Naples was very different in those days. S. Lucia existed then. Now the old harbour is filled up and modern hotels stand where frail wooden piers ran out into the water. From these spider-like structures oysters hung down in baskets fructifying in the outlet of the main sewer! S. Lucia was surpassingly picturesque and gay with the life of the lowest class, but—surpassingly odoriferous. Stalls lined the pavements. Fish of all sorts, cooling drinks, lemons, oranges, every description of fruit, were displayed in the shade of multi-coloured awnings. Lazzaroni lay stretched all day long on the sea wall, or slept on the foot-ways propped against the houses. Domestic toilettes performed out of doors in the street never excited remark. And the houses themselves, what a blaze of shifting colour when the wind stirred the sheets and clothing hung out to dry from a hundred balconies! All is changed. The sewage is carried out to sea right away at Cumæ. There are no more oysters at S. Lucia; there is no longer a S. Lucia, but with its disappearance Naples has lost its most unique attraction.

Away at the end of the Chiaia, past the celebrated Marine Aquarium, the hill of Posillipo rises above the little fishing harbour of Mergellina. A tram will carry you swiftly round the corner and along an uphill road from which you will obtain many delightful views. There is nothing on the Riviera to equal the position of some of the fine villas which line this road. Beautiful grounds run down to the sea. Exotic plants grow and flourish, sheltered from the bitter tramontana wind. Great pine trees rise solemnly above the tops of their Bay, such as is illustrated, lead one up the steep slopes. Wherever one wanders, it is always the blue sea that is below, and always the wonderful outline of the peninsula across the Bay in the distance or the graceful curves on the flanks of Mount Vesuvius, or, most beautiful of all, the lovely outline of the enchanting Isola da Capri.

THE BAY OF NAPLES FROM POSILLIPO
THE BAY OF NAPLES FROM POSILLIPO

SALERNO

IN the Middle Ages the subject of this chapter was famous throughout Christendom for its school of medicine. S. Thomas Aquinas tells us that in the medical world Salerno ranked where Bologna did in law and Paris in science. Had its fame on this account not been so great, Robert, the son of William the Conqueror, would not have delayed his homeward journey, and stopped there to consult its medical men for a wound he had received in the Holy Land. In consequence of his absence from England, Henry stepped on to the throne which had meanwhile become vacant by the death of Rufus, and the rightful heir never reigned. Salerno was in many other ways connected with the powerful race of Northmen. Robert Guiscard received his mortal wound before the walls of the city as his troops swept over the ramparts at the first assault after an eight months' siege. Roger the Norman was here declared king of Naples and Sicily at a meeting of the barons in 1130, and for many years Salerno was the seat of the Norman government in South Italy. Like many another city which has in the past enjoyed a famous reputation and been of great importance, there is now practically nothing left to tell of its great days. On a crag at the end of the old city walls, some nine hundred feet above the sea, the ruins of the Northmen's stronghold, in the attack on which Robert Guiscard was wounded, still remain, buffeted by the storms that rush up the mountain slopes. The harbour which Manfred commenced to build, and which in old days held the Norman fleet, lies below the Marina, but it silted up many years ago, and is now almost useless for trade. The great days of Salerno have gone, just as the great days of her famous neighbour, Amalfi. The exigencies of modern trade routes and the facilities of the railway have robbed her of all the power and glory she once possessed.

There is, however, something left to remind one of her past wealth and power. Closely hemmed in by its surroundings, the cathedral is not by any means easy to find. Tortuous uphill streets lead to the piazza, where, on a steep incline, a fine double flight of steps with a marble balustrade give on to the spacious cloistered court or atrium beyond which it stands. Robert Guiscard dedicated his cathedral to S. Matteo, and, so that it should be worthy of the great race of de Hauteville, plundered the old Greek city of Pæstum for the building of it. Nearly every one of the pillars of these cloisters came from there. Most of them are so massive that the capitals of native workmanship, probably hewn while the plundering was going on, are too small. The arches above are stilted; they support a gallery whereon a row of statues of different archbishops appear in a now much delapidated condition. The same state of partial ruin greets the eye as one looks around. Fourteen ancient sarcophagi, nearly all of them Greek, stand in the cloisters of the court. They were used by the Normans for Christian burial, but, alas! are mutilated and chipped at the corners, and their fine bas-reliefs, one of a hunting scene, another with centaurs and nymphs on the panels, are almost completely ruined by the ill-treatment they have received. In the centre of the court is a fountain. Water still splashes in its Greek basin, but decay and neglect have robbed this otherwise beautiful atrium of most of its charm.

The cathedral adjoins the courtyard. The bronze doors of the central porch were at one time inlaid with silver. The precious metal has disappeared, but small figures of the Apostles and Christian symbols bear evidence that when these doors came fresh from Constantinople in the eleventh century they were of very fine craftsmanship. The interior of the great church is whitewashed. The floor slopes up towards the east end, and is a good example of a well arranged marble pattern. The most interesting things, if we except the tombs that are in the building, are the two ambones, or pulpits. That which appears in the illustration is a wonderful example of the work of John of Procida. The other, as well as the archbishop's throne, is by the same great designer. All three are masterpieces of the Græco-Byzantine style of inlaid tesseræ. In the illustration will be seen a fine Paschal candelabrum, with most intricate inlay, as fine in its way as that described in the next chapter. These pulpits are approached by steps from inside the choir. One is supported by four columns of rare porphyry and the other by twelve of granite from Pæstum. Age has toned the white marble panels to a light grey, which gives a wonderfully fine note to the white of the cathedral walls as one looks up the nave from the west end. The choir is encircled with a most beautiful inlaid marble screen, in decoration similar to the two pulpits. The floor is a grand example of opus Alexandrinum inlay, and is as good in this respect as the best in Italy.

A PULPIT IN THE CATHEDRAL, SALERNO
A PULPIT IN THE CATHEDRAL, SALERNO

Under the high altar, in the crypt, is a monument to S. Matthew, with a seated bronze figure of the saint. Below this, in a casket, repose the remains of the Evangelist, which were brought here in the year 930. The crypt itself is not interesting. To find what is, we must return to the church above, where some of the tombs are well worthy of study. Pope Gregory VII., Hildebrand, who died in Salerno, lies in a sarcophagus in one of the side chapels. The remains of Margaret of Anjou, mother of King Ladislaus, rest under the canopy of a fine tomb, on which in relief the queen is depicted surrounded by her children and her maids of honour. Angels form the support to the canopy, which is decorated with gold fleur-de-lys on a blue ground. Archbishop Caraffa's remains are in a fine Greek sarcophagus with Medusa heads at its corners. On another is a fine bas-relief of the Triumph of Bacchus, and many more, like those in the cloisters, have been transferred from Pagan use to Christian. The chapel in which is Hildebrand's tomb belongs to the family of John of Precida, who decorated it himself.

In the sacristy is a very interesting Palla of ivory, the thirty panels of which represent scenes in the Old and New Testaments. This eleventh-century work is one of the few things which can with truth be said to be in excellent preservation. The cathedral, like its surroundings, is sadly in need of repair. Its fine campanile is buttressed up, or would long ago have toppled into the street below. The two lowest storeys of this grand tower are the original Norman work of Roger's day. At their angles are marble and granite columns, no doubt from Pæstum. The two upper storeys are not like the lower, built of stone, but have been constructed in a very beautifully coloured brick. They are pierced by Norman arches, above which is the belfry surmounted by a dome. Were it not for the few things we have noted, Salerno would not be worth a visit. But if only to see the magnificent pulpits and stand silently in the crypt by the remains of the Evangelist, the tourist in his hurry should never omit to spend at least a few hours in this once famous city.

PALERMO

PHŒNICIANS, Carthaginians, Greeks and Romans, Goths, Byzantines, Normans and Spaniards, have all ruled in Sicily; and those whose curiosity takes them to the museum of Palermo may there see many antiquities of great interest in the history of each period. The man who observes may also see much in her streets. There are distinct quarters in Palermo where the different races and their descendants have kept themselves to themselves from time immemorial. It takes no special knowledge of racial physiognomy to single out among other types the Berber or the Greek, as one saunters along watching the ever-changing crowd in the lively thoroughfares. The Norman occupation is recalled in the vivid decoration of the panels of the peasants' carts. On them one sees the gallant Norman slaying the truculent Infidel—slaying them by dozens! Quite archaic is the execution of these panels—the handiwork of a long line of painters, whose progenitors hundreds of years ago were painting the same scenes on the vehicles of their day. The colours are crude. Every inch of the car is painted. The spokes of the wheels are notched and carved. The body of the cart is firmly fixed, high above the axle bar, by well-arranged ironwork of floral design. There are no other carts in existence like them; and when the feathered plume of ultramarine and red which always adorns the donkey's headgear, and the tinselled harness worked with gold and silver thread, are new, not many chariots or state coaches make a braver show.

Palermo is divided into four quarters by the two streets that, running east and west, north and south, bisect one another at the circular space in the centre of the city called the Quattro Canti—the Four Corners. Standing in this busy spot and looking downhill northwards, the deep blue of the Mediterranean bounds the horizon. South the view is partially stopped by the great city gateway, the arch of the Porta Nuova which crosses the street by the Royal Palace nearly a mile away. East and west, high over the heads of the crowd and the congested traffic, grand mountains rise up with a puff of white cloud above their summits. In whichever direction one gazes the vista ends, far beyond the lines of tall houses, with the blue sea or the blue sky.

THE CATHEDRAL. PALERMO
THE CATHEDRAL. PALERMO

If one walks towards the Royal Palace up the hill, one passes through the fine Piazza del Duomo. It is a large square enclosed on three sides by a marble balustrade, on which stand, at intervals, colossal statues of bishops and saints. On the fourth side is the great cathedral. This fine specimen of pointed Sicilian work is dedicated to S. Maria Assunta, and was commenced in the twelfth century when Gualterio Offamilio, Walter of the Mill, was the English archbishop of Palermo. The curious architectural style of the building is due to the fact that it was designed by a Norman and carried out by Moorish workmen. The Moor found it impossible to leave out his native arcades and his battlements; and the diaper pattern on the west façade recalls in design the decoration of the east. The Saracenic capitals of the beautifully carved pillars of the three doors of this façade are exceptionally good. Norman zig-zag moulding embellishes the arches above. Niches filled with saints add to the harmonious incongruity so subtly arranged by infidel workmen. A noble tower at each corner rises in eight tiers, the three topmost being open. Throughout these towers small arches are supported by little marble columns with their corners rounded off in a bold way by ringed pillars. They terminate in little turrets and pinnacles, which have flames at their bases. To break all the flat surfaces of these, the Eastern mind was constrained to put some sort of decoration, thus carrying off the appearance of great weightiness; and so, square, billet, lozenge, and nail-head patterns have been most admirably introduced. The lower portion of the great tower across the street and opposite the façade, and which forms part of the archbishop's palace, is Saracenic, and was erected before the Northman's advent in Sicily. The upper stages are the belfry. Despite the spires which all these towers possess, there is something decidedly more Eastern than Northern in their appearance. The arches that cross the street—so bold a feature in the sketch—were put up in the twelfth century to sustain the palace and cathedral whenever earthquake shocks occurred.

The cathedral is entered by the south porch. This is flanked by twelfth-century towers, on the top of which are ugly white marble figures, executed at a bad period. Three stilted arches of Moorish design with cable mouldings, the central arch larger than the other two, support a rather low gable. The face of this gable is covered with a good scheme of decoration. The cornice is deeply cut with animals and foliage, a porcupine and a hare being among the former. Four grotesque Norman waterspouts break the string course between the cornice and a beautiful flat arcade under the arches, on which are half-length figures of saints and bishops. The wall beneath this and above the three arches of the porch was evidently at one time covered with Arab designs in black and red. Four grey marble pillars with their eastern capitals support the arches; they came from the mosque which stood on the spot where the cathedral was erected. The portal of the door itself is a real masterpiece of intricate Moorish carving. Here pomegranates and palm leaves occupy a prominent place. In the eighteenth century many alterations occurred, and this grand and, from an architectural point of view, deeply interesting church, was disfigured to a large extent. The porch has suffered almost as much as the interior of the building. But one tablet worth recording still exists in the former:

Thus runs the proud title of the city in the days when the kings of Sicily were crowned in Palermo's cathedral. A row of white marble figures stands on the exterior of the side chapels of the aisles. They are bad. Little domes with glazed tiles also remind one of a later period. These, with the big central dome over the crossing, were the work of Fuga, a Neapolitan architect. In the alterations he carried out, the battlements and the corbel tables under them were spared. The latter are a very curious study in the physiognomy of the different races known to the Normans when the cathedral was built. Executed by Arab workmen, whose faith forbade them to portray the handiwork of Allah, their accuracy is not unimpeachable. The east end is partly covered with flat arcading, most elaborately carved with Arabic design, and partly with a black and red pattern of the same character. The apse is not pierced by any lights.

The white-washed classic interior is a great disappointment after the rich brown and yellow stone of the exterior. But if, architecturally, it fails to interest, historically it is concerned with the most brilliant and prosperous period the city enjoyed. Turning to the left on entering the cathedral by the south porch are the two chapels wherein stand in solemn grandeur the mighty sarcophagi of the Norman and Swabian kings. The remains of Roger, the first Norman ruler of Sicily, rest in a porphyry sarcophagus supported by marble feet composed of four crouching Saracens. The fine canopy above is incrusted with mosaic. Its pillars are gilded and inlaid. The next tomb is that of Constantia, who was the last of the royal line of Normans. She was the wife of the Emperor Henry VI., and mother of Frederick II. By the side of this is the sarcophagus of Henry VI. Very elaborately adorned is that which contains the remains of Frederick II., and the body of Peter II. of Aragon. The lid of this is carved with medallions of Christ, and the Virgin and child. All that is left of Constance, wife of Frederick II., is in a Roman sarcophagus which is recessed in a wall of the chapel. It is beautifully decorated with a hunting scene in bas-relief. Standing against another wall is a mediæval tomb, with a cowled figure between two shields, on which are displayed the eagles of Aragon. It holds the ashes of William, Duke of Athens, who was a son of Frederick of Aragon. All these tombs are not only full of archæological interest in themselves, but when one reviews the origin and history of the Norman occupation of the island, the chapel in which they rest becomes one of the most historically absorbing spots in the world.

The Saracens were in possession of Sicily when Roger, the youngest of the twelve sons of Tancred de Hauteville, came over from Apulia, where his brothers, by force of arms, had established themselves as reigning Counts. Roger found all the civilisation, culture, and well-ordered bureaucracy of the Moor firmly established. And with this he was too wise to interfere. Changing nothing of the mode of life of those he conquered, but simply adding to it the strength of arm and vitality of a northern race, he became—and those who followed him were—by far the richest and most magnificent sovereigns of their time in all Europe.

In the fine open square which one reaches at the end of the seemingly interminable Corso, a Roman house and other very interesting remains are now being unearthed. The Royal Palace occupies one side of the piazza, and, being the highest part of the city, is on the site of the old Roman palace. There is a magnificent view from the observatory situated on the roof of the building. It is, however, with the beautiful chapel built by Roger II. in the early part of the twelfth century that we are concerned. The Cappella Palatina is a perfect gem, and no one who has once visited it in the morning can ever forget the marvellous effect of dim light passing through its narrow windows, and illuminating its wonderful marble and mosaic walls. Three of the bays of the nave are formed by columns of Egyptian granite which alternate with three of fluted Greek marble. The composite capitals of the arches are Byzantine and Corinthian. These arches are stilted and covered in an extremely rich manner with gorgeous mosaic, and their soffits inlaid with tesseræ arranged in Moorish designs. The walls of the aisles are lined with the richest marble slabs, beneath which a beautiful dado of inlaid Eastern pattern runs round the chapel. The wooden roof of the nave is honeycombed, and like that of the Alhambra at Granada is arranged with splendidly coloured and gilded pendentives. Cufic inscriptions find a place amongst these hanging clusters. The ceilings of the aisles are coffered and sustain heavy gold bosses, which enrich the gorgeous effect of their strong colour.

The choir is raised five steps above the nave, from which it is shut off by a very beautiful marble screen. The stalls are carved perpendicular work. The fine wooden lectern of very late Gothic design has well-carved angels kneeling on the four supporting legs. Above these angels four kings stand around the centre column. On the book-rest repose the old black-letter parchment psalters. At the top of all, the Virgin and Child finish off this exceedingly well-designed and executed reading-desk. Beyond the choir the apse rises four steps. The risers of these steps and those of the choir are most beautifully inlaid. The colossal mosaic figure in the semi-dome of the apse is the only mosaic of a late date; and, aiming at the qualities of a painting, like those on the exterior of S. Mark's and the cathedral at Orvieto, somewhat mars the uniformity and simplicity of the tesseræ decoration of the chapel. The floor of the building is entirely opus Alexandrinum. At the west end, a raised dais for the exclusive use of royalty is railed off, and a portrait of the reigning sovereign let into the marble panels of the wall. By the pulpit stands a Byzantine candelabrum. Four lions rending their prey are at its base. Other animals and birds and figures of men, all fighting one another, encircle, in orderly confusion, the beautiful inlaid central column. Above them is a figure of the Almighty, serenely quiescent. Children, symbolical of innocence and freedom from sin, are carved round the bowl into which is stuck the huge Easter candle. It is very difficult to describe the effect of sudden calm that steals over one when, entering this dark church, with the glare of the sun and the noise of the streets outside, one is conscious of a very restful gloom, full of the richest colour, and a silence soothing to the senses. One somehow feels the gorgeousness of the east combined with the solemnity of a well-planned sacred interior, and this despite the sudden transition from light to darkness. There is no other building of like dimensions which grips one as does the wonderful Cappella Palatina of Palermo.

La Martorana, away down in the city, may have been as beautiful, but unfortunately in the year 1590 the nuns of the attached convent ordered most of the precious mosaics to be stripped from the walls, and a hideous choir added when these were demolished. Some few are left on the roof to tell us what a glorious thing this finely proportioned chapel must have been before religious zeal got the better of artistic taste. The central apse was likewise taken down a hundred years later, and with it more priceless mosaic destroyed. The inlaid marble on the walls was done away with in the eighteenth century. If anything better could have been found to take the place of the grand mosaics that covered the interior there might have been an excuse for these acts of vandalism but when one sees the hideous stucco and wretched mural paintings of bad design and colour, that have no religious fervour or tendency and nothing whatever to recommend them in any way, one stands aghast at the ignorance and stupidity which in the name of religious expediency destroyed such priceless treasures. Among the little that remains are two curious mosaics wherein King Roger is crowned by Christ, and the High Admiral, who founded the church, is dedicating it to the Virgin. The king is wearing the dalmatic. This he received, together with the mitre, from the Pope, who found it more diplomatic to confer ecclesiastical office upon the Norman king than to oppose him in useless wars.

A little to the south of the Royal Palace, and almost abutting on the old walls of the city, is S. Giovanni degli Eremiti. The beautiful cloistered garden, which is adjacent, forms an illustration to this chapter. The little church is a very early specimen of Norman work on the plan of the letter T with three apses. On its south side is a tiny mosque, incorporated with the building and utilised in the old days as a chapel. The monastery, which existed here in the time of Gregory the Great, had fallen into disuse when the Normans came to Sicily, and King Roger restored the old buildings. The interior now is absolutely bare and the windows unglazed. The Moorish domes give the little church a very eastern appearance, to which the flat members of the rustic stones of the cloister arches in no small measure add. It is a peaceful spot where exotic plants flourish luxuriantly, and vie with all sorts of flowers in wanton growth.

THE CLOISTERS OF S. GIOVANNI DEGLI EREMITI, PALERMO
THE CLOISTERS OF S. GIOVANNI DEGLI EREMITI, PALERMO

The traveller who has been in Spain will find in the old quarter of Palermo many palaces that will remind him of Seville, Salamanca, and other places in the Iberian peninsula. The tawny colour of the South predominates here, and the two or three courtyards possessed by many of these palaces will add to his reminiscences. This is not so strange as it may seem when one considers that from the year 1282, when Pedro of Aragon was crowned king, to 1713, when Victor Amadeus, Duke of Savoy, ascended the throne, Sicily was under the rule of the Spaniard. The great square block of yellow stone in the Piazza Marina, the Palazzo Chiaramonte, served as the palace of the Spanish Viceroys and headquarters of the Inquisition. Now known as the Palazzo de' Tribunali, it is used as the law courts. The ante-chamber of the court room has a magnificent wooden ceiling. Hunting about in the narrow streets in this quarter one chances on many a piece of architecture and decorative sculpture in the grandiose style of the great days of Spain. One or two good fountains and fine portals add much to the historical charm of a part of the city which is now occupied by humble folk. The church of S. Agostino, difficult to find in the slums, has a remarkable façade with a beautiful wheel window. Delicate white marble pillars radiate from the Paschal Lamb, which is the hub of the wheel, and three rows of tiny but beautifully-carved arches interlace and form the tracery of the window. The chevroned arches of the portal are decorated with acanthus leaves and arabesques. The capitals of the supporting columns are pomegranates, and a flat canopy with dripstone of acanthus leaves, beneath which are almost obliterated frescoes, completes one of the most fascinating relics of bygone days to be found anywhere in Palermo. It is in the old quarters, too, that the life of the cittadini is seen in its most picturesque garb. Fruit shops, full of golden oranges and pale lemons, prickly pears and great citrons, make gay patches of colour in the street vista. Glazed tiles, earthenware, and vividly coloured cotton goods displayed outside the shop fronts or hanging from the walls add to the variety of the scene. Cookshops, with pizzi and scaglozzi, and olive oil in the frying pan, excite the olfactory nerves in a pleasanter degree than those in which a particularly strong-flavoured cheese finds ready purchasers. Excellent wine may be drunk at a very small cost at the drinking bars, where a jet of clear water is for ever playing over the marble slabs of the cistern-like counter. Fowls scurry about in the midst of the throng, and hungry dogs scent a meal in the refuse heaps of the gutters. All is animation, and all has a touch of the South that is something more than Italian. It is almost worth while going to Palermo in order to perambulate her fascinating streets and observe the ever-changing crowd that peoples them.

MTE. PELLIGRINO, PALERMO
MTE. PELLIGRINO, PALERMO

It is certainly worth the voyage to enter the harbour when the sun is well up and from the ship's deck watch the splendid panorama unfold itself as the vessel glides into port. At the foot of Mte Pelligrino, and where the famous valley of the Conca d'Oro, or Golden Shell, touches the blue waters of the Mediterranean, lies Palermo. Beyond, with an inclination upwards to the lower slopes of Mte Cuccio in the distance, stretches the triangular shaped valley, Mte Cuccio forming the apex of the triangle. Mountains hem the landscape in on two sides. The whole of the country between them and the sea is one vast grove of orange and lemon trees. On the edge of the receding wall of mountains to the right of the valley in the middle distance, a stately building stands above the brow of a steep hill. Round it cluster roofs and walls in irregular lines. This is Monreale. To Monreale we go to study the mosaics. For though its cathedral boasts of grand twelfth-century bronze doors, and a very fine portico, the magnificent mosaics that cover the walls of the interior are its pride and glory.

The decoration of this fine basilica may be described as a coherent mass of superb mosaics and well selected slabs of grey and white marble inlaid with panels of Moorish design. Here more than in any other church in the world has architecture been subordinated to a scheme of gorgeously coloured decoration. Its Mosaics are Greek in style, with Greek inscriptions. Moorish designs and arabesques also rival in colour the extraordinarily intricate gold pattern which sets off the beauty of the marble walls. On the semi-dome of the central apse is a very impressive colossal half-length mosaic of the Saviour holding an open book. Below, are figures of the archangels, Gabriel and Michael, and the twelve apostles. The vault of the south apse contains a gigantic figure of S. Peter, and in the corresponding one in the north apse, one of S. Paul. These two figures are robed in white, and light up the dark recesses of the deep-toned gold background of the apses in a remarkable manner. In the choir there is a mosaic over the royal throne very similar to that in La Martorana, wherein King Roger is being crowned. In this case Christ places the crown on the head of William the Good. Over the Archbishop's throne William is represented offering the church to the Virgin. Sicily was never a fief of the Popes, and these two mosaics no doubt express the idea that the sovereigns derived their authority from God alone.

Comparing these wonderful decorations with those at Ravenna and in S. Mark's, one may at first be more impressed with the apparent magnificence of the scheme which we find here. The cathedral is larger than any of Ravenna's churches, and has this advantage over S. Mark's, that one is better able here to grasp at once the whole idea of the colour scheme. In S. Mark's one sits and quietly discovers things at leisure. At Monreale one enters and is immediately overpowered by the magnificence of the dull gold tesseræ and the gorgeous arrangement of the sequence of figures which, like a flash, strike one at first sight. Ravenna can show us better schemes of colour, subtler and more refined. Ravenna gives us earlier work, and work more naïve, and is for this reason more attractive and interesting. But it must be admitted that in no other building of the kind is one impelled to stop suddenly and catch one's breath, as when first entering Monreale's great basilica.

Eight bays divide the nave from the aisles. Their stilted arches are supported by granite monoliths. The capitals of these are pure Corinthian, and Corinthian with cornucopiæ volutes and medallion heads. Above the abacus of each capital is the simple Norman bowl capital inlaid with rich mosaic. It is from these that the glorious colour-scheme springs—above and around, the eye finds nothing but mosaic. The lower portion of the walls of the aisles is composed of marble slabs separated from one another by inlay of Moorish design. In the north chancel aisle are the tombs of Roger, Duke of Apulia, and Henry, Prince of Capua, two sons of William the Bad. In the south chancel aisle are the tombs of William the Good and William II. Just as Palermo's cathedral is a fit resting-place for the remains of some of the Norman kings, so is this grand fabric for the bodies of those of the same royal line who here repose in peace.

THE CLOISTERS, MONREALE
THE CLOISTERS, MONREALE

Adjoining the cathedral, on the south side, is all that is left of the original Benedictine monastery. The celebrated cloisters, of which we speak, are more Arab than Norman, and more infidel than Christian in their architecture. The two flat members of the Moorish arches are decorated with black tufa lozenges and spearheads. The coupled columns are nowhere approached in beauty and delicacy, save in S. Paolo fuori at Rome. Arabesques cover some of them; all were at one time richly inlaid with mosaic. Some are chevroned, others of lozenge pattern, or billeted, or twisted and spiral. Their capitals are one and all of extreme interest. One shows on its carved surface Norman knights in chain mail engaged in combat with Saracens; another, Roman gladiators slaying Christian victims. Birds, beasts, and subjects from the Old Testament, intricate foliage and vines add to a variety which is not to be found anywhere else in the cloistered courts of Italy. The illustration gives a corner of this beautiful spot where a fountain splashes and plays, adding to the delights of a well-kept garden and the sweet scent of flowers.

INDEX: A, B, C, D, E, F, G, H, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Z

Ahrler, Heinrich, 9
Alberti, Leo Battista, 93, 195
Alexander II, 170
Alexander III., 67
Alfred the Great, 21
Amalfi, 280
Ambrose, S., 13
Angelico, Fra, 197, 236, 255
Angelo, Michael, 136, 188, 191-3, 223, 236, 244, 247-8, 252
Antelami, Benedetto, 141
Antenor, 49
Anthony, S., 49
Ariosto, 101
Arnulphus, 15
Assisi, Church of S. Maria, 211-13;
cathedral, 214;
general description, 214-15
Attila, 7
Augustine, S., 18-19
Augustus, 107

Baldus, 57
Bank of Genoa, 148-9
Barbarossa, Frederick, 67
Bastianino, 103
Bellagio, 2
Bellini, 25
Benedict XI., 205
Benedict XIV., 250
Benenato, 164
Bergamo, cathedral, 24-26;
other buildings, 23-24, 27
Bernardino, S., 202, 204, 224
Bernardone, Giovanni, 215
Bernini, 243, 246-7
Bisone, Bono da, 139
Boethius, 21
Bologna, Giovanni da, 126
Bologna, history, 123-5;
cathedral, 130-1;
other buildings, 125-9, 131-6;
university, 133
Bonannus, 160, 164
Bonaventure, Nicholas, 10
Borromeo, S. Charles, 10-12
Borsi, Pier, 181
Bouillon, Godfrey de, 145
Bramante, 4, 9, 17, 126, 244
Breakspeare, Nicholas, 248
Brescia, Roman remains, 29-30;
la Rotunda, 30-31;
Duomo Nuovo, 31-32;
other buildings, 32-33
Browning, Robert, 81
Brunelleschi, 186, 194, 196
Bruni, Leonardo, 193
Burlammachi, Francesco, 169
Busketus, 159
Byron, 109, 166

Cadenabbia, 2
Caedwalla, 253
Cæsar, Julius, 91, 170
Caligula, 261
Calvin, 101
Camaldoli, 275
Cambio, Arnolfo di, 183, 187, 189, 194, 222
Capri, 265, 277
Carabelli, 9
Caretti, Ilaria, 173
Carracci, 130-1
Carrara family, 51
Catherine, S., 224
Cellini, Benvenuto, 184, 248
Ceolfrid, 192
Charlemagne, 39, 115, 242
Charles V., 130, 230
Chiusi, 202
Cimabue, 196, 213
Clement VII., 230
Colleoni, 26
Columbus, 150
Como, history, 1-2;
cathedral, 2-4;
town hall, 4-5;
industries, 5
Constantine the Great, 241, 243, 250, 253
Correggio, 137, 139, 140, 142

Dante, 37, 49, 109, 180, 185, 193
Diotisalvi, 162, 165
Dominic, S., 134-5
Donatello, 52, 55, 58, 77, 166, 181, 185, 194, 223, 252
Donizetti, 27
Doria, Filippo, 154
Ducci, Agostino, 203
Duccio da Siena, 196

Embrianco, Guglielmo, 145, 151
Enzio, 124, 127, 135
Este family, 99-101

Fabris, Emilie di, 187
Fanti, General, 200
Farnese family, 138
Felsina, 125
Ferrara, history, 99-100;
cathedral, 101-4
Florence, general description, 179-82;
Palazzo Vecchio, 182-4;
Campanile, 186-7;
cathedral, 187-9;
Baptistery, 189-90;
other buildings, 184-186, 190-8
Fiesole, Mino da, 206
Foix, Gaston de, 108
Francis of Assisi, S., 211-2, 215-6
Francis II., King of Naples, 266
Frederick II., Emperor, 57
Frediano, S., 170, 174
Fuga, 289

Gaddi, Agnolo, 194
Gaddi, Taddeo, 186
Galileo, 57, 164
Gambara, 140
Garibaldi, 156, 207
Genoa, history, 145;
general description, 146-8;
cathedral, 151-4;
churches, 154-6;
palaces, 148-51;
rivalry with Pisa, 166
Ghiberti, 189
Giaconda, Fra, 36
Giotto, 49, 52, 58, 186, 194, 198, 213, 248
Giovanni, Fra, 58
Giudetto, 171, 176
Giugni, 175
Glycon, 267
Gozzoli, 165
Grail, Holy, 145
Gregory the Great, 283
Guiscard, Robert, 279-80

Hadrian, 262
Hauteville, Roger de, 291
Hecuba, Queen of Cyprus, 212

Januarius, S., 268-9
Julius II., 244-5
Julius III., 201

Ketterick, John, 194

Lanfranc, 21
Leo XIII., 205
Leopardi, Alessandro, 77
Lombardi, Martino, 77
Lombards, 126, 129, 136
Lucca, history, 169-70;
cathedral, 170-3;
other buildings, 173-8
Luini, Bernardino, 4
Lurago, Rocco, 150

Malatesta family, 93-98
Matthew, S., 282
Mazzuola, 140
Medici family, 12, 183, 190-3, 197-8
Mehemet Ali, 254
Michelozzo, 183
Milan, history, 7, 15;
cathedral, 8-12;
Church of S. Ambrose, 12-15
Mino, Giacomo di, 223
Misericordia, Compagnia della, 181-2
Monreale, 299-303
Montaldo, Leonardo, 155
Morone, Andrea, 51
Myrra, 154

Naples, history, 265-6;
museum, 267;
cathedral, 268-269;
other buildings, 270-5;
general description, 275-7
Nero, 263
Nesso, 1
Nicodemus, 173

Offamilio, Gualterio, 287
Orsini, Niccolo, 75
Orvieto, general description, 229-31, 236-8;
cathedral, 231-6

Pacifico, Beato, 79
Padua, history, 49;
cathedral, 50;
university, 57;
other buildings, 50-59
Palermo, general description, 285-8, 299;
cathedral, 288-292;
Cappella Palatina, 292-295;
other buildings, 295-303
Palladio, 33, 82
Parma, history, 138;
cathedral, 138-141;
Baptistery, 141-2
Parmesan cheese, 22
Paul III., 200
Pavia, history, 17;
cathedral, 17-19;
other buildings, 20-21
Pellegrini, 10, 11
Pepo, 133
Perugia, general description, 199, 208-9;
cathedral, 200-3;
churches, 203-6;
other buildings, 206-8
Perugino, 206-7
Petrarch, 50
Piacenza, Bartolino da, 142
Piacenza, Giovanni da, 143
Pietro, Lorenzo di, 222
Pisa, general description, 157;
cathedral, 158-62;
Baptistery, 162-4;
other buildings, 164-7
Pisano, Andrea, 189
Pisano, Giovanni, 205, 219-20, 222, 232
Pisano, Niccolo, 53, 135-6;
163, 165-6, 177, 199, 221-2, 232
Piscopia, Elena, 57
Pius IV., 11
Polo, Marco, 146
Porta, Guglielmo della, 248
Procida, John of, 282
Puccio, Pietro di, 235

Quercia, Jacopo della, 129
Quercia, Giacomo della, 223

Raphael, 231, 256
Ravenna, history, 107-8;
mosaics, 109-13, 115-7;
cathedral, 113-5;
other buildings, 118-21
Reggio, Niccolo da, 142
Reni, Guido, 135
Ricchini, 12
Riccio, Andrea, 55
Rienzi, 253
Rimini, history, 91-3;
cathedral, 93-8
Robbia, Della, 174, 186, 188, 197
Rocci, Cristoforo, 17
Rodario, 2-3
Romana, Ezzelino da, 141
Romano, Giulio, 9
Rome, general description, 239-41;
S. Peter's, 243-9;
Colosseum, 250;
S. John Lateran, 251-3;
other buildings, 241-3, 253-63
Rossi, Alessandro, 41
Rusca, 9

Salerno, history, 279-80;
cathedral, 280-4
San Marino, 98
Sanmicheli, 36, 40, 45, 55
Sansovino, 33, 54, 62
Savonarola, 182, 184, 197
Scaligeri, 37-9
Siena, general description, 217, 227-8;
cathedral, 218-23;
other buildings, 223-7
Signorelli, Luca, 235-6
Spazi, 2

Talenti, Francesco, 186
Tasso, 101, 145
Terribilia, 126
Theodoric, 108, 120
Thomas Aquinas, S., 273, 279
Tiberius, 179, 265
Titian, 66
Tivoli, 249
Torcello, 86-90
Tours, 14
Trent, Council of, 11
Tribolo, 128-9

Ugolino, 235

Varenna, 2
Vasari, 166, 188, 193
Venice, S. Mark's, 62-73;
Church of SS. Giovanni and Paolo, 73-7;
of the Frari, 77-9;
Doge's palace, 82-5;
other buildings, 61-2, 79-82, 85-6
Verona, history, 35-7;
cathedral, 39-41;
other buildings, 36-38, 41-7
Verrochio, Andrea, 77, 184
Vinci, L. da, 9, 77
Visconti, Gian Galeazzo, 9, 17

Wolvinius, 13

Zeno, S., 43
Zenobius, St., 188
Zuccaro, 188