6. Quattro Fontane. ROME. J. N. and E. Hills. 157
the master is apparent. — "86. Raphael (Giulio Romano ?), Portrait of the
so-called Fornarina, so frequently copied, sadly injured. The Fornarina is
merely a round-faced Roman girl, such as may frequently be met in the
streets of Rome to-day — no radiant beauty but full of living charm. —
85. 5. Gaetano, Lucrezia Cenci, stepmother of Beatrice; 87. Spanish School,
Anna Colonna; 88. Guido Reni, Beatrice Cenci (so-called; p. 223); 90. N.
Poussin, Death of Germanicus; 92. Claude Lorrain, Sea-piece; 94. And. del
Sarto , Holy Family; 96. Sal. Koninck (not Rembrandt), Philosopher; 97.
School of Sandro Botticelli, Annunciation.
On the top-floor is the Biblioteca Barberiniana (adm., see p. 130), which
contains 7000 B1SS., a number of ancient bronze eistai from Palestrina,
miniatures by Giulio Clovio (a pupil of Raphael), a volume of architectonic
sketches by Giuliano da Sangallo, etc. Librarian, the Abbi Pieralisi.
The Via Quattro Fontane ascends the Quirinal, at the top of
which it intersects the Via Venti Settembre. At the point of inter¬
section are the Quattro Fontane (PI.I, 24), the four fountains after
which the street is named. To the right, in the Via del Quirinale
(p. 168), which leads to the Quirinal, is the small church of San
Carlo or San Carlino, built by Borromini in the most extravagant
Baroque style. Straight on, in the direction of Santa Maria Maggiore,
the street descends to the Via Nazionale (p. 165).
The Via Venti Settembre (PI. I, 24, 27, 26), leading to the
N.E. along the ridge of the Quirinal hill to the Porta Pia, derives
its name from the entry of the Italian troops on Sept. 20th, 1870,
which made Rome the capital of the united kingdom of Italy. It is
traversed by two electric lines (Nos. 1, 5 in the Appendix).
The corner-house in this street, to the right, at the Quattro Fon¬
tane, is the Palazzo Albani, originally built by Dom. Fontana, and
afterwards inhabited by Cardinal Al. Albani, the friend of Winckel¬
mann. Farther on, to the right, is the large new War Office. — The
Vieolo San Niccolo da Tolentino leads to the left to the Ludovisi
quarter (p. 154), passing the church of the same name, adorned with
17th cent, frescoes and sculptures.
In the Piazza San Bernardo, which opens on the right, is the
round church of San Bernardo (PI. I, 24), originally one of the
corner-halls of the Thermae of Diocletian (p. 160), consecrated in
1600. The vaulting is ancient, and, like the Pantheon, was orig¬
inally open in the centre.
Opposite, on the other side of the Via Venti Settembre, is the
ancient church of Santa Susanna (PI. I, 24), altered to its present
form in 1600 by C. Maderna. Paintings from the history of St. Su¬
sanna (martyred under Diocletian) and of Susanna of the Apocrypha,
by Baldassare Croce and Cesare Nebbia. Adjoining the church
is the United States Embassy and Consulate (p. 131). —• Farther on,
on the same side of the street, is the church of Santa Maria della
Vittoria (PI. I, 24), so called from an image of the Virgin which
is said to have been instrumental in gaining the victory for the im¬
perial troops at the battle of the 'White Hill' near Prague (1620),
afterwards deposited here, but burned in 1833. The church, with the
exception of the facade, wa3 designed by C. Maderna.