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on which she is about to write, in her left hand, and a (restored) helmet
under her left foot, one of the most precious existing specimens of ancient
plástic art. In the cabinet on the left are fragments of a bronze biga and of
the breastplates of the horses; the other cabinets contain mediseval coins.
A couple of min. to the S. may be seen some remains of the Román
Curia, built into the N. side of the small Piazza del Beveratore; and
a few traces of the Román Theatre may be noticed in the court of
the Casa Gambara, in the Vicolo Fontanone.
Farther along the Via Santa Giulia (p. 221), and in the upper
part of the Via Verónica Gambara, rises a large block of buildings,
including three churches. These are relies of the convent of San
Salvatore or Santa Giulia, founded by the Lombard King Desiderius.
The church of Santa Maria del Solario (Pl. D, 2, 3) is Romanesque
(ll-12th cent.). The other churches, San Salvatore (8th cent.) and
Santa Giulia (1466-1599), have been occupied since 1882 by the
Mediaeval J/LvLsexan.(Museo CivicoEta Cristiana, or Museo Medioevale;
Pl. D, 2; adm. same price and times as the Museum of Antiquities,
see p. 221).
In the Vestibule, a bust of Fra Paolo Sarpi (p. 323). In the New Part
of the church, on the wall to the left, fine weapons, architectural remains
with interesting ornamenta of the Lombard period, majolicas; in front,
the'Cross of Galla Placidia' (p. 410), of 8th cent, workmanship, decor.ited
with gems of various periods and portraits of the empress, her brother
Honorius, and her son Valentinian III.; in the centre, ivory reliefs, in¬
cluding consular diptycha of Boéthius and Lampadius (5th cent.) and the
Diptychon Querinianum, medallions, Renaissance bronzes; on the N. wall,
Venetian glass, marble door (16th cent.) from a church at Chiari, Limoges
and Venetian enainel, niello work, and the 'Lipsanoteca' or sides of a
reliquary of the 4th cent., carved in ivory and arranged in the form of a
cross. — In the Old Part of the church, the monument of the Venetian
general Orsini (1510), and the Mausoleum of Marcantonio Martinengo
ti6th cent.), with reliefs in bronze, from the church of San Cristo (see
below). The lectern opposite is adorned with intarsia by Raffaello da
Brescia (1518). — On the back-wall, a fresco of the 16th century. —
Finally we descend into the lower-lying church of San Salvatore, which
contains a collection of frescoes (15-16th cent.).
The church of San Cristo (Pl. D, 2), above the Museum, has a
facade with interesting brick - ornamentation. — San Pietro in
Oliveto (Pl. D, E, 2) is a Renaissance church by Sansovino (?).
The Via San Clemente leads to the right from the Via Verónica
Gambara to San Clemente (Pl. 9; D, 3), a small church containing
a modern monument to Moretto (y. 219 ; to the left) and Uve of his
works, much injured by retouching. The church is badly lighted
and is closed 8-5 ; sacristán, in the lañe to the W.
On the right, 2nd altar, 'SS. Cecilia, Barbara, Agnes, Agatha, and
Lucia: a charming composition, in which the repellant attributes of
inartyrdom are handled with such niarvellous naiveté as almost to assume
an attractive air (C. ¿c C). On the left, lst altar, St. Úrsula and the
Eleven Thousand Virgins; 2nd altar, Madonna with SS. Catharine of
Alejandría, Catharine of Siena, Paul, and Jerome; 3rd altar, Abraham and
Melchisedech. "High-altar-piece, Madonna with SS. Clement, Dominio,
Florian, Catharine, and Mary Magdalen.
A little to the S.E. is Santa Maria Cálchera(Pl. 12; D, 3). First
altar to the left: Simón the Pharisee and Christ by Moretto. Second