The South of France—East Half

by C. B. Black

Turin: Picture Gallery.

In the second story is the [Picture Gallery]. All the paintings are labelled. In Room 1 are portraits of princes of the house of Savoy, and battles in which they were engaged. Room 2. In this room are excellent specimens of the Turin painter, Gaudenzio Ferrari, No. 49, St. Peter and Donor; 52, Madonna and St. Elizabeth; 53, God; 54, Descent from Cross; 57, Joachim driven from the Temple. Rooms 3 and 4. Italian pictures, Massimo d’Azeglio, another Turin painter, 90, a Landscape. Room 5. Italian paintings of the 14th, 15th, and 16th cents.: Clovio, 127 bis, an Entombment, painted on silk; Bronzino, 127 and 128, Portraits of Eleonora da Toledo and her husband, Cosimo I. de Medici. Room 6. J. da Ponte (II Bassano), 148, Portrait; P. Caliari (Paolo Veronese), 157, Queen of Sheba presenting

gifts to Solomon; A. Carracci, 158, St. Peter; Caravaggio, 161, Musician; J. Robusti (Il Tintoretto), 162, The Trinity. Room 7. Guido Reni, 163, S. Giovanni; Spagnoletto, 174, St. Jerome. Room 8. Enamels and paintings on porcelain by Constantin of Geneva. Room 9. A small room entirely filled with fruit and flower pieces by Dutch artists. Between rooms 9 and 10 is a dark lobby, hung also with pictures. Room 10. Continuation of the Italian school, 16th, 17th, and 18th cents.: B. Strozzi, 232, Portrait of Prelate; 251, Homer singing his own Songs; Paolo Veronese, 234, Mary Magdalene at our Lord’s Feet; Guido Reni, 235, Apollo; 236, Cupids; G. Dughet (Poussin), 237, 238, Tivoli Waterfalls; G. F. Barbieri (Il Guercino), 239, 262, *S. Francesca Romana, and in next room, Return of Prodigal Son. Room 11. A. Canale (Il Canaletto), 257 bis, Ducal Palace, Venice; F. Albani, 260, 264, 271, and 274, The Four Elements; S. Ricci, 272, Hagar sent away; 275, Solomon burns the Idols; C. Dolce, 276, Head of Madonna; B. Bellotto, 283, 288, Royal Palace, Turin; Old Bridge across the Po. Room 12. Flemish and German school: Acken (Bosch), 309, an Adoration; G. Van Eyck, 313, St. Francis; Rogier Van des Weyden, 312, *Madonna; F. Franck, 335, Room with Ladies and Gentlemen; Van Dyck, 338, 351, The three Children of Charles I. of England; *The Princess Clara Eugenia of Spain; Rubens, 340, Sketch of his apotheosis of Henri IV. in the Uffici of Florence. Room 13. Containing the gems of the collection: A. Mantegna, 355, Virgin, Child, and Saints; L. Credi, 356, *Virgin and Child; G. F. Barbieri (Guercino), 357, *Virgin and Child; Hans Memling, 358, *The Seven Sorrows of the Woman Mary; Saenredam, 361, *Interior of a Protestant Church, the figures by A. Ostade; Van Dyck, 363, *Large equestrian portrait of the Principe Tommaso di Savoia; his finest work is **384, Holy Family; D. Teniers, 364, Tavern; G. Ferrari, 371, Jesus giving up the Ghost; Raphael, 373, *La Madonna della Tenda; Donatello, 375, Virgin and child in relief on marble; Sodoma, 376, *Death of Lucretia; P. Potter, 377, *Cattle grazing in a meadow; H. Holbein, 386, Portrait of Erasmus. Room 14. Dutch and German school: Picture by Jordaens; Sallaert, 398, Procession in Brussels; Floris, 410, Adoration; P. P. Rubens, 416, Resurrection of Lazarus; C. Vos, 417, Portraits of Snyders and his wife; Teniers (the younger), 423, Card Players; Schalcken, 458, Old Woman. Room 15. French school: C. Gélée (Claude Lorrain), 478, 483, Landscapes; I. Courtois (Bourguignon), 481, Cavalry Charge. Catalogues sold of the contents of the museums and picture gallery.

Palazzo Carignano. Royal Armoury.

[ Museum of Zoology and Mineralogy.]

Opposite the Palazzo dell’ Accademia, but a little to the left, is the Palazzo Carignano, also by Guarini, and also of earthy-coloured brick; but the decorations are superior, more varied, and more pleasing than those of the Palazzo dell’ Accademia. In large gilt letters, on the façade fronting the Piazza Carignano and the statue of Gioberti, are the words, “Qui nacque Vittorio Emanuele II.” Within is a high and spacious court, surrounded by lofty halls, and at the east end, fronting the Piazza Carlo Alberto, with the beautiful bronze monument to him by Marochetti, cast in London, is the more pretentious stone façade, built in 1871, but not in harmony with the rest of the building. (See also [p. 293].) In this palace, magnificently housed, are the zoological and mineralogical collections. Open daily, 1 fr. Sundays and feast-days free.

[ Royal Armoury.]

No. 13 Palazzo Castello, open on feast-days from 11 to 3 free. On other days procure admission from the secretary. This collection is of great interest only to the inhabitants of northern Italy, as it is filled chiefly with relics of their kings, dukes, and wars. In the first room is “Favorito,” the favourite horse of the magnanimous Ré, Carlo Alberto. Above it, near the roof, are numerous tattered flags taken in battle. In the large hall are two rows of armed knights and foot-soldiers. At the head of this hall, in a glass case, numbered 301, is an embossed oval shield, inlaid with gilding, and surrounded by a fringe of massive gold thread. On five medallions are represented, in alto-relievo, scenes from the war of Marius against Jugurtha. It belongs to the school of Giulio Romano, was executed probably in the latter half of the 16th cent., and was presented to the university of Turin by the Princess Vittoria di Sassonia Hilburghausen. Among the relics are the sword worn by Napoleon at the battle of Marengo, the saddle of Charles V., and some beautifully inlaid body-armour of the Dukes of Savoy. The large door at the end of this hall opens into the “Medagliere del Ré,” containing 30,000 Greek, Roman and ancient coins and medals, including a complete series of those struck in the State of Sardinia; and also 5000 medallions, seals and stamps. In this same part is the Biblioteca del Ré, with 40,000 vols., 1800 MSS., numerous autographs, engravings and drawings by the great masters. To visit these special permission must be obtained. From the windows of the armoury is a view of the palace-gardens.

At the N.E. angle of the Piazza Castello is the Teatro Regio, considered the finest work of Benedetto Alfieri. It is seated for 2500, and is open only during carnival and on extraordinary occasions. [ Turin: Royal Palace.] In the absence of the royal family the palace may be visited. It is a plain brick building, commenced in 1646, with the front to the Piazza Castello, plastered to imitate stone. Having passed the main entrance, turn to the left. At the end of this corridor is seen, through a glass door, the equestrian statue of Vittorio Amadeo I. (died 1675) in a niche at the foot of the grand staircase. The rider is in bronze, the horse in marble. Ascend the marble steps, then, to the right, two flights of narrow steps lead to the hall of the palace, where the servants will be found who show the palace. Fee, 1 fr.; party, 2 frs. After the guardroom succeeds a series of rooms with much gilding, inlaid floors, and rich furniture. The pictures are all modern, and of no great merit. The room called Maria Theresa’s contains some fine china vases.

Turin: The Cathedral.