
days,
many
The
Library
certain
and
Easter,
and
The
27.
June
1 to
the
12.
to
the
While
increased,
concerning
winter
In
8
from
the
the
to
of
Rome.
to
be
might
attracted
number
consulted,
scholars
entered
to-day.
times
1; at other
may
hours
valid
be
all these
attract
formerly
longer
no
they
working
the
that
which
with
the
and
importance
The
unceasingly.
grows
scholars
foreign
and
of Italian
number
The
show
of
liberality
gladly recognized
by
every
reader.
Growth
is
of
in
foster
to
the
every
this
had
of
manuscripts
be
their
his
of
become
Greek
There
so
In
the
Vaticana.
shirked,
activity
and
many
addition
first Cardinal
The
famous
After
was
this
Among
Codices
from
by Julius
inadequate
Leo
X
the
at this
receive
to
(1513-1521
Library
period
the
) had
collection
presented
in
VI
of
Bobbio;
halls
of
since
the
the
acquisitions
numerous
possessed
no
four
(1503-1513),
4070
books
Alexander
Abbey
The
II
began
numbered
now
of
purchases
Inghiranni.
enlarged
many
old
Pontiff,
books
printed
collection
the
Latin
next
printed
reign
the
the
the
Codices
1757
and
of
when
period
that
so
Tommaso
were
Codices,
pontificate
fell in the
Vaticana,
Greek
340
the
of
number
the
770
IV,
of
introduction
the
at
Nicholas
During
from
IV
Sixtus
Library.
own
40
bought
had
the
zeal
true
traces
mentioned
Sixtus
books.
and
were
were
of
Under
the
to
way
(1492-1503)
rooms
shown
scientific
still found
be
were
death
the
(1484-1492),
manuscripts
Library
will
sacrifice
no
of
centre
may
disseminated.
widely
these
way
purchased.
were
VIII
found
3650
Before
increased.
greatly
to
this
IV, which
Eugene
chapter.
Innocent
and
Library
acquisitions
of
development
embraced,
was
Vaticana
antico
Fondo
manuscripts
of
the
Vatican
research.
scholarly
In
possible
have
century
every
the
important
most
for
labors
opportunity
favorable
Every
of
Popes
their
in
inspiration
and
the
of
growth
the
trace
list of
the
that
To
"
and
inspiring task,
an
clearly reveal
to
Library.
the
to the
books
the
world
Vaticana
and
scripts.
manu-
which
tained
con-
manuscripts.
to the
princely
Librarian,
gift of
presented
240
many
Codices,
printed
Cervini,
Marcello
books
to
the
the
Library.
THE
LIBRARY
VATICAN
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458
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and
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250manuscriptsacquired
the
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and
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arly
schol-
the
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maso
for
equally
his
Library
and
influence
political
Cardinal
guages,
lan-
of
knowledge
Carafa's
from
the
V.
baptismal
their
manuscripts
and
who
wide
united
manuscripts,
his
death
books
to
scholarship
with
Italian, 270
of
Latin,
manuscripts,
was
also
the
Vatican
request
the
prescribed
in
the
text
to
of
loan
the
the
first
words:
of
such
e
Ita
et
letter
of
case
the
MSS.
some
Placet
adding:
by
appends
thus
added
has
it
than
less
no
113
Greek
which
were
zeal
his
ments.
docu-
pigli
ne
Thanks
prized,
very
and
on
sive
exten30
comprised
manuscripts
Codices.
highly
and
Orsini,
collecting
for
Vaticana,
the
manuscripts
The
books.
printed
to
grsecus
413
Fulvio
Library.
extraordinary
an
Corrector
and
as
Pope
appointed
bequeathed
he
signature
(Ugo),
the
grants
for
quietanzo
printed
was
collection
Greek
of
Gregory
to
Pope
As
name
The
collections
The
XIII
38
fol.
XXVI,
Tomus
Archives,
petition
Library.
mandamus.
bequeathed
great
"(/H!atK'rA.t4jm6'
SivtPrn^lJ
Colonna,
Marcantonio
known
and
Carafa,
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his
played
dis-
interest
glorious
at
the
century
a
end
and
sixteenth
the
the
*/*"
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were
the
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purchasable.
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search
in
direction
every
in
emissaries
forth
this addition,
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to
1287
from
mounted
to
1400.
Pope
Paul
the
his reign
to
the
(1605-1621)
Library
Silvarezza
collection.
with
212
the
and
Greek
contributed
From
himself
proved
30
library
Latin
Codices
of
the
manuscripts,
from
He
Maecenas.
true
the
princely
Abbey
house
and
of
of
sented
pre-
during
Bobbio
Altemps
THE
(Altaems)
1616
In
the
from
the
25
the
from
the
of
Borghese
Pope
one
the
life
the
Brief
nis,"
of
the
reckoned
in
eras
Library.
tion
men-
fact
the
Paul
that
issued
rei
perpetuam
"Alias
riam,"
reign
services,
of
made
"ad
the
Vatican
these
1, 1607,
July
on
way
be
must
the
is also
the
dinal
Carto
important
besides
When,
which
of
estate
their
most
of
All
books
the
that
so
of
Raimondo.
found
Vaticana,
quired
ac-
manuscripts
and
of
part
Pole
scudi
previously
manuscripts
formed
Pros-
1974
Coptic
estate
of
estate
had
he
($1914);
purchased
for
Podiani
pero
LIBRARY
manuscripts.
Pope
same
Codices
83
100
came
VATICAN
felicis
his
memo-
recordatio-
containing
detailed
concerning
the
tions
instruc-
De
Binding
Luxe
of the
carved
in marble
Urban
Pope
books
the
separated
of the
one
the
tion
the
of
the
Fugger
of
of
the
and
Bavaria,
scripts
manu-
and
many
St. Peter's
1566
hall
scripts.
manu-
and
Library,
of Archives.
acquisitions
the
to
Greek
the
to
Prefect
of
of
Codices
and
new
of
the
the
But
obtained
was
acquired
the
the
of Mainz,
in
the
1584.
in
In
the
of
capturing
in
manuscripts
of
of
Palatine
contained
printed books
Heidelberg
Lorsch,
library of
union
additions
of
Monastery
extensive
in
when
with
Geln-
von
valuable
Arabian
founda-
started
was
and
had
large number
after
Inghen
the
Konrad
size, it received
library of the
and
At
collection
this
von
in
Cathedral
Postel,
to Rome.
Library
Heidelberg,
Marsilius
Palatina
and
Vatican
Heidelberg
of
of
Augsburg,
Bibliotheca
manuscripts
of
number
behind
Latin
that
all the
Hall.
large
parchment
from
increasing
Orientalist
treasures
the
of
the
is
document
"
of
confiscation
manuscripts
great
6026
added
This
Sistine
Hospice
Urban
important
libraries
39
Ethiopian
of Custodian
Constantly
the
had
contained
time
same
University
private
through
the
then
office
most
the
of
purchased
He
from
transference
hausen.
the
the
wall
narrow
books.
which
activity is complete.
his
(1623-1644)
many
At
in
on
transferred
Vaticana,
of
the
VIII
and
(1577)
management
sketch
the
Library,
the
from
Palatina
Bibliotheca
all
Ulrich
these
"
rious
glo-
Ottheinrich
3500
about
Elector
milian
Maxi-
1623, confiscated
it
it to
presented
and
it to Rome.
bring
that
It
Palatina
gift
Rome
at
in
library
little
of
to
128
and
Greek,
the
Urbinatic
as
the
nucleus
for
to-day
had
duplicates
been
much
the
additions
2102
Latin
and
1754
Latin
and
XI
the
fair
into
succeeded
value.
of
the
202
manuscripts
Renedict
XIV
Altemps
of
in
and
library
of
180
Arabian,
the
increased
was
1748
Sforza,
the
secured
purchased
Pietro
and
for
Ottoboni,
the
the
as
the
about
Fondo
5500
which
duplicates
there
real
ent
Clem-
founder
a
of
from
sisted
con-
cluding
In-
of
collection
this
reign.
consisting
thalers
the
very
scripts
manu-
Codices.
during
contained
thus
of
Capponiano,
golden
of
and
which
6 Turkish
notable
of
number
collection
500
were
Vaticana.
the
Assemani,
and
of
added
were
Orientalia
already
by
Archives,
manuscripts,
brothers
nephew,
consisted
that
seen
hundred
added
the
purchases,
Cardinal
and
several
Pope's
dispatched
he
it
the
(1458-1464).
in
purchase
to
(1758-1769)
(1740-1758)
Codices,
collection
of
small
be
Carini,
to
library
XIII
private
it will
his
to
After
division
regarded
be
Orient
Syro-Chaldaean,
several
Oriental
the
his
to
Clement
from
of
II
very
well-
purchased
library
this
manuscripts
must
According
adding
To
Pius
served
the
Secret
the
to
books
Azzolini,
the
165
is known
Vaticana.
Ottoboni,
Dukes
and
Sweden,
the
Queen's
when
Another
(1689-1691)
Pope
Gregory
the
which
Decio
assigned
above
of Oriental
however,
all parts
in
of
given
of
it to
the
Rome
printed
founder.
VIII
manuscripts.
Codices
number
section.
Oriental
288
Greek
Greek
(1700-1721),
scholars
high
119
45
from
leading
Italian,
above,
University,
heir, Cardinal
had
Vaticana
information
the
already
material
the
to
and
in
to
and
The
Alexandra
been
as
acquisition,
the
its true
assigned
the
Library
Latin
from
to Cardinal
presented
from
the
as
library of
1767
Alexander
and
Vati-
manuscripts
presented
renowned
Roman
after
her
Azzolini.
archival
and
From
from
last-mentioned
the
the
the
followed
position
manuscripts.
Christina
Queen
passed
Pompeo
nephew,
from
of
that
convert,
of
in
great
separated
were
library
Alessandrina,
the
as
large library,
known
the
of
Palatina.
included
Arabian
and
Collection
of
even
This
Hebrew
the
brought
Vatican.
the
852
and
second
and
manuscripts
been
the
name,
present
VIII, however,
Heidelberg
it had
made
(1655-1667)
VII
Urbino
because
its old
38
its old
the
period
Vaticana
the
later
Alexander
this
resumed
it later
but
XV,
in
sent
Urban
increase
great
the
possession
Heidelberg,
Library
Gregoriana,
the
called
was
At
actual
(1815)
to
This
Vatican
the
world.
the
Paris
restored
1816.
in
VII
maintained
books
of
Treaty
the
into
came
of
reign
Pontiff
This
receive
to
the
only during
were
Pius
from
Heidelberg
to
books
the
Through
cana.
(1621-1623).
XV
Gregory
was
and
Codices
the
Pope
Allatius,
Leo
librarian,
his
of
VATICAN
THE
460
the
the
whole
libraries
library
of
the
"461
VATICAN
THE
462
in
Fresco
the
Sistine
of
Queen
3300.
Sweden
Latin
During
472
the
last
with
together
acquired
by
or
brandini
which
purchased
family,
contained
These
really
thus
Collection
more
which
and
Leo
were
costly
were
XIII
in
were
all the
many
archival
manuscripts
and
made,
it
was
contains
now
assigned
the
1902.
of the
to the
collections
All
the
materials
were
the
Archives.
of
Barberini
manuscripts
a
vast
of
important
of
old
incorporated
Aldo-
Codices,
100
of
More
in the
the
sive
exten-
family,
number
the
papal
the
this
and
order
archives
Secret
highest value,
of
purchased
all
were
in
through
extensive
the
Rossi,
de
manuscripts
from
Borghese
The
Borghesiana.
series
the
Codices
themselves
Borghese
put
were
goodly
$4500
the
Marini,
Gaetano
Battista
correspondence,
300
to
came
Mai,
These
for
extremely
some
Giovanni
Maurist
form
now
made
Angelo
and
Library.
XIII
by
books,
to
the
the
which
The
of
papers
of
presented
family.
Borghese
among
The
Mazzucchelli,
portion
Avignon.
of
Vaticana
the
Leo
were
and
also
and
of
later
large
(1585-1590)
number
total
of
rebuilding
the
Sixtus
were
volumes,
manuscripts.
Borghese
The
for
plan
Pope
manuscripts.
century
into
arranged
library
Greek
Visconti,
Quirino
by
additions
acquisitions.
important
Eneo
begun
(see above).
and
the
showing
Rome
this collection
To
3394
Hall,
of
portion
chased
pur-
collection,
of
printed
Vaticana.
THE
In
times
recent
giani
(not
the
to
from
the
many
the
and
among
them.
above
extraordinarily
scripts
manu-
only
have
be
in
detail
of
show
have
world,
the
position
towards
obligations
few
however,
that
of their
mindful
of
ance.
inherit-
by
Sufficient,
to
the
less important
the
acquired
said
been
possible
im-
number
large
or
collections
been
quite
purchases, presents
manuscripts,
are
enumeration
mention
to
small
there
Greek
It would
mentioned.
Vati-
Oriental
acquisitions
larger
the
to
although
Latin
the
In
Bor-
with
mostly
are
manuscripts,
463
LIBRARY
transferred
were
Propaganda
These
cana.
Codices
confounded
be
Burghesiani)
the
VATICAN
Popes,
their
and
civilized
the
in
developed
has
lavish
De
Binding,
Luxe
this
manner
of
These
cana.
the
to
distinct
fondi.
The
languages,
fondi,
The
if
divisions,
closed,
we
Fondi
Open
Graeci, 2330;
divide
fondi, provided
All
other
acquisitions
we
have
closed,
according
The
to
The
are
as
599;
Hebraici,
follows:
siacenses,
or
377;
Latini,
1767;
Latini,
2103;
Latini, 3394;
of
historical,
Vaticani
Codices
Arabici,
935;
form
Latini,
Turcici,
Syriaci, 472;
14; Indiani,
Closed,
and
that
according
language,
are
united
historic,
or
divided
fondi.
open
them
rate
sepa-
they
are
single division,
however,
are,
sixteen
as
that
Vati-
the
into
way
that
seen
administered
are
really only
Codices
form
be
or
34
below.
enumerated
as
form
These
thus
(1592-1605)
it will
their
but
or
Accordingly,
open
and
divisions,
above
found
divided,
not
fondi
Vaticani.
Codices
have
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portance
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however,
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THE
MOSAIC
word
ce
"mosaic"
MoOaa,
of
a
very
the
and
Syracuse
in
they
late
of
Fortune
at
popular
for
their
Pio-Clementino
the
known
c.
is
Tivoli,
perhaps
the
some
them
used
an
mosaics
at
Nuovo,
or
Greek
The
Ravenna
an
Arian
So
not
from
mosaics
beautiful
in
did
much
Hadrian's
the
floors
their
walls
of
real
life,
and
Villa
also
bearing
love
but
the
also
dwellings.
the
found
fifteen
figure
said
mosaics
by
that
of
vaults
their
scenes
in
framed
by
The
generally
were
near
are
with
scene
Romans
their
at
specimen
battle
executed
Famous
chariot
generally
Naturalis"
been
beautiful
of
mosaic
scroll.
era
most
most
showing
and
only
external
taken
Christian
the
images.
and
the
were
arabesque
In
adorn
to
the
beautiful
most
Capitol,
at
floors
as
"Historia
mosaic.
Pergamos
Pompeii,
Darius.
and
banquet-halls
these
of
that
be
to
found
ticularly
par-
military
serve
the
having
Temple
the
Cross
his
as
treasure,
warriors,
twenty-six
horsemen,
they
at
the
mosaic
finally,
and,
Fauno
del
Casa
of
copy
Palestrina
of
mosaic
such
Capitoline
in
from
arts
Greek
of
Doves
Pliny,
because
of
speaks
the
the
paratively
com-
became
art
the
the
floors
the
that
to
Among
mentioned
fine
the
in
solidity,
was
adorn
mosaics
portable
and
Mosaic,
lx),
Thus,
Pergamos.
may
art
favor
such
campaigns.
be
Museum,
Pliny's
as
(1. XXXVI,
had
their
on
times
ancient
it found
their
the
before
long
not
was
Caesar,
while
tents
of
mosaics
in
Rome,
including
commanders,
it
where
and
the
on
of
mosaic
to
saics
mo-
palaces
also
account
Rome
used
Falerius
their
borrowed
into
tion
decora-
the
also
used
the
they
work
it in
adorn
on
and
Orient
the
Greeks
were
Romans
since
in
Demetrius
to
purpose,
the
mosaic
and
first
Mosaics
which
development,
in
The
while
the
Among
Praeneste,
employed
temples,
mosaics.
introduced
who
inventors
undoubtedly
is
practised
word
Greek
the
were
was
mummies.
were
for
suited.
Sulla
Greece.
with
Greece,
well
were
Egyptians,
II
the
Muses
the
Mosaic-making
art, and
their
from
derived
that
art.
their
Hieron
houses
was
ancient
in
the
is
said
mosaic
of
of
it
as
the
among
Athens
FACTORY
the
temple
were
ancient
of
Mausoleum
changed
by
[499
employed
to
specimens
are
Galla
Placidia
Archbishop
]
sacred
represent
found
and
Agnellus
in
S.
Rome
Apollinare
into
Chris-
THE
The
Entrance
Chigi
the
Cyriacus,
stantinian
mosaics
decadent.
of
errors
drawing.
with
together
change,
we
mention
may
mosaic
to
work,
and
Florence.
for
which
works
many
Peter,
and
find
copied
with
by
Peter's.
The
to
original
Peter's, where
the
the
apse
to
increasing
with
development
began
their
their
took
now
on
Pisa,
at
of
by
the
his
of
Bark
wealthy,
and
pictures,
copy
best
works
the
works
of
art:
famous
perfection,
where
in
S. Giovanni
this
ver\r
voted
de-
used
background
his
to
1200
Cathedral
Encouraged
then
favorable
in
of
with
here
for
art, which
a
art
the
greatly
Basilica.
workers
Church
against
mention
gold
enamels
mosaic
of
Saviour
himself
Vatican
so,
of
state
its artists
the
the
painters executing
And
masterpieces
1586
Pope Sixtus
set
busied
Popes,
Venetian
it in
sufficient
the
the
In
St.
be
the
in mosaic.
reached
and
for
made
the
pupil,
it will
mosaics
artists, the
of
mosaic
his
especially
we
practised
made
Giotto,
gold.
St.
he
his
of
mosaic
the
mosaic
the
Tafi, who
of
the
nique
tech-
and
art
undergo
to
tint;
While
gilding.
Andrea
composition
Florentine
to
Cimabue
the
blue
abundance
De
by
Byzantine
the
their
the
Con-
is said
of the
period
Florentine
with
adorned
this
the
proportions,
an
of
In
from
and
both
true
with
about
of
study
Thanks
life.
new
the
with
in
also:
Catacomb
Following
faith,
kept
are
work.
Pudenziano
first cultivators
the
the
dating
laden
are
compensate
the
in
background
of studying
painting began
himself
at
to
Among
S.
Christian
Instead
endeavored
workers
the
by
of
gold
Enamels
Catacombs
found
century.
have
the
fourth-century
apse
themselves
figures
were
the
where
the
mosaics
some
fourth
often
inspired
were
in
the
mosaics
the
sometimes
from
be
to
are
that
while
also
these
custom,
Costanza
in
portrait
declared
Room
Sample
used
were
preserved
Rossi
S.
era,
date
to
ornaments
De
of
The
Factory
is
Gallery
which
Mausoleum
Rossi
Mosaic
Mosaic
church.
tian
the
to
VATICAN
ers
work-
mosaic
may
be
to
compare
of painting.
V
founded
prepare
site
street
the
mosaics
of
the
mosaic
for
factory
is still known
factory
the
was
as
walls
of
the
Via
del
Vatican,
ceiling
St. Martha's,
near
the
and
Musaico.
of
St.
beside
Exi-
THE
The
of
gencies
factory
then
Collection
removed
itself by
and
niches
with
works
modern
vivacity,
grace
hunting
scenes
mottled
such
where
As
the
the
there
and
worker
sample
each
can
immediately
the
first
number
a
but
of
awaken
of
his
color
corresponding
supply
of
the
most
many
years.
sample-room,
astonishment.
here
are
to
scenes
the
paintings,
of
the
meets
gradations
imitating
Besides
famous
most
of months,
undoubtedly
find
see
mosaics
scene,
boar.
of
the
You
the
drawing-room
of
visitor
the
the
with
garden.
the
in
of
If you
garlands
perfection;
to
from
was!
together
the
movement
not
thousand
has
from
and
works
work
caught,
bristles
copies
work,
tints will
twenty-eight
is
fresh
adorn
are
the
factory,
of
the
fit to
are
represents
number
as
many
found,
the
which
entering
On
and
and
hound
connoisseur,
exacting
each
coat
color
beautiful
these
are
large
which
threads,
representing
represented
shape
every
of
these, which
as
of
to
as
works
see
all
of
most
as
(1) work
case
enamel
that
just
enamels
the
the
different
How
of
animals
with
admirable
you
in
used
tabernacles
kinds:
two
ine
imag-
to
patient work,
his
uses
threads
of flowers
softness
with
can
Vati-
the
paintings
valuable
and
is of
are
these
shade
every
themselves
lend
factory,
he
executed
With
executed.
be
and
Scossa-
it in
decorates
accurate
an
work
which
(2) work
the
which
in
flowers
the
in
the
Office, and
it difficult
most
who
worker,
Mosaic
work.
the
does
Quattrocentesti,
the
around
and
Piazza
for
find
made
art, because
an
cubes,
may
of
work
look
of
and
finer
Holy
the
found
were
enamel
mosaic
brush.
enamel
for
used
colored
The
level
work;
decorative
location,
in
Torlonia)
mosaic
composition,
his
does
painter
executed
the
his
of
Work
at
of the
Palace
quarters
seen
bits of
the
attains
which
are
never
small
with
the
(now
Artist
XII.
exactly copied.
may
be
the
Leo
have
with
how
rooms
Mosaic
changes
in the
1825, worthy
in
Pope
who
successive
Giraud
Finally,
Persons
first to
Palazzo
the
cavalli.
Works
necessitated
space
was
to
Mosaic
of
501
FACTORY
MOSAIC
shelf
particular
be
to
where
shade
he
cubes
re-
seeks.
The
second
room
contains
all
the
best
mosaics
in
enamel
THE
502
The
for
Furnace
Fusion
the
cently made,
well
as
for
contains,
perfect
that
of
the
gallery
visitor
the
of
bed
the
plaster
picture
has
and
dust
are
enamel
its
removed,
in
the
shelves
so
the
to
desired
iron
an
then
stucco
must
be
fusion
of
containing
the
he
builds
proper
size
The
is another
always
on
of
lathe,
holds
the
receive
to
the
the
rapidly,
piece
fresh
ble
mar-
breaks
shape
drying
plaster
lime,
next
proper
the
of
of
outlines
The
by piece
worker
up
and
First
shape.
(a mixture
which,
Only
the
frame.
Piece
stucco
it to the
stucco,
the
to
where
and
him,
enamel
oil).
reduces
place.
the
because
are
There
tions
reproduc-
to
workroom
the
plaster.
of
layer
flaxseed
of
place
in
firmly
and
nas,
saints, Madon-
subjects
before
in
put
this
on
by
tiny hammer,
and
drawn
dregs
it in its
fixes
and
of
It
Guido
and
originals.
images
the
original
his
prepared
replaced
the
with
enamel
is
then
are
and
is removed
fore
hereto-
seeing.
Homo
the
sacred
enters
walls
picture
then
the
plaster
hold
and
enamel.
the
The
for
furnace
In
illustrations.
of
who
of
chronology
the
apse
a
of
chemist
enamels
undertake
to
are
the
under
for
furnace
this
were
the
1856,
the
della
great
the
These
Raffaelli,
of
glass
enamels
cut
R.
Fabrica
and
of
enamels
and
di
of the
of
task
facade
is shown
Monsignor
IX,
preparation
the
Lateran.
made
the
Popes,
named
the
Pius
(Economo
St. Peter's
to build
of
kind,
every
Popes,
works
collection,
from
from
his
of
the
Threads
worth
Ecce
of the
gems
Enamel
mosaic
is well
distinguished
of
of
fruits.
worker
Each
enamels.
all other
II Guercino's
artistic
be
Around
busy.
are
of
and
second
the
are
the
works
flowers
From
artists
copy
portraits
fine
very
of
hardly
can
artistic
and
all
these
they
besides,
are,
of
Manufacture
collection
well-arranged
instance,
St. Peter;
Reni's
The
Enamels
painted copies
as
This
executed.
the
of
VATICAN
the
minerals.
the
Basilica
made
were
result
was
When
St.
under
a
great
the
the
mosaics
of
of
our
ordered
was
for
enamels
one
tor
Administra-
S. Pietro),
making
the
in
Giraud,
for
Paul,
the
success.
glass
workers
has
the
and
direction
The
reached
THE
the
are
mixture
is
it has
In
then
the
procedure
The
workman
colored
small
the
once
for
use.
gilt enamels,
is
enamel,
of
into
and,
follows:
as
takes
leaf
it; the
is ready
of
case
of
disc
it with
covers
above
gold, places
The
this
of
layer
the
disc
the
enamel
of
help
the
the
meet
the
of
of
the
the
for
certain
After
pressure
kneads
worker
enamel
the
trials
into
before
patience,
which
Looking
the
beauty
The
of
the
at
before
they
is worth
the
then
the
draws
make
often
many
be
work
must
in
the
trouble,
ceed
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also
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history
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1905.
after
17, 1847.
its founder,
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possesses
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four
Pius
IX, who
classes:
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with
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with
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515
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military
(b)
of
1, 1831, in honor
and
ADMINISTRATION
(c) Knights
non-Catholics
The
September
civil
Grand
decoration
which
(4)
VATICAN
Cross.
Simple
provide
to
THE
the
Pius
Order.
(5) The
on
the
of
Order
by Pius
Pope
the
by
Grand
Latin
Master.
on
(7) The
Leo
24,
and
four
same
in
the
1905, when
degrees.
founded
was
1868,
is conferred
Jerusalem,
the
Order
and
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was
formed
re-
of
name
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as
by
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by Gregory
in
four
usual
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and
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women.
of
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founded
was
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(8)
The
Service
In
(1)
reproduced:
St.
Sylvester.
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Knight's
of
Class
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the
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of
of
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of
Pius.
of
St. Gregory
for
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Order
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of the
First
Cross
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(11)
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for
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(10)
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(8)
of
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Cross
Class
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Order
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Knight's
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(5)
Cross
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Cross
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Class
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at
worn
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been
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Cross
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for
of
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decorations
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(6)
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Order
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(3)
of
Cross
(7)
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so
of
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of
the
St.
Gregory.
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Gregory
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external
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form
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the
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Grand
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Pius.
of
Order
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formerly
was
X.
following
of
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Order
of
Cross
Grand
by Pius
517, the
page
Plaque
The
(2)
breast.
on
which
merenti,"
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illustration
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conferred
be
Holy
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in
It
altered.
the
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Apostolic
Sylvester.
31, 1841.
somewhat
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St.
Pope
October
its insignia
(6)
of
Order
XVI
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THE
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ADMINISTRATION
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page
517
515)
VATICAN
THE
518
The
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(1)
and
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the
Father.
Holy
official
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to
di Camera
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antechamber
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Cross.
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(Consultor)
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the
palace prelate,
religious functions
member
business
As
Imprimatur.
of
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from
itself.
IX
manuscripts
place
in
in
contents
away
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During
procedure
line
new
example,
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Magistro
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to-day
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theological
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Service
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from
religious
the
or
natural
for
manuscript
alteration,
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Master
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it
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to
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fourth
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to vacant
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but, although
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have
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Many
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prescriptive right.
said
Holy
above
Father
that
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Maestro
who
di
associates
Camera,
most
since
intimately
it is he
who
Pope's
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and
daily
for
things they
all
di
Maestro
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in
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Secretary
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Briefs
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altos,
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twenty-two
virtuosi
nine
these
the
of
proper
and
of
other
all
of
is
singers
performances
its
that
so
sides
Be-
service
the
for
Choir,
the
are
emerited.
boys,
requisitioned
singers
belong,
are
number
large
and
college
developed.
of
attained
sopranos
the
To
sisted
as-
Vice-
establishment
the
school
boys'
and
has
in
wish
lifelong
is
permanent
Perosi
maestro.
is
composer,
director,
permanent
of
Maestro
present
celebrated
the
Perosi,
did
efficiency
the
At
this
but
singers,
Choir.
the
from
annually
the
director
ago
years
chosen
was
of
VATICAN
THE
528
singing
Pontifical
is
about
The
rich
strength
voices.
valuable
the
himself
pontificates
of the
as
and
the
to
the
Court
Pope
of
the
as
Their
the
Two
duties
all
of
charge
The
times
pure
who
the
possessing
papal
attached
of
for
cross
The
to
fetch
of
the
cross
from
at
altar
of
cross
right
to
the
serve
cense
in-
and
office
known
of
of
tolic
Apos-
officially,
clerici
altar,
and
Auditors
in
they
as
prepared.
are
In
because
posto.
have
the
to
teenth
four-
they
diminishing
character
consists
Throne
from
represented
has
in
special college
the
The
are
Solemn
censer
called
the
Signatura
campanarum,
cross-bars
then
are
been
is
they
as
whether
had
Palace.
fantastic
There
with
incensing.
script.
manu-
order.
proper
the
discharge
has
cross
this
in
it is the
of the
present
service
clerici
processional
staff.
and
Apostolic
three
the
Chapel,
named
were
also
the
the
in
Tumba,
Court
hand,
indirect
processional
one
fiction.
the
still
connection
the
other
occasions,
necessary
they
bells
the
top.
to
things
papal
as
on
the
with
of
Clerics
in
of
They
the
on
such
extend
century
example,
to sit in
put
now
of
number
large
liturgical celebration,
any
Absolution
connection
Rota,
clerics
that
see
in
Mace-bearer
or
masters,
been
in
candle-bearers.
Deacons.
act
(for
or
the
famous
have
part
contain
college
most
these
prelates entitled
acolytes
the
the
by
takes
Pope
undertakes
Requiem)
duty
works
long neglect,
Whenever
he
of
archives
musical
After
Mazziere
hundred
one
Room
of
size towards
existed;
never
reality
of
the
it is
fix
plain cruci-
clerics, five
when
ancient
it is
in
ber,
num-
required,
THE
and
it
guard
after
known
the
as
Red
the
until
service.
the
formerly
the
cross
Rota
Only
later
in
during
See,
of
for
with
ceiving
re-
the
and
Sacred
of
vacancy
the
college
of
lay
participate
in
the
functionaries
Pope
presence,
of
does
solemn
the
by
his
ceremonies
College
Holy
and
undertaken
the
the
Auditor
again.
performed
or
gives
handing
connection
functions
with
for
appointed
it back
ter
Mas-
always
to carry,
in
name
officiating
signal
the
to
the
The
dicates,
in-
discharged
Ceremonies
them
are
with
Ostiarii
their
As
529
returned
clerics
(Magistri
duties.
of
ADMINISTRATION
Doorkeepers
Rod
they
other
it is
These
Ruhea).
Virga
VATICAN
Prince
services.
These
mounted
the
Pope
Middle
Sistine
the
Chapel
at which
the
proceed
from
Two
for
path
Te
Deum,
the
and
duties
papal
of
body
the
also
sent
to
near
episcopal
thus
lend
their
office
special dignity
in
to
all other
the
trusted
en-
in
in
the
papal
Rome
to clear
of
singing
In
are
things they
who
throne.
occasion.
Mazzieri
the
services
all persons
the
to
during
the
concerned,
are
of ceremonies;
masters
crowd
are
solemn
to escort
altar
of
safety
quadrangle
consecrations
the
bishop through
new
also
the
Court
Papal
the
Mazzieri
to the
College during
have
They
Papce).
men
(hench-
the
for
the
To-day
Sacred
credence-table
in
responsible
entrance
Throne
Papal
Armorum
figures
was
the
Orsini
the
(Mazerii
Servientes
Palaces.
guarding
by
as
the
to
at
Mazzieri
well-known
were
This
is present.
are
the
of
occupied
the
known
Apostolic
duty
Pope
Mazzieri
who
the
Assistant
probably
Ages.
of
and
with
thus
are
back
body-guard),
during
dates
origin
or
the
and
maces,
Their
silver-
carry
are
far
so
the
as
the
subject
to
subject
to the
Majordomo.
In
the
solemn
of
a
to
an
long list of
personages
services, the
Prince
entirely exceptional
Solio
the
Pontificis
right
Chamberlain
incensed
of
the
of
during
Maximi.
First
the
the
who
stands
He
and
of
the
the
but
Pope during
occupies an office
Throne
official
on
to the
assistants
the
ranks
Church,
incensing
as
at
His
nature.
Deacon,
Roman
act
Assistant
title is Stator
highest
step of
immediately
before
choir,
and
the
Proximus
the
after
prelates.
receives
the
throne,
the
ViceHe
Kiss
is
of
THE
530
Peace.
the
When
He
ambassadors.
fingers
di
it will
be
arrive
at
always
Temporal
the
reader
of
origin
1 of
the
his
Palaces
from
the
issued
for
which
is
heads
of
the
given
by
The
most
Vatican
His
is
the
to
connected
into
contact
(power
marks
re-
tion.
func-
at any
of
and
these
they
which
matter,
the
families
when
"
can
has
the
of
not
In
Cardinal
exception
of
in
person
is shown
him,
and
with
household
of attorney)
duties
the
few
the
the
Palaces,
Apostolic
See, and
ondly
sec-
Prefect.
The
and
the
matters
istration
admin-
intervals
in
all
the
congress
of
matters
special importance
prelate
whole
regular
assemble
then
office
"Motus
administrative
At
tolic
Aposman's
Fisher-
two
the
Holy
responsible,
and
the
fill this
to
of
vember
No-
the
der
un-
tance
impor-
decision
is
Prefect.
di
with
of
of
the
Apostolic
Sub-Prefect,
undoubtedly
position
of
cerning
con-
State, Cardinal
to
Prefecture
the
is the
said
On
11, 1880,
departments
of
of
succeeded
Prefecture.
the
be
may
continued
goods
personally
questions
important
is
the
the
by
diversified
and
December
enable
to
administration.
later
the
of
is
the
of
above
supervision
and
regarding
Prefect
now
said
words
this
little
of
administrative
Chamberlains
subject
heads
Pro-Secretary
separated
discharged
Palaces
social
above
Colonna
throne
few
supreme
date
instructions
discussed.
the
under
first
the
Prefect,
administration
presidency
are
the
the
great
of
the
XIII
Majordomo
now
all
IX
Leo
With
the
Pius
title of
he
State
is Sub-Prefect.
year
1848
issued,
exact
of
by
the
he
Palaces.
development
When
which
Secretary
and
under
in
Proprii"
From
Assistant
been
unusually
how
stormy
death.
throne,
the
of
this
has
Enough
"
Vatican
given
was
Palaces
until
the
the
Antonelli,
the
case.
comprehend
to
for
Maestro
the
on
other
his
the
at
Purification
the
dress
both
century,
service
this
Administration.
administration
in
Pope's
traditional
Prince
one
the
the
the
Gentiluomo,
household.
understanding
common
the
his
sixteenth
the
his
is hereditary
alternately
some
been
of
is but
there
the
since
perform
to
in
by
of
and
Pope
before
over
Feast
Prince
the
and
water
pour
the
accompanied
dignity
this
families
Orsini
have
that
Cardinals
the
for
one
servants
seen
since
But
is
to
On
functions
attends
and
other
and
Camera,
right
hands.
prepared,
He
princes,
Roman
the
distributed,
are
the
after
the
has
of
are
Assistant.
Prince
old
also
candles
medals
annual
or
immediately
washing
the
at
large
two
papal
his
receives
Assistant
VATICAN
the
the
by
household
Maestro
the
fact
The
numero.
he
the
is responsible
affairs.
Italian
for
the
As
that
Casa
he
of
for
the
authorities,
signing
di
staff
in
administration
is the
household
execution
of written
possesses
documents.
first
the
Domus).
(Magister
innumerable
he
of
of
the
orary
hon-
employes
of
all
he
cases
their
For
are
orders
comes
procura
exam-
THE
when
pie,
of
free
it is
France,
or
duty
palace
after
the
has
signed
the
Again,
when
the
palace
administration
orders
for
firms,
palace,
for
which
it
the
In
has
nance
Fi-
the
fact
the
material
and
things
Pope
Italian
been
the
of
the
by
to
for
those
only
free.
duty
of
used
are
not
Board
before
paid
duty
is sold;
di Casa.
later
Italian
is informed
the
delivered
are
material
this
the
with
Maestro
decided
of
some
use
these
to the
it be
Should
places large
materials
building
of duty
free
delivered
Casa
postal receipt.
foreign
cel
parmany
Ger-
at the
di
Maestro
by
from
Pope
the
to
post
is sent
present
531
ADMINISTRATION
VATICAN
are
ment
Parlia-
sometimes
sinuated
inMarchese
that
this
right
often
that
The
of
the
held
by clerics,
In
far
so
Major
of
Casa.
He
This
the
it is
lifelong,
supply,
furniture,
and
Sotto-Foriere
the
When
official
is to
Maggiore
the
gives
Pope
the
order
for
and
their
the
uses
the
latter's
its
of
many
need
they
mostly
was
so
is concerned,
(Quartermaster-
official after
duties
name.
the
the
Maestro
his
during
by Sixtus
superintend
magazines,
take
next
its present
given
was
that
this office
Apostolici
is the
reorganized
was
tending
superin-
task, since
of the Vatican
Palazzi
of
Vatican
comfort
the
delicate
times
the
layman.
Sacri
number
office
and
years
administration
dei
and
in earlier
filled by
now
for
responsible
very
of
picion
sus-
moment.
besides
di Casa,
as
all
above
for
part
was
imagination;
pure
provide
must
a
the
on
Maestro
in
Apostolic Palaces)
performs
Foriere
is
While
household
ancient
very
made
so
Maggiore
the
the
advanced
attention.
the
as
Foriere
the
Conclave
as
entertained
be
observed
libel
The
completely
so
not
administration,
are
and
care
was
could
This
ministry
Sacchetti
Maggiore
exchequer.
Italian
rigidly
Cardinals.
Cardinals
special
is
the
During
assembled
the
an
Italian
Casa
insinuation
material
the
the
di
Clemente
Foriere
the
by
Maestro
regulation
authorities.
of
the
such
above
of
stigmatized
sharply
character
the
abuses
detriment
the
to
Vatican
the
(1585-1590),
The
was
of
special duty
buildings,
gardens,
from
the
forth, and
di
absence.
him
water
architect
instructions.
portable
raising
throne
and
(sedia
lowering,
gestatoria),
and
is
this
responsible
THE
532
for
its
borne
being
lest
care
the
where
Pope
the
responsible
of
duty
is
his
position
before
Immediately
with
can
with
or
first
In
sight
glorious
so
to Leo
contrast
borne
The
of
charge
of
office
the
almost
been
the
Chief
kept
be
where
the
a
viewed
still lower.
provided
with
omitted
officials
have
when
a
Gallery
in the
the
Cortile
Since
the
the
number
Pope
rides
Vatican,
hammer-cloth
he
rides
carriage
of
and
in
at
an
their
open
is
Leo
for
They
automobile
has
duties
Pope's
man
coach-
then
they
already
horses
is destined
closed
carriage,
carriage.
disposal
when
step;
A
formerly
were
of
footman's
both
number
they
wish
from
orders
were
where
di Belvedere,
the
and
the
their
times
he
Apostolic
X,
The
earlier
of the
highest
Guard
Pius
receive
stands.
now
in
of the
extensive.
of
third
ever,
how-
(1823-1829)
Noble
by
period
of the
one
the
Pope,
the
XII
the
reduced
grooms
under
whose
As
Equerry
very
the
coaches
state
Picture
When
and
ever
when-
vertigo
are
Commission
greatly
anxiety.
towards
succeeding
equerry.
time
kept
longer
no
The
vault
the
been
are
visitors.
by
horses
postillion
new
large
into
are
his
Equerry.
to
has
Equerry
also
Chief
the
life, at
gestatoria
Maggiore),
The
old
Administrative
of
number
officials
Chief
the
exciting
little
no
therewith
Pope.
the
Since
of the
the
court
and
di numero,
with
who
uneasiness
Pope's public
sedia
the
crowd.
(Cavallerizzo
of the
death
household.
member
As
higher
the
the
Palaces.
of
the
the
connected
invariably reappoints
of
officers
of
heads
of
beloved
some
priest
the
the
bearers.
the
greeting
under
predisposition
everything
Equerry
Chief
with
the
avoided
his
throngs
trifle
of
of
excited
from
side
past
little enviable
line
is associated
felt
always
and
Chamberlains
Privy
has
he
stables
closes
Pius
Pope
how
white-haired
this
inspiring,
and
above
along
papal
that
see
XIII, Pope
since
possible,
when
thus
We
venerable,
cause
may
illness.
even
necessary.
borne
advancing
crowd
mere
are
that
the
right
extraordinarily
invariably a man
the
than
themselves
exclamations.
loud
circumstance
beholds
left and
restrain
fact,
position,
indis-
an
realize
can
in
Pope
the
to
difficulty
great
Father
the
we
easily
other
care
watch
places
might
some
is
and
and
that
enviable,
him
pontifical procession;
of
is
Father
Holy
spectators
throne
cause
est
great-
frequently
at other
or
the
are
the
which
corner,
of
precaution
greatest
more
no
"
the
be
or
the
difficulty
great
turns
crowd
rocking
any
as
the
among
with
the
exercise
to
Quartermaster-Major
the
the
years,
only
As
Inasmuch
stand
we
it is
us,
of
one.
advanced
When
sway
feeling of vertigo
this
in
procession
the
is difficult.
progress
give
should
it when
around
presses
only
who
servants,
have
long training,
after
throne
The
securely.
and
quietly
to this duty
assigned
VATICAN
ferred
trans-
can
now
gained
to
the
of
latter
the
of the
to
trance
en-
decline
is
latter
higher
drive
out
THE
official
on
their
business.
services
of
the
of
thirty
On
forty
of
providing
All
Hours'
long
undertakes
the
is, of
letter
the
of
performed
journey.
been
the
in
From
existence
word
of
a
"
often
the
the
needed,
hiring public
by
of
disposal
the
end
services
the
hours
night
fraternity
con-
of
the
its very
from
have
kind
is, to
nature,
very
function
it is evident
earliest
Sopraintendent
Superinten-
misunderstanding,
to
postmaster-general.
to
the
title
General
rise
had
provide
Before
official
means
Princes
attend
important
the
his
of
never
to
journey.
most
XIII
given
The
that
for
has
to be
was
Leo
Pope
literally
erroneous.
office
their
post;
of
title has
hereditary,
is
continuation
official
is at
the
at
the
are
is solved
vigil during
which
"
official
this
quite
office
meaning
the
Journeys
Poste
This
Posts.
course,
this
Chamberlains
carriage
when
again
festivities, when
equipages
Portantina
Papal
alle
believed
some
as
of
Generale
of
lay
Chamberlains
home
Devotion.
Marshal
dente
and
papal
The
The
of great
sufficient
all
them
conveys
occasion
533
fetches
carriage
and
ecclesiastical
night
which
ADMINISTRATION
papal
the
or
vehicles.
Forty
required,
are
functions.
problem
VATICAN
This
Massimo,
in
whose
anything
to
do
the
the
"posts"
things
building
when
that
time,
in
ily
fam-
with
the
the
old
for
necessary
of
railroads,
this
the
Pope
undertook
the
office
must
since
provision
have
had
THE
534
always
be
to
with
there
place
one
always,
was
in
account-books
from
dating
V
of
give
of
the
the
other
in
persons
is
the
all
papal
to
move
other
an-
such
for
The
ceased.
now
the
in
prisoner
cials,
offiand
necessity
has
preparations
Pope
to
All
city.
dinals,
Car-
Church
tribunals,
decided
retinue
were
the
Pope,
and
Court
accurate
importance
which
the
Curial
the
The
Clement
an
us
and
extent
when
necessary
the
of
preparations
the
were,
possession,
our
reign
the
downwards,
idea
it
as
ceeded
pro-
another,
to
of nations."
"migration
small
formance
per-
Curia
the
when
from
the
connected
duties
the
For
it.
for
made
of
VATICAN
Vatican,
Serlupi
Marchese
past.
because
Curia,
of
the
in
honor.
of
uniform
the
office
be
must
to
of
exigencies
the
Naro
Marchese
the
Patrizi,
become
now
early for
Week.
them
To
the
held
matter
all
of
fact
first
time,
of
Urban
friends
place
in
1870.
such
the
letters
the
of
that
VIII
(1623-1644)
family
from
wears
military
ing
Accord-
century.
then
Holy
and
purely
and
this
Patrizi
Naro
this
form,
uniCourt.
Papal
Marchese
thirteenth
descended
prince
was
the
appointed
with
merged
father
This
not
The
Sistine
only
fact
the
"
has
writer
asking
acquaintances,
and
functions
is
of the
this
after
Even
Vatican.
the
from
these
beautiful
their
of
all
attend
lieutenant-general
the
still held
are
family
picture
origin
calendars
to
the
and
son,
right.
vested
world-famous
since
of
distinction
past
(Banner-bearer)
Crusades
Pope
the
in
the
to
of
rank
The
office.
Position
of letters
dozens
that
to
also
Guard.
the
until
the
honorable
Financial
be
to the
traced
the
enjoys
clad
to the
Gonfalonier
Noble
the
banner-bearer
named
has
He
Church.
Roman
applies
said
hereditary
the
Montoro,
just
color
of
Massimo
the
functions,
additional
impart
been
has
offices
of
Princes
in the
is still entered
important
religious
all
Maggiore
Cavallerizzo
Journeys
in Rome
and
thus
and
What
Papal
successive
The
festivals
court
of
Marshal
the
But
is
travelling
of
thought
all
and
Chapel
one
in
should
case.
for
the
Sistine
be
Since
be
Chapel
generally
the
him
secure
of
given,
have
many
to
ceremonies
the
could
answer
received
Holy
namely,
ceased
known,
incorporation
but
to
as
of
the
THE
States
Papal
the
except
in
in the
the
of
the
the
by
These
also
regulations
were
financial
changed
Popes
the
Since
by
made
000
lire
the
Papal
States
rely exclusively
of
name
Catholic
world
covered
conditions
which
bring,
by
have
the
on
Italian
the
or
the
demanded
the
enable
Church.
whether
receipts
Since
of the
its
to
Holy
certain
annual
Peter's
public mourning
from
compelled
the
venerable
throughout
the
to
cost
of
are
thus
entirely dependent
know
expenditure,
The
what
central
the
the
never
Pence.
by
3,225,-
of
revenue
Under
collected
are
meet
large
the
been
have
faithful.
can
necessitated
allowance
although
resources
See
of
simplification.
lost, they
Pope
the
from
the
offerings
pious
And
celebrated.
partly
were
Government,
generosity
Pence,
to
and
irretrievably
in
could,
Coach
accepted
never
offerings,
voluntary
may
Church,
was
Peter's
of the
on
the
of
persecution
the
Rome
essentially simplified.
or
expression
the
State
thus
be
celebrated
were
of
abolished
discontinued
been
which
churches
longer
no
partly
feasts
the
in
either
Papal
at
The
Pope
were
has
Italy, everything
existing circumstances,
celebrations
other
of
indispensable.
succession
535
ADMINISTRATION
Kingdom
absolutely
regular
view
VATICAN
the
if made,
collections,
ernment
gov-
morrow
will
be
especially
in
management
but, after
needs;
French
Catholics
of
own
their
France.
of
assistance
in
short,
freely
issues
fullest
the
to
of
with
them
the
even
cultural
important
chapters
of
Gallery,
the
find
proof
been
ever
when
this
with
which
will
of
the
This
department,
Vatican
of
modern
and
during
that
his
and
his
activities
efficient
president
is
has
of
easy
administration.
with
to
see
how
Pius
of
much
as
and
Sicily
sufferers,
the
spirit of
Peter's
of
come
fice,
sacri-
more
and
for
third
floor
tion
administra-
the
Commission,
vice-president.
is also
located
It
istic
character-
The
preceding
dinals
Car-
cashiers,
on
X,
Pence
seven
the
was
antiquated
finally replaced
methods.
that
just
and
of
successful.
he
have
of
is another
prelate
of
very
that
administrative
reign, compared
it is very
proved
Pius
will
winds
consists
side
there
innovation
an
in
the
situated
are
and
Picture
matter,
bookkeepers,
material
Rome
the
need.
The
the
of
bodies
for
the
this
In
Popes
the
Catholic
commission
offices
For
which
Palace,
all the
The
same
of
the
every
relief
the
the
the
reader
earthquake
to
by
wanting.
administers
secretary.
as
of
time
This
S. Damaso.
Cardinal
in
Cardinals
laymen.
are
di
in
See.
Holy
ecclesiastical
has
which
was
Cortile
for
them
in
this
in
thrift
confidence
of
prelate
of
heritance
in-
finding
in
fulfilment
the
poverty,
contribution
implicit
successful
Library,
And
science.
and
all dictates
fail
so
give
but
scientific
and
forth,
their
in
calamity
immense
never
and
in
portant
im-
is administered
Vatican
the
in
however,
parsimony,
found
been
Even
the
See, and,
When,
so
that, in
Museums,
art
great
their
employes
the
of
thrown
of the
goods
with
also
to
household,
development
never
in
and
come
Holy
artistic
modern
have
the
no
been
admit
statement.
have
declined
to
own
entered,
have
they
deal
the
Commission
with
other
of
an
only
the
this
have
show
special
and
which
fosterers
they
forward
of
know
The
they
must
duty, they
work
face
the
Calabria)
critics
of
possible.
they
fostering
Observatory,
the
in
they
for
their
is
necessary.
which
zeal, and
loving
necessary
the
extent
means
fields, that
are
their
objects
stake,
at
needs
year.
in
multiform
tant
impor-
compelled
especially,
efforts
nomical
eco-
economy
economy
past, into
the
such
each
the
where
everything
religious
on
for
appropriations
their
extending
strictest
the
practise
Popes
The
is
Catholics
of
self -taxation
United
In
had
naturally
acceptable
very
by
ecclesiastical
the
collection
the
Father.
Holy
the
all
loss, Germany
and
special
made
countries,
other
this
for
compensate
for
Pence
Peter's
the
State
and
Church
personally
provide
to
of
See,
Holy
meet
to
department,
every
the
enable
to
separation
the
country,
To
funds
sufficient
produced
France,
in
the
VATICAN
THE
536
economical
by
made
progress
decades,
in
ing
strik-
was
so
and
efficient
THE
Papal
Army.
far
the
the
service
of
the
exterior
honorable
is
of
duty
to
of
the
of
parts
serving
guard
to
of
work
sacred
to
keep
Palaces.
tradition,
they
but
present,
Swiss
over
tolic
Apos-
with
which
the
Pontiff
the
in
participate
at
is thus
the
accordance
His
old
an
all
tifical
pon-
Holiness
of
order
the
The
Pope.
of
all
for
Guard
person
at
various
night,
the
watch
In
functions
in
bers
mem-
remotely
or
the
the
also
and
guarding
of
diate
imme-
in
posted
are
palace, day
purpose
and
papal
immediately
special
the
the
chambers
Furthermore,
Guard
the
palace,
with
guarding
Clementina.
in
ing
guard-
the
to
entrusted
the
is by
Besides
entrances
entrance
theSala
Guard
military body
Pope.
Guard
ADMINISTRATION
Swiss
important
Swiss
same
The
"
most
the
the
VATICAN
the
is
Prefect
Prince
of
Palace,
the
Maestro
Guard,
directed
may
The
in
the
by
six
thus
well
as
an
fifty men
of
at
time
their
number
have
changed.
When
one
the
three
lieutenant,
one
judge,
and
two
The
is at
corps
rank
one
of
been
the
of
four
to
Since
Guards,
and
than
lieutenant,
sergeants,
Noble
Holy
Father
latter
the
back
is
rounded
sur-
swords.
Swiss
Guard,
Julius
the
Lucerne,
supply
the
Pope
in
of
seven
dance
accor-
has
and
always
of
course
their
service
officers, all of
titles indicate:
one
entered
in
the
following
chaplain,
one
(1503-
hundred
two
conditions
the
their
fifteenth
II
Schinner,
and
then
the
to
under
although
it has
strength
by
Cardinal
Zurich
Pope.
Swiss
higher
second
esente,
Swiss
reduced
full
degrees
one
for
treaty
undertook
cantons
corps
has
of
the
large two-handed
extends
by
Cantons
the
the
public
In
duties.
Guard
the
When
enjoyed
their
secured
the
these
of
Swiss
was
with
their
honors
Posts
behind
gestatoria),
carrying
Papal
body-guard
him
(sedia
the
of
occasions.
immediately
regulations.
extraordinary
instigation
which
as
official
Massimo
Master
other
on
place
Guards
Grand
appear
responsibility
the
the
to
throne
position
around
whom
the
agreement
with
had
Swiss
Their
1513), who,
the
portable
great
origin
also
the
or
their
by
see
the
as
century.
into
have
take
they
as
borne
We
Majordomo,
di Camera,
processions
is
the
one
captain,
quartermaster,
corporals,
two
turnkeys,
drummers.
members
of
the
Swiss
Guard
are
called
halberdiers,
because
they
THE
538
halberds
carry
hundred,
be
they
from
years,
for
after
pleasure,
amounting
half
to
to his
years
The
lies
and
of
the
each
of
that
service
is entitled
twenty
free
and
Switzerland
the
Swiss
are
Guard
commander.
to
After
pension
this
years
for
pension
five-sixths,
to
years
in
the
to
under
healthy
leave
may
notice
are
unmarried,
military
Martino,
welfare.
which
needs
In
renews
and
has
and
the
been
his
life
amounts
after
thirty
audience
usual
services
assigned
to assist
duty
troubles,
special
the
celebrate
to
It is also
quarters.
all their
Pope
has
Guard
S.
their
in
corps
the
year,
Swiss
the
near
in their
interest
recruits
pay.
Church
little
Guard
pay;
and
in
stockings,
member
after
twenty-five
of
chaplain
the
in
full
Any
retirements
wedlock,
member
half
to
their
months'
two
each
his
after
two-thirds;
to
giving
in
for
Guard.
service
years'
eighteen
unfit
Men
Swiss
the
owing
in
born
tall
exceeds
demanded
qualifications
metres
defects.
bodily
ineligible
at
1.74
number
times
at
Catholics,
citizens,
Swiss
twenty-five
considerably
general
The
recruiting.
Their
occasions.
solemn
on
varies
but
VATICAN
and
take
to
bers
mem-
fatherly
to the
granted
chaplain
great
the
to
the
to
the
Guard.
If
solemn
on
gestatoria
their
full
harness
helmets
with
he
appears
The
a
Noble
kind
of
the
noble
rank
the
sentry
of
news
the
to-day
of
the
Their
privates
earlier
of
their
(pileolus,
of
door
leading
cabinet
service,
the
the
to
delivering
to
the
The
zucchetto)
of
daily
in the
Privy
but
they
on
free
the
the
whose
choice
are
of
where
prelates
appointment
the
Pope
be
holds
the
detail
they
the
carrying
residing
the
must
Taking
of
XIII.
peters,
trum-
ingly.
correspond-
captain.
right
1744,
Leo
four
prince,
residence,
of
in
Guard
rank
Antechamber.
latter, at their
the
equerry,
the
Antechamber,
to
they
XIV
from
rank
enjoy
Pope
Cavalleggieri,
rank
officers
the
cardinalate
captain,
the
Roman
other
and
person.
of
always
the
hold
couriers,
elevation
is
and
white
the
since
by Benedict
the
is greatly
their
follow
him,
from
members
the
with
shoulder-belts,
sacred
service
Guard
to
length
who
and
this
service
render
the
at
Italy, and
on
all
sedia
Guard,
Guard
origin
the
interest
interest
with
his
quartermaster,
captain,
in
of
their
to
as
that
Noble
reorganized
was
lieutenant-general,
Guard
trace
our
gloves,
The
protection
surround
Noble
withdraw
later
master-at-arms,
birth.
of
the
which
exception
the
and
the
white
long
regulations
new
The
of
of
body-guard
and
of
for
Guard
received
and
With
public,
summoned
specially
of
horsetails.
and
in
who
awaken
swords,
uniforms
top-boots,
plumes
Guard,
is borne,
two-handed
huge
scarlet
breeches,
Swiss
Holiness
His
and
the
by
leather
when
which
on
increased
the
occasions
red
stand
place
the
outside
skull-cap
depends,
not
(whether
the
VATICAN
THE
favored
person
receives
his
on
of
Christ.
to
the
Noble
in
The
acceptance
commission.
and
of
Platoon
adequate
an
possesses
Noble
is
Guard
The
subject
carriage
Since
Noble
Guard
training
is
When
for
lining
corps,
longer
pontifical procession
the
IX
to
entire
we
path
united
the
which
he
forces
gave
see
may
traversed.
of
the
the
name
civici
of
the
Cardinals,
by
the
mander
com-
bride
Guard
for
the
Camerlengo.
time,
the
but
papal
ished.
abol-
not
rendered
their
the
cates
communi-
escort
service
See
Papal
which
Cardinal
the
Noble
by
the
military
purely
on.
the
third
This
is decided
his proposed
of
honorary,
of
metres
Uniform
the
strictly insisted
twenty-
1.72
at least
that
through
over
consent
vacancy
the
exclusively
so
Old
of
conditions
present
almost
is
canonization,
Pius
no
the
under
the
through
of
be
applicant
an
discontinued
been
has
in
College
captain
picket
horseback
on
to
Guard
be
not
must
evidence
During
the
the
to
having
of
custom
Swiss
the
must
Order
admission
for
conduct
good
not),
or
the
"
applicant
procure
produce
dowry.
its instructions
of
must
Guard
decoration
his
he
and
refusal
or
Guard
marrying,
before
proof
years
Noble
the
the
of
bishop;
of age,
539
papal
nobility,
and
pastor
to
highest
submit
twenty-one
height.
mixed
of
must
his
from
belonged
the
evidence
Guard
under
or
previously
appointment
Besides
testimonials
five
has
ADMINISTRATION
Pope
descends
division
is the
scelti
Guardia
of
Palace
and
Palatina
the
or
the
to
St. Peter's
papal military
Palatine
capotori
d'Onore
Guard.
into
one
(Palatine
VATICAN
THE
540
of
Guard
ordinances
The
Honor)
.
that
no
but
From
eighty
after
1870,
States.
to
four
each
men
of
corps
enjoy
their
than
of
as
has
the
other
Pope's
is
person,
devoted
to
In
Pope.
Prefect
recruited
are
render
of
no
their
of
the
company
stationed
We
of
vicinity
the
guardianship
Palatine
that
and
unguarded,
undertake
is
the
the
that
of
of
interior
of
necessity
responsible
the
assigned
in
and
the
police
service
of
the
more
Palatine
the
tenance
main-
Conclave
the
hereditary
this
shal
Mar-
duty,
being
force
addetta
Sacred
in
the
thus
immediate
is entrusted
the
service.
with
ai Sacri
Apostolic
that
the
huge
cannot
sufficiently
evident.
the
When
its
Gardens
with
and
Pope,
papal
Palace,
Vatican
becomes
to the
the
Maresciallo,
Guard
dwelling
Pontificia
for
to
turn
the
the
performing
Swiss
Vatican
with
guards
from
renders
honor
duty
Guard
del
Guards
in
corps,
the
headquarters.
the
inmates,
Palatine
allowance
the
to
while
Again,
the
other
While
Guard
and
guard
is Gendarmeria
Gendarmes
Noble
subject
are
connection
the
Cortile
his
Guard
summoned
are
its orders
the
has
person
in
Palatine
Chigi.
Father,
the
and
yearly
takes
Prince
the
numerous
this
body
(Papal
of
The
occupies
Holy
Guard
remember
Furthermore,
than
Repond
Swiss
they
by profession,
and
then
the
Majordomo.
burgesses,
Marshal
that
the
unlike
and
the
seen
and
Antechamber
pay
Guards
concerned,
are
other
Commander
of
soldiers
uniform.
where
have
duties
are
Conclave,
of
Colonel
the
Roman
the
its sessions,
during
this
Guards
in
Guard
Palaces
Apostolic
the
the
of
their
from
has
of
service
receive
Guards
Guard
Palatine
as
and
ingly.
accord-
the
festivals.
important
command
the
service
The
colonel,
Swiss
Swiss
and
higher
guarding
far
so
of the
Noble
officers
rank
the
the
its task
the
in
of
officers
While
for
they
indicates.
rank
the
Papal
belong
grade
one
name
lieutenant-colonel
thus
in
the
Guards,
rank
of
formed
fall
Inasmuch
cruited
re-
companies
were
the
tions.
condi-
regiments
the
1860,
in
merely
existing
of
reorganization
pressly
ex-
institution
new
contemplated,
was
declared
14, 1850,
of December
The
numerous
official
Palazzi
Palaces).
we
sions
dimenbe
left
to
title of
Apostolici
THE
after
Shortly
organized
police
under
the
Pontifici
their
years,
of
Papal
court
attendants
the
in
with
corps,
the
in
dwell
of
men
in
the
from
the
Every
they
the
conscientious
forenoon
These
into
inquire
him
with
guard
the
thus
of
duties
him
the
identity
necessary
to reach
and
be
gates
seen
do
the
leading
that, of
Swiss
to the
the
four
gives
cert
con-
in the
its duties.
under
of
di S. Damaso.
visitor
every
not
of
the
as
and
to
truth
them
escort
of
into
already
give
Should
destination.
bring
Guards,
command
the
Cortile
his
convinced
until
Like
maintained
is assigned
Gendarme
right
up-
record
town.
frequently
in the
uniform
Gendarmes
since
world,
outside
all doors
It will
are
of
all
are
testimonials
native
their
Gendarmes,
and
business
accompanies
The
the
an
discipline
strict
fulfilment
of
unsatisfactory,
be
answers
band,
in service
directions
whatever
visitor, and
the
of
which
ters
quar-
untarnished
unexceptionable
authorities
The
division
have
must
have
di S. Damaso.
officer, is stationed
an
his
also
had
day
the
remainder
the
They
Gardens.
and
palace
in
V, but
police
perform
they
is accommodated
produce
secular
and
Cortile
insures
corps
of
cavalry,
Guard,
in the
They
must
As
of the
which
di Niccolo
Vatican
the
Guard
Swiss
guarding
duty
Torrione
in
and
the
the
occasions.
solemn
on
with
Gendarmes
the
barracks
spiritual
Swiss
the
of
in
Guard
good bearing.
Italian
there
Gardens,
Vatican
the
of
Captain
entrusted
are
own
of
body
uniform
division
One
their
already
stationed
are
of
is
rooms
small
Swiss
the
One
as
Gendarmes
night.
of
As
their
to
full-dress
patrolling
and
both
police.
proper
busbies
the
of
Gendarmes
them,
in
high
Gendarmes.
reception
because
Gendarmes
their
Antechamber.
the
after
stated,
only
given
the
papal
named
title for
and
service
the
Veliti.
to
duties
the
attendants
position
of
this
were
discharge
render
Carabi-
16, 1850,
changed
They
court
of
they
title
present
of
body
February
retaining
two
(1800-
select
name
was
name
After
in
(Papal Carbineers).
of
decree
VII
541
triumphant
Pius
1823)
nieri
ADMINISTRATION
imprisonment
Pope
France,
By
his
from
return
VATICAN
his
the
ments.
state-
contact
explained,
city.
military
corps
which
render
THE
542
in
service
would
shock
of
since
have
to
them
of
the
the
or
much
few
in
time
unless
Noble
the
a
very
their
in
ters
quar-
Maresciallo,
del
had
they
of
in the
only
found
Cortile
the
on
the
to render
Of
also, probably
be
fence.
de-
that
dwell
who
arrive
would
of
consisting
assistance.
Guard,
Gardens,
unlikely
burgesses
city, could
darmes,
Gen-
line
Guard,
Roman
fence
de-
quartered
are
the
second
is
It
Palatine
The
whom
the
be
the
entrances.
palace
would
first
Palace,
the
on
Swiss
the
is entrusted
all of
in
bear
to
attack
an
the
Vatican,
the
Guard
VATICAN
summoned
been
beforehand.
view
In
sudden
of
attack
anti-clerical
his
exhaustive
held
for
Government
or
could
would
The
dearly.
capable
honor
the
With
shed
the
mustered
of
active
in
corps,
his
case
remarked
attempted
nipping
Any
the
all such
person,
the
that
in
position
of
defence,
in
defence
been
of
the
Swiss
of
and
attempts
therefore,
of
the
other
the
of
in
who
the
Guard
so
entertains
be
so
made
that
the
idea
other
Swiss
the
sell
it
his
life
highly
fully conscious
both
responsibility.
far
as
be
Vatican
be
can
to
stand
with-
have
be
been
succeeded
serious
that
they
able
It should
hitherto
nothing
an
any
of
mob.
the
have
before
of
and
Italian
the
that
or
always
fanatical
against
successfully
from
has
in
it will
authorities
bud,
be
member
is
sulted
re-
not
Pope,
which
has
could
accompanying
any
uprisings
the
which
Gate
the
An
officers, would
could
last
corps,
attack,
first onset
but
of
tion
ammuni-
palace
It is certain
the
provided
prepared.
the
arrive
Bronze
member
has
necessary
Vatican
citizens.
the
Guard
portions,
the
would
help
of
sudden
various
past,
the
portions
of
of
every
support
successfully
here
plan
blood
reorganization
of
other
until
threshold
the
his
Swiss
Guard
also
have
certain
disposal
The
the
military
which
to
the
at
period
in
Swiss
and
weapons,
better-disposed
cross
included
entrance
of
according
the
the
of
Banner-bearer
the
strategical possibilities of
the
long
of
Hand-grenades
forces
the
modern
immediately.
defended
Guard
commander
of
the
evacuated
enemy
the
procured.
plan
with
Sergeant
by
most
study
in
be
the
been
has
Vatican
factions,
with
men
the
on
of
possibility
the
the
in
resulted.
Vatican
sol-
THE
diery
are
labors
first
the
sight
the
of
the
on
still
happenings
be
avoided.
Pope
of
force
bear
expediency,
is
the
heavy
armed
vinced
con-
and
even
The
siastical,
eccle-
artistic
Vatican,
the
Pope
are
quite
not
scientific, and
the
or
the
the
necessity.
of
both
this
were
its
its absolute
palace
serious
more
not
he
of
second
if disorder
maintaining
if
the
Undoubtedly,
would
cost
sibility
pos-
guarding,
without,
and
loses
assault
huge
so
careful
within
in
and,
that
543
In
completely
anti-clerical
Vatican,
needs
mistake.
above-mentioned
an
place, forgets
to
he
ADMINISTRATION
importance,
no
serious
place,
of
of
body
under
VATICAN
of
terests
in-
which
guardian,
of
are
Sergeant
such
he
world-wide
Vatican
The
free
outlet
answer
to
13, 1871.
May
breach
in
all the
these
study
to
in
conditions.
of the
world
the
Italian
general
authorities
the
Church.
position of
In
the
the
concerted
decided
extended
the
Pius
the
the
IX, who
Vatican.
the
ing
possess-
step
fully
had
disapprobation.
upon
Pope
the
as
discussions
draft
the
be
of
long
law
supreme
in the
to
Italian
the
the world
deep
the
and
lics
Catho-
therefore
was
give expression
negotiations,
which
head
ceeded
pro-
under
how
among
in
can,
Vati-
victors
held
action
taken
After
the
Pope
then
Prompt
steps could
the
of the
both
tence
exis-
earlier
before
realized
caused
Powers.
resided
Lateran,
War
immediately
independent
had
legal position
the
through
Halting
the
Rome
of
their
feeling
many
of
Guarantees
Rome
seized
they
Franco-Prussian
masters
of
and
of
Law
entered
occupying
the
among
the
by
20, 1870,
end.
an
of the
question
before
indispensable
lead
may
territory
States, whereupon
occupied
and
protection.
legal position
by Italian
it is
September
Papal
from
new
Guard
their
remarks
exact
Piedmontese
also
commotion
the
is furnished
then
Although
the
suspense,
wide-spread
to
the
above
is
as
to
came
abstaining
and
new
States
Palace,
Quirinal
on
of the
Swiss
countries?
the
Pia
the
for
measures
The
"
What
question
When
Porta
the
possessions
of
the
to other
this
taking
Vatican.
the
question:
present, surrounded
at
no
of
the
ask
to
in
precaution
no
Position
readers
of
importance
neglect
may
Legal
of
that
of
Chambers
was
the
to
the
antee
guar-
Catholic
the
inten-
544
THE
of
tions
the
Government
fully explained
that
so
law
of
date
the
by
without
this law
Government,
the
party
of
as
Italian
of
the fact
valid
in
gin;
ori-
bound
that
violence,
not
or
State
completely
thus
Italian
of
recognized
the
so
act
an
for
was
other
(4)
itself
Vatican,
law
regardless
it
the
by
the
the
(3)
binding
whether
all
legislature,
consulting
became
had
national
inter-
future
at any
Italian
excluded;
was
law
Italian, but
(2) consequently,
law;
alteration
the
beyond
The
(1)
only
by
violation
v5c^
of
Guard
Swiss
international
an
This
public
in
Italian
it the
law.
issue
But
demand
at the
will
their
long
so
responsibilities stands
their
of
the
be
as
political conditions
it is evident
the
for
Italian
most
Minister
alteration
hubbub
in
raised
this
movere
entered
reverts
claimed
it is wisest
enough
be
asked
what
the
yearly
to
by
this
the
the
first
sum
sum,
Italian
Pope,
serious
that, to
Affairs
any
to
avoid
the
aimed
of
the
can
the
its
fear
no
present
complications,
the
offer
making
Thus,
statesmen
to
be
first to
at
Pope.
under
Pope
Under
the
be
from
appreciates
there
foreign
would
measure
heed
Italy,
sible
respon-
and
law,
which
onstrated
dem-
dicial
preju-
despite
convinced
are
the
that
principle: Quieta
non
alone).
are
place,
of
pay
the
consideration.
Socialists, Italian
well
for
to
in
state
all
anti-clericals
the
bring
to
government
of
legal position
(Let
In
a
the
the
by
matter
It may
Pope
in
Foreign
opposition
strenuous
of
often
so
by
deter
abrogation
of this law.
whole
been
accepted
not
programme
wheel
given
has
is
does
however,
the
or
of which
correctness
demanding
chief
portion
any
argumentations,
This,
statesmen.
Italian
that
the
legal
incessantly
making
the
long
it alter
can
interpretation,
from
obligation
undertaken,
voluntarily
Emmanuel
established
was
doubt:
possible
for
of
character
Victor
by
13
May
on
a*
were
its representatives,
by
the
executed
VATICAN
the
the
3,225,000
it is allowed
exchequer.
of
special provisions
Italian
lire
State
Although
without
to
Should
for
the
of
Law
undertakes
($650,000).
to accumulate
it is still included
the
five years
sum
debate
in
to
pay
no
has
antees.
Guar-
never
each
the
claim
and
be
then
been
annual
THE
Supposing
Budget.
now
this
obliged
it would
that
the
to
sum
matter
the
In
of
of
pediency
ex-
affect
Pope
the
the
to
the
Vatican
also
the
extra-territorial.
Law
that
the
and
the
dence
resi-
summer
shall
Gandolfo,
Castel
is
years
place,
the
and
Lateran,
five
financial
provides
of
palaces
revert
him.
second
Guarantees
do
to
providing
the
guaranteed
money
rears
ar-
that
should
cannot
of
claim
the
have
of
which
legal
all
pay
each
Treasury
merely
Italian
It appears
voted
545
payment
ordinance
the
the
ADMINISTRATION
should
the
undoubtedly
since
so,
to
1871?
since
the
would
money,
be
State
claim
for
entered
be
of
VATICAN
This
be
that
means
Swiss
Italian
the
authority
no
these
Government
In
service.
the
In
which
accredited
one
granted
the
of
nuncios
it is
and
Germany
as
In
the
part of
"
Spain
term
fourth
the
that,
world
place,
the
is used
the
Italian
official
Pope
of
only
Islands,
when
State
telegrams
the
vent
pre-
example,
apostolic
sovereign
addressed
to
send
Pope
and
in
famous
dispute
addressing
is bound
of
the
the
considerations
his
he
cede
con-
never
for
"
and
is
other
privileges
internuncios,
addressed
settlement
Caroline
the
over
which
all
him
can
facts
corps
the
the
has
throughout
diplomats
these
Bismarck
When
to
diplomats
earlier, the
as
now
all
to
with
powers
must
Government
his
right
this right he
Government
classes, his
From
ministers.
word.
of
the
lives), and
residences
pleasure
at
second
and
referring
XIII,
"Sire"
the
of
sense
Leo
accrediting
denial
beyond
strict
their
Italian
the
Again,
first
and
papal
diplomatic
two
King
Italian
all
the
of
sovereign.
Pope
Of
in Rome
residences
and
resident
and
the
the
from
the
in
person
relations.
are
at the gates
independent
an
gives
(where
consequence,
world.
the
there
Quirinal
persons
Uniform
end
any
envoys
diplomatic
diplomats
from
Pope
delegates,
to
the
to
Vatican
civilized
entire
his
As
these
to
the
to
Vatican.
the
to
and
that
as
Guarantees
ambassadors
so
tax
or
rules
Pope
of
Law
himself,
availed
always
subpoena
the
to cultivate
desires
he
the
Old
in
its powers
places;
these
cannot
palaces
place,
accredited
receive
"
They
these
third
in
whatever
buildings.
Guard
cise
exer-
may
the
letter
between
the
Pope
sovereigns.
free
the
to
Holy
every
See,
THE
546
these
whenever
the
stamp
All
State.
are
free
less
of
has
valid
declared
by
of
Law
Pope
the
law
as
of
ment,
Govern-
repeatedly
itself
regards
of
provision
every
of
seventies
there
was
the
no
The
authorities.
tury
cen-
tween
be-
Vatican
and
of
in
even
last
wound
permit
to
the
recognition
Italian
the
fresh
the
Guarantees.
the
In
it
that
bound
passed
as
has
however,
visions
pro-
be
Italian
The
origin.
Pope.
may
recognized
never
Italy
important
inasmuch
here,
over
the
to
law
the
in
posted
letters
other
of
Secretariate
the
delivered
The
with
provided
are
of
VATICAN
any
cial
unoffi-
entirely
an
too
was
ment,
rapprocheNoble
The
way.
evidence
Italian
Government
from
brought
Tiber
by
nal
has
and
the
that
however,
parties, while
being
good
Holiness
His
carried
is of
unaltered
preserving
fundamental
both
and
aim
attitude,
forbid
for
Quiri-
cations,
communi-
agencies,
circumstances
as
All
both.
the
place,
the
between
to
The
into
taken
since
non-official
their
inasmuch
neighbors,
advantage
through
on
has
information
were
Lorenzo.
thrown
the
of
they
when
San
being
escaped
change
of
interchange
an
are
rabble.
IX
in
refusal
the
by
them
to
at
be
friends.
close
maintaining
In
the
has
altered
not
twice
his
position
same
as
this
inaugurated
them
renew
In
sense
Pius
Benedict
gardens.
in
and
As
by Pius
what
Popes, they
reality
the
"Vatican
temporal
Leo
and
have
have
Pius
power,
XIII.
The
naught,
to
came
exactly
took
of
passing
for
negotiations
XIII,
the
years
reconciliation,
and
attempt
no
to
X.
Pope
is this
expression
XV
the
The
Leo
world
the
IX
claim.
the
for
to
Pius
under
foundation
X
claim
made
was
Throughout
Vatican."
thus
of
Pius
resting-place
last
narrowly
authorities
Vatican
of
remains
the
very
irresponsible
an
shown
is afforded
time
that
to their
Pontiff
great
at
guard
to
St. Peter's
of the
coffin
time
position
the
to
as
Guard
illuminating
most
rests
never
never
is known
term
to
on
the
set
foot
stood
Captivity";
of
the
as
be
"Prisoner
interpreted?
fact
that
outside
on
that
Italian
there
Pius
the
Leo
IX,
Vatican
soil.
can
of
The
There
be
no
the
actual
XIII,
and
its
exists
doubt.
THE
is the
what
But
of
recognition
It must
be
not
this rich
the
most
for
lifelong
which
of
hold
their
for
yearning
only
smothered
Law
Courts.
of
the
of
be
have
Under
Palatine
of
and
second
of
presidency
of
place
the
official
usual
way.
In
civil
lodging
defendant
are
then
without
answers,
permissible.
the
the
lapse
of
lodgment
On
the
of
the
of
the
as
conclusion
further
the
of
follows:
within
these
the
of
three
the
under
secretary.
special
sel
coun-
longer
has
the
facts,
the
and
provided
then
is
case
to
the
in
the
begun
by
appointed
from
decision
period
each
side
explanations,
written
has
this
hands
over
case,
takes
palace,
proceedings
an
law
against,
cases,
replies
interval, which
papers,
of
the
first instance
practically
The
Further
had
in
of
courts
no
who
criminal
of
justice
of
has
limits
the
ferences
dif-
Vatican
consists
criminal
report
Court;
writing.
the
the
board
In
and
some
claims
assistance
this
the
is
appointed
and
Palace
establishes
official
istration
admin-
sit together
the
within
continue
in
be
to
provision
Prelates,
special inquisitor,
the
also
Rome,
law,
find
with,
the
Prefecture.
occurred
which
window
contractors
some
appeals)
Although
the
after
of
with
of
with
the
be
to
objects
breasts,
and
and
commissions
and
investigation,
together
authorities,
Italian
or
action
the
conducts
of
Court
criminal
accused,
the
the
and
Since
courts,
seek
of
Prefecture
representative.
with
Commission
both
prelate
the
law
ered
discov-
household
arise.
disputes
(court
it still retains
special court,
that
all
The
cases,
seventh
of
its legal
as
the
questions
all
but
Italian
the
equity
Commissions
settle
instance
extraordinary
setting
over
their
has
of
cannot
the
of
"to
Even
at the
sweep
which
parties might
name
stood
within
necessarily
disputes
Administration."
the
in
judges;
the
gaze
to
questions
outside
as
Pius
places
have
dealings
before
established
been
the
that
so
serves
in
resignation.
Palaces
and
cited
life
pleasant.
and
many
risen
having
found
straitly limited,
they
their
extensive
numerous
upon
opinion
made
Vatican.
the
In
it
XIII,
visu
As
often
of
prayer
Leo
de
1870, who,
and
when
the
20, 1870,
Pope.
freedom
interest.
have
Apostolic
cannot
be
one's
allowed
must
by
"
and
purveyors,
boards
and
since
the
without
September
agreeable
IX,
beholding
special
one
apartments,
regretful
to
from
successive
its charm
have
to
on
by each
Popes
that
means
place
created
three
Pius
It
take
scarcely
uniformly
loses
547
attitude?
afterwards
never
palace
was
debarred
ever
the
imprisonment.
it
this
withheld
that
palace
bitter
of
could
conditions
been
Vatican,
beautiful
how
for
has
glorious
and
the
imagined
the
entered
once
In
territory
of
some
this recognition
and
ADMINISTRATION
legal significance
Italian
into
entering
VATICAN
come
is
to
given
an
and
end
is,
according
empowered
the
facts, such
the
to
small
of corroborative
of
consulting
the
experts,
of
had
these
to
so
the
it
rule
friendly
way.
these
them,
and
hygienic
service
Under
given.
in
footing
reader
physicians
could
the
when
be
duty
the
lead
the
XIII
remember
when
more
an
what
the
Pope
honorable
is also
patient
be
without
so
unselfish
was
than
far
persuaded
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of
oath,
on
regulated
are
the
cording
ac-
1870.
in
The
boards
palace
being
following
details
papal
a
a
on
was
ill in
attendance
only
had
sanitary,
And
with
on
physician
to
physician.
shown
1912.
by
While
Christ's
and
may
and
different
somewhat
consulting
devotion
one.
in
party
medical,
the
the
things
and
other
resort
any
as
desperately
this
the
already
placed
acting
of
existence.
quiet
were
responsible
very
can
with
points
In
knowledge
Guard
is concerned,
there
Pius
appointing
Palatine
Commissions
States
that
of
date
evidence
fees
Papal
shows
very
"
the
legal
the
of
elapse
Vatican
Leo
the
Boards.
ordinary.
by
will
years
of
of
often
Hygienic
on.
laws
disputed
arrange
Commissions
Medical
surgeon
to
As
The
Commissions
Officers
make
witnesses,
the
or
at
supplementary
or
and
provisions
recourse
of
Courts
arriving
of
placards
on
from
interval
These
means
every
summoning
the
as
taking
the
employ
to
months'
appeal.
an
announced
Curia,
the
six
for
is allowed
are
oaths,
of
custom
official chamber.
the
decision
the
ancient
the
to
in
hung
be
VATICAN
THE
548
both
The
these
nothing
Vicegerent,
it is doubly
responsible
the
difficulty
greatest
to
VATICAN
THE
the
obey
Tact,
in
and
of
Two
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take
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all
medical
of
the
regular
of
the
latter.
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materials
which
of
Brothers
of
the
brothers
of
charge
of
Mercy,
which
corps
Prefect
the
of
palace,
the
of
Physicians,
who
the
Prefecture.
being
view
brought
very
der
ren-
vast
In
the
the
infectious
as
precincts.
of
system
disease
for
far
the
by
matter
the
their
full
takes
the
tion
execu-
list of
the
The
of
the
of
director
the
danger
The
plentiful
Vatican
have
Rome,
of
the
of
the
supply
water
rendered
College
boards
in
out
hygienic
the
technical
administration
all
the
sanitary
supervision of the
breaks
possible
of
for
medicines.
the
of
Island
is extraordinarily
hangs
supervision
of
it is
the
brothers
immediate
hands
di
poor,
some
responsible
pharmacy
The
the
in
as
is
is
every
order
pharmacy
these
to
on
by
but
Torrione
the
Rome
assisted
to free
the
Palaces.
prepared
its
and
the
the
to
in
of
one
entitled
under
in
for
the
macy,
public phar-
medicines
belong
of
is sick
is in
obviating
within
business
must
di S. Damaso,
purposes
are
proper
are
an
necessary
the
this
of
tailed
de-
palace,
disease
and
the
danger
remote.
of
Repairs.
buildings
is under
Department
mass
are
drainage
excellent
to
the
among
conduct
Government
patient,
is assisted
When
to
Mercy,
spot
who
its mother-house
are
palace
instructions
with
of
festivals,
distributes
Italian
orders.
Apostolic
of
equipment
to appear
apothecaries,
Cortile
apothecaries
the
who
two
the
pharmacy
Pope
pharmacy
the
general
the
the
nursing
the
the
occur
great
for
has
of
by
on
in
The
physician's
of
and
should
prevents
have
on
so
Swiss
physicians
Sisters
thus
are
the
obstacle
two
apothecaries
apothecaries
When
the
assistant
some
are
they
of
Hospital
with
situated
the
religion, since
the
residents
These
by
of.
heavy.
when
and
of physicians
and
consists
corps
physicians.
The
night duty.
to
The
kind
especially
Vatican
fixed
The
in
occupy,
favorably
the
availed
Tiber.
they
is assisted
relief.
prices
extensively
classes
skill.
reorganized
This
two
when
Both
of any
formerly
Since
the
at
readiness,
more
V.
Basilic
station,
Physicians
was
located
Niccolo
one
of
render
to
S.
medical
as
was
assistant
to the
brought
work.
assembled.
in
always
of
and
day
physicians
when
cases
Palaces
footing.
to
from
entirely
such
number
are
Via
accident
an
in
special physician,
ambulance
if
aid
College
have
the
abstain
to
modern
and
they
in
of persons
throng
now
nursing
erected
specially
by
549
Apostolic
assigned
are
functions,
great
the
entirely
physicians,
Cross
attendance
at
of
corps
attended
are
and
important
as
an
physicians
require
to
as
are
on
five
Guards
sick
the
placed
the
physicians
sanitary
director,
his
energy
general
1893
of
and
care,
The
of
orders
ADMINISTRATION
of
"
The
the
architectural
general
repairing
supervision
of
of
the
this
Prefect
huge
of
Officer
the
of
Gendarmes
Papal
of
also
so
roofs
serious
engaged
in
the
assistance
ber
mem-
where
attention
is
there
guard
can
is
department
busily
repairs
outside
of
of
office
Sotto-Foriere,
extensive
when
Foriere
the
prominent
that
this
year
and
of
The
the
as
careful
most
the
repair,
succession
regular
incited
always
of the
one
various
prepare
inquire
notwithstanding
across
however
palace,
details
none
of
regarding
as
the
the
that
the
of
are
workers
has
or
repairs
exact
they
plans
remains
portions
or
the
may
which
magazines,
architectural
for
the
long
have
or
care
it still
one
no
be
for
of
had
main
been
used
perhaps
of
the
that
sequently,
Con-
aware.
reliable
perhaps
left
Vatican
ever
when-
stumble
of
divisions
entirely
feel
buildings.
the
they
been
been
officers
happens
undertaken
are
existence
its
and
mysteries
inquiries,
has
department
Palace,
the
into
past
whose
architectural
Vatican
further
all their
living-rooms
is evident
of the
of
alterations
stairway
some
duties
plans
to
extensive
It
the
Throughout
everything
to
known
easily understood
be
Gendarmes
Papal
requisitioned.
Naturally,
But,
is committed
only
the
made.
already
assistant,
walls,
of
special supervision
been
Palaces
It will
damage.
in
the
has
whose
and
keeping
undertaken
be
Apostolic
architect.
many
against
under
and
profession,
trained
are
the
of
the
Marshal
reference
whom
to
Architect
to
the
Apostolic Palaces,
Maggiore,
to
VATICAN
THE
550
in
for
entirely
Palace
the
all
its
turies
cencupied.
unoc-
is
THE
task.
difficult
very
from
resulted
palace
these
palace
like
the
fact
great
works
the
ADMINISTRATION
that
numberless
is sufficient
electricity
modern
The
the
pipes,
hot-water
VATICAN
of
Vatican,
conduits
difficulty;
any
the
installation
In
but
least
in
modern
ancient
for
regard
and
gas
an
maintenance
and
has
installed
for
supervision.
without
planned
their
accident
recently
more
the
or
excellent
scarcely
present
the
system,
sewerage
serious
single
water-pipes,
proof
requirements,
not
551
these
conceivab
in-
present
difficulties.
Fire
Brigade.
Naturally,
"
the
in
the
ignition of
the
the
this
Since
valuable
the
the
the
it would
Cardinal
interval
on
Guardia
del
members
not
fire
would
have
Fuoco
the
of
of
caused
Secretary
account
of
in
extensive
trouble
same
as
the
has
brigade
of
course
are
much
State, and
upon
fire
been
to
to
do
as
the
at
part
taken
was
Librarian
of
after
other
any
anxiety
the
treasures
nothing
called
in
that
was
the
have
the
ever,
effort, how-
great
out
in
spontaneous
danger
rences
occur-
out
the
chief
broke
rarest
broke
of
extinguishing
so
or
the
fire
result
With
unique
little
of
one
the
chemicals,
succeeded
is
ago,
years
manuscripts.
Fuoco
fire-brigade,
own
Uniform
fire
Library
other
equally
an
the
it,but
Pope,
short
calling,
the
del
Had
palace,
extinguish
by
and
Service
few
Vatican
acids
Guardia
hours.
two
of
some
the
in
its
possesses
although
When,
of
threatened
the
Fuoco,
palace.
Clinic
Manuscript
which
del
Guardia
Vatican
Gendarmes
Papal
called
the
to
felt
during
Library.
its proper
discharge
other
but
duties;
huge
this
for
in
the
and
had
to
then
was
writer
Secret
Archives
before
ruled
ancient
the
the
frequently
to every
That
Chamber.
panes
glass,
of
that
at
heating
were
same
rooms.
of
the
at
writing.
of
there,
the
reception
heating.
in
stove
the
the
Throughout
heating.
dizziness,
if not
extensively
used
was
the
from
Foul
gases
violent
better
infinitely
an
the
of
use
of
ache,
head-
With
of
not
the
against
fireplaces
huge
Apostolic
of
introduction
the
protection
the
the
in
Curia
constructed,
were
linen.
white
the
by
account-books
windows
the
waxed
weather,
the
primitive
period
of
afforded
of
his
methods
Sala
radiated
system
fingers
the
stationed
of the
well-ordered
resume
causing
is clear
but
glass,
which
Guards
Conditions
stiffened
in
which
heat
when
time
the
present.
one
But
of
could
and
the
important
any
his
is, of
Damaso
stood
coals,
of
heat.
most
for
S.
well
winter,
picket
the
of
the
generated,
centuries
earlier
the
blazing
the
source
and
he
method
some
for
warmed
has
were
suffice
arranged
not
were
Often
palace
during
Bassa
remembers
with
day
other
no
Anticamera
halls
The
Night
stove
there
fdled
di
its staff.
writer
present
receptacle,
copper
Clementina.
from
The
"
Cortile
the
on
of
depleted
completely
System.
Heating
station
fire-brigade
the
never
course,
VATICAN
THE
552
encies
inclemhave
to
seems
ceased.
that
However
Under
when
of
liable
is very
while
damask,
installing the
of
the
of
the
into
Sistine
Chapel
methods
it
of
the
important
and
Leo
to
important
very
inquiry
huge
with
by
was
if this
The
when
functions,
number
of
comparatively
raising of the
to
temperature
Cardinal
the
task
raise
only
candles
filled
was
were
the
Chapel
the
of
slightly
living-rooms
the
the
problem
earlier
winter
the
great
was
before
made
he
paintings
greatly
was
with
with
problem
when
heating
to
use
lighted, as
functions
many
of
very
however,
Chapel,
it
the
walls
was
easier.
this
injury
With
the
the
In
the
height
frescoes,
far
was
or
their
Rampolla
with
benefit
heated.
were
possible
Chapel.
doubly
connected
possible
with
black
years
Again, since
difficult.
that
it radiates
as
few
of
then
was
knows
one
the
ties.
difficul-
and
heat
of
three-fourths
to
late
XIII,
the
course
is covered
the
matter
the
the
heating
unusual
Every
objectionable.
very
became
system
State
in
hung
fourth
other
occupied
Pope,
are
are
rooms
the
of
Secretary
heating
walls, which
the
on
study.
is installed,
produce
to
of
problem
offered
first considered,
was
careful
and
long
the
methods
question
central
of
reception
the
of
subject
that
modern
to
the
XIII
system
upwards
stripes
according
Leo
the
made
be, it is certain
may
Palace
Vatican
the
1870.
walls
case
the
heating
ture
tempera-
heated
crowd
was
in
of
in
This
sweat,
during
persons
tion
connec-
sudden
and
the
THE
raised
fine
dust
the
candles
crust
the
and
would
minimum
to
in
the
"
'J
by
smoke
of the
course
from
centuries
impaired
heating
in such
occasions
on
for
unrivalled
beauty.
could
one
Vatican
the
in
succeed
and
Employes
of
of
Chapel
the
from
it
outside,
would
walls
throng
great
in
1 1 in
coming
the
of
TiTTii
temperature
cold
sweating
Servants
the
the
when
II
i
that
arrest
the
that
hoped
fashion
and
deeper
Pius
Pope
art
"
namely,
has
experience
attained.
heating
plants
It is
case.
It must
made
are
few
central
After
the
in
not
reduced
be
people
assembled
"
heating
are
"
an
winter
The
inconveniences
reduced
the
first
to the
Vatican
the
is far
Such
Italian
thus
of
in
that
would
find
damage
And
for
the
same
are
made
from
the
have
mands
deon
being
anything
of
temperature
and
as
the
circuit
the
Palace.
hoped
were
however,
climes.
and
ordinary
if the
installation
plant
Vatican
the
that
effects
imagined,
northern
more
degrees.
good
be
within
Chapel
in
in
importance
great
Sistine
the
installed
heating
the
sufficient
quite
unpleasant
raised
on
the
of
decision
system
that
shown
to
include
to
heating
first central
of the
led
considerations
history of
very
the
Chapel.
These
been
"
walls
be
then
the
In
and
uninterrupted
II
penetrate
might
walls.
mural
greatly
Erected
the
on
destroy,
and
present
persons
the
553
S i^iiilliuiini,
Residence
warming
of
sweating
formed
not
ADMINISTRATION
crowd
by skilful, regular,
If
by
the
on
thus
it could
while
by
settled
was
VATICAN
the
more
is
rooms
usually
caused
minimum.
heating
plant,
the
system
was
ex-
VATICAN
THE
554
in
tended
following
the
Vatican
Library
and
innovation
the
the
Library,
icy
draft.
much
very
this
winter
in
in
working
than
formerly,
for
Elevator
Service.
these
which
plant,
own
Leonine
always
readers
of
Hall
by
swept
departments
two
The
palace.
their
the
was
room
of
better
were
huge
conditions
the
given
especially agreeable
proved
since
The
Archives
Secret
of
portions
other
to
years
the
and
are
an
now
feel
cannot
too
grateful.
Lighting
and
had
whole
electric
an
The
palace.
although
Pontiff
to
which
chair
papal
proceeded
directed
stood
who
could
passenger
but
in
for
safety
the
at
case
in
hand.
Times
VI
Domestic
clerks
and
when
small
Pope,
known
which
leading
certainly
as
in
to the
invitations,
the
It
Popes
the
the
and
elevator,
the
whole
escort
under
elevator
Leo
to
changed
used
the
come
over-
was
as
greatly
fly
to
frequently
was
of
small
very
was
Palace,
compelled
were
the
since
the
the
sixteenth
and
narrow,
by
worked
naturally
was
modern
there
Vatican
beginning
and
degree,
the
story above.
of
days
ander
Alex-
give
Bassa,
the
of
working-room
visitor
where
necessary
are
occupied
the
coming
they
are
Pope
to
an
maintain
directions.
They
servants
occasion
can
together
of mention
of
number
vast
This
is collected
These
The
Palace.
Vatican
Palafrenieri.
is
There
"
all that
Anticamera
and
at
Especially worthy
connects
in the
of
who
in
S. Angelo,
and
Staffs.
remember
the
the
and
VII.
engaged
place.
of
elevator.
Clerical
we
in
Chapel,
however,
indeed,
the
When
highest
Clement
and
prelates
aside
the
His
an
Pope
ago,
years
fortress
this
the
have
and
he
happened
using
first
when
Ducale,
floor.
tricity,
elec-
the
was
waved
of
the
is still
5, 1903,
entrance
have
first
not,
"
fifteenth
the
is the
Popes
Angelo.
used
uncomfortable
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From
561
ADMINISTRATION
extraordinarily
an
as
culture.
of
VATICAN
This
Annual
information
for
assistance
four
and
under
tion,
publica-
volume
may
publications
concerning
centuries
support.
under
The
562
THE
littlebooklets
VATICAN
of the sixteenth
seventeenth
and
centuries,now
yellow
the personnel of the
with
of great value
to investigatorsinto
age, are
Curial administration
at that period.
In the nineteenth
"Annuario
which
Pontificio."
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privatepublicationwas
issued,entitled
year a similar but more
la
Gerarchia
la
Cattolica,
Cappella e
Famiglia Pontificie per l'anno
the
title
di altre notizie
appendice
con
was
riguardanti
altered, and
somewhat
the
la Santa
words
Sede."
"Edizione
In 1899
ufficiale"
omitted
in 1905.
The title continued
added, but these were
to vary
until 1912, when
the old title "Annuario
Pontificio" was
resumed
and
the
information
greatly
given
increased.
in the
This
volume
was
much
better arranged
and
annual
been
concerning
the
conferred.
The
long-standing
realized.
The
"Missiones
desire
would
this official
case, appealing as
possible in the case
the
Board
Editorial
may
hope
soon
reached.
directoryshould
be
best meet
Catholicse," is issued
it does
new
that
lished
pubgeneral needs, has not yet been
publicationof the Congregation of the Propaganda, the
in Latin, which
of
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to
annual
are
in Latin; and
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very
to
smaller
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open
what
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circle of readers, is
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suggestions, we
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publish the
"Annuario"
in Latin
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will be