mention in history. Unlike most of the works of art in Rome, they have never been buried. They were erroneously inscribed as being the works of Phidias and Praxiteles, and when placed in their present position, 1786, the riders were exchanged. Copies of these groups are in Berlin and St. Petersburg.-*II. Capitoline Hill, at the head of the staircase from Pi. Ara Coeli, standing on either hand. These

statues were found in the 16th cent. in the Ghetto, and were supposed to belong to the Theatre of Balbus.

"They seem to be sons of the morning, and full of life and strength."--Hawthorne. Castor and Pollux, Temple of. See Roman Forum. Catacombs, Rome. These subterranean cemeteries, originally quarries, numbering nearly 60, lie scattered outside the walls of the city on all sides. The passages are usually 7 or 8 ft. high and 4 or 5 ft. wide, with innumerable side passages or chambers, in which the dead were placed in tiers. Inscriptions, cinerary

urns, and paintings abound.

St. Cecilia-Raphael,

Among those most desirable to

visit are the Catacombs of St. Agnes, ml. beyond the Ch. of St. Agnes, and those of St. Calixtus, near the 2d milestone on the Appian Way, 14 ml. from the Porta St. Sebastiano, of especial interest as containing tombs of several early popes. On the walls, many paintings of the 7th and 8th cents., of the Byzantine style. The catacombs appear to have been first used as burial places by the Jews.

"The whole structure of martyrology based on the catacombs is utterly with out foundation."

"Everything in the catacombs speaks, not of struggle and suffering, but of peace."-James Freeman Clarke.

Cecilia, St., is supposed to have lived in the 3d cent., to have suffered martyrdom.

and

**I. Cecilia, St., painting, in the Acad. Bologna, by Raphael, one of his masterpieces. It was painted about 1515, for the ch. of S. Giovanni in Monte, Bologna; was carried to Paris, 1776, and returned, 1815.

St. Cecilia is represented in an ecstasy, listening to the heavenly music of an angel choir. On her r. are SS. John and Paul; on her left St. Augustine and Mary Magdalen.

"The saint is neither angelic nor ecstatic; she is a vigorous, healthy, welldeveloped girl, of rich, warm blood, and gilded by the Italian sunshine with glowing and beautiful color. On her left another young girl, less robust and more youthful, has more innocence, but her purity is yet only passivity.

Their placid minds are not disturbed; their tranquillity is that of ignorance."Taine.

"One of the grandest and most beautiful figures of Raphael."-Burckhardt.

II. Cecilia, St., painting by Carlo Dolci, in the Dresden Gallery. Copies in several collections.

Cecilia, S., in Trastevere, ch., Rome, founded 230, rebuilt 821, present building erected 1725. The body of St. Cecilia,

which was originally deposited in the Catacombs of St. Calisto, reposes beneath the high altar. The gallery is arranged with a screen, allowing the nuns of the adjoining convent to participate in the church ceremonies without being observed.

*Cecilia, St., stat. by Maderno, 1599.

Cecilia, in Trastevere, is one of the most beautiful and
Rome, that of the saint to whom the church is dedicated.

"In the church of Sta. interesting statues in The whole

air of the figure represents death, and not sleep. The feminine delicacy and purity, the tenderness of feeling and depth of sentiment which breathes through it, are in the highest degree admirable, and make it one of the most touching and beautiful works of modern sculpture."-Hillard.

"Ninety-six silver lamps burn continually before her shrine. In regarding this statue, it will be remembered that Cecilia was not beheaded, but wounded in the throat; a gold circlet conceals the wound."-Hure.

Cemetery, Protestant, Rome, near the Porta S. Paolo, and the Pyramid of Cestius. The Old Cemetery is upon the left

on entering, the New along the Aurelian Wall. Here are buried

Keats, Shelley, Gibson, the sculp

tor, John Bell, the eminent English surgeon, and others, English and American.

Cenci, Beatrice (bay'-ahtree'-chay chain'-chee), Guido's Picture of, in the Barberini Palace, Rome. Later research leads to the conclusion that the story of Guido's sketching the portrait of Beatrice in the prison is altogether fanciful.

Beatrice Cenci-Guido.

"The portrait of Beatrice Cenci is a picture almost impossible to be forgotten. Through the transcendent sweetness and beauty of the face there is a something shining ont that haunts me."-Dickens. "It is the very saddest picture ever painted or conceived; it involves an unfathomable depth of sorrow. It is a sorrow that removes this beautiful girl out of the sphere of humanity. You feel, all the time you look at Beatrice, as if she were trying to escape from your gaze. It is infinitely heart-breaking to meet her glance, and to know that nothing can be done to help or comfort her. Its spell is undefinable, and the painter has wrought it in a way more like magic than anything else.

"It is the most profoundly painted picture in the world; no artist did it, nor could do it again. Guido may have held the brush, but he painted better than he knew."-Hawthorne.

"In the whole mien there is a simplicity and dignity, which, assisted with her exquisite loveliness and deep sorrow, is inexpressibly pathetic."-Shelley.

Cenci, Palazzo (chain'-chee), Rome, on or near the site of the Theatre of Balbus, ancient residence of the Cenci family, but after the Cenci tragedy was deserted for many years.

Centaurs (sen'-taurs-bull-killers), myth. Represented as half man and half horse, probably from the Thessalian custom of

hunting the bull on horseback. Celebrated in story for their con test with Hercules and the Lapithæ at the marriage of Pirithous. Ceres (see'-reez), DEMETER of the Greeks, myth, the goddess of the earth, the protectress of agriculture and all fruits of the earth. Represented as wearing a garland of ears of corn, and bearing a sceptre.

STATUES Berlin, 5,139; Br. Mus., 133; Cap., III. 30; Borg. Villa, III. 4; Glyp., 79; Nap., 86; Vat. (Br.), 83; (P. C.), 542.

Ceres and Proserpine, Temple of, Rome, near the Temple of Vesta. Some portions of an ancient structure, incorporated into the church of S. M. in Cosmedin, are believed to be the remains of the Temple of Ceres and Proserpine.

Chambre des Députés. See Corps Législatif. *Chamonix (sham'-o-ny), Fr., Haute Savoie. See Route 36. Railway nearly completed from Geneva to Bonneville. The nar

row Valley of Chamonix extends about fifteen miles s. w. to n.e., having on the south the chain of Mt. Blanc, and on the north the Aiguilles Rouges and the Brévent. Amid the summit valleys of Mt. Blanc are the ice-fields, branches of which, extending down the valleys, are known as the Glacier des Bossons, des Bois, Mer de Glace, and d'Argentière.

Principal Places of Interest: Mer de Glace, Montauvert, the Chapeau, the Flégère, the Arveyron, and Mont Blanc.

Ample time should be allowed for these excursions, which the guides are inclined to understate. Tariffs for horses, mules, guides, and boys, established by governmental authority, will be found in the hotels. Bargain in advance.

*MONTANVERT (mon-taî-vair-green mountain), 6,302 ft. alt., a point commanding a **view of the Mer de Glace for a distance of six miles, which, as de Saussure observes, resembles " a sea suddenly frozen, not during a tempest, but when the wind has subsided, and the waves, though still high, have become blunted and rounded." From Montanvert the glacier may be crossed to the Chapeau on the opposite side. In this case the mules must be sent down around the foot of the glacier up to the Chapeau. Excursion from Chamonix to Montanvert and return, 8 hrs. MER DE GLACE (mer-deh-glahs; sea of ice). An icestream from the great ice-fields of Mont Blanc to the Valley of Chamonix; 12 miles in length, 1 in width, the lower portion of which is called the Glacier des Bois. The best view of the Mer de Glace is obtained from the Montanvert.