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Nathaniel Hawthorne, 1804-1864

List of Illustrations

to The Marble Faun

Photogravures from 1890 edition by Houghton, Mifflin and Company, Boston and New York, The Riverside Press, Cambridge

  1. Nathaniel Hawthorne, Frontispiece, volume 1
  2. The Faun of Praxiteles, page 22
  3. The Dying Gladiator, page 30
  4. Saint Cecilia, page 40
  5. In the Catacombs, page 46
  6. Hilda's Tower, Via Portoghese, page 68
  7. Guido's Beatrice Cenci, page 84
  8. Piazza del Popolo, page 120
  9. Fountain of Moses, Pincian Garden, page 122
  10. View from the Pincian Hill, page 130
  11. Grand Stairs from the Piazza di Spagna, page 136
  12. Canova's Studio, page 138
  13. The Rape of the Sabines, page 150
  14. Fountain of Trevi, page 172
  15. A Roman Peasant, page 174
  16. Trajan's Column and Forum, page 178
  17. The Coliseum, page 182
  18. Interior of the Coliseum, page 184
  19. Arch of Constantine, page 188
  20. Arch of Titus, page 190
  21. Roman Forum, page 194
  22. Approach to the Capitol; to the left, Steps of the Ara Coeli, page 196
  23. Statue of Marcus Aurelius, page 198
  24. Guido's Saint Michael, page 216
  25. Capuchin Crypt, page 226
  26. Medici Gardens, page 234
  27. Dining-room of an Italian palace, page 260
  28. The Laocoön, frontispiece, volume 2
  29. Grand Ducal Square, and Palazzo Vecchio. Florence, page 292
  30. Titian's Magdalen, page 294
  31. The Three Fates, by Michael Angelo, page 334
  32. A fresco by Giotto, in the Church of St. Francis, at Assisi, page 348
  33. A Gateway of Perugia, page 354
  34. Angel, by Fra Angelico, page 356
  35. Statue of Pope Julius III, page 370
  36. The Transfiguration, by Raphael, page 384
  37. Interior of St. John Lateran, page 394
  38. Saint Peter's, page 398
  39. Statue of St. Peter, page 400
  40. Interior of St. Peter's, page 410
  41. Castle of Saint Angelo, page 420
  42. The Seven-Branched Golden Candlestick, page 422
  43. The Ghetto, page 440
  44. Apollo Belvedere, page 446
  45. Porta San Sebastiano, and Arch of Drusus, page 472
  46. Arch of Drusus: Appian Way, page 474
  47. Cecilia Metella's Tomb, page 476
  48. Venus de' Medici, page 480
  49. The Campagna, Appian Way, and Claudian Aqueduct, page 490
  50. The Pantheon, page 514
  51. The Tomb of Raphael, page 520

Publishers' Advertisement

EVER since the first publication of The Marble Faun, travellers and lovers of Rome have used the book as a souvenir, and have found in its pages a most agreeable record of impressions created by the Eternal City and by the works of art preserved there. So satisfactory is the book in this regard that it early became the custom of visitors to Italy to collect photographs of the statues, paintings, and buildings referred to in the romance, and to interleave the book with them; and this has become so common that dealers in Rome and Florence make it their practice to keep such photographs arranged and ready for the traveller.

Nevertheless, photographs are unsatisfactory pictures for such a purpose, and the volumes in which they are interleaved are apt to be displeasing to a fastidious collector. The publishers of Hawthorne's works have therefore taken the hint from this well-established custom, and have prepared the following edition, by printing the work in two volumes and adding to the text photogravures of fifty suhjects. Great care has been taken by the publishers in the choice of photographs, and their selection is not a mere repetition of the dealer's choice. Every traveller knows that there is a wide difference between the best and the poorest of these photographs, and no pains have been spared to obtain the best made directly from the objects themselves.

The publishers trust that they have thus given Hawthorne's classic a presentation more acceptable, not only to travellers but to all lovers of art and letters, than would have been possible had they resorted to the ordinary method of employing artists to illustrate the story. Some of the buildings illustrated have disappeared since Hawthorne saw them and wrote of them; others are likely to be altered or removed in the rapid change which is passing over Rome, and the work thus becomes a valuable record of the past as well as a pleasure to the eye.

More fine classic photographs and prints of Italy are available from Fratelli Alinari--Alinari Archive in Florence.

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