1 92 Route. 33. BRESCIA. Museo Patrio.
We now follow the Corso Garibaldi, whence the first cross-
street on the right leads to the Torre della Palata, a mediaeval
tower with a modern spire. To the N. stands the church of
*S. Giovanni Evangelista (PI. 11), with several admirable pictures.
We begin on the right. 3rd Altar: '"Moretto, Massacre of the Inno¬
cents, a youthful work, conceived in the spirit of Raphael. High-Altar:
""Moretto, John the Baptist, Zacharias, St. Augustine, and St. Agnes; in
the centre the Madonna; above, God the Father and a prophet, unfor¬
tunately damaged by retouching. — At the next Altar: School of Bellini,
Pieta; the frescoes on the right are by Moretto (youthful works of 1521,
showing the influence of Romanino): Collecting the manna, Elijah, the Last
Supper, Two Evangelists, and prophets above; those on the left are by
Romanino: Raising of Lazarus, Mary Magdalene before Christ, the Sacra¬
ment, two Evangelists, and prophets above. At the next altar: Romanino,
Nuptials of Mary, freely treated. In the Battistero: "Francesco Francia,
The Trinity adored by saints.
A little farther to the N. lies the church of S. Maria del Car¬
mine (PI. 4; C, 2), with a Renaissance portal and tasteful brick
ornamentation on the facade. The lunette is filled with a fresco
by Ferramola, and the third chapel on the right contains a ceil¬
ing-painting by Foppa, representing the four Fathers of the Church.
The buildings to the left of the church enclose two fine courts.
Proceeding to the E. from the Piazza Vecchia, and straight
past the N. side of the Broletto, we come to a small piazza, to
the left in which is the entrance to the *Museo Patrio (PI. 17;
E, 3 ; shown daily, 10-3, in summer 10-4, on payment of a fee of
50 c.; open to the public free on the first Sunday in each month and
on each Sun. and Thurs. in August; visitors knock at the door),
established in a Corinthian temple of Hercules (?), which was ex¬
cavated in 1822. The temple, which, according to inscriptions, was
erected by Vespasian in A.D. 72 (Tempio di Vespasiano), stands on
a lofty substructure with a projecting colonnade of ten columns and
four pillars to which the steps ascend. The substructions, portions
of the steps, and the bases and parts of the shafts of the columns,
in white marble, are still well preserved. The Cella consists of
three sections, each of which was dedicated to a different god (per¬
haps Jupiter, Juno, and Minerva).
The pavement of the Principal Hall has been restored with the aid
of the original remains. An ancient mosaic has also been placed here.
By the walls are altars and Roman inscriptions from the province. The
Room on the right contains mediaeval and other curiosities, ornaments,
the monument of Count Pitigliano, weapons, medals (those of the Napo¬
leonic period very numerous). In the Central Room and the Room on
the left are ancient sculptures, including some interesting marble busts
and a relief of a naval battle; the most valuable of all, however, is a
fine statue of "Victory, excavated in 1826, a bronze figure about 6 ft. in
height, with a silver-plated wreath of laurel round her head, a (restored)
shield, on which she is about to write, in her left hand, and a (restored)
helmet under her left foot. This is one of the most admirable specimens
of the ancient plastic art now in existence. Also a number of coins and
medals, ornaments, busts in gilded bronze, fragments of a colossal figure
from a temple, portions of sarcophagi, decorated breastplate of a horse, etc.
The street opposite the museum descends to a small piazza,
from which a street to the left leads to S. Clemente. Remains of an