THE VALLEES VAUDOISES, OR
THE VALLEYS OF THE WALDENSES.

(See accompanying Map.)

The Waldensian valleys are very beautiful, are drained by splendid trout-streams, and possess a rich variety of rare plants.

The chief town, Torre-Pèllice (formerly called Torre-Luserna) is 34¼ miles S.W. from Turin by rail, passing by Pinerolo, 23½ m. S.W. from Turin, and 10¾ m. N.E. from Torre-Pèllice. From Pinerolo a steam tram runs 12 m. N.W. up the valley of the Chisone to Perosa, the second Waldensian town in importance. Time, 1 hr. 30 min. The tram station is near the railway station.

Pinerolo is connected with Saluzzo by steam tram, 2 hrs. 20 min. S., 2 frs. 15 c. and 1 fr. 55 c., passing Osasco and Cavour. This tram station is at some distance from the Pinerolo railway station.

The Italian steam trams run on single lines laid on one side only of the highroads. Some towns they traverse, while others they merely skirt. They afford excellent opportunities for seeing the country, but run neither so quickly nor so smoothly as the railway trains.

Rail between Cuneo and Mondoví, 11½ m. E. and 58 m. S. by rail from Turin. Mondoví, pop. 17,000, on the Ellero; Inn: Tré Limoni d’Oro. On one side of the Ellero is the railway station, and on the other are the inn and town, built on the lower slopes of a wooded hill rising from the river. The Via San Agostino contains the best shops. On the top of the hill is another town nearly as large as Mondoví (see p. 184).

The country of the Italian Waldenses consists of parts of the valleys of Pèllice, San Martino, and Perosa or Chisone, is about 20 m. long from W. to E. by 13 broad, is divided into 15 parishes, exclusive of the isolated parish of Turin, and contains a population of about 25,000. They have besides a thriving colony in Uruguay. Till Cavour in 1848 procured for Italy civil and religious liberty, the Waldenses were confined by law to their valleys; now, however, they have spread themselves over the best parts of Italy, while many emigrate every year to the United States and to Uruguay. Of late mills and manufactories have been established on their rivers, which has caused a large influx of Piedmontese workmen, so that many Waldensian towns and villages which up to 1848 were inhabited almost exclusively by Protestants have now a larger population of Romanists.

These valleys are very fertile, bearing luxuriant crops of maize, wheat, barley, potatoes, French beans, etc., intersected by long rows of vines on high trelliswork, and studded with mulberry, apricot, peach, apple, pear, and cherry trees, while at the base of the densely-wooded mountains which enclose them are walnut and chestnut trees. The only high mountain in the territory is Monte Meidassa, 10,185 ft., between the valleys of the Pèllice and the Po, which river has its source 6625 ft. above the sea among the snowy summits of Monte Viso, 12,607 ft., a short way south from Monte Meidassa by either the Col dell’ Agnello or the Col Traversette, 9680 ft.

Waldensian Doctrines and Persecutions.

The Vaudois inhabited originally not only the valleys on the E. side of the Alps but also those of Louise, Embrun, and Barcelonnette on the French side (pp. 344, 345), and, as there was constant communication between them, French became the common language, as it is still in a great measure. They consider themselves a part of the Apostolic Church, which by its isolated position in the then almost inaccessible ravines had escaped the early innovations introduced by the church of Rome; albeit not altogether, for they admitted confession by contrite prayer to God and the mention aloud of their sins to a priest, the power of priests to bind and to loose, that sins were of two classes, mortal and venial, and the efficacy of fasts and penance. At the Reformation all these were swept away, and the doctrines and church polity of Calvin adopted. The independent church of the Waldenses, or valley-people, existed about a century before the arrival of Pierre Valdo from Lyons in 1180. Their name is supposed to be derived from “valle densa,” contracted into Vallenses, Valdenses, and finally Vaudois. The first serious persecution of the Italian Vaudois was begun at the instigation of Yolande, sister of Louis XI and wife of Amadée IX., Duke of Savoy. By her representation Innocent VIII. in 1487 fulminated against the Waldenses a bull of extermination. Whoever killed any of these heretics were to be absolved from promises they had made, property wrongly obtained by them was to be rendered legal, and they were to have a complete remission of all their sins. Persecution among the French Vaudois commenced in the 13th cent.

Torre-Pèllice.

Torre-Pèllice, pop. 5200, Inn: H. de l’Ours, good and comfortable, is situated on the Pèllice and its affluent the Angrogna, 34¼ m. S.W. by rail from Turin, 10½ m. from Pinerolo, and 1¼ m. from the station of Luserna-San Giovanni, pop. of both places together, 4200. Luserna is a considerable town to the N. of the station. Inn: Albergo del Belvédère. Opposite is San Giovanni, a large unfinished-looking village, with barracks, a “Tempio Evangelico,” and several elementary Protestant schools.

Torre-Pèllice is a thriving town in the midst of a fertile valley enclosed within most picturesque mountains. At the west end are the Waldensian church, the manse, the college, and the higher school for girls. At the other end of the town are the inn, the post and telegraph office, the Romanist church and schools, and up by the Angrogna the Baptist chapel and manse. On the rivers are cotton and flour mills, and dye and calico-printing works. These establishments have attracted many Piedmontese to the town, which, from this and other causes, have made the Romanist population more numerous than the Protestant.

The wine made in the valley of Pèllice is principally red, and is drunk in the second year. A beautiful walk extends up the valley of the Angrogna to Perosa, about 6 hrs. N. by the defile of Pra de Tor, 4360 ft., and the village of Pramollo with Waldensian chapel and schools. Pop. of the district of Pramollo, 1350.

Bobbio. Mirabouc. Col de la Croix.

Torre-Pèllice to Mont Dauphin by Bobbio, Mirabouc, Les Granges des Pras, the Col de la Croix, La Monta, and Abriés, 47 m. W., 16 to 17 hrs. walking. Up to Bobbio, 2838 ft, 7½ m. and 2½ hrs. walking, pop. 1520, Tempio Evangelico, Inns: Camoscio, etc., there is nothing particular. Afterwards the valley gradually contracts till it becomes a mere gorge, having at the entrance the ruins of Fort Mirabouc. At Mirabouc, 4718 ft., the valley turns southward to the inn and custom-house station, 5683 ft., about 3½ hrs. from Bobbio, where provisions and accommodation may be had for the night. From this commences the ascent of the Col, 7576 ft., 17 m. from Torre-Pèllice and 30 from Mont Dauphin, commanding a splendid view of Monte Viso. The top (with an Hospice) is nearly level, and the descent by the French side easy. At La Chalp the track joins the char-à-banc road leading to Mont Dauphin by La Monta, Ristolas, Abriés, and Guillestre. (For Mont Dauphin and Guillestre, see p. 344, and map p. 304.)

Pinerolo.

PINEROLO.

23½ m. S.W. from Turin by rail and 10¾ m. NE. from Torre-Pèllice is Pinerolo, 1237 ft., pop. 19,000. Inns: *Couronne d’Or; Campana; Cannon d’Oro. A handsome but rather a straggling town, with a large Piazza d’Armi, a good promenade, several hospitals, and representatives of the chief Italian banks. It contains besides a public library, various colleges and schools, including one for cavalry and another for music. The Waldenses have a chapel near the public garden, and a school for girls and another for boys. In the Via Sommeiller is a large seminary. The Cathedral is a handsome building, served by a large staff of dignitaries. In the Piazzetta Santa Croce is the Italian Alpine Club. Cabs—the course, 1 fr.; the hour, 1 fr. 75 c.; each successive half-hour, 1 fr.

Perosa. Col d’Abriés.

Near the centre of the town is the terminus of the steam tram to Saluzzo, 2¼ hrs. Near the railway station is the terminus of the steam tram to Perosa, 12 m. N.W. from Pinerolo. Perosa, 2015 ft., pop. 2400, Inn: H. National, agreeably situated on the Chisone near its junction with the Germanasca. On the other side of the Chisone is Pomaretto, pop. 760, with a Waldensian chapel and school.

Perosa to Mont Dauphin.—There is a post-road up the Germanasca and down the Guil, an affluent of the Durance, to Mont Dauphin, passing by Perrero and Abriés. Abriés is 24 m. S.W. from Perosa and on the S. side of the Col d’Abriés, and 21 m. N.E. from Mont Dauphin. (For Mont Dauphin, see p. 344.) About 7 m. W. from Perosa is Perrero, 931 ft, pop. 560, on the Germanasca at its junction with the Germanasca di Massello. From this the road, still ascending the Germanasca, turns southward, and passing by the hamlets of Pomeifre, Fontana, Gardiola, and Bonous on the Germanasca at its junction with the Rodoretto, arrives at Prali on the Gormanasca, 4502 ft., pop. of district 1370, about 4½ hrs. walk from Perosa. The road from Prali passes Cugno, Ghigo, Orgiere, and Pomé to Giordano, whence it becomes a mule-path, which at the hamlet of Ribba separates from the path to the Pass Giuliano, 8358 ft. to the S.E., and continues in a S.W. direction by the Germanasca to the Col d’Abriés, 8677 ft., frequented even in winter. The summit is 3 hrs. from Prali, and the descent to the village of Abriés by the hamlet of Roux, 2½ hrs. (For Abriés and Mont Dauphin, see p. 344, and map, p. 304.)

Fenestrelle. Col de Sestrières.

Perosa to Cesanne, 28½ m. N.W. by the river Chisone, Fenestrelle, Pragelas, and Sestrières. 9 m. above Perosa is Fenestrelle, pop. 1120, Inns: Croce Bianca; Scudo di Francia, one of the strongest Italian fortresses on the frontier. 7 m. from Fenestrelle is Pragelas, where the valley becomes more Alpine in character. Other 4½ m. is Sestrières, “whence the road mounts in zigzags to the Col de Sestrières, a nearly level plain 2 m. long, commanding a good view of Mont Albergian. The descent is by long windings to the level of the Dora, which is crossed to reach Cesanne, 8 m. from Sestrières” (Ball’s Alps, p. 36). (For Cesanne to Briançon by Mont Genèvre, see under Briançon, p. 333, and map p. 304.)

SALUZZO.

Saluzzo is 42¼ m. S. by rail from Turin, and 4 hrs. by steam tram from the same city. Saluzzo is 2¼ hrs. N. from Cuneo by steam tram, passing Cavour, pop. of district 7220. Coach daily to Paesana on the Po, 14 m. W., fare 1½ fr.; also to Sampeyre, Albergo della Posta, 6 hrs. S.W., on the Vraita; and to Barge, 1½ fr., Inn: Lion d’Or.

The termini of the Cuneo and Saluzzo, the Pinerolo and Saluzzo, and the Turin and Saluzzo steam trams are just within the town. The tram to Pinerolo leaves Saluzzo near the railway station, passing by the marble statue to the poet Silvio Pellico, born at Saluzzo in 1788, d. 1854. Saluzzo, pop. 18,000, Inns: Corona Grossa; Gallo, is a town of considerable size, possessing great facilities for visiting various places in the neighbourhood, either by tram, rail, or coach.

Paesana. Crissolo. Col de la Traversette.

Saluzzo to Mont Dauphin, 65½ m. W. by Paesana, Crissolo, Col de la Traversette, Abriés, and Queyras. Take the coach which starts in the evening for Paesana on the Po, 1778 ft., with two fair inns, passing Martiniana and Sanfront. Above Paesana the valley becomes very picturesque and the view of Monte Viso gradually more and more imposing. After having passed Ostana, 4266 ft., the road reaches the sanctuary of San Chiaffredo, and a little farther on is Crissolo, 8 m. from Paesana, 4374 ft. Next is the Borgo, 4954 ft., the highest village in the valley of the Po, consisting of three hamlets, the lowest having a small inn. On the opposite side of the valley and about 1 m. farther up is the cave, Balma Rio Martino, 5020 ft., in strata of dolomite. The valley shortly after becomes wild and Alpine, yet enclosing two small oases—the Pian Fiorenza, 6034 ft., and the Pian del Ré, 6625 ft., containing in summer a rich variety of rare Alpine plants. A little to the S.W. of the Pian del Ré is the source of the Po. The road to the Col de la Traversette leads N.W. from the Pian del Ré through a hollow covered with snow the greater part of the year, whence the real ascent commences. About 300 ft. below the crest and 9564 ft. above the sea is the tunnel, generally closed with snow, pierced in 1480 by Ludovico II. The summit of the pass is 9680 ft. and about 4 hrs. ascending from Crissolo. The descent into the valley of the Guil is by the Buco di Viso. On the French side, 1897 ft. below the summit, is La Bergerie du Grand Vallon. (See Mont Dauphin to Saluzzo, p. 344, and map p. 304; also Ball’s Alps, p. 22.)

Cuneo.

CUNEO.

54½ m. S. from Turin by rail, and 2½ hrs. S. from Saluzzo by rail, is Cuneo, 1500 ft., pop. 1200, Inns: H. Barra di Ferro; Albergo di Superga. Steam tram to Borgo-San-Dalmazzo, pop. 4600, 45 min. S.W.; also to Dronero on the Maira, 1¼ hr. W. (See also pp. 182 and 279.)

Cuneo to Barcelonnette, 61¼ m. W., by Borgo-San-Dalmazzo, Demonte, Vinadio, Bersezio, the Col de Largentière and l’Arche, the frontier village of France, with two inns. (See under Barcelonnette; Cuneo to Nice by the Col di Tenda, see p. 182.)

Turin to Florence.

291 miles southwards by Alessandria, Piacenza, Parma, Modena, and Bologna. Time by quick trains, 13 hours. For London to Florence, and through tickets, see the Continental Time-tables of the London, Chatham, and Dover Railway, 3d.

FLORENCE 291 TURIN. (For Asti, and the route as far as Alessandria, see p. 280, and map p. 199.)

TURIN
FLORENCE 81 210 VOGHERA, pop. 10,000, on the Staffora. Hotel: H. Italia. Branch to Pavia, 17 m. N., and Milan. Between Voghera and the next station, Casteggio, is on the right Montebello, where the battle took place, 9th June 1800, which preceded that of Marengo by five days.

Piacenza. Cathedral.

TURIN
FLORENCE 117 174 PIACENZA, pop. 36,000, on the Po. Hotels: S. Marco; Italia; Croce Bianca. Cabs—the course, 1 horse, 70 c.; 2 horses, 1 fr. For the first hour, 1 horse, 1 fr. 50 c.; 2 horses, 1 fr. 80 c.

In the middle of the town is the square called the Piazza de’ Cavalli, from the two bronze equestrian statues of Duke Alexander Farnese and his son Duke Ranuccio. On one side is the church of S. Francesco, and on the other the Palazzo del Governo, and opposite it the picturesque Palazzo del Comune, begun in 1281. The portico underneath is used as a market. The upper part of the building is of red brick with handsome windows. The principal street, the Strada Diritta, leads to the Cathedral (1122-1233), containing some admirable paintings. In the interior the arches are round, but the ribs of the roof meet at an angle. At the 3d altar is a picture, by A. Sirani, of the Ten Thousand Martyrs; at the 4th a painting of the Death of a Saint. In the right transept is an altar-piece, Three Saints, by Calisto di Lodi, and on the ceiling frescoes by Agostino and Lodovico Carracci, in Correggio’s style. The Coronation of the Virgin is by Procaccini. The Cupola is divided into eight compartments; six of them were painted by Guercino, with figures of prophets and sybils; the other two figures were by Morazzone. Below are four allegorical paintings by Franceschini. The roof of the crypt under the church rests on 100 columns. S. Antonino (the former cathedral) was commenced in the 10th cent., and restored in 1562. The curious vestibule and the massive columns bearing the tower are relics of the earlier edifice. At the W. end of the town is Sa. Maria di Campagna, famous for paintings by Pordenone. On the left of the chief entrance is a fresco by him of St. Augustine and five Angels; in the 1st chapel left are two large frescoes, the Nativity of the Virgin and the Adoration of the Magi. Crossing the transept we have on the left the “Marriage of St. Catharine,” the faces being portraits of the Pordenone family, and a fine fresco also by him, representing the dispute of St. Catharine. By him are likewise the frescoes in the eight compartments of the cupola; those in the pendentives are by B. Gatti. The most highly decorated church is S. Sisto (built in the 16th cent.), with an Ionic atrium. Raphael’s Madonna, now at Dresden, was taken from S. Sisto.

The Palazzo Farnese is a great, unfinished, building, begun in 1558 by Margaret of Austria, now used as barracks. The Mandelli palace, now the Prefettura, has a handsome façade. 24 miles to the south of Piacenza is the site of Velleia, a town which was overwhelmed by a landslip in the 3d cent. Many interesting objects have been obtained there; which have been deposited in the museum of Parma. In the vicinity are emanations from the ground of carburetted hydrogen gas, which takes fire on the application of a flame.

Parma. Museum.

TURIN
FLORENCE 153 138 PARMA, pop. 46,000, on the Parma. Hotels: Albergo Centrale; Croce Bianca; Leone d’Oro. Parma, although founded by the Boii, and conquered by the Romans 183 B.C., is a neat clean town of modern appearance, surrounded by bastioned walls. The most important of the edifices is the Palazzo Ducale, forming, with the Palazzo Farnese, a large unsymmetrical assemblage of buildings in the Piazza del Corte behind the Piazza Grande. In the Ducal Palace is a collection of paintings belonging to the French school. In the Farnese are the Museum of Antiquities, the Picture-Gallery, the Library, and the Farnese Theatre, now in a ruinous condition. It was built in 1620, in the time of Duke Ranuccio, and for many years was the scene of splendid spectacles and grand public entertainments.

The Museum of Antiquities embraces a small collection, in four rooms, of Roman altars, bronzes, busts, and mosaics, principally from Velleia and Rome. Among the most remarkable, are “The Theft of the Tripoid,” in 1st room. In the 2d room, a statuette of Hercules intoxicated, and the “Tabula alimentaria,” a rescript of the Emperor Trajan, relating to the support of certain poor children. In 4th room, a bust of Maria Louisa, the first Napoleon’s second wife, by Canova. Higher up on the same staircase is the Library, with 150,000 volumes, and some thousands of MSS., in several large galleries and halls, at the end of one of which is Correggio’s fresco of the Coronation of the Virgin.

Parma: Picture-Gallery—Correggio.

The Pinacoteca is on the same floor of the palace as the library, and is open daily during the same hours. The collection is not large, but is remarkable for the number and value of Correggio’s pictures. In selecting the best pictures, we shall arrange the names of the painters alphabetically to facilitate reference.

Annibal Caracci.—Pietá. Lodovico Caracci.—Funeral of the Virgin; the Apostles at the tomb of the Virgin (two large pictures). Cima da Conegliano.—Two very good pictures. (Correggio.)—1. The Madonna della Scala, a fresco. 2. The Flight into Egypt, known as the Madonna della Scodella, from the dish in the Virgin’s hand. 3. The Madonna with St. Jerome, sometimes called Il Giorno, from its bright daylight effect and in contrast with La Notte at Dresden—this is Correggio’s best picture here, perhaps it is the best picture he ever painted on canvas, and it is universally considered one of the marvels of art. The letters A. A. (Antonio Allegri) are worked into the silk that covers the walls of the cabinet. 4. The Martyrdom of St. Placidus and St. Flavia (such subjects are not agreeable, however skilfully treated). 5. The Entombment. 6. Christ carrying his Cross (some critics think this to be a work of Anselmi, others that it is an early production of Correggio). 7. A Portrait attributed to him. (On the walls of some of the rooms are the drawings that were made for Toschi the engraver from Correggio’s frescoes at Parma.) Albert Durer.—Man with a Skull. Francesco Francia.—Descent from the Cross; the Virgin enthroned with Saints; the Virgin with the Infant and St. John (most charming). Garofalo.—Virgin and Child in the clouds, with a landscape below. Giovanni di San Giovanni.—A Singing party. Murillo.—St. Jerome. Parmegianino.—The Marriage of St. Catharine (an exquisite picture); Marriage of the Virgin; Portrait of a Man with a music book (marked “incerto” on the frame). Fra Paola da Pistoia.—Adoration of Magi. Pordenone.—Portrait of a Man with an open book. Raffaello(?).—Christ in the clouds with the Virgin and St. John, and Saints below (it is by no means certain that this is a work of Raffaello). Giuseppe Rosa.—Landscape with Cattle. Lionello Spada.—Fortune-telling, three figures; Marriage of St. Catharine. Spagnoletto.—Twelve pictures of Saints. B. Schidone.—The Entombment; the Maries at the Sepulchre; Virgin, Child, and St. John. Vandyck.—Virgin and Child; Portrait of an Old Lady. Velasquez.—Portrait of a Man in a black dress (there are other portraits ascribed to him). L. da Vinci.—Sketch of a Female Head. Zuccarelli.—River Scene.

The Ducal Garden, open daily to the public, is on the other side of the river, and may be reached from the palace by a bridge called the Ponte Verde. It is a large piece of ground, laid out in a formal style; but when its chestnuts, limes, and acacias, are in leaf, it affords a pleasant promenade. Within the grounds is a palace called Palazzo di Giardino. The Botanic Gardens are at the other side of the town, near the citadel. The broad road near it, called the Stradone, is planted with trees, and is a favourite place of resort for the town’s-people, both in carriages and on foot.

Parma: Cathedral.

By a narrow street leading east from the Ducal Palace is the Cathedral, a good specimen of Italian Gothic, built in the 13th and 14th cents. The portals are adorned with lions, by B. da Bisoni, 1281. In the interior, along the top of clustered articulated columns, runs an elegant triforium, and over it extends a lofty elliptical roof, painted by G. Mazzola. The choir is above the level of the nave. Within the great door, left side, is a portrait of Correggio, and on the other, one of Parmegianino. The cupola was painted by Correggio (1526-30), with frescoes representing the Assumption of the Virgin, but they are in a ruined state. Those on the vault of the right transept were by a son of Correggio, while those on the left transept were by Orazio Sammachini. In the Capella dei Canonici, on the right side of the church, at the foot of the choir-steps, is an altar-piece by B. Gatti; and near it a poor bust of Petrarch, with an inscription recording that he was archdeacon here. Beneath the choir is a spacious crypt, supported by thirty-four marble columns. On the walls of the sacristy are frescoes of the 14th century, and intarsias by L. Biancho.

Parma: Baptistery. S. Giovanni.

The Baptistery is a lofty octagonal building (1196-1281), with four deeply-recessed doorways, enriched with bas-reliefs. The four tiers of open galleries with columns, and a fifth tier of engaged arches, the pinnacled canopies at the top, and the ring of fantastic carvings below, combine to render this one of the most remarkable buildings of its class in Italy. In the interior there are two tiers of galleries, some rude sculpture, and a profusion of fresco painting—old, but not of much value. At the middle is a great font, hewn out of one piece of marble, and having in the centre a place where the priest could stand, protected from the water, whilst he immersed the child. The font at which the Parmesans are now baptised is at one side, ornamented with carvings, and supported by a marble lion. S. Giovanni Evangelista (1510), a church standing near the cathedral, and much visited on account of the frescoes painted by Correggio (1520-25) in the cupola; they represent the Vision of St. John, and, though blackened and badly lighted, they are fortunately in a better condition than those in the cathedral. The figures are on a large scale, and include the Evangelists and the Fathers of the Church, who look with astonishment at the glory above. Correggio also painted in grey the decorations of the vault of the sanctuary; and over the door of the sacristy in the left transept a fresco of St. John. In the 1st chapel to the right of the principal entrance is a good painting of the Modenese school, and the monument of Sanvitale-Montenuovo; in the 2d an Adoration of the Shepherds, by Giacomo Francia (the painter’s portrait is seen in the old man to the left); in the 6th chapel is a copy of Correggio’s “Night,” now at Dresden. On the arches of the 1st and 2d chapels on the left of the entrance are much-damaged frescoes by Parmegianino (four subjects); and in the 6th chapel is a picture, by Anselmi, of Christ with his Cross. The white marble holy-water fonts deserve notice. In the adjoining convent (now used as barracks) is a damaged fresco of two children by Correggio.

Parma: S. Paolo—Correggio.

Near the Piazza Grande is the church of the Madonna della Steccata, from designs by F. Zaccagni in 1521. The best frescoes are by Parmeggianino, Moses breaking the Tables of Stone, Adam and Eve, and the Virtues, on the archway of the choir. On the vault over the high altar a Coronation of the Virgin, by Anselmi. Gatti painted the cupola. The wooden pulpit combines elegance with simplicity. A good Madonna in corner chapel left of main entrance. Near the Piazza di Corte is the church of S. Lodovico, and adjoining it the suppressed Convent of S. Paolo, now a school. In this small building are the best preserved works of Correggio, painted for the abbess of the convent on the walls and ceiling of this her reception-room. The subject is Children, or Amoretti, represented as being seen through the openings of a bower or piece of trellis-work. Their varied attitudes are most charmingly portrayed. Diana herself, whose Triumph is thus depicted, is painted over the fireplace. Below the principal subjects are smaller figures in grey. The frescoes in the next room are by Araldi. The custodian is generally to be found in the picture-gallery.

The famous Parmesan cheese is made chiefly in dairies around Milan, Lodi, and Pavia, and is called Formaggio di grana, because commonly used in a granular form with soup. 17½ miles S.E. from Parma is Reggio Emilia (pop. 24,000). Hotels: Posta; Cavaletto. Cabs—80 c. the course; 1½ fr. the hour. Sights—Cathedral; house of Lodovico Ariosto, born here 1474. His Orlando Furioso went through sixteen editions in the 16th cent. 9 m. N.E. is Correggio, the birthplace of the great painter Antonio Allegri, called Correggio. To the Castle of Canossa and back, 14 frs.

Modena. Cathedral.

TURIN
FLORENCE 185¼ 105¾ MODENA, pop. 31,000. Hotels: Reale; San Marco; Italia. Their omnibuses await the trains. Cabs—one horse, 80 c. the course, 1 fr. 50 c. the hour; 2 horses, 1 fr. the course, 1 fr. 70 c. the hour.

Modena (Mutina, Lat.), the capital of the former duchy of Modena, is a clean and well-built town surrounded by ramparts, some of which serve the inhabitants as promenades. The country around is flat and fertile. A canal connects the town with the Panaro, a tributary of the Po, by which means water communication with the Adriatic is obtained.

The Cathedral, begun in 1099, is in the centre of the city. Its exterior is irregular, and encumbered with houses. The principal façade is small but pleasing, with a large rose window and three doorways. On the side next the Piazza Grande is a handsome porch, with columns resting on rudely-carved lions of red marble. The interior, though low, and destitute of paintings of merit, is interesting, especially for the sub-choral chapel, with a roof supported by many marble columns. At the entrance of this chapel is a group of lions, and in one corner life-size figures in coloured terra-cotta, by Begarelli, representing the Nativity. In the church notice the holy-water fonts, which look as if they were the hollowed capitals of ancient columns, and the stone pulpit with bas-reliefs. On the right side of the choir are some curious old bas-reliefs, including one of the Last Supper; and on the left side of the choir is the mausoleum of the last Duke of the house of Este in the male line, died 1803. The Campanile, one of the finest in Italy, 315 feet high, was erected in the 13th and 14th cents. It received the name of Ghirlandina from its vane being ornamented with a bronze garland. Modena: Ducal Palace. At the head of the Corso Vittorio Emanuele is the Ducal Palace, an immense pile, containing the Picture-Gallery, occupying several halls in the upper stories, with an entrance on the north side. It is open daily from 9 to 4. The collection comprises between 500 and 600 pictures, amongst which, though there are no chefs d’œuvre, are many good ones. The gallery once ranked high amongst Italian galleries, but towards the end of the last century 180 pictures were sold, including five Correggios, to the King of Poland (they are now at Dresden); and the Duke when expelled in 1860 took away with him a few more of the best. In two of the rooms are glazed cases full of drawings and sketches by the old masters. Amongst them is a drawing in sepia for Tintoretto’s masterpiece, the Miracle of St. Mark at Venice. In a room kept locked, but which the custode will open on application, are some interesting cabinets (one designed, it is said, by B. Cellini, another of amber, a third of tortoise-shell); also bronzes, carving in wood and ivory, majolica, enamels, etc. Amongst other curiosities is a “Presepio,” with numerous figures in coral, the metal work being of silver.

The Library, on the same staircase as the Pinacoteca, contains about 100,000 printed books (including 2500 quattrocentisti) and 3000 MSS. placed in several halls, one of which is very large. Also a few Roman and Etruscan antiquities, and the series of coins and medals struck at Modena. In the suppressed convent of S. Agostino, near the gate of that name, is the Museo Lapidario. Among the articles is a block of stone obtained from the ancient Via Mutina, at a depth of 18 feet below the surface. On the other side is a collection of mediæval tombs. In the church of St. Agostino is a terra-cotta group, by Begarelli, of the Entombment. M. Angelo spoke very highly of this artist’s works.

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

Bologna.

plan of Bologna

TURIN
FLORENCE 208¼ 82¾ BOLOGNA, pop. 91,000. Hotels: Brun; Italia; Bologna; Aquila Nera; del Pellegrino; Tre Re; Venezia; Commercio. Restaurants: Stelloni; Felsineo. Omnibuses from the hotels meet the trains. Cabs—one horse, the course, 75 c.; by the hour, 1 fr. 50 c. To or from the railway station, without luggage, 1 fr.

Bologna is a walled city, with twelve gates, situate on a fertile plain near the foot of the Apennine range. The Bolognese school of painting is called the Scuola Caraccesca, from its founders, Lodovico Carracci (b. 1555, d. 1619), and his two cousins Annibale (b. 1560, d. 1609) and Agostino, a man of erudition, who furnished the general plan of the pictures. Their most distinguished pupils were Guido Reni (b. 1575, d. 1642), Domenichino (b. 1581, d. 1641), Lanfranco (b. 1581, d. 1647), G. Barbiere, called Il Guercino, from his squinting (b. 1590, d. 1666), Michel-Angiolo da Caravaggio (b. 1569, d. 1609), and Carlo Cignani (b. 1628, d. 1719); Bologna: Picture-Gallery. beautiful specimens of whose works are to be seen in the various churches, but especially in the picture-gallery of the “Accademia delle Belle Arti,” situated at the north-east end of the town, near the Porta S. Donato (see plan). It occupies eight rooms of the first floor, contains 360 paintings, all bearing the names of the artists, and is open from 9 to 3. Free on Sundays. The gem is St. Cecilia, by Raphael.

The other best works are:—12. Guercino.—St. William; 13, St. Bruno; 15. St. John the Baptist; 18. St. John the Evangelist. 26. Bugiardini.—Marriage of St. Catharine. 34. Agostino Caracci.—Last Communion of St. Jerome, one of his finest paintings; 35. Assumption. 36. Annibale Caracci.—Virgin and Child, with Angels and Saints; 37 Virgin enthroned, with Saints. 39, 40. Lodovico Caracci.—Assumption; 42. Saints (Bargellini portraits) adoring the Virgin and Child; 43. Transfiguration; 44. Calling of St. Matthew; 46. St. John the Baptist; 47 to 53. Pictures by the same artist. 70. M. Desubleo.—Christ appearing as a Pilgrim to St. Augustine. 75. Lavinia Fontana.—St. Francis de Paul. 78. Fr. Francia.—Virgin and Saints (1490), extremely fine; 79. Annunciation; 80. Virgin and Saints; 81. Virgin and Saints. There are several other unnumbered pictures by this master on frames. 84. Giacomo Francia.—Virgin and Saints; 85. Virgin and Saints. 89, 90. Innocenzio da Imola (an imitator of Raffaello).—Virgin and Saints. 122. Nicola da Cremona—Descent from the Cross.. 134. Guido.—Madonna with the Protectors of Bologna; 135. Massacre of the Innocents; 136. Crucifixion; 137. Samson with the Ass’s Jawbone; 138. The Virgin of the Rosary (this is on silk, and was carried in processions); 139. Bishop Corsini; 143. Portrait of a Carthusian. 152. Raphael.—St. Cecilia, with other Saints, listening to the Music of the Angels (the instruments of secular music lie broken on the ground). This celebrated composition, painted in 1515, is well known from copies and engravings. 175. Elisabetta Sirani.—St. Anthony of Padua; 176. Madonna. 181. L. Spada.—Melchisedec blessing Abraham. 183. Tiarini.—St. Catharine of Alexandria. 197. Perugino.—Virgin and Saints. 204. Timoteo delle Vite.—Magdalene. 206. Domenichino.—Martyrdom of St. Agnes; 207. Madonna of the Rosary; 208. Martyrdom of St. Peter of Verona (the same subject as that treated by Titian in a picture lately burnt at Venice). 212. Unknown.—Sleeping Child. 291. Desubleo.—St. John the Baptist. 292. Innocenzio da Imola.—Virgin and Saints. 294. Bugiardini.—Madonna. 360. Aluno (Nicolo da Foligno).—Virgin and Saints (given to the Gallery by Pius IX.)

In the same building is a collection of old arms and armour (Oploteca), and on the ground-floor a few good modern pictures. A collection of original drawings is preserved in the library.

Bologna: University. S. Giacomo.

Nearly opposite the Accademia is the University, with about 430 students, directed by 59 professors, of whom, among the most famous, have been Galvani, the first that observed the phenomena of Galvanism, Laura Bassi, a lady professor (d. 1778), and Giuseppe Mezzofanti (d. 1849), who spoke fluently upwards of forty-two languages. From the tower is a good view of the town. Attached to the University is a Museum of Antiquities and a Library. The Geological Museum is in a separate building. From the University, walking towards the leaning towers, we pass, in the Strada Donato or Luigi Zamboni (see plan), the oratory of St. Cecilia, the church of S. Giacomo, and (14) the Palazzo Maloezzi-Medici; and shortly after, stand below two of the peculiar kind of watch-towers used in Italy during the middle ages.

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

Bologna: The Two Towers.

In St. Cecilia are frescoes representing the legend of St. Cecilia and St. Valerian, by F. and G. Francia, Costa and Amico Aspertini. During the French occupation they were considerably damaged. At the commencement of the Strada Donato are the Two Towers (28 in plan), seen from a great distance. The taller, the Torre degli Asinelli, commenced in 1109, is 272 feet high, with an inclination of 3½ feet, and ascended by a rickety dirty staircase of 447 steps to the summit, whence there is the best view of the town. The Torre Garisenda, commenced in 1110, is 139 feet high, with an inclination of 8½ feet. From the towers, the Mercato di Mezzo leads W. to the Piazza Vittorio Emanuele, with, on the S. side, the church of S. Petronio; on the N., the Palazzo del’ Podesta; on the E., the Pal. dei Banchi; and on the W., the Pal. Pubblico, an immense edifice, commenced in 1290, consisting of various buildings thrown together. In front is the Fountain, by Laureti, adorned with a statue of Neptune, by Bologna.

Bologna: S. Petronio.

S. Petronio, commenced in 1390, but still unfinished, is of brick, and in the pointed arched Gothic style. The doorways of the façade are remarkable works; the middle one was by Jacopo della Quercia (1425). In the interior, notice on the right side the stained glass of the 4th chapel; Sansovino’s statue of St. Anthony of Padua, and Treviso’s grisaille pictures relating to that saint in the 9th chapel; the windows are said to be from M. Angelo’s designs; in the 11th chapel, a bas-relief, an Assumption, by Tribolo, with Angels at the sides, attributed to Properzia de’ Rossi, a Bolognese lady (d. 1535), who was at once painter, sculptor, engraver, and musician. The campanile is over this chapel. The large fresco of the choir is by Franceschini. On the floor of the left aisle is the meridian line traced by Cassini in 1652. In the 1st chapel, on this side, is some modern Milanese glass; in the 7th, a Madonna, by L. Costa; and in the 10th, Sa. Barba, by Tiarini. At the southern end of the church is (29 in plan) the Biblioteca Comunale, in the building called the Archiginnasio Antico, originally the University, before it was removed to its present edifice. Besides the Library, open daily from 10 to 4, it contains a valuable Museum of Antiquities. Between S. Petronio and S. Stefano are (17) the Pal. della Mercanzia, the Chamber of Commerce, erected in 1294; (18) the Pal Pepoli, 1344; and (9) the Casino. Bologna: Santo Stefano. Santo Stefano is a combination of ancient churches, chapels, and courts, on the site of a temple dedicated to Isis. Enter first the Church of the Crucifix, so named from the old painting at the great altar. In the 1st chapel on the right is a picture by Muratori; in the 2d on the left St. Elisabetta, by Gessi. Then pass through a small chapel into the circular chapel styled San Sepolchro, which contains the tomb of St. Petronius, with curious carvings, and a miraculous well, considered to have healing virtues. This building is thought to have been formerly the baptistery of the next chapel (originally, perhaps, the principal chapel), dedicated to St. Peter and St. Paul. From a small court, called the Atrium of Pilate, from its alleged resemblance to that at Jerusalem, we gain access to the chapel of the Trinity, which contains four marble columns said to have belonged to the temple of Isis, and some pictures by Tiarini and others. There are ancient mural paintings in the sanctuary dedicated to Our Lady of Consolation; and in the subterranean chapel of the Confession, a broken column is shown which is said to afford the measure of the Saviour’s height. After visiting a cloister, where the columns show much variety of form, we have made the complete tour of this singular labyrinth of buildings, which are of great interest to the ecclesiologist. Behind Santo Stefano in the Strada Maggiore are (beginning at the leaning-towers’ end, see plan), 2, S. Bartolommeo; 23, the Pal. Zampieri; 24 is the house of the celebrated composer Rossini, built by him in 1825. On the opposite side is the church Ai Servi, and No. 13 the Pal. Hercolani, once famous for its collection of pictures. Bologna: San Bartolommeo.
Palazzo Zampieri. San Domenico. San Bartolommeo, built in 1653, has some fine marbles and rather a gaudy dome. In 4th chapel right an “Annunciation,” by Albano. The paintings behind the high altar are by Franceschini. In the left transept, an oval picture of the Madonna, by Guido. The Latin inscription on the wall relates how it was returned from London in 1859. Palazzo Zampieri (admission, ½ fr.), although deprived of most of the pictures, still retains the admirable frescoes by Agos. Annibale, and Lod. Caracci and Guercino. The church of Ai Servi, built 1393, has a fine interior, with thin columns. In the 2d chapel left is a “Touch-me-not,” by Albano; and in the 4th, a St. Andrew, also by him. In the 6th chapel an “Annunciation” by Inno da Imola. South from the principal square is (No. 1 in plan) the church of S. Domenico, attached to a convent where St. Dominic lived and died. The church dates from the 12th cent., but restored in the 18th. Interior—2d chapel right, Miracle of Ferrerio, by D. Creti. Right of south transept—the splendidly decorated chapel of St. Dominic, with his sarcophagus ornamented with bas-reliefs, by Nic. di Pisa. The garlands and statuettes were by Nic. di Barri (Arca), 1469. The kneeling angel on the right, and St. Petronius, over the sarcophagus, were by Michael Angelo in his youth. The base of the tomb, with its bas-reliefs illustrating the life of the Saint, was not added until 1532, a work of Alfonso Lombardi. On the beautiful ceiling of the chapel is a fresco by Guercino, “The Transformation” of St. Dominic. The painting of the Saint burning Heretical Books (on the left wall) is by L. Spada; that of the Saint recalling a Child to Life is by Tiarini. In a chapel on the right side of the high altar is the Marriage of Saint Catharine, by Filippino Lippi. The Adoration of the Magi at the high altar is by Bart. Cesi. In the left transept should be noticed the tomb of a Pepoli (1348), and on the wall a portrait of St. Thomas Aquinas, considered here an accurate likeness, though painted 100 years after the death of the saint. Bologna: Guido’s Tomb. Opposite St. Dominic’s chapel, and in the north transept, is the chapel of the Rosary, containing in the centre, under a slab, the grave of Guido Reni (b. 1575; d. 1642). Near him lie the remains of his favourite lady pupil, Elizabeth Sirani, who, with her master and the Caracci, executed the small paintings which adorn the frame of the reredos of the altar in this chapel.

Bologna: San Pietro.

Directly north from the Palazzo Pubblico is S. Pietro, rebuilt in 1605, containing, on the arch above the high altar, an Annunciation, the last painting by Lodovico Caracci, who died a few days after finishing it. Near S. Pietro is a small church Madonna di Galleria, with, in 1st chapel left, St. Philip Neri, by Guercino, and in the next, a fine Albani. N.E. from S. Pietro is S. Martino, 1217, restored. In the 1st chapel right, Giorlanno da Carpi’s Adoration of the Magi; and in the 5th chapel on the left side is an Assumption, attributed to Perugino; in the next, a St. Jerome, by L. Caracci; and in the chapel next the entrance, Madonna and Saints, by F. Francia. Old monuments in the cloisters. East from the leaning-towers is S. Vitale, consecrated in the fifth cent., and lately restored. At the 2d altar, right, is a Flight into Egypt, by Tiarini; in a large chapel on the left, Angels, with a beautiful landscape, by F. Francia; and at the first altar in the body of the chapel on the left, an Adoration of the Infant in Perugino’s manner.

ENVIRONS OF BOLOGNA.

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

Madonna di S. Luca. The Certosa.

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

269¾ m. from Turin and 21¼ from Florence is Pistoja (see p. 231), and 291 m. from Turin is Florence (see p. 233).

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

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

COURMAYEUR 74 ST. PIERRE D’ALBIGNY (see p. 289), 15 m. S.E. from Chambery, and 45½ m. N.W. from Modane.

ST. PIERRE 14 60 ALBERTVILLE, pop. 5000 on the Arly, and 1180 ft. above the sea. Inns: Million; Balances. A diligence runs between Albertville and Annecy, 22 m. N.

22 52 LA ROCHE CEVINS, pop. 1000. Inns: Croix Blanche; Lion d’Or. Hidden and sheltered behind a great rock which closes the valley. 2 m. beyond is the defile Pas de Briançon.

ST. PIERRE
COURMAYEUR 31 43 MOUTIERS, pop. 2100, and 600 ft. above the sea-level, on the confluence of the Doron with the Isère. Inns: Couronne; Courriers. One mile from the town is the Roc du Diable, rising to the height of 8200 ft. At the base are the salt springs, utilised both by salt-works and a bathing establishment. From Moutiers the road extends up a narrow and picturesque defile, following the course of the Isère, past St. Marcel, pop. 500, then ascends to the summit of a rock called the Detroit du Ciel, 945 ft. above the bed of the river, where the valley is only 145 ft. wide; and after this enters a rich plain with the village of Centron. On the opposite side of the river is Mont Jovet, 8375 ft., commanding a splendid view. Then, after passing the village of Villette, pop. 500, we reach

Aime. Seez.

ST. PIERRE
COURMAYEUR 41 33 AIME, pop. 1100, and 2385 ft. above the sea-level. Inn: Petit St. Bernard. This, the “Forum Claudii et Axuma,” possesses remains of extensive Roman fortifications, and a very ancient church called St. Martin, built of stones from Roman buildings. 4 m. beyond is Bellentre, pop. 1100, on the Isere, where the culture of the vine ceases. The Pass of the Little St. Bernard comes into view.

50 24 BOURG ST. MAURICE, pop. 2600, and 2780 ft. above the sea. Inns: Voyageurs; Royal. A village consisting of one long street, near the confluence of the Isère with the Versoyen and Nantet.

52 22 SEEZ, the ancient Sextum, a pretty village between six mountains, pop. 2600, and 2985 ft. above the sea-level. From Seez the road passes the village of Villard-Dessus, and then crosses the Recluse by a lofty bridge near an escarpment of gypsum, called the Roche Blanche, supposed to be the place noticed by Polybius, where Hannibal posted himself to protect his cavalry and beasts of burden. 3 m. beyond is St. Germain; the last inhabited village during the winter. From St. Germain the ascent is easy to the

ST. PIERRE
COURMAYEUR 58½ 15½ HOSPICE, 7077 ft., founded by St. Bernard of Menthon, on a grassy plain 3 m. long, and about a mile from the summit (7193 ft.), indicated by the Colonne de Joux, Jovis, or Jupiter, 23 ft. high, of Cipolino marble. From the Hospice, Mont Belvidere, 10,093 ft, may be ascended. About 300 paces from the column is the Cirque d’Annibal, consisting of a circle of large stones lying on the ground, where Hannibal is said to have held a council of war, 218 B.C. A few miles below are Cantine des Eaux Kousses, with a small inn, and Thuile, a hamlet, 4685 ft. above the sea-level, 9 m. from Courmayeur.

Pré St. Didier.

ST. PIERRE
COURMAYEUR 70 4 PRÉ ST. DIDIER, pop. 1300, on the Doire. Inns: Poste; Pavilion. Junction with road to Aosta, 23 m. E. (See map, p. 290.)

74 COURMAYEUR, 4211 ft., the highest considerable village in the valley of Aosta. Inns: Royal; Angelo; Mont Blanc; Union. A public coach leaves daily for Aosta by St. Didier. Fare, 7 frs.; time, 5 hrs. Courmayeur is frequented by Piedmontese in considerable numbers every summer, both on account of the mineral springs in its neighbourhood and for the sake of the exquisite freshness of its climate. The waters, which rise from alluvium, are saline and purgative. Those of La Saxe are sulphureous. All who have visited Courmayeur, under favourable circumstances, agree in considering its position one of the finest in the Alps. Six different routes diverge from Courmayeur—the road to Aosta; that of the Little St. Bernard; the Allée Blanche; the Col du Géant; the Col Ferret; and the Col de Serène, leading to the Great St. Bernard.

Paris to Modane by Lyons, Voiron, and Grenoble.

From Paris to Modane by this route the distance is 476 m., and Modane to Turin 50 m. farther. This is the route to take for the Baths of Allevard, the Monastery of the Grande Chartreuse, and for Grenoble, which is one of the nearest railway stations to Mont Pelvoux and the other lofty mountains in the Dauphiny. The best resting-places are Dijon, Lyon, and Grenoble.

(Map, page 304.)

MODANE 476 PARIS. Start from the station of the Chemins de Fer de Paris à Lyon, where buy one of their Time-tables, 40 c. From Paris to Lyons follow pp. 1 to 29, and examine the maps referred to.

PARIS 318 158 LYONS. Perrache station. (See p. 29.)
 

325½ 150½ ST. PRIEST, pop. 2800. In the old castle here Charles VII. confined his son Louis XI., then the Dauphin.

Bourgoin. Virieu.

PARIS
MODANE 344 132 BOURGOIN, pop. 5200. Inns: Europe; Parc. Situated among 16,000 acres of bog, producing large quantities of peat. 10 m. farther is La Tour-du-Pin, pop. 3200. Inn: Poste. On the Bourbre.

358 118 ST. ANDRE-LE-GAZ. A coach at this station awaits passengers for Chambery, 32 m. E., passing by Les Echelles, whence the Chartreuse may be visited.

363 113 VIRIEU, pop. 2000. With a large old 14th and 16th cent. castle, in good preservation, containing tapestry and portraits, 16th cent.

Chabons. Rives. Voiron.

PARIS
MODANE 368 108 CHABONS, pop. 2000. 5 m. distant is Lac Paladru, 3 m. long and 160 ft. deep, surrounded by wooded slopes studded with villages. At the N. end of the lake is Paladru, pop. 1000.

PARIS
MODANE 371 105 RIVES, pop. 2900. Inn: Poste. Situated about 1 m. from the station, on the Fure. It has some of the largest paper-mills in France, as well as some considerable forges. A great proportion of the inhabitants employ themselves in the weaving of silk and linen by hand-looms. The parish church was built in the 14th cent. Here are the ruins of the castle of Châteaubourg, destroyed by Richelieu in 1626. Branch line from Rives to St. Rambert, 35 m. W., on the Lyons and Marseilles line (see page 43).

PARIS
MODANE 378 98 VOIRON, 939 ft., pop. 12,000. Hotels: Louvre; Cours; Poste. Coaches and gigs await passengers for the Grande Chartreuse, 15 m. distant by the village of St. Laurent-du-Pont, which is 9 m. from Voiron and 6 from the Grande Chartreuse. Fare, 5 frs. Voiron is a busy town on the river Morge, with important silk, linen, and cloth manufactories. Here the monks of the Grande Chartreuse have large premises for the sale of their famous cordials, which they distil, not in the monastery itself, but in a large building a little beyond St. Laurent. The road from Voiron to the Grande Chartreuse joins the road from Voreppe just before reaching the village of St. Laurent-du-Pont, distant from both stations 9 m., 1344 ft., pop. 2000. Inns: Princes; Nord. After leaving St. Laurent we pass on our right the distillery of the monks, and then ascend by a narrow gorge, among fine woods and perpendicular cliffs, to the convent, consisting of an immense square building, garnished with pavilions, situated on a narrow plateau 3200 ft. above the sea-level, at the base of the Grand Som, which towers 3460 ft. higher, easily ascended from this place in about 3 hrs. This monastery, the head establishment of the Carthusian friars, was founded by St. Bruno, the originator of the order, in 1084. At first it consisted only of a small chapel, with six poor cells, the habitations of St. Bruno and his followers, built in what was then an almost inaccessible spot among rocks and forests.

The Grande Chartreuse now contains from 70 to 75 monks, each provided with a suite of three small upper and two lower chambers, and a small garden. They pray 3 hrs. every day, the rest of their time being occupied in cultivating their gardens and working at any of the handicrafts they understand, and in the preparation of their simple vegetable fare. On Thursdays they take together a 3 hrs. walk in the surrounding woods, during which time they may converse; and on feast-days they all dine together, when also they may converse. Animal food and linen clothing are prohibited. At 7 A.M. they attend mass, excepting on Sundays, when the hour is 8 A.M. Vespers are said at 4 P.M., and matins at a quarter to 12 midnight. Visitors who wish to see the monks should endeavour to be at the chapel-door at any of these hours. For gentlemen guests there is ample accommodation in the convent, clean beds, three large dining-rooms, good wholesome food and excellent water. The men-servants, of whom there are 59, inhabit the top story; the wives, however, of these servants, not being allowed to enter the convent, dwell in a house a few yards distant kept by nuns. It is in this house also that ladies who accompany gentlemen must lodge, as no female is allowed to enter the monastery.

Their principal revenue is derived from the sale of the liqueurs they distil at St. Laurent, and which are sold both wholesale and retail at Voiron, at the following prices:—Liqueur verte, 8 frs. the litre bottle; liqueur jaune, 6 frs.; liqueur blanche, 4 frs.

From the monastery the ascent is made of the Grand Som, 6660 ft., in about 3 hrs. It is necessary to make a considerable detour before commencing the ascent. The first point reached is the Chapelle St. Bruno, erected on the supposed site of the Hermitage. The view from the top, though limited, is very beautiful. Coach to Grenoble, 17½ m. S., 5 frs. Guests in the monastery should pay 6 to 7 frs. per day.

Moirans. Voreppe. Grenoble.

PARIS
MODANE 381½ 94½ MOIRANS, pop. 1000. Inn: H. de Paris. Junction with branch line to Valence, 50 m. S.W., passing, at about half-way, St. Marcellin, pop. 4000. Inns: Poste; Courriers. From St. Marcellin a coach runs daily to the picturesque village of Pont-en-Royan, on the Saône, 11 m. S., whence another coach runs to Die by the Grands Goulets and Chapelle. (For Die, see p. 47.)

385 91 VOREPPE, pop. 3000. Inn: Paris. Passengers for the Grande Chartreuse may alight here also, from which it is 15 m. distant.

PARIS
MODANE 394 82 GRENOBLE, pop. 46,000, and 702 ft. above the sea, beautifully situated on the Isère, by far the greater part being on the left bank, while on the other there is a mere strip hemmed in between the river and the steep declivities of the Bastile. Hotels: in the Place Grenette, the *Monnet; Europe; the two principal hotels. Fronting the promenade, in the Rue Montorge, is the Trois Dauphins, frequented by commercial travellers. Napoleon I. on his way from Elba lodged in this house from the 7th to the 9th March 1815. He slept in room No. 9. Among the cheaper second-class houses are the H. des Alpes; Marseille; *Bayard; all near each other and to the Place Grenette. Of the small houses at the station, the best is the H. Savoie. Temple Protestant at the W. end of the Rue Lesdiguières. Pleasant excursions for a very small sum may be taken to all the important places in the neighbourhood by means of the rail and the diligences and omnibuses which start from the Place Grenette. On the road to the railway station is a large and handsome hospital, founded in the 11th cent, by St. Hugues. A little way down, on the other side of the river, is the Esplanade, a very large oblong square, 430 yards by 120, surrounded by trees, much frequented on feast-days. The band plays in the Jardin de Ville, off the Place Grenette.

Grenoble: Coaches. Bastile.

From the Place de la Halle coaches start for Sassenage, Nogarey, Seyssenet, and Seyssins; from the P. Notre Dame for Domene and Gières; from the P. Grenette for La Chartreuse, time 4 to 5 hrs., fare 5 frs.; also to Briançon by Bourg d’Oisans, 6 frs., 7 hrs.

The most important place to visit in the neighbourhood is the summit of the Bastile, 915 ft. above the river. To reach it cross the river by the bridge highest up, then ascend by the first road to the left in the village of La Tronche, beyond the gate. After numerous windings by a bullock-cart-road through vineyards, on the side of the mountain exposed to the S., a square house is attained on the plateau behind the fort. The view is magnificent, but it is still better from the peak immediately above, where there is one of the quarries of argillaceous siliceous limestone, extensively used for making cement. Ascend either by the continuation of the same bullock-road or by the steep footpath. The isolated mountain, so prominent from the village of La Tronche, is Mt. Eynard, 4846 ft. Although Grenoble is of great antiquity, all that remains of its early history are some fragments of the walls built by Diocletian. The most interesting of the buildings is the Palais des Dauphins, now the Palais de Justice. Grenoble: Bayard. St. André. In the square in front is a bronze statue of Bayard, one of the most illustrious heroes of a chivalrous age, esteemed by his contemporaries the model of soldiers and of men of honour. Born in 1476 at the neighbouring castle of Pontcharrá, he died at Rebecq on the 30th April 1524 from wounds received at the battle of Romagnane, and was buried in the church of the Minimes, 1¼ m. from Grenoble, whence in 1823 his ashes were removed to the church of St. André and deposited in the tomb in the N. transept. St. André, founded in the 13th cent., was the private chapel of the Dauphins. From the intersection of the transepts rises a fine tower, terminating with a steeple 183 ft. high. Adjoining is the Hôtel de Ville, fronting the promenade. The tower of the 12th cent, attached to the Hôtel de Ville stands on foundations laid by Diocletian.

Grenoble: Library.

E. by the Rues du Palais and Brocherie is Notre Dame, from the 10th to the 15th cent. Next the altar is a beautifully-wrought stone tabernacle, and behind it, in the aisle, the chapel of St. Hugues, 13th cent. At the S. end of the town are the best streets and houses, the Place de la Constitution, and the Botanic Gardens. The Préfecture occupies the entire S. side of the “Place.” Behind are the Botanic Gardens and the Natural History Museum. Opposite the Prefecture, in a handsome building, are the class-rooms of law, science, and literature. On the E. side are the Artillery School and a large handsome edifice containing the public library and the picture gallery. It is 279 ft. long and 156 ft. wide, and cost £67,585. The Library, open every day except Monday, contains 150,000 vols. and nearly 2000 manuscripts. There is a comfortable reading-room open to all. The great hall, 204 ft. long and 44 ft. wide, is lined with shelves of books in three stages, and lighted by handsome cupolas. Round the sides, under glass, are displayed richly-illuminated manuscripts, while down the centre are other glass cases containing medals and antiquities, many belonging to prehistoric times. Among the MSS. is a Bible (imperfect) translated into French by Raoul de Sestre in 1377 by order of Charles V.; also a New Testament, 12th cent., and another in Vaudois, 13th cent.

Grenoble: Picture Gallery.

The Picture Gallery, open also every day excepting Monday, contains 550 paintings in four spacious halls, of which the centre one is the largest and contains likewise the best pictures. The principal artists are:—Albani, Alfani, Allori, Battoni, Bellini, Blanc-Fontaine, Bloemaert, Bloemen, Bol, Bonifazio, Bouchet, Breughel, Bronzino, Canaletto, Ph. Champaigne, Cock, Coypel, Crayer, Dagnan, Desportes, C. Dolce, Gustave Doré (landscape), Dubuisson, Faure, Feti, Flink, Foschi, Fouquières, Fragonard, Franquelin, Tadeo Gaddi, Gautier, Claude Gellée, Gerard, Giordano, Glauber, Guardi, E. Hebert, Heusch, Holbeina, Jordaens, Jouvenet, G. Lacroix, Lafosse, Lanfranc, Lepic, Licinio, Maltais Le, G. Manni, Massé, Meulen, P. Mignard, Millet, Monnayer, Montessuy, Moor, J. Ouvrié, Pannini, Parrocel, Perugino, Piombo, Procaccini, Rigaud, Rivera, Romano, Roos, Rubens, Ruisdael, Rysbraek, Salvator Rosa, Sassoferrato, Sneyders, Sueur, D. Teniers, Terburg, Thielen, Thulden, Tintoretto, Uden, Valentin, Van den Veldt, Van Loo, P. Vannucci, Verelst, P. Veronese, Vos. Off the last room of the picture gallery is a chamber containing the busts and portraits of the most famous Dauphinois. Round the room are the Dauphins, Dukes Guigues I. to VI., Jean I. and II., Humbert I. and II.—Bayard, 1476-1524; Lesdiguières, 1543-1626; Vauconson, 1709- 1782; Condillac, 1715-1780; Champollion, 1791-1831, etc. Upstairs is a collection of valuable antique furniture, porcelain, carved ivory, and other ornaments; also one of those models of the Bastile which were distributed among the eighty-three departments of France after the fall of that stronghold of despotism on the 14th of July 1790. On one side of the picture gallery is the Rue Lesdiguières leading to the Temple Protestant. Grenoble: Museum. On the way is passed the entrance to the Botanic Gardens, with the Museum of Mineralogy and Natural History. The great interest of the museum consists in the well-arranged collection of specimens illustrating the organic and inorganic products of this part of the Alps. The birds and ores are well represented. Near the gate leading out to La Tronche is the church of St. Laurent, 11th cent. The crypt, 6th cent., is supported on twenty-four slender marble columns from 4 to 5 ft. high.

Grenoble: Manufactures.