Lazio

LAZIO. - I. GEOGRAPHY. - With this name, which originally applied to a small territory south of Rome, is today designated the southernmost region of central Italy, made up, besides Latium as it was until a little more than twenty years ago, of 1) Sabina, a hilly-mountainous region centered on Rieti, formerly attached to Umbria, separated in 1923 and constituted as a province, 2) a strip of the Abruzzo of L'Aquila (the former district of Cittaducale), transferred to the same province, 3) the northern zone of Campania on the right bank of the Garigliano, which formed, with part of the old province of Rome, the new (1934) province of Littoria, later named Latina.

Latium thus came to unite districts quite diverse in natural and human characteristics: the bare and arid Apennine mountains of the Simbruini, the Ernici and the Meta; the anti-Apennine volcanic complex (Volsini, Cimini, Sabatini, Alban) and limestone complex (Lepini, Ausoni and Aurunci) closer to the sea; the Roman countryside and the Roman agro.

The zone north of the lower Tiber, between the anti-Apennines and the sea, is known by the name of Roman Tuscia, and extends as far as the Fiora river. The latter, mostly covered with scrub and woodland, gives way inland to the pleasant landscape of the volcanic lakes (Bolsena, Vico and Bracciano), surrounded by chestnut groves and vineyards and continued, beyond the Tiber and Rome, in the Alban Hills. The valleys of the Aniene (Tivoli area) and of the Sacco (Ciociaria) are also fertile with vines and olives, while in the Rieti basin, crossed by the Velino, cereal growing prevails. The coastline is generally low, straight and harborless, and the only natural anchorage (developed for military purposes) is that of Gaeta. The coastal plain, partly below sea level and covered with marshes owing to inefficient drainage, has been reclaimed in recent decades, and thus gained for agricultural colonization on a large scale.

On the whole Latium has a predominantly agricultural-forestry-pastoral economy (41.7% of the population engaged in these activities). Among the cereals (including maize) wheat predominates; among tree crops the vine (as a rule specialized), followed by the olive and fruit trees. The harvests of potatoes, sugar beets and artichokes are notable (for the latter, 1/4 of national production). In livestock raising sheep stand out, dense especially in the hilly zones. The development of industries there appears late and slow, but notable in recent years, especially given the needs of the large urban nucleus of Rome.

No inhabited center, apart from the capital, reaches 50,000 inhabitants. The only seaport of major traffic is Civitavecchia, the terminal of communications with Sardinia.

Giuseppe Caraci

II. CIVIL HISTORY

Ancient Latium - which initially extended over more than 2000 sq km - gradually expanded, especially in the Volscian territory, with the gradual founding of Latin colonies, whose development became intertwined with that of the Roman colonies. After the Latin War, the change represented by the coexistence of Latin and Roman colonies was soon to be followed by the predominance of the latter.

The changes in the original structure of Latium became further concentrated after the Social War. With this, Latium acquired a fairly clear and distinct physiognomy: for this reason it would persist almost unchanged until the age of Augustus. After the proclamation of the pax Romana and the gradual spread of Christianity, Latium soon began to feel the influence of the presence in Rome of the successor of St. Peter. Indeed, beginning in the late 6th century, the latter began to acquire certain possessions not far from the city. To the properties acquired (distributed in portions, called patrimonia, resembling the private substance of the emperors rectors appointed by the bishop of Rome were placed over the acquired properties (distributed in parts, defined as patrimonia, resembling the private substance of the emperors), and he thus began effectively to contest the exercise of authority over those lands with the Emperor of the East, especially in the 8th century, when the donations of Liutprand (728-42) recognized in the Roman pontificate that political character which was corroborated by the journey of Stephen II to France and by the donation of Pepin.

The political character just mentioned led — from the end of the 8th century — to ever new clashes between the autonomous local elements and the will to centralize papal power which — especially through the work of Zachary and Adrian I — relied on the numerous domus cultae, against which a noble revolt broke out in the time of Leo III. The domus cultae were composed of numerous rural estates with scattered dwellings, and were placed under ecclesiastical administration: the colonists had a certain military organization and disposed of a special coinage, more or less authorized or recognized by the pontiff.

After the foundation of the Sacrum Imperium, the Emperor and the Pope came into conflict, because both wished to send their own representatives into the Patrimony; the dispute was resolved favorably for the bishop of Rome, who, in the 9th century, continued to elect his own officials charged with administering justice. With the passage of time there appeared — during the first half of the 10th century — the Comites Campaniae, governors appointed, perhaps for life, by the pontiff, who extended his influence over the cities through the judges, chosen by the Comites.

Alongside and correlatively with the spread and differentiation of the ruling class, there manifests itself — in the second half of the 10th century and even more in subsequent times — a movement of expansion of agriculture and intensification of building activity. At the same time, from the lesser feudal society, from lay administrators of ecclesiastical bodies, from officials of the pontifical government in the individual centers, perhaps also from free laborers, descended the families which, sometimes associated in consortia, became owners of mills or of extensive tracts of land. In the service of these propertied families was a numerous crowd of rustics, bound to them and to the land they cultivated by more or less strict and burdensome ties; it is obvious, however, that also in the Patrimony of St. Peter — from the 10th century onward — the ancient serfs gradually emancipated themselves, obtaining more favorable forms of contract, thus rising toward small property, without however giving life to those corporations which already flourished in the cities, often assuming notable influence in the government.

Granted that it is possible to trace — in the 10th and even in the 9th century — the first dawnings of a city life, from which the communal regime would also originate in the Patrimony, there arises the problem of how this regime came into being. The conviction immediately appears obvious that — when the pontiffs failed to assert their authority against the raging of factions — the small cities found themselves contested among several officials aspiring to govern, or were even abandoned to themselves. To the dangerous isolation were added the assaults of imperial, Roman, Norman armies: and hence the thousand necessities of offense and defense which induced the citizens to unite for the common salvation, intervening, consequently, in the government and preparing themselves for autonomy, later supported, in the strengthening of this evolutionary movement, also by the papacy, which desired to lay solid foundations for the temporal dominion, beyond the walls of Rome. Meanwhile the figure of the Comes Campaniae — already mentioned — was notably modified, since this function was assumed by the most powerful lords of the Campagna, who began to predominate in the Patrimony and sometimes also in Rome: thus the counts of Tusculum in the 11th century. Later, one sometimes finds comites and duces appointed by the pontiff.

At the end of the century, and even more in the 12th, the popes (Callixtus II, Honorius II, Eugene III and others) energetically set about reorganizing their dominion: in fact — having determined the ambit of certain cities, among them Velletri — they decreed that these should provide, at the request of the Church, soldiers and send representatives to the Parliaments. Innocent III brought under his influence also the Senate of Rome, to which various cities were tied, among them Viterbo. In 1207, the Pontiff reorganized the provinces of the Patrimony; he had the oath of fidelity administered by the counts, the barons and the representatives of the Communes; and he finally proclaimed a general peace, dissolving all the leagues. Innocent III also convoked a general Parliament at Viterbo, to increase the authority of the rectors; and since these were thus led to place themselves under the protection of the Pontiff, his influence over the Patrimony was greatly increased, all the more so since he was the sole judge in conflicts between rectors and provincial parliamentarians.

In 1231, the papacy intervened to resolve the questions of taxation and military service that divided the two classes of the milites and the pedites, in the Communes of the zone surrounding Rome, with an arbitration decidedly favorable to the milites, over whom the pontiff thus assumed a high patronage, securing their devotion. Gregory IX could even count on the support of Viterbo, Corneto, Tivoli, Velletri, Terracina and Anagni against the autonomist city forces in Rome. In the fourth decade of the 1200s, pontifical authority in the L. was strengthened by the failure of the imperial action in Tuscia and Sabina, while, in 1268, the battle of Tagliacozzo crowned the work of Urban IV, intent on the reorganization of the Patrimony. To this work more than anyone else devoted himself Boniface VIII (1294-1303). This Pontiff made use especially of the Communes, because — after having struck the great families of the countryside — only from the people could he ask support against a possible baronial rising, offering in exchange, to the nascent city organizations, the support of papal authority.

Later — during the Avignon pontificate — the rectors of the Patrimony were forced to live in a continual search for a balance among the persistent divisions of the parties, which it was by then felt necessary to overcome. After the Western Schism, and after the incursions of Ladislaus, in the times of Innocent VII (1404-1406) and of Gregory XII (1407-17), the lands of the province submitted to Alexander V (1409-10) who occupied Viterbo, Montefiascone and Corneto. The work of reorganization and subjection of the Patrimony continued with Nicholas V (1447-1455) and Pius II (1458-64). The latter was able to subdue the Sabina, occupy Palombara, eliminate the threat constituted by the ambitions of Piccinino. The work of Pius II was completed by Paul II (1464-71) who was able to extend his authority over the whole Patrimony.

From the end of the 15th century the vicissitudes of the L. cannot be the object of a separate treatment, but must be framed within the history of the State of the Church and then — indeed — of united Italy.

It remains only to recall what has been done for works of reclamation of the unhealthy zones, since this is by now the only regional element.

Roberto Valentini

III. ECCLESIASTICAL HISTORY

The Lazio is a privileged region, because there is Rome, the primatial see, where the successor of St. Peter resides. From the 5th century a distinction was made between the Latium vetus and the Latium adiectum, while the north-western part of Rome formed part of Tuscia.

On the spread of Christianity in Lazio there is no detailed information, but it can be stated with certainty that the centre of propaganda and organization must have been Rome, as it was for the majority of the churches of Italy; and the fortunes of those of Lazio are bound up with the history of the Roman Church. Down to about the middle of the 2nd century no names of constituted dioceses are known; there probably existed groups of Christians, more or less numerous, dependent upon and directed by Rome. At the end of the same century the organization must have made great progress: indeed, around 190 the pope Victor gathered a synod of Italian bishops to decide the Paschal controversy; without doubt several of them must have been from Lazio, but it is impossible to be more precise. In the first half of the 3rd century, during the long period of peace that preceded the persecution of Decius, the organization must have become better defined and several Churches constituted. After the death of Fabian the Roman clergy informed St. Cyprian that they had decided, together with the «episcopi vicinis», to defer the question of the «lapsi» (Ep. 30), and shortly afterwards the pope Cornelius, in 251, gathered a synod of 60 bishops, the majority certainly from Lazio (Eusebius, Hist. eccl., VI, 43). Unfortunately no document has transmitted more precise information, but from hagiographic and archaeological sources, such as cemeteries, inscriptions and churches, the existence of the Churches of Ostia, Porto, Albano, Palestrina, Terracina, Labico, Formia can be admitted with almost certainty. To these Churches belong the martyrs attested by trustworthy documents, such as Asterius, Cyriacus and Aurea for Ostia, Ariston, Nonnus, Herculanus, Taurinus, Eutropius, Bonosa, Zosima for Porto, Secundus, Carpophorus, Victorinus, Severianus for Albano, Agapitus for Palestrina, Alexander, Magnus, Erasmus and others, elsewhere.

After the Constantinian peace the Churches multiplied more and more, and in the Synods held under the popes Julius (340), Damasus (372), Siricius (386), many were the bishops of Lazio; to this period indeed belong the Churches of Tivoli, Anzio, Velletri, Segni, Bolsena, Tarquinia, etc.

In the 5th and 6th centuries the Churches of Lazio suffered the sad fortunes of the barbarian invasions of which Rome was the victim, with destructions, sackings, devastations and changes; but at the beginning of the 7th century Lazio counted about 30 constituted dioceses.

With the opening of the Middle Ages religious life flourishes also in Lazio in its most typical manifestations.

Famous monasteries populate the region: Subiaco, Farfa, St. Sylvester on Mount Soratte - where in the 8th century Carloman retired - Casamari, Fossanova, to speak only of the most celebrated outside Rome and its immediate surroundings. Colonies of Greek monks also moved into Lazio (Grottaferrata, Valvisciolo), which intensified and exercised wide influence during the raging of the Byzantine struggles in the periods of iconoclasm and schism.

To the monasteries are to be added the sanctuaries which already in the late Middle Ages began to attract pilgrims, such as the Madonna del Buon Consiglio at Genazzano, the Christ of Sutri, the Most Holy Trinity at Monte Autore, S. Maria della Quercia, S. Maria Capodacqua. A characteristic group is formed by the Franciscan sanctuaries of the Rieti valley (Greccio, Fontecolombo, Poggiobustone, La Foresta) which are linked to St. Francis, who in Lazio, after Umbria, left the richest traces of his passage.

Figures of the first rank are the saints who in this period illumine the region: Bonaventure of Bagnoregio, Thomas Aquinas, Rose of Viterbo. Later St. Giacinta Marescotti and in more recent centuries the Blesseds Carlo da Sezze and Tommaso da Cori, St. Giuseppe da Leonessa, St. Felix of Cantalice, St. Paul of the Cross, etc.

In the frequent struggles and revolts of the Roman population, during the 12th-14th centuries various cities of Lazio welcomed the pontiffs, who embellished and fortified them, such as Anagni, Viterbo, etc. Until, with the subjection of the whole region, its fortunes became merged with those of the Papal State, of which Lazio formed two legations.

It is the region that possessed and still possesses more episcopal sees than the other regions; the continuous relations with the centre of the Empire favoured this numerous development. Many of these sees have now disappeared. In the Latium vetus there were the sees of Subaugusta; Labicum; Gabii; Treba Augusta; Nomentum; Ficulca. In the Latium adiectum: Antium; Tres Tabernae; Fundi; Formiae; Mentum; Casinum; Frusino; Atina. In Etruria: Loricum; Caere; Aquaviva; Falerii; Vulsinii; Ferentum; Forum Clodii.

Today, besides the suburbicarian dioceses (v.) of Frascati, Ostia, Palestrina, Porto and S. Rufina, Magliano and Poggio Mirteto, Velletri, whose titular is a cardinal of the Curia, the region is divided into upper Lazio and lower Lazio. To upper Lazio belong the sees of Acquapendente, Bagnoregio, Civita Castellana, Orte and Gallese, Montefiascone, Nepi and Sutri, Tarquinia and Civitavecchia, Viterbo and Tuscania, S. Martino al Monte Cimino (abbatia nullius), the abbazie nullius of S. Paolo fuori le mura, of the SS. Vincenzo and Anastasio alle Tre Fontane and of S. Anselmo. In lower Lazio are numbered the sees of Alatri, Anagni, Aquino-Sora and Pontecorvo, Ferentino, Segni, Terracina, Sezze and Priverno, Tivoli, Veroli; the abbazie nullius of S. Maria di Grottaferrata, Subiaco and Monte Cassino. In the vicariate of the City is located the regional ecclesiastical tribunal for matrimonial causes, which also serves as a court of appeal for the regional tribunals of Naples and Cagliari (cf. Pius XI, motu proprio Quanta cura, 8 Dec. 1938, in AAS, 30 [1938], pp. 310-13).

Giuseppe Damizia

IV. ART

Apart from Rome (v.), a very lively center of artistic culture, the region is in itself of notable importance for the number and value of the monuments it still preserves. Its artistic production does not, however, at least until the Baroque period, have a unified character; this is due in the first place to the Roman traditionalism of the Middle Ages which on the one hand prevented the unification of regional forms and on the other did not have sufficient force of expansion, then to the immigration of foreign artists, especially during the late Middle Ages and the early Renaissance, and finally to the different cultural conditions of the zones north and south of the city.

From the Early Christian period scanty remains survive: the colonnades of the Constantinian Basilica in the cathedral of Albano, a triconch of uncertain date beneath the church of the Carità at Tivoli, the remains of the basilica of S. Sinfarosa on the Via Tiburtina and of the basilica of Pammachius at Porto. The contributions of the architectural culture of the Comacine Masters are instead represented in the region by the oldest portion of S. Pietro at Tuscania.

In the Romanesque age many churches maintained the basilical scheme with colonnades with or without a transept and with a roof covering (Castel S. Elia, S. Anastasio; Nazzano, S. Antimo; Fiano, S. Sisto; Bassanello, S.mo Salvatore; Monteleone Sabino, S. Vittoria; Magliano, S. Pietro; Palombara, S. Giovanni in Argentella; Tivoli, Carità; Ferentino, Duomo; Terracina, Duomo, etc.). There is also no lack of simpler buildings with a single nave with or without a transept and always covered with an exposed roof (Capena, S. Leone; Orvinio, S. Maria del Colle; Ponticelli, S. Maria del Colle; S. Maria in Vescovio, etc.).

The proper modes of Romanesque architecture at times appear in very interesting forms as early as the 11th century in S. Flaviano at Montefiascone and with decidedly Lombard accents in S. Maria di Castello at Tarquinia. They then spread quite early through the region but are received more in their ornamental characteristics than in their structural ones. At Viterbo, under the combined influence of Lombard and Roman modes, a vigorous and original local architecture develops (Duomo, S. Sisto, S. Maria Nuova, S. Giovanni in Zoccoli) which also spreads to the nearby centers (Tarquinia, Tuscania, Vetralla). Tarquinia also welcomes Arab-Sicilian modes (S. Giacomo), Tuscania combines Tuscan, Umbrian and Roman elements in the facades of its principal churches (S. Pietro, S. Maria Maggiore); the Umbrian taste for horizontal cornices spreads somewhat everywhere in upper L.; modes from Narni recur in a group of churches of the Sabina (Montebuono, Tarano, Fianello); hints of southern and especially Campanian taste are mixed in southern L. with Lombard (Anagni) and Roman (Terracina) forms. Benedictine architecture leaves at S. Maria la Libera at Aquino its most valuable work and Arabizing hints give an original character to the architectures of Gaeta. A classicism at once vigorous and picturesque is presented by the works of the Cosmati (v.), such as the portico of Civita Castellana and the cloister of S. Scolastica at Subiaco.

The Gothic reaches southern L. between the end of the 12th and the beginning of the 13th century with the abbeys of Fossanova and Casamari in a form at once tempered and pure. Various buildings then arise more or less dependent in style on those prototypes: S. Maria in Flumine at Ceccano, the abbey of Valvisciolo, S. Francesco and S. Maria Maggiore of Ferentino, the church of Amaseno, the cathedral of Priverno, the transept of that of Anagni, etc. The new style reaches as far as the gates of Rome with S. Nicola on the Via Appia. A little later the abbey of S. Martino al Cimino exercises an analogous action on northern L. (Viterbo, cloister of S. Maria in Gradi, S. Francesco; Montefiascone, extension of S. Flaviano; Tarquinia, S. Giovanni, etc.). At Rieti Gothicizing forms have the portico of the Cathedral and the churches of S. Pietro, S. Domenico and S. Agostino which also welcome the Aquilan type of facade with a straight-line crowning. Such modes persist throughout the 14th century and even into the following century at Amatrice (S. Francesco, S. Agostino). At Cittaducale (S. Maria del Popolo) and at Leonessa, where indeed there are the latest examples of Gothic. The phenomenon is repeated in a less accentuated form in lower L. where, at Fondi, in a group of churches the 15th-century phase is closely joined to that of two centuries earlier. Interesting complexes of civil architecture of the Middle Ages are preserved at Viterbo, Tarquinia, Tuscania, Tivoli, Segni, Anagni, Ferentino, etc.; among the public palaces those of Anagni, Priverno and Viterbo should be remembered; Genazzano instead offers a homogeneous group of civil buildings of southern Gothic taste that go back to the early 15th century. Romanesque sculpture is generally limited to decorative works; Cosmatesque modes spread somewhat everywhere until in southern L. they join with Campanian forms, akin but distinct for their taste for color and their manner of ornamenting. In the late 13th century the theme of the tomb was widely treated in the Viterbo area; the example of greatest interest is that of Adrian V (Viterbo, S. Francesco) in which Arnolfo perhaps collaborated. Wooden sculpture boasts examples of great coherence such as the Madonna of Acuto of the 13th century, today in the Museum of Palazzo Venezia in Rome, or of refined execution such as the group of the Deposition of the cathedral of Tivoli.

Roman painting of the 11th century spread through the region with vast cycles, such as those of S. Anastasio at Castel S. Elia, where linear schematism assumes a particular power of suggestion, or of S. Pietro at Tuscania, which are the closest to Roman models for refined elegance. The frescoes of S. Silvestro at Tivoli instead have a greater breadth of forms. Vast too was the production between the 12th and 13th centuries of panel paintings representing the Savior (Tivoli, Sutri, Trevignano, Viterbo, etc.) or the Madonna (Viterbo, Vetralla, etc.). At Ausonia (S. Maria del Piano) the most important cycle of the Benedictine school in the region is preserved. To a more Byzantine manner, of Venetian intonation, belong the mosaics of the abbey of Grottaferrata. Although Byzantine too, but more vigorous and free, are the frescoes of the chapel of S. Gregorio at the Sacro Speco of Subiaco, akin to those of the crypt of the cathedral of Anagni which are the most important medieval cycle of the whole region, where artists of various tendencies also converge. Reflections of the masters working in Rome at the end of the 13th century are found united with a narrative vivacity of popular vein in the works of Consolo at the Sacro Speco of Subiaco, while the painter of S. Maria in Vescovio repeats in the early years of the 14th century, with linear accentuations, Cavallinian modules; to Roman and Assisi forms are linked the oldest frescoes of S. Flaviano at Montefiascone.

For the historical conditions of Lazio in the 15th century, Renaissance modes penetrated the region with a certain delay; significant buildings of that period remain the church of the Quercia near Viterbo, the tempietto della Peste also in Viterbo, the church of S. Maria del Soccorso at Corchiano, that of S. Aurea at Ostia antica, that of S. Oliva at Cori with its adjoining cloister, etc. A reflection of Bramantesque forms reaches the tempietto del Sangue at Velletri; then Sammicheli began the cathedral of Montefiascone, Antonio da Sangallo the Younger built the churches of Cellere and of S. Maria in Moncoloro near Montefiascone and the chapel known as La Rocchina on the Isola Bisentina; Vignola those of Mazzano Romano, S. Oreste and S. Maria del Piano near Capranica. His manner spread throughout upper Lazio, imprinting a particular character on several small towns of the Viterbo area. The modes of Giacomo Della Porta are reflected in the Gesù at Tivoli. Civil production was by comparison far more extensive in this period. The works of military architecture (Genazzano, Bracciano) were grandiose, often owed to artists active in Rome, such as B. Pontelli (Ostia), Giuliano da Sangallo (Grottaferrata), Antonio da Sangallo the Elder (Nettuno, Civita Castellana) or Antonio da Sangallo the Younger (Civitavecchia, Montefiascone) or Peruzzi (Roccasinibalda). A marvelous palace arising from fortification works is that of Caprarola by Vignola, to whom the Villa of Bagnaia is also owed, while Ponzio worked at Mondragone and Della Porta at the Villa Aldobrandini in Frascati.

The great cultural gap that was coming into being between Rome and Lazio is also the cause of the limited value of the works of sculpture and painting. Nevertheless, while Giovanni Dalmata completed the decoration of the tempietto of S. Giacomo at Vicovaro, Bregno carved the tabernacle of S. Maria della Quercia and Andrea Della Robbia executed there the glazed terracotta friezes. Michelangelo, around 1540, carved, presumably for Vittoria Colonna, his Pietà of Palestrina, now in Florence, in the Museo dell'Accademia.

Thus while Masolino's forms had penetrated the region very early with the cycles of the Annunziata of Riofreddo and of Cori, the figurative culture of the region toward the middle of the century is represented by the mediocre Pietro Coleberti (Priverno, Sermoneta) and Iacopo da Roccantica (Montebuono). A work of great beauty and stylistic coherence is instead the Mazzatosta chapel in the church of S. Maria della Verità in Viterbo, owed to Lorenzo da Viterbo, a vigorous individual painter in the circle of Piero della Francesca. Various works by Antonizzo Romano are scattered through Lazio alongside those of modest masters of average culture such as Piermatteo d'Amelia and Antonio da Viterbo. An island of Veronese manner is constructed by the works of Cristoforo Scacco at Fondi and at Montesambiago; toward the Ascoli area worked the belated and eclectic Cola dell'Amatrice.

The great painters of the 16th century left no work in Lazio; their followers, however, are widely represented down to Mannerism. In Viterbo is the admirable Pietà of Sebastiano del Piombo, the Villa of Caprarola and that of Este at Tivoli offer the example of important Mannerist complexes, while other painters such as Siciolante, Pulzone, Muziano, etc., are variously represented in the churches of the region; particularly active at Rieti were the Veronese Torresani.

From Rome the Baroque spread throughout Lazio. Maderno worked at the papal Villa of Castel Gandolfo and at the church of S. Maria del Trivio at Velletri, Bernini built the churches of Castel Gandolfo and of Ariccia and the facade of the sanctuary of Galloro, Antonio del Grande the Collegiata of Marino, Mattia De' Rossi that of Valmontone, Girolamo Rainaldi the S. Teresa of Caprarola and his son Carlo the two parish churches of Montecompatri and Monte Porzio, Carlo Fontana worked for a long time at Formello, Girolamo Fontana raised the facade of the cathedral at Frascati and later Salvi renovated the church of S. Maria in Gradi at Viterbo. Many works that variously reflect the manner of the major masters still await a stylistic definition, but very many others are merely works of modernization or transfer into slipshod, provincial modes the nobility of the models.

Among the sculptures of the Baroque age, especially worthy of note are the Immacolata by Puget in the cathedral of Tivoli, the Berninian statues of the cathedral of Rieti and the monuments of the baronial chapel of Palestrina. Among the pictorial cycles, especially notable are those of Domenichino at Grottaferrata near the Badia and of Father Pozzo in the church of the Gesù at Frascati; works by various masters are found in several churches of the region, but they are for the most part scarcely representative.

Neoclassical architecture is particularly represented at Civitavecchia and at Rieti; by Camuccini is a fine collection of works in the palace of the same name at Cantalupo.

Examples of entirely modern centers with often valuable buildings are offered by Latina, Pomezia, Aprilia and especially Sabaudia, new towns in the recently reclaimed zone of the Agro Pontino. - See plates LXI-LXII.

Guglielmo Matthiae