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We might have gone to see the pictures in the Palace of the Conservatori, and S , whose receptivity is unlimited and forever fresh, would willingly have done so; but I objected, and we went towards the Forum.
After a first glance into Italian history the student recoils as from a chaos of inscrutable confusion. To fix the moment of transition from ancient to modern civilization seems impossible. There is no formation of a new people, as in the case of Germany or France or England, to serve as starting-point. Differ as the Italian races do in their original type; Gauls, Ligurians, Etruscans, Umbrians, Latins, Iapygians, Greeks have been fused together beneath the stress of Roman rule into a nation that survives political mutations and the disasters of barbarian invasions. Goths, Lombards, and Franks blend successively with the masses of this complex population, and lose the outlines of their several personalities. The western Empire melts imperceptibly away. The Roman Church grows no less imperceptibly, and forms the Holy Roman Empire as the equivalent of its own spiritual greatness in the sphere of secular authority. These two institutions, the crowning monuments of Italian creative genius, dominate the Middle Ages, powerful as facts, but still more powerful as ideas. Yet neither of them controls the evolution of Italy in the same sense as France was controlled by the monarchical, and Germany by the federative, principle. The forces of the nation, divided and swayed from side to side by this commanding dualism, escaped both influences in so far as either Pope or Emperor strove to mold them into unity. Meanwhile the domination of Byzantine Greeks in the southern provinces, the kingdom of the Goths at Ravenna, the kingdom of the Lombards and Franks at Pavia, the incursions of Huns and Saracens, the kingdom of the Normans at Palermo, formed but accidents and moments in a national development which owed important modifications to each successive episode, but was not finally determined by any of them. When the Communes emerge into prominence, shaking off the supremacy of the Greeks in the South, vindicating their liberties against the Empire in the North, jealously guarding their independence from Papal encroachment in the center, they have already assumed shapes of marked distinctness and bewildering diversity. Venice, Milan, Genoa, Florence, Bologna, Siena, Perugia, Amalfi, Lucca, Pisa, to mention only a few of the more notable, are indiscriminately called Republics. Yet they differ in their internal type no less than in external conditions. Each wears from the first and preserves a physiognomy that justifies our thinking and speaking of the town as an incarnate entity. The cities of Italy, down to the very smallest, bear the attributes of individuals. The mutual attractions and repulsions that presided over their growth have given them specific qualities which they will never lose, which will be reflected in their architecture, in their customs, in their language, in their policy, as well as in the institutions of their government. We think of them involuntarily as persons, and reserve for them epithets that mark the permanence of their distinctive characters. To treat of them collectively is almost impossible. Each has its own biography, and plays a part of consequence in the great drama of the nation. Accordingly the study of Italian politics, Italian literature, Italian art, is really not the study of one national genius, but of a whole family of cognate geniuses, grouped together, conscious of affinity, obeying the same general conditions, but issuing in markedly divergent characteristics. Democracies, oligarchies, aristocracies spring into being by laws of natural selection within the limits of a single province. Every municipality has a separate nomenclature for its magistracies, a somewhat different method of distributing administrative functions. In one place there is a Doge appointed for life; in another the government is put into commission among officers elected for a period of months. Here we find a Patrician, a Senator, a Tribune; there Consuls, Rectors, Priors, Ancients, Buonuomini, Conservatori. At one period and in one city the Podest
Among the crowd were many who came to paint her; 'for she was more beautiful than can be said or written, and, were it said or written, it would not be believed by those who had not seen her. By order of Innocent VIII she was secretly buried one night outside the Pincian Gate; the empty sarcophagus remained in the court of the 'Conservatori. Probably a colored mask of wax or some other material was modelled in the classical style on the face of the corpse, with which the gilded hair of which we read would harmonize admirably.
He also placed the equestrian statue of Marcus Aurelius Antoninus on its noble pedestal, and suggested the introduction of other antique specimens of sculpture into various portions of the architectural plan. The splendid double staircase leading to the entrance hall of the Palazzo del Senatore, and part of the Palazzo dei Conservatori, were completed during Michelangelo's lifetime.
Upon a coin with the anything but Christian legend Marti Conservatori, is a cross with four equal arms. On a somewhat similar coin with the same legend, the helmet on the reverse is ornamented with the so-called Monogram of Christ. Upon another coin we see Mars leaning on a shield adorned with the so-called Monogram of Christ, the legend being Marti Patri Conservator.
"Pope Nicholas III. retained the senatorial dignity for himself; and, by a bull of 1268, forbade the election of any Senator, without the sanction of the Pope. "From this date all the Senators of Rome have been nominated by the Popes, and were never permitted to be foreigners. "Besides the Senator, there was a council, called the Conservatori.
We are justified in believing that the disposition of the parts which now compose the Capitol is due to his conception: the long steep flight of steps leading up from the Piazza Araceli; the irregular open square, flanked on the left hand by the Museum of Sculpture, on the right by the Palazzo dei Conservatori, and closed at its farther end by the Palazzo del Senatore.
Hence, opera is greatly fostered and protected. There are a dozen musical conservatori, public and private, in each of the principal cities, for the training of singers, and prizes are accorded to them out of funds especially set apart for the purpose by the government, which also grants large annual subsidies to the leading lyric theatres, such as the Scala at Milan, the San Carlo at Naples, the Fenice at Venice, the Pergola at Florence, the Carlo Felice at Genoa, the Communale at Bologna, and the Apollo at Rome.
It was taken from the Capitol, where it was seen in the Palazzo dei Conservatori. A FAUN, in a resting posture. This young faun, with no other covering than a deer's skin thrown over his shoulders, is standing with his legs crossed, and leaning on the trunk of a tree, as if resting himself.
Besides these, the following are celebrated: the palace della Cancellario, the palace de' Conservatori, the palace of St. Mark, the buildings of the Academy, etc. Among the private palaces, the Barberini is the largest; it was built by Bernini, in a beautiful style.
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