Part 2

Next to "Mariæ Nascenti," but taking precedence in archæological interest, is the church of S. Ambrogio, a basilica dedicated by the Saint when bishop of Milan in 387 to SS. Gervasius and Protasius. It was enlarged and rebuilt in 881 and restored by Ricchini in 1631, all the original features being faithfully preserved. A closed courtyard stands below the level of the piazza outside and forms the Atrium beyond which no catechumens were allowed to pass. The capitals of the columns here have the tendency of early Christian Art and adaptations of Runic and Byzantine carving. The church is Lombardo Romanesque. Beneath the gallery over the peristyle is the celebrated door, well guarded by an iron grille, some of the cypress-wood panels of which formed portions of the gate of the Basilica Portiana closed by S. Ambrose against the Emperor Theodosius after his cruel slaughter in Thessalonica. The nave is entered by two side doors and is composed of eight bays, the columns of which are slender in proportion for the deep shadows of the dark aisles. Pilasters run up to the low round vaulting, the large galleries over the aisles being divided by these. Up a few steps which cross the nave at the last bay, and behind a low marble balustrade, is the High Altar, enclosed by one of the finest extant relics of the goldsmith's art. This magnificent casing bears the name of its German maker, Wolvinius. Some of the panels, notably that of the Transfiguration, are very Greek in treatment. The back is almost of better workmanship than the front and is more interesting, as Wolvinius has here illustrated the principal events in the life of the founder. The enamelled borders of these silver-gilt panels are of exquisite design. One of the saint as a child asleep in his cradle with a swarm of bees hovering around, considered a presage of future eloquence, is very naïve. The _baldachino_ above this altar is borne by four grand columns of black porphyry.

Up twelve steps are the choir and tribune, and at the end of these is the primitive throne of the Archbishop of Milan, known as the chair of S. Ambrose. The eighteen seats occupied by the suffragans of the province no longer exist, having been replaced in the sixteenth century by carved wooden stalls, and thus has perished a feature identical with the Cathedral at Torcello. The semi-domed roof of the Tribune is covered with a fine ninth-century mosaic which represents the seated figure of the Almighty, beneath whom are SS. Candida, Gervasius, Protasius, Marcellina and Satirus, and a representation of the cities of Milan and Tours--Tours because there, when S. Martin was undergoing martyrdom, the spirit of S. Ambrose went to give him strength. Beneath the choir is the crypt, and at its termination, exactly under the high altar in the church above, in a splendid casket of silver and crystal, repose the remains of three Saints, Ambrose, Gervasius and Protasius. There is a curious pulpit in the church of very early Lombard work, with an "Agape" or love feast carved upon its panels. Close by upon a granite pillar rests a bronze serpent, said to be the brazen serpent of the desert and presented to Archbishop Arnulphus by the Emperor of Constantinople. S. Ambrogio was the church in which the Lombard rulers were crowned with the Iron Crown that is the chief attraction in the neighbouring city of Monza.

So well known are the art treasures of Milan that it is hardly necessary to do more than allude to the many works of great interest in the Brera, formerly a Jesuit college, and in the celebrated Biblioteca Ambrosiana; or that greatest wonder of all which has drawn so many pilgrims to the Cenacolo, the refectory near the church of Santa Maria della Grazie--the much restored Last Supper by Leonardo da Vinci. The Castello of Milan was at one time the residence of the great Visconti family, and at the death of the last male representative passed by marriage into the hands of the first duke of the Sforza line. It was during their reign that Milan took the lead in the fashion of Europe (whence we have the word "milliner") and it was then that Leonardo wrought his masterpieces, including that great equestrian statue of Francesco Sforza which was the wonder of Milan, and of which posterity was so unhappily robbed by the French invasion.

PAVIA

From its position close to the confluence of the rivers Po and Ticino, Pavia, the "City of a hundred Towers," was for centuries a point of strategic importance. It is at present a great artillery station. Of its hundred towers that stood at intervals around the eleventh-century walls, hardly one remains, and the old fortifications which had been reconstructed at a later date, are rapidly being converted into a spacious and shady boulevard. The celebrated bridge is however still intact, despite many violent floods, a delight to the eye and a pleasant promenade on a hot day. This notable structure, which spans the Ticino, was built by one of the great Visconti family--Gian' Galeozzo--and is roofed in.

Pavia at one time was rich in noble churches. Many have been demolished, others have fallen into decay. The cathedral, dedicated to S. Stefano, stands on the site of one erected in the seventh century. The present edifice was designed by Bramante and constructed under the direction of one of his pupils, Cristoforo Rocci. In the original plan the nave, transepts, and choir were all of one size, but the nave is the only part in which the great architect's measurements were followed. The façade, approached by a good flight of steps, is unfinished. On the north, and adjoining a fine example of a late Romanesque gateway, stands the _campanile_.

The interior of the main building is grey stone which has not been spoilt by the application of the whitewash brush. A fine pulpit, somewhat similar to those at Milan, stands out from one of the massive piers that support the octagon. It is of singularly large dimensions and is supported by well-carved wooden figures of the Fathers of the Church. The octagon, which carries a good dome and tower and is best seen from the market square, rises well above the roofs of the nave and choir. A gallery running round the entire cathedral forms a triforium, broken only by _trasparente_ lights in the apse and side chapels of the choir. These windows accentuate the bad points of the _barroque_ altars beneath. The clerestory lights are circular. If it were not for the magnificent tomb in which repose the remains of S. Augustine, the greatest of the Fathers of the Latin Church, the cathedral would be, notwithstanding the fame of its designer, the least interesting ecclesiastical building in Pavia.

[Illustration: THE CATHEDRAL, PAVIA]

Experts disagree as to who was responsible for the fine monument which covers S. Augustine's remains. The body of the saint had been removed from Hippo, a suffragan see of Carthage, to Sardinia during the Arian persecutions. It rested there until Liutprand, the Lombard king, having purchased it, placed it in the church of S. Pietro in Cielo d'Oro; and when this church was destroyed it was conveyed to the cathedral. On certain festivals the silver casket, portions of which are the original, that contains the bones of the saint robed in full pontificals is removed from its usual position and hoisted up behind the tomb, so that the devout can mount a temporary wooden stair and look on all that is left of the great father.

A figure of the saint lies stretched on the sepulchral urn that usually holds the silver casket. This rests on the basement, or lowest, of the four tiers that compose the monument. Around it are figures of the lesser saints of his Order. Above are bas-reliefs of the chief events in his life and the miracles which after his death were performed in different places through his intercessions. The liberal arts, the cardinal virtues, and many symbols adorn the tomb, which is also decorated with statues of saints and angels, two hundred and ninety in all. They are extremely well executed and enhance the beauty of the design.

The church of S. Michele is a primitive structure and bears traces of being the precursor of all ecclesiastical edifices of the Lombard style of architecture. It was originally a basilica, but short transepts have been added and the roof, which is groined, is vaulted with stone. The oldest part of the church is the crypt, which is under the choir. This is probably the building, or part of it, in which Unulfus sought sanctuary in 661 when fleeing from King Grimoladus. Four compound piers in the nave are adorned with an extraordinary series of sphinxes, symbols, animals and other figures. The façade is decorated with reliefs in a richly coloured sandstone, and has a gabled gallery that is continued round the exterior as far as the apse.

The portals are covered with a profusion of very archaic imagery in which Pagan as well as Christian subjects form most of the decoration. Sculptured bands of sandstone are placed in courses along the whole front and medallions let into the walls. These are very massively built of stone, and though restoration is evident throughout the church it still bears the impress of great age.

Sta. Maria del Carmine is a fourteenth-century building of Gothic design, and is one of the very best examples of brickwork in all Italy. The beautiful rose window of the west front and the three pointed doors with their well-moulded terra-cotta ornament could hardly be finer. Seven elegant pinnacles stand on the rather heavy cornice, forming a good set off to the _campanile_, which, surmounted by a brick spire, is a landmark in the district. The brick piers of the interior are exceptionally good; four squares constitute the nave, the arches of each carry simple groining. Two small lancet-shaped arches, out of all proportion with the massive brick piers that support them, open into the aisles. They have double capitals, the upper being of stone, the lower of carved brick.

In the ruined church of S. Pietro in Cielo d'Oro stood the tomb of Boethius, who under Theodoric held high office in the state. Boethius was executed in Pavia after a long and rigorous confinement in the Casa Malsap ina, during which he wrote his incomparable "Consolations of Philosophy." This work was translated into many languages and was one of the most widely known treatises in the Middle Ages. Alfred the Great translated it into Saxon. Another connection with England exists through Archbishop Lanfranc who accompanied William the Conqueror across the sea and was made prelate of Canterbury. The district round Pavia is not healthy, a condition due probably to the intricate system of irrigation by which the pastures are kept green with a rank-growing grass. Between Pavia, Piacenza and Lodi--a triangle with the last-named at the northern point--lies the country which yields the best Parmesan cheese. The fields are of three kinds, those nearly always under water, those irrigated, and those used for rotation crops. The cattle that are utilised for cheese-making are mostly Swiss bred, and being valuable are well looked after. They are stalled at sundown in the buildings attached to the great farms, where farmhouse, cottages, barns and stables are all enclosed within a high wall. The little rectangular patches of meadow on which they feed are enclosed by rows of poplars or willows which make the landscape very monotonous. In winter a dense fog often shrouds the countryside and a deadly chill pervades the atmosphere, while the humidity of summer, when the sun draws the moisture from the soaking earth, is very enervating.

BERGAMO

When October comes in its yearly round and the autumn afternoons close in, it is sometimes good to sit idly outside a caffè with the pernicious cigarette and ruminate on the glories of a past summer--better this than to hustle up the street a sight-seeing. A hot day was ending and the Bergamo of mediæval times towered above the haze of a sun-baked land and the smoke that curled upwards in thin wreaths from the city below. "La Città Alta" thus raised its head proudly against the copper-coloured sky, thrusting its bulwarks to the edge of one of the last spurs of the Alps that here creep down on to the plain. What a grand prospect from the shady boulevard on those ramparts which encircle the old fortress! The sun has not yet set; beneath lies the Borgo S. Leonardo, the lower city, a busy place with factory chimneys on its outskirts; beyond, a sea of verdure, cut by lines of tall poplars and here and there a slender _campanile_, stretches away over Lombardy until lost in the haze past the towers and domes of Monza, Cremona, and distant Milan.

There is something very fascinating in the quiet and exclusive old city. Its streets are steep and narrow, its houses seem to rake the sky, the rattle of wheels does not often disturb the aristocratic silence, a silence accentuated tenfold when one has left behind its busy plebeian partner on the plain below, and whisked upwards by the funicular, found oneself suddenly amidst high walls. Great spaces of faced stone are these walls, pierced by tiny windows, almost forbidding in their austerity; and though glimpses of foliage and flowering creepers break through, the pervading air is one of mystery and intrigue.

In the wars with Austria, Bergamo was a great rallying-point for patriots and a continual thorn in the side of that polyglot empire. The names of heroic Bergamasque who died for their country are inscribed on sundry tablets on the walls under the old Brotello. This interesting building stands at one end of the little Piazza Garibaldi, and is somewhat similar to the one which forms the illustration to Como, with the difference that here a fine open stairway leads up to the first floor. The great hall is now occupied as a library. In a corner at the head of the stairs rises a massive quadrangular belfry, one of the prominent features in the outline of "La Città Alta."

[Illustration: BERGAMO]

Beyond the Brotello lies the Cathedral, a well-proportioned Renaissance building, which, by its juxtaposition to the much more ancient church of Sta Maria Maggiore, looks comparatively of recent date. It is constructed entirely of white marble and has a good dome. A Madonna by G. Bellini behind the high altar is its great treasure, and the only thing in it worthy of notice.

Sta Maria is an early Lombard pile of buildings, with a very lofty tower and an octagon over the crossing, which rises in four galleried storeys surmounted by a low spire. Good galleries extend round the exterior of the apse, and side chapels are thrust out at odd places with no

## particular plan. The east porch is by far the most interesting feature,

and is an elaborate piece of work in _breccia_ and white marble. The supporting pillars rest on the backs of two lions, the old ecclesiastical symbol of strength, the columns of the portal are beautifully sculptured, and one of them, encircled with admirable figures, is very fine. Above is a canopy under which, on his horse, sits King Lupus with two attendants, while beneath a second canopy on top are statuettes of the Virgin and Child, and the two Marys. The west porch is almost similar to this, but of not so intricate a design. It has also no canopies, but is surmounted by a turret niche, let into the wall of the main building, in which is the figure of the patroness. The doors of these two portals are of superbly grained rosewood. They open into the transepts, which are the finest portions of the interior, the carved choir stalls and screen by Stefano da Bergamo are considered the best in Italy.

Adjoining the east porch is the Capella Colleoni, the mausoleum of Bartolommeo Colleoni the celebrated _condottiere_ of the fifteenth century, whose equestrian statue in front of the church of SS. Giovanni e Paolo in Venice is remarkable, not only as a work of art, but as exemplifying the power and rugged strength of a great man.

The façade is terribly ornate, with chequer work in white and black marble, red and yellow busts and medallions, twisted pillars and strange arabesques. The interior contains the tomb of Bartolommeo who sits astride his horse. It is rather too elaborate to be entirely pleasing. At the south end is one of the finest examples of _intarsia_, or inlaid wood-work, in Italy. The subjects of the three panels represent the entry into Jerusalem, and scenes from the stirring times in which the great _condottiere_ played so prominent a part. The backgrounds are evidently of landscape in the neighbourhood. Not only is the spirit and execution of this fine work extremely good, but the colour surpasses anything of the sort I have seen. It is kept under lock and key, enclosed in three rosewood panels of well-selected grain. Not far from the chapel is the house in which Donizetti died. The Borgo S. Leonardo is of older date than "La Città Alta," although it is the more modern of the two. On the base of a damaged Corinthian column standing in the small piazza of Sta Maria d'Oleono is an old Latin inscription which tells that the column was erected where once stood a heathen temple, and that S. Alessandro, standard-bearer to the Theban Legion, overthrew the heathen pillar by a miracle, the column being erected by members of the municipality with the alms of the faithful. It is doubtful whether the Pergamus of ancient writers is the city on the hill or its sister on the plain; this relic rather points to the latter as the site. In the Borgo a fair, held for a month from the middle of August, and known as the Fiera di Sant' Alessandro, has taken place without intermission since the tenth century--surely a record; and there is no doubt that in the ancient Italian drama, harlequin, personifying the manners and jargon of the neighbouring Val Brembana, was a Bergamasque, and originated at this ancient festival.

BRESCIA

Brescia, like Bergamo, is situated on the fringe of the mountains and the plains, and like Bergamo played an important part in the wars against Austria. Its _castello_ stands high above the rest of the city, but in the face of the power possessed of modern arms it would not be worth a garrison. So its ramparts and entrenchments have been wisely converted into a pleasant garden from which wide views of rolling country and level plain extend.

Many traces of the Roman colony of Brescia remain, but it was due to a small boy of the virile race that populate the city that the most interesting was unearthed. When a child, Girolamo Ioli was much exercised in mind about a Corinthian column that stuck out of the ground and around which he was wont to play. In maturer years the curiosity of youth was still the ruling passion, and he made it his business to agitate. Like many another agitator his demands were in time gratified, and excavations were commenced which resulted in the unearthing of a building erected by Vespasian it is supposed in the year 72--the supposition resting on fragmentary inscriptions. Palace of Justice or temple, this building is now the museum, and contains one of the finest bronzes Italy can boast of. Found in 1826, this beautiful winged figure of Victory, which is six feet high, still bears a trace of the silver fillet interwoven with a wreath of laurel-leaves that bound her hair. The last-century additions of a shield, which she was thought to have held, and a helmet under one of her feet, have been removed, and Victory stands in the state in which she was discovered. The head and limbs are finely modelled, and the arrangement of the drapery could not be excelled.

Down the wide street in front of the Museum a Corinthian column and heavy frieze, supported by massive brick pillars, have been excavated. Opposite these relics is the huge Martinengo Palace. In a line due south is the church of Sta Afra built on the site of a temple to Saturn. Most of the houses in the vicinity have Roman masonry in their basements and Roman inscriptions let into their walls. From this one gathers that ancient Brixia occupied this part of the later city. Write it down to the credit of Brescia that her citizens passed a law as early as 1480 that all antiquities found should be preserved and given up to the town.

There are two cathedrals in Brescia, La Rotunda and the Duomo Nuovo. The former is one of the most interesting ecclesiastical buildings in Italy. Constructed of stone, with a red brick dog-tooth cornice and twenty-four brick arches, supported by white marble pilasters forming an arcade into which the exterior is divided, a most pleasing effect is obtained. In the interior a circular colonnade, composed of eight extremely massive four-sided piers bearing round arches, supports the stone dome. It is supposed to be of seventh-century construction, and is evidently on the site of an earlier Roman building, as fragments of a mosaic floor exist beneath the present one. This, which is partly tesselated, is much below the level of the ground outside. Lower still, beneath the presbytery and choir, down twenty steps, is a very ancient crypt, in which forty marble columns support the round arches that carry the weight of the fabric above. None of these columns is more than five feet high. Half a dozen blocked up lights, with bases not more than three feet from the floor, are evidence that outside, the level of the ground was at one time far below where it is at present.

The Duomo Nuovo is a finely proportioned edifice and one of the best seventeenth-century churches in the country. The façade is immense and gains by its simplicity. The fine dome is said to be the third in size in Italy; and the lofty interior of white marble, unspoilt by any colour or decoration, gains in space from the fact that there is but one bay to the nave, producing the effect on the senses that one is everywhere standing under the spacious height of Brescia's greatest landmark. The houses of the piazza outside are chiefly occupied by metal-workers, and those who know the incessant din produced by the tapping of their hammers, will quite understand that it was impossible to make a sketch of these two churches as they stand together.

[Illustration: BRESCIA]