of Xaples. AMALFI. 10. Route. 153
5—61. — Guides unnecessary except where time is very limited; the best
are the two Melloni, father and son; for a visit to the cathedral, mill-valley
and Capuchin monastery l'|2—2, whole day 5 1.
Amalfi, a small town situated at the entrance of a deep ravine
and surrounded by imposing mountains and rocks of the most
picturesque forms, was as a sea-port in the early part of the
middle ages a rival of Pisa and Genoa.
It is mentioned for the first time in the 6th cent., when it enjoyed the
protection of the Eastern emperors; it subsequently became an independent
state, under the presidency of a "doge". The town was continually at
variance with the neighbouring princes of Salerno and even defied the Nor¬
man sovereigns of Naples, till king Roger reduced the place in 1131. United
with the royal forces, Amalfi carried on a war with the Pisans; in the
course of the struggle the celebrated MS. of the Pandects of Justinian, now
one of the principal treasures of the Laurentian library at Florence, fell
into the hands of the Pisans. Since that period Amalfi was subject to the
Neapolitan kings of the houses of Normandy, Anjou and Arragon. During
the 13th cent, the sea gradually undermined the lower part of the town,
and still more disastrous consequences w-ere occasioned by an inundation
in 1343. Amalfi, which had once contained 50,000 inhab., now steadily
declined, and at the present day has a population of 7000 only, who are-
principally engaged in the manufacture of paper, soap and maccaroni. The
town claims to be the birthplace of a certain Flavio Gioja, who is alleged
to have invented the compass here in 1302, but the story is very
doubtful.
From the Marina a short street leads past the Albergo dei
Cappuccini to the small Piazza , on the r. side of which the cathe¬
dral stands. It may also be reached by the steps to the r. of the
fountain on the Marina, which lead to the entrance adjoining the
crypt (see below).
The * Cattedrale S. Andrea, approached from the Piazza by a
broad flight of stone steps (to the 1. the police-office), is still,
notwithstanding modern alterations, a remarkably interesting struc¬
ture of the 11th cent, in the Norman style. A spacious vestibule
in front, resting on 7 antique columns from Paestum, having be¬
come insecure, was removed in 1865.
The bronze doors, said to have been executed by Byzantine masters,
bear two inscriptions in silver letters. One of these is to this effect: "Hoc
opus fieri jussit pro redemptione animee suee Pantaleo Alius Mauri de Pan-
taleone de'Mauro de Maurone Comite". The interior, which consists of
nave and three aisles, is adorned with marble columns and mosaics. By
the entrance, to the 1., an ancient vase of porphyry, formerly employed as
a font. Near this (].), in the front passage from the 2nd to the 3rd aisle,.
two ancient sarcophagi with unfortunately damaged sculpture, representing,
it is said, the Rape of Proserpine and Nuptials of Peleus and Thetis. A
third bears the inscription : "Hie intus homo verus certus optumus recumbo
Quintus Fabritius Rufus nobilis decurio". The choir contains ancient
columns decorated with mosaic from Peestum. From the r. aisle a stair
descends to the Crypt (verger 20 c), where, it is said, the body of the
apostle St. Andrew has reposed since the 13th cent, when it was brought.
hither from Constantinople. The relics, from which an oily matter (manna
di S. Andrea) of miraculous power is said to exude, attract numerous pious
visits. The colossal statue of the saint by Michael Angelo Maccarino was
presented by Philip III. of Spain. The altar was executed from a design
by Domenico Fontana. The cloisters contain an ancient Christian relief of
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