- Fascist Militia
- 45 mm light mortar
- 65-17 Infantry gun
- 8-mm medium machine gun
- Service Revolver and Pistols
- Cross section of the M13-40 four-man tank
- Mc-205, Fighter
- S. P. A. Sahariano truck
- Searchlight unit
- 20-65 Anti Aircraft gun, model 35
- 81 mm medium mortar, model 35
- Flying uniform, captain
- Parachutist, Second lieutenant
- Service Dress , major
- 20-65 Anti Aircraft gun, ready for transport
- 47-32 antitank gun, model 37
- M13 (formerly M11) tank
- Service rifles and carbines
- Cross section of antipersonnel mine B4
- Girder bridge No. 1
- Hand grenades
- Antipersonnel mine B4
- Brigadier General
- Type O.G.M. rotary telephone switchboard
- Lietenant Colonel, Cavalry
- Marshall, old-style coat
- Second Lietenant Infantry
- Sergeant-major, new-style coat
- Protective Suit
- Summer Uniform, Private, infantry
- Uniform of tank crews
- Giovanni Boccaccio
Boccaccio was intent simply on the art of telling tales. He knew enough of classical literature to feel the possible dignity and permanence of prose, and he told his stories as they were told to him in a supple, pleasant vernacular that obeyed him absolutely and never led him off by its own strangeness into byways foreign to the tales and to himself. whose plot may be elaborate. - Amphoræ, Rhytons, etc.
(British Museum) The modern jars in any of the wine districts of Italy, such as Asti Montepulciano or Montefiascone, thin earthen two-handled vessels holding some twenty quarts, are almost identical with the ancient amphoræ. Suetonius speaks of a candidate for the quæstorship who drank the contents of a whole amphora at a dinner given by Tiberius. This amphora was probably of a smaller size. - Etruscan mode of drinking
The mode of drinking from the ἀμφορεύς, bottle or amphora, and from a wine skin, is taken from a painting on an Etruscan vase. - A store of crossbow bolts, shafts and heads
The crossbowman is aiming at a target to the left of the picture. From a catalogue of the Arsenal of the Emperor Maximilian I. (6. 1459, d. 1519). - Raffaelle
- Venice in the Sixteenth Century
- Toga
From Hope's "Costume of the Ancients." The material of the toga was wool, in the earlier time and for the common people; afterwards silk and other materials were used, coloured or bordered according to the `rank` or station of the wearer. - Miracle
- St Marks Place
View of St. Mark's Place, Venice, Sixteenth Century, after Cesare Vecellio. - Chief of Sbirri
Chief of Sbirri - Chief of Sbirri
Chief of Sbirri - Gardener and Woodman
Costumes of the Common People in the Fourteenth Century: Italian Gardener and Woodman.--From two Engravings in the Bonnart Collection. - Grand Procession
Grand Procession of the Doge, Venice (Sixteenth Century). - Doge of Venice
Doge of Venice Costume before the Sixteenth Century. - Doge of Venice
Doge of Venice in Ceremonial Costume of the Sixteenth Century. - Italian Kitchen
Interior of Italian Kitchen. From the Book on Cookery of Christoforo di Messisburgo, "Banchetti compositioni di Vivende," 4to., Ferrara, 1549. It was only in the course of the sixteenth century that the name of potage ceased to be applied to stews, whose number equalled their variety, for on a bill of fare of a banquet of that period we find more than fifty different sorts of potages mentioned. - Imperial Procession
Imperial Procession. From an Engraving of the "Solemn Entry of Charles V. and Clement VII. into Bologna," by L. de Cranach, from a Fresco by Brusasorci, of Verona. - Italian Beggar
Italian Beggar. From an Engraving by Callot. We must not forget the protobianti (master rogues), who made no scruple of exciting compassion from their own comrades - Italian Jew
Costume of an Italian Jew of the Fourteenth Century.--From a Painting by Sano di Pietro, preserved in the Academy of the Fine Arts, at Sienna. - Italians of the 15th Century
Notary and Sbirro (policeman)--From two Engravings in the Bonnart Collection. - Christopher Columbus
Columbus was a man of commanding presence. He was large, tall, and dignified in bearing, with a ruddy complexion and piercing blue-gray eyes. By the time he was thirty his hair had become white, and fell in[Pg 4] wavy locks about his shoulders. Although his life of hardship and poverty compelled him to be plain and simple in food and dress, he always had the air of a gentleman, and his manners were pleasing and courteous. But he had a strong will, which overcame difficulties that would have overwhelmed most men. - Burning the Dead - Etruscan Ceremony
Etruscan painting of a Ceremonial Burning of the Dead - Amerigo Vespucci
Amerigo Vespucci was born in Florence, March 9, 1451, just one hundred and fifty years after Dante was banished from the city in which both first saw the light. The Vespucci family had then resided in that city more than two hundred years, having come from Peretola, a little town adjacent, where the name was highly regarded, as attached to the most respected of the Italian nobility. Following the custom of that nobility, during the period of unrest in Italy, the Vespuccis established themselves in a stately mansion near one of the city gates, which is known as the Porta del Prato. Thus they were within touch of the gay society of Florence, and could enjoy its advantages, while at the same time in a position, in the event of an uprising, to flee to their estates and stronghold in the country. - Marco Polo
Marco Polo, Vespucci's Countryman Marco Polo, the Venetian, exercised a strong and lasting influence upon the minds of Toscanelli, Columbus, Vespucci, and, through them, upon others, although he died in the first quarter of the century in which the first-named of this distinguished triad was born. All these had this birthright in common: they were Italians; and, moreover, it was in Genoa, the reputed birthplace of Columbus, that Marco Polo's adventures were first shaped into coherent narrative and given to the world. - Trajans Basilica
Interior view of Trajan's Basilica (Basilica Ulpia), as restored by Canina. Basilica , a word of Greek origin, frequently used in Latin literature and inscriptions to denote a large covered building that could accommodate a considerable number of people. Strictly speaking, a basilica was a building of this kind situated near the business centre of a city and arranged for the convenience of merchants, litigants and persons engaged on the public service; but in a derived sense the word might be used for any large structure wherever situated, such as a hall of audience (Vitruv. vi. 5. 2) or a covered promenade (St Jerome, Ep. 46) in a private palace - Corelli
Arcangelo Corelli (1653-1713) left his home in Fusignano, near Bologna, a young violinist, for an extended concert tour. His gentle, sensitive disposition proving unfitted to cope with the jealousy of Lully, chief violinist in France, and with sundry annoyances in other lands, he returned to Italy and entered the service of Cardinal Ottoboni in Rome. In the private apartments of the prelate there gathered a choice company of music lovers every Monday afternoon to hear his latest compositions. Besides his solos these comprised groups of idealized dance tunes with harmony of mood for their bond of union, and played by two violins, a viola, violoncello and harpsichord. They were the parents of modern Chamber Music, the place of assemblage furnishing the name. - Outline plan of Pompeii
The Regions are given as they were laid out by Fiorelli, the boundaries being marked by broken lines. The Insulae are designated by Arabic numerals. Stabian Street, between Stabian and Vesuvius gates, separating Regions VIII, VII, and VI, from I, IX, and V, is often called Cardo, from analogy with the cardo maximus (the north and south line) of a Roman camp. Nola Street, leading from the Nola Gate, with its continuations (Strada della Fortuna, south of Insulae 10, 12, 13, and 14 of Region VI, and Strada della Terme, south of VI, 4, 6, 8), was for similar reasons designated as the Greater Decuman, Decumanus Maior; while the street running from the Water Gate to the Sarno Gate (Via Marina, Abbondanza Street, Strada dei Diadumeni) is called the Lesser Decuman, Decumanus Minor. The only Regions wholly excavated are VII and VIII; but only a small portion of Region VI remains covered. The towers of the city wall are designated by numbers, as they are supposed to have been at the time of the siege of Sulla, in 89 B.C. - The Street of Tombs
The Street of Tombs 24. Villa of Diomedes. 16-23. Tombs—Group III. 16. Unfinished tomb. 17. Tomb of Umbricius Scaurus. 18. Round tomb. 19. Sepulchral enclosure. 20. Tomb of Calventius Quietus. 21. Sepulchral enclosure of Istacidius Helenus. 22. Tomb of Naevoleia Tyche. 23. Triclinium Funebre. 5-15. So-called Villa of Cicero. 1-4 a. Tombs—Group I. 1. Sepulchral niche of Cerrinius Restitutus. 2. Sepulchral bench of A. Veius. 3. Tomb of M. Porcius. 4. Sepulchral bench of Mamia. 4 a. Tomb of the Istacidii. A. Herculaneum Gate. C. Bay Road. KEY TO THE RIGHT SIDE 33-43. Tombs—Group IV. 33. Unfinished tomb. 34. Tomb with the marble door. 35. Unfinished tomb. 36. Sepulchral enclosure with small pyramids. 37. Tomb of Luccius Libella. 38. Tomb of Ceius Labeo. 39. Tomb without a name. 40. Sepulchral niche of Salvius. 41. Sepulchral niche of Velasius Gratus. 42. Tomb of M. Arrius Diomedes. 43. Tomb of Arria. 31-32. Samnite Graves. 10-30. Villa. 10, 11, 13, 14. Shops. 12. Garden belonging to Tombs 8 and 9. 15. Street entrance of Inn. 16-28. Rooms belonging to the Inn. 29-30. Potter's establishment. 1-9. Tombs—Group II. 1. Tomb without a name. 2. Sepulchral enclosure of Terentius Felix. 3, 4. Tombs without names. 5. Sepulchral enclosure. 6. Garland tomb. 7. Sepulchral enclosure. 8. Tomb of the Blue Glass Vase. 9. Sepulchral niche. A. Herculaneum Gate. B. City Wall. D. Road along City Wall. E-E. Vesuvius Road. - The Forum with the Adjoining Buildings
A. The Forum. 1. Pedestal of the statue of Augustus. 2. Pedestal of the statue of Claudius. 3. Pedestal of the statue of Agrippina. 4. Pedestal of the statue of Nero. 5. Pedestal of the statue of Caligula. 6. Pedestals of equestrian statues. 7. Pedestals of standing figures. 8. Pedestal for three equestrian statues. 9. Speaker's platform 10. Table of standard measures 11. Room of the supervisor of measures. B. The Basilica. a. Entrance court. 1. Corridor. 2. Main room. 3. Tribunal. 4-4. Rooms at the ends of the tribunal. C. The Temple of Apollo. 1. Colonnade. 2. Podium. 3. Cella. 4. Altar. 5. Sundial. 6. Sacristan's room. 7-7. Rooms made from earlier colonnade. D. D'. Market Buildings. E. Latrina. F. F. City Treasury. G. Commemorative Arch. H. Temple of Jupiter. I. Arch of Tiberius. K. The Provision Market—Macellum. 1. Portico. 2. Colonnade. 3-3. Market stalls. 4. Market for meat and fish. 5. Chapel of the imperial family. 6. Banquet room. 7. Round structure with water basin—Tholus. 8. Pen. L. Sanctuary of the City Lares. 1. Main room, unroofed, with an altar in the centre. 2. Apse, with shrine. 3. Recesses with pedestals. 4. Niche opening on the Forum. M. Temple of Vespasian. 1. Colonnade. 2. Altar. 3. Cella. 4. Portico. N. The Building of Eumachia. O. The Voting Place—Comitium. 1. Recess opening on the main room. 2. Recess opening on the Forum. P-R. Municipal Buildings. P. Office of the duumvirs. Q. Hall of the city council. R. Office of the aediles. S. Fountain.