e. The Gesii. ROME. II. R. on the Tiber (L. B.). 215
The Via de' Coronari (p. 206j, which passes a little to the N. of
these two churches, is the shoitest route (6-8 min.) from the Piazza
Navona to the Ponte Sant' Angelo (p. 301).
From the portal of Santa Maria della Pace the Via della Pace and the
Via in Parione lead straight to the Via del Governo Vecchio (p. 218).
e. From the Piazza Venezia to the Ponte Sant' Angelo.
Corso Vittorio Emanuele.
The wide Corso Vittorio Emanuele (PI. II, 17, 14, 12), con¬
structed since 1876 through the most closely built quarters of med¬
iaeval Rome, is a continuation of the Via Nazionale, described at pp.
165-167, and facilitates communication between the centre of the
city and the Vatican quarter. The street is always crowded and
busy, but, especially towards the end, still presents an unfinished
appearance. — Tramway, see Appx. No. 8.
The first, or E., uortion of the street is named Via del Plebis¬
cito (PI. II, 17). Beginning at the Piazza Venezia (p. 193), we
see first on the left the main facade of the Pal. di Venezia (p. 193),
and on the right the S. facade (built by P. Amati) of the Palazzo
Doria (p. 198), the Palazzo Grazioli, and the extensive Pal. Al¬
lien, erected in 1670. The court of this last-named palace, and the
staircase adorned with antiques, deserve note. — Immediately beyond
it the Via del Gesii diverges on the right to the church of Santa
Maria sopra Minerva (p. 210).
On the left is the N. side of the *Gesu (PI.II, 17), the principal
church of the Jesuits, one of the richest and most gorgeous in Rome.
It was built by Vignola and Giac. della Porta by order of Card. Ales-
sandro Farnese, in 1568-75. Comp. p. Ixxiv. The main front is in
the Piazza del Gesii.
In the Nave is a ceiling-painting (Triumph of the Name of Jesus) by
Baciccio, by whom the dome and tribune were also painted, one of the best
and most lifelike of the baroque works of the kind. The walls were covered
with valuable marble at the cost of the Principe Aless. Torlonia in 1860.
The high-altar has four columns of giallo antico; on the left the monument of
Card. Bellarmino (p. 39) with figures of Religion and Faith, in relief; on the
right the monument of Padre Pignatelli, with Love and Hope. — In the Left
Teansept : Altar of St. Ignatius with a picture by Padre Pozzi, below which
is a silver-gilt group in high relief, representing St. Ignatius surrounded by
angels. The original silver statue of the saint, by Legros, is said to have
been removed on the suppression of the order in the eighteenth century. The
columns are of lapis lazuli and gilded bronze; on the architrave above are two
statues: God the Father, by B. Ludovisi, and Christ, by L. Olloni, behind
which, encircled by a halo of rays, is the emblematic Dove. Between these
the globe of the earth, consisting of a single block of lapis lazuli (said to be
the largest in existence). Beneath the altar, in a sarcophagus of gilded
bronze, repose the remains of the saint. On the right and left are groups
in marble; on the right Religion, at the sight of which heretics shrink,
by Legros; on the left Faith with the Cup and Host, which a heathen king
is in the act of adoring, by Teudon. Opposite, in the right transept, the
altar of St. Francis Xavier.
The church presents a most imposing sight on 31st Dec., on the
festival of St. Ignatius (31 st July), and during the Quarant'ore (two last
days of the Carnival), on which occasions it is brilliantly illuminated in