THE ETRUSCAN MUSEUM

The Etruscan Museum of the Vatican is not a forbidden land to which access can only be had by influence; but as it is only open once or twice a week, and is entered by an inconspicuous side-door at the top of the stairs near the Sala della Biga, it is to most people a _terra incognita_.

A vast pity this, for the Etruscan cities are to Rome what Pompeii is to Naples. The Etruscans themselves lost their separate existence in some unmarked century between the reigns of Romulus and Augustus; as the Celts lost their separate existence in England at some unknown period since the Norman Conquest: they melted into Latins, and the Latins melted into Italians. But in the hills, where nothing quite dies, the genius of the race lived long and flowered in the artists of Umbria and Tuscany; not only must those who were born in Fiesole, like Fra Angelico and the sculptor Mino, be accredited to Etruscan Fæsulæ, but those who were born on the hills around, or in the City of the Lilies in the Arno Valley below--immortal Florence. Michel Angelo was an Etruscan, if ever there was one; his gloomy imagination, his love of the immense, were essentially Etruscan. Etruscans would have revelled in the Last Judgment. He was almost as fond of Sibyls and Prophets as they were of genii and augurs. Long after Etruscan nationality was dead we find the augur who bade Cæsar beware of the Ides of March bearing the pure Etruscan name of Spurina; Perusia (Perugia), Arretium (Arezzo), Cortona (always Cortona), and Volaterræ (Volterra), all reflowered in art, especially the first; illuminated by the great names of Perugino and his pupil Raffaelle, and Pinturicchio.

And if the Etruscan genius failed to reflower at places like Tarquinii (Corneto), Caere (Cerveteri), and other cities in the Roman Maremma, and the cities of Etruscan birth round Viterbo, it is because they were cities of the plain exposed to the invasions of change.

It is the Etruscan Museum of the Vatican which corresponds more than anything in Rome to the Pompeian Museum at Naples. And the numerous Etruscan cities round Rome can be visited with very little more effort than Pompeii.

There are few cities in southern Etruria which the railway service does not permit you to visit in the day from Rome, and most of them make delightful picnics. Veii is only a walk from La Storta Fornella Station, twelve miles from Rome. Caere, which gives us our word _ceremonies_, is about an hour’s drive from the Palo Station, between Rome and Civita Vecchia. Tarquinii is less than an hour’s drive from the Corneto Station, just beyond Civita Vecchia. Vulci is near the next station, Montalto di Castro. Norchia and Bieda, though nearer Vetralla, must, like Castel d’Asso, be visited from Viterbo; each is within a drive. There are three Etruscan cemeteries within a walk of Orvieto, but it is unnecessary to multiply examples. Norchia, Bieda, and Castel d’Asso have their cliffs cut into temple-like tombs; and Norchia has, unlike most of the cities, considerable Etruscan remains other than tombs and city walls. Many of the cities in the Maremma have fine Etruscan walls, some with gates; but the best Etruscan tombs are at Tarquinii and Cerveteri, and it is to their subterranean tombs that we have to go for an intimate acquaintance with the Etruscans. In Rome there are other Etruscan Museums besides the Museo Gregoriano at the Vatican--the Museo Kircheriano and the Museum of the Capitol both have fine Etruscan pieces; and the Villa Papa Giulio is entirely devoted to an Etruscan Museum. But the Museo Gregoriano is the best and the most complete in Rome. And outside Rome there are splendid Etruscan Museums at Florence, Corneto, Volterra, and Chiusi, the Volterra Museum being an especially interesting one, for the light that its alabaster sarcophagi throw upon the religion of the Etruscans. The Etruscans seem to have been a far more serious people than the Romans and the Greeks; their minds ran much on the lot that awaited the dead. Devils and angels seem to have received from them the forms they have retained through the subsequent stages of art. Death, with his hammer, is frequently portrayed on the tombs of Volterra: the dead are often being conducted by a black or red genius with wings and human limbs ending in claws: sometimes he has an eagle beak. There are also good genii, with wings; doubtless the originals of our angels, though the supreme beauty of the Winged Victory of the Greeks eventually made it the standard type of angel. The Etruscans had their Charon ferrying souls across the river of death. One very curious feature of their sarcophagi is that the presence of a horse or a cart shows the passage of a soul. Hooded carts, almost exactly like the carriers’ carts that ply in out-of-the-way parts of England, still appear in the funeral scenes.

The Roman Museums are not so rich in Etruscan sarcophagi as those, for example, of Corneto and Volterra; but they have sufficient to show the essential peculiarity, that the tombs were bought ready-made except their lids. The ready-made part seems to have been imported from Greece, as London imports ready-made tombstones from Tuscany nowadays. These are frequently of beautiful execution, and more often than not represent scenes from Greek mythology or history. They are not, of course, so interesting as the sarcophagi carved by native workmen from the native designs, which deal mostly with Etruscan religious subjects, such as the after life, or funeral ceremonies, and tell us much about the customs of that dead mysterious race. The lids are, as a rule, of very inferior workmanship: the head is sometimes almost as big as the body; and they seldom have any sort of elegance. Nor do they look like portraits, though they were executed as such; so many of them have the same round, expressionless face and goggle eyes. There are, of course, some splendid portrait effigies on Etruscan tombs, of life size, as suggestive of portraiture as a photograph, minute in details of costume; but they are rare. Nearly all are suggestive to us of levity, for the dead Lucumo will either be petting his wife, or holding out a wine-bowl, or sleeping off the drowsiness of a feast, with an air of gorged content. The figures are nearly always reclining on their elbows in the attitude in which the ancients reclined at their feasts; they used couches, not chairs.

Etruscan sarcophagi are generally made of the brown volcanic stone called Nenfro, or of alabaster, or of terra-cotta, the last two being most frequent at Volterra and Toscanella respectively. There is a laundry at Toscanella which has about twenty splendid terra-cotta sarcophagi, with life-size figures, lying about its yard. This was the famous garden of the Campanari, the excavators and dealers who supplied most of the objects which are in the Etruscan Museum in the Vatican. The Campanari are dead, and their heir did not take the trouble to remove the sarcophagi before he let the property for its present homely use. The gardens of Toscanella are full of Etruscan tombs, brought to them as ornaments from the cemeteries outside.

But to return to the Gregorian Museum. One of its most interesting exhibits is the model of an Etruscan tomb which contains three of the stone couches characteristic of them; generally about eighteen inches high, two or three feet wide, and six or seven feet long. Where a tomb has not been disturbed, armour, jewels, even the soles of shoes, which are made of wood with bronze casings, are found, lying just as they have sunk when the body they contained mouldered away. Sometimes the bones are left. All sorts of articles of domestic use are found either on the couch or on the ground within reach of it, or suspended by nails from the walls and roof, as we hang articles from a kitchen dresser. There was a tomb belonging to Signor Mancini at Orvieto, which has been left with everything lying and hanging just as it was found, as an exhibit to make money out of tourists. Signor Mancini owned an Etruscan cemetery, and whenever he made five hundred francs out of admissions, or selling Etruscan curios, he excavated another tomb. He had turned his curious little palace into a curio shop, though, like the best ladies’ hat shops, there was nothing to reveal its business outside.

The Etruscans might have given the Early Victorian builder his idea for pretentious imitations in stucco. One of the finest tombs at Cerveteri has imitations of shields, and caps, and various utensils, on its walls, which on examination proved to be stucco. This was, perhaps, the _dernier cri_ at Cerveteri before the Etruscans left off being a nation.

The tombs of Norchia and Castel d’Asso have noble exteriors; their façades are like Egyptian temples cut out of the cliff, but their interiors are of minor interest and importance compared to those of Cerveteri and Corneto, the former relying chiefly upon sculpture and architectural ornaments, the latter upon painting. It is computed that there yet remain more than a hundred thousand tombs of the city of the Tarquins, the noble Etruscan family which gave kings to Rome. A vast number of them remain undisturbed and unexplored. The tombs of Caere and Tarquinii (Cerveteri and Corneto) are not easy to find unless they have tumuli over them, for they are deep down in the earth, and the stairways cut in the rock which lead down to them have long since been filled with earth by the elements, if, indeed, they were not filled in by their owners, like the tombs of Carthage. The Etruscans, like the Romans, seem to have buried their dead outside their cities.

by a Roman soldier, and Etruscan shields, mirrors, and cauldrons.]

The tombs of Cerveteri concern us here, because one of them, the famous Regulini-Galassi tomb, yielded the golden treasures which are the glory of the Gregorian Museum; they are, some of them, extremely fine and among the most striking monuments of prehistoric Italy. When I say prehistoric I do not mean that they antedate the history of Rome, but that no history has survived about them. Except for the absence of paintings, they are far more imposing than the tombs of Corneto, both within and without. Above the soil many of them have well-marked tumuli, here and there with their bases encased in low walls. Underground they frequently have more than one chamber. Some have columns and arches cut in the rock like the wonderful gallery of tombs at Palazzolo Acreide in Sicily. Others have regular houses in them, with rooms and door-holes, and window-holes cut in the rock. Some have more than one story; some are surrounded by tiers or niches like a theatre, on which fine sarcophagi are still standing to show the uses to which they were put. One tomb contains beautiful sarcophagi; one described above has its walls covered with stucco reliefs of the bronze articles used to furnish earlier tombs. Some are like chapels in the Catacombs. There is a marked likeness between the pagan rock tombs of Sicily and the rock tombs of Etruria.

The painted tombs of Corneto give us the most interesting pictures which have come down to us in Italy or Greece, for they are not only mythological, but the best of them are taken up with the life of the Etruscans. It is conjectured that the banqueting and dancing, and horse races and athletic sports, all of them, formed part of funeral ceremonies. If this is so, it increases the impression of the Etruscan levity about death to which I alluded above. But there are also fishing and hunting scenes, from one of which we know that the Etruscans used birds in fishing as the Chinese use cormorants to-day.

Some of the most famous paintings in the Corneto tombs have fortunately been reproduced on the walls of the Gregorian Museum; I say fortunately, because they have begun to fade since they have been freed from the soil.

At least twenty of the painted tombs of Corneto (Tarquinii) have been cleared out; they have the stones which used to close them in Biblical fashion replaced by a locked iron door, whose key is kept by a Government _custode_: there are innumerable others which have not been cleared out. It is only the earth which has been cleared out; the scorpions and serpents remain. I counted thirty scorpions, looking like black, baby land-lobsters, in one tomb; they were hibernating in sight--serpents hibernate out of sight. But the _custode_ told us that they always take refuge in the tombs from the heat of the summer days. He described the tombs as being alive with them. Timid people can avoid this by visiting the tombs in winter, which is really the best time, as the grass is short; in the early summer it comes up past your knees, thickly spangled with the most glorious wild flowers; and then, if it rains, nothing can keep you dry.

When you go down into a Corneto tomb there are steps which lead you twenty or thirty feet underground. The _custode_ unlocks the door and lights an acetylene flare: it does not look so well in keeping with the tombs as the torches or tapers, or Pompeian lamps, employed in other tombs, but it is much more effective, for by its glare you can see every inch of these long, low, oblong chambers in which you can barely stand upright.

They are cut out of the rock with slightly concave ceilings, down the centre of which a ridge in the shape of a beam is left. Only a few of the Corneto tombs have any other attempt at architectural ornaments, such as piers or arches. For the most part the walls are left perfectly flat and covered with frescoes like Giotto’s chapels. The banqueting scenes are the most interesting, for they have more of a concerted picture about them; besides the warrior who reclines on a couch caressing a beautiful woman, there may be various attendants, and all the paraphernalia of a feast. The women have white flesh, the men red. You are left in no doubt that women entered much more publicly into the lives of the Etruscans than into the lives of the Greeks.

Here in the museum you see a sick man being waited upon, and the ceremonies being paid to a corpse, with boxers, wrestlers, horse-racers, and many men and women. But the splendid figures of gods in the Grotto del Orco, the finest of all Etruscan frescoes, are not reproduced. The best of these Etruscan pictures show the beauty of the women as the Pompeian frescoes never succeed in doing.

There is one point at which the Etruscans fire the most commonplace imagination--their working in gold: there is no jewellery so beautiful, apart from the effects produced by costly gems, like diamonds, emeralds, rubies, and pearls, as the typical Roman jewellery, which is a direct imitation of the Etruscan. The stones it employs are usually opaque stones of moderate value, like lapis-lazuli, malachite, and coral; it relies for its effects on fine, bright gold with Etruscan chasing, and encrusted ornamentation of roses, and so on, each made separately, and delicately soldered on. Or it sometimes abandons stones altogether, and reproduces, with exquisite art, natural objects like rams’ heads, crawling snails, or oak leaves and acorns.

The golden objects in the centre case of the Gregorian Museum, like many of the finest bronzes in the room, came from the Regulini-Galassi tomb at Cerveteri, which Dennis, in his _Cities and Cemeteries of Etruria_,[23] calls the remarkable Pelasgic tomb at Cerveteri. The most striking object in the case is a large gold breastplate embossed with twelve bands of figures--sphinxes, goats, flying horses, panthers, deer, and winged demons; it suggests the sacred breastplate of Aaron, the High Priest, described in the Bible, which was to be “four square, measuring a span each way.” It is an exquisite piece of antique work in beaten gold. Its low reliefs belong to the earlier Pelasgic, or Tyrrhene style of Etruscan jewellery, which Signor Castellani would not allow to be Etruscan, because it was also found at Palestrina, Cumae, and elsewhere in Italy, and in Egypt, Assyria, Phœnicia, and the Crimea. Dennis, in his immortal book on Etruria, says: “The materials employed in this ‘Tyrrhene’ style are gold, silver, bronze, amber, ivory, and variegated glass. The style is easily recognized by its elegant form, the harmony of its parts, and the purity of its design, but chiefly by the marvellous fineness and elaboration of its workmanship. The patterns, which are always simple yet most elegant, and admirably harmonious, are wrought by soldering together globules or particles of gold, so minute as hardly to be perceptible to the naked eye, and by the interweaving of extremely delicate threads of gold; and are sometimes, but sparingly, interspersed with enamels. Tiny figures of men, animals, or chimeras, exquisitely chased in relief or in the round, form another and favourite feature in the ornamentation. On a close inspection, this jewellery astonishes and confounds by its wonderful elaboration; at a little distance it charms the eye by its exquisite taste and the graceful character and harmony of its outlines. In fact, it is the perfection of jewellery, far transcending all that the most expert artists of subsequent ages have been able to produce.

“To this style belongs the most beautiful jewellery discovered in Etruria, and elsewhere in Italy, such as the gold ornaments from the Regulini-Galassi tomb, now in the Museo Gregoriano, and those, still more beautiful, recently found at Palestrina, and now exhibited at the Kircherian Museum at Rome.

“Signor Castellani points out that the Hindoo jewellery, even of the present day, bears no slight resemblance to this ancient style. Though inferior in execution, and betraying a decline of taste, the method of soldering minute grains or fine threads of gold, mixed with enamels, to the object, is precisely that employed by the Tyrrhenes of old.

“The genuine Etruscan jewellery, says Signor Castellani, is very inferior both in taste and execution to that of the Tyrrhene style, of which it is a corruption. There is the same sort of relation between these styles that the works of the great painters of the _cinquecento_ bear to those of the following centuries. The mode of workmanship is the same, yet the style is so degenerated that it may be pronounced _barocco_. No longer are there the minute granulations, the delicate thread work, the charming simplicity in form and design which mark the earlier style. These are exchanged for forms of greater breadth and fulness; the purity of the lines gives place to the artificial and turgid, and the whole, though it makes a more striking appearance, has far less elegance, harmony, and elaboration.

“Etruscan jewellery is of two descriptions, domestic and sepulchral: the former most substantial and durable, the latter very light and flimsy--witness the wreaths of gold leaves found encircling the helmets of illustrious warriors. The amber, coloured glass, enamel, and ivory used in the preceding style are rare in this, and give place to gems--chiefly garnet, onyx, and cornelian. Among the ornaments for personal use are ear-rings of various forms and dimensions, large _fibulae_ and brooches, massive gold rings, lentoid or vase-shaped _bullae_, agate _scarabæi_; but in all these productions an inflated and artificial style, marking the decline of the art, is conspicuous.”

He mentions a curious fact, that the manufacture of this jewellery has never ceased to go on in a little town of the Umbrian Marshes, called S. Angelo in Vado. Its manufacture in Rome probably had not begun in Dennis’s day; but now it is one of the chief minor industries of Rome, and in the last year or two the manufacture of Etruscan tiaras of golden oak leaves, or rose leaves, has, at any rate, spread to England and America, and become quite a feature of the season’s fashions. In this very treasure there is a remarkable head-dress composed of two oval plates united by broad bands, richly embossed, and decorated with minute _appliqué_ figures of birds and lions. There are also massive gold chains, necklaces, bracelets, ear-rings, and _fibulae_, decorated with extraordinarily delicate Tyrrhenian work; many rings, and a portion of a gold veil or dress. Most of the _fibulae_ on brooches are in the form of gliding snails. Rings with revolving scarabæi of engraved cornelian were popular among the Etruscans. Marvellous is the glitter of this treasure buried for two or three thousand years. Here, too, are many silver cups, saucers, and bowls from the same tomb; some of them are gilt inside, some are quite plain; others have relief in _repoussé_ work of processions and hunting, pronounced to be a Phœnician imitation of Egyptian work, but bearing Etruscan inscriptions. From the same tomb came the bronze couch near the door, doubtless used for a corpse; four tripods, each supporting a huge caldron of bronze with dragon’s head handles; six large and four smaller shields, embossed with reliefs; a huge incense burner, and other objects.

I do not remember if any of the splendid mirrors preserved in the museum were found in this tomb. Roughly speaking, they are almost identical with the mirrors of silvered bronze used by the ancient Greeks, Romans, and Carthaginians, and the modern Japanese. In other words, they are like circular hand-glasses with a long handle at the bottom. Some of them still retain traces of their silvering, but in most cases the bronze is too much eaten away to show it. The backs and edges are more important than the fronts. The edges are generally embossed in some way, or surrounded with reliefs; the backs have either an incised decoration of pictures cut in outline, like those of the famous Præneste casket in the Kircherian Museum at Rome, or reliefs; some, of course, are plain. In one instance in this museum the handle consists of a nymph who is holding a smaller glass in her hand.

The mirror ornamented with a relief of Aurora carrying the body of her son Memnon is interesting, because some take it to be the original of the Pietà of the Virgin holding the Body of Our Lord.

But the crowning glory of Gregory XVI.’s museum for the real antiquary lies in its matchless collection of Greek vases and bowls. The wealthy Etruscans, especially those of Vulci, seem to have spent immense sums on importing the finest products of the potteries of Athens and Corinth. There are unique Corinthian pieces here, and many gems from the potteries of the Ceramicus. I shall not attempt to catalogue even the most famous of them: I will only say that for the study of Greek painting one can find no more wonderful treasure-trove than the vessels for water and wine of the Museo Gregoriano; while for the study of forms of perfect grace created by the potter, the Cylices, or drinking-cups, in this collection are absolutely matchless.

There are, of course, many vases of Etruscan manufacture, imitating the Greek both in form and decoration, but singularly inferior in grace.

I must confess that I have never been able to properly appreciate Greek vase-paintings. But of their importance what student could be insensible? For, until the discovery of the hoards of terra-cotta statuary at Tanagra and Myrina, vase-paintings and a few reliefs in marble were all we had to go upon for our knowledge of Greek domestic life. Painting is not like literature: in books the good writer omits the obvious; in painting the good artist must introduce the obvious or his picture is untrue. The artist has to present the whole picture: the author often only mentions exceptions. The Greeks were especially liable to ignore domestic details, because the men were so undomesticated; they spent their entire day in public. They lived at their gymnasium and dined at their club; they were almost as averse as Arabs to talking about the women of their family. Except those of the Homeric age, you might study all the Greek authors necessary for public school and Oxford examinations without coming across a single description of the plan or etiquette of a Greek home. Nor did the vase-painters consciously portray the domestic life around them; but they constantly represented the domestic life of their gods, and they drew it from their own. I should have mentioned the cinerary urns, some of which in bronze, a foot or two long and high, give faithful representations of Etruscan temples and houses, especially interesting because those who are familiar with Japan cannot fail to be struck with the resemblance of the Etruscan temples to those Shinto temples, which preserve the primitive type, while one urn in the form of an Etruscan house found at Chiusi might stand for the representation of a Japanese residence of to-day.

LIST OF POPES

* indicates Martyr

Date, Italian Name. Usually known as Place of Family Name. A.D. Origin.

Died 67 *S. Peter[A] Bethsaida.

67-76 *S. Lino S. Linus Volterra.

76-88 *S. Cleto I. S. Cletus I. Rome.

88-97 *S. Clemente I. S. Clement I. Rome.

97-105 *S. Evaristo S. Evaristus Syria.

105-115 *S. Alessandro I. S. Alexander I. Rome.

115-125 *S. Sisto I. S. Sixtus I. Rome Of the Elvidian Gens.

125-136 *S. Telesforo S. Telesphorus Greece.

136-140 *S. Igino S. Hyginus Greece.

140-155 *S. Pio I. S. Pius I. Aquileia.

155-166 *S. Aniceto S. Anicetus Syria.

166-175 *S. Sotero S. Soter Campania.

175-189 *S. Eleuterio S. Eleutherius Epirus.

189-199 *S. Vittore I. S. Victor I. Africa.

199-217 *S. Zefirino S. Zephyrinus Rome.

217-222 *S. Calisto I. S. Calixtus I. Rome Of the Domitian Gens.

217-235 _Anti-Pope _S. Hippolytus_ _Rome._ Ippolito_

222-230 *S. Urbano I. S. Urban I. Rome.

230-235 *S. Ponziano S. Pontianus Rome Of the Calpurnian Gens.

235-236 *S. Antero S. Anteros Greece.

236-250 *S. Fabiano S. Fabian Rome.

251-253 *S. Cornelio S. Cornelius Rome.

251 _Anti-Pope _Novatian_ (_Anti- Novanziano_ Pope to Cornelio_).

253-254 *S. Lucio I. S. Lucius I. Rome.

254-257 *S. Stefano I. S. Stephen I. Rome Of the Julian Gens.

257-258 *S. Sisto II. S. Sixtus II. Athens.

259-268 *S. Dionisio S. Dionysius Tyre.

269-274 *S. Felice I. S. Felix I. Rome.

275-283 *S. Eutichiano S. Eutychianus Lucca.

283-296 *S. Caio S. Caius Dalmatia.

296-304 *S. Marcellino S. Marcellinus Rome.

308-309 *S. Marcello I. S. Marcellus I. Rome.

309-311 *S. Eusebio S. Eusebius Calabria.

311-314 S. Melciade S. Melchiades Africa.

314-335 S. Silvestro I. S. Sylvester I. Rome.

336 S. Marco S. Marcus Rome.

337-352 S. Giulio I. S. Julius I. Rome.

352-366 *Liberio Liberius Rome Savelli.

355-365 *_Anti-Pope S. _Felix II. Pope Felice II._ during the exile of Pope Liberius._

366-384 S. Damas I. S. Damasus I. Spain.

366-367 _Anti-Pope Ursino._

384-399 S. Siricio S. Siricius. Rome.

399-401 S. Anastasio I. S. Anastasius I. Rome Massimi.

401-417 S. Innocenzo I. S. Innocent I. Albano.

417-418 S. Zosimo S. Zosimus Greece.

418-422 S. Bonifacio I. S. Boniface I. Rome.

418-419 _Anti-Pope Eulalio_ _Eulalius._

422-432 S. Celestino I. S. Celestine I. Campania.

432-440 S. Sisto III. S. Sixtus III. Rome.

440-461 S. Leone I. S. Leo the Great Tuscany.

461-468 S. Ilario S. Hilarius Sardinia.

468-483 S. Simplicio S. Simplicius Tivoli.

483-492 S. Felice III. S. Felix III. Rome Of the Anician Gens.

492-496 S. Gelasio I. S. Gelasius I. Africa.

496-498 S. Anastasio II. S. Anastasius II. Rome.

498-514 S. Simmaco S. Symmachus Sardinia.

498-505 _Anti-Pope Lorenzo_ _Laurence._

514-523 S. Ormisda S. Hormisdas Frosinone.

523-526 *S. Giovanni I. S. John I. Siena.

526-530 S. Felice IV. S. Felix IV. Benevento dei Fimbri.

530-532 Bonifacio II. Boniface II. Rome.

530 _Anti-Pope _Dioscorus._ Dioscoro_

532-535 Giovanni II. John II. Rome Dei Mercuri.

535-536 S. Agapito S. Agapetus Rome.

536-538 *S. Silverio S. Silverius Frosinone.

538-555 Vigilio Vigilius Rome.

555-561 Pelagio I. Pelagius I. Rome dei Vicariani.

561-573 Giovanni III. John III. Rome dei Catelini.

575-579 Benedetto I. Benedict I. Rome dei Bonosi.

579-590 Pelagio II. Pelagius II. Rome A Goth.

590-604 S. Gregorio I. S. Gregory I. (The Rome Of the Anician Gens. Great).

604-606 Sabiniano Sabinianus Volterra.

607-607 Bonifacio III. Boniface III. Rome Dei Caladioci.

608-615 S. Bonifacio IV. S. Boniface IV. Valeria in the Abruzzi.

615-618 S. Adeodato I. S. Adeodatus I. Rome.

619-625 Bonifacio V. Boniface V. Naples dei Fummini.

625-638 Onorio I. Honorius I. Campania.

640-640 Severino Severinus Rome.

640-642 Giovanni IV. John IV. Zara in Dalmatia.

642-649 Teodoro I. Theodore I. Greece.

649-655 *S. Martino I.[B] S. Martin I. Todi.

655-657 S. Eugenio I. S. Eugenius I. Rome.

657-672 S. Vitaliano S. Vitalian Segni.

672-676 Adeodato II. Adeodatus II. Rome.

676-678 Dono I. Donus I. Rome.

678-681 S. Agatome S. Agatho Reggio Calabria.

682-683 S. Leone II. S. Leo II. Sicily.

684-685 S. Benedetto II. S. Benedict II. Rome Savelli.

685-686 Giovanni V. John V. Antioch.

686-687 Conone Conon Thrace.

687. _Anti-Pope Teodoro Theodore or Peter._ or _Pietro._

687-692 _Anti-Pope _Paschal._ Pasquale_

687-701 S. Sergio I. S. Sergius I. Palermo.

701-705 Giovanni VI. John VI. Greece.

705-707 Giovanni VII. John VII. Rossano.

708-708 Sisinnio Sisinnius Syria.

708-715 Costantino Constantine Syria.

715-731 S. Gregorio II. S. Gregory II. Rome Savelli.

731-741 S. Gregorio III. S. Gregory III. Syria.

741-752 S. Zaccaria S. Zacharias S. Severino.

752-752 S. Stefano II. S. Stephen II. Rome.

752-757 Stefano III. Stephen III. Rome.

757-767 S. Paolo I. S. Paul I. Rome.

767-768 _Anti-Pope _Constantine II._ Costantino II._

768 _Anti-Pope _Philip._ Filippo._

768-772 Stefano IV. Stephen IV. Syracuse.

772-795 Adriano I. Hadrian I. Rome Colonna.

795-816 S. Leone III. S. Leo III. Rome.

816-817 S. Stefano V. S. Stephen V. Rome.

817-824 S. Pasquale I. S. Paschal I. Rome Massimi.

824-827 Eugenio II. Eugenius II. Rome.

827-827 Valentino Valentine Rome Leonzi.

828-844 Gregorio IV. Gregory IV. Rome.

844 _Anti-Pope _John._ Giovanni_

844-847 Sergio II. Sergius II. Rome.

847-855 S. Leone IV. S. Leo IV. Rome.

855 _Anti-Pope _Anastasius._ Anastasio_

856 _Anti-Pope Sergio _Sergius III._ III._

855-858 Benedetto III. Benedict III. Rome.

858-867 S. Niccolo I. S. Nicholas I. (The Rome. Great).

867-872 Adriano II. Hadrian II. Rome.

872-882 Giovanni VIII. John VIII. Rome.

882-884 Marino I. Marinus I. Gallese.

884-885 S. Adriano III. S. Hadrian III. Rome.

885-891 Stefano VI. Stephen VI. Rome.

891-896 Formoso Formosus Corsica.

896-896 Bonifacio VI. Boniface VI. Rome.

896-897 Stefano VII. Stephen VII. Rome.

897-897 Romano Romanus Gallese.

898-898 Teodoro II. Theodore II. Rome.

898-900 Giovanni IX. John IX. Tivoli.

900-903 Benedetto IV. Benedict IV. Rome.

903-903 Leone V. Leo V. Ardea.

903 _Anti-Pope _Christopher_ _Rome._ Cristoforo_

904-911 Sergio III. Sergius III. Rome.

911-913 Anastasio III. Anastasius III. Rome.

913-914 Landone Lando Sabine.

914-928 Giovanni X. John X. Ravenna.

928-928 Leone VI. Leo VI. Rome.

929-931 Stefano VIII. Stephen VIII. Rome.

931-936 Giovanni XI. John XI. Rome dei Conti Toscolani.

936-939 Leone VII. Leo VII. Rome.

939-942 Stefano IX. Stephen IX. Rome.

942-946 Marino II. Marinus II. Rome.

946-955 Agapito II. Agapetus II. Rome.

955-964 Giovanni XII. John XII. Rome dei Conti Toscolani.

963-965 Leone VIII. Leo VIII. Rome.

964-966 Benedetto V. Benedict V. Rome.

966-972 Giovanni XIII. John XIII. Rome.

973-974 Benedetto VI. Benedict VI. Rome.

974-985 _Anti-Pope _Boniface VII._ _Rome._ Bonifacio VII._

974-983 Benedetto VII. Benedict VII. Rome dei Conti Toscolani.

983-984 Giovanni XIV. John XIV. Pavia.

985-996 Giovanni XV. John XV. Rome.

997-998 _Anti-Pope Giovanni _John XVI._ _Greek._ XVI._

996-999 Gregorio V. Gregory V. Germany Bruno.

999-1003 Silvestro II. Sylvester II. France dei Cesi.

1003-1003 Giovanni XVII. John XVII. Rome Secco.

1004-1009 Giovanni XVIII. John XVIII. Rome.

1009-1012 Sergio IV. Sergius IV. Rome.

1012-1024 Benedetto VIII. Benedict VIII. Rome dei Conti Toscolani.

1012 _Anti-Pope _Gregory._ Gregorio_

1024-1032 Giovanni XIX. John XIX. Rome dei Conti Toscolani.

1032-1044 Benedetto IX. Benedict IX. Rome dei Conti Toscolani.

1045-1045 Silvestro III. Sylvester III.

[Now counted as the 147th Pope for part of the year 1045; between two Papacies of Benedict IX., who abdicated in 1044 and reigned again for a short time in 1045, and in 1047-1048.]

1045-1046 Gregorio VI. Gregory VI. Rome Graziani.

1046-1047 Clemente II. Clement II. Saxon (Suidger) dei Signor dii Moresleve ed Horneburg.

1048-1048 Damaso II. Damasus II. Bavaria (Boppo) dei Curagnari.

1049-1054 S. Leone IX. S. Leo IX. Germany (Bruno) dei Conti di Eggesheim- Dagsbourg.

1055-1057 Vittorio II. Victor II. Swabia (Gebhard) dei Conti di Dollenstein- Hirschberg.

1057-1058 Stefano X. Stephen X. Germany dei Duchi di Lorena.

1058-1059 _Anti-Pope _Benedict X._ _Rome_ _dei Conti Toscolani._ Benedetto X._

1059-1061 Niccolò II. Nicholas II. France (Gerhard).

1061-1073 Alessandro II. Alexander II. Milan.

1061-1072 _Anti-Pope Onorio _Honorius II._ II._

1073-1085 S. Gregorio VII. S. Gregory VII. Sovana (Hildebrand) Aldobrandeschi.

1080-1100 _Anti-Pope Clemente _Clement III._ III._

1087-1087 B. Vittore III. B. Victor III. Benevento Epifani.

1088-1099 B. Urbano II. B. Urban II. Rheims Of the Sieurs de Chatillon.

1099-1118 Pasquale II. Paschal II. Bieda Ranieri.

1100 _Anti-Pope _Theodoric._ Teodorico_

1102 _Anti-Pope Alberto_ _Albert._

1105-1111 _Anti-Pope _Sylvester IV._ Silvestro IV._

1118-1119 Gelasio II. Gelasius II. Gaeta Caetani.

1118-1121 _Anti-Pope Gregorio _Gregory VIII._ VIII._

1119-1124 Calisto II. Calixtus II. Burgundy Of the Counts of Burgundy.

1124-1130 Onorio II. Honorius II. Fagnano.

1124 _Anti-Pope _Celestine II._ Celestino II._

1124 _Anti-Pope _Theobald._ Teobaldo_

1130-1143 Innocenzo II. Innocent II. Rome Papareschi.

1130-1138 _Anti-Pope _Anacletus II._ Anacleto_

1138 _Anti-Pope Vittore _Victor IV._ IV._

1143-1144 Celestino II. Celestine II. Citta di (Guido). Castello

1144-1145 Lucio II. Lucius II. Bologna Caccianemici del Orso.

1145-1153 B. Eugenio III. B. Eugenius III. Monte Magno Pagnanelli. (Pisa)

1153-1154 Anastasio IV. Anastasius IV. Rome della Suburra.

1154-1159 Adriano IV. Hadrian IV. England Breakspear.

1159-1181 Alessandro III. Alexander III. Siena Bandinelli.

1159-1164 _Anti-Pope Vittore _Victor IV._ IV._

1164-1168 _Anti-Pope Pasquale _Paschal III._ III._

1168-1178 _Anti-Pope Calisto _Calixtus III._ III._

1179-1180 _Anti-Pope _Innocent III._ Innocenzo III._

1181-1185 Lucio III. Lucius III. Lucca Allucingoli.

1185-1187 Urbano III. Urban III. Milan Crivelli.

1187-1187 Gregorio VIII. Gregory VIII. Benevento de Morra.

1187-1191 Clemente III. Clement III. Rome Scolari.

1191-1198 Celestino III. Celestine III. Rome Bobone.

1198-1216 Innocenzo III. Innocent III. Anagni dei Conti di Segni.

1216-1227 Onorio III. Honorius III. Rome Savelli.

1227-1241 Gregorio IX. Gregory IX. Anagni dei Conti di Segni.

1241-1241 Celestino IV. Celestine IV. Milan Castiglioni.

1243-1254 Innocenzo IV. Innocent IV. Genoa Fieschi.

1254-1261 Alessandro IV. Alexander IV. Anagni dei Conti di Segni.

1261-1264 Urbano IV. Urban IV. Troyes Pantaleon.

1265-1268 Clemente IV. Clement IV. France Le Gros.

1271-1276 B. Gregorio X. B. Gregory X. Piacenza Visconti.

1276-1276 B. Innocenzo V. B. Innocent V. Savoy de Tarentasia.

1276-1276 Adriano V. Hadrian V. Genoa Fieschi.

1276-1277 Giovanni XXI. John XXI. Lisbon Giuliano.

1277-1280 Niccolò III. Nicholas III. Rome Orsini.

1281-1285 Martino IV. Martin IV. France Mompitiè de Brie.

1285-1287 Onorio IV. Honorius IV. Rome Savelli.

1288-1292 Niccolò IV. Nicholas IV. Ascoli Masci.

1294 [C]S. Celestino V. S. Celestine V. Isernia Angeleri dal Murrone.

1294-1303 Bonifacio VIII. Boniface VIII. Anagni Caetani.

1303-1304 B. Benedetto XI. B. Benedict XI. Treviso Boccasini.

THE SEVEN POPES AT AVIGNON.

1305-1314 [D]Clemente V. Clement V. France de Goth.

1316-1334 Giovanni XXII. John XXII. France d’Euse.

1328-1330 _Anti-Pope Niccolò _Nicholas V._ V._

1334-1342 Benedetto XII. Benedict XII. France Fournier.

1342-1352 Clemente VI. Clement VI. France Roger.

1352-1362 Innocenzo VI. Innocent VI. France Aubert.

1362-1370 B. Urbano V. B. Urban V. France Grimoard.

1370-1378 [E]Gregorio XI. Gregory XI. France Roger.

1378-1389 Urbano VI. Urban VI. Naples Bartoloméo Prignano.

1389-1404 Bonifacio IX. Boniface IX. Naples Pietro Tomacelli.

1404-1406 Innocenzo VII. Innocent VII. Sulmona dei Migliorati.

1406-1409 [F]Gregorio XII. Gregory XII. Venice Angelo Correr.

THE ANTI-POPES OF AVIGNON.

1378-1394 _Clemente VII._ _Clement VII._ _dei Conti di Savoia._

1394-1423 _Benedetto XIII._ _Benedict XIII._ _Aragon_

1423-1429 _Clemente VIII._ _Clement VIII._ _Spain_ _Muñoz._

1425-1430 _Benedetto XIV._ _Benedict XIV._ _Garner._

THE ANTI-POPES OF PISA.

1409-1410 _Alessandro V._ _Alexander V._ _Crete_ _Pietro Filargo._

1410-1415 [G]_Giovanni _John XXIII._ _Naples_ _Baldassare Gossa._ XXIII._

1417-1431 Martino V. Martin V. Rome Oddo Colonna.

1431-1447 Eugenio IV. Eugenius IV. Venice Gabriele Condulmer.

1439-1449 _Anti-Pope Felice _Felix V._ V._

[Abdicated 1449; died 1451. Was Amadeus, Duke of Savoy. He was the last Anti-Pope, and with him the Great Schism ended.]

1447-1455 Niccolò V. Nicholas V. Sarzana Tommaso Parentucelli.

1455-1458 Calisto III. Calixtus III. Spain Alfonso Borgia. (Valencia)

1458-1464 Pio II. Pius II. Siena Æneas Sylvius Piccolomini.

1464-1471 Paolo II. Paul II. Venice Pietro Barbo.

1471-1484 Sisto IV. Sixtus IV. Savona Francesco della Rovere.

1484-1492 Innocenzo VIII. Innocent VIII. Genoa Cibò.

1492-1503 Allessandro VI. Alexander VI. Spain Rodrigo Lenzoli Borgia. (Valencia)

1503-1503 Pio III. Pius III. Siena Todeschini-Piccolomini.

1503-1513 Giulio II. Julius II. Savona Giuliano della Rovere.

1513-1521 Leone X. Leo X. Florence Giovanni de’ Medici.

1522-1523 Adriano VI. Hadrian VI. Utrecht Adriano (Florent) Dedel.

1523-1534 Clemente VII. Clement VII. Florence Giulio de’ Medici.

1534-1549 Paolo III. Paul III. Rome Allessandro Farnese.

1550-1555 Giulio III. Julius III. Rome Ciocchi del Monte.

1555-1555 Marcello II. Marcellus II. Montepulciano Marcello Cervini.

1555-1559 Paolo IV. Paul IV. Naples Giovanni Pietro Caraffa.

1559-1565 Pio IV. Pius IV. Milan Giovanni Angelo de’ Medici.

1566-1572 S. Pio V. S. Pius V. Bosco (in Michele Ghislieri. Piedmont)

1572-1585 [H]Gregorio XIII. Gregory XIII. Bologna Ugo Boncompagni.

1585-1590 Sisto V. Sixtus V. Grottamare (in Felice Peretti. the March of Ancona)

1590-1590 Urbano VII. Urban VII. Rome Giambattista Castagna.

1590-1591 Gregorio XIV. Gregory XIV. Cremona Niccolò Sfondrati.

1591-1591 Innocenzo IX. Innocent IX. Bologna Gianantonio Facchinetti.

1592-1605 Clemente VIII. Clement VIII. Florence Ippolito Aldobrandini.

1605-1605 Leone XI. Leo XI. Florence Allessandro de’ Medici.

1605-1621 Paolo V. Paul V. Rome Camillo Borghese.

1621-1623 Gregorio XV. Gregory XV. Bologna Allessandro Ludovisi.

1623-1644 Urbano VIII. Urban VIII. Florence Maffeo Barberini.

1644-1655 Innocenzo X. Innocent X. Rome Giambattista Pamfili.

1655-1667 Allessandro VII. Alexander VII. Siena Fabio Chigi.

1667-1669 Clemente IX. Clement IX. Pistoja Giulio Rospigliosi.

1670-1676 Clemente X. Clement X. Rome Emilio Altieri.

1676-1689 Innocenzo XI. Innocent XI. Como Benedetto Odescalchi.

1689-1691 Allessandro VIII. Alexander VIII. Venice Pietro Ottoboni.

1691-1700 Innocenzo XII. Innocent XII. Naples Antonio Pignatelli.

1700-1721 Clemente XI. Clement XI. Urbino Giovanni Francesco Albani.

1721-1724 Innocenzo XIII. Innocent XIII. Rome Michel Angelo Conti.

1724-1730 Benedetto XIII. Benedict XIII. Rome Vincenzo Maria Orsini.

1730-1740 Clemente XII. Clement XII. Florence Lorenzo Corsini.

1740-1758 Benedetto XIV. Benedict XIV. Bologna Prospero Lambertini.

1758-1769 Clemente XIII. Clement XIII. Venice Carlo Rezzonico.

1769-1774 Clemente XIV. Clement XIV. S. Angelo in Lorenzo Francesco Vado Ganganelli.

1775-1799 Pio VI. Pius VI. Cesena Angelo Braschi.

1800-1823 Pio VII. Pius VII. Cesena Chiaramonti.

1823-1829 Leone XII. Leo XII. Spoleto della Genga.

1829-1830 Pio VIII. Pius VIII. Cingoli Castiglione.

1831-1846 Gregorio XVI. Gregory XVI. Belluno Capellari.

1846-1878 Pio IX. Pius IX. Senigalia Giovanni Mastai- Ferretti.

1878-1903 Leone XIII. Leo XIII. Carpineto (near Gioacchino Pecci. Anagni).

1903- Pio X. Pius X. Riese (near Giuseppe Sarto. Asolo)

NOTES TO LIST OF POPES:

A In the register of the patriarchal basilica of St. Paul’s Without the Walls we find: “St. Peter of Bethsaida in Galilee, Chief of the Apostles; who received from Jesus Christ the Supreme Pontifical Power, to transmit it to his successors, resided first in Antioch, then at Rome, where he met with his martyrdom on the 29th of June, in the year 67 of our era.”

B Martyr in the Crimea.

C Abdicated, d. 1296.

D Took the Papacy to Avignon.

E Took the Papacy back to Rome.

F Deposed 1409; abdicated 1415; d. 1417

G Deposed 1415; d. 1419.

H Gave the world the Gregorian Calendar.

FOOTNOTES TO MAIN TEXT:

[1] Called by scholars now, The Baths of Titus.

[2] This is the large rectangle which fills up almost the entire plan from (60) to (81).

[3] See illustration facing page 84.

[4] In the last year of the thirteenth century Giotto painted for Cardinal Stefaneschi a panel of the Crucifixion of St. Peter, which is now preserved in the Sacristy of St. Peter’s, and reproduced in this book on the opposite page. On it the Apostle is represented as being crucified midway between the Meta Romuli and the tomb of Caius Cestius (Meta Remi).

[5] Since writing these words the impossible has happened--an anarchist, for no imaginable reason, threw a bomb at the venerable and godly Pope who now occupies St. Peter’s Throne, while he was celebrating at the Papal Altar.

[6] Information about these lectures can be obtained at Miss Wilson’s English Library, 22 Piazza di Spagna, Rome.

[7] This is still in working order under the Court of the Vatican, which bears his name. The Pope-Saint used it to supply his Baptistery.

[8] In the time of Pope Marinus II., 942-946, a treasure of Peter’s Pence--830 silver Anglo-Saxon pennies of Alfred, Edward the Elder, Athelstan, Edmund Ironsides, etc.--was buried in the Atrium Vestæ, doubtless then a portion of the Palatine, which was occupied occasionally by the Popes for another six hundred years after that time. This treasure was dug up in 1883, and some of the actual coins are still to be purchased at Rome.

[9] “Honorius covered the middle door of entrance with plates of silver, 975 pounds in weight. This door was called the _Janua regia major_ or _mediana_, and from henceforward, also, on account of its adornment, _argentea_. An ancient inscription in verse, stating that Honorius had put an end to the Istrian schism, was fastened to it, whence it follows that the work would not have been executed until after the year 630. The inscription simply speaks of the Pope as Duke of the people, _Dux Plebis_. The silver covering of the door may probably have been adorned with chased workmanship, since we can hardly suppose it to have been a plating of simple metal” (Gregorovius).

[10] It is difficult not to execrate the memory of Alberti. In technical knowledge of his profession he was a great architect: he showed both restraint and originality in the style which he evolved from a study of classical monuments, but like too many other Italians, he was ready to sacrifice the most precious monuments of antiquity to provide a platform upon which he could strut. He wanted Old St. Peter’s to be destroyed, so that he might have the building of the New St. Peter’s. “Here in 1457,” says Gregorovius, “Alberti showed him his book on architecture, the first of the kind since Vitruvius, and his views on art, hostile as they were to Gothic architecture and Mediævalism, inaugurated a new age in architecture, which began with Nicholas V.”

[11] Gregorovius must have confused the sarcophagus with another, for in his _The Tombs of the Popes_ he says: “In the crypt of the Vatican, upon the lid of an ancient marble coffin, tasteless and defaced by age, we may still trace the features of the celebrated Boniface VIII. of Anagni,” but lower down he says (_Tombs of the Popes_, Seton Watson’s Translation): “He was interred in a chapel which he had himself designed and adorned with mosaics, and a handsome tomb was erected to him there. When this chapel was destroyed owing to the building of the new basilica, by a strange stroke of fate, his corpse, still in good preservation, was discovered on the 302nd anniversary of his death. The dead Pope was clothed in pallium and planeta, and wore white gloves embroidered with pearls, and a small white mitre of woollen material; a sapphire upon his finger was not worth thirty scudi. Boniface VIII. must have been unusually tall, for his body measured seven and three-quarters palms; according to the opinion of the doctors he was bald and beardless. His coffin stands to this day in the crypt of the Vatican, and above it he himself is represented in the attitude of death. The head is handsome, severe, and noble in its outlines; it agrees thoroughly with his portrait from the hand of Giotto, which also shows a beardless face, finely ovalled. The head is covered with a long mitre shaped like a sugar-loaf, on which two crowns are to be observed. For this arrogant priest was the first to assume a double crown, all previous Popes having borne only a single-crowned mitre. Afterwards Urban V. added yet a third crown, thus producing the famous triple tiara.” But Silvagni (_La Corte e la Società Romana nei XVIII. e XIX. secoli_), and others, attribute the third crown to the haughty Frenchman, Benedict XII., 1334-1342.

[12] The Latin form of the name of the House of Colonna.

[13] Hare says five thousand. “The Public Library was begun by Nicholas V., who collected five thousand MSS., the largest collection which had existed up to that time since the dispersion of the library at Alexandria. This Pope offered a reward of five thousand ducats to anyone who would bring him the Gospel of St. Matthew in the original tongue. And in his last moments, characteristically thanked God for having given him a taste for letters, and the faculties necessary for cultivating it with success.”

[14] “Melozzo’s fresco was transferred to canvas early in the last century. Up to that time it had remained in its original place in the Latin Hall of Sixtus IV.’s Vatican Library (now the Floreria)” (Klaczko’s _Rome and the Renaissance_).

[15] A palimpsest is a parchment which has had its first writing scraped off it, so that it can be used again. Murray says that this is the oldest Latin manuscript in existence.

[16] Certaldo is a beautiful and interesting old town in Tuscany, where Boccaccio lived; it forms the subject (with S. Gimignano) of one of the monographs in Corrado Ricci’s Italia Artistica Series.

[17] Now converted into the Vatican Picture Gallery.

[18] But a note of Prof. Lanciani, inferior to no one as an authority upon Rome, in his recently published work, _The Golden Days of the Renaissance in Rome_, entirely dispels this picture:--

“A MS. volume in Prince Chigi’s library, marked H. ii. 22, containing notes on the reconstruction of St. Peter’s, collected by order of Pope Alexander VII., shows the following entry under the date, June 15, 1515: ‘The Reverenda Fabbrica di San Pietro to pay 300 ducats by order of Bernardo Bibbiena, Cardinal of Santa Maria in Portico, to Raffaele da Urbino, on account of the Cartoons for the Tapestries, which are to be forwarded to Flanders.’ Another sum of 134 ducats is registered on December 20, 1516, to the same purpose. The drawing of the cartoons must have required at least nineteen months of work, and yet the artist received only 434 ducats in remuneration. As regards the tapestries themselves, Vasari and Baldinucci pretend to establish their cost at seventy thousand scudi; the author of the _Vita di Raffaele_ at sixty; Cardinal Pallavicino at fifty: all quite wide of the truth, because Paride de’ Grassi, the Pope’s diarist, on the first day they were exhibited in the Sistine Chapel, entered their cost at two thousand scudi each.”

[19] “Now they built the Vatican for their habitation, and speedily launched out into all the magnificence of the most magnificent earthly court. Their temporal territory was very small, it is true; but in the palmy days of the Middle Ages they held undisputed spiritual sway over the whole of Europe; they drew their enormous revenues from every Christian land under the sun, and they made Kings to tremble beneath their frown, and nations to quake under their excommunication. Thus it came to pass that the Pontifical tiara was surrounded by a royal crown sparkling with the most precious gems, to which Boniface the Superb (1294-1303) added a second, and the haughty Frenchman, Benedict XII. (1334-1342), a third, until the triple mitre, or ‘_Triregno_,’ became the symbol of the greatest power the world has ever seen” (Silvagni, _La Corte e la Società Romana nei XVIII. e XIX. secoli_; translated by Frances Maclaughlin).

[20] There are others of these Melozzos at Loreto.

[21] Silvagni gives a different account of the tiara. See footnote 19 above.

[22] “The first illumination is by means of paper lanterns, distributed everywhere along the architectural lines of the church, from the steps beneath its portico to the cross above its dome. These are lighted before sunset, and against the blaze of the western light are for some time completely invisible; but as twilight thickens, and the shadows deepen, and a grey pearly veil is drawn over the sky, the distant basilica begins to show against it with a dull furnace-glow, as of a wondrous coal fanned by a constant wind, looking not so much lighted from without as reddening from an interior fire. Slowly this splendour grows, and the mighty building at last stands outlined against the dying twilight as if etched there with a fiery burin. As the sky darkens into intense blue behind it, the material part of the basilica seems to vanish, until nothing is left to the eye but a wondrous, magical, visionary structure of fire. This is the silver illumination: watch it well, for it does not last long. At the first hour of night, when the bells sound all over Rome, a sudden change takes place. From the lofty cross a burst of flame is seen, and instantly a flash of light whirls over the dome and drum, climbs the smaller cupolas, descends like a rain of fire down the façade, and before the great bell of St. Peter’s has ceased to toll twelve peals, the golden illumination has succeeded to the silver. For my own part, I prefer the first illumination; it is more delicate, airy, and refined, though the second is more brilliant and dazzling. One is like the Bride of the Church, the other like the Empress of the World. In the second lighting, the Church becomes more material; the flames are like jewels, and the dome seems a gigantic triple crown of St. Peter’s. One effect, however, is very striking. The outline of fire, which before was firm and motionless, now wavers and shakes as if it would pass away, as the wind blows the flame back and forth from the great cup by which it is lighted. From near and far the world looks on--from the Piazza beneath, where carriages drive to and fro in its splendour, and the band plays and the bells toll--from the windows and _loggias_ of the city, wherever a view can be caught of this superb spectacle--and from the Campagna and mountain towns, where far away, alone and towering above everything, the dome is seen to blaze. Everywhere are ejaculations of delight, and thousands of groups are playing the game of ‘What is it like?’ One says, it is like a hive covered by a swarm of burning bees; others, that it is the enchanted palace in the gardens of Gul in the depths of the Arabian Nights--like a gigantic tiara set with wonderful diamonds, larger than those which Sinbad found in the roc’s valley--like the palace of the fairies in the dreams of childhood--like the stately pleasure-dome of Kubla Khan in Xanadu--and twenty other whimsical things. At nearly midnight, ere we go to bed, we take a last look at it. It is a ruin, like the Colosseum--great gaps of darkness are there, with broken rows of splendour. The lights are gone on one side of the dome--they struggle fitfully here and there down the other and over the façade--fading even as we look” (from Story’s _Roba di Roma_, 6th edition, Chapman & Hall, 1871).

[23] Published by John Murray, 2 vols.

INDEX

Ablutions, 107.

Abraham, sacrifice of, 150.

“_Acqua alle Funi!_”, 74.

Acqua Paola Fountain, 287.

Acts of the Apostles, 229.

Acts of the Church, 94.

Adam and Eve and the Serpent in Paradise, 155.

“Ad Caput Beati Petri,” 145.

Adolphus, Gustavus, library of, 180, 218.

Adoration of the Magi, The (fresco), not the work of Pinturicchio, 367, 370.

Ælian Bridge, 86, 101.

Agrippa, Lake of, in the Campus Martius, 292.

Agrippina, 47, 49.

Alagna (Anagni), 168.

Alatri, Bishop of, 316.

Alba Longa, 281.

Alban Lake, 281.

Albani Giovanni Francesco (Pope Clement XI.), 78.

Albani, Prince, 300.

S. Albano, 173.

Alberti, Leon Battista, Florentine architect, 115, 141, 199, 212; his book on Florentine architecture, 115; why he wished Nicholas V. to destroy Old St. Peter’s, 115.

Albigenses, 135.

Alcuin, 119.

Aldobrandini, Cardinal Cinzio, 238; garden of the Villa, 279, 282; Ippolito (Pope Clement VIII.), 75.

Alexander, Czar, 226.

Alexander the Great, 239.

Alexander III., 106, 166, 318.

Alexander VI. (Rodrigo Borgia), 7, 16, 51, 61, 92, 134, 173, 175, 182, 269, 279, 354, 367, 377; death of, 357; letter to Pinturicchio, 355; portrait by Pinturicchio, 173, 360, 363; room in which he died, 379; portraits of his sons Giovanni, Cesare, and Jofre in the Sala dei Misteri, 368.

Alexander VII. (Chigi), 20, 77, 100, 126, 129, 218, 269, 309; patron of Bernini, 77; monument to contain St. Peter’s Chair, 126.

Alexander VIII. (Pietro Ottoboni), 78, 219, 248.

Alexandrine art, 240.

Alexandrine collection, 36, 224.

Alfred the Great of England, 103, 109; the effect of Rome on his child’s mind, 104; in Rome twice, 103.

Algardi, 20.

Alla Veneziana, 255.

Alma Roma, 182.

Aloes, 290.

Altar of Clement VIII. in the Chapel of St. Peter’s Tomb in the Crypt, 132.

Altar front for Papal functions, 334.

Altemps, Prince, 300.

Altieri, Emilio (Pope Clement X.), 78.

Ambassadors to the Holy See, 11, 35, 318; Spanish, 50.

S. Ambrogio at Milan, Paliotto of, 109.

Ambrosian Library of Milan, 271.

Amianto, 223.

Anacletus, Pope, 54, 140.

Anagni, Cathedral of, 168.

Anagni, Grand Old Man of, 168.

Ancona, 172.

S. Andrea delle Valle, 193.

S. Andrew, head of, 121, 183, 193; preserved in one of the piers of the dome, 183; its reception when brought to Rome, 183; a new protector to Rome, 183.

Anemones, 3, 293.

Angelico, Fra, 6, 17, 31, 59, 199, 207, 210, 386; his masterpiece, 210; his tomb in S. Maria sopra Minerva, 211; Michel Angelo, Mino da Fiesole, all from Etruscan cities, 386.

Angelo, Michel, 7, 34, 60, 65, 71, 229, 292, 315, 319, 320, 330, 331, 349, 384, 387; conversion of St. Paul by, 320; crucifixion of St. Peter, 320; Etruscans would have revelled in his Last Judgment, 387; Etruscan in his gloomy imagination, 387; Etruscan in his love of the immense, 387; as fond of Sibyls and Prophets as the Etruscans of genii and augurs, 387; Last Judgment of, 34, 65, 229, 331, 387; says he is too old to fresco, 321.

Angelo, Sant’, castle of (_see_ SANT’ ANGELO).

S. Angelo in Vado, 401.

Anguillara, Prince, 300.

Anicii the first senatorial family to embrace Christianity, 100, 125; sarcophagus of, 100, 125.

Anicius Probus, four times Prefect of Rome, 100, 125.

“Annunciation” of the Borgia Rooms, The, 27, 367, 369.

St. Anthony, temptation of, 374.

Anticamera d’Onore, 23; of the Pope, 23; Segreta, 23.

Antinous, 41.

Antonelli, Cardinal, 225.

Antoniano, Cardinal, 89, 148.

_Antonina_, novel of Rome, by Wilkie Collins, xv.

Apollo Belvedere, 8, 41, 65.

Apollo Sauroctonus, 41.

Apollo, temple of, 51, 95.

Apostle, body of the, 141.

Apostle of Learning (Nicholas V.), ix.

Apostles, miniatures of the, 229.

Apostles’ Creed, legend of the, painted in the Borgia Rooms, 382.

Apostles, Prince of the, 183; statue of, 137.

Apostle’s tomb, 143, 144, 148; objects blessed by touching the, 146.

SS. XII. Apostoli, 128, 340; piazza of, 217.

Apostolic simplicity, 12.

Appartamenti Borgia. _See_ BORGIA APARTMENTS.

Aquila, Fontana dell’, 287.

Aquileia, Patriarch of, 162.

Aquinas, S. Thomas, 230, 265, 316; “Angelic Doctor,” 265; statue of, 256.

Aracœli Library. _See_ LIBRARIES.

Arazzi, 43.

Arazzi, Galleria degli. _See_ GALLERIES.

Arcades, Bramante’s, 21.

Arch of Gallienus, 238.

Archi-Ospedale di Santo Spirito, 102.

Archives, 4, 37, 40, 217, 221, 223, 253, 257, 259, 261, 266, 267, 269, ix; of the Apostolical Secretaries, 268, 269; left at Assisi, 267; taken to Avignon, 267; of the Camera Apostolica, 268; of the Cancelleria, 268; of Clement VIII., 268; of the Dataria, 270; of the Gardaroba, 268, 269; of the Lateran, 266; Leo XIII.’s addition to the, 270; of the letters of Cardinals, Princes, etc., 269; of the Nuncios, 269; order preserved by Marini of the, 270; of St. Peter’s, 344; recovered from Avignon by Pius VI., 269; restored through England, 270; at Sant’ Angelo, 267, 268, 270; none sent to Sant’ Angelo after Paul V.’s time, 268; of the Secretariat of the Briefs, 269; of the Secretariat of State, 269; transfer by Napoleon to Paris of the, 270.

Archivio. _See_ ARCHIVES.

Argenti, 156.

Ariadne, 41, 65.

Aristide. _See_ ARISTIDES.

Aristides, 243, 246; statue of, 236.

“Arithmetic,” 380.

Ark presented to Pius IX. by French clergy, 30.

Armeria, 44.

Armouries, 221, 254, 353.

Arnold of Brescia, 173, 177.

Arnolfo di Lapo or Arnolfo di Cambio. _See_ LAPO.

Arretium (Arezzo), 387.

_Art of the Vatican, The_, by Mary Knight Potter, xii.

Artists as critics, 363.

“Ascension, The” (fresco), 367.

_Assertio Septem Sacramentorum adversus Martinum Lutherum_, 234.

Assisi, one of Nicholas V.’s fortresses, 164, 267.

“Assumption of the Virgin,” The (fresco), 367, 370.

Assyria, 398.

“Astrology,” 381.

“Astronomy,” 381.

Athens, pottery of, 403.

Atrium of Old St. Peter’s. _See_ OLD ST. PETER’S.

Atrium Vestæ, Peter’s Pence found in the, 105.

Attila, repulse of, 31, 120.

Audience, Papal, 23.

Audience Room. _See_ GALLERIOLA.

S. Augustine’s _Commentary on the Psalms_, 271.

Augustinians, 329.

Augustus, 142.

Aula della Beatificazione, 33.

Aula Dei, 321.

Aula Magna, 32.

Aula Minor, 33.

Aurelio, Cesare, 256.

Aurelius, Marcus. _See_ MARCUS.

Austria, Emperor of, 235, 259; Francis Joseph of, 235; Maria Thérèse of, 326.

Author, the, his attitude to the Church of Rome, x; the Middle Ages his favourite study, xi; not a Roman Catholic, x.

Autograph of Henry VIII., 229, 234, 244.

Autographs of Petrarch and Tasso, 228; of S. Thomas Aquinas, 228, 230.

Avignon, 4, 58, 136, 267, 269, 318; palace of, 10, 16, 188.

Avignon Popes, _see list of popes_.

Baden, Duke of, 259.

Bajazet II., Sultan, 62, 127, 182, 187, 297, 376.

Balcony, 41.

Baldachin, 348.

Baldachin of St. Peter’s. _See_ ST. PETER’S BALDACHIN.

Baldachin over the Volto Santo, 188.

Baptism of Our Lord, 151.

Baracconi, 343.

S. Barbara of the Borgia Rooms, 28, 373.

Barbarians, The, 141.

Barbarossa, Frederick, 102, 106, 173, 318.

Barberini bees, 222.

Barberini, Cardinal Francesco, 77.

Barberini, librarian, 220, 222.

Barberini Library, 77, 220, 221.

Barberini, Maffeo (Urban VIII.), 76.

Barberini Palace, 76, 220.

Barbo, Marco, Patriarch of Aquileia, 162.

Barbo Pope, The. _See_ PAUL II.

Baroccio, Federigo, 288, 325.

Bartholomew, massacre of, 318.

Bartoli, Taddeo, 236.

Basil, Emperor, 228, 246; conqueror of the Bulgarians, 231.

Basilicas, ciborium a feature of, 108; what constitutes a, 108; have high altars at the west end, 108; Roman, destroyed by the Cardinals, 357.

Basle, Council of, 171, 201.

Bas-reliefs from the Garden of Nero, 136; of Our Saviour blessing the Innocents, 184.

Bassus, Junius, the family of, 153; sarcophagus of (_see_ JUNIUS BASSUS).

Bathroom of Cardinal Bibiena, 29, 382.

Baths of Titus. _See_ TITUS.

Baths of Trajan. _See_ TRAJAN.

Bavaria, Duke Maximilian of, 218.

Bavaria, Louis of, 190.

Beatifications, 322.

Beccadelli’s Livy cost 120 ducats, 201.

Bellarmin, Cardinal, 89, 148.

Bellini, Gentile, 376.

Belvedere, Bramante’s, 63, 324; Cortile del (_see_ CORTILE); of Innocent VIII., 37, 40; why so called, 18.

Bembo, Cardinal, 227.

Benedict XII., 136, 267; founded the Palace of Avignon, 188; statue of, 137, 188; and Urban V. add a crown to the Papal tiara, 167, 343; throne the most beautiful in Rome, 137, 188.

Benedict XIII. (Vincenzo Maria Orsini), 78, 269.

Benedict XIV. (Prospero Lambertini), 78, 179, 219, 222.

Benediction of Frederick Barbarossa by Alexander III. at Venice, painted by Giuseppe della Porta, 318.

Berlin, pottery of, 226.

Bernardino. _See_ PINTURICCHIO.

Bernini, 10, 20, 29, 32, 77, 78, 110, 129, 317, 323, 330, 347; baldachin of, 348; candelabri of, 317, 321; colonnade of, 10, 77, 281, 317, 348.

Berthier, General, 81.

Bessarion, Cardinal, 165, 183, 206, 271; career of, 206; palace, a refuge for Greek scholars exiled by the fall of Constantinople, 206.

Beza, Theodore de, 251.

Bibiena, Cardinal, patron of Raffaelle, 29, 309; bathroom of, 29, 382.

Bible, German, assumed to be in Luther’s own hand, 249, 251; discredited by its scurrilous prayer, 153.

Bible, Hebrew, from the Library of the Dukes of Urbino, 228, 234.

Bible (manuscript), 25 to 40 gold ducats for, 201.

Bible, with miniatures by Pinturicchio, 229.

Biblioteca, or Sala di Consultazione, 258, 260; Alexandrina, 218; Leonina (_see_ LEONINE LIBRARY); Palatina (_see_ PALATINE LIBRARY); Segreta at Sant’ Angelo, 267; Vaticana (_see_ VATICAN LIBRARY); Urbina, founded by the Duke Frederick of Montefeltro, 218.

Bieda, 388.

Bisleti, Monsignor, 138, 308.

Bizamanus, 237.

Blessing, the Papal (Urbi et Orbi), 322.

Bodleian Library, 235.

Boleyn, Anne, 234.

Bolsena, Mass of, 30.

Bonaparte, Cardinal, 295.

Boniface IV., 185; gives S. Veronica’s handkerchief a shrine in the Pantheon, 123.

Boniface VIII., 9, 92, 137, 160, 166, 167, 169, 279; a Caetani, 167, 331; captured at Anagni by the Colonna, 168; Chapel of, 113; adds second crown to the Papal tiara, 167, 343; Bull of _Unum Sanctum_, 170; Dante’s allusion to his indignity at the hands of the Colonna, 168; destroys Palestrina, 168; discovery of his body in the reign of Paul V., 167; enemy of the Colonna, 168; excommunicates Philip the Fair of France, 170; Gregorovius’ mistake about tomb of, 166; instituted the Jubilee, 168, 169; mausoleum of, 166; mock crucifixion of, 168; patron of art and literature, 168; picture of, by Giotto, 167, 169; Pope who canonized St. Louis, 168; portraits of, several, 169; representative of the age of Dante, 169; revives the struggle between the Church and State, 170; said, “If I die, I will die a Pope,” 168; sarcophagus of, 166; statue of, in the cathedral at Anagni, 169; tomb of, 113, 166, 169.

Boniface IX., Sacramentary of, 229.

Books, price of, 201.

Bordighera provides Easter palms, 74.

Borghese, Camillo (Pope Paul V.), 75; Scipio, 302; Villa, 302, 316.

Borgia Apartments (Rooms), 7, 11, 16, 18, 25, 26, 29, 39, 61, 84, 173, 187, 209, 260, 261, 262, 277, 294, 316, 327, 353-385; among the brightest gems in the Vatican, 384; the armoury, 353; built by Nicholas V., 59; canvas used in restoration of, 362, 381; character of the restoration of, 360; cleared by Leo XIII., 359; compared to the Chapel of Nicholas V., Riccardi Chapel, St. Mark’s, and Cappella Reale, 366; damage done to them, 361; the difficulties of a library in, 258, 353; the fine flower of the Pagan Renaissance in Rome, 385; full effect only seen at night, 385; the Guard-Room of the Swiss Guard, 353; given up to the Cardinal Nephews, 360; how the books were removed from, 260, 261, 262; in the seventeenth and eighteenth century, 358; information very incorrect about the, 353; Mediæval Museum of the Papacy, 353; the most royal in the Vatican, 384; neglected very early, 357; panels of intarsia work almost contemporary with Pinturicchio, 362; pictures blocked up--books hopelessly choked and confused, 353; official residence of the Cardinal Secretary of State, 353, 361, 384; restoration of the, 253, 360, 362; restoration under Pius VII., 360; restored by architect Vespignani and the painter Seitz, 359; Spanish tiles, old, 379, 382; condition when bookcases were first removed, 359; stucco and papier-mâché work, 354; too dark for picture gallery, 358; used for meals of officials in Holy Week, 358; used by Pius VII. for picture gallery, 358; used for museum of statuary, 358; used for Vatican Library of Printed Books by Gregory XVI., 358; used to receive books of Cardinal Mai, 359; Vatican Library of Sixtus IV., 362; formerly Vatican Library, 27, 84, 258, 353, 384.

Borgia arms, 28.

Borgia bull, 370, 371, 378.

Borgia, Cesare, 173, 356, 369.

Borgia, Giovanni, 356, 369; murder of, 356.

Borgia, Jofre, 368.

Borgia, Lucrezia, 173, 279, 376.

Borgia, Palace of the, 10.

Borgia, Pier Luigi, 369.

Borgia Popes, 7, 10, 12, 61, 92, 134, 173, 175, 182, 356; Popes buried in S. Maria di Montserrato, 175.

Borgia tomb, 173.

Borgia tower. _See_ TORRE BORGIA.

Borgo to become a gigantic Papal city, 59.

Borgo, fire in the, 30.

Borromeo, S. Carlo. _See_ CARLO.

Boscareccio, 278, 285.

Bottari, 210.

Botticelli, Sandro, 60, 314, 330.

Bourbon, Constable of, 8, 70, 214, 310; sack of Rome by, 70, 214, 310.

Box hedges, 291.

Braccio Nuovo, 18, 40, 63, 82.

Bracciolini, Poggio, 6, 165, 201, 202, 206; career of, 201; Facetiæ of, 203; tribute to Jerome of Prague of, 202.

Bramante, 21, 25, 37, 63, 72, 75, 96, 142, 156, 254, 291; cortile of, 305; death of, 26; Niccio, or esedra of, 291; Tempietto of, 50, 175.

Braschi, Angelo (Pope Pius VI.), 78.

Braschi, Jean, who followed the profession of “Pontiff,” 79, 81.

Breakspear, Nicholas, of St. Albans (Hadrian IV.), 173.

Bregno, 60; screen of, 378.

Bresca, a sailor from Bordighera, 74.

Brescia, 173, 177.

Breviary of Matthias Corvinus, King of Hungary, 227.

Briefs, 269.

Brill, or Bril, Paul, 323, 330.

Brittany, Anne of, 63.

Bronze gate. _See_ PORTONE DI BRONZO.

Bruno (Gregory V.), 176.

Bull, 139.

Bull Apis, 28, 371.

Bull, registered, “par voie sécrète,” 269.

Bunsen, 120.

Buoncompagni Pope (_see_ GREGORY XIII.), 72.

Bussola, 22.

Bussolanti, 22.

Busts, Hall of the. _See_ SALA DEI BUSTI.

Bute, Marquess of, 336.

Byzantine embroideries, 341; manuscript, 228.

Byzantium, 165, 172.

Cabinet of the Papiri, 236.

Cadwalla, King of the West Saxons, baptized at Old St. Peter’s, 103.

Caere (Cerveteri), 387.

Caere, tombs deep in the earth, 393.

Cæsar, Julius, 49, 387; tomb of, 74, 282.

Caetani, 158, 331.

Caffarelli, Prince, 300.

Calendar, 72, 228, 229, 237.

Caligula, circus of, 38, 47, 48, 54, 64, 95.

Caligula and the Vatican, 283.

Calixtus III., 62, 134, 156, 171, 174, 183, 214; and the Vatican Library, 214; not Alexander VI., the effigy on the Borgia Tomb, 174; lovely fragments of tomb of, 183.

Camera Apostolica, archives of, 268.

Camera delle Arti e Scienze, 28, 378, 379, 380.

Camera della Vita della Madonna, 27.

Camera della Vita dei Santi, 27.

Camerieri d’Onore, 23.

Camerieri Segreti, 23, 300.

Campanari Brothers, 33, 391; supplied most objects in Etruscan Museum in the Vatican, 391; garden, 391.

Campo Vacchino, the old name for the Forum, 299.

Cancelleria, Archives of the, 268.

Candelabri, Galleria dei. _See_ GALLERIA CANDELABRI.

Candelabri, exquisiteness of, 315.

Canonization, 322.

Canossa, 135; Castle of, 181.

Canova, statues of, 41.

Canova’s Stuart monument, 91, 180.

Canute, 103, 105; visits St. Peter’s, 105.

Capanna, 236.

Capellari, Cardinal Mauro (became Gregory XVI.), 83.

Capitol, decorations, the same as to-day, 299.

Cappella della Beatificazione, 321.

Cappella Clementina, 126.

Cappella Gregoriana, 125.

Cappella Leonina. _See_ CHAPEL, LEONINE.

Cappella di Niccolò V. See CHAPEL OF NICHOLAS V.

Cappella Paolina. _See_ CHAPEL, PAOLINE.

Cappella della Pietà of St. Peter’s, 100.

Cappella Reale. _See_ PALERMO, ROYAL CHAPEL OF.

Cappella Sistina. _See_ CHAPEL, SISTINE.

Cappello Ducale, 332.

Capponi Collection, 36, 219, 224.

Caprina, 102.

Caracalla, 141, 282; baths of, 141.

Caracciolo, Monsignor, 303.

Caraffa, Pope, 71.

Cardinal Camerlengo, 302.

Cardinal Nephews, 357, 360.

Cardinals, 22, 23; destruction of the Roman basilicas, 357; gardens of, 278, 279; robes for Mass for dead Pope, 334; smoking-room of, 25; style of architecture, 288.

Cardinals’ hat, 302.

S. Carlo Borromeo, 2, 288, 304.

Carmine of Florence, 211, 311.

Carnot, President, 226.

Carpegna Collection, 223.

Carthage, 106; tombs of (tombs spared by the Romans), 55, 393.

Casino Borromeo. _See_ PIUS IV. (Casino of).

Casino of Leo XIII., 61, 283.

Casino del Papa, 288.

Casino Pio. _See_ PIUS IV.

Castel d’Asso, 388; tombs at, 392.

Castel Gandolfo, 44.

Castellani, Signor, 398, 399.

Castiglione, Conte Baldassare, 66.

Castiglione, Francesco Saverio (afterwards Pius VIII.), 83.

Castle of Sant’ Angelo. _See_ SANT’ ANGELO, CASTLE OF.

Catacombs, antiquities from, 7, 236.

St. Catherine, came from Alexandria, 371; of the Borgia Rooms, 28, 372; the Disputa of, 28, 356, 371, 375; lovely figure of, 375.

St. Catherine, Lucrezia Borgia, 376.

Cavalcata, 298, 303; description of a, 299, 303; the last, 299.

S. Cecilia, 90.

Cefalù, 184.

Celestine III., 57.

Cellini, Benvenuto, 9, 236, 341; brooch of gold, 336; candlesticks of, 341; casket of, 121.

Cenci, Beatrice, 75.

Censer, 146.

Cephalus and Procris, 26, 364.

Ceramicus, potteries of, 403.

Certaldo, Johannes di, 228.

Cerveteri, 387, 388; tombs at, 388, 393; tombs of, their characteristics, 393; remarkable Pelasgic tomb at, 398.

Cervini, Pope (Marcellus II.), 159.

Cestius, pyramid of Caius, 51, 52.

Chamberlains, 300; assistant, 300; honorary, 300.

Chandlery, Father, _Pilgrims’ Walks in Rome_, xv.

Chapel of the Anicii, mortuary, 100.

Chapel of St. Blaise, 156.

Chapel, Colonna-Caetani, in the Crypt of St. Peter’s, 158.

Chapel of the Holy Sacrament, 125, 131, 181.

Chapel of John VII., mosaic in, 117.

Chapel, Leonine, 33, 309, 321, ix.

Chapel of S. Maria della Bocciata, 94, 184, 187, 189.

Chapel of S. Mary of the Women with Child (S. Maria Pregnantium), 184, 187.

Chapel of Nicholas V., 6, 18, 31, 58, 190-212, 366.

Chapel, Paoline (built by Antonio da Sangallo), 34, 44, 71, 73, 317, 318, 319, 320, 321; what used for, 318.

Chapel of St. Peter’s Tomb, 54, 75, 94, 133, 140, 143.

Chapel of the Tomb of St. Peter, the second cradle of Christianity, 133.

Chapel of St. Petronilla, 57, 100.

Chapel of the Pietà, 125.

Chapel of S. Pius V., 35, 223, 305.

Chapel of the Pope, private, 22.

Chapel of the Presentation, 126.

Chapel of SS. Processus and Martinian, 121.

Chapel Riccardi at Florence, 210, 366, 376.

Chapel Salvatorino, 189.

Chapel, Sistine, 8, 10, 14, 33, 34, 35, 60, 65, 125, 215, 246, 259, 261, 310, 314, 318, 323, 338, 355, 384, viii; exterior as plain as a packing-case, 349; Last Judgment in the, 34, 60, 71; photographing the, 260; Steinmann’s work on the, 259; treasury of (_see_ SISTINE TREASURY).

Chapel of the Tomb in the Crypt, 144, 145; description of, 146.

Chapel of the Volto Santo, 117, 181; mosaic in, 117.

Chapter House, 340.

Charlemagne, 30, 101, 118, 119; coronation of, 30, 341; epitaph on Hadrian I. of, 101, 118, 119.

Charles VIII., King of France, on the Borgia Rooms, 356.

Charles the Bald, 105.

Charles Edward, born at Rome, 179; buried first at Frascati, 180; a drunkard for forty years, 179; remains of, transferred to St. Peter’s, 180; White Rose Society keeps fresh flowers on his grave, 180.

Charles III. (Young Pretender), 91, 178.

Charles X., 226.

Charlet, Cardinal, 245.

Charlie, Bonnie Prince, 91.

Charlotte of Cyprus, 92, 134, 181, 229.

Chiaramonti, Pope (_see_ PIUS VII.), 25, 81.

Chigi (_see_ ALEXANDER VII.), 20, 77.

Chigi, Prince, 309.

Chiusi, Etruscan house at, 405; museum of, 389.

Choir of the Canons, 126.

Christ represented as a young and beardless man, 150.

Christian, paintings in the Vatican Library, 305; remains in the Crypt, Early, 152; sufferings of, 48.

Christians, Early, did not erect tombs in the churches themselves, 111.

Christianity’s Holy of Holies, 113.

Christina of Sweden, 92, 180, 218, 248; bequeathed Gustavus Adolphus’s library to the Vatican, 180, 227, 248; buried in the Crypt of St. Peter’s, 180.

Ciborium of Innocent VIII. for the Holy Lance, 156; for Volto Santo, 136, 151.

Ciborium of Sixtus IV., 157.

Ciborium which contained the shroud that wrapped Our Lord’s Body, 188.

Cicero, 48, 201; Letters _Ad Familiares_ of, cost ten ducats, 201.

Cicero’s _Republic_, palimpsest of, 227, 264, 271.

Cigala, Abbé, a noble of Turin, xvii.

Cincinnatus, Lucius Quinctius, 45, 47, 282, viii.

Circus of Caligula. _See_ CALIGULA.

Circus of Nero. _See_ NERO.

Civita-Castellana, fortress of, 64.

Classic Ages, paintings of, 7.

Classical authors, original manuscripts of, 17.

_Classici Scriptores ex codicibus Vaticanis editi_, 273.

Clement I., 123.

Clement VII., 31, 70, 234.

Clement VIII. (Ippolito Aldobrandini), 75, 77, 89, 94, 132, 146.

Clement VIII., altar of, 146; Archivio of, 268.

Clement IX. (Giulio Rospigliosi), 78.

Clement X. (Emilio Altieri), 78.

Clement XI. (Giovanni Francesco Albani), 78, 269.

Clement XII. (Lorenzo Corsini), 78.

Clement XIII. (Carlo Rezzonico), 78, 219.

Clement XIV. (Lorenzo Ganganelli), 24, 78, 79, 219, 303; was he poisoned? 79, 303; body after death, 79, 303; last Pope who rode in Cavalcata, 298; falls in his Cavalcata, 303.

_Cloister and the Hearth_, Nicholas V. in the, xv.

Clovio, Giulio, 228, 230, 234.

Coach-house of the Popes. _See_ POPES’ COACH-HOUSE.

Codex Purpureus, 229.

Codex Romanus of the Vatican Library, has it been inked over? 249.

Codex Septuagint, 248.

Codex Vatican, 7, 227, 273.

Collegio Romano, 76.

Cologne, Archbishop of, 234.

Colonna family, 168.

Colonna, Mark Antonio, 72.

Colonna, Prince, 300.

Colonna, Santa, 124.

Colonna-Caetani, Donna Agata, the only woman not a sovereign buried in St. Peter’s, 93, 134, 158.

Colosseum, 372.

Columbus, Christopher, 6.

Columella, 201.

_Conclave, Le_, book by Lector, xvii.

S. Congregazione de Propaganda Fide, 272.

Conrad, Emperor, 105.

Constance, Council of, 201.

Constantine, Basilica of, 86, 94, 107, 158, 181, 292, viii; lasts till Reformation, 96.

Constantine the Great, 89, 112, 128, 143, 163, 312, viii; carried twelve basketsful of earth at foundation of his basilica, 94; battle between Maxentius and, 31; decree on the peace of the Church of, 52; donation of, 110, 205; the six basilicas attributed to, 94; inscription on the supremacy of St. Peter of, 112; makes Christianity the official religion of the world in 324 A.D., 96, 113; turns first sod of Old St. Peter’s, 94.

Constantine, Grand Duke, 226.

Constantinople captured by the Turks under Mahomet II., 62; Patriarch of, 206.

Conti, Michel Angelo de’ (Pope Innocent XIII.), 78.

Corinth, pottery of, 403.

Corinthian vases, 403.

Corneto, 387.

Corneto (station for Tarquinii), 387; painted tombs of, 393, 394, 395; painted tombs of, how they are kept, 395; painted tombs of, their characteristics and subjects, 396; Etruscan museum of, 389.

Cornwall, Delabole, quarries at, 284.

Corps-de-garde, 35.

Corsini, Lorenzo (_see_ CLEMENT XII.), 78.

Corsini, Prince, 298.

Corsini, Princess, 336.

_Corte e Società Romana XVIII e XIX Secoli_, xvi.

Cortile del Archivio, 18.

Cortile del Belvedere, 18, 21, 37, 40, 63, 75, 218, 221, 223, 254, 291, 305, 347.

Cortile di S. Damaso, 15, 19, 23, 26, 31, 63, 84, 308, 328, 348.

Cortile dei Falegnami, 19.

Cortile del Forno, 19, 35.

Cortile (Giardino) della Stamperia, 40, 261.

Cortile del Maggiordomo, 18.

Cortile del Maresciallo di Conclave, 18, 33.

Cortile dei Palafrenieri, 16.

Cortile del Pappagallo, 16, 36.

Cortile del Portone di Ferro, 16, 36, 261.

Cortile della Sentinella, 16, 35, 261.

Cortona, 387.

Corvinus, Breviary of Matthias (King of Hungary), 227.

Cosmati, art of the, not the only Roman art, 315.

S. Costanza, church of, 163.

Council of Trent. _See_ TRENT.

Councils, General, 171.

Court of the Tournaments. _See_ TOURNAMENTS.

Courts and courtyards. _See_ CORTILE.

Crawford, Mr. Marion, 290.

Creighton, Bishop, 216.

Crescentius, 127, 176, 177; consul or senator of Rome, 127; expels Gregory V., 177; the font of St. Peter’s is part of sarcophagus of, 127, 176; put to death by Otto III., 127, 177.

Crimea, 398.

Cross, processional, presented by Marquess of Bute, 336.

Crusades, 62.

Crux hastata. _See_ PAPAL CROSS.

Crypt of St. Peter’s. _See_ ST. PETER’S CRYPT.

Crypt, New. _See_ GROTTE NUOVE.

Crypt, Old. _See_ GROTTE VECCHIE.

Cryptes Vaticanes, xviii.

Cumae, 398.

Curia, 59, 268.

Curia, Papal. _See_ PAPAL COURT.

Cyclamens, 3, 282.

Cylices or drinking-cups in Gregorian Museum, 403.

Cyprus, Charlotte of. _See_ CHARLOTTE OF CYPRUS.

S. Cyril, 129.

Cyrillus, Patriarch, 249.

Dalmata, Giovanni, 133, 156, 184; “Hope” of, 156.

Dalmatic worn by Charlemagne, 9, 341; of San Leone, 341.

S. Damaso (S. Damasus), Archives of, near Theatre of Pompey, 217, 266; baptistery of, 93, 100, 132; court of (_see_ CORTILE); date of, 183; his drain under the Cortile di S. Damaso, 93; under the Cortile di S. Damaso still in use, 93; his inscription the most beautiful in the crypts, 93, 136, 183; library of, 217, ix; loggie of, 65.

Daniel between the lions, 151.

Daniele da Volterra. _See_ VOLTERRA.

Dante, Ignazio, afterwards Bishop of Alatri, 316.

Dante’s _Divine Comedy_, with miniatures by Giulio Clovio, 228, 234.

Dante’s MS., writing of Boccaccio, 228.

Dark Ages, 176.

Dataria, Archives of the, 270.

Death with his hammer on the Etruscan tombs at Volterra, 389.

Decembrio, 206.

Defender of the Faith. _See_ FIDEI DEFENSOR.

“_Delenda est Columna_,” 168.

Demidoff, Prince, 225.

Dennis’s _Cities and Cemeteries of Etruria_, 397, 398, xii.

Descent of the Holy Spirit, The, 367, 370.

Devils and Angels on Etruscan tombs, 389.

“Dialectics,” 380.

Diocletian, baths of, 76, 141.

Disputa of St. Catherine, The. _See_ S. CATHERINE.

Djem, Prince, 62, 187, 376; one of the most notable figures in the frescoes of the Borgia Apartments, 187.

Dogmatica Panoplia, 232.

Dome of the Cathedral at Florence, 349; of Michel Angelo, 349; of the Pantheon, 349; of St. Peter’s (_see_ ST. PETER’S).

Domenichino’s “Pentecost,” 327.

Domitian, Stadium of, 38, 288, 290.

Donatello, ciborium by, 342.

Donizo, 228, 233.

Donus, Pope who paved the Atrium of St. Peter’s with marble from Meta Romuli, 120.

Doria Gallery, 146.

Doria Villa, 287.

“_Duae Metae_,” in a picture by Giotto, 50.

Dufresne, Père, 144, 156, 162, xviii.

Duns Scotus, the Realist, 256.

Duppa’s _Life of Michel Angelo_, 320.

Dux Plebis, 113.

Edward I. of England, 135.

Egypt, 398.

Egyptian Museum. _See_ MUSEUM.

Ehrle and Stevenson, 359, 360, x; on Seitz’s restoration of the Borgia Rooms, 360, xvi.

Eighteenth century, practical jokes of the, 291.

Elagabalus releases thousands of poisonous snakes on the Vatican Hill, 54, 283.

_Éléments d’Archéologie Chrétienne_, xvii.

Emperor, the Holy Roman, 341.

Emperors, the successors of Constantine, 96.

England, pilgrims from, 102; tomb inscribed with the Conversion of, 113.

English Catholic books, 259.

English Library at Rome, 138.

English School at Rome, 105.

Episcopia, 56.

Eroli, fragments of the mausoleum of Cardinal, 159, 184; tomb of, 156, 159.

Esedra, 38, 291.

Ethelwulf, King, 104, 109; crowned by the Pope, 104.

Etruria, likeness between rock tombs and pagan rock tombs of Sicily, 394.

Etruscan augur who bade Cæsar beware the Ides of March, 387.

Etruscan bronzes in Gregorian Museum, 403.

Etruscan cemeteries near Orvieto, 388.

Etruscan cities, ix; are to Rome what Pompeii is to Naples, 386; in the Roman Maremma, 387; round Rome, which can be visited with very little more effort than Pompeii, 387; round Viterbo, 388; South, can mostly be visited by rail in one day from Rome, 387; which reflowered in art, 387.

Etruscan frescoes, the best show beauty of the women as the Pompeian never do, 397.

Etruscan funeral scenes, 390, 394.

Etruscan genii, 387, 389; good--with wings--doubtless the origin of our angels, 389.

Etruscan house found at Chiusi, like a Japanese house, 405.

Etruscan imitations in stucco, 392.

Etruscan inscriptions, 402.

Etruscan jewellery, domestic and sepulchral, 400; genuine, inferior in taste and execution to Tyrrhene style, 400; in Gregorian Museum, 403; manufacture has never ceased to go on of, at S. Angelo in Vado, 401; carried on in Rome now, 401; Pelasgic or Tyrrhene style of, 398; style of, 397-402; tiaras coming in again, 401.

Etruscan mirrors like Greek, Roman, Carthaginian, Egyptian, and Japanese, 402.

Etruscan museums in Rome, 389.

Etruscan race flowered in artists of Umbria and Tuscany, 387.

Etruscan sarcophagi, carved by native workmen from native designs, deal mostly with religious subjects, 389.

Etruscan sporting, scenes of, 395.

Etruscan temples, faithful representation on cinerary urns, 404; like the temples of Japan, 404.

Etruscan tombs, banqueting scenes on, 396; best at Tarquinii and Cerveteri, 388; characteristics of, 391; levity of their general subjects, 394; lids often of inferior workmanship, 390; model of, 391; portrait effigies on, 390; presence of a horse and cart marks the passage of a soul, 389; ready-made, 390; scenes from Greek mythology or history, 390; subterranean, give an intimate acquaintance with the race, 388; tell us much of the customs of that dead mysterious race, 390; views of Future State on the, 390; to visit, winter the best time, 395.

Etruscan or Tyrrhene treasures in the Gregorian Museum, 398.

Etruscans, women entered more publicly into the lives of the, than into the lives of the Greeks, 396.

Etruscans, 83, 386-405; had their Charon ferrying souls across the river of Death, 389; melted into Latins: Latins melted into Italians, 386; more serious people than the Romans and Greeks, 389; like Romans, seem to have buried their dead outside their cities, 393; used birds in fishing, like the Chinese of to-day, 395; vases imitated from the Greek by the, 403; when wealthy, imported potteries of Athens and Corinth, 403.

Eugenius IV., 53, 171, 205; made Bessarion a Cardinal, 206.

Exarchs, 112.

Fabriano, Fortress of, 164.

Fabriano, Gentile da, 237.

Fabriano, Nuzi of, 236.

Facchinetti, Pope (Innocent IX.), 159.

Farnese, Alessandro (Paul III.), 9, 25, 71, 325.

Farnese, Giulia, 377.

Farnese tapestries, 329.

Farnesina, roof of the, 365.

Feast of the Virgin, collection of sermons for, 233.

Felix V., Anti-pope, 171.

Fenestella Confessionis, 108.

Ferrante, King, 217.

Fiano, Prince, 300.

Fibulae, 400.

_Fidei Defensor_ (“Defender of the Faith”), 234, 251.

Fiesole, 211.

Fifteenth-century parts of the Vatican, 16, 35, 377.

Filarete, 53, 120.

Filelfo, 202, 204; career of, 203, 204; determines not to visit Nicholas V., 204; at Rome under Sixtus IV., 204.

S. Filippo Neri, 304.

Fleury, MSS. of the Library of, 218.

Florence, Carmine at, 211, 311.

Florence, Cathedral of, 349; Etruscan Museum of, 389; Riccardi Chapel at (_see_ CHAPELS); Santa Croce at, 97.

Flos Etruriae--flower of Etruria (Florence), 211.

Fonseca, Cardinal, his tomb, 159.

Font used for baptizing the Prince Imperial, 225.

Fontainebleau, captivity of, 332.

Fontana, architect, 49, 73, 218, 226.

Forli, Melozzo da, 128, 216, 340; frescoes of, 216 (_note 14_), 340; fresco of the Vatican Library by, 216.

Forum, The, 299.

Frari, The, at Venice, 221.

Frascati, 179, 279, 282.

Frascati, Cardinal York, Bishop of, 179.

French Revolution, 79.

French tapestries, 25.

Frescoes, 292, 379; in the Borgia Rooms, authorship of various, 379; from Ostia, 240; of shrines of Old St. Peter’s, 187.

Frisians, Church of the (S. Michel in Sassia), 106.

Fronto, Julius, 276.

Gabinetto delle Maschere, 41.

Gaetani, Scipione, 226.

Gall, St., 201.

Galleria degli Arazzi, 43, 66, 220, 309, 315; dei Candelabri, 8, 43, 220, 310, 315; Geografica, by Ignazio Dante and his brother, 43, 220, 316.

Galleria Lapidaria. _See_ GALLERY OF INSCRIPTIONS.

Galleria delle Muse, 79; delle Statue, 41.

Galleriola, 25, 327.

Gallery of Inscriptions, 11, 24, 39, 82, 220, 223, 235.

Gallienus, Arch of, 238.

Gandolfo, Castel, 281.

Ganganelli, Lorenzo (Clement XIV.), 78.

Gardaroba, Archives of the, 268, 269.

Garden, or terrace, of the Navicella, 292; of the Pope, 1, 10, 16, 37, 278, 280.

Garden, Vatican. _See_ VATICAN GARDENS.

Garden of the Villa Lante, fountain in the, 278.

Gaza, Theodore of, 165, 206.

Genga, Annibale della (Pope Leo XII.), 83.

Genius of the Vatican, The, 41.

Genoa, 6.

“Geometry,” 380.

St. George, life of, with miniatures by Giotto, 344.

George IV., 91.

Geracé, Marquis of, 153.

German MSS. in Vatican Library, 219.

Ghini, Simone, 53, 120.

Ghirlandajo, 60, 314, 325, 330, 380.

Giardino della Pigna, 18, 38, 40, 42, 99, 291; della Stamperia, 18, 255; Vaticano (_see_ VATICAN GARDENS).

S. Giorgio in Velabro, 107.

Giotto, 117, 128, 169, 185, 340, 344, 396; mosaic angel by, 185; Navicella of, 117.

S. Giovanni dei Fiorentini, 48.

Fra Giovanni da Firenze (Fiesole). _See_ ANGELICO, FRA.

Fra Giovanni da Roma, 209.

Giulio Clovio, 228, 230, 234.

Giustiniani, Prince, 300.

Gobelins, 8.

Gods of Greece, moral standard of the, 368.

Gold breastplates, 398.

Golden Rose, 9, 34, 334.

Gothic tombs in St. Peter’s Crypt, 214.

_Gouvernement de l’Église_, xvii.

Goyau, xvii.

Gozzoli, Benozzo, 31, 207, 210; his figure of Lorenzo de’ Medici in the Riccardi Chapel, 378.

“Grammar,” 380.

Grand gala coach, 296, 297.

Grand Herald, 299.

Gratian, Emperor, 100.

Greece, ancient clay statuettes of, 239; ancient paintings of, 239; writers of, 6.

Greek Calendar. _See_ MENOLOGIUM GRECUM.

Greek home, 404; MSS., 218; vases, 42, 403.

Greeks as averse as Arabs to talking about the women of their family, 404; have left us hardly any real portraits, 404; undomesticated, 404; liable to ignore domestic details, 404.

Gregorian Calendar, 72.

Gregorian Museum, matchless collection of Greek vases and bowls of, 403.

Gregorovius’ _History of Rome in the Middle Ages_, xi; _Tombs of the Popes_, xii.

S. Gregory the Great, 113, 144; tomb of, 126.

Gregory II., 121.

S. Gregory III., 56, 186.

Gregory V., 134, 177; epitaph of, 177; tomb of, 176, 177.

Gregory VII., 135, 166, 181, 229, 318.

Gregory XI., 318.

Gregory XII. fortified himself in the Vatican against Louis of Anjou, 58.

Gregory XIII., 72, 76.

Gregory XIV., 29, 75.

Gregory XV. (Alessandro Ludovisi), 75.

Gregory XVI. (Mauro Capellari), 42, 83, 219, 272, 289, 353, 358; founds the Museo Etrusco, 83, 403; makes a new waterfall at Tivoli, 83.

S. Gregory Nazianzen, 229, 246; his career, 246.

Gregory of Trebizond, 165.

Grévy, President, 226.

Grisar, Père, 144.

Grotte Nuove, 93, 132, 136, 140, 142, 182; corridor of, 148.

Grotte Vaticane, 80, 90, 142, 166.

Grotte Vecchie, 90, 91, 117, 134, 142, 158; is Old St. Peter’s, 142.

Grotto dell’ Orco, splendid figures of gods in (finest of all Etruscan frescoes), 397.

Gualdo, fortress of, 164.

Guarino, 206.

Guglia, 49.

Hadrian I., 101, 118, 119.

Hadrian IV., 92, 152, 173; first Pope to hold court at Orvieto, 173; name was Nicholas Breakspear, 173; only English Pope, 92, 173; put down Arnold of Brescia, 173; refused to crown Frederick Barbarossa, 173; his sarcophagus, 173.

Hadrian VI., 70; not an Italian at all, 70.

Hadrian, Emperor, the font of St. Peter’s not the lid of his sarcophagus, 127; tomb of, 47, 99; villa of, 339.

Hall of Aristides, 36, 236.

Hall of the Beatifications (_see_ SALA DELLA BEATIFICAZIONE), 11.

Hall of the Bonaventura, 36, 236.

Hall of the Bussolanti, 22.

Hall of the Busts, 41.

Hall of the Christian Paintings, 36.

Hall of the Conclave, 59.

Hall of the Consistory, 12.

Hall of the Credo, 11, 28, 355, 382.

Hall of the Grooms, 22, 31.

Hall of the Lives of the Saints, 11, 371, 372, 377.

Hall of the Madonna, 11, 27.

Hall of the Mysteries, 27, 360, 365, 367, 368, 369, 370.

Hall of the Obelisk, 36, 236.

Hall of the Papal Audiences, 43.

Hall of the Papiri, 36, 40.

Hall of the Paramenti, 25, 33.

Hall of the Parrot, 25, 33.

Hall of the Popes, 11, 26, 27, 355, 381, 382, 384.

Hall of the Porphyry Columns, 222.

Hall of the Sibyls, 11, 29, 355, 380, 382.

Hall of the Vatican Manuscripts, 36, 224.

Hamilton, Mrs. Gustavus W., xi.

_Handbook to Christian and Ecclesiastical Rome_, xiii.

Hare’s _Walks in Rome_, xiv.

Harrison’s, Frederic, _Theophano_, xvi.

Head of St. Andrew. _See_ ANDREW.

Head of Our Lord from Eroli’s tomb, 185.

Heidelberg, 218, 219, 257; MSS. restored to, 219.

Helena, gold cross of the Empress, 89, 143.

Heliodorus, expulsion of, 30.

Henry IV., Emperor, 135, 181; absolution of, by Gregory VII., 229; at Canossa, by Zuccheri, 318; repentance of, 229.

Henry VIII. of England, 229, 250; autograph inscription to Leo X., 234; letters to Anne Boleyn by, 234, 250; pamphlet against Luther, 234, 244.

Henry IX. (Stuart) (Cardinal of York), 91, 178, 302; archpriest of St. Peter’s for fifty-six years, 180; bequeathed Crown jewels to the Prince Regent (afterwards George IV.), 180; Bishop of Frascati, 179; created Cardinal by Benedict XIV., 179; created Duke of York by his father, 179; “King of England by the grace of God, but not by the will of men,” 179; Cardinal of York pensioned by the Prince Regent, 179; record of longevity, 180; relieved the necessities of Pius VI., 179.

Heraclius, Emperor, 101.

Herculaneum, 238.

Hercules, labours of, 131.

Hermania. _See_ THERMANTIA.

Hildebrand (Gregory VII.), 135.

Hildebrandine reforms, era of the, 176.

Holy Lance, 63, 121, 136.

Holy Office, Palace of the, 44.

Holy See, 135, 194.

Honorius, mausoleum of the wives of the Emperor, 100, 342.

Honorius, Pope, 112.

Hormisdas, Pope, 185, 342; inscription of, 185; united Eastern and Western Churches, 185.

Hortensius, 142.

Humboldt, 219.

Hypsistarians, sect of the, 247.

Ilex trees, 291.

Illuminations, 348, 351.

Immaculate Conception, 30.

_Index Expurgatorius_, 264.

Infessura, 217.

Innocent III., 56, 108, 114, 121, 146, 166; monuments in bronze and mosaics, 114.

Innocent IV., 57.

Innocent VII. (Migliorati Pope), 159.

Innocent VIII. (Cibò Pope), Belvedere of (_see_ BELVEDERE); ciborium for the Holy Lance of, 156, 183, 187; ciborium for the Volto Santo, 136, 151; tomb of, 126, 183; villa of, 7, 14, 18, 25, 37, 40, 43, 61, 63, 75, 126, 229, 294.

Innocent IX. (Facchinetti), 75, 159.

Innocent X. (Giambattista Pamfili), 77, 146; portrait by Velasquez in the Doria Gallery, 146.

Innocent XI. (Benedetto Odescalchi), 78, 152.

Innocent XII. (Antonio Pignatelli), 78.

Innocent XIII. (Michel Angelo de’ Conte), 78.

Inquisition, the Holy Roman and Universal, 44, 71.

Inscriptions, Gallery of (_see_ GALLERIES); of the twelfth century, 184.

_Inscriptiones Christianæ_ of G. B. de Rossi, 260.

Intarsia work, 209, 377.

_Inter duas Metas_, 50, 51, 52, 53.

Ippolito d’Este, Cardinal, his garden, 279.

Isis and Osiris ceiling of the Borgia Rooms, 28, 371.

Isis and Osiris, marriage of, 371.

St. James the Less, 189.

James II., 178.

James III. of England, 91; fainéant, dissolute, prayerful life at Rome of, 179; had the longest reign in English history--sixty-four years, 91, 178; what he gave up for his faith, 178.

Janiculum, 50, 51.

Janus, 11.

Jerome of Prague, 202; his letters cost one hundred gold ducats, 201.

Jerusalem, 151, 181.

Jesuits, 75, 79.

Jesus, magician named, 122.

“Jesus riding on an ass,” 151.

John of Austria, Don, 72.

John VII., 124, 136; his chapel of the Volto Santo, 136, 186; mosaic portrait of, 186; oratory of, 188.

John XIII., 86.

John XVI., Anti-pope, 176.

John XXIII., united the Vatican with Sant’ Angelo by walled-in passage, 58.

Joshua, Vatican Library Book of, 231.

Jousting, 38.

Jubilee, 9.

Judith and Holofernes, 371.

Julian the Apostate, 246, 247.

Julii, Porticus. _See_ PORTICUS.

Julius II. (Juliano della Rovere), 7, 25, 30, 38, 61, 63, 64, 65, 141, 165, 292, 357; abolished the old basilica, 172; founder of the Vatican Museum, 65; his hatred of Alexander VI., 357; like Caracalla and Diocletian in his megalomania, 141; like Nero in his megalomania, 115; the real founder of the New St. Peter’s, 125, 141; the tomb of, 125.

Julius III. (the del Monte Pope), 161.

Junius Bassus, inscription of, 153; a Prefect of Rome, 153.

Junius Bassus, sarcophagus of, 100, 124, 133, 148, 149, 150, 152; its ends, 152; figures allegorized as sheep or lambs on, 151; Job’s wife on, 151, 152; Job’s wife is holding her nose, 152; John the Baptist is represented as a sheep on, 152; is the only tomb which contains bones of the original occupant, 152; subjects on, 150.

Jupiter of the Vatican, 368.

Justel, Mr., of the Royal Library in London, 248.

Justin II., Emperor, 128; cross of, 342.

Khedive Ibrahim Pasha, 225.

Klimax of Johannes Klimakus, 233.

Knights of the Guard. _See_ LANCIE SPEZZATI.

Kugler, 210, 230, 237, 319, 383.

Lace in the Sistine Treasury, 331.

Laestrygonians, 240.

Lambertini, Prospero (Pope Benedict XIV.), 78.

Lanciani, xiii.

Lancie Spezzati, or Knights of the Guard, 299.

Landsberg (Jesuit) maintains that the portrait of Christ on St. Veronica’s handkerchief is true to life, 123.

Laocoön, The, 41, 65.

Lapo, Arnolfo di, 114, 137, 166.

Last Judgment, The, of Michel Angelo, 34, 60, 71, 331, 387; of Mino da Fiesole, 154, 156.

Lateran, The, 3, 94, 205, 298; the library of the, 266; the Mother Church of the Papacy, 58.

Latin MSS., 218.

Latin Way, tombs of the, 328; genius of the tombs of the, 328.

Laurana, Francesco, 184.

Laurel, clipped, 293.

Layard, Sir A. H. (revised edition of Kugler), 230, 320, 382.

Lazarus, resurrection of, 151.

Lector, M., xvii.

St. Leo the Great, 120.

Leo the Isaurian, 121.

St. Leo’s repulse of Attila, 31, 120, 186.

St. Leo I., St. Leo II., St. Leo III., St. Leo IV., 186.

St. Leo III., justifying himself before Charlemagne, 30; his dalmatic, 341; crowns Charlemagne, 341.

St. Leo IV., 57, 104, 109, 186, 285; builder of the Leonine City, 186; old towers and walls of, 285.

Leo IX., Bull of, 49.

Leo X. (Giovanni de’ Medici), 8, 26, 62, 65, 234, 244, 267, 309; a Mæcenas, 65.

Leo XI. (Alessandro de’ Medici), 75.

Leo XII. (della Genga), 83, 219; jubilee robe of, 336.

Leo XIII. (Gioacchino Pecci), 7, 34, 39, 50, 77, 84, 88, 219, 222, 225, 253, 255, 257, 258, 259, 270, 284, 285, 291, 315, 322, 325, 354; his aim in choosing a site for his library, 258; brougham of, 294; buildings in the Vatican gardens of, 284; Casino of, 61, 283, 290; carried out Nicholas V.’s plans for making the Vatican Library the focus of European scholarship, 253; converted the Hall of Canonizations into a chapel, 85; defines the Vatican precincts, 294; did he go outside the Vatican in July 1890? 294; favourite tapestry of, 325; founded the Leonine Library, 84; in his garden, 291; in the old Tower, 285; jubilee of, 235; jubilee presents of, 238, 336; most brilliant writer in Latin of all the Popes, 354; opens the Vatican MSS. and Archives to the world, 253; pergola of, 285; restores the Borgia Apartments, 84, 253, 354, 359; restores the Galleria degli Arazzi, 85; restores the Galleria dei Candelabri, 85; robe presented for his jubilee to, 333; statue of, 256; villa of, 61.

Leonine City, 186.

Leonine Library. _See_ LIBRARY, NEW LEONINE.

Leonine Wall, 283, 284.

Lepanto, battle of, 72, 330; frescoes by Vasari of, 72, 318, 330; awakened Europe from the nightmare of the Turks, 330.

_Liber Pontificalis_, 51, 95, 267.

Liberal Arts, The Seven, 28.

Librarian’s room, Vatican Library, 40.

Library, Aracœli, 40, 257, 260.

Library, Barberini. _See_ BARBERINI.

Library of Biblical Studies, 256, 263.

Library, Bodleian, 235.

Library of the Canons of St. Peter’s, 344.

Library of Cardinal Mai, 257, 260, 264, 271, 277.

Library of Christina of Sweden. _See_ CHRISTINA.

Library of the Dukes of Urbino, 228.

Library, New Leonine, 4, 40, 220, 221, 223, 253, 254-265, 270, 277, ix; all printed books in the Vatican transferred to the, 255, 358; books of Italian antiquities in the, 260; books of Popes, Cardinals, and Rome in the, 260; books, special boxes for transporting them, 262; building alterations for the, 254, 255; card catalogue system, 257; foreign governments send books to the, 258; formation of the, 254; modern arrangement of, 256; order of books preserved, 262, 263; reference library, 258; reference room in the, 258; route to, from the Borgia Rooms, 261; transporting of books from the Borgia Rooms, 262; transporting of books from the Borgia Rooms takes only a fortnight, 263; under the Sala Sistina, 254.

Library, long gallery of, 14.

Library, Montefeltro, 229.

Library, Palatine, 40, 257, 260.

Library of Printed Books, 39, 258.

Library, Ruland, 256.

Library of Siena. _See_ SIENA.

Library of Sixtus IV., 61.

Library, Vatican. _See_ VATICAN.

Library, visit of Montaigne and Misson, 242-252.

Library, Zelada, 40, 257, 260.

Ligorio, Pirro, 72, 288.

Lindsey, Lord, in his _Christian Art_, 342.

Linus, 54, 140.

Livy, palimpsest of Book IX. from Christina of Sweden’s library, 228.

Loggie. _See_ RAFFAELLE and UDINE.

Lonigo, Michel, 268.

Lorenzetti, Pietro, 236.

S. Lorenzo in Damaso, the site of Pope Damaso’s library, 217.

S. Lorenzo fuori le Mura, 94, 210, 308.

Louis XIV., 8, 26; tapestry of his betrothal and marriage, 326.

St. Louis of France, last testament of, 106.

Lourdes’ offering to the Pope, 285.

Louvre, 306.

Loyola, S. Ignatius, 75.

Lucretius, 201.

Lucumo, 390.

Ludovisi, Alessandro (Pope Gregory XV.), 75.

Ludovisi, Cardinal Ludovico, 76.

Ludovisi, Donna Ippolita Boncompagni, 298.

Ludovisi, Juno, 76.

Lugari, Monsignor, 51.

Lusignans, 134.

Luther, Martin, 174, 229, 234, 244, 250, 251, 268; letters of, 268; prayer a forgery, 251.

Maclaughlin, Mrs. Frances, xvi.

MacMahon, Maréchal, 226.

Maderna, Carlo, 33, 281, 322.

Madonna with the Child, 377.

Madonna della Colonna from Old St. Peter’s, 126.

Madonna di Soccorso from Old St. Peter’s, 126.

Maestro della Camera, 300.

Maestro, office of the Pope’s, 19.

Maggiordomo, 8, 138; office of the, 19.

Mai, Cardinal Angelo, 6, 40, 219, 227, 235, 257, 260, 271, 274, 275, 277, 359; career of, 264, 271; decorated by our Royal Society of Literature, 273; discovers Cicero’s _Republic_, 271; “the discoverer and restorer of Palimpsests,” 274; how he discovered ancient classics, 277; his library, how he bequeathed it, 277; librarian of the Vatican, 271, 273; MSS. all bequeathed to the Vatican, 277; prints Codex Vaticanus, 273; reestablishes the Vatican Press, 272; secretary of the Congregation of the Propaganda, 272; his table bequeathed by de Rossi to the Vatican Library, 264; Wiseman’s description of, as librarian, 271, 272, 273.

Mainardi, 236.

Maldaichini, Olimpia, 77.

Mancini of Orvieto, Signor, 392.

Mancini’s excavations and shop at Orvieto, 392.

Manetti, 194, 195, 196, 198.

Mantegna, 61.

Manuscripts of the Vatican. _See_ VATICAN MANUSCRIPTS.

Maps, Gallery of the. _See_ GALLERIA GEOGRAFICA.

Maratta, Carlo, 30.

SS. Marcellino e Pietro, 94.

Marcellus II. (Cervini), 71, 159; keeper of the Vatican Library, 159; one of the presidents of the Council of Trent, 159.

S. Marco, palace of (now Palazzo di Venezia), 161, 163.

Marcus Aurelius, 2, 276; discovery of letters of, 276.

Maremma, Roman, Etruscan cities in the, 387; some have fine Etruscan walls, some gates, 388.

Margaritone, 236.

Maria (wife of Honorius), 100.

S. Maria della Bocciata, miraculous image of, 137, 187, 189.

S. Maria in Cosmedin, 117; mosaics in, 117.

S. Maria delle Febbri, 175.

S. Maria sopra Minerva, 211, 304.

S. Maria di Montserrato, 174.

S. Maria del Popolo, 304.

S. Maria Traspontina, 51, 53.

S. Maria in Trastevere, 111, 156.

S. Maria in Turri, 106.

Marie Thérèse of Austria, 326.

Marini, 268, 269.

Marinus II., 105 (_note 8_).

St. Mark’s, Venice, 98, 112, 305, 366.

Martial, 48.

St. Martin, oratory of, 121.

Martini, Simone, 236.

S. Martino ai Monti, frescoes of Old St. Peter’s in, 292.

Martyrdom of St. Peter and St. Paul, 134, 148.

Martyrdom of St. Peter and St. Paul on the Bronze Doors, 120.

Marucchi, Commendatore Orazio, 50, 120, 128, 130, 132, 181, xvii.

Masaccio, 211.

Masaccio’s “Render unto Cæsar” in the Carmine at Florence, 311.

Maschere, Cabinetto delle, 41.

Massacre of St. Bartholomew by Vasari. _See_ BARTHOLOMEW.

Massimi claim to be the oldest family in Rome, descended from Fabius Maximus, 192.

Massimi, first patrons of printing in Rome, 165, 193.

Mastai-Ferretti (Pope Pius IX.), 84.

Master of the Horse, 299.

Masters of Ceremonies, Papal, 301.

Matilda of Tuscany, Castle of Canossa belonged to, 181; donation of, 135, 181; fate of monument of Countess, 125; remains removed to St. Peter’s by Urban VIII., 125; and the Papacy, 135, 181; poem in praise of, 228, 233.

Mattei, Prince, 300.

Maximilian, Duke of Bavaria, 218.

Medici, Giovanni de’ (Leo X.), 65.

Medici Popes, 75, 290.

Medici, Villa, 290.

Megalomaniac Popes, 76.

Meleager, Vestibule of the. _See_ VESTIBULE.

Melozzo. _See_ FORLI.

Menologium Grecum, or Greek Calendar (tenth century, executed for the Emperor Basil), 228, 231.

Menologium of the Vatican, 231.

Mercia, Coenred of, 103.

Merry del Val, Cardinal Raffaele, Secretary of State. _See under_ SECRETARY OF STATE.

S. Methodius, 129.

Mexican Calendar, 229.

Mezzofanti, Cardinal, 273.

_Mezzo-gala_ coach, 296.

Michel Angelo. _See under_ ANGELO.

St. Michele in Sassia, 106.

Migliorati, Pope (_see_ INNOCENT VII.), 159.

Milan, 311; Ambrosian Library at (_see_ LIBRARIES), 271.

Minerva, Temple of, 287.

Mino da Fiesole, 60, 92, 116, 134, 148, 154, 161, 162, 315, 386.

Mino da Fiesole’s “Charity,” 134, 154; “Creation of Woman,” 155; “Faith,” 93, 134, 154, 155; “God the Father,” 155; “Last Judgment,” 154, 155, 162; masterpiece, 154, 161; “Original Sin,” 134; the Raffaelle of the Sculptors of the Middle Ages, 148; “Resurrection of Our Saviour,” 154, 162; “Temptation in the Garden,” 155.

Mint, The, 35, 44, 294; the only spot in the Vatican seized by the Italian Government, 294.

Mirror with Relief of Aurora carrying the body of her son, the original of the Pietà of the Virgin with the Body of Our Lord, 403.

Misson, author of _The New Voyage to Italy_, 15, 139, 158, 247, 249; impressions of, 249; his visit to the Vatican Library, 248.

Monreale, 184.

Mons Vaticanus, 278, 282.

Montaigne, 242, 246; criticizes Henry VIII.’s book, 244; describes Vatican Library of his day--probably under Sistine Chapel, 243; his journey to Italy, 243; his _Journal of Travels_, 243, 323; and the MSS. of gold letters, 246; and the Sculpture Galleries, 324; sees a Chinese book, 243; sees Henry VIII.’s book against Luther, 244; studying guide-books and maps, 324; treated with courtesy at the Vatican Library, 244; what he saw in the Vatican Library, 243, 245; on the Vatican Virgil, 245; visited Rome in 1585, 242.

Montalto di Castro (station for Vulci), 388.

Monte, del (_see_ JULIUS III.), 161.

Montefeltro, Duke Frederick, 218.

Montefeltro Library, 229.

Montepulciano, Cardinal Ricci da, 290.

Montfort, Amory de, 135.

Montfort, Simon de, 135.

Monuments, destruction by Romans in the Middle Ages, 357.

Morgan, Lady, says the inscription on St. Peter’s Chair is Arabic, 131.

Mosaic Chapel over tomb of Pius IX. at S. Lorenzo fuori le Mura made by Vatican Factory, 308.

Mosaic Christs of Palermo, Monreale, and Cefalù, 184.

Mosaic pictures required for Altar of St. Peter’s, 307.

Mosaic of the Weeping Virgin, 156.

Mosaics, 24, 117, 121, 134, 136, 146, 178, 184, 185, 305; Byzantine, 148.

Mosaics on Otto’s tomb, 93.

Mosaics of St. Peter’s contrasted with those of Sicily and S. Sofia, 307; of St. Peter and St. Paul in the Chapel of the Tomb, 147.

Mosaics which came from the Oratory of St. John VII., 186.

Mosaics, Vatican Factory of. _See_ STUDIO DEL MOSAICO.

Mozzetta, 301.

“Multiplication of the Loaves,” 151.

Museo Chiaramonti. _See_ MUSEUM, CHIARAMONTI.

Museo Cristiano, 11, 36, 222, 223, 236, 237.

Museo Egiziano, 42.

Museo Etrusco-Gregoriano. _See_ MUSEUM, ETRUSCAN.

Museo Kircheriano, 388, 402.

Museo di Leone XIII., 27.

Museo Pio-Clementino, 79, 80, 82.

Museo Profano, 11, 36, 222, 223.

Museum of the Capitol, 388.

Museum, Chiaramonti, 24, 41, 81.

Museum of Christian Antiquities. _See_ MUSEO CRISTIANO.

Museum, Egyptian, 42, 82.

Museum, Etruscan, 19, 42, 161, 386, 387, 404.

Museums, Etruscan, at Florence, Corneto, Volterra, Chiusi, 389, ix.

Museum, Mediæval, of the Papacy. _See_ MUSEO DI LEONE XIII.

Museum, Sculpture, 7, 10, 14, 16, 18, 35, 40, 42, 99, 126, 261, 270, 280, 294, 384, viii.

“Music,” 381.

Myrina, sculptors of, 240; terra-cotta statuettes of, 404.

Myron, 40.

Napoleon, 42, 337; depredations of, 82; tried to purchase a new Concordat, 82.

Napoleon I., 226.

Napoleon III., 225.

Narni, fortress of, 164.

National Museum, 76.

“Nativity” (fresco), 367, 370.

Naumachia, near the, 51.

Navicella of Giotto, 117; garden or terrace of the, 292.

Nazianzen, S. Gregory. _See_ GREGORY.

Negri, Gaetani, 247.

Nenfro, 391.

Neri, S. Filippo, 304.

Nero, bas-reliefs from the garden of, 93, 187; are they from the site of St. Peter’s execution? 187; were they the inspiration of Mino da Fiesole? 187.

Nero, 95; Christianity under, 95; circus of, 38, 47, 48, 50, 53, 54, 64, 95, 115, 282; condemning the Apostles, 185; gardens of, 51, 115, 136, 140, 282; Golden House of, 5; Palace of, 48.

Nerva, Forum of, 287.

Nicholas I. (Czar), 225.

Nicholas III. (Gian Gaetani Orsini), 56, 161.

Nicholas V., Thomas of Sarzana (Parentucelli), 4, 5, 6, 16, 17, 31, 39, 58, 59, 62, 64, 92, 134, 190, 212, 213, ix; absence of scheming or intrigue, 191; “Apostle of Learning,” ix; appointed Filelfo Papal Secretory, 204; begins New St. Peter’s, 115, 141; blamed for his ambition, 212; books of, 17, 207; bookseller of, 200; chapel of (_see_ CHAPELS); collection of manuscripts of, 214; conception of making the Vatican Hill rival the Palatine, 58, 165; his court, true explanation of the splendours of, 194, 198, 200; death-bed speech of, 164, 194; his destruction of Old St. Peter’s, 199; epitaph by, on Fra Angelico, 211; famous as a lover of art and antiquities, 163; father of the Vatican Library, 57, 163, 165, 206, 214, 217, ix; first of all the Popes to appreciate the antiquities of Rome, 163; founder of archæology, 115, 166; founder of first manufactory of tapestries, 200; fragments of his tomb in St. Peter’s Crypt, 165, 214; had been a librarian and copyist of manuscripts, 191, 209; how he silenced Valla, 204; his idea of the Renaissance of the world by learning, 190; a keen lover of antiquities, 141; kept staff of translators, 206; knew no Greek, 205; liberality to scholars of, 191, 206; library of, 163, 208; library chests, 246; “little scholar of Sarzana,” 208; the Mæcenas of the Papacy, ix; the magnificence of his Church services, 200; offers five thousand gold ducats for MS. of St. Matthew in the original Greek, 191; offers ten thousand gold ducats for translation of Homer, 191; palace of, 16, 59; paid Fra Angelico only fifteen ducats a month, 207; paid Guarino one thousand crowns for translation of Strabo, 191; paid Perotti five hundred ducats for translation of Polybius, 207; paid Valla five hundred gold scudi for translation of Thucydides, 206; paid greatest painters from seven to fifteen ducats a month, 191; particular about his manuscripts, 209; a patron of great artists, 199; a patron of the minor arts, 199; peace during his Pontificate, 164; plan for rebuilding the Leonine City, 195, 196; plan for fortifying the Vatican, 198; portrait by Fra Angelico, 211; printers did not _come to Rome_ till after his death, 192; printing made its appearance in his time, 165; his reign, supreme events happened in it, such as the Fall of Constantinople, and the invention of printing, 191; said he wished to spend all he possessed on books and buildings, 193; said “A priest who was only good for ringing bells has been made Pope,” 200; sarcophagus of, 166, 214; his scheme for a Papal city, 59, 165, 195, 197; his scheme for a new St. Peter’s, 59; the scholar Pope, 164; scholarship never had such a Mæcenas as, 191; sends for Poggio Bracciolini, 202; splendid vestments and church jewels of, 200; stained glass of, 199, 209; study of, 199, 209; thinks of a secular theatre in the Vatican, 64; Thirty-Line Indulgence of, 134, 192, 213; Thirty-One-Line Indulgence of, 134, 192, 213; tried to preserve the ancient buildings, 58; tried to raise Christendom against the Turks by Indulgences, 193; tomb of, 137, 166, 183, 214; unexpectedly raised to the Papacy, 193; when a poor priest always in debt for manuscripts, 207; wished to make St. Peter’s the mightiest temple in the world, 165; wished to make Rome the centre of learning, 207; wished to make the Vatican the astonishment of the world, and the Holy See secure from enemies, 193, 194, 198; world owes much to, 213.

Nielsen’s _History of the Papacy in the Nineteenth Century_, xii.

Noble Guards, 22, 23, 36, 323.

Nola, S. Paulinus of, 99.

Nominalists, 256.

Norchia, 388, 392; had other Etruscan remains besides tombs and city walls, 388.

Norris, Father, 248.

Northumberland, Duke of, 225.

_Nova Patrum Bibliotheca_, 273.

Nozze Aldobrandini, 7, 28, 36, 82.

Numa Pompilius, 2.

Nuncios, Archives of, 268, 269.

_La Nuova Biblioteca Leonina nel Vaticano_, 260.

Nuzi of Fabriano, Allegretto, 236.

Obelisk, 49, 73.

Odescalchi, Benedetto (Pope Innocent XI.), 78.

Odyssey, paintings from the, 240.

Offa, King of the East Saxons, 103.

Office of the Pope’s Maestro de Camera, 19; Maggiordomo, 19.

Old St. Peter’s, 1, 17, 42, 53, 86-116, 125, 126, 128, 132, 133, 134, 137, 140, 148, 181, 185, 189, 214, 340, viii; aggregating buildings round it, 111; arch of triumph of, 102, 112; atrium of, 96, 98, 99, 103, 106, 107, 111, 113, 117, 120, 292; atrium of, colonnade leading to the, 86; atrium of, paved with marble from Meta Romuli by Pope Donus, 120; atrium of, use of, 107; basilica of, 86, 96, 100, 148; basilica, what it was like, 96; Bishop’s throne of, 107; built out of and on Nero’s Circus, 95; its bronze doors still used, 119; Campanile of, 56, 98; Cantharus of, 99; the Cathedral of Old Rome, 87; ciborium of, 109; ciborium of Sixtus IV., 189; cloister of, 111; colonnades of, 347; column from Confessio, 124; condemned by Nicholas V., 115; Confessio of, 53, 87, 93, 107, 121, 124, 125, 128, 133, 185, 340; cradle of Christendom for twelve hundred years, 113, 115, 140; cross from the gable of, 137, 189; Crypt of, 138-189; in the Crypt of St. Peter’s, 137, 181; dedicated to St. Paul as well as St. Peter, 133; destroyed by Julius II., 115, 172, 357; destruction of, 115, 142, 199; eighty-six Popes buried in, 96, 142, 159; eighty-six tombs of the Popes destroyed by Bramante, 142, 159; epitaph of Charlemagne over the tomb of Hadrian I., 118, 119; epitaph of Hadrian I., not written by Charlemagne, 119; erected by Constantine the Great, 140; the façade of, 98, 187; the façade of, painting of, 187; its floor intact in Grotte Vecchie, 117, 181; first rumoured to be dangerous under Nicholas V., 141; foundation of the present church, 142; the fountain (Cantharus), 86, 99, 107, 111; frescoes of the old basilica, 93; frescoes of, in S. Martino ai Monte, 292; frescoes of shrines preserved in the Crypt of, 136, 187; its garden, 111; gold and silver treasures given by Hadrian I. in, 101; had five gates, 112; incongruity of its materials, 97; interior as indicated by Giulio Romano’s “Donation of Constantine,” 110; inscriptions from, 117; inscriptions of Boniface VIII. on the occasion of the first jubilee (1300 A.D.), 118; inscriptions of Gregory II., 118; like S. Clemente, 96; the Madonna della Colonna from, 126; the Madonna di Soccorso, from, 126; the model of, 88; more like St. Ambrogio at Milan, 96; mosaics of, 98, 111, 113, 134, 188; the most important remains are to be seen in the Crypt, 132; the museum of, 88; the museum is the Crypt of the present church, 88; narthex, use of, 107, 111; the only undisturbed remains, 107; an original Constantinian church, 97; the outward and visible sign of the Apostolic Succession, 114; paintings of, 88; the peacocks of, 98, 291; the Pigna, 99; the Pigna, compared by Dante to Nimrod’s head, 99; porch of, 312; Porta Argentea, 112; Porta Guidonea, 112; Porta Judicii or Janua Judicii, 112; Porta Romana, 112; Porta Ravignana, or Ravennata, 112; its portico from the Ælian Bridge, 101; portico from the Tiber to, 102; its precious marbles, 97; in Raffaelle’s tapestries, 111; its relics, 113, 121; its great relics--Head of St. Andrew, Holy Lance, relics of St. Peter and St. Paul, Volto Santo, 121; remains of, 117; its sanctity, 114; on the site of the execution of St. Peter, 95; the Tabernacle of Christendom, 116; Temple of Christianity, 189; tombs of the Popes, 159; its treasures, 105, 109, 113; treasures given by Pope Honorius, 113; treasures given by Leo IV., 109; its venerableness, 113, 114; vestibule of, 287.

Old St. Peter’s and St. Peter’s Crypt, 88.

Oliphant, Mrs., 215, 217.

S. Optatus of Milevum, 130.

Oratory of SS. Sudario. _See_ JOHN VII.’S CHAPEL OF THE VOLTO SANTO.

Oratory of S. Veronica. _See_ JOHN VII.’S CHAPEL OF THE VOLTO SANTO.

Oriental alabaster, 340.

Orosius, Bishop, 123.

Orsini, Cardinal, 124.

Orsini, Gian Gaetani (Pope Nicholas III.), 57, 161.

Orsini, Vincenzo Maria (_see_ BENEDICT XIII.), 78.

Orvieto, 164, 173; Cathedral of, 354; Etruscan tomb, with all its properties untouched, 392; fortress of, 164; full of old Romanesque houses, 173.

Osiris changed into the god Apis, 372.

Ostia and Velletri, frescoes from castle of, 240.

Otranto School, 237.

Otto, 86.

Otto II., Emperor, 92, 93, 134, 175, 176, 184; font not the cover of the sarcophagus of, 127, 175; tomb of, 127, 175, 176, 184; tomb said to be a fountain at the Quirinale, 176.

Otto III., Emperor, 127, 176; buried in Cathedral of Aix-la-Chapelle, 128.

Ottoboni, Cardinal, 227.

Ottoboni Collection, 36, 219, 224.

Ottoboni, Pietro (Pope Alexander VIII.), 78.

Pagan Emperors, legends connecting Christianity with, 123.

Pagan sarcophagi, often used for Christians, 152.

Painting is not like literature, 404; the three noblest conceptions of the Son of God in, 311.

Paintings, ancient, 239; from the Odyssey, 240; from Villa at Tor Marancia, 240.

Palæologus, Thomas, 172, 193.

Palafrenieri, 301.

Palatina, Biblioteca, 77, 218, 219.

Palatine, The, 6, 13, 17, 38, 39, 105, 372.

Palatine Guards, 22.

Palatine Library. _See_ BIBLIOTECA PALATINA.

Palatine MS. of Seventh-Century Virgil, 230.

Palazzo di Venezia, 60, 154, 161.

Palazzolo Acreide in Sicily, 394.

Palermo, Royal Chapel of, 98, 112, 184, 366; Spanish fortifications at, 284.

Palestrina, 168, 279, 399.

Palimpsests, 218, 227, 228, 264, 271, 272; from the Benedictine Library of Bobbio, 218.

Paliotto, 109; of the high altar, 185.

Pallavicino, Cardinal, 310.

Pallium, 121, 144, 145.

Palo (station for Caere), 388.

Pamfili, family of, 77, 146; Giambattista (Pope Innocent X.), 77.

Pantheon, The, 106, 185, 346, 349; granted by Phocas to Boniface IV., 185; consecrated to S. Maria ad Martyres, 185; spurious chest of S. Veronica’s Handkerchief, 124; thirty waggon-loads of martyrs’ bones brought here from the Catacombs, 185.

Panvinio, 215.

Papal carriages, arms of the new Pope placed on all the, 295; very few of them go back beyond Pius IX., 295.

Papal Court, 3, 8, 23, 268, 302.

Papal Cross, 301.

Papal Curia. _See_ PAPAL COURT.

Papal Gendarmes, 323.

Papal Guards. _See_ NOBLE GUARDS, SWISS GUARD, PAPAL GENSDARMES.

Papal grooms. _See_ PALAFRENIERI.

Papal hat, 300, 301.

Papal litter, 300.

Papal pages, 301.

Papal Palace, old, 355.

Papal printing-press. _See_ VATICAN PRESS.

Papal States, 335.

Papal territory, 281.

Papal umbrella, 302.

_La Papauté et la Civilization_, xvii.

Papier-mâché work, 354.

Papiri, Cabinet of the, 236.

Papiri of the Vatican Library, 246.

Papyrus, 243.

Paradise, Adam and Eve and the Serpent in, 151.

Parentucelli, Tommaso (Pope Nicholas V.), 13, 163, 191.

Paride de Grassi, 310.

“Parnassus,” The, 30.

Paschal II., 181.

Paschal III., 107.

Pasha, Khedive Ibrahim. _See_ KHEDIVE.

Passeggiata Margherita, 50.

St. Paul, execution of, 148; of the late Roman frescoes and Byzantine mosaics, 148; martyrdom of, 133; of Pollaiuolo, 148; traditional portrait of, 148.

Paul II. (Barbo), 59, 92, 96, 148, 161, 214; collection of classical and mediæval antiquities of, 163; desired to be buried in the sarcophagus of S. Costanza, which he had removed to the Palazzo di Venezia, 163; had the finest tomb of the Middle Ages, 92, 134, 154, 161; the handsomest of the Popes, 162; sarcophagus of, 92, 163; mausoleum of, 134, 154, 161, 163; re-creating tomb of, 154, 155, 162; wishes to take the name of Formosus (The Beautiful), 162; taste for dress and jewels, 163; vanity of, 162.

Paul III. (Alessandro Farnese), 9, 32, 57, 71, 321, 325, 337, 343, 344, 379; and the building of St. Peter’s, 337; melts the ancient jewels of Thermantia, 337, 343; tomb of, destroyed, 337.

Paul IV. (Giovanni Pietro Caraffa), 71, 204; has clothes painted round figures in Michel Angelo’s “Last Judgment,” 72.

Paul V. (Camillo Borghese), 75, 78, 121, 167, 266, 268, 286, 323; fountains in the Vatican Gardens of, 286.

St. Paul’s Without the Walls, 94.

S. Paulinus of Nola on the Fountain of Old St. Peter’s, 99.

Pavilion, Hill of the, 16.

Pavilion of Pius IV. _See_ PIUS IV., CASINO OF.

Pecci, Cardinal Joachim (Pope Leo XIII.), _q.v._

Pelasgic style of Etruscan jewellery, 398.

Pentecost by Domenichino, 327.

Peonies, wild, 282.

Pepin the Short, King, 173.

Peretti, Felice (Pope Sixtus V.), 73.

Perotti, 207.

Perotto, Nicola (same as above), 165.

Perugino, 30, 60, 314, 325, 330, 370, 375, 387; his frescoes over altar of Sistine Chapel, 60, 71, 314, 330, 370; unidentified disciple of, 355.

Perusia (Perugia), 387.

St. Peter, buried in the place of his martyrdom, 50; denying Christ, 150; epistle of, 55; execution of, 38, 47, 133, 136, 148; site of execution of, 47-55, 64, 73, 148, 175, 282; execution of, site of, not at S. Pietro in Montorio, 50, 175; founds the Roman Church, 55; holding three keys is significant of Church triumphant, militant, and suffering, 184; liberation of, 30; martyrdom of (_see_ ST. PETER, execution of); sarcophagus under the Papal altar, 146; sarcophagus not under the exact centre of the basilica, 146; shrine of, in the crypt, 94, 102; superstition about disturbing the grave of, 89, 116, 144; throne of, 160.

St. Peter, chair of, 100, 126, 129, 130, 131, 132; bronze, made by Bernini for Alexander VII., 131; description of, 131 et seq.; exhibited by Pius IX. in the Chapel of the Holy Sacrament, 131; in the baptistery, 132; Labours of Hercules on, 131; not the Sedia Curulis, 132; not his seat in the House of Pudens, 130; not in the form of a curule chair, but Byzantine, 131; sixth century, 131; where his original chair is kept, 130.

St. Peter, statue of, 120, 129, 342; afterwards in the Chapel of SS. Processus and Martinian, 121; in crypt once a Consul, 137, 155, 188; stood formerly in the Oratory of St. Martin, 121.

St. Peter, tomb of, 89, 94, 95, 96, 109, 121, 130, 132, 140, 146; below level of Old St. Peter’s, 141; Clement VIII. thinks of opening it, 90, 143; closed by Clement VIII., 90, 108, 144, 145; erected by Linus and Anacletus, 140; examined by Père Grisar, 144; in the Via Cornelia, 140; its gold cross given by the Empress Helena, 89, 143; not sacked by the Saracens, 145; present condition of, 145; seen by Clement VIII., 89, 143, 146; walled over, 141, 144.

St. Peter in mosaics, 148.

St. Peter and St. Paul, 148, 150; relics of, 121; traditional portraits of, 148.

Peter’s Pence, institution of, 104.

St. Peter’s tomb as arranged by Constantine the Great, 108.

St. Peter’s, 9, 19, 33, 101, 102, 140, 141, 261, 294, 322, 337, 339; altar of, 102, 306; altar of S. Mary of the Column, 186; anarchist outrage in, 89; archives of, 344; baldachin of, 348; baldachini, 110; baptistery of, 127; basilica of Constantine in, 146; Confessio of, 107, 133, 139, 144, 145; Confessio of, paving of chamber of, 144; seventeenth-century mosaic in Confessio of, 146; thirteenth-century mosaic in Confessio of, 146; date of founding, 94; in the eleventh and twelfth centuries, 106; Ethelwulf’s gifts to, 104; font of, 127, 175, 176; Klaczko wrong about font of, 175; finest mediæval monument in, 126; gallery of, 33, 322; high altar of, 110; high altar erected by Sixtus IV. over the Confessio, 133; the hive of Christendom, 286; Illumination of, 351; little above the level of the Tiber, 142; nave of, 91; Needle (“Aguglia di S. Pietro”), 74; New, 141, 154; New, foundation laid by Julius, 11, 141; Old (_see_ OLD ST. PETER’S); Papal altar of, 102, 109, 110, 341; Papal entrance from the Vatican to, 125; Piazza of, 10, 20, 49, 59, 73, 75, 78, 281, 317, 322, 347; view of, from the Piazza of St. Peter’s, 281; porch of, 33, 102; roof of, 346; roof of, makes a huge Piazza, 347; no houses on roof of, 346; sacristy of, 9, 52, 57, 73, 125, 339, 340, 342, 344, ix; sacristy contains celebrated Vatican cross, 128; site of, 115; Tesoro of (treasure) (_see_ TREASURY); tomb, chamber of, 144; tomb of Innocent VIII., 126; tribune of, 100, 126; view of, from garden of Pope, 280, 286.

St. Peter’s, bronze statue of St. Peter in, 129; not the statue of Jupiter of Capitolinus, 120; may have been made from Jupiter’s statue, 120; may be fifth-century, but more probably sixth-century work, 120; is twelve hundred years old, 129.

St. Peter’s, Crypt of, 1, 88, 90, 92, 93, 117, 132, 133, 134, 136, 137, 138-189, viii; early Christian remains in the, 152; entrances to, 139; faith as well as monuments in the, 137; lectures on, 90, 138; part of the old basilica, 132; seen by torchlight till Pius X.’s time, 90.

St. Peter’s, dome of, 345-352, ix; ascent of, by spiral plane, 345, 348; ascent should not be missed, 350; cost and number of people employed on, 349; cupola of, 349; diameter of, 346; exterior of, 348; height of, 346; finished by Giacomo della Porta, 349; finished in twenty-two months, 349; gallery running round the, 349; Michel Angelo’s dome, 349; mosaics of, 348; permission to ascend, 345; must be visited between 8 a.m. and 11 a.m., 345; and Spanish Armada begun almost simultaneously, 350; view of mountains from, 347.

Petrarca, 271.

Petrarch, autograph of, 228.

Pharos, Great, 102.

Phidias, 40.

Philip le Bel of France, 168, 170.

Philip IV., of Spain, 326.

Phocas grants the Pantheon to Boniface IV., 185.

Phœnicia, 398.

Piccolomini, Æneas Sylvius (Pius II.), 61, 92, 170, 376.

Piccolomini, Francesco (Pius III.), 62.

Picture gallery, 7.

Pictures, mediæval, in the Vatican Library, 236.

Pier, 139.

San Pietrini, or steeple-jacks of St. Peter’s, 346, 347; do not live on roof of St. Peter’s, 347.

S. Pietro, Church of, 54.

S. Pietro e Marcellino, 94.

S. Pietro in Montorio, 50, 175; is under the protection of Spain, 50.

Pigna, 42, 99, 291, 292.

Pigna, Giardino della. _See_ GIARDINO.

Pignatelli, Antonio (Pope Innocent XII.), 78.

Pilate, 122, 150.

Pilgrims, 56, 147, 284; sometimes hold special services in the Chapel of the Tomb in the Crypt, 147; offerings of the, 106.

Pinacoteca, 31, viii.

Pincian Hill, 290.

Pinturicchio, 7, 27, 28, 60, 61, 84, 170, 229, 236, 314, 330, 354, 362, 363, 365-383, 385; Alexander VI.’s letter to, 356; beautiful backgrounds of, 369, 373, 374; frescoes by, 170, 173, 314, 330; frescoes in the library of Siena by, 170, 314, 376; his increasing popularity, 354; his pupils, 355; masterpiece by, 355, 375; paintings in the Castle of S. Angelo by, 356; paintings in the Vatican by, 355; school of, 363; splendour of his Borgia Apartments’ paintings, 356.

Pistolesi’s _Il Vaticano Descritto ed Illustrato_, xviii.

Pitti Palace at Florence, 341; monstrances in the, 338.

Pius II. (Æneas Sylvius Piccolomini), 61, 92, 152, 170, 171, 172, 192, 376; and Pius III., their bodies transferred to S. Andrea della Valle, 172; his career, 171, 172; did nothing to the Vatican Library, 215; in his reign the Head of St. Andrew brought to Rome, 172, 182; has an ancient sarcophagus, decorations on it, 170; his passion to destroy Turkish power, 172.

Pius III. (Francesco Piccolomini), 62, 152, 172; the last Pope buried in Old St. Peter’s, 172; sarcophagus of, 172; his work as a Pope, 172.

Pius IV. (Giovanni Angelo de’ Medici), 268, 288, 357; Casino of, 2, 61, 72, 288, 289, 290; brilliant soirées in the Casino of, 289; description of Casino of, 289; rescued the Borgia Rooms, 357.

S. Pius V. (Michele Ghislieri), 72, 268.

Pius VI. (Angelo Braschi), 24, 78, 79, 81, 179, 219, 222, 269, viii; builds the Vatican Sculpture Gallery, 79; no tomb in St. Peter’s, 80; a prisoner, 80; statue of, in Confessio of Vatican, 80, 144, 146.

Pius VII. (Chiaramonti Pope), 24, 25, 40, 42, 81, 82, 219, 226, 235, 238, 310, 332, 358, 360, viii; founder of the Egyptian Museum, 82; founder of the Gallery of Inscriptions, 82, 235; founder of the Museo Chiaramonti, 81; a great embellisher of the Vatican, 81; a prisoner in France, 82, 332; visits France in 1804 to crown Napoleon, 82.

Pius VIII. (Francesco Saverio Castiglione), 83, 289.

Pius IX. (Giovanni Maria Mastai-Ferretti), 3, 19, 21, 30, 39, 84, 130, 219, 226, 277, 293, 294, 295, 296, 297, 298, 308, 359, viii; all his carriages have the same peculiarity, 295; beloved of the Romans, 84; buys library of Cardinal Mai, 277; driving out in state, 296; drove in a _cavalcata_, 298; first Pope to “pass the years of St. Peter,” 84; his postillion the cicerone of the coach-house, 295; Sultan confers a diamond order on the mule of, 297; his use of tobacco, 296; præcordia of, 178; præcordia of, buried near the three Stuarts, 178; tiara of, 335.

Pius X., 88, 89, 280, 285; arms of, 304; tiara of, 335.

Plantin printing-press at Antwerp, 244.

Platina, the famous librarian of the Vatican, 161, 215, 216.

Platner, 120.

Pliny, illustrated MS. of, 227.

Plutarch, with notes by Grotius, from Queen Christina’s library, 227.

Poggio Bracciolini. _See_ BRACCIOLINI.

Pollaiuolo, Antonio, 61, 125, 126.

Pollaiuolo, Matteo, 53, 93, 133, 148, 149, 185; and the screen for the old Confessio, 93, 185; as an artist, 93; Confessio of, 93, 133, 148; his “St. Paul,” 148; not to be confused with Antonio and Pietro, 148.

Pollaiuolo, Pietro, 126.

Polycletus, 44.

Pompeii, 238, 314.

Pompey, Theatre of, 217.

Pompilius, Numa, 2, 282.

Pons Neronianus, 48.

Pons Triumphalis, 48.

Pons Vaticanus, 48.

Ponte Molle, 161.

Pontifical of Cardinal Ottoboni, 227.

Pontifical registers, 267.

_Pontificalis, Liber_, 51, 95, 267.

Pope, the, 22; apartments of, 12, 19, 21, 43, 73, 74, 328, 357; apartments of, founded by Urban VIII., 77; chrism boxes of, 335; coach-house of, 4, 37, 294-308; garden of the, 1, 10, 16, 37; classical garden of the, 280, 281; garden, oranges in, 280; who saw St. Peter’s tomb (_see_ CLEMENT VIII.), 89, 94; private tapestries of, 8, 325, ix; riding in the _cavalcata_, the, 298; Sacrist of, 329; shoes of, 331; stockings of, 332; vesting chamber of, 327; temporary tomb of the late, 126; tiara of (_see_ TIARA).

Pope-King, 11.

Popes, list of, xix-xxiv; English, 92, 173; departure of to Avignon, 267; in exile, viii; of fifteenth and sixteenth century, generous embellishers of the Vatican, 62; palace of (_see_ VATICAN); tombs from Old St. Peter’s, 159, viii; white mule, harness for, 297; triple crown of the, 136, 335, 343.

Pope’s entrance to St. Peter’s from the Vatican, 125; four state progresses before 1870, 304; Mass, 23; palace at Castel Gandolfo, 281; Secretary of State, Cardinal Merry del Val (_see_ SECRETARY OF STATE and MERRY DEL VAL).

Porphyry, 127, 180.

Porta, Giuseppe della, 318.

Porta, S. Paolo, 51.

Porta Viridaria, 58.

Porticus Julii, 38.

Portone di Bronzo, 10, 15, 20, 32, 119, 308, 317.

Portone di Ferro, 10.

Potter, Miss Mary Knight, xii.

Pottery, Berlin, 226; Swiss, 224, 226.

Pozzolana, Romans destroyed ancient buildings for their, 68.

Præneste casket, 402.

Præneste, collection in the Museo Kircheriano, 402.

Prague, 218.

Praxiteles, 40.

Preachings, 23.

Pretender, Old, 91, 345.

Pretender, Young, 91.

Prignano, Bartolommeo (Urban VI.), 160, 161.

Prime Minister, Pope’s, 26.

Principe Assistente al Soglio, 158.

Principi Assistenti of the Papal Throne, 301.

Printed Books, Library of. _See_ LIBRARY.

Printing, discovery of, 134.

S. Priscilla, Catacomb of, 130.

Propaganda, 76.

Protestant Germans in 1527, destruction done by, 70.

Prudentius, poem of, 100.

Pudens, House of, 131; magisterial chair of, 131.

Pyramid of Caius Cestius, 51.

Quadrivium, 380.

Quintian meadows, viii, 46.

Quintilian, 201.

Quirinale, 176, 300, 340.

“Quod non fecerunt Barbari, fecerunt Barberini,” 76.

Raccolta, Prima, Seconda, Terza, 256.

Raffaelle, 5, 21, 26, 29, 43, 60, 309-316, 327, 328, 370, 381, 387; appointed architect of St. Peter’s by Leo X., 66; Apostles of the type of the Salvationists of to-day, 311; Bible of, 23; calls the Romans more destructive than the Goths, 68; “Hours” of, 26, 384; laments destruction of ancient Rome, 68, 69; and his pupils, charming frescoes by them in the bathroom of Cardinal Bibiena, 29, 382.

Raffaelle’s cartoons bought by Charles I., in Flanders, 309; “Cupid and Psyche,” 365; illustrated plan of Rome, 66; letter to Leo X., 66, 67; Loggie, 7, 12, 23, 31, 65, 73, 235, 328, ix; masterpiece, 66, 311; “Miraculous Draught of Fishes,” 312; pupils, 31, 364, 383; “School of Athens,” 365, 381; Stanze, 7, 30, 31, 71, 357, 365, 384; “St. Peter healing the Paralytic at the Beautiful Gate of the Temple,” 312.

Raffaelle’s tapestries, 60, 65, 111, 309-316, ix; “The Adoration of the Magi,” 313; bought by Pius VII., 310; of the “Calling of St. Peter,” 311; the cartoons originally intended for the Loggie, 309; “Conversion of St. Paul,” 313; cost of, according to Lanciani, 309; “Death of Ananias,” 313; first hung in the Sistine Chapel, 60, 310; glorious in colour and dignity, 311; inferiority of those designed by his pupils, 313; injured in the Constable of Bourbon’s sack of Rome, 310; “Massacre of the Innocents,” 313; the most beautiful, 312; not to be missed, 314; “The Sacrifice of Lystra,” 312; sold by the French to a Genoese Jew, 310; “The Stoning of Stephen,” 313; “St. Paul in Prison at Philippi,” 313.

Raffaelle’s “Transfiguration,” 32.

Ravenna, 236; inhabitants of Trastevere sprung from, 112.

Reading-rooms, 39.

Red Sea, passage of, 151.

Regulini-Galassi tomb yielded the golden treasures which are the glory of the Gregorian Museum, 393, 397, 399.

Remus, Meta of, 51.

Renaissance, 72, 190; most classical work of, 72; object of the Earlier Italian, 202.

“Resurrection, The” (fresco), 367.

“_Il Retiro del Giulio II._,” 382.

Reverenda Fabbrica di S. Pietro, 309, 345.

Rezzonico, Carlo (Pope Clement XIII.), 78.

Rezzonico, Prince, 298.

Rhampsinitus (Rameses), 212.

“Rhetoric,” 380.

Rhodes, Knights of St. John at, 62.

Riario, Cardinal, 216, 217; extravagance of, 217; garden of, 278.

Riccardi Chapel. _See_ CHAPELS.

Ricci, Corrado, 355, 356, 359, 360, 377, 378, 379, 380, x; admits the skill with which Seitz worked, 360; his book on Pinturicchio, 360, xvi; his coloured reproductions of Pinturicchio, 378; disagrees with Ehrle, 360.

Rienzi, Cola di, 177, 342.

Ristori, Fra, 58.

Robes of Popes and Cardinals, 332.

Robes presented to Leo XIII. for his Jubilee, 333; worn by the Pope on his throne on the Sedia Gestatoria, 336.

Robing-rooms, Cardinals’, 8, 25; Pope’s, 8, 26, 327.

Rochet, 301.

“Roma caput mundi regit orbis frena rotundi,” 190.

Roman art, little pictures which border great pictures, 314.

Roman frescoes, 148.

Roman portrait busts, 150.

Roman Triumph, 299.

Romano, Giulio, 30, 228.

Romano, MS. sixth-century Virgil, 230.

Romano, Paulo, 156, 184.

Romans, ancient, did not allow burials in the city grounds, 111; tombs spared by the, 55.

“Rome centre de la Renaissance, et mère de toute civilization!” 190.

Rome, decorations for birthday of, 298; founders of, 281; panorama of, from the dome of St. Peter’s, 346; sack of, 113; sack of, by the Constable of Bourbon, in 1527, 70, 214.

Romescot, 105.

Romulus, birthday of, 280; meta of, 52, 120; and Remus, tombs of, 51, 120.

Room of the Papiri. _See_ HALL OF THE PAPIRI.

Rospigliosi, Giulio (Pope Clement IX.), 78.

Rosselli, Cosimo, 60.

Rossellino, Antonio, the heavenly sculptor, 141.

Rossellino, Bernardo, 141.

De Rossi, 130, 260, 264; of the day, xvii, 128; permitted by Pius IX. to see the Chair of St. Peter, 130.

Rotonda, 79.

Rouen Cathedral, spire of, 346.

Rovere, M. Bartolommeo della, 69.

Rovere, Count Girolamo, 216, 217.

Rovere, Cardinal Giuliano della, 216, 217.

Rovere, Francesco della, 65.

Roveres, della, 10, 12, 60.

“Il Rovinante,” 96, 142.

Rudolf of Burgundy, 105.

Ruland, bibliophile Canon, Antonio, 256.

Russian Calendar, 237.

Sacramentary of Boniface IX., 229.

Sacred Way, 3, 299.

Sacristan, 339.

Sacristies, their accessibility, 339, 344.

Sacristy of St. Peter’s. _See_ ST. PETER’S, SACRISTY OF.

Sacristy, Sistine, 9.

Sagrestia Commune, 339.

Sagrestia dei Beneficiati, 340.

Sagrestia dei Canonici, 339.

Sala degli Animali, 41, 79.

Sala delle Arti Liberali, 361, 378.

Sala delle Arti e Scienze, 28, 378, 379, 380, 381.

Sala della Beatificazione, 11.

Sala della Biga, 19, 42, 79, 386.

Sala dei Bussolanti, 22.

Sala dei Busti, 41.

Sala Clementina, 22.

Sala del Concistorio, 12.

Sala di Consultazione, 258, 260.

Sala di Costantino, 31.

Sala del Credo, 11, 28, 355, 382.

Sala a Croce Greca, 41, 79.

Sala Ducale, 11, 16, 18, 25, 33, 78, 323, 324, 330, ix; arch of, 339.

Sala dell’ Immacolata, 29.

Sala dei Misteri, 27, 360, 361, 365, 367, 368, 369, 370; its frescoes, 365.

Sala delle Muse, 41, 79.

Sala dei Palafrenieri, 22, 31.

Sala del Pappagallo, 25, 33.

Sala dei Paramenti, 25, 33.

Sala dei Pontefici, 11, 26, 27, 277, 355, 381, 382, 384; its tapestries, 384.

Sala Regia, built by Antonio di Sangallo, 11, 12, 16, 32, 71, 73, 317, 318, 330, ix.

Sala Rotonda, 41, 79.

Sala delle Sibylle, 11, 29, 355, 380, 382; not the work of Pinturicchio, 382.

Sala Sistina, 5, 38, 39, 220, 223, 236, 254, 255, 256, 258, 260, 261.

Sala della Vita Madonna, 11, 27.

Sala delle Vite dei Santi, 11, 27, 371, 372, 377.

Salviati, Prince, 300.

Sancta Sanctorum, 161.

Sangallo, Antonio da, 32, 71, 318, 321.

Sano di Pietro, 236.

Sansovino, 378.

Sant’ Angelo, Bridge of, 101, 197.

Sant’ Angelo, Castle of, 2, 71, 177, 267, 355, 356, 378; converted into a first-class mediæval fortress, 355; passage from the Vatican to, 355.

Santa Croce, Princess, 298.

Santi di Tito, 288.

Santo Spirito, 48.

Saracens, 102, 109, 283; defeat of at Ostia, 30; sack of the ninth century, 109.

Sarcophagus, the finest Christian Roman, 152; open, full of flowers--design used by Pinturicchio, Perugino, Raffaelle, 370.

Sarzana, 6, 17, 57, 163, 165, 191, 200, 214.

Sarzana, Thomas of, 57, 165, 191, 200, 214.

Savonarola, 174, 356.

Saxon china, 235.

Saxon kings, 103; become monks, 103; urns of, 110.

Saxon schools, 105.

Saxons had a church, the, 106.

Scala Nobile, 19, 41, 42, 79.

Scala Pia, 15, 19, 21.

Scala Regia, by Bernini, 11, 19, 29, 32, 77, 78, 317, 321.

Scala Santa, 161.

Scarabæi, agate, 400; revolving, 401.

“Scherzi d’acqua,” 291.

Schism, Great, 268.

“School of Athens,” 30, 365, 381.

Scipio, tomb of, 120.

Scorpions and serpents in Cerveteri tombs, 395.

Scrinium, 267.

_Scriptorum veterum nova collectio_, 273.

Scrittori, 221, 358.

Sculpture, fragments of pagan, 97, 98.

Sculpture Gallery. _See_ MUSEUM OF SCULPTURE.

San Sebastian of the Borgia Rooms, 28, 372.

S. Sebastian, Church of, on the Palatine, 373.

Secretary of State, Cardinal, 7, 15, 26, 27, 28, 326, 379; reception rooms of, 8, 379.

Sedia Curulis, 132.

Sedia Gestatoria, 9, 132, 302, 323, 336.

Segretario della Reverenda Fabbrica di S. Pietro, 138.

Seitz, Commendatore Ludivico, art director of the Vatican, 221, 316, 359, 360; his restoration of the Borgia Rooms, only one considerable alteration of the pictures in, 360.

Seneca, 228.

Sermonetti, 81.

Serpotta, Giacomo, 320; exquisite stucchi of, 320.

Sèvres vases, 39, 225.

Sicily, a sarcophagus used three times in, 153.

Siena, 170.

Siena, Cathedral Library of, frescoes of, 27, 61, 84, 170, 210, 314, 365, 384.

Signorelli, Luca, 30, 60.

Silius Italicus, 201.

Silvagni, 343 (_note 21_), xvi.

S. Silvester, Pope, 180.

Sistine Chapel. _See_ CHAPELS.

Sistine Treasury. _See_ TREASURY, SISTINE.

Sisto, Fra, 58.

Sixte-Quint, 236.

Sixtus, 11, 211.

Sixtus IV. (della Rovere), builder of the Sistine Chapel, 16, 53, 60, 102, 125, 133, 204, 215, 216, 267, 269, 362, 378; appointed Platina director of the Vatican Library, 215; ciborium of, 157, 189; ciborium of, all its Twelve Apostles preserved, 189; nephews of, 217; his Vatican Library (now the Floreria), 216 (_note 14_).

Sixtus V. (Felice Peretti), 31, 38, 49, 73, 74, 218, 226, 242, 248, 266, 305, 349, 357; builds Library of Vatican across Cortile del Belvedere, 64; Library of, ix.

Small Cabinets, Room of, 36.

Sobieska, tomb of Maria Clementina, 345.

Sodoma, 30.

Solomon, Temple of, 124.

Sophia, Hagia, 87.

Soracte, Bernard of, 129.

Soutane, kept ready for the new Pope, 286.

_Spada e cappa_, 23.

_Spicilegium Romanum_, 273.

S. Spirito, 106.

Spogliatoio, 25.

Spoleto, fortress of, 164.

S.P.Q.R., 299.

Spurina, 387.

Squills, 3, 293.

Stables, 37.

Stadium of Domitian. _See_ DOMITIAN.

Staircase to the Museo Pio-Clementino, 19.

Staircase from the Vatican to St. Peter’s, 34.

Staircases, 15, 19.

Stamperia, or printing-house, 255.

Stanza Capitolare. _See_ CHAPTER HOUSE.

Stanza d’Eliodoro, 30.

Stanza dell’ Incendio, 30.

Stanza dei Papiri, 36, 236.

Stanza della Segnatura, 30.

Stanze. _See_ RAFFAELLE.

State banquets, 326.

Statue, Galleria delle. _See_ GALLERIA.

Steeplejacks. _See_ PIETRINI, SAN.

Stefaneschi, Cardinal, 128.

Steinmann, 259.

Stephania, widow of Crescentius, kills Otto, 128.

Stephen II., 100.

Stilicho, 100, 282, 343.

Stone on which the bodies of St. Peter and St. Paul were divided, 134, 180.

Stone-pines, 3, 290, 293.

La Storta Fornella (station for Veii), 388.

Story, Mr. W. W., xvi.

St. Peter’s. _See_ PETER’S, ST.

Strada di Monte Mario, 48.

Stuart Princes, last three, 91; monument of the, 345; tomb of the, 91.

Stucchi, 24, 33, 34, 321, 328.

Students, 24, 254.

Studio del Mosaico (Mosaic Factory of the Vatican), 254, 305, 306, 307, 308; _permessi_ required to see it, 308.

_Summa Theologiæ_, 265.

S. Susanna and the Elders, 373.

Sweden, Christina of. _See_ CHRISTINA.

Swiss Guard, 8, 10, 16, 22, 26, 35, 300, 303, 323, 326, 353.

S. Swithin, 104.

Sylvester, Bishop, 95.

Symmachus, Pope, 56, 292, viii.

Symonds, John Addington, 201.

Tacitus, 48.

Tanagra, sculptors of, 239.

Tanagra and Myrina, terra-cotta statuary of, 404.

Tapestries, 8, 324, 326, 329; Pope’s private, 8, 324; in the Sala dei Pontefici, 362, 364; of Mr. Joseph Whitaker, of Palermo, 326.

Tarquinii (Corneto), 387, 393; acetylene flare at tombs of, 396; more than a hundred thousand tombs deep down in the earth, 393.

Tasso, autograph of, 228; MSS. of _Gerusalemme Liberata_, 228.

Tempesta, 316.

Temple of Fortune, 168, 279.

Temple of Venus and Rome, gilt tiles, 101.

Templum Probi, 100, 125.

Temporal power, 10, 17, 34, 135, 304, 340; its abolition, vii.

Temporal sovereignty, 322.

Terence of the ninth century, 227.

Terence of the fourth century, the oldest known, 227.

Terra-cottas, Room of the, 36.

Terza Raccolta, 256.

Tesoro of St. Peter’s. _See_ TREASURY.

Theodore de Beza, 251.

Theodore de Gaza, 165, 206.

Theodosius, 95.

Theophylactus, first great Pontifical Librarian, 267.

Thermantia (wife of Honorius), 100, 337, 343; treasure in her tomb, 337, 343.

Thirty-Line Indulgence. _See_ under NICHOLAS V.

Thirty-One-Line Indulgence. _See_ under NICHOLAS V.

Thirty Years’ War, 180, 218.

Throne, Papal, 23.

Throne in the Chapel of S. Maria della Bocciata, 94.

Tiara, the Papal, 167, 211, 335; how the three crowns were added, 335, 343; origin of the Papal, 342.

Tiara of the Popes, 34, 335.

Tiara of Paul III., 337.

Tiara of St. Peter’s statue, 342.

Tiara worn by Pius VII. in his captivity, 332.

Tiara, triple-crowned, 211, 343.

Tiber, 347.

Tiberius, 121, 122; becomes a tyrant on refusal of Senate to enroll Christ among the gods, 123; miraculous cure of, 122.

Tibur of Horace, 83.

Tiles, old Borgia, 382.

Tilly, 218.

Titus, Baths of, 315, 327.

Tivoli, Villa d’Este at, 279.

Tolentino, Treaty of, 81.

Tomb of Maria Clementina Sobieska, 345.

Tomb paintings, 393 _et seq._

Tomb of Popes, temporary. _See_ POPES, TEMPORARY TOMB OF.

Tomb of St. Stephen and St. Lawrence, 210.

Tomb of the wives of the Emperor Honorius, 57, 337, 342.

Tombs, classical, 53.

Tombs of Popes destroyed by Julius II., 115.

Tor Marancia, paintings from Villa at, 240.

Torre Borgia, 16, 29, 36, 355, 381, 382.

Torri, Fontana della, 287.

Torso of Hercules, 41, 65; Vestibule of the (_see_ VESTIBULE).

Toscanella, Etruscan terra-cotta sarcophagi, 391; gardens are full of Etruscan tombs, 391.

Tournament ground, 63.

Tournaments, 64.

Tournaments, courts of, 38.

Trajan, Baths of, 38.

Treasury of St. Peter’s, 9, 329, 340, 344.

Treasury, Sistine, 9, 34, 100, 329, 331-338, 340, ix; seventy rooms of plate in the, 337.

Trebizond, Gregory of, 165, 204.

Trent, Council of, 244, 247.

Treves, Archbishopric of, 234.

Triregno. _See_ TIARA, TRIPLE.

Triveth, English Dominican, 228.

Trivium, 379.

Tuker and Malleson, xiii.

Turks, 72, 182, 183, 192, 330.

“Turris unde mare prospicitur,” 284.

Tuscany, 386; London imports ready-made tombs from, 390.

Tusculum, 282.

Tyrrhene style of Etruscan jewellery, 398.

Tyrrhene treasures in the Gregorian Museum, 399.

Udine, Giovanni da, 5, 21, 24, 25, 315, 327, 364; arabesques of, 327; Loggia of, 25, 235, 315, 327, 329, ix; Pompeian paintings of, 315; stuccoes of, 315.

Uditori of the Rota, 301.

Ugolini, Monsignor, Scrittore of the Vatican Library, 221, 261, 263, 358.

Ulphilas, Gothic version by, 276.

Umbria, artists of, 386.

Università Gregoriana, 76.

University, Roman, 160.

Urban V., or Benedict XII. adds third crown to the Papal Tiara, 167, 343.

Urban VI. (Prignano Pope), 350; cruelty of, 160; epitaph of, 161; sarcophagus of, 160; lions from his tomb adorn the Throne of St. Peter, 160, 188; sarcophagus emptied by the workmen building the Dome, 160, 350.

Urban VII., 75.

Urban VIII. (Maffeo Barberini), 20, 76, 125, 220, 222, 269, 284, 327; ramparts of, 284.

“Urbi et orbi.” _See_ BLESSING OF THE POPES.

Urbino Bible, 234.

“Urbino, A History of the Dukes of,” with miniatures by Giulio Clovio, 230.

Urbino Library. _See_ LIBRARY.

Vaga, Pierino del, 26, 33, 318, 321, 364.

Valence, 80, 81.

Valerii, tombs of the, on the Latin Way, 328.

Valerius Flaccus, 201.

Valla calls on Eugenius IV. to abdicate, 205.

Valla, Lorenzo, 165, 202, 204; establishes the spuriousness of the Donation of Constantine, 205; his strictures on the Papacy, 205.

Vandals, 165.

Varese, Antonio da, 31.

_Varia Politicorum_, 269.

Vasari, 33, 73, 310, 318, 377.

Vase paintings, their value in study of Ancient Greek life, 403.

Vase, Vestibule of the. _See_ VESTIBULE.

Vases, collection of, 39; Greek, 42, 403.

Vatican, armoury founded by Urban VIII., 77; astronomers, work allotted to, 284; banquets, 326; basilica in the sixth century, 56; basilica in the tenth century, what it was like, 86; bird’s-eye view of, from Dome of St. Peter’s, 346; builders of the: Popes Symmachus, Innocent III. and Nicholas III., 135; brick-fields, 284; Codex, 7; collections of the, 78; compared to a beehive, 286; the conception due to Nicholas III. and Nicholas V., 57; Crypt, 80, 90, 142, 143, 166; easternmost portion, 23; entrance to the, 19; entrance (ordinary) to the, 317; genius of the, 41; Golden Age of the, 289; had its inspiration of the Renaissance from Florence, 190; Hall of Conclave, 59; to have Imperial Coronations, 59; to have Triumphal Gate, 59; the Italian Nüremberg, 112; the “Light of the World,” 4, 17, 39; Loggie of the, 315; and the Louvre, dimensions of, 14; manuscripts, 38, 234; manuscripts, reprints of, 221; measurements of the, 14; Menologium of the, 231; Mosaic Factory (_see_ STUDIO DEL MOSAICO); mosaics: how they are made, 305; nomenclature, 11; not like a Palace, 12; not one of the hills of Rome, 47; officials, 28; old castle of the Popes, 112; oldest part of the, 16; origin of name, 282; as a Palace, vii; Papal Palace of the, 15, 61, 63, 342, vii; Papal residence taken up there after the return from Avignon, 58; patronage of scholarship, 17; pictures restored by France by mistake to the, 306; plan of the, 347; Press, 4, 40, 255; principal residence of the Popes since thirteenth century, 58; quarter, no building in till time of the Emperors, 47; sacristy of the, 57; sculptures, 82; secret places of the, 7; statues and pictures taken by Napoleon to Paris, 24, 81; tapestries, atelier of, 308; treasures returned by the good offices of the English, 83; wine, 48, 286.

_Vatican, Art of the_, xii.

Vatican Cross, 128; not given by Constantine the Great, 128; is Slavonic, presented by S. Cyril and S. Methodius, 129.

Vatican Gardens, 40, 57, 241, 260, 261, 270, 282, 294, viii; audiences in the, 289; birds in the, 285; boschetto in the, 281; characteristics of the, 290; fountain in the, 75; gem of the, 288; general description of the, 278; garden-house of the, 72; known as the Boscareccio, 278; in May and June, 292; not wilder than the Bois de Boulogne, 283; restrictions of the, 281; sylvan, 293; wolves killed in the, 58.

Vatican Hill, 6, 17, 25, 35, 75, 284; drainage of the, 93; tombs of the, 282.

Vatican Library, 5, 7, 10, 16, 17, 24, 29, 36, 38, 43, 58, 77, 181, 213 _et seq._, 242, 253, 256, 257, 266, 305, 358, ix; Calixtus III. and the, 214; closed season of the, 241; Christian paintings in the, 305; English books in the, 259; founded by Nicholas V., 214, 215; Great Hall of the, 74, 242; ground plan of the, 223; long gallery of the, 14, 220, 223, 236, 294; most famous in the world, 213; MSS. of, 227, 234, 249; MSS. of gold letters described by Montaigne, 245; MSS. kept in presses, 224; MSS. published by Cardinal Mai, 276; not founded by Sixtus IV., 216; Paul II. did nothing to the, 215; Pius II. did nothing to the, 215; proper, 223; readers, 258; reading-room, 258; Sixtus IV. located it under the Sistine Chapel, 215; Sixtus IV.’s, now the Floreria, 216; started in time to receive first printed books, 214; unsatisfactory way in which people are shown over it, 224; view of garden from the windows of, 241; visitors to, 241; what it consists of, 218; when open, 241.

Vatican Palace, the beginnings almost lost in antiquity, 56; the largest in the world, 14, 281, 347; origin of, 63; size of the, 348.

Vatican Picture Gallery, 216; founded out of pictures returned by the French which did not belong to the Pope, 306.

Vaticane, Notti, 289.

Vaticinium, 282.

Velasquez, 146.

Venetian Archives, 221.

Venezia, Palazzo di. _See_ PALAZZO.

Venice, Patriarch of, 305.

S. Veronica, 123; a corruption of Vera Icon, 123; of the Hagiology, 124; handkerchief first mentioned by Bernard of Soracte in eleventh century, 129; pier of, 139, 189.

S. Veronica’s handkerchief (_see_ VOLTO SANTO), 121-124, 139, 151, 185, 186; John VII. builds a shrine for it in St. Peter’s, 124; story of, 121.

Vespai, 255.

Vespasiano da Bisticci (Nicholas V.’s bookseller), 200; Nicholas V.’s biographer, 200.

Vespignani, Count, architect of the Vatican, 221, 255, 359.

Vestibule of the Meleager, 41.

Vestibule of the Torso, 41.

Vestibule of the Vase, 41.

Vestments, Cardinals’, 34; Pope’s, 34.

Vetralla, 388.

Via di Aracœli, 138.

Via Aurelia Nova, 48.

Via Cornelia, 48, 53, 111, 130.

Via delle Fondamenta, 35.

Via Triumphalis, 48.

Vialone di Belvedere, 35, 36.

Victoria, Queen, gave Leo XIII. altar service for his Jubilee, 336.

Vicus Curialis, 59.

_Vie Intime de Pie X._, xvii.

Villa Aldobrandini at Frascati, garden of, 279, 282.

Villa Belvedere, 61, 75, 82.

Villa Borghese, 302, 316.

Villa Doria, 287.

Villa d’Este at Tivoli, 279.

Villa Innocent VIII. _See_ INNOCENT VIII.

Villa Lante, beyond Viterbo, fountain garden in, 278.

Villa of Leo XIII. _See_ LEO XIII.

Villa Madama, 315.

Villa Medici, 290.

Villa Mills, 383.

Villa Papa Giulio, 161, 388.

Villa Pia, a perfect image of an ancient Roman country house, 289.

Villa Pius IV. _See_ PIUS IV.

Villani, Giovanni, 169.

Vinci, Leonardo da, 212, 311; “Last Supper” at Milan of, 311.

Violets, 3, 293.

Virgil of the fourth century, reproduction of the, 260.

Virgil of the Vatican, 227, 231, 245.

Virgil, Palatino, MS. of, 230.

Virgil, Romano, MS. of, 230.

Virgin, collection of sermons for the feast of the, 233; mosaic of the Weeping, 156.

Viridarium Novum, 58.

“Visitation, The” (fresco), 374.

Viterbo, 106, 164, 278, 387; fortress of, 164; station for Castel d’Asso, Norchia, Bieda, 387.

Vitruvius, 201.

Vogüé, xvii.

Volaterræ (_see_ VOLTERRA), 387.

Volterra, Daniele da (a pupil of Michel Angelo’s), 33, 320, 331.

Volterra, Etruscan Museum at, 389; interesting for its alabaster sarcophagi, 389.

Volterra, Etruscan tombs at, 390, 391; alabaster, Etruscan, tombs at, 389.

Volto Santo, 121-124, 129, 136.

Volusian, 122; sends portrait of Jesus to Tiberius, 122.

Vulci, 43, 388, 403.

Walls of Rome repaired by Urban VIII., 76, 77.

Waters, Mr. W. G., 323.

Watson, Mr. R. W. Seton, 118, 126, 140, 160, 162, 165, 169, 171, 174, 178, xii.

West Saxons, King of the, 103.

Whitaker, Mr. Joseph, of Palermo, 326.

Wilhelm I. of Prussia, 226.

William, Emperor, 259.

Wilson, Miss Heath, her library, xviii.

Winged “Victory” of the Greeks made the standard of our angels through its beauty, 389.

Wiseman, Cardinal, _Recollections of the Last Five Popes and of Rome in their Time_, xvi.

“Wonder of the World, The,” 128.

“W. Paulus III. Pont. Max. e W. Farnesia Proles,” 379.

Writers of Greece, 6.

Writers’ Room (Vatican Library), 39.

Würzburg, 218, 256.

Xavier, St. Francis, 75.

York, Cardinal of. _See_ HENRY STUART.

Zacagna, Abbot Laur., 249.

Zacosta, Raymond, 176.

Zecca, 44, 294.

Zelada, Cardinal, Library of (_see_ LIBRARIES), 40, 220, 257.

Zeuxis, 239.

Zola’s _Rome_, xv.

Zuccheri, 33.

Zucchero, 31, 73, 288, 318.

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Transcriber’s Notes.

Italic text is indicated with _underscores_, bold text with =equals=. Small/mixed capitals have been replaced with ALL CAPITALS.

Evident typographical and punctuation errors have been corrected silently. Inconsistent spelling/hyphenation has been normalised.

Half-titles and reiterations of chapter titles have been discarded.

A list of popes has been placed after the main text.

End of page footnotes have been sequentially numbered and gathered at the end of the text.

Index entries referencing a footnoted page have been modified to reference the relevant footnote.

To improve text flow, illustrations have been relocated between paragraphs.

Cover art created for this eBook is granted to the public domain.