acute medical cases.-Ospedale di S. Eligio, near the Largo del Mercato, for females, with a Conservatorio for the nuns who attend on the sick. -Ospedale della Pazienza Cesarea, in the Strada dell' Infrascata, for infirm women, founded by Annibale Cesareo in 1600. Ospedale di Santa Maria della Fede, in the Largo of the same name, the Lock Hospital.-Ospedale del Borgo di Loreto, in the street of that name, erected under Ferdinand II.Ospedale di S. Francesco, in the Largo di S. Anna, the hospital for the prisons, formerly a convent.-Ospedale della Trinità, in the Strada de' Sette Dolori, the Military Hospital, formerly the splendid monastery of the Trinità. The ch. was built by Grimaldi, and the vestibule by Fansaga.-Ospedale del Sagramento, in the Strada dell' Infrascata, another Military Hospital, formerly a Carmelite Monastery.-Ospedale de' Ciechi, in the Chiaia, for the blind, founded by Ferdinand I. in 1818. 200 blind are here instructed in useful works and in music. The situation of the older hospitals at Naples is objectionable in the centre of a dense population, and in dirty quarters of the town. An International Hospital has been opened (1877) in the Vico Stretto ai Miracoli, particularly intended for foreigners, where a separate room of the first class may be had for 10 fr. a day, everything included. The committee includes our own as well as the Consuls of several other states. Albergo de' Poveri, or Reclusorio, a vast building in the Strada Foria, not far from the Museum and Botanic Garden. It was begun in 1751 from the designs of Fuga, and was intended by its founder, Charles III., as an asylum where all the poor of the kingdom might be received and taught some useful occupation. On the outside is the inscription, Regium totius regni pauperum hospitium." The building would have been m. in length, and have contained a ch., and four large courts with fountains. Of this design not more than three-fifths have been completed. One side is occupied by the males, the other by the females. Some of the inmates are instructed in the 66 elementary branches of education, including music and drawing; while others are brought up to trades. There are also schools for the deaf and dumb, and for mutual instruction. The boys brought up in it are generally sent into the army. Several smaller institutions are dependent on the Albergo de' Poveri, which, with its dependencies, contains about 5000 persons. § 19. PRISONS. The prisons of Naples acquired an unenviable celebrity during the three last they became the receptacles for so many reigns of the Bourbon dynasty, when eminent persons, accused of political offences. Some idea of the horrible system on which they were managed, and the cruelties practised in them, may be formed from the graphic descriptions given in Mr. Gladstone's eloquent appeal on behalf of the unfortunate men so long immured in them, in nine cases out of ten upon the merest suspicion, and which at the time produced such a feeling of indignation in Europe. Considerable change for the better has been already effected, under the new order of things, but much remains to be done. Unfortunately, most of the buildings which had been converted into prisons were little suited for the purpose, being either suppressed convents, or mediæval receptacles of crime and vice, during the Aragonese and Spanish rulers. is La Vicaria, forming the lower porOne of the principal prisons in Naples tion of the Castel Capuano. In it are confined chiefly prisoners awaiting their trials, being in the vicinity of the Law Courts. Several of the most cele late govern brated of those accused of political ment were immured here under ciroffences during the cumstances of most wanton cruelty. § 20. THE MUSEUM. Open every day, Sundays included, from 9 to 3, except on certain great festivals. Admission: free on Sunday, 1 fr. on other days. General Catalogue (in English) not very good, 5 fr. The large vestibule divides the building in half, and the 16 cipollino columns which support it are ancient on modern pedestals. The statue of Alexander Severus rt., and the Genius of the City of Rome 1., were part of the Farnese collection. There are smaller statues of Roman consuls, river-gods, &c. The contents of the Museum may be thus classed: Ground-floor: Pompeian Frescos and Mosaics. Fragments of Architecture. Marble Sculptures and Bas-reliefs. Basement: Egyptian Antiquities. Entresol: Cinquecento Objects. Ancient Glass. The building is situated on the high | culaneum; (L), Lucera; (M), Minground of the Piazza Cavour, at the turnæ; (P), Pompeii; (S), Stabiæ. corner of the Str. Nuova di Capodimonte (omnibus, in hr. from the Piazza del Plebiscito, 20 c.). It was originally commenced in 1586, by Fontana, under the viceroy Duke d'Ossuna, as a cavalry barrack, but left unfinished until 1610, when the viceroy Count de Lemos assigned it to the University, and after the inauguration in 1616 the building was known as the Regi Studi. After the earthquake of 1688 it was used by the courts, and during the Revolution of 1701 it became a barrack. In 1767 it was enlarged and assigned to the department of Public Instruction, and having been arranged for a public Museum, King Ferdinand IV. in 1790 removed here the royal collection of antiquities from Capodimonte and Portici. After the restoration of the Bourbons, they enriched it by additions from time to time, and declared it to be their private property, independent of the crown, under the name of the Museo Reale Borbonico ; but Garibaldi, when dictator in 1860, proclaimed the Museum and the territory devoted to the excavations to be the property of the nation, and increased the endowments and works connected with it. On the consolidation of the kingdom of Italy, Victor Emanuel re-organised the Museum and included in it the Cumaan and Santangelo collections. The building now bears the title of Museo Nazionale, and owes its present arrangement to the able direction of Signor Fiorelli, who has gained so high a reputation in the Pompeian Frescos and Mosaics.-The learned world for his numerous writings different pictures are not yet numon antiquarian literature, and as super-bered, but are classified in compartintendent of the excavations at Hercu- ments with Roman numerals. The laneum, Pompeii, &c. The Museum first corridor (see plan, A 1), contains is especially rich in bronzes and statues, but its most characteristic feature is the priceless collection of frescos and paintings, and other objects dug up from the ruins of Pompeii and Herculaneum. A capital letter shows the place whence the object described came: thus (B), Borgia collection; (C), Capua; (F), the Farnese collection; (H), Her[S. Italy.] Terracottas. Cumæan Collection. First floor: Objects of Value in Gold, Silver, &c. Reserved Cabinet. Santangelo Collection. Picture Gallery. Ground floor-rt. of vestibule chiefly mural decorated paintings and arabesques, mostly from the Temple of Isis at Pompeii. In (A2) are paintings of animals, birds, fishes, &c. Obs. a large picture from the dining hall of the Villa of Diomed. Out of corridor (A 1) a door leads into the most interesting portion of the ancient paintings, contained in 4 halls. They consist chiefly of paintings from Pompeii and Herculaneum relative to L The Collection of Terre-Cotte, Ancient Glass, the Cinquecento Collection, are in a Series of Rooms forming an Entresol beneath the Papyri. The last of this range of halls (A 7) contains Greek and Roman Mosaics, chiefly from Pompeii a most interesting series. Obs. the well-known Mosaic of the Cave Canem, found at the entrance of the House of the Tragic Poet at Pompeii.-Phrixos and Helle (H).-A fine group of masks and flower-wreaths.-A Cat devouring a Bird (P).—A thievish Magpie stealing a mirror out of a basket (P).-Acrates riding on a Tiger, holding a vase in his hand (House of the Faun, P).-Two *Comic Scenes (House of Diomed, P), with the name of the artist, Dioscorides of Samos; in one 3 actors, masked, are sitting at a table; in the other, a man, two women, and a boy, masked, are the different pagan divinities, in the order of their several myths. "The best are everywhere formed upon Greek originals, which the artist learnt by heart and reproduced more or less literally.... We do not find special details anywhere completely carried out, but the essential is indicated in a few lines with great force.... but it is not the complete pictures which give the strongest and most harmonious impression of Greek genius, but the numerous single figures and groups, employed in decoration, which stand partly on a ground of one colour, and partly serve to enliven the pointed architecture of little temples, pavilions, balustrades, and so forth. The best of these can only belong to the highest period of Greek art, and were handed playing upon various instruments. down for centuries from one to another-Choragium, or theatrical rehearsal until they found their place in the little town under Vesuvius," Cic. In the farthest hall on 1. (A 3) are some very ancient ones found on the walls of tombs at Pæstum, Capua, &c. Obs. Samnite processions, and Mercury taking the money for conducting souls to Hades (P).-Warriors, horses, and armour (Pæstum). - Hephaestus and Thetis with the shield of Achilles (P). -Five monochromatic (a kind of bistre) paintings on white marble (H), the only known examples of this mode of painting. The first represents Theseus combating the Centaur Eurythion; the 2nd, (?) Latona meditating the destruction of the Niobids, five young females, two of whom are playing at Astragali, with their names in Greek, together with that of the artist, Alexander of Athens. In the next hall on rt. (A 4) obs. dancing Satyrs, Centaurs, &c. (P). —Mars and Venus (P).—Bacchus and Ariadne (P). The renowned *13 dancing girls and other floating figures (P). In the following hall (A 5) arePhrixos and the ram. A daughter giving milk to her aged father in prison (P). The Myth of Medea (P). And in the next (A6)-Perseus and Andromeda, and Cassandra (P).-Hercules and Telephus (H).-The youthful Hercules and the Snake (H).-Theseus and the Minotaur (H).-Achilles and Briseis (P). The Sacrifice of Iphigenia (P). (P), represents a Choragus instructing the performers; two have their masks raised, and are taking their final instructions; another is putting on the tunic, and a female musician is tuning the pipes.-Lycurgus attacked by a panther and Bacchantes, for ordering the vines to be destroyed.Theseus in the Labyrinth conquering the Minotaur (P).-A Cockfight (P). -A Skeleton grasping a vase in each hand, supposed to be one of the emblems which the ancients had before them at their feasts (H).-A Pavement, representing in black mosaic on a white ground the signs of the Zodiac, with the Rape of Europa in the centre (L).— The three Graces (Baia).-A good mosaic, forming a portion of a floor, representing several species of sea fishes.-A large circular fragment of a mosaic floor, representing a lion in repose in the centre, surrounded by Cupids.-Egyptian landscape with ani mals. Returning to the Hall of the Paintings of Animals (A 2) we turn to the Gallery of Inscriptions (Galleria Lapidaria) (B 1), consisting of a collection of graffiti and dipinti, scratched and painted drawings and inscriptions, mostly taken from the walls of houses overlooking the streets at Pompeii. They relate to religious, political, and funereal subjects. In this hall are the |