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One great secret of keeping down bills is to avoid having anything out of the common way : a ylat de cuisine, c. g. a few slices of cold tongue, brought up at breakfast, will cost you as much as your dinner. The tahle- ddiote (tavola rotonda), where it exists (for it is not so common in Italy, ex- cept in large towns, as in France), should he preferred. Ask the ])rice of everything beforehand, and never scruple to bargain. This is an unpleasant operation, but it is the custom of the country : no offence is taken, or even suspected, and you are only considered an inex- perienced traveller if you do not. Amongst other reasons, innkeepers always siq)]iose that every Englishman likes to have the best of every- thing, especially at dinner: and therefore, even where no overcharge is practised, you are often put to needless expense by having more, and greater variety, than you desire or care for ; thus, by explaining the num- ber of dishes you want, you bring them within bounds. In ordering wines, when you have chosen your kind, order the cheapest quality, for the chance is ten to one that they have no other, and you only pay for the name. This practice is perhaj>s not carried on in Italy to the ludicrous extent to which it is in France, or on board the Ehine steamboats, but it still exists to a sufficient degree to render it advisable to adopt the course which we have suggested. If exorbitant charges be made, the best plan, if you have nerve enough, is to refuse to pay them, putting dovm a reasonable sum upon the table. Where expostulations have proved ineffectual, tra- vellers not un frequently enter cautious against the offending party in the travellers’ books, at other inns along the road, so as to warn others, and Introd. 7. — Inns and Accommodations, 8. — Books. xvii sometimes communicate their complaints to the Editor of the ITandhooks, requesting liim to endeavour to redress the grievance hy noting tlie oflencc in future editions of tlie Guides. Where tlie complaint has been ]>roperly attested, and the case sliows very ])alpahle injustice on the part of the inn- keeper, he has agreed, in some instances, to place a note against tlie name of the hoiuse, or to omit it altogether. Travellers, however, who resort to this course, ought to consider heforehand whethin- they are quite in the right, and the innkeejier quite in the wrong ; weighing well, tliat a hasty accusation not jiroperly founded may ruin an honest man and his family. 'J'he simple threat of making such a comi)laint may, in some cases, infuse a salutary terror, so as to produce the desired eil'ect — a remedy of the abuse. 'J'he hiuma mano to servants and waiters is a source of constant trouble ; to those who travel with couriers advice is needless : to those wlio must decide for themselves what to give, the following hints are offered. Tlie best plan is to give (in the presence of some other servant) a sum to the liead-waiter to he distributed. In the principal towns, for a single day, for one person, a zwanziger is sullicient. If the traveller has to distribute his huona-muno among the servants, he can liardly give less than 1 zwanziger, or 2 panls, to the waiter, and about { zw. to the fdccitino, who brushes clothes, etc. Of course the rate of {laymeiit is jiroportionally reduced when the traveller’s stay is prolonged, or where several jiersons are travelling together ; and in small country inns about two-thirds of the above is (juitc sutlicient. After a long stay, the chambermaid, too, receives a small gratuity. The excellent system of charging the gratuity to servants in the bill is become very general in Italy, and ought to be encouraged by tra- vellers. When dining at a Trattoria, 15 cts., or 2 cray.ie, are enough for the waiter. “ Ladies should be aware that they may always be attended by a female in the Italian inns, by ex})ressing a wish to this effect. At the best inns, in some of the great towns, a female attends regularly to the arrangements of the bedrooms.” — Mrs. M. 8. — Books. A traveller whose mind is not previously prepared for a visit to Italy is deprived of the greatest portion of the pleasure (to say nothing of the in- struction) which he would otherwise derive. This assertion is true of every portion of the world ; but the extent and variety of interest attach- ing to the scenery, the cities, the churches, the castles, the palaces, the works of art in this country, renders the amount of loss much heavier than in any other ; and we shall therefore venture to give a brief list of the works which we w^oiild recommend, for the purpose of affording a small portion of the information which may be required. History . — To those who are willing to give the time w^e should strongly recommend the previous attentive perusal of Sismondi’s great work, Les Bepubliques Italiennes. As a narrator, Sismondi has peculiar clearness : without attempting effect, he is always interesting. The great difficulty in affording a general view of Italian history, arises from the necessity which the historian is under of constantly shifting the scene, from Florence to Venice, from Naples to Milan. Sismondi, with singular ability, has XVlll 8. — Boohs, Introd. interwoven the narratives of the several states without perplexing the skein. There is hardly a place of any importance in Italy which is not more or less noticed in this work, which contains the very pith of Italian history. Amongst the older writers, Giiiccardini is the most classical ; and though a languid narrator, he is nevertheless an historian who compels you to take great interest in the story which he tells. For the history of particular states, the following may he noticed : — Venice. — Darw’s history is very entertaining and clear, hut must he read with caution, for it was written with the express intention of placing the extinct repuhlic in an unfavourahle light, and thus justifying the faithless conduct of Napoleon in subverting it. Tuscany, — Pignotti. — No depth of thought, hut readable and pleasant. MachiavelU should he read, but he is rather a difficult writer. Peppetti'a geographical dictionary is highly useful ; and the Osservatore Fiorentino is a very entertaining historical guide for Florence. Milan , — Verri. — Full of entertaining matter. Fine Arts. — The work of Vasari is both entertaining and full of valuable information, not to be obtained elsewhere ; and the book, heretofore so scarce, has been reprinted in an economical form (jNIilan, llettoni, 1824). This edition is noticed on account of its portability ; but a much better one has recently appeared at Florence in 2 vols. 8vo. This is very correct ; and the editor has added copious notes to each life, stating where the pic- tures referred to in the original text now are, or whether they have perished.* “ The plan of the book was suggested in a familiar conversation which took place at Naples, somewhile in the year 1544, at a supper in the house of the Cardinal Farnese. Amongst the company was Paolo Giovio, who had then composed his well-known work, the ‘ Vitte Illustrium Yirorum.’ The book does not appear to have been published, but it had probably been circulated in manuscript, as was then much the custom in the literary world. Giovio wished to append a biography of artists from the time of Cimabue, upon whose productions, as Vasari says, he began to discourse with judgment and knowledge of art, making, however, terrible mistakes with respect to the artists themselves, confounding names, surnames, birth- places, and specimens. In reply to a question put by the Cardinal, Vasari replied that such a biography would be very instructive, if comiuled with accuracy ; and the company, amongst whom was Annibal Caro, joined in urging him to undertake the task of giving a better outline to Giovio. This he did. And he performed his task so satisfactorily, that, when the sketch was presented to Giovio, the latter declined using it, and advised Vasari to complete the book for himself. “ Vasari, ever since his youth, had been collecting materials for such a work, yet the instinct of authorship was not strong upon him. He hesi- tated — asked advice — a rare thing in authors — and what is still more rare, he took it ; and his advisers were sound — Annibal Caro, Molza, Tolomei ; and he worked diligently, until, being urged by Cosmo to bring it out, the first edition was printed at the grand ducal press, and under the special * An English translation of Vasari by Mr. Forster, in a cheap and portable form, has been published by Bohn in 1S5 1 . Introd. 8. — Books. XIX auspices of his patron. In this first edition he inserted no life of any con- temporary, excepting that of Michael Angelo, who received the presentation copy with great pleasure, testifying his gratitude by a sonnet, a thing, like most com])limentary poems, a column of fine words, containing an infinite- simal quantity of meaning. Still the sonnet was a high token of approba- tion, and it increased the intimacy subsisting between them ; and this friendshij) enabled Vasari to i)rofit the more by tlie verbal information received from Michael Angelo, as well as by his corres^wndence. Other valuable materials Vasari obtained from the manuscripts of Ghirlandajo, Ghiberti, llafael d’Grhino, and many more who are not named. It Avasthe custom in Florence for the heads of families to keep a hook of remem- brances — ‘ ricordi,’ as they were termed — of the events happening to them- selves, their children, and kindred ; and from these memorials he gleaned abundantly. Vasari was also well versed in the general and particular history of Tuscany and the adjoining states ; hut besides these sources, all the traditions of art Avere yet rife and lively, and much information of the greatest im]X)rtance had been handed doAvn from mouth to mouth. I'lie chain of tradition, if once broken, can never be replaced. Interesting as such traditions of art may be in relation to the personal anecdotes they pre- serve, they Avere |xjrhaps even more important Avith respect to the knoAv- ledge which they imparted of the mechanical i)roccedings employed by the artists, the identification of the portraits introduced in historical subjects, and the meaning of allegorical compositions, Avithout Avhich many AAWild have remained unintelligihle mysteries — enigmas to be gazed at, and npthing more — like hieroglyphics of Avhich the key is lost. For example, the great fresco of Simon Memmi in the ancient chapterhouse of Santa Maria NoA^ella, representing the Church Militant, in which the portraits of Petrarch and Laura are introduced, Avould, Avithout this aid, be completely inexplicable.” — Quart. Bevieio, vol. Ixvi. art. 1. Vasari is, lioweA^er, unmethodical and uncritical, and much prejudiced in favour of the Tuscan school : dates are frequently Avanting, and his works need a continuation through subsequent periods ; and those who require a succinct compendium of the history of art, and at the same time an excellent corrector and continuator, will find what they need in Kugler’s Handbook of Painting, edited by Sir Charles Eastlake, P.E.A., with illus- trations. Lanzi gives more ample particulars, and is especially useful in conse- quence of the manner in which the different schools are brought together by him, and an edition has been published in small and portable volumes ; but his methodical work does not possess the charm or interest of that of Vasari’s biographies. Ticozzi's Dictionary of Painters, in 2 vols., will be found a most useful Avork, and, from its size, very portable. A very interesting Avork on^ the History of Painting (Storia della Pit- turd), on the same plan as that of Cicognara for Sculpture, is nowin course of publication, by Professor Possini of Pisa ; the part already published embraces the earlier artists prior to Perugino, and is very interesting, and accompanied by outline engi'avings of some characteristic works of each painter. In Italy each great school has had its historian ; and there is scarcely an artist of note who has not had his separate biographer, who may be XX Introd. 8. — Books, 9 . — Maps of Italy. usefully consulted ty the traveller. The Italian translation of Quatre- mere de Quinci’s life of Raphael is peculiarly valuable, from the annota- tions of the translator. Those who read German may profit much by consulting Bumohi'^s Italienische Forschungen, which contain a great deal of curious matter respecting early Tuscan art. Muller’s Archdologie der Kunsf is also a good guide for the works of art. Cicognara is the principal authority for Italian sculpture, and we regret that there is no other which can he recommended. It is bulky, expensive, and yet very incomplete, and therefore we notice it merely as the only existing hook which can he consulted : any one who could compile a better might render great help to the lovers of art. Literature. — Ginguene is an interesting, though not always a faithful guide ; hut perhaps, for the general reader, none better can he found. The reputation acquired by lloscoe’s Lorenzo de' Medici was, in some degree, owing to the novelty of the subject. But Iloscoe is always elegant, and, so far as literar}^ history is concerned, fairly correct. The Italian edition of Roscoe’s Leo X., with notes by Ticozzi, is far more valu- able than the original. Manzoni's Novel, The Promessi Sposi, will add much interest to the scenery of Milan and its vicinity. Dante's Divina Commedia may be accompanied by the Commenti Storici of Arrivahene, which, though carelessly written, are tolerably satis- factory. Brockedon's Italy will present the traveller with some of the most beauti- ful and correct ])ictorial representations of the country which have yet appeared, and which may serve vividly to recall to the traveller’s memory the interesting scenes through which he has passed. A volume published under the title of ‘Italic dcs Gens du Monde, Venise,’ par Jules Lccomte, is a very full guide, and contains an amusing selection of history and anecdote. Guardi is the most exact and methodical guide for Venice. 9. — Maps of Italy. General. — The best general ^laps of Italy are those of Orgiazzi and Stucchi, but they are both incorrect in the details. The same observation applies to all general Maps of Italy published in England, Germany, and France. The Austrian Government is about to publish a general Map of the whole of Italy on an uniform scale, founded on the most recent surveys, some of which, those of the Tuscan and Roman States, have been under- taken for that special purpose. General Collegno published some years since, at Paris, a useful Geo- logical Map of Italy, founded on all that was then known; recent dis- coveries, and particularly the labours of our countryman Sir R. Murchison, call for a new edition of it. Piedmont and Sardinia. — The Sardinian Government has published a very beautiful and correct Map of its Continental States in Italy, in 6 sheets, founded on a trigonometrical survey ; and Professor Sismonda is about to publish a reduced Geological Map of the same kingdom based upon the same. In trod. 9 . — Maps of Italy. 10 . — Objects to be Noticed. XXI General de la Marmora has published, in two large sheets, a magnificent Ma])ofthe Island of Sardinia, which reflects the highest credit on the talents, patriotism, and liberality of that oflicer, who has been for several years engaged on it, and comi)leted the wliole of the surveys nearly at his own expense. Jjombardy . — The Austrian Government has published a very detailed and beautiful Map of the r.omhardo-Venetian Kiiigdom in 80 sheets on a scale of bbItoo, and a reduction of it in 4 sheets on a scale of ; the latter contains everytliing necessary for the ordinary traveller, and, like all the Maps ])iil)lished by the Imperial Corps of Austrian Geographical Engineers, may he ])roeured at Artaria’s, Via di St. Margarita, IMilan. Parma and Piacenza., Modena. — Very accurate i\Iaps of these duchies, on a scale similar to that of the great Maj) of J.omhardy, have been re- cently published by the Austrian Government. Tuscany. — d'he Map of fl'iiscany by the late Padre Inghirami, in 4 sheets, is very good, and by far the best : it oilers some errors of detail, and is often erroneous in its topographical details ; hut when it is considered that it was the work of a single individual, who, almost unaided by his Govern- ment, not only made a trigonometrical survey of his country, but executed the topogra])hical drawing, the highest ]>raise is to he given to its reverend author, one of a family long celebrated in Tuscany for its learning. A very usefid reduction in one sheet of Inghirami’s Map has been re- cently published at Florence by Seyato. Signor Zuccagni Orlandini jniblished some years since an Atlas of Tus- cany, divided into valleys, a convenient arrangement enough, with very useful statistical details respecting each valley, but the Map part is copied from Inghirami. As to Signor Zuccagni’s great work on the Geography of Italy ( Coro- grafia delV Italia), the Maps it contains are com])iled from more original works, already cited, and often with little criticism or judgment. The traveller will find at Artaria’s in Milan most of the Maps of Italy published, save those of Tuscany and of Naples, which can only be had generally in their respective capitals. 10. — Objects to be Noticed. Within the districts described in this work, the walls of Fiesole, and some few Celtic reminiscences in Piedmont, are the only vestiges of the period before the Roman domination. ^ To the era of the Empire belong the amphitheatre and gates of Verona, the villa of Catullus, the arch of Susa, the ruins of Velleja, the columns of San Lorenzo at Milan, the temple at Brescia, the amphitheatre of Lucca, and some smaller fragments there and in other parts of Tuscany. Amongst these, the amphitheatre at Verona is the most celebrated ; the arch of Susa is the oldest ; the other vestiges belong to the Lower Empire ; but none are in a pure style of architecture. The only one which we can ascribe to the Augustan age (the arch of Susa) is particularly barbarous. To the Roman era belong the buried city of Velleia, — the Pompeii of northern Italy — and the remains of Industria and of Luni. Amongst the museums of antiques, the Galeria Reale of Florence stands pre-eminent. Turin, inferior in other departments, has one of the XXll 10. — Oljects to he Noticed. Introd. finest collections of Egyptian antiquities existing. And the museums of Mantua and Verona, and particularly of Brescia, are all of importance. The Campo Santo of Pisa, though not, strictly speaking, a museum, has been a precious depository of classical art. Of Christian antiquities during Roman times, or of the earliest portions of the middle ages, ^lilan, Verona, and Pisa offer remarkable vestiges. The circular or octangular baptisteries of Florence, Novara, and Oneglia, perhaps, also belong to this class, but there is much difficulty about their history. — St. Mark, at Venice, forms a class of its own. Although frequently much altered, northern Italy abounds in magnifi- cent specimens of the litnnanesque style, a variety of which is familiarly known amongst us as Norman. The cathedrals of Pisa, Lucca, Verona, Panna, Borgo, San Donino, and INlodena, and the conventual churches of San Zeno (Verona), San IMiniato (Florence), San Michele (Pavia), are peculiarly valuable. Most of the larger Lombard churches are interesting from the symbolical and hierogly])hical sculptures of the facades, as well as from their impressive and magnificent character. This Romanesque style was never entirely superseded in Italy till the revival of classical architec- ture : and, generally si)caking, so many schools and styles had a concurrent existence in Italy, that the data by which we judge of the age of a building in France or England lose much of their certainty when here a])plied. Gothic architecture in Italy exhibits itself in many marked varieties, and four distinct schools may be observed: (1.) The Tuscan-Gothic^ remarkable in the earlier periods for its simplicity, and in the latter for the extreme beauty of its forms. (2.) The Venetian-Gothic^ of which the main type is the Palazzo of ISan !Marco, and which may be traced as far as Brescia. (3.) The Genoese- Gothic, more than any other disclosing an imitation of the Arabian or Saracenic models. (4.) The Lombard- Gothic, an exuberant variety of the French and German, and which, in the Duomo of Milan, attained transcendant excellence. — To these must be added the Gothic styles appropriated to particular orders ; the Austin Friars, the Franciscans, and the Dominicans ; and these orders not unfrequently re- tained the Gothic when it was elsewhere entirely disused. Connected with the Italian churches, the Campanili, or bell-towers, generally detached, constitute a remarkable feature. Those of St. Mark and of Florence are familiarly known, and the latter has no equal for beauty. But the Cam]ianili of Cremona and Modena deserve attention, and in all cases they form a characteristic and pleasing portion of the scenery of Italy. ^ So much for the styles which we commonly, though not quite accurately, term mediaeval. During their prevalence in Italy a homely imitation of Roman or classical architecture had always subsisted, evidenced every now and then in some single example, and then again subsiding. But it never had been studied till the time of Brunelleschi. The churches of San Lorenzo and Santo Spirito at Florence are noble examples of his genius. He also possessed great influence throughout Italy, though few direct imitations of his style appear out of his native city. Brunelleschi’s ten- dency is to assimilate his Italian to the Romanesque. But others united the italian to somewhat of Gothic feeling, after the manner which in France has been termed the style of the Renaissance ; and this style in Italy has great elegance. The facade of the Certosa of Pavia may be Introd. 10. — Objects to be Xoticed. xxiii instanced ; but it is more generally discernible in subsidiary portions, in chapels, and in tombs. Leon Jiattista Alberti, one of whose best works will be found at Mantua (Sant’ Andrea), bestowed extraordinary thought upon ehiirch architecture : whilst Snnmiduli, Scammozzi , and Palladio more jieculiarly excelled in their civil buildings, which fonn the chief ornaments of Verona, Vicenza, and Venice. The traveller should observe the rich edifices of 'ruriii which Udong to a later j)criod. Domestic architecture, in Italy, atfonls a high interest. Its progress may be traced at least from the loth century. The interiors of the period of tho Renaissance, which are frequently well preserved — and ^lantua may be instanced as affording a remarkable exani])le — .should be well examined, and will well repay this study ; as also will most of the palaces of Genoa. In Venice, besides the great l)eauty of the buildings, the ingenuity of the architect in adapting his ])lans to the confined and untoward sites will often be found ])eculiarly interesting. At Verona buildings of this class liavc a character of their own, of strength and elegance united in the details. Florence excels in the colossal grandeur of its palaces. The municijKd buildings of Lombardy arc of great and varied merit. In the four Palazzi del Commune, or d’own-halls, of Como, Reryamo, Fiacenza, and Rrescia, the beauty of the structures is enhanced by their singularity. The ancient military architecture of Italy has been neglected ; but Northern Italy abounds in noble mediaeval castles and fortifications. The Scaligerian castles in and near Verona are peculiarly grand ; and the ^Modenese are not only curious in themselves, but interesting as being amongst the objects which first tinged the mind of Ariosto with his fond- ness for talcs of chivalry. In Italy, also, will be found the earliest examples of regular fortifications, by which all the ancient modes of de- fence were superseded. Scidpture in Italy offers a vast number of objects of the highest inte- rest. The names of ^Michael Angelo, of Nicolo di Pisa, of Mino da Fiesole, of Bambaja, and of Donatello, and the bronze gates of the Baptistery at Florence, are universally celebrated ; but the merits of other Italian sculp- tors have as yet been scarcely recognised to their due extent by the general traveller. Of all the more remarkable works of sculpture we believe that we have given sufficient notices ; and the traveller should recollect that of some of the best of the Italian sculptors such few specimens exist, that, unless he seizes the opportunity of examining them where they are indicated, he will never meet with them again. Thus, there is scarcely a first-rate fragment of Luca della Robbia out of Tuscany ; no work of Bambaja is found out of Milan and Pavia ; no work of Mino da Fiesole out of Florence and Fiesole ; no work of BegarelU out of Parma and Modena. None have been multiplied by casts ; few have been engraved, and, when engraved, the representations have been most inadequate. Working in the precious metals was a branch of the sculptor’s art, or, as would be better said, trade, for, in the earlier periods at least, they followed it as a craft. Some magnificent specimens, in which enamelled work and jewels are introduced, exist as pale, or palliotti, altar-tables or coverings. Those of San Marco at Venice, and Sant’ Ambrogio at Milan, and the Baptistery at Florence, are amongst the most remarkable. So also xxiv 10. — Objects to he Noticed. 11. — Fresco-Painting. Introd. is the more modern one in the cathedral of Pistoia. Many specimens of the same nature, together with votive offerings, cups, vessels, and the like, are still preserved in the sacristies of the churches. Very early and fine specimens of Roman mosaic, that is to say, the mosaic formed by square prisms of coloured or gilded opaque glass, or enamel, will be found at Milan (San Amhfogio and San Lorenzo), Lucca (San Frediano), Pisa (Duomo), Florence (Baptistery and San Miniato), Venise (San Marco and Torcello). The art was continued in practice at Venice till the 16th century, hut not so late in Lombardy or in Tuscany. At Novara and Cremona, also, are curious early Christian tesselated pave- ments. In Tuscany, about the 13th century, a richer kind of working was introduced, employing serpentine, porphyry, and various coloured marbles, as at Lucca (San Frediano), Pisa (Duomo and Baptistery), Florence (Baptistery and San Miniato), which mode of workmanship seems to have been improved into the present beautiful Florentine mosaic of pietre dure, or pietre commesse. This is composed of the noblest mineral productions, some approaching to the rank of gems, and of the finest marbles, and may be seen in the utmost beauty in the Medicean Chapel of San Lorenzo (Florence), and the Certosa of Pavia. The stained glass of Italy is exceedingly beautiful. In the cathedrals of Lucca, Pisa, and Florence, as well as in some of the churches of the latter city (Santa Maria Novella in particular), it is most brilliant ; so also at Milan. In Venice the colours are not so good. Stained glass, however, does not appear to have become common : we do not recollect any example of it in a parish church, or in any civil building except the Lau- rentian library, where only two colours are used, but where the design is very elegant. 11. — Fresco-painting. The traveller’s attention is drawn, more particularly than before, to the great works in fresco existing in the part of Italy described in this book, both by remarks inserted at those places where these works are mentioned, and by some preliminary observations, which will be found in a following section (see § 12). The reasons for this are, first, the importance and interest of the subject at the present moment, in consequence of the en- deavour to revive the higher style of art by the introduction of fresco- painting in the new Houses of Parliament ; and secondly, the facts which are stated by Sir Joshua Peynolds in the following passage (Lect. V.) : — “ The principal works of modem art are in fresco, a mode of painting which excludes attention to minute elegances : yet these works in fresco are the productions on which the fame of the greatest masters depends : such are the pictures of Michael Angelo and Eafiaelle in the Vatican ; to which we may add the Cartoons, which, though not strictly to be called fresco, yet may be put under that denomination ; and such are the works of Giulio Eomano at Mantua. If these performances were destroyed, with them would be lost the best part of the reputation of those illustrious painters ; for these are justly considered as the greatest efforts of our art which the world can boast. To these, therefore, we should principally direct our attention for higher excellences.” Though it is probable that the majority of persons interested in art are fiitrod. 1 1 . — Fresco- Painting. XXV a little more acquainted with the true nature of Fresco-painting than they might have been a few years since, before the ])ublic interest in the subject which has of late beeii felt was excited, and when the ])opular belief was that every picture ])ainted on a wall was fresco, including in that simple term oil and distemper, gesso and tcm[)cra painting, — still a few words may not be out of place upon the theory of fresco-painting, its eminent applicability to great works, and tlie information which all lovers of high art should feel it a duty to obtain concerning it, in consequence of the })resent movement towards forming a school of historiad painting in this country. The style of painting called Fresco-painting is so denominated simply from the meaning of the term Fresco, or Fresh, alluding to the fresh or wet lime, which, with an admixture of sand, forms the ground u]'»on which the painter works. This ground is formed of one part of (^uick lime, with some portion of its burning nature slaked out of it, and two of carefidly washed silver-sand. The colours used are those which are not changed or alfected by the chemical action of caustic lime, and, being laid upon the ground in its wet state, are partially absorbed into it, and the whole forms a concretion which, when dry, ])resents a surface impervious to the action of water, and proof against all change or decay, save what is caused by the want of care in the first prep.arations, or after neglect, always excepting that which the hand 'of Time slowly luit surely effects. The dry surface has also a certain crystalline glisten in it, which, no doubt, aids in giving the illuminating power which so strikingly distin- guishes fresco from all other modes of painting. Indeed a fresco may be said to give out light instead of absorbing it. The claims of fresco as the material best fitted for the execution of great works, may be considered under three heads : — 1st. For the simplicity and dignity of composition to which the artist who truly appreciates the capabilities of the material is insensibly induced, and by which his mean- ing is so much more intelligibly conveyed than in the more florid representations to which he is tempted by the flexile nature of other materials ; 2nd. For its illuminating properties already alluded to, and the readiness with which it is seen in all variety of light, owing to its equality of surface, free from the gloss and unequal shine which is in- separable from oil-paint ; and, 3rd. For its durability and freedom from change of any kind where ordinary care is taken. For the establishment of the first proposition it is only necessary to appeal to the works and practice of the most celebrated painters, and it will invariably be found that their greatest and most famous works are those they executed in fresco. Where it is possible to institute a com- parison between their pictures in oil and their paintings in fresco, it will be acknowledged that those who possessed equal mechanical skill in both materials produced the greatest and most interesting results in. fresco. The works of Michael Angelo, Eaffaelle, and Domenichino make this evident. It may be said that we have but little means of instituting the comparison in M. Angelo’s case. He cared so little for oil-painting, that the old story (fable as it may be) told of him is eminently characteristic of the man, namely, that he said that “ Painting in fresco was an occupa- tion worthy of a man, while oil-painting was only fit for women and children.” N. Italy— 1S52, h XXVI 1 1 . — Fresco- Painting, In trod. But in the practice of Raffaelle and Domenicliino there is no lack of evidence in support of this opinion. Who will not rank the Stanze and Cartoons* of Raffaelle as the highest efforts of his genius ? and what com- parison can he instituted between the oil pictures of Domenicliino (not even excepting the St. Jerome) and his frescoes at Grotta Ferrata, and in the churches of St. Luigi and St. Maria degli Angeli, at Rome ? Nothing is more striking in the paintings of the masters above alluded to than the intelligible manner in which the stories of the subjects are told ; and this important quality, so indispensable in works intended to elevate and in- struct the mind, is equally conspicuous in the frescoes of the earlier masters. Take, for instance, Giotto, who, amidst all his dignity, grace, and refine- ment, is as legible as Hogarth or Wilkie. The great charm, after all, of fresco-painting, is the way in which it absolves the spectator from all sen- sation of the material — “ paint.” Technical intricacies and tricks of the trade, such as “ surfaces,” “ variety of texture,” &c., are never thought of. Where the execution of a fresco is sufficiently complete, so as not to obtrude palpable deficiency upon the eye, the mind neither calls for nor requires those adventitious aids of art by which, after all, nature is only approached at a most respectful distance, but is entirely satisfied and absorbed in the contemplation of the intellectual properties of the com- position. With regard to the second proposition, namely, the illuminating [>roperty possessed by Fresco, and its aptitude for all variety of light in l)uildings, it may safely be asserted that, in this respect, helieving will be the inevitable result of seeing. Go where you will through the length and breadth of Italy, in and out of any of its many thousand churches, and countless evidences of this assertion will be presented to you. As a modern instance, Hesse, one of the best fresco-painters at Munich, stated to the writer of this, that he tested the comparative powers of oil and fresco in viewing them at a distance, by placing an oil study, which he had made for the head of the Virgin in the painting at the end of the north aisle in the basilica of St. Ronilace, side by side with the fresco, which was exactly the same size, and on retiring to the west end of the church the oil study was invisible, while the fresco shone out (to use Hesse’s own expression) “ like light itself,” In the third and last place, it remains to speak of the durability of Fresco, and its freedom from change, where ordinary care is taken. The present condition of many of the frescoes in Ital}^ will no doubt be a matter of disa})pointment and surprise to those who are unacquainted with the causes which have produced such lamentable results. But when it is con- sidered with what utter neglect these great works have been, and are still, alas ! treated, the surprise will be, not that they are tlms injured, but that any trace whatever exists of them. Roofs have been strqoped of their covering, and winter and foul weather allowed free access to such works as those of Correggio at Parma, and Pordenone at Piacenza. Fires lighted in tlie middle of "the Stanze of the Vatican have mercilessly smoked the School of Athens, and Dispute of the Sacrament. The candles of the Altar in the Sistine Chapel have flared and guttered over the Last Judgment of ]\L Angelo for centuries ; and as late as 1847 the writer of this saw three * The cartoons are here mentioned on account of tlieir design being eminently of a fresco character. Intrud. 1 2. — Music. xxvii distinct streams of rain pour over Oiotto’s Last Judgment through the broken ill-fitting windows of 8t. IMaria dell’ Arena, at Tadiui ; and to earnest remonstrance made to the Cicerone to get this sad state of things altered or amended, the only reply obtained was a shrug of the shoulders, and an intimation that the Tadrone “ lived at Venice, and that nothing could he done without his consent,”* Ac. Indeed, with every s])ecics of neglect and injury have these immortal works been visited, and so deeply rooted is the national indolence, that even now, when the j>resent pecuniary value has been discovered, and a ]dentiful harvest annually reajied by the countless tribe of Ciceroni, both civil and ecclesiastical, of high and low degree, scarcely an effort is made to retain the golden egg which is gradually but surely escaping from their j'ossession. Yet even in Giotto’s Cha])el and other ])laces where carelessness and neglect have been the order of the day, how wonderful is the ])reservation of many of the frescoes and much of the decoration ! and, in some instances, such as Gozzoli’s frescoes in the chapel of the Palazzo Kiccardi at Florence, and the works of Spinello Aretino, and Taddeo Gaddi in the Chapter-room of St. Miniato, and Sta. Maria Novella in the same city, all painted early in the loth century, where ordinary care has been taken, the frescoes are almost as fresh as the day on which they were painted. Gozzoli’s frescoes in the Camj)o Santo at Pisa are in a wonderful state of preservation, when it is reflected that for centuries they have been exposed to the immediate contact of weather, with all its alternations of heat and cold. — /. C. If. 12. — jSIusic. “ There is no feature of Italy in which the traveller is more liable to disappointment than its music ; a vague idea still ijervading many persons that Grisis are to be found at every country town opera, — that the streets are never empty of singing, — and that ‘ all those churches, open from morning to night,’ must mean organ-playing and choral performance, of some sort or other. Kow, without stoiJping to point out how a sweejnng denial of all this would be as unfair to the genius of a country which has been always spontaneous, no less than elaborate, as the sweeping expecta- tion is ridiculous, a word or two may in some degree protect the tourist from disappointment. In the first place, he must prepare himself for a declamatory style of dramatic singing, in which the old French usages (reviled by the Burneys and Walpoles) are more nearly approached than is agreeable to cultivated taste. Next he must recollect that, save in the winter, and at Carnival times, he will fall upon the bad opera season at the great theatres of Milan and Venice (‘La Fenice ’ indeed is not open in autumn). At the fairs a ‘ star or two ’ are generally secured to add their attractions to the manager’s bill of fare ; and at the second-class towns, such as Verona, Vicenza, Padua, there is a chance of tolerable average companies, but hardly singers of ‘ primo cartello.’ The best assemblage, I have been told, is generally at Trieste, early in September. In the churches, even the Duomo at Milan, and St. Mark’s, Venice, the perform- ances on high days and holidays are nothing short of disastrous. All trace, * A more worthy act of devotion to art could not be paid than the finding out of this Padrone, persuading him to give orders that the windows of this unique monument of Giotto’s genius should be repaired, and seeing it done. b 2 12. — Music. Inti'od. xxviii moreover, of the fine imaccompanied church music of Italy, most of which was perpetuated by MS. copies, has vanished from the shops. Lastly, though Italy produces surpassing instrumentalists, the taste for instru- mental music hardly secures sufficient to maintain them at home. I never heard of an orchestral concert, or saw sign of a single new composition, save fantasias on the favourite opera themes, d'his does not sound very tempting : and yet the dilettante who troubles himself to seek, will, I think, discern that the sense of tune among the people is still living ; and when he recollects that llossini sprang up to amaze Europe, at a time little more promising than the present, will pause ere he echoes the com- mon (jroivl, ‘ There is no more music in Italy.’ ” — II. F. C. In the remarks upon works of art which are inserted in the following pages, the object has been to i)romotc the enjoyment of the traveller, by directing his attention to the beauties of every school ; and not to dwell upon the defects of any one in a cynical sj)irit, or to adopt any particular or limited theory of art. There was a wish, however, first to point out the gi’eat qualities of mind, before the power and graces of manipulation, however beautiful. Iiitrod. Tables of Currency. XXIX 'I'ahUs of Foreiyn (Joins reduced into the different Currencies of Italy. I. INTO PIEDMONTESE CURRENCY. English Sovereign Francs. . 25 Cen- times. 21 Tuscan Seudo of 10 Paul Francs. s. 5 ('cn- times. GO Crown of 5 Sliillings 0 25 Delia of 15 J’auls. . 8 40 Sliillijig .... 1 25 Paul 0 5G French Jsa[)oleou d’O V Florin ] lO 20 irs . 20 00 Roman Do)»pia, gold . 20 87 5 frn7ic piece . 5 00 Scudo, 10 I’auls . 5 37 1 ditto .... 1 00 Paul 0 54. Austrian or Milanese Lira 0 87 Neapolitan Oncia of 3 Crown of (5 Lira 5 22 Ducals .... . 12 99 Gokl Sovrana . 34 SO Scudo of 12 Carliiii 5 09 Tuscan Zeecliiuo . . 11 20 Carlino .... . 0 42;t II. INTO MILANESE CURRENCY. English Sovereign . . A list. Lira. . 29 Cen- times. 00 Tuscan I’aul .... Aiist. I.ira. . 0 Cen- times. 67 Cromi 25 Florin ....... . 1 67 Shilling .... . 1 49 Roman Do})]iia . . . . 30 87 French Napoleon d’Or . . 23 00 Scudo of 10 Pauls . . 6 17 5 franc piece . . 5 75 Paul 62 1 ditto .... 1 15 Neapolitan Oncia . . . 14 93 Tuscan Zeccliino . . 13 33 Scudo of 12 Carlini . 5 85 Scudo of 10 Pauls . . 6 G6 Carlino .... . 0 49 III. INTO TUSCAN CURRENCY. Pauls. Grazie. Pauls. Grazie. English Sovereign ... 45 00 Roman Paul .... . c CroAvn . ... 11 2 Neapolitan Oncia . . . 23 n Shilling . . ... 2 Scudo of 12 Carlini . 9 o7o French Napoleon ... 35 Carhno .... 0 6 5 franc piece ... 8 u Milanese Sovrana, gold . 62 1 1 franc ditto ... 1 6i Scudo of 6 Lira . 9 24 Roman Doppia since 1839 . 46 n Lira , 1 54 Scudo of 10 Pauls . . 9 47? XXX Tables of Currency, Iiitrod, Table 1. English Money reduced to an equivalent Value in the Money of the several Italian /States. English Money. Lira Nova or Franc. Austrian Lira. Tuscan Scudi, Pauls, and Cirazie. English Money. ! Lira Nova or Franc. Austrian Lira. Tuscan Scudi, Pauls, and Grazie. £. s. d. Lira cent. Lira cent. Sc. PL Gr. £. S. d. Lira cent. Lira cent. Sc. PI. Gr. 0 0 1 0 loi 0 12 0 0 H\ 5 0 0 126 5 145 00 22 5 0 0 0 2 0 21 0 24 0 0 3 6 0 0 151 26 174 00 27 0 0 0 0 4 0 42 0 48 0 0 6 1 7 0 0 176 47 203 00 31 5 0 0 0 6 0 63 0 72 0 1 1 I 8 0 0 201 68 232 00 36 0 0 0 1 0 1 26 1 44 0 2 2 9 0 0 226 89 261 00 40 5 0 0 2 0 2 52 2 89 0 4 4 10 0 0 252 10 290 00 45 0 0 0 3 0 3 78 4 33 0 6 6 20 0 0 604 20 580 00 90 0 0 0 4 0 5 04 5 80 0 9 0 30 0 0 756 30 870 00 135 0 0 0 5 0 6 30 7 25 1 1 2 40 0 0 1008 40 1160 00 180 0 0 0 10 0 12 60 14 60 2 2 4 ! 50 0 0 1260 50 1455 00 225 0 0 0 15 0 18 90 21 75 3 3 6 60 0 0 1512 60 1740 00 270 0 0 1 0 0 25 21 29 00 4 5 0 70 0 0 1764 70 2030 00 315 0 0 2 0 0 50 42 58 00 9 0 0 80 0 0 2016 80 2320 00 360 0 0 3 0 0 75 63 87 00 13 5 0 90 0 0 2268 90 2610 00 405 0 0 4 0 0 loo 84 116 00 18 0 0 100 0 0 2521 00 2900 00 450 0 0 The Lira Nuova d’Jtalia, equivalent to the French Franc, is the current coin of the Kingdom of Sardinia and of the Ducliies of Piacenza, Panna, and Modena. Tlie Austrian Lira, etiual to 87 centimes of the Lha Kova, is only current in the LombardoATmetian territories. The annexed Table has been calcidatcd at the par of exchange, i. e. at the comparative intrinsic values of tlic precious metals contained in the Enghsh \ sovereign and the dilfercnt foreign coins comprised in it. 1 Table 3. Showing the Value of the different Measures of Distances employed in Italy, reduced to English Miles and Furlongs. Foreign Distances. Reduced to English. Foreign Distances. English. Yards. Miles, Furl. Yds. Miles. Furl. Yds. French Myriametre . 10,936 6 1 156 Piedmontese Mile 2,699 1 4 60 Piedmontese Post . . . 4 4 168 Milanese Mile . . 1,952 1 0 192 Milanese Post 8 6 200 Venetian Mile 2,114 1 1 134 Parma & Piacenza M. 1,619 0 7 79 Tuscan Post of 8 Miles . 8 1 164 Tuscan Mile . . . 1,808 1 0 48 Roman Post of 8 Miles . . 7 3 44 Roman Mile . . •\ustrian Mile of 4000 1,62s 0 7 88 Neapolitan Post of 8 Mites . 11 0 112 k latter .... 8,297 4 5 155 In trod Tahhfi of Carrencj/. XXXI Tadi.e 2. Currency of the difcrent Italian States reduced into English M;hout tliis svork the names of places are printed i/i italics only in those routes where they are described.] EOUTE PA&E 1. Susa to Turin - - - G 2. Turin to Milan, by Xovara - 30 3. Turin to Milan, by Casale and Mortara - - - - 39 4. Tindii to Asti, by Chierl - 42 5. Turin to Glenoa - - - 43 6. Alessandria to Piacenza - 47 KOUTE PAGE 7. Turin to Xice, by tlie Col di Tenda - - - - 49 8. Turin to Oneglia, by C/tem.sco 54 9. Turin to Oneglia, by Mondovi 57 10. Alessandria to Savona, by Acqui and Pego - - - 58 11. Turin to Savona - - - 61 § 1. TePEITOET. — G OTEE^iirENT. \Yliat Frederick, or Toltau’e for bim, said of Prussia, that it was made up of 'pieces rapportees, is most particidarly applicable to the continental dominions of the King of Sardinia. On this side of tlie Alps, tlie following are the component parts, united imder the authority of the present dynasty : — Piedmont proper, the nucleus of the present kingdom, gained from the Comits of Provence, by Peter Coimt of Savoy, m 1220. The Marquisate of Susa, wliich, at an earher period, included the greater part of Piedmont, but wliich was afterwards re- strained to narrower boiuids. The Principalitg of Carignano, a modern dismem- berment of the Marquisate of Susa. The Marquisate of Ivrea, which submitted to Savoy in 1313. The small Marquisate of Ceva, at the foot of the Apennines ; the Lordship of Vercelli, which, after several changes of masters, was ceded by Milan to Savoy in 1427. The County of Asti, ceded by Charles V. to Duke Charles IV. in 1531. The Marguisate of Saluzzo, long contested by the French, and which, though cutting into the heart of Piedmont, was not fully acquired by V. Ltaly — 1852. B 2 § 1. — Territory — Government. §2 . — Nature of the Comiti'y. Sect. I. tlie Dukes of Savoy till 1601. The Dnchy of Montferrat, obtained by the Dukes of Savoy in 1631. Several dismemberments of the Duchy of Milan, namely, the Provinces of Alessmtdna, Yalenza^ Tortona, the Oltre Po Pavese, and the iVb- varese^ ceded to Sardinia by the treaty of Aix la Cbapelle in 1748 ; and some smaller districts. And, lastly, Nice, Oneglia, and the Genoese States, &c., wbicb are treated of in the next Section. Previously to the occupation of Italy by the French, these territories were aD respectively governed by their local laws. Under Kapoleon, Piedmont continued annexed to tlie Empire ; and, since the restoration of the House of Savoy, much of the French achninistration has been retained, in connexion, however, with the original institutions, which have been partially restored. The government since 1848 is constitutional monarchy, consisting of a king, a senate, and a chamber of representatives : the municipal bodies have much power. The Dukes of Savoy, as is well known, acquired tlie regal title at the beginning of the last ce^itury. The following is their succession from the tune of Emanuele Filiberto (1553), by whom the fortunes of the House were restored, and who is considered as the founder of the IMonarchy : — 1580. Carlo Emanuele I. 1773. Tittorio Amedeo III. 1630. Yittorio Amedeo I. 1796. Carlo Emanuele IV. 1637. Francesco G-iacinto. 1802. Yittorio Emanuele. At the Congi’ess of Yienua, the right of succession, in the event (which hap- pened) of the failure of male issue in the direct royal line of Yittorio Amedeo II., was secured to the collateral branch of Savoy Carignan. The founder of this branch was the Prince Tomaso Francesco (born 1596, died 1656), the fourth son of Carlo Emanuele II. ; aiid upon the death of Carlo Felice, without male issue, the late king, as the descendant of Francesco Tomaso, obtained the crown accordingly. Defeated by the Austrians at Novara on the 23rd of March, 1849, lie abdicated in favour of his son, the reigning IMonarch, and retired to Oporto, where he died soon aftenvards. The royal family now consists of his Majesty Yittorio Emanuele, Iving of Sardinia, Cyprus, and Jerusalem; Duke of Savoy, Genoa, &c. ; Prince of Piedmont, &c. : born March 14, 1820, ascended the throne IMarch 23, 1819. The king is mamed to Maiaa Adelaide Francesca, Archduchess of Austria, and daughter of the Arcliduke Ecnier; born June 3, 1822; married April 12, 1812. They have five children ; the eldest, Humbert Carlo Emanuele, being Prince of Piechnont and prhice royal, born Mai’cli 14, 1844. Extent, Population, Agriculture, Food. — The area of the continental portion of the kingdom of Sardinia, including the Alps of Savoy and the Maritime Alps, is esthnated at 19,850 sq. miles, with a population of 4,140,000. Of tins, the poi’- tion which belongs to Piedmont consists of 12,280 sq. miles and 2,345,000 inhabitants. The fertile region of Piedmont, extenchng dovmwards from Mont Conis and the Simplon to the Marithne Alps and the Northern Apennines, is the most productive part of the continental kmgdom. It requh’es, however, great, carefid, and laborious irrigation, and the Po and the streams flowing into it supply the water. The farms are generally small, and m some instances culti- vated by the proprietors, but generally the Metayer system prevails. In most respects the cultivation resembles that of the flat country of Lombardy. The productions are maize, the cliief article of food, — wheat, rice, hemp, silk, the most important after maize, — beans, and other pulse vegetables. There are several 1638. Carlo Emanuele II. 1675. Yittorio Amedeo It. 1730. Carlo Emanuele III. 1821. Carlo Felice. 1831. Carlo Alberto. 1849. Yittorio Emanuele II. § 2. Natuee of the CorxTET. — P eodfce. — Eetenue. Piedmont. § 2. — Nature of the Country — Manufactures. 3 extensive vineyards, and the wines, e3))eeially tlioso of Asti, are reputed in tlio country for superior exeellenee. Tliey are not, however, in general well prepared, and are often either acid or sweet. Ihedinont exports a surplus produce for the consumption of Genoa, !Niee, and tlie ])rovinces bordering on the IVlediterranean. The continental Sardinian Stales do not, however, pi’oduce a suthcient quantity of farinaceous food for the wants of the ]) 0 ])ulatiou. Tlie average importatiou of foreign grain lias been calculated to he — of wheat, 201,278 English qrs. ; of Indian corn and other grain, 47,3‘J8 Ihiglish ([rs. : total 218,071 English qrs. The produce of oats of the continental states of Sardinia is sullicicnt for the consump- tion, exeejit in had years, when the delicieney is made \q> by ini])ortation from Lombardy and the Komagna. The number of horses is small in proiiortiou to what it is in countries north of the Alps ; oxen and cows arc generally used for agricidtural jnirjmses. Larley is greatly consumed for the feeding of swine. Leer is made in the count iw, hut in small qiuintities, and is very had. Leet-root is A'ery little cultivateil in the continental states of Sarchnia. A few years ago it was attenqited to grow beet -root for the ]mrpose of malving sugar, but, that thus ]>roduced coming dearer than colonial sugars, the cultivation of beet-root for this object has ceased. The (plant ity of henq) produced in the continental states of Sardinia j-ejiresents a yearly value of £100,000 ; but is not sufllcient for the wants of the country, including those of the naval arsenal of Genoa. What llax is grown in Piedmont is consumed in the country. Tobacco being a royal monopoly, its cultivation is strictly prohibited; a small quantity is however grown in the island of Sardinia. The nature of the agricultural ])roduce consumed for food varies in different parts of the country. In the towns wheat is extensively used. The inhabitants of the plains and low hills of Piedmont consume at least as much Indian corn and rye as wheat. In the Alpine valleys wheat is an article of luxury, and Indian com, potatoes, rye, and buckwheat are the only articles of food used by the great majority of the inhabitants. In the Apennines and the hills of Montferrat chest- nuts form an important article of consum])tion ; and lastly, rice, the production of the provinces of Vercclh, Xovara, and Lomellina, to the extent of 137,000 English qrs., is consumed in the country. A species of porridge called Pollcnta, made from Indian corn, a soup of vege- tables, such as pimipkins, onions, &c., together with coarse bread and wine, which in this countrv’ is of a heavy aiul nutritious quality, and of a very low price, form the ordinary food of the working and labourhig classes in the states of Sardinia, Manufactures . — In the continental states of the kingdom of Sardinia, the Genoese and other silk velvets and stuffs, stockings, common linens and woollens, for the use of the labourhig classes, tanneries, several distilleries, with some imimportant works in iron, paper, glass, and earthenware, form the principal manufactures. Canvass and cordage, with other articles for fitting out vessels, are manufactiu'ed in the towns along the coast : and the sliips of Sardinia are constructed hi the coimtry. In Genoa, Tiu’in, IS'ice, and some other towns, optical, surgical, and musical instruments, jewellery and fancy articles, are manufactm’ed; but excepthig for domestic consumption, and that not in sufficient quantities, (with the exception of shk stuffs, velvets, and paper,) this kingdom cannot be considered a manufactm’ing country. The hours of labour, and the employment of cliddi’en in manufactories, are regulated by printed rules issued by the government. Hevenue and Taxation . — The revenue is derived from the land-tax, the customs, the excise upon home production, and minor sources. The two branches of cus- tom and excise yield annually an average of from 42,500,000 to 43,500,000 hre ; the land-tax, &c., about 28,000,000 ; post-office, Ac,, 2,250,000 ; mines, patents, B 2 4 § 3. — Language. § 4 . — Fine Arts — Literature. Sect. I. fees, coinage, &c., 1,500,000. Total, 74,750,000 lire. The expenditure, including the interest of the national debt, being sometliing under the receipts. The national credit of Sardinia consequently stands high. The amount of the pubhc debt is about £10,000,000, bearmg interest, part at 4 and part at 5 per cent. Notwithstanding the great expenses incurred by the late war, the finances of Sardinia may now be said to be in a prosperous condition, in a great measime owing to the wise adminstration of the present Prime IMinister Azegho, and the great advances made by the government of Victor Emanuel II. towards a hberal commercial policy. Eefore the Clrristian era the gold-mines of this region were productive ; and at present most of the rivers clescenchng from the Alps into the Po are still auriferous, though affording but a poor living to those who are employed in ■washing the sands. The Piedmontese are not handsome, but they are strong and well built, and very active and industrious ; and, in tlie riu’al districts, very sunple and honest. The Koman Catholic religion is not merely the established but the dominant creed, and its ascendancy is strictly maintained. It may be noticed that, unlike most other parts of the Continent, tlie Sunday is very strictly observed in the Sardinian states ; the shops, and all the public offices, including the post-office, being closed. Put since the accession of the preseiit sovereign, the Protestants of the Alpine valleys are no longer persecuted, and they have been even permitted to erect a church at Turin. § 3j LANGrAGE. The Piedmontese dialect is much more hkethe Provencal than any other of the modifications of the Volgare in the north of Italy. But this similarity is not the effect of mixture or corruption : it is an original language, holding a middle place between the two languages of Provencal and Italian, with some pecidiar intona- tions and vowels ; which, in addition to its vocabulary, render it perfectly mi- intelligible to a stranger, however well versed he may be in the sister tongues. The Pieilmontese is the universal speech of the country, and employed by liigh and low ; though, of course, all persons of education, or who have transactions with strangers, speak Italian. Erench is in very common use at Tm'ui, Saluzzo, aiid Susa ; first introduced, without doubt, by the com’t and followers of the Dukes of Savoy, and kept up by the frequent occupations wliich the country sus- tained from their Gallic neighboims. Now, however, it is losing its ascendancy, and is rather discouraged by the govenmient. § 4. Fine Arts.* — Literature. The manner in which the dominions of the House of Savoy have been com- pacted renders it rather difficidt in some cases to define who are the great men whom it can claim. The best painters that were natm’ahsed here, such as Gandenzio Ferrari^ a native of Yal Sesia (see Tercelli) , Lanini, and Solari, really belong to the Milanese school. The last, Solari (fl. 1530), the son-m-law of Lanini, was born at Alessandria. He was an hnitator of E-aphael, and not with- out success. Guglielmo Caccia^ otherwise called Moncalvo (1568-1625), so named from the place where he fixed his residence, worked much at Tm’in, Novara, and Tercelli. Some consider him as a follower of the Carracci, a point disputed by Lanzi, and apparently with good grounds. The eighteenth century produced a host of inferior artists. The Dukes of Savoy were hberal and splendid collectors of works of art, and they also invited many foreign artists, as Balthazar * On this subject consult Kugler’s ‘ Handbook of Painting in Italy,’ edited by Eastlake — a work designed for the information of travellers. PiKDMOXT. § 5 . — Posting — 2Ioney^ ]Vehjhts^ and Measures. 5 ]\[atlheiv of Antwerp; Jan Miet, a ]uipil of Vandyke; and Daniel Seyter of Vienna. A ery reeeutly llie Academy lias received much encouragement ; it was first founded in 1078. A certain number of ])U])ils are sent to Koine, and are there maintained at tlie e\])ense of tlie government. It was re-organised by the King Carlo Felice in 18*.J1, and was afterwards denominated the Academia Albertina^ after the then reigning sovereign. No jiainter of any eminence has been jiroduced, and the only good I’icdmontese engra\er, Forpurati^ is dead, without a successor. One, however, of the bi'st seidptors of the jiresent age, Maruchetli, may ])erhaps be eon>idered as a Ihedmontese. d'he ihedmontese school of architecture in the last century exhibits some genius: that of the present day is not remarkable. Literature is nourishing; ollering as good if not a better ])ros])ect than in any other state of northern Italy. French literature is losing much of its inlluence, and of Cerman little is known. Though only what may be termed a commercial symptom, the art of printing is carried to great jierfection. ft is in history, belles-lettres, and seienee, that the riedmontese (using the term for the Itahan subjects of Sardinia) are most distinguisbing themselves. .Mainio, Kalbo, Cibrario, Kicotti, Bertoletti, Fellieo, D’Azeglio, Kota, Gioberti, Selopis, Feyron, Alaremo, Komani, Flana, Collegno, Alberto della Alarmosa, Lorenzo Fareto, Aloris, Gene, are an lionoiu’ to their country. § 5. Fostixo, AEonev, Ac. jSo post-horses can be furnished until the traveller has jirocurcd a holletone^ which is a stamped printed paper containing the route, and is issued by the post- ollice, and for which 75 centimes are jiaid. 'J’his document is made out for the several roads — e.g. from Turin to Genoa ; and contains the names of the several stations, the length of the ]iosts, and the jirincijial regulations as to the number of horses required for the diilerent classes of carriages. The bolletone is valid for 2T hours only, so that it requires to be renewed if the traveller should choose to stop, or should even from an accident be detained on the road longer than that time. The regulations respecting the post are numerous and intricate : they are all contained in a little book published by authority, intituled ‘ Fetit Livre Postal a I’usagc des A^oyageurs dans les etats de terreferme de S. AI. le Eoi de Sardaigne.’ The ordinance which it contains regulating the post has 104 sec- tions, and might perhaps, by the application of due ingenuity, raise as many questions as an Act of Farhameiit of the same length. The price per post is the same as it used to be in France before the recent alterations, viz. 1 fr. 50 cents ; the postihon is entitled to 75 cents per post, and from 1 fr. 50 c. to 2 fr. is what he usually receives. The amount, including postilion at the rate of 1 fr. 50 c. per post, may be reckoned according to the following table : — Posts. 2 Horses. 3 Horses. 1 4 50 6 li 5 63 7 50 6 75 9 If 7 87 10 50 2 9 12 Oi 10 12 13 50 21- 11 25 15 2f 12 37 16 50 3 13 50 18 AIonet, AVEianTS, AIeasuees. The coinage is exactly of the same tariff and divisions as in France : some few pieces of the old Savoy coinage are current, but they are rarely seen. 6 Route 1 . — Susa to Tunn. Sect. I. Silver Coins. 1 franc = 100 centimes = 20 sous = English. I „ = 50 „ =10 „ = 4i(Z. „ i „ = 25 „ = 5 „ = ^d. „ 5 j, — 35. ll^fZ. ,, Gold Coins. Pieces of 20 francs or Napoleons = 155. lOfZ. YALEE OP SOME OP THE COINS OP THE NEIGHBOURING COUNTRIES IN THE CURRENCY OP SARDINIA. A Zwanziger or Lira Austriaca is ecpial to 87 centimes ; 5f zwanzigers are cun’ent as equal to 5 francs. An Austrian florin is equal to 2 francs, 50 centimes. A Swiss batz is equal to 15 centimes. 7 batzen = 1 franc. GOLD AND SILVER WEIGHT. VALUES IN ENGLISH TROTWEIGHT. IHark. Oiicie. Denari. Grani. Ounces. Pennywts. Grains. 1 = 8 = 1‘J2 = 4()08 = 7 18 3 1 = 21. = 576 = 19 18^ 1 = 21. = 19M The Eubbo, commercial weight, is 25 pounds. This pound or hbra contains l-J^ Mark or 12 oimccs of the gold and silver weight. Therefore, 100 pounds of Turin = 81'32 lb. Avoirdupois. Vv'iNE IMeasuee. The Erenta is divided into G Eubbi, 36 Piute, and 72 Boccale. The Brenta =14'88 Gallons English ; the Eubbo = 2‘ 18 Gals. ; and the Boccale is rather more than a pint and a half. Long IMeasuee. The foot = 12-72 English inches, or 0‘323 of a Metre. The raso or ell = 23*3 English inches, or 0-5915 of a IMetre. The Piedmontese mile is reckoned at 2166 P. metres =2697 Enghsh yards = 1^ mile and 57 yards Enghsh ; consequently, as the Poste consists of 3 Pied- montese miles, it is equal to 4fg Enghsh miles. 45-1 Piedmontese miles aro equal to 1 degree of latitude. EOUTE 1. SUSA TO TURIN. 7 posts (32 miles). (For the road from Pont de Beau- voisin to Susa, see Handbook for Swit- zerland, Ete. 127.) Susa (Albergo deUa Posta, decent ; Hotel de Savoie, new). This very ancient city, the Segusium of the Eomans, is now reduced to a small extent, scarcely numbering ,more than 3000 Inliab. It is stih the seat of a bishopric, the only token of its former importance. It is sm-rounded Avith lovely scenery. The Dora-Susina, so caUed to chstinguisli it from the Dora-Baltea, in the valley of Aosta, rushes by the side of the city. The Arch or City Gate, erected by Juhus Cottius, the son of King Donnus, about B.c. 8, in honoiu’ of Augustus, is the most remarkable historical feature of the city. This king of the Alpine tribes, having submitted to the Eoman authority, records his dignity under the hiunbler chai’acter of Prefect : the in- Piedmont. Itoute 1 . — Susa to Turin, 7 scri])tioii, now nearly defaced, states the names of tlie mountain clans ; whilst the basso-rilievos re])ivsent the saeriliees and other ceremonies hy w Inch the treaty was ralillcil and concluded. The order is Corinthian. The basso- rilievos are of coarse; execution — rams and swine as lar<^e as the human lignres, and the latter with over*^rowii heaels and dimiuutixe limbs — scul|)- tures which are perhaps tlie work of native Celtic artists. The dispropor- tion and dcfoiauity of the heads of the li^urcs, and the elunr-iucss of the ani- mals, may he said to emulate the basso- rilievos of a Xorman cathedral. “ 'J'he arch is a line hut simple building of white marble. Tlie upper ]>art is destroyed, hut cnonerson the 1 louse of Savoy ob- tained tlie island of Sardinia and tlie royal title; but a sliort time after his retirement he grew weary of a [)rivate life, and formed a seheme for repossess- ing liimself of tlie royal authority. Some say that his intelleets were im- pairetl ; otliers, that he was instigated by the ambition of the Countess of Sommariva, for whose love he had re- nouueed the erown, and whom lie married immediately after his abdiea- tion. The royal recenant was speedily laid. The eouneil of Carlo Kmanuele readily eoneurred in the opinion that Tittorio should be seized — a deter- mination which was probably not re- tai'ded by his boast that he would take good care to beheatl all his son’s minis- ters. lie was accordingly brought to Eivoli, Se]M. 1731, ami kept in what was e([uivalent to sohtary eonfmement. Ilis attendants and guards were strictly prohibited from speaking to him ; and, if he addressed them, they maintained the most inllexible silence, answering only by a very low and submissive bow — a miserable mockery of respect. He was afterwards permitted to have the company of his wife, and remove to another pi’ison ; but, on the 31st of October, 1732, he died ; thus exempli- fying the truth of the, well-known re- mark, that it is only a short descent from the tlu’one to the grave. Some of the rooms have i*eeently been fitted up for the present king. There are many pictures in the palace — a collec- tion of views in Piedmont by the bro- thers Cignaroli, landscapes by Va^iloo^ and a series of historical scenes fi’om the hfe of Amedeo VIII. The air of Kivoli is remarkably pure, and the place is very healthy. Hence the town and its vicinity aboimds in viUas. Amongst others is the resi- dence of the Avvocato Colla, to which is annexed a botanic garden, with hot- houses and conservatories. At Eivoli begins an avenue of pol- lard elms, leading to Tiu’in, about six miles in length, the distant extremity of the vista being terminated by the Superga. In quitting Turin, the view towards Blount Cenis is veiy fine. Ij. (But half an additional post is charged on entering Turin.) Turin. Inns: Hotel de I’Europe ; ehez Trombetta ; very comfortable and well managed. Hotel Feder, very good, and moderate charges. Table-d’hote at lialf-jiast 1 and at 5, 3 francs. Dinner in ])i‘ivate 1 francs. A list of prices, &c. is hung up in every room. Albergo di Londra, good cooking. Hotel de Ville, formerly tlie Pension iSiusse, and Bonne Femme, are tolerably good as second-rate inns. Itestaurateiirs : The Cafes of Turin are numerous and good ; the San Carlo and the Fiorale are reckoned the best. The prices at the cafes arc not high : e. g. colfee, 20 cents ; chocolate, 25 cents ; ice, 25 cents ; good white wine, GO cents the bottle ; red 50 cents ; but you must not ask the price, for, if you a]ipear ignorant, they will double it. There are good restaurateurs on the French plan : L’Universo ; il Pastore ; le Indie ; and la Verna. At these es- tablishments dinners may be had from 2 to 5 francs. There is also a restaurant at the Hotel de I’Europe. The cho- colate of Turin is reckoned the best in Italy. The Piedmontese bread, in long thin wands, called “ Pane gris- sino,” is remarkably good. It was introduced by a physician, who found it in his own case more digestible than the ordinai'y bread. It takes its name from him . Poidtry should be avoided in the spring : the fowls at that season feeding upon a pecidiar insect wliich gives them a rancid taste, extending even to then- eggs. The Post-office, wliich is in the Pa- lazzo Carignano, is shut on Sundays and holidays. On other days the office closes for Oenoa and Tuscany, Eome and Naples, at 11 a.m., and the courier leaves at noon. For France, England, and all countries to the north, the office closes at 3 P.M., and the courier leaves at 4. On Saturdays letters which reqiure franking must be posted before 6 p.jM., and all others before 10 P.M. 12 Route 1. — Turin. Sect. I. There are no regular fiacres ; but carriages ply for hire in the Piazza Gastello. Of these, some are shabby, and some are good j but, for most pur- poses of exein-sion in and about the city, they answer quite as well as the much more expensive carriages limed at the hotels. The Dihgences of the Brothers Bona- fous (Strada de Angennes) are among the best in Italy, A diligence or a cliaise de poste runs daily, over the Mont Cenis, to Chambery, and from thence to Lyons and to Greneva. To Milan daily. The railroad from Turin to Genoa is now open for nearly 80 m., as far as Ar- quata ; trains start 3 times a day ; the station is at the S.W. extremity of the Strada Nuova, not far from the Piazza San Carlo. To Pignerol daily, from the Bureau, near the Albergo del iVloretto. To Arona, Biella, Casale, Yercelli, Pia- cenza, &c., daily, or nearly so, from the Bureau, near the Albergo del Pozzo, A diligence from Turin to Nice daily by Cuneo and the Col di Tenda, and another by IVIondovi, Oneglia, A'enti- migha, and iMentone. A diligence 3 times a week to Piacenza, Parma, Bo- logna, and Borne. Yeturini ply at the Bue Bosse, the Dogana Yecchia, and the Albergo d’ltalia. .For the Mont Cenis, Genoa, Geneva, and Nice, return- carriages may be found almost every day, and at verj" reasonable prices. There are now no suburbs to Tiu-in : what were the suburbs are taken into the town, and continuously built up. It may be said to be one of the most floui'ishing cities of Europe. Under the French, the population in 1813 sank to 65,000 : it is now in- creased to 117,000, exclusive of the mihtary, and is yearly increasmg. Of its commerce, the silk trade is the chief and most lucrative branch ; and the finn of Nigra, and all the other prin- cipal bankers, are engaged in it. Thefr character for respectability and sohdity stands very high in Loudon. On arriving at Turin yoim passport is no longer taken from you. But be- fore leaving, the passport must be vised by the Minister of the Sovereign in whose name it was granted, and also by ! the Sardinian Secretary of State for Foreign Affairs, for which a fee of 4 francs is charged, and lastly at the office of the police, Palazzo Madama, in the Piazza Gastello. Turin is now unfortified, but the citadel subsists, and is a veiy remarkable monument of mditary architecture. It was built by Emanuele Filiberto in 1565 ; and, jire- ceding Antwerp in date by two or three years, is the earhest specimen of regular fortification in Em’ope. It is a pentagon, and constructed -with great skill. The modern art of mathe- matical fortification is of Itahan inven- tion (see Yerona) ; and it is interesting to notice the perfection to wliich it was at once brought. Witliin tlie last few years the pavement of the streets has been considerably improved, by laying do mi long slabs for the wheels to run on, similar to the method used at Milan, and to be seen in tlie Commercial Boad in London. In the broader streets there are two hues, in the narrower a single line. In Italy, the land the most rich in recollections of the past, Tm’hi is per- haps the poorest city. Its history, whether under the Empire or durhig the middle ages, is almost a blank. Some of its marquises are obscm’ely noticed ; and Claudius Bishop of Turin (died 840) is distmguished by liis opposition to the use of images in Divine worship, as a breach of the second commandment ; and he was equally opposed to the veneration of rehes. Turui has been repeatedly destroyed: the last ravages it sustained were from Francis I., m 1536, who demolished the extensive suburbs, and reduced the limits of its ancient walls ; and it then appeared as a borgo of the greatest size. Turin is therefore absolutely denuded of any vestiges of antiquity, whether classical or mediaeval. Fran- cis I., the “Father of Letters,” by his ravages also destroyed. the ampliitheatre, and several other Boman remains. Two towers, said, without the slightest probabihty, to be Boman, called the Torri Augustali, forming part of an edifice used as a prison, and two others, Piedmont. Route 1 . — Tarm — Climate — Cathedral. 13 part of tlie castle erected by Amedeo VI IT. (about IMG), and now included in the T’alazzo Madania, can hardly be considered as an excej)tion. The re- construction of the city, begun by Enianuele Filiberto and Carlo Ihna- nuele 1., is more due to Carlo .Kma- nuelc If. and I'ittore Amedeo. Still further im])rovcments have been very recently made, under the three last, and the reigning monarch. At least one fourth of the city has been erected since the restoration of the royal family. The streets, or contrade, arc all in straight lines, and generally intersect each other at right angles. The blocks, or mas.ses, of buildings, formed by the intersections are called isole, an archi- tectural Latinism retained here and also in Provence. The houses are of brick intended for stucco, and not stuccoed. This is the fashion of the place, and yet it is a fine, and even magnificent city. The houses are large, the parts on a large scale ; the windows and doors are always ornamented, and the hotises are crowned Avith a cornice. The houses themselves are not all alike, though sometimes there are rows of considerable extent. Through the per- spective of the streets, the hills, moun- tains, Alps, which surround the city, are continually in sight. Turin is placed in the most beautiful conjoint valleys of the Dora Susina, or Eiparia, and the Po, just above their jimctiou : the fii’st is a fine mountain torrent, whose banks afford a continued succession of fine scenery; the last is ah’eady a deep and rapid river. “Cosi scendendo dal natio suo monte Non empie umile il Pd 1’ angusta sponda ; Ma sempre pin, quanto e piu lunge al fonte, Di nove forze insuperbito abonda. Sovra i rotti confini alza la fronte Di tauro, e vincitor d’ intorno inonda : E con piu coma Adria respinge, e pare Che guerra porti, e non tributo, al mare.” — Tasso, Gier. Lib., ix. st. 46. Beyond the Po is the very beauti- fid range of hdls called the Collina di Torino, rising to the height of about 1200 or 1500 feet. They are sparkling avith villas ; and, in then’ forms, possess alpine boldness without alpine severity ; the little valleys are most rich!}' clothed with vegetation ; and advantage has been taken of theso varieties of surface in many of the gardens and grounds attached to the villas. The climate, however, is influenced by the vicinity of the Alps ; the winters are cold, the quantity of rain is con- siderable ; and when it hails, the crops are literally cut in pieces by the frag- ments of ice ; hence the institution of an insurance ollice (the Socictit Beale d’Assicura/.ione contra la Grandine) against this risk. The architect principally employed at Turin by Carlo Kmanuele II. was Guariiii (1G21-1G85), a Thcatine monk, an able mathematician, and who well used, some say abused, his mathe- matical knowledge, in his bold and daring constructions. Ivara, or Ju- vara, a Sicilian by birth (1G85-1735), was much ])atroni.scd by Vittorio Amedeo. Thci’e is a great difference in the style of these Iavo arclhtects, but both luiA’e in common a neglect of the rides of A'itruvius or Palladio ; more moderated ]ierhaps in Juvara, but carried to the utmost extent in Gua- rini. Hence both have been much criticised. The Cathedral, or Duomo, is the oldest of the sacred edifices in Turin. The original structure was founded by Agilulph Iving of the Lombards, about 602. The present building was begun 1498, and consecrated in 1505. Bramante is supposed to have de- signed it, but the building has little similarity to his style ; and it has been much altered, and some arabesques in the pilasters of the fa9ade are the only remarkable x^ortions of the original structure. The interior has been very recently elaborately decorated with frescoes ; some by a German artist. The vaulting contains the Scrix)ture histoiy, from the Creation to the giving of the Law. Over the arches are the X)rincix)al events ui the life of St. John the Baptist ; at the west end is a copy of the Cenacolo of Leonardo da Vmci, also in fresco. The older pictures are not very remarkable. The best are the foUowuig : Albert Durer, the Virgin 14 Route 1 . — Turin — Cathedral — Procession. Sect. I. and Saints. — F. Zaiccheri^ the Resurrec- tion. — Casella^ St. Cosnius and St. Damian. — Two statues, by Pierre le Gros, representing Sta. Teresa and Sta. Christina, have been much praised ; but they are all in a flutter, and, except in the mechanical execution, have not great merit. There are few sepulchral monuments in this cluu’ch. The most remarkable is that of Claude Seyssell, whose career, allowing for the diilercnee between that of a clerk in liis age and of a layman in this, was not very dissimilar from that of some illustrious French statesmen of the present day, Seyssell began by being a professor at the university of Turin, where he taught with great success. He then entered the army of Louis XII., but was transferred to the civil service, and became master of the requests, and was also much employed in diplomatic offices. He then became Dishop of Marseilles, and, finally. Archbishop of Tiu-in. He translated several Grreek writers, and composed various historical works ; but all with more or less of a political character, and promoting the interests of the French crown. lie died 1530. The high altar is ornamented by a most splendid dis])lay of silver candle- sticks and other church plate : by the side of it is the tribune, or gallery for the royal family. Out of the Roman states, there is no jiart of Italy where the rites and duties of the Roman CathoUc Church are practised with so much pomp and splendom*. The sacristy contains several magni- ficent crosses, vases, shrines, and the hke, of which the chief is a very large statue of the Virgin, cronmed, and standing under a silver-gdt canoj^y. On the festival of the Nativity of the Virgin (8th Sept.), a solemn procession takes place, equally in honour of the Virgm and in commemoration of the delivery of the city from the French. (See Siiperga, p. 31.) Tlie battle took place under the walls of Tiu-in, 7th Sept. 1706. Vittorio Amedeo, assisted by the Imperial and Prussian troops, under Prince Eugene, Field Marshal Daun, who occupied Turin, and the Prince of .Lnhalt, gained a complete and decisive victory. The French lost 153 pieces of cannon and sixty mortars ; and this victory Avas in truth the salva- tion of the house of Savoy, whose de- struction was sought by Louis XIV. with the most inveterate antipathy. — “ The procession begms AAuth the cliildren of the different schools, Avhich are very numei’ous. Then foUoAv the charitable and devotional guilds, fi’a- ternities, and sisterhoods, aU mar- shalled under their crosses and banners. The office-bearers wear a curious head- ch'css, somewhat hke a turban, and often seen in the ancient frescoes. The fraternities and sisterhoods com- prehend members from e\'ery rank of society : now you see a smart cap, or a liandsorae, collar, or a pair of neat silk stockings peeping out beneatli the grey veil and the ash-coloured robe, and now the hem of a gOAvn of the poorest mate- rial ; but all distinctions are levelled, though not entirely concealed, by the monastic garb. Then follow the dif- ferent religious orders : the dean and chapter of the cathedral ; the arch- liisliop, his green hat borne before him ; the decurions and other magistrates ; and, lastly, the statue of the Virgin, sixteen bearers being scarcely able to support the weight of the Brancard and its imagery. All the wlule the bells are rmging ; the chants of the Litanies at each pause are exchanged for martial music, wliilst you hear the distant roar of the cannon from the citadel,” — {jSI.S. Journal.) To see this striking spectacle advantageously, the spectator shoidd be in some of the houses which look upon the piazza of the cathedral, and view the train coming forth from the portals and descending the stairs. Another similar procession takes place on Corpus Clu’isti day, or, as tlie Italians call the festival. Corpus Domini. On the eve of St. John, that fated, mystic eve “ when bad spirits have poAver,” they yet celebrate one of those ceremonies wliich, AAuthout doubt, are indnectly connected Avith the an- cient behef. A great bonfire, called the f alb) is made in the Piazza CasteUoj Piedmont. lloute 1 . — Turin — Santo Sudario — Churches. 15 immediately opposite to tlio pyramid : and contributions of liiggots and brush- wood are given as liberally to the pile by the neighbours, as they useil to be amongst us upon (Suy Fawkes’s day. Put tlie J(ilo is singularly Jionoured ; all the magistrates of the city attend its light, and the king and his family jnvseiit themselves at the balcony of the royal ])alace, and the troops in the piazza c*onelude the ceremony with their volleys. On the following day the magis- trates atteiul mass in the cathedral: the relics of Sl..lohn are then carried in ])rocession to the i’alazzo della C'itta, where ilowcrs and citrons are presented to the archbishop and the canons, and the ])rocession then returns to the duonio. I'he illuminations which accompany these festivals are beautiful. Pehiud the altar end of the cathe- dral, and seen in perspective through the arch over the high altar, is the chapel of the San/o Sudario, said to be the masterpiece of Guarini. The chapel is on a higher level than the church, and is entered by a staircase of black marble. It is chxadar, the lowest division being composed of arches, and is built of the same black or rather dark grey marble. The cupola is formed of arched ribs, on chords of the circle ; from the sum- mits of wdiicli other similar ribs spring in succession, thus forming a sort of dome. The capitals of the colmnns, and some other ornamental portions, are of bronze. In these capitals the crown of thorns is in- troduced amidst the leaves of the acanthus. The pavement is composed of a dark blue marble, also inlaid with bronze. In the centre is the altar, of black marble, upon which is placed the shrine, brilhant with gold, silver, and precious stones. Magnificent lamps, given by the late queen, are suspendecl on either side. The Santo Sudario, ac- cording to the ecclesiastical legend, is one of the folds of the slu'oiid in wliich our Lord was w’rapped by Joseph of Armiathea, and on which an impression was left of his body ; other folds being presened at Rome and at Besanyon, and at Cadouin in I’crigord. This one was brought from Cyprus, 115:3, by iUarghcrita di Charni, the descendant of a nobleman of Champagne, who was supjmscd to have won it during the Crusades : but there is not the slightest evidence of its history, or even of its existence, untd tlie fifteenth century; wlien, having been given by Mar- ghcrita to Duke Louis IL, it was first deposited at Cliambcry, whence it was brouglit by Ihnanucl Blulibcrt for the ))»ir|)ose of enabling 8t. Carlo Bor- romeo to venerate it, Avithout the fatigue of crossing the Alps. Wliile it was at Chamln'ry it was invoked 1)V Francis 1. ]>reviously to the battle of Marignano, and on his return to France lie went on foot from Lyons to worshi]) it. iMost of the other cluu’ches arc splendidly decorated : amongst these may be noticed — San Maurizio, belonging to the militaiy order of St. Maurice, Avith a fine cupola : a recent fa 9 ade is the least pleasing portion of the building. San Domenico contains a picture by Guercino ; the Virgin and Child presenting the rosary to the patron saint. Chiesa del Corims Domini (one of the finest in Turin), built by Yitozzi in 1607 ; but the Avhole of the interior is from the designs of Count Alfiei’i. It is very rich, and is a characteristic specimen of the architect and of his age. In the centre, as is stated by an inscription, on a railed-in marble slab, to commemorate the mh’aculous recoveiy of a piece of Sacramental plate containing the blessed wafer, and which, being stolen by a peasant, was liid away in one of his market- panniers, the ass carrying which re- fused to pass the cluu’ch door until reheved of the weight of the sacred object, which being removed, he pro- ceeded on his jommey. San Filippo. Tliis church was one of the trials of skill of Guarini, but here his skill failed him ; and the cupola, somewhat upon the plan of that of the Santo Sudario, feU doAvn. 16 Route 1 . — Turhi — Churches — Palace. Sect. I. It was rebuilt by Juvara. Tlie cburcli of San Filippo is perhaps the finest at Tiu'in, but it is not vei*y handsome. The architects of this city have been fond of dividing the nave into large parts, and redividing each of these into a centre and two sides, by an arch resting on two columns, and smaller openings between these and the piers. The efiect is not at all good, nor is it possible it should be so ; eveiything which divides the parts into separate compositions weakens the effect of the whole, by destroying its unity. San Lorenzo, an extreme example of the boldness and strange fancy of G-uarini, is cm-ious from its fantastical dome, formed on ribs, each of which is the chord of three eighths of a circle ; in this may readily be traced the archi- tect of the Chapel of the Sudario. Sta. Ckyistina, with a striking fa9ade by Juvara : perhaps, on the whole, one of his best productions. Sayi Rocco. This, which has a fine and well-constructed dome, belongs to the fraternity of the blue penitents, who attend the sick and bury the dead. In the front of their garments they ex- liibit a skidl and crossboncs. To a stranger they appear the strangest of the constituent portions of the great processions. La Consolata derives its name from a supposed miraculous painting of the Virgin, the object of much honour. Tlie picture is, in the opinion of Lanzi, the production of some pupil of Giotto, though attributed by the legend to the age of St. Eusebius, Bishop of Vercelli, in the fourth centuiy. This chiuxli is a combmation of three chiu’ches open- ing into each other. It is riclily de- corated with silken hangings, curtains, and marbles, many of the latter of which are beautiful. Sant' Andrea, united to the Conso- lata, is one of the most ancient chiu’ches of Turin. In the 10th centmy it was set on fire by a body of Saracens, who, having been brought prisoners to Tiu’in, overpowered the guards, and nearly de- stroyed the city. La gran Madre di Dio, a new church, finished only a few years ago. It is erected in commemoration of the re- storation of the royal family. The building is a servile and meagre imita- tion of the Pantheon. The Piazza Castello, contamhig some of the pi’incipal edifices, is surroimded by lofty palaces, which extend also through the Strada del Po, a noble perspective, terminating with the blue hills ; in the same manner as the pros- pect of the Contrada Dora Grossa, on the other side of the Piazza, terminates with the Mont Cenis. The Rogal Palace. This edifice was raised by Carlo Emanuele II., from the designs of the Conte Amedeo di Castellamonte. The exterior is respect- able, but has no pretensions to mag- nificence, except from its magnitude. The interior is well arranged, and, be- sides the \isual apartments for the state and residence of a sovereign, contains within it many public offices. On the principal staircase is an equestrian statue of Vittorio Amedeo I., com- monly called “ II Cavallo di 3Iarmo," the animal being much more prominent than his rider. The figures of captives at the feet of the horse are by Ach’iano Frisio, a scholar of John of Bologna. The great old-fashioned hall, formerly appropriated to the Swiss Guards, is o]ien to the pubhc ; the sovereign being always accessible to his subjects, not oidy in theory but in fact. A cmlous painting of the battle of St. Quentin forms an appropriate ornament. The state apartments, particidarly the throne room, are splendidly fimiished ; modern luxury being united to the solid magnificence of the last century. It has lately received additional de- corations from the King’s architect, the Cavaliere Pelagio Palagi, not all in the best taste. The parquets, or in- laid floors, are remarkably beautiful. The King’s Private Library is very extensive, and contains some curious manuscripts and correspondence : — the materials sent by Frederick “the Great” to Coimt Algarotti as the basis for the history of the seven years’ war ; letters of Emanuel Filibert, Prince Eugene, Eedi, and Kapoleon ; many Ai’abic and Piedmont. Route 1 . — Taria — Armoury. 17 Syrian manuscripts. There is also a I 288. Cuirass valuable collection of drawings by old j Flmamiele masters, formed by Volpato, wlio now tlic custode, ami the Cavaliere I’romis, tlic librarian. Pndcr tlic roof ol the palace, and adjoining tbo state apartments, is tlie Armeria Rf^yla. This collection was formed in 1833, partly from the ar- senals of Turin and Genoa, and jiartly from jirivate colleetions. It contains several pieces of historical interest, and, ])crbaps from its novelty, is con- sidered as one of the })rinei])al .shuirs of Turin. It has been jndieionsly ar- ranged ; but wbetlier Sir Samuel Aley- rick will acipiiesce in the dates assigned to the ])ieces, is more than we can war- rant. The following are amongst the chief objects : — 20. 31. Two suits which belonged to Antonio Martinengo in the 15th century, both ornamented with da- inasqnine and other engravings of ex- cellent design : the latter (31) is the finest in the collection. 85. The fidl suit of the Duke Ema- micle Filiberto, or Tete de Per, and worn by him on the gi’eat day of the battle of St. Quentin. (See I’iazza di San Carlo.) Emanuele himself was a very good armourer, not only in the coarse smith’s work, but in the finer departments of inlaying with silver, or damasquining, and it is said that the armour which he wore was his oavii manufacture. Pacific as he Avas in the later years of his life, he never Aveiit into public except in his panoply, and bearing his good SAVord under his arm. 37. A suit fit for a giant, respecting which there have been many conjec- tures. It seems to be of French Avork- manship. 67. The staff of command of Alfonso di Ferrara. 104. The hke of the celebrated bur- gomaster Tiepolo. 239. A magnificent suit of damas- quined steel. 275. The cuirass of Prince Eugene, with three deep buUet indentations in fi’ont, worn by him at the battle of Turin, where, as before mentioned, the French were totally defeated. Avoru by King Carlo III. at the battle of Guas- is talla, ItMli September, 1731. 2i)2-291. nclmets in the style of the Ixenaissance. Tlie last belonged to tlio celebrated surgeon and anatomist Searjia, avIio, toAvards tlie close of his life, Avas as fond of it as Dr. Woodward was of Ins shield, and made it the sub- ject of a sjieeial dissertation, Avhich he jirinted jirivately for Ids friends, illus- trated with beautiful engravings. It is coviavd wit It imagery, representing dove thundering upon tlie Titans. 381-385. 3;)!-, 395. Shields and targets in the same style. 381 is ex*, eeedingly rich, embossed Avith subjects from classical history. Amongst the ornaments is introduccHl a crescent, the device of Diana of Poitiers ; and hence it has lieen inferred, first, that it be- longed to her, though it is not easy to understand how; and next, that it is the work of Penvenuto Cellini, the reputed father of all Avorks of this de- scription. 391 is also very splendid, ri^resenting the labours of Hercules. 8PJ-821. Three very delicate tri- angular-bladed stilettoes, AA'hich, it is said, Avere cai-ried by Italian ladies for the purpose of ridding themselves of husbands or lovers. 913. SAvord of Duke Emanuele Filiberto, formerly preserved in the “ Camera de’ Conti,” and upon which the officers of state Avere SAVorn ; a custom Avliich explains the much con- tested passage in Hamlet. This armoury cannot be seen without permission, for wliich application must be made the day before. Joining the palace, and, in fact, form- mg part of it, for there is a continued series of internal communication, are the foUoAving buildings and estabhsh- ments : — The Reali Segretarie, and the containing the offices of the principal departments of government. The ArcMvi, in which is deposited a very rich collection of muniments and charters ; a selection from these is in coiu’se of publication. Annexed to these archives is a very select and valuable library, rich in earlv printed 18 Route 1. — Turin — Gallery of Pictures. Sect. I. books and in manuscripts. Amongst tlie latter are three missals which be- longed to the Cardinal della Rovere, Archbishop of Turin, who erected the present cathedi-al. They are very rielily illuminated. Tlie Academia Militare is also a part of the same pile. It encloses a large quach’angle, of handsome and scenic effect. Tlie institution, Avhich was re- organized in 1839, is said to be very complete and efficient. Lastly is the Teatro Beyioy which is only opened during the Carnival, and on some extraordinary occasions. It was built from the designs of the Conte Benedetto Alfleri, and was the building which made his fortune. Alfieri, born at Rome, was educated as an advocate ; but his exceedmg love for architecture soon induced him to abandon the bar. lie never mentioned the name of Mi- chael Angelo without taking oif his hat or beretta. Having been employed at Tortona, when tlie king. Carlo Ema- nuele II., happened to pass through that city, the monarch was so plcasipl with his work, that he took the young advocate into his sendee, and at once intrusted the buikhng of this theatre to him ; and so satisfactory was the production, that jUlieri was forthwith appointed comd architect, and became the object of every species of favoiu’. He obtained the reputation of the best architect of his time. In the centre of the Piazza del Cas- tello is the ancient castle, now con- verted into the Palazzo Madama. Of the old castle, the principal vestiges are the two towers, which have been before mentioned. Two others exist, concealed by modem buildings. When erected by Amedeo VIII., 1416, this castle was at the extremity of the city. The principal front was added to the old structiu’e in 1720, after the designs of Juvara. It is an excellent piece of street architectime. The other tlu’ee sides were to have been completed after the same design. It was fitted up as a palace for 3Iadama, Reale, Duchess of Savoy Nemoiu’s. It is now the re- pository of The Royal Gallery of Picticres.' The great hall of entry remains nearly as it was when the building was a palace : it is adorned with paintings represent- ing the deeds of the house of Savoy. The gallery is open daily from 10 till 4, The rooms are plainly but appropriately fitted up. The light is not always advantageous. The prin- eipal pictures are the following (but their arrangement has been recently changed) : — Room 1. — Ferrari, a Crucifixion in distemper, on hnen, being the design for one of the frescoes at YerceUi (see Yercelli), — very rich, although only a sketch, and ofiering scarcely any varia- tion from the fr’esco, wliich is much damaged ; — an Entombment, on wood, very fine ; — a subject called the Con- version of St. Paul, but more probably a legend of some other saint ; a War- rior, surrounded by other Warriors ; a Resurrection, with Saints. Panini, a Holy Eamily and Saints on wood, 1564 ; Deposition from the Cross, 1545 ; De- position with Samts, 1558. Giovenone, Resurrection ; a Virgin and Saints, Olivieri, a Crucifixion, on hnen. Room 2. — Raphael, La Madonna della Tenda, on wood, — a very beau- tifid pictm’e, whether it be really by the hand of Raphael or not ; for there are at least tln-ee repetitions, all claim- mg to be originals : one is at Memich, another is or was in Spam, and this is the tim’d ; besides two others, which are rather more modest in their pre- tensions, at Rome and at Vienna. Its genealogy is said to be as follows : — a certain Cardinal delle Lanze gave it as a present to the Countess Por- porate : upon her death it came to the Countess of Brogho, who sold it for 800 francs. It then passed, no one knows exactly how, to Professor Bou- cheron, who kindly “ relinquished it,” as the phrase is, to the present king, when Prmce of Carignano, for a very large sum of money. Passavant says that competent judges consider it to be a good copy by Pierino del Vaga. — ■ Titian, the Supjoer at Emmaus, a noble picture, bought by Cardinal Maurice in 1660, and said to be the original of that in the Louvre j a portrait. — Palma PlEDMON’T. Route 1 . — Turin — Gallery of Pictures. 19 l^ecclno, Holy Family and Saints, the Virgin crowning a Figure in iVont. — Gnerciiw, Virgin and CliiUl ; a Fig\irc, lialf naked, with a red llcretta, ami hearing a great Sword, called David ; a Virgin and Child. — Fauini, two In- teriors, San Paolo liiori delle IMura, and another Church. — Bassano, a IMarkct. — (ri'ido, S“* Agnese. — C/yiioni, Venus and Cupid. — Bemho, the Graces. — Crespi, a Conlessional. — Sah'iad, Geo- metry. — Cesare da Sesfo, A'irgin and Child. Koo.^r 3. — Paiiiiii, Puins. — J/an- teyna, Holy Family and Saints. — J*aid T'eronese, Pharaoh’s Daughter finding Moses, a splendid picture, in which the artist has introduced his own portrait ; IMagdalcne washing our Lord’s Feet at the table of the Pharisee. This fine picture formed unfil recently one of the principal ornaments of the collection at the I’alazzo Keale or Durazzo at Ge- noa ; Queen of Sheba’s Visit to Solo- mon. — Bassano, Pape of the Sabines ; a Fair. — Titian, Adoration of the Shep- herds ; Fall of Troy; Judgment of Paris ; Pape of Helen ; ^Fneas sacri- ficing ; all in Titian’s early style. — Sal- vator Fosa, a very fine Landscape, with the Baptism of oim Lord. — Canal etti, Turin from the N.E. ; Old Bridge at Turin. — Badile, Presentation in the Temple. — Beltraffio, Angels singing. — Vanni, a Magdalene. — Bronzino, Por- trait of Cosmo I., very characteristic. — Carlo Dolce, Mater dolorosa. — J/a- ratti, the Angel Gabriel. — Guercino, a crowned head looking upwards. — Maz- zuclielli, Fulvia fainting before the Head of Cicero, a fine specunen. — Battoni, Hliieas bearing Anchises. — Solimene, foim pictmes. PooM 4. — Gtiercino, Sta. Francesca Pomana. — Spada, David. — Spagno- letto, Homer, a vulgar idea of the poet. — Bassano, Venus and Cupid superin- tending the forging of the Ai’mour of Mars. — Gian Fietrino, St. Peter the Dominican, and Sta. Caterma. — An- drea del Sarto, Holy Family. — Semini, Adoration of the Shepherds, on wood, 1584. — Cignani, Adonis and his Dog. — Gian Fietrino, Lucretia. — Spagno- letto, St. Jerome. — Bicci, Moses striking the Pock ; Daniel. — Mezzucheli, Lu- cretia. — Froccacino, Virgin and Saints ; amongst others, San Carlo Borromeo and S^*' Teresa. — Guido, Combat be- tween three Sons of ATnus and three of Bacchus ; Samson drinking from the Jawbone, the same sid)ject as that at Bologna. — Calislo, St. Jerome. — Bat- toni, Peturn of the Prodigal. — Annih. Caracci, St. Peter. — Carlo Dolce, Head of C'hrist. — Sasso Ferrato, ATrgin and Child. — Giorgione, a Portrait. — Do- menichino. Architecture, Astronomy, and Agriculture. — Guercino, Return of the Prodigal Son, very beautiful. — Ve- lasquez. Portrait of Philij) 1\ . — Carlo Dolce, Mater dolorosa. — Bernardino Luini, ilerodias’ ])aughter receiving the Head of St. John the Baptist. — • Lomi, the Annunciation. — Moroni, Carlo 111.; Duke of Savoy and his Wife. PoOM 5. — Cagnacci, Alagdalene. — Fiola, Bacchante. — Scliidone, two sub- jects of Children’s Heads. — Bapluiel, Virgin and Cliild, in his very early style. — Fa » bu‘, t h rce p ic t ures of P ihn s . — Guercino, Head of our Lord. — Seiler, the Saviour dead. — Assump- tion of the Magdalene.— J/oro«i, Por- traits of a Doge and his AVife. — Bassa no, the Saviour dead ; Soldiers mocking Christ. — Guido, Lucretia; Fame on a Globe. — Bicci, Alagdalene washing the Savioim’s Feet ; Abraham dismissing Hagar ; Solomon sacrificing to Idols. — Castiglione, a Market. — Bernardino Luini, Holy Family. — Cesare dl Arpino, Adam and Eve driven from Paradise. — Sementi, Cleopatra. — Daniel da Vol- terra. Crucifixion, fine. — Garqfalo, oim Lord disputing with the Doctors, a beautiful Pictiu’e. — Ciro Ferri, Agony in the Garden. — HZZor?, Jacob’s ATsion. Beltraffio, Marriage of St. Catherine. — Giorgione, Herodias’ daughter receiving the Head of St. John, fine. — Vanni, Crucifixion and Saints. Room 6. — Battoni, a Nativity. — Tin- toret, oiu’ Lord on the Cross, received into Heaven by the Father. — Titian, Portrait of Paid III., faie.— -Pietro da Cortona, Rebekah at the Well. — Cam- hiasi, AVise Men’s Offering. — Giovanni Bellini, Virgin and Child, and Saints, a fine picrure. — Tiarini, St. Peter. — 20 Route 1. — Turin — Gallery of Pictures. Sect. I. Morazzone^ Yirginia stabbing lierself, — Nogari, a Man smoking, and three Com- panions. — Pordenone, Holy Family and Saints. — Gtddo, St, John Baptist ; A]3o11o flaying Marsyas, very disagree- able from its truth ; St, Jerome. — Fran. Bigio, Holy Family and Saints. — Dan. da FoUerra, Decollation of St. John. — Piola, St. Paul. — F. Francia^ an En- tombment. — Salviati, the Wise Men’s Offering. — Greglietto, Satyrs in a Land- scape. — Flisabetta Sirani., Cain killing Abel. — Pippi, St. Matthew. ^ — Caravag- gio., Beading at Night. — Bronzino., Por- trait of Leonora of Toledo. — Fran, del Cairo, Agony in the Grarden, — Lorenzo Laugier, Head of our Lord. — Salviani, Geometry. Boom .7. — Albano, Earth, Air, Fme, Water. These allegorical pamtings are among the finest works of Albano. They were painted for Cardinal Maurice; and Albano in two of his letters, written in 1626, lias explained the meaning of his allegories with much elearness and originality. The representation of fire is Venus. The Cardinal had dmected the painter to give liim “ iina copiosa quantitd di amoretti and Albano has served him to his heart’s content. The amoretti in this and the otlier com- panion pictures are exquisitely playful. Juno is the representation of the air ; and her nymphs are, with much odd ingenuity, converted into the atmos- pheric changes and natures. Dew, rain, lightning, and thunder form one group, and so on. Water is figm-ed by the triumph of Galatea : at the bottom of the picture are nymphs and Cupid fish- ing for pearls and coral. Fartli is personified by Cybele, whose car is sur- rounded by three seasons, winter being excluded. Here the Cardinal’s Cupids are employed upon various labours of agriculture. Boom 8. — Sir P. Lely (?), Portraits of Cromwell and his wife (?). — Vandyke, Holy Family, a rich painting. — Fanloo, Louis XV. — Imca di Leida, Crowning of a Sovereign. four heads. -tC an Miel, a Market. — Valentin, our Lord boimd. — Fand,y7ie,Y\Y gin and Child. — Mytens, Charles I. of England. — Rubens, an imknown portrait in armour, — An- gelica Kaufman, a portrait. — FConde- kooter. Cocks and Hens. — Rubens, a Magdalene. — Mignard, Louis XIV.— Teniers, Peasants dancing. — Jan Miel, Boyal Chace. — Rembrandt, Wise Men’s Offering. — Rubens, Holy Family. — ■ Vandyke, Three Children of Charles I. ; Six Heads of Children of the House of Savoy ; Portrait of a Lady. — Pourbus, Portrait of a Lady of the same Family. Boom 9. — Rothenhammer, the Na- tivity. — Bernhardt, a Family at Supper. — Wouvermans, a Battle-piece, la Bi- eoque, good. — Rubens, our Lord and Magdalene. — Holbein, Portrait of Cal- vin. — Vandyke, Assumption of the Virgin. — C. Moor, Pyramus and Thisbe. —Ravenstein, Portrait of Catherine of Savoy. — Rubens, a Burgomaster. — Poussin, Peasants. — Luca di Leida, Crucifixion, a triple altar-piece. — Ma- buse, Crucifixion, excellent. — Siffert, Holy Family. — GcZdorj:?, Portrait of a Lady. — Rubens, two Heads. — Vandyke, Holy Family. — Rubens, Boar and Dogs. — Vander W °.rf, Adam and Eve lament- ing the Death of Abel. — Rembrandt, Besiu’rection of Lazarus. — C. Netscher, Knife-grinder. — Ostade, old Man and Woman. — Lustermans, a Head. — Rem- brandt, a Babbi. Boom 10. — Rubens, three Heads. — Vandyke, Nymphs and Bacchantes, — Fytt, two pieces of Fruit and Game. — F. Alieris, sen., three Heads. — G. Grayer, Our Lord teaciiing the Doctors ; En- tombment. — Holbein, Portrait of Eras- mus ; Ditto of himself. — Teniers, two Interiors of Public-houses. — P. Potter, fom* Oxen, a well studied and carefidly work. — G, Honthorst, Samson shorn. — Vander Werfi, Shepherd and Sheperd- ess. — G. le a Head. — i2oo5,Sb.eep, Cows, and Goats. — G. Terburg, a Head. — G. Dow, Woman looking out at a Window; Head of a Man; Boy and Girl at a Yviwdow.—Pazzaro, two Land- scapes. — Holbein, Portrait of a Man ; Ditto of a Lady, — Wouvermans, Battle- piece. — Hans Hemlinck, History of our Lord’s Passion, a most singular succes- sion of scenes spread over the canvas, in the same style as the Nativity in theBois- seree collection. — Sanredam, Interior of a Church. — Schalken, Painter at his Piedmont. Route \. — Turin — Gallery of Pictures — Isiac Table. 21 Easel. — Fran. Floris^ tlie Ai-ts sleeping in time of AYar. Eoom 11, — Flower-pieces, bj Breug- hel, Fan Huysum, and Snyders. Room 12. — A. Burer, Salutation of Elizabeth, not remarkable ; Man pray- ing. — Solhein, a Portrait called Luther, dated 1542 ; Ditto of his AA'ife, same date. — Stella, Sprmg. — Vouet, Paint- ing. — Stranger, the Last Judgment. — Templi, the Yirgm and Child appearing to three Knights praying. — Jordaens, Our Load and Angels ; raising of Laza- rus. — FandyTce, Holy Family. — Teniers, a Lady and Music, in his best manner ; Pubhc-house Interior, and Music. — Jan Miel, St, Phihp and an Angel. — Ruhens and Breughel, Yenus and Cupid m a Landscape. — Breughel, sen., Ydlage Dance, — Mignard, St. John ; Scene in an Aihom’. — Teniers, sen., a Country- man and his AYife talking with a Law- yer. — FranTc, Cayahers dancing the Galhard. — Rembrandt, Portrait of an old Man. — Poussin, St, Margaret. — TFouvermans, Halt of Horsemen, — Ru- bens, Portrait of Ihmself when very old. Room 13. — Twelre battle-pieces, the Campaigns of Prmce Eugene, bhd’s-eye views, by Sugtenburgh, and one by Bor- gognone. Room 14. — Breughel del Felours, River scene ; Ditto, with Ruins. — Wil- lingen. Interior of a Clim-ch. — Holbein, Portrait of Petrarch. — Jan Miel, Model- ler’s Studio. — Breughel d'Fnfer, Sliips bm’ning. — Peter Reefs, Interior of a Cathedral, — Teniers, a Man playing, — Jordaens, Diana and Kymphs bathing. — Van Vitelli, Port of Naples ; Colos- seum. — Vander Poel, Fishermen. — A. Purer, Deposition from the Cross ; Holy Family, fine. — Salaert, a Pi’oces- sion in Brussels. — Imeas van Leyden, Death of the Yirgin. — Jordaens, Bear- hunting. — Gagnereau, Cupids and Lion. ■ — Van Musscher, Portrait of a Poetess. Jan Miel, Roman Ruins. — Rubens, Sketch (one of the series of the life of Mary de’ Medici), — ;S'c7ia?^e»,Yiewnear a Ruin, with figm’es. — Holbein, Portrait (?). — Breughel de Velours, Passage of the Red Sea ; a Fair. Room 15. — Constantia, copies of celebrated Florentine picttmes, on ena- mel, or large plates of porcelain. Room 16. — Landscapes : 10 by Breughel de Velours; 2, Claude Lor- raine ; 1, Both ; 6, Vanloo ; 13, Gref- jier ; 2, Vander Meulen ; 2, Gaspar Poussin ; 2, Tempesta ; 1, Brill ; 4, Vi'ies; 2. Manglard ; Peter Reefs, In- terior of a Cathedral. Room 17. — Family Portraits of Savoy. — Vanschuppen, Prince Eugene. — P. de Champagne, Prince Tomaso and his wife. — Argenta, Emanuel Filibert, — Vernet, Charles Albert (present king) . — Copy of Guido, Cardinal Maurice. — Jan Miel and others, Portraits. LTpon the northern tower of the Pa- lazzo is the Observatory, estabhshed in 1822, and now under the direction of Professor Plana. It is well fiumished vdth instrmnents. In ancient times it was the post of the kmg’s astrologer. The Palazzo dell Academia Reale delle Scienze contains the several mu- seums, which have now attained great hnportance. The principal, unques- tionably, is the Museo Fgyzio, com- posed in great part of the collections made by the well-known Cavahere Dro- vetti, a Piedmontese by bfrth, but who for many years filled the place of French consul in Egypt. It is open to the pubhc on Mondays and Thursdays ; but the custode is in attendance on other days. It was purchased by King Carlo Felice in 1821 ; some previous but unsuccess- frd negotiations having taken place for the purpose of securing it for the British Museum. It is said to contain 8000 articles ; and, judging from the general view, the number is not exaggerated ; but the want of any catalogue or sy- nopsis renders it much less useM and satisfactory than it would other- wise be. The celebrated Lsiac table. It is a tablet of bronze, of about 4 feet by 3, covered with figures of Egyptian deities, and Ineroglyphics, engraved or sunk, the outlines bemg partly filled with silvering, partly with a kmd of niello. According to some accounts, it was discovered at the AMla Cafiarelh upon the Mount Aventine, where there had 22 Route 1. — Turin — Egyptian Museum. Sect. I. been a Temple of Isis, and presented by Paul III. to a son of Cardinal Bembo. It sustained various mis- chances : after the “ sacco di Eoma ” by the Connetable de Boiu’bon it was found in the possession of a brazier : others say it was discovered at Casale. Transferred to iMantua, it disappeared after the siege of that city in 1G30, and was thouglit to be lost : but it was found at Turin amongst some lumber in 1709. It went to Paris in 1797, and has now reverted to Turin. This monument is very interesting, as being the first specimen of Egyptian antiquity whicli attracted attention after tlie revival of letters, and none has had more eminent inteiq^reters. Olaus Kudbeck, the worthy successor of Olaus Magnus, discovered on it the wliole mythology of the lulda. Father Ivir- cher translated the whole into good substantial Latiii, and found it con- tained the whole cosmogony of Hermes Trismegistus. Jablonski showed its j^erfect agreement with the most ortho- dox doctrine of Thebes. Winkelman, Schmidt, Montfaucon, have all ex- plained its mysteries. But it is now ascertained to be a pseudo-Egyptian production of the ago of Adrian ; and great doubts ai*e entertained whether any real meaning at all is conveyed by the imagei’y. In the centre of the principal apartment is an inscription in honour of Cham})ollion, as the Qfchpus by whom the Eg>’ptian enigmas were first explained, overlooking the well- known and sagacious discoveries of Dr. Young. The principal objects are the follow- ing : they are, with few exceptions, in the highest state of preseiwation. Idols of wood, painted and gilt ; household gods ; figiu’es of real and ideal animals ; amongst others, that which was un- questionably the origin of the Grecian harpy ; many with inscriptions painted or written in the enchorial character ; others of ten’a cotta, on iione of which such character is found, the inscription being in hieroglypliics. Animal mummies^ — cats, crocodiles, ibises, fish, monkeys, serpents, heads of calves and bulls, without doubt the bull Apis, many in their original ban- dages and swathings : all the “ abo- minations of Egypt,” dug out of the sands wliich concealed them, are ex- hibited here. Sepulchral Statues. — These are veiy curious : most of them are hus- bands and wives, or at least a male and a female, often with a clidd be- tween them. These have been some- times considered as Isis, Osn-is, and Ilorus, “ mais nous avons change tout cela.” Some are single figiu-es. The females have all most respectable wigs, much like those of the judges in 'Westminster Hall. Models : amongst others, of a boat and of a temple ; fiumiture of all kinds, baskets, shoes, sandals, vases, tablets, articles of clotliing, and speci- mens of stulis and linen, a very great variety. Clothing for the dead : masks for the faces of the mummies ; sandals, upon the soles of which are painted captives vlth ther hands boimd ; some are negi’ocs, other Jews, — a singu- lar specimen of posthumous triumph. The wooden doorcase of a temple., painted of ditlerent colours.' The colouring was restored by Champollion, — an operation which had been better left alone. Articles of food for man and beast ; ])omegi’anates, bread, onions, eggs, dates, hay, corn, butter, — aU preseiwed in the catacombs. Female ornaments, some very beauti- ful and delicate, much finer than any in the British IMuseum. Numerous rolls, some of papyrus, others of leather and cloth. They are in various characters, hieroglyphics, liieratic letters and enchorial, with some few in Greek or Cojitic. This very valuable portion of the collection is not in good condition : the rolls have been fi'amed and glazed (as at the British Museum), and it has veiy recently been discovered that they are beginning to decay. Hu man mti m mies. ‘ ‘ A hea d of which the hair was red or aubmm : tliis seems to show that the party was not a de- Piedmont. Jloute 1 . — Turin — Kerfeel ])reservation. Anotlier head, tlie face eoveretl with a line elotli, tlirougli wliicli the featuri's are distinctly seen. Ppon the forehead is a handage, in tlie centre of which is a gold ornament.” Mumiuy chest, of wliieh the interior is entirely eovenal with enchorial writ- ing ; another, of which the hierogU phies are formed of enami'l. An e.xeeedingly beaut ihil Sarcophaf/us of basalt, suj)posed to he the tomb of a ])riest : the hierogl\))hies are worked with the delicacy of a gem. Specimens of Eyyptian statuary, many of which are colossal, form the most valuable ])ortions of the ])rovetti collection. iNIost of these are named by the bold erudition of Chamiiollion, and with him must the responsibility rest. Sesostris. — IVrhajis the most remark- able. Whether really the monarch or not, this statue is most evidently a por- trait, and full of life. By his side is his queen, as usual with a wig ; it is curious to observe the excessive fondness of the women of EgyjA for this defonnity. lie has a book in his hand. The coun- tenances are not EgA’ptian : they have not the thick lips and the elongated eye generally so marked in the Egyptian monuments ; and this circumstance alone may lead us to doubt the appro- priation of the statues. Sesostris (wholly unlike the pre- ceding), as a Deity between Aanmon and Eeitli, very fine. Head of a colossal statue of Pha- raoh, yet retaining vestiges of the origmal cclonring. Arnenophis and his Queen, wigged of course, — fine statues. Thotmosis IL, — singular for the ornaments. Pharaoh Chebro, m the act of making an offermg. A icarrior, clad in a panther’s skin, of which the head hangs in front. The skm is embroidered with stars. This statue is very remarkable ; for, with some variations, it was adopted m the middle ages as the model or pattern of an idol, worshipj-ted by the idolatrous tribes of Mount Libauus. The head of a ram, — colossal and line. Jupiter A m m on, — colossal . An altar of a circular shape, with cliannels for the purpose of rt'cciving tlie filiations, said to be the only ex- ample subsist ing. The Ureek and Roman anti(fuities are of less imjiortanee. A sleepiny Cupid was honoured by dejiortation to the Louvre: it is now returned, and is the finest piece in the collection. It is said to he Gi-eek ; but some very jirovoking doubts have been raised re- specting it, as if it were a Florentine or Ivoman cojiy of the 10th century. Anti nous. A colossal bust of the Em- peror Hadrian : another of Julian, of great beauty, considering the jieriod when it was executed. A mosaic ]mvc- ment, fouml in Sardinia : its compart- ments are separated, but it seems to represent Orpheus playing to the beasts. It is of the best species of Boman work. The medals amount to upwards of 15,000. Amongst these is a gold medal of Athens, said to be unique; a fine series of the Sassanian kings ; the kings of Syria ; the Ptolemies. Bronzes, some very fine ; a very ancient, per- haps Etruscan, patera, representing the battle betAveen Theseus and the Ama- zons, found in the Po, near Tiuin. Others of the same style and date have been found m Savoy. A faun, found upon the site of the ancient city of Industria. Vases, m Etruscan style, discovered at Monza. Ivory carvings, more remarkable, however, for the la- bom’ bestowed upon them than for then’ taste. The Museum of Natural Ilistory is pecuharly rich in the mineralogical de- partment, especially in specimens of the minerals and fossil organic remains of the Sardinian states. The other branches are not remarkable. The Musemns are open daily. The custode of the antiquities expects a small gratuity. Universitd Re ale, a very extensive and magnificent building. The cortile 24 Pioute 1. — Turin — Library. Sect. I. is an example of the effect produced by columns encircled by bands, story aboTe story ; and is a species of lapi- dary' museum. Until recently, the greater part of the Roman and Grecian remains now in the museum were in the university. Those wliich remain are principally fixed in the walls. Here arc the Torsos (no longer Torsos) found at Susa, and now exldbited as Tiberius and Kapoleon (not that the likeness is very striking in either). Such restorations destroy all the benefit of the instruction which a collection of antiquities is intended to impart. Many of the inscriptions and monu- ments are sepulchral. Upon the cippus of Quintus Minutius Faber, a wheel- wright, he is represented, at bottom, working upon a wheel; and at the top, sick in bed. There are also many medical inscriptions; some of the times of the Lombard kings, Grinioald, from whom the Grimaldi hiniily claim de- scent, Aripert, and Rot bar. The Library is rich, It contains a valuable collection of jMSS., many of which anciently belonged to the Dukes of Savoy. 1 1 was })laced here by Carlo Fmanuele 1. ; many collections have been successively added to it. The celebrated Calusio, the author of the Hebrew Concordance, bequeathed his C)riental manuscripts to this library ; and it also contains a ])art of the manuscrii>ts of the Renedictine monas- teiy of Robbio. These are very ancient and a\ithentic, and probably include palimpsests; but they do not seem to have been examined. A very numerous collection of the Greek chemical and alchymical writers, mostly inedit ed. Grammarians and ]ihysicians, also waiting for the care of some, ]irobably German, cditoi*. A manuscript of the ‘ Imitation of Christ,’ the celebrated work commonly attributed to Thomas ii Kempis. This codex was found at Ai'ona ; and in 1687 it was submitted to a regular congress of the Archie- ologists, held at St. Germain des Pres, for the piu’pose of deciding upon its antiquity. The question is yet unde- termined. Several Bibles, from the lOtli to the 16th centy., some most curiously and others most riclily il- limiinated. Seyssell’s translation of Appian, riclily illuminated, and in which is a portrait of the author pre- senting his work to Louis XII. He- brew MSS., several inedited,. The lectiu*e-rooms, and other parts of the building appropriated to the business of the imiversity, are not remarkable. There are 47 professorships. The Piazza di San Carlo is the finest at Turin : one extremity is fonncd by the chiu’ches of Sta. Chris- tina and of San Carlo Borromeo, from the latter of which it derives its name. It became necessary, after the houses were first erected, to strengthen the columns of the facaring before lofty arcades after the fashion of Turin. The statue of King Carlo Emanuele 38 Route 2. — Nomra — Battle-field. Sect. I. III. by Marcliesi, lately erected near tbe Palazzo della Oiustizia, lias re- markable freedom in the action. It was at Novara that the dignity of the Sforza family eame to an end. Ludovico II Moro having regained Milan, wliich had been occupied by the French under Louis XII., he advanced to Novara, then occupied by Ivo d’Allegre, and laid siege to the city. The strength of the garri- son consisted in a large body of Swiss mercenaries. The army of Ludovico contahied equally numerous bands of the same hirelings •, and the report of the good pay and good wine and good plimder which they enjoyed under the Duke induced those in the French service to pass over to the Milanese camp, and Novara sin-ren- dered. Tills help was Ludovico’s ruin. The base Trivulzio (see Milan, San Nazzaro), and Bussy, the French envoy to the Swiss Diet, bribed the Swiss, who refused to give battle. Ludovico entreated them at least to stipulate for his safety, or to allow him to retreat under their protection. This they refused, but suffered liim to try to escape disguised as one of them, together with such of iiis family as miglit have most reason to fear for then’ personal safety. But how could Ludovico — tall, weakly, thin — pass for a Swiss landsknecht ? So he put on the garb of a Franciscan, and per- sonated a chaplain ; but he appears to have afterwards changed this dis- guise for that of a soldier. Perhaps he might yet have fled ; but Bodolph de Sails, a Grrison, and Graspar Silen of Dry, betrayed him to the French, who seized him and carried liim to France, wliere, transfeia-ed from dun- geon to dungeon, he died in the castle of Loches, after a long and most deso- late captivity. But the Swiss were not yet satisfied. On the return to their mountains, they seized Bellin- zona, the key of Lombardy, and wliich they still retain. Probably this was a part of the compact with France, and thus they completed their campaign with consistent perfidiousness. It was to the S. of the town of Novara, almost in its suburbs, that took place on the 23rd of March, 1849, the sanguinary action between the Aus- trians and the Piedmontese, which ter- minated by the signal defeat of the latter, and the abdication of the brave and chivah’oiis but ill-advised Carlo Alberto. That unfortimate sovereign, pressed by the democratic party at Turin, denounced the armistice into which he had entered in August of the preceding year, after liis disastrous cam- paign on the Adige and the Mhicio, and prepared to invade the Austrian terri- tory by crossing the Ticino 21st March: on the same day the veteran Badetsky hivaded the Piedmontese territory by crossing the river at Pavia, with a well-equipped army of 60,000 men, in 4 divisions. Without losing a mo- ment his advanced guard was put into motion in the direction of the head- quarters of the Piedmontese army, then lying between Novara and Trecate: after a hard-fouglit action at Mortara, on the 21st of March, in which the Piedmontese were worsted, the Aus- trians advanced upon Novara, wfliere both armies engaged on the 23rd of March, the Austrians under Badetsky, the Piedmontese commanded by the Pohsh Greneral Chernowski, under the King in person. The site of the battle is a little S. of the town, in the nar- row space separating the Agogna and Terdopio torrents. The heat of the action was between Olengo and the chapel of the Bicocco, about 1 ni. S. of Novara : the Piedmontese performed prodigies of valour, led on by Carlo Alberto and his sons the Dukes of Savoy and Genoa : it lasted during the whole day, wlien the Piedmontese f reth-ed tlmough the town, committing i very reprehensible acts of pillage and ;; disorder. On the 26th of March an armistice was signed, in which Ba- detsky showed much generosity and magnanimity — the whole campaign, from the crossing of the Po at Pavia, j having only lasted 5 days. Trecate. Beyond this place you reach the Sardinian Dogana of San Martmo, and shortly afterwards cross The Ticino, the boundary between Piedmont. R. 2 . — Naviglio Grande. R. 3 . — Turin to Milan. 39 the doininions of Sardinia and Aus- trian Lomhardy. It is here a fine river, and gold is said to he found in its sands. The bridge, wliich is called the bridge of Boffalora, is of the granite of Montorfano, and has 11 arches all of the same size ; its length is 997 feet, and it cost 128,603/. It was begun by the Trench in 1810, afterwards stopped by pohtical events, resumed in 1823, and completed in 1827 by the two sovereigns whose territories it joins. It is one of the finest buildings in Italy. The Aus- i trian Dogana is encountered shortly i after the river is passed. Near this place begins the Naviglio Grande, which, fii’st reaching Milan, j connects the Ticino and the Po, and ! is remarkable as bemg the earliest artificial canal in Europe, with the exception (not entirely certain) of that between G-lient and Bruges. It was begun in the 12th centy. The j first Ime ended at Abbiate-grasso, and I appears to have been intended princi- i pally for the purposes of irrigation, i In 1259 it was continued to Milan by I Napoleone della Torre, and also deep- I ened and better adapted for naviga- l! tion. It is still highly useful for its ij original pm’pose. The coimtry on either side is watered by the numerous cuts wliich communicate with it."^ The flood-gates are locked and opened when I required, under particular regulations, ISO as to secm*e to the adjoining land- I owners them due share of the fertihsing i waters. 3j, or Lombard posts. Magenta. ■This is the first Lombardo- Venetian i post-house, and from this place the 'posts are Lombard. It was founded by the Emperor Maximilian, and de- Istroyed by Barbarossa. It is now a strange-looking place, the liouses sup- ported by arches. Sedriano, where once existed the ! villa of Desiderius King of the Lom- jbards. Tlie wide road is here in ex- bellcnt condition, frequently bordered I by plantations, j San Pieiro aV Olmo. '' Olona, wliere there are many dairy- IJ. Half an additional post is charged on entering and leavmg Milan. (Ete. 20.) EOUTE 3. TUEIN TO MILAN, BY CASALE AND MOETAEA. 15^ Sardinian posts to Vigevano, thence to Milan 3^ Lombard posts, 100 m. This road is not so generally taken as the otlier : it Avants tlie beautiful scenery of the Alps ; and, although it is called a post-road, there are no relays to be depended upon after Casale. 1|- Settimo. Half an additional post is charged on leaidiig and entering Turin. I5 Chivasso. Both described in the preceding route. Verolongo, a borgo containing 5000 Inhab. Near this place, but on the opposite side of the Po, is Montea del Po, occupying the site of the Eoman city of Indiistria. This city, mentioned by Pliny and other ancient writers, had been in a manner lost. Many antiquaries supposed that Casale had risen upon its ruins ; but in 1744, the discovery of Eoman remains on this spot, and some fragments of in- scriptions, led to the supposition that this was the site, and further excava- tions were made. The result proved that this soil covered a very rich mine of antiquities, and produced, as has been before mentioned, many of the finest articles in the Museum of Turin. One of the first objects found was a vase of bronze ; and it is very remark- able that in this and otlier cases in the north of Italy, tlie discoveries of antiquities made in cities of Avhich little or nothing is said in liistory have been far more important than those made in places of known wealth and consequence. The probability is, that the smaller cities decayed and Avere abandoned by the inhabit- ants, Avhilst the gi’catcr cities Avere exposed to the active devastations 40 Route 3 . — Crescentino — Casole. Sect. I. of tlie barbarians. The excavations have not been recently prosecuted with much vigom’. 24 Crescentino, near the junction of the Dora Baltea with the Po, 4300 Inhab,, in the midst of a territory abounding in marshes. Its plan indi- cates a Poman station ; and some ample remains discovered in the last centy. seem to confirm this supposition. The principal church, Nostra Donna della Assunta, is ancient, but has been re- cently decorated and altered. It con- tams some good pictimes by Moncalvo. On the opposite side of the Po to Crescentino, but not in the road, rises Verrua, formerly strongly fortified, but now dismantled. Prom its site, upon an abrupt and insulated hill, it is a most defensible position : it opposed an obstinate resistance to the Emperor Prederick II., and equally defied an enemy in modern times. The Duke of Venddme attacked it without effect in 1704. The works were destroyed by the Prench dmdng their possession of Piedmont. The road continues skirted by the Po, passing through a rich but un- healthy country, reeking under the hot sun, fuU of swamps and marshes, and constantly liable to receive addi- tions of silt and soil from the mun- dations of the Po. The marsh mea- dows feed abundance of cattle, and hence the cultivation of rice is not so prevalent here as farther on. 2 Trino, 7000 Inhab. This place was formerly much better peopled, and its decrease is attributed to the general unhealthiness of the country. Great herds of swine are reared in the marshes near Trino, and the hams of Trino are celebrated througliout Italy. In the early history of printing this place is famous as having produced many of those whose presses were the most active in the 15th centy. Of these the chief was Bernardino Gioleto di Perrara, who established himself at Venice in 1487, and who became literally, and not figuratively, the father of a long line of typogra- phers. Trino originally belonged to Vercellij and it was the constant object of contention between them and their dangerous neighbours the mar- quises of Moutferrat. Wlien Victor Emanuel asserted his claims to the marquisate, he laid siege to and gained Trino, assisted by his two sons Victor Amedeus and Prancis Thomas. This achievement was commemorated by the following jinghng epigram : — “ Trina dies Trinum trino sub principe cepit. Quid mirum ? riumquid Mars ibi trinus erat.” The road follows the 1. bank of the Po, which it crosses by a suspension bridge before entering 2J Casole, an important city, 21,000 Inhab., the capital of the ancient marquisate or duchy of Montferrat ; Chivasso having been the Residenz, as before mentioned. In later times it was a position exceedingly con- tested; and the citadel, founded in 1590 by Duke Vicenzo, was one of the strongest, some say the strongest place in Italy. The castle or palace is yet standing : it was embellished by the Gonzagas. It is said the Isiac table was discovered in the ex- cavations made for this buildhig ; a very remarkable fact, if true. Many Homan remains were certainly found here ; amongst others, coins of the earhest ages of the republic. The forti- fications of Casale have been recently greatly increased, and, with Alessandria and Turin, it is now one of the great mihtary strongholds of Piedmont. The Cathedral or Duomo of Sant'' JEvasio is said to have been founded by Luitprand Xing of the Lombards, in 742 ; and the archives of the chapter contain a singular monument, a char- ter engraved upon a tablet of lead, supposed to confirm this opinion : but i it is a point much contested by anti- quaries. The cathedral, by whom- ever founded, is of high antiquity as ! a Lombard building; but in 1706 the repairs and decorations bestowed j upon it effaced many of its original features. In contains some good paintings : the best is the Baptism of ' om* Lord by Gaudenzio Ferrari : this is, however, but a portion of a larger j picture which was destroyed by &e. I The chapel of Sant’ Evasio has been I Piedmont. Route 3 . — Casale — The Pdleologi. 41 recently ornamented with much splen- dour ; the shrine is of silver. In the sacristy (though the French re- moved a large portion of its contents) are still some very curious specimens of art. A cross taken from the in- habitants of Alessandria, covered with plates of silver and set with gems. Another of exceedingly rich work- manship set with enamel, given by the Cardinal Teodoro Paleologo. A statue by Bernini, forming part of a group of the Spasimo, from the suppressed convent of Santa Chiara, and, in i his peculiar style, is a master- piece. The altar, with alto-relievos, was formerly in the chapel of Saint Evasius. Amongst the archives, be- sides Luitprand’s charter-tablet, are some very valuable manuscripts of the 10th centy., and an ancient sacrifi- cial vessel of silver representing the Triumph of Bacchus. The church of San Domenico is one of the last bequests of the Paleo- logi, having been begmi by them in 1469, and consecrated in 1513. The stags which form a part of their armorial bearings, and which orna- mented the fa 9 ade, have been re- moved ; but the memory of this family is preserved by the tomb erected by the king in 1835, and in which the remains of several of those princes have been dej^osited. The bmlding is supposed to be after the designs of Bramantino, and from the elegance of its proportions and the richness of its ornaments, espe- cially of the fa 9 ade, it may rank among the finest of the sacred edifices in this country. It contains paint- ings by Pompeo Battoni and Mon- I calvo, — good of their kind. Here is the fine Mausoleum of Benvenuto di i San Griorgio, who died in 1527. This i individual wrote an excellent chronicle 1 of Montfcrrat, which is also of much importance in the general history of Italy ; he was a knight of Malta, and he is represented upon his tomb in the habit of his order. Quaint allegorical basso-rilievos adorn otlicr })ortions of it ; a canopy surmounts tlie tomb ; land tlie style of the whole is interest- ing, as being the remote parent of that which prevailed in England in the days of Ehzabeth, The church of Sant' Ambrogio^ also a beautiful spe- cimen of the Bramante style. Sanf Ilario enjoys the reputation which the Itahans are so happy to obtain for then.’ churches, that it was once a pagan temple. Of this there are visible signs. It is said to have been consecrated by St. Hilary in the 4th centy. It did contain many good pamtings of early date : the best have' been removed to Tmin, but some curious specimens yet remain. Many of the ancient civil edifices of Casale are remarkable. The ancient Torre del grand' Orologio was built before the year 1000. It was altered in 1510 by Wilhani lY., Marquis of Montferrat, whose arms are cast upon the great bell. The Palazzo della Citta was originally the property of the noble family of Blandrate. Having been confiscated in 1535, it was given over to the municipal bodies. It is attributed to Bramante ; and the por- tal and porticoes are not unworthy of his reputation. The paintmgs which it contained have been removed, but some frescoes yet ornament the roof and walls. Palazzo Delavalle con- tains some frescoes by Giulio Romano, happily imitating the style of Baphael. In the Palazzo Callori, is a portrait of Gronzaga, abbot of Sant’ Andrea, at Mantua, by Titian. The Marquis Griovan’ Griorgio was the last of the Paleologi. Before his accession he was Bishop of Casale ; but, being the only remaining male of the family, at the deatli of Marquis Bonifazio Y. (1530), he received a dispensation from the Pope, and espoused the Princess J idia of Ai’ragon ; but she died before tlieir actual mar- riage, and he survived only till 1533, leaving two sisters, Maria and Mar- garet, both of whom were married to Frederick Gronzaga, Duke of Mantua. Gonzaga liad first married the elder sister ; but, having divorced her, he took the second. The marquisate was claimed by tlirce competitors : Charles Duke of Savoy, and Louis II. Marquis 42 Route 4 . — Turin to Asti — Chieri. Sect. I. of Saluzzo, as representatives of other branches of the family ; and Gronzaga, in right of his wife. The Emperor Charles V. adjudged it to the latter in 1536. Charles V. Duke of Mantua, having died under the ban of the Emphe in 1708, in consequence of his having joined the French, Joseph I. granted the marquisate to the Dukes of Savoy, who had ah-eady won a grant of it ; and it was confirmed to them by the treaty of Utrecht. Terra Nuova. Cross the Sesia at Porto, 4 m. farther on. 2 Candia^ a borgo pleasantly situated in the valley of the Sesia, and about a m. E. of it, which here abounds in good fish. It contains a large building called the Castellone, probably an ancient stronghold. In the church of Sta. Maria are some good though much damaged frescoes, by Lanini. Cozzo. This little village is said to have been founded by King Cot- tius, and no one can contradict the tradition. Castel d'Agogna, on the 1. bank of the torrent of that name. 2 Mortar a, 4070 Inhab. ; the chief town of a district called the Lomelliua. It is said to have derived its name from its unhealthiness — Mortis ara, the altar of death. According to aii' other tradition, it derives its funeral name from the slaughter of the Lom- bards, who were here defeated by Charle- magne, A.D. 774. The whole district is intersected by rivers, rivulets, and canals ; and the rice-plantations add to the insalubrity of the marsh-lands all around. Santa Maria, the principal church, has been rather a fine Grothic structure, but it is partly ruined, and, hke the rest of the town, wears an aspect of desolation. In the neigh- bourhood of Mortara took place a se- vere action between the Austrian and Piedmontese armies on the 21st March 1848, when the latter were forced to retreat on Novara (see p. 38). Gamolo. In the church here is an excellent painting by Bernardo Campi. li Vigevano, 14,000 Inhab. The last city of the Sardinian states ; a place of considerable trade, but not otherwise remarkable. The ancient castle of the Sforzas was altered in 1492 by Bramante; and having been formed into a palace, it is now em- ployed as a barrack. The cathedral is a good building; it has recently been repaired and decorated. Pass the Dogana, and enter the Austrian territory. Cross the Ticino upon a flying bridge. 1^ Ahbiategrasso (first Lombard post), a considerable borgo upon the naviglio grande of Milan. It contains a large establishment in the nature of an infirmary, dependent upon the great hospital of Milan. Gaggiano. Corsico. Miich of the cheese ex- ported under the name of Parmesan, but known in the country by the name of formaggio di grana, is made in tliis neighbourhood. 2 Milan. (Eoute 20.) EOUTE 4. TUEIN TO ASTI, BY CHIERI. This road, which has recently been completed, is not a post-road. It is, by a rough estimation, about 40 m. Chieri is about 8 m. from Tmfln. Borgo della Madonna del Filone. From this point the road ascends the CoUina, about am. S. of the Superga, to Pino, on the highest part of the range, whence it descends for 5 m. to Chieri, in Latin Carrea Potentia. The syllable “ Car,” varied into Cair, elder, Chiar, is found in the beginning of many of the ancient names of the Piedmontese and Ligustrian towns, and the Itahans derive it from some oriental root. It is most probably, however, the Celtic Caer, commonly found in Wales ; a emflous vestige of a race so long since exterminated or extm- guished in these parts of Europe. Chieri contains about 12,000 Inhab. The church of Santa Maria della Scala is the largest Grothic building in Piedmont. It was founded in 1405. Annexed to it is a very ancient baptistery, which, as usual, is said to have been a pagan temple. • Piedmont. Route 5 . — Turin to Genoa — Moncalieri. 43 Tlie Dominican Churchy built in 1210, lias some good paintings by Moncalvo. This convent has been re- stored. It once contained a singidar inmate. In the month of October, 1664, tlie knights of Malta captimed a Turkish galley, on board of wliich was one of the sidtanas of Ibrahim, the tlien reigning Padischa, with her son, the young Osman. The boy was educated at Rome ; but it was judged expedient to send him to France, wlien, chancing to stop at Turin, he determined to be- come a friar, and he entered this con- vent, where he professed under the name of Padre Domenico Ottoman di San Tomaso. The chm’ch of San Francesco^ once full of interesting memorials of ancient art, was ruined by the French. Chieri is one of the most ancient manufacturing towns in Europe, The manufactories of fustians and cotton stuffs arose in 1422, and upwards of 1 100,000 pieces were annually made to- j wards the middle of the same centimy. I The manufactories are still very flour- ishing ; so also are the silk-factories, ij Riva di CMen, to the Stat. of Val- \^decMesa, on the railway to Asti, or by the road to Villanova. I Asti. (See Rte. 5.) I ROUTE 5. i TTEIN TO Q-ENOA. The railway from Turin to Grenoa is low open for 78 m. as far as Arquata. Trains start tliree times a day, at 6 • 10 l.M,, 10*15 A.M., and 4 P.M., perform- ng the journey in 3h. 50m. At Ar- juata diligences and carriages ai’e in ■eadiness to transport travellers to xenoa ; the fares are moderate, includ- iig rail and diligence from Turin to renoa : 1st class 18f. 50c. (15i',) ; 2nd 3f. 75c. (ll.s.) ; 3rd lOf. (8i-.) Tlie station at Turin is in the town, t the extremity of the Strada Nuova. hie railway runs parallel to tlie old pst-road in nearly its whole extent •om Turin to the })assage of the Apen- ines. Lcavuig Turin, the line ascends along the Po to the first station, where it crosses it at Moncalieri, pleasantly si- tuated on the banks of the river, and sheltered by surrounding hills. The country affords gay and rich landscapes. The palace, which crowns the hill above the town, was built by Vittorio Ame- deo IX., on the site of a far older building, dating from the days of Jo- laiida : it is fine and commanding from every point of view. This palace was the last prison of Vittorio Amedeo II. ; here he died after his removal from Rivoh. It is the favourite country residence of the present royal family. The gallery contains a long succession of family portraits, and also a cimious series representing the hunting parties of Carlo Emanuele II. The influence of French costume is singularly marked in the fashions of the court : with re- spect to the countenances, the descend- ants of Humbert atix blanches mains, the founder (or nearly so) of the family, may be said to be generally a handsome race. The little town has some vestiges of antiquity in its coUegiate clnu’ch. The name of the place is said to be derived from the provincial language, — Mont Caillier, the hill of quails ; but these birds are not more common here than in other parts of the range. Ariosto has made Moncalieri the seat of one of the Paladins of Charlemagne, — slain, sleeping, by Clorinda : — “ Dopo essi Palidon da Moncalieri Che sicuro dormia fra due destrieri.” The fair of Moncalieri is held on the 29th of October, and lasts for a week. It is one of the greatest cattle-fairs of Piedmont ; but it is also a pleasure fair, and a favoiirite holiday-time with both the country folks and the citizens. Tlie road onwards is varied by beauti- ful undulations : mulbeiTy-trees abound in the fields. On the W. the noble mass of tlie Monte Fiso towers above the rest of the al])ine range. On the S. E. the distant Apennines, or rather the mountains which, connecting Alps and Apeiiniiies, may be said to belong t o eitlier, are seen blue and clear in the extreme dislanee. Camhiano Stat. Here the line sepa- rates from the post-road, runuing E. 44 Route 5. — Asti — Alfieri. Sect. I. tlirougli tlie plain of Eiva Clueri and Poirino, crossing several streams to Valdechiesa Stat., 2 m. from Yilla- nova, and an equal distance from Eiva di Cliieri (Ete. 4), founded in 1248 by tlie inhabitants of several townships, which had been destroyed by the citizens of Asti and other more powerful places. The road from Turin to Asti, by Cliieri (Ete. 4), here crosses the railway. Eeyond the stat. the country becomes hniy to JDusino Stat., situated on a rising ground that separates the waters flow- ing towards the Bama on the W. and the Tanaro on the E. Vines are now seen much more frequently ; and m this neighbourhood is grown much of the wine commonly called vino d' Asti, the most di'inkable of Piedmont. The vineyards are principally upon the un- dulating hills ; and other crops are grown amongst the vines. Eew of the growths keep well. Villafranca Stat. San Damiano, near the confluence of the Triversa and Borbore torrents. Asti Stat. Asti (Albergo Eeale ; Leone d’Oro : both indifferent). Population 22,000. A city of ancient celebrity (Hasta Pom- peija), situated near the confluence of the Borbore and Tanaro, simrounded by fertile and picturesque risings and hills. The original Buomo fell down in 1323, and the present ample Grothic edifice was begun shortly afterwards, and completed about 1348. It is a fine and venerable building, filled with much painting, wliich mifortur.ately begins to suffer by decay. The choir was painted by Carloni, — a Nativity, “ vuole essere di Rassano but its parentage may be doubted. In a chapel by the side of the high altar is an ancient anonymous painting, German or Flemish, representing the Nativity. This pictm’e was much admired by Gaudenzio Ferrari, who has made a careful copy of it. By Moncalvo is a Eesurrection : the terror of the sol- diers is expressed with ability. SaM Secondo. Also a fine Gotliic building. It is a collegiate church ; and here also is a good ancient Fle- mish painting, representing the Pu- rification ; and another, in the same style, in the chm’eh of Sta. Maria Nuova. San Pietro in Concava, probably an ancient baptistery ; it has, as usual, the perplexing appearance of classical antiquity. It is supposed, but without any reason, to have been a temple of Diana. In this town is a printing-office, in wliich the business has been carried on since 1479 without interruption. ^ The Seminary is a fine building, by ; Count Alfieri, the relative of the poet, j It is rich and picturesque in effect, and . contains a good library. , In the Palazzo Alfieri, also built by the Count, is shown the room where Vittorio Alfi eri was born, January 17th, 1749 : his portrait and his autograph decorate the apartment. “ Offgi ha sei lustri, appie del colle ameno Che al Tanaro tardissimo sovrasta, Dove Pompeo piantd sua nohil asta, L’ aure prime io bevea del di sereno. Nato e cresciuto a rio servaggio in seno, Pur dire osai ; servir, P alma mi questa ; Loco, ove solo un contra tutti basta, Patria non m’ e henche natio terreno. Altre leggi, altro cielo, infra altra gente Mi dian scarso, ma libero ricetto, Ov’ io pensare e dir possa altamente. i Esci dunque, o timore, esci dal petto Mio, che attristarti gia si lungamente ; i Meco albergar non dei sotto umil tetto.” | Son. xxxvii. j The churches of the Certosa and San j Bartolomeo, just outside the town, wert j ruined by the French, In both are tht i remains of good paintings : about hal ; the other churches in and about Ast * | were destroyed. j ■ The Astigiano, or territory abou | I Asti, contains very many mineral ant ; i thermal springs, all moi’e or less sulj \ phuretted. At Castel Alfieri are twosts (or 131 m.) (Rte. 135, Swiss llandhooJc, is in- corporated witli tliis route.) A Rail- road is in progress between Turin and Cimeo, and is now (May 1852) nearly finished as far as Ra(!conigi : it is ex- pected to be conqileted to Savigliano early in next vear, and to Cuneo in all 1853. l> 50 Sect. I, Boute 7. — Turin to Quit Turin by the Porta Niiova, near the railway station : the read, which is excellent, runs near the Po. A half-post additional is charged on leaving and entering Turin. Ca- rignano, 8000 Inhab. This pleasant and not unimportant city is close on the banks of the Po. The country round about is beautiful, dotted witli villages, towns, and hamlets. Much silk is produced in the immediate vi- cinity. The principal ornaments of this little city are its churches ; and the Carignanesi are said to be distinguished for the care bestowed upon their places of worship. San Giovanni Batista, built by Count Alfieri. The principal facade is noble. The entrance of the building is lighted almost entirely from above, % windows placed over the cor- nice. The basso-relievos of the four doctors of the church, St. Clmysostom, St. Jerome, St. Ambrose, and St. Au- gustine, come out under the glaring rays. St a. Maria delle Grazie, now annexed to a monastery of minor friars. It was endowed by the Duchess Bianca Paleologo, wife of Duke Charles I., and it still contains her monument. She was the daughter of William lY. Mar- quis of Montferrat; as a widow, Bianca was distinguished for her gentilezza and beauty j and Bayard, the “ Che- valier sans peur et sans reproche,” who had been brought up as a youth in the household of the duke, gained great honour in a tommament held before her in this place when she was becoming advanced in years. After many muta- tions Carignano was severed from the rest of Piedmont, or rather from the marquisate of Susa, and granted as an appanage, with the title of a principality, io Tliomas, second son of Charles Emanuel I., from whom the present sovereign is lineally descended, he hav- ing been the nearest male heir upon the death of the late sovereign. Cross the Po. 2^ Bacconigi (or 2f by Carmagnola). Pleasantly situated, and which, in the days of Trissino, was famed for the beauty of its women. “ E quei di Scarnafesso e Racconigi, Ch’ han bellissime donne.” Nice — Carmagnola. The palace of Bacconigi is one of the most favourite country residences of the royal family. The building, though handsome, offers only the usual features of palaces of this description. There is another road from Carig- nano to Bacconigi, rather longer, but of more interest, through Carmagnola. In posting, an extra half - post is charged for travelling this road. Carmagnola contains upwards of 12,000 Inhab. The principal church is that of SanV Agostino. It is Gothic, though much altered. The Campanile, with its pomted spu-e, is the most genuine portion. In the cloister annexed to the clnu’ch are the '■ remains of the tomb of James Tmm- bull, a Scottish condottiere in the Erencli service, and who died here when the army was returning from Naples in 1496. The collegiate chiu-ch of San Pietro e San Paolo is also Gothic, but more altered than the other; it was conse- crated in the year 1514. Carmagnola stood on the extreme frontier of the marquisate of Saluzo, and, as the border town, was fortified by a veiy strong castle, of which only one massy tower remnins, now per- forming the peaceful service of steeple to the church of San Fili'p'po. 'The ■ walls are upv/ards of 7 feet in thick- i ness. It was built in 1435 ; and the | city, when the marquis required an j aid, gave him his choice, 300,000 bricks | or 300 ducats. Bricks now cost in J Piedmont 35 fr. per thousand. The contadine in and about Carmagnola are gaily dressed, wearing rows of large beads, often of real gold, round their I necks, wdiich are manufactured in the '| city. The name of Carmagnola is asso- ciated with the hoirible orgies of the I tl French Bevolntion, though no one can ! u tell exactly how. The inhabitants | m most sturdily disclaim the disgrace of; being the inventors of the too cele-J (e brated “ Danse de la Carmagnole,” the; i, prelude to so many fearfid tragedies, j ij; Here was born, in 1390, the great i laj condottiere, Francesco Bussone, the; of son of a poor herdsman, who becamcj (ofj Piedmont. Route 7 . — Savigliano — Centallo — Cuneo. 51 so celebrated under the name of Car- magnola, which he assumed from his bfrthplace. He began his career in the service of Fihppo Maria Visconti, Duke of Milan, and, rapidly rising in power, he served his master most effec- tually, regaining a great part of Lom- bardy and of the dominions of Grio- vanni G-aleazzo, which had escaped from his successor. Suspicions of his loy- alty were entertained by the duke; Carmagnola was unthankfully banished, his property confiscated, his wife and children cast into prison, and he passed into the service of the repubhc of Ve- nice. By the signoria he was appointed generalissimo. He conquered Brescia for them from the Duke of Milan ; and at the battle of Macalo, 1427, he en- tirely routed the ducal army. But the aristocracy of Venice, as suspicious as the despot of Milan, also distrusted the soldier bound by no tie of allegi- ance ; and having seduced him to Ve- nice by a vote of thanks and confi- dence, he was cast into prison, tortwed, and beheaded “ between the two co- lumns,” 5th May, 1432, having been conducted to the place of execution with a gag in his mouth, lest his com- plaints of the ingratitude of the senate should excite the pity of the multitude. Cavalier Maggiore, a large and flou- rishing borgo, 5000 Inhab., formerly fortified ; but there is hardly a vestige of the two castles and the lofty walls which once surrounded it. If Savigliano {Inn : the Corona ; tolerably comfortable), a pleasant and cheerful town, 16,000 Inhab, It is a place of some importance in the history of Piedmontese art, as the birthplace of Molineri, a painter who flourished in the course of the 17th century, and was a tolerable imitator of the style of the Caracci, whence he acquired the name of Carraccino ; and it is sur- mised that many of the pieces attri- buted in collections to the great mas- ters resrdt from the pencil of this little one. Tlie church is nearly filled with his paintings ; others are in the Pa- lazzo Taffino, representing the battles of Emanuel I. The principal street terminates with a species of trimnphal arch, erected in honour of the marriage between Victor Amadeo and Christina of France. 2J Centallo, 4500 Inhab. ; also a large borgo in the midst of a fertile though not a healthy country ; remains of walls and towers mark its conse- quence in the middle ages. Homan inscriptions are found on the site ; but, as is generally the case in the north of Italy, there is nothing above ground to prove its antiquity. 1|- Cuneo or Coni, 1500 ft. above the 'sea {Inn : the Barre de Fer ; a dismal and dfrty auberge : there is an- other in the town, said to be no better), a city of 18,000 Inhab., situated be- tween the Stura and Glesso torrents, at their confluence. Cuneo was, in its origin, a species of city of refuge. About the year 1100, Boniface Mar- quis of Savona had conquered, or rather occupied, this district, which formed a part of the marquisate of Susa ; but his authority, hardly strong enough to enable him to retain liis usurpation, was entirely inadequate to enforce the observance of the laws, or to ensure tranquillity ; and the lords of the adjoining castles so plundered the inhabitants of the surrounding country, that they determined upon resistance. Such transactions, a few centuries later, gave rise to the republics of Switzerland and the Grrisons ; but Piedmont was not yet ripe for a re- volution. The people came together under the colour of a pilgrimage to a sanctuary of the Virgin, called Our Lady of the Wood, and now included in the city ; and then determined to take vengeance, if, as usual, any of their wives and daughters were in- sulted by the petty tyrants of tbe siu*- rounding castles. The anticipated cause of offence was soon given ; the peasants assembled again, destroyed the castles, slew the oppressors, and, retreating in a body to the present site of the city, a wedge-liJce ]uece of land between the Stura and the Gesso, they began to build. The abbot of San Dahnazio, to whom the woods belonged, gladly j)er- mitted a settlement which gave him D 2 52 Ilo ute 7 . — Rohillan ts — Z imone . Sect. T. tlie prospect of such a uumeroiis vassal- age ; and the “ miova villa di Ouneo ” rapidly rose into consequence. In the 16th centuiy Cuneo was strongly for- tiiied, and its history from thence is a succession of sieges. No place is more celebrated in the military history of Piedmont, until 1800, when, after the battle of Marengo, the three consuls decreed, on the 5th July, that the for- tifications of Cuneo, the citadels of Milan and Tortona, the fortress of Ceva, and the gates and bastions of Turin, should all be destroyed ; and, before the end of the month, those massy gfrdles of Cuneo were riven fi'om their foundations, to the great comfort and advantage of the inhabit- ants, thus delivered from the defences which had proved to them, not the means of protecting, but exposing them to the v/orst horrors of wars. The Diiomo, or cathecfral, of Coni is the ancient sanctuary of the “ Madonna del Bosco,” but it offers nothing re- markable beyond its historical interest. Coni is one of the most modern bishop- rics in Europe, not having been founded till 1817, when its diocese was severed from Mondovi. San Francesco^ belonging to a Capu- chin convent : a regular Gotliic church of tlie 13th century, said to have been built in the time of the saint himself. It is remarkable that the Franciscans, both in Italy and beyond the Alps, re- tained the Grothic style after it had generally begun to get out of fashion. Cuneo suffered much from the cholera in 1835, and amongst its numercus charitable estabhshments is one for the reception of the children who were de- prived of their parents by the disease. At fii’st there were 200 ; about half that number now remains. There is a pleasant public walk at the junction of the Gesso and Stura. In the Alpine valley of the Pesio, about 8 m. from Coni, is the Certosa of Yal Pesio, founded in 1173, in a very picturesque situation. An hydro- pathic establishment has lately been placed there by Dr. Brandeis, on the Graffenberg or Preisnitz system. The gituation is represented as very salu- brious, and the water, which is in abundance, excellent. The gradnally ascending road begins to offer much beauty. Sal Dalmazio, a village, supposed to be the remains of the city of Pedone, destroyed by the Milanese in 1250. 4 m. after leaving Cuneo the post-road enters the valley of the Vermenagna, along which it runs to the bottom of the Col di Tenda, . 2 Fobillante. (An extra horse from Cuneo to Eobillante from the 1st Nov. to the 1st of May, but not in the opposite dfrection.) Hitherto the road has passed through the great plain of Piedmont, watered by the Po, the Magra, the Grana, and the Stura ; but it now enters the mountains and begins to ascend, and the noble masses of the maritime Alps, crowned by the Monte Viso, more than 12,000 feet above the level of the sea, become more clearly visible. The plains themselves are very fertile, and nothing can be more beautiful than the little streams by which they are irrigated and crossed. The hills abound with bright and aro- matic flowers. If Limone^ 3340 feet above the sea. (An extra horse from Eobdlante to Limone from Nov. 1st to May 1st, but not in the opposite direction.) Inn : the Hotel de la Poste ; a very civil and obliging landlord. No trouble is now given at the inland Donane sta- tioned at this place. The traveller hence ascends rapidly, and by a good alpine road, though constructed with less skill than those of more recent date. The abrupt turns of the terraces are often almost alarming in their aspect, nor are they so well defended as coidd be wished. The danger, or rather the semblance of it, is, of course, more felt in the descent from Nice. The difficulty is greater this way. On this road mides are not unfrequently harnessed to the carriages, and they are almost as large and quite as good as the horses, though their broken knees afford full evidence that even mules can liave a fall. About half way from the summit an attempt was made by the former princes of Savoy, and Piedmont. Route 7. — Tenda — Giandola — Sospello. 53 continued down to tlie Prencli occupa- tion in 1794, to bore a tunnel through the mountain, and thus avoid altoge- ther the passage over its crest. If completed, it would have been more than half a mile long, and would have surpassed any similar work in the Alps. The summit is a narrow ridge, or “ giogo,” 6158 feet above the level of the sea. It commands a very fine view of the Alps, from Monte Yiso to Monte Rosa, the latter appearing like a cloud ; while, on the south, the Me- diterranean may be faintly discovered. During more than three months in the year, and not unfrequently diming five, j the Col di Tenda is impassable for wheel carriages, though it can always be crossed by mules, provided there be no storms ; for the wind is so violent that the mules themselves can hardly keep their footing, and are compelled to wind round a more sheltered path, The descent to In ice is by a succession of more than 50 zigzags from the house of refuge near the summit. 4 Tenda, at the southern foot of the Col (between Limone and Tenda an extra horse both ways all the year) ; 2000 Inhab. {Inns : Hotel Royal ; Hotel Imperial.) Tenda is an excel- lent station for sketcliing and fishing ; but, indeed, this might be said of almost all the district. It is a place of much note in the feudal history of Italy. From tlie family of Facino Cane it became vested in the unfortu- nate Reatrice della Tenda, tlie luckless wife of Filippo Maria Visconti, by whose commands she was cruelly tor- timed and condemned to death. (See Binasco, Rte. 21.) There are some picturesque remains of the castle. The road from Tenda is amongst the earliest of tlie alpine roads. It was made by Carlo Emaniielel., 1591 ; and improved in 1780 by Vittore Amadeo III., as is commemorated in two in- scriptions near its commencement. Upon leaving Tenda the road be- comes exceedingly striking, with aljiinc scenery of peculiar boldness, and, by the side, the Roy a, a torrent scarcely leaving room for a carriage to pass. Wherever tlie rocks fall back ever so little out of the perpendicular — enougli to allow the possibility of raising a wall — you see a little village in the cleft, like the nest of a bmd. The finest of these savage defiles of the Roya is below Saorgio, where a fort, perched upon a rocky knoll, commands the passage of the gorge. It was taken by the Frencli in the campaign of 1794. The Roya abounds with excel- lent trout. 2-2- Giandola, 1250 feet above the sea. ' (From Giandola to Tenda an extra horse all the year, but not mee versa.) Hotel des Etrangers afibrds decent accommodation, and a civil landlady ; Hotel de la Poste, said to be good. The town is grandly situ- ated at the foot of high schistose rocks, wdiich look as if they were on the point of crushing the inhabitants. The road has been recently altered, and leaves on the 1. Breglio, a borgo of 2500 Inhab., near which are the noble ruins of the castle of Trivella; ascending the mountain of Brouis by a very steep road to the pass of the same name, the sides of which are covered with wdd lavender. 2f Sospello, 1175 feet above the sea (between Giandola and Sospello an extra liorse both ways all the year — Inn : Hotel Carenco, said to be the best between Timin and Hice), 4000 Inliab., is the sleeping-place for voitu- rier travellers. Its situation is very beautiful. Through it rushes the Be- vera, a roaring mountain stream; and all around rise the mountains out of an exceedingly fertile plain. The valley abounds in thick woods of olives and figs. Tlie Bevera forms a junction with the Roya about 4 m. before enter- ing the sea at Vintimiglia. Here is a cross road from Sospello to Ventimiglia, in the ravine of the Bevera. The road commences to ascend from the inn door at Sospello until you pass the Col di Brans, about 4000 feet above the sea. At the proper season a good deal of la\ ender-water is made on the sides of this mountain l)y the peasantry, whose rude a|>paratus for that i)urpose, which you see on the road-sides, is curious. 54 Route S.— Tunn to Oneglia — Bi^a — Alba. Sect. I. 3 Scarena (between Sospello and Scarena, an extra liorse both ways all the year), 1700 Inliab. After crossing another hill you descend into the valley of the Paghone, which you fol- low to Nice, and to the full luxuriance of the Riviera. 2^ Nizza (from Nizza to Scarena an extra horse all the year, but not vice versa). (Pvte. 12.) ROUTE 8. TUEIN TO ONEGLLA, BY CHEEASCO. 23i posts (or 106f m.). This professes to be a great post- road, but relays cannot be depended on beyond BiA. 2^ Carignano (half a post extra charged on entering and leaving Tman) . (SeeRte. 7.) 2^ Sommariva del Bosco^ 5000 In- hab. ; a small town, beautifidly situate at the foot of a hill, upon which is a castle, anciently fortified, now a pri- vate residence. 1^ Bra, or Brauda, 10,000 Inhab. ; in the vale of the Stura, and about 2 m. N. of it. The principal object of interest in this town is the chm*ch of Sta. C/iiara, built in 1742 by Yettone. It is in the most luxm'iant style of the Piedmontese cluu’ches. Brauda derives its name from the plain adjoming the city. There are many “ hraude ” nea.r the Lombard towns ; and the word without doubt is Teutonic — a broad. A noble avenue leads to the Santuario di nostra Donna dd Fiori. According to the legend, a miraculous appearance of the Yu’gin in the copse harcl by, on the 29th December, 1336, was the means of rescuing a peasant girl fi’om the daggers of assassins ; since which event the wild sloes with which the copse abounds are said to flower three times -in the year — in spring, autumn, and the depth of winter. It is yet mucli resorted to, especially on the 8th of September, the feast of the Nativity of the Yirgin. 2 m. S.E. of Bra, and anciently a de- jDendance upon it, is Bollenzo, a castle and a village, replacing the Roman municipium of Bollentia near the 1. bank of the Stura. Here the armies of the Trimnvuate frequently assembled. It was celebrated for its wools, as weU as for its manufactures of terra cotta, praised by Pliny as bemg scarcely m- ferior to those of Samos. In the age of tlie Antonines Pollentia was very flourishing ; and it is supposed that the edifices, of which there are still con- siderable vestiges, belonged to that era. An amphitheatre and a theatre can be distmguished ; and the walls of both are still standing to a considerable height. Upon the ridges of the Colie di San Yittorio are the ruins of fom* small edifices, called by the peasants the “ Turilie,''’ supposed by antiquaries to be the ruins of a temple of Diana, and the buildings which were annexed thereto. On the old road to Alba are the sup- posed remains of the Yilla Martis, the bh’thplace of the Emperor Pertinax, who together with his father carried on what we should call an earthenware manufactory. Hard by is afield called ’■’■Ciu'pelleA of which the ground is quite filled with fragments of earthenware, the confirmation (or perhaps the origin) of the opinion by which the spot is identified. Pollen zo was erected into a county by Wenzel or Y^enceslaus (the emperor, who was deposed by the elect- ors in consequence of his sluggishness and vice), in favom’ of Antonio Puro, a condottiere, who had served under G-a- leazzo Yisconti of Milan in 1383 ; and with the assent of the Antipope, Cle- j nient, he erected, in 1385, a castle upon | the site of a monastery. Most of this building is standing, and it is exceed- ingly picturesque, with its overhanging ; machicolations and lofty dmigeon tower. It has lately been fitted up and judi- ciously restored, as a liuntuig lodge for > the king. A good road (10 m.) along | the 1. bank of the Tanaro, by San ! Yittorio, leads to Alba. Alba Pompeia, a very ancient ; episcopal town of 7000 Inhab., on the J rt. bank of the Tanaro, near where the Querazza empties itself into the latter. The town is in a plain, smTOimded by very fertile hills, producing much wine and silk. The Cathedral, dedicated to Piedmont. Route 8. — Cherasco — Dogliani — Bene. 55 San Lorenzo, and founded in 1486, is attributed to Bramante, and contains in its choir a handsome mausolemn of the founder, Andrea Novelli. Alba was an Imperial fief, granted succes- sively to the Saluzzos and the Viscontis, and as such it formed a part of the mar- riage-portion given by Grian G-aleazzo to his daughter Yiolante on her mar- riage with Lionel Duke of Clarence. The road from Bra continues in the plain of the Stura ; crossmg that river 3 m. farther to I Cherasco : 9000 Inhab. The quad- I rangular form of this place indicates I that it stands upon the site of a Roman i town. At each end of the principal Contrada is a fine modern arch. Of 1 the five chm’ches, tlwee, San Fietro, I San Martino^ and San Giorgio^ are ! G-otliic ; the fourth, the Madonna del I Fopolo^ was built in 1693-1702. Its interior is of rustic work, and heavy, ij It has, however, a noble cupola. In I the Palazzo del Cominmie are some [ good paintings by Tarrico. There are others in the Palazzo Grotti. They are scriptural and historical ; in the land- scape portion he is a successful imitator of Poussin. Numerous organic remains are found in the tertiary marls and sands in this neighbourhood. In the Colie di San Bartolomeo is petrified wnod. The for- tifications of Cherasco, once exceedingly strong, were destrojnd by the French in 1801. After the battle of Mondovi, April 22nd, 1796 (see Rte. 10), the Piedmontese troops fell back upon Cherasco, and made a show of resistance. Cherasco was well provisioned, and in I an excellent state of defence ; but, after very few shells had been tin-own into the town, the garrison surrendered, not without suspicions of treachery. The Austrians, under Beaulieu, were marcli- ing to the assistance of the Piedmon- ' tcse ; but, on being apprised of the 1 surrender of the fortress, they retired. The Sardinians now proposed a suspen- j sion of arms; and on tlie 28th of A])ril I the Sardinian commissioners concluded i w-ith Napoleon the “ armistice of Clic- I rasco.” Before Napoleon would treat I at all, he required the surrender of the I strong fortresses of Coni and Tortona. By this armistice, and the consequent treaty, the King of Sardinia renoimced his coalition with Austria; ceded to the Republic Savoy, Nice, and the whole possessions of Piedmont to the west- ward of the highest ridge of the Alps (extending from Mount St. Bernard by Mount Grenevre to Roccabarbona near Genoa) ; and granted a free passage through his dominions to aU the troops of the Republic. The importance of this accommodation may be judged by the letter of Napoleon to the Direetory the day thearmistice w'as signed. “ Coni, Ceva, and Alexandria, are in the hands of om- army : if you do not ratify the convention I will keep these fortresses and march upon Turin. Meanwliile I shall march to-morrow against Beaulieu, and drive him across the Po ; I shall follow close at his heels, overrun all Lombardy, and in a month be in the Tyrol, join the army of the Rhine, and carry our united forces mto Bavaria. That design is worthy of you, of the army, and of the destinies of France. If you continue your confidence in me, I shall answer for the results, and Italy is at your feet.” How well he redeemed his pledge it is unnecessai-y to say. The road, winch here enters the up- per valley of the Tanaro as far as Mon- chicro, now passes through 3i Dogliani, 4000 Inhab. ; a borgo, standing partly upon the banks of a torrent, the Rea, and partly upon a bold hill. The road fi-om Dogliani to Ceva is very hilly. About 5 m. before arriving at the latter, at Montezzemolo, the direct road from Turin to Savona, through Millesimo and the Cadibona ])ass, strikes off to the 1. (see Rte. 10 ), There is a cross road from Cherasco to Fossano (see Rte. 9). Dene, upon a pleasant rising on the Mondalavia torrent, has arisen out of tlie ruins of the ancient Augusta Ba- giennorum, destroyed by Alaric, and of which many interesting vestiges are found at lioveglia, about lialf a mile off The ruins of an aqueduct, am])hitlieatre, l)atlis, and other buildings, extend over aconsiderabk' tract of grountl. Bene was 56 Route 8 . — Ceva—Bagnasco — Ormea. Sect. I. tlie birthplace of the celebrated Griovaimi Botero, preceptor to the ehildren of Emanuel I., who wrote much and with great acuteness upon the theory of po- litics. To the north of Bene is the dis- trict of Salmom*, anciently Sarmatia, so called from the Sarmatians settled there diming the Lower Empire, and who had a Prefect of them own. 3 Ceva, a town of 3500 Inhab., on the rt. bank of the Tanaro : the capital, so long as the ancient divisions subsisted, of the marquisate of Ceva, whose sovereigns held rather a con- spicuous place in the history of this country. They traced their origin to Aleramo, the hero of many a tradition- ary tale ; but the first of whom there is any real account is Anselmo, the foimth son of Boniface Marquis of Savona, about 1142. The place is much de- cayed ; and recent demolitions have deprived it of all its feudal towers. The chief featm’e of the landscape is a rock towering above the town, and upon which are the remains of the dismantled citadel. The celebrated Piedmontese cheese, called Bobiole, is made in tliis neighbourhood. The valley narrows as you approach 1^ Bagnasco. You are now famly en- tering the Maritime Alps. The moun- tains simrounding Bagnasco are bold and picturesque, and the streams and torrents are limpid and beautiful. Some curious minerals are found in them, particidarly in the Valle cV Amano. The castle was destroyed by the Marechal cleBrissac in 1555. The ruins of its ancient fortifications are fine, spreading widely above and around. Grenerally speaking, the. feudal ruins of this class, which are nmnerous in Italy, have been less noticed than they de- serve. On the E. are the remains attributed to the Saracens ; and it is recorded that the present town was ori- ginally built with the materials of the Saracen castle. They certainly had various settlements upon this coast. According to a most apocryphal tradi- tion, the historian Yalerius Maximus was buried here ; and a stone, with the inscription “Hie jacet Valerius,” found, or made to be found, has been adduced in support of this tradition. It is now at Tmdn. 1^ Garessio^ once the capital of a small ancient marquisate, which, in 1509, was sold to the Spinola family. It is nearly 2000 feet above the sea. A good road leads from G-aressio to Albenga, crossing the Col diBernardo to descend into the valley of the Nerva. Hence the road to Oneglia passes through wild and pictm^esque scenery, by Ormea and the Ponte di Nava, where it erosses, for the last time, the Tanaro. The rocks are often marble, the species called Bersigliano being quarried here. The source of the Tanaro is of diffi- cult access, but the path is practicable. The mountain from which it rises is called the Tanarelo ; the rush of waters is magnificent. The mountain scenery of this part of the Apennines is entmely distinct in character from the Alps on the N., or from the central range further S. It is more verdant and luxuriant than either. Near tins is the Cavern of Aleramo^ where he and Adelasio took refuge with them seven sons, who, in process of time, became seven marquises. The traditions of this country deserve quite as much attention as the “ Deutsche Sagenf of which vfe have heard so much of late years. 1^ Ormea. It was once well inha- bited, but, having been nearly depopu- lated by the plague in 1630, it has never recovered. Erom Ponte di Nava the road ascends to the Col of the same name, the culminating point of the road (3150 feet above the sea), to descend into the valley of the Arrosia at 2f Pieve., in a lonely valley. Tlie mountains around are singular and bold. The principal church has some good frescoes of Luca CamMaso. Pass over the Col of San Bartolomeo, which separates the waters of the Ar- rosia and Impera torrents, along the 1. bank of which a wide and easy road leads to 3f Oneglia. (See Bte. 12.) Piedmont. Route 9 . — Turin to Oneglia — Mondovi. 67 KOUTE 9. TUKIN TO ONEGLIA, BY MONDOVI. 25i posts (or 116 m.). A post-carriage runs regularly on tliis road, and from Oneglia to Nice, by San Eemo and Mentone ; fares, 32 fr. 28 c. Turin to 2^ Carignano. 1 24 Racconigi. > (Ete. 7.) If Savigliano. ) 1^ Fossano, on the 1. bank of the Stura, (an extra horse between Fos- sano and Mondovi, and vice versa, from Nov. 1 to May 1. An extra half- post is charged for ascending to the town at Mondovi,) the seat of a bishop- ric, 13,000 Inhab., offers a very beauti- ful prospect from without. Seated upon a lofty hill, surrounded by circling ramparts, and crowned by the still lofty feudal castle upon its hill, it is as fine a pictime as can be imagined. Within, it is singularly antique and gloomy. The houses stand upon ranges of arches, wliich in many parts are so low that you can hardly walk through them upright, contrasting strongly with the very charming walk planted with trees which surrounds the town. The road continues rising, and commandmg very beautiful views, over a rich though i hilly country. It is said to derive its name from some salubrious fountain, i Fonte Sano, in its vicinity. The city I was founded in the 13th century, by the inhabitants of the villages of the 1 adjoining countries ; burnt during the ,j wars of the Guelphs and Ghibellines. !' Constantly exposed to the attacks of i' Saluzzo on the one side, and of Asti on ^ the other, the Fossanese ended by plac- i ing themselves, in 1314, under the pro- ! tection of Pliilip of Savoy, nominal , Prince of Achaia. The cathedral is a I fine building by Guarini, with some I decent modern paintings. In the Pa- I lazzo Grimbaldi are frescoes by Gio- ! vanni Boetto, wlio was also a good i ! engraver. He was one of the very nu- j merous talented artists whom chance has consigrual to obscurity. i La Triniia, a village of 2500 Inhab,, i j the bead of a very ancient barony. ! 3 Mondovi, on the rt. bank of the EUero, 1810 feet above the sea, (be- tween Mondovi and Ceva, and vice versa, an extra horse from Nov. 1 to May 1,) the seat of a bishop, 16,000 Inhab. A portion of this city is on a commandmg hill. Here is the cathe- di'al of San Donato, and the principal public buildings. The tlrree other por- tions, Brea, Carazzone, and Piano, are partly on the side of the hill and partly in the plain below. It is comparatively a B/iodern city, as it was not founded till the 12th century. Like Coni, Fos- sano, and several other of the Apennine towms, Mondovi was a city of refuge ; that is to say, built by the inhabitants of the villages of the open country flying from the contentions of Guelphs and Ghibelhnes. Near Mondovi is the sanctuary of the Madonna di Tlco. This chm*ch, built by Yitozzi, is one of the innumerable adaptations of tile main idea of St. Peter’s. It has been very recently finished, and richly decorated by private munificence, It is said that the people assembled here when they determined to abandon theu* houses and to found the new city. They governed themselves as an inde- pendent republic until, in 1396, they submitted to Amadeo of Savoy, nomi- nal Prince of Achaia. Here, 22nd April, 1796, was fought the decisive battle between Napoleon and the Sardinian troops under Colli. The Sardmians occupied this strong position, wdiile Beaulieu, with the Austrians and an army still formidable, was in the rear of the French, and miglit have resumed oflensive opera- tions. A council of war was lield in the night, at which it was unanimously re- solved, notwithstanding the fatigue of the troojis, to resume the attack on the following day. All the dispositions, accordingly, were made for a renewed assault on the bridge with increased forces; but, on andvingat the advanced posts at daybreak they found them abandoned by the Piedmontese, who had fought only to gain time for the evacuation of the magazines in then’ rear, and had retired in the night to Mondovi. Colli was overtaken, how- ever, in his retreat, near IVIondovi, by 58 Sect. I. Route 10 . — Alessandria to Savona — Acqui. tlie indefatigable Yietor, who bad seized a strong position, wbere be hoped to arrest tbe enemy. Tbe E-epubbcans immediately advanced to tbe assault, and, tbougbSerrurier was defeated in tbe centre by tbe brave grenadiers of Dicbat, yet, tbat courageous general having been struck dead by a cannon-ball at tbe moment when bis troops, somewhat disordered by success, were assailed in flank by superior forces, tbe Piedmon- tese were thrown into confusion, and Serrurier, resuming tbe offensive, at- tacked and carried tbe redoubt of La Bicoque, tbe principal defence of tbe position, and completed tbe victory. Colli lost 2000 men, eight cannon, and eleven standards. Gfreat as tbe loss was, yet, coming in accimiulation upon the preceding defeats, tbe moral effect was still greater. There were suspicions of treachery, or at least of tacit co- operation with tbe E-epublieans ; and Colli retreated to Cherasco, whither be was followed by Napoleon. Tbe result has been already told. (See Bte. 8.) In 1799 tbe people of Mondovi rose against tbe French. This oflence was cruelly punished by Moreau, whose troops committed acts of violence such as no provocation could excuse. From Mondovi the road ascends to the borgo of Yico, and descends to tbe bridge of San Michele, on the Cor- saglia torrent, where CoUi repulsed Jaubert and Serrurier on tbe 19tb of April, but retreated on Mondovi in tbe night : continuing on its rt. bank to Lesegno, where tbe Corsagba joins tbe Tanaro, tbe road runs along tbe 1. bank of tbe latter to 3 Ceva. Ij Bagnasco. 1^ Garessio. Ormea. 2f Pieve. 3f Oneglia. The relays at Bagnasco, G-aressio, Ormea, and Pieve, are not regularly supplied with horses. EOUTE 10. ALESSAFDEIA TO SAYOlSrA, BY ACQTJI AND DEGO. There are no relays of post-horses between Alessandria and Savona. This is a very interesting road to the military traveller, as it is over ground rendered celebrated by Napoleon’s first Italian campaign of 1796 ; tbe greater part of it is up tbe valley of the Bor- mida to tbe passes of Montenotte and Cadibona. The road enters tbe hiUy country at Porto, following tbe 1. bank of tbe Bormida to Gamalero, a small village in a plea- sant country, and thence to Cassine, 4000 Inbab., situated upon a height overlooking tbe fine valley of tbe Bormida. This small town main- tained many a sturdy conflict with its more powerful neighbour Alessandria. Acqui or Aqucc StatiellcB : 8000 Inbab. This city, tbe seat of a bishopric, was tbe ancient capital of the Statielb, a Ligurian nation, and acquired much celebrity under tbe Ho- mans from its hot springs. Tbe whole country abounds with them ; and, like those at Aix-la-CbapeUe, they are partly within tbe city and partly without. Within tbe walls is tbe spring called tbe “BoUente,” Tbe beat, on the average, is 60° Beaumur. Tbe flow is most abundant, and never diminishes, and tbe water is used by tbe inhabit- ants for tbe purposes of wasliing, though, both to taste and smell, dis- agreeably impregnated with sulphur- etted hydrogen. Tbe bath-houses are outside of tbe city, on tbe opposite bank of tbe river, where several sprmgs issue from tbe gromid, their temperatiu’e varying from 35° to 41° Eeamnur. They w^ere built in tbe 16tb century, by tbe Duke of Mantua, but have re- cently been much improved. The mud of tbe baths is considered as having most efficacy. Gout, paralysis, contractions of tbe limbs, are tbe complaints in which they are most pecubarly useful. Tbe following is tbe analysis of 1000 parts of tbe water of tbe BoUente : — I (Bte. 8.) Piedmont. 51 > Route 10 . — Monte Stregone — Rego, Sulpliuretted hydrogen Hydrosulphate of lime Muriate of soda . , . „ magnesia . „ lime . . . Sulphate of soda . . . „ magnesia . „ lime . . . Vegetable matter . . Silica Oxide of iron .... . 0-000240 . 0-001240 . 0-015500 . 0-002600 . 0-002404 . 0 003375 . 0-003086 . 0-000800 . 0-000700 . 0-000450 . 0-000495 Iodine, in the state of hy- drodate . . . . . Water 9-969150 10-000000 Dr. Cantu, a celebrated Piedmontese physician, has discovered iodine in the waters, to which he attributes much of their vhdue, and also a trace of bro- mine. The waters of the Bormida are, or at least have been, supposed to pos- j sess the same efficacy as the hot springs. E/Oman remains are found at Acqui. I The few which have escaped the de- i struction of the city by the Groths at- ! test its ancient magnificence. Fom- arches of a massy yet elegant aqueduct are the most conspicuous. Several i reservoirs and other portions of the ■ thermse may be traced. One spring retains, by tradition, the name of “ the 1 fountain of Pallas.” The block or h nucleus of a large sepulchral monument ' is called the Came by the common |! people, a name having a cm-ious, though |> perhaps accidental, similarity to the I Gaelic and Cymric cairn or Carnecld. Very numerous sepulclual and other inscriptions have been found near the f Via Emilia, which runs by the city, re- lating to the Lollian, Mettiau, Eutilian, 1 Petronian, Eubrian, Mennian, and i Plautian families, as well as of several 1 sacerdotal colleges, urns, lamps, brazen aj and other idols. Numerous medals I; are also found ; the series of the latter || extends from Augustus to Theodo- li sius. 1 The Duomo w-as begun in the 12th 1 1 century. The front has a fine and Ij venerable porch ; and an ample flight VI of stone steps adds to its cficct. Tlie j|| interior is divided into five aisles. The clim-ch of San "Francesco^ a Gotliic building scarcely inferior to the Duomo, is a ruin, having been reduced to this state by the French. The other chm-ches are not remarkable. The Monte Stregone^ meaning the Great Wizard, rises above the city. Here the hot springs have their sources. The air is exceedingly pure and plea- sant; and Acqui only requh-es the good help of a literary M.D. to acquu-e an Em-opean reputation in its line. The wine produced in this neigh- bourhood is very good, — at least in the opinion of the natives, Acqui was the capital of the upper Montferrat, and some of the towers erected by the Paleologi yet remain. It suffered very much during the revo- lutionary wars. In 1799, the people of Acqui having shown some real or sup- posed symptoms of dissatisfaction to-- wards tlie French, Generals Grouchy and Flavigny entered the city with a large body of troops, for the purpose of punishing the inhabitants ; but the entreaties of the bishop, Giacinto della Torre, averted the evil. On leaving Acqui the road follows the 1. bank of the Bormida, wliich it crosses at Terzo, on the site of a Eoman station — ad Tertium — which represents very accurately its present distance from Acqui : from thence it follows the rt. bank of the river, leaving Bis^ tagno, a village of 2000 Inhab., on the rt. The two branches forming the Bor- inida unite opposite Bistagno, the Bor^ mida di Cairo descending from the Altare or Cadibona Pass, and the Bor-> mida di Millesmio, which rises at the foot of Monte Calvo. The road to Sa- vona follows the first of the two, nearly in a true southern chrection, for 10 m. to Spigno, a village of 3000 Inhab., 12 m. from Acqui, in a fertile territory, producing mucli silk and wine ; and 10 m. further is Dego (Degus), a village of 2600 Inhab., which has little to interest the traveller, except its historical rccoUec- tions ; situated in a bend, and on the 1. bank of the Bormida : its tei-ritory pro- duces a good deal of wine and some silk, 60 Route 10. — Cairo — Carcare — Altare. Sect. I. Dego, from its situation on one of tlie high roads into the plains of Lom- bardy and of Piedmont, has suffered severely on several occasions from mih- tary operations, but especially in Sept. 1794, when it was occupied by Mas- smia, and in 1796, when it was the scene of one of the sanguinary battles that opened to Napoleon the conquest of Italy. The French general, having succeeded by a most masterly move- ment in cutting through the centre of the allied army of the Piedmontese and Austrians at Montenotte on the 12th of April, lost no tune in followmg up liis success, by attacking each in turn. The Austrians, after their disaster at Montenotte, retreated along the Bor- mida, and occupied Dego. When their conquered division received reinforce- ments from the main body of the Im- perial army, then about Glenoa — after beating the Piedmontese under CoUi at MiUeshno, and forcing him to re- treat on Ceva and Hondo vi — Napoleon attacked the Austrians at Dego, having imder his orders Laharpe and Massena. After a series of hard-fought actions during two days, the Imperial general was obliged to retreat upon Acqui, leavmg 3000 prisoners and 13 cannon in the hands of the French. Two days afterwards, however, a most gallant attempt was made by Greneral Wicka- sowich, at the head of 6000 Austrian grenadiers, to recover the past disaster of his countrymen. Dego' was re- taken with 600 French in it ; but Na- poleon, uniting his forces, pounced upon Wickasowich unexpectedly, and soon recovered it, making 1600 imperialists prisoners. The results of the battle of Dego were — the impossibility of the Imperiahsts formmg a junction Avith, or reheving, theh Piedmontese alhes, already hard pressed by Napoleon at Ceva, and ultimately defeated at Mon- dovi (see Bte. 9), and their being obhged to retreat on Alessandria to cover Mdan from an attack by Napo- leon, who had been so advised to do by Carnot’s (then Minister of War at Paris) instructions. It was at the battle of Dego that Lannes, afterwards celebrated as Due de Montebello, was first distinguished by Greneral Bona- parte, who for his gallant conduct made him a colonel on the field of battle. Cairo (Cauami), 5 m. S. of Dego, is supposed to have been a station on the Via Emiha, which from Bimini led to Savona. It has a population of 3000 souls, and some iron-furnaces m the neighboiu-hood. It is the principal toAAm in this upper valley of the Bor- mida. The old road to Savona by the Pass of Montenotte, now abandoned, struck off to the left from this pomt. Since the new road lias been opened, a handsome stone bridge of 7 arches has been thrown over the Bormida at Cairo. This ncAV road was commenced in 1800 by Napoleon ; and, instead of crossing a chfllcult col, as that of Montenotte was, now penetrates into Ligmia, by perhaps the lowest pass or depression in the whole ehain of the Apennhies (for the Apennines may be considered to commence near this me- ridian)— that between Altare and Cadi- bona. Leaving Caho, some remains of the Boman road are seen about a mile be- yond the town, and the rums of a con- vent, said to have been founded by St. Francis liunself, but brnmed down by the French in 1799. 4 m. farther is the village of Car- care, where the valley widens. The road from Turin to Savona, by Ceva and Millesimo, here joins that from Alessandi’ia, Carcare has a population of 1200, and in a military point of view occupies an important position ; for tliis reason it was selectecl by Napoleon as his head-quarters after the battle of Montenotte, from wliich he dhected his operations against the Austrians in the valley of the Bormida, and the Piedmontese at Millesimo, and in that of the Tanaro. Beyond Carcare the road rises from the torrent over a ridge of hiUs, wliich separates the two branches of the upper Bormida, to reach Altare, the last village on the northern dechvity of the Apennhies, and only 7 Piedmontese m. as the crow flies from the shores of the Mediter- Piedmont, Route 10. — Montenotte. R. 11 . — Turin to Savona. 61 ranean at Savona. Tliis pass is peiTiaps the lowest in the whole range ; the ascent to Cadibona is very easy, and the road generally in good condition. We have already stated that this part of the road was made by the French during then- occupation of this part of Italy, then called the department of Montenotte, a province so weU de- scribed in Count Chabrol de Volvic’s celebrated statistical work upon it ; the more ancient one, between Savona and the valley of the Bormida, passing by the battle-field of Montenotte, about 7 m. farther E. A mule-path, frequented by the Grenoese fishermen, still exists over that celebrated ]3ass. As we have ah*eady mentioned, it was at Montenotte thatNapoleon,onthel2th of April, 1796, succeeded in piercing the centre of the allied army by a mas- terly movement. Encamped at Savona, having the Austrian commander-in- chief in front, at Voltri, he had de- tached a coi’ps of 1200 men, under Colonel Bampon, to occupy the pass of Montenotte, The latter was vigorously attacked by as many thousand Imperi- alists under Greneral Boccavina, who being severely wounded, the command devolved on Argenteau. Forced to shut himself up hi the chsmantled re- doubt of Monte Legino, the -'French commander defended liimself with he- roism until night closed in, exactmg from liis soldiers an oath that they would I conquer or die. Napoleon, hearing of [iBampon’s critical position, immediately I broke up from Savona, wdth the greater Ipart of Ills forces, bemg unobserved lowing to the darkness of the night, and by daybreak the next morning w'as able to relieve Bampon. The Austrians were completely beaten, losing 1000 killed, 2000 prisoners, and 5 pieces of cannon; but, wliat was more serious still, liaving tlieir centre forcied, and their Inain body obliged to retreat on Dego. The very great depression of this )art of the Ligurian Apennines gave ■isc to the project of tlic French go- ernment in 1805, of establishing a water commmiication by a canal be- tween the valley of the Po and the Mediterranean, Altare was in that project selected as the site of an im- mense reservoh’ to supply the canal hi its descent thi’ough the valley we have travelled up to Alessandria, from whence the Tanaro, into which the Bormida empties itself, is navigable to the Po. The road attains its culminating point near Cadibona, from which it descends to the hamlet of Montemore, at the head of the Vauestra torrent, which it follows to Savona, There are mines of a lignite coal in the environs of Cadibona belonging to the tertiary geological epoch. Tliis coal contains bones of an extmct quadruped, the Anthracotherium, also foimd in the tertiary strata of the Paris basin, of Alsace, and the Isle of Wight. For Savona see Bte. 12, BOUTE 11. TURIN TO SAVONA. The first jiart of this road, as far as Bogliani, has been described under Bte. 8. From Bogliani the road follows that to Ceva, as far as Montezzemolo, a mountain village 2500 ft. above the sea (p. 55) ; from whence striking olF to the h, after 6 m, of rapid ascents and descents, over the Alpine spur that separates the upper valleys of the Tanaro and Bormida, it reaches Millesimo, a poor village of less than 1000 Inhab., on the Upper Bormida, 1490 ft. above the sea, memorable for the battle between the French under Augereau, and the Piedmontese com- manded by Greneral Provera, and in which the latter were defeated and forced to retire on Ceva and Mondovi ()i, 57), whilst at tlie same moment Bonaparte w as forcing the Austrians at Bego (p. 59) from Millesimo. The road crosses a higli ridge for 5 m. to reach Carcare, where it joins that from jilles- sandria to Savona (Bte, 10.) ( 62 ) SECTION II. SAEDINIAN DOMINIONS ON THE MEDITEEEANEAN.— THE EI- VIEEA DI PONENTE, AND EIVIEEA DI LEVANTE.— TEEEI- TOEIES OF NICE, MONACO, AND DUCHY OP OENOA. PRELIMINARY INFORMATION. JPolitical Changes and Character of the Countrg. — Produce, State of the Country. — Roads. — Posting. — Money, Weights, Measiwes. — Character of the Population. — Inns. — Fine Arts. Eoutes. EOUTE PA&E I EOTJTE PAGE 12. Nice to Genoa . . 67 j 13. Genoa to Sarzana . 106 § 1. Political Changes. — Charactee of the Country. At the beginning of the present century the dominions of Sardinia on this coast consisted of the county of Nice, the principahty of Oueglia, and some smaller enclavures ; the remainder belonged to the republic of Genoa. What were called the “ imperial fiefs ” in the interior were, as the name imports, small feudal sovereignties ; but they all belonged to Genoese nobles, and, though by law subject to the empire, still, politically speaking, they had no independent existence, and had become mere private domains. Tlie revolution after the transitory duration of the Ligurian republic (1797) incorporated the whole tract into the Prench empire (1805). The results of the congress of Vienna transferred it to Vittorio Emanuele ; and the House of Savoy thus not only regained then’ old dominions, but also obtained the territories for which they had more than once struggled when in them times of prosperity, and which they now gained after their season of misfortune. A nominal existence has been given to the “ duchy of Genoa,” and the title of duke is taken by the sovereign ; but the whole is pohtically united to the rest of the Sardinian states, though it is equally separated from them by national features and by national character. Between the Var, fixed in the time of Augustus as the boundary of Italy on the j W., and the Magra, the equally ancient boundary of Tuscany, the greater part ' of this territory is situated. We say “ the greater part ” just to avoid iuac- | cm*acy, for a small district beyond the Magra, won by the Genoese from their ,j ancient rivals of Lucca, and anciently composing a part of the Tuscan Luni- j giana, is retained by the Sardinian monarch as the successor of the repubhc. ! The country is a continued series of mountain terraces, valleys, and ravines, > formed by spurs from the Maritime Alps and the Apennines ; geographers are li not agreed as to where “Alps” commence and “Apennines” end. The breadth of the district, which is now denominated “ Maritime Ligmfia,” varies (always , supposing the central chain of the Maritime Alps and Apennmes to form its j N. limit) from 25 m. at Nice, to 5 m. between Arenzano and Voltri, where i the latter chain approaches nearest to the shores of the Mediterranean. The clunate is most agreeable, the atmosphere remarkable for its transparency and purity. In several of the districts on the shore, which are protected from the N. and N.E. winds, the thermometer rarely falls below the freezing-pomt j i Riviera. § 2. Produce — State of the Country. § 3. Roads. 63 and hence the singular beauty of the vegetation, in which the botany of the temperate zone of the southern coasts of Europe, and of the northern coasts of Africa, is combined with that of the tropics. The first exhibits the natural productions of tlie basin of the Mediterranean, though in part (we allude to the olive in particular) transplanted at some exceedingly remote period by the hand of man ; the last, the American species, introduced (as it is most probable) by the intercourse of the G-enoese with Spain. Where the ravines open into the mountains the sharp wind occasionally penetrates, and cuts the growth of these strangers ; and sometimes the winters are severe ; but the olive rarely, if ever, sufiers on this coast ; and this affords a test of the temperature, cold below the freezing-point being fatal to these trees. Yet these transient variations of tem- perature, or perhaps some less perceptible cause, render pulmonary complaints common amongst the inhabitants of the Riviera ; and the foreign invalid who resorts hither in search of health finds the natives mowed down by the disease from wliich he seeks to fly. The mountains abound in valuable mmeral pro- ducts, which are but partially explored; they also contain inexhaustible quantities of the finest marbles, furnisliing the stores by which the palaces of Genoa are adorned. The most remarkable of these marbles are that of Polzevera di Genova, called in French the Vert d’Egypte and Vert de Mer (it is a mixture of serpentine with granular limestone, and it is sometimes mixed with a reddish body), and the black marble of Porto Venere, quarried at the cape of the same name, in the Grdf of Spezia. The first of these marbles was formerly much employed in Italy, France, and England, for chimney-pieces, but its sombre appearance has put it out of fashion. Taken as a whole, nearly all the beauties wliich the traveller admires in the Alps of Switzerland, or on the shores of the bay of Naples and Cuma, are here combined. § 2. Peodiice. — State oe the Country. The coast of the Mediterranean from Sarzana to the frontier of France rises abruptly, and often in rocky heights up to the Maritime Alps and the Apen- nines. Facing the S., with generally a warm aspect, the vine and the olive are extensively cultivated. Wlieat and maize are grown and sown in rotative crops. Beans, some potatoes, and other vegetables are also produced, which, with roasted chestnuts and Indian corn meal made into pollenta, form the chief I food of the lower classes in the mountain districts. Generally the riu’al inhabit- ants, as well as the labouring classes in the towns, are poor. The farms are small, held chiefly on leases of from three to seven years, and slovenly husbandry prevails. Along some parts of the sea-coast, and inland up the valleys and 1 hills, the Metayer system predominates. ; The towns along the Mediterranean, from the Var to Genoa, with the 1 exception of Nice (which strangers have enriched), appear strikingly pic- \\ turesque and beautiful from the sea ; but, on entering them, wretchedness, dirt, >\ and discomfort, windows without glass, a want of all that we consider conve- nient within doors, and dilapidation and a general absence of completeness without and within, and a prevalence of what may serve as a slovenly expedient for the moment, are the characteristics of those towns. ImproA'cment is, how- ever, making advances. It commenced under the late king, and it is making rapid progress under the present constitutional sovereign. The chief ports are Spezia, Genoa, and Nice. § 3. Roads. I At the beginning of the ])resent century there were only t wo roads practicable for wheel carriages, and those but indiflerent — the road from Nice to Turin by the Bass or Colla di Tenda, and the road from Alessandria to Genoa over that 64 § 4. Posting^ tj-c. § 5. Money — Weights. Sect. II. of the Bocchetta ; all the rest were difficult mountain paths, some of which could not he crossed, even on mules, without imminent danger. The present great thoroughfare which connects Trance wutli Tuscany was planned and executed as far as Mentone by Napoleon, along the line of the ancient Via Aurelia^ but was completed by the Sardinian government, who also opened all the other car- riage roads by which the traffic of the country is carried on, and to which its rapid improvement is to be in part ascribed. The road along the coast is inter- sected by fifty or sixty torrents, the passage of some of which is occasionally not unattended with danger. Bridges have ah’eady been thrown over many of them, as at Ventimiglia, Onegha, Pegii, and St, Pier d’ Arena, Five francs are paid for tolls in a carriage with two horses, partly at the two first-named bridges, pai’tly at the entrance to the town of Finale. From Grenoa to Sarzana the road is excellent : a bridge over the Magra would be a great improvement, but its construction would be attended with much difficulty and expense. § 4. Posting, etc. The post regulations are the same as in the other parts of the Sardinian dominions; and it must be recollected that the I’egulation of the “ bolletone ” is strictly enforced. The relays are good and well served, and the postihons drive with great speed ; from the nature of the roads, timid persons prefer the vetturini, who are good and cheap ; but there is in reality no danger. Any part of the journey, from point to point, may be performed by water, either by the steamers from Marseilles, Nice, and Grenoa, or by the feluccas, which can be engaged at the intermediate stations ; and some parts of this beautiful coast cannot well be visited in any other mode. § 5. Money, The Sardinian coinage is the same as the French. The following coins of the republic of Grenoa are also current, though not very commonly seen. There are some smaller pieces, which, as usual, are honestly passed olF in change to the traveller much above their current value. Those most ciu’rent are of mixed metal : pieces of 8 sous, of which 5 = 2 francs ; and of 4 sous, of which 5 = 1 franc. Grold; — Quadruple di Genoa, 79 francs. Doppia di Genoa, 39 francs 50 cents. Accounts are also kept in lire di Banco at the rate of 100 = 80 francs. Among the small dealers, too, such as the sellers of grapes and figs m the markets, calculations are still in use in the old currency of Genoa, the Ifra and solda. Their value in the present cm’rency is as follows : — A lira of Genoa contains 20 soldi, and is equal to 80 centimes of the present currency. A soldo = 4 centimes. A French franc is equal to 25 soldi of Genoa. A Spanish dollar (colonnato) is equal to 6 Ifre and 10 soldi of Genoa. Weights, The pound, gold and silver weight, is divided into 12 ounces ; the ounce into 24 denari ; the denaro into 24 grani. The pound = 4891^ grains Troy = 10 ounces 3 pennyweights 13^ grains. The ounce = 16 „ 23| „ This weight, called peso sottile, is used not only for gold and silver, but for all commodities of small bulk. Other goods are weighed with the peso grosso. 100 lbs, peso grosso = 76’875 lbs, avoirdupois, 100 lbs. peso sottile = 69'89 lbs, avofrdupois. Rivieea. § 6 . Character of the Population. 65 Pleasures of Length. Tlie palmo = 9'725 English inches. The canna is of three sorts ; the piccola, which tradesmen and manufacturers use, is 9 palmi, or 87'5 English inches. The canna grossa, which is used by merchants, is 12 palmi, or 116'7 English inches. The canna used at the custom- house is 10 palmi, or 97 '6 English inches. The Braccio contains 2| pahni. § 6. Chaeacter of the Population. The Ligurian tribes were amongst the last ' of the inhabitants of Italy incor- porated m the Roman empu’e. We are not acquainted with the government and constitution of the people prior to this event ; it seems probable, however, that, being Celts, they constituted a confederacy of clans and tribes bound by then* own laws and customs, but not acknowledging any common head or supe- rior. Having allied themselves to the Carthaginians, the Romans, after the second Punic war, assailed them with eighty years’ hostihty, and they were for a time rendered obedient ; yet they were not finally subjugated until they were conquered by Augustus, who commemorated his triumph by the remarkable trophy of which the ruins are still existing (see Turbia). By him — or, at least, under his government — ^the Alps became the limits of Italy; and that fair country acquired the boundaries by which it is now known and characterised. ........ II bel paese Che 1’ Appenin' parte, e ’1 mar’ circonda e 1’ Alpe. But this conquest did not break up the nationahty, nor indeed the govern- ment, of the Ligiu’ian states. They continued to retain their identity, though under Roman svqiremacy ; and this corporate succession (as in tlie great cities of the south of France) was continued, in good measm’e, until the last great European revolution. Thus Noli, Savona, Albenga, San’ Remo, Porto Mau- rizio, and Yintimiglia, were rather the alhes than the subjects of Glenoa ; and even much smaller communities enjoyed a species of independence. The in- habitants of tliis coast possess a very decided national characfer, and present all the outward physical tokens of a piu’c and unaltered race, excepting at Genoa, where there appears to have been a considerable mixtiu’e of Lombard blood ; and in the tract between Nice and Mentone, where the Proveiujals have intermingled. Their forms are robust and square, eyes very black, and hair equally so, lank and smooth, and the complexion brown and swartliy, — forming a strong contrast, especially the females, to their Tuscan neighbours beyond the Magra, amongst whom the women are remarkable for then* blue eyes and the ringlets of their bright hair. From the earliest ])eriod tlie Ligurians have been a nation of sailors and mer- chants. Mago the Cartliaginian reduced the city of Genoa n.c. 205. The ancestors of Boria and of Columbus were distinguished by their aptness for maritime enterjirise. In the middle ages Genoa alone vied wil h Yenice ; and at tlie present day she lias, in no inconsiderable degree, recovered her commer- cial prosperity. The Genoese arc said to be parsimonious : this rejmtai ion they have of old ; but in acts of cliarity, and indeed in every call which can bo made on public spirit, their liberality has been unbounded, and still continues very oniincnt, though with diminished means, the confiscations and s])oliat ions of the French having ruined many families. The lower orders are remarkably hard-working and industrious. 66 § 7. Inns. § 8. Fine Arts. Sect. II. § 7. Inns. The inns between Nice and Grenoa, and between Grenoa and Pisa, liave rather declined since the steamers between Marseilles, Nice, Genoa, and Leghorn have been estabhshed, the number of travellers by land liaving very considerably diminished. They are stiU, however, fairly good in almost all the places in which, according to the usual arrangement, a traveller requires to stop. Iron bedsteads, for the manufactm*e of which Genoa is celebrated, are now in general use, greatly to the comfort of the traveller, § 8. Fine Aets. Little is known respecting the arts of Genoa in the middle ages. There are Roman remains near Nice, belonging, it may be, more properly to Gaul. Others exist at TmLia and at Albenga ; but the ancient masters of the world have left few traces of their domination in Liguria. The “ Gotliic” architec- ture of tlie country is of a veiy peculiar character, and, in Genoa at least, exhibits more orientalism than perhaps in any other part of Em'ope. But, in the 16th century, architecture burst out in Genoa with peculiar splendour. The palaces of Genoa exhibit great excellence in domestic architecture. Galeazzo Alessi (1500-1572), by whom the best of these edifices were designed, gave the impulse which continued till the last century, when the art declined, giving way to extravagant decoration or meagre poverty. Nowhere has painting been more closely allied to arcliitecture than at Genoa. In the first era the earhest known Genoese artist is the individual who bears the somewhat romantic appellation of the “ Monk of the Golden Islands ” (1321- 1408). The golden islands are said to be the isles dTIyeres, where he took the vows. This monk, who is thought to have belonged to the noble family of Cibo, was also a Troubadour of no mean powers ; and he gave what may be termed a new edition of the works of his predecessors, by making correct copies of their works, which had been much corrupted by the ignorance of tran- scribers, As an artist he was chiefly distinguished as a miniature painter or |i illuminator. There appears also to have been a class of artists who flourished j| in this district, either Germans, or who followed German models ; and to this ij class belongs, in a degree, Ludovico Brea (see Nice), who, flourishing between ' the years 1483 and 1515, is perhaps to be considered as the proper father of ,! the Genoese school, of which the principal of the more early artists are, j Robertelli (1499), Nicolo Corso (about 1503), Pietro Francesco Sacchi (1512- | 1526), and Lorenzo Moreno (about 1544). j The second era was formed by Pierino del Vaga (died 1547) and his scho- lars, who may be considered as a species of offset from the Roman school, j Tlie calamities of Rome compelled Pierino to seek a refuge at Genoa at the , very moment when those palaces were rising which have conferred such splen- dour upon the Citta Superba, Patronised by the great Boria (see Palazzo ; Doria), he was employed upon the frescoes of his palace ; and by liim, and by ! the native Genoese who were either directly or indirectly Ids pupils, were those frescoes produced. To this era belong Lazzaro Calvi (born 1502, and who j attained the patriarchal age of 105 years), and Pantaleon Calvi Ids brother (died 1509), Giovanni Cambiaso, and Luca Cambiaso his son (died 1585), j Tavarone (1556-1641), and Bernardo Gastello (died 1629). Giovanni Cambiaso is the chief of these artists. All were exceedingly prized in their own country ; and the Genoese republic conferred an iionour upon j painting which no other Italian state had bestowed. By a special decree, they raised painting from a trade to a profession, declaring that it was a liberal art, and that it might be practised without derogating from nobihty. J Riviera. Route 12 . — Nice to Genoa. 67 In the third era, which partly includes some who may also he considered as belonging to the preceding age, Domenico Fiasella, surnamed “ Sarzana,” from his birthplace (1584-1669), holds a conspicuous station. The Piola family produced many artists of high merit, one of whom, Pellegro (died 1640 — see Genoa, Strada degli Orefici), had he not been prematurely cut off, would probably have attained the highest rank in art. Eight of the Piola family were artists, the series extending from 1625 to 1774. The Carlone family also formed a species of clan of artists. Giovanni Battista Carlone (died 1680) must perhaps be considered as the greatest master of this period ; and his elder brother, Giovanni, was scarcely inferior. Diming the earlier part of this period Genoa was visited by many foreign artists, more, certainly, than any other state in Italy. Both Bubens and Vandyke were much encouraged, as well as others of inferior fame. During tlie great plague of 1657 very many of the principal painters died. This is assigned as one of the causes of the sudden decline of the Genoese school. It may have had considerable effect ; but, without doubt, the main cause was the general dechne in art, in which all Italy equally participated. Many young men went to Borne to pursue their studies ; and, on their return, constituted what is considered as the fourth era. The greater number of these students became the pupils of Carlo Maratti; and those most distmguished were, Andrea Carlone (died 1697), Paol’ Girolamo Piola (died 1724), and Domenico Parodi (1740). These have considerable clever- ness, though but little originality. The later artists are of no great importance, nor does Genoa at the present day form any exception to the general observa- tion — that Italy exhibits no real symptoms of any efficient revival of art. BOUTE 12. NICE TO GENOA, BY THE RIVIEBA DI PONENTE. 31 posts (142^ m.). Nice may be readied from Turin by the Col di Tenda (see Bte. 7), or by Mondovi and Oneglia (see Bte. 9) ; from Aix en Provence by a road on v/hieh tliere is a daily diligence ; from Toulon also by diligence ; and from Marseilles by steamer. Tlie transport of luggage from London to Nice by the steamers between Liverpool and I Leghorn, who transship to those which ply between that port and Nice, is safe I and cheap. I Inns . — Hotel de France, kept by : Buonacorsi, the former ])ro])rictor of the Gran Bretagna, at Naples, is now excellent. B. lived for many years in England, and liis wife is an Englisli- woman. Hotel Victoria, kept by Zi- chitclli, in a very good situation, is liigldy spoken of for its cleanliness, cuisine, and moderate charges. Hotel des Etrangers, formerly kept by a very respectable and obliging landlord, has lately become the property of the owner of the Hotel de la Ville at Genoa ; ex- cellent table-d’hote at 3 francs, at half- past 3 and 5 o’clock. Hotel des Em- pereurs, formerly de Londres, kept by Joseph Monnoyeur, of Paris, newly fitted up. Hotel de York, in a good situation in the centre of the town ; and Hotel de TEimope, in the Fau- boiu’g of the Croix de Marbre, well spoken of. Hotel Chauvin, formerly H otel d’Angleterre, a fine house, in a good situation near the Fort ; very good. Pension Anglaise. Almost all the hotels at Nice are much im- proved of late years, as regards fur- nishing, cleanliness, and domestic com- fort, liestaurants . — There are several, but not one can be recommended. Lom- bard, traiteiu*, sends out dinners, but his bills should be carefully looked over. Cafes . — The best is tlic Cafe Boyal, where the French news- 68 Sect. II. Route 12. — Nice — Diligences — Steamers. papers are taken in, and tlie ices are excellent. Good cigars may be procrmed from the waiter, which it is impossible to pnrcliase in any shop in the town. Lodgings. — Comfortably furnislied apartments may be had at from 3000 to 5000 francs for the season. Some of the new lodging-houses are good ; they have from 10 to 12 rooms upon each floor, but they are 4 and 5 stories high. There are public baths and sea- bathing near the Pension Anglaise, Bankers. — The principal bankers are MM, Avigdor ; MM. Etienne, Carlone, and Co. ; and Lacroix and Co. : all these gentlemen are very obliging and usefid to England visitors. ^English Consul. — A. Lacroix, Esq., tlie banker. There is now a Protestant church, where service is regularly performed by a resident English clergyman. Phgsicians. — Dr. Earr, Dr. Gilder, Dr. Travis. AjgotJiecary. — Paulian; good, but charges English prices. Libraries and Beading Booms . — There is a club of the first people at Nice, called the “ Cercle,” to which strangers are admitted as subscribers, on the introduction of the British consul or their banker. It is pro- vided with English newspapers and books ; Philharmonic concerts are held there once every fortnight during the season, and an annual ball takes place, all which are included in the subscription. Visconti keeps a sub- scription hbrary and reading-room, with English books and newspapers. Giraud, at the Librau’ie Etrangere, has a good library and reading-room, in the part of Nice chiefly inhabited by English visitors. Vettwrini. — Felice, near the post- office, is the best ; but tlie vetturini of Nice are not good, their horses being middling and their demands exorbitant. Betmm horses of vet- turini who have brought families to Nice from Genoa, Florence, &c., are often to be heard of at the hotels, and may in general be depended on. Carriages for excursions may be had at the hotels : saddle-horses are good, but dear. There are good ponies and donkeys to be hired, with guides who know the principal ob- jects of interest in the neighbour- hood. Diligences. — Servizio del Eegii Cor- rieri, daily to Turin, by the Col di Tenda and Mondovi, Milan, and Genoa. Steamers go once or twice a week to and from Marseilles and Genoa. Masters. — French Master, M. Mal- lard, a great collector of butterflies, &c. Italian Master, Abbe Sapie. Botan- ist, M. Montolivo, librarian at the public library. Tradesmen. — Vfeeks, an English tailor, who has lived many years at Nice, is a good workman. Thibaud is a good tailor, and makes habits. Louise Malzac is the best milliner. The turnery and hard- wood joiners’ work of Nice are good. The inlaid tables, trays, boxes, &c., are made of the varieties of wood grown in the country, and the shops in which they are sold abound. Nice {Ital. Nizza di Mare, to dis- tinguish it from Nizza della Pagha, in the province of Alessandria) anciently belonged to the Counts of Provence, and has partly a French and partly an Italian character ; the latter pre- dominates, owing in some measure to tlie endeavours of the King of Sar- dmia. Its population is about 30,000. In the older portions the streets are narrow and not over clean ; but the old town is surrounded by fine and open new streets, squares, and ter- races, which have the usual character of a watering-place where everything is laid out for visitors ; — there are gaiety, idleness, sickness, and death. The small port, protected by a mole, admits vessels of 200 and 300 tons burden. Nice has some manufactm’es of silk, and a few other articles. Its exports of native produce are chiefly oil, wine, and fruit. Like Genoa it is a porto-franco. Villa Franca is considered, on account of its vicinity, as forming a part of the port of Nice^ Riviera. Route 1 2 . — Nice — Dialect — Castle. 69 It is where vessels perform quaran- tine. In the new tomi there is a fine terrace, from which the view is ex- tensive and beantifiil ; the mountains of Corsica may be seen by the naked eye. There are three suburbs, that of St. Giovanni Battista, that della Poudriere, and that of the Croix de Marbre. The faubourg of the Croix de Marbre, or Croce di Marino, in which most of the English live, is on the W. side of the citjq from which it is separated by the torrent Pag- lione. It contains many good houses with gardens, which may be had for the season. It is, however, greatly exposed to a hot sun, and to tlie vio- lent winds which blow from the S. and E., and is very dusty ; and the clouds of fine white dust form, in wet wuatlier, a disagreeable white mud. In this suburb stands the Church of England chapel, built under a special permission granted by the late king, Vittorio Emanuel, 1821. There are two English burying-grounds ; the chapel is in the new one, which is remarkably neat ; both are affecting from tlie incidents which the ages of many of those who lie buried there suggest to the mind. When Nice first became the resort for British visitors, its agreeableness and salu- brity were perhaps overrated ; and now there is, accordingly, a tendency to place it somev/hat below its due station in the scale of desirability. The air is highly stimulant and irri- tant in the town itself; but among the low hills a mile or twu inland there are situations in which these qualities of the air are more modified than can easily be believed to be the case at so sliort a distance ; houses in such situations can be hired by tlie month — the maison Nicholas, 160 francs ; a cottage belonging to and adjoining the residence of M. Mar- tine, at Cimiers, 40 francs per month. Dinner is brought uyi from a traiteur in the town on the head of a peasant girl ; 4 franca should jiroduce a good ])lain dinner for 8 or 4 ])crsons ; it is best to order it for 2 persons at 2 francs a head. The sharp hise or W. wind is occasionally trying to invalids ; but there are but very few days, even in the winter, that persons, unless in a very delicate state of health, cannot get out with comfort ; caution is, however, necessary, even in summer. Provisions are generally good ; fish, most abundant, but poor. The whie of Nice, though apparently thin and light, is strong and heady, and dis- agrees, at first, with strangers : many people on first arriving have bilious attacks and diarrheea, if not very care- ful in their diet. The people speak what is called the Nizzard, a dialect of the ancient Pro- vencal, more properly called the JRo- mane language^ and which, in all j^robability, wus spoken amongst the Eoman colonists as early as the first era of the Csesars. It is mixed and corrupted in the city ; but in the mountains it is preserved in greater purity. This dialect possesses much interest ; inasmuch as the Troubadours gave the first impulse to the poetry of modern Italy. Nice does not contain any very re- markable public buildings. The Ca- thedral, Sta. Reparata, built in 1650, is in the ordinary Italian style ; nor have any of the churches any pecidiar beauty of architecture, or woi’ks of art. Italian operas are peformed at Nice during the carnival. French, however, is more spoken on the stage as Avell as off it. Above the city are, or rather were, the scanty ruins of the once formidable castle, blown up by the Duke of Ber- wick in 1706, under the direction of Louis XIV. : the ruins have been re- cently almost Avholly removed, and the site laid out and planted as a walk, and the view hence is very beautiful. Nice has seen much hard ilghtiug ; but per- haps the most remarkable passage in its history is the siege Avhich it sus- tained in 1513 from the combined foi'ces of the Erencb and the Turks, wben, “to Ihe astonishment and scan- dal of all Clirist('ndom, the lilies of France and crescent of Mahomet ap- peared in conjunetion against a fortress 70 Route 12 . — Environs of Nice. Sect. II. on wliicli tlie Cross of Savoy was displayed. The town, however, was bravely defended against their com- bined force by Montfort, a Savoyard gentleman, who stood a general assault, and repulsed the enemy with great loss before he retmed into the castle. This fort, situated upon a rock on which the artillery made no impression, and which could not be undermined, lie held out so long, that Doria had time to approach with his fleet, and the Marquis del Gruasto to march with a body of troops from Milan. Upon intelligence of this the French and Turks raised the siege, and Francis In ■ not even the consolation of succest. to render the infamy which he drew on himself by calling in such an auxiliary more pardonable.” — Mohert- son’s Charles V. Dr, Robertson, however, has not mentioned that the repvdse of the Turks was (as it is said) much aided by the prowess of a female warrior. The Janissaries had planted the cres- cent upon the ramparts, when a wo- man, the wife of a poor citizen, one Catharine Segurana, rallied the %ing garrison, and, cutting down the stand- ard-bearer with a hatchet, she waved the standard above. The Nizzards re- gained tlieir courage ; and the breach was so well defended that the Janis- saries fled in the greatest confusion. The inhabitants raised a bust to her honour with this inscription : — “ Ni- ceena Amazon irruentibus Turcis oc- currit, exemptoque vexillo triumphum meruit, 1543.” Besides the epithet of Amazon, which she so well deserved, she also equally deserved the appella- tion of Dame Ugly Face, Donna Mau- faccia. The Groce di Marmo^ from wdiich the suburb derives its name, commemorates the celebrated con- ference of Nice, 1538, between Pope Paul III., Charles V., and Francis I. ; if conference it can be called, “ when so great was the difficulty of adjusting the ceremonial, or such the remains of rancour and distrust on each side, that they refused to see one another, and everything was transacted by the intervention of the Pope, who visited them alternately.” — Molertson's Charles V. The neighbourhood is exceedingly lovely, and the gardens, many of wliich abound with tropical plants, are most luxuriant. The flora of Nice is very rich. In spring the blue hepatica flourishes ; likewise primroses, rarely seen in Italy. There are two varieties of sweet violet difierent from om*s, and a profusion of scarlet, purple, and pink anemones in the olive-grounds. JEnvirons of Nice. — The more im- mediate outlets are the drives along . the sea-shore. One of these was made at the expense of the English visitors, who raised a subscription for the pur- ose of thus employing the poor. Ci- mella or Cimiers may be the object of a pleasant drive. It is about 2 m. from the city. The “ Civitas Ceme- liensis ” appears to have been a place of considerable importance, but it was utterly ruined after the fall of the Em- pire. Here are the remains of a Roman amphitheatre, called by the peasants the , Bath of the Fairies , — II tino delle fade. \ Other ruins may be traced in the plea- sant vineyards and farms by which the site is covered. The Franciscan mo- nastery at the summit is shaded by fine trees, and a curious ancient cross is in the httle area in front. The i church contains a good painting by Imdomco Brea^ the only artist of emi- | nence whom Nice has ever produced. His style is older than that of his era, which arose, perhaps, from want of intercourse with the great capitals of art. The view from the garden ' is very fine. Cimiers is very mild, and well suited to an invahd requiring qmet. Another excursion -may be made to '' San' Bartolomeo., a picturesque old i! convent. The altar-piece is said to have been brought from Rhodes, and to have been given to the convent by ’ Yilliers de ITsle Adam. . II Vallone Oscuro. A fine gorge, |) or Via Mala on a small scale. j| La Fontana del Tempio. A valley jj of a totally difierent character, being i i as cheerful as the Vallone Oscuro is | i savage. It derives its name from an j i Rivieea. 71 Route 12 . — Scenery of Riviera. ancient commandery of tlie Knigiits Templars, Other very pleasant excursions may be made to the Chateau de Yilleneuve, the suppressed eonvent of Sant’ An- drea, and the Villa Gruerrio, — all short joiumeys made without fatigue. On leaving Nice for Oenoa it is necessary to apply for your passport twenty-four hours before you start, and to have it vised by the English consul and by the governor and prefect of police. The fees amount to 6 or 7 francs. The road from Nice to Grenoa, leaving Nice by the Piazza Vittorio, separates just outside the gate from tiie Turin road, nearly parallel to which it runs for about 2 m., ascending the I mountain by a long, straight, gradual j ascent. It then turns eastward round 1 the shoulder of the hill, leaving Villa- ; fi’anca, which is scarcely visible from 1 the road, far below to the rt., and I runs along the crest of the ridge beliind ! Esa to Turbia. The views during the 1 ascent, and at the summit, are splendid in every dfrection. After gaining the top of the ascent, the road passes under Montalhano, a fortress finely situated 1 on the hill, or rather mountain, of ; Monbarone. From this part of the I road the view is remarkably fine. To ! the W. the great bay of the Mediter- I ranean extends as far as Antibes and i far beyond, the coast of France losing i itself in the horizon. To tlie E., Vil- ■ lafranca, the Kiviera, headlands, bays, j towns, and towers, sweep away in the II perspective. Prom this point it may I be reckoned that tlie Eiviera di Ponente ^ begins. The road is sometimes called the Corniclie, from the nature of the ! narrow patli which existed before the j present magnificent road w'as made : ' the Corniche was then a mere ledge on t the side of the rock, a relic of the Roman Aurelian way^ overhanging the sea in many parts, scarcely wucler than was needfid for a single horse or mule, jand of which tlie terrors were equal to the beauties. These terrors have been in great measure removed. The pre- sent road was begun by the French, who executed it as far as Mentone, and has been recently completed by the Sardinian government in a manner not very satisfactory. Amongst other ad- vantages, it is the only pass into Italy which is never blocked up by snow in winter, and for this reason it is to be preferred to all others by those wdio need to travel at that time of year. The road is often much injured by storms, and by the torrents which in- tersect it rushing down to the sea. These, when heavy rains have fallen, rise suddenly, and so high, that they compel you to stop for days at the nearest town. The road is most ably carried along the shores, or slopes of the subalpiiie spurs of the chain, which form the shores. In some parts it is carried along at a great height ; and, though in reality always safe, yet, per- haps, a parapet waU is occasionally de- sirable to calm the apprehensions of a nervous traveller, by keeping off the immediate view of the precipice below. This route presents some of the most beautiful scenery in Italy. Ptpon the sides of the hills sloping to the Medi- terranean grow olives, oranges, cy- presses, and the stone-pine, so frequent in the landscapes of Claude Lorraine. Then successive indentations of the shore, larger bays, including smaller bights, headlands advancing and clos- ing in the prospect, and the blue sea, constitute the main featimes of this most favoured tract, in wliicli alpine lieights and maritime scenes are con- joined to the ornaments given by hu- man art. Tassoni, in his Seccliia Ra- ])ita^ gives a q)icture of this sea and coast : — “ Tremolavono i rai del sol naseente Sovra r onde del mar purpuree e d’ oro; E in veste di zaffiro il Ciel ridente Specchiar parea lesue bellezze in loro. D' Africa i venti fieri, e d’ oriente Sovra il letto del mar prendean ristoro; E co’ .sospiri snoi soavi e lieti Sol Zefiro increspava il lembo a Teti.” Sacchia Rapita, canto x. 11. The towns and villages, tliickly studded along the coast, and glittering upon tlie sides of the liills, sometimes placed at a great height, Avear a gay asiicct. Idle churches have usually very lofty fa5ades, painted in fresco. Tlie ]n*e- vailing architecture is in the most fan- 72 Boute 12. — Villafranca. Sect. II. ciful style of Borromini^ small columns, contorted pediments, and a profusion of ornaments. At a distance these de- fects are not visible, and the lofty bold elevations, the gay colours, the tall belfries, and the numerous cupolas, produce a striking effect, thoroughly Italian, yet altogether differing from the Italian of Lombardy or of Tuscany. The road frequently passes through the towns, wdiere the streets are generally so narrow as only just to admit a car- riage, and it would be impossible to pass even a wheelbarrow. Even the mules and passengers on foot are obliged to stand in the gateways to let a car- riage pass. Towers are planted along the coast, intended to protect it from the invasion of the Barbary rovers, in bygone times of no unfrequent occur- rence, their doors high in the wall, the apertures scanty, and with the aspect of the age of Charles V. The corsairs continued to harass the coast; and even as late as 1770 they occasionally carried off some small plunder. The coast of the Eiviera, sloping to the sea, and exposed to a southern sun, enjoys in many parts a temperature which you do not meet again until you reach the bay of Naples. This is most strikingly evinced to the eye by the tropical luxuriance and cha- racter of portions of the vegetation, joined to those productions wdiich more pecuharly belong to the basin of the Mediterranean. The Cactus Opuntia, or prickly pear, the noble palm of the East, the Phoenix dactylifera, and the Agave Americana^ or American aloe, flourish in profusion. The pahn, which is of the species indigenous in Palestine, was introduced and cultivated for the purpose of supplying the branches used in the ceremonies of the Chimch, on the Sunday which yet retains the name of Palm Sunday in common language, though not designated as such in the Liturgy. 'With respect to the aloe, the period when the plant was intro- duced here is not recorded. It pro- bably Avas first employed in ornamental gardening ; but now it has quite natu- ralised itself throughout the country. The arid banks near the border of the sea, and the scanty soil in the rifts of the rocks, are alike congenial to it, and the flower-bearing stems rise often to the height of twenty feet or more. This aloe is equally naturalised in Sicily, where it has become so completely a feature in the landscape, that few per- sons are aware that it is a stranger. The pomegranate, which first in the southern parts of Italian Switzerland begins to ripen its fi’uit in the open air, here does so abundantly in the gardens. With respect to the productions which, if not absolutely indigenous, have been introduced here before the time of historical memory, the olive is the most striking. It here attains a considerable size : it is not, perhaps, a beautiful tree taken singly, but is remarkable for the contorted and twisted forms which the stem assumes when old. This knotted and wrinkled stem, and the projecting roots of the aged olives, harmonise well with the hoary hue of their rigid siBery leaves. The fig- trees are remarkably fine, and the fruit abundant and full of flavour. There is, however, a great difference in the climate of places situated on the Eiviera. At some places, as at Al- benga and Nice, ravines opening up to the higlier mountains afford a passage to chilling gusts of wind. Other situa- tions, like Mentone, are completely sheltered. There is a difference of ve- getation corresponding to this difference of climate. The people of the Eiviera are the least beautifid of its objects : still they are a stout, active, and hardy race, ge- nerally well clothed and fed ; and the road always exhibits much animation. Villafranca, built in the 13th cen- tury by Charles II. of Anjou, King of Sicily and Count of Provence, lies close to the sea-shore, at the bottom of a deep bay, under the safeguard of the fort of Montalhano before men- tioned. The harbour is good and spa- cious, the port and dockyards are in good condition, particularly the latter. Though so close to Nice, the climate here is even milder. It is on the same level; and the difference must be oc- casioned by its aspect, and from being El VIERA. lioute 12. — Turbia. 73 surrounded by bills. Oranges, lemons, and olives abound, particidarly the last. Accommodation for visitors may be found here, and it is a good residence for invahds requiring privacy and quiet. In the rocks near Villafranca is found the shell-fish called the “ dattero di mare,” or sea-date, a name given to it either from its shape or its sweetness. It is the Mytilus lithophagus of Lin- naeus, wliich, piercmg the calcareous stone in an early stage of its existence, enlarges in the burrow which it has made. The stone must therefore be broken to get at the shell ; and the great labour employed in arriving at the fish enhances its price. It is considered a great delicacy, and is very dear : a dish sometimes costs 50 livres. The cliffs all along this part of the shore abound with picturesque grottos and caverns. ; The beautiful Peninsula di Sanf ' Ospizio forms the E. side of the har- j bom.' of Villafranca. Sanf Ospizio I was an anchorite, or rather a recluse in 1 the strict sense of the term, having j been immured in the tower where he j died. In this penmsida, anciently 1 called Frassinato^ the Saracens or 1 Moors of Spain formed, a.d. 906, 1 a military settlement, and they hn- j gered in the country till nearly the close of the same centmy, when they ! were finally expelled (973) by WiUiam 1 Count of Provence. Esa, very boldly situated upon a ; rock, stands a little oft’ the high road. I It was built as a city of refuge from ! the corsairs. The Itahan local anti- ! quaries, the most industrious of the i Oldbuck family, are at issue as to the } etymology of this name ; some say Isis, some from JEsus, the Celtic Jupiter. The Colonna del Me, close upon Turbia, points out the road leading to the sanctuary of the JKadonna del Laglieito, situated in a most romantic valley, and well worthy of a visit, from jthe beauty of its sequestered scenery. In 1721 the Marseillais presented a slialice to the shrine, as a votive offer- ing after the cessation of the pesti- lence ; and it is even yet visited by the Provengal peasantry, who, during the ' 'east, which lasts three days, are per- ' N. Italg—1^^^. mitted as pilgrims to enter the Sardi- nian territories without passports, the police regulations being suspended in honom* of the sanctuary. IN' ear here are many remains of the Aurelian way. The traveller who takes an interest in geology, after passing the castle of Esa, and before arriving at Turbia, slioidd leave his carriage near the stone piUar to the rt. of the road, and de- scend a path towards the sea along the western side of the liill which termi- nates in Cape d’Aglie ; he will find there the fossils of the greensand. 3 Turbia. An extra horse all the year from Nice to Tm’bia, but not from Turbia to Nice. A very remarkable mass of sohd ruin, towering above the houses of the little village of Turbia, will have at- tracted the notice of the traveller long before he has reached it. This ruin is the nucleus (for all the rest is de- stroyed) of the celebrated TropJicea Augusti, to commemorate his victories over the tribes of the Ligurian Alps. The inscription contained the names of these tribes, and has been preserved by Pliny. The fragment which re- mains, and which contains part of one word, and portions of the letters of the fine above, can be ex.Q.ciXj fitted on to Pliny’s text. It stands, txirned upside down, over a door. Numerous frag- ments scattered about, show that, in part at least, the building was covered by sculptm’es of trophies of arms : the statue of Augustus is supposed to have sm’inounted the structure. The church is built with stones taken from this monument : a portion of one of the trophies is fixed into the walls ; and many fragments of columns and friezes, and other architectural ornaments, are incorporated in the other buildings, showing the ancient magnificence of the pile. In the middle ages it was converted into a fortress, and much dilapidated ; but it waxs reduced to its px'esent state of rxxiix by Yaxxban, who blew xxp the gi'cater part of it, the Ei’encli desti'oyiixg what others liad spared. In the Itinex'ary of Aixtoxii- nxis tlxis rock of Txu’bia is assigixed as the boundary of Italy and Gaxxl ; aixd E 74 Route 12. — Monaco. Sect. II. wliether it be natui’aUy so or not is a question which is stiU mooted by foreign geographers. Shortly afterwards a dogana, upon which is painted m gay colours the lozenge shield of the Grimaldi family, surmounted by a crown, informs you that you have entered the territory of the Prince of Monaco^ the smallest monarchy in the world. The history of this principality is very obscure. It seems, however, to have been one of the very few allodial domains which escaped the process of feudahsation ; and, except by main force, the emperor had no authority over it. The sove- reignty was acquired by Lucchino dei Grimaldi, 1344 ; but this was only a restitution, for the dominion belonged to the Grimaldi in the 10th century, and probably long before. The family became extinct in the male line in the person of Antonio Grimaldi, who died in 1631, and left one daughter, wife of the Count de Torigny, who assumed the name and arms of the Grimaldi, and from whom the present Prince of Monaco, Florestan, of the Matignon family, is descended. He lives the greater part of the year at Paris, and is mider the protection of Sardinia, submitting to allow the king to station a garrison in his territory. The in- habitants, however, have a certain pride in their mdependence, and of the dig- nity of them pr nee (whom they gene- rally suppose to be a descendant of Louis XIY.). The officers of the “ Sovrano ” do not give any extraor- dinary degree of trouble to those who traverse his little territory. His re- venues are derived in part from a rent in kind ; the remainder from what in Scotland is called thirlage, or the right of compelling all the inhabitants to grind their corn at his mUl. About one-half of it is spent in the country, the remainder is remitted to Paris. The number of Ms subjects is about 6000. By a decree of Charles Albert, 18th Sept. 1848, the principality of Monaco was declared to be united to the Sar- dinian monarchy, and garrisons placed at Monaco and Mentone. Different projects have been since then drawn up for the government of this terri- tory, for the approval of the Sardinian legislatm’e ; but none of them appear to have been acted upon, in conse- quence of the appeal made to the Powers who signed the treaty of Yi- enna in 1815, placing Monaco and Mentone under the protection of the King of Sardinia, and whose sove- reignty the latter engaged by a sepa- rate convention in 1817 to maintain. Within the principality are two towns and one village. Monaco, the ancient capital, stands out of the main road, close to the sea-shore, covering the table surface of the rock, com- manded by Mgher hills, commemo- rated in the proverbial rhymes so honourable to the industry of the in- habitants. “ Son Monaco sopra un scoglio, Non semino e non raccoglio, E pur mangiar voglio.” The city is of very remote antiquity, its foundation having been attributed to the Greeks, who at an early period, quite ascending into their heroic age, were well acquainted with Ligimia, where many of them trachtions were localised. There are frequent allusions to it in the classics. One quotation from Lucan may be selected from the rest, on account of its accurate de- scription of the situation of the “ Arx Monoeci — “ Quaque sub Herculeo sacratus nomine portus Urget rupe cava pelagus : non Corns in ilium Jus habet aut Zepliyrus : solus sua littora turbat Circius, et tutta prohibet statione Monoeci.” “ Where winding rocks the peaceful flood re- ceive. Nor Corns there, nor Zephyrus resort. Nor roll loud surges in the sacred port : Circius’ loud blast alone is heard to roar, And vex the safety ol Monoecus’ shore.” Monaco was fortified at the expense of Louis XIY. The view, as you look right down upon the town within its walls, the towers above, and its little quiet port in the centre of such a wide expanse of sea and momitain shore, is peculiar and beautiful. The palace of the prince is in the great Piazza, and Riyieea. Route 12 . — Mentone — Ventimiglia. 75 contains some fine apartments ; one is ricli in painting, gilding, and all the attributes of sovereignty. G-uard-room, antechamber, and throne - room are there ; but all in sad abandonment and decay. Until recently the Scoglio was in- srmnonntable by carriages, but it can now be ascended without dilficidty. The view from the terrace of Monaco, over the Mediterranean, is exceedingly beautiful. The surface is occasionally enlivened by the sporting of the dol- phins wliich abound here. Pass Roccabruna, cmiously situated upon a rock of breccia. It is said that the whole has sunk down several hun- dreds of feet, without damaging or even distimbing the castle and edifices composing the village. All tliis part of the road is most romantic. It sometimes runs along the summit of a ridge, whence tire clouds are seen hanging in the clear air below. Wher- ever there is any shelter, the soil is carefully tiUed. Every inch where a spade can be handled is cultivated by means of terraces, and with most varied crops. The rifts abound with trees, though the sides are so steep that they can rarely stand upright. You then descend tlrrough a noble wood of an- cient olives, and a long avenue of rho- dodendrons, oleanders, and plane-trees, till you reach 2 Mentone {Inn : Hotel de Turin, kept by Yelliano ; good, comfortable, with moderate charges ; beautifully si- tuated). The Sardinian government charges 2 posts from Turbia to Men- tone ; the Prince of Monaco 3 posts from Mentone to Turbia, and his post- master requires payment beforehand. There are constant disputes between him and travellers going in the direc- tion of Nice, from tliis charge not being in accordance with the printed bolle- tone. An extra horse is taken all the year from Mentone to Turbia, but not vice versa. Practically, the capital of the principality, and which, if the prince did reside here, would be what in German is called tlie “ Resident bearing — si parva licet componere mag- nis — the same relation to Monaco, the ancient capital, which Petersburg does to Moscow. It contains 4000 Inhab. French is generally spoken by all, the residt of their former connection with France. Amongst themselves they use a very corrupt Genoese dialect. On a hill above, its sides feathered with grey ohves, are the picturesque ruins of an old castle, of which a por- tion was not long since blown down by a storm of wind. The female peasants in this part of the country wear a strg,w hat pointed at the top like the roof of a barleymovv. About half a mile from Mentone you re-enter the Sardinian territory. At Port St. Louis, which crosses a fine gorge immediately after passing the custom-house, turn down to the shore, and continue tiU you have the view beneath the bridge. You must retiun the same way in order to regain the road. This expe- dition occupies about 20 minutes. Monaco and Mentone are said to enjoy a milder climate than Nice. On ascenchng the next hill, and looking back to Mentone, the view is beautiful. Ventimiglia {Inn : Croce di Malta ; a tolerable Italian locanda, but make your bargain beforehand). An extra horse from Mentone to Yen- timiglia, and vice versa., is taken from November to April. The ancient “ Al- biuni Intermelium,” a very ancient city, and the capital of the Intimelian Ligurian tribes. In the middle ages it repeatedly changed masters, being much contested by and amongst the Genoese, the dukes of Savoy, and the connts of Provence. Just before the Frencli invasion it was the frontier town be- tween the Sardinian States and Genoa. It is now an episcopal see, and, if its pretensions be correct, of apostohcal foundation, St. Barnabas having, ac- cording to ecclesiastical tradition, been its first bishop. The Duomo, or cathe- dral, has been much modoraiscd : some of the ancient jiortions are in a very rude and singidar Crothic, pecuhar to the Riviera, and as yet neglected by architectural antiquaries. Roman in- scriptions are inserted in this aiid other buildings of the city. The road through E 2 76 Route 12. — Bordigliiera — SarC Remo. Sect. II. the town is very rough, narrow, and steep, until you come to the long wooden bridge over the E,oja, which runs below the town on the eastern side. Yentimiglia has been made very strong towards the sea. The Monte A'ppio is one of the but- tresses of the Maritime Alps, or per- ha23s of the A 2 )ennines, for it is difficult to say where one chain begms and the other ends. U 2 )on this mountain stands a castle, consisting of two stone towers, su 2 ) 2 )Osed to be Roman, with other fortifications, j)robably of Gre- noese origin. At a short distance from the main road is the ancient castle of Dolce Acqua, a fine feudal relic by the side of the river Nervia. The site is exceedingly beautiful. Bordigliiera, The Jesu Maria, the best inn, is detestable. A small ancient castello, finely situated under olive-clad mountains. The road from Yenti- raigha, tln’ough Bordigliiera and San’ Remo, runs mostly low (at least com- jiaratively so), and sometimes quite near the sea-shore. Here the yialm-trees become more and more numerous, giving an oriental aspect to the scenery. Many of these are swathed round, in order to imyirove the growth of the branches used in processions, wliich gives them a very singular ayipearance. Near here is BerinaXdo (1.), just seen on the height, the birthyilace of the celebrated astronomer Gian’ Domenico Cassini, the father and grandfather of Jacques Cassini and of Cassini de Thury, who worthily followed his ex- amyile. It was also the birthyilace of Monaldi, the nephew of Cassini, scarcely less eminent as an astronomer than his unele. Bordigliiera, with the adjoining rm*al communes of Camyio Rosso, Yalle Crosa, San’ Biagio, Sol- dano, Yallebuona, and Sasso, consti- tuted a rejiubhc independent of Genoa, though under its suyiremacy. Above Bordigliiera is the Castello of Sehorca, situated uyion the Monte- negro, whieh is said to have sent forth flames witlmi time of historical me- mory. In this neighbourhood are many mineral and thermal sjprings. San^ Bemo. Between Yenti- miglia and San’ Remo an extra horse both ways all the year. {Inn,, La Palma; not over clean, nor yiarticu- larly comfortable in other resyieets.) A large and flourishing yilace, contain- ing uyiwards of 11,000 Inhab. It is a yirefecture and capoluogo of a yirovince. San’ Remo is close upon the sea-shore, beautifully situated uyoon a bright sandy bay, and rising thence uyi a lofty hill. Terraces and orange groves are seen intermixed with handsome churches and white houses, in gay and picturesque confusion ; but the inte- rior is remarkably gloomy, and, in the upyier town, offers a singidar examyile of the municiyial arrangements of the middle ages. With the exceyition of the Strada Maestra, San’ Remo may be described as a succession of caverns and defiles. Ranges of very lofty stone houses, built uyion arches, cross and intersect other ranges of arches, and wind up the side of the Ajiennine liill. These streets are crossed transversely by arches, like bridges, extending from wall to wall. The whole ancient borgo is thus connected, as it were, into one liive ; and, with a very slight degree of trouble, you might walk and clamber through it from end to end, without setting foot uy)on the ground. Such a mode of construction, when the in- habitants were determined upon de- fence, must have rendered it almost imj)regnable. The yDrinciy^al church is very ancient, and the ]:>ortals are in the singular Gothic wliich has been noticed as belonging to the Riviera ; the in- side has been modernised. The other churches and convents, of whieh there are many, are also very rieh ; and, without having any objects remarkable as works of art, they should be visited by the traveller, as exhibiting a style of which he wRl not find the like else- where. San’ Remo is the cuhninatmg point of the tro 2 >ical vegetation of the Riviera : it is in the vicinity of San’ Remo that the jiahns grow m the greatest luxuriance, the dates aq)proach- ing nearest to maturity. The city con- tains many beautiful gardens, generally upon terraces. These are often jilanted Riviera. Route 12 . — San Lorenzo — Oneglia. with palms, and the long waving branches, intermixed with the build- ings, have a peculiarly beautiful effect. The jessamine, the orange-flower, and, in short, whatever can give sweetness, has here a peculiar fragrance. With such odoriferous groves are the hills covered, and watered by frequent and rushing streams. There is no part of the Riviera to which the description given of it by Ariosto can better apply. It is in his account of the voyage from Marseilles of the traitor Gan di Ma- ganza, — Giimta alV Orlando Furioso^ canto 1, st. 71. “ Poiclie licenza dal Re tolto avea, Usd del porto, e del sicuri stagni. Restare addietro, anzi fuggir parea, 11 lito, ed occultar tutti i vivagni. Indi r Alpe a sinistra apparea lunge, Ch’ Italia in van da' Barbari disgiunge. 72. “ Indi i monti Ligustici, e Riviera, Che con aranci, e sempre verdi nairti, Qnando avendo perpetiia primavera. Sparge per 1’ aria i bene olenti spirti. 73. “ Dove im miglio discosto da 1’ arena D’ antiche palme era una selva amena : 74. “ Che per mezzo da un’ acqua era partita Di chiaro fiumicel, fresco e giocondo, Che r una e 1’ altra proda avea liorita, Dei pin soavi odor che siano al mondo, Era di la dal bosco una salita, D’ un picciol monticel quasi rotondo. Si facile a montar, che prima il piede D' aver salito, che salir si vede.” From San’ Remo a pleasant excur- sion may be made to the Madonna della Guardia^ upon the Capo Yerde, to the south of San’ Remo. The high road continues through Arna to Riva di Taggia^ where the church is most gay on the outside with paint- ing : the figure of St. Matrrice, the patron of Savoy, is very prominent. 2 San' Stefano, Arengaria. San' Lorenzo. The wine of this neighbourhood is much praised, as being nearly equal to Cyprus ; but it is said that it is principally grown for the use of the proprietors, and that little of it is brought into the trade. The coast here is thickly studded 77 with those picturesque towers which have been before noticed in the gene- ral description of the Riviera. They were, however, inadequate to prevent the descent made by the famous or infamous Occliiali^ a Calabrese rene- gade, who, sading from Algiers in 1566, landed at Riva di Taggia, which he plmidered, and thence extended his ravages as far as Monaco. The rocks which border this portion of the road are singularly varied in their aspect and colour, huge strata of slate sloping into the road, intermixed with beds of marble. The road passes through the steep streets of Porto Maiirkio {Inn : Hotel du Commerce, tolerable and moderate), standing on a hill projecting into the sea, and, although not one of the most cvmous, yet, in its general outward aspect, one of the most characteristic towns of the Riviera. In the centre is a lofty chiu’ch, painted with the brightest colours, palazzi, terraces, vines, all like a fancy composition : the noble mountains form the background. In the neighboiudiood, to the E., out of the main road, are several spots not without interest, Carinagna. In the sacristy of the chiu’ch are several pictures, brought (as it is said) fi’om a cottage which the inhabitants were compelled to abandon on aceount of the invasions of the ants ! One of the pictures is by an early German master. Multedo^ standing upon a stream which at one tune divided an encla- vure belonging to Sardinia from the dominions of Genoa. Montenegro.^ very beautifully situated upon a rising ground. The church, biult in 1450, is a specunen of transi- tion Gothic, Olives abound all around. Within sight of Porto Maurizio is Oneglia. {Inn : Hotel de Turin ; clean and comfortable, outside the town on the E. side.) Onegha is a good halting-place for the night ; it is about 14 hours from Genoa, and as many from Nice. The town was bombarded and burnt by the Freneh, under Admiral Truguet, 1792 ; and 78 Route 12. — Alassio — Lusignano. Sect. II. cliurclies and convents, in picturesque ruins, stiU bear witness of tlie deed. It is the birthplace of Andrea Doria, the Genoese admiral, born 1468. Here, in the autumn, the fronts of the houses are often seen hung with the inflated pigs’ skins in which the wine is kept. A fine suspension-bridge, with the piers which support the chains of polished white marble, has been thrown across the river at Oneglia, and forms a noble addition to the approach to that city. It is also a fine object in the view looking down the street from the Hotel de Turin. A toll of 2^ francs is paid on crossmg it. (For the roads from Oneglia to Timin see Rtes. 8 and 9.) From Oneglia the road becomes very beautiful ; far and near the land- scape is dotted with bright towns and villages. In one part you descend into the valley of Diano, celebrated for its growth both of olives and vines. Diano Marino, as its name imports, upon the shore, and through which the road passes. Diano Gastello is upon the liill. Cervo. Cross the Andora, a sluggish stream, which often swamps and floods the neighbouring valley. The country is unhealthy, and consequently not well peopled. About a mile onward is the haunted Castle of Andora, a ruin. Here, it is said, a papal nunzio was murdered ; and the curse pronounced in consequence of this misdeed is the cause of the decay of the adjoining territory. Beyond the mouth of the Andora the Capo delle Mele advances boldly into the sea. This cape divides the Riviera di Ponente into two nearly equal parts. The aspect of the coast changes. There is a perceptible dif- ference in the quality of the crops, particularly of the ohve, of which the oil is of an inferior quality. From the Capo delle Mele to the Capo della Croce the coast forms a beautiful bay, on the shores of which are Lingueglia. and 3^ Alassio. (An extra horse from Onegha to Alassio and vice versa aU the year. Inns : Hotel de la belle Italie ; Albergo Reale ; Albergo della Posta.) Through both of these the road rims. Both are places of much activity and commercial enterprise. The inhabitants are excellent sailors. Alassio is said to derive its name from Alassia, a daughter of the Em- peror Otho the Great, who is sup- posed to have fled to the forests in this part of the Riviera with her be- trothed Aleramo, where they hved after the fashion of Lord Richard and Alice Brand. Long before crossing the Arosia you come in sight of the island of Gallinaria. The name of this island is said by Varro and Columella to have arisen from its containing a par- ticidar species of the fowls now called domestic, or, according to an- other explanation mentioned by the former writer, from some fowls hav- ing been left here by some navigators, which so multiphed as to fill the island. Enter the exceedingly beautiful valley of Alhenga, splendid in its varied vegetation, and most richly cultivated. It is watered by the river Centa, one of the few streams of the Riviera which are perennial. This valley contains many pleasant villages. In one, Dnsignano, Madame de Genhs lived some time, and she considered the valley as a perfect Arcadia. The vines are often allowed to hang in festoons from the trees, a practice which, whenever it prevails, improves the landscape at the expense of the liquor. The plough here used is of the most primitive construction. The share is a mere spear of iron, attached to a long crooked shaft, exactly such as is seen in the explanatory print of Greek agricidtm’al instruments usually inserted in the old school editions of Hesiod’s WorJcs and Dags. The female peasantry arrange then* hair with much taste, usually adding small bunches of natural flowers. Lusignano is near San Fedele, which possesses a ruined feudal castle. So Riviera. Route 12 . — Garlanda — Alhenga. 79 does Villan/uova^ situated at the con- fluence of the rivulets by wliich the Centa is formed. After passing tlmough a marshy plain, frequently overflowed by the Ai’sena, one of these rivulets, you reach Garlanda. The church of tliis se- questered spot contains some good paintings. The martyrdom of St. Erasmus (AT. Poussin) is a fine com- position, though the subject is so horrible as to render it almost dis- gusting. The Yirgin and Cliild, be- tween St. Benedict and St. Maur {Pomenicliino) ^ painted with great de- licacy and sweetness. It was intended to remove this painting to Paris ; but the inhabitants, by the same process which closes the eyelids of a dotianier, rendered the domenichino invisible to the French commissioners. More re- cently, the curate, and what we should call the vestry, w^ere in treaty to dis- pose of it for 20,000 francs, with wliich they intended to purchase an organ, and otherwise to embelhsh the church, but the “ contadini ” rose e7i masse and prevented the completion of the bargain. After this excursion out of the main road, we must re- vert to Ij Alhenga {Inns : Albergo della Posta ; said to be improved lately. Albergo clTtalia ; tolerable, but rather dhty), a city, the “capoluogo” of the province, and containing about 4000 Inhab. Both within and with- out, the aspect of this ancient metro- polis of a repubhc, which was of sufficient importance to be courted as i an ally by Carthage, is very striking. I Three very lofty towers, besides many j smaller structures of the same nature, j frown over its narrow' streets in all ! the sternness of the feudal ages. Of j these, the loftiest is that called the I Torre del Marchese Malatesta.^ in front 1 of which, at tlie basement, are two I fine statues of lions coucliant. The j second is the Torre de' Guelfi. The tliird is annexed to the Casa del Com- I mune. Tliese towers derive much of their effect from their bold machico- lations and battlements, the peculiar features of Itahan castellated archi- tectm’e, and of wdiicli these are the first examples which the traveller wrill see on this road. They have the as- pect of castles of romance ; and here Madame de Glenlis has localized her story of the Duchess of Cerifalco, im- mured nine long years in a dungeon by her barbarous husband. The cathedral is an ancient Grothic building : over the doorw^ays are some basso-rilievos in a singular style, ex- hibiting runic knots, and unagery not unlike w'hat are found on the runic pillars of Penrith or Bewcastle. The interior is modernised. The baptistery is an octangular building, supported within by Corinthian pillars, and sup- posed, but probably erroneously, to have been a heathen temple. It con- tains early Clrristian mosaics. Many unquestionable Homan antiquities, however, have been discovered in and about Albenga ; and the “ Ponte Lungo^" at the distance of about a quarter of a mUe, is of Homan con- struction, at least in the piers. It was built by the Emperor Honorius. Albenga is one of the unhealthy spots of the Hiviera. The frequent inunda- tions of the Centa rendered the ground about it marshy ; and the insalubrity was increased by the numerous flax- steeping grounds. “ Hai faccia di Albenga,” Yoii have an Alhenga face ^ is a proverbial expression, addressed to those who look out of sorts, or out of condition. This insalubrity has, how- ever, recently been diminished by draming ; and the steeping-groimds are now confined to the vicinity of the sea, and are at some distance from the town. Albenga was occupied by the French in the year 1794, and it became the centre of the military operations of the invaders ; and in 1796 Napoleon made it his head-quarters. During tliis period the adjoining country, w'hich had become the seat of w ar, suffered greatly from the ravages of the con- tending armies, and also from epidemic diseases. In 1797 it formed a part of the Ligurian republic, an incorpora- tion which terminated its political existence ; for, although previously 80 Route 12. — Loaho — Finale. Sect. II. subjected to tlie supremacy of Grenoa, Albeuga had continued to be governed by its own magistrates and laws. Three fairs are held here annually, on the 17th January, 3rd May, and 30th September : the last continues for seve- ral days. About two miles E. of Albenga is the bed of the torrent Torsero ; ascending which about a mile, a very good example is seen of the blue upper tertiary marl, which exists also N. of Onglia, on the Mondovi road. The road now runs close upon the shore, passing near Ceriale, a place abounding in plea- sant gardens. Borghetto di Santo Spirito^ above wliich lies Toriano. The cave of Sta, Lucia in the adjoining lull is full of stalactites, and beautiful of its kind ; one of its recesses is fitted up as a chapel and dedicated to the saint whose name the grotto bears. Loano^ a small city, a title claimed for it by the inhabitants. It was the principal fief of Luigi del Eiescho, so celebrated for his unfortunate con- spiracy. Loano was the scene of the first victory of the French Repubhcans in Italy, on the 24th Nov. 1795, when Scherer and Massena defeated the Aus- trians with immense loss. A new road has been made close to tlie sea, to avoid going over the mountains ; a tunnel leads to Finale. There is a fine view of Genoa before reaching Finale. francs are paid at the barrier before entering on the new piece of road. Pietra, a small town, the prmcipal chm’ch of which contains some curious wood carvings. {Inn : H. dTtalie.) Pass the Headland, or Cape of the Lame Goat, Capo di Capra zoppa. The road is carried up a causeway to the middle of the rock, through which a gallery is made, and from which there is a fine view of Finale. The rock here is constantly disintegrating and falhng down upon the shore. 3 Finale Marina, on the sea-coast (to distinguish it from Finale Borgo, situated about 1 m. ^^p the valley in the interior) . {Inn : Hotel de Londres, once a palazzo, with a fine staircase.) Per- haps so called from being below the end of one of the great abutments of the mountains over which the road until recently passed. Finale was the capital of a marquisate, wliich anciently be- longed to the noble family of Caretto. In 1314 Giorgio di Caretto, then Marquis of Finale, took advantage of a disturbance wliieh had arisen at Genoa, and oeeupied Albenga. The Doge, Boecanegra (see Genoa, San’ Siro), sent such a force against hun as com- pelled him to repair to Genoa in the guise of a suppliant. He was cast into a dungeon, where he was com- pelled to execute a treaty ceding Finale and all his possessions to the repubhc, and the door of the dungeon was then opened ; but it was for the purpose of transferring him to a small wooden cage, where he was kept con- fined in great misery. Towards the end of the fifteenth eenty. the town, passing to the kings of Spain, was strongly fortified by them. The ruins of the numerous forts wliieh they built are stiU seen upon the adjoining heights : they were mostly dismantled by the Genoese when they acquired the marquisate, which, after a long series of contests, they effected by the expenditure, not of bullets, but of money, having purchased it, in 1713, from the Emperor Charles YI. ; but the title of the Genoese was not con- sidered as estabhshed until it was eonfirmed to them by Maria Theresa in 1743. Bernini was the arcliitect of the prineipal church, a collegiate foun- dation, dedicated to St. John the Baptist. On the heights above is the Castello Gavone, a picturesque ruin. One of the towers is fronted with stone cut in facets, hke Tantal- lon in Scotland. Varigotta, a small village, with great capability for a port or haven. In the making of this part of the road much blasting was necessary ; and you also pass through a fine gallery or tunnel in the living rock, from which, when the road emerges, a most lovely pros- pect opens. Riviera. Route \2»—Noli — Savona. 81 Noli, anciently an episcopal city, and picturesque from its walls and towers. The castle, which commands the city, runs up the mountains. Noli, like Al- benga, was a republic, and preserved its own government under the Grenoese, until the ducal city and tliis small state were equally devoured by the Gallic invaders. The rocks bordering the road are here lofty and beautiful : marble of many colom’s, black, red, yellow, and white, most beautifully variegated, often overhanging the path ; the splendid aloes rising in the rifts, and flourishing in gigantic vigom*. The prospects also are lovely ; a view of Genoa is gained after you have passed the gallery of Noh, when you see the lofty light- house, the long line of the Mole, and the fortifications which crown the hills ; objects which are more or less visible during the remainder of the road. Spotorno, opposite to which is a small island bearing the name of Sola dei Bergeggi, now uninhabited, but upon wliich are the ruins of an abbey and a castle. Pass Bergeggi. At the foot of the cliff is a stalactical cavern, praised by the Genoese in prose and verse ; as by Biondi in his canzone addressed to the Marchesa Serra Durazzo : — “ Tutta la volta concava Della grottesca reggia, Scabra e inegual biancheggia Di marmoreo lavor ; “ E cleir asciutta pomice Plover dai pori mille Vedi filtrate stille Di cristallino umor. “ Talor spuntando tremula La colorita goccia, Su la materna roccia S’ arresta ad impietrir ; “ E qua! maturi grappoli Sospesi in alto e cliini Iconi alabastrini Ti sembrano fiorir.” Pass Vado, anciently the seat of a bishop, now a very small village. 3^ Savona. {Inn: Grand Hotel Royal : a new establishment, finely situated, clean and moderate, near the entrance to the harbour : baths on the premises : Hotel de I’llnivers.) An omnibus runs daily to Genoa, as well as a small steamer, which performs the voyage in about 3 hom-s. (For the roads from Savona to Turin, see Rtes. 10 and 11.) — A flourishing city, being considered as the third in importance on the Riviera, Genoa being the first, and Nice the second. The town ex- hibits much appearance of comfort and activity. Large quantities of pottery are 'made here. It is of high antiquity ; and here Mago, the Carthaginian, de- posited his spoils after the capture of Genoa. The acropolis of the Ligm’ian city is thought to have been tlie in- tended site of the present fortress on the “rape di San’ Giorgio.” Savona is close upon the sea; but its once ample port was spoiled by the Genoese in 1528. They blocked it up by sink- ing hulks fiUed with stones, and the deposit of sand and silt did the rest ; and though it has been partly cleared and repafred, it cannot admit vessels of more than 200 tons. The Cathedral was built in 1604, an older and more curious structure having been demolished to make way for the fortifications. This former cathedral had been enriched by the munificence of Pope Julius IT. (Giuho della Rovere), who, born at Albissola hard by, was bishop of this see at the time of liis promotion to the papal chgnity. Some of the ornaments of the present cathe- dral are his gifts, having been saved from the demolished structm-e ; as, for example, the fine wood-work of the choir. It contains some good paintings, A Yfrgin and Child, by Lodovico Brea ; the Annmiciation and Presentation, by Albano ; the Scourging of our Lord, by Camhiasi ; La Madonna della Colonna, by Bohertelli. The last is a fresco, and so called because it was painted on a pillar in the ancient Buomo, from which it was ingeniously detached, and placed in its present situation. In the chapel of the Madonna is a large painting in seven compartments, the Virgin and several Saints in a richly- sculptured framework, representing tlie front of a church, and exhibiting tlic allusive arms E 3 82 Route 12. — Savona. Sect. II. of the house of Rovere, — an oak-tree, surmounted with the cardinal’s hat. It was the gift of Pope Julius ; and as almost every picture in Italy has its story, it is said with respect to tins one, that Julius, who, when Pope, threatened Michael Angelo with a halter, or some- thing as bad, because he did not paint fast enough, employed seven painters upon this work, in order to get it done out of hand. The best compartment is the St. John by Lodovico Brea. Near the cathedral stands a Sistine Chapel, founded by Sixtus IV. (1471-1484), also of the family of Rovere, and uncle of Pope Julius II., as a place of sepul- tm^e for his ancestors. His father was, hoAvever, but a poor fisherman, though, as it should seem, descended from a noble family. Savona is celebrated as the bhth- place of Chialrera, one of the finest poets of the 17th century. He was highly successful as a lyric poet : “ and though the Grrecian robe is never cast away, he imitated Anacreon with as much skdl as Pindar. ‘His lighter odes,’ says Crescimbeni, ‘ are most beautifid and elegant, full of grace, vivacity, spirit, and delicacy, adorned with pleasing inventions, and difiering in nothing but language from those of Anacreon. His dithyrambics I hold incapable of being excelled ; all the qualities required in such compositions bemg united with a certain nobleness of expression which elevates all it touches upon.’ ” {Hallam's Hist, of Literature.) Chiabrera also wrote much poetry of a devotional character ; and over his tomb in the church of San’ Giacomo (now despoiled of its paint- ings) he caused this impressive inscrip- tion to be engraved : — “ Amico, lo, vivendo, cercava conforto Nel Monte Parnasso : Tu, meglio consigliato, cercalo Nel Calvario.’^ In the Dominican church is a paint- ing of great value by Albert Lurer. The Nativity, hj Antonio Semini. Lanzi says of this picture that it is sufiicient to see it to be convinced that Semini rivals not only Pietro Perugino, but Raphael himself. In the cloister of tliis church is another monument erected to the memory of Chiabrera; a bust, beneath which is an inscription written by Pope Urban XI., in very elegant Latinity. The villa in which Chiabrera lived near the chm’ch of Sajl Giaco^no, his burial-place, and the rooms which he occupied, are left, not exactly in the same state, yet not much altered. The house in which he was born is in the town, with the significant motto which he chose, “ Nihil ex onini jparte beatum^ One of the towers of the port is de- corated by a colossal statue of the Vir- gin, beneath which, in very large cha- racters, is engraved the following m- scription, wliich may (after a sort) be read either in Latin or Italian. “ In mare irato, in subita procella, Invoco te, nostra beiiigna stella.” This conceit has been attributed to Chiabrera ; but there is not the slightest authority for supposing him to be its author, and it is part of a popular hymn sung by the sailors and fisher- men on this coast. The sanctuary of Nostra Signora di Miserieordia, situated about five miles from Savona, is a very celebrated place of pilgrimage, and well worthy of a visit, though the road is only practi- cable for hght carriages. It is embo- somed in the mountains, and shrouded by their woody heights. The chm^ch is built over the spot where a mfracMous appearance of the Madonna is suid to have taken place so late as 1536 ; and, though of such recent origin, the devo- tion of the Riviera so increased its treasures, that they were thought only second to those of Loretto. The greater part of these disappeared under the French ; but the sanctuary has been somewhat replenished, particularly by a crown of silver studded with gems, placed on the head of the image by Pope Pius VII. Marino and Chiabrera in poetry, and Bernardo Castello in painting, vied with each other in ex- ereising then- talents in honour of this saint. The church is filled with paint- ings by Castello, containing nearly the Rivieea. Route 12 . — Savona — Voragim . 83 whole life, legendary as well as scriptu- ral, of tlie Virgin. They are much faded. CasteUo was the intimate friend of Tasso ; and one of the most prized editions of the G erusalemme is adorned with engravings, partly executed by Agostino Caracci from liis designs. CasteUo obtained very great reputation amongst his contemporaries. Other objects in this ciim’ch are a Presentation of the Virgin by DomenicMno ; and an alto-rUievo of St. Elizabeth and the Virgin by Bernini. This is rather a remarkable specimen, inasmuch as it has not the usual flutter and exaggera- tion of this artist. The valley of the sanctuary is properly caUed the VaUey of San’ Bernardo. In the smaU chapel of the vUlage is a', very ciuious and weU- preserved painting of an early date (1345), containing fomdeen figures upon a gold ground, not by Giotto, but in the best style of his school. Gold is found in the sands of a rivulet or torrent nigh to this sanc- tuary. From Savona to Genoa the road runs in many places more inland than pre- viously, but often close upon the shore, in several parts tunnelled tlirough the rock where the last abutments of the hUls come down sheer into the sea, and in some parts it is supported by ter- races. Along this part of the Riviera, in the neighboiuhood of Genoa, may be seen villas and palazzi, sometimes liigh above the road, sometimes on its level, with theu gardens gay with bowers, terraces, trellis walks, and the brightest profusion of trees, and shrubs, and flowers. These gardens are gene- rally in the old-fasliioned, regular style, and are generaUy entered by a lofty gate, once surmounted by the armo- rial bearings of the owner or founder. Almost all tiie buildings were originally painted on the outside, but those paint- ings are all more or less washed off, or faded, by exjmsure to the rain and sun. The traveller will liave seen the first specimens at Nice of this mode of decoration, witli regard to which let him consider the following remarks : — “ Tliis will perhaps strike you as mighty meretricious ; but we must not try everytliing by the test of our own ha- bits and opinions, since these, when they are right, are possibly only right with reference to our own pecidiar situation. “In our stern and melancholy cli- mate tliis mode of gay decoration would be something like dancing over graves ; but here, where sun, earth, sea, and sky make almost perpetual holiday, it seems to harmonise well with the gene- ral festivity of the elements. Here, also, in this broad glow of general light (for a great part of the year is un- broken by partial shades), tricks of this kmd pass uncontradicted ; because it is easy to charge what you want to put into shade with such a strength of dark colour as shall make good the illusion, in cases where you have to contend with hght alone. But with us, the effect of an oblique sun and black clouds is such, that ISTature may be said to give the lie to every similar attempt at impostm’e. Thus, for in- stance, I meditate the most simple one : — I want to place a statue against my house, and, fearing to break into the wall, I paint a niche behind it for the pmpose of giving it the effect of imi- tation, What follows ? There comes (a thing common with us) a day preg- nant with strong contrast of light and shade ; the whole flat siu’face of the wall perhaps remains in shadow, while a malicious thread of light falls full upon the niche, exhibiting all the false- ness of its pretensions.” — Rose’s Italy. Alhizzola, in a pleasant valley. The town stretches along the shore. Here is the fine palazzo of the Bovere family, possibly not the building in which Pope Juhus was born, though he was cer- tainly a native of the town. In the principal church, the Madonna deUa Concordia, are some good paintings by Flasella^ called II Sarzana, and An- saldo. Celia., seen from the high road. In the church of St. Michael is a fine pic- ture of the Archangel by Perino del JAya, painted by him in fulfilment of a vow made dm’ing a storm. Yorayine. Small vessels are built here. It is the bhth place of’ Jaeppo 84 Route 12. — Cogoletto — Voltri. Sect. II. di Yoragine, tlie author or compiler of the well-known Golden Legend, a collection of monkish legends of saints, miracles, and adventiu’es of the devil, which was most popular in the 13tli, 14th, and 15th centuries. It has the fame of being the cliief book which transformed Loyola from a soldier to a religious enthusiast. In 1292 its author became Archbishop of G-enoa, where he excelled in charity and benevolence, and was most useful in putting down the factions by which the city was disturbed. In the hills above Yo- ragine is a very singular monastery, most appropriately called “ II De- serto.” It was founded by a noble lady of the family of Balbo Palla- vicino. According to fame, she was exceedingly beautiful, and she is said to be somewhat profanely represented in the character of the Madonna, though in the Gienoese ch’ess of the 16th cent., in an exquisite altar-piece by Fiasella. Pass the lofty cape or headland of Cogoletto. Before entering this town is the celebrated founch’y of shot and shells, but principally the latter. The ii’on is brought from Elba. Cogoletto is by tradition the bfrth-place of Co- lumbus ; and if faith is to be given to inscriptions, you may see the house in which he was born. On the other hand, the house of his father Domenico can be proved by title-deeds to have been situated in the suburbs of G-enoa, and he lihnself states that he was born in Genoa, an expression which, how- ever, was quite compatible with his benig born witliin the territory. The family can be traced in Savona, Onegiia, and all about the neighbomliood ; and the fact of liis being a Ligcrrian is imquestionable. The mountain over which the road passes betAveen Cogoletto and Arenzana offers the most pictm’esque and varied scenery, and the most luxurious rich- ness of vegetation, fine woods of pinas- ters and evergreen oaks, with an imder- growth of myrtles and various kinds of the most beautiful heaths, astragals, and lilies rearing thefr tall stems and snow-white blossoms among the slnmbs. The vieAV on descending towards Aren- zana is enchanting. On this mountain are situated a villa and extensive plea- sure-grounds belonging to the PaUa- vicini family. They are only accessible by a written order from the owner. The mansion is not seen from the road. 3 Arenzana, a pleasant village. Voltri, a floin'ishing tovm of 8000 Inhab., Avith chm’ches ricldy adorned. A neAV bridge is now building here. Much paper is manufactiu’ed in this town and its neighbourhood. Anciently the Grenoese supphed most parts of Europe with paper, and a considerable quantity is stih exported to S. America. It is said to have the property of resist- ing the worm bet ter than any other paper, a quality supposed to be derfred from the sidphureous impregnation of the Avater Avith Avhich it is made. This is particularly the case with the mdls in the valley of the Leira, about three miles off. The paper made there used to be veiy much in request in Spain and Spanish America. At Leira are the sulphureous springs of the Aqua Santa, as it is called, wliich rush out very copiously near the chapel dedi- cated to the “ Madonna della Aqua Santa,'" to aaLoso intercession the heal- ing powers of the Avaters have been ascribed- A bath-house has been re- cently erected here. The water is very clear at the som’ce, the average heat is 18^ Reamnur, and it is considered as very useful in cases of cutaneous diseases. The springs are much frequented by the Grenoese. There is a villa of the Marchese Brignole at Yoltri, in a lovely situation. ^ Ora, Avliich almost joins to Pegli, another town. The villa Gri~ maldi has a good Botanic Grarden. The villa Doria is fine. It was built by Adamo Centmlone, one of the richest merchants of Gienoa in the times of Charles Y,. YTien the emperor was preparing for liis expedition, liis trea- sm-y borrowed 200,000 croAvns fr’om Centiu’ione, who immediately paid over the amount in ready money, and then forthwith sent a receipt m full to Charles Y., who cast it into the flames, determining not to be outdone in con- fidence and generosity. A story not RiyiErvA. Route 12 . — Sestri — Genoa. 85 dissimilar in spii'it is told of the Fuggers of Augsbiirgli. The villa LomelUna has a “ Jardin Anglais.” The church of Moyit' Oliveto is on a hill above- Here is a very remarkable picture by Francesco Succhi of Pavia, with the date 1527. The subject is the Descent from the Cross, and it is in excellent preservation. The background, an extensive landscape, retreating in perspective, is painted with Flemish accuracy. Sestri, a flourishing tovai of 6000 Inhab. In the principal church is the bark of St. Peter, by Fiasella. JS'ear Sestri is a hill crowned by a cha])el, to which is annexed a colos- sal statue of the Virgin. From this point, in every direction, the view is magnificent. The Villa Spinola, with its terraces and hanging gardens, is very striking. Pass the monastery of Sanf Andrea, now the Villa Vivaldi. The chiu’ch is preserved for divine service. Good wine is grown about Conigliano, also a flou- I rishing town. Like many others on ! this coast it is composed of two ; the I longshore town, and the one more in- I land. Here are rather extensive manu- i factiu’es of printed cottons. The Serra j Falace has a fine elevation. A short I distance before crossmg the Polcevera Us the clnu’ch of Santa Maria Incori- inata, wliich contams a Holy Family by ijPierino del Vaga, of great sweetness, pbut in a bad condition. Below this I church is an oratory attached to a con- Ivent richly covered with frescoes of merit ; the ceding by P. del Yaga, and the Last Judgment, fine. Cross the river Polcevera, and enter into the valley of the same name. The jbridge over the river was built at the expense of the Durazzo family. Here -Vlassena signed his capitulation to Lord S^eith and the Austrians. Pass the Monte di San Quirico, where vas found the very remarkable brazen ablet, the earhest record of the history )f Genoa. (See Palazzo dei Padri del -ommune.) San Pier d^ Arena joins on to Genoa, n the principal chm’ch are some good •aintmgs. The Flight into Egypt, by Cambiaso ; the Yugin, by Gastello ; and some frescoes, by Fiasella. The Palazzo Spinola is an excellent speci- men of an Italian vdla. The great saloon on the first floor is painted in fresco by Carlone. The Palazzo Impe- riale also contains frescoes. Palazzo Saoli, smaller, but an able specunen of architectural skdl. 3 (But half a post extra is charged on leaving or entering Genoa) Genoa. Ital. Genova, and called “ La Superba.” Inns t Hotel de ITtalie, a new hotel, formed out of the Grimaldi and Fieschi palaces, veiy highly spoken of, kept by Tea; it has been fitted up by its present proprietor in a way to insm-e every English and foreign comfort; table d’hote, coffee and smoking rooms; the front windows command a splendid view over the harbour, the lighthouse, and the eastern part of the town. Hotel Fedcr, formerly the Palace of the Admi- ralty, contains some fine rooms, is clean, and everything is good, Avith moderate charges ; table d’hote at 5, 3 fr. Croce di Malta, also very good, with table d’hote at 4 ; this house once belonged to the Order Avhose name it bears, and forming part of it is a lofty tower, from which its inmates will be able to enjoy a very extensive panoramic view of Genoa, its harbour, lighthouse, &c. The proprietor, Mr. Loleo, keeps one of theprmcipal shops of filligree-Avork, for which he received a medal at the great Exposition in his hotel. Grand Hotel de la Yille, on the Port, kept by Schmitz, avIio is also a com- mission agent for the sale of Genoese jewellery and fihgree-work ; this hotel, having recently changed hands, is much improved and well spoken of. “ We have not met with more civility, or found greater comfort, in any hotel on the Continent.” — I. J. H. Albergo di Londra, Albergo de’ Quattro Nazioni, good, and reasonable charges. Pen- sione Suizzera, said to be a faufly com- fortable second-rate house. The Itaha, Feder, Croce di Ma ta, Quattro Nazioni, Londra, and Hotel de la Yille, all look on the harboiu’, but the view of it from the loAver floor is shut out by a wall with a terrace on the top, wlxich has been recently con- 86 Sect. II. Houte 12. — Genoa — Conveyances, structed along tlie quay to separate the port from the town. Cafes. — La Concordia, in the Strada Nuova, and the Cafe Grran Cah’O, are very good ; an EngUsh newspaper is to be seen there. Port regulations. Passjports. — After 6 o’clock in the evening passengers by sea are not allowed to land, but must remain on board till the following morning. The examination at the cus- tom-house is very uncertain, and some- times very severe. The police visa must be obtained forthwith ; and the visa of the British consul is necessary for all Enghsh persons leaving Grenoa. The visa of the Tuscan consul is requmed for those who go to Tuscany. Consuls. — Grreat Britam, T. Y. Brown, Esq. The British consular office is oppo- site the Theatre di Carlo Eelice. Steamers. — There is communication by steam-vessels between Grenoa and Leghorn, Civita Vecclua, Naples, Mes- sina, Palermo, Malta, and Marseilles. The days and horn’s of the departure of the steamers are announced by post- ing-bills, and must be learned from these or at their respective offices, as they are constantly changing. As it is, the voyager may generally reckon on the sailing of a steamer belonging to one or other of the several compa- nies every two days, both for Leghorn and Marseilles. Vettwrini. — Plenty and good. They ply in the Piazza della Annunziata. Diligences. — Malle-poste, or Servizio de’ Beali Corrieri, daily to Turin. Agent., Griovanni Beta, Piazza Eontane Amorose. To Arquata and thence by rly. to Turin. Messagerie Sarde, dei fratelli Bonafous, Strada Novissima, No. 759. To Turin Tuesdays, Wed- nesdays, and Saturdays ; another com- pany runs Mondays, Wednesdays, and Eridays ; on Satrmdays the hour of starting is 7 p.m., on other days it is 5 P.M. To Milan there are two dih- gences daily : one in 18 hrs., the other in 22. There is also an excellent malle- poste from Genoa to Milan, quicker and more comfortable than the ddi- gences, and only by 3 fr. more expen- sive. Begia Biligenza, for Savona and Einale, twice a day ; Piazza della An- nunziata, No. 916. MaUespostes to Elorence daily m 38 hom’s. Steamers twice a week to Nice. The rlwy. from Genoa to Turin is only open from Arquata, at the N. side of the Bochetta pass, to Avhich dihgences run several tunes a day ; by this means the journey to Tman is easily performed in one short day. The whole line will not be open before the end of next year, although it is expected to be tra- versable as far as from Genoa to Ponte- decimo in all 1852. The great diffi- culty to be encountered is between the latter station and Arquata, where as many as nine tunnels will be necessary, especially that of the Giovi (Galeria dei Giovi), which pierces the central mass of the Apennines, and wliich will be nearly 3 miles in length. Trains leave Arquata for Tmun at 4 40, 5 45, and 11 40, a.m., and at 3 45 P.M. Carriages leave Grenoa to join the two latter, by which the tra- veller can reach Turin at 3 20 and at 7 25 P.M., but the number of trains and hom’s will be found to vary ac- cording to the season of the year. Post Office in the Piazza delle Eon- tane Amorose. Letters arrive daily, and are chstributed after 9 o’clock a.m. The office closes for letters to Tiuin, Geneva, the N. ofErance, and England, Milan, Yenice, and Germany, at 2 p.m. ; for letters to the S. of Erance, Spain, Borne, Elorence, and Naples, at 3^ p.m. DnglisJi Church. — -A large room has been fitted up, where the service is re- gularly performed by the Bev. Mr. Strettle, of the Estabhshed Church. Bankers. — Messrs. Gibbs are parti- cularly civil and obliging to theic Eng- lish customers. Physicians. — Dr. H. B, Bennett, Casino delle Peschiere, and Dr. Gihoh, an Edinburgh M.D., who practised some years in London — a very respect- able man. Maggi, in the Strada Carlo Eelice, has a very good and very extensive collection of cui’iosities, antique articles, &c., but asks most unreasonable prices, which he has been known to abate 50 per cent. The best shop for velvets is said to Riviera. Route 12 .— Genoa — Inhabitants. 87 be that of Rigliini, No. 279, Palazzo Pranconi, in the Piazza Luccoli. Sedan-chairs are common, though not so much as formerly, the new streets having rendered the town more easily traversed in carriages. Genoa is now in a flourishing state, and not a cheap residence : tliis is especially the case with respect to house-rent within the city, which is exceedingly high : out of the walls it is cheap ; but it is very difficult to hire lodgings, except by the year. Signor Noli, who lives near the post-office, is the best agent. Provisions are abun- dant. Beef is as good as in England ; poultry is said to be better. Fish is good, but there is only a scanty supply ; so that tliere is some shadow of truth in the first clause of the old vituper- ative Tuscan proverb, which says of Genoa, — Mare senza pesce^ — montagne senza alheri, — uomini senza fede, — e donne senza vergogna. The climate is fine, but the winds in winter are so piercing, that great caution is needed for strangers. Genoa is a Porto Franco, where goods may be warehoused and re-exported free of duty. It has a tribunal and chamber of commerce. It is the chief outlet for the Mediterranean of the ma- nufactm’es of Switzerland, Lombardy, and Piedmont; and Lombardy receives most of the foreign articles imported through Genoa. The harbour, which is not of great extent, is deep, and pro- tected by two moles. Tlie width of the opening between Itlie heads of the moles is 519 yards. It is not an easy harbour to enter, and is exposed to the south-west wind (the Libeccio). Tlie resident population of the town and suburbs, including the seamen, and excluding the garrison, imounts to about 144,000. Manufac- :ures of silks, velvets, damasks, thrown iilks, paper, soap, and the usual trades )f a seaport town, employ many of the Inhabitants. Tlie shops are good : the articles pe- feuliar to Genoa, in addition to the gold aid silver work, of which more here- Lfter, are tlic three-yjilcd velvet, the Irtificial flowers, and the coral orna- ments. The velvet is still an excellent article ; and embroidery on cambric and mushn is carried to much perfec- tion. Bedsteads of iron are well made, and, to the great comfort of the tra- veller, are commg very much into use. Generally speaking, furnitm’e is well manufactured here, especially dressing- boxes, caskets, and sunilar small articles of fig-tree wood. The Genoese are laborious, and, on the whole, a robust and well-looking people ; but the Ligm-ian character, both physical and mental, is very pe- culiar ; and they have yet a strong feeling of nationality. Their dialect is almost imintelligible to a stranger. One national peculiarity will, it is to be hoped, long remain unaltered — the exceedingly gracefid costume of the wo- men. Both the wearers and the dress have been well described by Romney. “ The Genoese women,” he says, in his Journal, “ are, in general, elegant in their figiu’e, have great ease in their action, and walk extremely well. They are of a good size, fair, but very pale, which is heightened by the dress they wear. It is a loose robe of calico or muslin, which goes over them heads like a veil, and over then’ shoulders and arms like a Capuchin. They^let it fall over the forehead as low as* the eye- brows, and twist it under the cliin : they generally have one hand up ahnost to the chin, holding the veil with their fingers beautifully disposed amongst the folds, and tlie other across the breast. They are short-waisted, and have very long trains, which produce the most elegant flowing lines imagin- able ; so that, with the beautifid folds of the veil, or cloak, they are, when they move, the finest figures that can be conceived. When the veil is off, you see the most picturesque and ele- gant hair : it is braided at tiie back of the licad, twisted round several times, beautifully varied, and pinned with a long silver pin.” To tlie beautiful road of file Riviera through which the traveller has passed, Genoa forms a very worthy termina- tion. “ I have now seen,” says a most couipetent observer, “ all the most 88 Eoute 12. — Genoa— -Port — Lighthouse — Navy. Sect. II. beautiful cities of the South, and have no hesitation in ranhing this after Naples and Constantinople. But the charm of the latter ceases on landing, whereas the interior of Grenoa does not disappoint our expectations. The streets indeed are narrow ; but, to say nothing of the obvious convenience of tliis in a hot chmate, it does not of course pro- duce tlie gloom which it does in our northern cities. We too natimally at- tach the idea of small mean houses to narrow streets, whereas these are lined with magnificent palaces. In this re- spect, as well as in the massive and florid character of these edifices, Genoa bears a considerable resemblance to La V alletta, in Malta ; but in that island architecture has something of an oriental cast ; here it has adopted a more festive character. “ But Genoa is most impressive in its general exterior, and is best seen from the sea. The figure which it forms approaches nearly to that of a crescent. It is backed, as I have before observed, by a mountain, which is fringed here and there with low oak woods and olives, and it looks down upon a beautiful bay. “ Imagine, then, to yourself a city, with something of a theatrical form, at the base of a mountain, the sloping sides of which are gay with suburban palaces, and gardens full of colonnades of trellis-work, covered with the red oleander, now in one blaze of bloom ; add an atmosphere and a sun such as you see represented in the vivid pamt- ings of the Venetian school; and you have Genoa such as I saw it in the month of August.” — Rose. The port, round which “ Genova la Superba” extends, is terminated at either extremity by two piers, the Molo Vecchio and the Molo Nuovo. Near the land end of the western pier stands the Fanale, or lighthouse, built 1547 ; the tower rising to the height of more than 300 feet out of the rock. Several towers had previously stood here in succession. The last, called the Briglia or Bridle., was erected in 1507 by Louis XII., for the pimpose of securing the authority which he had acquired. The lighthouse should be ascended for the view which it affords. The machinery of the lamp is excellent ; it exhibits that kind of revolving light which is called a flashing light. Close to the foot of the lighthouse is the qua- rantine establishment. On the N. side of the harbour is the Barsena (docks and arsenal), which was first estabhshed in 1276 ; the expenses of beginning the works being furnished by the spoils made by Tomaso Spinola, in 1276. It now exhibits considerable activity. Here also is the Bagne, or prison for the convicts, who are still called galley-slaves, although galleys no longer exist. They are employed, in gangs, in the public Avorks in different parts of the city, and are dressed in red clothes and caps. The caps of those who have committed murders liaA^e a mixture of black, while those whose caps have a mixture of yellow were thieves. It is the custom, if they behave well, to pardon them at the ex- piration of half their sentence ; and hence it is commonly said that those who are sentenced for 100 years’ ser- vice are in a worse situation than those sentenced for hfe ; inasmuch as the latter may be pardoned at any time, and that hence the 100 years’ sentence is passed upon the worst offenders. “ Imprisonment for life has recently been substituted for capital punish- ments, which are now abolished ; but an increase of crime is said to have been the result of the change,” — Ld. St. The small but respectable Navy of Sardinia is on the Enghsh model ; and, after that of France, is superior in effi- ciency to the Navy of any other Power except France on the shores of the Mediterranean : boys of good families are much encom-aged to enter the service. The Porto Franco, which is on the E. side of the harbour, near the end of the Molo Vecchio, is a collection of bonded warehouses, surrounded by high walls, and forming a small toAva, and with only two gates, one towards the sea, the other towards the city : the most recent portions were built in 1642. It contams 355 warehouses, wliich are Riviera. Route 12. — Genoa — Porto Franco — Fortifications. 89 filled with goods, and tke rates are high. According to ancient regulations, entrance is forbidden (except by special permission) to the military, the priest- hood, and womankmd ; all these being, as it shoidd seem, equally liable to sus- picion. The Porto Franco is under the management of the Chamber of Commerce. The Facchini, or porters employed in the Porto Franco, form a privileged corporation. There are two classes, the Facchini di Confidenza^ who are employed in the interior of the warehouses, and the Facchini di Cara- vana, who carry out the goods. The latter are Bergamaschi, and the caUing is hereditary in then’ families, and they have enjoyed an exclusive privilege since 1340. They are recruited, not from Bergamo itself, but from the towns of Piazza and Zogno in the Val Brem- bana, to the IST. of Bergamo ; and therefore the Facchini often send their ladies to be confined there, as folks do in England with respect to felloioship counties. They are governed by their consuls. Their mmiber has been limited since 1832 to 200 by the government. They sell their privileges to their fellow- countrymen at high prices. Close to the Porto Franco is the Dogana (custom-house), and from this to the Darsena, along the quay of the port, extends the new portico, under : which are shops ; above is a terrace on ; which is an agreeable Avalk affording a : full view of the harbour, i The city has been repeatedly in- ' creased in size, and its walls as often enlarged. It is said that some traces of the Roman walls are discernible, i In 1155 the G-enoese raised another ! circuit, for the purpose of resisting the ; impending attacks of Frederick Barba- rossa. Some of the gates are yet stand- ; ing. Snell is the Porta Vacca, or Cow- igate^ a fine and lofty Gothic arch, be- tween two towers. Above arc pendent !the liuge links of one of the fragments lof the chain that closed tlie Porto Pi- jsano, carried off by tlie Genoese as a jtrophy of the great naval victory Avhich ’they gained over tlicir commercial and ■political rivals, ! Another circidt Avas begun in 1327. In this many of the previous subm’bs were included. It is in the semi- modern style of fortification, but very strong. The ramparts afford very agreeable promenades, and are con- nected with a species of pubhc garden, called the Acqua Sola. This affords a delightful walk. There is also a fine view from the battery ; and very ex- tensRe alterations and unprovements have recently been made in all these portions of the city. The third cucuit, at a considerable distance from the second, runs all round the hills which command the toAvn : it was planned in 1627, but not really begun till 1630, and com- pleted in 1633 ; it has since been greatly strengthened. These lines, which form a vast semicucle, are also sup- ported by numerous detached forts, redoubts, and outworks, crowning hill after hill, and constituting the largest town fortification yet in Europe ; seven miles in circumference. They Avill only be exceeded in extent by the fortifica- tions of Paris. If G-enoa should again sustain the calamity of a siege, it is upon this line that its defence must depend. In the first instance, they were erected to protect the city against the present dynasty, when the &allo-Sar- dinian army, under Carlo Emanuele Duke of Savoy, tlneatened the very existence of the Republic ; and they were, in great measure, raised by vo- luntary contributions and voluntary labom\ UpAvards of 10,000 of the in- habitants worked upon them, Avithout receiving either provisions or pay. All the citizens contributed individually, besides the donations made by the difierent trades, public bodies, and cor- ])orations. One Carmelite friar raised 100,000 lue by collections after his sermons. Within these Avails Massena sustained the famous siege of 1800. The city was invested by land by the Austrian troops; the British fieet, under Loi’d Keith, assisting tliem. Massena Avas at length starved out, and he evacuated the city on tlie 4th of J une, 1800, after a blockade of 60 days, during Avliich the garrison, and still 90 Route 12. — Genoa — Palazzo Rosso. Sect. II. more tlie inliabitants, suifered the greatest misery from famine. Of the 7000 troops under Massena, only 2000 wei’e fit for service when they surren- dered. This defence was the achieve- ment which established his high mili- tary character; for, to have manned the vast circumference sufficiently, 20,000 men would have been required. The nmnber of the inhabitants who died of tbe famine, or of disease pro- duced by famine, exceeded 15,000. To- wards the conclusion of the siege, the raging hunger of the inhabitants was, as it were, mocked by the dealers ex- posing for sale all their stock of con- fectionary and preserves, the only articles of food which reniamed uncon- sumed. Grenoa is, like Bath, very up and down. Many parts of the city are almost inaccessible to wheel- carriages ; nor are the smaller peculiarly con- venient for foot-passengers. Through these the trains of mules, with their bells and trappings, add to the busy tlu’ong. In the older parts of the town the houses have an appearance of an- tique solidity, whilst those m the more modern streets, the Strada Nuova^ the Strada Nnovissima, the Strada Balbiy the Strada Carlo Felice, and the Strada Carlo Alberto (now in progress), are all distinguished for their magnitude ; and the first, the Strada Nuova, for its unparalleled splendour. “ Grenoa may justly be proud of her palaces : if you walk along the three continuous streets of Balbi, Nuovis- sima, and Nuova, looking into the eom’ts and staircases on each hand as you proceed, you may indeed think yourself in a city of kings. The usual disposition exhibits a large hall sup- ported partly on columns leading to a comd surrounded by arcades, the arches of which likewise rest upon columns. Sometimes, on one side of the street, these courts are on a level with the ex- ternal pavement ; while on the other the rapid rise of the ground is com- pensated by a flight of marble steps. Beyond tliis court is the gi*eat stahcase rising on each hand, and fm’ther still is frequently a small garden, shaded with oranges ; so far the composition is ad- mirable. It is invariably open to public view ; and the long perspective of lialls, courts, columns, arches, and flights of steps, produce a most magnificent effect ; and tliis is still further en- hanced when the splendour of the marble is contrasted with the dark shades of the orange-groves. But the chief merit of the buildings hes in these parts. There are internally fine apartments, but by no means of mag- nificence corresponding to that of the entrance. The other streets of Grenoa are mostly narrow and dark : but even here some noble edifices are found.” — Woods. The Strada Nuova was built in 1552, on ground purchased by the republic, with the buildings upon it, then of dis- reputable character ; this street con- tains six palaces on the N., and seven on the S. side. Of these palaces, all except two are by Alessio. Just at the entrance of the Strada Nuova, but in the Strada Niiovis- sima, is the Palazzo Prignole (one of three belonging to this family) : the portal is supported by two gigantic Terms. In the Strada Nuova, No. 53, the Palazzo Prignole Sale, or Palazzo Rosso, is considered by some as the most distinguished for its architecture. The cortile is fine : and from the marble- paved terrace into which its upper story opens there is a beautiful view of gardens and palaces. This palace con- tains the best private collection of pictures in Genoa. The principal are the following : — Great Hall. Several pictm’es by artists of local character and fame. The Eape of the Sabines, by Valerio Castello, a Genoese ; four pictures by Guido Bono, of Savona, &c. In the room called “ia PHmaveral'’ are some extremely fine portraits by VandgJce, especially those of the Mar- quess and Marchioness Brignole Sale, the Marquess on horseback ; a noble pictirre. A portrait of a man holdiag a paper in his left hand, by Paris Bor- done ; that of an armed soldier by Tin- toretto ; the portraits of a father and Riviera. Route 12 . — Genoa — Palaces — Pictures. 91 son (names unknown), by Vandyke, are as fine specimens of tliis master as can be seen in Flanders. Second room — called “ Lo Stated A singular and most biglily finished half-length of a man with a long beard, by Luca cZ’ Olanda ; painted on wood. A beau- tiful sketch of the NatiTity, by Paul I Veronese ; our Lord going to Calvary, j bearing his Cross, by Lanfranco, a I small picture, very fine ; a well -drawn I and colotued half-length of St. Sebas- I tian, by Guido. Thud room — called ' “ 1j Autonno^' The Yirgin entluoned, 1 with the Infant in her arms, and Saints standing round, by Guercino, a speci- |i men of his rich colouring; a fine A#cZrea I del Sarto, the Virgin and Child, with St. John and St. Elizabeth, hke one by ; the same artist in the Marquess of West- i minster’s gallery ; a young man in a ! furred garment, by Titian ; a father and son, half-lengths, by JBassano ; and ! a sketch of St. Mark (also a half-length), I by Guido. Fourth room — called '•'■l!In- \ rernoP J udith giving the head of Holo- { femes to a slave, by Taul Veronese; j “ She has just taken it olF, and the I bleeding neck is towards the spectator, ja disgusting object; the pictm’e is finely , done, and of good tone.” — T. P. The i Pharisees questioning our Lord on the ! Tribute Money, by Vandyke, very fine, i especially the heads of the two Jews ; la beautifully coloiued Flight intoEgypt, iwith attendant Angels, by Carlo Ma- ratti ; a beautiful specimen of Piola, a iG-enoese, a Holy Family with St. John jofiering a Butterfly to the Infant Jesus ; another Holy Family, attributed to Raffaelle ; a portrait of a man in a black dress, by Pubens. The Fifth Saloon is merely a room of commu- jaication, with architectiual subjects, jthe figures by Piola, father and son, •Grenoese artists. Sixth Saloon. A lieautiful portrait of the Marchioness jjreromina Brignole, with her daughter, jJanding, by Vandyke : by the same jiand is the picture of a man in a 1 Spanish costume : “ both are freely and uU painted, but too black.” — T. P. The )ortrait of a woman holding a fan, by ^aul Veronese, is more singular than |)eautiful. Two Albanos, oiu Lord appearing to Mary Magdalene, and the Car of Love, are fine small pictures. Seventh Saloon, entirely hung, as well as painted in fresco, by Deferrari, a Genoese, with pictures representing subjects of Roman heroism. The other rooms may be passed without much remark : there are several pictures inte- resting as specimens of the Genoese school. In the Eleventh Saloon are portraits of the three Doges of this noble family ; and in the Twelfth are portraits of two more of the family, by Rigaud. Palazzo Loria Tursi, in the Strada Huova, late the residence of the Queen Dowager, and afterwards the Jesuits’ College. The facade is grand, and is flanked by terraced gardens. The architect was Rocca Lurago, of Como. Since the expulsion of the Jesuits it has been given to the city for pubhc purposes ; it is now occupied by the National Guard. In one of its upper rooms are a few good Dutch pictures of great merit ; one by Albert Purer, another by Mabuse, &c., but difficult to be got at. Palazzo Serra, Strada Nuova, No. 49, by Alessio. The entrance, which is modernised, is richly decorated ; and Semino and Galeotti, Genoese artists, have painted the ceilings, &c., of the principal rooms. The saloon is parti- cularly rich : the gilding, said to have cost a milhon of francs, the white marble bas-reliefs, the caryatides, the murors, the mosaic pavement, procured for this palace its name of the Palazzo del Sole. Palazzo Adorno contains some good frescoes by Taveroni, from subjects of Genoese history. Palazzo Spinola (Ferdinando), for- merly Palazzo Grimaldi, Strada Nuova, No. 44, opposite the last, a large and fine building, with good pictures. The Hall. — Frescoes by Semino ; a man on horseback by Vandyke. First Saloon. — Two fine portraits hj Andrea del Sarto; a remarkable portrait of a Philosopher in a black dress, by Sebastiano del Pi- ombo ; a finely preserved and beauti- fully painted circular picture of the Virgin and Cliild, by Meeker ino da 92 Route 12. — Genoa — Palaces — Pictures. Sect. II. Sienna^ more commonly known by tlie name of Beccafumi, an imitator of Ha- pliael ; a Yenus, by Titian ; and a fine head, by Vandyke. Third Saloon, — A Crucifixion by Vandyke ; a Holy Family, Gian. Bel- lino ; and the same subject, with two Saints, by Luini. Palazzo Lercaro Im'periale. A strik- ing facade, opening into a cortile of equal excellence. Here are some fine frescoes and several good pictures. Third Saloon. — A fine pictme, with figm-es of the size of life, of our Lord appearing to Mary Magdalene, by Carlo Maratti; a good portrait of Calvin, by Holbein; and that of a Philosopher, by Luca d' Olanda. In the Fifth Saloon is a beautifully finished picture, with small figures, also hy Luca d) Olanda ; a Magdalene by Guido; and a St. John the Baptist in the Desert, by Llisabetta Sirani. Palazzo Cataneo. In the Hall, besides a fine portrait of a Lady, half-length, by Rubens^ is a Narcissus at the Foun- tain, by Parodi ; a good specimen of tills artist. Two landscapes with small figures, by Tempesta; and two others, one a Moonhght, by Tavella., an oval ; the Virgin and Child, by Velasquez. In the Cabinet are some choice small pictures : a highly finished Virgin with the Infant sleeping, an oval, by Fran- ceschini ; a Fhght into Egypt, with the landscape and accessories beautifully painted, by Greylietto ; a Virgin and Child, by Garofalo ; the Entrance of the Animals into the Ark, by Tempesta; an elegant half-length female, with the motto, '•’‘Piguarda il tuo fine," by an artist of the Florentine school ; and a beautiful view of a City and Port by Brandt. In the Saloon are several pictures worthy of attention : a Virgin and St. Elizabeth, small but beautifid figmes, by Layne ; a fine and large picture of our Lord driving the Buyers from the Temple, by Salvator Rosa ; a beautiful half-length of St. Agnes with the Lamb, by And. del Sarto ; our Lord praying in the Grarden of Olives, full of force and expression, and a head of our Lord crowned with Thorns, the artists un- known; a fine portrait of a Philosopher in liis Study, by Bomenichino ; a beau- tiful Ludovico Caracci, of the Stoning of St. Stephen ; a graceful Virgin and Child, hj Francesco da Imola ; two fine views of Borne, the Coliseum and the Ponte Botto, by Vanlindt ; and a Ra- phael {?), St. Joseph and St. John adoring our Lord. The Palazzo Spinola (Giov. Batt.) ; containing the following pictures : — H]neas and the Cuniaean Sibyl, Car- lone ; Madonna and Child, Vandyke; Joseph before Pharaoh, Le Sueur ; St. Sebastian, Guido ; Madonna and Child sleeping, Guercino ; the Family of To- bias, Bomenichino ; Holy Family, and Abraham’s Sacrifice, Borgognone ; Mar- riage at Cana, Bassano ; the Adoration of the Kings, Parmeggiano ; the Flight into Egypt, Guido; a Woman and Child, and a Woman with two Men, Ann. Caracci; the Woman of Samaria, Lmco Giordano. Palazzo Pasqua (now Pallavicini), No. 26 in the same Piazza : it contained some good pictures, which have been all removed. The Strada Nuova opens into an irregular Place, called the Piazza clelle Fontane Amorose, irregular in shape, but containing some fine buildings, of which the principal are the Palazzo Negroni, No. 24, a wide- spreading and noble front, where are some good pictures — Tarquin and Lucretia, by Guercino; and some in- teresting frescoes, relating to the great deeds of the Negroni family, by Pa- rodi. In the Salita Santa Caterina, wdiich enters the Piazza delle Fontane Amo- rose at its S. E. angle, stands the Palazzo Spinola {Massimiliano) , a fine building. The arms of Spinola, which crowned the n^arble doorway, have been re- moved. This palace contains some of the earliest frescoes of Cambiaso, in particular the Combat of the Titans, which he executed at eighteen years of age. A portion of the palace is still oceupied by one of the Spinola family, who has a fine collection of insects of the country, and several good pictures, Riviera. Route 12 . — Genoa — Palaces — Pictures. 93 especially a collection of miniatures by Castello. The Strada Carlo Felice has less architectural sj^lendour than the Strada Nuora, but it is broad and regular. Palazzo Pallavacino, Strada Carlo Felice, No. 327. The name of this family is said to have been Pelavicino, or Strip my Neighbour. A member of this family acted in England in con- formity to the supposed signification of his patronyme. This was — “ Sir Horatio Palvasene, Who robb’d the Pope and pillaged the Queen.” He was receiver and banker of the court of Rome during the reign of Mary j and having a good balance in liis hands at the accession of Elizabeth, could not then reconcile himself to the iniquity of letting so much money go out of the country to be employed I against his new sovereign. A very rich j branch of this noble family has been 'long settled in Hungary, and is Avell jknown in the best chcles at Vienna, ITliis palace contains an ample collec- |tion of pictures, amongst which are imany of great merit, j Salone della Camina . — A finely co- loured Magdalene, painted on copper, |by Annihal Caracci, and an unfinishecl picture, on copper also, by Lud. Ca- racci^ are beautifid. The Sacrifice of [Abraham ; Hagar and Ishmael ; and jlBathsheba batliing, are good specimens Franceschini. A Descent from the [press, painted on wood, divided into ihree compartments, hyLucad' Olanda, is a fine specimen of an early and pecu- liar style. A Drunken Silenus, with i'ther figures, by Rubens, and the Wo- jaan taken in Adidtery, by _D. Crespi. jlutius ScsDvola before Porsenna, by ruercino. Salone della Conversazione. — Cleo- atra, by Sernino, considered the chef- ’oeuvrc of tiiis artist. Two large pic- I ires of S]iej)licrds sacrificing to Pan, id of Romulus ex])oscd, arc also cx- ;llcnt s])ecimens of Castiglione. Cori- anus before Rome, his wife and child- n, is beautiful and large, Vandylce. I Venus and Cupid, by Cambiaso, and Music, by Guercino (above the door), are pleasing pictures. Salone . — Mary Magdalene carried to Heaven by Angels, by Franceschini. The celebrated Madonna della Colonna, by Raphael, beautiful as it is in design, disappoints the expectations raised by the engravings, being dull in colour (perhaps injured). The Journeying of Jacob and his Family, by Rassano; a half-length of St. John the Baptist, by Ant. Caracci ; and here are two good specimens of Strozzi, especially that representing the Vu’gin in Prayer. Salone d' Fstate. — Diana and her Nymphs surprised by Actseon, a fine and perfect Alhano ; a higlily finished and beautiful Virgin with the Infant sleeping, \)y Franceschini ; two curious pictures of sacred subjects, by Luca cV Olanda ; and a Repose in Egypt, a fine, though small, Albert P>urer, not mentioned in the catalogue. The Strada Balbi has some very fine buildings, as the Palazzo JBalbi, with a fine portico and pleasant garden. It is one of the finest palaces in Genoa, perhaps the finest after the Brignolo Rosso ; the vaulted ceilings, cornices, &c., riclily painted and decorated by Genoese artists, are very fine : it contains a good collection of pictiu’es, amongst whicli the following are of great merit : — In the Great Fall, a fine Vandylce, a portrait on dark horse ; J oseph inter- preting the Chief Butler’s Dream, the chef-d’oeuvre of Bernadino Strozzi, called “ the Capucino,” whose works are much prized in Genoa, of which he was a native : he was a Capuchin monk, and self-taught ai’tist: his countenances are generally commonplace and unre- fined. First Sal a has a deep cornice by a Genoese artist, Dominico Fiasella, detto II Sozana : it represents the battles of the Nymplis, Tritons, and Bacchanals ; a fine Titian, Matlonna and St. Catherine ; a Martyr, Agos. Caracci ; St. Catherine, Annibali Ca- racci ; Clirist’s Agony in the Garden, designed by M. Angelo, finislied by Sebastian del Piomho ; Madonna, by 94 Route 1 2 . — Genoa — Palaces — Pictures. Sect. II, Andrea Mantegna ; Innocence, Idj Mu- hens ; Cleopatra, Lncretia, by G-tddo. Second Sala. — Three magnificent Vandglces, portraits ; in one, tlie head is by Velasquez : it was a portrait of Gr. Paul Balbi, chief senator, who being banished from Grenoa, it was feared the mob woxcld destroy Ins picture ; Yelas- qnez was begged by the family to re- paint the head, and he accordingly depicted that of Pliilip II. of Spain over the features of the disgraced Balbi. Third Sala. — St. Jerome, in Guido's first manner, very forcible and vigor- ous ; Conversion of St. Paid, by M. A. di Carravaggio, fine ; A Holy Family, the Nativity, by Luca d' Olanda ; St. Joseph, the Capucino ; Magdalene, An- nihali Caracci. Library. — A Mai’ket, Bassano; An- dromeda dehvered by Perseus, Guer- cino., fine. Gallery. — A number of small good pictures: Wise Men’s Offering, Pro- caccino ; Portrait, Tintoretto ; ditto, Muhens ; Holy Family, Benedetto Veneziano ; cUtto, Vandylce ; Yirgin and Child, Procaccino. Palazzo Meale. Formerly belonging to the Dimazzo family, and called Mar- cello Himazzo, but purchased by the late king, and completely fitted for a royal residence. The interior cannot be seen when the king is at Grenoa. The front is nearly 300 feet in length ; it was built from the designs of P. F. Cartone and T. A. Falcone. It con- tained^^ a fine collection of pictures, amongst which were, in the Salone, several portraits of the royal family of Spain, the Dxmazzo family, &c., interest- ing from them authenticity ; and two large historical pictures, representing the reception of Hurazzo, ambassador from Genoa, by the Sultan, one by Piola^ the other by Bertolotto. Salone di Giordano. A portrait by VandyJce ; another by Tintoretto ; and some other pictures worthy of obser- vation are here, besides the two chief pictures in the room : one of Ohndo * We have been informed that many of the ictures formerly in the Palazzo Eeale have een removed to Turin. and Sophronia, the other of the Trans- formation of Phineas by Perseus, by Luca Giordano. Salone della Cappella. A Mussul- man, by Membrandt : our Lord in the Manger, by Titian. Salone dell' Aurora. Portrait of the Emperor Joseph II. ; two pictm^es of Saints, by Cappuccino ; a sketch for the Martyrdom of St. Peter, by Guido. Salone del Tempo. A female head, by Titian ; a large Holy Family, with many figures, by the same artist ; two heads, by Tintoretto ; two battle-pieces, by Borguignone ; several pictures, chiefly of animals, by Greghetto. Salone di Susanna.^ so called from the principal pictm’e in it, Susannah and the Elders, by Muhens. Salone di Paolo., so called from the fine and large picture by Paolo Vero- nese, representing the feast given to our Lord in the house of the Pharisee, and the Magdalene at his feet ; now removed to the Royal Gallery at Turin ; an excellent copy or duphcate remains here. Some good antique statues are also in this haU, and four modern ones by Filippo Parodi, and some others. Lomenico Parodi executed the elabo- rate paintings and gildings which de- corate the ceiling and walls of tliis gallery. Beyond it are two fine rooms painted in fresco, in one of which is the bust of Yitellius, much admired. This bust has been higldy praised for powerfully expressing the character of the “ beastly ” Yitellius. It forms an interesting companion to the cele- brated bust of Otho in the Uffizi at Florence. “ Yitelhus consumed in eating, at least, six millions of our money in about seven months. It is not easy to express his vices with dig- nity, or even decency. Tacitus fairly calls liim a hog, but it is by substi- tuting to a coarse word a very fine image, ‘ At Yitellius, umbracuhs hor- torum abditus, ut ignava animalia, quibus si cibum suggeras, jacent, tor- pentque, praeterita, instantia, futura pari oblivione dimiserat. Atque ilium nemore Aricino desidem et marcentem,’ &c.” — Gihhon. There is in this palace a contrivance Riviera. Ro ute 12. — Genoa — Palaces — Pictures. 95 of a small loudoi}\ wliicli hoists up and down by tackle from the queen’s apartment on the third floor, so as to save her Majesty the trouble of going up stau’s. Palazzo della Universitd^ Strada Balbi. This building was erected at the expense of the Balbi family. The vestibule and the cortile are amongst the finest specunens of the kind. Two huge lions are placed at the top of the staircase, whose walls contain some curious inscriptions from destroyed churches. The halls are finely deco- rated with frescoes by G-enoese painters and oil pictures. The Hall of Medi- cine contains some bronze statues by Griovanni di Bologna, and in the Grreat Hall are six of the Cardinal Virtues by the same scidptor, whilst in a third room above are a great number of his bas-reliefs in bronze. The museum of natm’al history is interesting, as con- taining a complete collection of the birds and fishes of this part of the world. The library, which is open to the public, contains about 45,000 books, principally theological, but does not contain any book rarities. The Uni- versity consists of three faculties. Law, Medicine, and Humanities. In each faculty there is a senate composed of twelve doctors, by whom the degrees are granted. In the chm’ch belonging to the University is a bas-rehef in bronze, and in the sacristy another — the Descent from the Cross, good, by Griov. di Bologna. Behind the Univer- 1 sity Palace is the Botanic Grarden. Palazzo Durazzo, Strada Balbi, I No. 227, by Alessio^ but altered within 'by Tagliafichi, has a good collection of pictures. Its spiral marble staircase is admired. In the first room is a Pellegrini., the subject fi’om Shakspeare, a good specimen of this artist ; a Flight into Egypt, by Pesaro, with a rich tone of colour ; and Abraham with the Angels, by CasielU. The Magdalene, by Titian., claimed as an undoubtecl ariginal, in spite of the similar picture in the Barbarigo palace at Venice ; the Tribute Money, by Ouercino, considered >ne of his most peiTect and impressive vorks j the Woman taken in Adultery, by Procaccini^ a beautifidly expressive picture. Second apartment on the E. The Flagellation of orm Lord, by Ludovico^ and a half-length of St. Peter, by Anni- hal Caracci, beautiful in expression and design. The Homan Daughter, by Guido., and St. Eustace, by the same, full of grace in design ; the Marriage of St. Catherine, a good specimen of Paolo Veronese; a Sleeping Child, in an oval, by Guido, beautifully true to graceful nature. The ceiling of this Gallery, repre- senting Apollo and the Muses, by Piola, is thought one of his best works. First apartment on the W. Our Lord appearing to the Vhgin after the Resurrection, one of Bomenicliind' s best w'orks ; Philip IV. of Spain, by Buhens, an admirable portrait ; Tlmee Philo- sophers, by Spagnoletto, good samples of this artist ; Portrait of a Lady and two Children of the Durazzo family, by Vandylce, well grouped and highly finished, Palazzo Imperiale, near the Piazza di Campestre. This palace is much decayed and neglected. The beautiful cortile is used as a remise. In the soffit are fine frescoes, with mytho- logical subjects in the compartments. To detail the palaces of Genoa would be impracticable in the present w'ork, yet one more must be noticed, which, from its situation, is the most striking of them all : the Palazzo Doria Panfili, situated within the Porta della Lan- terna, and without the Porta di San Tomaso, the gardens of which extend to the sea-shore. These gardens, as well as those of the palace in them centre, form a noble feature in the panorama of the port of Genoa, This magnificent pile, originally the Palazzo Eregoso, was given to the great Andrea Doria, and improved, or rather rebuilt, and brought to its present form, by him. The stately feelings of this Doria, who is emphatically called “ II Principe ” (for that title of dignity had been granted to him by Charles V.), are expressed in the inscription wdiich is engraved on the extei’ior of the edi- fice: “ Divino munere, Andreas D’Oria 96 Sect. II. Route 12. — Genoa — Palazzo Doria Panfili. CevfB F. S. F. Ecclesise Caroli Impera- toris Catolici maximi et invictissimi Francisci primi Francorimi Fegis et Patriae classis triremium iiii. praefectus ut maximo labore jam fesso corpore honesto otio quiesceret, aecles sibi et successoribns instauravit. m.d.xxviii.” The architect was Montorsob, a Flo- rentine : but many portions were de- signed by the celebrated Pierino del Yaga, who lias here left some of the best productions of bis pencil, but which are fast decaying, upon the waUs ; so rapidly, indeed, that in a few years, it is to be apprehended, they wiU have almost wholly disappeared. Pierino, poor, sorrowful, and needy, driven from Pome by the calamities which had befallen the Apostolic city when stormed by the Imperialists in 1527, was kindly received by Doria, who became his patron, giving Ihm constant employment in tins his palace. He worked there, not merely as a painter, but generally as a decorator ; and it was Doria’ s express wish to reproduce here, as much as possible, the magnificence of Pome, especially in the buildings winch Paphael had adorned. The decorations introduced by Pie- rino in this palace were exceedingly admired ; and he became, in fact, the founder of the peculiar style which prevails in the other ancient palaces by which Genoa has been so much adorned. In the gahery that leads to the terraced garden are the portraits of Andrea Doria and his family. The figures are in a semi-heroic costume; Andrea Doria is grey-headed, his sons are helmeted, and supporting them- selves upon then’ sliields. These in- teresting portraits have been much injured by the soldiery quartered here dmhng the late revolution. Beyond this gahery yon look upon the garden, where are walks of cypress and orange, fountains, statues, and vases. In the background are the sea, the moles, the hghthouse. The fountain in the centre represents Andi’ea in the character of NejDtune. Over another fountain is a fanciful mermaid, the portrait of one winch, according to popular behef, was caught at Genoa. Opposite to the palace, on the street front, is another garden belonging to it, bordered by a grapery. In this garden is the monu- ment raised by Doria to “ II gran! Poldano^' a ^eat dog which had been given to Doria by Charles Y. He is buried at the foot of a huge Jupiter, to whose care, according to the inscription, his ashes were intrusted. In this gar- den also is a grotto built by Alessio, which in its time was much admired : it is now almost a ruin. The successive employments held by Doria enabled him to acquire great wealth. With these riches he was able to keep a fleet of 22 galleys ; a force with which he turned the scale against the French, and accomplished the deliverance of Genoa, 11th Sept. 1528, from the heavy yoke which they imposed. “ Questo e quel Doria, die fa dai Pirati Sicuro il vostro mar per tutti i lati. Non fu Pompeio a par di costui degno, Se ben vinse, e caccio tutti i Corsari ; I’erd die quelli al piu possente regno Che fosse mai, non poteano esser pari ; Ma questo Doria sol col proprio ingegno E proprie forze purghera quei mari ; Si die da Calpe al Nilo, ovunque s’ oda II nome suo, tremar veggio ogni proda. Questi, ed ognaltro die la patria tenta Di libera far serva, si arrossisca ; Ne dove il nome d’ Andrea Doria senta, Di levar gli occhi in viso d’ uomo ardisca. Veggio Carlo, che ’1 premio gli augmenta ; Cli’ oltre quel che in commun vuol die fruisca, Gli da la ricca terra, ch’ ai Normandi Sara principio a farli in Puglia grandi.” Orlando Furioso, cant. xv. 30-34, It was under Doria’s influence and counsel that the form of government was established in Genoa which lasted tni the revolution. He was offered the ducal authority for hfe, and there is no doubt but that he might have ac- quired the absolute sovereignty. The Doria family is not extinct, but they live in Pome ; and the palace is aban- doned to ruin. The Duomo or Cathedral of St. Lo' renzo was built in the 11th century, consecrated in 1118, by the Pope Ge- lasius II., and restored about 1300. The front belongs to the latter date ; the lower part is occupied by tliree Riviera. Route 1 2 . — Genoa — Cathedral — Pictures. 97 pointed arches, with the little columns and other appendages of Grothic archi- tecture. There is one marigold win- dow in the centre, and several smaller ones. The intention was, probably, to erect two towers, but of these only one has been executed, and that at a later period, and it does not preserve the character of the rest of the building. There is not the least trace in this edi- fice of the taste which prevailed at Pisa and Lucca. The columns of the portal were taken from Almeria, as part of the spoils won at the capture of that city, 1148 : among the vestiges of an earlier period are the curious pilasters of the door on the N. side of the chm'ch, exhibiting monsters and runic knots, and the rude basso-rilievos en- crusted on the principal fi’ont. In the friezes are inscriptions, from wliich we ascertam that the N. side was completed in 1307, and the S. in 1312 ; furthermore it is therein re- lated how the city was founded by Janus I. King of Italy, the grandson of Noah; and how Janus II. Prince of Troy took possession of the city founded by his namesake and ancestor. These mscriptions are engraved in capital letters exactly in the form employed in coeval manuscripts, and are fine specimens of lapidary caUi- graphy. Internally, the first arch is Grotliic, and corresponds in style with the front : in the remaining part, small pointed arches rest on single columns. “ In the chm'ch of S. Lorenzo appears a strange mixture of styles : the nave is separated from the aisles by Co- rinthian columns, connected by pointed arches, and bearing an horizontal en- tablature, above which reigns an arcade, whose supports are alternately coliunns and piers. The internal appearance of the church is singular, from the courses of masonry being alternately of wliite and black marble.” — Gwilt. The co- lumns of the nave are of a hard brec- cia, and the lower part of the shafts of white marble upon black bases. The choir and side chapels have been modernised, and covered with caiwing, paintings, and gilding. The arcliitec- N. Italy — 1852. tm’e is by Alessio. The high altar is decorated with a fine statue in bronze of the Madonna and Child, by Cr. P. Bianclii, a work of the 17 th centy . The paintings are not of a first-rate quality ; the principal are, St. Sebastian, in the chapel on the right at the end of the nave, Barroccio ; another Virgin, Ferrari ; the Ascension, Piola ; and Saints adorning the Infant Saviour, L. Cambiasi, good. The stalls and par- titions are beautifully inlaid in woods of various colom-s. The ancient manu- script choir-books are yet in use, and they are fine volumes of then’ kind. In the Palavicini eha'pel is a curious monument, a detached marble statue of a cardinal kneeling before the altar, a fine figime. An altar-piece by Gatini^ of Genoa, has lately been put up in one of these chapels. The ridiest portion of this church is the Chapel of St. John the Baptist, into which no female is permitted to enter except on one day of the year, an exclusion imposed by Pope Innocent VIII., as it is said, in vendetta of the daughter of Ilerodias. The screen which divides it from the church is of a rich Gothic, and was completed about 1496. The tribune, supported by four porphyry pillars, covering the sarco- phagus in which the so-called rehes of the Baptist are contained, was erected in 1532 at the expense of Filippo Doria. The eleven statues, and the bas-rehefs which adorn the external faqade, are by Guglielmo della Porta. Eight niches in the interior of the chapel are also filled with statues, six of which are by Matteo Civitale (1435-1501), and two, the Madonna, and the Baptist, by Sansovino. The high altar is by Giacomo and Guglielmo della Porta. The relics of the saint are oontamed in an iron-bound ehest, wliich is seen through the apertures of the marble. On the day of his nativity they are carried in procession, being placed in the Cassone di San' Giovanni, a shrine preserved in the treasmy of the cathe- dral. It was made in 1437 by Baniele di Terramo, of silver gilt, a combination of Gothic panels, tracery, and finials of the most delicate workmanship. The F 98 Route 12. — Genoa — Cathedral — Santa Maria. Sect. II. sides are covered with imagery, the his- tory of St. John ; the figures being all but completely de|j^^ched from the back- ground. In the treasury is preserved a more interesting relic, the Sacro Catino, long supposed to be composed of a single emerald. It was part of the spoils won at the taking of Caesarea, 1101. The Crusaders and their aUies divided the prey ; and the Genoese, under the command of the celebrated Guglielmo Embriaco, selected this precious dish, or vessel, as their portion of the spoil. The traditionary worth of the ma- terial was infinitely enhanced by the fond traditions annexed to the vessel, whether as a gift from the Queen of Sheba to Solomon, or as the , dish which held tlie Pascal Lamb at tlie Last Supper, or the Sang real, the vessel in which Joseph of Arunathea received the blood flowdng from the side of the Redeemer, and in search of which the Knights of King Arthur made their quest. Three times each year was the Catino brought out of the sacristy, and exposed to the vene- ration of the faithful, A prelate of high rank exliibited it to the midti- tude ; and around him were ranged the Clavigeri, to wiiose care the relic was committed. The Clavigeri, as their name imports, w^ere the keepers of the keys of the sacristy; and they were solemnly bound never to allow these keys to depart from their custody. Ko stranger was allowed to touch the Catino under heavy penalties ; and if any one at- tempted to try the material by steel or diamond, gem or coral, or any real or supposed test of its gmiuineness or hardness, they were to be punished with heavy fines, imprisonment, or even death. Acute and somewhat sceptical travellers, as Keysler and the Abbe Barthelemy, in spite of these precau- tions, saw enough to lead them to sup- pose that the Catino was glass, a fact wliich is now fully confirmed. But the extraordinary perfection of the ma- terial, as well as of the workmansliip, must always cause it to be considered as a very remarkable monument, and of remote antiquity. The dish is liex- agonal, with some slight ornaments, which appear to have been finished with the tool, as in gem engraving. The colour is beautiful, the transpa- rency perfect ; but a few air-bubbles sufficiently disclose the substance of which it is made. The Catino was sent to Paris ; and was reclaimed in 1815, with other objects of art. It was so carelessly packed that it broke by the way. The fragments have been united by a setting of gold filagree. The keys of the cabinet are kept by the munici- pal authorities, and a fee of about five francs is expected, at least from Eng- lishmen, by the officer who opens the door. Near the cathedral is the Baptistery, no longer used ; and a great cloister in which are the residences of the canons, but it has nearly lost all vestiges of antiquity. Many of the churches of Genoa were demolished by the French. Amongst the churches which remain, the most conspicuous in the general view of the city is Santa Maria di Carignano, finely situated on a liill, built from the ground about 1552, and endowed by the Sauli family. It is in the form of a Greek cross, with a lofty dome in the centre. “ The arms are rather too long, and the entablature is poor and meagre. The vault is divided into 13 panels, which is too many ; but the lines are well preserved, and, con- sidered with respect to its interior, it wiU occupy a distinguished place among the most beautiful churches of modern tunes.” — Woods. It was built by Alessio. Two colossal statues by Puget, and two by David, are placed beneath the great dome. They re- present St. Sebastian, St. John, St. Bartholomew, and the blessed Ales- sandro Sauh. Paintings. — St. Francis receiving the stigmata, G-uercino : originally good, though now damaged. St. Francis is represented as very young. The Virgin and Saints, Procaccino. St. Peter and St. John healmg the Palsy, Piola. Tlrree subjects, of which the best is a Pieta, Camhiaso. The Martyrdom of jj Riviera. Route 12. — Genoa — Paintings — San Siro — San Matteo. 99 St. Blaise, Carlo Maratti; the saint good, the chief executioner badly fore- shortened. St. Catherine receiving the Sacrament, Vanni of Sienna ; the bishop administering, fine. Bishop Sauh go- ing in Procession, Fiasella ; much cha- racter in the groups. A fine view of Grenoa is obtained from the top of the cupola, which is ascended with tolerable ease. Oppo- site to the church is a noble bridge upon dry land, also built by the muni- ficence of the Sauh, begun 1718, by an architect named Langlade. It joins two lulls, crossing the street and houses below. Some of these houses are seven stories high (adding to the reminis- cence which the bridge gives of Edin- bm’gh) ; but the bridge rises far above them. It affords a cool and pleasant evening walk. An amusing instance of the fancies of Itahan antiquaries is found in the Hebrew- Grreek etymology which they give to Carignano, deriving the name from Cherem-Jani, the vine- yard of Janus. St. Stefano della Porta, in the Piazza S. Stefano, at the southern end of the Strada Giulia. The church is fine ; but its great attraction is the paintmg of the Martyrdom of the titular Samt, the joint production of Raphael and Criulio Romano : that is to say, Ra- phael made the design for the whole, and finished the upper part, and Giulio Romano executed the remainder. In its present condition and position, i which is -wretched (being concealed by j an unsightly tabernacle and candle- j sticks), the unbomided praise which I continues to be lavished on this picture ! will to many persons appear extrava- gant. It was sent to Paris by Napo- leon, and the head of the saint and other parts were there repainted by Girodet. This pictrue was a gift to the Genoese republic by Leo X. In 1814 a negotiation was opened for its pur- j chase by an Englishman for 100,000 I fr. The fee demanded for seeing it is i 1 fr. San’ Siro. The most ancient Chris- tian foundation in Genoa, and asso- ciated with important events in its his- tory. It was originally the cathedral, under the title of the Basilica dei Do- did Apostoli, but San’ Siro, or Cyrus, an ancient bishop, became its patron, and in 904 the episcopal throne was translated to St. Laurence. In this chm'ch the assembhes of the people were held. Here Gugliehno Bocca- negra was proclaimed Capitano del Po- polo in 1257. Hitherto the powers of government, and the profits and plea- sures of government also, had been whoUy enjoyed by the aristocracy. This revolution first broke down the barrier ; and although the office of Ca- pitano del Popolo did not continue permanent, it prepared the way for the great changes which the constitution afterwards sustained. Here, in 1339, Simone Boccanegra was created the first Doge of Genoa, amidst cries of Viva il popolo P’ marking the influ- ence by which he had been raised. His election was, in fact, the crisis of an- other revolution : the government was completely transferred from the nobles to the people. All traces of the ori- gmal building are destroyed, or con- cealed by recent adjimcts and recon- structions. “ It is boasted of for the richness of its marble. The nave has arches restmg on coupled colmnns, wliich are rather gouty. It is one of the many proofs that a profusion of rich and beautifid materials may be em- ployed without producing either rich- ness or beauty. The Annmiziata is another example of the same sort ; but such are not wantmg in Genoa.” — W oods. The roof is painted by Car- lone. Eleven painters of this name have left their _ productions in Genoa and the Riviera. This Carlone was born at Genoa in 1594, and died at an advanced age. Some of the other paintings are, the Saviour disputing in the Temple, Bernardo Castello. The Adoration of tlie Shepherds, Pome- rancio. Saint Catherine of Sienna, Castelli. The fa 9 ade is in a poor style of modern arcliitectm’e. Sa'P Matteo, built in 1278, was under the patronage of the Doria family. The front, which is in a plain Gothic, is built m alternate courses of black and wliite marble. Eive of the 100 Route 12. — Genoa — Churches — Buildings. Sect. II. white courses bear inseriptions relating to the achievements of the family. The pilaster at either extremity of the fa- gade, and on each side of the entrance door, present the banners of Gienoa and of the Doria family. One of the inscriptions commemorates the great naval victory of Scargola, September 7, 1298, over the Yenetian fleet, com- manded by Andrea Dandolo, by the Grenoese, under Lamba Doria, both being the most honoured names in the military annals of Italy. The Grenoese fleet consisted of 76 galleys ; their op- ponents, who numbered 96, sustained a total defeat ; 74 Yenetian galleys were captimed and 7400 captives were brought to Grenoa by the conquerors. Over the door is one of the very few mosaics still existing in Grenoa. It is in the ancient Grreek style. The inte- rior, which is small, was splendidly re- constructed at the expense of the great Anch’ea Doria. It is of the Corintliian order, discordant in its style from the exterior. Giian’ Agnolo Montorsoli, the arcliitect, was also a good sculptor ; and he executed the two figures of children upon the tomb of Andrea Doria, who is here interred. In the suiTOunding Piazza are some emflous specimens of ancient domestic archi- tecture. Sant' Ambrogio or di Gesu, entirely built at the expense of the Pallavicini family. The interior is completely co- vered with rich marbles and paintings ; from the vaulting down to the pave- ment all is gold and coloims. Here are several fine paintings : — The Assump- tion, by Guido : the Yirgin surrounded by hosts of angels. The commission for this picture was sent to Bologna, and the ofier for it was made to the Caracci and to Guido ; when the latter, being willing to execute it for half of the price demanded by his competitors, obtained the order. The Caracci were much vexed at this ; but when the picture was exhibited, they put by theu* vexation, and fidly acknowledged the excellence of the production. The Oir- ciuncision, over the High Altar, by Hubens, painted before he came to Ge- noa j and St. Ignatius healing a Demo- niac, painted whilst he was in this city. The altar-piece was executed by him whilst he was in ignorance of the height and position whence it would be seen ; but in the second pictm’e he was able to adapt his figures accm’ately to their site in the building. St. Peter in Pri- son, by Wael. The frescoes in the cupolas are principally by Carlone and GaleoUo. L' Annunciata is, like many others which we have noticed, a monument of private munificence. It was built and decorated at the expense of theLomellini family, formerly sovereigns of the island of Tabarca off the coast of Africa, which they held until 1741, when it was taken by the Bey of Tunis. The very rich marbles of the interior give it extraor- dinary splendour. The roof too has been recently regilt, and the church completely restored. Here is the “ Gena’ ’ of Procaccini, a noble painting, but un- favourably placed. Santa Maria di Gastello^ said to be built on the site of a temple of Diana, some of the columns of which still remain ; it contains a quaint picture by Ludovico Brea, with a number of figures in odd costumes, and a pre- tended portrait of the Yirgin and Child by St. LuTce, of which the faces alone are painted, all the rest, even the frame and border, being in very rich and ciu’i- ously worked metal. The Ch. of San Donato, in front of which are fragments of the Pisan chains; — San Luca, painted in fresco by Piola, and many others, are worthy of notice ; though perhaps not of a special visit, excepting from those who have much leisure at command. The greditAlbergo de' Poveri is to the N. of the city, just outside the Porta Carbonera. It was founded in 1564, by Emanuel Brignole, and unites the care of the poor within its walls to the admmistration of many eharitable en- dowments for thefr benefit. Thus, for example, the girls who marry out of the hospital receive a decent dowry. The house is very clean, and the pro- portion of deaths remarkably small. It is a stately palace, extending above 560 feet each way, and enclosing four equal Riviera. Route 1 2 . — Genoa — Theatre — Academy. 101 courts, each about 170 feet square. The internal buildings, dividing the courts, form a cross, in the middle of -which is the chapel, or at least the altar ; the different inmates occupying the arms dm’ing the time of public service. It boasts a Pieta of Micliael Angelo, in which the attitude and half-closed eyes of the Virgin seem to indicate that she is about to faint on the dead body of lier son, but the lips are firm. This ]30or-house will contain 2200 persons, and includes a manufactiu’e of lace, linen cloths, and other objects. In the chapel is also a statue of the Virgin ascending into heaven, by Puget^ which is among the best works of that master. The Ospedale del Pammatone stands on the W. side of the public gardens of the Acquasola, It was originally the private foundation of Bartolomeo del Bosco, a Doctor of Laws, 1430 ; and was built from the designs of An- drea Orsohni. It is a large and mag- nificent building, and contains statues of benefactors of the establishment. It has within its walls, on an average, 1000 sick and 3000 foundlings, and is open to the sick of all nations. The Deaf and Dumb Institution (^Sordi Muti) founded by Ottavio Assarotti, a poor monk, in 1801, is much cele- brated. In and about Grenoa there are about 15 Conservatorie. They are all intended for females, and all are rehgious foun- dations, and regidated according to the monastic system, though none of the inmates take vows. Some are houses of refuge for the unmarried ; some peni- tentiaries for those who wish to aban- don their evil courses ; some are schools for the higher branches of education ; some asylums for girls who are either orphans or the children of parents unable to maintain them. Of these, the largest is that of the Fiesckine^ founded in 1762 by Domenico Fieschi, for orphan girls, natives of Grenoa, and which now contains about 250 inmates : they are employed iipon various light works, such as lace and embroidery, but principally in the manufacture of artificial fiowers. Half the profits be- long to the workers ; and with these they are often enabled, not only to relieve their relations out of the house, but even to accumulate a small do-wry. The situation of the house, to which large gardens are annexed, is very plea- sant. The whole establishment is con- ducted kindly and affectionately : it remains under the patronage of the descendants of the family. The Teatro Carlo Felice is the prin- cipal theatre, and is an elegant struc- tiu’e. It was opened in 1828, and receives its name from the present king. It is the third theatre for size in Italy, the Scala at Milan and the S. Carlo at Naples being alone larger than it. It is open for serious operas and ballets dmfing the carnival and spring sea- sons, for the opera buffa in the autumn, and for the regular drama in the sum- mer and the early part of December. The Teatro Sant' Agostino is open during the carnival for the regular drama. The Academia Ligustica delle Belle Arti is located m a public building in the Piazza Carlo Felice, close to the theatre. It was founded by private munificence, having been instituted by the Doria family. It is, however, in- sufficiently endowed ; the society con- sists of protettori, or subscribing pa- trons, and of working academicians. It contains a collection of ancient pictxu’es, models, &c., and a hbrary of about 25,000 volumes. It is said to have been useful in improving the designs and patterns employed in manufac- tures, but it has not produced any per- ceptible effect in the higher branches of art. The Palazzo del Padri del Commune is now the seat of the Tribunal of Com- merce. Here is kept one of the most remarkable monuments of the history of Grenoa. It is a bronze table, con- taining the award made A. u. c. 633, by Quintus Marcus Minutius and Q. F. Rufus, between the Genuenses and the Genuates, supposed to be the people of Langasco and Voltaggio, who had been disputing about the extent of their respective territories. This boundary question was most careftdly investi- 102 Route 1 2 . — Genoa — Palaces — Arsenal. Sect. II. gated : the landmarks are set out with great minuteness, and clauses are in- serted respecting rights of common and commutation rents, with as much accu- racy as we should now find in an In- closime Bill. The table was discovered in 1506 by a peasant, whose name has been preserved, one Agostino di Piedmonte, when digging his land at Polcevera. He brought it to G-enoa for the purpose of selling it as old metal ; but the matter coming to the knowledge of the senate, they purchased it for the use of the commonwealth. Externally, the Palazzo Ducale has somewhat of the aspect of an ancient fortress, with lofty massy walls, sloping outwards, turrets and bartizans at the angles, and one great dungeon tower overshadowing the whole. The interior of the principal range of the building, which contained the hall of the senate and the other chief apartments, wns destroyed by fire in 1777. The pre- sent interior was rebuilt by Carlone. Tne vestibule is supported by 80 co- lumns of wliite marble : a fine staircase of marble leads, on the rt. hand, to the apartments of the governor, on the 1. to the hall of the senate. The hall is deco- rated by paintings, not of a liigh order, representing subjects taken from or con- nected with the history of Genoa. Of these, the best are copies from pictm’es of Solimeni^ existing before the fire, of the deposition of the rehcs of St. John the Baptist, and the discovery of Ame- rica by Cohmibus. There is also a large pictiire by I. Pavicl, representing the Battle of Pisa. The hall also con- tains statues of the great men of Genoa. These were destroyed by the French in 1797 ; and upon occasion of the fete given to Napoleon as the restorer of the hberties of Italy, their places were supphed by statues of straw and wdcker- work, coated with plaster of Paris, with draperies of cahco, wliich still continue in the room. “ Almost all travellers omit to visit, in the lower story of tliis palace, in one of the offices of the Comds of Law, a collection of beautiful paint- ings by old German masters, the hke to which they w'ill not readily find in Italy. The best are, Christ on the Cross, with the Yirgin and St. John : these two figures are beautiful beyond belief, and well preserved — Ahert Purer. Virgin and Cliild on a Throne, called Floris^ but probably Mabuse. St. Gi- rolamo, whole length, as large as life — Van FycTc : perfect. St. Augustine, Van PycTc : rich brocades in the back- ground. In an adjoining room is a bust of Columbus, and a specimen of his handwriting.” — L. G. This apart- ment is the Stanza del Consiglio, with the bust of Colombo, and some of his autographs, kept under three keys. The paintings of the early Flemish and German schools are in the “ Gabinetto de’ Sindaci besides those already mentioned, there is one more folding altar, probably painted by I. Mabuse.^ of exquisite art : the centre composi- tion is the Adoration of the Kings, and on the two wings the Annunciation and the Flight mto Egypt. I admired the pictures by Pilrer this time still more than before. — L. G., April 8, 1843. This building was formerly the re- sidence of the Doges of the repubhc, who held office for two years ; it has been used partly as the governor’s palace, and partly for the pohce and other offices, but has been recently made over by the City to the Govern- ment, who are going to pull down the misightly buildmg in front, and throw open the square. The Arcliiepiscopal Palace has some good frescoes by Cambiasi. In the Land Arsenal, in the Piazza d’Aquaverde, are many ctudous articles. These were formerly deposited in the Ducal Palace, with others, which were sold by the French, stolen, or dis- persed : the residue was here collected. A rostrum of an ancient galley, some say Homan, some say Carthaginian, found in the port ; but, though its origin may be uncertain, its antiquity and value are imdoubted, no other similar specimen existing. A cannon of wood bound round with iron, said to have been employed by the Venetians in the defence of the Isle of Chioggia, when attacked by the Genoese fleet. A good store of halberts, partizans, Riviera. Route 12. — Genoa — Sirada degli Orefici. 103 and other weapons, many of unusual forms. The ancient arsenal did con- tain the cuirasses of the thirty-two lieroic dames of Genoa, thhty-two Clo- rindas, who fought against the Turks in Palestine. This episode in the Cru- sades is rather more than apocryphal ; but the cuirasses, which were curiously ornamented, existed till the revolution, and then disappeared like the rest of the contents of the arsenal, except one suit, said to be intended for such an Amazon, though no part of the original set ; but towards the neck part it does not look as if it would make a good fit for a lady. The Loggia de' Banclii (in the Piazza de’ Banchi, close to the Hotel Feder) is an interesting monument of the an- cient commercial splendour of Genoa. It consists of one large hall, the sides of which are supported by sixteen columns, now glazed in, built by Ga- leazzo Alessi (1570, 1596), being about 110 feet in length and 60 in breadth. The roof is skilfully constructed, the tie-beams being concealed in the con- cave of the ceiling ; and the quantity of wall upon which the roof rests is so small, that the whole is considered as a very bold effort in construction. Hard by is the Strada degli Orefici (Goldsmiths’ Street), being filled with the shops of the trade. Before the revolution they formed a guild or company, possessing many privileges and possessions, aU of which are lost. One rehc they yet preserve — it is a pictm*e of the Holy Family^ with the addition of St. Eloy, the patron saint of the smiths’ craft, whether in gold, silver, or iron. It is upon stone, a tablet framed and glazed, in the middle of the goldsmiths’ street, and sur- mounted by a wrought canopy. This picture, attributed to Pellegrino Piola, is of a deep and harmonious colom*, and beautifully drawn. It is said that Pellegrino was a pupd of CasteUo ; that he was only 22 years of age when lie painted this picture, and that it excited so much envy on the part of the master, that he caused his pupil to be assassinated. Others say that Pelle- grino was assassinated by Giovan’ Ba- tista Carlone. Be this as it may, two things are certain — his violent death at an early age, and the extraordinary rarity and excellence of liis paintings. It is impossible, says Lanzi, to define the style of the artist so early cut off ; he was yet only a student, and a stu- dent employed in imitating the best models, preferring those which had most gi’ace. He tried several manners, and worked in all of them with sur- passing taste and care. When Napo- leon was here, he deshed much to carry away this picture for the Louvre. “We cannot oppose you by force,” said the goldsmiths, “ but we will never sur- render it and accordingly he yielded, and the pictm^e remains. The goldsmiths are all workers ; and they excel in a beautiful fine filagree, either of gold or silver, which they work into bunches of flowers, butter- flies, and other ornaments, principally designed for female dress. They sell them by the weight, at a price of about 15 per cent, above the value of the metal, exclusive of such addition to the price as they think, from the apparent wealth, ignorance, or carelessness of the purchaser, they are likely to obtain. These ornaments are very pretty, and are scarcely to be procured out of Genoa; but the workmanship is scarcely equal to that of Malta, or of Cuttack in Bengal. They may be passed at the French custom-house at a small duty. The Compera,ov Banco di San Criorgio (Bank of St. George), of which the hall is now used as the custom-house, was the most ancient establishment of this description in Europe. It was a com- bination, so to speak, of the Bank of England and the East India Company, being both a banking and a trading company. The colonies of Caffa in the Crimea, several ports in Asia Minor, and also Corsica, were under its ad- ministration, and the latter island is still studded with the towers and block- houses upon which the arms of the Bank are engraved. The Bank was managed with great abihty and in- tegrity ; and most of the charitable and public institutions had their funds I placed here at interest, which was con- 104 Sect. II. Route 12. — Genoa — Banco di San Giorgio. sidered, and justly, as a most secure investment. The French passed their sponge over the accounts, and ruined the individuals and the communities. The Bank of St. Greorge arose in 1346, in consequence of the expenses and trouble which the republic sustained from the exiled nobles wlio had been expelled from the city. Fortifying themselves at Monaco, they collected a niunerous train of other discontented and banished men, having nothing to lose and nothing to fear. They plun- dered the shores of the repubhc : and this maraudmg warfare became so pro- fitable, that they were enabled to tit up a fleet of 30 galleys, witli crews amount- ing to upwards of 20,000 men. With these they continued their depi'edations ; and the republic, not having the means of meeting the expenses of resisting them, negotiated with the richest mer- chants for a loan, which funded ; tliat is to say, the revenues of the state were permanently pledged for the pay- ment of the interest of the money ad- vanced. AVith the money so raised the republic fitted out a fleet. The insurgents abandoned their position ; and the result is curiously connected witli Enghsh history. Yery many of them entered the service of Philippe de A'alois ; and they were the G-enoese cross-bow men engaged in the battle of Crecy, whose rout so greatly aided in the aceomphslunent of the English victory. “ Genova la Superba ” appears most proudly in this old hall. All around are the statues of the nobles and citi- zens Avhose munificence and charities are here commemorated — the Spinolas, the Dorias, G-rimaldis, and others, whose names are so familiar in the annals of the repubhc. The statues are in two ranges, the uppermost stand- ing, the lower sitting, ah as large as life ; rendering the edifice one of the finest monumental halls which can be imagined. The ample, flowing, grand dress of the times contributes to this magnificent effect, combined with the truth and sunplicity of the attitude. Beneath each statue is a tablet or in- scription, recounting the actions of those whom they commemorate : — one had founded an hospital ; another had bought off a tax upon provisions which pressed heavily upon the poor ; another had left revenues for endowing poor maidens. In tliis hall is the famous mediaeval group, in marble, of a grifiin holding in his claws an eagle and a fox (the latter two being allegorical representations of the Emperor Fre- deric II. and the city of Pisa). The inscription is : — “ Gryphus ut has ang^t, Sic hostes Genua frangit.” In the smaller apartments adjoinmg are some other statues of the same de- scription, and some curious ancient, though barbarous, pictiues of St. George. In one room is a Madonna of Domenico Piola. The calligraphy of the inscriptions is very remarkable ; some, in Gothic characters, have the perfection of the finest typography ; and so compact and numerous are these inscriptions, that the walls of the great hall alone would furnish matter to fill a volume. On the exterior of the Dogana, fronted by three G-otliic arches, are links of the Pisan chains. All this portion of the city is one continued monument of the ancient Genoese com- merce. The lofty houses are supported by massy, crypt-like arches and vaulted apartments ; on the other side is the rampart of the port. Beyond the tor- rent Bisagno is the dockyard La Fug- gia, where ships of war are built. The Grenoese, or Ligm’ians, from the tune of A^irgil to Dante, and much beyond, have been the subject of great vituperation. “ Ahi Genovesi, uomini diversi D’ ogni costume, e pieni d’ ogni magagna ; Perche, non siete voi del mondo spersi ?’’ Inferno, xxxiii. 1.50 — 154. “ Ah Genoese, of honesty devoid ! So base your city, so replete with guile. Why are ye not at one fell swoop destroy’d ?” Wright’s Translation of Dante. But those who have resided here speak well of them now ; and the splendid memorials of the charity of past gene- rations raise at least a strong presiunp- tion in their favour. Riviera. Route 12 (a). — Nice to Genoa on foot. 105 EOUTE 12 («). PEDESTRIAN JOURNEY FROM NICE TO GENOA. The road between Nice and Genoa is so very beautiful in every part, that it is worth while to traverse it on foot. It is not intended to give here any in- strnction as to journeys on foot ; it will be assumed that the traveller has served an apprenticeship in Switzer- land or the Tyrol, ildiere, however, longer daily joimneys may be accom- plislied than on the shore of the gulf of Genoa, at least during that part of the year when from the length of the day such a journey is most likely to be undertaken. Here there are fewer hours during which the sun does not render walking with a knapsack on the shovdders very fatiguing, and there are numerous objects and points of view which invite the traveller to stop. It will therefore be necessary to start very early, and to rest for a longer period during the middle of the day. The following notes suppose the journey between Nice and Genoa, a distance of about 142 m,, to be performed in live days. Eirst day. — Starting from Nice not later than 4 a.m., pass along the Boule- vards through the Piazza Vittorio to the Strada di Villa Franca : proceed straight up the hill till you come to a small inn on the rt.-hand side where 1 fouT ways meet ; take the one to the 1., i as that on the rt. leads to Villa Franca, j and the other to Esa: after walking I about 2 m., you rejoin the main road : ' the ascent by this road is long and j steep, but a distance of nearly 6 m. on ! the main road is saved, and the views ij are superb. Beach Tiu’bia at 6^ or j 7 A.M., stop ^ an hour to see the an- I tiquities, and reach Mentone about 9 j or 9^, dine there at the Poste, and rest ’till 4 p.m:. Pass through Ventimiglia {about 5^ P.M., stopping for some re- 1 freshment, such as lemonade or coffee, [which may be had good, and reach San iBemo at 8^ p.m. S^leep there. This is rather a long, though a most delightful day’s work, and the traveller can, if he chooses, stop at Ventimiglia. He should be cautioned against passing the night at Bordighiera, wliere there is notliing which deserves the name of a decent or respectable Inn. Second day. — Leave San Bemo at 4 or 4^ A.M., reach San Lorenzo at 9 ; dine there and halt till 3 or 4 P.M. ; the quarters are not very good, but the wine is tolerable. Beach Porto Mau- rizio at 5 p.m., halt for ^ an hour, and refresh, and reach Oneglia at 7 or 7^. Best there for the night at the Hotel de Turin. Third day. — Leave Oneglia at 4 a.m. After passing the valley of Diano Ma- rino, and coming down the hill, a small path through the vineyards leads to the beach, to skirt which saves some- chstance, owing to the curve of the main road. Just before reaching Lin- guegha thei*e is a large garden, wliere ligs and leinonade may be had in per- fection. Beach Alassio at 9 a.m., dine and rest till 4 P.M. Thence to Albenga is a charming walk. Beach Albenga at 6 P.M., and sleep tliere at the Hotel d’ Italic. Fourth day. — Leave Albenga at 4 A.M. ; reach Loano at 6^ ; passing along the beach, miss Pietra ; and thus saving distance, reach Finale at S^-A.M. Though the Inn there is not nearly so good, yet the pedestrian should push on for Noli, which he will reach at 10|^, dine and rest till 4 P.M. From here through Vado by a charming road to Savona at 6| P.M. The Hotel la Posta is si- tuated outside the town, on the high road ; sleep there. Fifth day. — Leave Savona as early as possible, for it is rather a long day’s march to Genoa. Beach Cogoletto (called by the country people Coi’lo) not later than 7 A.M. ; refresh with coffee at the Albergo d’ltaha. Beach Voltri at 10| ; the Inn is indifferent : dine and rest till 3^ p.m. ; reach Sestri at 7f, halt half an hour, and reach Genoa at 9j p-M. Should the distances per diem ap- pear rather too long, and the traveller have sufficient time at his disposal, the journey may be advantageously divided p 3 106 Route 13 . — Genoa to Sarzana — Recco. Sect. II. into seven days instead of five ; the first and last days as arranged above being each divided into two. On the first niglit halt at Mentone, and on the sixth at Cogoletto. In order to obtain tolerable quarters, the distance divides far better into a seven days’ than into a six days’ walk. EOUTE 13. FEOM GENOA TO SAEZANA, BY THE EIVIEEA HI LEVANTE. VI ^ posts = 80| miles. This bearitiful road, which, besides its connection with t^ie preceding route, is the great high road to Elo- rence from Turin and Milan, passes through a larger proportion of moun- tainous scenery than the Eiviera di Ponente, and therefore is rather less soidhern in aspect, nor is it so thickly studded with those pictiu’esque towns and villages which adorn the shore from Nice to Grenoa ; but it has the same beauties of wide- spreading views over the loveliest land and water ; it is also finely indented by gulf and bays, which afford good anchorage for the vessels enlivening the brilhant sea. The road, which is excellent, was begun by the French, and has been completed by the present government. Before it was formed, Genoa was, in great measure, deprived of direct ready communication with Tuscany, wliich perhaps it was neither the wish nor the interest of the earlier govermnents to encourage. The road begins to ascend soon after quitting Genoa ; and, from the first summit, the view of the city, with its harbour and sliipping, and the white houses dotted around and ascenchng the liill sides, is as lovely a sight as can be seen. Hedges of the prickly jjear mix with vines, olives, figs, and oranges. Crossing the toiTcnt Bisagno, you arrive at San' Martino d'Albaro^ where the road descends and runs near the shore. Tliis town may be considered as a suburb of Genoa. The Colie d'Alharo is one of the most beautiful spots. Here are some magnificent villas ; the principal is the Yilla Cam- biaso, built by Alessio (1557), as it is said, from the designs of Michael An- gelo. The frescoes by Taormino^ re- presenting the trimnphs of Alexander Farnese, Prince of Parma, are amongst the decorations of this fine building ; also two others by Perino del Vaga, Night and Hay. The magnificent views from the Colle, looking over Genoa, are particularly beautiful. The Villa del Paradiso also is in a very beautiful situation. Cross the torrent Stenta on a rather picturesque bridge. Quarto and Quinto. The names of these villages, which follow in succes- sion, bespeak their Eoman origin, — “ ad quartum,” “ ad quintum they were probably Eoman post-houses. Quinto, or at least its commune, is also one of the claimants for the ho- nour of being the birthplace of Co- lumbus. Nervi; gay with its bright painted houses. The gardens around are pecu- liarly luxiuiant and fragrant : not so the interior of the town. The church of San' Siro has much gilding and some tolerable paintings. An old pa- lace, now in ruins, with decaymg fres- coes on the walls, is a picturesque object. The village and bridge of Sori (a fine arch) are passed about 2 miles short of 3. Pecco. An additional half-post is paid on leaving and arriving at Genoa. (Inn just tolerable.) Bather a handsome little town. The white houses and high campanile of the church, backed by the rich wooded liill and promontory of Porto Fino, which, stretching into the sea, forms the west- ern shore of the bay of Bapalio, have a charming effect. At the top of the ascent above Becco, and above and beyond Camoglia, the road passes tlirough the tunnel of Buta, of about 120 yards in length, cut through the rock. At Buta the vet- tmmii stop to dme ; there are two small Inns, the Hotel de Londi-es, and the Hotel d’ltahe, the latter bad. The descent from the timnel to Bapalio is | Kiviera. Route 13 . — Genoa to Sarzana — Rapallo. 107 very beautiful, and, for a sliort time, chestnuts take the place of olives, figs, and vines. The cliffs, of hard breccia, offer a great number of picturesque points of view ; and the short trip by water round the promontory, from Recco to Ra]5allo, has much interest. Descending, there are again charming views of the sea, and of the valleys filled with sparkling towns. At a short distance from Recco is the little active fishing-town of Ca- moglia. The church is gaily, though not very tastefully, decorated by the piety of the seamen. 8a}Tb Fruttuoso. A monastery in a very picturesque solitary site, on the midst of the promontory. Palms flou- rish amongst the surroundhig rocks ; and it is supposed that they were introduced at a very early period by the monks. The church was under the special patronage of the Dorias ; and in a species of sepulchral chapel in the cloister are some fine tombs of the family. SaF Lorenza della Costa is near the descent of the road after quitting the gallery. The church contains a folding altar-piece, attributed to Lucad' Olanda, representing the Marriage of Cana, the Martyrdom of St. Ancb-ew, and the raising of Lazarus. ^ Cervara^ anciently Sylvana, a de- serted convent, not far from the shore. Here Francis I., having been previ- ously brought to G-enoa, was confined [ nuxtil the arrival of the galleys wdiich ' conveyed him to Catalonia. I Santa Margherita^ a pleasant village j close to the shore. This completes the j tour of the little peninsula, which can ! be made conveniently by sea in a fe- ! lucca, and which offers much that is ! characteristic and adapted to the sketch- j book of an artist. The Genoese coral fishery is princi- pally carried on by feluccas, fitted out in this neighbourhood, j We now rejoin the road, i 1| Eajpallo. An extra horse be? tween Recco and Rapallo, and vice I versa, all the year. Albergo della Posta, a thoroughly Italian Inn. An active and flourishing city of 9289 Inliab. It spreads beautifully along the shores of the bay, set off by the churches, and a peculiarly lofty and slender campanile of many open stories. The houses are chiefly on arcades. Rear the post-house, on the sea-shore, is a picturesque marteUo tower, similar to those on the Riviera del Ponente. Probably it was erected after the town had been plundered by the celebrated corsair Dragutte, the scourge and terror of Italy and Spain ; and who, landing here Gth July, 1549, sacked the town and carried off a great number of captives. The night was remarkably fine and tranquil, and the inhabitants were quite unprepared for this attack, which holds a conspicu- ous place in the annals of Italy. The principal chiu’ch is collegiate j it contains some ciuious inscriptions — amongst others, one in so very difficult and complicated a character, that the Genoese antiquaries have doubted whe- ther it be Arabic, Greek, or Latin ; those who adopt the latter theory read it as importing that “Lewis Aiigustus” (supposed to be the Emperor Le^vis II.) dedicated the place a.d. 856. Here are also some paintings, which may be looked at whilst you change horses. The manufacture of lace is carried on here. Rapallo is celebrated for an annual festival in honour of the Madonna, which continues during the three first days of July. The processions last throughout the whole night, until break of day, the illuminations ex- tending not only through the town, but along the coast for an extent of tlrree or four miles, the lampions being hung upon stakes fixed into the sands ; and all fhis takes place amidst a con- tinual discharge of maroons, chambers, pattareroes, and other small pieces of festive artillery. Rapallo was the birthplace of For- tunatu.s Licetus (1577-1656), a learned but very credulous writer, whose prin- cipal works are upon lamps and mon- sters. In the vicinity of Rapallo is Mont- alegro, at the distance of about an hour’s wall' : most pleasantly situated 108 Route 13 . — Genoa to Sarzana — Chiamri. Sect* II* upon a hill, surrounded by fine moun- tain scenery. It was founded about 1557, in honour of a painting cast on shore from a si dp wrecked vessel, and to which the superstition of the Rap- pallese attributed miracidous powers. The picture is of Greek workman- ship, and execrable in every point of view. The road from Genoa to Chiavari is exceedingly varied ; sometimes you mount long rocky heights, covered Avith arbutus and frequent stone pines. Many apparently good and pictiiresque houses are scattered Idgh up on the hill- sides, where no visible road to them appears from below. Churches, with white and often elegant campaniles, are frequent all along the road. Towards the evening these numerous churches add perhaps more to the interest of the landscape than at any other time, the bells sounding and the light streaming through the windows. Sometimes you are many hundred feet above the level of the Mediterranean, looking down upon its blue Avaters ; sometimes you pass vast surfaces of rock sloping doAvn to the sea A\dth as even a surface as a reA^etement wall ; and sometimes, as at Rapallo, you are on the very level of the shore. There are two short tunnels or galleries near the top of the hill between Rapallo and If Chiavari. An extra horse be- tAveen Rapallo and Chiavari, both ways, all the year. {Iri7is : La Poste, once clean and comfortable, now (1845) fallen off ; diligences run from this house once a day to and from Genoa : the other inn. La Fenice, is good.) Chief city of the province, Avith more than 10,000 Inhab., finely situated in the centre of the bay. It is one of the most considerable toAAUis of the ancient Genoese territory. It has the aspect of an old Itahan town, and very cu- rious ; the houses generally built on open arcades which skirt the narrow streets, Gothic and circular, and Avith capitals AAdiich Avoidd puzzle an archi- tect by their similarity to our early Norman, but wdiich are probably not older than the 13th centy. Many of the houses are good and substantial. There are several splendid churches. In that of San' Francesco is a painting attributed to Velasquez, representing a miracle Avrought for the patron saint, — an angel, at his prayer, causing water to flow from the stricken rock. If ori- ginal, it is not of the highest order. There are other pictures in this ch. ; none good ; but one, with St. Francis in the centre, and the history of his life in small compartments all round, is rather curious. The inhabitants of Chiavari now boast of the certificate of merit bestowed on their Velasquez by its removal to Paris. The Madonna del' Orto, the princi- pal church, is annexed to an ecclesias- tical seminary, intended to contain seventy students. The dome was shat- tered by hghtning some four or five years ago, and has not been yet re- paired. The fr’ont is unfinished ; the portico (if ever completed) Avill be upon a magnificent scale, with columns six feet in diameter, of which the great blocks lie scattered in front of the church. It is said that the work wiD cost 700,000 francs: a Genoese archi- tect has it in hand. The Franciscan convent, in the gi’eat square, suppressed during the French occupation, has been repeopled ; and the dispensary at- tached to the convent may plead for the establishment in the opinion of those Avho dislike the friars. Old and picturesque towers are dotted about tlie toAAm. The largest, a castle in fact, is now used as the office of the podest^, or mAinicipality. The Societd Economica of Chiavari is an institution of considerable repu- tation. Its principal object is the en- couragement of agriculture, but it also gives much attention to the arts and to literature. The situation of Chiavari, in the centre of the bay, is remarkably beautiful. It is said, however, to be exposed to cold gusts from the moun- tains ; and to this the medical men of the town attribute the great prevalence of pulmonary complaints, which are said to be very fatal. There is the same luxuriant vegeta- tion at Chiavari as on other parts of this coast. The aloes, in particular, Rivieea. Route 13 . — Genoa to Sarzana — Lamgna. 109 gi’ow in great perfection, especially in the very sand of the shores ; and in some points of view, when they con- stitute the foreground, and the fan- tastic, mosque-like cupolas of the churches are seen in the distance, the scene assiunes almost an oriental cha- racter. This place is noted for the manufacture of very light chairs, made chiefly of cherry-wood, costing ten or twelve francs apiece, which the French have called chaises volantes. They are made in other places on tins coast, but not so well. Near Chiavari runs the pleasant river Lavagnaro, or “ Flume di La- va.gna” the Fntella of ancient geogra- phers, but which is recollected by the name which associates it to the Divina Comedia. — See Purg., canto xix, 91- 114. The Lavagnaro winds amongst agree- able groves, and the walks along its banks are pleasing. The vines throw their graceful festoons over po])lars and mulberries. Along these banks is the path, or narrow road, leading to the slate- quarries of Lavagna, which are , well worthy of a visit. The way passes ; near to the chtmch of San Salvatore, I founded by Innocent IV. (1243-1254), I the uncle of Adrian V., and completed ' by the latter. The inscription over the j portal was composed by Cardinal Otto- ! buoni himself ; and his portrait, which sm'mounts the inscription, was placed ; there by his command. Ascending I further, you reach the slate-quarries. I The caverns from which the slate is ! extracted, though not very picturesque in form or colour, are striking from I their extent. The laminated structiu’e I of the rock enables them in some of i! these caverns to dispense with the I pillars usually required in extensive excavations. The slate is of an ex- cellent quahty, and, if the workmen I chose, slabs might be split of 10 or 12 feet in length ; but, for convenience of carriage, they split them in regular sizes, the largest being about 3 feet by 4. An argument for the antiquity of the employment of this material is I found in the name of the Tegullii, the Ligurians, who inhabited this part of the country previous to the Roman conquest. We noAV resume the main road to Lavagna, a good-sized horgo, with about 5350 Inhab. Heaps and piles of slate, filling the sides of the road, show the principal source of the living of the population, which appears thriving and cheerfvd. The road itself is bordered by tlie slate rock, A strange red palace, with bartizan towers, is here a conspicuous object. The principal church is amongst the most splendid on the Riviera. From this toAvn, slates are usually called pietre di Lavagna, and the Counts formerly derived their title. All the heads of the branches of this family were equally “ Conti di Lavagna,” and in 1128 eleven of them are enumerated. From them many noble families de- scended, amongst whom the Fieschi are most conspicuous. From Lavagna to Spezia there is a mule-patli, quite impracticable for carriages, along the sea-coast : the post-road passes through Sestri di Levante, a town placed on an isthmus at the foot of a wooded promontory. Sestri has the sea on either side, and the promontory is supposed to have been once an island. In the church of San Pietro is a painting attributed to Pepino del Yaga, a Holy Family. It is Raf- faelesque in style. A more unques- tionable specunen of a good artist is the Descent of the Holy Ghost, by Fiasella, in the church of the Nativity. The SAirrounding scenes are full of varied beauties. The island-like pro- montory is left on the rt, hand. On the outskirts of the town, near the road, are the Hotel de I’Europe, quiet and comfortable, and the Albergo dTnghilterra. Travelling with a vet- turino, you sleep one night at Sestri, and the next at Spezia : but the latter place is not a post-station. Ascend- ing from Sestri the road rnns inland and is very beautiful. It first winds tlmough hills of grey olh'es, and in the clefts of which the myrtle grows wild. Hence many headlancls stretching into the sea, and wliite houses and churches 110 Route 13 . — Genoa to Sarzana— Levanto. Sect. II. dotting tlie hills, are seen. The pass of Bracco, however, leads above figs and vines, and even above chestnuts and fir-trees ; and the finely niade road winds amongst summits of rocks scan- tily covered with yellow grass, where the stratified rock shows red and white stone intermixed with slate. 2| Bracco. (From Chiavari to Bracco an extra horse all the year.) The post-house is placed in a compa- ratively fertile nook, screened by still higher summits, and looking down a long green vista on the blue sea far below. The view is exceedingly fine. 1^ Mattarana (from Bracco to Mat- tarana an extra horse all the year ; a small inn, or house of refuge), the next post, is a poor village- The women here wear their hair in nets, hanging on their backs, and often a folded cloth on their heads, which, at Spezia, is superseded by a little straw hat, placed on the forehead, and only used as an ornament. The country between Mat- tarana and Spezia is very beautiful. The road here winds inland, among chestnut forests, to If Borglietto (between Mattarana and Borglietto an extra horse both ways all the year) : Hotel de I’Europe, very clean and well managed for a country Italian inn. Near Borglietto is Brignato, also a small hamlet, which bears the proud title of a city, like Llandaff, in con- sequence of its having been the seat of a bishopric, founded in an ancient Benedictine abbey there. The road hence hes for a time near the bed of the Yarra, a tributary of the Magra, and, ascending the Becco torrent to San Benedetto, a long descent leads to 3 La Sjpezia. Between Borglietto and Spezia an extra horse both ways aU the year. The coast-road from Sestri to La Spezia possesses equal interest, but is a mere mule-path, and in many parts only a track, hardly passable. Moneglia, a small town of about 3000 Inhab. Levanto.^ rather a fine, but dirty town, siuTounded by overhanging hills. To reach it in any carriage you mut*t j go tlirough Bracco. The road strikes off at right angles from the post-road to Spezia at the very highest point of the mountain, half way between Bracco and Mattarana. In the chmch of the Minor Friars is a painting of some im- portance in the history of art. It is attributed to Andrea del Castagno, one of the first who practised oil painting in Italy. The subject is St. George and the Dragon, and the action is that for which Pistrucci was so much and so unfafrly criticised in his coinage. The spear is broken, and St. George is despatching the monster with his sword. The picture was carried off by the French, and the Louvre numbering is yet upon the frame. The principal church, wliich was consecrated in 1463, is after the pattern of the cathedral of Genoa. It has double aisles, and is still a fine building, though sadly mo- dernised. Several of the houses bear marks of high antiquity. A small dis- trict below the headlands of Mesco and Montenero, belonging to five villages or communities, Monte Bosso, Yernazza, Corneglia, Manarola, and Bio Mag- giore, known by the collective name of tlie Cinque Terre., is very remarkable for the beauty of the scenery and the primitive simplicity (at least in out- ward appearance, for these appearances are often deceitfrl) of its mhabitants. Much wine is grown here, the vine- yards in some places overhanging the sea. The “ vino amabile ” of this dis- trict had anciently a very high cha- racter. From Yernazza came the Yer- naccia., so commonly quoted by Boc- caccio and Sacchetti as the very para- gon of good liquor. The present growth, however, seems to have de- clined in quahty. Oranges and lemons grow here in great perfection ; and the palm and the cactus opuntia flomish with tropical luxuriance. Monterosso. The church, built in 1307, is also after the Genoa model : the marble is of great beauty. Near Monterosso is the sanctuary of the Madouna of Soviore. The rock upon which it is erected commands a most extensive prospect, reaching, as it is said, in the extreme horizon to the Riviera. Route 13. — Genoa to Sarzana — Gulf of Spezia. Ill island of Corsica. The annual feast of the Virgin, held on the 15th and 16th of August, is attended by great numbers of country people from the adjoining ports, and accompanied by discharges of fireworks. Gulf of Spezia. By the ancients the Gulf of Spezia Avas known as the Gulf of Luma. Its situation is accu- rately described by Strabo as a geo- grapher, and its chmate by Bersius, who found a retreat on its shores. “ Mihi mine Ligus ora Intepet, hybernatqne meum mare ; qua latus ingens Dant scopuli, et multa littus se valle receptat. Lunai portum est operre cognoscere, cives. Cor jubet hoc Enni, postquam rlestertuit esse Mseonides Quintus pavone ex Pythagoreo.” Per a ins, vi. “ To me, whilst tempests howl and billows rise, Idguria’s coast a warm retreat supplies ; Where the huge dills an ample front display, And, deep within, recedes the sheltering bay. The port of Luna, friends, is ivurth your note. Thus in his sober moments Ennius wrote. When, all his dreams of transmigration past, He found himself plain Quintus at the last.” Not less remarkable for its beauty than its security is this gulf, capable of containing all the navies of Eitrope, and possessing from nature more ad- vantages than the art of man could possibly bestow. Hence Napoleon, in the triumphant stage of his career, in- tended to render it the naval station of his empire. Twenty millions of francs were to have been expended upon the fortifications : a new city was to arise, and five millions to be em- ployed in laying the foundations ; an- other million for the docks. The plan, it is said, was frustrated by the manage- ment of the French ministry, jealous of the damage which would result to Toulon. The Sardinian government has now in contemplation to remove the Naval Arsenal from Genoa to Spezia, La Spezia {l7ins : Croce di Malta, or Hotel de la Poste, very good ; — Albergo de I’Europe, indifferent ; — de rUnivers, recently fitted up by a civil and obliging landlord ; — Golfo della Spezia, a new Hotel on the shore, opened recently, with Bath-house and every accommodation for sea-bathers, &c. Of late years, Spezia having become a w'ell-frequented watering-place, the bathing being excellent, the inns and lodging-houses are much improA^ed. A theatre is in progress) has about 7400 Inhab., and is situated in the deepest part of its bay, formed by the branches of the Apennines, advancing into the sea. There is some com- merce in wine, and oil, which is pro- duced abundantly from the olive- covered hills around ; and also in thick slabs of inarble for paving- stones, as those of Genoa. Some oranges and lemons are exported to Venice and Odessa. All around Spezia the country is most beautiful. It is studded with villas, each in its own thicket of luxu- riant foliage, intermingled Avith the olive and the vine. The town has not many prominent edifices. An ancient castle or tower, upon which the “ bis- cia,” or serpent, of the Visconti is yet to be seen, and a round citadel built by the Genoese, command it, and are conspicuous objects. The church has nothing remarkable. Whatever im- portance is possessed by Spezia results from the Genoese, who acquired it in 1276 by the then not unusual means of pimchase from Nicolo de’ Eieschi, Count of Lavagna. At a short dis- tance from the shore, to the S. of Spezia, the water of the gulf or bay offers the remarkable appearance called the Folia, resulting from the gush of a submarine freshwater spring of great abundance and power. It fills a circu- lar space of 25 feet m circumference, and is sometimes considerably elevatecl above the adjoining level. On the sur- face, at least, it is however not suffi- ciently fresh to be pleasantly drinkable. Various contrivances have been sug- gested for conducting the water to the shore, or otherwise enabling vessels to fill their casks ; there not being a good supply on this part of the coast. There are, however, in the neighbour- hood “ spruzzole,” as they are called, of which the most singular is that in the cavern of San’ Benedetto (about 2 m. from the town), and by which it is thought that the Folia is 112 Route — Genoa to Sarzana — Spezia. Sect. II. supplied through some subterraneous canal. Neighbourhood of Spezia. — The beautiful scenery of the gulf of Spezia can only be thoroughly seen by coast- ing along its shores in a boat. The road on the western side is barely passable for a carriage. There are seven fine coves on the western side of the gidf. Beginning at the northern end near la Spezia, and proceeding along the shore to the southward, they occur in the following order : — 1. Casa di Mare, in the mouth of which rises the Folia spring : 2. Fezzano: 3. Panagaglia, where Napo- leon wished to make his dockyard : 4. Grassia : 5. Yarignano, where are, the quarantine ground for vessels ar- riving at Genoa, an extensive lazaretto, and fortifications : 6. La Castagna: 7. Porto Venere ; 204-0 Inhab. At the extremity of the S.W. promontory of the gulf of Spezia, the temple of Ve- nus, from which this town is supposed to derive its name, may, as antiquaries suppose, be traced in the very fine but dilapidated Gothic church of Savl Pietro^ which boldly overlooks the sea. Another remarkable chiu’ch is that of San Lorenzo. The marble of the rock upon which Porto Venere stands, black, with gold-coloured veins, is exceedingly beautiful. The Genoese acqumed Porto Venere in the year 1113, and encircled it with walls and towers, of wliich some portions remain. Four of the then most illustrious noble families of Genoa — De’ Negri, Giustiniani, Dema- rini, and De’ Fornari — were sent to rule the colony ; and it is probable that they were accompanied by others of the inferior rank, the dialect of the inhabitants being still pure Genoese, whilst in the vicinity another dialect is in use. Immediately opposite to Porto Ve- nere is the small island of Palmaria, a quarter of a mile across, and the two still smaller ones of Tino and Tinetto. Upon the first anciently stood the borgo of San Giovanni, of which no vestige can now be found. In it are also quarries of one of the most highly esteemed varieties of the Genoese marbles called Portor, which has bril- liant yellow veins on a deep black ground. Louis XIV. caused a great deal of it to be worked up for the deco- ration of Versailles. The beds dip about eight degrees to the N., or a little to the E. of N. Some cliffs in the island appear of a pale gray or huffish limestone with yellowish veins, probably the effects of exposure. The island commands fine views of the gulf of Spezia. Palmaria contains but one house, properly so called, which, for several years, was tenanted by Mr. Brown, now consul at Genoa, and his family, who resided, with great comfort and plea- sure, in this retreat. Upon Tino is a lighthouse, and the persons having the care of it are the only inhabitants of the island. It is one rock of marble. Near the southern extremity of the easteim side of the gulf is Lerici, an- ciently belonging to the Pisans, who fortified it for the pm-pose of defying their rivals, both of Lucca and of Genoa. Upon the principal gateway an inscription was affixed, remarkable as being the earliest exajnple known of the lapidaiy application of the “ lingua volgare.” It was to the following effect ; — • “ Scopa boca al Zenoese, Crepacuore al Porto Venerese, Streppa borsello al Luccliese.” The wit, if it can be so called, is clumsy enough ; but it produced the effect of annoying those against whom it was directed ; and when the Genoese won Lerici in 1256, they carried off the inscription in triumph ; but tins was not enough : they rephed in their turn by some strange rhyming Leo- nines of rather a higher tone, wliich are yet existing upon one of the towers of the castle. This castle is pictu- resquely situated on an advancing point, which, sheltering the httle cove behind it, forms the harbour. It was at Lerici that Andrea Doria transferred liis services from Francis I. to Charles V. Doria thus gave that preponder- ance to the influence of the house of Austria in Italy which has affected Riviera. Route 13 . — Genoa to Sarzana — Magra. 113 the political situation of the coiintry up to the present time. A mytho- logical origin is given to the name of the town, from Eryx, the son of Yenus, slain by Hercules, and to whom the I offender erected a temple for the pur- pose of appeasing the anger of the goddess. But the same story is local- ised in Sicily. The terrors of the old corniche roads from Lerici to Turbia are alluded to by Dante in his Purga- torio, when, speaking of the difficulty of ascending the rock, he says, “ Tra Lerici e Turbia la piu diserta La pill romita via e una scala Verso di quella, agevole e aperta.” Tliere is a road connecting Lerici with the road between la Spezia and Sarzana. The extreme S.E. point of this beau- tiful gulf is Punta Bianca, or White Cape, being formed of crystalline white marble. A little within it is the Punta del Corvo or Cape Croiv^ although one side of it is white, being formed of the same limestone, as well as the neigh- bouring islet or Scoglio del Angelo. The entrance to the gulf is guarded by two forts. A very beautiful chart of tliis' great haven has been recently pubhshed by the French government. The Ligurian commentators unani- mously maintain that the well-known description in Yirgil of the gulf into which ^neas took refuge after the storm was suggested by the gulf of Spezia. But that description is closely imitated from the Odyssey, and ex- cepting the island, which Yirgil has added, the gulf of Spezia resembles Homer’s harbour quite as much as Yirgil’s. The two passages are jEn. i. 159-169, and Odyssey, N. 96-112. The scene is more particularly iden- tified in a fine and shady cavern, situ- ated about a mile to the N.E. of the town. To remove aU doubts, a ruin, which you may suppose to be antique, is found there, with the line, “Nympha- rum Domus,” appearing over the door. However, there is enough of general resemblance between the real spot and the poetic pictm’e to render the scene a pleasing illustration of the poetry. The road from Spezia runs along a rising ground at the head of the bay, ascending gradually the ridge of hills that separates it from the valley of the Magra, and descending to the river Inear the village of Yezzano, which it follows, on the rt. bank, to the ferry, about 1 m. before reaching Sarzana. Cross the Magra. Grenerally speak- mg, the Magra is easily fordable ; but after a heavy storm it is often impass • able for some hours, owmg to the ra- pidity with which the rain runs off from the mountains. When the water is deep, carriages are taken over by a ferryboat, which is badly appointed and ill managed. The tariff is 80 cents for a carriage with two horses, and 10 cents for each passenger. The sum to be paid for crossing when the regular passage of the ferryboat is suspended by the swollen state of the river must be a matter of special agreement. Wlien the river is grosso ” there is no tariff. The river winds its way tlrrough the alluvial soil, frequently changing its course ; and the boatmen are not unfrequently compelled to cross half a mile below the real ferry. Carriages should be carefully looked to upon them being shipped and unshipped, as one of the sources of profit here is to break or damage them. A guide, fording the stream of the Magra, which comes about to his knees, usually precedes the carriage of the traveller, pointing out the course over the stony bed of the “ torrente.’’ This stream divides the ancient Ligurian territory from the Lunigiana, and was formerly the bound- ary of the Gi-enoese and Tuscan states. “ Macra che per eammin corto Lo Genovese parte dal Toscano.” Paradiso, ix. 89. The “eammin corto” is allusive to the short course of the stream. On the rt. of the Magra, just before crossing it, the town of Areola^ perched on a mountain, with a high tower and fine walls, and Trehhiano, equally well situated on the other hand, are attrac- tive objects to the traveller, if he has time to leave the beaten track. The province of the Lunigiana^ which we now enter, belongs geogra- 114 Route 13 . — Genoa to Sarzana — Sarzana. Sect. 11. pliically to Tuscany, though pohtical circumstances have separated it, in a great measure, from that country, vv^hich retains now only a small portion. It is unequally divided between Sar- dinia, Massa, and Carrara (united at this time under the Duke of Modena), the Duke of Parma, and the Grand Duke of Tuscany ; but the character and lineage of the inhabitants continue to mark it as a distinct province, and to connect it with its ancient history. From Spezia to Sarzana an extra horse both ways, from Nov. 1 to May 1. {Inns: Albergo di Londra. The Bibolmi, father and son, of the Albergo di Londra, are also the post- masters. The Albergo di Londra is, however, distinct from the post-house. The H6tel de la Nouvelle York, a new and clean hotel on the rampart, is kept by a brother of Bibolini the post- master. If the carriage arrives from Lucca, it will be surrounded by a crowd of men and boys offering their services to bespeak the Magra ferry- boat, which is perfectly useless.) This city, which is the capital of the pro- vince of Levante, contains 7670 In- hab. It appears to have risen out of the decay of Luni, from whence the bishop was translated or removed. Its ancient government, which sub- sisted till the French invasion, was rather remarkable, being vested in an assembly called the “ Parlamento,” not, like the Parlamento of Florence, a primary or democratic meeting, but a mixed aristocratic representative body, composed of nobles, artificers, and peasants from the district included within the jurisdiction of the munici- pahty. All these constitutional forms were swept away by the republicans ; and when the Sardinian government was restored, the French forms of ad- ministration were substantially re- tained, as in most other parts of the kingdom. The Duomo, begun in 1355, of wliite marble, but not completed till a century later, is a fine specimen of the Italian- Gothic. In the eentre of the west front is a fine and unaltered rose window. The fa9ade is remarkable for its simplicity. The interior has been much modernised, but the tran- septs contain two rich and florid Gothic altars. There is a Massacre of the Innocents, by Fiasella, siu’named Sar- zana, from tins his buffliplace. In the fagade are three statues, one of wliich represents Pope Nicholas V. 1447-1455), Thomas of Sarzana, who, as his name imports, was a native of tliis town : his mother, Andreola de’ Calandrini, is buried within. Though born of a very poor and humble family, he was entirely free from the besetting weakness of nepotism. He was the munificent protector of the Greeks when driven into Italy by the capture of Constantinople ; an event wliich, as it is said, he took so much to heart, that it hastened his end. The castle extends in a fine mass, as well as the ancient fortifications of the city. In this neighbourhood the conta- dine wear bonnets or hats which would be rather too large for a full-grown doll, and whimsically placed on the crown of the head. Sarzanetta {Inn, middling), a “ rocca,” or fortress, built by the cele- brated Castruccio Degli Interminelli, the Signore of Lucca, for the purpose of defending the territory against the Malaspina family, from whom it was won. It is a finely preserved speci- men of ancient military architecture, with its commanding keep harmo- nising with the fortifications of the town. Fogana. Pass the Sardinian cus- tom-house, and enter the territory of Massa Carrara. (See Ete. 39.) ( 115 ) SECTION III. AUSTRIAN DOMINIONS. LOMBARDO-YENETIAN KINGDOM. 1. Passports. — 2. Money. — 3. Weights., Measures. — 4. Posting. — 5. Territory . — 6. Nature of the Country^ Agriculture, Productions. — 7. Langiiage . — 8. Fine Arts of Lombardy. / Routes. EOUTE. PAGE 18. Lecco to Milan ■ - - 127 19. Como to Milan, by Parlassina 127 20. Como to Milan, by Monza - 133 20a. Milan to Yarese, by Sa- ronno - - - - 192 21. Milan to Pavia and Genoa - 194 22. Milan to Lodi and Piacenza - 203 23. Milan to Cremona, Mantua, Padua, and Yenice - - 206 EOUTE PAGE 24. Milan to Chiari and Brescia - 228 25. Milan to Bergamo and Brescia - - - - 228 26. Brescia to Verona, Vicenza, Padtia, and Venice - - 248 26a. Yerona to Mantua - - 271 27. Yenice to Rovigo and Ferrara 350 28. Yenice to Trieste - - - 352 PRELIMINARY OBSERYATIONS. 1. Passpoets. Here, as in every other part of the Austrian dominions, no person can cross the frontier without a passport signed by an Austrian minister. No exceptions are made. On quitting Milan, or Yenice, the passport must be vise by the police, and the signature of the Sardinian Consul obtained if the territory of that power is to be entered. It is also advisable that every person who passes from Milan to the south-eastern frontier of France shoidd have the signature of the French Consul. If this be omitted, some delay is occasioned ; and it is necessary to procure a new passport from the French police, instead of the ordi- nary provisional passport. 2. Monet. Money calculations are rather perplexing in consequence of payments being made in tlu'ee currencies — in Lire Milanesi, Lire Austriache, and Lire Italiane. The Lira Milanese is a nominal coin : it is divided into 20 soldi, and eacli soldo is divided into 12 denari. The Lira Austriaca is the zwanziger of the German provinces of Austria, being the tliird part of a florin, and containing, therefore, 20 kreutzers. In Lombardy it is divided into 100 ceiitesimi. Ten centesimi are sometimes called a soldo, and in tlie Yenctian part of the province a piece of 5 centesimi, which is equivalent to the krentzer of Germany, is called a carantano ; but this name is hardly known at Milan. The Lira Ttaliana is the same in value and subdivision as the French franc ; in fact, the only coins cur- rent under this name are the francs of Sardinia and Franco. 116 Money. Sect. III. Tlie government offices, as the Post-office, &c., always employ the Lira Aus- triaca, and, though they take large French money, it is always at a discount. The usual loss on each Napoleon is half a zwanziger. The hotel-keepers hke to make out their accounts in French francs. Though the larger shops usually employ the Lira Austriaca, the greater number, and the restaurateurs and cafes, charge in Milanese currency. The following are the comparative current values of these coins : — I. Lira Italiana, or French Franc. 1 Lira Austriaca, or Zwanziger. Lira Milanese. Lir. 1 Cent. Lir. Cent. Lir. Soldi. 1 — , 1 15 1 8 2 — 2 30 2 16 3 — 3 45 4 4 4 — 4 60 5 12 5 — 5 75 7 — 10 — 11 50 14 — II. L. Austriache. L. Ital. L. Milan. Lir. Cent. Lir. Cent. Lir. Soldi. 1 — 87 1 4 2 — 1 74 2 8 3 — 2 61 3 12 4 — 3 48 4 16 5 — 4 35 6 — 10 — 8 70 12 - ■ III. Milanese. Austrian. Italian. Lir. Soldi, Den. Lir. Cent. Lir. Cent. 1 _ 88 — 76 2 1 76 1 53 3 2 64 2 30 4 3 52 3 07 5 4 40 3 84 6 5 28 4 60 7 6 16 5 37 8 7 06 6 14 9 7 94 6 91 10 — 8 82 7 68 Austrian Dom. Momy — Weights — Measures. 117 Since tlie 1st Kov. 1823, the legal currency of Lombardy lias been decreed to be, — 'in gold, the Sovrana d’oro, equivalent to 40 Austrian Lire, and equal to 34 francs 80 centimes ; and in silver, the Lira Austriaca. The exchange for a Napoleon at the money-changers’ is usually from 23^ to 24 Lire Aus triache. The following are the values of some of the principal coins of the neighbour- ing states : — Francs. Zwanziger. Lira Milanese, Fr. Cents. Lir. Cents. Lir. Soldi. Conventions Thaler ^ the above is the j 5 22 6 0 = 7 4 Kaisergidden, or Aus- trian florin - - J ► 2 61 3 0 = 3 12 Francescone 5 49 — 6 30 = 7 11 The Roman Scudo, i and the Colonnato ! 40 6 15 7 8 Printed papers of the current value in exchange of the principal coins of other states may be readily obtained at Milan. i 3. Weights. — Measures. Weights. — The weights and measures of Lombardy are extremely various and confused. Until within a few years there were in use, 11 units of money, 100 1 of linear measure, 120 of superficial measure, and a still greater number of i measm’es of capacity. Some clearness has been gained by the use of, and by I reference to, the French metrical system, which is still used in some of tlie 1 government transactions. Some of the most commonly occuiTuig measures are here given, ' The libbra piccola, the ordinary commercial weight, is divided into 12 i once, 288 danari, and 6912 grani, and equals 5044 English grains, or 0-32679 kilogrammes. Thus 1001b. of Milan = 72-061b. avoirdupois, or 32-68 kilo- ! grammes, ! The libbra grossa is equal to 28 once, or 2-33 of the libbra piccola. Hence j 3 hbbra grossa equal 7 libbra piccola, and 100 libbra grossa equal 168-21b. I avoirdupois, or 76-25 kilogrammes, i Liquid Measures. — The brenta is divided into 3 staia, 6 mine, 12 quartari, ! 96 boccali, and 384 zaine or terzeruole, and contains 18-86 English gallons. ! Measures of length. — The braccio is divided into 12 once, 144 punti, and ! 1728 atomi, and is equal to 23-42 English inches, or 1-95 feet, or 0-5949 of a i French metre. 1 The mile is by chap. 161 of the Statuti criminali fixed at 3000 braccia da li legname. It is consequently equal to 1952 Enghsh yards, or 1 mile and 190 i yards, or 1784 metres, or 941 klafter of Vienna. ' The Italian mile, which is sometimes used, is the same as the geographical i or nautical mile, and is equal to 2025 English yards, and 1852 metres, ij Eight of the former miles, called Milanese or common Lombard miles, make A| a post. As the post is reckoned and charged not merely in reference to the ; length of the road, the number of ])osts does not afford a satisfactory indication U)f its length. It will be seen, therefore, that the distances given below- in jEnglish miles do not always correspond with tlie above value of the post. Tlie distances being in many cases known by actual admeasurement, these are of jeourse preferred. ! At Venice oilier weights and measures are in general use ; but it is unne- jeessary to mention more than the following. The iiound weight, by which jail, except very heavy materials, are purchased, is the libbra, peso sottile; it is 118 Posting. Sect. III. divided into 12 oncie, 72 sazi, or 1728 carati, and equals 4650 English grains ; hence lOOlb. peso sottile equal 66'41b. avoirdupois. The braccio for vroollens equals 26’61 English inches ; that for silks equals 24'8 English inches. The Yenetian foot equals 13’68 English inches, or 1T4 feet. 4. Posting. For each horse per post . . . . Postilion Hostler for each pair of horses per post Calesse, if furnished by the maestro di posta 3 16^ 0 30 1 0 92 J The following are the general regulations : — The postmaster is bound to furnish a calessa from station to station : very rumble-tumble concerns they are. The tariff is as above. The postilions are, of course, not contented with the regulation fee ; usually, if there are tw'o horses, you pay the tariff of a thhd horse to the postilion, but they always grumble, even if you offer them more than double ; and usually, the older the postilion is, the less he is to be satisfied. Carriages are divided into three classes, which, with their load, must not exceed the following weights, all calculated according to the Vienna standard. 100 pounds Vienna weight = 1234 avohdp. =56'01 kilogrammes. 'Species of Carriage. Lbs. of Vienna weight, A. of the lightest build, as open caleches with four seats, or half open with two .... not exceeding 600 exceeding 600 B. of a medium size, as close carriages with two seats, and half closed with four, or with a small head, not exceeding 500 from 500 to 800 exceeding 800 C. of a heavy build, as carriages, whether with two or four seats, entirely covered and enclosed. not exceeding 600 from 600 and not exceeding 800 exceeding 800 Horses. - 2 - 3 - 2 - 3 - 4 - 3 - 4 - 6 § I. In calculating the weight, the passengers are reckoned at the following rates : — Lbs. of Vienna weight. An individual of twelve years and upwards - - - 100 A child from five to twelve, years .... 50 Two children, under the age of five years ... 40 A single cliild of five years, or under, is not reckoned. With respect to the ages of children, the declaration of the traveller suffices without further proof. The postilion is not calculated in the weight of the load. § II. The baggage is reckoned thus : — Lbs. of Vienna weight. A bundle, a carpet-bag, and an imperial, when this occupies all the top of a covered carriage with four seats, each at - 100 An imperial, occupying all the top of a covered carriage with two seats, or a half-closed carriage, or half an imperial, &c., fastened to the carriage, each at - - - - - 50 A vahse or portmanteau, when fastened outside the carriage, and 2 ft. long, 14 wide, not more (1 Vienna ft. = 12*45 inches Engl.), each at ------- - 50 Austrian Dom. Posting - — Territory. 119 § III. Bags or boxes for caps and hats, if hung on the outside, or any par- cels or small bundles placed within the carriage, are not reckoned. These regulations, as to weight, look troublesome upon paper, but they are rarely insisted upon. The following table may assist the traveller in his calculation as to horses : — 2. 3. 4. 5. 6. Aust. Ital. Aust. Ital. Aust. Ital. Aust, ItaL Aust. Ital. 1. c. 1. c. L c. 1. c. 1. C. 1. c. 1. C. 1. c. 1. c. 1. c. 1 6 32 5 50 9 48 8 25 12 64 11 00 15 80 13 75 18 96 16 50 H 7 90 6 88 11 85 10 32 15 80 13' '75 19 75 17 19 23 70 20 63 i| 9 48 8 25 14 22 12 38 18 96 16 50 22 70 20 63 28 44 24 75 If 11 06 9 63 16 59 14 44 22 12 19 25 27 65 24 07 33 18 28 88 2 12 64 11 00 18 96 16 50 25 28 22 00 31 60 27 50 37 92 33 00 ox ^4 14 22 12 38 21 33 18 57 28 44 24 75 35 55 30 94 42 66 37 13 15 80 13 75 23 70 20 63 31 60 27 50 39 50 34 38 47 40 41 25 2f 17 38 15 13 26 07 22 69 34 76 30 25 43 45 37 82 52 14 45 38 3 18 96 16 50 28 44|24 75 37 92 33 00 47 40 41 25 56 88 49 50 5. Teeeitoet. The ancient kmgdoni possessed by the Longobardi, or Longbeards (whose name is a curious proof of the permanence of our Teutonic tongue), extended from the Apennines and the Po to the Alps, excepting Yenice and some few border districts. From this great and opulent territory large portions were detached at various times by the Venetians, constituting nearly the whole of their terra Jirma dominions. A respectable portion was taken by the dukes of Savoy on the W. Mantua, Modena, Parma, Piacenza, Gruastalla, all were dismembered from Lombardy, and erected into Imperial or Papal fiefs. The Swiss appropriated the Yaltellina; and the Italian BalJiages of Switzerland, now the canton Ticino (wliich still retains so many features of ancient Lom- bardy), resulted from this acquisition. (See Novara.) The republic of Milan became subject to the Lordship of Matteo Visconti I. in 1288. The Visconti gained a great extent of territory which had belonged to the other Lombard Irepubhcs; and then* domains were converted into the “ Duchy of Milan ” by the Emperor Sigismund, in 1395. Milan, when aequiredby the Spanish branch of the House of Austria, was thus reduced into comparatively narrow bounds. But we are apt to consider ourselves still in Lombardy throughout the whole of the ancient territory. The treaty of Vienna, in 1814, restored to Austria all the possessions enjoyed by that house before the wars arising out of the French revolution, and also gave a great deal more — Venice, and the whole of the [Venetian terra Jirma., the Valtellina, and some smaller districts. These posses- sions were erected into a distinct kingdom, and still possess a national cha- racter widely chfferent from the rest of Italy ; and though the administration of the whole of the Austrian dominions is guided by an uniform sphit, yet the forms and details of the government are widely difierent from what they are to the north of the Alps. The kingdom is divided into two governments — Venice, with 2,168,553 Inhab. ; and Milan, with 2,588,526 Inhab. 120 Nature of the Country — Agriculture. Sect. III. 6. Nattjee op the Countey. — Aoeiceltitee. — Peoeuctions. In tlie earliest times of the history of Italy, the whole of that rich country wliich now bears the name of Lombardy was possessed by the ancient and powerful nation of the Tuscans. Subsequently numerous hordes from Glaul poiu’ed successively over the Alps into Italy, and drove by degrees the Tuscans from these fertile plains. At about the beginning of the second century before Christ it became a Roman province. Large tracts of country, which, from being swampy or covered with forests, were uninhabited and unfit for cultiva- tion, -were now drained and levelled, and the whole assumed an appearance of prosperity and opulence which was not surpassed, if equalled, by any part of the Emph’e. “ The splendour of Verona may be traced in its remains ; yet Verona was less celebrated than Aquileia or Padua, Milan or Ravenna. But from the age of Tiberius the decay of agricidtime was felt in Italy. In the division and declme of the Empire the country was exhausted by the irretriev- able losses of war, famine, and pestilence. St. Ambrose has deplored the ruin of a populous district, which had been once adorned with the flourishing cities of Bologna, Modena, Regium, and Placentia. The barbarians who took posses- sion of Italy on the fall of the Western Empire were compelled by necessity to turn their attention to agricidtiu’e, which had been long in such a state of pro- gressive but rapid depression, that the country could not furnish the imposts on which the pay of the soldiery depended, nor even a certain supply of the necessaries of hfe.” — Gibbon. After the occupation of Northern Italy by the Lombards, and the restoration of a tolerable degree of security and quiet, agri- culture gradually improved. In spite of the constant warfare of the neighbour- mg cities dmdng the existence of the Italian republics, both the towns and country advanced in population and wealth. Though the greatest territorial improvement of Lombardy took place, perhaps, at an sera rather posterior to that of her republican government, yet from this it primarily sprang, owing to the perpetual demand upon the fertility of the earth by an increasing popula- tion. The rich Lombard plains, still more fertilised by irrigation, became a garden, and agricidture seems to haije reached the excellence which it still retains. Though Lombardy was extremely populous in the thirteenth and fourteenth centuries, she exported large quantities of corn. Many canals were cut : the Naviglio Grande was commenced m 1177, and completed in 1272 ; that of Pavia, though only recently put into its present complete state, was begun in 1359 ; that which runs through Milan, m 1440, and finished in 1497 ; those of Bereguardo and the Martesana were begun in 1457 and that of Paderno in 1518. These canals, and the general character of the land, give to the mternal districts of the plain a considerable similarity to Flanders. At the present time this fertile section of the Austrian empire, situated between the nortliern and the maritime Alps, and stretching from the frontiers of Piedmont to the Adriatic, comprises the most generally productive part of Italy. It is distinguished for its mulberries and silk, its rice, Indian corn, and wheat, its Parmesan and its stracchino cheese. The vine, ohve, chestnut, and a great variety of fruits are raised. Potatoes and various vegetables are also grown ; and the inhabitants are in a better condition than in most parts of Italy, if Tuscany be not excepted. The farm-houses are often large, but incon- veniently and scantily furnished, and, generally speaking, there is a great absence of completeness about the dwellings and in the implements of husbandry : many things are found out of order ; and we seldom fail to observe a prevalence of the makeshift system in agriculture, as well as in other branches of industry. There is, however, a great variety m the pursuits, as weU as in the habitations, of the people. Those in the mquntam or liiUy regions live and work very Austeian Dom. Nature of the Country — Agriculture. 121 differently from those in the low conntries of Lombardy and Yenice. The flat countries derive their fertility from the mountain regions which fiU those great reservoirs tlie lakes of Maggiore, Como, and Grarda with the water which is carried downwards by the rivers, and serves to flood the rice-fields and other lands requiring irrigation. 1. The Motmtcuinous Region comprises the high northern parts of the pro- vinces of Bergamo, Brescia, and Como, and the province of Sondrio. The lower heights of the Alps consist of woodland and pastures. The wood is chiefly fir, larch, birch, oaks, and chestnnt ; the pastures in the mountain slopes and valleys. The herds (Bergami) ascend with their flunilies, horses, and cattle to great elevations on the Alps during summer, and descend gradually, as is the case in Switzerland, when winter approaches, to the valleys and low country. Cultivation is attended to with great laboiu’ on the southern decli- vities of the mountain region ; the ground hemg formed in terraces, and the earth frequently carried up to supply what has been washed down by the rain. The vine is cvdtivated on the slopes or terraces. Walnut and imdberry trees are also grown. Common fruits, some hemp and flax, barley, rye, Indian corn, buckwheat, millet, potatoes, common and kitchen vegetables, are all grown, though not in great abundance. Wax and honey are collected ; the latter, especially that of Bormio, is delicious. Tlie heritage of families is subdivided, even to the measure of a few yards : the ground is covered with landmarks. These properties are often subject to the devastations of the torrents, which destroy houses, bridges, and roads : tliey have in general a poor sandy soil, or a clayey bottom degenerating easily into marsh. Marshy grounds occur at the upper and lower extremities of the lakes. The wines of this region are exported to Switzerland and the Tyrol. They are said I to improve when sent to the north, and to deteriorate when brought down to I the flat country. Calves, kids, lambs, small goats, milk-cheeses, and the rich I cheese called stracchino ; butter and honey ; fire-wood and charcoal ; w'alnut, 1 larch, and pine timber ; granite, marble, slates, and bricks ; iron, steel, arms, I agricultural and smiths’ implements ; clothes, and some hemp ; and all the I commochties which the inhabitants of the high country export, are exchanged with those of the Milanese, and other low' coimtries, for the produce and fabrics of the latter. 2. The Littoral Region comprehends the districts of G-ravedona, Dongo, i Bellaggio, Menaggio, Bellano, Lecco, and Erba, in the province of Como ; j Lovere and Sarnico, in Bergamo ; and Iseo, Grargnano, Salo, and Dezen- j zano, in Brescia. I The littoral parts of the lakes {riviere lacuali) belong to the elevated region, 1 and form the sides of high mountains, which slielter them in a great measure jfrom the cold winds. They are exposed to the warm air from the S., and i lfrom the lakes; they are rarely subject to frost or snowg and in these dis- tricts the chmate is mucli more tem]ierate than on the hills and plains situated in a lower degree of latitude. The lemon is cultivated in a few places, not only for ornament, but for profit. These districts produce much wane and silk ; the country is covered w'itli Villas and gardens, adorned with cypi’esses, magnolias, or with acacias : on . he rocks the Agave americana (aloe) grows ; but, in proceeding a little into the ;ountry, in some places there are rugged hills and pasture grounds, — in others, I orrcnts, forests, and all the sterility of the mouiitain region reappears, j Properties are mucli divided on the Lake of Garda (district of Gargnano) ; \ I few yards of ground set apart for the cultivation of lemons suflice to inain- ain a w'liole family. Tlie peasants are, properly s]ieaking, gardeners. In tliis I bstrict are almost entirely produced the 11,800,000 lemons and the 40,000 lbs. Itf laurel oil which are due to the province of Brescia. || N. Italy — 1852. G 122 Nature of the Country — Productions. Sect. III. The lemon-trees are sheltered in winter and cold weather Tby slaeds, which cover them. This region is chiefly dependent on the former for timber. The cultivation of the mulberry is greatly extending, and that of the olive decreasing. It must be noticed that for several years the mulberry has by degrees sup- planted the olive, because the product of the midberry-tree is more constant, and the time of cro]3 less distant, whilst with the olive there are alternate years of abundance and scarcity. The olive crop is gathered towards the end of the year, and remains long exposed to accidents. In the province of Brescia, within these last 36 years, the production of silk has increased from about 1.900.000 lbs. to more than 3,000,000 lbs. ; that of oil has diminished from 400.000 lbs. to 180,000 lbs. 3. Hilly Region. This region extends, forming a rather naiTow belt of country, immediately N, of the low countr}^, along the upper parts of the provinces of Milan, Como, Bergamo, and Brescia. The chief productions of the hill country are the finest silk, wines, corn, maize, yanico., millet, chestnuts, and fruit, besides vegetables. T]ie declivities facing the N. have the most elevated summits, and are covered with forests. In the environs of Como (Travernerio, G-eronico) are great pine forests. Cypresses are very frequently found. The water in some places is scarce, and the cultivation of the fields, even in the great valleys, is neglected, The jjroperties are less divided than in the mountain region ; still they are always split into small stewardships {Massarie)., of the value of from 15,000 to 20.000 francs. Few peasants are proprietors ; the greater part are simple tenants, and pay in kind. They keep cows and brdls, but milk, cheese, and butter are scarce : part of these articles are introduced from the mountains, and part from the low country. There are few goats and sheep. The inhabitants attend principally to the cultivation of silk, and with the money gained from this production they provide themselves decently with the necessaries of hfe. The houses in general are large, well aired, and clean, which they owe chiefly to the iise these rooms are put to in rearing silk-worms, as the worms are always more prosperous in good apartments. Here, as everywhere in the Lombardian provinces, the abodes of the peasantry are built of brick with tiled roofs. Villages, hamlets, and isolated houses, with little intervening space, are spread about even on the back of the mountains, and are connected by carriage- roads, made at the expense of the proprietors and of the communes. The inhabitants are hospitable, and crimes are rare among them. There are quarries of marble ; also quarries of freestone and clay beds. The climate is salubrious, mild, and free from fogs. Hail-storms are frequent. In this region there .are often clear days, when in the adjacent flat country the sun is clouded. The wines of Montosabio and Montorfano are highly extolled, but they are ' seldom prepared with sufficient care for exportation. 4. The nyper fiat country comprehends part of Somma, Gallarate, Busto, Cuggionno, Saronno, Barlassina, Desio, Monza, and a part of Vimercato, in the, province of Milan ; Yerdello, Trevigiio, Martinengo, and Romano, m Bergamo part of Ospitaletto, Castiglione, and Montechiaro, in Brescia ; Canneto, Asola Castel Goffredo, and Roverbella, in Mantua. This region is traversed by gentle undulations which branch from the hills '! siliceous earth prevails, and the soil is in many places cfry, and not of natura fertility. The dry districts are often to a great extent covered with heath am | other plants common to barren lands. There are still remaining forests of oak j pme, and chestnuts. Austeian Dom. Nature of the Country — Productions. 123 The subterranean waters are very deep, and the wells, for the greater part, are some hundred feet under ground, chiefly in the environs of Gallarate, Saronno, and Desio. The peasantry, when they have not some canal of water in the neighbourhood, are obliged to collect the rain-water in tanks, calledybpjje, or large square ditches embedded with a clayey stratum, which contain the rain-water for the use of the cattle, and which in dry weather becomes green and unhealthy. The ground is cvdtivated in wheat, rye, Indian corn (which last sufters much from the drought), a little buckwheat, panico, millet, colza, melons, and, above all, in mulberry and fruit trees, chiefly peaches. In situations near the water the apple-tree flourishes. Meadow land is obtained by means of artificial irrigation. Asses are much used ; few or no goats are maintained. The peasants are less active, less cordial, and less cleanly than in the hill country. Instead of massarie, or stewardships, as in the hills, it is customary to have pifonanti, that is, tenants who pay a rent in money for the house, and a fixed rent in kind for the ground. When in want of fodder and bedding for the cattle, the deficiency is made up by an abundant supply of lupins, colza, and with heath, which latter substance is collected for this pur- pose ; it is cut from a portion of heath ground, and given as an appendage to a certain quantity of cultivated land. The inhabitants are m\ich addicted to smuggling, and inclined to a licentious hfe, much more so than the inhabitants of the hills and of the mountains. 5. The loio flat country comprehends Bollate, Grorgonzola, Melzo, Melegnano, and Corsico, in Milan ; the provinces of Pavia, Lodi, Crema, and Cremona \ Orzi-Novi, Verola-nuova, Bagnolo, and Leno, in that of Brescia; Marcaria, Bozzolo, Sabbioneta, Yiadana, Borgo Porte, Mantua, Ostiglia, Lazarra, Gionzaga, Bevere, and Sermide, in Mantua. A gravelly soil prevails also in this region ; but the same aridity does not exist as in the upper flat region. Bills of good water are easily formed by digging a very moderate depth. Fontanili are semicircular excavations dug in the earth, in which are placed long tubs, from the bottom of whicli bubble up copious streams of water. The water flows from the fontanili into a channel or ditch, along which the water runs and irrigates the fields. These water- ditches are, when running in their course, increased by additional tubes from other springs. 1l\\q fontanili abound chiefly in the Milanese. Water is also drawn from the rivers by canals. The smaller canals, cavi and rugie^ are innumerable, and were cut at dilferent times to conduct the water to higher grounds. They often encroach on each other, mixing their waters, or avoiding them by means of bridges, canals, or by syphons, called salte di gatto. The waters are diligently measured by rules deduced from the law of hydro- statics, which have passed into an habitual practice. The canals are provided with graduated doors, which are raised or lowered according as the case may be : they are termed incastri. The measure is called oncia^ and corresponds to the * quantity of water which passes through a square hole, three Milanese inches ' high (an oncia of Milan equals two inches English) and four indies wide, open one inch below the surface of the water, which, with its pressure, determiues a given velocity. Sometimes the same number of indies of water is given out by tlie day and the hour on diflerent farms. The value of a property depends on the command, the conveniency, and the i goodness of the water ; if deprived of water, it would diminish in price. 3^1 Hence the state of the waters is the object of local statutes, of diligent care and "0 keeping. The best irrigation is that in the low lands of Milan, Lodi, and Pavia. »»|| In the country between Milan, Lodi, and Pavia, the cheese called in the ■counti’y Grana is made. This is the cheese usually called Parmesan. Lodi is I a 2 Nature of the Country — Productions. 124 Sect. III. tlie cldef country of its production ; while Milan and Pavia are celebrated for rice cultivation. In the eastern part of Lodi and Ci’ema the finest flax is cultivated, and ex- ported to foreign countries by way of Venice and Grenoa. In parts of Crema rice is also cultivated. In the Cremonese country, wdiere tliere is hut little irrigation, the cultivation of various kmds of grain, flax, mulberry-trees, and the vine is chiefly followed. In the low parts, along the Po, towards Casal maggiore, wine is the principal production ; cream of tartar is prepared there from the deposit in the wine- casks. The flax of Cremona is shorter and coarser than that of Crema. In the higher parts of Mantua there are extensive vineyards, and in the low grounds rice is extensively cultivated. The inhabitants of the low country are less inclined to he industrious, or to engage in commerce, than in the upper part of the country. Hence in the lower countries manufacturing industry is greatly restricted. Nevertheless, in the low Cremonese territory much linen cloth is manufactured, mostly at Via- dana; as also at Pralboino, in the province of Brescia. Some classes of the peasantry, and chiefly those who tend large flocks, often change masters, and show little settled conduct. In the Milanese districts the rich cheese called Stracchino is^ made from cream and unskimmed cow’s milk. This cheese is also exported. The best is made at Glorgonzola, 12 m. E. of Milan. Silk . — The cidture of the mulberry, and the rearing of the silkworm, have, in commercial value, become the most important branch of Lombard industry. The wdiite mulberry grows in plantations, and also in rows, surrounding grounds under other cultiue, over a great extent of Lombardy. In most places it is poUarded, and is a dwarf tliickly-leaved tree. When allowed to grow naturally it attains a tolerable size. All things considered, Italy ranks higher for her silk than any other nation. She siipplies her own extensive manufactiues, and exports largely, and her prices fix the universal prices of the article. In thirty years the production has grown from a smaU value to the enormous siun of 300,000,000 Austrian livres (more than 10,000,000/.), of which the Lombardo- Venetian provinces furnish one- thu’d. In 1800 the whole produce of the Lombardo- Venetian kingdom did not exceed 1,800,000 lbs. of silk. The then principal market for Italian silk, that of Glreat Britain, was closed by the Berlin decrees ; and the new demand from France did not at all make up for the loss of the Enghsh market. Itahan silks sometimes found their way to England througli Turkey, Bussia, and Sweden ; but the difficulty of obtaining them .Irew the attention of the English manufac- turers to the oriental silks. Nevertheless, when peace came, the silk production of Italy received a great impulse : from 1800 to 1814 the average importation of silk into London was 786,280 Italian lbs. of Itahan silk, and only 538,483 of Asiatic silk ; while from 1815 to 1834 the average of Italian silk imported was 1,446,519 Italian lbs., and of Asiatic silk 1,572,051 lbs. In the progress of 20 years the silk produce of the Lombardo- Venetian provinces has trebled. The value of the silk exported from them noAv amounts to nearly 5,000,000/. sterling. Factories for winding, throwing, and spinning silk are spread from the E. side of the Lago Maggiore to the Lake of Como — from the Olona to the Serio ; and this district is distinguished for the superiority of its silk. It supplies the manufactures of Milan, and those of Como, which stand next in rank to those of Milan. After these, those of Brescia, Cremona, and a part of Mantua, are most important. Next come the provinces of Lodi and Pavia, which are less adapted, from their low and damp situation, for producing silk. The atmos- pliere is less friendly to the worm, wliich seems to work more delicately in the dry and fresh air of a hilly country. Verona, with several Mantuan districts, Austrian Dom. Language — Fine Arts of Lombardy. 125 produces the best sewing and twist silk ; but its silk had the reputation of being uneven, many-coloured, and unclean : it is much improved of late. Padua, with the province of the Polessina, produces large quantities ; but more attention is paid to the quantity than to the quality. The neighbourhood of Yicenza and Passano produces immense quantities of silk : it is rather hard and unsupple, which is attributed to tlie water in wdiich the cocoons are wound off. In Lombardy it is not found advantageous to raise more than one brood of worms during the year. The eggs are hatched in May, before the beginning of Aviiich a supply of leaves cannot be depended on. The reeling the cocoons takes place in August. A woman seated at a vessel containing hot watei', prepares and arranges the cocoons, while a girl turns the wheel on which the silk is wound. Considerable skill is required to manage the reeling. It is usually carried on in large buildings, and is a very animated spectacle. 7. Language. The Lombard dialects are, perhaps, the harshest in all Italy. The sound of the French %i is generally found in them. It is not merely unknown, but quite unpronounceable, beyond tlie Apennines; and Yerri, the able historian of Milan, supposes it was left behind by the Graids. 8. Fine Arts of Lombaedt. For painting see Kugler’s Handbook of the Italian Schools, ed. Eastlake. Kespecting the modern state of art there are very conflicting opinions. Appi- ani (now dead) and Diotti (living) are mucli ]iraised by the Italians. Hayez is ranked low by the Prussian Artists and extolled by tlie Austrians and Bavarians. Sola, who promised well, died young. Palayi and Sabatelli, although belonging to the Tuscan states, have worked much here ; and San Germano has founded a good school in the inferior branch of scene-painting, In a mechanical and com- mercial point of view, as in engraving (in which branch JEvangelista Longlii, Garvaglia, the two Anderloni, &c., are clever), and making reduced drawings, and the like, the Milanese continue to show much ability. Of ancient sculpture little has been found in Lombardy. The earliest speci- mens of the Sculpture of the middle ages are remarkably rude ; fidly as coarse as those of our Saxon ancestors ; of which those of the Porta Pomana, at Milan, executed about the year 1169, immediately after the rebuilding of the city, are a striking specimen. About a hundred years afterwards sculpture produced a class of figures almost peculiar to Lombardy. These are the figures, frequently colossal, of lions and other animals, supporting the pillars of the portals of the churches, carved out of blocks of marble. In the 14th century several Tuscan sculptors were called in ; but there appear to have been also many Lombards, though their memory has not been preserved, as they do not seem to have adopted the custom, so much practised in other parts of Italy, of inscribing their names upon their works. The records of the Certosa of Pavia, begun by Giovanni Galeazzo Yisconti in 1473, suddenly affords us ample information of names of the artists employed upon that most splendid building — Amadeo, Brioschi, Bttore di Alba, Antonio di Locate, Battista and Stefano da Sesto, Biontello, Nava, Agrate, Fusina, Solari, and others ; but without giving us the means of distinguishing, at least in this building, the parts upon Avliich they were severally employed. They have, however, one uniform character, extraor- dinary delicacy of finish in the details, and a pictorial management of their figures in basso-rilievo ; so that it seems as if the works of Andrea Mantegna, or Pietro Perugino, were transferred to marble. Many of these sculptors were also arcliitccts, and in estimating the works of this school it must be recollected tliat sculpture was never used by them as a detached ornament, but was always attached to some structure. 126 Fine Ai^ts of Lombardy. Sect. III. The pride, however, of Lombard scidptnre is Agostino Busti, also called Bambaja^ Bambara^ or Zarabaja^ who flourished in the early part of the 16th century; and by whom the cinque-cento style, or that of the Renaissance, is carried to perfection. Tlie minute ornaments in which he delighted are usually arabesques of elegant invention, intermixed with fanciful ornament — animals, weapons, pieces of armour, flowers, insects. Busti is supposed to have died about the year 1540. BrambiUa, who worked some time before the death of Busti, has much of his character, but with greater breadth and effect. The colossal terms of the Doctors of the Church in Milan cathedral, supporting one of the great pulpits, are his performance ; his minuter ornaments are scarcely inferior to tliose of Busti. TJie great and interminable work of tlie cathedral of Milan, by fimiishing constant employment, has maintained a school of consider- able merit, which subsists to the present day. A gi*eat majority of the workmen and artists have always been from the neighboiu-hood of Como, where the pro- fession has been hereditai’y from the time of the Lombards. In recent times Marchesi and the Monti family have acquired much reputation ; and Albertolli and Moglia, and Buzzi Leone^ have merit as ornamental sculptors. The monuments of Roman architecture in the territory of ancient Lombardy, are not numerous. Few of them are built in accordance with the rules of clas- sical architectime : the sculpture and the ornaments are indifferent ; most of them belong to the lower empire, and have what may be considered a completely provincial character. In mediseval architecture Lombardy offers much, both in civil and ecclesias- tical buildings. Tlie town-halls are interesting : they usually stand upon open arches ; and above is the Bmghiera^ or balcony, whence the magistrates ad- dressed the people below. Military architecture also exists in every variety — the rude tower of the periods of Queen Theodolinda or King Berengario ; the castellated palace of the Signori, in the ages of the Italian republics ; and the regular fortifications which, invented in Italy, have become universal in Euro]3e. The earlier Lombard or Romanesque churches exhibit a very peculiar cha- racter, e. g. the cathedral of Yerona. It is very marked, and will be found to exist in almost every structure of that class. Of Gothic, there are two distinct schools : the one simple and bearing much analogy to that of Florence, the other highly ornamented and introduced from Germany, wliich produced the Duomo of Milan. Many of the Gothic and some of the cinque-cento buildings are of moulded brick, to which are added basso-rihevos of terra-cotta, modelled by hand. This mode has been carried to a degree of excellence which can only be appreciated on tlie spot. The colour is a shade lighter than that of our Tudor buildings ; the durability of the material is such as to be perhaps more lasting than marble. In the style of the Renaissance, Lombardy excels. The works of Bramante and Solari are full of imagination and effect. In later times Palladio had compara- tively little influence ; in civil architecture, the palaces of Milan, and Pavia, and Cremona, are inferior to those of Yerona or Genoa. At present the archi- tects in most practice have been formed, either directly or indirectly, by the French school. In the middle ages Lombardy was the great instructress of Christendom in civil law and in medicine ; and in modern times science has been eultivated here with success ; while, in imaginative hteratime, Monti is one of the most elegant of modern Italian poets, and the name of Manzoni is an honour, not only to Lombardy, but to the Italian tongue. His historical novel, the Pro- messi Sposi, should be in the traveller’s hands in liis excursions at Milan. It is a guide both to the scenery and the history of the land. Aust. Dom. R. 18 . — Lecco to Milan. R. 19 . — Como to Milan. 127 EOUTE 18. LECCO TO MILAIT. 3f posts. 32 m. Lecco. {Inns : Leone d’ Oro ; Croce di Malta ; Albergo Eeale.) This town is heautifidly situated on the shore of the lake, wdiose waters sometimes rise into the town. It is a place of some industry, having manufactures of silk and iron. The road which connects Lecco with Milan is called the Strada militare, being a continuation of the great mili- tary road across the Stelvio, which is carried along the eastern shore of the Lake of Como. (See Handbook for South Germany, Ete. 214.) On leaving Lecco, the road crosses the Adda, by a bridge of 10 arches, built by Azzo Vis- conti in 1335. The river is here flow- ing from the Lake of Lecco into the Lake of Olginate, or Pescate. About six miles from Lecco, a little to the rt. of the road, is the village of Grreghentino, which gives its name to the neighbour- ing valley. Not far from this place, in descending to the Lake of Olginate, may be seen an enormous assemblage of erratic boulders. A geologist has described the spot by saying that it j looks hke a battle-field in the war of 1 the giants. ^ ' The road all the way from Lecco to Monza skirts the district which is j known by the name of La Brianza, I the last elevations of the Alps, or what may be called the Subalpine i lulls, towards the great plain of i Lombardy. Its boundaries are not ’ exactly fixed, but generally the Bri- , anza is held to include the hilly coun- j try between the Adda and the Lambro, I from Lecco and Valmadrera, down to i Monza, and on the W. of the Lambro, j from the neighbourhood of Arosio to j Como, and the foot of the mountains lying between the Lakes of Como and j Ijccco. These mountains enclose the head valley of the Lambro, called the Yallasina. The Brianza is celebrated for its richness and beauty : its intelli- 1 gent inhabitants are masters of the art I of cultivating the imdberry and rear- ing the silkworm, as well as in the preparation of the raw article for manu-^' facture. The finest silk in Lombardy is produced in this district. Carsaniga. To the eastward of this lies the Montorobbio, w4iieh pro- duces the best wine of the Milanese. 1 Monza. See Ete. 20. The Strada militare for half the distance to Milan runs nearly parallel to, and at a short distance from, the raih-oad. Half way to Milan it crosses the railroad, and runs in a straight line/ to Loreto, where it falls into the Bergamo and Brescia road, and enters Milan by the Porta Orientate. The old post-road enters Milan by the Porta Nuova, running during the last two miles close by the side of the canal of theMartesana. To the rt. of the road, about two miles after having crossed the railroad, is Bicocca, wdiere the French, mrder Lautrec, were defeated by the Imperialists, 27th April, 1522. IJ MILAN. See Eoute 20. EOUTE 19. COMO TO MILAN, BY BAELASSINA. 3 posts (26J m.) Como, 20,000 Inhab. {Inns : the Angelo is the best : it is pleasantly si- tuated on the edge of the quay, on the E. side of the little port, lately im- proved. Opposite is the Albergo di Ita- lia, which is tolerably good. The Corona is also a good inn, but is outside the towoi.) A railway is now open from Como to Milan, passing by Camnago and Monza, distance 28 Eng. m. ; 3 or 4 trains start daily ; there are still vet- turiui going by the ordinary road. Como, situate at one end of the lake called by the Eomans the Lacus La- rins, was anciently a towm of consider- able importance. A Greek colony having been settled in this district by Pompeius Sti*abo and Cornehus Scipio, and subsequently by J. Csesar, Comnm wns made the chief seat of this colony. It had hitherto been an inconsider- able place, but from that time it rose to a great degree of prosperity under the name of Comum Novmn. It a]ipcars from the letters of the younger Phny, who was born at Comum, that 128 Route 19. — Como — Cathedral. Sect. III. his native city was, in his time, in a very flourishing state, and in the en- joyment of all the privileges which be- longed to a Roman corporation. There are traces of this Greek colony in the names of many places on the lake, e.g. Nesso, Pigra, Lenno, Dorio, &c. Como does not figure in history from the fall of the Roman Empire till the year 1107, about which time it became a free and independent city, and en- gaged in wars with Milan, which ended in its total destruction in 1127. It was rebuilt by Frederic Rarbarossa in 1155, and four years afterwards was fortified. It remained a republic for two centuries, until it fell under the dominion of the Yisconti, the lords of Milan. Since that time Como has followed the fortunes of Mdan. Como is a place of considerable trade and industry. Its silk fabrics formerly stood next ivi rank to those of Milan. The stuffs known by the names of mantini and amorelle Iiad a wide reputation ; which w'as gradually lost, owing to the manufactiu’ers less- ening the quantity of raw material employed. A committee was lately formed to take measures for recover- ing the lost credit of the Como fabrics, and some improvement has taken place. Time was when the number of looms at work at Como exceeded those of Lyons. Como has manufactures of silks, woollens, cotton, yarn, and soap ; the latter is much esteemed. It trades from its port on the lake chiefly with Ticino, and parts of Germany. It ex- ports rice, rav^^ and manufactured silks, and a few other articles. The view of Como from the N. is peculiarly striking, the city being spread out on the undulating shore of the lake ; and in the background is the ancient pictirresque tower of the Baraclello, connected with one of the most important passages in the liistory of Milan. Ugo Foscolo used to say that it was impossible to study in the neighbourhood of Como ; for the beauty of the landscape, alw^ays tempting you to the window to look out, quite pre- vented you from giving proper atten- tion to yoim book. The Cathedral^ or Buomo, is a very beautiful biulding, the beauty of the architecture being heightened by the richness and solidity of the material used in its construction. It is of marble. A long series of architects, of whom Lorenzo de’ Spazi was the first, from 1396 to the last centmy, have been engaged upon it. The facade, as it stands, was begun by Luccliino di Mi- lano^ in 1460, and completed, betw^een 1487 and 1526, by Tomaso Rodario, of Maroggia. This architect was also a sculptor, and an excellent w^orkman. Many of the statues are executed by his own hand. But he was criticised by a fellow' artist, the celebrated C/iris- toforo Solaro, nicknamed II Golbo, or the Hunchback ; and by his advice the designs for the other parts w^ere altered, perhaps unproved. The cupola, or dome, was completed about 1732, by Juvara. The effect of this length of time, and variety of architects occupied in its construction, is a corresponding variety of stj le m different parts of the duomo. The fa 9 ade is Gothic with the exception of “ the three entrance doors, which are round-headed, and of the richest Lombard style : the fagade is divided by slips, or pilasters, with statues all the way up, enclosing a most magnificent rose, and studded with the richest tribunes and canopies ; elegant trefoil corbels circulate round the cornice and pinnacles, the centre of which chiefly presents a cfrcular temple of small columns on brackets, rising from a tall pedestal and sup- porting a diadem of lesser pinnacles, and is unique.” — Hope. The lower portions of the pilasters, and of the fa 9 ade, are covered with emdous em- blems, some masonic, some religious, interspersed with texts and inscrip- tions in a beautifrd Gothic letter, — “ Tlie scrolls that teach thee to live and die.” Many of these bas-reliefs are types ; e. g. a fountain, a vine, a lily, a church upon a hiU. Amongst the larger basso-rilievos, the Adoration of the Magi in the arch of the door should be noticed; but the most remarkable ornaments of tliis front are the statues Austrian Dom. Route 19 . — Como— Cathedral. 129 of tlie two Plinys, erected by the Comasclii of the 16th centy. to their “ fellow citizens.” They are placed under canopies worked in an orna- mental style by P.,odario. The younger Pliny was much attached to Como, and he resigned a considerable legacy in its favom% founded a school, built a temple, and fully deserves commemora- tion as a benefactor. Yerona has also claimed the honour of being the birthplace of the elder Pliny ; but aU the ancient authorities are in favour of Como, Avhere the Plinian family was long established. Of the younger Pliny, there is no doubt that he was born here. Yer}^ many inscriptions liave been found at Como relating to the family : one, much mutilated, is built into the wall of the S. side of the Duoino, relating to a Cahis Plinius CfflciliusSecmidus, and who may be (though some doubt lias been raised by antiquaries) the individual of whom Como is so justly proud. The other skies of the exterior are in the style of the Penaissance, • The lateral doorways, particularly that on the northern side, with angels and fan- ciful columns, are elegant. Both these doorways are executed by Podario. The arabesques are interspersed with buds, animals, serpents, and cliildren. j The cupola is in the complicated and ! overloaded style of the French archi- ! tectm’e of the 18th century, i In the interior of the Duomo the I nave and two aisles are Gtothic, the I transepts and choir are tlie Italian of ; the Penaissance. The painting and i gilding of the vault have been restored. ' The prelates and patron saints of i Como are introduced in the fretted I groining ; and stained windows, now i in preparation, are to be added. I Paintings and monumenl s. — Ltdni. The Adoration of the Magi, in distem- ipcr upon cloth. In this painting the artist has introduced a giralle, drawm with tolerable correctness. This seems to show that the animal had then been seen in Italy. — St. Jerome, or rather the history of his hfe, in com])art- ments. — The Nativity, also in distem- per. In this painting Luini’s sweet- ness of conception is exemplified in the expression of the Yirgin mother. — Another picture, St. Christopher and St. Sebastian, attributed to Ltdni, is probably only a copy, Gemdenzio Ferrari. The Marriage of the Yirgin, a fine and unaltered spe- cimen of this master. — The Flight into Egypt, in distemper. The Altar of Santa Lucia by To- maso di Podario, who has inscribed Ins name as the artist, 1492, The smaller stati;ies of this altar are beautiful ; so also are the candelabra, whicli, how- ever, are partially and injudiciously concealed. Altar of St. Abomlio, third Bishop of Como ; his statue in the centre ; his mh-acles in compartments or tablets around. Altar of Santa Agiollonia., erected by Ludovico di Montalto, a canon of the cathedral, in the same rich and sin- gular style. Altar of Sand Ambrosia, erected in 1482, by John dc Yeludino, another canon. Altar of the Fergine delT Angelo, a fine altar-piece, representing St. Je- rome, St. Francis, St. Carlo, and St. Anthony. In front, the Canon Pai- mundi, by whom it was presented. In a niche in the N. transept is a marble figure of ancient sculpture, pro- bably Marsyas ; but, two or three holes having been driven in the body, it is now doing duty as St. Sebastian. Chapel of the Vergine delV Assnnta, called the Altar of the l\Iarchese Gallo. The Baldachin of marble is splendid. A modern altar-piece, by Marchesi. St. Joseph and our Lord as a child; not without merit, and considered as one of the best productions of this artist. Altar of the Mater Dolorosa — Altar of the Cenacolo, both witli fine sculp- tures as large as life : the first an en- tombment. Altar-tomb of Bishop Boniface of the 14th century, a fine specimen. The statue of the bishop, sleeping in deatli, is striking; and the common people here, believing him to be a saint, have injiired the eiligy by their touches and kisses. Monument of Benedetto Gioido, the a 3 130 Route 19. — Como — Cathedral — PuUic Buildings. Sect. III. historian of Como. Benedetto was the brother of the more celebrated, but less worthy, Paolo Griovio. He was the first exact archseologist who arose during the revival of letters. One of his most im]3ortant works, yet in manu- script, is a Thesaurus of Knman inscrip- tions found in this country ; and it is said that not one spurious inscription has been detected in these collections. He died in 1544, and was buried here with great solemnity. In Italy the privilege of sepulture in clumches was not generally allowed. At Como, pre- viously to 1520, none could be interred in the Huomo except members of the Chapter or magistrates. There are two organs ; one built in 1596, but afterwards much improved ; the other, in 1650, by Father Hermann, a G-erman Jesuit. The former one is rather out of repair, the tone of the latter is exquisite. Just as you enter the Duomo are two animals, neither lions nor tigers, but something between both, supporting Beiiitiers. These, without doubt, are remains of the porch of the original cathedral, and supported its columns. The Bishop of Como has an extensive diocese, extending over the greater part of Italian Switzerland. The Huomo was whoUy bidlt by vo- luntary contributions, the Comaschi taking great pride in this chief ornament of their town and diocese, and the manner in which the edifice was begun by the people is recorded in the inscrip- tions which it bears. The baptistery is attributed to Bra- mante ; and it is quite worthy of his reputation. It is circular, and exhibits the last gradation of the Benaissance. By the side of • the ' Duomo stands the Broletto, or town hall, of marble, in tliirty-four com’ses of black and white alternately, and with one enthe course of red, and a few red patches. Tliis building, completed, according to the inscription on the front, in 1215, is interesting as a memorial of the ancient days of the independence of the Italian republics ; and such a Broletto is, or has been, in every Lombard city. The lower story is a Loggia upon open arches. Above is a floor with large windows, where the chiefs of the mu- nicipality assembled ; and from the middle window projects the “ rin- ghiera," whence they addressed the crowd of citizens convened in parlia- ment below ; for, in the constitutional language of ancient Italy, the parlm- mento was the primary assembly of the democracy, from whence the powers of government originated, and to which the ultimate appeal was to be made. The lower arehes here are pointed, the upper circular. Como possesses some curious anti- quities, — none more remarkable than the chm’ch of San Fedele. This build- ing is considered to be of the era of the Lombard kings, and the exterior is nearly unaltered. It was for some time used as a cathecHal before the ereetion of the present one : it has a triangular arch with straight sides over the en- trance, octagonal cupola, and round apsis, small galleries outside under the cupola , and a triforium or gallery inside for the women. The style is not un- like that of the oldest churches of Co- logne. It contains some very rude but remarkable imagery ; e. g. u conflict between a dragon and a serpent, flank- ing a door-way (itself most singular) by the side of the apsis. The interior has been considerably modernised. In the unaltered parts serpents and lions abomid. One monster sustains the holy water. There are some good fres- coes here by Camillo Brocaccini. St. Abondio. In the suburb named that of the Annunciata, and “on the site of the ancient city, at a small dis- tance from the present one, is the chirrch of San Carpofera, first Bishop of Como, reekoned the oldest of the place, with round apsis and square tower. The church was first dedicated to St. Peter and St. Paul, and after the death of St. Abondius, third Bishop of Como, in 469, to that holy prelate, buried within its precincts. It was the cathedral of the old city, presents single round- headed wmdows, -with small pillars and arehes, again enclosed in broad flat borders of the richest arabesque and basket-work. Though small, it has double aisles, and of the outermost Austrian Dom. Route 20 . — -Monza — -Theodoliuda. 135 Theodolinda, whose memory, like Bertha in Switzerland, or Elizabeth in England, was cherished by the people beyond that of any male 'sovereign, Charlemagne himself scarcely excepted, and whose beauty, wisdom, and piety were all equally transcendent, was the daughter of Graribold King of the Ba- varians. Her fame having reached Autharis King of the Lombards (588), he sought her hand, and it was pro- mised to him ; but in order to prevent disappointment, he detemhiied, before he concluded his nuptials, to see his intended consort. Clad in the ordi- nary dress of his nobles, but still dis- tingmshed by his manly beauty and elegance, Autharis visited the court of Graribold. Assuming the character of the representative of Autharis, he re- quested an interview with the future Queen of the Lombards. He then I became bolder, and humbly solicited i that she would deign to otter him the j cup of welcome. In receiving it from j her he kissed her hand. Theodoliuda i confided the adventure to her nurse, j who guessed that it was her future I husband. Upon the death of Autharis, which happened six years after their II marriage, the Lombards ottered the : crovm to Theodolmda, with the inti- ' mation that whomsoever she^ would I select for her husband they wmdd ac- i knowledge as then* sovereign. She chose Agelulph (sometimes called As- tolf) Duke of Turin. Yaliant and [ ambitious, he contemplated becoming master of Kome ; but Theodolinda di- verted him from this enterprise. She thus earned the gratitude and the friendship of Pope Gregory the Great. He dedicated his Dialogues to her. The Longobardi, or Longbeards, are said by their own ancient clu’oniclers to have greatly resembled the Anglo- Saxons in manners, dress, and cus- toms : and this adds much to the in- terest of the objects once belonging to Theodolinda, and here preserved, ddiey show us the state of the court of Os- wald and Ethelbert at the very dawn- ing of our history. The Sacristy of the Daomo is there- fore one of the most cmuous of me- diaeval museums. It has been much ])hindered, especially by the French. The following is a partial account of some of the more remarkable articles which it yet contains : — Queen Theodolinda' s fan^ or flabel- lum, of painted leather, with a most massy metallic handle, enamelled. Queen Theodolinda' s comb, orna- mented with gold filagree and eme- ralds. Queen Theodolinda' s croivn, a plain diadepi set with coarse gems. The crown of Agelulph, which w^as more remarkable, is no longer existing. It was taken to Paris and deposited in the Royal library, and disappeared when the library was robbed. Queen Theodolinda' s hen and chiclc- ens, a species of tray of silver gilt, upon which are the figmes of the Chioccia, or Ch'uclcy, and her seven chickens, all busily employed in picking up grains of corn. The hen’s eyes are of rubies. It is said by antiquarians to represent either the arch-priest (a titular dignity without jurisdiction) and chapter of the church of Monza, or the seven provinces of the Lombard kingdom. The probability is that this gift of Queen Theodolinda was in fact only a plateau or ornament for her banquet table. The list of relics sent by Pope Gre- gory to Queen Theodolinda, written upon pa]3yrus : some say it is his auto- graph. The rehcs consist of drops of oil taken from the lamps burning be- fore the tombs of tlie martyrs. The celebrated antiquary MalFei calls this the “ king of papyri.” Queen Theodolinda' s Gospel - booJc, the inscription stating that it was given by her to this basilica. Tlie binding is of gold and silver gilt, rudely set with rough stones, glass placed over coloured foil, and fine ancient intaglios, characteristic of the age of transition from the Roman emphe to the me- diaeval monarchies. Queen Theodolinda' s cross, given to her by Pope Gregory upon the occa- sion of the baptism of her eldest child : it is now worn by the arch-priest on high holidays. It is composed, in 136 Route 20. — Monza — Iron Crown. Sect III. front, of rock crystal ; tlie back is ■worked in gold thread. Queen Theodolinda’ s cup, said to be liollowed out of a solid sapphire. It is about three inches in diameter, and of proportionate height- The coloim of tlie material (probably very fine glass, like the catino of Grenoa) is ex- ceedingly rich. The Grothic setting- bears the date of 1490. In a curious bas-relief over tlie centre doorway of the church Theodolinda is represented offering her gifts, the Iren and chickens holding a conspicuous place amongst them. The Cross, or pectored, employed in the coronation of the kings of Italy, and whicii it w^as the custom to hang- round the neck of the sovereign. It is massy, and richly decorated — not merely -with uncut stones, but with ancient gems ; amongst others, there is appended to it an amethyst, exhi- biting a Diana, of excelient Gfreek workmanship. The Sacramental' p of Terengario King of Italy. This monarch is some- times reckoned as Berengarius I. amongst the Homan emperors. The son of Everard Duke of Eriouli, Be- rengario obtained liis authority upon the chvision of the empire which took place on the death of Charles le Glros, in the year 888. The coverings of this book are of pierced ivory, plates of gold placed beneath shining between the interstices. On one side are scrolls interlaced, springing- from bhds ; on the other are runic knots, elaborately interlaced, springing- from a eentral ornament composed of fom’ grotesque animals, from w4iose mouths the root of each knot is seen to- spring. These singular carvings have been supposed to be Byzantine ; but they are clearly Teutonic ; for, excepting a greater de- licacy in the workmanship, they are exactly such as are found upon Scan- dinavian monuments. The services which the book eontains stand as they were composed by Pope Grregory ; and in it may be found the collects of our own Litiu’gy. An entry at the begin- ning states that the book belonged to Berenger and his queen Byreila, or Ber- tila : it also contains the coronation oath taken by the kings of Italy. Another very curious volume is the Kvangelistm'mm of Aribert or Heri- bert, Archbishop of Milan (1018-1045). This is bound like Queen Theodolinda’ s volume. Tlu-ee ivory diptychs, of much better workmanship than is usually the case with monuments of this description. The most curious represents, on one leaf, a poet or a philosopher in his study ; on the other a muse striking the lyre with her plectrum. The Avhole is finely carved. Claudian and Auso- nius are both candidates for the por- trait. Antiquaries give it to Boethius upon conjee ture. The second of these diptychs represents two figures in con- sular robes, wdth the Eoman eagle, and other constitutional msignia. The original names have been elfaced, and those of Pope Gregory and David sub- stituted instead. The third diptych is remarkable for the boldness of the rehef. The principal figures are an emperor with the paludamentum, and a female in very rich attire. We have given these details, beeause these mo- numents belong to a class of wdiich only a very few specimens exist in England. The celebrated Iron Groivn is not kept in the Tesoro, but is deposited in the centre of a large cross, over the altar in a side ehapel. Formerly to see it was considered as a very great favour, and not eonceded to any persons ex- cept of high rank ; but now it is shown on paying a regidar fee of 5 fr., wdiich, altogether v/ith the relics within the croArn, is w^ell worth the money. Other parts of the cross contain pieces of the true cross, of the sponge, of the Holy Sepulchre, and of the reed held by Christ ; and one of the thorns of the crown. The thin plate or fillet of iron which lines the diadem, and whenee the crown derives its name, is supposed to have been hammered from one of the nails employed at the crucifixion ; and hence the crown is also called Ilsacro Cliiodo. It may be readily supposed that there is not the slightest foundation for the Austrian Dom, Route 20. — Monza — Milan. 137 belief in such an origin, and the Church of Milan opposed the tradition ; but their objections .were overcome by the congregation dei sacri riti T the relic was pronounced to be authentic, and when it is exhibited, tapers are lighted and much ceremony observed. The workmanship of the outer crown, Avhich is of gold, with enamelled flowers, is plain, but very peculiar. The tradi- tions of Monza relate that this crown was given by Pope Grregory to Queen Theodolinda ; yet nothing is really known respecting its origin, nor was it : regularly used in the coronation of the I kings of Italy. Henry YII. (or Henry ! of Luxemblug) is the first who is cer- j tainly known to have worn it, 1311. I The crown was carried for that piupose to Milan, in spite of the remonstrances of the inhabitants of Monza. Charles ; V. was the last of the old series crowned I with it ; and the crown remained quietly as a rehc in the Tesoro, until I Napoleon, anxious to connect his dig- j nity with the recollections of the past, ! placed it with his own hands upon his I head, disdaining to receive it from the I Bishop, and using the words, “ Dieu \ me Va donnee, gate a qui la touched \ The crown has been since used at jthe coronation of the two last Em- jperors of Austria, and is part of the ! royal insignia of the Lombardo-Yene- itian kingdom. At the coronation of ithe late Emperor in 1838 it was I conveyed to Milan in one of the royal I carriages hy itself, on a cushion, pre- ' ceded and followed by a guard of I cavalry, and attended by other car- jriages containing the great officers of |state, and was reconveyed to Ylonza iwith similar ceremony, j A curious has-relief in the chapel of San Stefano represents the coronation of an Emperor. The six Electors as - fisting are the Archbislio]) of Cologne, IS Arch- Chancellor of Italy ; the Duke t |of Saxony ; the Archbishop of Treves ; he Landgrave or Count Palatine of he Rliinc ; the Archbishop of May- ■nce ; and the Elector of Eranden- )urg. The seventh Elector, the King )f Bohemia, is absent, and this circum- tance shows that the basso-rihevo is earher than 1290, when he was aggre- gated to the Electoral College. It will be noticed that the crown which the Arch-Priest of Monza places on the head of the Emperor is 7iot the Iron Crown, but one decorated with flem’ons. This bas-relief seems, from its inscription, to have been put up by the people of Ylonza as a memorial of their rights to the coronation, in preference to Milan. The Palace of Monza is a respectable edifice, but has really nothing in or about it (excepting the size of the apartments) above a country mansion. The park is extensive and beautifully laid out. The gardens are rich in ex- otic plants. It was the country residence of the Yiceroy before the Bevolution of 1848. The Railroad has rendered Monza a subm-b of Milan. Trains run nearly every 2 hrs. from 6 A.M. till dusk, in smnmer. 1 j Milan. — Inns : Albergo Beale, kept by Bruschetti, in the Contrada dei Tre Be, a house very highly spoken of ; very clean, quiet, and comfortable, with an obliging landlord ; a good table- d’hote; — Hotel de la YiUe, in the Corso Francesco, kept by Baer, and the charges are moderate, considering the comfort and cleanliness of the establishment ; baths in the house, and a good table- d’hote at 4 fr. ; both these hotels are well suited to English famihes ; — Grran’ Bre- tagna in the Contrada della Palla, in the centre of the town, comfortable ; there is a good table-d’hote, also at 4fr., wine included; — Croce di Malta, a small hotel in the Piazza San Sepolcro, com- fortable, and where the owners take pains to attend to their customers’ wants ; — The Hotel Beichman, in the Corso di Porta Bomana, is much fre- quented by Grermans and commercial travellers ; the house is spacious and agreeable ; — 11 Marino, La Pension Suisse, and San Marco, the latter near the post-office, and convenient for per- sons arriving by the mallespostes, are well spoken of as houses of a second grade, j^articularly the last. Good Yetturiui may be found at Milan. The brothers Montenara, who can be heard of at the Croce di Malta, 138 Route 20. — Milan — Conveyances. Sect. III. are recommended, Vimarca carries on I the business on a large scale. The inn- keepers can usually be trusted to ne- gotiate the bargain. Carriages may be hired for the day or job. The fiacres ply at San Dalmazio, Piazza San Sepolcro, Piazza Fontana, and on the Corso di Porta Orientale. A good carriage may be limed for half a day for about 12 fr., and the drink-money of 1 fr. to the driver ; or for 2 fr. for the first hour, and 1^ for the following. During the summer the fashionable evening di'ive is in the Corso di Porta Orientale ; most particularly on Sun- days and Thursdays, the greatest Corso being on the Ih’st Sunday in Lent. This city is the centre of business ; and all pecuniary transactions can be well managed here : such as obtaining furtlier letters of credit, and the like. The CambiaMonete, or money-changers, are numerous ; most live near the Duomo. Their shops usually shut up at an early hoim in the afternoon. The Post-Office, from which the Gro- vernment diligences start, is also near the Duomo. It opens at 9, when letters are dehvered out. The office shuts at various lioims, according to the mails, fr’om 4 to 8 ; on Sundays at 3. The mail which carries the Eng- lish letters (through Paris) is that by Chiasso and the St. Gothard. It closes at 11 A.M., and arrives at 2J r.M. Letters arrive and depart every day. Between London and Milan the post takes 5 days. The principal public conveyances are the following : — Brescia, Verona, Padua, and Venice, in connection with Ferrara, Trent, and the Tyrol. Udine and Trieste. — Diligence daily at 6 P.M.; by railroad to Treviglio, and from Verona to Padua and Maestre. Lucerne, by Bellinzona and the St. Gothard. — Diligence every day at mid- day, arrives at FluUen on the Lake of Lucerne in 28 hrs. Ins']prucTc,\)y the Valtellina and Stel- vio Pass. — Malleposte daily at 6 p.m, in 56 hrs ; dihgence on Sundays. Ctiiavenna, Coire, and Zurich, by the Splugen Pass. — Dihgence daily at j 3 P.M. ; and by Bellinzona and the Bernardino Pass every day at mid- day. Turin, by Novara. — Diligence daily at 2 P.M. ; and on Tuesdays, Thmsdays, and Saturdays from the Albergo del Pozzo, stopping 6 hrs. at Novara, cor- responding with the diligences from ' Turin to Geneva and Paris, Geneva, by way of Arona, the Sim- | plon, Vevay, Lausanne, and diligence } every day at 5 p.m. i Genoa, by Pavia, Voghera, Tortona, ' and Novi. — Malleposte daily at 10, j reaches Genoa in 18 hrs., from the ! Contrada del Marino 1436 ; ordinary diligence every day except Monday. Piacenza, Parma, Modena, Bologna, Rome, by Lodi. — Dihgence on Mon- days, Wednesdays, and Fridays, at 6 A.M. Some variations may take place in the times of starting of the different diligences according to the season. All the mallespostes and some of the dili- gences start from the Post-Office, near the Duomo ; others (dhigences) from the Diligence Office, Via di Monte, No. 5499 ; the coaches for Arona, Varese, ; Sesto Calende, &c., from the Post-Office, , and Albergo del Gran Parigi, Contrada di Val Petrosa. The trains to Monza set out every 2 hrs., between 6 in the morning and 6 in the evening. The raih-oad to Verona is open as far as Treviglio, 18:|- Eng. m., and at ’ the other extremity from Verona to Padua and Venice. ! It may not be unimportant to men- | tion that there is at Milan a physician who speaks English, Dr, Capelli, who lives nearly opposite the Scala Theatre. Tfiis gentleman is stated by those who i have consulted him to be entirely worthy of confidence. Dr, Sapollini, a physician who is ; attached to one of the hospitals, also j speaks English. . i Restaurateurs and Cafes. Cova (the ; best) has English newspapers ; — Mar- tini — Della Colonna, Cafe Eeal and , Del TEuropa, in the Piazza del Duomo ; j ' Austrian Dom. Route 20 . — MUan. 139 St. Carlo, in tlie Corso della Porta Orientale. The traveller will find at Mannini’s shop under the Arcades of the Piazza del Duomo an assortment of Italian and foreign jewellery, Englisli and Frencli articles, &c., antiquities, bronzes, &c. The pop. of Milan at the beginning of 1843 was native Inhab. 137,580 ; including foreigners settled there, but exclusive of the garrison, 151,438 ; in- cluding the garrison, 165, 186 : the latter has been since greatly increased. Milan, founded by the Insubrian GaMs, became, in point of splendour, I the second city of Italy, filled with j temples, baths, theatres, statues, and I all the strnctiu’es required for the dig- jnity and luxury of a great capital. I Ansonius, who flom’ished under the i Emperor Gratian, towards the end of jtlie fourth century, assigns to it the !rank of the sixth city in the Roman (Empire. He describes it in these jlines : — ■i 11 1 ! (' Et Mediolani mim omnia, — copia rerum : Innumerae, cultseque domus, fecimda virorum Ingenia, antiqui mores. Turn duplice muro Ampliticata loci species, populique voluptas Circus, et inclusi moles cuneata theatri ; Templa, Platinaeque arces, opulensque moneta, Et regio Herculei Celebris sub lionore lavacri, Cunctaque marmoreis ornata perist\la signis, Mseniaque in valli formam circamdata labro ; Omnia, quae magnis operum velut aemula formis Excellunt: nec juncta premit vicinia Eomae.” i I Procopius, who wrote a century later, i iipeaks of Mediolanum as one of the t jirst cities of the West, and inferior only ( 10 Rome in population and extent. Its I: jtncient edifices and monuments have |i|ll disappeared, save one portico {see 1 |!an Lorenzo) ; one column {see Sank # jlmbrogio) ; a piece of massy wall, i jorming part of the Monasterio Mag- iore; two rather dubious heads, called Quintus and Rufus, in the arches of be Corsia di Porta Nova ; and, lastly, be Uomo di Fietra, or in Milanese lomin de Free, now inserted in the all of a house in the Corsia de Servi, etween the first and second stories. 0 far as can be judged, he is a Roman r the lower empire, with no otlier im- Drtance excepting what tradition has isigned to him. Some say he is Ci- cero ; and a quotation from tlie Roman orator, upon the pedestal, is said to confirm it. But the words now seen are in recent painting, and of most dubious authority. Others say, and ancient writers vouch for the fact, that the statue was erected by Archbishop Adelman, who lived in the 10th cen- tury, to his own honour ; and a third party of antiquaries reconcile both tra- ditions by supposing that tlie Roman statue was altered to suit the arch- bishop, for that it has an appearance of clerical tonsure. Like many statues of the same description, it has been the nucleus of odd stories and customs ; amogst others, the “ uomo di pietra ” was annually cRessed up and painted, upon which occasion a treat was given to all his neighbours ; and particularly to the members of the Menelozzi family, who lived hard by, and to which family the Archbishop Adelman belonged. The paucity of Roman remains at Milan must be attributed to the cala- mities which the city has sustained. It was sacked by Attila, A.D. 452, in the invasion which occasioned the founda- tion of Yenice. But the great destruc- tion was effected after the surrender of Milan to Frederick I., 1162 ; when his vengeance co-operating with, or rather instigated by, the jealousies of the sur- rounding cities, Pavia, Cremona, Lodi, Como, Novara, rased it to the ground. These rival cities entered upon the work of destruction with the greatest zeal ; each took their assigned portion of the laboiu’ of devastation. Porta Orientale and its Sestiere or ward was demolished by the men of Lodi ; Porta Romana, by the Cremonese ; Porta Ticinese, by the Pavians ; Porta Yercellina, by the Novarese ; Porta Comasina by the men of Como ; and Porta Nuova, by the feudatories of Seprino and Martesana. On Palm Sunday, in that fatal year when the Emperor departed in triumph for Pavia, the site of the great city was to be recognised only by the Basilica of Sant’ Ambrogio, and some few others of the churches, winch were left standing in the midst of the ruins ; and the in- habitants being dispersed in four ad- joining villageSj the name of Milan 140 Route 20. — Milan — Extent. Sect. III. was effaced from the Lombard com- munity. But this event was followed by the great Lombard league, the confederacy against the imperial authority ; and in the diet, or parliament, held at Pontida, 1167, the deputies of the combined cities determined to bring back the Milanese to their ancient seat, which, on the 27th April, 1167, was effected by the combined forces of Cremona, Brescia, Bergamo, Mantua, and Ve- rona, and the city speedily rose again with unwonted energy and power. This remarkable event was commemo- rated in the coeval basso-rilievos of the Porta Pomana., a venerable gateway which stood till within the last thirty years, when it was pidled down. The basso-rihevos have, however, been preserved by being let into the walls of a house erected on the site of the gate, and are cmdous as illustrative of one of the most memorable passages ii^t the chronicles of medieeval Italy. The Milanese around, on foot and on horseback, are seen proceeding to the re-erected city, with an inscription pointing out that there they are to make tlieh* stay. “ Fata vetant ultra procedere, stabimus ergo.” The cities of “ Cremona,” “ Brixia,” and “ Ber- gamum” are represented by timreted gateways, out of which come forth their allies. — -‘‘Fra’ Griacobo,” thus written, bears the banner of Milan. The artist “ Ansehnus ” has also represented liim- self, adding an inscription, in which he either assumes to himself the appella- tion of Dsedalus, or ascribes to himself Bgedahan skill ; a whimsical vanity, the sculpture being of the rudest kind. In another part is a figure in a consular or magisterial robe, surmounting a strange monster with a huge grinning face and bats’ wings, which, accord- ing to the tradition of Milan, repre- sents the Emperor Frederick Barba- rossa. This Porta Pomana stood in the line of walls erected by the Milanese when they rebuilt the city. About eighty years after the rebuild- ing of the city commenced the rule of the Torriani family, and then followed that of the Visconti and Sforza. Dur- ing the later part of this period Milan attained a state of great prosperity, and became celebrated for its manu- factures of armour, dress, and orna- ments. “ Well was he arm'd, from head to heel, In mail and plate of Milan steel.” Milan then set the fashion to the rest of Europe ; hence the word milli- ner, After the extinction of the family of Sforza, Milan fell, in 1535, under the power of the Emperor Charles V., who, in 1549, fixed the succession to the duchy of Milan in his son Philip II. It remained under the government of the Spaniards until the death of the last Austrian King of Spain, when it became an object of contention be- tween France and Austria, and was finally given to the latter by the treaty of Utrecht, 1713. In the hands of Austria it has since remained, with a few interruptions, the principal one of which was the occupation of Milan by the French, and the establishment of the kingdom of Italy, of which Milan was made the capital. As the chief residence of the viceroy it acquired great splendour, and under the present government it is increasing in commercial prosperity. The streets are well paved, the houses in good repair, and new buildings are rising in every quarter. The extent of Milan, when it was rebuilt after its destruction by Fre- derick Barbarossa, is marked by the canal, which, entering the city on the N. side, runs nearly rormd the cen- tral part of the modern city. The waU or rampart, called the hastione, which now encircles Milan, except on that side wliich was protected by the Gas- tello, was built by the Spaniards in 1555. The greater portion of the ground between this wall and the canal is occupied by gardens. AU romid, just outside this wall, runs what is called the Strada di Circonvallazione, The extent of the' modern city is as follows : — The distance from the Porta Bomana to the Arco della Pace, mea- siu’ed in a straight line, is 2 miles 269 Austrian Dom. Route 20 . — Milan — City Gates. 141 yards. From tlie Porta Ticinese to the Porta Orientate is 2 miles 8 yards. These are its greatest diameters. Its least width is E. and W., from the esplanade of Monforte to the ancient Portello, and is miles 149 yards. The circnit by the Strada di Circon- vallazione is 7 miles 305 yards. About one-fifth of the space enclosed by the modern w^all is open and cultivated ground and gardens. Certain wider streets which radiate from the centre of tlie town are called , “ corsie the continuations of these beyond the line of the most ancient fortifications are called “ corsi and still further on, from the bridges which cross the canal to the present hue of wall, they receive the name of borghi. The streets, in many places which run parallel to and immediately within the canal, retain the name of terrazio, or terrace. The Piazze before the churches are in Milanese called “]?asquee” (pas- cua), and some open spaces, where se- veral streets meet, are called “ carob- bio ” (quadrivium). 'i Tlie average height of Milan above the sea is 130 yards. From the 11th century to the end of the 18th the city was divided into six wards, named from a gate to which each was adjacent. Each such ward or gate had a captain, and a coat of larms. Tliese divisions w^ere Porta rOrientale, P. Ilomana, P. Ticinese, P. Vercellina, P. Comasina, P. JNuova. Milan has now ten gates. On the N. side is the iPorta Comasina^ irected in 1826-1828 by tlie merchants, '.from a design of Moraglia. A Doric • ircli, surmounted by four mediocre lolossal figures, representing the Po, he Ticino, the Adda, and the Olona. Next to this, towards the E., is the Porta Naora^ built in 1810 of sand- I tone, from a design of the poet Za- hoia. It is Corinthian, with small mfl incommodious Doric guardhouses, □le view of the Al]is from the rampart lear this gate is very fine. At the north-eastern angle of the anqiart is the Porta Orientate, begun 11 1828, from a design of Itodotfo Van- ini^ the arcliitcct of the Campo Santo at Brescia. It is adorned with bas- reliefs and statues, of which the sub- jects are a mixture of history, mytho- logy, and allegory. Near the centre of the eastern side is the Porta Tosa. Tosa, in the Lom- bard and Provenyal dialects, means a little girl, but no explanation is known why this name should be given to this gate. At the south-eastern angle of the rampart is the Porta Poniana., built by thb Milanese, from a design of Passi, in 1598, to welcome the arrival of Margaret of Austria, the wife of Pliili]! III. of Spain. Just within the gate is the ancient emporium (sciostra romana) for merchandize coming from Cremona and Piacenza. In the southern side of the rampart, next to the Porta Romana, is the Porta Vigentina, so called from tlie village of Vigentino, wdiich lies on this road, a short distance from tlie gate. Vigentino was one of the places in which the Milanese found refuge when their city was destroyed by Barba- rossa. This gate will give an idea of the architecture of all the gates a few years ago. The gate situated nearly in the centre of the southern side of the rampart is the Porta Ludovica, so called from Ludivico il Moro, who embellished the street leading to it. This and the Porta Vigentina are the only gates of Milan which are closed at night. Near to the western end of the southern face of the rampart, and to where it forms an angle with the south- western face, is tlie Porta Ticinese, the gate for entering from Pavia, and by whicli Bonaparte entered after the battle of Marengo ; w^lience for a short time it was called the Porta Marengo. The Ionic portico by whidi it is adorned was b\iilt by private subscrip- tions, from a design of the Marquis Cagnola. It was opened in 1815. Hence the inscription. Tlie Porta Vercellina, which stands at the western extremity of the city, was built with materials from the Cas- tcllo, fj'om a design ot‘ Canonica, in 1805, with great haste, in order to rc- 142 Route 20. — Milan — -Arco della Pace. Sect. III. ceive l^apoleon wlien lie came to assume the iron cromi. It receives its name from the town to which the road pass- ing through it leads. Porta TenagUa^ the north-w^estern gate leading to the Simplon road, re- ceived its name from a fortified work bearing that name. Between the Porta Tenagha and the Porta Vercellina there is no rampart, the city liaving been protected on this side by the Gastello. Here stood the ancient ducal castle, built by Galeazzo Visconti II. in 1358, with great soli- dity, to keep the Milanese in subjec- tion. Upon his death they insisted on its demolition ; it was, however, re- built with increased strength by Gio- vanni Galeazzo. Thus it remained till the death of the Duke Filippo Maria, when the Milanese rose (Aug. 30, 1447), and, having proclaimed the “ Aurea respuilica Amhrosiana^’’ de- stroyed the castle. It was soon re- built by Francesco Sforza, who per- suaded the people that he ought to be allowed to restore it ; not, as he said, that he had any doubt of thefr fidelity, but for the ornament of tiie city and its safety agauist enemies ; and he pro- mised that its governors should be always Milanese. This is the building which now remains, tliough perhaps there may be found traces of the earlier building. In the interior is a keep, where the dukes often resided, and built halls and porticoes from the de- signs of Bramante. Bemains of paint- ings have been discovered under the whitewash in the stables. Philip II. added very extensive modem fortifica- tions, and cut down all • the campanile towers vdiich overlooked them. The advanced works reached to the edge of what is now open space. The castle was taken by the French in 1796 ; and again in 1800, when Napoleon ordered the fortifications to be levelled. The castle has been converted into a bar- rack, the approaches to which have been strengthened since the revolution of 1848, and the square in wliich it is situated considerably opened. During the government of Eugene Beauharnois a Doric gateway of granite was erected on the N.W. side. This was embel- lished in 1838 with medallions of cele- brated generals. The space gained by the demohtion of the fortifications was meant to be covered by splendid buildings and mo- 1 niunents, for which Antohni prepared i a design in 1804. Everything was Greek and Roman, and full of allusions to Athens and Sparta. Two only of the buildings planned have been erected — the Arena and the Arco della Pace. The space on the N.E. side of the Gas- tello, which it was intended to make a forum, has been made a Piazza d’Armi, for the purpose of exercising the mili- taoy. Its width from the side on wliich stands the Gastello is 669 yds. ; its length in the opposite direction 710 yds. ! Arco della Pace. A triumphal arch having been erected with wood and canvas, in 1806, at the Porta Orientale, from a design of the Marquis Gagnola, upon the marriage of the Viceroy Eu- gene with the Princess Amalia, it was so much admired, that the municipal council resolved that it shoidd be exe- cuted in white marble from beyond • Duomo d’Ossola, on the Snnplon road, ^ the expense to be defrayed out of j 200,000 francs assigned by Napoleon s for adorning the city. It was begun | ; in 1807, but, on the faU of the king- \ ^ dom of Italy in 1814, had not risen above the impost of the smaller arches. The works were suspended until 1816, when they were resumed, and carried | on until 1838, when the arch, being completed, was inaugurated in Septem- ber, at the time of the coronation of the Emperor. The arch was origi- | nally intended to have been called the | Arch of the Simplon, and to have I been embellished with a statue of Vic- tory, m commemoration of the battle | of J ena, and with bas-rehefs represent- ing the events of Napoleon’s wars. , i When it fell into the hands of flie ; | Austrians its name was changed to the | Arch of Peace, whose fignre is placed ! in the car, and the sculptm’es under- went a transformation to make them represent the events which preceded |j the general peace. On the top of the ij J t,tilhairul t S 3 S Ji$Utf\fQui i S A nt*>nuf S S.Ji*murMdu> <; 3 uU^ 7 y /. ul'tnuu K i y,uMUtr)fto If y 13 y l^rtmo ) I > .ly./rKi ari l Auruins It; i/ru/ir l7 //«/■« n/ftex/ 3fi .V .\Ltttrt»w 2'* y Jc^u/«unu 2ti A jWi Ttumuf >1 y Tirt-n* 31 JwiArtiff.i/* /lAmrr A2 ./mrr»u< •>«*! 1ft jy.^u>rr Tn$tdii M t*aku*o htt^ V \tUit yiwrru/'MW Ul FtuUamt U .ir UtwxkM I>| l\»itHnet T !• .-atr<-> fti Ut y<4iiu UAJ4»»hbuUUl l4<^tL>ai* Austrian Dom. Boute 20 . — Milan — Duomo. 143 arch is a bronze figure of Peace, in a car drawn by six horses. Four figures of Fame, one at each angle, announce her arrival. These latter are by Gio- vanni Putti, a Bolognese. The central group is by Sangiorgio. The subjects of the sculptm^e and the names of the artists are as follows : — Side towards the city. The colossal figure to the 1. of the inscription represents the river Po, that on the rt. the Ticino ; both are by Cacciatori. The subject of the bas-relief on the 1. side immedi- ately below the entablature is the I battle of Culm, by Cl. Monti. The large bas-relief below this is intended to allude to the entry of the Emperor Francis I. mto Milan ; it is by Caccia- tori. Below this is the capitidation of Dresden, by C. Pacetti. On the rt. H hand side, below the entablature, is I the passage of the Ehine. The large H bas-relief below this represents the I foundation of the Lombardo-Yeneto P kingdom, and the lowest one the occu- pation of Lyons ; these three are by Marchesi. Each of the f)edestals of the cohunns has an allegorical figure in half-relief : — they are Hercules, by G. Monti ; Mars, by P. Pacetti : Mi- nerva, by the same ; Apollo, modelled by Pizz% executed by Puzzi. Lender the great central arch, a large bas- relief on the rt.-hand side represents the conference of the tliree alhed sove- reigns of Russia, Prussia, and Austria ; it is by G. Monti. A corresponding bas-relief opposite was begun by Ac- q^iisti, and completed by Somaini . — Side towards the countiy. The colos- sal reclining figure to the 1., above tlie entablatm’e, represents the river Tag- liamento ; the one on the rt. the Adige : tliey are botli by Alarche-n. The bas- relief immediately under tlie entabla- ture, on the 1. hand of the spectator, represents the re-institution of tlie order of tlie Iron Crown. The subject of the large bas-relief is the Congress of Vienna; botli these arc by G. B. Perabo. Below is the occupation of Paris, by A. Acqvesti. The ipijicr bas- relief on the rt.-hand side was begun by G. llusca., and finished by his son ; it represents the entry of Ihc allied sovereigns into Paris. The large bas- relief below this represents the Peace of Paris ; and the lowest one the entry of Greneral Neupperg and the Austrians into Milan in 1814 ; these two are by G. Monti. The four' pedestals of the columns on this side represent Vigi- lance, by Pizzi; History, Poetry, and Lombardy, by Acquesti. On the eastern flank of the building is the battle of Leipsig, by Marchesi ; on the western the battle of Arcis-sur-Aube, by Somaini. The key-stones of the arches are ornamented v/ith allegorical busts ; towards the city they represent the city of Milan ; Astrononay ; a Muse : on the other side the Lom- bardo -Veneto kingdom, Ceres, and Pomona. Tlie grand frieze all round was modelled by Monti and Marchesi. The marble used in the building is principally that of Ogliasca on the lake of Como. The monohth Corinthian columns, the statues of the rivers, and many of the sculptured portions, are of the marble of Crevola, on the Sim- plon. The total cost, including the lodges on each side and the iron railing, was 142,839/. An easy staircase in the interior leads to the summit. The bas-reliefs have been much and justly criticised for a pedantic adherence in the draperies to classical models. The Duomo. The present building is the third, perhaps the fourth, re- edification of the original structure, which St. Ambrose, in his letter to his sister Marcellina, calls the great new Basilica. The primitive cathedral was destroyed by Attila. When rebuilt it was burnt by accident, in 1075, and again destroyed by Frederick I. in 1162 ; but this demolition was, it is said, only partial, being caused by the hill npon the church of a lofty bell- tower, which was destroyed in order to prevent its being used as a fortress. Lastly arose the ]n’csent stiaicture. T1 le first stone of the ])resent Duomo was laid by the hands of Giovanni Ga- leazzo Visconti, on the 151 h of March, 1386. Some historians say that the undertaking was the fulfilment of a vow ; otliers ascribe it to a refined policy, or a wish to encourage the arts. 144 Route 20. — Milan — Duomo, Sect. III. It was from beyond tlie Alps that the Duke sought an architect. He had recourse to the freemasons of Gler- many ; and it is in vain that Italian patriotism has sought to impugn the claims of Heinrich Ahrler of Gmiinden, or “ Hnrico di Oamodia,^' the Italian version of his, to them, unpronounce- able name. To him, between the years 1388-99, were associated other brethren from beyond the Alps, from Paris and Normandy, from Frihurg, Ulm, and Bruges. Itahans were afterwards called in ; amongst others, the celebrated Brunelleschi of Florence. But Ger- many still continued to be considered as the alma mater of the architects of the cathech’al ; and as late as 1486 Gioan’ Galeazzo Sforza addressed let- ters to the magistrates of Strasburg, requesting them to send him the master mason of their DomJdrche, Hammerer, for the purpose of advising upon some difficulties which had been appre- hended in the construction of the centre tower. The hnilding has been often inter- rupted, and has, when resumed, been often carried on slowly, and it is yet unfinished. The octagon cupola was vaulted by the two Omodei (father and son), 1490, 1522; the three western divisions or arches of the nave were left unfinished after the extinction of the Sforza dynasty, and not completed till 1685. The central tower and sphe, of great beauty, which crowns it, were completed in 1772, from the designs of Croce ; and the gable and upper range of windows of the front, as well as very many of the buttresses and pinnacles, by Amat% Zanoja, and others, betw^een 1806, when the works were resinned by the orders of Napoleon, and the present time. In this long succession of years many of the first artists of this favoured country, amongst whom may be named Bramante, Leonardo da Tnn-ci, and Giivlio Bomano, gave their advice and assistance. The eras only of some of the principal constructions are here noticed ; but, since the first stone was laid, the scaffolds have al- ways been standing in some part of the edifice. It seems that the original designs for the fa 9 ade had been long lost, and the portion of the nave, as erected, wanted three of its arches. A fagade of black and white marble, built con- siderably within the line of the present structure, curtailed the nave % one- third of its just length ; and, as far as this had been raised, it was unfinished, and inelegant. Pellegrini, sumamed Tibaldi, was employed in 1560 by St. Carlo Borroineo to complete the fa 9 ade, and he designed an Italian fa 9 ade upon a magnificent scale, but much out of keeping. San Carlo died ; Pellegrini was summoned to Spain by Philip II. to paint the Escorial, and the work was carried on very leisurely by other hands, amongst them by Castelli and Francesco JRicchino, who, altering the designs of Pellegrini, gave to the Ho- man doors and windows that exube- rance of ornament which they now exhibit ; but the plans of Pellegrini — according to one of wliich the front was to have been composed of a gigan- tic modern Homan portico — had given rise to numerous discussions, which were continued, revived, and resumed dining the 17th and 18th centuries. Some of the arcliitects of Lombardy strongly protested against the admix- ture of Homan architecture begun by Pellegrini, and advocated the recon- struction of the fa 9 ade in the Gothic style. Thus, in 1635, two Gothic designs were proposed by Carlo Buzzi, and a thii’d by Francesco Castelli, all three of considerable merit. It will be sufficient to observe that, about the year 1790, it was determined by the %ndics to Gothicise the fa 9 ade, preserving, how- ever, the doors and windows of Pelle- grini and Hicchini, on account of their elaborate elegance; and, in order to apologise for the discrepancy of the styles, they caused an inscription stating this reason to be engraved on the corner buttress of the front. To these works Napoleon gave great impulse, and their continuation was intrusted to a commission, under whom the fa 9 ade was brought to its present form, chiefly by the insertion of three Austeia^t Dom. Eoute 20, —Milan — Daomo — Exterior. 145 Grotliic windows ; and tlie greater number of the pinnaeles and flying buttresses of the rest of the building was eompleted. The cost of these undertakings during the French go- vernment amounted to about 3 j mil- lions of francs. millions of this sum was produced by the sale of the lands belonging to the Duomo, the re- mainder from the property of the sup- pressed monastic institutions. Napo- leon thus exhausted the resources of the edifice ; and the consequence is, that all the present expenses of the Duomo fell upon the Austrian govern- ment. Since the revolution of 1848 the supplies have been cut off — still a vast deal has been done during the Austrian occupation ; and just before the outbreak a most exquisite fleche had been finished, at an expense of 75,000 francs. It should be stated that before the time of Napoleon the cathedral lands iwere badly managed, and a large por- tion of the rents spent by the per- sons who had the management of them, in eating and drinking, as in some of our own corporate bodies. A magnificent Gfothic campanile was projected by the Marquess Cagnola. Others proposed flanking the front with belfry towers. The designs for i bhe latter were sent to Napoleon at Moscow, and lost in that calamitous « 3ampaign. At present nothing further ^ s in progress as to this part of the ?difice ; but, when Amati inserted the > Gfothic windows, he supported them : ay what are called bearing arches of v granite ; so that, if it should hereafter ; DC thought expedient to remove the I Romanised doors and windows, the )peration may be performed without njury to the superstructure. When Giovanni Galeazzo endowed he Duomo, he included in his dona- ions the marble - quarries of Monte ; iJandido or la Gandoglia, above the jago Maggiore, and of that material he building is entirely composed. Time gives to this marble a fine \ ellow tint. In the tracery there is « n unusual approximation to what has J 'cen called iho. Jlamhoy ant style. This N. 1852. was probably owing to the influence of the French Gothic, as it is most appa- rent in the great E. window, which was built by Campania from the designs of Nicholas Bonaventure of Paris (1391). The E. end, or apsis, which forms five sides of an octagon, is probably the most ancient or original portion of the structure. It is calculated that the niches and pinnacles of the exte- rior will require a population of about 4500 statues. Of these about 3000 are executed, besides the basso-rilievos. The excellent scidptures of the centre door, by Bono^ Castelli, and Yismara (about 1635), may be especially pointed out. The tympanum contains a basso- rilievo representing the creation of woman. The arabesques in the pilas- ters are allusive to the works of the other days of the creation. In the compartments for the basso- rilievos there is a great variety of de- tail. Many of the artists were Co- raaschi. A carefid observer will dis- cover in the compartments not a few of the symbolical representations of an earlier age in modern forms. Amongst the minor capricci is a female head covered by a veil, all the features being seen, as it were, through the trans- parent covering. The Carya^^ides, by Rusca and Carabelli^ are in finely varied attitudes. The traveller, in order fidly to un- derstand the merits of the building, should ascend the summit. A stair- case, the entrance to which is at the W. corner of the S. transept, where a charge of a few centimes is made, leads by 158 steps to the roof. Steps upon the flying buttresses pre^ sent an ascent to the difierent levels. Two staircases, winding in a turret of open tracery, as at Strasburg, bring you to the platform of the octagon, and a similar stah’case in the spire conducts to the belvedere or gallery, at the foot of the pyramid, or fleche, which crowns it. This turret was ex- ecuted by Antonio Omodei between 1490 and 1494. The sculpture, as well as the architecture, is from his design. The open tracery was executed by Amici of Cremona. The whole is of H 146 Route 20, — Milan — Duomo. Sect. III. exquisite finisli. There were to have been two others of similar workman- ship at the alternate angles of the octagon. The larger number of the pinnacles of the nave and aisles have been completed since 1805. The smaller ornaments — baskets of fruit, cherubs’ heads, sunflowers, lilies — are admirable, and much superior to any- thing which results from the rigorism 210 W inculcated by Grothic arcliitects. Some pinnacles of the nave are yet wanting ; but a very perceptible pro- gress has been made in the course of the last few years. From the octagon gallery you gain a noble view of the plain of Lombardy, studded with cities and villages and belfry towers, and the whole ample level walled in, on the N. and E., by the snowy Alps. To the eastward, in a line with the cupola of St. Maria della Passione, is the plain watered by the Lambro, an- ciently called tlie Martesana, and beyond are the mountains of the province of Brescia, which towards the N. are connected with those of the Seriana and Brembana valleys, and then with the Besegone, which rises above Lecco, and is distinguished by the sawlike form of its crest. The lower ridges to the W. of this form the hilly country of the Brianza, behind which, and in a line with the Porta Il’uova, rises the monntain of S. Primo, which stands between the two south- ern arms of the lake of Como. Behind S. Primo rise the iuountains which encircle the lakes of Como, Varese, and Lugano^ with the S. (xothard beyond. Still further to the westward, the Simplon is distinguished by its five summits, and then Monte Bosa, sparkling with eternal snow, and show- ing at sunset the hues from v/hich it derives its name. Exactly W., Mt. Cenis may be seen, and still fm*- ther to the 1. the sharp snow-capped pyramid of Monte Viso. In a line with the Porta Ticinese, the Apen- nines begin, among wliich the most remarkable point is the Penice. Ad- vancing towards the S. E., and in the line of the Strada Bomana, is the insulated group of hills of S. Columbano, and then the boundless plain of the Po, in which may be dis- tinctly discerned on a clear day Lodi, Cremona, and Crema. The ground-plan of the Duomo is a Latin cross, terminated by an apsis, in the form of five sides of an octagon. The body is divided into a nave and four aisles, by four ranges of colossal clustered pillars, with nine inter- columniations. The transepts and the chancel end are divided into three aisles. Tliere is no triforium gallery, nor any division corresponding with it. The vaultings of the roof spring at once from the pillars : hence arises an appearance of great loftiness. Fifty- two pillars, each formed by a cluster of eight shafts, support the pointed arches on which the roof rests. The total height of each pillar of the nave and chancel is 80 ft. ; that is, base 4 ft., shaft 57 ft. 6| in., capital 18 ft. 6^ in. The diameter of the shaft is 8 ft. 3| in., that of the base 11 ft. 2^ in. The diameter of the four great pillars which support the octagonal cupola is one- fifth greater. The beautifid capitals of the nave and choir were designed by Filippino of Modena ; the lowest part is formed by a wreath of foliage, mixed with figures of children and animals ; above is a circle of eight niches, corresponding to the intervals between the eight shafts of the clus- tered pillar, and each containing a statue covered by a canopy. The shafts which divide the niches ter- minate in a pinnacle, surmoimted by a small statue. The design, however, is varied in different pillars. The roof is painted in elaborate fretwork. The execution is modern, but the design, as well as this mode of ornament, is ancient. The five interior doorways in Boman style were designed by Fabio Mangoni, in 1548. The great centre doorway is considered fine. Flanking it, are two granite columns, each of a single stone : they were given by San Carlo, and brought from the quarries of Baveno ; and are said to be the largest shafts in Italy. They have been called the largest monoliths in Em’ope ; and, Austrian Dom. Route 20. — Milan — Ihiomo— Interior. 147 perhaps, so they were until the erec- tion of the church of St. Isaac at Petersburg. The height of each shaft is 35 ft., the diameter 3 ft. lOf in., and the cost of quarrying and finishing them alone amounted to 1948^. The principal dimensions of the Duomo are as follows, omitting frac- tions : — English Feet. Extreme length 485 Breadth of the body .... 252 Between the ends of the tran- septs 287 Width of the nave, from centre to centre of the columns, which is double the width of the aisles measured in the same way G7 Height of the crown of the vaulting in the nave from the pavement 153 Height from the pavement to I the top of the statue of the Madonna, which crowns the spire 355 The pavement is laid in a mosaic pattern of red, blue, and white marble, [ ,’ompleting the finish of the structure, lust beyond the entrance the pave- nent is crossed by a meridian line, laid lown by the academicians of the Brera ' n 1786. The sun’s rays, passing hrough a small aperture in the roof, jross it, of course, at noonday. Origin- !By all the windows of the Duomo I jvere filled with painted glass. Pelle- t ;rini designed those in the nave : much . ;lass remains of extraordinary bril-, , iancy, but a great deal is lost. It has i; >een asserted that the painted glass ! vas destroyed by the French wilfully I'ring off cannon under the windows, ut, according to the account given by he Italians themselves, thougli the estruction took place in this way, it ! ccurred before the French occupation 1 f Italy. The restoration of the painted i 'indows is amongst the works carried u by the Austrian government. They iave completed the great apsis win- ows with Scriptural subjects. The )wer ranges contain subjects from the Lpocalypsc. Part of the glass, too, in the S. transept, and the W. end window, are modern. These restora- tions are poor in design, and weak and bad in colour — the work of an artist recently dead, who is buried at the E. end, and to whom has been erected a tablet describing him as the restorer of a lost art. Two of the great pillars supporting the octagon, between which you enter the choir, are encircled by pulpits partly of bronze, begun by the directions of San Carlo, and completed by his nephew, Cardinal Frederigo Borromeo. These are covered with basso-rilievos {Andrea PelUzone), and rest on colossal caryatides, representing the symbols of the four Evangelists, and the foim Doctors of the Church, St. G-regory, St. Jerome, St. Ambrose, and St. Augustine, (modelled by JBram- hilla^ and cast by Busca,) bending and spreading forwards to support the superstructiu’e. Behind the altar are seen the three gigantic windows of the eastern apsis. The best time of day for contemplating this scene is when the morning sun is streaming through the eastern windows. The effect of the brilliant background is much heightened by the dark gigantic bronzes of the pulpits. Pendant in the vaulting of the octagon over the altar, is a reliquary, said to contain one of the nails of the cross, wliich annually, on the feast of the Invention of the Holy Cross (3rd May), is exposed upon the altar, and carried in solemn procession through the city. “With some feeling of disappoint- ment, from having heard so much of this building, it was impossible not to acknowledge the sublime effect of the interior. The first particulars which strike you on passing to the interior are, that it is dark and gloomy, and that the leading fines are very much interrupted by the slu'ines intro- duced in the capitals of the piers, which injure also the apparent solidity of the building. “ The style does not correspond with any of our English modes of pointed architecture. The vaulting is simple, without any branching ribs, or any ridge-piece ; it is so much super- u 2 148 Boute 20. — Milan — Dmmo — Interior. Sect. III. vaulted, that each bay appears to be the portion of a dome ; and the dis- position of the materials in concentric circles, or in portions of such circles, makes me believe that this is nearly the case. The windows of the cleres- tory are extremely small and insigni- ficant ; those of the side aisles are long and narrow. They are orna- mented with quatrefoils : but a di- vision of the height into two parts by arched ribs, which have not precisely the effect of transoms, because they do not cross the window at the same level, indicate a very different period of taste from that of the rose and quatrefoil heads in France and Eng- land, The lower part of the capitals has something of the running foliage of the 14th centy. in England : but tlie shrine-work which forms the upper part is perfectly unique ; at least, I know notliing parallel, either in the work itself, on in the manner it is here introduced. The bases and the plans of the pillars are equally anomalous, and I think' any person would be baffled in attempting to determine the date from the architecture, only he might safely decide that it could not be very early. The smallness of the upper windows produces a gloomy appear- ance and oppressive feeling, like that of the cavern style of architecture in the 8. of France, with which it has nothing else in common.” — Woods' Letters of an Architect. To point out in detail the more re- markable objects to be seen in the Duomo, beginning at the western end and on the rt.-hand side : — First comes the monument of Marco Carelli, a benefactor of the Duomo, a work of A.D. 1394, It is an altar-tomb, with small figures in niches, K^ext comes the altar of St. Agatha, with a picture of Frederic Zuccaro ; then that of St. John the Evangelist, by Melchior Gherardini. In the next is a picture of Fiammenghino. These altars were erected in the time of the Borromei. According to the strict Ambrosian rite, there ought, as in the Grreek Church, to be only one altar in the church, and the Duomo was planned accordingly. Other altars have been introduced, but there are fewer than is usual in Eomish plaees of worship ; and the chapels are much less promi- nent than in other similar buildings. Close to the angle of the aisle and transept is the tomb of Giovanni Giacomo de' Medici^ Marquis of Ma- rignano (d. 1555), and uncle of San Carlo, executed in bronze by Leon Leoni, and said by Vasari to have been designed by Michael Angelo. The principal statue of Medici is not unworthy in its general design of the great master who is supposed to have sketclied it. The others are inferior ; the architeetural portion is indifferent. The columns, which are of rich marble, are disproportioned. This Medici, often called il Medichino, was in no wise related to the Medici of Florence, Above this tomb is a very splendid window, in which the armorial bear- ings of the deceased are introduced. At the end of the southern transept is the chapel of San Griovauni Bono. The pilasters of the entrance, and tlie archivolt, are covered with exceed- ingly elaborate basso-rilievos by Si- monetta, San Petro^ Zarabaita^ Pru- nett% Btissola^ and others. The figures of Justice and Temperance, by Lismara, are good, but the cliief merit is rather to be found in the exuberance of composition and high finish of the groups and tablets — of which some are taken from the hfe of San Giovanni Bono. The statue of the Guardian Angel is by Puzzi, that of St. Michael by Giovanni Milanti. At the side is the entrance to the subteiTanean passage to the archbishop’s palace, and to the stair- case which leads to the roof. Next is the altar of the Presentation of the Virgin, by Pambaja (1510), who has attem23ted a difficidt rej)resentation of ]oerspective in sculpture. The tomb of Giovanni Andrea Fimercati, a canon of the cathedral, has some fine heads by Pambaja (about 1537-48), marked by strong expression. The Martyrdom of San Apollonia, Austrian Dom. Route 20. — Milan — Duomo — Interior. 149 by iErcole Trocaccm% is rather injured. The statues of San Satiro, by Cac- ciatori^ and St. Ambrose, by Gaetano Monti^ were placed here in 1842. Entering the continuation of the aisle running round at the back of the choir, on the rt. hand is the entrance to the southern sacristy through an I elaborate Grothic doorway, composed of foliage intermixed with imagery. Then comes a sitting statue of Pope Martin V. (Ottone Colonna), by Jaco- pino di Tradate, placed upon an ela- i borate bracket, m a very rich Gothic frame, and erected by Filippo Maria Visconti, to commemorate the con- 1 secration of the high altar by that j pontiff. This pope, in 1417, termi- nated the great schism of Rome and I Avignon. A very long and inflated jeulogium is engraved under the statue. jThe couplet sung by the chikfren of Florence, when he arrived for the I purpose of presiding in the council, will be more easily recollected. — *'^Papa Martino : non vale un quat- trinoP The tomb of Cardinal Caracciolo, governor of Milan (d. 1538), also by Bambaja, is striking in its general effect. Near to this is the much jeelebrated statue of St. Bartholomew, formerly on the exterior of the cathe- ^Iral, and vaunted rather above its ! leserts. The inscription, “ Non me Praxiteles^ sed Marcus finxit Aerates,” |idopted from an epigram in the Greek i jinthology, was borrowed by Horace c {Walpole, and engraved beneath a pro- ' lluction of the ingenious Mrs. Hamer, I E Strawberry Hill, for which purpose is almost as good as new. In the apsis beneath the great window is a tablet of marble, th a monogram of very high anti- ity, called the “ Chrisma Sancti nbrosii” and which contains the A Aid n, together with other symbols, iome suppose it to be a Gnostic lonument. There is also, under the entral window, engraved on a marble ablet, a long list of relics of saints, ngers, toes, teeth, &c., possessed by lis church. The tomb of Ottone Visconti^ Arch- bishop and Signore of Milan (d. 1295), is earlier than the foundation of the present building. It is striking fi-om its singularity of form and colom% being formed of bright orange-coloured marble, and supported by columns of the same stone. He left his moveable goods and chattels to the knights of St. John, who erected this mausoleum, but he transmitted his power to his nepliew Mateo, in whose lineage it continued till the accession of the Sforza dynasty. (See Como and Desio, pp. 132, 134.) The same tomb, by a singrdar economy, serves as the me- morial of the Archbishop Giovanni Visconti (d. 1354), who also united in his person the temporal and spiritual supremacy of Milan. Immediately above this tomb is the statue of Pope Pius IV. (1559-1565), a Milanese Medici, being the brother of the Marquis of Marignano ; blamed for the partiahty which he showed to his kinsmen (a usual failing in popes), but which, in his case, was compen- sated by the promotion of his truly holy nephew, San Carlo. The statue is by Angelo de Manius, a Sicilian (1560), whose name is scarcely known even among the Itahans. The semi- Gothic bracket, or console, which supports it, by Bramhilla^ is full of elegant fancy in the groups wliich com- pose it. There is a monument to three Arch- bishops Arcimboli. Inscriptions upon six tablets of white marble commemorate various members of the Sforza family, whose remains were strangely enclosed in coffins, and suspended by chains from the roof ; they were removed by San Carlo. Tablets are seen in this and other churches of Milan defaced ; it was done during the tlrree years’ republic. The circuit wall of the choir, towards the aisles, is covered with basso- rilievos, representing the history of the Virgin in a grand style. The subjects are divided into compartments by angels, whose attitudes are finely varied. In the N. transept, after a Gothic 150 JRoute 20. — Milan — Duomo — Interior. Sect. III. altar-piece from the demolished chm*ch of St. Tecla, comes the altar of Sau Prassede, ■with a bas-rehef of Marc Antonio JPrestinari. The Annimciatiou is a copy of that of Giotto at Florence. The chapel at the end of the transept contains some fine bas-rehefs, and a statue of the Madonna, by Buzzi, -vAdiich is called delV alhero^ from the splendid bronze candelabrum which stands be- fore it, the gift in 1562 of Giovanni Battista Trivulzio, archpriest of the cathedral. In the chapel of St. Catherine the altar is delicately exe- cuted in a Gothic style. The Ar- chinto monument is also fine. In the altars wliich come next, the picture of St. Ambrose absolving Theodosius is by F. Baroccio, and the Sposalizio is by F. Zuccaro. Then follows a crucifix which was carried about the city, before St. Carlo, dm’ing the time of the plague. Two modern statues, St. Martha, by Cacciatore, and St. Magdalen, by 3Ionti, have been placed in front of it. The next altar, founded in 1480, was restored in 1832, and contains a bas-relief by Marchesi. The Baptistery, by Bellegrini^ is a small square temple supported by four small columns of macchia-veccliia. It is not in accordance with the rvdes of ancient architecture, and has been much criticised. It contains an an- cient labrum, from a bath of the lower Empire, used as a font, the Ambro- sian ritual requiring baptism by im- mersion. There is one very much like it at Metz in Lorraine. The choir was designed by Bdle- grini. Witiiin are richly carved stalls of walnut, with bas-reliefs, represent- ing the histoi'y of St. Augustine and St. Ambrose. The organ-cases are rich with gilded carving and paint- ings of Figini, Camiillo^ Procaccini, and Giuseppe Meda. The galleries for the choristers are of the same character. On the high altar, under a small temple of bronze, is a magnificent tabernacle of gilt bronze, adorned with our Saviour and the Twelve Apostles and reliefs, the work of the Solari, and the gift of Pius IV. A Gothic candelabrum of wood covered with metal hangs from the roof of the choir, to cany the paschal candle. Beneath the chofr is the lower church or croft, in which service is celebrated during the winter season, as bemg more comfortable and warm than the vast choir above. This lower chiu’ch is from the designs of Pellegrini, From this is the entrance into the chapel (sciu’olo) of St. Carlo, rebuilt in 1817, from the designs of Pietro Pestagalli, in the form of a lengtliened octagon. An opening in the pave- ment of the chiu’ch above admits hght, yet not sufficiently to allow the objects in the chapel being seen with- out the aid of tapers. The walls of this subterranean chapel are covered with 8 oval bas-rehefs, in silver gilt, representuig the principal events of the life of the saint, viz — The Bfrth of San Carlo ; his presiding at the Provincial Council of Milan (1505), in which canons were enacted vfrtually protesthig against some of the worst abuses of the K-oman Church ; San Carlo’s distribution to the poor of the proceeds of the sale of the princi- pality of Oria. He had a life-interest in this domain, whieh he sold for 40,000 crowns ; and he ordered his almoner to distribute it amongst the poor and the hospitals of his diocese. The almoner made out a list of the items, how the donations were to be bestowed, which, when added up, amounted to 42,000 crowns. But when lie found out the mistake, he began to revise the figures. “ Nay,” said San Carlo, “ let it reinain for their benefit and the Avhole was distributed in one day. — San Carlo’s administration of the Sacrament dur- ing the great plague. — The attempt made to murder liim. San Carlo had laboured to introduce salutary reforms into the order of Mumiliati, whose scandalous mode of living had given great offence. So prevalent was the practice of assassination, that some ; members of the order entered into a, conspiracy to murder him. A priest i named Farina engaged to execute the deed ; and it adds to the atrocity Austrian Dom. Route 20 . — Milan — Duomo — Sacristy. lol of the crime that he had not even the excuse of passion, having been hired for money. Farina gained access to the private chapel; and as San Carlo was kneeling before the altar, he fired at him point blank with an arquebuse. At this moment they were singing the verse, “Let not your heart be troubled, neither be ye afraid.” The bullet struck San Carlo on the back, but it did not penetrate his silken and embroidered cope, and dropped harm- less on the ground ; and the failure of the attempt was considered as an evident interposition of Providence. San Carlo continued in prayer, while all around him were in consternation. The assassin escaped for a time, but was ultimately executed, though San Carlo endeavoured to save hun. — The gi'eat translation of relics effected by him. — The death of San Carlo. He died 4th November, 1584, aged 46 years, his life having been unques- tionably shortened by his austerities. — His reception into Paradise. These tablets are sui’rounded by fanciful ornaments. Thus (e. gi) round a tablet given by the money-changers are cornucopias pom'ing out money, the coins being real golden florins, pistoles, ducats, &c., fastened together by wire, or some similar contrivance. J ewels, crosses, rings, and other votive gifts are hung around : some are very recent. The body of the saint is deposited in a gorgeous shrine of gold and gilded silver, the gift of Philip IV. of Spain. The front is lowered by a windlass, and displays the corpse dressed in full pontificals, mitre, cope, sandals, gloves, and ring, reposing in an inner slirine, or coffin, and seen through panes of rock crj^stal. These jiuncs are so large as to excite some doubt whether they arc not of very fine glass, and whether tlie manufacturers of INfurano may not have furnished the material supposed to be the pro- duction of nature. The skill of modem cmbalmers has not been able to jircservc the body from decay. The brown and slirivelled llcsli of tlie mouldering countenance scarcely co- vers the bone ; the head is all but a skull, and the face, alone uncovered, offers a touching aspect amidst the splendid robes and ornaments in which the figiu’e is shrouded. Upon the sarcophagus, and all around, worked upon the rich arras, is repeated in golden letters San Carlo’s favourite motto, HumilitasS which long before his time had been borne on their shield by the Borromeo family. On the anniversary of this saint (Nov. 4.) larges pictures are suspended between the piUars of the transepts and nav^, representing the events of his life and the miracles which he is supposed to have performed. The principal or southern sacristy contains some objects of interest, the remains of a much larger collection. Amongst the objects most deserving of notice are the following : — The iEvangelisterium, a cover richly worked in enamel, and containing a MS. copy of the Grospels, from which the arch- bishop reads portions on certain high festivals. It was given to the Duomo by Archbishop Eribert, 1018, but is probably of much older date than his time ; the workmanship of the enamel appearing to be of the Carlovingian era. A small vessel of ivory^ which, as the custode tells you, belonged to St. A m brose. This, ornamented with whole-length figiu’es, the Virgin and Child, and the Evangelists, is placed beneath Bomanesque arches. It was given to the cliurch by Archbishop Godfrey, a.d. 978. Two diptychs of the Lower Empire, of good workmanship, containing com- partments from the history of our Lord ; Greek inscriptions, not all cor- rect in tlieir orthography, and one almost inexplicable. Full-length sialues of St. Ambrose and San Carlo Borromeo, of silver. Tlie first was given by tlie city in 1698, and was the work of Scarpo- Ictti, and twenty other goldsmitlis. Tlicre are small statues of gold in the pastoral staff, and events in tlie history of tlie saint are delineated on bis elia- suble. The statue of San Carlo was given by the goldsmiths in 1610. 152 Route 20. — Milan — Ambrosian Ritual, Sect. III. Several busts of the same material and character. A mitre, said to have been worn by San Carlo during the pestilence. It is embroidered with the brightest feathers, and was probably brought from some of the Spanish American convents. There are also some splendid speci- mens of modern jewellery, particularly a Pax, by Caradosso, the gift of Pius IV. It contains many figures ; the principal group represents a De- position from the Cross ; the figimes are worked with the utmost delicacy. Ambroglo Abpjpa, nicknamed Caradosso, was a Milanese, the contemporary of Cellini, and he earned the deserved praise of the jealous Tuscan. He also professed as a die-sinker, in which art he excelled, and as an architect. Poppa Avas not handsome : and a Spanish grandee having in contempt called him “ Cara d’osso,” or Bear’s face, he very innocently adopted the name, without understanding it, perhaps thinking it a comphment (just as the Cadiz captain told Baretti that in England he was always in a friendly way called JEspani- monqui), and it entirely superseded his proper name. We have incidentally adverted to the Ambrosian ritual. It is in the West almost the only national liturgy which has been spared by the Homan Chmch, and is probably much older than the Homan Liturgy. The Pito or Culto Ambrogiano is in use throughout the whole of the ancient archbishopric of Milan. Several attempts have been made to mtroduce the Homan service in its place, but they have been foiled by the attachment of the clergy and people to their ancient rites ; and even in the present age “ noi Ambrogiani" is an expression employed with a certain warmth of national feeling. The ser- vice is longer than the Homan service. The Scriptures are not read from the Vulgate, but from the ancient version called the Italica, which preceded that made by St. Jerome. No musical in- strument is permitted except the organ ; the melodies of modern music are rarely introduced, and the monotonous chant maintains its supremacy. There are many minor differences in the ”ceremo- nies which are anxiously retained, ex- tending even to the shape of the censers j or turiboli. A species of tunnel connects the Duomo with the ArcJdepiscopal Palace. Annexed to it is a workshop belonging to the fabric, in Avhich is tlie model, or rather the wreck of the model, of one of the plans for completing the front of the Duomo. It is so large that a man can stand up in it ; but it is sadly broken and neglected. According to this plan the front would have had a noble portal of Gothic arches, not un- like Peterborough, and much more ap- propriate than the present front. There are many churches besides the cathedral deserving notice. Many are highly interesting from being works of considerable antiquity, and specimens of early styles ; or from their connexion with the events recorded in history ; or for the works, more especially in fresco, which they contain. As antiquities, however, some of them have lost them interest by being modernized, particu- larly the inside ; and this seems to have : been done very much at one period, \ probably about the time of St, Charles. The notices of such of the churches as seem worthy of being examined are here arranged according to the divisions of the city, by reference to its gates. All those which stand in one ward or division are placed together, beginning with those in the Porta Orientate divi- sion, and proceeding round the centre of the city from E. to W. CHTJECHES OE THE POETA OEIENTALE. i San Carlo Borromeo, built by con tributions raised amongst the inhabit' ants of Milan after the first invasion o the cholera, from the designs of Amatr i It is a very extensive building, with fore-court or atrium, and a rich Corin thian portico. The first stone was lab on the 29th of Dec. 1838. The dia meter is 105 ft. ; the height 119 fi 10 in., and with the lantern 149 fi 7 in., dimensions greater than thos i of the churches of Possagno, Ghisalb; , and Turin, built on a similar desigi j I Austrian Dom. i?. 20 . — Milan — Churches of the Porta Orientale. 153 and inferior only to those of the Pan- theon, from which it differs by having- chapels. In one of these is to be placed a group of 9 figures larger than life, by Marchess called the Yenerdi Santo. The old church of the Servi near it con- tains some good paintings of Niivolo7ie, of Borgogno7ie^ Cresps and the Magi, by Luini. In the second chapel is a lunette in fresco, said to be the work of Gaudenzio Fe^'rari. Sta. Maria della Passione. Opposite to the end of the Stradone, and between the Porta Orientale and Porta Tosa, stands tliis church, bearing this inscrip- tion : “ Amori ed dolori Sacrum.” It was, together with the adjoining mo- nastery, formerly belonging to tlie La- teral! Canons, built by Daniel Birago^ a Milanese, Archbishop of Mytilene, in 1485. The fine cupola was raised in 1530, from the design of Solaro, called “ II Gobbo.” Its height from the pave- ment is 160 ft. The facade was added in 1692. It is heavy and overloaded, but contains 3 fine bas-reliefs. The Scourging of om* Lord — the Crowning with Thorns — the Entombment. The Ulterior is divided into a nave and two aisles, and the original design of a Greek cross has been altered into a Latin cross, with 8 chapels in each aisle. The length of the church is 318 ft., its width 78 ft., and including the chapels 136 ft. On the rt. hand, at the end of the transept, is a Crucifixion, by G. Campi ; the roof above it is painted in fresco, by his brother Antonio-, near tliis are the tombs of the two Biraghi, a work of AndreaFusina, rising in 3 di- visions. It bears his signature and date, “ AndreeeEusuise, opus, mcccclxxxxv,” and is the only specimen which can certainly be attributed to this artist, almost unknown, but who was amongst the best sculptors of Lombardy. Cicog- nara, speaking of this monument, says, “ its general proportions, the grace of its ornaments, the beauty of the several parts, all are in the best taste and the utmost elegance.” On the 1. hand the baptistery contains the supper of San Carlo, by Daniel Crespi ; the first cliapcl, a St. Ubaldo, by Bianchi; the fifth, a St, Francis, by Camillo Procac- cini; the last, Christ going to Calvary, a work of the school of da Vinci. In the principal chapel is a Last Supper by Gaudenzio Ferrari, and Christ in the Garden, one of the best works of Salmeggia. The Flagellation, the Be- surrection, and the long pictures on the pilasters of the high altar are also by him. Much expense has been bestowed upon the high altar ; the ciborium is of pietra dura ; and behind it is a paint- ing, almost a miniature, upon marble, by Camillo Procaccino, representing the Deposition of our Lord. The principal ornament, however, is the altar-piece, by B. Luini, in his first manner ; it is a Pietd, of which the arrangement is rather singular. The Virgin is bending over the body, the other Marys on either side ; each of the 3 in a different atti- tude, all expressive of grief The doors of the organ are painted in chiar’-oscin-o by Crespi and Carlo Urhino. Those on the rt.-hand side are by Urhino. By Crespi also are the small pictm’es of the Foiu- Doctors of the Chiu-ch, and the 8 pictures fixed to the great pillars, and representing the History of our Lord’s Passion. The interior of the cupola is painted by Panjilo Nuvolo7ie. The sa- cristy is a noble apartment. In the lunettes are paintings of the saints and prelates who have belonged to the order ; and tlie Sacristan will not be satisfied unless you look at the very beautiful parements d'autel, worked by the young ladies of the Guastalla esta- blishment, a great pension for noble families. Here is the monument placed by Trissino over the grave of his in- structor, Demetrms Chalcondyles, one of the learned Greeks who, lingermg to ‘the last amidst the crash of their ruined empire, found a refuge “ in hospitable and admh'ing Italy.” The monastery connected with this church has, since 1808, been occupied by the Conservatorio di Musica, Saoi) Pietro in Gessate (just out of the Borgo di Porta Tosa). The latter word of this name is that of a family who founded here a monastery for the Umiliati, which, in 1436, was trans- ferred to the Maurini. The interior, consisting of a nave and two aisles, H 3 154 Route 20. — Milan — Churches. Sect. III. witli Grotliic arclies supported by mo- nolith columns, preserves its original construction unaltered. The date of the present arrangement of the choir is 1640. In the third chapel, on the rt., is a Madonna of L-idni. D. Crespi painted the S. Mauro, to whom persons afflicted with the sciatica made and performed vows in this church. The actions of the saint at the sides are by Moncalvo. The frescoes in the last chapel but one, on the l.-hand side, re- presenting St. Ambrose as pro-consid, and as archbisliop, are attributed to B. Zenale and B. Buttinoni of Trevig- lio. The Madonna, in the middle of six compartments of very ancient paint- ing, is by Bramantino or Vincenzio Foppa, The monastery adjoining this church was erected in 1509, and is in the style of the school of Bramante : it has 2 cloisters, with Doric columns, with arches and a frieze of brick. It is now used as an Orphan Asylum. SaF Stefmio in Broglio, a very an- cient basilica, rebuilt by Archbishop Yisconti, the successor of San Carlo, and completed by Cardinal Federigo Borromeo. It was also called St. Zac- caria alia Buota^ from a species of wheel of terra-cotta, with the inscription “ Bota sanguinis jiclelium., ” formerly fixed against a pillar, and afterwards deposited in the sacristy ; but recently it has been again concealed or removed. Perhaps from the fear of exciting ridi- crde or scepticism, the Boman Catholic priests are often very shy of showing similar objects. Near the pillar is a species of rude urn, now buried in the pavement up to its rim, and covered Avith a grating. This is called the “ Pietra degli innocehti.” Who the innocents were is a subject of great dis- cussion, and so also with respect to the “ rota:” some say it commemorates the martyrdoms in the earliest ages of the Church. In the modern history of Milan an important fact is connected with the “ Pietra degli innocenti.” Hard by perished one to whom that name did not apply, Graleazzo Maria Sforza, slain De- cember 26, 1476, by the three conspira- tors — Carlo Yisconti, Grirolamo Olgeato, and Griovann’ Andrea Lampugnano. They were instigated by Cola Montano, a man of letters, who, fanaticised by the study of ancient history, urged his dis- ciples — and he had many — to imitate the examples of those who had perished in the extirpation of tyranny. Graleazzo, besides all the ordinary and extraordi- nary vices of a despot, was possessed by that demoniacal insanity of cruelty which seems to have been a permanent moral epidemy amongst the Itahan , sovereigns. This church was judiciously restored in 1829. The statue in bronze on the rt.-hand within the chm'ch stood, until 1801, in the piazza in front of the church. The rich Corinthian chapel to the rt. of the high altar was built by Cardinal Trivulzio, governor of Milan, 1656: it was restored in 1844. The baptistery has been lately fitted up with modern stained glass by Oldrino, a ma- nufactm-er in Milan. The ancient cam- panile having fallen down, the present one was built in 1642 : its height is 146 ft. Close to, and at right angles with, St. Stefano, stands San' Bernardino del Monte^ a small sepulchral chapel, entirely walled with skidls and bones symmetrically dis- posed. Some say that tliey are the re- mains of the Catholics slain by the Arians in the time of St. Ambrose. They are not, however, considered as relics ; and the exhibition of these gloomy tokens of mortality is merely intended to excite devotional feehngs. Even in our present age this end seems to be obtained ; and the dark and awful sanctuary is always crowded with an earnest congregation, principally, yet not wholly, composed of the lower orders. The oblations to masses amount an- nually to 10,000, and in the year of the cholera were 14,000. The open space befoi'e these two last- mentioned churches is the Yerzaro, i. e. the market for vegetables (verzee) and fish. CHFECHES OF THE PORTA EOMAHA. San Satiro, in the Contrada del Fal- cone, surrormded by houses, is without Austrian Dom. R. 20 — Milan — Churches of the Porta Romana. 155 facade or choir, hut is considered a very graceful building. The original church was built in 869 by Archbishop An- spertus on the site of his own house : the only remains of this is the chapel in the l.-hand transept, with four columns of different materials and dimensions, and with different capitals, all taken from earher buildings, as w'as then usual. The present church was buUt about 1480. It was intended to be in the usual shape of a Latin cross ; but, from want of space, the chofr is want- ing, and its place is supplied by a per- spective painted on the waU. This painting is as old as the church, but it has lately been retouched and refreshed. It can hardly be called a work of art, but, as a tidck, the deception is mar- vellous. Annexed to the chui’ch is a small octagon sacristy, by Bramante : it is highly praised by Yasari. The bas-reliefs, arabesques, and seulpture, are by Caradosso^ and are very beau- tiful. San Sejpolcro (close to the Ambrosian I hbrary) retains its ancient towers built i in the 11th century ; the rest is modern. It contains an excellent Imin% our Lord crowned with Thorns. Many other figures are introduced ; perhaps the members of some pious fraternity or guild. This church was the centime of the congregation of the Oblati, a body of priests foimded by San Carlo, ui order that they might, by strieter lives and more exemplary performance of their duties, check the Protestant Re- formation. The congregation has now ceased to exist. San Nazaro maggiore^ in the Corso di Porta Romana. This basilica was founded by St. Ambrose (a.d. 382), and dedicated to the 12 Apostles. It was burnt in 1075, enlarged upon its being rebuilt, and again by San Carlo : the two principal chapels were added in 1653. The most striking feature of the church is the vestibule by which it is entered. This is the sepulchral chapel of tiic Trivulzii, wliich contains a most interesting series of monuments of this illustrious family. They are remark- ably si)n})le, figures as large as life, in the armour, dress, and garb of the times, true portraits in marble, reposing upon their sarcophagi, — Antonio (d. 1454), the father of the great Trivulzio, who, upon the death of the last Sforza, tmned the dubious scale in favour of the Vis- conti. — The great G-ian’ Griacomo, (died 1518,) Marqiiess of Yigevano, his laurel- crowned head piUowed upon his corslet, with the inscription “Johannes Jaco- bus Magnus Tinvul tins Antonii filius, qui nunquam quievit quiescit, tace.” This w'as the Trivulzio who, banished from Milan, returnedat the head of the French army, and may be said to have been the main cause of the nun of his country. Those who had profited by his treason respected him not : an affront received from Lautrec led him, at the age of 80 years, and in the depth of the winter, to seek an audience of the heartless Francis I. It was denied. Trivulzio placed himself in the way of the king. “ Sire,” said he, “ hear a man who has been 40 years in the service of your crown, and who has fought 18 battles against yom’ enemies.” The “ chival- rous monarch ” passed on. Trivulzio sank under fatigue and anxiety, and fell sick. The “ gallant monarch, ” the “ father of letters,” &c. &c., sent a “ gracious message” to the old broken- hearted warrior ; but he died a few days after ; and was buried, as the French say, at Bourg de Chartres, near Mont Clery. The marechal was the founder of the ehapel ; and if he erected, as some beheve, his cenotaph in his life- time, it must become a question which kind of epitaphs are likely to be most true — those which others write for us, or those which we write for ourselves. That he endowed the chapel is eertain, as appears from an inscription yet re- maining. But his grandson seems to elaim the monument. — The two Avives of the Marquess, Margareta Colleoni, died 1488, and Beatrice d’ Avalos, sister of the Marquess of Pescara. — Gian’ Nicolo, died 1512, the only legitimate son of the Marquess ; as zealous as liis father in the interests of France, and wlio, liad lie lived, would probably have equalled him in militaiy fame. — Paula Gonzaga, the wife o(;‘ Giannicolo ; I]>]) 0 - lita, Luigi, and IMargherita — maiden, 156 Moute 20. — Milan — Churches of the Porta Pomana. Sect. III. boy, and infant, children of Giannicolo, all lying side by side ; and, lastly, Gian’ Francesco, died 1573, the son of Gian- nicolo, who served both Francis I. and Charles V., changing sides as was most convenient to him. It was he by whom these monuments were erected, as commemorated by him in an inscription which seems to apply to the whole series. All the monu- ments, however, are cenotaphs, the real place of sepulture being in the cata- combs below. The chapel is said to be designed by Hramante^ and altogether is one of the most remarkable of its kind in Milan. But the tombs are placed so high that you cannot make out the details, excepting by using an opera-glass. The church is strangely long and broad in its proportions. In the cupola and four spandrils are fres- coes by Vitale Sala. There is a very fine picture by Lanino in the church. A good fresco, representing the Mar- tyrdom of St,. Catherine, in the oratory of St. Caterina della Buota, adjoining the church, w'as executed by the same painter in 1546. In the principal com- partment, on the rt. hand, and near a pilaster, he has introduced himself be- tween Gaudenzio Ferrari, and Della Cerva. San Antonio Abate^ built in 1632, from the designs of F. Richini. It con- tains 7 chapels richly ornamented with marbles and paintings. The vaulting of the nave is painted in fresco, by Carlone ; the subjects relate to the Crucifixion and the Miracles of the Cross. The choir is painted in fresco, by Moncalm : the subjects are taken from the history of St. Paul the Hermit, and St. Anthony the patron saint. In the first chapel on the rt. liand the pic- ture of St. Andrea Avellino is by Cerano. The Nativity, in the 2nd chapel, is by R. Cam'pi^ and another fui’ther on by one of tlie Caraeci. In the principal chapel on the 1., Christ bearing his Cross is by Palma Giovane. In the chapel of the Annunciation are various works of G. C. Procaccini, St. Fufemia, in the Corso di San Celso, with an Ionic vestibule, contains a picture of Marco d’Oggiono. The death of St, Eufemia is asserted to be by Titian. On the S. side of the open space in front of St. Eufemia stands S. Paolo. The side towards the piazza, with Co- rinthian pillars above coupled Doric, projecting two-thirds from the wall, is from the design oiAlessi., and is praised. The front, which is in bad taste, con- tains a bas-relief over the door, la Ma- donna di Loreto, in the tympanum, and some long perpendicular compartments with emblems, beautifully executed. The interior is divided transversely by a wall rising as high as the cornice, the fiu-ther part being occupied by the Augustin nuns called the Angeliche. San Celso, in the Borgo San Celso. In a field called “ ad tres moros ” St. Ambrose, in 396, discovered the bodies of St. Nazarus and Celsus, martyrs. St. Nazarus he dug up and deposited in the church of the Sant’ Apostoh : but over San Celso, wliom he let lie where he found him, he built a small church, which was afterwards enlarged and then restored in 1651. It is now partly destroyed. There remains the choir, an ancient painting in a lunette, and a door with ca23itals and symbolical ornaments of the 10th century. The campanile is of the 14th centmy. Sta. Maria 'presso San Celso. Avery S25lendid building, one of the richest and finest churches of Milan. According to tradition, St. Ambrose, on the spot on which he found the re- mains of St. Nazarus and St. Celsus, j)laced a j)icture of the Madonna, who, on the 30th December, 1483, ajojJeai'ed there. The miracle drew so many per- sons to the small church which had been built there in 1429 by Filipjio Maria, that it was resolved to erect a splendid church on the spot, and this was commenced in 1491 from the plans of Bramante. The front was begun by him, or, as others say, by Gohho Solaro, carried on and altered in 1572 by Mar- tin Bassi, and completed by Alessi of Perugia, to whom the present design is principally due. The sculj)tures of the facade are remarkable for beauty. The Adam and Eve, the Annunciation, and the bas-reliefs of the Adoration of the i 1 Austrian Dom. Route 20 . — Churches of the Porta Ticinese, 157 Magi and the Flight into Egypt, are by Stoldo Loreyizi, a Florentine. The rest are by Annibale Fortana, a Milanese They hved towards the latter half of the 16th century. The capitals of the columns of the interior are of bronze. The rich organ is decorated with 2 statues by Fontana, and supported by caryatides by Bassi. 12 statues stand round The 12-sided cupola. The pen- dants, and the lunettes beneath, were painted by Appiani in 1797. Below these is a statue of St. John the Bap- tist, by Fontana, and two others by Lorenzi. The 4th space is occupied by the altar, in which the miracidous figure is preserved behind 2 small silver doors. The altar is rich in silver and gold, sculptured by Fontana. The wood- work of the stalls is by Taurini. Ac- cording to the original design there shordd only have been 2 altars, but several have been added. In the 1st on the rt. hand is a Deposition by Gr. C. Procaccini; the side pictures are by Nuvolone. Next is the Martyrdom of St. Nazarus and St. Celsus, also by G. C. Procaccini. They were beheaded at Milan, under Nero, a.d. 69. The mother of San Nazaro was Perpetua, who had received the faith from St. Peter. Under the altar is a sepulchral urn, with a bas-rehef of tlie 4th century. In the altar of the Crucifixion, the St. Jo- seph is by F. Procaccini. The Bap- tism in the Jordan which follows is by Gaudenzio Ferrari. In the principal chapel of the rt.- hand transept are, one fine, and some small pictures, by Paris Bordone. In the spaces of the Poscoro, or circuit behind the altar, it is difficult to see the pictures for want of light. The Besur- rection in the 1st is by A. Campi. The pictures in the 2nd, .3rd, and 5th, are by Carlo Urhino. St. Catherine in the 4th is by Cerano. St. Jerome in the 6th is by Calisto Piazza ; it is thought to be finely coloured. Tlie Conversion of St. Paul in the 7tli, by Moretio. In the principal chapel of the l.-hand transept tlie Assumption is by C. Pro- caccini. There is also a picture by Borejo^none. CHTJECHES OP THE PORTA TICINESE. 8: Alessandro. This church belonged to the Barnabites, by whom it was re- built in 1602, from a design of one of their order, Lorenzo Binaghi. The interior is very rich in painting and de- coration, without containing any work deservmg of being particidarly noted. The fagade, with its 2 campanile towers, is incomplete. The Barnabites, in 1723, established here, in emulation of the Jesuits, a college for noble fami- lies ; whence the neighbouring street acquired the name of Contrada dei Nobili. San Giovanni in Conca, shut up and desecrated. The front exhibits a re- markably cimious mixture of the circu- lar and pointed styles. Here are the monuments of the Visconti family. That of Bernabo has been removed to the Brera — a few fragments remain within it. It has a lofty campanile, fitted up as the observatory by the late Cavaliere Moscati. To the 1. of this church is what was the Casa Sforza ; on the rt., a house called Dei Cani, from the dogs which Bernabo Visconti kept there. S. Sebastiano. This church was built from the city funds and private donations, in consequence of a vowmade by the city during the plague. It was designed by Pellegrini, and S. Carlo laid the first stone on the 7th Septem- ber, 1577. It is a circular building : the lower part is Doric ; above this is an attic, on which rises a story in the Ionic order, supporting the cupola. The choir is octagonal, and has a sepa- rate cupola. It contains a Martyrdom of St. Sebastian, by Bramante, which has been retouched. S. Giorgio in Palazzo, in the Corsia to which it gives name, was founded m 750, by San Natale. The fagade was restored in 1800, by B. Ferrari. The interior in 1821, by Canonica. It has thus been much modernized. The fres- coes on the ceiling and in the choir, by S. Montulio, arc praised. It also con- tains a St. Jerome, by Gaudenzio Fer- rari, in the 2nd chapel on the rt. hand ; and a Deposition and Ecce Homo, in 158 Route 20. — Milan— San Lorenzo. Sect. III. the 3rd chapel on the same side, by Bernardino Lddni. S. Lorenzo. In the Corso di P. Ti- cinese, close to this chnrch, stand the Colonne di San Ijorenzo^ the only ves- tiges, with the exception of the sohtary pillar near San Ambrogio, of the archi- tectimal magnificence of Eoman Milan. They are 16 in nnmber, of the Corin- thian order, standing upon a continu- ous basement. Mouldering, fire-scathed, shattered by violence, these relics con- trast strangely with the bustle and vivacity of the street in which they stand. According to the earliest Mi- lanese historians, they are portions of the Temple of Hercules, built by Maxi- minian in honour of his tutelary deity. Modern antiquaries consider them as portions of the peristyle of the baths of Hercules, commemorated by Ausonius in the epigram to which we have before alluded. The constructions which can yet be traced in the adjoining church, and which were formerly much more extensive, render it most probable that those who contend — and the contest has been carried on with much vehe- mence — that the columns formed part of the baths, are in the right, unless the question be compromised by supposing that temple and baths were conjoined in one building. An inscription in honour of Lucius Verus, built into a pier, has evidently no concern with the columns, and another, containing the N. following letters, A. p., wliich is T. I. s. supposed to be a part of the original edifice, does not afford much explana- tion. The style is very evidently that of the Lower Empire, and they have been assigned to the 3rd century. The increased intercolumniation of the 8 columns on the 1. is an irregularity found in the contemporary palace at Spalatro. The ancient church of San Lorenzo fell down in 1573. It had previously sustained many mischances, particularly in 1071, when it was bmmt. It was by this fire that the columns were so much damaged. Pellegrini, the builder of the Escurial, a good painter as well as an architect, was em- ployed by San Carlo Borromeo to give the designs for the new structure, but they were partly altered by Martino Bassi. The interior of this basihca was rebuilt upon the ground-plan of San Jdtale, of Ravenna, and has 8 sides, 4 being filled by lofty arches enclosing recesses. The arches which fill the in- tervals are smaller ; 2 orders are used, the lower is Doi’ic, the higher Ionic. The larger arches are simmounted by a Doric cornice, which serves as the im- post to the cupola. The cupola is a regular octagon, but rises from a base of 8 unequal sides. The numerous pro- jections of the cornice are disagreeable, and the pendants of the smaller sides are heavy. On the rt. hand the basilica, communicates with the octagonal chapel of St. Aquilino, foimded by Adolphus, the King of the Groths and successor of Alaric, but who aspired to the glory of being the protector, not the destroyer, of Rome. In this chapel, which, ex- ceptuig the cupola, is ancient, is the very remarkable tomb of Adolphus (or Ataulphus), and of his wife Placidia, the sister of the Emperor Honorius, whose part in this eventful period of the history of the declining empire is that of the heroine of romance conquer- ing her victor by her charms. “ The professions of Adolphus were probably sincere ; and his attachment to the cause of the repubhc was secured by the ascendant which a Roman prin- cess had acquired over the heart and understanding of the barbarian king. Placidia, daughter of the great Theodo- sius, and of Gralla his second wife, had received a royal education in the palace of Constantinople ; but the eventfid story of her life is connected with the revolutions which agitated the westeim empire under the reign of her brother Honorius. Wlien Rome was first in- vested by the arms of Alaric, Placidia, who was then about 20 years of age, resided in the city. The victorious bar- barians detained, either as a hostage or a captive, the sister of Honorius ; but, while she was exposed to the disgrace of following round Italy the motions of a Gothic camp, she experienced, how- ever, a decent and respectful treatment. Austrian Dom. Route 20 . — Churches of the Porta Ticinese. 159 Tlie autliority of J ornandes, who praises the beauty of Placidia, may perhaps be counterbalanced by the silence, the ex- pressive silence, of her flatterers ; yet the splendour of her birth, the bloom of youth, the elegance of manners, and the dexterous insinuation which she con- descended to employ, made a deep im- pression on the mind of Adolphus ; and the Grothic king aspired to call himself the brother of the emperor. The minis- ters of Honorius rejected with disdain the proposal of aii alliance so injmdous to every sentiment of Roman pride; and repeatedly urged the restitution of Placidia, as an indispensable condition of the treaty of peace. But the daugh- ter of Theodosius submitted, without reluctance, to the conqueror, a young and valiant prince, who yielded “to Alaric in softness of nature, but who excelled in the more attractive quahties of grace and beauty.” — Gibbon. Both these tombs are without in- scriptions, in the ancient form of the sarcophagi of the Romans, but of very plain bold workmanship. The mono- gram of Christ — a descending dove — a species of Runic knot — are the only ornaments. In this chapel are two very early Christian mosaics, perhaps amongst the oldest existing specimens of Christian art. Our Lord in the midst of the Apostles — a fountain gushes from his feet as an emblem of the living waters : and the Sacrifice of Isaac. It is thought, and not without great pro- bability, that this building, which is an octagon, was originally one of the cham- bers of the ancient baths. The shrine of Saint Aquihnus, a rich specimen of pietra-dura work, stands in the centre. The entrance door of this chapel is of the lower empire, and covered with sculpture. In a chapel behind the choir of the basilica is the fine mausoleum erected by Gaspare Yisconti to Gio. Conti in 1538. In the 2 first altars on the 1. handtlie pictures are hj A. Laini. Tlie Baptism of our Saviour is pleasing. Tliere are also, lUrcole Procaccini, tlie i\Iartyrdom of Saints Ilippolytus and Cassianus. Morazzone, the Yisitation — a fine fresco, artist unknown, rejirc- senting the discovery of tlie body of St. Nataha. Round the court by which this basilica communicates with the Corso Ticinese are the residences of the canons. The design of these buildings, which were never completed, is attri- buted to Mangone. S. Ptistorgio, situated at the end of the Borgo di Cittadella, close to the Porta Ticinese. The suburb of the Porta Ticinese was first siuTOunded with a waU by the Yisconti, and called Cittadella, a name which thus remains. This church is one of the oldest in Mil^an, having been dedicated in the fourth century, a.d. 320, by the Arch- bishop Eustorgio, who deposited in it the bodies of the three magi, which had been made a present to him by the Emperor Constantine. It is one of the few remains of ancient Milan which escaped the destruction under Bar- barossa. After many vicissitudes it became a Dominican monastery. This order established themselves, and the tribunal of the Inquisition, here, in 1218. At their expense the church, or rather aggregation of churches, which is now called S. Eustorgio, was reduced to its present form by Tomaso Lorn- bardino. The campanile was built be- tween 1297 and 1309. The church was finally completed by F. Picidni. It is now rather dilapidated. As a repository of monuments it is, next to the cathedral, the most interesting in Milan, and peculiarly pointed out by Cicognara as worthy of more notice than they receive. All have sufiered more or less from Yandalism. Tlie ar- morial bearings have been defaced, the inscriptions chiseled out, displaying all the wantonness of mischief. In tlieir present state it is very diflicidt to make out to whom the tombs belong. In the first chapel on the rt. the tomb of Stefano Brivio (ob. 1485) is of very delicate cinque-cento work. It is said to be from a design of Bramante. The altar has a painting in thrc'e compart- ments by Borgognone : the subjects ai'c tlie Yirgin, the Infant Saviour, St. James and other Saints. On the next pilaster is a memorial to Gio. Marone, who established a school for 50 children in the convent. Then comes a marble 160 Route 20. — Milan — Churches of the Porta Ticinese. Sect. III. monument to a son of Gruido ToreUi of 1416. The side chapel of the Rosary is of the date of 1733. In the chapel of St. Thomas is the sarcophagus of Stefano Viscouti, son of Matteo Magno. It was erected towards the conclusion of the 13th centm'y. It is supported by eight spual columns resting on marble lions, with bas-relief remarkable for the age. In the adjoining chapel are the mausoleums of Uberto Visconti (brother of Matteo Magno) and of his wife. The chapel of St. Martin was built by the family of Torriano. The tomb of Martino Torriano is perhaps the only memorial left of that once power- ful family ; he died about 1262. The fine tomb of G-aspar Visconti exists, though mutilated, and the bearings upon the shields have been obhterated by the revolutionists ; but some traces of the insignia of the Order of the Garter may yet be discerned. Gaspar obtained this distinction in consequence of his having been repeatedly de- spatched to the court of Edward III., upon the negotiations for the matri- monial alliances effected or proposed between our Royal Family and the Visconti: he died about 1430. The tomb of Agnes, the wife of Gaspar, has been also much injured. It appears to have been taken down and the frag- ments rebuilt, but not exactly in their original position. The costume of the principal figiu'e is curious : slie holds an enormous rosary. Near the sacristy George Merula is interred, one of the learned men whom Lodovico Sforza, anxious to obtain popularity, invited to Milan, where he enjoyed an ample pension till the day of his death. Me- rula stood very high as a Latin scholar, and it is to him we owe the first edition of Plautus ; but letters did not sweeten his temper, which was a concentration of wormwood. He was the adversary of Pohtian and many other scholars, and maintained printing to be a bar- barous invention. Beneath the choir, which is much elevated, is an enormous sarcophagus, destitute of sculptures or inscriptions, which once held the relics of the three kings of the East. When we say that it has no inscription, we exclude a modern one in paint or dis- temper. At the approach of Frederick I Barbarossa the citizens removed the I relics from this church, which then I stood without the walls, to another, 1 deemed more secm’c. But in vain ; upon the fall of the city the rehcs be- came the trophies of the victor, and Archbishop Rainaldo, of Cologne, car- j ried them off to his own city. Oppo- site is a basso-rilievo representing the Nativity and the Arrival of the tlu’ee Magi, which, as appears from the chronicles of the monastery, was put up in 1347. It is supposed to have been executed by some of the scholars of Balduccio di Pisa. From the style of the capitals, this part of the church appears to be of the 9th or 10th cen- tury. A passage filled with epitaphs leads to the chapel of S. Pietro Martire, of Verona. It was erected to him by a Florentine, Pigello dd Portinari, in 1460, and in it has been placed the shrine or sepulclire of this saint, a work of Balduccio himself, which is an ex- ceedingly beautiful specimen of Tuscan : art. Cicognara considers it as a mas- ter-piece. Balduccio was one of the \ artists invited by Azzo Visconti for the ( adornment of his metropolis. The | general plan is like that of the shrine of the Confessor in Westminster Abbey, which, as is well known, was by a Flo- rentine artist ; a lower story, a base supported by eight beautiful columns, and the sepulclu’e above. Statues, full of simplicity, stand in the Gothic arches below ; the Doctors of the Church — St. Thomas and St. Eustorgius. More interesting to the stranger, be- cause more novel, are the allegorical representations of the Virtues. Beyond , ' the Alps such allegories are but rare ; not occurring very often in the Gothic ^ buildings of France, and still more sel- dom in England, but they are amongst I the peculiar characteristics of the Pisan school ; — Charity, — Faith, — F ortitude. — Prudence represented as having three faces, contemplating past, present, and future. — Hope looking upwards and grasping a nosegay of budding flowers. — Obedience holding a Bible. — Liber- Austrian Dom. Route 20. — Churches of the Porta VercelUna. 161 ality pouring fortli the liquor from her vase. On the tomb above are eight bas-reliefs, representing the life and miracles of San Pietro Martire. £al- ducci has subscribed his name and date to this monmnent, — “ Magister Johan- nes Balducci de Pisis, sculpsit hanc arcliam, anno Domini 1339.” The material is Carrara marble. A liheness of Pigello is presei'ved in an ancient painting above the door. Tlie high altar was erected by Uberto Yisconti in 1316. The nine bas-rchefs were added by Giiovanni Galeazzo. The ad- ditions to represent Mount Calvary were made in 1540. On the outside of the church is a brick pulpit, from which it is said that San Pietro Mar- tire preached to the multitude against the Cathari and other heresies which then abounded in Milan. It was a species of Paul’s Cross pulpit, or like that at Magdalen College. Fra’ Pietro did not, however, content himself with preaching, but worked out in practice what has been approvingly styled “ the theory of persecution.” Failing to con- vince his opponents by his arguments and miracles that the rehgion he pro- fessed was the true Apostolic faith, he had recourse to torture and executions to refute and exterminate those who differed from him in opinion. He exercised without mercy the office of inquisitor in the monastery of the Dominicans formerly attached to this church, and fell a victim quite as much to the fears as to the revenge of those t who slew him near Barlassina, 6th of I April, 1252. The church of Rome, in admiration of his principles and prac- tice, canonised him only 13 years after his death. The adjoining convent was, in 1798, tmmed into a barrack. CntTECUES OP THE POETA YEECELLINA. San Maurizio Maggiore^ called also Monasterio Maggiore, on account of its rich endowments and the numerous privileges bestowed upon it by King Desiderius and the Emperor Otho, is in the Corso di Porta Vercellina. It is said to stand upon the site of a temple of Jupiter, from whence the columns supporting the tribune of Sant’ Am- brogio were brought, and to have been one of the three buildings exempted by Barbarossa from the general destruc- tion of Milan. Of the building of that epoch, however, few traces remain, ex- cept in the two towers, the one round the other square (used as prisons for some of the Lombard martyrs), which are embellished with some coarse paint- ings and niches. One of the towers is traditionally asserted to have been one of the three hundred Roman towers which defended the city, and a frag- ment of Roman wall may be discovered in the monastery. The present con- struction is chiefly the work of Dolce- hono (1497-1506), a pupil of Bramante; the facade, however, is by Perovano (1565). The church is divided into two parts by a sohd screen reaching to the height of the principal cornice. The half which serves for public wor- ship is arranged in the same manner as the inner church, which belongs exclusively to the monastery. Great elegance of proportion is displayed in a triforium above a row of small chapels which are unconnected with each other, while the triforiiim leads round the whole chm*ch. The arcliitecture is of a refined Tuscan order, and Brarnan- tesque in the truest sense. The screen dividing the two churches is pamted on both sides by Luini, Antonio Cam'pi^ and Pietro Gnocclii. On the side to- wards the public church, the two lu- nettes, one representmg the donor of the paintings, the other his wife, each attended by four saints, are by Luini^ as are also the two frescoes over these lunettes. The rest of the frescoes on this side of the screen are by G. Per- rari. The groined ceiling above the altar of the inner church has some early frescoes, representmg Patriarchs, Pro- phets, &c., of which the artist is not known. The whole ceiling of the chureh, forming one long vault over both divisions, is jjainted in Gothic tracery, which is out of harmony with the rest of the building, and has not a good effect, particularly as the back- ground is painted black. Tlie decora- tions of tlie inner church are beaut i- fidly preserved : in the outer church 162 Route 20. — Milan — Churches of the Porta Vercellina, Sect. III. little remains of the original painting, as far as the ornamental part is con- cerned. The historical compositions covering the walls of both churches are rather in a good state of preserva- tion, and form almost a gallery of works of the best artists of the Lombard school. The principal painters em- ployed here were JBernardino and Au- relio Luini, G-audenzio Ferrari^ Calisto da Lodh Lamazzo, and Pietro Gnocchi. The St. Paul in the first chapel is as- signed to Lomazzo, and the deposition and the frescoes which surround it to Calisto. The convent is appropriated to the nuns of several suppressed con- vents ; and in order to inspect the inner church, the permission of the superior must be obtained, but a zwan- ziger will do as well. “ In S. Mau- rizio there are a number of frescoes by Luini I many of them are in his finest manner, and in some he rivals Titian in power and harmony of colomung, wliilst he surpasses him in purity of design. This great artist unquestion- ably exhibits far higher powers in fres- co than in oil : in fresco he is noble, dignified, and free, and has displayed a conception of beauty in his female heads that perhaps has never been sur- passed by any other artist. The fres- coes in 8 . Maurizio would have been in fine order had it not been for the barbarous hand of man : the blues have been scraped off for the value of the ultramarine, and so has the gold with which parts were touched.” — C. H. Wilson. “ In the inner church are — Marriage of Cana, and Flagellation of Clrrist, by Luini : exquisite.” — Mrs. J. Sanf Amlrogio. This basilica was founded by St. Ambrose, when Bishop of Milan, and dechcated by him, June 19th, 387, to the Martyrs St. Gerva- sius and Protasius, whose existence and relics he discovered so miraculously, and whose bones he transferred to this church. Posterity has transferred the dedication to the founder. This struc- tiu’e exhibits many of those arrange- ments which were dictated by the usages of the Church some ages after the time of our Savioiu*. In front is the atriiun, beyond whose precincts the catechumens were not to pass. As it now stands, it was built by Arch- bishop Anspertus (about 868-881), as appears from his epitaph in the chou\ It is, therefore, the most ancient me- diaeval structure in Milan. When re- paired in 1631 by the architect F. Pi- chini, by order of Cardinal Frederigo Borromeo, an operation rendered in- dispensable by its impending ruin, all its featimes were preserved without al- teration. “ The court in front is acknowledged to be of the 9th century, and the clnu’ch exhibits very much of the same style of art. This court is a parallelogram sur- rounded by arcades, having 3 arches at each end, and 6 on each side. On the side of the court next the church is a second story of arches of unequal heights, surmounted with a gable, the sloping side of which is enriched by little ornamental semich-cular arches, some formed on the sloping line en- tirely, some with a httle perpendicular appendage, and some springing on ho- rizontal lines ; nor need you be sur- prised at this diversity, since a similar irregularity of disposition has been ob- served in the modillions and dentils of the pediments in Boman architecture. These little arches run round the cor- nice of the court, and are almost the only ornament it has. The piers which support the arches of the court are formed each of two half- columns at- tached to an oblong pillar ; they are of stone, and have rude leafy capitals, with hardly any projection. The upper arches, and the central lower arch next the church, have the archivolts of stone, rudely but richly carved ; everything else is of brick. It appears from this description, that there is nothing in the details of the design, or in the execu- tion of this httle court, to demand our admiration; and yet it is exceedingly beautiful, from the mere simplicity and harmony of the general disposition. The tower is a square brick building ; the panels of which are marked by little shafts of stone, and finish at the top in rows of ornamental arches with- out intersections,” — Wood’s Letters of an Architect. Austeian Dom. Koute 20 . — Milan — Sant'' Ambrogio, 163 The architecture of Sant’ Ambrogio is Romanesque, but singularly rude, fragments of frescoes still remain on the walls of the atrimn, round wliich are arranged tombs, urns, altars, votive and sepulclu’al inscriptions, found in 1813, when tlie pavement of the Ba- silica was taken up and repaired. Some of the inscriptions are remarkable from the corruption of the Latin, exhibiting, perhaps, specimens of the colloquial dialect. Two small panels, — one at the top of each of the folding doors, — are shown as part of those which St. Ambrose closed against the Emperor Theodosius after his merciless slaughter of the inhabitants of Thessalonica. These rehcs are of cypress-wood, and, though not decayed, bear the marks of extreme age. The doors are ornamented with foliage and Scripture histories. The general costume and treatment of many of the figures is that of the Lower Einphe t they were executed most pro- bably in the 9th century, and were re- stored in 1750, when the two masks were added. As for the remarkable event to which the tradition refers, it took place at the gate of the Basilica Porziana, now called San Yittore al Corpo. With respect to the architecture of the interior, it was, like the atrium, Romanesque ; but in the 13th century pointed arches were built up under the circular arches which support the roof, i in order to strengthen them. [ The inside of the church was origin- ! ally divided on the plan into square I portions, each division having two j semicircidarly arched openings on each I side on the ground, and two above to I the gallery, and a vaulting of semicir- j cular groined arches. The two first I squares remain in this state, but the thhcl has two pointed groins spi’inging from a lower point ; the strong ribs which separate the squares unite like- wise in a point. The fourth square is tliat of the lantern, which, from the external appearance, is probably an addition of the 13th century ; within it is entirely modernised. Tliere is no transept. Tlie parallel walls of the buikUng continue a little beyond the lantern, and the building terminates in an ancient niche or apsis. At the upper end is seen the Baldachino over the high altar, glittering with ultra- marine and gold, and supported by four columns of porphyry. Here the bodies of St. Ambrose and of Saints Gervasius and Protasius are deposited. But the great curiosity of the Basilica is the splendid facing of the altar, which is the most remarkable monu- ment of metallurgic art of the middle ages now subsisting. It was presented by j!^rchbishop Angilbertus II. (about 832), and its interest is increased by the preservation of the name of the artist “ Wolvinus,” who describes him- self as “ Magister Eaber,” or Master Smith, just as the famous “Wieland” is styled Meister Schmiecl in the Nie- belungen lay. His name seems to in- dicate that he was of Teutonic race — a chcumstance which has excited much controversy amongst the modern Ita- lian antiquaries. The front of the altar is of plates of gold ; the back and sides are of plates of silver, aU richly enamelled and set with precious stones : the latter are all rough, at least not polished according to our present mode. The golden front is in three great compartments, each containing smaller tablets : in the centre compart- ment are eight, containing om' Lord, the emblems of the Four Evangelists, and the Twelve Apostles. The two lateral compartments contain the ]irin- cipal events of the life of our Lord. The Transfiguration is represented ac- cording to the type followed, without any variation, in all the early Greek and in most of the Latin delineations of that miracle. The sides and the back of the altar, which are of silver, enamelled and gilt, though less valuable in material, are perhaps more beautiful than the front, from the greater variety of colour which they exhibit. The basso-rilievos on them arc the follow- ing (we add the descriptions, because the inscriptions are not easily read, and the Valet de Place, as well as the Custode, explains them ad Ublhim) : — L.-haiid side. Eight angels bearing vials ; four whole-length figures, not 164 Route 20.- — Milan — Churches of the Porta Vercellina. Sect. III. appropriated ; and four medallions, re- presenting St. Ambrose, St. Simplicia- nus, St. Gervasius, and St. Protasius. Rt.-hand side. The four archangels, Michael, Grabriel, Raphael, and Uriel. Four angels with vials, and four saints, St. Martin, St. Maternus, St. Nabor, who suffered martyrdom with St. Fe- lix, at Milan, a.d. 304, and St. Na- zarius. But the back is the most interesting part, for here the Archbishop Angil- bert caused to be represented the prin- cipal events of the life of St. Ambrose, and here the artist has left his por- traiture. Like the front, it consists of three grand compartments divided into smaller tablets. These are separated by enamelled borders. Centre : The archangels Michael and Gabriel. St. Ambrose bestowing his blessing upon the Archbishop Angilbert ; and, in the pendant, he is also blessing the master smith Wolvinus. Lateral tablets. The liistory begins with the lowest tablet at the l.-hand corner, and thus we shall accordingly describe them, proceeding upwards. (1.) The bees swarming around the sleeping child. According to the le- gend, this event happened whilst he was lying in one of the courts of his father’s palace at Arles. St. Ambrose, born A.D. 340, was the son of the pre- fect of the Gaids. The legend tells us that the swarm thus flew about the infant’s cradle. Some of them crept in and out of his mouth, and at last they mounted up in the air so high that they quite vanished out of sight. This was considered a presage of future eloquence. Nearly the same story is told of St. Domenick, and of Pindar. (2.) Ambrose proceeds to take the command of the eastern and Ligurian provinces of Italy. These provinces were very extensive, including from Genoa to Ravenna, and from Milan to the Alps. And it may be added that Ambrose obtained this appointment entirely by the ability which he had shown as a pleader in the court of Probus the Prefect, who appointed him his assessor, and subsequently gave him this government. (3.) St. Am- brose, having been chosen Archbishop of Milan by acclamation (a.d. 375), attempts to escape his promotion by flight. After using many expedients, some very strange and questionable, to escape the charge, he stole out of the city by night to return to Pavia, but missed his way, wandered up and down all night, and found himself next morning at the gate of Milan. The people then put him under an arrest : he made his escape a second time, but at length siurendered. (4.) His bap- tism, which did not take place until after he was nominated by the people to the archbishopric. (5.) Ambrose is ordained bishop. (6, 7.) Whilst en- tranced, he is present, in spirit, at the funeral of St. Martin of Tours — a le- gend, of wliich the futihty has been pointed out by Baronius. (8.) St. Ambrose preaching, but prompted by angels. (9.) Heals the lame. (10.) He is visited by our Lord. (11.) The apparition of tlie angel calling St. Ho- norat Bishop of Vercelli to administer the viaticum to St. Ambrose, then on his deathbed. (12.) His death ; angels receiving his soul. This monument is important as an authentic record of ecclesiastical cos- tume. It narrowly escaped being seized and melted down by the French revolutionary commissioners in 1797. Except upon high festivals, it is covered ujD, but it is shown upon payment of a fee of about 5 frs. to the sacristan. Near that end of the cantoria, or sing- ing gallery, which is towards the altar, is a half - length figure in bas-relief, with shaven head and chin, long pal- lium, and pontifical garments, the right hand being raised in the act of giving benediction, the left holding an open' book on which is written Sanctus Am- brosius. It is an ancient representa- ' tion of the saint. In the nave of the church, placed ! upper a pillar of Elba granite, is a ser- pent of bronze, the subject of strange traditions and fictions. It is said to be the brazen serpent of the desert (in« spite of the Scripture account of the! destruction of that type), and as suclr was given, in 1001, to the Archbishop! Austetan Dom. Roiite 20. —Churches of the Porta Vercellina. 165 Arnolph by the Emperor of Constanti- nople. It is probably an Alexandrian talisman of the 3rd or 4tli century. The pulpit is a curious structure, standing upon eight arches. It is said to liare been rebuilt in 1201 ; but most of the ornaments are so evidently of the earliest Romanesque period, that it can only have been repaired. A remarkable basso-rihevo, represent- ing the Agape^ or love-feast, should be particularly noticed. Beneath it is a very splendid Roman Christian sarco- phagus in the highest state of perfec- tion. It is called the tomb of Stilicho ; but this is an antiquarian whim, there not being the slightest foundation for the opinion. The eagle for supporting the book is of the workmanship of the lower empire. R’ear the entrance of the choir are two remarkable slabs with inscriptions, the one covering the tomb of Arch- bishop Anspertus, the other of the Emperor Louis II., who died 875. The apsis, or eastern termination, is, as we have already said, the most un- altered portion of the edifice. The vaulting is covered with mosaic upon a gold ground — a splendid specimen of the Byzantine style, and the first which the traveller sees in this part of Italy. It represents the Saviour, St. Prota- sius, and St. Grervasius, St. Satiro, St. Marcellina, St. Candida, and the two cities of Milan and Tours, in allusion to St. Ambrose being present at the death of St. Martin without leaving Milan. Below are represented the 18 suffragan bishops of the see of Milan. ; The inscriptions are partly in Greek, , exhibiting in its spelling the present I Romaic pronunciation, and partly in Latin. A monogram, conjecturally de- . ciphered, probably contains tlie name of tlie donor and the dedication of the j work ; and in the hieroglyphics, con- tabled within a square cartouche, tlie erudite discover the names of tlie Abbot Gaudentius, the Archbishop Iji Angelbert, and tlie Emperor Loins II. But wlietlier the interpretation be cor- rect or not, the character of the work is certainly not later than the 9th cen- ^ tury, and possibly of an earlier age. In the centre of the apsis is a very curious chair or throne of marble, called the chah’ of St. Ambrose, of an ancient fashion, decorated with lions at the arms, and a simple scrollwork. It is, in fact, the throne of the primitive Archbishop of Milan, in which he sat, according to the ancient practice of the Church, in the midst of the 18 suf- fragans of his province, of whom the most northern was the Bishop of Chur or Coire, and the most southern, of Genpa. The chairs of the bishops remained until the 16th centiuy, when they were replaced by stalls, for the canons, of wood, carved in a rich Flemish style, but so as to make us regret the loss of antique simjilicity. When the traveller reaches Torcello (see Venice) he will find the same arrangement still sub- sisting. But by far the most interest- ing mosaics in this church are those in the chapel of San Satiro. This chapel was, in the time of St. Ambrose, the basilica of Fausta, but afterwards received the name of “ St. Vittore in ciel d’ oro,” from the mosaic on the ceiling. It originally stood separated from the basilica of St. Am- brose by a narrow street, but was united when the basilica was rebuilt. The mosaics contain full-length figures of Ambrose, Protasius, Gervasius, Fe- lix, Maternus, and Nabor : none are designated as saints, or crowned with the nimbus : in the centre is a me- daUion, supposed to represent St. Vic- tor. The probability is, that they were executed not long after the age of St. Ambrose himself, perliaps in the 5tli century. The nimbi and letters which are seen are a clumsy addition of a later age. The church contains several good paintings ; the best is the Martyrdom of St. George, and St. George and the Dragon, by Lanini, or, as some say, by Borgognone. Our Lord between Angels ; drawing stilF, but good : Luini^ or, as some say, Amhrogio Borgognone. Our Lord bearing the Cross, also by Lidnl ; and upon tlie sides of tlie arches which separate the chapels from the nave are exquisite frescoes of chil- 166 Sect. III. Route 20. — Milan — San Vittore al Corpo. dren climbing m brandies, by the same master. A Virgin and Child, with Saints — an exeellent specimen of Gau- denzio Ferrari. A modern chapel has a decent statue by Marchesi. If the traveller descends into the once curious crypt, or scurolo, he will find it mo- dernised by the munificence of Cardinal Borromeo. The roof is supported by 26 modern pillars of red and white marble. The adjoinmg Convent of Sant’ Am- brogio, now used as a military hospital, was built about 1495 by Bramante, and retains vestiges of its ancient splendom’. The splendid cloister is now destroyed. The refectory is a fine specimen of an interior in the deco- rated Itahan style : it is painted in fresco by Calisto di Lodi, 1545. This sumptuous hall is used as a ward for patients afiected by loathsome diseases ; and whilst this occupation of the chamber prevents its being examined with any degree of pleasure, the exha- lations from so many diseased bodies have greatly tarnished the paintings. Just without the precinct of Sant’ Ambrogio stands a solitary sliivered Cormthian column, a relic of Homan Milan. It has, however, been found by recent excavations that this pillar did not belong to a building formerly standing here, but that it had been placed here singly. It was formerly said to be the remams of some palace. Somewhat further on the stranger will see written np the name of tlie street — Nerone. The historians of Milan, however, say that it is so called from a stream, the Nirone, now arched over, San Vittore al Corjpo, in the Stra- done di San Vittore. Fonnerly the Basihca Porziana, vying in dignity with the cathedral. According to the traditions of the Church of Borne, an early convert, the Senator Oldanus, had two sons, Portius and Paustus ; the latter built the basihca, wliich was incorporated afterwards in the Am- brosian. The former built this basi- lica, from him called Porziana. It is the scene of the Emperor Theodosius’ exclusion from the church by St. Am- brose, and of the latter’s victory over the Allans by the introduction of the canto alterno. At that time it was also known by the name of the “ basi- hca extraimuana.” In the 10th cen- tury it was assigned to the Benedic- tines, in 1507 to the monks of St. Ohvet, by whom it was rebuilt in 1560, from the designs of Alessi. The facade is simpler than the usual style of this architect. He intended to add a mag- nificent cortile, but this part of the design was stopped in its progress. The interior is splendid. The vaulting exhibits that union of plastic work and colour which, ahnost peculiar to Italy, produces such an elfect of elaborate magnificence. It is divided into com- partments of raised work, foliage and figures, within which are paintings of saints, martyrs, and angels, not so small as to fritter away the general aspect, and not so large as to intrude upon the architecture. St. John and St. Luke, m the cupola, were painted by D. Crespi : the other evangelists and the sibyls are by Moncalvo. The roof of the chofr is by A. Figino. Frc. Procaccini pauited the compartments of the roof of the nave, and St. Ber- nardo above the door. St. Cln’istopher is by Ciocca ; St, Peter by Onocclii. The paintings on the high altar are by. Salmeggia ; St. Bernard, and St, Vic- tor, the patron saint, on horseback, the horse leaping forward with much elfect. Five St. Victors are honoured by the western churches. Tlie patron of this church suffered martyrdom upon the site wliich it now occupies. He w-as a soldier in the army of Maxi- minian, by whose command he was tor- tured and beheaded, a.d. 303. An- other Salmeggia represents Sta. Eran- cisca Bomana, the foundress of the order of the Oblate or Collatine Nuns, comforted by the appearance of her guardian angel. In the splendid Capella Arese, de- signed by G. Quadri, with its fine black marble columns, the Madonna, angels, and prophets were sculptured by Vismara. In the last chapel on the rt. hand are three pictures by Camillo Procaccini, subjects from the hfe of Austrian Dom. Route 20 . — Milan — Santa Maria delle Grazie. 167 Saint G-regory the Great, — his latanies during the great pestilence, — his at- tention to the poor, — and the feast given by him after the cessation of the plague. In this composition the table is placed in singular angular perspec- tive ; the sons of Totila are falling down before him. In the chapel of St. Benedict are some good paintings by Figino. The stalls of the choir are of the 17th century. They are of walnut-tree wood, and the carvings represent tite events of the life of Saint Benedict. The drawing is good ; and thovigh the Italian productions of this class are not generally known, they are quite equal to those of the Netherlands, which have so much more general reputation. The sacristy is a fine chamber with noble carvings ; it contains several good pictures, of which the best is the Mar- tyrdom of Saint Victor, by Camillo Frocaccini. Santa Maria delle Grazie. In the Borgo delle Grazie, which leads to the P. YerceUina. — This church, with the convent of Dominicans to which it ap- pertained, was founded (1463) upon the site of the barracks belonging to the troops of Francesco Sforza I., by Count G-asparo Yimercati, then com- mander-in-chief of the ducal army. A considerable portion of the military buildings was converted, in the first instance, into an habitation for the friars ; the chm’ch was built after- wards. In a small chapel in the house of Yimercati, which is still preserved on the l.-hand side of the nave, was a miraculous image of the Virgin. This, together with his house, Yimercati be- stowed on the Dominicans, who, pidl- ing down the house, built the present cliurcli on its site. The first stone was laid in 1464. Its progress was slow, )iot having been comjdetcd till after 1493. Ludovico il Moro and his wife Beatrice wei’c liberal contributors to the chiu’cli, and she was l)uricd here. Amongst many other donations, t he duke and ducliess cacli gave splendid altar hangings. Upon those given by the duchess she caused to be introduced her device, a sieve, held by a hand on either side, with the motto “ Ti d mi, e mi a tiF This give and take motto has been ciu’iously exemplified in the monastery, which, the friars being expelled, has again reverted to its primitive destina- tion of military quarters, the church itself subsisting merely as a sussidaria, or chapel of ease. The front is a fine specimen of Lombard G-othic of brick, with ornaments of terra-cotta. The in- terior, miserably dirty, dilapidated, and forlorn, is grand. At the end of the nave rises a noble cupola by F>ramante, which narrowly escaped being pulled down by the Spaniards when they fortified the Gas- tello, on account of its overlooking the works. In the first chapel on the rt. hand is a St. John the Baptist, attributed to Francesco d' Adda. In the fourth, are some noble frescoes by Gaudenzio FeV' rari. Five compartments, dated 1542, contain the principal events of the Pas- sion of our Lord, but are unfortunately much injured : “ The Crucifixion is an admirable work.” — I. C. II . The vaidt- ing of the chapel retains its paintings in their original fidl and vigorous tone. The figures introduced are Angels bear- ing the instruments of the Passion. G-audenzio exerted his utmost skill in these paintings, expecting to have an order for the altarpiece, but Titian was preferred. Amongst the other frescoes are a Crucifixion, and Angels in the vaulting above, by Carlo di Crema : and several on the vaulting of the last chapel on the rt. hand, and under the cupola and choir, by the school of Leonardo. The choir itself is richly painted by Maleotto ; but the whole is in a state of the greatest neglect. Part of the conventual buildings not occupied by the soldiers continue to communicate witli the churcli. Two deserted cloisters liave portraits of the great men of the order, tlio Glorifica- tion of St, Thomas Aquinas, and other simihu- subjects. In tlie refectory is the celebrated Cenacolo, tlie Last Suj)per, oi Leonardo da Vinci. Pci’haps no one work of art 168 Sect. III. Route 20. — Milan — Leonardo's ^Last Supper.' has had more written about it, and no one deserves higher praise. “ This pic- ture of the Last Supper has not only been grievously injured by time, but parts are said to have been painted over again. These niceties may be left to connoissem’s — I speak of it as I felt. The copy exhibited in London some years ago, and the engraving by Mor- ghen, are both admirable ; but in the original is a power which neither of those works has attained, or even ap- proached.” — Wordsworth. Persons, however, who are neither artists, nor have any strong feeling for art, nor are interested in the history or practice of painting, need not go and see it. The general traveller will, when he arrives in the refectory, probably think he has been hoaxed by being sent to see a dis- coloured wall. The history of the painting and its mischances may be briefly stated. It was begun in 1493, being among the first works which Leonardo executed under the patronage of Ludovico il Moro. An anecdote is told by Vasari concerning the composition : that Leo- nardo told the Duke he must leave the head of the Saviour imperfect because he could not realise his conception of the celestial beauty it ought to possess : “ Ancor gli mancava due teste da fare, quella di Cristo, della quale non voleva cercare in terra e non poteva tanto pen- sare, die nella imaginazione gli paresse poter concepire quella belezza e celeste grazia, die dovette essere in quella della divinita incarnata.” And yet this very head, which Leonardo is so said to have left imperfect, is now one of the finest portions of the wdiole.- Leonardo em- ployed sixteen years upon the work ; but he used a new process, which proved its ruin. The ground is plas- ter, impregnated with mastic or pitch, melted in by means of a hot iron. This ground he covered with a species of priming, composed of a mixture of white lead and some earthy colours, wliich took a fine polish, but from which the oil colour flaked off. The materials with which the wall was built are of a very bad quality, rendering it susceptible of injury from damp. As early as 1500 the refeetory seems to have been flooded, owing to its low situation and the quantity of rain which fell. The vieinity of the kitchen smoked the painting, which ex- hibited early symptoms of decay. Ar- menini, who saw it about 50 years after it was painted, said it was then half spoiled, and Scanelli, who saw it in 1642, speaking hyperbolically, observed that it w-as then difficult to discover the subject. In 1652 the monks, wish- ing to enlarge the door, cut aw'ay Christ’s feet and those of some of the Apostles, and, by shaking the wall in cutting it away, brought otf parts of the surface. In 1726, Bello tti, an indifferent artist of much pretension, who painted the fresco over the door of the adjoining church, persuaded the monks he was possessed of a secret method wliich would entirely recall the faded painting to life. He concealed himself behind planks, and painted it all over. In 1770, Mazer, a wretched dauber, w'as employed to go over the whole of it again. The three heads, however, to the extreme right of the spectator, escaped, in consequence of the outcry whicli tlie proceeding raised. When Napoleon was at Milan in 1796 he visited the refectory ; and, sit- ting on the ground, he wrote, placing his pocket-book upon his knee, an or- der that the spot should be exempted from being occupied by the mihtary. This order was disobeyed, and tlie room was employed as a cavalry stable, and afterwards as a hay magazine. The door was then for some time built up in order effectively to exclude the mili- tary. In 1800, owing to the canal being blocked up with ruins, and rain falling for 15 days, the refectory was flooded to a considerable depth. In 1801, on the instance of Bossi, the secretary of the Academy, it was re- opened, and in 1807 the Viceroy Eii- gene caused the refectory to be repaired and drained, and everything done which might in any way tend to preserve the remains of the painting. It is, how- ever, now again scaling off, not very rapidly, but incessantly ; and this is, perhaps, the last generation whose eyes Austrian Dom. Route 20.'— Milan— 'Churches. 169 will behold its beauties, even yet so transcendent in theii* irreparable decay. The following are the observations of the late Professor Phillips, E.A., upon its present state : — “ Since there have been given to the public many contradictory reports con- cerning the condition of this important picture, it may not perhaps be un- pleasing to you, should I occupy a little of your time in reading a few remarks, extracted from notes I made before it, when at Milan, in 1825. Mr. Hilton and myself examined its condition with careful and minute at- tention, and could with difficulty find a portion of its original surface. The little we did find exhibited to us an ex- ceedingly weU prepared ground, smooth in the highest degree, and the painting upon it free, fiinn, and pure. “ Till this time aU paintings on walls had been wrought in fresco ; but oil painting, which had become known and practised in smaller works, better suited da Vinci’s mode of proceeding, as it admits of retouching or repeat- ing : and, unfortunately, he adopted it here. He was not, however, the first who had employed it in that way; Domenico Yeneziano, and one or two others, had made tempting examples for him, and thus led to a result so unfavourable to liis repu- tation. “ It would appear that the vehicle which he employed, whatever it were, had no union with the gi-ound, and therefore the surface cracked ; and whenever damp found its way through those cracks, and between the painting and the ground, small parts of the i former were thrown olf, till at length j large blotches were formed, exhibiting I the white preparation beneath. These have at various times been filled up ; and it had been well if with that filling up had rested the efforts of the re- storers. But their attempts to match the remaining colours failing, as I sup- pose, they have taken the shorter me- thod of cure, by re])ainting the whole surface of the part they were required to mend ; so that, at the present time, little or nothing, it may bo said, re- N. Italy— mains of Leonardo, save the composi- tion and the forms generally. “Of the heads, there is not one un- touched, and many are totally ruined. Fortunately, that of the Saviour is the most pure, being but faintly retouched ; and it presents even yet a most perfect image of that divine character. Whence arose the story of its not having been finished, it is difficult now to conceive ; and the history itself varies among the writers who have mentioned it. But perhaps a man so scruprdous as he in the definement of character and expres- sion, and so ardent in his pursuit of them, might have expressed himself un- satisfied, where all others could see only perfection.” — Phillips' Lectures^ p. 65. The name of some one apostle has been assigned to each of the figures, though, with the exception of the prin- cipal group, these is notliing to identify any one figure. As they are always referred to by these names, it may be useful to point them out. The stand- ing figure to the extreme left of the spectator, and on the right of our Sa- viom, is St. Bartholomew ; then the heads come in order, thus : St. James the less, St. Andrew, Judas, St. Peter, St.. John. On the left of our Saviour, beginning with the head next to him, are St. Thomas, with the forefinger raised, St. James the greater, St. Phihp, St. Matthew, St. Thaddaeus, St. Simon. They are divided into gro’ups of tlnee, very skilfully connected, and the ani- mation shown in their countenances and movements aidses from our Saviour having just said, “Verily I say luito you, that one of you shall betray me upon which they “ began every one of them to say unto hun, Lord, is it I ?” The finest gvoup is that of St. John, Judas, and St. Peter. Judas alone of the apostles expresses no horror or siu- prise, and makes no inquiry. St. Peter starts up to urge St. John to ask our Saviour wdio tlie guilty party is, and the quickness of his movement is in- dicated by Judas, who leans forward to allow" him to speak to St. dolin, having upset the sall-(!ellar w"ith his hand, A more detailed examination of tlic eom- position may be seen in Ivuglcr, Avhoso X 170 Route 20. — Milan — Leonardo da Vinci's ^Last Supper d Sect. III. remarks are borrowed from Grothe’s review of Bossi’s work. The following are some remarks by the late Professor Phillips, B.A., on the original colour- ing and drawing. “ Here and there small patches of colour appear, which show its original depth and clearness of tone ; and that what is now grey was originally very dark, as the archi- tecture behind the head of our Saviour, and a part of the tapestry. The wall of the background on the rt. hand was originally a plain light and warm grey, and the tapestries not at all like our copy, but of good damask ara- besque pattern ; but it has been most heavily repainted with a red pattern on a green ground. The pattern of the table-cloth was of a blue colom’, and remains in a few small parts, showing it to have been of an idtramarine al- most pure. One may judge from that of the brilliancy of hue it originally had. The blue sleeve of Judas was also ul- tramarine, and that of St. Peter is a lilac of it, mixed with lake, and a little white. I found the line of the forms not so grand as I had expected, but partaking of that littleness of line which I am now confirmed in conceiving to be a characteristic of his hand. These forms, I suppose, must have remained in general unclianged, as the assistant destroyers must have confined their work within the original boundaries of the figmes, and they have none of the fulness of his successful rival Michael Angelo. Pulness of expression to mi- nuteness, and suavity, were the elements he sought to develop, and succeeded. The head of our Saviour is quite full of these. The hands are not well ch’awn, that is, not with style : that of Judas which holds the purse is tolerably en- tire, the other is destroyed and re- painted. Those of our Saviom* are quite gone, one by time, the other by some wretched dauber, employed sense- lessly a few years ago ; and he repainted it smoothly in the most dull and miser- able manner. The perspective effect must have been extremely fine. I have no doubt either, from what remains of the colours, that it was bright and very deep.” “ That part which is to the rt. hand of the large dish, under the figm’e of oiu’ Saviour, including an orange, a glass of wine, a portion of two loaves, and a large piece of the tablecloth just about and under these objects, are, in my opinion, the only part of this great work which have been untouched. These parts have all the beauty of finish to be found in da Vinci’s oil pictures.” — J. C. H. Copies have been at various times made of this celebrated work : the best of which were, one by Marco d’Oggionno on the w^all of a now suppressed monastery at Castelazzo. This was destroyed in an attempt to move it to the Brera. Another was made by Pietro Lovino in 1565, in fresco, at Ponte Capraisca. A third was made by A. Bianchi in 1612, by command of Cardinal Prederic Bor- romeo : it is now in the Ambrosian Library. Lastly, Bossi, by direction of the Viceroy Eugene, in 1807, made with great care a cartoon drawing of the size of the original, and after- wards an oil painting, from which a mosaic was executed. This mosaic is now at Vienna ; the cartoon is in the Leuchtenberg gallery at Mu- nich ; the oil-painting is in the Brera. At the opposite end of the refec- tory is a painting which, anywhere else, would attract great attention, but which is generally overlooked ^ (and we may say disparaged) in con- sequence of its vicinity to the Cena- colo. It is a very large and well- preserved fresco of the Crucifixion by Montorfano, who has added his name and the date 1495. It contains a ■ great number of figures groujied with- out any confusion, one of the best con- ceptions of a multitude we have almost ever seen, and fidl of mei’it. The ' good condition of this painting causes 1 one the more to regret that Leonardo did not employ fresco. His error is very cm-iously exemplified on this same wall. You see two white spaces in the coraers. Here Leonardo painted ; in oil the portraits of the donors of j the Cenacolo, but not a trace of the j figmes can be discerned, | Austrian Dom, Eoute 20. — Milan— Churches, 171 CHURCHES OE THE PORTA COMASHSTA. San Tomaso in terra mala, or terra amara. The date of the present form of this church is 1580. The hexastyle portico was added in 1825. It con- tains a Magdalen hy A. Luini, a S.‘ Carlo by G. C. Procaccini, and a St. Anthony by Sahatelli junior. It is said to derive its name from one of those acts so characteristic of the tyrants of Italy. The priest of the parish had refused to read the funeral service over one of his poor parish- ioners, unless his widow would pre- viously pay the fees. The woman burst out in loud lamentations ; when Griovanni Visconti, riding by, asked the cause of the disturbance. — “ Bmy him gratis,” exclaimed he to the priest, who complied ; but, like the choristers in the ballad of the Old Woman of Berkeley, repeated the dirge with a quaver of consternation. And, when the service was finished, “ Now,” said Visconti, “ throw him in.” And the miserable priest was bmhed alive with his parishioner. The story adds that, as they were casting the earth over the priest, he cried out, “ Come questa terra e amara!” from which the church derives its present name. St. Maria del Carmine. This church has undergone two transformations. It was built by the Carmelites in 1446, in a Gothic style. In 1660 the style was altered, as far as possible, into Homan by Richini, and restored to its original state by Pizzagalli m 1835. It contains two ancient Lombard pictures, and a Madonna in fresco, by B. Luini. The chapel at the side in- crusted with marbles and gilt stucco contains on the walls two pictures by Camillo Procaccini. S. SimpUciano. St. Ambrose erected a chapel here, over the burial-place of some saints, and S. Simplicianus de- posited here the three martyrs, Sisinius, Martirius, and Alexander. The Milan- ese, wlien they defeated Barbarossa at Legnano, believed that they were as- sisted by tlicse martyrs, and tliat three doves, Hying from tlicir altar, perehed themselves upon the mast of the Caroccio, In consequence of this, a fine Gothic church was built here, which, after having undergone some alterations in 1582, in a different style, was recently restored according to the original design. In the choir is an Assumption in fresco, by Por- gognone. Santa Maria Incoronata. Built 1451, at the expense of Francesco Sforza. It contains a good Procac- cini, and a remarkable monument of Gabriele Sforza, 1458, The basso- riheVos, also in the Capella Bossi, should be noticed. CHURCHES OE THE PORTA NUOYA. S. Marco. Built in 1254. The fagade is Gothic, the interior is modern. It contains many fresco paintings by Lomazzo ; the best of which is the Madonna and Infant, with saints, in the thu'd chapel. The picture of the Trinity is attributed to Luini. The Trotti Chapel is by A. Campi ; the large pictures by the side of the high altar are by C. Procaccini and Cerano. In the vestibule facing the Naviglio are some Gothic monuments: one in white marble, with the figure black, of Lanfranco Settala, the first general of the Augustins, who died in 1264, is attributed to Bulduccio of Pisa. S. Fedele. Built for the Jesuits by S. Carlo, by whom they were estab- lished here. It is from the designs of Pelligrini. The pediment of the fa(,‘ade was added in 1835 by Pesta- galli. The interior is elegant; con- sisting of a single nave, with noble marble columns. The basso-rilievos of the front are by Gaetano Monti di Ravenna and his pupils, and liaA^e con- siderable merit. Tlie adjoining college is used as a de]iository for public docu- ments, principally those relating to the land-tax. THE SECULAR EDIEICES OE MILAN. Palazzo della Lnperiale e Reale Corte, close to the catlicdral. This ])alace, which receives the Enqicror when lie visits his Lombard capital, and was the residence for six months I 2 172 Route 20,— Milan — Palaces, Sect III. in each year of the viceroy, is built upon the site of the very magnifi- cent structure raised by Azzo Visconti about 1330. This was one of the largest and finest palaces in Italy, and was ricldy decorated with paintings by Giotto. After repeated partial demo- litions, the whole, excepting the chiu’ch of San Gotardo, included in the pre- sent palace as its chapel, was finally demolished towards the close of the last century. “The steeple of St. Gotliard, built in 1336, is a curious specimen of that age ; it is of brick, except the httle shafts which decorate it, and these are of stone. The four lower stories appearing above the roof of the church are plain octagons, with unequal faces, with a row of ornamental intersecting arches to each cornice, and a shaft or bead, at each angle, which interrupts all the cornices. There is a little win- dow in the lowest but one, but it appears to have been broken tlu’ough at a later period ; the fourth has on each face a window divided into two parts by a httle column, and each part finishes in a smaU semicircidar arch. Tins sort of arrangement occiu’s in the early architectm*e of France, of the 11th, and perhaps of part of the 12th centy., but I think not later. In the fifth story, the angular shafts receive their capitals, and unite with other shafts on the faces of the octagon to support a series of little arches ; but as the angular shafts intersect the little cornices of each story, and con- sequently pass beyond the upright of the plain faces, while the intermediate shafts are within that line, tire latter are broken into two lieights, one pro- jecting before the other. Over this are two stories, rather smaller than those below, and forming an equal- sided octagon j and above all is a spire, cut to indicate scales or shingles, terminating in a globe, and a little winged figure supporting a weather- cock. I have dwelt more fully on these details, because they so strongly distinguish the Lombard buildings from similar edifices of the same period in France or England; and because also they show the necessity of a new system of dates, when we would determine the epoch of a building by the peculiarities of its architecture. Though built in the 14th centy., it exhibits more of what we call Nor- man than of the Grothic ; and perhaps the Italians never entirely abandoned that mode of building for any con- sistent style, till the restoration of the Homan architecture in the 15th centy., under Brunelleschi. There are several steeples at Milan of this sort, but this is the best. It was highly extolled by contemporary writers ; and it derives more additional mterest from having contained the first elock which ever sounded the hom’s. In the earliest buildings of this kind there are no intersections in the little ornamental arches of the several cornices ; the later the edifices the moi'e comphcated is this decoration, and in the steeple of St. Glothard some of them are composed of four seiies of interwoven seinicmcu- lar arches.” — Wood’s Letters of an Architect. From the cireumstance of the first striking clock having been placed in this tower the neighbom*ing street acquired the name of “ Dell’ ore.” At the summit is the statue of an angel, of gilt brass, with wliich a singular story is connected. A bombardier, in 1333, bemg condemned to die, offered to beat down the head of the figure at one shot, and, being allowed his trial, he succeeded ; and liis skill pm-chased his pardon. The angel continued without a head till 1735, when it was restored, as is testified in an inscrip- tion on tlie shoulders of the statue, the existence of which, however, we take upon credit. It was when proceeding ■ to the church of San Gotardo that Giovanni Maria Visconti was slain, - 16th May, 1412. The diabolical ferocity of this tyrant continued un- checked for ten years (for he came to his authority in 1402). It was his regadar pastime to feed his bloodhounds with human victims, delighting in the spectacle as he saw the animals tear the quivering flesli from the bones. That the cruelty of Giovanni Maria at Iasi became perfect insanity cannot bci Austrian Dom, Route 20. — Milan — Palaces, na doubted ; and it is equally clear that this insanity was the result of the un- bridled cruelty in which he indulged. It is a curious fact that Griovanni Maria began his reign by granting a Magna Charta to the Milanese, and that he was a liberal and intelligent patron of literature. He is buried in the chapel, near the altar, but his tomb was de- stroyed by the French, and the interior of the chapel is now entirely modernised. The exterior of the choir retains its ancient aspect. The present palace contains many modern frescoes. The show parts of the palace are the following ; — The Bath : arabesques on the ceiling, not much above the ordinary style of house decoration. Saloon ; Night and Morn- ing, by Martin Knoller, a Tyrolese, a scholar of Rafael Mengs. Great Saloon : notliing remarkable excepting the ele- gant floor of terazzo, in compartments. Salle- a-manger : ceiling, the Four Sea- sons, by Trehallesi. Small Dining Room : a very elegant cabinet, with medalhons on chiar’-oscuro. Sala di Representazione : ceiling by Ajpjpiani and Hagez, J upiter and Mercimy . Sala di Audienza : ceiling by Appiani. His- tory inscribing the deeds of Napoleon upon the shield of Minerva ; in the fom* angles, the four quarters of the globe. Imperial Throne Room : by Appiani — the Apotheosis of Napoleon, he being represented in the character of Jupiter upon an eagle, considered as the best of the series. Present Throne Room: Marriage of Napoleon and Maria Louisa, by Hagez. Ball Room : the Coronation of the present Emperor, as King of the Lombardo-Yenetian Kingdom, also by Hagez. The Great Ball Room is a splendid old-fasiiioned apartment. Its principal feature is a gallery supported by cai’yatides, exe- cuted by Calano., a Parmesan artist. They are cleverly varied. Small Ball Room, an Egyptian Hall ; i. e. a liall HU])po)-tcd by internal ranges of columns, liketliatat the Mansion llousc. Lastly, a room luing witli tapestry from tlie Hampton Court Cartoons. Tlio Arcivescovado (between the Piazza Fontana and the cathcchul). Tliis palace contains a very good col- lection of paintings, bequeathed to the see by Cardinal Monti, and increased by his successors. A few have been ceded to the Brera Grallery. The fol- lowing are the principal pieces : — Giulio Campi : the Madonna, sup- ported by Angels ; originally a church- banner, or gonfalon. Bernamdino Campi : St. John the Evangelist, with his symbol the Eagle. Leonardo da Vinci : a Sketch, — the Yii’gin contem- plating our Lordy who is holding a Lamb. Gaudenzio Ferrari : a Nati- vity, — many saints introduced. Titian : an Adoration of the Magi. Camillo Procaccini : the Heads of the Twelve Apostles. Cerano : the Circumcision of our Lord. Sarzana : the Infant Saviour sleeping, naked, on the Cross. Bramantino : a Virgin and Child, — the Virgin dressed in blue, with a tur- ban on her head. Andrea del Sarto : a Magdalene holding, the Vase of Oint- ment. Leonardo da Vinci: a Vu’gin and Child. Morazzone : the Murder of the Innocents. Palma Vecchio : the Woman taken in Adidtery brought before our Lord, who is pointing to the writing on the ground, while the Pharisees are looking on. Guido : St. Joseph holding and contemplating the Infant Saviour. Michael Angelo : a Battle-piece, with many naked flgures. Titian: a Porti’ait of Pope Juhus III. Gkilio Cesar e Procaccini : St., Jerome half naked, — an angeL above is in the act of speaking to the saint ; the Mar- riage of St. Catherine. Bernardina Campi : a Design in chiar’-oscuro, re- presenting St. Sigismund of Cremona, and other Saints. After Raphael : the Adoration of the Shepherds, a piece of tapestry woven in gold and silk. Morazzone : the Angel Avrestling with Jacob. Antonio Campi: our Lord’s 7^gony in the Grarden. Andrea del Sarto : the Lord of the Vineyard pay- ingtlic Hire of Ids Labourers. Raphael: a J3csigu, on ]>a])cr, of several naked figures in the act of shooting at a iuark.. Leonardo da Vinci: two Designs, in cldar'-oscuro, of naked children. Ca- millo Procaccini : t lie liaising of Laza- rus, and the Martyrdom of SS. Nazaro 174 Route 20. — Milan — Piazza c?e’ Mercanti. Sect. III. and Celso ; Designs in cliiar’-oscnro, with many figures. Mabuse : a Yirgin and Child. Antonio Campi : the Cir- cumcision of oiu’ Lord. Albert JDurer : St. Jerome. iParis Pordone : two Holy Families, one including St. Am- brose, and another with St. Catherine. Pernardino Catnpi : our Lord bearing his Cross. Morazzone : a Holy Family. Pordenone : the Yirgin and Child. Titian : a Holy Family, with St. George in armom’. Palazzo della Cittd, or Proletto, in the Corso del Broletto. Broletto is the name formerly given to the town-hall of the municipahty. It first stood on the site of the Corte, afterwards in the Piazza de’ Mercanti. The present building, which is very extensive, with two courts and colonnades, is a speci- men of the architectm’e of the revival previous to the time of Bramante. It was built by Filippo Maria Visconti for the celebrated Count Carmagnola. It now contains several government offices. The Piazza dP Mercanti is remark- able as containing some remains of old Milan. In the centre rises a large square building, standing upon open arches, of which the upper portion is used as a depositoi'y for the papers of the pubhc notaries of the city, whilst the arches below are employed as a species of market. This building was the Palazzo della Ragione, where, in earlier times, the magistrates of the commonwealth of Milan assembled, and where the ducal courts of justice sat in after times. It was begun in 1228 by the Podesta Aliprando, and completed 1233 by the Podesta Old- rado Grosso, otherwise Oldrado di Treceno of Lodi, whose effigy still re- mains in a small niche on the N. side. He is represented on the S. side mounted on his steed in full armour, very curious for the costume, but still more so perhaps for the inscription, which recounts his good and doughty deeds in extirpating heresy : — “ Qui solium struxit, Catharos ut dchuit uxit.” “ The Cathari here mentioned were Manicheean sectaries, whose name, cor- rupted into Gazzari, was transformed by the Germans into Ketzer. The last word should be ussit ; but the author of the inscription took the poetical hcence of altering it into uxit, in order to rhyme. On the archivolt of the second arch, on the N. side, is a figure whose original uncouthness is rendered much more indistinct by whitewash. This mysterious figure, whieh belonged to a much older structure, and was thus preserved in the 13th century, out of respect for its then remote anti- quity, is no other than the once cele- brated Jialf-jieeced or half-fleecg sow, by whose augury Mediolamini was founded, and from which the city de- rives its name (In medio lanse). Belo- vesus the Gaul was guided to place his settlement, just as the sow and seven pigs settled the fortunes of Alba. Claudian, in his epithalamium upon the mariaage of the Emperor Honorius with Maria the daughter of Stilico, thus describes Yenus as repairing to Milan, where, as it should seem, the liide of the woolly sow was still pre- served : — “Contimio sublime volans, ad moenia Gallis Condita, lanigerai Suis ostentantia pellem Pervenit.” And Sidonius AppoUinaris, by the de- scription of “ the city named after the woolly sow,” includes m one distich Ravenna and Milan : — “ Kura paludicolae temnis populosa Ravenna?, Et qua? lanigera de sue nomen liabet.” The Piazza is surrounded by other buildings, possessing much historical interest, and not devoid of picturesque beauty. Of these, the most curious in aspect is that called the Loggia degli Osii, from the family who de- frayed much of the expense of the structure, which was begun in 1316. From the balcony, or “ ringJiiera ” (or, in the language of the common people, parlera), in the front, the assent of the citizens was asked by the Podesta to the acts of government, and the sentences passed upon criminals were proclaimed. A row of shields with armorial bearings decorate the front, Austrian Dom, Route 20 . — MiJan — The Brera — Paintings. 175 being tbe coats of arms of the prin- cipal families, including the Sforza and the Yisconti, and also those of the banners of the city. It is of a plain but elegant Grothic, and as such was much admu’ed by Mr. Hope. Another is the ancient Palazzo della Cittd^ or, as we should say, the Town Hall, a building perhaps of the 16th century. The standard of the city was preserved there until very recent times. On the S. side is the ancient college, formerly belonging to the doctors of civil law. It was built by Pope Pius lY, about 1564. The interior has some tolerable paintings of the l7th centui’y. This part of the city is the heart of business. Here is a goldsmiths’ street, but inferior to that at Genoa, and the Contrada di Santa Marglierita, the Bow of Milan, full of booksellers’ shops. Guides, prints, and excellent maps, including those of the Austrian Ordnance survey, are to be had at Artaria’s, wlio lias also estabhshments at Yienna and Mannheim. The brothers Vallardi are also publishers. French bookseller, Dumolard. There are good booksellers in the Corso di Porta Ori- entate, and a German bookseller in the Galleria de Cristoferis, Beeea. Palazzo delle Scienze e delle Arti is the official name of the great establishment which, when it belonged to the Jesuits, was called the Collegio di Sta. Maria in Prera, or, more shortly, the Prera, by which name it is still generally known. It might be called St. Mary’s in the Fields, for the old Lombard word Prera is derived from the same root as the French Prairie, and means the same thing. The establishment origin- ally belonged to the order of the Umi- liati. Some of the principal members of the order having, as before men- tioned (p. 150), conspired against the life of San Carlo Porromeo, they were entirely suppressed. Their dissolute conduct had already cxciled great Hcandal; and tbe discipline which from that period began to be enforced by the Paj)al See called down their eon- th, which was evidently the object of tlie Yeue- tian ])ainters : on the contrary, Luini has gone into the opposite extreme in several of his works ; in others, how- ever, then! is much power, attained ])crlm))8 on a better ])rineiple than in the frescoes of Titian and others of the 176 jRoute 20. — Milan — The Brera — Paintings. Sect. III. Venetian scliool ; there is no confusion of tones, hut that distinctness, which is essential to the effect of frescoes, is preserved. The execution is hght and gracefid, quite unlike that of the pre- sent G-erman school, which is compa- ratively labom-ed and heavy.” “ It is evident that Luini painted in fresco with great rapidity, executing more indeed than an entire figm*e, the size of life, in one day, and he certainly did not prepare cartoons, at least not for his small works. The painting may be compared to that of Rubens ; it is juicy, transparent, and clear. There are also portions which resemble the execution of the antique decorative pamtings seen in Pompeii and elsewhere. Thus, out- lines are often strongly indicated with some warm dark colour ; hatching is oc- casionally used, and dark touches in the shadows are put in freely. Richness is attained by transparency. The land- scape backgromids are like the hasty sketches which an artist sometmies makes in water-colom’ from nature.” “There is very little blue in these pictures ; the skies are whitish and warm, with a mere indication of blue in some parts.” — C. Wilson. Among the frescoes the following are worth looking at : — By Bernardino Luini : 1, Tln*ee Girls ]3laymg apparently at the game of hot cockles ; 2, a Youth riding on a white horse ; 4, a Child seated amongst vines and grapes ; 5, St, Sebastian ; 7, the Virgin and St. Joseph proceeding to their marriage at the temple. — Bra- mantino : 8, the Virgin and Child and two Angels. — B. Luini: 9, Two Min- strels, such as used to accompany wed- ding processions, and. probably intended as a portion of Yo. 7 ; 10, a Sacrifice to Pan ; 11, the Metamorphosis of Daphne ; 15, the Dream of St. Joseph. — VincenzioFo'ppa: 17, the Martyrdom of St. Sebastian ; the earliest of the fres- coes exlhbited here. — B. Luini : 18, the Israehtes preparing to depart from Egypt ; 19, the Presentation in the Temple ; 20, an Angel ; 26, the Infancy of the Virgin ; 27, of his scliool also is a San Lazzaro. — Bernardino Lanini : 22 and 28, Mary Magdalene, and Sta. Marta, — 29, Sta. Marcella, school of Luini ; and by Luini again are — 30, the Bfrth of Adonis ; 31, an Angel ; 32, St. Anna and St. Joachim; 33, the Birth of the Vfrgin ; 34, the Body of St. Catlierine carried by tliree Angels to the Sepulchre ; 35, a Cherub ; 36, the Virgin and Child, with Saints, and an Angel tuning a lute. Tliis fresco bears his name, and the date 1521. 37, the Almighty ; 38, a Chervib ; 39, the Pre- sentation of ‘the Virgm in the Temple ; 40, the Prophet Habakkuk awakened by the Angel ; 41, St. Anna ; 42, St. Anthony of Padua, — By Gaudenzio Ferrari are —43, the History of J oachim and Anna, in 3 connected pictures ; 48, the Salutation; 49, theDedication in the Temple ; 50, the Adoration of the Magi, in 3 compartments. — B. Luini., 51, Two Angels ; 56, the Transfigm'ation ; 57, St. Ursula; 59, St. Joseph; 61, the Redeemer; 62, a Portrait of a Young Lady ; 65, another Portrait of a Lady, larger ; and, 66, an Angel flying, is also beautiful. In the first room, the pictm'es most worthy of attention are : — By Barmi- giano: 5, the Virgin and Child, with St. Margaret, St. Jerome, St. Petronio, and an Angel. — Titian : 6, St. Jerome in the Desert. The saint is kneeling, with his eyes fixed on the crucifix, and grasps a stone, with which he appears in the act of striking his breast. The action of the saint, and the tone of the landscape, are fine. A larger picture of the same subject is in the Escurial, of which this has been thought to be the first design. Vandyke ; 10, the Virgin and Child, with St, Anthony of Padua. — Paris Bor- done: ll,theVu’gin and theTwelve Apos- tles. — Ouercino: 16, St. Clara and St„ Catherine. — Ruhens : 17, the Institution of the Lord’s Supper. — Lomenicliino . 18, the Virgin and Child, with St. Johr the Evangehst, St. Petronio, and man} Cherubs. — Guercino : 20, the Vfrgin St, Joseph, and St. Theresa. — Agrostint. Caracci: 21, the Woman taken ii Adultery, with many figures. — Ludovic< Caracci: 22, the Woman of Canaan a our Lord’s feet, witli several Apostlef — Paris Bordone : 26, the Baptism c our Lord. — Annihal Caracci : 27, th AVoman of Samaria at the Well. — Prc Austrian Dom. Route 20 . — Milan — The Brera — Paintings. 177 caccino: 32, the Magdalene, with an — Trotti, called il Malosso : 33, the Entombment. — Procaccino : 35, St. Ceciha sinking from her wounds, but her eyes fixed on heaven, supported by two Angels. — Paniel Crespi : 36, Our Lord going to Mount Calvary. — Campi : 41, the Holy Family, with St. Theresa and St. Catherine ^ good. — Daniel Crespi : 43, the Martyrdom of St. Ste- phen — a picture crowded with figures. — 44, the Adoration of the Magi, called a Titian. The second room contams from 44 to 71. By Garafalo : 45, a Pieta, wdtli many figures. — Tintoretto : 47, another Pieta. “ Almost colourless : the dra- pery of St. Joseph, which is dark orange, and a little red round the Vir- gin, under the legs of Christ, are all the positive colour. The rest is of that rich brown hue seen only. in him and Titian’s St. Jerome in tliis place. The latter is entirely of this hue, and a yellowish white for the lights. The tone of this picture in its light and dark is extremely imposing.” — PMlUps., P.A . — Moroni : 48, the Assumption of the Vhgin. — Paul Veronese : 49 and 51, St. Grregory and St. Jerome, St. Ambrose and St. Augustine, with a glory of Angels around.— PaZma the Younger: 52, St. Benedict, the father of the monachism of the West, under temptation. — Bas- sano : 53, St. Boch visiting the Sufferers from Plague, the Virgin above. — Foschi: 55, Virgin and Child, with four Saints and Angels. — Moretto : 56, the Virgin and Child above, in glory ; below, St. Jerome, St. Francis, and St. An- thony the Hermit. — Tim. Vite : 58, the Virgin, St. John the Baptist, and St. Sebastian. — Itomanino : 59, Vii-gin and Child, St. Francis, Saints, and Angels. — Palma the Elder : 60, the Adoration of the Magi, with St. Helen. — Paul Vero- nese : 61, tlie Marriage of Cana. — Girolamo Savoldi, called il Cavaliere Bresciano : 62, the Virgin and Cl)ild, 1 witli two Arjgels in glory ; ami below, St. I’eter, St. Paul, St. Jci’ome, luul St. Dominick. — Carpaccio ; 63, St. Stepben ; beautiful. — Moretto i 65 ami 66, St. Clara and St. Catherine, and St. Jerome and an Apostle; 68, St. Francis. — Tintoretto: 70, the Holy Cross, with many Saints ; St. Helen and St. Catherine are the chief figures ; St. AncLew and St. Dominick are amongst the others. — Paul Vero- nese : 71, St. Cornelius (a pope), St. Anthony the Abbot, St. Cyprian, a page and priest. The third room contains from 72 to 128. Gentile da Fabriano : 75, the Virgin with the Holy Trinity and many Angels ; figures about half the size of hfe — an old, curious, and good picture.— A7c- colo F'ulignate: 77, tlieVirgin and Child surroiinded by Angels ; with liis name, and the date 1465.: — Carlo Crivelli ; 78, a picture divided by architectural orna- ments into 3 compartments ; in the 1st is the Virgin and Child ; on her rt. hand are St. Peter and St. Dominick, and on the 1. St. Peter Martyr and San Geminiano. The name and date (1482) are on this cm’ious old picture. “ The drapery of the figures is mostly of gold embroidery : the ground is left behind the figures. The flesh is excessively bad, and the expression detestable. The colours as bright as. Van Eyck.” — Phillips, B. A. — Bartolomeo Montagna i 86, the Virgin and Child, with St. An- drew, St. Monica, the Emperor Sigis- mund, St. Ursula., and three Angels below, playing on different instru- ments. The only specimen of this early and rather stiff master, but whose picture is nevertheless full of character in the actions and expressions of the saints. Tlie date (1499) is on the base of the picture, witli tlie name of Mon- tagna ; and it is added that the altar for which it wns painted was restored in 1715 by Girolamo “ de Squartiis.” — Giottino : 88, Events in the Life of St. Jerome, in two parts, — Gentile Bellini : 90, St. Mark preaeliiiig at Alexandria in Egypt : a striking ])ic- ture, remarkable for its great size, as wnll as lor tlie variety of figures and costume.. In the distance a camelo- pard is introduced, wliicli Bellini pro- bably saw and drew when he was in the East, “it has a most astonishing ])erfeetioii of hue, and is in line con- dition. The hue of the background is I 3 178 Sect. III. Route 20, — Milan — The Brera — Paintings. quite perfect. The composition has no great merit, but the perspective and the colours are superb. There is a vast multitude of figures, but not neatly executed. Such is its tone, that, though gold is employed in front of the clumcli in the middle ground, yet it keeps its place.” — Phillips, P.A. — Luea Signorelli : 91, the Flagellation. — Cima da Conegliano : 96, St. Peter Martyr, St. . Nicholas, St. Augustine, and an Angel tuning his lute, repre- senting the knife with which he was martyred, on the head of St. Peter Martyr, is singrdar. “ Extremely grand in effect and beautifid in tone, its efiect arising from its simplicity, and the mode of relief of the figures dark olf the light sky and architecture. The darkness, however, is as clear as the light. The flesh, indeed, may be pushed a little too far ; but in gene- ral the hues are of the finest quality, and the colours and harmony capital : were it not of Grothic composition it would be of the highest rank.” — Gio- vanni Sanzio, father to Eaphael : 97, the Annunciation, a remarkable pic- tm’e. “ The Annunciation, with the Almighty in a rainbow, and the Sa- viour as an infant with a cross descend- ing, the Virgin appearing under an arch in half bending action, has much of that grace and delicacy which his son afterwards manifested so largely, for whom he appears to have been no bad preceptor. The colour is rich, and in parts good, but inharmonious.” — Phillips, P.A. — Longhi da Ravenna: 98, Madonna and Child, St. Paul and St. Anthony, the work of a rare master. — Palmizzano : 103, the Nativity, with Angels, very peculiar, — Andrea Mon- tegna : 105, divided by columns into 12 compartments, St. Mark in the centre, and various Saints around. “ Figm-es upon gold grounds, some in very good actions and with very good feeling, but badly painted, and poor expression.” — Phillips, R. A. — Cor- radini, called Prate Carnevale : 107, the Virgin and (3hild, with many surrounding figm-es ; many portraits, especially of the Duke of Urbino, are said to be introduced into tliis cm-ious picture. — A. Mantegna : 111, beautiful distemper, S. Bernardino, with two Angels. — Paul Veronese : 112, om* Lord in the house of Simon the Phari- see, a fine picture, and full of figures. — Gio. Cariam, a rare master : 113, Ma- donna and many Saints. — Martino da Udine : 117, St. Ursula, sm-rounded by attendant Vii’gins, a pictm-e of a tranquil noble beauty. — Giotto : 125, the Virgin and Child. — Marco Pasaiti : 126, rare, St. Jerome, highly finished. — Palmizzano, with name and date 1493 : 127, Virgin and Four Saints. — Carlo Crivellij 128, Virgin and Child. The fourth room contains from 129 to 164. Garofolo : 130, a pleasing Land- scape, with two small figures, represent- ing St. Francis and St. Anthony of Padua.. — 131, a joint production of Van Thielen and Poelemburg, the first, whose name the picture bears, for the flowers, the second for the figures. — Vandyke: 136, a female portrait, about three- quarter size. — 137, one of the finest portraits by Moroni dl Albino, a half- length of a Bergamask Magistrate. — 139, a beautiful (copy of a ? L. G.) picture by Correggio, the Virgin and Child, Mary Magdalene, and St. Lucia, in a Landscape. “ It appears genuine, but all things have a beginning, and Correggio had not gone far on his journey through life when he painted this picture,” — Philligs, R. A. — Fran- cia : 142, the Annunciation ; early, but perfect specimen of this artist. — Car- paccio : 144, St. Stephen disputing with the Pharisees. — ICohhema : 146 and 151, Landscapes, — Breughel : 155 and 161, the Descent of Aeneas into the Infernal Regions, and the Burning of Troy, on copper, with a multitude of minute figures. — Bloemen : 154, a Landscape. — Poelemburg : 157, Women bathing. — B. Luini : 163, a part of a Holy Family, a very exquisite drawing ; see head and arm of the Child, and hand of the Vu-gin. The fifth room contains from 166 to 175, Palmizzano : 166, very fine, the Coronation of the Virgin and two Saints. This room has no pictures of any great note, though the works o. Austrian Dom. Route 20. — -Milan— The Brem — Paintings. 173 Paolo Matteis, 165, Liherale da Verona, 167, Santa Croce, 175, are curious from the scarceness of the artists. The sixth room contains from 177 to 209. Vittore Carpaccio ; 180, “ A Bishop, about 4 feet high, reheved from a blue sky, in a green and pirrple robe, ex- quisite in tone and colom\” — Phillips, R,A. — Carpaccio : 182, St. Anthony of Padua, a figure of a Monk, reading, and holding a lily in his hand. “Not so good as tlie last, but very near.” — Id . — Cesare da Sesto : 184, the Virgin and Child, beautiful. — Alhano : 185, the Dance of Cupids, or the Triumph of Love over Pluto : a most graceful and pleasing specimen. — Annihal Caracci : 187, the Virgin and Child, St. Francis, an Angel, and St. Joseph in the dis- tance : whole-length figm’es, rather affected. — G-iovanni Bellino : 188, a Pieta, with the artist’s name, very early. — Cima da Conegliano : 189, St. Peter, St. Paul, St. John the Baptist, and at the base of the pictme a little Angel playing on the lute. — Fyt : 191 and 197, Dead Glame : very clever. — Van Goyen : 192, a Sea View. — Gio. Pedrini, one of the rarer pupils of L. da Vmci : 193, Magdalene. — Nicolo Poussin : 195, a Landscape. — 198, a Female Portrait, very fine, called Scuola Bolognese. — 199 and 200, Sketches of two Girls, attributed to Tintoretto. — Annihal Caracci : 202, the Portrait of the Artist and three other Ileads : very clever. — Giovanni Bellino: 204, the Virgin and Child. — Garofolo : 206, Madonna and Child, in a glory of Angels. — Moroni : 208, the Virgin and Child, St. Catherine, St. Francis, and the Donor: figures half-length. — Gio- vanni Bellino : 209, the Virgin and Child. Tlie seventh room includes from 210 to 230. Marco dl Ogionno : 210, the Virgin and Cliild, St. Paul, St. Jolin tlie Bap- tist, and an Angel ^ilaj'ing on a violin : a good s])ccimen of tliis rare artist ; the licads are full of cxjn’ession, es])ecially lliat of tlie Virgin, which is beautiful and tender. IVlarco d’Ogionno was a pupil or hiiitator of Leonardo da Vinci, and he made two or three excellent copies of the Cenacolo. — Gtiercino : 214, Abraham dismissing Ilagar : per- haps the most praised amongst the pictures in the Brera. Ever since Lord Byron was so much struck by this picture, numberless travellers have been struck too. But the composition is vulgar in character and expression. — Andr. Previtali, a rare master, a Bergamask, pupil of Gio. Bellini : 219, Christ going into the Mount of Ohves : very fine ; it has a date, 1513. — Car- paceio : 218 and 222, the Dedication and the Marriage of the Vfrgin : pic- tures frdl of figures. — Andrea Man- tegna : 226, our Lord dead, and the three Marys ; in distemper : singular and forcible effect of foreshortening, and executed with great power. — Ra- phael : 230, the “ Sposahzio.” This celebrated pictm’e was originally at Citta di Castello. It is in the artist’s early style, and bears much resem- blance to P., Perugino in the architec- tural perspective, background, the ar- rangement of the figures, and a certain degree of hardness in the outline ; yet the design and action is very graceful, and it is a most interesting specimen of one of Bapliaei’s first works, bearing his name, and the date mdiiii. “ Mary and Joseph stand opposite to each other in the centre ; the high priest be- tween them joins their hands ; Joseph is in the act of placing the ring on the finger of the bride : beside Mary is a group of the Virgins of the Temple ; near Joseph are the suitors, wlio break their barren wands — that which Joseph holds in his hand has blossomed into a lily, which, according to the legend, was the sign that he was the chosen one.” — Kugler. “ It was painted when Eap'uael w’as only 21. It has great grace and beauty, but the colour of the tlesli is bad. The great feeling, and delicacy of the ac- tions and ex])rcssions redeem it, and render it an object of great interest. The composition is not good, and tlie aei-ial ])crs]H'ct ivo is Avanting : but considei’ing liis youth it is a most cx- t raordiuary performance.” — Phillips, R.A. 180 Sect. IIL Route 20. — Milan— -The Brem — Paintings. The eighth room contains from 231 to 255. 231, Fran. Verla, rare; Madonna on Tlmone and Saints. — 234, An Old Man^s Head, bald, and with a large beard, Titian : fine. — 235, Sketch in water-colonrs, Raiohael, of an allego- rical group of naked figures, on paper. At the bottom of this very clever de- sign is wi-itten, as it is thought, by the hand of Haphael, the name of Michel Angiolo Buonarotti. This bistre draw- ing is the original sketch for the fresco formerly in Baphael’s villa, in the Villa Borghese, and now existing (cut out with the wall) in the Palazzo Bor- ghese, at Rome. — 236, Cesare da Sesto : an exquisite Head, with part of a Head, perhaps the painter himself. — 237, St. Peter and St. Paid, Guido : a remarkable pictm’e. It was formerly in the Zampieri Glallery of Bologna. — 239, A Head of a Man, believed to be that of the artist, Giovamii Ku- 'petzlci. — 240, A bistre Drawing, called “ II Padre di Famigiia,” And. del Sarto : the Man in the Grospel paymg the Workmen. — 241, Filippo Mazzuola : a very clever Head. — 242, A Soldier, Amhrogio Figino : this clever picture is thought to be the portrait of Marshal Foppa. — 243, A very fine specimen of the Grerman Rhenish school, in three compartments ; the Adoration of the Magi in tlie mid- dle. — 244, St. Sebastian, Giorgione; considered his chef- d' oeuvre : formerly in the archiepiscopal galleiy. — 247, The Vu’gin and Child, Ltiini : a very pleasing picture by this graceful artist. — 246 and 248, Two Landscapes by Canaletti. — 251, A' highly-finished Female Head, by Rembrandt. — 252, Alessanch'o Turchi, called V Orhetto : whole-length Magdalene ; fine for this master and school. — 254, Portrait of a Monk, Velasquez., excellent. The ninth room contains from 256 to 279. 257, The Presentation of the In- fant Moses to Pharaoh’s Daughter, now called Ronifazio, but quite a Giorgone in strengtli and beauty, and untd of late years attributed to him. “ The colours are not bright, 'but are full, and touched like Velasquez. The most striking part of this pictm'e is the fulness and richness of the compo- sition, and the astonishmg freedom and clearness of touch and colour. The latter has in texture the freshness of guache, and it is execmed in a style of the utmost boldness, though it must be confessed it is also sometimes clumsy and careless. There is no attempt at finish, but all is broad ; great diversity of character and actions in the figm’es. Some dogs are introduced with great breadth and beauty, and there is an extremely fine scene in the landscape. The colours, I imagine, particularly the blues and the greens, have changed, and have become almost black. The consequence is destruction of the keep- ing, as the Ijackground advances top much upon the figures.” — Prof. Phil- lips, R. A. — 258, The G-ood Sama- ritan, Sandrart. — 259, Noah drunk, and his Sons, Indni. — 263, A Female Portrait, Rubens. — 264, The Portrait of a Man, Vandyke. — 266, Ferdinand Pol : Female portrait, half length. — 268, Franz Hals, a most beautiful male Portrait. — 269, A Portrait, said to be by Titian. — 270, A Female Portrait, Geldorp or Gualdrop. — 271, The Portrait of a Man, Rubens . — 272, Another, three quarters length, Raphael Mengs. — 274, La Sacra Sin- j done, Guercino. — 277, The Virgin | and Child, surrounded by Cherubim, Giovanni Pellino. ■ — 278, The As- sumption of the Virgin, Moretto. — 279, The Virgin and the Infant sleeping ; above, a Glory of Cherubim, Sassoferrato. The tenth room contains from 280 • to 333. — 280, The Virgin and Child, St. Anthony of Padua, St. Joseph, and many Angels and Cherubim, Luca Giordano. — 282, Fnea Salmeggia : Madonna, Child, and Saints ; rather animated composition by this Berga- mask painter. — 284, St. John the Baptist in the Desert, Gaspar Poussin ; St. John is represented as a child of about ten years old. — 285, The Por- trait of an Artist, three quarters length, Leiner ; a very theatrical picture. — 290, The Martyrdom of San Vitale, Austrian Dom. Route 20. — Milan — The Brera — Paintings. 181 with many figures, Baroccio : “ the best specimen of this most baroque master.” — L. G. — 292, The Descent of the Saviour into Limbo, Zuccari ; with his name, and the date 1585. — 293, A Stag-hunt, Sneyders. — 294, The Virgin and Child, St. Joseph, St, Catherine, St. John the Baptist, and St. Graetano, Pietro da Cortona . — 296, LoManzio Gambara. Portrait of a Man. A fine specimen of this great fresco painter, whose oil paint- ings are extremely rare. — 297, Half- length Portrait of a Sculptor, Daniele Crespi. — 299, The Crucifixion, with St. Mary Magdalene and two other figm’es, Pietro Subleyras ; with the artist’s name, and the date 1744. — 300, St. Jerome in the Desert, by the same artist. — 301, Procaccino. A cmaous specimen of a picture de- signed for a gonfalon or clinrcli banner, and painted on both sides. On that now exposed is the Virgin and Child, with San Carlo and Sant’ Ambrogio and Seven Angels : the other side also has the Virgin and Child with other Saints and Angels. — 302, A Holy Family, with many Angels, Pompeo Pattoni. — 308, The Head of a Phi- losopher, said to be by Guido. — 311 to 318 inelusive : All portraits, and all considered those of the artists. They are an interesting collection, especially 316, the portrait of C. F. Niivolone ; and 317, Portrait of Mengs, by Mar- tin Knoller, — 321, The Disciples at Emmaus, by Ponifazio. — 322, The Souls in Purgatory, Salvator Rosa. Salvator Rosa was not equal to this subject. — 325, The Departure of the Israelites for the Holy Land, Castig- lione. — 326, The Portrait of the Art- ist, Andrea Porta. — 327, The Virgin and Child, with the Doctors of tlie Church and a glory of Angels, Scar- sellino. — 331, A Porti'ait, believed to be that of Sc^aramuccia Perugino, by Francesco del Cairo; a fine ])icturc. — 332, St. Paul tlie first Hermit, Sal- valor Rosa ; a remarkably fine and clearly painted scene. Tlie eleventh room contains from 334 Ambrogio on a throne and 4 Saints, by Borgognone. The transepts. — In the S. transept is the tomb of Giovan’ Galeazzo, the founder, designed by Galeazzo Bel- Austrian Dom. Route 21. — Milan to Genoa — Certosa. 197 legrino, in 1490, but not completed till 1562. Many artists of unequal merit worked upon it during tliis long period. Over his statiie, recumbent upon a sar- cophagus, rises a canopy of the richest cinque-cento workmanship. Observe the trophies upon the pilasters. In the second story are six fine historical bas-rehefs : — Giovan’ Galeazzo receiving the baton of command from his father — Ids creation as Duke of Milan by the Emperor Wenceslaus — his founda- tion of the Certosa — the hke of the Citadel of Milan — his victory over the Imperiahsts at Brescia (1402) ; — and the refoundation or dotation of the uni- versity of Pavia. These are attributed to Gio. Ant. Amadeo. Other parts are said to be by Gio. Giac. della Porta. It seems from the inscription that the monument was constructed by Gian' Cristoforo Pomano j the statues of Fame and Yictory, at the extremities of the tomb, are by Bernardino da Novi. That of the Virgin and Child is by Ber- nardino de' Briosclii. The monument, however, was, in a manner, executed in vain. Giovan’ Galeazzo died at Marig- nano, 3rd Sept. 1402 ; and his funeral was shortly afterwards celebrated with extraordinary pomp in the Cathedral of Milan. The banners of the 240 cities and towns and castles subject to his domination, borne by as many cava- liers, and 2000 mourners, each carry- ing a torch, formed a portion of the train. Afterwards the body was moved, and the place wliere it was provisionally deposited was forgotten. At the end of tlie S. transept is the altar of S. Bruno, above whicli is a fresco, representing the family of Gian’ Galeazzo Yis(;onti on tlieir knees before the Virgin : lie is ollering her a model of the church, Filijipo kneels behind, and two others of his sons on the op])o- sitc side. This fresco is by Borgognone, by whom are also the 4 saints on each side of the arch, and the angels on the entablature above, su})])orting shields, on which the arms ot tlie Visconti are hlendeil with the mottoes of the Car- thusians. 1 1 ere also are t wo fine bronze candelabra, by Fontana^ and some brilliant stained glass. In the N. transept are, the monu' ments of the vmfortunate Ludovico il Moro, and that of his beloved wife, Beatrice d’Este. She was a lady of very singular talent and beauty; and having died in childbu’th, Jan. 2, 1497, he caused this monument to be erected at an expense of 50,000 ducats. Her body was interred here ; but the monu- ment was first placed in the church of St. Maria delle Grazie at Milan, and removed here in 1564. Both are said to be by Solari, and are finely executed : the costume is cinhous. Before the altar, at the end of the N. transept, are also two fine candelabra, by Fontana ; and in the apsis are frescoes, by Bor- gognone. The choir. — Observe the doors with intaglios, and bas-reliefs representing the principal events of the hfe of S. Bruno, by Virgilio de' Conti; and the intarsiaturas in the seats of the choir, by Bartolomeo da Pola, 1486 ; also the fine balustrade, on which stand 4 bronze candlesticks, by Fontana., the bas-rehefs on the walls, on each side of the altar, and the richly adorned high altar. The frescoes are the last work of T>. Crespi. By the side of the altar, wliich is in the apse of the S. transept, is an en- trance into the Sagrestia Nova, covered witli fi-es- coes, by Pietro Corri (1600). Here is an excellent altar-piece, tlie lower part by Andrea Solari, the upper by Ber- nardo Campi. The pictures on each side are by Solari. Also, Luini, St. Ambrose, and St. Martin dividuig his cloak witli the Beggar, — Morazzone, S. Teresa with St. Peter and St. Paul. — Montagna, t he Virgin with 2 saints and a Choir of Angels. — Some small pic- tures of Borgognone. — The richly carved ])resses, now empty, were for- merly filled with suuq)tuous vestments and church jilate. Lavatoio de' Monad, on the S. side of the choir, is as rich in gold ami ul- tramarine as the chureh. Above the riehly-scul})tured doorway are seven medallions of Duchesses of Milan. Over the Lavatory is a bust, said to bo that of Heinrich of Gmunden, the nr* 198 Boute 21 . — Milan to Genoa — Pavia. Sect. III. cliitect. Observe also — Atherto Car- rara, two bas-reliefs, tlie Kiss of Judas, and the ’Washing of the Feet of the Disciples. — B. Iniini, a fresco, the Vir- gin and Cliild, the latter holding a pink flower. Also stamed glass, by Cristo- foro de' Motis, 1477 ; a very beautiful work. Hence you may ascend to the roof, and examine the construction of the budding. Sagrestia VeccMa. — Over the door are fine medallions of the Dukes of Mi- lan ; and, on each side, a Choir of Angels, by Amadeo, considered amongst his best productions. The Sacristy cor- responds in style with the Lavatory : in it is a ciu’ious ancient altar-piece, worked in the ivoiy of the teeth of the hippopotamus, containing 67 basso- rdievos and 80 statues — all subjects from the New Testament, by Bernardo degli Ubbriachi. Several paintings ; the best are a portrait of Cardinal Co- lonna, by Guido, and a St. Augustine, by Borgognone. In the cloister called della Fontana may be noticed numberless bas-rehefs of teiTa-cotta, much prized by Cicog- nara : our Lord and the Samaritan Woman ; ChilcLen playing upon musi- cal Instruments. The doorway of white marble, of the entrance into the chiu’ch, is a masterpiece of Aniadeo. The great cloister is 412 ft. long by 334 ft. wide. Tlie arches are of the finest moulded brick, in the cinque- cento style. Three sides are surrounded by 24 cells of the monks. Each is a separate dwelling, containing 4 good- sized rooms, 2 above and 2 below ; be- hind, a small garden. Tlie Caidhusians were extremely fond of gardening ; and when the “ Charter! >o use, nigh Smitli- field,” was seized by our Henry VIII., his Grace’s gardener selected tlie best plants for his grounds atllampton Court. The battle of Pavia, Feb. 24, 1525, in which Francis I. was taken prisoner, was fought in the neighbomdiood of this Certosa. li Pavia {Inns: La Posta; La Croce Bianca, indifferent). Pavia la Dotta was the capital of the Lombard kings, and the gloomy Castello has been thought to stand on the site of their palace. The present building, however, was raised by Galeazzo Visconti, who began it in 1460, and completed it in 1469. When perfect, it formed an ample quadi’angle, flanked by 4 towers. The interior was surrounded by a double cloister, or loggie : in the upper one the arches were filled in by the most deh- cate tracery in brickwork : the whole was croivned by elegant forked battle- ments. The Gothic windows in the outside of the building, simple, but very graceful, were divided by marble mullions. In the towers were depo- sited the treasures of literatm*e and art which Gian’ Galeazzo, the friend and protector of Petrarch, had collected ; — ancient armour; — manuscinpts upwards of 1000, and wliich Petrarch had as- sisted in selecting ; — and many natural ciuiosities. Petrarch is most loud in his praises of Gian’ Galeazzo’s libe- rality and magnificence ; but, besides the other trifling defects of Galeazzo’s character, in a fit of anger, when the building was completed, he hanged the architect, freaks wdiich he indulged in now and then. All these Visconti collections w^ere taken aw^ay and carried to France in 1499, by Louis XII., and nothing w’as left but the bare w’alls. One side of the palace or castle was demolished during the siege by Lautrec in 1527 ; but in other respects it continued per- fect, though deserted, till the year 1796, wheu it was again put into a state of defence by the French, They took oil the roof, and covered the vaultings with earth and sods ; and w^hen the rains came on in autumn, the moisture aud the wnight broke down the vault- ings and ruined great part of the. edifice. It has since been fitted up as, a barrack : in some ])arts the tracery of the interior arches is tolerably per- fect ; and the great ruined gateway, once entered by a drawbridge whiel crossed the fosse, is still a fine object. The I)uomo, or cathedral, was com menced in 1488, but never finished It w'as erected upon the site of an an cient Lombard basilica, of which thcr< are some small remains now in cours of demohtiou. Austeian Dom. Route 2\. — Milan to Genoa — Pavia^Duomo. 199 The first stone was laid by Griovanni Galeazzo Maria Sforza, and liis brother the imfoi’tnnate Ludovico ; and the captivity of the latter was one of the causes which prevented the prosecution of the edifice. The architect was Christoforo Rocchi, the pupil of Bra- mante. A spacious octagon occupies the centre, and a nave and side aisles, extending in each direction, were to have formed the cross ; the side aisles opening into the obhque sides of the octagon, which are smaller than the others. The pulpit is of great size, siUTOunding one of the great clustered col umn s. The colossal Terms, repre- senting the Fathers of the Chm'ch, bowed forwards, and supporting the pulpit on their backs and shoulders, are finely imagined and executed in dark wood. A cimous reminiscence of the age of romance is found in the lance of Orlando, a decayed shaft as large as a mast, suspended from the roof of the cathedral. In a side chapel is the tomb of St. Augustine, the greatest of the Fathers of“ the Latin Chiu’ch. It was pre- seiwed and brought hither when the church of St. Pietro in Coelo Aureo, where Luitprand King of the Lom- bards deposited the body in 700, was destroyed. Its date is about the 14th^century. The body of St. Augustine ^ob. 430) was removed from Hippo, a sufiragan see of Carthage, during tlie Arian per- secutions, when tlie Catliohc clergy, being banislied by King Thrasimund to Sardinia, transported the relic thither with tlicm. llero it continued until Luitprand purchased it from the in- habitants, wlio, exposed to the con- stant invasions of the Saracens, coidd no longer ensure safety to the ])ilgrims wlio resorted to the slirine. The body was deposited by Luitprand in a species of catacomb or se])ulchral chajK'l, where, when o))cned in 1090, the bones were found, \vrap])e(l in a silken veil, to- gether with some of his episco])al orna- ments, all contained in a silver shrine, ol which th(! exterun* is now ex})osed to view in the lower j>art ofthe present tomb. There is some uncertainly as to the names of the artists by whom this magnificent pile was erected^ Cicognara, who says it must be reckoned amongst the most “ magnifici e grandiosi” of the 14th centm’y, sup- poses it was executed by Pietro Paolo and Jacohello of Venice. Vasari, on the contrary, attributes it to Agostino and Agnolo of Sienna. This assertion Cicognara supposes to be contradicted by the date of its supposed erection^ stated in the books of the priory to have been 1362. The tomb consists of fom’ stories : the basement, the tomb, properly so called, upon which is ex- tended the saint in his episcopal robes, the canopy, and the surmounting sta- tues and pinnacles. Great mvention and variety are displayed in the smaller statues and bas-reliefs. Bound St. Au- gustine are the saints whom liis order produced. Angels adjust the shroud around him ; the Liberal Arts and the Cardinal Virtues, the principal events of the history of the saint during hi& life, and the mhacles operated by liis intercession after liis death, adorn other portions of the tomb — 290 figiu’es in all ; and GiovaiT Galeazzo Visconti proposed to have added more. The mechanical execution corresponds with the beauty of the design. Some good pictures exist in the ca- thech-al, but the darkness of the build- ing makes it raiher difficult to distm- guish them. The chief are, P. Crespiy the Virgin and Child, St. Syrus and St. Anthony of Padua ; II. Sojaro, the Virgin ofthe Kosary; and G. B. Crespi, the Wise Men’s Ofiering, The cam- panile is a noble massy tower of brick, not much altered from Gothic times. The chiu’ch of San Michele ranks above the cathedral in age. “ The exact moment of the construction of this church is not accurately known. The first time it is mentioned is by Paulus Diacouns, who incidentally re- lates that, in 661, Umilfus took sanc- tuary in this church to escape the vcngi'ance of King Crimoaldus. In (561, therefore, San Michele must have he('u finished and consecrated, or it would not have been a sanetuarv. The probai)ility, however, is that it had 200 Route 21 . — Milan to Genoa — Pavia — Churches. Sect. III. only been recently finished at that time ; because the particular veneration for the Archangel Michael, which com- menced in Apulia in 503, clid not reach the !N’orth of Italy tiU a centvny later. In addition to which we find that, during the whole of the 6th century, the inhabitants of Pavia were occupied with the construction of their cathedral, San Stefano ; and it is not likely that they woidd have carried on two works of such magnitude at the same time. San Michele is 189 ft. long by 81 ft. wide ; the nave is as much as 45 ft. wide. The plan is that of a Basihca, with the addition of transepts. The chancel is approached by several steps, which was probably an alteration in- troduced in later times than those in wliich the church was built. Above the aisles, on each side of the nave, there is a triforium or gallery ; and above the intersection of the nave and the transepts there is a Byzantine cupola. Under the chancel thei’e is a crypt. The arches on either side of the nave are supported by compound piers. All the capitals of the piers are enriclied with images and symbols. The roof is remarkable. Unlike that of the old Basilicas, it is not of wood, but vaulted with stone ; but the pilas- ters wliich run up to support the vault are of a later character than the other portions of the building, and confirm the impression, suggested by tlie nature of the roof itself, tliat the present vaulted roof must have been substi- tuted for an older roof of wood. Tlie walls of the building are of stone, massive and thick. The exterior is ornamented with small open galleries, which follow the shape of the gable in front, and crown the semicircular apse. The portals exhibit the com- plete adoption of the round form in- stead of the square, with the addition of several mouldings, and a pi’ofusion of imagery ; nor are the ornaments confined to the portals. Bands, en- riched with imagery, are carried along the whole of the front, and modillions are let into the walls. The windows are roundheaded, and divided by small pillars. The ornaments of the portals are a mixture derived from Christian, Pagan, and Scandinavian soiu'ces, to- gether with some wliich are merely introduced for the purpose of decora- tion, and afford a good example of then' peculiar style. San Michele may be taken as a specimen of a style which the Lombards adopted for their own.” “ It is impossible not to see in the Lombard churches of Pavia the ori- ginals of the churches in the valley of the Rhine. The Lombard style was ultroduced into the Rhenish provinces by the Carlovingian sovereigns of ItaR, who resided at Aix-la-Chapelle, in the immediate neighbourhood of the Rhine, and who, passing some time, as they frequently did, at Pavia, coidd not fail to remark the chiu’ches with which it had been enriched by the Lombard kings.” — O. Knight. In the choir itself are some early frescoes by Antonio di Kdessa, a con- temporary of Giotto’s ; and thei’e is also a tolerable Moncalvo. Santa Maria del Carmine., built in 1325, is a church deserving of notice as a beautiful specimen of the finest brickwork : in the cornice are inter- secting ornamental arches, and the W. front has a large rose- window and three arches, all formed in finely-moulded terra-cotta. “ The brick pillars of the inside deserve notice ; three squares form the nave, each of which is covered by a simple groin, but opens by two small arches into the side aisles, and has a very small circular window above. The beautiful brickwork has been hacked, to retain a coat of stucco or whitewash. The walls and vaults are also of brickwork, but of very different quality. These were evidently intended to be covered. The upper capitals are of stone, ornamented with detached leaves ; the lower are of brick, cut into escutcheon faces. Gilding would be a good ornament for such a building ; it would harmonise beauti- fully with the rich brown of the brick, whose dark colour wants something to relieve it.” — Woods. San Francesco is another fine church of the same material and style. “ The Austrian Dom. Route 21. —Milan to Genoa — Pavia — University. 201 upper part of the front, with one large central arch, surrounded by a number of plain and enriched bands, is finely composed. There are seven pinnacles in front of the Carmine, five on that of S. Francesco, but, though well con- trived in themselves, they do not, in either case, unite well with the build- ing.” — Woods. The inside has been modernised, and done badly. A paint- ing by Camyi is the only picture which it possesses worthy of any notice. Santa Maria di Canepanova is a fine specimen of the cmque-cento style, by Bramante. It was begaui in 1492 by Giovanni Galeazzo Maria Sforza, and contams some indifferent frescoes, and others pretty good by Moncalvo, and several subjects from the Old Testa- ment by Giulio Cesare and Camillo Procaccini. Of the celebrated chiu’ch of San Pietro in Cielo d' Oro some portions remain, partly in nuns, and partly used as a storehouse. Here was one of the most interesting moniunents in Italy, the tomb of Boethius. The covered bridge over the Ticino was built by Galeazzo, and from his tune to the present has been a favourite promenade of the inhabitants of Pavia. The body of the work is brick, with stone quoins to the arches. Its roof is supported by 100 columns of rough granite. A httle way out of the city is the fine Lombard Romanesque church of San Lanfranco. It offers a beautifully varied outline. The churches of San Teodoro and of San MaHno belong, as to the date of tlieir erection, to the 8th and 9th cen- turies ; but tlie interior of both lias been so entirely modernised that there H little in either to observ^e. In the atter is a good specimen of Cesare da Seslo, the Yirgiii and Cliild. Beyond the city is San Salvatore. •The inside has Corinthian iiilastcrs iqiporting jiointcd ardies. Various tucco oniamcnts, not in good taste, lave hern added. The whole is splcn- lidly gilt and painted; and, in spite f some apparent discordance, the edcct s really fine.” — Woods. Here is a school for children m connexion with the university. The University of Pavia claims very high antiquity. It is said to have been founded by Charlemagne in 774; and, though this assertion is not susceptible of strict historical proof, it is certain that the civil law was professed at Pavia at an early period. That great restorer and reformer of the Church of England, Lanfranc, Archbishop of Canterbury in the reign of the Con- queror^ was born at Pavia of a family who possessed by inheritance the right of administering the civil laws, perhaps derived from their senatorial dignity in the Roman age. The splendour of the University, however, arose mainly from Giovanni (or Gian’) Galeazzo, who, about 1390, gave it so many additional privileges that he is usually honom-ed as the founder. But the parchment might have been a dead letter, had not the duke wisely called in the great Bakins as a professor of civil law. He w as a man of wonderful acuteness and diligence, and possessed what woidd now^ be termed an Em* 0 " pean reputation, to the highest extent. Kings and princes consulted him upon points of public law, and his com- mentaries “ on the Corpus,^ Big and lumjiy as a porpoise,” contain a mine of learning. In more modern times Pavia has been princi- pally distinguished as a medical school ; and in this branch of knowledge it has produced men of great eminence. It is yet in considerable repute, contain- ing about 1600 students ; and English- men occasionally study here, as they also do at Padua. The anatomical theatre is well contrived, and the pre- sent demonstrators enjoy a high rc- ])utation. Little can be seen of the ancient buildings of the University. IVIaria 'J'heresa, in 1779, and the Emperor Joseph, in 1787, I’ronted and adorned much of the old part, and built two entirely luwv ([uadrangles ; and still more recently (1816) the prineijial fac,*adc w as erect t'd by MarchesCy at t he K 3 202 Route 21 . — Milan to Genoa — Pavia— Universitij. Sect. III. expense of tlie late Emperor Francis I. The museums of anatomical prepara- tions and of specimens of natm-al liis- tory are both remarkably good. It also contains a large hbrary and col- lection of coins. To this university also is annexed a school of the tine arts, in which drawing and engraving are taught. The utility of tins insti- tution has been much increased by the liberahty of the late Marchese Mala- spma, who, dying about seven years ago, bequeathed to it a very valuable col- lection of paintings, prints, and other objects illustrative of the history of arts, placed in a building which he erected for them at his expense ui his lifetime. There are five fine com-ts, in the walls of two of wliich are inserted monuments of early professors placed here, some of them when the churches where they had been originally erected were suppressed. One of them is of the celebrated jmist Alciat. Most of the older monuments are on the same pattern. They represent, in alto-ri- hevo, the professor seated in the midst of his x^upils, who are listening to his instructions. Though often venerable- looking, long-bearded men, the pupils, to denote their inferiority, are made about half the size of then’ masters, which gives them the effect of old boys. Them countenances and attitudes gene- rally denote intense attention. Some modern eminent men have monuments here. Spalanzani^ Fontana, and Scopoli are amongst them, truly honoured names in natural sciences, and testifying the subsisting honours of this ancient school. And to these great men must be added Volta, Scarpa, and Mas- cherini, all of whom were professors at this university. Of the many colleges formerly an- nexed to the university, two only, the Collegio Borromeo and the Collegio GJiislieri, exist. In front of the latter is a statue, in bronze, of its founder, Pope Pius Y., with raised hands and fluttering drapery. From the university, four of the high and gloomy totvers by so many of which Pavia was once adorned, defended, or tyrannised over, are well seen. These have been lowered, and one of them is sm’mounted by bells, and converted into a kind of town belfry. They are still from 200 to 250 ft. liigh, uniform in aspect, square, with small apertures all the way up, and adding much to the character of the city by their singular appearance. If the accounts of historians are to be credited, Pavia, the “ Civitas Turri- gera,” at one time possessed 525 of these towers. Pavia is not healthy ; the water from the Ticino is bad, and, whatever may be the cause, individuals who are stunted in their growth, or deformed, are so numerous as to force themselves upon the observation. Amongst the notabilia of Pavia must be noticed the ancient costume of the ladies, which is rather declining at Milan. It is a hlaclc silken veil, tlu’own over the uncovered head in the same manner as the white veil is used at G-enoa. It is a matter of profoimd inquiry which of the two looks best. Jxidicent peritiores. On qidttmg Pavia you cross the Ticino by a covered bridge, and enter the subimb of Pavia called the Borgo Ticino : here are the Austrian custom- house and pohce-office. Shortly after a branch of the Ticino is crossed by f. bridge of boats, and at Grravellone, aboul 2 m. from Pavia, you enter the Pied montese territory, and the custom house is at that place. 4 m. forthe on, the Po is crossed by a bridge o boats. A toll of 2f fr. is paid for eaa carriage at the Ticino bridge on quil ting Pavia, and 3 fr. 40 c. on crossin the Po. 3^ Sardinian posts to Casteggu; (Rte. 6.) Sardinian Posts. 1^ Yoghera. 2^ Tortona. 2j Novi. li Arquata. 2 Bonco. I (Ete. 6.) (Ete. 5.) 2^ Genoa. (Ete. 12.) Austeian Dom. Route 22 . — Milan to Lodi and Piacenza. 203 KOUTE 22. MILA2J- TO LODI PIACE^’^ZA. posts, 54 m. Milan to Lodi, actual distance 24 m. Lodi to Pia- cenza, about 30 m. Leaying Milan bj the Porta Pomana, the road is for most part of the way of the same character as that to Pavia; in some parts exceedingly marshy, in- tersected with numerous canals and streams. It is perhaps the least agree- able side of Milan. If the traveller is coming from the S. he will miss the festoons of the vines, which, even before he reaches Lodi, will have almost en- thely disappeared. The maize, though beautiful in flower and in ear, is, when ripe, arid in appearance and ungraceful. The rice plantations, below the level of the road, and where the cultivators labour in black mud above the ankle, convey the idea of unhealthhiess ; but the meadows are beautiful. Chateau- vieux says, “ The cultivation of rice in Lombardy is remarkably unhealthy ; sickly labourers are seen walking along the banks to superintend the distribu- tion of the water. They are clad like miners, in coarse clothing, and wander about, pale as sjiectres, among the reeds and near the sluices, which they have barely strength to open and shut. When crossing a canal they are fre- quently obhged to phmge into the water, out of which they come wet and covered witli mud, caiTying with them germs of fever, wliich invariably attacks them. They are not the only victims, for the harvest labourers seldom gather in the crop without being seized with rigors^ the air in all the environs being polluted by the stagnant waters. The cultivation of the rice-planters is con- sequently restramed by law, and they are prohibited to extend its culture beyond prescribed limits.” The road to Lodi is excellent. This part of the country abounds in ancient chiuches. At a short distance from Porta Po- mana is the very ancient church of San Giorgio di Nosedo, annexed to what was the residence of the Arch- bishop. The mansion is now an inn. The church was founded in 571, by Alboin King of the Lombards : it is still standing, and has the remains of a curious fresco. About 3 m. from the Porta Eomana and 1 J m. to the W. of the road stands the Abbey of CMaravalle, a Cistercian monastery, suppressed in 1797. A cross road, which leaves the main road about a m. from the Porta Eomana, leads to it. “ This was the chm’ch of the fii’st Cistercian monastery that was estabhshed in Italy. The Cistercian reform was flrst introduced by St. Ber- nard, who was Abbot of Clairvaux in France. In 1134 St. Bernard crossed the Alps to attend a coimcil at Pisa, and, on his way back, paid a visit to* Milan. The citizens of Milan advanced; seven miles beyond then’ gates to receive, him. His presence excited the most enthusiastic feelings ; and wit hin a year after his departure a monastery was built at the ^stance of about foiu miles from the city, which was to be governed by St. Bernard’s rules, and to receive a name from the parent institution. The monastery was inhabited in 1136, but it was not till nearly the close of the twelfth centiuy that the chiuch was completed. It is in the Lombard style, and deserves consideration, as an archi-' tectiual composition, for the import- ance of its central tower. The body of the fabric is left perfectly plain, and, in effect, serves only as a base for the leading feature of the design. The tower alone is enriched. Octagonal in its form up to a certain height, it becomes a spue above. Both the octagonal and spual portions are en- riched with Lombard galleries, which give an appearance of hghtness, and attract the eye to that part of the building on wliich it is intended to rest. It is evident that the architect must have made the central tower his cliief object ; and whenever an architect has had a pecuhar object, and has suc- ceeded in producing the effect which he desired, his work deserves to be studied.” — G. Knight. This monastery was the favoiuite retuement of Ottone Visconti, who died 204 Route 22 . — Milan to Lodi, Sect. III. here. Wliat is called his tomb is still shown ; beneath the inscription are shields of arms, amongst which are the tleurs-de-lys of France. In the cemetery wliich adjoins the church still remain several monuments of the powerful family of the Torriani, who selected this cemetery for then* last resting-place. Here lies the great J?a- gano dMa Torre (who died 1241), the most distinguished of his race ; and near him repose several of his descend- ants. The Torriani were at the head of the popular party, and, for two or tlmee generations, governed Milan, keeping the nobles in bitter subjection. Having conspired against the Emperor in the year 1311, they were defeated, pro- scribed, and banished ; and by then* fall made way for their rivals the Visconti, who were at the head of the nobles. Here also is shown the tomb of the celebrated but ill-famed Wilhelmina. Her name passed into a once popular saying — egli ha da fare 'peggio cJie la Guglielmina. — She died in 1282, and in her lifetime she was deemed a saint; but after her death is was discovered that she had been the foundress of a secret sect, whose tenets involved the most fearful blasphemies in doctrine, as well as the most abominable sins in practice. Her bones 'were taken up and burned, and her accomplices put to death. The cruelties inflicted upon them were most atrocious, and cast a disgrace upon the Cluu’ch of Home, which is not to be removed by proving that these individuals had adoptecl Manichsean tenets. The country round this monastery was reclaimed by the laboin-s of the Cistercians, who were in agriculture almost what the Benedictines were in literature. The Cistercians invented the plan of forming artificial meadows, called -^prati di Marcitaf to which modern Lombardy owes so much of its prosperity. San Donato, San Giuliano. 1^ Marignano or Melegnano. Here, on the 14th Sept. 1515, Francis I. won, in the first year of his reign, the victory by which he acquired a transient and delusive glory. Having invaded the Milanese for the purpose of asserting his chimerical rights, he was attacked at Melegnano by the Swiss, to whom the defence of the Milanese territory had been intrusted. The battle was continued with great obstinacy during thi’ee entire days, and the Swiss were at length compelled to retreat in good order, but leaving 15,000 dead upon the field, a slaughter which, if we may judge by the feehngs expressed by Ariosto, occasioned great delight to the Italian heart : — “ Vedete il Re Francesco innanzi a tutii, Che cosi rompe a’ Svizzeri le coma, Che poco resta a non gli aver distrutti ; Si che ’1 titolo mai piii non gli adorna, Ch’ usurpato s’avran quei villan bmtti, Che domator de’ Principi, e difesa Si nomeran della Cristiana Chiesa.” Canto xxxiii. 43. Cross the Muzza, one of the many canals of irrigation, with which this district abounds. The approach to Lodi from INIilan is somewhat singular, from the height of causeway on which the road is carried. A fine avenue of planes borders it on either side. Ij Lodi. {Inns : II Sole, good, civil people ; L’Europa ; I tre Be, very fair.) The original settlement of the citizens, Lodi Vecchio^ is about 5 m. off, to the westward. It was founded by the Boii, and, having been colonised by Cneius Pompeius Strabo, the father of Pompey the Great, the citizens called it Laus Pompeia. Cicero calls it sim- ply Laus. The conversion of Laus into Lodi shows how, by the employ- ment of the oblique cases, the Latin language was corrupted into the modern dialect. The men of Lodi were the great and constant rivals of the Milanese, who, in 1111, entii’ely destroyed the city. “The animosity between Milan and Lodi was of very old standing. It originated, according to Arnulf, in the resistance made by the inhabitants of the latter city to an attempt made by Archbishop Ecibert to force a bishop of his own ; nomination upon them. The bloodshed, j Austrian Dom. Route 22. — Milan to Lodi — Lodi — Cheese. 205 plunder, and conflagrations which had ensued would, he says, fill a vohune if they were related at length.” — Sallam. After the destruction of Milan, the Lodigiani, who had fled to Pizzighet- tone, came (1158) before Barbarossa, as suppliants, weeping and bearing crosses, and requesting a home ; and accordingly he gave them a village then called Monteguizone, granting them investiture by the delivery of a banner. The spot is said to have been fixed upon by Frederick himself ; it was j defended by the river Adda, and lies in a tract of exuberant fertility : thus arose the modern city, containing now up- wards of 18,000 Inhab. The Lodigiani removed from their ancient city the relics of their patron saint, Bassianus, which they deposited in the "Duomo, a fine Lombard building. The porch is supported by fine griffins ; perhaps not only the design, but even a part of the materials may have been brought from old Lodi. This is cer- tainly the case vuth respect to a very curious basso-rilievo, representing the Last Supper, and which is a remarkable monument of early Clu’istian art, ante- rior to the settlement of the Lombards. The eyes are of enamel. Some fine paintmgs in tempera are on the walls near the high altar. They are by Guglielmo and Alberto di Lod% and were covered up till within the last few years. The Ineoronata, by Bramante, begun in 1476, is a very beautifrd specimen of the Renaissance. It is an octagon, and contains some good specimens of tlie paintings of Calisto Piazza^ commonly called Calisto da Lodi, an imitator, or, ; as some say, a pupil of Titian. The i' subjects are taken from the events of the Passion of our Lord, the Life of 1 St. John the Baptist, and the Life of 1 the Virgin : the heads have great beauty. { It is said that some of the pictures s were executed by Titian, who, passing ( through Lodi, gave this help to his !f pupil. ji The great Piazza, surrounded by arclies, is fine of its kind. The entrance ^ of the convent formerly belonging to ^ the Padri dell Oratorio is formed by an arch said to have been brought from old Lodi, where it formed the entrance to the schools. It is inscribed Igno- rantioi et Paupertati : neither the form of the letters nor the natm’e of the inscription sanctions its supposed anti- quity. The terrible passage of the bridge of Lodi, and the heroic conduct of the young Buonaparte at the head of his grenadiers. May 10th, 1796, need no commemoration. The bridge is on the eastern side of the city, over the Adda. The Lodi district is the chief country for the production of the cheese usually called Parmesan. In the country it is called Grana. The territory from which the (misnamed) Parmesan cheese is produced is 20 m. wide from Pavia to Milan and Lodi, and double that in length from Abbiategrasso, near the Ticino, to Codogno, near the confluence of the Adda and Po. The cows set apart for tliis production are about 80,000. It is seldom found profitable to rear them in the country ; they come from the cantons of Unterwald, ITri, Zug, Luzern, and Schweitz. They are brought at the age of from 3 to 4 years, between October and March, and give milk abundantly for about 7 years, Nearly 11,400 are imported every year; the price of each is from 14^. to 15Z. : the finest are valued in some years at 16Z. to 18?., and the highest price is from 19?. to 20?, After 7 yrs. they are sold, the most worn out, at about 2?. 8^., the best at about 5?. 12^. The cheese produced from a cow is, on an average, 200 large pounds (342 lbs. avoirdupois) in the course of a year, which is weighed after six months. It is sold twice a year ; that called la Sorte Maggenga (May lot) is that which is made between St. George’s day and St. Micliael’s, 24th April to 29th Sept. ; the other is called la Sorte Invernenga (the winter lot), which is made between the 29th Sept, and the 24th A 2 )ril. The average price is from 92 to 100 fr. lor every 100 largo pounds (i. e. from 3?. 13v. 8c/. to 4?. for 171 lbs. avoirdu]H)is). The total production of the year will bo 16,000,000 large pounds (27,568,500 lbs. avoirdu})ois). After tw'o or three years’ seasoning in 206 Route 23. — Mi'Ian to Venice. Sect. III. the warehouses of the merchants, who are piincipaUy at Coclogno, proyince of Lodi, and Corsico, proyince of Milan, the weight of the cheese is diminished 5 per cent ; then remain 15,200,000 large poimds. About the half compre- hends two inferior sorts. The first of these sorts is cheese of a bad quality ; the other inferior sort is of a good quahty, which from some defect in the shape cannot be exported, and is consumed m the country. The other half is exported. The quantity unported into Grreat Britain is yery small ; the enth’e amount of cheese imj)orted fr*om Italy in the year 1841 was only 738 cwt. Three kinds of pasture are used for the cows ; yiz. the marcito (or con- stantly flooded meadow land) ; irri- gatorio stabile (the merely u’rigated groimds) ; erhatico (rotatiye meadow grounds). The marcito consists in diyiding the land into many small parallelograms, sensibly inchned to one side. The water which fills the little canals amongst them overfiows these spots slowly ; it spreads hke a yeil oyer these spaces, and by the incli- nation of the ground falls again into the opposite canal. From this it is diffused oyer other parts, so that the whole meadow country is continually flooded ; from which there is main- tained a rapid and continual vegeta- tion in the heats of siunmer and the frosts of winter ; at the same time no marshy weeds prevail. The grass is cut five tunes a year ; and in some parts below Milan, in the meadow^s (along the Yettabbia), even nine times. When cut on the 31st May it is 32 inches high ; at every subsequent cutting it is always less — the second 10, the third 8, the fourth 6, &c. It is quite tasteless and insipid, and horses refuse to eat it, which proves the opi- nion of many strangers to be errone- ous, vv'ho attribute the fine taste of tlie cheese to the flavour of the pasture. The marciti meadows require a con- stant supply of water ; when there is not enough, the sunple irrigating sys- tem is adopted ; the grounds are then watered at the interval of several days. The erbatico^ or rotation meadow, alter- nates with the cultivation of rice, grain, flax, Indian corn, and oats. 14 Casal Fusterlengo, a good - sized borgo, where the road divides ; one branch leads to Cremona and Mantua (see Kte. 23) ; the other, which we pm’sue, goes on to Fombio S. Rocco and la Ca Rossa, near which last place are the respective custom-houses of Austria and the duchy of Parma. Shortly afterwards the Po is crossed by two bridges of boats, each joining an island to the shore. A short di’ive brings you to the gates of 2 Piacenza (see Bte. 34). ROUTE 23. MILAN TO CEEMONA, MANTUA, AND VENICE. 25 posts. Milan to Cremona, actual distance 55J m. Milan to Mantua, actual distance 96 m. : and Mantua is about half way between Milan and Yenice. 14 Melegnano. ] See pre- li Lodi. 1 ceding 14 Casal Pusterlengo. j Route. Coclogno, prmcipally remarkable as a great cheese-mart. Malleo. Gera. The country called the Gera or Gliiara d' Adda is hereabouts tradi- tionally supposed to have been once covered by a lake, called tlie Lago G-c- rondo, and di’ied up, partly by drain- age, and partly by evaporation. Theix; is much in the aspect of the country to confirm this opinion. 1. Rizziglietione, once a fortress of great imjiortance. It was originally built by the men of Cremona in 1125 as a point of defence against the Mi- lanese. Here Francis I. was detained after the battle of Pavia. The fortifi- cations still look strong, though they have been partially dismantled. The place offers no object of interest, except some good frescoes by Canwpi in the principal church. The Adda is here a fine rapid stream. Austrian Doh. Route 23. — Milan to Venice — Cremona. 207 Aqua Negra, wliere the Cremonese sustained a signal defeat in 1166. Cava Tigozzi is a species of hollow, from whence it derives its name. 2 Ceemona. Cremona. {Inns : The Sole d’Oro is the best inn. La Colombina, not cheap or clean. L’ Albergo Kreale. II Ca- pello.) Cremona ran the same course, and \mderwent the same vicissitudes, which befel most of the principal cities of Italy during the middle ages. Cap- tm’ed and destroyed by the northern barbarians in the 5th centy., it remained in a state of desolation till the 7th, when, at the command of the Lombard king, Agilulfus, it was rebuilt, and gradually restored. During the no- minal ride of the G-erman emperors, and the real anarchy which ensued, Cremona obtained municipal rights. No sooner were they independent than, hke the other enfranchised towns of Italy, the Cremonese quarrelled with their neighbours. Cremona was always at war with either Crema, Brescia, or Placentia — but especially with Milan. In consequence of this feud, when Frederick Barbarossa vented his wrath on Mdan, the Cremonese sided with him, and aided in the subversion of their ancient rival, and obtamed a new charter in return. But internal dis- orders were now added to foreign wars. The nobles quarrelled ; Guelph and Gliibehine factions fought in the streets. In the latter half of the 13th centy., Cremona, in common with many other cities of Italy, had recourse to the sin- gidar expedient of calling in a Dictator, under the name of Potestas, or Podesta, who was never to be a native, that he might be entirely unconnected with any of the various parties whom he had to control. The Dictator was so far of use tliat he preserved internal peace. But, after a time, an end was put to this anomalous, though bene- licial, domination, and a rc})ublican form of government was esta!)lishcd. Ho much disorder, however, was the consci, the Assmnption. — Malosso, the Crucifixion. — Bomanini, the Crowning with Thorns, and an Ecce Homo. The high altar is the last work of Gatti, or Sojaro. It re- presents the Assumption of the Yh’gm. It is said that, being rendered infinn by age, he added the last touches to the painting with his left hand. It Avas unfinished at the time of his death, and it was completed by SommaccJdno of Bologna. On the left of the choir is a small but curious votive pictme by Giotto (1370). Four large frescoes have been lately added by Biotti, a living artist. “ The southern transept has frescoes attributed to Giorgio Cas- selli, and said to have been executed about tlie year 1301 (subjects from the Old Testament) ; they are more eiu-ious than fine in art, but interestmg, from , the fact of their liaving lasted so well, | especially considering, as I hear from a native of the place, the dampness of the situation of the city, and its tend- ency to nitrous formations.” — 8. A. i Hart, B.A. The intarsiatura, or inlaid oak of the stalls of the choir (1489-90), by Giovan' Mana Platina, is very elaborate. There are some good speci-! mens of mediseval sculpture in the! altar of San Nicolo, of San Pietro, and I* San MarceUino. In the transept is a Austrian Dom. Route 23. — Milan to Venice — Cremona. 209 singular ancient vessel, apparently of the 9th or 10th centy., ornamented at the 4 corners with winged and tailed monsters, in which, according to the sacristan, St. Albert was accustomed to knead bread for the poor. Who was St. Albert ? it may be asked. He was born at Castel Gualtieri in this neigh- bourhood ; and, after filling the epis- copal chair of Yercelli, was, in 1204, appointed patriarch of Jerusalem. He was the founder of the Carmelites, and distinguished for humility and kindness to the poor. The Sacristy yet con- tains a few curious articles, ancient crosses, and the like. Beneath the Duomo is a fine, though not ancient crypt, with the tombs of the patron samts of the city. I TheBattisterio,hmit^ some say, about I the year 800, others a centy. later, is 1 in a plain and simple Lombard style, j It has, what is very rare in these build- ings, a fine projecting porch, supported by lions. The windows, by which it is scantily hghted, might serve for a Norman castle. The walls within are covered with ranges of Eomanesque arches, and fragments of frescoes are seen in the gloom. In the centre is a noble font hewn out of a single block of fine marble. By the side of the Duomo, connected by a fine of toggle^ rises the great tower, wliich has ob- tained for Cremona its architectural celebrity. It was begun in 1283 ; in that year peace was made between Cre- mona, Milan, Placentia, and Brescia ; md in celebration of this event this 1 mwer was undertaken at the common > expense of the Griielphs, or partisans 3 )f the Pope, not only of Cremona, but a ;f all northern Italy. It is said to 1, lave been carried up to the square in 1 lie space of two years. The Torazzo, of 8 it is called, is the highest of all the d- owers in the N. of Italy, reaching i, be elevation of 396 ft. 498 steps lid onduct to its summit, from whence )ji be eye surveys the extensive plains of be Milanese, intersected by tlic Po, ,ci, nd distinguisbes the Aljis to (lie N. tlie nd tbe A])ennines to tlic S.W, In j^d 518 the bells were cast which hang j 1 tills tower, at whicli time it may bo concluded that the octagonal cupola was added. In the thud story is an enormous astronomical or astrological clock, put up in 1594. The custode of the Torazzo lives in it. The stair- case is not in the best repair ; but it can be ascended without difficulty. The view of the plain of Lombardy is re- markably fine. The rude ancient dog- grel rhyme — “ Unus Petrus est in Roma, Una turris in Cremona ," — is a chrious illustration of the popular celebrity of this campanile. It had a chance of becoming even still more renowned. In 1414 the Emperor Sigis- mund and the Pope visited Cremona, then subject to the usurped authority or signoria of G-abrino Fondido. The Signore was cruel and treacherous, but wise and talented. Sovereign and pontiff consulted with him ; and, by his advice, Constance was fixed upon as the place where the great council was to be held for the purpose of re- storing the peace of Christendom ; and Sigismund, besides other marks of favoiu, gave to Gabrmo, in Cremona, the authority of a vicar of the empire. G-abrino invited his illustrious guests to mount the Torazzo and enjoy the prospect, and he alone accompanied them. They aU came down in safety ; but when Gabrino was brought to the scaffold at Milan in 1425, he said that of only one thing in the course of his life did he repent him, that he had not had quite courage enough to push Pope and Emperor over the battle- ments, in order that he might have profited by the confusion which such a catastrophe woidd have occasioned in Italy. Near the cathedral is what is called the Camjpo Santo, though now xised as the repository of tbe archives, and where the functionaries ot“ the cathe- dral assemble. It contahis an under- ground vault, to wbicli you descend by about fourteen stc])s ; an exceed- ingly curious but puzzling mosaic pave- ment, vvitb allegorical figures represent- ing a Centaur fighting against a figure re])resenting Cruelty, Eaith and a figiere 210 Route 23 . — Milan to Venice — Cremona. Sect. III. kneeling before her, and Pity conquered by Impiety. It seems to be an early Christian monument. The spot was evidently an ancient Christian ceme- tery, as appears not only from its name, but fr*om the bones and the mscriptions yet foimd there. Cremona had many convents, almost all of which are demohshed. The churches are generally of dark red brick : those which have escaped demolition or modernisation are usually Grothic. Santa Agata is one of these; and the architectural traveller will here find what we should call the earliest Nor- man capitals, from which spring the latest Grotliic arches. This chm'ch con- tains several excellent specimens of Giulio Campiy one of which, the Mar- tyrdom of Sta. Agata, dated 1537, has obtained liigh commendations from Yasari, usually so penm’ious in liis commendations of Lombard art. Santa MargTierita^ annexed to the episcopal seminary. At an earher period it was a priory, and claims much in- terest, as having been built under the directions of the celebrated Jerome Vida “ But see ! each muse in Leo’s golden days Starts from her trance, and trims her w ither'd bays ; Rome’s ancient genius o’er its ruins spread, Shakes off the dust, and rears his reverend head. Then Sculpture and her sister-arts revive, j- Stones leap’d to form, and rocks began to live. With sweeter notes each rising temple rung, A Raphael painted, and a Vida sung. I Immortal Vida I on whose honour’d brow Tlie poet’s bays and critic's ivy grow ; Cremona now shall ever boast thy name. As next in place to Mantua, next in fame.” Yida employed Gkdio Campi to de- corate the ehurch with Ms paintings, of wliich there are many, but the chef- d’oeuvre is the Circumcision. San Nazaro. The cupola, painted partly by Giulio Camp% and partly by Malosso from Ms designs : they are grand. Over the Mgh altar is a capital piece by Altohello. Sant' Agostino, and San Giacomo in JBreda^ a fine Giothic church with some remarkable paintings. — Perugino, the Yirgin and Saints, a specimen of great merit, carried off by the French, and restored in 1815. — G. JB. Zupelli, the Yh’gin and Child in a beautiful landseape. Lanzi praises the origmality of its conception and the excellent im- pasto and tenderness of colouring. — Malosso^ a Deposition from the Cross ; the Temptation of St. Anthony. — il/As- serotti^ St. Augustine, and personifica- tions of the Orders, supposed to have arisen out of the rules constituted by the Samt ; a strange variety. San Giorgio, a sumptuous building with mmierous paintings. — Malosso mxdErmeyiegeldo di Lodi, the Christian Virtues in the vaulting of the nave. — A. Campi, a Holy Family, the Infant play mg with a Bird. — The piece over the Mgh altar. The Yh’gin and Child surrounded by Saints, dated 1575. It was originally painted for the Servites in the suppressed chiu’ch of San Vit- tore. The price for which Campi sti- pulated wns 250 Milanese lire, and a mass per diem during seven months. — Bernardino Gatti, or Sojaro, a Na- tivity ; the main idea taken from the eelebrated Notte of Correggio, retain- ing nearly the whole general composi- tion, but illmninated by the hght of day. The Palazzo Puhlico, a rehc of an- cient Cremona, was begun in 1206, and is supported by lofty arches. Two towers are annexed to the building, The ancient gates of brass are said tc i have been put up in 1245, in the expec tation of a visit from the Pope and the ' Emperor. The exterior has recenth lost much of its character, owing ti repairs. Tlie interior, now used fo , the Congregazione Municipale, contain ; | several paintings. —Grazio Cossale, th J Deseent of the Manna, dated 1597.— | A. Campi, tlie Visitation . — Malossa the Proteetors of the City, Saints H mei’ius and Homobonus. In the anfr I ehamber is a chimney-piece of alabaste brought from the Raimondi Palac" sculptured in Arabesque style by P doni, in whicli tlie artist has introduce, a portrait of Marshal Trivulzio : it I much praised by Cieognara. Near this Palazzo is another ai better example of the domestic Gotl of Italy, in which the college of jur Austrian Dom. Route 23 . — Cremona — Palaces and Churches. 211 consults used to hold their sittings. It is built of finely moulded brick, and exliibits many curious details. There are many private Palazzi in Cremona ; and some are now in pro- gress of erection : some of the older ones are fair specimens of the cinque- cento age. Such is the Palazzo San Secundo : the sculptures on the exterior are by Pernardo SaccM, and equal those of Bambaja. The Palazzo Rai- mondi is by Pedoni; the pilasters are of a most fanciful order, and adorned with arabesques. There are some tolerably good col- lections of pictures at Cremona. Marchese Pallavicmo^ a Presentation by Bernardino Canipi ; an excellent library and curious manuscripts. Conte Scldzzi, many specimens of the j Cremonese school. B. Camp% a Na- tivity, considered as one of his best works. Conte Ala Ponzoni^ a rich collection, both of drawings (some by Michel An- gelo)^ paintings, and coins. Conte Pe- dretti^ the like. Casa Bolzesi^ many works of Ca- nova. Siguor G-iovanni Beltrami (a dealer) has a good collection. The district round Cremona pro- duces flax wliich is superior in quahty to that of any of the neighbourmg dis- ■ tricts. Numerous remains of ancient castles are scattered over it, monuments of the constant warfare wliich was car- ried on among the adjoining states. Just out of Cremona, on the Man- 1 tuan side, but not exactly on the road, [,1 is the noble church of San Sigismondo. r It was in tliis church that Fi’ancesco Sforza married Beatrice, the only child r of Filippo Maria Visconti (Oct. 25, t 14-41) ; and tlius, after tlie death of his tf ather-in-law, became the founder of the ^ lew dynasty. Cremona was the dowry iOi >f the bride ; and Francesco, as a token f! ’f uffection both to lier and to tlio city, m ebuilt the church as it now stands. It ti onsists of a single nave with twelve luipels, and is full of the works of intivo artists. — A. Camjd, the Becol- jl ition of St. John the Bajitist. The (If aulling of the chapel in wliich this picture is placed, as well as the bas- reliefs, are all by Camgi, and he claims them by an inscription dated 1577. — Bernardino Carnpi, St. Philip and St. J ames. The vaulting is by him : the chapel was finished by Malosso. — Giulio Campi^ an interesting piece over the high altar ; the Vu’gin and Cliilcl, and Francesco Sforza and Bianca Maria Visconti presented to them by St.Chry- santhus and St. Jerome, Campi has subscribed his name and date, 1540. He was paid 200 scudA d'oro for the work . ' The vaidting is entirely covered with paintings, principally by Bernar- dino Gatti : the smaller ornaments, angels, foliage, and the like, by him, are graceful and beautiful. — By Camillo Boccaccino are the paintings in the tri- bune and round the high altar. Of these Lanzi says, “ the finest are the four Evangehsts ; three are seated ; St. John is standing, his figure thrown backwards, as if by a movement of sur- prise, and skilful in the drawing and perspective. It seems strange that so young a man as CamiUo, and one who never frequented the school of Cor- reggio, should so well have caught liis style : this work, wliich is a model in perspective and the optical delusion of effect, was finished in 1537. The two side pictures are also much-esteemed works of Camillo. One represents the resurrection of Lazarus ; the other, the Judgment of the Woman taken in Adultery ; both are siu'rounded by an elegant frieze, where the little angels sporting with a crozier and other sacred emblems are admirable for theh life and grace. Camillo seems to liave imi- tated Pordenone in truth of colouring and in beauty of chiar’-oscuro ; had he shown more dignity in the heads of his men, and were there more of dignity and order in his compositions, nothing would remain to be desired in his works.” “ The church of St. Sigismund is literally covered with the works of the brothers Campi ; hardly a square inch has been hdl vacant. I'hcse frescoes, bearing date many of them 15G(5-77, are all vigorous and brilliant, and are ])crhaps, on the whole, some of the 212 Route 23. — Sta. Mana delle Grazie. Sect. III. best that could be adduced in favour of the material. Among other colours, a green of an emerald kind, and a most vivid blue, I have never before seen equally well preserved : they are espe- cially brilliant here in an Ascension by Bernardino Gatto^ called il Soja)'o, a pup 11 of Correggio. Probably this church was built of better materials and on a drier soH, as the walls with their decorations are in perfect preser- vation do^\Ti to the very pavement. The walls of this chm'ch on the outside towards the garden, to an extent of 6^ ft. Eng. measure from their bases, have a pavement of red bm’nt bricks laid edgeways (the herring-bone form). Was not this probably done to prevent an attraction of moisture to the walls from any vegetation growing outside them ? and may it not be partly owing to this j)recaution that the high state of preservation of the paintings, down to the very pavement, a circmnstance so very unusual, is to be attributed?” — S. A. Hart, R.A. 1 Cicognolo. Near this place is an ancient castle, modernised, but still a fine object. It belongs to a branch of the Palaviciui family. Pass Villa Picinardi, a good gallery and library, and gardens possessing much local celebrity. San Lorenzo de' Picinardi. I5 Piadena, a small town. In Latin it is called Platina, and as such it has given its appellation to Bartolomeo Sacclii, the historian of the popes, this being his native place. [Here one road branches off to Casal MaggioreJ] ~ Bozzolo, anciently a small inde- pendent republic. Pass Calvotone, said to be on the site of the city of Yegra, destroyed by Attila. San Martino delV Argine. Cross the river Oglio, a turbid stream. Marcara, where is an ancient castle. Cross the canal called the Fossa Maestra, 1^ Castellucchio, Curtatone. Here was fought, on the 29th May, 1848, a very sanguinary action between the Austrians and Tus- can auxiliaries of Carlo Alberto, the latter composed chiefly of volunteers, who defended themselves heroically against a very superior force before retreating. In this battle the students of the university of Pisa shed their blood nobly for the ca\ise of Italy ; one of their chiefs, Pilla, the eminent geo- logist, was killed in bravely repelling an attack of Prince Fehx Schwartzenberg, since Prime Minister of Austria. The road, about 6 m. from Mantua, passes close by the church of Sta. Maria delle Grazie, consecrated in 1406, and built by Francesco Gronzaga, Signore of Mantua, as the sanctuary of a siip- posed miraculous painting of the Ma- donna, wliicli had previously been ve- nerated in a small church situated upon the bank of the adjoining marshy lake. The chief votaries of this object of faith were the boatmen and navigators of 1 the lake. But in 1399 G-onzaga ad- dressed his vows to the image, praying that the Vu’gin would intercede for the dehverance of Mantua from the pesti- lence which then desolated Italy, and | the result was the erection of this chm’ch, together with the now sup- pressed monastery, of which only a small portion remains, tenanted by the two chaplains by whom divine service is perfoi'med. The architecture is of good Italian- Grothic ; it contains a strange array of votive images arranged on each side of the nave above the. arches, upon columns richly gilt and carved. They are as large as hfe, co- loured like life; full- dressed, half- dressed, and undressed, representing the individuals whose gratitude is com- memorated in the verses below. Here may be seen the Emperor Charles V.. Federigo G-onzaga, Pope Pius II., the Connetable de Bourbon, and a host o: other warriors. Others represent th( trials and perils from which the votarie' have been delivered, tortm-e, anguish death. All testify their gratitude ti the Virgin for the help they have oh tained. Take an instance : one sufferc had been condemned to the corda, 0 strappado, the torture most dreade on account of its prolonged and r< peated agonies : the Virgin rendere him light, and he escaped without paii 213 Austeia?^ Dom. Route 2S.—Sta. Marie delle Grazie. “ Dalla fune ond’ in alto era sospeso Vergine benedetta io te chiamai, Leger’ divenni, e non rimasi oifeso.” Rinaldo della Volta is condemned to lose his head : his neck is beneath the manaja, an axe sliding in a groove ; and the executioner is wielding the enormous sledge-hammer which, at one blow, will cause it to descend, but it Is stopped by the Virgin’s hand. “ Per mio delitto condannato a morte E^in van datomi un colpo il giustiziere L’ altro sostenne per Tua destra forte.” i third is fixed on the iron stocks, and ;oals of fire placed at his naked feet ; )ut he is released by her. Col fuoco appiedi, ahime, posto tra ceppi, Sottrato fui dal barbaro tormento, Perclie devoto a Te, volger mi seppi,” L fourth is suspended from the gal- aws ; hut the Virgin looses the halter, nd he is saved. “ Io veggo e temo in cor lo stretto laccio, Maquando penso die tii 1’ hai disciolto Ribenedico il tuo pietoso braccio.” Jesides these, the smaller ex-votos are mumerable: piles of crutches and ushels of waxen limbs. This churdi ’ves some proof of the truth of Jeremy ay lor’ s remark, that in Italy the pre- tiling religion is not Christian but larian, and illustrates the character f the religion which arose from the messive veneration paid to the Virgin. It is difficult to conceive the stupid isurdity and the disgusting profane- 3ss of those stories which were in- •nted by the monks to do her honour.” -Hallam, Mid. Ages, hi. 348. Some stances are tliere given in a note very milar to tlie tales of tliis churcli. niongst otlier strange spectacles is a uffed creature, like a huge lizard, six seven feet in length, which infested 0 waters in tlie neighbourliood some ne after tlie foundat ion of the present urch. The rcjitile attacked two bro- ers, one of whom it killed, Init tlie her slow the monster, and jircseuted ' carcase to the Virgin. These stories 3 very common, and have led to the l)))Osition that scattered individuals a now extinct Saurian family existed in Europe till a comparatively late period, and that, like the beaver in N. Wales, they have been extiriiated by the extension of population. The choir is painted by Lattanzio Gamhara, the Brescian, and there are also several curious paintings in the numerous side chapels. There are also many interesting monuments. Ghdio Romano designed the tomb of the cele- brated Balthasar Castiglione (oh. 1529), the author of the ‘ Cortigiano,’ a work which was considered as being the very standard of civihsation : the epitaph was written by Cardinal Bemho. The mausoleum is of a simple and noble design — a plain sarcophagus, sur- mounted by a statue of our Lord. Balthasar’s ivife, Hippolita ToreUi, had previously been buried here ; a touch- ing epitajih declares her beauty and virtues. The son of Balthasar, Ca- millo, is buried in the same chapel : he procured his father’s work to be struck out of the Index. The supposed mi- raerdous picture of the Virgin is an Italian painting, apparently not older than the 15th century. A long dark cloister, much dilapidated, leads to the church. It is still annually visited by large numbers of pilgrims, yet it looks deserted and decayed. The small tract round about Man- tua is called the Serraglio, from the ancient wails built to defend the city against the tyrant Ezzelino. The country near Mantua is very fertile, but not agreeable, from the marshes upon which it borders. The gnats and mosquitoes, the ^^zanzare'^' and the “j 9 «- patasse,'' are consequently pretty nu- merous in summer. Donatus informs us that Virgil was born at Andes ; a local and very an- cient tradifion lias identified this ])lace with La Pietola, about 2 m. from Mantua, surrounded by woods and groves, in which the willow ])redomi- nates. One of the Gonzagas built a palace here, to which he gave the name ot t he Cirgitiana. ]. Mantua: Italian, Mantova.— {Inns: Tja Fonicc, faiiiy good. Ti’A(|uila (I ()ro, kept by the jiroprietor of the Fenice, is good. 8cudo di Francia. La 214 Moute 2S.— Mantua— Histort/. Sect. III. Croce di Francia. II Leone d Oi .) A raili'oad is now open to ’ a diligence daily to Milan and Padxia at 3 P.ii. ; to Parma erery morning; to Perrara tlmee times a week; amt the malleposte to Florence four tunet, a ^ ^Mantua is surrounded hy swamps, broads, and marshes, adding at once fn the strenf^th of tins ancient city aLl to ^Insalubrity. The latter, however, has been somewhat dmu- nished ; the waters have been partiaUy Sained. This was effi>cted by the French. The three principal broads are caUed the Zaffo * Mezzo, Lago Inferiore, and Lago dv Sowut tlie finest have, for centuries, been it ised as barracks. Tbe genius of Gin- ^ io Romano, wild lie r as a jiainter or i' II arehited, is nowbere disjilayed to Sil reater advantage. The front of the 1 N. Italy— Cavallerizza, and the Gtiardino pensile, on a terrace, so as to be on a level with the up|)er floor, and surrounded with richly painted loygie, arc deserving of attention. In the interior, the chamber called the ^'■Appartamento di Troja" is ])rin- ei]mlly by Mantegna, but is ])artly by Giulia Romano. 'flie works were begun in 1 52 t, by Federigo Gonzaga, the first Duke of Mantua, and ho cm- L 218 Route 23 . — Mantua — Palaces. Sect. III. ployed the celebrated Baldassare Cas- tigliQne^ the author of the Cortigiano, to make the ueedfid arrangements with the artists. It leads to the Sala di Troja, which is painted entirely by GiuUo Homano. These chambers, as the name imports, contain passages from the history of the Trojan war, and are in tolerable preservation. “ In this room, painted by GiuUo Romano, in fresco, his characteristic invention is powerfully conveyed. Ajax, transfixed with a fiery arrow by Minerva, is strongly and vividly expressed. Mi- nerva retiring looks back with scorn upon the impotent rival of her fa- vourite Ulysses. When Paris con- ducts Helen to the ship, the natural feeling of the characters is admirably portrayed. The lover is manly, and is eaimestly persuading his fair heroine to embark ; she, though not unwilling, yet looks back to her attendants who bear her attire, with true female feeling, to see if her adornings arc in secTU*ity : all is bustle and activity. The frescoes of Laocoon and his sons, and of the completion of the Trojan Horse, are weak, and yet again, in that of Achilles dragging Hector at the back of his chai-iot, the very spirit of vengeance seems to inspire him. In colour and effect it is as bad as it can be, and this work is bj 4 ii no means so finished as his labours in the Palazzo del Te.” — RJiillips, R.A. Adjoining these chambers is the Sala de’ Marini (so called from a num’ her of masterpieces of the Glrecian chisel which once adorned it), very richly decorated, It is of the time of Giulio Pomano, and is the finest. This is connected by a gallery, running along one side of the Cavallerizza, with the Appartamento Stivali, painted by Giulio Romano and Rrimaticcio. Near this last is the apartment called “ 11 Paradiso,” containing some curious ancient cabinets, yet retaining the initials of the celebrated Isabella cVRste, wife of Francis III. Marquis of Man- tua, equally celebrated for her beauty and lier intrepidity. The ceilings of most of the apartments are framed of wood, richly ornamented with carvings and stucco work, by Rrimaticcio. They are very curiously varied : in one room the ceiling represents a labyrinth, wuth the inscription '■''forse die si, forse die no,” repeated in each meander. The Sala de' Mori is the richest ; it is blue and gold. The Scaldieria, or room of the seneschals, contains “ an exquisite specimen of a richly decorated ceiling, said to be one of the first paintings which Giulio Romano executed in Mantua. The conception is beautiful, and the execution most careful. The figure of a female, with a genius, in the centre, looking over a balustrade, is painted in oil, and attributed to Man- tegna. The pleasiires of the chace, or sports of Diana, in the lunettes, are amongst the most elegant inventions of Giulio Romano.” — Gruner. Close to this room are three largo rooms, called the Camere degV Arazzi, on wdiose w^alls are extended a set of , tapestry from the Cartoons of Raphael I at Hampton Court, and two more, the I Conversion of St. Paul, and the Martyr- | dom of St. Peter ; both fine, but not equal to that of St. Paul preaching at Athens. “ The tapestries are surrounded by painted borders of allegorical imagery, and there is a painted ceiling : all have the finest effect.” — L. G. Though the tapestries are necessarily much inferior in expression to the cartoons, they are nevertheless verj' striking. On the op])osite side of the court yard to the Camere degl’ Arazzi is th( Galleria degli Specdii, painted fe Giulio Romano’s pupils ; it is ven rich. The great audience-chamber whose ceiling is upborne by magnificen consoles, is interesting; and still mon; so is another, containing the long seric : of Capitani, Marquises, Dukes, Princes j and Princesses of the Gonzaga famih A suite of rooms is kept well furnishe( but the greater part are enqrty air desolate ; and in tlie back part of th building, deserted cortiles, and blockec up windows, and sjiringing vegetatioi are sad and dreary memorials of Mai tua’s decay. Opposite to the palace stands tl Austrian Dom. Route 23. — Mantua — Churches, 219 palace of B. Castiglione, the author of the Cortegiano. It has a fine gateway with sculptured arabesques. Close to it is a tower annexed to the ancient palazzo of the Gluerrieri family, for- merly belonging to the Bonacolsi, by one of whom it was built in 1302. About half-way up projects an iron cage, from whence this building, the Torre della Gahhia^ derives its name. According to the traditions of the city, when any criminal deserved to be put to shame, he was exposed in this cage for thi’ee successive days, and for three hoiu’s each day. The caging of crimi- nals was very common in Italy ; and this peculiar instance also reminds us of the -well-known story of the Countess of Buchan, said to have been so exposed by the orders of Edward I. After the capture of the city by the French, the cage was taken down, but replaced afterwards by the direction of Napoleon ; the tower itself commands a fine and singular prospect. The Torre dello Ziiccaro, hard by, is also fine of its kind, and interesting as a memorial of the ancient factions by whom the city was ruled and divided. The Palazzo della Pagione was begun in 1198, in the age of Mantuan independence, and completed about 1250. It is a fine specimen of the civil arcliitecture of the age. A large xrchway of brick and stone forms a oromment feature in this building, inserted in the wall is a Grothic throne |ind canopy supported by twdsted and acetted columns. Beneath this canopy s seated a statue of Virgil, a crowmed igure, the coixntenance grave but beau- iful, liolding an open book upon his nees. From this building rises a lofty ampanile with a curious astronomical lock upon the Dondi\)\i\n (see Padua), ;Ut of rather later date, Ivaving been I at up in 1478. It lias a great nundxer " complicated movements, now much ilapidatcd. It is in the neighbourhood of tliis alazzo tliat the city is most un- langcd. T1 1 C Caihedrale di San Pietro lias cn much altered. One side-wall, liilntiiig a series of Gotliie gables, separated by pinnacles of moulded brick and all richly oi’iiamented, shows the original style ; and a fine Lombard campanile is also standing. The in- terior -was rebuilt by Giulio Pomano. The arches of the aisles rest upon beautiful Corinthian pillars : the roof of the nave is flat, with ricldy orna- mented compartments. Except a fresco by Andrea Mantegna (and that partly covered by another picteme), there are no paintings of any pecidiar merit in this building. The Chapel della Ma- donna Incoronata, wliich is by Alberti, is fine'. The Pasilica de Santa Andrea is among the finest existing specimens of an interior in tlie Italian or revived Eoman style. It was begmi by Leon Battista Alberti. The cupola was added by Juvara ; it was begun in 1732, but not completed till 1781. The church is about 310 ft. in lengtli. It contains many good frescoes by. the scholars of Alantegna. In a crypt beneath the altar is a shrine said to contain the blood of our Lord, collected by the Centurion. The vaultings of this church are very bold and skilhd. Here is the burial-place of Mantegna. His bust in bronze by Sperandio, erected in 1516, ten years after Alan- tegna’s death, is an excellent piece of workmanship. Its eyes are said to have been made of diamonds. In the same chapel is a Holy Family, with St, Elizabeth, by Mantegna. It has much dignity with his usual ch’yness. The other good paintings are — L. Costa, a Holy Family ; — Guisoni, a Crucifixion. Several of the monximents are worthy of notice, either for their beauty, or on account of the persons to whose me- mory they are raised. Giulio Pomano was the architect and sculptor of the magnificent mausoleum of Bictro Strozzi. — Prospero dementi of Peggio, a pupil of Alichacl Angelo, sculptured the tomf) ot George Audreassi. — The Cantelmi monument, of curious axrhi- tccturnl construction ; the memorial of Bictro l’om])onazzo, who enjoys a great hut unfortunate celebrity — his renowned work on the Immortality of the Soul, published at Venice in I5IG, L 2 220 Sect. m. Boute 23. — Mantua — FuhUc Buildings. having laid him under the imputation of atheism, a charge not diminished bj his having had Cardinal Bembo as a defender. The great portal or entrance of the church is deeply recessed. It has also the remains of an excellent fresco by Mantegna. The fine G-otliic campande of the original basilica is still standing. 67 churches and con- vents were destroyed and suppressed by the French ; 19 remain. > The Cli. of Sta. Barbara., was built by Bertani, a scholar of Giulio Romano. Over the high altar is the Martyrdom of the Patroness, by Brusasorci. This is a collegiate church, exempted fi’om the jru’isdiction of the bishop, but im- mediately under the papal see ; and the liturgy has some peculiarities of its own. The archives are extensive and cmious. The once rich sacristy still contains a few objects of value ; the principal is a golden vase, delicately chased, and attributed to Benvemiti CelUni. San Maurizio. Here is the Martyr- dom of the Saint, by Ludovico Caracci : the figure of St. Margaret is beautifvd. San Sehastiano, erected by Alberti in 1460 ; a specimen of the revived Roman style : it offers some good but dilapidated frescoes by Mantegna. Opposite stands the house of Man- tegna, presented to him by the gene- rous Gonzagas ; by the side of wliich is the Porta Posterla leading to the Balazzo del T. A cmious specimen of ancient engi- neering is the Borta Mulina, the bridge, or rather dam, constructed in 1188 by Alberto Bitentino. It stands between two of tlie pieces of water winch sur- round Mantua, one of wlncli, being of a higher level than the other, serves as a great millpond, and turns tlie wlieels of the twelve mills winch flank the bridge and are severally dedicated to the twelve Apostles. The bridge itself is covered, and is entered by a fortified tower or gateway, in which is a beau- tiful pointed window, divided by a central mullion. Each mill has the statue of its apostle. Near the Borta Mvllna is a saw-mill, wdnch is, perhaps, the earliest example of these machines. It was built by Girolamo Arcari in 1400, and it is still in full operation. The Becclieria and the Bescheria, the shambles and the fish-market, stand upon the Mincio, so that they are always kept clean. They were planned and built by Giulio Romano j and, whilst the plan is exceedingly simple, he has given them, and more especially the Becclieria, no inconsider- able degree of architectural beauty. The Balazzo Colloredo was built by Bertani from the designs of Giulio Romano. The front is supported by enormous caryatides of bold sculpture. Within is a profusion of frescoes by the scholars of Giulio Romano. Amongst them are introduced many curious portraits of sovereigns and princes : Francis I., Charles Till., and other French kings ; Giovanni de’ Medici, Nicolo III. Marquis of Fer- rara, and Francesco lY. Marquis of Mantua. Ojiposite to the Palazzo Colloredo, is Giulio Romano's house ; the front is in rustic work, an elegant design. Over the door is a statue of Mcrcuiy, or rather a fragment restored by Giulio Romano and Brimaticcio. The attri butes of the heathen god are intro duced in various parts of tlie building The Accademia delle Belle Arti founded in 1775, is now merely s drawing- school. It contains a numbc of pictures from suppressed churchci and convents. There is a good copy c the “Notte” by Correggio ; but th : gallery does not pretend to great name^: Our Lord bearing his cross, by Frai. cesco Monsignore., is amongst the bci- pictures which it contains. The Scxiole Bubbliche were forme out of the Jesuits’ College. Tl’ library contains about 80,000 printc books, and some feiv curious MSS ' some beautiful missals, and one wi1 pen and ink drawings Andrea May tegna. Here is a very fine Ruben formerly in the church, representii four members of the Gonzaga fami in the act of worship. The Museo Antiquario is a long an narrow gallery, filled with Roman a Austrian Dom. Route 23 . — Mantua — Museum — Palaces. 221 3f which the greater portion, it is said, ivere part of the plunder collected by Lodonco Gronzaga at the sack of Rome. It used to be considered the first col- ection in Italy, a rank it can no longer naintain ; though it certainly contains 5ome remarkable pieces. — Three fine jassi-rilievi, representing the submis- don of a province, a sacrifice, and the narriage of an emperor, supposed to 33 Lucius Verus. Several Imperial 3usts, amongst them Caligula, very ine. Tlie Battles of the Amazons ; Death of Penthesilea. The Sun (not Apollo) surrounded by other divinities. Euripides. Thales. The Descent of Drpheus. Medea. A Cupid Sleeping, ittributed to Michael Angelo, and also 5aid, hke soane other of his productions, ;o have been passed off by him for in antique. Virgil’s Chair, that is to say, a very ancient bishop’s throne of naihle. The bust of Virgil, a cahn, 3eautiful countenance with long flow- .ng hair. There was, anciently, in the narket-place of Mantua, a statue said :o be Vhgil, and representing him sit- ing on a throne, holding his works in )iie hand, and raising the other, as in die act of declaiming. This statue be- came the object of a species of worship; md when Carlo Malatesta, in 1397, iccupied Mantua, a conscientious scruple induced liim to break the idol n pieces and cast its fragments into he water, the head only being saved, t is evident, whatever may be thought )f the story, that this head never could lave belonged to a statue, inasmuch as t is part of a Term, and, in the next )lace, it is equally evident that it is not dirgil, but a young Bacchus, or some hnilar mytliological character. The Vonte di San Giorgio crosses he entire lake, and is upwards of 2500 . in lengtli. It was built in 1101, •id was anciently covered like a Swiss '■idge. The view of Mantua from :nce, towers and ciqiolas, and the •cat mass of the castle, is peculiar 1(1 fine. The Palazzo dal Diavolo is said to ivc been built by the fiend in the I ur.se of one night, he having l)ccn nstrained thereto by the ilivining rod of hazel, which in Glermany used to be employed for the discovery of treasures. It was beautifully painted on the exteiior by Pordenone, but it is now cut up into shops and dwelhngs, and has little remarkable except its name. The Piazza Yirgiliana was formed out of a swamp, drained and planted by the French ; it is yet dark and rather dreary. At one end is the Anji- teatro Virgiliano^ built of stone in 1820, as a private speculation for shows and gkmes. A short distance from Mantua is the Palazzo del TL Various accounts have been given of tlie origin of the name of this palace, but the only one which seems to deseiwe credit is that of Gla- brieli Bertolazzo (the author of a de- scription of Mantua, the 2nd edition of which appeared in 1628), who ascribes it to the form of the roads and avenues by which it was ap- proached, and which were so arranged as to produce the capital letter T. All the old authors, beginning with Vasari, write it del T, and not, as in modern times, del Te ; which affords a con- firmation of this view. The Palazzo consisted originally of stables, and the Marquis Federigo Gonzaga intended to make this building an unpretending counti’y-house, with one single large room besides the necessary accommo- dation ; but Giulio, in acquitting him- self of his commission, showed so much propriety and taste, that the Marquis decided upon transforming and extend- ing the new house into a s])lendid palace, and thus gave Giulio the op- portunity of applying, in harmonious combination, his ])Owers as architect, painter, and sculjitor. Giulio exc(!uted this great work, with the assistance of his skilful ])upils Primaticcio, G. B. Pagni, and Rinaldo Mautovano, in the short s]3ace of five years. The prin- cii)al building, with ihe large court in the centre, forms an exact scpiare, eac^h front being about ISO ft. outside, and about 120 ft. in the court. The order of architecture is throughout Doric, tastefully exliibiting all the variety of which this st\lc is susceptible. The 222 Route 23. — Mantua — Palazzo del Te. Sect. III. liaU opposite the principal entrance leads OTer a bridge into an extensire parterre, which ends with a semicir- cular wall, portioned ont into 15 niches, probably for statnes. At eacli ex- tremity of this wall was an exquisite apartment of small dimensions, com- posed of a grotto and a loggia^ with wdiich a small flower-garden is con- nected. Of these the one on tlie 1. is still in a tolerable state of preservation : the other A^’as destroyed more than a century ago, by being used as a guard- house. The principal rooms of the palace are the following : — The Loggie of ^Entrance. — Passages from the life of David, executed by Griulio’s scholars. The medalhons by Primatlccio. Sala de' Stucclf in which there is a double frieze executed by Priniaficcio, from designs of Giulio Pomano, repre- senting the triumphal entrance into Mantua of tlie Emperor Sigismund in 1433, who the year before had created Grian Francesco Gronzaga Marquis of Mantua. The arched ceiling is equally rich in stuccoes. Camera di Fetonte. — So called from the ou-painting in the vault. The dis- tribution of this small room is as tasteful as its execution is exquisite. Camera del Zodiaco. — On the ceil- ing, in stucco, are the winds and the 12 signs : tlie occupations of the sea- sons are painted in 16 medallions. Camera di Fsiche . — Rich in frescoes, oil-paintings, and stuccoes, illustrating the story of Psyche from Apuleius. The vaulting is the finest in the whole building. “ Subjects of deep pathos, of sublime allegory, are here treated with the hand of a master, in aU that relates to poetic imagination and in- vention in design. The pictorial is wanting to render them agreeable, though it is in this room tliat Griulio Romano lias evidently put forth his strength in force and depth of colours, and in eflects of light and shade, par- ticularly in Psyche offering her fruits and flowers to‘ V enus, in her receiving the grapes, in the discovery of Cupid by Psyche, and in some of the beauti- fully composed figures of the lunettes. These pictures are in oil, and therefore he could work on them to effect more fully than in fresco, and they are so treated, but are far too black. The large pictures below are in fresco, and are rich indeed in the important qua- lities of imagery, invention, and design, but woefully wanting iii colour, effect, and harmony. The knowledge of the works of the ancients, from whom he has evidently borrowed much, and the poetic fervour of liis own imagination, liave afforded him an infinite quantity and diversity of matter, and such a subject reqiifred it. Practice had given him the power to render his vivid feel- ings in composition and design, and for these qualities these works com- mand admiration, as well as for the boldness of style in design in Avhich they are wrought : his Avarmest ad- mirers must be contented Avith the praise such poAver deserves, and that is not a little ; but this is not all that the adorning of a room like this re^ qufres. On one side of the room is r large chimney, over Avhich is a niagni ficent figure of immense size of Poly phemus, with a small group beloAV o Acis and Galatea. The droAving of hi figures is evidently as much from ima gination as from nature. The action are not unfreqiiently impossible. Hi object has been to render the vivi imagination of his mind.” — Prof. Phiti lips, II. A. “ G. Romano’s pupils, Btf nedetto, Pagni, and Rinaldo Mont vano, are said to have painted tb| ceiling in oil from the designs of the master. These paintings are tunic black and heavy, especially in tl shadows ; a remark which cannot wit equal truth be applied to the subjecj in tlie room beneath in fresco, in whit not more than a certain depth is i dulged in, calculated to give space ai| light to the apartment. The ceilir;' on the contrary, looks Ioav.” — S. . Hart, R.A. Camera de' Cavalli. — Portraits Gonzaga’s stud. Tliis is the old< part of the building, and that whi gave such delight to Giulio Roman' patron. The ceihng, wliich is of wo' Austrian Dom, Boute 23. — Mantua — Palazzo del Te. 223 is finely carved in compartments. “ On entering the Camera de’ Cavalli, I was struck with the great truth shown in tlie imitation of the horses, six in num- ber, of the natural size, painted in this room. The two bays are nearly as perfect in preservation as could be de- sired, while the three white, and re- maining one, an iron grey, have suf- fered much. One of the white horses is now, indeed, a mere shadow. All warm colours have stood, while the cool have faded. These are said to liave been also painted by the pupils of Griulio Romano, B. Pagni and Ri- naldo Montovano, from the designs of their master.” — S. A. Hart, R.A. Sala dd Giganti . — The most cele- brated of the series : it was chiefly exe- cuted by Rinaldo Montovano, a small portion only was the work of Giulio Romano, who gave the designs. Ju- piter, amidst the heathen gods, hurls his thunders upon the Titans, who, in different actions, terror, danger, and impending death, cover the four walls, down to the very floor. The giants in the foreground are represented 12 or 14 ft. high. Most contradictory judg- ments have been passd on these paint- ings. Vasari, Borghini. and all the ! earlier writers upon art, praise them ( exceedingly ; and Lanzi considers him j as rivalling Michael Angelo. Others 'i liave thought that tliey have been praised j- far beyond their deserts. “ Colossal figures in a small room, even where (, tlie idea of a supernatural size is in- jj fended to be conveyed, are iinsatis- ,( factory, as the spectator is quite near ^ enough to perceive details, and finds ( 1 ) none, except those belonging to the ^ execution of the work, which ought not to be visible. This unpleasant ^ effect is yiroduced in the ‘ Sala de’ Gri- ,j ganti,’ by Giulio Romano, at Mantua.” — Rasttake. Original dosings for this jjj i])artmcnt are in existence, and are j j .cry sujierior. “ 'I'he hall of the Giants would oc- j(i|''ipy a month to understand, or convey jjllioroughly the quantity of matter, of ^J’eeling, of allegory, and ])oetry whicli ^t contains. The figures of the Giants, ^^vho have fallen on the foregroundj arc 1 upon a scale of 17 ft. at least in height, and he has endeavoimed to render them larger in appearance by di’awing the rocks which fall upon them in compa- ratively small parts, but has missed the effect and rendered them monstroixs, not large. They have been woefully repainted in the lower part of the picture, and so have the clouds above. The upper part of this painting is all by Giulio himself, which the lower pai’t is not. It exhibits a style of feeling the reverse of that of Correggio; but it pos- sesses other qualities, and grand ones too, to which he on the other hand had no pretensions. In Correggio ex- pression gives way to the picturesque ; here the pictm’esque yields to feeling, and composition, and expression ; fine indeed in parts, in parts also ill-com- bined, and worse affected. All is in violent colour, unfit for its station, and the ceiling particxilarly so, whichi shordd have been light ; and the celestial abode, from which J ove and the Gods have descended, is rendered dark as Erebus. The taste of the work therefore is displeasing, and unfit for the adornment of a palace : but the power of imagination exhibited in it is of the most extraordinary kind. Most of the figures are of superior order in action and in form, though some are coarse and offensive. The drapei’ies are folded with great skill and knoAv- ledge, and, AA^ere the taste in Avhich it is ajAphed equal to that skill, Avould be perfect : it is too bustling in manner, and too minutely divided ; it has the exuberance of fancy stamped upon it, and the style consequently poAverhd and effective. In short, this Avork, Avith all its defects, stamps him a great master in the art of pahiting. The grou])ing is often exceedingly beautiful, y)articu- larly so in that of Oybele, Ceres, Her- cules, Mercury, &c., but the only head that lias any pretension to beauty is that, of thino. lu general they are un- favourable imitations of the antique, from Avhich he has draAvn largelv. To the colouring 1 am umvilling to give the name it merits. Harmony has no share in it ; t here is no general arrange- ment of liglit and dark ; the Avhole is 224 Route 23. — Mantua — Palazzo del Te. Sect. III. broken into parts ; purples, yellows, greens, reds, in full force, are relieTecl off cold gray clouds, some of them even purple. The Hours staying the pro- gress of the horses of Apollo are per- haps in the most perfect style of paint- ing, as to colours and effect, of the whole,” — Prof. Phillips, 11. A. In the garden is a grotto whose walls and vaulting are formed of rustic mo- saic, and decorated with shells, and more finished mosaic ; connected with this is a casino or loggia, much praised for its arrangements and unity. The ceiling is painted in nine compartments representing human life and its vicissi- tudes, beginning with the birth of man, and ending with his immortality by means of fame. The two lai’ge lunettes on the walls at the two ends of the loggia belong to this series. The pre- servation of the frescoes is indifferent, and they are not without some retouch- ing, although by a clever hand : those parts of the dado where the two birds in full colour are represented have been entirely painted over in imitation of a veined marble, like the correspond- ing spaces on the principal wall. “ In a small building witliout the palace is presented the birth and exist- ence of Man. At his bh’th, whilst females attend the mother, the goddess Natm*e, depicted Avith her manifold breasts, delivers the child to the care of its guardian angels, and the natal hour is marked by the rising of the sun, whilst the torch of life is kindled by a female. At his meals the guardian liand of Providence, de])icted by a winged female, protects and supports the allegoric torch, and, Avliilst the man is heartily engaged hvitli his food. Ins mother turns to the genius witli anxiety. Whilst he pursues liis agri- cultural labours, the tliread of his fate is woven by a female (introduced alle- gorically), and a man rests his head upon her lap. Whilst he sleeps, liea- venly glory and watchfulness are around hun, and when his labours are over, and lie enjoys himself in the pleasures of the dance, Cupid attends, and wings his arrow to his heart. In warfare there is no need of allegory, death is represented trhmiphant, and is exhi- bited in the bodies of the slain ; rage and fury animate the living, who con- tend for the standard. 1111611 on the bed of sickness, a clothed female, point- ing upwards, makes manifest to the careful attendants, vdio prepare his food and administer medicine, that all their efforts are useless ivithout the assisting hand of Providence. When age has rendered him decrepit, and death at length lays his potent hand upon him, the instruments of labour or of warfare fall from his grasp, and the young array themselves in his atth*e ; an angel conducts his soul to tlie re- cesses of the grave, and Diana hastily arrives in her car to illumine the dark night in which he is immerged. Ilav- ing paid due attention to the services of religion during his life, his regene- rated spirit is wafted by angels to re- gions of blessedness, and Fame, witii intense energy, prejiares his crown of laurels, and spreads his praise to future ages upon earth. Another figure ivitli the trumpet, below, seems to be the evil genius Avho relates the Aveakcr deeds of his life, but his better genius is trium- phant. Such are the eleven sidAjects of the pictures Avhicli are presented in small compartments on the semicircidar ceiling of a small room. They arc by far tlie most complete portion ol his paintings, Avith Avhich this jialacc abounds, even in comparison of tlu paintings from tlie story of Psyche Avhich are overcharged and confused and are more laboured to effect in oil j colours : and though they cannot bi j said to possess fine colour, they are no unpleasing to the eye, as they are with | out that discordance of hues, that viojj lence of opposition, or that excess o style in drawing, Avhich the other present. It would appear that th very spirit of Raffaellc himself preside over Ihm when designing tliis beautifi , series of compositions, such is the h tellectual simpheity and purity of th style in which they are Avrought an the fulness of feeling they present. T1 room is about 30 ft. by 15.” — Pro Phillips, R.A. Quitting Mantua by the Porta ■ Austrian Dom. Route 23. — Milan to Venice — Este. 225 San Griorgio^ the road continues among the marshy waters ; hut the soil shows great fertility. Stradella. Siizano. Castellaro. JBonferraro. — In the church is a painting of the Immaculate Conception, by Casti, a good second-rate artist. Cross the Tartaro^ upon the 1. bank of which is If Nogara, a good-sized town. Of the once strong and celebrated castle some ruins remam : it has some in- terest from its connection with the history of the Emperor Henry lA^., wlao sought refuge in it during his con- tests with his son Conrad. The town has some good buildings. Palazzo Marogna has a fine gate- way ; and parts of the walls are painted by Brusasorzi. The ancient churches of San Silvesh'o and San Pietro are both remarkable ; but the latter has been modernised. Sangxdnetto : here also are the re- [ mains of a feudal castle. ! Cerea, rather a large straggling town, I once an independent community, with i the remains of an ancient castle. In i the church of the Vergine del Carmine^ I is a good specimen of Brusasorzi. j Legnago., situated upon the Adige, j The fortifications are remarkable, as I having been in part planned and exe- J cuted by Sanmicheli, the architect, who ^ most contributed to the invention of I the art of modern military fortification. [( One of the gates designed by him, and ’I of great beauty, has been pulled down, J' and partly rebuilt in another situation. Bevilacqua ; the head or capital of an ancient feudal barony. The castle was built in 1354, by the Count di Be- (j vilacqua, wlio obtained a grant of tlie |{ fullest riglils of sovereignty ; and wlio I intended to render liis “ Jlocca” wortliy i! of liis authority. It became a ]iosition i wliich was often contested, amt lienee, after the jieaco of Cambrai (about 1517), its then owner, Giovanni Fran- ce.seo Hevilaecjua, caused it to lie dis- muutled and jiartly demolished. Tlic portion of tlie fabric wliich remained, including 4 towers, was converted into a splendid palazzo. The great cortiles and the massy ornaments of rustic work unite picturesquely with the towers and ch-awbridges that yet sub- sist. The statues and architectural or- naments are beautifully executed ; but the whole is exceedingly dilapidated, having sufiered much dmdng the revo- lutionary wars. I 5 Montagnana., a small town, but remarkable as presenting a fine speci- men of ancient fortification, vast walls and lofty towers, all of the finest brick. The ch’cuit towers are open towards the town : those which flank the gate- ways are lofty, A cross fleuree and hottonee appears conspicuously over the portals, and may enable the heraldic antiquary to trace by whom they were erected. In the town are several fine ancient churches. One in the great Piazza is of the Itahan- Gothic of the 14th centy., partly altered into the cinque-cento style. The road from Montagnana to Este is heavy and sandy, in consequence of which the postmaster is entitled to add a third horse. The country, however, continues as rich as possible ; vines in festoons, hemp with stalks as tall as small trees, and gourds of great diameter. Saletto. Ospedaletto. The fine ranges of the Euganean hills begin now to open more and more iqjon you as you approach li Este. — {Inn : La Speranza, a small quiet house, clean and good.) Beautifully situated near the Monte Murale (perha])s so called from its form), one of the advanced buttresses of the Euganean range. The “ lioccaV or Castle of Este, is a fine and almost perfect building ; a noble dungeon tower, with, frowning embrasiires and battlements, and standing at least iq)on tlie site of the original fortress, the seat of the family of Fstc, so celebrated in history. Alberto Azzo (born 9tK)) must be considered as the moiv imme- diate founder of the house. 'Die an- cestry of Alberto may be distinct Iv traced in history to Houifazio Duke of Tuscany, in Hll. I’oetry carries us much higher. The magician, in the vision of the enchanted shield, enables L 3 226 Boute 2‘d. — Milan to Venice — Petrarch. Sect. in. Rinaldo to behold Caius Attius as his remote ancestor : — “ ]\Iostra»li Caio allor, ch’ a strane genti Va prima in preda il gia inclinato Impero, Prendere il fren de’ popoli volenti, E farsi d’ Este il Principe primiero ; E a lui ricoverarsi i men potenti Vicini, a ciii Rettor facea mestiero, Poscia, qiiando ripassi il varco noto, A gli inviti d’ Honorio il fero Goto.” Alberto Azzo was twice married. His first Avife was Cunegimda, a prin- cess of i\\euraU Snabian hue, by Avhom he had Griielph Duke of Bavaria (suc- ceeded 1071), and from whom all the branches of the illustrious House of Brunswick are descended. Fidco I., Marquis of Italy and Lord of Este (died about 1135), the son of Alberto Azzo, by his second wife Gari- senda, daughter of Herbert Count of Marne, Avas the founder of the Italian branch, to Avhich the dukes of Ferrara and Modena belonged, until the ex- tinction of the male line at the end of the last centiuy. The present Duke of Modena, AAdio is of the House of Hapsburg, represents the House of Este in the female line. The grandmother of the present Duke, Maria Beatrice, being the last descend- ant of the Italian branch. The town of Este, hard by the castle. noAv contains about 9000 Inhab. It has a Lombard aspect ; most of the houses are supjiorted by picturesque arches. The exterior of the church of San Martino bears the appearance of high Eomanesque antiquity ; but the interior is modernised. The campanile, in the same Eomanesque style, inclines as much as the leaning tower of Pisa. A fine belfry toAver, uath forked battle- ments, and a Bondi clock (see JPadua) of the largest size, adds to the antique adornments of the toAvn. The hills all the way from beyond Este, sometimes nearer to, and sometimes more distant from the road, are very pictmesque. 1 Monselice, a small town com- manded by a rocca^ or castle, even more feudal in aspect than Este. It stands upon a noble rock. There is no dun- geon, but long ranges of curtain walls with stepped battlements, studded with bold crenellated toAvers. They ascend and descend the hill sides, intermin- gled with the richest vegetation. These ruins abound in vipers. All the coun- try through Avhich the road ]Aasses is exceedmgly rich, but intersected by muddy canals. Monselice is the best ]3oint from Avhence to diverge from the main road to Arqua. The postmaster considers himself entitled to charge one post and a half, out and back, for this excursion, although the distance is less than 5 m. ; but if the traveller professes iudifierence, then the postmaster Avill be contented Avith 1 post, going and returning included. Excursion to A)'qua, or Arquato. This place is beautifully situated amongst the Euganean hills ; here Pe- trarch retreated, dwelt, and died. The house sliOAvn Avas, no doubt, his habita- tion, for as far back as 1650 the tra- dition Avas firmly believed : the paint- ings on the walls, of AA'liich the subjects are taken from his poems, date in the preceding centy. ; and there is nothing in the architecture of the house (Pe- trarch died in 1374) inconsistent Avith the story. It is inhabited by a farmer, and is somewhat dilapidated, but not in decay. Here is Petrarch’s chair, and his inkstand, in Avhich you may dip your pen and add to the nonsense in the album. Petrarch’s cat or “miccm,” as he used to call lier (and as all cats are still called in Italy), is here stuffed, in a small niche. The tomb of tlie Lau- reate, supported by four Ioav pillars, stands in the cluirchyard. It is of red Verona marble, and raised by Ins son- in-hiAv, Francesco Brossano. The latter Avas the Inisband of Francesca, one of the illegitimate children of Petrarch. Above is a bronze bust, placed there in 1677. The Pozzo di Petr area is said to have been dug at his expense for the use of the town. Near Arqua is a spring, called (fi’om the present vice- roy) the Ponte del Vicere Rainieri : its Avaters are strongly sulphurous. Very good figs and wine (for this country at least) grow near Arqua, and may be had at the little osteria in the town. Baitaglia, close to the high road, upon the canal of Monselice, has some thermal springs, which are much visited. Austrian? Dom. Route 23. — ^Ada>io — Its Hot Springs. 272 Near this place is the ancient castle of Catqjo, which was bequeathed by its former proprietor, the Count Obizzo, to the Duke of Modena, upon condition that he should keep it in its present state. “ The old part of the castle may always be seen ; it contains some fres- coes, said to be by Paul Veronese. The designs are possibly by him, but the frescoes must have been executed by liis scholars ; they are very careless and shght.” — O.W.C. The museum, which is very extensive, contains a vast col- lection of old armoim and weapons, ill- arranged early inscriptions of the church, and some curious antiques and relics, Abano may be visited either from Padua or from Monselice, being at an equal distance, about 6 Eng. m., from both. Its baths have retained their celebrity from the time of the Romans ; medals and other remains of antiquity are found here in abun- dance : the place is also remarkable as being the birthplace of Livy, and also of the physician and reputed necro- mancer Pietro d’ Abano, in whom the Paduans take almost equal pride. (See Padua.) “ This village is about 3 m. from the Euganean Hills ; and the houses occupied by those who resort to this place for the benefit of its muds and waters are yet nearer, all situated in an extensive plain : from this rises a sort of natural tumulus, of a figure nearly circular, of about 15 ft. high, and, I should think, above 100 in circum- ference. It appears to be of the same sort of composition as the neighbouring hills, consisting of materials indicative of a volcanic origin.” From tliis mount burst 2 or 3 copious streams of hot water, which are capable of boiling an egg hard at tlieir source. A part of these serves to fill the batlis ind pits for heating the muds ; a part loses itself in cuts and wet ditches, imidst tlie meadows ; and a ]>art turns the wheel of a mill, which wliirls amidst volumes of smoke. The meadows, wliich arc of a sur])ris- ng riclmesH, extend al)Out 2 m. willi- lut int(!rniy)tion, wlien they are broken >y an insulated bill, cuilircly covered vith trees, brushwood, and vines; from the foot of this issue smoking streams, and a little farther is another single hill, from whose roots issue hot mineral waters. The structure of the hills, and the character and position of their strata, show evidently that they were once links in the Eiiganean chain. There are other springs of the same nature, and having all of them more or less of medicinal virtue ; which pro- cured this place tlie ancient nqine of Ap07ion, apparently derived from a pri- vative, and TTouos, pain. “ 7t is celebrated for its muds, which are taken out of its hot basins, and applied either generally or partially, as the case of the patient may demand. These are thrown by after having been used, and, at the conclusion of the season, returned to the hot fountain, where they are left till the ensuing spring, that they may impregnate them- selves anew' with the mineral virtues which these are su])posed to contain. The most obvious of these, to an igno- rant man, are salt and sulphiu*. The muds are, on being taken out, intensely hot, and must be kneaded and stirred some time before they can be borne. When applied, an operation which very much resembles the taking a cast, they retain their heat witliout much sensible diminution for tliree quarters of an hour, having the effect of a slight rube- faeient on the alfected part, and pro- ducing a ]irofusc perspiration from the whole body ; a disposition which con- tinues more particularly in the part to w'hich they have been ayiplied, wdien un- checked by cold. Hence heat is consi- derero- jportion as it is duly streaked and j spotted with green marks, called erho- nne, and which arc ])ro(luced by mixing die curd of one day with that of the irevious day. Altliougli a mild rich •heese at first, it becomes very strong ly keeping. Old stracchino is greatly esteemed : the quartirolo stracchino churned in the fall of the year, and made from the milk of the herds Avhich have descended from the mountams to pastiue where the Parmesan is not made, is of less value than the summer cheese. The stracchino is sold fresh at about 1 fr. the great pound, i. e. about 5d. a lb. avoirdupois. It is estimated that the cow wliich yields the milk for stracchino affords a double gain to that yielding the Parmesan cheese. Fqrnaci : here the road branches off to Cassano and Treoiglio, the road to Bergamo runs on to J aprio, in a beautiful situation on the •• the country around is studded with viUas and palaces. One of these, formerly belonging to the noble family of Castel- barco, and now to the Duke of Melzi, is interesting on account of its con- taming a remarkable pamting executed, as it is said, by Leonardo da J inci when he resided here. It is a colossal Yu’gin, now extending tin-ougli two stories of the dwelling. There is much beauty in the figure, and it has been attributed, upon old authority, to Leo- nardo ; yet many doubt the tradition, on account of the unusual size. Cross the Adda : Vaqyrio and Cano- nica are only divided by the Adda. The handsome bridge Avhich existed here Avas destroyed by the Sardinian army in their retreat in 1848. 1 Canonica. (Inn : Albergo de’ tre Re.) From this point the views become very beautiful. Bergamo is seen on its hill, crowned by its domes and lofty tOAvers ; and in the foreground the landscape is of exceechng richness. Here is one of the old clocks, striking only to six, Avhich are noAV very rare in this ])art of the country. Boltiere. Oslo. G uzzanica. J,1 BKuaAMO: if to the ujjpor town, an additional cpiarter of a ])ost is charged. Inns: in the lower town. La Fenicc; civil peoj)le, but not j)articu- larly clean. L’ A Ibergo d’ Italia, “com- fortable in some respects, but rather high in its charges.” This llourhhing city, Avhich contains 230 Route 25. — Bergamo — Public Buildings. Sect. III. upwards of 30,000 Inhab., consists of an upper and a lower town, the latter called the Borgo of San_ Leonardo, perhaps half a mile distant from one another. The road passes through the latter ; travellers rarely ascend to the former, in which the most interesting objects are contained. Many Grerman Swiss are settled in the lower town, and this is the only part of Lombardy where mixed mar- riages are allowed. The city of Bergamo, the Lergamus, stands upon a steep and lofty hill. This position was strongly fortified by the Yenetians. The view from these ramparts is fine. It commands Como to the N., and its mountains in the distance, nearer the Resegone chain ; on the S., the level plain of Lom- bardy, with the Rorgo in the fore- ground. The main street winds up and round the hill : nearly the first object which you see in the ascent is the beautiful but desecrated church of Sand Agosiino in tlie Yenetian-Grothic style, the first of this species on this side of Italy. The houses of the Citla are solid and lofty : narrow streets and narrow vicoli, the sides often joined together by arches. In every part of the Cittci are vestiges of the middle ages — pointed archways, cortiles surrounded by ar- cades upon massy columns, seen in perspective through the gateways. The Cittd is almost wholly inhabited by the ancient Bergamasc nobility, who keep themselves apart fi-om the traders of the Borgo. The same circumstance is found in other ancient ContinentrJ cities, and arises from the political state of the country in remote times. Amongst themselves they keep up ex- clusively the use of the Bergamasc dialect ; a dialect scolding in its tone and accent, and the most inharmonious of northern Italy. Harlequin, according to the tradi- tional cast of the ancient Italian drama, is a Bergamasc, and was an imitation of the manners, accent, and jargon of the inhabitants of tlie valley of the Brembo. In the centre of the Cittd is the Pa- lazzo Veccldo, or Town-hall, standing upon lofty Grothic arches, with the pro- jecting ringhiera and an open staircase on the outside. Here is the statue of Tasso, by which the Bergamasc assert their claim to consider him as their countryman. His father was a Berga- masc, and, coin])elled by proscription to aliandon liis native city, his townsmen were afterwards willing to believe that his invohmtaiy absence did not de- prive them of the honour of claiming his son, the poet, as their own. Tasso himself seems to have adopted the idea at least, and, amidst his trials, to liave been glad to consider Bergamo as his native town. The unfinished Palazzo N^^.ovo is after the designs of Scamozzi : it con- tains some good pictures by Salmeggia. Through an arch by the side of the i Town-hall is seen tlie church of Sta. i Maria Maggiore ; of which a consider- able portion is in the earliest Homan- I esque style ; other parts are much more recent. The columns of the projecting lateral j:)orches rest upon symbohcal animals. The N. part was erected by Giovanni di Campello in 1360. It is of black and white marble. The soutliern porch is elaborate, of yellow and red marble, surmounted by a ta- bernacle, containing a statue of Duke Lupus, who, in the middle ages, was still in great celebrity at Bergamo. Ranging with tliis porch is the sepul- chral chapel of Bartolomeo Colleoni, rich in marbles and elaborate in its workmanship, and which has been lately renovated. Medallions and si atues of Roman emperors constitute the prin- cipal decorations. The windows are, divided by candelabra stems, with ara- besques and varied capitals, placed so close together that the apertures for the light are less tlian the diameter of these columns. To the rt. of the prin - 1 cipal entry, upon a round tower, arc some remains of old frescoes. The sa- cristy, an octangular building, erected, as appears from the inscription, in 1430, is among the earhest examples of the introduction of the Roman ov classical style in juxtaposition with Grothic. The dado has pointed arches | Austeian Dom. Route 25. — Bergamo —Excursion to Iseo. 231 but the two upper stories are pure Composite, accurately worked. The campauile, which is upwards of 300 ft. in height, is one of the towers so con- spicuous in the yiew of the Cittd. AVithin, the church has been modern- ised : it is painted in fresco, and, on festival days, so draped with scarlet and gold brocade that the paintings winch it contains are scarcely discern- ible. The principal are by Luca Gior- dano and by Salmeggia, suruamed “ il TalpinoL This artist (died 1626) was born at Bergamo. The monument of , Colleoni was begun by his orders in his lifetime, and completed in 1475, a year after his death. It is the workmansliip of Giovanni Antonio Aniadeo. The bas-reliefs in front of the sarcopliagus have gi'eat merit. AVe shall meet Bar- tolomeo Colleoni again at A^enice. The paintings of the roof are by Tiepolo. A Virgin by Angelica Kauffman is curi- ous as a mark of the decline of art. To this church has been transported the monument of Medea, the daughter of Bartolomeo Colleoni, a masterpiece of Amadeo, formerly at la Basella. In the Luonio the fine cupola is a conspicuous object ; and the propor- tions and general character of the build- ing are good. It was designed by An- tonio Fil arete, but has since been much iltered. It contains many paintings. There is a curious and ancient Baptis- erio, said to be as old as the 5th centy. Santa Grata is the church of a re- tored nunnery, wliich has been newly pit and decorated. Tlie altar-piece, >y Salmeggia, 1623, represents the Virgin and several Saints, amongst hem Santa Grata, bearing the head of iant’ Alessandro. Tliis picture, con- idered as the masterpiece of the artist, ad a journey to Baris. Tliere are jme })leasing mosaics in this elegant ttle budding. Otlier churches are SanV Andrea . — '1 the vaulting are frescoes by Fado- inino — The Virgin and Saints, by loretti. Church of Sant' Alessandro '■ Colonna — St. John the Baptist, hy e younger Palma. Church of San artolomeo — A Adrgin ; one of the •st works of Lotto. There is a fine view from the terrace of the Casa Terzi, Avhere the Austrian Em- peror Francis lodged, in the upper city. Tlie lower town, or horgo, is the seat of business. An important fan* is held here. It begins about the middle of August, and lasts a month. This mart, called tlie Fiera di Sanf Alessandro, which has been known to liave been held since the 10th centy., is the Leipsic fair of northeim Italy. It is kept m a very large quadrangle, in whfch are rows of shops, and is not only a very large business, but also a large pleasure fair, to whicli the gentry of all the country about resort. Bergamo is celebrated in the annals of music by tlie number of good singers which it has produced. — E-ubini and Donzelli are amongst them. There is rather a good public li- brary ; -mid a gallery, the Academia Carrera, with a collection of very in- ferior paintings. Bergamo contains several good pri- vate collections of paintings, not exten- sive, but select. That of Count Locliis, tlie president of the Academy, was tlie best. Count Andrea Ferdoa has some fine things ; so also the Signori Casera, Ghidini Pavesi, Talonia, Ari- goni, and others. The situation of Bergamo is remark- ably beautiful, and the walks about it are pleasant. The country around is one of the most renowned in Lombardy for its silk, and the great source of riclies of its landed proprietors. Neighhourhood of Bergamo. The province of Bergamo contains some of the most beautiful landsca]ies in the Lombardo - A’^cnetian kingdom. The soil is of the greatest fertility, and is exceedingly well Avatered : the river Serio is the main triudc of the irriga- tion of the district, its Avaters being drawn oil to numberless canals. The road from liergamo to Lecco is heavy, and Avith long ascents and de- scents, and atl'ords pleasing scenery, and may be conveniently taken by those Avbo, travelling the St cl vio or Splugen roads, Avisb t > reach Venice Avithout 232 Sect. III. Route 26. — Lover e — Scenery. passing Py Milan. Tlie post-stations are 1| Xa Cava, 1\ Lecco. pleasant excursion may be made to the lake Iseo. A good road to Sar- nico, which is situated at the end of the lake where the Oglio leaves it, turns out^of the high road to Brescia, about hah a mile after crossing the 8erio. The distance to Sarnico is about 18 miles. At rather more than halfway, near where the road crosses the Cherio, Gorlago lies about a mile to the 1. of the road ; it has a church containing some valuable old paintings, and a saloon painted in fresco by Giulio Ro- mano, and now used as a hay-loft. About 4 m. before reaching Sarnico, on the rt. of the road, is the old castle of Calepio, built in 1430, and finely placed on the steep banks of the Oglio. There is a poorish Inn at Sar- nico. The lake Iseo presents some beautiful scenery. The “ Monte dell’ Isola” rises boldly from its surface. It is very deep, and abounds in fish. The vegetation of the shores is rich, and the olive-tree flourishes in the more sunny exposures. Many fossil remains are found at Provezzi ; and many towers, castles, and villas are dotted round its shores. The Palazzo Fena- roli, at Tavernola on the W. shore, op- posite to the Monte dell’ Isola, com- mands a fine prospect of the lake and of the small town of Iseo, from whence the lake takes its name. The lake of Iseo (Lacus Sevinus) is the foLU’th in size of the subalpine lakes of Lombardy, occupying an area of 22 sq. Eng. ni. It has the same elongated form as those of Como and Grarda, and, like them, fiUs the bot- tom of a great transverse valley. Its principal feeders are the Borlezza and Ogho torrents that descend from the Alps through the Val Camonica, and its only exit is by the Oglio at Sar- nico ; it is 700 ft. deep in some parts, and its surface is 680 ft. above the level of the sea; near its centre is an island, about 1|: m.. long, with two villages, Siviano and La Pescheria di Iseo. The climate of the shores of Iseo is nearly the same as that of the lakes of Como and Maggiore, but, from its gTeater elevation above the sea, of a more alpine character than that of Lago di Gfarda. The town Iseo has extensive silk-works, and is said to owe its name to a temple of Isis. It is about 7 miles by the footpath along the shore of the lake from Sarnico to Iseo, which is the principal port on the lake, and from whence a steamer (a Avretclied craft. Sept. 1845) starts daily for Lo- vere, taking about 2 hrs. to run the distance. There is a tidy Inn at Iseo, by the water- side, kept by Angelo Ferrari. At the foot of the mountain, nearlj^ opposite to Iseo, to the northward, is Predore, where are plantations of orange and lemon trees. Lovere may also be reached by a road which turns off to the 1., out of the road to Sarnico, about 5 m. from Bergamo, and passes through the baths of Trescorre, where are the palace of Count Gianforte Soardi, and a chapel painted entirely and most beautifully by Lorenzo Lotto. The principal church of Trescorre contains a very fine Salmeggia. Hence the road runs up the Yal Cavallina by the side of the Cherio torrent, and along the W. shore of two small lakes, Spinone and Grajano. The distance from Bergamo to Lovere by this road is about 26 Eng. m. Lovere is well known as the residence during several years of Lady Mary Wortley Montagu, who thus describes , it in a letter to Lady Bute, her daugh- | ter, dated the 21st July, 1747 : — “ I am now in a place the most beautifully romantic I ever saw in my life ; it is d the Tunbridge of this part of the world, I to which 1 was sent by the doctor’s | order, my ague often returning. I I found a very good lodging, a great deal | of good company, and a AMlage in manj I respects resembling Tunbridge Wells, not only in the qiiahty of the waters which is the same, but in the mannei i of the buildings, most of the house; ) being separate at little distances, and [ all built on the sides of hills, whicl | indeed are far difierent from those o jijj Tunbridge, being six times as high In they are really vast rocks of differen || ^ figures, covered with green moss o U | short grass, diversified by tufts of trcef^ Ij Austrian Dom. 233 Route 2 5 . — - Lover e — Scenery, little woods, and here and there vine- yards, bvit no other cultivation, except gardens like those on Richmond-hill. The whole lake of Iseo, which is 25 m. long and 3 broad, is all surrounded with these impassable mountains, the sides of which towards the bottom are so tliick set with villages (and in most of them gentlemen’s seats), that I do not believe there is anywhere above a mile distance one from another, wliich adds very much to the beauty of the prospect. — The fountam where we drink the waters rises between two hanging hills, and is over- shadowed with large trees that give a freshness in the hottest time of the day. The pro- visions are all excellent, the fish of the lake being as large and well tasted as that of Greneva, and the mountains abounding in game, particularly black- cocks, wliich I never saw in any other i part of Italy.” In a subsequent letter I she describes part of her residence : — j “ I have been these six weeks, and still i am, at my dairy-house, which joins to j my garden. I beheve I have already i told you it is a long mile from the castle, which is situate in the midst of ; a very large village, once a considerable town, part of the walls still remaining, and has not vacant ground enough about it to make a garden, which is my gi’eatest amusement. This spot of ground is so beautiful, I am afraid you will scarce eredit the description, which, however, I ean assure you shall be very literal, without any embellishment from imagination. It is on a bank, forming , a kind of peninsula, raised from the river Oglio 50 ft., to which you may I descend by easy stairs cut in the turf, land either take the air on the river, I which is as large as the Thames at i Richmond, or, by walking up an avenue < 200 yards on the side of it, you find a ijwood of 100 acres, which was all ready lout into walks and ridings when I took jit. I have only added 15 bowers, in I different views, with seats of turf. Ihcy were easily made, here being a large quantity of umku’wood and a preat number of wild vines, wliich twist o the top of the liiglicst trees, and rom whicli they make a very good sort of wine they call brusco. I am now writing to you in one of these arbours, which is so thick-shaded the sun is not troublesome, even at noon. Another is on the side of the river, where I have made a camp -kitchen, that I may take the fish, ch’ess and. eat it immediately, and at the same time see the barks, which ascend or descend every day to or from Mantua, Guastalla, or Pont de Vie, all considerable towns. This wood is carpeted in then’ succeeding seasons with violets and strawberries, inhabited by a hation of nightingales, and filled with game of all kinds, excepting deer and wild boar, the first being unknowir here, and not being large enough for the other.” More modern travellers do not agree in Lady W. Montagu’s enthusiastic description of Lovere, and suppose she must have mixed up in it that of some other sites on or about the lake of Iseo. Lovere has two large churches with pictures, and a fine cenotaph, by Canova, one of the repetitions of that of Vol- pato, erected by Count Tadini to his son, who was crushed by the fall of an arch. At some distance from Castro, about 2 m. to the S. of Lovere, on the shore of the lake, is a narrow abyss, where the torrent called the Orrido di Tinazzo precipates itself with a roaring noise. It is a very singular place. The road from Lovere to Bergamo is“ carried along it for several yards on arches ; the water below is out of sight. To the N. of Lovere is the Val Camonica, through wdiich the Oglio flows. There is a good level road skirting the hills from Iseo to Bi’escia, a dis- tance of about 15 m. ; 3 m. out of Brescia it joins the high road from Ber- gamo. Tlie traveller who does not wish to return from Lovere to Bergamo will find a very fair road on the E. side of tlie lake, tlirough tlie villages of Pirogue, Sale, and Maroue to Iseo, and which from thence joins the high i-oad to Brescia by Provaglia. “About 8 m. to the N. of Bergamo is the church of Thotnasu in Limine. It stands alone on the brow of a hill, 234 Route 25 . — Bergamo to Brescia. Sect III. from wlience tliere is a beautiful view. Its extreme age is obvious from its external appeai’ance, but it is still in good preservation, for wliich it is in- debted to tlie firmness and excellenee of its construction. The walls are very thick, and the blocks of stone of whicli they are formed ai’e put together witli very little cement. This building is not of large dimensions, and the decay of art is manifest in its details ; but there is a degree of elegance and unity in the design, and of science m the construction, for whicli it deserves to be admired. No record of the date of /San Thomaso has come down to our time. The evidence of style, however, places it among the buildings of the 7th century, during wliich this part of Italy was at rest, and a great zeal for chm’ch-building prevailed. The plan is nearly identical with that of San Vitale at Ravenna, a rotunda crowned with a cupola. The ciijiola is not sup- ported by pendentives, but by the walls themselves, assisted by the lateral resistance of tlie arches of the wings. The pillars are stunted and thick, and their capitals exhibit the usual imagery of the Lombards : the manner of con- struction of the walls is in their style. The Lombards were fond of the cir- cular, or octagonal form, and employed it in their churches as often as they did that of the Basilica. If the round form is to be adopted there can hardly be found a more gracefid model than is afforded by San Thomaso." — G. Knight. Some otlier pleasant excursions may be noticed. There are many fine feudal castles dotted about the country on all sides, memorials of tlie feuds of tlie Guelphs and Ghibellines ; such as the Gastello de Trezzo upon the Adda, ajaout 12 m. by the road to the S.W. of Bergamo, and many others to the eastward of Bergamo, near tlie lake Iseo. The Santuario d'Alzano, 4 m. from Bergamo to the N. E., at the beginning of the Val Seriana, has fine paintings, sculptures, and intagliaturas. Returning to the post-road from Ber- gamo to Brescia. — The deep red soil is irrigated by the canals which constantly sku-t the road ; the water is tm'bid, and usually of a dark reddish hue ; it flows rapidly, and there is not that dark marshy aspect which may have been remarked on the Lodi and Pavia sides of Milan. 3 m. from Bergamo the Serio is crossed, at the picturesque village of Seriate. 5 m. beyond Seriate, at the village of Canzona, a road branches off to the rt., leading to Martinengo and Romano. About 2 m. along this road is Castel Malpaga, built on Roman ruins by Bartolomeo Coleoni, still re- taining gateways and drawbridges ; the inside is full of old historical frescoes — one saloon filled with the best frescoes by Carianni., the pupil of Giorgione.^ representing the visit of Christian II. of Denmark to Bartolomeo, highly in- teresting for the costumes. About 2 m. W. of Malpaga, on the other side of tlie Serio, is a chapel called La Basella, formerly containing a masterpiece by Amadeo, a sepid- chral monument of Medea, the only child of Bartolomeo, which is now in the church of Sta. Maria Maggiore at Bergamo. 2 m. beyond Malpaga towards Mar- tinengo is a curious bellry, rich in architecture and sculpture, by Cagnoli ; and one of the masterpieces of this architect, the Rotonda at Ghisalba. Returning to the high road, the first post-station out of Bergamo is 1 Cavernago, where are the splendid palace and gardens of Count Marti- nengo. 1 Palazzolo, very pleasantly situated: the view from the campanile is exceed- ingly fine, extending to the Duomo of Milan and the tower of Cremona. Coccaglio : the mountain above it ( Monte Orfano ) commands a noble view. Rovato : the birthplace of the painters Moretto and Richino. 1^ Ospedaletto. 1 BiiESCiA. {Inns : Albergo Reale, in the Contrada Larga, very good ; le due Torri, in the Piazetta della Pallata, civil and attentive people, and com- fortable. The other Inns arc II Gam- Austrian Dom. Route 25. — Brescia — Historical Anecdotes. 235 baro and La Posta.) This is a fine and flourishing city, now containing 35,000 Inhab., and appearing very prosperous. '■''Brescia V armata’’’’ has been anciently celebrated equally for the strength of her fortifications, the valour of her inhabitants, and the excellence of the arms and w^eapons here manufactured. The Brescians have probably not degenerated from their ancestors ; but the fortifications are dismantled and the manufactm'e has declined, though it is yet carried on to a great extent in fire-arms of an inferior quality in the adjacent Val Trompia. Brescia was anciently con- sidered as one of the most opulent cities of Lombardy, second only to Milan. But the capture of the city by Gaston de Foix, the “gentil Luc de Nemours,” the nephew of Louis XII. (1512), inflicted a blow upon its pros- perity from which it never recovered. Wlien in pursiiance of the League of Cambrai the French overran the Ve- netian states, Brescia fell like the rest of the Venetian possessions, but was recovered by the vigour of the Count Luigi Avogadro. The inhabitants de- tested the French, and the standard of St. Mark being hoisted the whole dis- trict was in a state of insurrection. The castle, however, was still held by the French, and Gaston de Foix marched against Brescia with an army of 12,000 men, the flower, says the ‘ Loyal Ser- viteur,’ of French chivalry. Amongst them was the “ Chevalier sans ]3eur et sans reproche,” the celebrated Bayard, who, in the attack of the breach by which the French entered, received a wound whicli he thought to be mortal. The French poured in, and the city was taken by storm ; the Venetian troops made a desperate but ineffec- tual resistance in the “ Piazza del Bro- letto ” to which they retreated, and the inhabitants emidated the soldiers in valour. The city was given iq) to pil- lage, and the Frencli, tlie “ flower of chivalry,” under tlie guidance of the “gentil” Gaston do Foix, truly termed by Sismondi the most ferocious of the chicftaijis who ever commanded an army, indulged during seven days in pillage, lust, and slaughter. The French boasted that 46,000 of the Inhab. pei’ished. The spirit of the warfare may be illustrated by two celebrated passages in the history of the siege of Brescia, — the escape of Tartaglia aiid the gene- rosity of Bayard. Amongst the crowds who vainly sought refuge in the churches Avas a poor Avoman of tlie loAA^est class with a child in her arms. The French chivalry cut at mother and child, and the boy received in the arms of his mother five sabre wounds ; his skull was fractured and his upper lip spht. In spite of this treatment he hved, yet the Avound in his lip was so severe that he never fully recovered his speech ; hence he was called Tartaglia.^ or the stutterer : but his memory has beerl preserved, not by the injuries Avhich he shared with so many others, but by hie talent as one of the greatest mathema- ticians of the age, and discoverer of the method of solution of cubic equations. With respect to Bayard, he was placed by 2 archers upon a door torn from its hinges, and carried to the best- looking house at hand, believed to be that of the Cigola family Its owner Avas “ a rich gentleman who had fled to a monastery ; but his wife and 2 fair daughters remained at home, in the Lord’s keeping, and AA'ere hid in a hay- loft under the hay.” The mother, AAflien she heard the knocking at the wicket, ojiened it, “as awaiting the mercy of God Avith constancy ;” and Bayard, notwithstanding his oaau great pain, observing her piteous agony, placed sen- tinels at the gate, and ordered them to pi’ohibit all entrance, Avell knoAving that his name was a defence. He then assured the noble lady of protection, inquired into her condition, and, de- spatchingsome archers forher husband’s relief, received him courteously, and in- treated him to believe that he lodged none other than a friend. His Avound confined him for 5 Aveeks, nor Avas it closed Avben he remounted his horse and rejoined the army. Before his de- parture, the lady of the house, still con- sidering herself and her family as pri- soners, and her mansion and Avholo 236 Boute 25. — Brescia — Historical Anecdotes. Sect. m. property as the lawful prize of her guest, yet perceiving his gentleness of demeanour, thought to prevail upon him to compound for a moderate ran- som, and havmg placed 2500 ducats in a casket, she besought his acceptance of it on her knees. Bayard raised her at the moment, seated her beside himself, and inquired the sum. He then assured her that if she had presented him with 100,000 crowns, they would not gratify him so mucli as the good cheer which he had tasted under her roof ; at first he refused to take them, but upon lier earnestly pressing him, and seeing “ that she made the present with her whole heart,” he requested permission to bid adieu to her daughters. “ The damsels,” says the ‘ Loyal Serviteur,’ “were exceedingly fair, virtuous, and well-trained, and had greatly solaced the good knight diming his illness by their clioice singing, and playing on the lute and virginals, and them mucli- cunning needlework. When they en- tered the chamber, they thanked him with deep gratitude as the guardian of their honour ; and the good knight, almost weeping at their gentleness and humility, answered : — ‘ Fair maidens, you are doing that which it is rather my part to clo, to thank you for the good company which you have afibrded me, and for wliich I am greatly bound and obliged to you. You know that we knight-adventurers are ill provided with goodly toys for ladies’ eyes, and for my part I am sorely grieved not to be better furnished, in order tliat I might offer you some such as is my duty. But your lady mother liere has given me 2500 ducats, whicli lie on that table, and I present each of you witli 1000 in aid of your marriage ]iortions ; for my recompence I ask no more than that you will be pleased to pray Grod for my welfare.’ So lie put the ducats into their aprons, whether they would or no : then turning to the lady of the house, he said, ‘ These remaining 500 ducats I take, madam, to my oivn use ; and I request you to distribute them among the poor nuns who have been pillaged, and with whose necessities no one can be better acquainted than your- self : and herewith I take my leave !’ After having dined, as he quitted liis chamber to take horse, tlie tivo fair damsels met him, each bearing a little offering which she liad worked dm-ing his illness ; one consisted of 2 rich brace- lets woven with marvellous delicacy from her own beauteous hair, and fine gold and silver threads ; the other was a crimson satin purse embroidered with much subtilty. Grreatly did the brave knight thank them for this last cour- tesy, saying that such presents from so lovely hands were worth 10,000 crowns ; then gallantly fastening the bracelets on his arm and the purse on his sleeve, he vowed to wear them both, for the ho- nour of their fair donors, while his life endured ; and so he mounted and rode on.” “ The booty,” says the ‘ Loyal Servi- teur,’ “was rated at 3,000,000 of crowns. Certain it is that the taking of Brescia was the ruin of the French cause in Italy : for they had gained so much that a great part of them returning home forsook the war, and were much needed afterwards at the battle of Ra- venna.” As for the unfortunate city, famine and pestilence followed the ra- vages of war, and the void of popula- tion has scarcely yet been proportion- ahly supplied. Brescia is pleasantly situated, and there are lovely views from the heights above the city. It is close to the tor- rent Mela, noticed in the verses of Ca- tullus. “ Hrixia, Cycneae supposita speculac, Flavus quam molli percnrrit llumine Mela, Biixia Veronse mater amata meae.” The Mela here mentioned still re- tains its name, and is supposed to be the river of which Virgil speaks. “tonsis in vallibns ilium Pastores, et curva legunt prope llumina Mellae.” Brixia is known to have become a Roman colony, but we are not informed at what period this event took place. It was also a municipium, as ancient inscriptions attest. Strabo speaks of it as inferior in size to Mediolanum and Verona. Austrian Dom. Route 26 . — Brescia — Roman Remains. 237 The antiquities of Brescia were in- vestigated in the 17th centuiy by the learned Eossi, who describes them in his Memorie Bresciane, but who trusted more to his fancy than to his observa- tion. A tall Corinthian colmnn was then protruding through the soil, and Eossi in his treatise gave the drawing of the whole temple to which it had belonged. The column escaped demo- lition, but no one paid much attention to it except Grirolamo Iol% still living in green old age, who from a cliild was accustomed to wonder at the relic ; and, mainly by Iris persuasion and ex- ertions, the municipal authorities were persuaded to institute a scava ; and the result was the discovery of the entire portico, and of much of the adjoining structure. The columns, with the ex- ception of the one which so long de- clared the existence of the rest, are broken at various heights, but the por- tions remaining are very perfect, and so are the stau’s and the basement, w'hich are entirely in their original state. The latter is composed of up- right blocks of marble, one block com- posing the wiiole height upw^ards. The masonry indeed throughout is magni- ficent. The columns are elegant, both in proportion and execution, and good w'orkmansliip is visible in the sharply- cut capitals and mouldings which lie around. Where tlie outer casing is removed you may observe the bands of brick binding the structure. The architecture has many peculiarities, and, like almost every Eoman building of the same era, show s that the archi- tects considered themselves as by no means bound by such rules as those whicli Vitruvius has laid down. The building is called a temple, and is supposed to have been dedicated by Vespasian to Hercules : biit its form seems to indicate that it w^as intended for sonic other jmrpose, jicrliaps a •ourt of justice; and it is not even •ertain wlicther the mutilated inscri])- ion upon w'hich the conjecture is bunded belonged to the building. Be his as it may, it is raised upon the oundations of an older structure, of .\liich many vestiges may be seen in the passages and vaults included in the basement story. They have tes- sellated pavements, and the walls are of the “ opus reticulatura,” over wliich a fine and hard compact and polished stucco has been laid. G-reat portions of this remain quite perfect ; it was painted in compartments as at Pom- peii, and the coloims are very fresh. When these passages were opened, the excavators discovered a heap of bronzes, some nearly wirole, others broken, but none injured except by fracture, and which had evidently been deposited there all at one time — how or when, it is difiicult to conjectime ; but the most reasonable supposition is, that, when the emblems of paganism were removed by law from the temples, these were hidden by the adlierents of idolatry, and forgotten in the dark vaidts in which they w'ere concealed. A museum has been formed within tlie w^alls of the ancient building, to preserve these objects. The finest work in this museum is the bronze winged statue, w hich, from its attitude, has been supposed to be either a Fame or a Victory. The shield under the left hand is a restoration ; so also is the helmet upon which her left foot rests ; but these have, perhaps, been removed, as an intention to remove them was expressed some time ago. The figure is rather larger than life. Her head is encircled by a garland of laurel-leaves, inlaid wdtii silver. The drapery and wings are executed with the greatest delicacy ; the latter w ere cast separately, and a small portion of one is w^anting. When discovered the wings were found lying at the feet of the statue, evidently liaving been taken ofi‘ for tlie purpose of better stowdng the figure in its place of concealment. T1 le licad, the (Irapcry, the elegance of the limbs, and more ]iarticularly of the extremities, arc as line as can bo conceived. A mould liaving been taken from tlic statue, a co]iy was cast in bronze by tlie desire of the Knqicror of Austria. It is (UTctcd at Culm. Found together with the Ahetory, and now in the same room, are six heads, with traces of gilding: one of them ia 238 Route 26 . — Brescia — Roman Remains. Sect. III. supposed to be tlie Empress Faustina. Also a small statue, fully gilded, repre- senting a captive, a Barbarian mo- narch. The workmansliip is inferior to that of the Fame. Portions of harness, vith very fine figures in relief. A female hand and arm, larger than life ; very fine. Many fragments of inotddmgs and ornaments, some gilt, all of great ele- gance ; and probably decorations of the monument, whatever it was, of which the Yictory formed a part. The inscriptions in the museum are numerous and valuable. The citizens of Brescia began to collect and pre- serve these remains at an early period ; earlier mdeed than any other city in Europe. By a special orchnance, passed in 1480, they required that all who, in digging or otherndse, might discover ancient inscriptions, shoidd preserve them, and fix them on the walls of their houses, or otherwise place them where they should be the objects of public study. These inscriptions were afterwards brought together in the Bishop’s Palace, and in the other public buildings. They are classed, as nearly as possible, according to sub- jects. The Conservatore loli wishes to form a complete collection of all the Roman inscriptions found in the province of Brescia, which he is con- stantly exploring. In those cases, therefore, wliere the original could not be procured, he has caused a rubbing to be taken from the stone, and from these rubbings he has painted fac- similes in tablets upon the walls ; if he obtains the origmal, he substitutes it for the copy, — and this process has very often induced the owners to sur- render, for the public benefit, the in- scriptions which they woidd otherwise have witliheld. The inscriptions thus brought together would form a large and cmdous volume : many are early Christian ; one is to the memory of a certain Cecilia, who is singularly de- scribed as “ Mater Synagogse Brixia- noruin.” The architectural fragments are nu- merous j some exliibit rich varieties of the composite. An Ionic capital has fine angular volutes, according to the modern Italian fashion, commonly sup- posed to have been invented by Sca- mozzi. Many other objects of interest are dispersed in the museum : — votive and other altars ; a portion of a beautiful mosaic pavement ; specimens of pottery and articles of bronze. One apartment is devoted to mediaeval an- tiquities ; those of the Lombard era are interesting. — Several columns re- moved from the partly ruined church of Santa Griulia, Avith Corinthianized capitals ; fragments covered with runic knots, some apparently slabs and door- jambs, one the foot of a cross ; a runic cross bisecting an epitaph in Roman characters. These remains appear pe- cuhar to the N. of Italy. Some por- tions of the original walls, and Avhat are called portions of the altars, can be seen in the back part of the interior of the museum ; biit the masses, so-called altars, liaA^e a resemblance to the sty wliom it was presented. Church of Santa Maria de' Miracoti, •uilt pursuant to a decree of the city in 1'87, in lionour of the sujiposed mira- N. Italij—lH^o^i, culous painting of the Vh-gin which it contains, and which was upon the waU of the house of one Frederick de’ Pela- broschi, and was bought, house and all, for the benefit of the city. The facade is covered with elegant arabesques, birds, medallions, touclied with the utmost delicacy, by Brignola, an artist of the loth century. The interior is splen- didly decorated with stuccoes and gild- ing. Paintings : Marone, the Assump- tion ; very Titianesque. San Francesco, the first permanent settlement of the Franciscans in tliis city, having been founded in 1254 ; but only a portion of the original edifice remains. The convent was a fine struc- ture. In the preemet of this convent the Brescians took the oath of fidelity to the republic of Venice, March 17th, 1421. Paintings : — Romanino, the Vir- gin and Child, surrounded by St. Fran- cis, St. Anthony of Padua, St. Bona- ventura, and St. Louis, over the high altar. — Cossale, the Immaculate Con- ception, and St. John the Baptist and St. Apollonia.— JTorc^^o, St. Francis, St. Jerome, and St. Margaret, dated 1525. — Francesco da Prato di Caravaggio, the Marriage of the Virgin, with date 1547. The works of this painter are exceedingly rare. His style is rather that of the earlier school of art, hard and formal, but with great beauty of expres- sion and transparency of colouring. Church of St. Agata, supposed to have been founded by Queen Theodo- linda. The walls and roof richly painted by Sorisene and Ghitti, the figures prin- cipally by the latter. Amongst the many other paintings are : — Foppa Giovane, the Adoration of the Magi, surpassing any other of his works in colouringand in chiar’-oscuro, — Callisto da Lodi, St. Agatha on the Cross, to- gether with St. Peter and St. Paid. Church of San Giuseppe, formerly belonging to the Minor friars, and built at the ex[)ense of the I'ity. I’nintings : — liomauino, the Ihree Maries round the Corpse of the Saviour. The Na- tivity, SI. Caiheriiie, St. haul, and St. Jerome. — Moretto, the Descent of the Holy tlhost. A eom])ositiou, St . Fran- cis, the Virgin, and a portrait of the M 242 lloute 25. — Brescia — Churches. Sect. III. donoi’ of the painting. — Palma Giovane, St. Anthony of Paclna. — Luca Mombelli, St. Joseph and St. Sebastian. — Avorja- dro^ the Martyrdom of St. Crispin and Crispmianus. Lanzi points out tliis pictiu’e as his chef-d' octivre. In tlie cloister are some valuable though much- damaged frescoes by the elder Gandino^ and by Moretto. Church of San Giorgio^ formerly be- longing to a Franciscan convent. Here are to be noticed : — Bernardino Gan- dini, the Martyrdom of the patron Saint. — Gliitth St. Heorge and the Dragon, and another representation of the Martyrdom of the Saint. In the sacristy is an ancient picture of St. George and the Dragon. — Giovita Bres- cianvno, a Nativity. Very few of the oil paintings of this able scholar of Gam- bara exist : some say that this is the only one. He also painted the outside of a house adjoining the church. Church of San Faustino Maggiore, one of the oldest monasteries of Brescia, Tlie bodies of St. Faxistinus and St. Jo- rita were translated here in 843, Three years after, some monks of the then recent order of Benedict were placed here ; and they continued in possession of the monastery till their suppression by the French : the present building is, however, modern. Like so many other of the Brescian churches, the walls and roof are covered by frescoes. The tomb of the Saints, forming the high altar, by Carra^ is hne of its kind. Amongst other pictures is an excellent Gamhara, the Nativity ; one of the largest and best of his oil paintmgs. — Bomanino^ the constantly recurring groups of St. Apollonius, St. Faustinus, and St. Jovita. — Gandino Giovane, St. Hono- rius and St. Mary the Egyptian. In the cloisters adjoining to this monas- tery is a vaulted passage with a good fresco by Gamharo ; and in the conven- tual buildings, now used as a college, is a very curious picture by Cossale, re- presenting the supposed miracle worked by the saints Faustinus and Jovita w4ien Brescia was besieged by Nicolo Piccinino, on which occasion they were believed to hurl back the cannon-balls of the enemy. Church of the Carniini. The Car- melites were invited to Brescia about the year 1345 ; and the present church was built for them at the expense of the city. In the 17th century it was re- ornamented by the frescoes of Sandndno, Gandino, Bama, Barucco, and Ferra- rnola. — The Apostles and the Sibyls are by Gandino, Bama, and Barucco. Some of the vaultings, with figru’es on an azure ground, by the elder Foppa, are vestiges of the former decorations of the structure. Amongst the paintings are : — Gandino, Martyrdom of St. Ursula; St. Peter receiving the keys. — Palma the younger, the Archangel Michael. Church of San Giovanni Fvangelista. This is the primitive church of Brescia, having been founded in the 4th century by St. Gaudentius ; but it xvas rebuilt in the IGtIi century. This church con- tains many of Morettds best produc- tions : the Slaughter of the Innocents, St. John departing from his Father Za- charias, St. John preaching in the De- sei’t ; a group, the Virgin and Child, with St. John, St. Augustine, and St. Agnes. Others were the result of the competition between him and Bomanino. The paintings so produced by the rival artists are placed opposite to each other; those of Moretto are on the rt. hand, and represent the Fall of the Manna, Elijah sustained by the Angel, the Last Supper, the Evangehsts and Projxhets. The paintings by Bomanino are on the 1. ; the Baising of Lazarus, St. Mary Magdalene in the House of the Phari- see, the Holy Sacrament offered to the Veneration of the Faithfixl, Evangelists and Prophets. Another Bomanino, and in a different style, is the Marriage of the Virgin ; it is reckoned one of liis best productions. — F. Paglia, the As- sumption. — Giovanni Bellini, the Three Maries weeping over the Body of the Saviour (excellent), in the chapel of the Santo Sagramento. — Grazio Cossale,a.n Apocalyptic Vision — a striking compo- sition. In the chapel of the Baptistery is a beautifid picture in the style of Francia, Saints in adoration of tlie Trinity ; to whicli Jandine added S. Pietro Martire, Church of Santa Maria delle Grazie, Austrian Dom. Route 25. — Bi'escia — Churches. 243 successively tenanted by the TJmiliati, the Jeronymites, and the Jesuits, Cu- riously ornamented with very rich com- partments of gilded stucco work, and ample frescoes by Antonio Gandini, Fiammhighino^ Marone^ Pilati, Rossi, and Rama. Other paintings : — Pietro Rosa, St. Barbara kneehng before her Father in Expectation of Death, scarcely inferior to Titian. — Moretto, the Na- tivity, over the liigh altar ; several saints also introduced ; an excellent early pic- tm’e. — Ferramola, the Virgin and Child, with St. Jerome and other Saints ; some attribute this pictiire to the younger Fo^ypa . — Gandini sen., the Purification. Church of San Pietro in Oliveto, altered and partly rebuilt by Sansovino. This church was successively possessed by the Celestines, by the canons regular of the order of the Beato Lorenzo Gius- tiniani, and by the Carmelites, and it is now used as a chapel to the ecclesias- tical seminary. It is rich in specimens 1 of the Brescian school. — Foppa the ' elder, St. Ursula, St. Peter, and St. j Paul, upon gold grounds. — Vincenzio Foppa, Our Lord bearing the Cross ; I considered as the chef-P oeuvve of this > artist. The outhnes are somewhat hard; ( but the expression of the countenances \ and the harmony of the tints fully com- I pensate for this defect. — Moretto, the I High Altar, a singular but fine compo- I sition. Above is the Virgin, between j Justice and Peace ; below, St. Peter re- I ceiving the Keys, and St. Paul a table, I signifying his Commission to preach 1 the Gospel. Over a second altar is I another allegorical composition — St. ; John the Evangehst and the Beato j Lorenzo hstening to the Advice of Wis- I dom ; a 3rd has the Fall of Simon Ma- ;gus, and St. Peter and St. Paul helping I the Church.— Ricchino, 4 large subjects ifrom tlie life of Moses. Tiie roof is : richly decorated. I Church of San Salvatore, annexed to 1 he monastery of Sta. Giulia. This liioble building, erected by Dcsiderius jiving of the Lombards, is now turned ; iito a barrack. The E. end is toler- jihly ))crfect. 1 Church of San Clemente boasts of ,vhut are considered as the five best paintings of Moretto : — a large altar- piece, a group of female saints, Lucia, Cecilia, and Barbara, thoroughly Ba- phaelesque ; St. Ursula and her Com- panions ; Abraham and Melchisedec, St. Jerome and St. Paul; and the great painting over the high altar. They ex- hibit great command of pencil and rich- ness of colour. Church of Santa Maria Catcher a, not remarkable for its architecture, but con- taining a pictiu’e considered the master- piece of Romanino. It represents the patrqn saints of Brescia — Apollonius, Faustinus, and Jovita. Other good pamtings are: — Camillo Procaccini, San Carlo in Prayer. — Moretto, the Magdalene at the Feet of our Lord ; St. Jerome and St. Dorothea. — Calisto da Lodi, a small but fine picfm’e in dis- temper, the Visitation, over the High Altar. Church of Sta. Fufemia, a very an- cient foundation, but entfrely rebuilt. The high altarpiece is by Moretto ; St. Euphemia and Justina, and St. Jolm the Baptist. In the cloister are the re- mains of some of the best frescoes by Gambara, representing a series of Scrip- ture subjects. The French turned the monastery into barracks, and the smaller frescoes are now all but ruined. Church of Santa Gaetano, formerly belonging to the Theatines, Paintings ; — Alessandro Maganza, the Annuncia- tion, the Flight into Egypt, and Saints Lucia and Barbara. Church of il Santo Corpo di Christo, formei’ly belonging to the Franciscans, and afterwards to the Jesuits. This chm’ch contains a very fine monument of the 16th century : its principal orna- ments are Scriptm-al histories, of admir- able workmanship. There are no in- scriptions, but it is supposed to contain the remains of Antonio Martinengo, a very able commander in the Venetian service, slain in a skirmish with the Spaniards, 1526. Church of San Fausiino in Riposo, a chapel or oratory, so called in consc- (|uence of its being the spot where Bishop Amjdiigius rested with the bodies of Saints Faustinus and Jovita, when they were translated from the M 2 244 Sect. III. Houte 25. — Brescia — present church of Sta. Afra to Santa Maria in Silva, and hence to San Faus- tino Maggiore. It is said that on this occasion blood flowed from the dry bones, in order to dispel the incredulity of the “ Duca Naino, ” who has so strangely passed from the lays of ro- mance to the legends of Hagiology. This scene was painted at the expense of the city by Moretto ; but the paint- ing having been damaged, it was copied by Bagnadore. It is not opened to the public, except upon principal holidays : at other times the zwanziger will open it. Sta. Julia. This chapel is one of the latest works of tlie Lombard dynasty. It formed part of a large convent founded and built by Desiderius, the last Lombard king. The foundation was, at first, in honour of the Savioiu* ; but Ansa, the wife of Desiderius, having imported from Corsica the body of the Africun virgin, Sta. Julia, and enriched the convent with so precious a gift, the name of the saint finally reigned alone. Anselperga, a danghter of Desiderms, ■was the first abbess of the convent. The convent has been turned into a barrack ; but this chapel, which stands at one angle of the court, remains in a very perfect state, and, with its cupola and arcades, is a pleasing specimen of the Lombard style. Besides the before-mentioned chui’ches, all of v/hich contain many more paint- ings than we have noticed, there are several others : — San Carlone, La Mi- sericordia, SS. Cosimo e Lamiano.^ Sant' Agnesi., Gli Angeli, Sta. Croce, Sta. Orsola, La Madonna al Mereato di Lino, Sant' Amhrogio, San Zenone, Congrega Apostolica, Sta Maria della Consolazione, San Tomaso, Sta. Cldara — all containing objects worthy of notice. Palazzo della Loggia. Several of the first architects of the 15th and 16th centuries have successively worked upon this beautiful building, winch was in- tended forthe palace of the municipality, or town-hall. The deci’ee directing the erection of the bnilding was passed in 1467 ; but it does not appear that mucli ]mogi'ess was made till about 1490. Bramante is supposed to have designed the front ; but this point is contested. Palazzo della Loggia. and it has been attributed to a Tomaso Formentone, of M'hom little is known. It was continued by Sansovino, and completed by Palladio ; yet the rich, varied, cinquecento style predominates, and it is one of the finest specimens of its kind. The general onthne is that of the old Lombaixl town-hall : 3 rich arches form the ground-floor; an arcaded court is seen receding beneath them. Above is the council-chamber, with the jRingliiera projecting over the piazza : an open staircase is on the side of the building. The order is a fanciful com- posite ; the pilasters and friezes are covered with rich-sculptiued scalework, foliage, and capricci, in the style of the baths of Titus. The keystones of the groinings are sculptured with half-length figiues, and with shields of arms. The entrance to the lower chambers is a small triumphal arch, composed, like the whole building, of the richest marbles. The exterior is covered with sculp- ture. The fine series of medallions, representing Bnman emperors in bor- ders of coloured marble, are by Gas- paro di Milano and by Antonio della Porta. The fanciful candelabra tro- phies by Fostinello, Casella, Colla, Martino della Pesa, and Giovanni da Lugano : Justice, and the Haints Faus- tinus and Griovita, by Bonometti ; Faith, by Frederico da Bagno — all artists of high merit, though their re- putation is lost amidst the greater names of Italy. The magnificence of the interior originally fully corre- sponded with the exterior ; but, on the IStli of January, 1575, the whole was in flames. Tlie proclamation issued by the governor attributed the fire to de- sign. The reward offered to those who sliould give information which might lead to tlie conviction of the offenders was 2000 crowns, and the pardon of any two handiti whom the party giving such information might name. But the Brescians were offended about this proclamation, for it was currently be- lieved tliat tlie real instigators of the fire were in the Palace of St. Mark, and that the illustrious Signoria had ])aid the incendiary. The motive for the act was (according to report) the Austrian Dom. i?. 25. — Brescia — Torre deV Ordlogio — Broletto. 245 wish to destroy certain charters of li- berties granted to the Brescians by the emperors, and confirmed by decrees of the republic under the ]3oges Fran- cesco Foscari and Leonardo Loredano. Those who raised or believed srich a report do not seem to liave felt that the government had much more effec- tual means of restraining the Brescians, if they thought fit, than by burning the old parchments.. Some very fine paintings by Titian were destroyed by this fire. In the great bnt rather neg- lected chambers used for business there are still some paintings not without interest ; — Foppa : St. Faustinus and St. Jovita, from the walls of a demo- hshed church ; unskilfully restored. St. V eronica and our Lord ; a fine pic- ture. — Giulio Campi a series of eight drawmgs in distemper, the subjects of aU relating to the administration of justice ; Susanna and the Elders ; Cha- rondas slaying himself ; Zeleucus and his Son ; the Punishment of Sisainnes by Cambyses ; the Judgment of Solo- mon ; Philip of Macedon condemning Inmself in costs and damages upon re- versing his own unjust decree ; Titus Manlius sentenced by his Father ; Tra- jan and the Widow. — Momhelli : a Pietk. — Mar one : four subjects from the Life of St. Peter ; the Transfigura- tion. A large picture represents the passing of judgment, 13th Sept. 1710, by the Inquisitor-G-eneral, assisted by the Bishop of Brescia and the Yenetian authorities, upon Giuseppe Beccarelli, a priest, wlio, following up the doctrines i of Antinomianism, maintained that tlie body miglit commit any sin provided |i he soul was pure. He was condemned i o the galleys, a sentence afterwards •ommuted into imprisonment. The j )icture has no ])eculiar merit, but it is j 'cmarkable as an historical (locument, I be decree against Bcccai'elli having I'ccn the last proceeding of the In- I 'Uisition in this ]>art of Italy. I Torre deC Orolo<)io. This tower lisesout of a i)ictures(iue porlico and In-h. It is a fine sfructurc, and lias an j'lonnous dial, with its figures going MM to X.XIV. It marks the course of‘ jj le sun and the moon j and two men I of metal, of the size of nature, as at I old St. Dunstan’s, strike the hours. It was put up in 1522, and was much admired in its time ; and the citizens were most liberal in decking it with gold and azure. Torre di Fallade : this tower is also called Torre dei Palladini, and Torre della Pallada. The classic school of antiqixaries suppose it stands upon the site of a Temple of Pallas ; and a statue of the Athenian goddess affixed to th^ basement probably resulted from this conjecture : the romanticists main- tain it derives its appellation from the companions of Charlemagne ; v/hilst a third set of matter-of-fact etymologists say that it was so called from the pali (stakes or palings) surrounding it when it was part of the fortifications of the city. Be that as it may, it is a fine and perfect specimen of castellated architectm’e, with a great projecting base and lofty battlements : it now serves as the town belfry. At the base is a fountain (1596), from the designs of Pietro Maria Bagnadore. The Broletto, the ancient palace of the republic, is a huge pile of brick. A tower rises out of the building, sur- rounded by the deeply-cleft Italian battlements. Where the terra-cotta ornaments are perfect they are very beautiful, particularly in a great cir- cular window^ The style is character- istic of the times in which it arose, probably between 1187 and 1213. Be- fore tlie invasion of the French the interior contained excellent paintings, and many objects of historical interest ; amongst others, the portrait of Brigida or Braida Avogadro, who, armed ^vith spear and lance, led on a squadron of Amazons, who fought witli consider- able efficacy in defending the city wlien besieged by Niccolo Piccinhio in 1 138, deeds I'ccognizcd in tlnvc decrees of the republic. The French sold the best articles, destroyed others, cleared out the whole; and the llroletto was turned into a barrack. It is now em- ployed for public offices : one tine chamber retains its j)aintings on the ceiling; the subjects are from the Apo- calypse, l allanzio Gambara ; Ve- 246 Route 25. — Brescia — Library — Galleries of Paintings. Sect. III. nice triumphant, and St, Nicolas of Bari, by Gandini. The Bihlioteca Quiriniana was fomided about 1750 by Cardinal Qui- rini, a diligent cultivator and munifi- cent encourager of literatm-e. To him we owe the collection of the works of Cardmal Pole, so essential as docu- ments in the history of England. Here he placed his most ample collections, adding a noble endowment, which is partly employed in increasing the col- lections. It now' contains upw'avds of 90,000 volumes, including many early printed books and cm-ious manuscripts, besides objects of antiquity. A few may be noticed : — A copy of the Gos- pels, written m gold and silver upon piu'ple vellum, of the 8th century. Various charters of the 8th, 9th, and 10th centuries, formerly in the archives of the monastery of Santa Giulia. A Koran, upon cotton paper, of early date and great beauty. The “ Croce Magna,” of Byzantine w'orkmanship, set with ancient gems. Three valuable ivory diptychs. The first in honour of Manlius Boetius, w'ho became consul in 487, and who was the uncle — or, as some say, the grandfather — of the cele- brated Boetius. On one side he is re- presented in his consular robes ; on the other presiding at the games of the Circus. Another diptych of Lampa- dius, consul a.d. 530 : he also is repre- sented as presiding at the games. A thu'd diptych, viz. Dittico Quiriniano, said to have belonged to Pope Paul II. (1464-1471), and, afterw'ards passing into the possession of the Cardinal, he gave it to the library. There is much doubt, how'ever, as to the origin of this piece of antiquity. The subjects are mythological — Paris and Helen on one side, and a group of Paris and Helen crowned by Love on the other. Many good judges have suspected that it is modem : the workmanship is beautiful at all events. There are a few good pictures in this collection, amongst which are : — Moretto : the Virgin and Child, and St. John. Titian : the Virgin and Child. Zuccarelli : San Gu’olamo taking care of Orphans. This artist rarely painted any subjects excepting small landscapes, and hence this specimen is rather remarkable. A very extensive collection of engravnigs, both wood and copper, from the first invention of the art, formed by Count Martinengo, and bought by the go- vernment for the library. Brescia contains some good private collections of pictures, the relics of its former splendour. Galleria Averoldi. The Palazzo Averoldi was built hi 1544, and the family have been long distinguished as cidtivators and protectors of art. Amongst tlie pictures are fine poi’traits by J/orowe, Paris Pordone, Callisto da Lod% Girolamo Savoldo, Romanino, RicMno, &c. ; landscapes by Paul Prull and Tem'pesta ; and by Titian is an Ecce Homo ; a Virgin wdth twn Saints, by Carpazio ; a Virgin and Child, by Giovanni Pellini ; several specimens by Romanino, amongst which a St. Alexander is almost equal to Titian ; a Holy Family, by Boccaccio Boccaccino ; and several Morettis, &c. There is also here a fine collection of medals, often quoted by Goltzius and the earlier numismatic writers. Galleria Lecclii. A large and valu- able collection of pictures : — Titian [?], Portraits of Paolo Veronese and of Fracastoro ; of a Husband and Wife, by Morofie ; of Cosmo de’ Medici, by Bronzino ; of the brothers della Torri, by Lorenzo Lotto ; of a young W oman, by Paris Bor done ; and others by the hand of Andrea del Sarto, Tintoretto, and Vandyke. In this collection arc landscapes by Poussin, Bernardino Luini, Salvator Rosa, and Wouver- mans ; besides which are fourteen his- torical subjects by Titian; tw'elve by Paul Veronese ; one by Tintoretto, Cynthia in her Car ; St. Agnes, by i Lomenichino ; a Presentation in the Temple, by Francia ; Orpheus am* Eimydice, by Giorgione; San Rocco by Pordenone ; and several pictures by Moretto, Romanino, and Gamhara. Gateria Tosi. Here is the cele brated Raphael — the Saviour, formerly in the possession of the Mosca family Passavant speaks highly of it ; paintec about 1505. The Holy Family, FnU Austkia:?^ Dom. Route 25 . — Brescia — Paintings— Palaces. 247 Bartolomeo^ once belonging to tlie Salviati of Florence ; a Battle-piece, by Borgognone ; a Holy Family, by An- drea del Sarto ; Yenus adorned by the Graces, Alhano : Sir Isaac Newton, Balagi ; Portraits by Morone d' Al- bino, Titian, Tintoretto, and specimens of the works of Luca von Legden, Mantegna, Teniers, Landi, &c. Ca- nova, Thonoaldsen, and Monti have contributed in sculpture to adorn this gallery, which contains also a large assemblage of objects of virtu, and of natural history ; coins, rare books, and a beautiful collection of prints. Count Tosi died a few years ago, and left his valuable collection to Brescia, and it is now open to the public. The coins are in the Biblioteca Quiriniana ; the pic- tures, statues, &c., still (1845) remain in the Palazzo Tosi ; and it is not yet known what will become of liis gallery. Galleria Fenaroli. Fine portraits by Morone, Velasquez, Vandyke, &c. ; landscapes by Boussin, Tempesta, Scd. Rosa; views of Venice, by Ganaletti ; Hercules strangling the Nemean Lion, by Rubens ; the Adoration of the Magi, by Paul Veronese ; the Magdalene, by Guido ; samples of Moretto, Callisto da Lodi, Guercino, &c. Also several speci- mens of sculpture by modern artists. Near the Galleria Fenaroli is the Casa Rondi, where there is a group carved in ivory by Van Obstat, repre- senting the Sacrifice of Abraham : the draperies are in wood. The workman- ship is poor, but it is the largest group ever executed in ivoiy. Van Obstat was one of the founders of the Aca- demy of Painting at Paris. Palazzo Martineyigo Colleoni. A portrait called Caterina Cornaro Queen of Cy])ru8, attributed to Titian : below is a kind of basement, on which she is represented in profile, in chiar’-oscuro, and on which are the initials T. V, which still, however, leave some doubt IS to its author. Like all the jiortraits • pproprialed to Caterina Cornaro, it is loulilful whether it he truly given to ler, inasinueli as she was dead in 1510, aefore 'I'itian could have })ainted her. '1 he gay external decoi’atious of the louses of Brescia form, or rather formed, a peculiar feature of the city • but they are rapidly disappearing, from time and from neglect. In the Strada del Gambaro are some curious frescoes, on wdiich Eomanino was first em- ployed; but Gambara having married his daughter, Eomanino transferred the order to his son-in-law as part of the yomig lady’s fortune. On the exterior are various classical subjects : — the Eape of the Sabines ; passages from the Iliad ; Eneas and Dido ; Europa and Jupiter ; the Contmence of Scipio ; Mutius Scsevola ; Lucretia ; Asdrubal at the feet of Scipio ; and some others, with a great variety of accessary orna- ments in the fresco, showing wmnderful fancy, and, though less grace, yet per- haps even more originality than that exhibited by Perino del Yaga, in deco- rations not dissimilar in character. Palazzo Martinengo Cesaresco is re- markable for its very beautiful arclii- tecture. Palazzo Martinengo della Fabrica, an extensive and sumptuous edifice ; one chamber finely painted by Moretto. In the Corso de' Mercanti is a house covered with frescoes by Gambara ; the subjects are allegorical, and seem to represent the tlmee principal stages of human life, youth, manhood, and age. Contrada della Loggia, also allegorical ; these have been nearly all wdiitewashed. The principal subject was Envy ex- citing the bad Passions of Mankind ; and it is supposed that Gambara in- tended thereby to signify his feelings upon the preference which Titian ob- tained in being employed upon the paintings in the Palazzo della Loggia. “ A whole street, II Corso del Tea- tro, has the fronts of the second-lloor story painted with a series of scrip- tural, mythological, and historical sub- jects, attributed to the Cavaliere Sa- batti. They have sufiered very much owing to their complete ox})osure to the weather, hut tlie \varm coloiu’s have remained, and in many portions are thoroughly well preserved. Some of (he ad ions of the figures in these snl)jects, judging from their remains, aiH! very gi-and, and ecjnally so is the style in which they \Yorc ihawn ; many 248 Sect. III. Route 26. — Brescia to Verona and Venice. of the deep but brilliant late tones are worthy a Venetian.”— /S'. A. Hart, R.A. Casa Sahate contains an apartment, upon the walls of which G-amhara has painted the mythological deluge, dated 1568, Grambara’s own house is No. 318 in the Contrada delle tre Spade, behind the bishop’s palace. The paint- ings on the outside were vilely defaced, soon after they were finished, by his professional enemies : he quickly re- painted the front, but the work is now nearly destroyed by a greater enemy — Time. One figure. Atlas supporting the Grlobe, with the well-chosen motto, “ indefessus labore,” may just be dis- cerned : the paintings m the vestibule within ai’e better preserved. Casa Scaglia ; a fine apartment, with the Marriage of Pirithous and Hippo- damia. Casa ValoUi has a ceiling with allegorical figimes. The Campo Santo was begun in 1810, the work of the locally celebrated arcliitect Vantini. It is much adinhed. The government exercises a surveillance over epitaphs : in order to insure their being perfectly loyal and orthodox, none are allowed to be put up until apjDi’oved by the censors of the press. EOUTE 26. BRESCIA TO VERONA AND VENICE. 154 posts, 134 m. l^- Ponte San Marco, on the Cliiese, The road to Verona retains the same character as on the approach to Bres- cia, with abundance of dark-watered canals, until ascending you reach Lonato, a small town on the W. de- chvity of a range of hills that border the Lake of Garda, and extend to Castiglione and Volta on the Mincio. Lonato is celebrated in the military history of Napoleon as the scene of one of his most hviWmnt f aits W armes, on the 3rd Aug. 1796, when he de- feated the rt. wing of the Austrian army under Wurmser, and which was followed two days afterwards by the stiU more decisive battle of Castiglione, which sealed the fate of the Austrians in Italy. There is here a church with a noble dome. The mountains coast- ing the Lago di Garda now come in sight. The shores of the lake at the southern end are flat, but the upper end is enclosed by fine mountains, among which Monte Baldo, on the north-eastern shore, is the most con- spicuous. This lake, the Benacus of the ancients, is formed by the river Mincio, which descends from the Tyro • lese Alps, and has been always cele- brated for the violent storms by which it is frequently agitated, giving its waters the appearance of the sea : — Fluctubus et fremita assurgens Benace marino. 1 Desenzano. {Inns : Albergo Im- periale is not remarkable for comfort ; it is expensive, and not over clean ; — Vittoria, on the Lake, with a garden ; — Posta Vecchia.) Vino Santo is a good wine here ; 3 francs a bottle ; the best and oldest 5 fi*. The road, as far as Peschiera, runs near the lake, and passes the S. extremity of the Promontory of Sermione, at the opposite or northern point of Mdiich are the Homan ruins which have long passed as the “ villa of Catidlus.” They do not retain- any architectural ornaments, but are massy and well constructed, and appear to have formed a parallelogram of nearly 600 feet in length on the longest side ; and its extent, and the traces of former magnificence, prove that this building could not have been the poet’s abode. The Scaligerian castle of Sermione is a picturesque object, with its towers and forked battlements. The church of San Pietro in the village of Sermione is an ancient structure, with frescoes beai’ing date 1321. Amongst these are tablets representing the Last J udgment. From Desenzano pleasant excursions may be made to Sato, Isola dd Frati, Valle delle Cartiere (i. e. the paper- mills), Limone, and Pugliano, and Riva di Trento, and to return by Torre, San Vigelio, Garda, and Lacise, one of the most interestingly varied countries of Upper Italy, and to the battle-field of Castiglione, 7 Eng. m. off'. The steamer “ Renaco,^^ of 42-horse power, runs between Riva and Desen- zano, along the shore on the Brescia side, and between Riva and Lacise, Austeian Dom. Route 26 . — Verona. 249 along the eastern shore, all the year I’ound. Its times and places of starting were as follow : — from Hiva to Desen- zano every Monday and Friday ; from Fesenzano to Fiva every Tuesday and Saturday ; from Fiva to Lacise and Peschiera every Wednesday, returning the next day. Feturning to the main road, you pass through Hivoltella, near which is, on the rt., the Villa Arrighi, ascribed to Palladio. The lake here gains upon the shore ; in other points the shore is advancing, in consequence of the de- bris brought down by the mountain streams. Peschiera, a strongly fortified town, on an island in the Mincio. Here the discharge of the Lago di Garda forms the Yfrgilian Mincio. (See Mantua.) Peschiera has been very strongly for- tified of late years, first by Napoleon, and since by Austria : it has been the scene of many sanguinary conflicts. It underwent a siege of sevenweeksin 1848, when it stu’rendered to the Piedmont- ese army under Carlo Alberto, 1^ Castel nuovo, above which are the fine ruins of an antique fortress. This town was burned by the Austrians in 1848, and under circumstances of great atrocity, for having allowed itself to be occupied by one of the Lombard free . corps, under Manara : only two houses and the chm*ch remained intact after this horrible act of military ven- geance. A good road leads from Castel nuovo to Pastrengo, the site of one of the brilliant fails d'armes of the Pied- montese army in 1848, and to the valley of the Adige, which it crosses at Ponton, to join the high road froin Yerona to the Tyrol. Ca (Id Capri. Pass by the village ind church of San Massimo, which •ontains some good frescoes copied rom Fa])hacl. Verona {Inns : Albcrgo Imperiale lelle Due Torri ; table-d’hote at half- )ast two, at 3 francs ; private dinners ! '> francs a head ; — La Torre di Londra ; —and the gran Parigi ; all very good), vT^rona being now situated on tlie rail- oad from Milan to Ycnicc, several trains start daily for the latter city, and Yicenza and Padua, whilst the tra- veller will find ample means of pro- secuting his journey in the opposite direction by dihgences and post -car- riages to Bi-escia and Milan, A malle- poste for 3 passengers leaves Yerona for Milan at midday and at 8 r.M., performing the journey in 16 hours, fare 25 fr. ; and Barbesi, the owner of the Due Toi’ri, lets carriages for Milan, served by post-horses, at the following rates : — a carriage for 4 per- sons, '180 fr., in 15 hoirrs ; a diligence for 8 or 10 persons, in 18 hours, 280 fr, 3 or 4 railway trains daily to Mantua, and from thence by diligence and mal- leposte to Florence, Parma, and Mo- dena ; and a diligence every day to In- spruck by Trent and Botzen at 1 P.M. Yerona now contains 60,000 Inhab, From its vicinity to the Alps the climate is somewliat sharp, but healthy, and the people are well looking. Fruit and flowers are excellent, as may be seen in the Mercato delle Erbe every morn- ing. The city is divided into two un- equal portions by the Adige. The treaty of Luneville, 1801, gave the smaller portion on the 1. bank to Austria, the remainder to the Cisal- pine republic. This division of one city occasioned great inconvenience to the inhabitants, who, in crossing the middle arch of the bridge, entered into a foreign territory ; but their trouble soon ended by the French getting the whole. The site of Yerona has been considered as the finest in the N. of Italy. Such supeidatives are always matters of fancy ; but the blue hills and mountains beyond, the rushing stream, and the finely varied landscape, dotted with villas, surrounded by groves, in which the tall dark cypress contrasts with the other trees, deserve the vivid pictiu’c wliich they have re» ceived from Berui ; — Hapitlo fiume, die il’alpestr.i vena, Impetnos;nnente a iioi (Uscem\i, E qiiella terra sovra oj'n’ altrii amena Per ineixo, a <;uisa ili .\Icandro, leiidi; (^uella ehe di valor, d' in>;eyno e pieiia, I’er cui tu eon pin lunie, Italia, splendi, Di eiii la faina in te ehiara risuona, Eccelsa, graziosa, alma Verona. M 3 250 Route 26. — Verona — Amphitheatre, Sect. III. “ Terra antica, gentil, madre, e nutrice Di spirti, di virtu, di discipline ; Site che lieto fanno anzi felice L’ amenis-sime valli, e le colli ne, Unde ben a ragion giudica e dice Per questo, e per I’anticlie tue mine, Per la tua onda altiera che la parte, Quei che 1’ aguaglia alia citta di Marte." Tlie river Adige, called tEtsch in the Tyi’ol, flows through the city with great rapidity. It is crossed by four bridges, and turns numerous floating watermills anchored across the stream. The floods of the Adige are tremendous. One, which took place hi the 13th century, is commemorated in the ancient frescoes of the cathedral, and they have con- tinued to modern times. By such a flood in 1757 the Ponte delle Navie was entirely carried away. On the 31st of August, 1845, after tliree days’ hard ; rain, the greater part of the town could only be traversed in boats. The ex- pense of maintaining the channel and banks of the Adige is, consequently, very gi’eat. In Austrian Lombardy there are 40 navigable rivers, wliich cost the state annually 1,233,750 Aus- trian lire, of which the Adige is charged with 480,460 Aust. lire, and the Bo only with 203,615 Aust. hre. The distant aspect of “ Verona la degnaV with its serrated Avails and lofty towers, is very peculiar, and it contains various remarkable objects. Of these, that which first attracts the attention of the stranger is the Amphitheatre. It is supposed to have been built between 81 and 117 of our era, that is to say, to be contemporary with the Coliseum. Tlie interior is nearly perfect, which it owes to the continuous care bestowed upon it. Most of the other. Roman amphi- theatres have suflered exceedingly froin having been converted into fortresses, as at Arles and Nismes, or considered as quarries for materials, as tlie Coli- seum. The outer circuit was greatly damaged by an eailhquake in 1184. The ruined portions appear to have been carried away and employed on other edifices, but the mass itself was diligently preserved. By a statute passed in 1228 it was enacted that eveiy podest^, upon taking office, shoidd spend 500 lire upon the repairs of the Arena. In 1475 penalties were de- creed against any one who should re- move any of the stone; m 1545 a special officer was appointed to take care of it ; in 1568 a voluntary sub- scription was raised for its support ; and in 1579 a tax Avas imposed for its reparation. Other decrees in its favour have been since made ; yet, notAvith” standing all this care, 4 arches only are preserved of the outer eh’cuit, which consisted originally of 72. The in- ternal aspect of the arena is complete ; and though a great umnber of the seats have been restored, some as late as 1805, yet, the o])eration having been performed gradually, the restorations are not apparent. The greater di- ameter of the Amjfliitheatre is 513 ft. ; of the arena 248^ ft. The lesser di- ameter of the Amphitheatre is 410 ft. ; and of the arena 147 ft. The circum- ference is 1470 ft., and the height of what remains is, from the original pave- ment, 100 ft. It is built of Verona marble, the substructions and vaultings beneath the seats being of good Roman brickwork. “ The seats continue nearly in one slope from top to bottom, nor is there any evidence that they were di- vided by proicinctiones {i. e. broader ste])s, leaving a passage behind tlie seated spectators) into maeniana, or stories, as Avas usual. However, im- mediately above the podium (which is the terrace immediately above the arena, just wide enough to contain tAvo or tliree ranges of moveable seats) is a wide space which, though never called j by that name, is precisely of the nature , of a precinction, and the sixth step from j this is very narroAV ; and as it could not ‘ be used as a seat, the back of the step im mediately below woidd become a means of communication : it is uncer- | tain, however, whether this is anythuig I more than a bungling restoration.* The I steps noAv existing are 43, each, on an average, as nearly as I could determine it, 16 inches high and 28 wide, and * There can be little doubt that this narrow step is an imperfect restoration, as it is car- ried only half way round the amphitheatre.— P. C. H. Route 26 . — Verona — Ancient Gates. 231 Austeian Dom. sloping two inches from back to front. I will not undertake to say that this latter circumstance arises from any- thing but the settlement of the work ; yet I tliink, from the ancient steps wliich remain, that these were origin- ally laid with a small slope, to throw off the rain-water. The part which still exists of the outer circuit of the ampliitheatre is unconnected with the steps, and, at the upper part, is en- tirely detached from the rest of the fabric ; so that, if we have, therefore, no dh’ect proof of the existence of a wooden gallery, there is at least no evidence against it. The building is much larger than that at Nismes.” — Woods. So much remains perfect of the corridors and entrances by the vomitories, that a very clear idea of the arrangements of an ancient amphi- theatre may be obtained. Some por- tions of the underground arrangements of the ai’ena have been cleared oiit witliin a few years, but these do not afford any sufficient data for solving the much-debated questions respecting the object of substructions of the arena. The numbers sculptured on the arches of the outer circuit to guide the spec- tators where to present their tickets remain quite distinct — LXIIII. LXV. LXVI. LXVII. Many of the arcades are now occupied by smiths, farriers, and small tradesmen. The interior is frequently used for exhibitions of horsemansliip, dancing on the tight rope, fireworks, and dancing dogs. In the 13th century it was used for judicial combats ; and it is recorded of some of the Visconti, that tliey received 25 Venetian hre for every duel fought there. The Homan Theatre is on tlie 1. bank of the Adige ; its destruction began at a very early period. A very curious decree of King Eerengarius, dated 895, describes it as dila])idatcd, and permits all ])crsons to demolish the ruinous portions ; yet mucli of it was standing as late as the IGth cen- I t ury, and Caroto, the celebrated painter, j delighted himself with drawing ami I studying its remains. There is now I little above ground, excepting frag- ments principally incorporated in other buildings ; but nmnerous sculptures have been dug up.. Besides the amphitheatre, Verona still contains some remarkable and pro- minent monuments of the imperial age. The arch commonly called the Porta de' Borsari, hke the Roman gates of Treves, of Autun, and that wdiich once stood at Chester, is double. From the traces of the inscriptions in the friezes, it appears to have been built under the Emperor Galhenus, together with the walls of the eity in which it is inserted, about the year 265. The style of the arcliitecture is verj^ remarkable ; piUars with spiral flutings, small arches or wmidows between columns and sur- rounded by pediments, and numerous other anomahes, rendering it a con- necting hnk between the style of the Antonines and that of the darkest por- tion of these middle ages. The inscrip- tions were composed of raised letters of metal, fastened by nails to the stones, as in the frieze of the 3Iaison Carree at Xismes, and the words have been de- ciphered, as well from the position of the holes by which the letters were fixed, as by the marks wliich they have left. But some antiquaries are of opinion that Galhenus merely caused the gateway to be fronted and orna- mented, but that the block of the buildhig belongs to an earlier age. Be this as it may, the Porta de’ Borsari, a monument more than 1500 years old, stands in full solidity athwart tlie crowded street of a living city. Another fine Roman gateway is called the Porta de' Leoni : this, howevei’, is much less perfect than tlie Porta de’ Borsari. It is in better taste, though probably much about tlie same age. The ornaments are much mutilated ; and, as far as they can be made out, it should seem that the lower range of columns is Composite, and the upper Corinthian. A third Roman arch was the Arco de' Gavii, bearing the name of its ar- chitect, Vitruvius ; not, however, the autlior, but Lucius Vitruvius Cerdo, who is supposed to haye been hisfreedr man, 252 Boute 26 . — Verona — Fortifications. Sect. III. It was piilled down in 1805, and the French have been accused of having wantonly destroyed it. According, however, to a more probable account, said to be supported by the still existing correspondence of General Popigny, the Veronese were desirous of having the arch removed, and tlie French general at last gave his consent. Eugene Beau- harnois, on hearing of its destruction, gave orders that it should be rebuilt ; but this was never done. Verona exhibits a remarkable series of fortifications, of various ages. The earliest are those built by the Emperor Gallienus, of which the Porta de' Bor- sari and the Arco de' Gavii were the gates : large masses of tliis wall remain, but generally incorporated in other buildings. The most apparent portion is in a lane called the Vlottolo di San Matteo. To these unperial Avails succeed, in point of date, the walls attributed to Theodorie the Ostrogoth, and probably not much later than his age. They are of great extent, built of alternate triplets of courses of stone and brick ; that is to say, three of each, the bricks placed in what is called her- ring-bone fashion, a fashion apparent in the churches of this city, and doubt- less imitated from this structm’e. An- other line is popidarly attributed to Charlemagne : tliat is beyond the Adige. The fourth was begun by tlie Scaligeri, the lords of Verona, who crowned them with the forked battlements whicli ren- der them so picturesque, especially the part beyond tlie Adige ; and the towers which rise upon the bold and pictur- esque hills add much to the beauty of tlie town. These last walls are raised iq>on those of Theodorie. Lastly are the out- works of the Scaligerian walls, begun by the Venetians about 1520, according to the plans of several engineers. Ulti- mately they were completed by, or at least after the ])lans of, the celebrated Michele di San Micheli, commonly called Sanmicheli (born at Verona 1484), wdio w'as the author of the sci- ence of modem fortification used by Vauban and his school. Square and circular bastions had previously been introduced : of the latter kind a very remarkable one is yet subsisting, called the Bastione delle Boccare, containing within it a vast bomb-proof casemate, of which the vault is suppoided by a central pillar. But a cmcular bastion can never be perfectly flanked ; and San- micheli, considering tliis defect, intro- duced the triangular and pentangular bastion ; and the Bastione della Mad- dalena of tliis city Avas the first specimen of the defence Avhich has become the basis of the present system of fortifica- tion. Sanmicheh also not only Hanked the curtain, but all the fosse to the next bastion, the coA’-ered way, and the glacis. The mystery of this art consisted in de- fending every part of the enclosure by the flank of a bastion. The fortification gates designed by Sanmicheh yet remain. Porta di San Sisto, or del Palio, is near the centre of the hue of the fortifications on the W. and S. sides of the city. “ In tins gate the mode in Avhich Sanmicheli combined pure and beautiful architec- ture Avith the requisites called for in fortification may be seen displayed to great advantage. It is an instance of liis AAnnderful ingenuity and taste.” — Gwilt. This gate wns so called from the game of the Palio Avhiclv used to be played hard by. Dante has comme- morated it by liis comparison of tlie unhappy Brunetto Latini to the victor in the race ; — “ Poi si rivolse, e parve di coloro Clie corrono a Verona ’1 drappo verde Per la campaf'na ; e parve di costoro Quegli che vince, e non colui die perde," Inferno, c. xv. 121, 124. “ Then back he turn'd, and one of those he seem'd Who at 'Verona in the race essay To gain the mantle green ; anil might be deem'd Not he who loses, but w ho wins the day." Wmoirr’s Dante. Vasari terms tliis gate a miracle of architecture. Porta Nuova. — Through wliich passes the road to Mantua, “Tliis gate lias great architectural merit. It is a square edifice, supported within by a number of piers of stone, with enclosures or apartments for the guards, artillery, &c. The proportions as a whole are Aust. Dom. R. 26 . — Piazza dei Signori — Palazzo del Consiglio. 253 pleasing. It is of the Doric order, de- void of aU extraneons ornament, solid, strong, and suitable to the purposes of the building. Except in the middle gate and the architectm’al parts, the work is rusticated. The exterior fa 9 ade stands on a wall, with two large pyra- midal pilasters of marble rising from the bottom of tlie fosse ; at the top are two round enclosiu’es approaching almost to towers. In the interior, to the two gates near the angles are two corresponding long passages, vardted, leading to a number of subterranean galleries and rooTus. For beauty, how- ever, this gate is not equal to that of del Paho.” — Gwilt. Piazza dei Signori. Here are the palaces formerly inhabited by the Sca- j ligeri, the lords of Verona, whicli upon their expulsion became the seats of the municipal government. The Palazzo del Consiglio., in the mixed style of the 15th centy., was built by Fra Giocondo. His portrait as architect of the building exists in bas-relief on the buiidmg close to the Arco delle foggie. Fra Giocondo (d. 1499) was an excellent scholar as well as an architect. He was the first who '^ave a correct edition of Vitruvius. He discovered at Paris the letters of Pliny. He was also an exceedingly able engraver. Coupled windows and arches supported upon columns, pilas- ers with elegant arabesques, in a style ■similar to the Colleoni chapel of Ber- ! ^amo, adorn other portions, all full of he merit of the cinque-cento style, fhe Annunciation in bronze, in front i >f this ])alaee, is a fine work of Gio- j anrii Campagna. This building is I idorned witli statues of those whom I /erona claims as her own ; and all I elebrated men are claimed as Veronese, ho were born within the municij)al urisdiction. Tliey are as follow : — ‘ling the younger., tliough stoutly con- ‘sted by Coirio, and a])parently upon ootl grounds ; for, tliougli lie sp(>aks 1 liis cijistle of “ our Verona,” tliis > robably refers only to liis riglits of » t i /.(uisli i p in t lie city. — Cornelius Nepos. Marer, (he author of tlie ])oem ui)on serpents, which, down to the middle ages, enjoyed great popidarity. — L. Vetruvius Cerdo. — But, above all, Ca- ImUus, who reflected as much credit upon Verona as Virgil did upon Man- tua, this value being assigned to him by Ovid and Martial: — “ Mantua Virgilio gaudet, Verona Catullo.” Ovid. Amor. iii. el. 15, 1, 'i. “Tantum magnasuo debet Verona Catullo, Quantum parva suo Mantua Virgilio.” Mart. xiv. ep. 195. And Petrarch echoes the same praise. Of the modern period, and on the Volto delle foggie, is Fracastorius, equally eminent as a poet and a physi- cian ; but who, unfortunately, chose disease as the subject of his didactic poem ; he is one of the three great masters of modern Latin poetry, Vida and Sannazarius being the other two ; and Hallam thinks that, though Vida excelled in the structure of his verse, yet that Fracastorius was the gi’eatest poet of three. And, lastly, close to the Volto Barharo, stands Scipione Maffei, wliom we shall meet again at his tomb. The Palazzo, in one of its first floors, contains the pinacoteca, or public gal- lery. The best pictures have been taken to Venice, and Verona has only the leavings. Of Paolo Veronese his city now' possesses little more than the name. Here are twm of his produc- tions — the Taking dowui from the Cross (brought back from Paris), and the Eaising of Lazarus. Others are, P. Brusasorzi, Pope Gregory wutli St. Jerome and St. Bonaventura. — Came- rio, St. Helen. — Stefano da Zevio, the Virgin and Cliild. surrounded by otlicr compartments ; a curious picture, with tlie date 1497. — Giovanni Bad He, an- otlier of the same class, but of earlier date, 1100. — Magayiza, the \'cronesc ])lacing themselves under the dominion of the Venef ian Kejmblic, 1405 ; a (ino and interesting conqiosition. — /77/ore Pi.sanello, a Madonna with Angels and Saints; graceful and jileasing. “ In (he third room. No. 82 is an exipiisite ])ie( lire by Girolamo de' Lihri, St. .)os('ph and Jkihit, with the Angel, in veneration of Madonna and Child. 254 Route 26. — Verona — Monuments of the Scaligers. Sect. III. — No. 88, Two Saints and the Ma- 1 donna, by the same artist. — No. 96, Venetian School, St. Zeno, and St. Peter Martyr, with a beautiful Ma- donna and Child on a throne. There is also some good early Venetian paint- ing. In the fourth room, 135, St. Catherine of Alexandria, with a por- trait of the donor of tlie picture, a beautiful distemper, by G. Francesco Carotto, natural size. — 141, Bonifazio, the Doge receiving the Keys of the Town of V erona ; a magnificent com- position, and interesting for the cos- tume. There is also a small room with early painting from 1300-1400.” — L. G. Connmmicating with the Piazza del Signori on the S.W. side is the Piazza delle Frhe^ or vegetable-market, which was the Forum of the republican times of Verona, and contains many old and picturesque buildings connected with history. The small open tribune near the market-cross occupies the place of an older building, to which, in repub- lican days, the newly elected Capitano del Popolo, after having heard mass at the cathedral, was conducted, and in which, after he had addressed the people, he was invested with the insignia of office. In after-times the sentences of condemned criminals were pro- nounced from this tribune. Proclama- tions were made from it, and debtors were here compelled to submit to a humiliatmg punishment. If the foun- tain, in the centre of the Piazza, was first erected by King Berengarius, in 916, it w'as restored and provided with an additional supply of water by Can- signorio, the ninth ruler of the Scaliger family, in 1368. The same Cansignorio erected the tower which is seen at the further end of the Piazza, and placed in it the first clock erected at Verona. The building at the side of the Piazza, with arcades and pointed windows, is an Exchange, called the Casa dei Mer- canti, and was built for that purpose, by Albert Scaliger, in 1301. On it is a fine statue of the Virgin, by Campagna. The pillar at the end of the Piazza w^as erected in 1524 by the Venetians, to whom Verona was then subject, to support the image of the winged lion of St. Mark. The pillar consists of a single block of Veronese marble. The name of the architect, as may still be read on the base, was Michael Leo. The bronze lion Avas thrown doAvn when the repubhc of Venice came to an end in 1799. At the end of the Piazza near this pillar is the Palazzo Maffei, the residence of the patrician family of which the historian of Verona was a member. It is a highly enriched speci- men of the modern Itahan style. The fronts of several of the more consider- able houses in this Piazza are decorated with fi’escoes. On the other side of the Piazza dei Signori are the tomhs of the Scaliger i. These singidar monuments stand close to the church of Santa Maria V Anlica. They are enclosed by an iron trellis- Avork, consisting of open quatrefoils, in the centre of each of which is the scala, or ladder, the arms of the family. Tlie origin of the family of the Scahgers is not known. We find them at Verona in 1035. In 1257 two brothers, Boni- facio and Frederico della Scala, of tiic jiatrician order, were beheaded by Eccelino da Bomano. Tlieir fate first gave the name a place in history. In 1261, after the death of Eccelino, tlie unanimous voice of the people of Verona, then a republic, raised Mastino della Scala to the office of “ Capitano del Popolo.” lie had been a soldier of fortune in the army of the tyrant. He governed Verona wisely and mo- derately for 15 years. After escaping several state conspiracies, he was killed by some of the members of a disaffected family, who considered that he had aggrieved them by delaying the punish- ment of an offender against their honouv (1277). This assassination took place under the archway in the Piazza de Signori • which retains the name oi “ it volto harharo ” to this day. The tomb of Mastino^ as it noAv exists, is a plain sarcophagus, orna- mented only with a cross. The canopy which covered it has been destroyed, and the stones employed for tlie pave- ment of the church, Avlidst the tomb itself was afterwards appropriated by II Austrian Dom. Route 26 . — Verona— Cangrande — Dante. 25o tlie Nogarola family. The original in- scription is, however, yet preserved. Mastino was succeeded by his bro- , ther Alberto I., who, during 24 years, kept the tm’bulent factions in order, and sowed the seeds of coininercial prosperity. These two superior men were the founders of the greatness of their house. Alberto, who had served as Podesta of Mantua, was exceedingly esteemed and loved for his pacific virtues ; and he was installed amidst the shouts of “ Viva Alberto, assoluto oggi e per sempre and if any portion of the legal power of the old common- wealth had stiU existed, it now wholly expired. Alberto died in 1301. A sarcophagus standing on the soil, without inscription, is attributed to Alberto by immemorial tradition. Upon it is sculptured the Signore, riding in full state and pride, wielding the sword of state in his hand. The successor of Alberto w^as his second son, Bartolomeo^ a gentle and humane prince, who died in 1304. In his time, in 1302, hved Romeo de’ Montecchi, and Giulietta de’ Cappel- letti. Upon the death of Bartolomeo, Al- hoin I. was called to the supreme authority by acclamation. Henry of Luxemburg w'as then prosecuting his plans for the re-estabhshment of the imperial prerogative ; and Alboin in 1311, surrendering his authority as Capitano del Popolo, received it back from the Emperor as Vicar Imperial in Verona ; a concession by wdiich the dignity was confirmed to the family. Alboin, who had been originally intended for the church, was not well able to sustain the government, and he called in the assistance of his brother Cangrande, wlio was associated to him by the Emperor Henry VII., as joint vicar of tlie empire in Verona. Can- grande was a Ghibelline in heart and soul ; and, wliilst he acquired the pos- session of Vicenza, Padua, Eeltri, Bol- luno, and Bassano, by force or ]»olicy, the grant of tlie vicarial jiowers gave a legitimate chuructcr to the dominion vshich he obtained. The coiu’t of Cangrande was the most magnificent in Italy, and exhibit- ed a combination of military splendoim and profuse hospitality and liberahty to the stranger, and encom’agement to the literatime of the age. His palace became the refuge for all who, em- bracing his political opinions, had in anywise subjected themselves to per- secution ; and it was here that Dante found an asylum, having been first received by Alboin. Cacciaguida fore- tells to Dante his retreat, and describes the Court of Verona, and character of Cangrande, in these lines : “ Lo primo tuo rifugio, e ’1 primo ostello Sara la cortesia del gran Lombardo Che ’n su la Scala porta ii santo uccello ; Ch’avra in te si benigno riguardo Che d<^l fare e del chieder tra voi due Fia prima quel che tra gli altri e piii tardo. Con lui vedrai colui che impresso fue, Nascendo, si da questa stella forte, Che notabili fien 1’ opere sue. Non se ne sono ancor le genti accorte Per la novella eta ; che pur nove anni Son qneste mote intorno di lui torte. Ma pria che’l Guasco 1’ alto Arrigo inganni, Parran faville della sua virtute In non curar d’ argento, ne d' affanni. Le sue magniticenze conosciute Saranno ancora si, che i suoi nimici Non ne potran tener le linuue mute. A lui t'aspetta, ed a suoi benefici : Per lui fia trasmutata molta gente, Cambiando condizioti ricchi e mendici ; E porterane scritto nella mente Di lui, ma nol dirai.’’ Paradisu, xvii. 55, 92. “ The first retreat, — first refuge from despair, — Shall be the migb.ty Lombard’s courtesy, Whose arms the eagle on a ladder bear. His looks on thee so kindly shall be cast. That asking and conceding shall change place ; And that, wont first to be, ’twixt you be last. With him shall one be found, who, at his birth, Was by this ardent star so fraught with grace. His deeds of valour shall display his worth. Not yet his gre.itness by the world is seen. So tender is his age ; for scarce nine years Around him whirling have these circles been : Put ere (he Gascon’s artifice deceive Great Henry, he, all sordid hopes and fears Despising, shall a glorious name achieve. His deeds magnificent shall still proclaim His praise so loiully that his very foes Shall be compell'd to celebrate his lame. Look thou to his beneficence; for he Of fortunes in such manner shall dispose, Pich shall be poor, and poor exalted be. Stamp these predictions in thy memory. Put be they not divulged.” Wkiout’s Danle. 2o6 Route 26. — Verona — Monuments of the Scdligers. Sect. III. Gangrande, or the Great Dog, died in 1329, having jnst received the in- vestitirre of Mantua as the Yicar Im- perial, under Loiiis the Bavarian. Many conjectm’es have been made to account for his strange name. It can- not have been given him in consequence of liis great achievements, as he bore it from his infancy. The tomb of Gangrande I. forms a species of portal to the church. It is composed of three stages ; columns support the tomb, and through them the church is entered ; upon the sar- cophagus the Signore is extended in his peaceful robes, gud with his sword of state : above, on a pyramid, is the statue of the warrior, in full armour, mounted on his war-horse. The sar- cophagus rests upon figures of mastiff dogs supporting the sliield charged with the scala, the ladder, the bearmg of the family ; and the mastiff’s head equally appears as the crest of the hehn, thrown back upon Mastino’s shoulder. Gangrande was succeeded by Alberto II., his nephew, the sixth della Scala who rided Yerona. The seventh was Mastino II., a nephew of Alberto. With him began the dechne of his house ; and from this time the history of the family, instead of exhibiting statesmen and heroes, becomes a me- lancholy and revolting picture of mis- fortunes and crimes. Alastino II. was vain, weak, and unprincipled. He was surrounded by a brilliant court, and Treviso, Yicenza, Bassano, Brescia, Parma, Reggio, and Lucca, all owned him as lord ; and he won Padua from the powerful family of Garrara. He liad been an imperialist, and,' having abandoned the party which had raised Ins house to the sovereign authority, Pope Benedict XII. fixed upon him as the head of a general league or alliance of the Guelphs against the Yisconti, the leaders of the GhibeUine party. But he lost several of the most import- ant of the possessions which had been united under his authority. He died in 1351. The tomb of Mastino II. equally ex- liibits the double effigy ; the equestrian warrior on the pyramid, and the re- cumbent sovereign on the sarcophagus. The eighth ruler, Gangrande 7/., who built the Gastel Yecchio, and the great bridge adjoining it over the Adige, after a troubled reign of eight years, rvas murdered by his own bro- ther, Gan Signorio, 135*9 : and it shows in what a demoralised state Italy must then have been, wfiien wn find that such a crime did not prevent the per- pretator of it from succeeding to the government. At first he fled, but soon returned, assisted by the Lord of Padua ; dethroned and imprisoned another brother, Paolo Albino, who had assumed the command ; and he was permitted to reign till he died. He committed a second fratricide on his own deathbed, the crime being insti- gated by his desme of preserving the succession in his owai descendants, which he feared might be endangered if Paolo Albino had been suffered to survive him. Next to ensuring the inheritance of Yerona to his sons. Ins j most earnest passion in his last days i (he died in 1375), was the erection of his most sumptuous mausoleum. The tomb of Gan Signorio, wfiiich forms four stories, also surmounted by an equestrian statue, is exceedingly elaborate. The plan is hexagonal ; and six Gorinthianised Gothic columns support the lower story. The base- ment is surrounded by an iron trel- lis, of richer pattern than that of the rest of the cemetery. Upon the pilas- ters which siipport it are the six war- rior-saints, St. Quirinus, St. Yalentine, St. Martin, St. George, St. Sigismund, and St. Louis. Beneath the gable of the third story are allegorical figures of virtues. Faith, with the star upon her breast ; Prudence, Charity, and three others. The figure is recumbent upon a sumptuous sarcophagus. An inscription, cut in Gothic letters, pre- serves the name of Bonino di Campi- I lione, who was both the sculptor and the architect of this sumptuous pile. These tombs stand in the old ceme- tery of Sta. Maria Antica, wfinch had been the family bixriai-place of the Scaligers before they rose to power. I Austrian Dom, Route 26 .— -Verona — Museo Lapidario. 257 The tombs are of white marble, in a style which is a mixture of the pointed and the Romanesque. “ The desire of the Italians to introduce something resembhng the column and entabla- tures of the Roman architecture ren- ders these monuments much inferior to our own Grothic crosses.” — Woods, The rest of the history of the Sca- hgers may be briefly noticed. Can Signorio was succeeded by his son Bartolomeo II., who was also mur- dered in 1381, by his half-brother Antonio. The iniquities of the family could no longer be endured. Antonio endeavoured to fasten his own crime on the brothers Melaspina and others. The accused fled to Milan, and per- ^ suaded its Duke, Visconti, to attack Antonio. Antonio was easily defeated, and banished from Verona. His son Gughehno, and his grandson Brunoro, received the appointment of Vicar Im- perial of Verona from the Emperor, but were never able to gain admittance to the city. The vfrtues of the early Scahgers had raised them to power : the vices of their descendants termi- aated their reign. The Veronese, dis- gusted with the Scahgers, voluntarily -surrendered themselves to the Vene- tians in 1405. The Museo Lapidario contains a 'aluable collection of antiques, disposed n a cortile, at the end of which stands he Teatro Filarmonico. It was by j he Academia Filarmonica that the •oUection was first formed. This so- ■iety arose from the union of the Fi- armonici and the Incatenati,, as early IS the year 1543. Thefr primary ob- ject was the study and cultivation of nusic : the main body consisted of mateurs, but they aided themselves >y engaging professionals at very libe- il salaries. They did not, however, mit tliemselves to this one object. In ^ 547 they resolved to institute literary rofessorships, mathematics, philoso- hy, and Greek j and by t heir pro* Jcdings the Academia acquired great flebrity. It was sujqu-csscd in 1810 y the French, The tlicatrc was built y Bibiena, 171t); but it was aftcr- urdki burnt, and it is now dilapidated. In an adjoining apartment are the portraits of members of the academy. Amongst these is that of the pamter Domenico Brusasorzi, who was also an excellent performer of the lute, and who chose for his motto, “ in miserid felix.''' The device of the Academy was two Sirens in chains. To return to the collection of an- tiques. It was begim by the Aca- demia in 1617 ; but it acquired its present importance and magnitude by the exertions of the celebrated Maflei, who bestow'ed upon it his collections, adding to their value by the descrip- tion whicli he published of them in the Museum Veroneiise. Many important additions have been subsequently made. The whole of the Moscardi collections were liberally given by the two ladies to whom the inheritance had descended ; and from time to time several inscrip- tions and other monuments found on the Veronese territory have been depo- sited here. This collection does not contain any objects of peculiar merit as works of art ; but it is full of monu- ments illustrating ancient geography and other points of archaeology. The porticoes under which the antiquities stand were built by the Philharmonics, each member contributing a pillar. The Gastello Vecchio was built in 1355 by Cangrande II., for the purpose of keeping the city in check after the rising of his brother Frignano. It is yet a noble and picturesque pile, battle- mented at the top. Witliin, the qua- drangle has been much modernised, and some fine towers have been demo- hshed. Immediately adjoining the castle, which is on the banks of the Adige, is the coeval Ponte del Gastello, also a picturesque object. It is of brick, tun-eted and battlemented. The ai'ches arc of unequal size ; the largest is about 161 feet in span. The diilcr- ent views of and from this bridge are admiral)le. Upon the 1. bank of the Adige rises the Golle di San Pietro, where for- merly stood the pabuic of Theodoric, Ihc Jiurido, i\\Q Yirgin and Saints. — Crenia, I he Yirgin with St. Anthony and St. Brandan. — Caneiro, the Yirgin with 5t. Peter and St. Paul. — Francesco Bonsignore, the Yirgin, with the Lady by whom the painting was presented icneehng before lier, date 1484.— Z>. Brusasorzi, a Crucifixion, nitli tlie Ivhrgin and Saints and the Magdalene. |fhe Gotliic pulpit, witli fine frescoes ,1 Saints and Propliets, by Stefano da \->evio, is remarkable. There are many jther works of art in this churcli, too urnerous to be paidiciilariscd, oxccj)t- ig pcrliaps the Crucifixion, in bronze, I y Ballisla da Verona. Tlio sacristy nd cloisters sliould also bo visited. So N. 1852 . ona — Cli urches. 265 also the crypt, with curious fragments of frescoes removed from the wlutewash with which they had been daubed. Church of Santa Fufemia, abound- ing in frescoes and j^aintings, of which the best are those by Caroto, in tlie Chapel degli Spolverini, They are considered by a most competent judge as the best and most characteristic of his productions. In the middle pic- ture of the altar are represented the three archangels ; in the side panels two female saints. On the side wall Carotfi painted the History of Tobias : of these pictures the loiver one is grace- ful ; the mother of Tobias embraces her daughter-in-law, while Tobias him- self heals tlie eyes of his blind father. These frescoes are in some parts jiainted over and much injured. — Besides these are some fine fr-agments by Stefano de Zeyio ; ^ they are principally heads of saints in fresco. — D. Brusasorzi,. the Yirgin in Glory ; below, St. Eoch, St. Sebastian, and others. — Moretto, St. Onofr’io and St. Anthony. There are also several monuments in this clnu’cli. That of Marco and Bier Antonio Ve^ rita, by Samniclteli, has much merit. Two are remarkable from their connec- tion witli Petrarch— the tomb of naldo di Villa Franca, one of Petrarch’s correspondents, and the tomb of Bietro del Verme and Lncchino his son. The latter was a Condottiere of consider- able fame, to whom Petrarch dedicated his treatise upon the virtues needed for a commander. The cloister is from the designs of Sanmicheli; but it is now used as a barrack. Church of Sta. Elena, adjoining the baptistery of the cathedral : some curious ancient tombs and inscriptions; amongst others that of Hieodorius, one of the cardinals of the time of Lucius III. ; about 1177. Paintings : Felice Brusasorzi, St. Helen and other Saints, a pleasing composition. — Libe- rate; Helen and St. Catherine, dated 1490. In a crypt is a curious mosaic, an early Christ ian monument. Church of San SebasLiano, formcrlv belonging to the Jesuits, and exhibit- ing that rich, it not tasteful, ornament- ation, for which the churches of this N 266 Route 26. — Verona — Churches. Sect. III. order are remarkable. Tlie front is after tbe designs of Sanmicheli, and very magnificent. Almost all the mar- bles found in tbe province of Yerona are employed in the sumptuous co- Imnns and decorations of the altars. The adjoining buildings are now used as the Ginnasio^ a school for little boys. Here also is kept the communal hbraiy, an indifferent collection. Chiu'ch of SS. Nazaro e Celso. The ancient monastery to which this chm’cli belonged is partly destroyed, but in and about it are some remark- able rehcs of antiquity. In a small chapel, excavated in the side of an ad- joining hill, are frescoes, probably of the sixth century, and good specimens of the style of that age. The subjects also which they represent are more than usually varied. The church is partly from the designs of Sanmicheli, but imfortunately mutilated in their execution, the five arches which he coutemjjlated having been reduced to tlmee. It is filled with paintings, many by Brusasorzi ; — amongst these his favourite subject of a Chofr of Angels, painted on the doors of the organ. — Paolo Farinati also contributed much to the adornment of this church. His fresco of Adam and Eve is thought to be one of his best productions. — Ca- nerio, the Descent of the Holy Ghost. Other fine old pieces in this chiu’ch are by Falconett% Monsignori^ Montagna^ and others. There are also many pic- tures by modern artists. Santa Maria in Organo, a very an- cient church, erected upon the site of some still more ancient building, called the Organum, of the time of the Lower Empfre. What this building was has been much chsputed by antiquaries. It is doubtfrd wE ether it was an arsenal or a prison. The present church was principally built in 1481, as appears by an inscription upon the first column on the rt. hand towards the entry : the fa 9 ade is by Sanmicheli. Witlnn the church, the following objects are w^orthy of remark : — the intarsiatura, or inlaid wood-work of tlie choir, by Fra' Giovanni.^ a friar of the Olivetan order, to whom this chm’ch belonged, was executed in 1499. Fra) Giovanni is considered as the greatest master in this branch of art. In the Chapel of tlie Holy Sacrament is a candelabrum of walnut-tree wood, carved with beau- tifid but inappropriate grotesques. Paintings : G. de Libri, the Yirgin, in fi’esco. — Brentana., tiie Discovery of the Holy Cross by the Empress Helena. — Gioljino, Subjects fi-om the Old and New Testament. — Farinati., St. Peter sinking in the Water; St. Gregory feeding the Poor. — Domenico Brtisa- sorzi, the Pesm’rection of Lazarus ; the Pool of Bethesda; St. Jerome and St. John. — Caroto, the Yfrgin, St.Yincent, and St. Maur. The sacristy, besides the intarsiatura and carving of Fra' Giovanni, contains some “ beautiful studies, three half-hgures in every com- partment (of which there are foimteen) of ‘ padri Benedettini ed Olivetani,’ all in white dresses, hooded, relieved on blue grounds, and all in the most per- fect condition. Eighteen lunettes con- tain each two portraits of the popes who have been elected out of these orders. The blue grounds have been relieved by gilding, and have stood perfectly. These works are all by Mo- roni. Yasari justly speaks of this place ; as one of the finest sacristies in Italy.” j — S. A. Mart, B. A. Among tlie por- traits is that of Fra' Giovanni, over the door leading to the altar. In the adjoin- ing cemetery are curious ancient tombs. San Giovanni in Valle : a chtu’ch principally remarkable for its crypt, which contains two very remarkable Christian tombs, of an early date. Both are covered with sculptures : upon the one believed to be the most ancient, the prominent group includes our, Lord upon a hill, wlience issue four streams, which may be either inter- preted as the four Gospels, or as the foirr rivers of Paradise, Nearly the same representation occurs in the mo- ' sales at Milan, St, Peter is on one side and St. Andrew on the other; — our Lord and the Woman of Samaria; — the Cure of the Demoniac ; — Mose? receiving the Law; — Daniel in the I Lion’s Den. What might puzzle jl antiquary are two figures of monks ; 1 267 AusTRiAisr Dom. Route 26, — - Verona — Santa Anastasia. but these appear to have been added about the year 1495, when the tomb was discovered. The other tomb is in a better taste as to art, bnt far less interesting as to subjects : it represents a deceased husband and wife, with St. Peter and St. Paul. In the church above, numerous fragments of Poman buildings are apparent in the half- ruined walls. San Griorgio Maggiore^ of very an- cient foundation. The interior exhi- i bits Satimicheli in all his talent and ! exuberant richness of fancy. The ad- joming convent was sold by the French, and is now almost wliolly demolished. In the church tlie fol- lowing objects may still be remarked. The High Altar is by Bnignoli, the nephew of Sanmicheli : the details are exquisitely sculptured. — Paolo Vero- nese, the Martyrdom of St. Gleorge. — Parinati, the Miracle of the Loaves and Fishes, painted by the artist in 1603, at the age of 79. With many defects, this piece, which is of great size, is a remarkable performance. — The fall of the Manna in the Desert, begun by Felice Brusasorzi, and com- J pleted by Oitini and Orletto, his mpils. — Carofo, the Annunciation ; St. Jrsula, in distemper. — Moretto, the If,* Virgin and Saints. — Girolamo de' I lAbri, the Vhgin, two Bishops, and tlu*oe Angels. Lanzi points this out as being a masterpiece in delicacy of work si and beauty of design. — Brusasorzi, the || Three Archangels, supposed to have il been executed in rivalry of tlie preceding at! pictm’c. — Jacopo Tintoretto, the Bap- tism in the Jordan. Pamtings by Caroto, ei under an old fresco on the 9th altar, j Tliis church contains a profusion of [j! otlier paintings, statues, and architectu- ilj I ral ornaments. The campanile, by San- j micheli, is a noble and solid structui’e. i ; “ Santa Anastasia would, if the front ijfj were finished, probably bo the most j|i f»erfect specimen in existence of the style to which it belongs. It was built 0., it the beginning of the 13th century, 6ie Dominicans^ The main fabric wu,s begun in 12G0, but the casing of die front not till 1426. “ The front jjjji .vus to have been enriched with bas- rehefs, but this work has been only begun. The inside consists of a nave of 6 arches with 6 aisles, and a semi- circular recess. The transept is short, and in the angle between that and the choir is a sqnare tower, terminating in an octagonal spire. AU the arclies and vaultings are obtusely pointed. The springing of the middle vault hardly exceeds the points of the arches into the aisles j and the windows of the clerestory are circidar and very small. In the cathedral of Milan, the width from centre to centre of each pier, measured along the chiu’ch, is just half the width of the nave, measurecl also from centre to centre ; and this may perhaps be considered as the gene- ral arrangement of a Grothic building. In some of our own chiu’ches the pro- portional width of the side arch is still less. But in this edifice the fust di- mension is 7-8ths of the second. This circumstance, in connection with the little windows of the clerestory, and the want of height above the side arches, impresses upon the structure a charac- ter totally different from anything we have ; but it forms a very fine compo- sition, and one which makes the build- ing appear larger than it is ; though it is by no means a small church, being about 75 ft. wide, and 300 ft. long.” — Woods. The church is rich with paint- ings and altars ; and it appears to have been originally entirely covered with frescoes, but many of them are almost destroyed ; those, however, in the span- drils of the vaidting are very remark- able on account of t heir beauty and fine preservation. A few of the principal objects which it contains may be enu- merated : — The two Benitiers, sup- ported by grotesque figures ; tlic one on the 1. is by Gabrielle Caliari, thofutlicr of Paolo Veronese. — The Fregosi Altar and Chapel, whicli Vasari, usually scanty in his account of Lombard art, considers as one of the finest in Italy. Danese Calaneo, 1565, was at once the archi- tect and scid))for of this monument. — Tlie Altar of St. Vincent, built of the beautiful hronzino marble i)cculiar to tbis country. 4die Patron Saint, by liolari, much praised by Lanzi ; above, K a 268 Route 26. — Verona — Churches. Sect. III. a cm-ious fresco, iu tolerable preserva- tion. — The Altar of the Bevilaqua lamily : Caroto^ tlie Body of our Lord, with the Maries weeping around. — The 'Pindemonte Altar., an imitation of the Arco de’ G-avi. — Caroto., St. Maidin : near it hangs a large semi-fossilized bone of some antediluvian elephantme animal. — Chapel of the Crucifix^ a curious an- cient piece of sculpture ; The Deposi- tion from the Cross. — Stefano da Zevio., the Emblems of the Passion. Altar of the Centrago Family. — The Virgin be- tween St. Augustine and St. Thomas Aquinas ; an excellent picture by Fran- cesco Morone. — Pellegrini Chapel : cu- rious bas-rehefs, in terra-cotta, of the life of om- Saviour ; they are of the 15th centmy. The Descent from the Cross is the best, in which the artist has intro- duced a fine figure, one of the Pellegrini family. Here are also some cmdous ancient frescoes, in wliich portraits are introduced of members of the Aligeri and Bevilaqua famihes. Over the arch of the chapel is a St. George, by Vit- torio Pisanelli ; the fore-shortenings and projections, as usual, remarkably skilful. — • High Altar : Torelli, the Death of San Pietro Martue, imitated from Titian ; tomb of Cortesia Serego, 1432, one of the Condottieri of that age. — The Lavagnoli Chapel t ciuious fres- coes in the style of Andrea Mantegna ; and the fine tombs of the family. — Sacristy : over the door, the Council of Trent, by Falcieri, with no merit as a work of art, but curious as a contem- porary memorial of that assembly. Within are some good pictures by Bru- sasorzi : tlie altar-pieee with Saints ; portraits of members of the Dominican order. — Capjella del Bosario^ built from the designs of Sanmicheli : The altar- piece, in distemper, in a Giottesque style, contains portraits of Mastino II. della Scala, and liis wife Taddea Carrara, kneeling before the Yugin : the features of Mastino are remarkably expressive of his character. — Chapel of the Farinati Family : Amongst its many decorations the principal is the Descent of the Holy G-host, by Giolfino. — The Capella di S. Gemigniano has fine frescoes (pro- bably by Altichieri)^ connected with the family Cavalh. — Several cenotaplis have been recently erected here : bust of Cossali, the author of the Sto?ia Critica delV Algebra., a work of great merit ; Cignoli, the matliematician ; Targa, the translator of Celsus ; and Lorenzi, a recent poet and improvisa- tore. Much of the marble called bron- zino is introduced into the ornaments of this church : it is not so called from its colour, but from the metallic sound which it emits when struck by the tool. Hard by is the interesting though small Grothic Church of San Pietro Martire, wliich, with the adjoining buildings, formed a part of the convent of Sanf Anastasia. The edifice is now the Liceo, an institution in which up- wards of 500 pupils are received. Over the entrance, on the side of St. Anasta- ; sia, is a noble tomb of one of the i Counts of Castelbarco, a lofty Grothic j canopy, beneath which stands the sarco- i phagus. There are other fine tombs of j the same description witliin the court- yard. The buildings are kept closed, but will be readily opened for a trifle. Santi ApostoU, completed aboutll94. The front is remarkable for the rich and beautiful scroll-work inserted between the pilasters. On the outside there are fine arched tombs. Within are frescoes by Brusasorzi. Chmch of San Stefano, built in the 11th century, has been much modern- ized. Its porch resembles that of the cathedral ; and the central octagon tower also retains its original appear- ance. Twenty of the Bishops of Verona are buried here ; and it has been doubted whether it was not the original cathe- dral. There is a marble throne for the bishop still existing. The crypt may,' perhaps, date from the 7th century, havmg every mark of early Christian antiquity : so have also two very re- markable tombs ; the one of Galla Pla- cidia, daughter of Eudoxia and Valen- tiiiian III., and wife of Olibrius Em- peror of the East ; the other (as also supposed) contains the remains of Mar- cian, a patrician, A.D. 427. — Amongst the paintings are — Caroto, the Virgin between St. Peter and St. Andrew.— Giolfino, the Vh’gin with St. Maur and Austrian Dom. Route 26 . — Verona — Churches. 269 St. Simplicianus, and St. Plaoida. — Dom. Brusasorzh a very fine fresco : St. Steplien preceded by tlie Holy Inno- cents; above, a clioir of angels. The artist, who was himself an excellent musician, is fond of this representation, and is pecuharly happy in it. Our Lord bearing the Cross. The Adoration of the Magi. — Otiinh the Massacre of the Innocents. — Orhetto, the Forty Martyrs ; one of his best works : Lanzi says that some parts are worthy of Gruido. “ This chm*ch was formerly painted in fresco by the best artists of the 14th century, but it was afterwards whitewashed ; and, what is worse, the pictures were partially destroyed before the walls were whitewashed : so that now, when the whitewash has been cleared off, injimed fragments only bear witness to the original merit of the pictures.” — L. G. Church of San Tomaso Cantuariense. Tebaldo, a Bishop of Verona, chose Thomas a Becket for the patron of this church in 1316. It is cmhous tliat there should not have been a single church dedicated to hun in England. The chm-eh has been repeatedly altered. The front is of the 15th century, partly fi^’om the designs of SanmicJieli : had these been followed the church would have been one of the finest of his pro- ductions. Here is the tomb oi Giovan' Battista BeJcet^ who claims to be of the family of the Ai’chbishop, perhaps a descendant of some of those who fol- lowed him into exile. Paintings : Or- letto, Martha and Mary. — Felice Bni- sasorzh the high-altar piece ; the Virgin with St. Thomas and St. Catherine. — Farinati., St. Jerome, in Meditation : good. In the sacristy is a fine painting, which has been ascribed either to Caroto or Garofalo. It represents the Infant I Saviour and St. John sporting before the |V''irgin, Tlie forcgro\ind is rich in blowers, \S\c garqfanello being conspicu- ous amongst them. Cliurdi of San Bernardino : monastic ill its outward aspect, and fianked by j;•loi.ster.s full of decayed and broken jlombs. ^ 'J’lie churcli was built about II lUh, after the afllietion of llie great Licstilence. The iirincipal pictures which it contains are the following ; — Bonsignori., the Virgin between St. Jerome and St. Gfeorge, dated 1488. His paintings are rare out of Mantua. — A very beautifrd and interesting painting, the joint work of Morone and Paolo Cavazzolo, the latter of whom died at the age of 31 (1522), while engaged on this work. By liim is the lower portion : a group of Saints, in- cluding St. Ehzabeth, who, according to the legend, sees the bread which she has distributed to the poor changed into roses : he has also introduced the portrait of the female donor. The upper division, by Morone, consists of the Vhgin and Child, SS. Francis and Anthony, and Angels, The CapeUa della Croce has a Deposition from tlie Cross, and other fine paintings, by Cavazzolo. — Giolfino, some beautifrd though damaged frescoes. In one of them the pamter has introduced a view of the Piazza di Bra, as it stood in his time, an interesting historical memorial. Annexed to the church is the CapeUa Pellegrini, one of the finest -works of Samniclieli. “ The gem of this great master is the little ch’cular chapel at San Bernardino, whose beauty, Ave think, has scarcely ever been surpassed, and which exhibits, in a striking de- gree, the early perfection of the Ve- netian school. It was not finished under Sanmicheli, and blemishes are to be found in it ; it is, nevertheless, an exquisite production, and, in a surpris- ingly small space, exliibits a refinement which elsewhere we scarcely know equalled,” — Gwilt. The material is of a greyish white, showing exquisite Avork- manship : in the paA^ementsome coloured marbles are introduced. In the upper cloisters and library are fine frescoes by Morone. What Avas formerly the li- brary of the convent is beautiful. Altogether there are about 40 churches in Verona ; but the last Avhich wo have space to notice is that of Sta. Maria della Scala. The exterior is in a cinque-cent o style, by Fra' Giocondo. It AA'as first founded by Cangrande, and a fresco iipou a wall Avliich formecl jAart of the original structure displays curious portraits of liis ncphcAVs Al- 270 Route 26. — Verona — Ralaces, Sect. III. berto and Mastino. Tbe cbiu’cli con- tains the tomb of Maifei, the historian of Verona, perhaps the most able and jndicious of Italian antiquaries, and who was also a dramatic poet of con- siderable merit. He died in 1755. “ Sanmicheh’s most admu-ed works are his palaces at Verona ; the general style of composition, very different from that of the palaces of Florence and Home, is marked by the use of a base- ment of rustic work, wherefrom an order rises, often with arched whidows, in which lie greatly delighted, and these were connected with the order after the manner of an arcade, the whole being crowned with the proper entablature. The fa9ade of the Pompei palace is a good example.” — Oioilt. Palazzo Pemlaqiia would have been beautiful ; but, like our Wliitehall, it stands merely as a specimen of an entire design. It did contain a splen- did collection of antiquities, which have been sold and dispersed in consequence of tlie impoverishment of the family. They are now in the Glyptotheca at Munich. Palazzo Canossa^ also by Sanmiclieli. This palace was begun in 1527, by Ludovico di Canossa, Bishop of Ba- yeux, in France. His armorial bearings are on the front. It was not completed till 1560. It contains a tolerable gal- lery of paintings ; the best are by Brusasorzi, Farinati^ and Orhetti. The collection of Monte Bolca fishes and other fossil remains is interesting. This palace is usually chosen as the residence of royal and other great personages when they visit Verona. Palazzo Maffei Giust% a noble ele- vation of three stories, more laboured than the style of Sanmicheh, but very effective ; the construction of the stahease is remarkably bold. The col- lection of the Maffei family is dispersed, but one fine statue of Serapis remains. Palazzo Pidolji contains a remark- able historical picture — the Coronation of Charles V. at Bologna, by Ricci. It is interesting from the details of costume, and the portraits introduced, amongst which are some of the prin- cipal dignitaries and princes of the empire ; a complete scenical representa- tion, not forgetting the fountains run- ning with wine, and the ox stuffed with poultry and roasted whole, for the de- lectation of the multitude. Opposite to the amphitheatre, in the Piazza di Bra, is the Palazzo Publico.^ a noble building, attributed, but er- roneously, to Scamozzi. It was built by Andrea Midano, a pupil of San- micheli, as appears from an mscription lately discovered. Palazzo Giusti. Fine gardens and beautifid views ; the whole front pamted by Paolo Farinati. Palazzo degli Fmilii. Some good pictures ; amongst them the Adoration of the Magi, by Orhetto. Palazzo MemscalcJii. The exterior is finely painted in fresco by Tullio India and Aleprandi. Amongst the svdijects is the feast of Damocles. Near this palace are Homan remains, vaults used as prisons by Fccelino da \ Romano. Casa Scannagatti. This palace of j tlie Icill-cats has some curious remains of cinque-cento architecture. Palazzo Portalupi. Hecently built, and only remarkable as showing the dechfie of arcliitecture in Italy. Palazzo Muselli. A very valuable collection of medals, principally found in the province of Verona. Palazzo Guastaverza. One of the | most gracefvd productions of Sanmi- cheli : the management of the rustic work is pecidiarly able. Palazzo Guarienti. Painted on the outside by Farinati. Here is a capital portrait, by Paul Veronese, of one of the family. Palazzo Sagrcmiosc. Several good pieces by Orhetto and Felice Prusa- sorzi : near it are some remains of Homan walls. Palazzo delV Aquila. Anciently belonging to the Scaligers, and in which | tlie Knights of Brandenburg, who | came to the assistance of Cangrande against his brother Frignano, w'cre | lodged. This palace, though very much altered by being converted into a mo- dern dwelling, yet retains many vestiges of its former architecture, especially its Austeiajj Dom. Route 26 a . — Verona to Mantua, 271 0 towers, and the arciiings and mouldings of the doorways of the inner cortde. This palazzo is now the Alhergo delle due Torre. Casa Gazzola. Extensive collections of Monte Bolca fishes, and other geo- logical specimens. Theatres. The Teatro Filarmonico is open during the autmnn and Car- nival : for operas only during the for- mer, for operas and ballets during the latter season. The other theatre, the Teatro Mo- randa, is small but elegant. Verona and Shakspeare are, of course, associated in the mind. The Montecchi belonged to the Ghibellines ; and as they joined with the Ca'p^elletti in ex- pellmg Azo di Ferrara (about some short time previous to 1207), it is pro- bable that both were of the same party. The laconic mention of them families, which Dante places in the mouth of Sordello, proves their celebrity : — Vieni a veder Montecclii e Cappelletti Monaldi e Filippeschi, uorn senza cura, Color gia tristi, e costor con sospetti.” Purgutorio, vL 107. ! “ Come, see the Capulets and Montagues, — j Monaldi — Filippeschi, reckless one I j These now in fear — already wretched those.” I Wright’s Dante. The tragic history of Romeo and Juliet cannot be traced higher in writ- ing than the age of Lungi di Porto, a novehst of the 16th century. The Casa dd Cappelletti., now an inn for vetturini, may have been the dwelling of the fa- mily. With respect to the tomb of I Juliet, it certainly was shown in the last century, before Shakspeare became known to the Italians. That tomb, however, has long since been destroyed ; but tlie present one, in the garden of tlie Orfunotrofio, docs just as well. It is of a reddish marble, and, before it was promoted to its present honour, was used as a Avasliing-trough. Maria Ijouisa got a bit of it, wliich she caused lo bo divided into the gems a very -‘legaut necklace and bracelets, and many oilier sentimental young and •Iderly ladies have followed her e.v- : imple. [ ROUTE 26 VEEONA TO MANTUA. 3 posts =26 m. A raih’oad is now open between Verona and Mantua. 3 trains daily. The province of Verona abounds in objects of great singularity and interest. Amongst the works of art the ancient feudal castles are remarkable. Of those which are of the era of the Scaligeri, and more or less in the style of the Castle of Verona, some are noticed on the rbutes ; but there are many more in parts of the country out of the beaten track ; and the castles built after the cessation of that dynasty aU carry on the same plan. The country on the rt. of the road is celebrated as the scene of some of the most bloody actions between the Pied- montese and Austrians in 1848. It passes near to Santa Lucia and Somma Campagna, from wdiich Charles Albert blockaded Radetsky in Verona, to Cus- tozza, where, after a most sanguinary and protracted contest, the Piedmontese were worsted on the 25th of July, and obliged to recross the Mincio and by Villafranca, the head- quarters of the King of Sardinia dining the greater part of liis ill-judged invasion of the country beyond the Mincio. At Villafranca, on tliis road, is a fine castellated structure. It wus founded in 1199 by the Veronese ; but the pre- sent building is of the 14th century. Hence you may proceed by a cross- road which leads to Valeggio and Bor ghetto, near the Mincio. Over- looking Borghetto is the Scaligerian Castle of Valeggio, with a very lofty dungeon. But the most remarkable featiu’e of the place is the fortified bridge or causeway, built in 1393 by Grian’ Galeazzo Visconti, nho has in this fabric exhibited his favourite pas- sion for architectural magnificence. Ilis engineers availed themselves of a Roman substructure, iqion which they erected this briilgc,upwards of 600 yards in length, walled in and battlemented on cither siilc, like the hridge of AVrona, and defended by several lofty t owers. It cost 108,182 golden zecchins of Venice, 272 Route 26 a. — Neighbourhood of Verona. Sect. TIL •1^ 3Iozzecane. Roverbetla, a large 'wealtliy place, where they show the house in whicli Bonaparte, when consul, lodged for 40 days in 1796, dmang the mihtary ope- rations betwee}! the Adige and the Mincio, and the siege of Mantua. 1^ Mantua. (See Bte. 23.) Mantua to Bologna and Parma — see Etes. Meiglibourliood of Rerona. Towards the Adige, and on the N., are Gargagnano, where Dante is said to have composed liis Purgatorio, and where he possessed some property, a yilla, which afterwards passed to the Serego family. It is a wild and pic- tm-esque situation. Sand Ambrogio^ a little to the E. of the road, about 2 m. before reaching Volargne, wliich is the first post sta- tion on the road to Trent out of Ve- rona : near it are marble quarries, from whence much of the Rosso di Verona is excavated, as well as other sorts, the nemba and the brancone. The work- men of these quarries are remarkable for their cleveiness as masons and sculptors, which latter art, as at Como, they profess from father to son. San Giorgio^ a mile and a half N.E. of St. Ambrogio, upon a lofty lull, ap- parently easy of ascent, hut in fact very chfficult, whence it has the name of “ Inganna gyoUroneR Here is a beautiful Lombard church, where the columns and inscriptions of Luitprand were found. The mountainous districts to the IST., the Monti Lessini, afford a variety of interesting excursions, such as that to the Ronte di Veja, to whicli a road passes up the Val Rantena, tlmough the pleasant villages of Quinto^ Grez- zano, and Lugo. It can be taken on horseback or in a light carriage. At Quinto, on his way to the Ronte., the traveller should stop for tlie pur- pose of visiting the sanctuary of Santa Maria della Stella. Beneath the church is a very curious Eoman crypt, wliich the Italian antiquaries have supjiosed .to be a cave dedicated to Mercurius Trofionius (a creation of them own), but which, in 1187, was consecrated by Pope Urban III. A heathen altar or Eoman sarcophagus, now m the crypt, may have been brought from its vici- nity. The floor exhibits the remains of a beautiful mosaic : a stream of very pine and limpid water, vdiich stiU flows mto the crypt in the original Eoman conduit, and the remains of other Eo- man constructions adjoining, may pos- sibly lead to the supposition that the cave of Trophonius was originally a bath. Grezzana is beautifully situated. The adjoining rocks abomid in fossil remains, prmcipally of land animals, and they are amongst the first wliich attracted the notice of the Italian geologists. Skeletons of deer and of elephants they were deemed, previous to more exact modern science. The Villa Cuzzano, near Grezzana, is a good and unaltered specunen of an old Italian mansioii, and contains frescoes by Raolo Veronese. In the vicinity of Marzana arc Eo- man remains, an aqueduct, and other buildings. Val Rolieella and Val Rantena are diligently cultivated by an industrious peasantry, who from time immemorial have been the proprietors of the land. In a deep ravine is the Ronte della Veja, a natural arch, beneath which bursts a cascade. The span of tlie arch is about 150 ft. : you can walk along the summit, of wliich the breadth varies from 10 to 15 ft. The scene is fantastic and strange. Beyond is the village of Sanf Anna, a secluded spot. ! An exciu’sion to the Monte Rolca, wliich, out and in, is about 40 m., also in- cludes many objects of varied interest. Soave, the town nearest the Vicenza road, is an admirable specimen of Sea- Ugerian fortification: the surrounding walls and gates, as well as the castle, are more than usually perfect. Diverging by the by-road wdiich leads to Monteforte, you approach the valley of Ronca. The rocks of tiie adjoinmg Val Cunella are composed almost wholly of beds of shells, wliilst the neighbomdiood possesses some very ! Austeian Dom. Route 26. — Verona to Vicenza. 273 remarkable basaltic formations. One of these formations is called the Monte del Diavolo : here the pillars are mostly iTichned at a considerable angle from the horizon ; others are curved, and others broken olf, so as to fonn a pave- ment on the soil. At Vestena they are very lofty and erect. In one part they form a cliff nearly 50 ft, in height, domi which the torrent Alpone pours a singular and beautiful cascade. The basaltic hills are called the Stanghellini, a name quite similar in its etymology to Staffa^ for Stanga means a pole or staff. About 4 m. further is the Monte JBolca^ the largest and most singular deposit of fossil fishes yet discovered. 'The mountain, which is nearly of a conical form, is partly basalt. The impressions of the fish are found in the schistous strata, which gives out, when broken, a bituminous smeU. Coal of an inferior quahty also is found here in the tertiary marine strata under the basalt. With respect to the fossil fishes, it must be observed that the same in- genuity wliich supphes the antiquary with Othos, equally insures to the geologist the rarest and most extra- ordmary specimens ; that is to say, they are unitated in such a manner as to deceive any ordinary eye ; they are cleverly manufactm-ed out of the dis- jointed fragments of several different I species. Grood and genuine specimens I may be bought of the custode of the j Amphitheatre at Yerona; but they are 1 not cheap : and this dearness is ex- I plained by telling yoii, what is tolerably ! correct, that it is a rare oocurrence, I amidst the numberless fragments im- j bedded in the schist us, to find anything j approaching to an entire individual. I Route 2G continued, j The railway to Yieenza passes a httle to the 8. of the j)ost-road. j Tlie road to Vicenza, wliich we here I resume, first reaches San Michele. In jthis village was a very ancient mo- inasfery, wliicli afterwards became a convent of I'enedictine nuns. It has ' some interest as being tlie place where the three granddaughters of Dante, the children of his son Pietro, namely, Aligeria, G^emma, and Lucia, took the veil. In the church, which is modern, are some good second-rate pictures by Lo Spadarino, Bellotti, andi7 Gohhino. At a short distance from the road, but on the other side of the Adige, is the Lazaretto, built in 1591, and for wliich Sanmicheli gave the designs. It is said that they were not strictly followed, but altered for the sake of economy ; yet the building, as it now stands, cost 80,000 zeccliins. It is a noble cloister ; a parallelogram of about 700 ft. by 300, containmg 150 cells. In the centre is a very graceful circular chapel of marble. The building is now used as a powder-magazine. Pass near the chiu’ch of the Madonna di Campagna, built also from the de- signs of Sanmicheli, but not begun tiU after his death : a circular building with a Tuscan colonnade, and crowned by a cupola of great beauty and ori- ginahty. The contrivances of the vault- ing, the winding stau-case, and other similar portions of the fabric, show also great ingenuity. Witlnii are some good paintings by Brusasorzi and Farinata, the latter a Nativity. Before the altar Dccvila the historian is interred : he was assassinated close by the church. 1 Caldiero, anciently Calderium, so called from its remarkable, though now neglected, thermal springs. An inscrip- tion found here shows that the baths were built or repaued by Petronius Probus, A. r. c. 753, or the first year of the Christian era, and consecrated to Juno. The buiklings stood and con- tinued m iise till the year 1240, when they were destroyed by Eccelino. The waters retained, however, so much re- putation that the Ycnefian I’cpublic, more than two ccntui-ics afterwards (1483-1500), dh-ected the building of a bath house, and made many directions for ])reventing the waste or destruction of t lie salutary st reams ; but at present they arc little visited. The j)rincipal s})ring is surrounded by a circular en- closure. Like all iu this district, the water is strongly sulphureo\is. The surrounding country has a volcanic I 274 Route 26. — Verona to Vicenza — Arcole. Sect. III. appearance. At CaJdieo'o, and on tlie opposite lieiglits of Colognola, tlie Aus- trians took their position, towards the beginning of November, 1796, where, on the 11th of the month, they were assailed by Napoleon. “ Massena was directed to attack the right, which appeared the most accessible, and his advanced guard succeeded in ascending an eminence, surmounted by a mill, which the Austrian general had neg- lected to occupy ; but the Imperialists, retm-ning in force, regained the post, and made the brigade prisoners. The action continued the remainder of the day along the whole hue, without de- cisive success to either party ; but the rain, which fell in torrents, and the mud which clogged them wheels, pre- vented the French artillery from being brought up to meet the fire of the Austrian cannon, which, in position, thundered with terrible effect upon the repubhcan columns. Wearied and dispirited, they cfrew back at night, yielding, for the first time in the cam- paign, the victory in a pitched battle to their enemies.” Villamiova. Tliis little village pos- sesses a church which is ratlier remark- able. The campanile is formed out of an ancient feudal tower, formerly part of the castle of the noble family of San Bonifacio, by whom the place was founded. The altar-table has a good bas-rehef in the style of the 13th cen- tury, and the Corinthian capitals of several of the columns seem to have belonged to some early Christian structure. The road now skirts 8om Bonifacio, on the 1. bank of the Alpone, 3 ni. to the S. of which is the field of Arcole. It was near this point that Napoleon, after his check at Caldiero, determined to assail the Austrians in flank ; and he therefore stationed his army in the low grounds wFich extend from this village to the Po. He thought, ndth reason, that, on the narrow causeways which traversed these marshes, the superiority of numbers on the part of the enemy woxdd be unavailing, and everything woxdd come to depend on the resolxxtion of the heads of columns. The position which he had chosen xvas suigxxlarly well adapted for the purpose in view. Three chaussees bi’anch off‘ from Bonco ; one, following the 1. bank of the Adige, remoxxnts that I’iver to Verona ; one in the centi’e leads straight to Areole, by a stone biadge over the little stream of the Alpone; the third, on the rt., folloxvs the de- scending coxmse of the Adige to Alba- redo. Three colxxmns were moved for- ward on these chaxxssees : that on the 1. was destined to appx’oach Verona ; that in the centre to attack the flank of their position by the village of Ai’cole ; that on the rt. to cxxt off their I’etreat. At daybreak on the 15th Massena ad- vanced on the first chaxxssee as far as a small eminence, wdxich broxxght him in sight of the steeples of Verona, aixd I’emoved all anxiety in that quarter. Augereaxx, with the division in the centi*e, pushed, withoxxt being per- ceived, as far as the bridge of Arcole ; bxit his advanced guard was there met by three battalioixs of Croats, by whonx the French wei’e driven back. The Austriaxis despatched by Alvinzi passed through Arcole, crossed the bridge, and ' attaeked* the coi’ps of Axxgereau ; bxxt they also wore repxxlsed and followed to the bridge by the victoiloxxs Fi’ench. There commenced a desperate struggle ; [ the repxxblican column advanced with >, the utmost intrepidity, but they were received with so tremendoxxs a fire that they staggered and fell back. Napo- leon, deemixxg the possession of Ai*cole indispexxsable, not only to his future opei’ations, but to the safety of his own army, pxxt himself with Ixis generals at the head of the colxxmn, seized a standard, advanced withoxxt shrinking through a tempest of shot, and planted it on the middle of the bridge ; but the fire there became so violent that his gi’enadiers hesitated, and, seizing the general in their arms, bore him back amidst a cloud of smoke, the dead and the dying. The Austrians instaxitly I'ushed over the bridge, and pushed the crowd of fugitives into the marsh, where Napoleon lay up to the middle in water, while the enemy’s soldiers for a minute sxxrroxmded him I Austrian Dom, Route 26 . — Arcole — Vicenza. 275 on all sides. The French grenadiers soon perceived that their commander was left behind : the cry ran through their ranks, “ Forward to save the general !” and, returning to the charge, they drove back the Austrians, and extricated IS’ajJoleon from liis perilous situation. During this terrible strife Lannes received three wounds. His aide-de-camp, Meuron, was killed by his side when covering his general with his body, and almost all his personal staff were badly wounded. The ba,ttle continued with various fluctuations through the 16th and l7th, when “ both parties advanced, with diminished numbers but 'andecaying fury. They met in the middle of the dikes, and fought with the utmost animosity. Towards noon, however, Napoleon, perceiving that the enemy were exhausted by fatigue, while his own soldiers were comparatively fresh, deemed the moment for decisive suc- cess arrived, and ordered a general charge of all Ins forces, cleared them of the enemy, formed his troops in order of battle at them extremity, having the rt. towards Legnago. By the orders of Napoleon the garrison of Arcole issued forth with fom* pieces of cannon, so as to take the enemy in rear ; wliile a body of trumpeters was sent, under cover of the willows, to their extreme 1. flank, with orders to somrd a charge as soon as the action I was fully engaged alojig tlie whole line. ( These measures were completely suc- cessful. The Austrian commander, while bravely resisting in front, hear- ing a cannonade in his rear, and the trumpets of a whole division of cavalry in his flank, ordered a retreat, and, after , a desperate struggle of three days’ dura- I lion, yielded the victory to his enemies. I An obelisk was erected near the \ bridge of Arcole in commemoration of the victory, and is yet standing, but it lias been foohslily mutilated and dis- figured ; as if the destruction of his- torical monuments could cancel the (lages of history. 1‘ass file Torre del Confini^ the an- •ieiit boundary between the territories A’ Verona ami Vicenza. Montebello^ a good-sized village : from here to Yicenza, on tlie rt. of the road, are the beautiful hills called the Monti Berici. li JMenza. — {Inns : the Albergo di Parigi, a large and new hotel (1847), just inside the Yerona gate, and near the Bly. Stat., good ; Capello Bosso, very good and reasonable ; Le Due Buote ; La Stella d’Oro. The Luna is a comfortable inn, and being outside the town is more any than the others.) A good strong wine is made near Yicenza, called Braganza, bianco^ and nero ; the bianco is the best. Old Braganza costs 3 and 3| fr. the bottle. The situation of this city, which, in- cluding the adjoining and contiguous villages, contains upwards of 30,000 Inhab., is beautiful, particularly on the side of the Monti Berici. The rapid Baccliiglione^ upon which it is situ- ated, though small, sometimes does much mischief. Nine bridges cross the Bacchiglione, one of which, that of Ban Michele., a bold single arch, is at- tributed to Palladio. Yicenza is of great antiquity, but possesses no Bo- man remains, and less than the usual average of structimes of the middle ages. This is much owing to the in- fluence of Palladio (born 1518, died 1580) in his native to^’vm, and of those architects who more or less followed his school. “ Palladio's buildings are in general very beautiful ; but most of them are at present in a very forlorn condition. The fronts and even the columns are of bi'ick, the entablatures of wood, and the stucco, with which both have been covered, is peeling off. I am aware tliat this statement of their materials may lessen your respect for the palaces wliich make so fine a dis]>lay on paper ; but the circumstance docs not diminisli the merit of tlie architect, though it does the magnificence of the city. Ptd- ladio’s columns are mostly mere orna- ments ; but in contemplating his build- ings it is impossible t o feel this to be a fault, il'lic sculpt ure which loads the liedinicnts of the windows is certainly ill ])laced ; and still worse is the little panel of bas-relief so frequently intro- 276 Route 26. — Vicenza — Palladio — Basilica. Sect. III. diiced oyer tlie loyrer windows ; diyiding wliat ought to be one solid mass into two miserably weak arches. "VAdiat is it then that pleases so much and so uniyersally in the works of tliis artist? It seems to me to consist enthely in a certain justness of proportion with which he has distributed all the parts of his architecture ; the basement being neither too high nor too low for the order above it ; the windows of the right size, and well spaced ; and all the parts and proportions suited to one another. The same excellence is found in his orders, and the relation of the columns, capitals, entablatiu’es, &c. He has not adopted the theoretical rules of another, but has draum them all from what he felt to be pleasing to himself, and suited to liis own style of art ; but they are not good when united to a more soHd and less ornamental manner.” — JVoocls. Palladio wns succeeded by Yicenzio Scamozzi, also a Vicentine (boim 1552, died 1616). He was in a manner formed by the example of Palladio, whom, however, he never acknowledged as a master. Tliis will be seen fully at Yenice, where Scamozzi was principally employed, though some fine specimens of his skill are to be found in this liis native city. The Piazza dd Signori is remarkably fine. In the centre are the two columns which the Yenetians were so fond of repeating in all the cities of their do- minion, in imitation of the two in the Piazza di San Marco. A lofty and slender campanile is nearly 300 ft. in height, though not much more than 20 ft. in the square ; a row of shields shows the sway of the ancient magistracy. The Basilica^ or Palazzo della Pa- gione, is an ancient Grothic building, surrounded with loggie by Palladio. “ The result is rich and harmonious. To obtain this composition the archi- tect has rather gone against than com- plied with the arrangement of the anterior Jiuilding. The colmnns are independent of the real or apparent strength of the edifice, and PaUadio intended they should be so, for he has made the entablatures break round them. In this he was right ; had the architrave been contimted m a straight hue,, the columns would have become essential, and the great space between them would have produced an appear- ance of debihty. The great roof is not lus fault ; but as the point of sight is near, it is never so offensive, in fact, as in the pubhshed elevations. Each intercolumniation of Palladio is op- posed to two arches of the origmal work.” — Woods. The great haU is a noble apartment, but rather dilapi- dated. In another apartment are some good pictiues. Passano has left a magnificent composition, considered as his best work ; the chief magistrates of the city, Gfiovaimi Moro and Silvan’ CapeUo, kneeling before the Yirgin, who is seated beneath a magnificent canopy. Others are — Carpione : a composition matching that of Bassano; allegorical, and allusive to the pros- perity of the city, wherein two fine portraits are introduced. — Ponconsigli : St. Catherine a Pieta. — A. Maganza: the Martyrdom of St. Yincent. — Fo‘ golino : the Adoration of the Magi. Grothic hall witliin. The decree for building this facade was made by the council of the city in 1560 ; and Pal- ladio was engaged to superintend the execution of his ovm designs. When the Palazzo Prefettizio, op- posite the Basilica, was built, this pre- caution was neglected. Palladio was at Borne when it Avas m the course of construction, and hence, as it is said, those wlio had the direction of the work departed from his designs. It is Corinthian, ricli and fanciful, but, in the upper story, the windows cut into the entablature. A narroAver front to- wards the E. is better; it is a Boman triumphal arch converted into a dwell- ing ; and Palladio was so well pleased with his work that he has sculptured fecit upon the arcliitecture. Within, m the Sala Pernardo., so called from Battista Bernardo, governor of the city at the time of its erection, arc good paintings by Favolo ; the subjects are taken from Boman liistory. A singular pageant called the Pua is yet annually shown at Yicenza upon Austrian Dom. Route 26 . — Vicenza — Churches — Palaces. 217 Corpus Clu’isti day. It consists of an enormous car, upwards of 60 ft. in height, which is ^’agged by about 100 men, who manage it with great skih and dexterity. It is formed of temples and pyramids surrounded by a combi- nation of wiieels, wliich are manned by men, women, and cliildren, all keeping their eqtuhbrium as they revolve : a constellation of roundabouts. There is a traditionary story that this pro- cession commemorates the achievements of two valiant knights, Bassano and Yerlato^ who marched into the city, killed Ezzehno the tyrant, and tlu’ew liim out of the window. The Buomo, much altered and in- jured, is Gotliic. The front is an ugly mixture of different styles. The inside is a single nave, of gi-eat width, to which neither the height nor length is in proportion. It is nearly 60 ft. be- tween the pillars, wliich are set against the wall. It is so wdde and so low in the nave, that it became necessary to tie the side walls together by timber beams, and to support these agam by iron bands. It contains few objects worthy of much notice, excepting some good paintings by Mantegna and Ma- ganza. The choir is rather handsome. The Dominican Churchy of the 14th centy., is one of the few Gothic churches remaining m this town : here may be observed Romanesque capitals, which, though certamly coeval, might be of the 10th centy. — one of tlie pecu- liarities of the Italian styles. Santa Corona. This church, of no great pretence, has two good paintings : tlie Baptism in the Jordan, by G. Bel- lini. — B. Montagna : the Patroness of the Church, St. Mary Magdalene, St. Jerome, St. Maurice, and St. Martin : a composition ricli in arcliitecture and figures. — The Adoration of the Magi, by 1\ Verone.'ie. San Bietro, to wliich is annexed the i (J.spizio de' Boveri. Over the entrance of the Ospizio is a bas-relief by Canova, of which (he workmaushij) is excellent, though the design is eonunoiqilaee : a fenmlo figure (explained as Charity), writing soinetliing upon a [ledestal which supports the bust of Ottavio Trenta, the founder of the institution. In the church are some good pictui’es by Maganza : a king offermg his son to St. Benedict, St. Placidius, and St. Maur ; a Pieta ; Our Saviour pre- senting Garlands of Flowers to St. Peter and St. Paul. — Zelotti : Our Saviour delivering the Keys to St. Peter. There are some ancient palaces or houses m the old Yenetian style in the principal street, memorials of the do- minant republic. Massy pillars, with capitals of foliage, form tlie muUions of the windows. They have generally two balconies, with anunals pawing upon them, one m either wing. Among the beautiful specimens of street archi- tecture in the Palladian style, the fol- lowing may be selected. Balazzo Barharano., by Balladio^ Ionic and Corintliian, with rich fres- coes. “ Palladio has given tliis design with seven openings hi the range ;• two more have since been added, and I do not know that the composition has been injured, except that the doorway is no longer in the centre. It is over- loaded with ornament. The sprawling figures over the pediments of the win- dows, the husks wliich run down on each of the openmgs, and the trophies in the lowm’ story, ought all to be taken away : with these exceptions hi the decorative parts the composition is excellent, and presents in its unbroken entablatures a simpheity not usual in the Palladian architecture.” — IFoods. Balazzo Chiericati. Of tins building Balladio was peculiarly proud. The low'^er story is a continued Doric por- tico. “ Tlie inosculating columns at the angles of the centre dis2)lease every- body : a greater failure in point of ellect arises from the architect having filled u)> the centre spaces of the upper colonnade ; its solidity is so olfensive w'liere all the rest is open, that no pleasing impression can be produced by the buiUling.” — IBoods. The ge- neral design is bold, and the interior arraiigetl with gri-at skill. Balazzo Tiene. Had this been com- pleted, it would have been the largest ill the city. “ The architect of this is 278 Route 26. — Vicenza — Palaces. Sect. III. said to liave been tlie proprietor, Comit Marc Antonio Tiene, tlie contemporary and fi’iend of Palladio, from whom, no doubt, he has largely borrowed. Sca- mozzi seems to have completed it. It consists of two orders, Corinthian and Composite, and an attic ; the lower order is partly rusticated, and an im- post moulding contracts the heads of the windows, which are square ; tliis pleases me very well ; but the thin flat arch over them, the smile panel, and then another thin flat arch, are very objectionable. The upper wmdows are smaller at top than at bottom, but the diminution is shght, and the fh’st time I passed the house I did not observe it ; altogether the building is very beautiful. The bjick consists of an open colonnade of two orders, closed at each end ; the middle intercolumnia- tion is wider than the others, and has some masonry and an arch within it ; this variation seems to be introduced merely to spoil the composition, The front has eight columns in each story ; the back ten.” — Woods. Palazzo Conte Porto at Castello (but for which the stranger must inquire under the name Ca^ del Plavolo). “ Tills fragment is by some attributed to Palladio, by others to Scamozzi ; but the latter disclaimed it, and it ap- pears to me to be Palladian. Whoever was the architect, we may certainly pronounce it a noble design, although a very small part has been executed, and that fragment is nearly in ruins. It would have consisted of a range of composite columns placed on high de- tached pedestals, and these on high double plinths. The lower range of windows reaches to the top of the pe- destal ; the second range, in the spaces between the columns, is much larger than the others ; the upper windows are in the frieze ; these latter have cer- tainly a bad appearance, and the situa- tion of the lower range is not free from blame ; but in these cases, where the order is merely ornamental, their want of perfect correspondence with the appa- rent internal work is of less consequence than might be imagined.” — Woods. Palazzo Valmo'rana, by Palladio^ only partly completed : Composite. “ It is a handsome edifice, and would be more so if the angles were better supported, but the small pilaster and figure over it, instead of the pilasters of the larger order, are as displeasing m reahty as in the drawings ; and the change in the size and number of the windows in the adjommg divisions is equally reprehensible. The moxddings of the lesser order project beyond the pilasters of the harger, and if the panels of sculptiu’e over tlie lower windows were somewdiat narrower, they would have a better shape themselves, and the greater space over them would be an advantage. In other respects the pro- portions are excellent, and the distri- bution at once beautiful and uncom- mon. The total absence of windows m the height of the pedestal I take to be a great advantage.” — Woods. Palazzo Trissino, by Scamozzi. “ This is probably one of his best works, and is a noble edifice, though it wnnts something of that undefinable grace of proportion we aclmhe in Pal- ladio, and it stands in so narrow a street that one can hardly judge of it fairly. It has a range of nine windows on the principal floor, with interme- diate pilasters doubled at the angles ; but the change of design in the three middle divisions, the high unmeaning arch in the centre, and tlie double pi- lasters separating the centre from the wings are so many defects. In the ground floor the large central arched opening is too reasonable to displease.” — Woods. Palazzo Trenta is also by Scamozzi : much plainer than the preceding. Casa del Palladio., supposed to have been built by liim ; but it is more pro- bable tlrat it was erected from the de- signs of a Yenetian nobleman (Pietro Cogollo), for his own use, about 1566. It is a Palladian adaptation of a tri- umphal arch. Palazzo Capitanale., by Palladio. “ The composition of tlie front, if com- pleted, w’ould have exhibited a range of eight lialf columns, comprehending two stories in height. The openings of the lower story are large arches, including 2T0 x\xTkSTRIAN Dom. Hoiite 26 . — Vicenza — Olympic Theatre. almost tlie -wliole intercolumniation. Above the order is an attic. The eftect is rich and magnificent, cliiefly, I be- lieve, from the solidity and bold relief of the parts. On examination one can- not but severely condemn the cutting the architrave by the windows, not merely judging by rule, but by the effect. In its present state the brick columns, the stucco of which is half peeled olf, have a forlorn and desolate appearance ; yet the colouring thus produced is not bad. What displeases is merely the associated character of poverty and ruin. At the end is an elegant doorway, ornamented with a smaller order.” — Woods, JPalazzo del Conte Orazio da Forto. “This was designed by Palladio for a Conte Giuseppe Porto, and great part finished by him ; but the whole design has never been completed. There are arches above the windows of the base- ment larger than the openings below, and the lines not being continued downwards they have an unmeaning appearance, and it would be better if the figures and brick ornament which are added to the middle and extreme windows were omitted. These are very trifling defects ; and for everytliing else the building is one of the most correct of Palladio’s designs, and is in the highest degree gracefid and pleas- ing.” — Woods. Teatro Olimpico^ if not the finest, yet the most curious of the works of PaUadio, The Academia Olimpica of Vicenza had been accustomed to act translations of the ancient Greek tra- gedies, and Andrea Palladio being a member they employed him to give t]ie designs for this fabric, of wliich the first stone was laid on the 23rd of May, 1580 ; but in consequence of the death of the arcliitect, whicli followed almost immediately afterwards, it ivas raised and completed by tdcilla Palladio, his son. lie followed, as strictly as he could, the text of Vitruvius and the remains wbicli existed. d’ho scene, wliicli is fixed, rei)resents the side of a species of piazza, from which diverge streets of real elevation, but diminish- ing in size as they recede in the per- spective. “ In the middle avenue a considerable effect of distance is ob- tained ; those on each side opening into the middle are nearly lost ; those of the second openings on the rt. and 1. look jaretty well from certain points of view ; the end ones are failures. Daylight, however, by which a traveller usually sees it, is injurious to its effect. It is remarkable that the point of sight is lower than it would be on the lowest seat, which is 3 or 4 ft. above the stage. The colonnade above the seats is beautifully proportioned, but the centre division has been filled up in consequence of want of room, and this is very injmdous to its beauty.” — Woods. On the opening of the theatre the academicians performed E dipus Tyrannus, a play to which the scenery is entirely unadapted. It is such a scene as would have been used for the comedies of Menander, and the other plays of the New Comedy. It would be admirably adapted for the represen- tation of the comedies of Terence by the Queen’s scholars at Westminster. The Pinacoteca contains a small col- lection of dubious pictru’es : a Madonna, may be by Guido ; a Holy Family ascribed to Titian, &c. There is also a public library, which has some curious manuscripts. It is closed every Wed- nesday. The country round about Vicenza is beautifully varied with hill and dale. About f of a m. from the city is the Monte Perico, celebrated on account of tlie sanctuary erected upon the summit in 1420 in honour of a supposed appa- rition of the Virgin. It is nearly joined to Vicenza by a continued range of arches. You first pass between noble avenues of plane-trees skirting meadows, whicli, on the Sunday evening, arc the lavourite drives of tlie nobility and gentry of Vicenza. As at Bergamo, tlie general look of the ecpiiiiages and well-dressed company wliieli they con- tain conveys an idea of the wealth of tlic country, 'idle white veils of tho young ladies, so be(‘omingly thrown over tlu'ir heads, ap|)ear as a pleasing national costume. d'lic dress of the couladine is far less graceful. IMost of fSO Route 26 . — Neighbourhood of Vicenza. Sect. III. these damsels prefer men’s black beaTcr hats, the ugliest head-covering ever invented. Each of the arches of the Fortici del Monte bears the shield, or device, or name of the fi'aternity or hidi’\idual at whose expense it was erected. There is no peculiar beauty in the arcliitectrue, but the long suc- cession of pillars and arcades is striking. The church, wliich is cdW.edLSta.WIaria del Monte, was small and of pointed arcliitectiu’e ; hut a large new part has been added in the form of a Grreek cross, which internally is very beau- tiful. What was once the length of the old church has thus become the breadth of the whole building, and the altar has been removed from the recess in the end of the former budding to a place which was the middle of one of the sides. It contains some good spe- chnens of Mantegna : a picture with many saints introduced, signed and dated by the painter, 1500. Another, the Adoration of the Magi, 1528 : this is reckoned one of his best pictures. In the refectoi’y, a capital Paul Veronese: Orm Lord received by St. Grregory as a traveller or pilgrun. The belfry or campanile of the church is unfinished. The view from the summit of the hid is magnificent. “ Imagine to your- self an enormous flat, which presents sometlnng hke the shape of a bow, the arc of which is formed by various mountains that are apparently united. Eacing the N.E, you have, but at an immense distance, the mountains of Friuli; to the E. are the Fuganean bids ; and to the S., with his back to which the spectator stands (and this forms the central part of the arc, with a projection tov/ards the chord), are the Colli Perici, or Vicentine hills, which appear to be an offset from the Alps. These seem from behind to join the Fuganean and Fste hills, and the mountains of the Friuli. Ad is plain between these and the chord, that is, to the utmost extent of the visible horizon, unbroken by the slightest apparent undulation of surface, and rich in wood, vineyards, and in grain. To give you something of a more accm’ate idea of the extent of this we may select the space wliich hes between tliis place and Padua, a plain every part of which is visible to the naked eye in ordmary weather. This, by the road, which is sufficiently straight, is distant 18 Italian or Enghsh iiautical m. (that is, 60 to a degree) . Allowing, therefore, 2 for de- viations (and the road is remarkably straight), they noight yield 20 Eng. m. in a level hue. When you have wearied your sight with the northern view, take post on the western side, and you have agam a 'perfect plain, but of no great extent for this country : tliis is bounded by mountains, and in it lies the city of Yicenza. “ The N. offers the most extraordi- nary contrast to the S., for you have here a sea of mountains, Avhich, in ap- pearance, runs as far as the Alps. On the top of the Monte is a casino, the opposite windows of whose saloon com- mand this extraordinary prospect N. and S.” — Pose’s Letters. It must also be added, that the plain and the lulls are everywhere dotted with villas and towns and cities. Near t\\e Porta del Consiglio, just out- side of Yicenza, is a remarkable tower, dark and deeply machicolated, which forms rather a prominent object in the view from the Monte, and such as to excite curiosity. It was originally the March Toiver between Lombardy and the Yenetian states, and it is now used as the belfry of an adjoining church. Near Monte Eerico is the Potonda Cagira, so well known as Palladio’s Yilla, copied by Lord Burhngton at Chiswick. “It is a square building, containing a round saloon lighted from above. From the four sides you ascend on broad stahs, and reach at every side a porch formed by 6 Corinthian pdlars. It may be that architecture never pushed splendour to a higher pitch. The space taken up by stairs and porches is far greater than that of the building, because every side woidd be quite suffi- cient for the entrance to any temple. The saloon exhibits the finest propor- tions, as well as the rooms. Every side presents itself from all parts of the adjoining country in a most magnifi- cent manner.” — Goethe. Austrian Dom. Route 26. — Rotonda Capra — Padua. 281 “ Externally it partakes of tlie deso- late condition of everything at Yicenza, but stiU it is exquisitely beautiful, and the situation at the extremity of a point of bdl advancing from the general bne is no less delightful ; no other position could have suited the house so well, and no other house, either larger or smaller, or with any other arrangement, would have been so well adapted to the situation. Internally it is equally ad- mh’able ; it looks small, even more so than it really is. This is probably owmg to the preposterously massive ornaments about the doors. The rooms form altogether one suite of apartments, four of which are intended for bed- rooms ; but tliis, in the system of Itahan manners, would be no objec- tion to them being all throwm open to receive company : and here, whatever may be the time of day, you are sure of shade, air, and beautiful scenery. 1 It woidd be difficult to accommodate the design to our clhnate and manners I without spoihng it, even if we should j find for it a suitable situation. In this ! most essential particular the three imi- \ tations which we have are all remark- I ably deficient.” — Woods. i Just beyond the Porta di San Bar- tolomeo is the Palazzo Trissino in Cri- coli, interesting, both on account of its beauty, and as having been the resi- dence of the celebrated Q-iovanni Giorgio Trissino, whose name appears on the architraves of the upper windows. Tris- sino was a poet of considerable emi- nence, and it is said that the j^alace I was built from his designs. The honour I is contested for Palladio. 1 Theatre. — The Teatro Bretenio is I not large, but the summer perform- ances are very good. * Vicenza is said to be hable to fevers. The wine grown in the neighhourhood is considered as the best table wine in Lombardy — and bad is tlie best. I The baths of Recoaro are about o-.^ posts from Vicenza to tlie N.W., at tlie licad of tbc valley of the Agnoj there are two intermediate relays, tbc (h>t at I'alazelto (Lj), and the second it I'atdajno (Ij. They are princi- pally frequented during the months of July and August. There are good Inns (that kept by Domenico Trette- nero excellent), and every accommoda- tion for persons frequenting the baths : indeed Eecoaro may be resorted to as a very cool and agreeable summer resi- dence, little inferior in this respect to the Baths of Lucca. The waters of Eecoaro, wliich are ferruginous, are sent in bottles, properly sealed, to all parts of Italy. Persons using them should see that the small leaden seal bears the date of the ermrent year : if kept beyond the year the iron precipitates. The season for botthng the water begins in May. Another mme- ral water, Aqua Catulliana, containing a rather strong solution of sidphate of iron, is also procured in the neighbour- hood of Vicenza, and is sent to differ- ent parts of Italy. Very agreeable ex- cursions may be made from Vicenza to Eecoaro, the Sette Commune, &c., which, belonging more properly to the Italian Tyrol, are described in the, Hand- hoofefor S. Germany,, Etes. 232, 233. The roads from Vicenza to Inspruck, by the Val de’ Signori and the Val Su- gana, through Sclno, Bassano, &c., as well as those to Eeltre and BeUuno, including Possagno, the country of Canova, and Asolo, the retreat of the unfortunate Queen of Cyprus, Cateriua Cornaro, are described also in the llandhooJc for South Germany^ (Etes. 222, 232, 233, &c.), in connection with the great lines of communication across the Alps, be- tween the Austrian and Itahan Tyrol. The road from Vicenza to Padua abounds in villas and pleasant gardens, and the soil seems to suit all exotics rcanarkably well. The catalpa and tulip- tree nourish by the side of the road, and you see the crimson trunqiet-like ilowers of the Bigiionia festooning most luxuriantly over the walls. Ij Arleseya. Mestrino, between the torrents Cerc- sonc and Brontella. 1 I’.VDiJA. (Z/nav; .Lpiila d’Oro ; very good and well situated. Croce d’Oro, clean; close to tbeCafe Pedroeebi. Stella d’Oro, not very clean, more reasonable.) 282 Route 26. — Padua — Anterior, Sect. III. Cafes' : several j but tbe CafeTedroc- clii is celebrated all over Italy; but its merits are not equal to its fame. There is a “ restauration ” there, and a table d’h6te at 2 p.m., at 3 zwanzigers a-head. While the building was in progress Pedrocclii was present every evening, and paid all the workmen ready money, and, it was said, always in old Venetian gold. He had been left in poor cu*cumstances, and lived in a ruinous little old house upon the site of Ms present cafe, which, falling into decay, he was compelled to pull down. Suddenly he abounded in riches — as many stories were afloat concern- ing hidden treasures and yet more awfid things as would fuimish materials for a legend. The secret of his wealth was tills — he kept a gaming-house. During the builchng portions of an ancient Homan edifice were discovered, and the marbles so found have been employed in the slabs and pavements of the salone. Boolcsellers. Zambecarri has a good choice of old and new books, but the former at very high prices. Padua is perhaps the oldest city in the N. of Italy, and the one abounding most in traditions propagated from age to age. The foundation of Padua was attributed to Antenor by the Homans. “ Anterior potuit, mediis elapsus Acliivis, lilyricos penetrare sinus atque intima tutus Regna Liburnorum, et fontes snperare Ti- mavi : Unde per ora novem vasto cum murmure montis It mare proruptum, et pelago premit arva sonanti. Ilic tamen ille urbem Patavi, sedesque loca- vit Teucrorum, et genti nomen dedit, armaque fixit Troia. Nunc placida compOstus pace qui- escit.” JEmid, lib. i. 243, 249. “ Antenor, from the midst of Grecian hosts Could pass secure, and pierce th’ Illyrian coasts : Where, rolling down the steep, Timavus raves, And througli nine channels disembogues his waves. At length he founded Padua's happy seat, And gave his Trojans a secure retreat : There lix’d their arms, and there renew’d their name. And there in auiet rules, and crown’d with fame.” * Dryden’s Virgil. In the year 1274, when the work- men were laying the foundation of the Foundhng Hospital, a large sarco- phagus of marble was discovered, con- taining a second of lead, and a third of cypress-wood. In the tliird reposed a skeleton, larger than the ordinary statiu’e of men, grasping a sword in the bony hand ; and an inscription upon the mner coffin was interpreted to indicate that the tomb belonged to Antenor. The discovery, hke that of the bones of Livy, which we shall soon have to notice, excited the greatest entlmsiasm, and the remains of the founder of the city were deposited in the church of San Lorenzo. Though a pagan, Antenor was admitted into holy ground. To tlie same chm’ch the sar- cophagus was removed, and an inscrip- tion composed by Inipato de by profession a doctor of laws, and by amusement a poet, was engraved upon the monument, which still exists in excellent preservation. When Alberto deUa Scala visited Padua in 1334 the sarcophagus was opened, and he re- quested as a gift the sword of the Trojan hero. The church has been demolished, but the sarcophagus has been spared. It stands at the coimer of a street, beneath a haldacchino, or canopy of brick, and, whatever may be thought of the details of the story, it is unquestionably antique, tliough of what age it is difficult to decide. It is not unimportant to add that ancient medals to a large amount were also discovered near the spot where the tomb was found. “ Padova la Forte” contains 38,000 Inhab. Long rows of arches, generally pointed, support the houses. Irregular places — wide-strctching tracts of deso- , late waste on the outskirts — add to its pecuhar character. As the structure most peculiar and most national, we must select the Falazzo della Ragione, built by Pietro Cozzo between 1172 and 1219, which extends along the market-place : a vast building, standing entirely upon open arches, surrounded by a loggia. The E. end is covered with shields and I armorial bearings. To the Broglio ol the Lombard cities it has no resein- ||| Austrian Dom. Route 26 . — -Padua — Palazzo della Ragione. 283 blance. A vast roof, like that at Vi- cenza, towers above the edifice, rising, perhaps, half as high again as the walls upon which it rests. This roof is said to be the largest, unsupported by pillars, in the world. The hall is about 240 feet long, and 80 wide, as much in height, and not quite rect- angular. The history of this haU is as remark- able as its aspect. In the year 1306 there came to Padua a renowned archi- tect and engineer, an Augustin friar, Frate Giovanni by name. He had travelled far and wide, in Europe and in Asia, to the very Indies, and he had brought back plans and drawings of all the buildings which he had seen ; amongst others, a drawing of the roof of a great palace in India, beyond the sea. This design greatly pleased the Paduans, and they requested him to roof their hall (which had previously formed three chambers) in like manner ; and Fra' Giovanni assented, asking no other pay excepting the w^ood and tiles of the old roof, which he was to take down. The interior of tliis hall is gloomy, and the whole is closely covered with the strange mystical paintings, de- signed, it is said, by Giotto, according to the instructions of the great physi- cian, astrologer, alchemist, and (sus- pected) magician, Pietro cV Abano (bo]’n 1250, died 1316). Pietro d’ Abano j was the first reviver of the art of me- I dicine in Einope; and he travelled to Greece for the purpose of learning the language of Hippocrates and Galen, and of profiting by the stores which the Byzantine libraries yet contained. He practised with tlie greatest success ; and his medical works were considered las amongst the most valuable volumes of the tlicrapcLitic library of the middle lUges. He wrote the ‘Conciliator dific- rentiarum Medicorum.’ His bust is over one of tlic doors of the hall : the in- 'Crii)tion placed beneath it indignanlly ! repudiates the magic and sorcery jascrihed to liim ; l)ut the votaries of |thc occult sciences smiled inwardly at ■ his disclaimer, llis treatises u])ou '.aecroniaMcy, gcomancy, and amulets I and conjtu'ation, were circulated from hand to hand. The paintings, forming 319 com- partments, have been repeatedly da- maged by the elements of fire and water, in 1420, 1608, 1744, and 1762; and have been entirely repainted. They fall into several classes. The constel- lations — sacred subjects — apostles and saints — the winds and elements — alle- gorical figures of Virtue; — but the principal series consists of the months of the year, with their rulmg planets and Qonstellations ; the employments of the month; and the temperaments^ assigned, according to astrological rules, to those who are born under the ditferent astral combinations. The apertures, or windows, are said to be so disposed that the solar rays in each month travel along the representatives of the signs and planets then in ruling activity. The following paintings may be remarked, either for their beauty or singidarity : — Justice and Prudence; portrait of Dante, under the personi- fication of Sagittarius ; Pisces, under wdiich is a young w^oman supporting an aged person with great tenderness ; also a very beautiful kneeling figure ; generally, the representations of the trades and occupations of human Hfe. — The coronation of the Vu’gin — the Magdalene — and St. Paul in prayer. At the top of the hall is the so- called monument of Livy. Like the astrologer, he was born at Abano ; but both are clauned as Paduans, in consequence of Abano being in the Patavinian territory. According to an immemorial tradition, the site of Livy’s house can be pointed out in the Strada di San Giovanni ; and in the year 1363 an inscription was found near the church of Santa Giustina, purporting to have been placed there by Titus Livius, to the memory of Livia, his fourtli daugh- ter ; which inscription the monks built into the w'alls of tlicir cburch. Some time afterwards, in 1 113, a tesselated ))avementw as discovered, beneath wdiich was found a leaden colfin contain- ing a skolefon, wliicli Avas immediately supposed to bo that of Livy himself. The discovery excited the greatest 284 Pioute 26. — Padua — Lky — Duonio. Sect. Ill entlnisiasm, and it ^vas determined to place tlie remains in tlie palazzo. Tlie translation took place with as mucli pomp as if Livy bad been a tutelary saint. Tbe bier was covered vdtb clotb of gold, and it was carried by tbe noblest and most eminent of tbe citi- zens and professors of Padua. Tbe rebcs were divided : tbe jawbone was deposited in tbe Cancellaria ; and Al- fonso of Arragon, King of Naples, de- spatched (1450) a special embassy to request tbe gift of an armbone, wbicb was conceded by tbe Paduans, as ap- y>ears by an inscription on a marble tablet over tbe door. Tbe inscription found at Sta. Giustina bas been let into tbe wall ; and statues of ]\Iinerva (or, as some say. Eternity) and Fame, tbe Tiber and tbe Brenta, bave been added ; above is a bust, upon wliicb are engraved tbe letters P. T. L. E., wbicb, witb somewbat of Oldbuck’s sa- gacity, are explained to signify Patavini Tito Livio Erexerunt. Besides tbe foregoing, tbere are some modern in- scriptions to bis bonour. Tbe bones, bowever, are placed over one of tbe lateral doors leading to tbe Uffizio della Sanita. Over a tbird door is tbe bas-rebef representing tbe celebrated jurist Paulus, wbo ilourisbed in tbe age of Alexander Severus, and contri- buted mucb to tbe formation of tbe system of tbe code of tbe civil law. Alberto Paclovano, commemorated over another doorway (died 1323), was a preacher of extraordbiary eminence in bis day : Sperone Speroni also bas a statue. It was erected at tbe public expense in 1594, or, as it is quanitly expressed in tbe inscription, A. E. C. 2712. Ilallam considers Sperone’s tragedy of Canace as a wox*k of genius ; and bis Dialogues, an bumble imitation of Plato, may bave been valued, when well-turned phrases were accepted as an equivalent for meaning. Such tributes to literary eminence are sufficiently common, but the bust erected, 1661, by tbe city to tbe me- mory of Lucrezia Pond% is, perhaps, unique : it bears witness to her vbdue and to her death, under circumstances pearly sbnilar to those of her Homan namesake. Lastly, in this strange as- sembly, is Betzoni, represented in Ids Tm’kisb cb’ess, between tbe two Egyp- tian statues winch be presented to bis native city. No cu’cumstance in poor Belzoni’s life pleased him more than bis bemg able to present these trophies to Padua. A beautitid medal was struck by tbe city as a token of their gratitude, in addition to tbe bust thus placed in tbe ball. At one end of tbe ball is tbe lapis vituperii, of black grainte, upon Avliieb debtors cleared themselves by their exposm’e to shame — tbe altar of in- solvency. At tbe other end of tbe ball, in front of the plaster statue of Livy, stands tbe enormous wooden model of a horse, formerly in tbe Pa- lazzo Emo, made by Donatello, upon wbicb Vasari bas expatiated witb mucb ardour. A mericban bne crosses tbe ball : the ray of tbe sun passes tbrougli a bole decorated witb a golden face in tbe roof Tbe Avbole structure is now exceedingly neglected. In tbe adjoin- ing Cancellaria are kept tbe archives of tbe city. Tbe decrees are written in parchment books of great beauty, and would probably repa}^ tbe investigation of Italian antiquaries. Tbe Diwmo claims Michael Anyelo as its arclntect; but it was two cen- times in progress, not having been completed until 1754, and it is pro- bable that, if be ivas tbe designer, bis plans were not fuUy carried out. Tbe best picture wbicb tbe ebureb contains is a fine copy by il Padovanino from Titian, long supposed to be an ori- gidal : indeed, there are many wbo will not yet give it up. It is a Virgin and Cliild. — By Francesco Bassano are tw'O pictures : tbe Flight into Egypt and ' tbe Wise Men’s Offiering ; both well co- loured. — Sassof errata : a Virgin. — And a Pieta by a good, though unknoivn, ancient master. Here are tbe tombs of Sperone Speroni and of Giulia Conti, \ bis daughter. A modern bust of Pe- trarch, wbo held a canonry in tlie cathedral, by Rinaldi, Canova’s scholar, bas been recently placed here ; there are also two others, respectively in honour of Benedict XIX., and Cardinal Eezzo- Austrian Dom. Route 26. — Padua — Duomo — Library. 285 nieOj afterTrards Clement XIII. Tliese last are curious monuments of vanity and courtly flattery. Wliat had the pope done for the canons to deserve this token of gratitude ? He graciously granted them the privilege of wearing their pontifical copes m the choir. And what had Hezzonico done? A^’diy, he had asked the favoiu- for them. The sacristy contains some curious early liturgical manuscripts ; a vase for the holy chrism, of Byzantine manu- facture, and other rehcs. The Baptistery is a Lombard build- ing of the 12th centy., belonging to what may be termed the second class of these buildmgs ; namely, those erected in imitation of the baptisteries of the fii’st period of Eomanesque archi- tecture, such as at Xovara and Brescia, and which, when unaltered, are inva- riably of the Corinthian order, and ahnost as invariably are said to have been heathen temples. This baptistery belongs to the second or imitative class, of which the traveller will find many other examples (as at Parma and Cremona). Walls and cupola are entirely co- vered with frescoes, executed at the expense of Pina Buzzacarina, wife of the elder Francesco di Carrara. Both G-iusti and Aldigldero di Zevio are tliought to have been concerned in the work. They are in the style' which imitated the ancient mosaics. Bihlioteca Capitolare. — Petrarch may l)e reckoned as one of the founders 1 of tlie Library of the Duomo. It con- I tains many early printed books, and j several ineditcd manuscripts. Amongst I others, various essays and letters of ! .S])eronc Spcroni, and some splendidly ! illuminated missals; also various an- I cient pictures. A Virgin and Child, I by Nicolo Semilecoto of Venice, 1307, i is much valued as a species of docu- ! imait in the history of the Venetian j .-'•bijol. t)ver the door of the library i- a portrait of the Lauri'ate, wbicli j was oi'iginally painted uj)on the walls jof the liduse in which lie dwelt when llic roidcil III I’adua under the jmilec- t ion of Carrara. The house was de- cut from the wall, and thus preserved. This portrait is reckoned one of the best. The Palazzo Vescovile has been modernised. It contains several fres- coes by Montagnana, a clever pupil of Griovanni Bellino, painted about 1495. In the chapel are the Apostles, in chiar’-osciu’o ; and the altar-piece is by the same artist. A large painting by Ricci^ representing the plague at Padua in 1631, is interesting for its truth, and some of the figures have much of the grace of Guido, of whom Bicci was a pupil. Striking clocks are said to have been invented at Padua ; and that which stands in the gi*eat battlemented tower in the Piazza de’ Signori, adjoining the cathedral, is claimed as the contrivance of Giacomo Dondo or Dondi. It was erected in 1344, at the expense of Ubertino di Carrara ; the works, how- ever, having been made by Antonio Padovano. Besidesthe four-and-twenty hours, it tells the course of the sun and the aspects and phases of the moon. Dondi obtained such celebrity for his performance, that he acquu’ed the surname of Uorologio. It passed to his descendants, and the family of “Dondi deir Orologio” still flourishes. This clock-tower forms the centre of the Palazzo del Capitano, which occu- pies one entire side of the Piazza de’ Signori. It is in a mixed style : the exterior by Falcoyietto, the stahease is attributed to Palladio : it is remark- ably fine. The buikhng is let out for various purposes ; part is used as the Bettoni printing-olRce. Sa}if Antonio. “ In the year 1231 the citizens of Padua decreed that a magnificent temple shoidd be erected in honour of St. Anthony, their jiatron saint. 3’o accomplisli tliis object, tliey sent for Xictiolas of Pisa, and intrusted to liim tlie construction of tlie new cluirc]i, and lie produced one of the most remarkalile buildings in Italy. I riie fashion of the (lay compelled him 4() adopt till' ])ointed style', but with I this he combined some of the Hyzan- tine f-atures of St. IMark’s at I'enice. 286 Route 2G.~- Padua — S. Antonio. Sect. III. than 8 cupolas, which give it an oriental character. It is in the shape of a cross, 280 ft. in length, 138 ft. in breadth to the extremity of the tran- septs. It was completed in 1307, with the exception of the cupola over the choir, which was not added till a centy. later. If the external features of this church are meagre, if the tlu-ee great portals are bald when compared with the contemporary portals of the North, it must be remembered that Nicholas of Pisa was compelled, by the fashion of the day, to adopt a style which he did not like, and which, it must be confessed, he did not under- stand.” — Gr. Knight. This church is remarkable for the splendour and beauty of its internal decorations. Occupying the N. or l.-hand transept, stands the chapel of the Saint, Santo” — (for thus is Anthony honom*ed at Padua, where he died, having been born at Lisbon) . It is illuminated day and night by the golden lamps, and silver candlesticks, and candelabra borne by angels, which bum before the shrine. The chapel was begun in 1500 by Giovanni Mi- nello., and Antonio his son ; continued by Sansovino^ and completed (except as to some subordinate portions) by Falconetto in 1553. The two richly worked pilasters are by Ter one and Matteo Agleo. A lai’ge and singular series of sculptures by various artists surround the walls ; the best are by Tullio Lombardo, Sansovino, and Da- nese Cataneo. In the centre is tlie shrine : the statues of St. Anthony, St. Bonaventura, and St. Louis, by Titiano AspeUi, are amongst its orna- ments. “Tlic shrine of the saint is as splendid as gold and marble can make it : the lower part, wliich is a range of five arches, supported on columns, is good ; but the top is overloaded witli a double attic. Tlie most sober arclii- tect takes some licence in tlicsc small productions, and is more lavish of or- nament in them ; and it is px'obable that the eye requires more play of line and more I’ichness of detail than where the impression is helped out by the mass of the edifice.” — Woods. The two fine sculptimes on the sides of the sarcophagus are the work of Oratio Marinate, 1150, and Filippo Tarodi. They support two of the can- delabra. Opposite to the chapel of the saint is that of Sfa. Felice. It is separated from the body of the church by a screen of five Gothic arches of yellow marble, above v Inch rises a species of entablatiu’e of coloured marbles dis- posed in scales. The wall and vault- ing is covei’ed with excellent early frescoes, by Jacopo Avanzi and by Al- dighiero di Zevio; the worse, however, for the injiu’ies they received in clear- ing off the whitewash with wliich they had been covered, and for their re- storations : the subjects are taken partly from the legendary history of St. James, to whom the chapel was originally dedicated, and partly from the Gospels : they are striking even in their present state. The wall at the end of the chapel is divided into five spaces by colmnns and pointed arches, corresponding to those opposite wliich separate the chapel from the church. In the centre space the subject is the Crucifixion. To the rt., and separated from it by one of the co- lumns, the soldiers are casting lots for the garments of Christ. The skill dis- played in this composition seems almost in advance of the time (about 1376) of the painter. To the 1. of the Cruci- fixion, and sejiarated from it by a marble pillar, is the crowd following Jesus from the city ; one group is beautiful : it is a woman supporting the fainting figm’e of the Vii'gin Mother, followed by another, Avho is leading along her own infant son. Farther on, to the rt. of the Crucifixion, there is u tomb ; the space above it is filled with the pictm’c of the Besurrcction. An- other tomb on the ojiposite side con- tains the remains of the founder of the chapel : the picture over it represents the Taking down from the Cross. These five pictm’es by Avanzi and Zevio fill the lower jiart of the side of the chapel opposite the entrances ; they are each under a pointed arch. Over them the space is divided into three parts, each Austrian Dom. Route 26 . — Padua — S. Antonio. 2S7 also canopied by a pointed arch, and filled with a picture. The subject of that on the 1. of the spectator is the Denial of St. Peter ; of that in the centre the via dolorosa, or Clirist led to be crucified ; and of that on the rt. the Entombment. The two nearest the window on the rt. are quite visible, that on the 1. is not so easy to make out. In the spandrils to the extreme rt. and 1. of the five lower arches the Annunciation is painted. The angel Gabriel occupies the spandril to the extreme 1., and the Yirgin that to the extreme rt. The head of the Ymgin is very beautifid. A long narrow window is in the end of the chapel to the rt. of the entrance. One of the compartments on that side contains the picture of the Yu’gin and Child, engraved by D’Azincourt ; the others are filled up with scenes from the lives of St. Christopher and other saints. The opposite end is divided into irregular compartments, and painted by the before-mentioned artists with subjects fr'om the Scriptures and from legends. The presbytery and choir are divided from the rest of the church by splendid marble screens and balustrades. Dona- tello contributed the bronzes which lecorate the high altar, somewhat neagre in the outlines, but max’ked vith the genius of the master. By Donatello, also, is the great bronze •rucifix, and a basso-rihevo over the loor. Cicognara points out as the finest vork of art in tliis most sumptuous anctuary the great candelabrum of ironze, executed by Andrea liiccio, landing near I he high altar, the result >f ten years’ labour. It is a species of uique-cento adaptation of tlie antique orm. Tlie human figures possess cx- uisite grace and sinqilicity. Four mblcmatical figures upon tlic “ zoc- •lo” have oc(;asioned nmcli jierploxily j tlie commentators. They liave been xplained u.s representing astrology, lusir;, lii^lorv, and eosmograpliy. But. I interpretations are more inge- ion.s than satisfactory; and it is dilll- ilt, for instance, to discover astrology in the representation of Jupiter in his chariot. In the presbytery are other very fine bronze bas-reliefs by the same master : David and Goliath ; and David danc- ing before the Ark. The sepulclmal monuments, which are numerous, are many of them fine. The Contarini monument, erected in 1555, at the expense of the republic, is from the design of Sanmicheli, the sculptures being by Vittoria and Da- nese Cattaneo. Sanmicheli also de- signed, the monmnent of Cardinal Demho; on which the sculptures are by Cattaneo. A third, and perhaps the best, specimen of Sanmicheli is in an adjoining cloister. There are seve- ral cloisters abounding with these mo- numents. Cesarotti, the translator of Ossian and Homer (died 1808), is buried m the cluu-ch. Sant’ Antonio is watched by dogs of a pecnliar breed, and who execute their duty with extra- ordinary and amusing sagacity. In front of the clnu’ch is an irregular and picturesque 'place, partly formed by the conventual buildmgs, which are now retenanted, the friars having been recently restored. Here stands the equestrian statue of “ Gatta Melata,” whose real name was Erasmo di IVarni, by Donatello, a production frdl of vigoiu', and one of his best works. The Scuola di Sanf Antonio adjoin- ing the church, and now re-occupied for conventual purposes, contains some fine frescoes by Titian and Campagnola, representing the miracles ascribed by legendary fame to St. Anthony. “ Three arc by Titian. The subject of the first is St. Anthony proving to a jealous husband his wife’s innocence. The effect of this picture is xinsatis- faetory ; but, on examination, it ap- peared that the only pure parts arc the beads of the lady and lu'r lemale at- tendants, and some other trilling por- tions: all the rest has been rejiainted, aj)parentlj in oil. 'riie female heads are very tine in expi’cssion ; and with re- gard to the modeof ])ainting, the lights are loaded, the shades (piite t ransparent , and the whole meehanieal treatment is that of oil-i)ainting. Another fresco is 288 Route 26. — Padua — S. Giustina. Sect. III. St. Anthony restoring a criminal at the intercession of his mother. This paint- ing is in more perfect preserration ; the landscape background only seems re- stored. Titian painted in h'esco in a yerj sketchy manner, and with great rapidity, this picture having occupied a few days only. The drawmg is careless, especially that of the extremi- ties ; the draperies are painted in a very slight maimer ; and the general effect of the pictiu’e is not strikmg. These frescoes look like ineffective works in oil. In these examples Titian has at- tained little beyond harmonious co- lour. Every part of these works is painted in a thin manner, the hghts excepted. In the body of the youth he has availed liimself of the colom* of the intonaco in the half tints, the shadows being laid in with brown. Near tliis work there is another fresco by Titian [a man attempting to kill his wife], which, however, is in a very ruined state.” — Wilson. Close to Sanf Antonio is the small church of San Criorgio, containing some fine frescoes by Avanzi, painted in 1377. — Aldighiero helped hun here also. Santa G-iustina is supposed to have been erected on the site of the Temple of Concord. It was repeatedly built, and as frequently rinned. The fabric raised after the destruction of the city by Attila was thrown down by an earthquake in 1117. In the 13th centy. it was rebuilt. Two griffonised lions, standing at the top of the flight of steps in front of the present struc- ture, are vestiges of the earlier church. The present church was begun in 1502, by Prate Girolamo da Brescia, and completed 1532-1549, by Andrea Mo- rone. The fa 9 ade is rough and un- finished ; but the general view of the interior is good, from its proportions, its great expanse, and its many piers and lofty cupolas. “ The disposition of the aisles is rather that of a series of vaulted re- cesses opening into the nave, and nearly as high as that is, and commu- nicatmg with one another by lower arched openings, than a contmued aisle. The first thing that struck me was the whitewash, and it is wonderfid how much this empty glare can spoil the eftect of the finest building. After the first impression of this had passed off, I admired Avith the rest of the world. The excellence of the building consists, I think, in the great space be- tween the piers, equal to the Avidth of the nave, and the loftiness of the side arches. Two httle chapels open into each of the recesses forming the side- aisle. These are badly managed, and the details are execrable ; but the ge- neral disposition has an appearance of space and au’iness Avhich is very mag- nificent.” — Woods. The Martyrdom of Sta. G-rastina, by Paolo Veronese, is the best pictiu’c in the cluu’ch, but the tipper divisioii is lieaA’-y and laboured, and the groups at the top are badly and clumsily ar- ranged. It is said that this defect arose from the interference of the prior, who insisted that the figures shouhl be put in perspective according to his AA'ay. Otlier paintings are: — Carlino and Gabriel e Caliare or the heirs of 1^. Veronese : the Conversion of St. Paul. — G. Maganza : Totila King of the Goths falling before St, Benedict. — C. Podolji : St. Benedict instituting Ins Order. — Liheri : St. Gci’trudc sup- I ported by Angels. — J. Palma : St. Be- nedict with St. Placidius and St. Maur ; in the best style of this artist. One c;hapel contains a beautiful group formed from oiio block of marble, representing ' a dead Christ, AAnth tlic Virgin, Mary Magdalene, and St. Jolin. A chapel j below contains an ancient image of the ] Virgin, supposed to have been brought from Constantinople. ] There is a fine cloister to this church. In a cortile adjoining ia a piece d' sculpture of the 11th centy., one of the earliest specimens of medioeval allegory. It represents Mercy and Justice. ilEc large eloister is a part of the older mo nastcry. It contains the remains of n' curious and liighly finished series o! paintings of the life of St. Benedict executed between 1489 and 1494, by Bernardo Parentino. Other parts o ,1 the cloister are by Girolamo Padovano II damaged, but still showing talent I Austrian Dom. Route 26. — Padua — A7'ena. 289 Some of tlie subjects are allegorical, and are difficult to be explained. The French converted this monastery into barracks ; some of the paintings were whitewashed, others spoiled by the soldiery. The Church of Sta. G-iustina stands at the extremity of a very large irregu- lar -place ^ the centre of which is occu- pied by the Praia della Valle, an oval, surrounded by a small canal, supplied by the waters of the Bacchiglione, and peopled with an army of statues. It was intended to lunit these memorials to the great men of Padua ; but inas- much as even local fame could not sup- ply a sufficient number of characters to fill the pedestals of the original design, they have been forced to enlist various worthies of other countries and all ages. Antenor, Tasso, Pietro d’ Abano, Gahleo ; about 80 in all ; two are by Canova, and many of the others show much facility and knowledge. Gus- tavus of Sweden figures amongst these worthies. The “ Lion of the North ” has a full right to this station, for in 1609 he studied at Padua, and attended the lectures of Galileo ; and in conse- quence of this, when liis unfortmiate namesake visited Padua in 1783, he re- quested permission to erect this statue of his great ancestor. The whole scene, chough odd, has a pleasant effect. The form of the Arena, as well as he name which it bears, sufficiently in- licates that it was a Poman amphi- heatre. No traces of seats can be ound, and probably they were con- tnicted of wood, as at Pola. Here and here the Boman masonry can be dis- inguished ; but, in the middle ages, he Roman circuit was, like the amplii- heatre of Nimes and Arles, converted nto a j)lace of defence by tlio noble amily of Delesmanin, who crowned it ' ith ftattlements ; from thence it passed o the Scrovigno fainily, in tlie ])crson f Knrico Scrovigno, the son of Regi- aldf), condemned by Dante for liis 'ury and avarice in the following erses, in explanation of which it must recollected that the hltie sow, the 'rrofa nzzurra, was the bearing of the inily : — , A'. Llaly — 1852. “ E un che d’ una scrofa azzurra e grossa Segnato avea lo suo sacchetto bianco Mi disse : Che fai tu in quest a fossa ? Or te ne va ; e perche se’ viv’ anco, Sappi che ’1 mio vicin Vitaliano Sedera qui dal mio sinistro lianco. Con questi Fiorentin son Padovano.” Inferno, xvii. 64, 70. “And one upon whose purse of argent hue A lusty swine in azure colour stood, Exclaim’d, ‘ In this abyss what doest thou ? Begone, — and since of life thou art not reft. Know, Vitaliano, my rich neighbour there, Shall take his seat with me upon my left, A Paduan I, ’mid Florentines am here.’ ” Wright’s 'Translation. Eni’ico rendered the arena a complete castle f but he did more ; about 1303 he built within its precinct the chapel of Sta. Maria delV Annunciata, com- monly called Santa Maria delV Arena ; but, whether as a domestic chapel, or for the use of the order of the Caval- lieri di Santa Maria, has been much contested. This order of religious chi- valry \yas instituted, not for the defence of the faith in general, but for the worship of the Virgin in particular. They obtained large possessions, and thereuxDon abandoned themselves to wmrldly luxury, wlience they were called Frati Godenti ; but their career of vice and x)rofligacy was cut short b}" qiapal authority ; they were sujipressed, and theii’ jiroperty given to otlier orders. There is not, however, the slightest evidence that the chaxiel was ever ap- X^ropriated to this order, or that the founder was a member of it. The in- scrix)tion beneath his very curious statue in the sacristy, — “ Prox^ria figura Domini Henrici Scrovigni, inihtis de Arena,” — and x^robably x>ut ux> in his lifetime, only shows that he was a knight ; and his dress is merely the ordinary “ abito civile ” of the time. We must, therefore, adopt tlie first supjiosition, that tlie chax)cl,was erected for domestic worshij), and not imx>ro- bably, in the oxiinion of the ])co]ile, for the x)ur])Oso of atoning for his father’s sins. At this ])criod Giotto, then young, was working at Padua, and Scrovigno called him in to raise this fabrii;. It (umsists of a single aisle with a prolonged chancel or tribune, in a simxile Gothic stylo. The unity o 290 Sect. IIL JRoute 26.' — Padua — Giotto^s Chapel. of design apparent in the chapel and in the paintings no doubt resulted from both being designed by the same mind ; and what adds to then’ interest is, that Dante lodged with Griotto when the works were under his hand. Of all the existing productions of Griotto, none are so perfect and geninne, or so truly exemplify the character and beau- ties of his style. The subjects are taken partly from the New Testament, and partly from those additions to the Scriptiu’e history , which were made by the Eomisli Church in what are called the Apocry- phal Gospels. These additions will be easily understood, for the amount of invention shown in them resembles that in the additions which Dryden and Davenant made to the Tempest, of which Johnson remarks, “The effect produced by the conjunction of these two powerfid minds was, that to Shak- speare’s monster, Caliban, is added, as sister-monster, >Sycorax ; and a woman who, in the original play, had never seen a man, is in this brought ac- quainted with a man that had never seen a woman.” When the Virgin Mary was made a goddess, it seems to have been considered necessary to represent her bh’th as having been in some de- gree miraculous. So the events which preceded the birth of St. John the Baptist and Samuel, or occurred in the cliddliood of our Saviom’, were told as having also happened m the case of the Virgin Mary. “ Among the many objects of inte- rest in the old-world town of Padua, Giotto’s chajiel, as it is famiharly and expressively called, stands pre-eminent ; and to the genius of Giotto is the in- terest of tliis little building alone to be ascribed. Standing as the chapel does at the end of a green court-yard, backed by gardens growing vegetable stuff, without a single trace of the monastic buildings which formerly were attached to it, and which with it were, tdl late in the last centy., hermetically sealed from public gaze and curiosity, every asso- ciation which might raise an emotion in the mind is removed, save that which is to be derived from the contem- plation of its internal mural decora- tion. But let those who have so far cultivated a love and knowledge of art, as to appreciate its high capabihties, most carefully study these frescoes of Giotto. They will there find Sacred History illustrated with a dignified as w'ell. as touching shnplicity, eminently befittmg the Divine theme. No artist of any period has been more, if so suc- cessful as Giotto in telling his story in a striking and intelligible manner. Add to this indispensable ingredient in the composition of a great historical painter Giotto’s exquisite feeling for graceful beauty and deeply pathetic expression, and you have the chief qualifications of : works whicli, without using the Ian- | guage of middle-age mania, may be safely pronounced as possessing the very highest interest. Second in con- sideration, but equally remarkable, is Giotto’s skill in ornamental design ; in this light, the chapel may be considered as a perfect model of taste. The beauty of the ornaments, jjarticularly those which divide the walls into panels to receive the various subjects, and the judgment wdiicla has kept everytliing not purely ornamental work fr’om the ceiling, are some of the chief points of excellence, which it is to be regretted have not been, and are not, more fre- quently observed and imitated.” — j. a n. Over the entrance is The last Judg- ment. This is much injured : some of the groups of the blessed have great beauty. The vices of the clergy are brought forw'ard with peculiar promi- nence. In the centre, and not con- nected at aU with the rest of the compo- sition, Scrovigno is represented, offering his chapel, which is accepted by 3 angels. The general series is distributed into 3 ranges, of wliich the uppermost con- tains scenes from the Life of the Virgin, principally from the Apocryphal Gos- pels. 1, Joachim repelled from the Temple % the Priests, because he had not begotten any issue in Israel. 2, Joachim returns to his sheepfolds, and prays during 40 days and 40 nights. 3, the Sacrifice of J oachim. The hand 291 Austrian Dom. Route 26 . — Padua — Giottds Chapel. issuing from the cloud is a symbol of its acceptance. 4, The Angel appears to Anna, and reveals that the prayers of her husband are heard. 5, Joachim’s Vision. 6, The meeting of Joachim and Anna at the gate of the Temple. “And Joachim went down with tlie shepherds ; and Anna stood by the gate, and saw J oachim coming with the shepherds ; and she ran, and, falling on his neck, said, ‘Now I know that the Lord hath blessed me,’ ” — a most grace- ful composition. 7, The Birth of the Virgin. 8, The Presentation of the Virgin in the Temple. 9, The Priests having declared that the marriageable men of the House of David should bring thefr rods to the Temple, and that whosesoever rod should bud was to become the husband of Mary, they come, each man bringing his rod. 10, The Blessing of the Kods. 11, The Marriage of Joseph and Mary : the Vir- gin and the other female figures are graceful. 12, The Marriage Procession. This, perhaps the most beautifiil pic- ture in the series, is the one which has most suffered by damp. 13, The Salu- ation, in two divisions : here the grace which Griotto imparts to his female figures is peculiarly discernible. This compartment is mider 14, and forms the connecting hnk between the Life of he Virgin and that of our Lord, wliich forms a second series. 1, The Nativity, injiu’ed ; but the olouring yet in parts remarkably vigor- >us. 2, The Wise Men’s Offering. 3, Tesus brought to the Temple, 4, The ■^laughter of the Innocents. 5, The Fliglit into Egypt. 6, Our Lord dis- )uting amongst the Doctors ; much in- iu*ed, but some fine heads can yet be nade out. 7, Tlie Baptism in the Jor- lan. 8, Tlie Marriage in Cana of Gra- ilee. 9, The Kaising of Lazarus : a iiagriificent composition ; awe ap- roacliing to terror in the bystanders, (!atli yet struggling with life in the rc- uscitated corjise. 10, The Entry into 'Crusalcm : groujis full of animation ml spirit. 11, Christ driving the loiicy-cliangcrs out of the Temple. The tliirfl series begins with 12, The jast Supper : much ornament, very minutely finished, is introduced into the architecture. Each apostle has a marked and pecidiar dress, either in colour or fashion, which is preserved in all the other paintings in which they are introduced. 13, Christ washing the Feet of the Apostles, a very beau- tiful composition. 14, Jesus betrayed. 15, Jesus before Caiaphas. 16, Jesus scourged and crowned with Thorns. 17, Jesus bearing the Cross : a full composition with some beautiful groups, particularly Mary and her companions pushed back by the Jews. 18, The Crucifixion ; partly allegorical : the thieves are omitted. 19, The Depo- sition from the Cross. In expression tliis is considered the finest of all the existing works of Giotto, wdiether here or elsewhere. The deep and tender affliction of the Virgin, the impas- sioned eagerness of St. John, and the steady composiu’e of Nicodemus and Joseph of Arimathea, are all in accord- ance with their characters. 20, The Besurrection : the figure of St. Mary Magdalene is an admirable personifica- tion of devotion. 21, The Ascension : the Vfrgin is the most prominent figvu'e. 22, The Descent of the Holy Ghost upon the Apostles : singular m its ar- rangement. “ In this chapel, which may be deemed a perfect example of Italian Gothic church-painting, blue is substi- tuted for the gold ground of the earlier painters. The figures are all on a ground of plain blue, and the vaulted roof is painted blue, and is divided into compartments by stripes of ornament, wiiich is of a geometrical character. The paintings on the walls are divided from each other by broad ornamented bands, vertically, and by narrow ones horizontally. All these bands are richly painted with various colours, and the patterns are very beautiful. In the vertical bands are octagonal spaces, witli heads of saints, coats of arms, and subjects composed of 2 figures. The colours have fadeJ, possibly from tlie action of t he light, as some of those on the same side with the windows are much stronger in point of colour than those ojiposite.” — Wilson. O 292 Sect. III. Ptoute 26. — Padua — Giotto’s Chapel. Tlie lowest range of paintings con- sists of allegorical or symbolical figimes, intermixed into arcliitectnral compart- ments, consistmg of imitations of mar- ble, panellmg, &c., Avith borders, exactly like those executed in mosaic upon the tomb of Edward the Confessor in "VYestminster Abbey. This species of decoration seems to have been a favour- ite amongst the Itahan artists of the time of (Tiotto, as it is found in the papal chapel of Avignon, j^ainted in his style, or by his school. Opposite to each virtue is the antagonist vice ; the figm’es are tinted in cliiar’-oscuro. In many the allegory is very hitelhgible ; in others obscure. — Hope: wmged, scarcely toucliing the earth which she is quitting, and eagerly stretchmg for- wards and upwards to the celestial crown. — Despair .* portrayed as a fe- male, who, at the instigation of the Eiend, is in the act of hanging herself. — Charity : a triple flame issues from her head. Ilor countenance is beaming with joy. She holds up her right liand to receive gifts from heaven ; and m her left is the vase from which she dis- penses them. — Dnry : standing in flames : a serpent issues from her mouth, and recoils on herself : she has the ears and claws of a wolf. — Faith : liolcUng the creed, and tramphng on a horoscope : m the other hand she grasps the cross. When w'e recoUect the trust wliich, m the age of Griotto, was placed in astrologers, the boldness of thought which tliis figure discloses will be ap- preciated. Her garments are lacerated and tattered ; this is thought to denote the trials of Eaitli by Poverty. — Un- belief : a Roman helmet upon her head ; in her hand an ancient Iieathen idol, to wdiich she is noosed,- and by which she is ch’agged to the pit. — Justice : a crownecl matron seated upon a throne ; her countenance severe and thoughtful. The scales of the balance which she poises are perfectly even. In one an angel presents a laurel wreath to the good; in the other is the destroyer,, wielding the sword for the punislunent of the wicked. Beneath is a compo- sition with figures hunting, sporting ; apparently indicating the ease and com- I fort enjoyed by those who live under a good government. — Injustice: an elderly man in the dress of a judge, of a harsh and forbidding countenance : he is “ sitting in the gate but the path to liis tribunal is overgrowm wnth thorns and briers, and his fingers terminate in claws. In one hand he holds an un- sheathed sw'ord for punishment ; in tlie other a hook (like that with wdiich de- mons are usually represented), as the emblem of rapacity. In the compart- ment below, travellers assaulted and murdered, indieate, in apparent con- trast to the figures on the opposite side, the miseries of livmg mider an evil government. — Temperance : a female figiu’e fully ch’aped. She holds a sw'ord, but it is bound into the scabbard : a bit is placed in lier mouth — emblem of restraint. — Anger : a hideous crone, tearing her own bosom. — Fortitude : in ancient armour ; the skin of a hon thrown over the armour. She rests tranquilly upon the shield A^diich she opposes to her enemies. — Inconstancy : a young girl, and, with some touch of satire, represented in the dress of a Flo- rentine damsel, falling backwards from a wheel, upon wdiich she tries to balance herself; ui allusion to Ecclus.xxxiii. 5. — • Prudence : sitting at a desk, and contem- plating herself in a mirror. At tlie back of her head is the face of an old man, but apparently a mask, or part of her head-dress, and not a second face, as in the tomb of Sar Pietro Marthe at Milan. Rafael adopt- ed this mode of allegorising the Yir- tues. — Folly : in a fantastic dress, pro bably intended for that of a court fool or jester. The tribune, or choir, is painted wdtl the liistory of the Virgin by Taddeo d‘ Bartolo Sanese. These pictures an much inferior to Giotto. Beliind tin altar is the tomb of Enrico Scrovigno It is very highly finished in the style o the Pisan school. The windows of tli' chapel mostly retain the ancient Yene tian glazing ; small circular panes o thick glass, which adds to its antique effect. This glazing is not now oftei found in Italy ; but it may be reniarket I that one example exists in England, a I Austrian Dom. Route 26. — Padua — Church of the Eremitam. 293 Chester, in a room overlooking the cloisters. The key of the chapel is kept at the dwelling-house in the Arena, where the proprietor resides. Inquiry should also he made for the key of the sacristy, which is often kept locked. The church of the Eremitani is ad- joining the Arena. It is a most solemn and striking building, from its sim- plicity as well as its ornament. It con- sists of a single aisle, lighted from the extremities. The large clioir has some cmnous frescoes, attributed to Gua- j rienti, and remarkable, not only for the j beauty of the design, but for the sin- ' gular mystical and allegorical character which they possess. They consist of the signs of the zodiac, together with the planets ruling the constellations more peculiarly appropriated to them. — The Earth appears crowned with the papal tiara, and placed between In- dustry and Idleness, an allegory of which it is difficult to hit the precise [j meaning. — Mercury is dressed like a I friar. — Mars is mounted on a spirited I steed, painted' with much action. — , Venus is adjusting her attire : and so on ; laU vei'-y strange. — Above are large i I paintings which tvere by the same hand, I j for they have been so worked upon ancl ' "estored, that all the original touches . md much of the outlines may be said 0 be lost. By Mantegna are fine fres- !oes in a large chapel, of wliich they ‘Over the walls. The best compart- nent, though unfortunately damaged, s that representing tlie death of St. *( Christopher, in which Mantegna has introduced himself in the character of !i Soldier, holding a spear in his hand. 'Sqaareione appears as another soldier, ' t n gi'een. Several com]:>artment6 are by \Buono and Ansuino, diseiples of Sqiiar- i-ione; they have great merit, though jnferior to their master. Tbc altar of diis chapel lias several figures of terra- 1 otta, prc])Osterously painted bronze ; >lour. 'J'lic}' are liy Giovanni di Pis-a, i pupil of Donatello. CIcognai’a ranks hem very high for their grace and aovnncTit as well as for the beauty of le drapery. Behind the altar "are i';rc of the same school. The painting over the high altar of the church, by Flumicelli, is a grand composition. It is a votive picture, presented by the city of Padua ; in it is introduced a portrait of the Doge Andrea Gritti. On the altar of the sacristy is a good specimen of Guido : St. John the Baptist. The tombs in this church are in- teresting : none more so than that of Jacopo di Carrara, Lord of Carrara, the friend and patron of Petrarch, who composed the Latin epitaph. The companion to this monument is that of Ubertmo di Carrara (died 1345). Each is beneath a canopy as large as a church portal : the figimes are of the most beau- tiful execution. The countenance of Ubertino, the hard old man, is ex- pressive. AVith the exception of these tombs, there are but few memorials of the once powerful princes of Padua. The extinction of the family is one of the most gloomy scenes in the liistoiy of Venice. After a valiant defence Francesco di Carrara and his two sons surrendered Padua to the A^'enetians (1405) : they were independent princes, nowise subject to A^ enice ; but by the Council of Ten they were condemned and strangled in the dungeons of St. Mark, 1406. Francesco made a des- perate resistance in his eell, but was overpowered, and the Tioble Priuli did not disdain to perform the task of the executioner. The architect of the church is buried over the choir. He is represented by an odd half-length statue, clad in a robe. The splendid monument of Be- navides, professor of law in this univer- sity, is by Animanati : the artist has equally displayed his talents as a sculp- tor and as an architect. Benavides would not trust his executors, and therefore ho erected this memorial to his memory in his own lifetime, in 1546, and ornamented it witli allego- rical figures of AVisdom and Labour, Honour and Fame. In file Ifaii/egna Cliagel lies I’ietro di Abano himself. This church is fhe chapel of flic university, and the stu- dents attend divine service here on Sundays and holidays. As it receives 294 Route 26 . — Padua — Churches — University. Sect. III. them when living, so it is the place of repose for their bodies when dead; and there are many touching inscri^^tions to them niemor}^ In the sacristy is a monument by Canova, to the memory of William Prince of Orange, who died here at the age of twenty-five years. It represents the ever-recimring weeping female figure, near whom is a pehcan. The design has much beauty of form, and it is carefully executed. Near this monument is the remarkable Grothic monumeiit of red marble, erected in 1300 to the memory of Panins de Ye- netiis, and upon which he is represented as lecturmg to his pupils, men as old as himself, and with cowls and hoods ; but, as at Pavia, the dignity of the tutor is preserved by his being repre- sented four times as large as they. Amongst the remaining diurches of Padua the following may be noticed : — Church of Santa Sofia, supposed to be the ancient cathedral of Padua, Some portions of the architecture and sculptures, especially about the prin- cipal portal, are of the 12th century, and are in a rude style. It contains several early pamtings. One, a Virgin and Child, of about the same period, against a pillar, is curious. Church of San Michele : a fragment preserved by the care of a private mdi- vidual, and converted into an oratory. Here is a painting by Jacopo di Ve- rona, dated 1397. It represents the Adoration of the Magi. The pamting has merit in itself ; but its great curi- osity consists in the ]5ortraits wliicli the author has introduced — several members of the Carrara family, Eoc- caccio, Dante, Petrarch, and Pietro d’Abano, The body of the church, which was covered with excellent fres- coes, has been destroyed. Chm’ch of San Gaetano. The fa 9 ade by Scamozzi, and fine. Two good paintings by Maganza, the Adoration of the Magi, and our Lord disputing in the Temple. Church of the Servi. Like most of the churches belonging to this order, Gothic, and with abundance of cmque- cento tombs and paintings, much about the same age. Amongst the tombs, one of the most smgular is a large bronze tablet, erected 1492, to the memory of Paolo di Castro and Angelo his son, supposed to be by Vil- lano. Church of Sta. Maria in Vayizo, erected m the 16th centiuy. The painting over the liigh altar is by Bar- tolomeo Montagna : it represents the Virgin sm’rounded by a host of saints. Our Lord carried to the Sepulchre, I Jacopo Bassano, is a striking composi- tion, The artist, according to liis cus- ( tom, has introduced the portraits of himself and liis family. Annexed to this church is the Semi- ncurio Vescovile, which contains an ex- cellent hbrary of printed books : here is an autograph letter of Petrarch to Jacopo Donch, and other MSS. A printing-press is established here, and the editions, generally of standard authors, which it publishes are good and cheap. ^ Carmini. Several emious monu- i ments of professors in the university. In the Scuola adjoining, now neglected and forlorn, are several paintings of considerable merit, by Ca/inpagnola and Girolamo Padovano, and two which may be by Titian. The University, or, in more ancient language, the Studio of Padua, enjoyed considerable celebrity as early as 1221, when Frederic II. commanded the students of Bologna to forsake their Alma Mater, who had inciucred liis in- dignation, and to resort to the city of Antenor. At first it was pre-eminent in law, and the great Baldus here taught and professed what law^^ers call “ the written reason.” Padua also greatly excelled in medi- cine ; and the medical professorships of the university include some of the greatest names of the 16th and l7tli centuries. Vesalius (1540), Fallopius (1551), and Fahricius ah Aquapendente (1565), and Spigelius (1618). Here Sanctorius taught (1611) ; and, in times nearer our own, Morgagni conti- nued to emulate their honours. The t university, wliich was specially pro- tected and encouraged by the Vene- tians, enjoys most reputation as a Austrian Dom. Route 26 . — Padua — University — Palaces. 295 medical school. It has fom* faculties, theology, law, medicine, and humanities. Each faculty has a Direttore^ a Dean^ and an Anziano, who, together with the Settore, constitute tiie senate. The students vary in number between 1500 and 2000. The palazzo of the University is called it JSb, or the Ox, as it is said from the sign of the mn upon the site of which it stands ; sometliing in the same way that the Hog-market is honoured at Oxford. Others dispute this origin, and ascribe it to some other tradition, and pomt out the figure of the anhnal sculptm’ed on a column within. The building was begun m 1493, at tlip expense of the republic. The interior cortile, by Ualladio, has gveat beauty : the vaultings and walls are entirely covered with the armorial I bearings of the members. This is pro- bably an ancient civil-law custom, for they are hung up hr hke manner in the hall of Doetors’ Commons. At the top of the staircase is the statue of the celebrated Hlena Lucrezia Cornaro Piscopia, who died 1684, aged 48 years. She spoke Hebrew, Arabic, Greek, Latin, Spanish, and Freneh, with enth’e fluency, was a tolerable I poetess, an excellent musician, wrote I mathematical and astronomical disser- f tations, and received a doctor’s degree i from the imiversity. She died unmar- ried, having refused every offer, how- ever advantageous. The library is a richly painted hall. It contains — Roman Emperors, said to be by Titian ; a portrait of Cardinal ZabareUi, ascribed to liim ; and a Petrarch. The Anato- I mical Tlieatre was built by Fahricius ah Aquapendente in 1594. It is the oldest in Europe. Tlie idea is said to have been given by Fra Paolo Sarpi. The collec- tion of anatomical models is worthy at- tention. The collection of natural liis- tory was first founded by Vallisnieri, a name of some rc))ute : the mineralo- gical division is the best. Galileo was profcs.sor of matliematics here for up- wards of ten years ; and in the Gahi- netto fisico tliey exhibit one of the ver- ebne of liis s])ine, stolen by Hr. Cocchi when his remains were removed, i in 1757, to the church of Santa Ci^oce at Florence — a theft displaying an equal absence of good taste and of good feehng. As Padua can show the earhest ana- tomical theatre, so also does she possess the most ancient botanic garden, it having been instituted by the Yenetian senate in 1543, upon the application of the celebrated Prosper Alpinus, who professed at the university in 1545. It is laid out in the ancient formal style ; statues and busts — amongst others, of Solomon and Hioscorides — adorn it. The garden is interesting as containing some of the oldest specimens of trees and plants now common in Europe, the patriarchs of our shrubberies, plantations, and conseiwatories. The cedar of Lebanon, the oriental plane, may be noticed; the latter is pecu- liarly venerable. The magnolias are superb. Padua was the cliief seat of domi- nion of Fccelino da Romano. The castle which he erected has been demo- lished, with the exception of the one tower, through which was the entrance to the dungeons where his victuns suf- fered. It is now tlie Specola, or astro- nomical observatory, and was adapted to its present purpose in 1767. It contains some good instruments from London and Munich. Padua has many solid respectable palaces and fine old houses. Palazzo del Podestd. A neglected but fine building of the 16th century. Within are several curious paintings : — The Emperor Maxhnilian raising the Siege of Padua. — A good Dario Varo- tare, the conclusion of the Alliance between Pope Pius Y., the Yenetians, and Philip II. of Spain. Palazzo Venezze, built by Benavides, who, as before mentioned, raised his own monument to Ins own memoi’y. Here are good frescoes by GuaUieri and Campagnola, and a very remark- able colossal statue of Hercules by Ammanaii. Palazzo Glustiniani, anciently be- longing 1o the Cornaro family. It is from the designs of Falconetto. Ad- joining it is a rotonda, also erected by 296 Route 26. — Mestre — Fusina. Sect. III. Falconetto^ intended for musical enter- tainments, and built by the cbrections of the celebrated Luigi Cornaro, the dietist^ whose treatise on the prolonga- tion of life by sobriety and temperance contains so many usefid truisms, which provoke us by amountmg to practical nullities. It is a very beautiful struc- ture. Falazzo Fappafava. Contains a good collection of paintings ; amongst others, cmdous frescoes brought from suppressed convents. A strange group, in sculpture, of Lucifer and liis com- panions cast down from heaven, by Agostino Fasolata. It contains sixty figures, carved out of one sohd block of marble. The figures are so twisted together that it is difficult to under- stand how the artist could have ma- naged his tools. It is five feet liigh. The artist was employed upon it more than twelve years : it is a wonderful specimen of skill. Tlie Pappafava family are a branch of the Carraras ; but tlie name being thought dangerous by the jealous re- pubhc, they were compelled to exchange it for a sobriquet, borne by some one of their ancestors in the old tune. In the Palazzo Fmo, formerly Capo- dilist a, are some good pamtmgs. Palazzo Lazara a San Francesco. Here are some curious inscriptions. The most remarkable is in characters similar to the Etruscan, and conjec- tured to be written in the ancient Euganean language. Some of the pic- tures bear great names. The library contains a very large collection of MSS. and printed works on the Fine Arts. Theatre. The Teatro Nuovo is opened during a season, wliich is styled “ Fiera del Santo ” of St. Anthony), which begins in June and ends in August. The ancient defences of “ Padova la Forte” are much dilapidated: a few towers remain, and some gateways by Falconetto, in a good style. On quitting Padua the road con- tinues by the side of the Brenta. The banks, in themselves, have little charm, but, as you advance, the views of the Tyrolean Alps become finer, and the villas, though too often dilapidated, give an interest to the road. Pass Stra, near wliich is the Palace of the Viceroy, once belongmg to an old Venetian family, one of the very few in good condition. l)olo. — From Dolo you may take either Mestre or Fusina. There is httle to choose. The road branches off to the two places at about two-thuxls of the way. The road to Mestre is somewhat the longer, but if you come hi late in the evening it is the better station of the two. LTpon either of these roads the views of the Tyrolese A1]3 s continue very fine. The road to Fusina abounds with neat villas. Many of them are Palla- dian. The Brenta’s embankments give it, rapid as it is, the character of a canal. The traveller may, if he chooses, proceed by the barca, with a very mis- cellaneous assortment of passengers j and those "who do not mind roughing it speak of the voyage as alfording much pleasure. I5 Mestre. An active town, con- taining now about 5000 Inliab. (For the road to Venice by Treviso and Mestre, see Rte. 28). The Alhergo Reale, alias the Campana, is tolerably good, but dear. The landlord will, if not resisted, charge 4 fr. for a bedi’oom of the most ordinary description. The carriages, which must be left here or at Padua, are not well taken care of. I5 Fusina has a decent inn, and very good and extensive premises for carriages : whatever you leave there is regularly booked and well taken care of. The charges for the post-boat are as at Mestre, and the same observations apply as to the boats. If you travel vetturino, and take a place in the boat, you pay for a single passenger about 2 zwanzigers. The voyage across the Lagune is interesting. To the N. are the Tyrolese Alps, sometimes bright, but often veiled by a haze, the portions of snow shining bright. Before you the domes and towers of Venice float- ing on the water. Vicenza to Venice by raihoay. — On the 11th of January, 1846, the railway, for the whole distance between Venice Austeian Dom. Koute 26. — Vicenza to Venice — Railicay. 297 and Ticenza, and tlie great bridge across the Lagoon, were “ inaugm*ated,” the railway having been previously open between Padua and the edge of the Lagoon at St. Griuliano. Trains leave Yerona for Yenice 3 times a- day. The hom’s of starting are 7, 11*33, a.m,, and 3j p.m. The time occupied in the jornmey is 3h. 15m. The trains stop at San Martino, Caldiero, San Bonifacio, Lonigo, Montebello, Tavernelle, Yi- [ cenza, Pajana, Padua, Ponte di Brenta, j Dolo, Marano, and Mestre. ! The fares to the prmcipal places : are : — From Yerona to Yenice, 1st class 1 14 lire Austriache 50 c. ; 2nd class, 11 1. 25 c. ; 3rd class 61. 50 c. From ; Padua to Yenice 23 m., 1st class, I 4 1. 50 c. ; 2nd class, 3 i. 50 c. ; 3rcl I class, 2 1. From Yicenza to Padua ! 17 m., 1st class, 3 1. 75 c. ; 2nd i class, 3 1. ; 3rd class, 1 1. 75 c. Fi-om Yicenza to Yenice, 1st class, 8 1. 25 c. ; j 2nd class, 6 1. 50 c. ; 3rd class, 3 1. 75 c. : AU luggage is charged extra ; tlie tariff ; prices depend on the weight and the 1 distance. It is impossible, therefore, I to give them here ; but, as a specimen, j it may be stated that, from Yicenza to I Yenice, luggage weighing more than ' 40 kilogr., i. e. 88 lbs. avofrdp., and j less than 50 kilogr., or 110 lbs., is i charged 2 1. 25 c. ; and when w^eigli- I ing more than 80 kilogr., or 176 lbs., ! and less than 100 kilogr., or 220 lbs., ,]4 1. 50 c. The charges for the same I weights from Yicenza to Padua are I I 1. 25 c. and 2 1. 50 c. ; and for the I same weights from Yenice to Padua, ' ! 1 1. and 2 1. ! The length of the railway, from _ Verona to Yenice is 72 m., ancl from Padua to Yenice 23g m. Between ITroiia and Yicenza it runs nearly parallel to the post-road, having some inconsiderable cuttings. After leaving Vicenza two short tunnels are passed j hrougli, one of which is 295 ft., and I he other 180 ft. in length. The : -ailroad then runs over the level i nuntry a little to the N. of the old j’oad from Vicenza to Padua, and, •kirting Padua on the N. side, runs n a straight line to witliin a short li.'.tance from Mestre, where it curves round to the S.E., and then, bending round in front of the fort of Mal- gliera, reaches the edge of the Lagoon at St. Giuhano. Here begins the great bridge which carries the raifroad over the Lagoon, and enters Yenice on the island of St. Lucia. Its coiu’se is paral- lel to, and a httle S. of, the channel connecting Yenice with Mestre, and it passes close to the fort of San Secondo. This great work occupied 4^ years in construction, the foiindation- stone hav- ing been laid by the Yiceroy on the 25tli of Ap^’il, 1 841, and the last arch having been completed on the 27th of October, 1845. The length of the bridge is 3936 yds., or 2 m. and 416 yds, containmg 222 arches : these are divided into sec- tions of 37 arches each, by 5 solid em- bankments. The centre piece of em- bankment is larger than the other 4. Each section of 37 arches is again sub- divided into 7 smaller sections by 6 double piers, the 2 centre of which are larger than the others, and include 7 arches. The other 6 sections contain 5 arches each. The arches are circular, their span is 10 mMres, or 32 ft. in., with a versed sine or rise of 1*8 metre, or 5 ft. lOf in^ The thickness of the single piers is exactly 1 metre, i. e, 3‘28 ft. The height of the top of the para- pet above the mean level of the water of the Lagoon is 14 ft. The width of the bridge, where it passes over arches, is 29^ ft. The length of each of the 4 lesser embankments, called Piazzette, is 328 ft., their width 56 ft. 5 in. The length of the larger cent ral embankment, called Piazza magyiore^ is 446 ft., its width 97 ft. 10 in. The depth of the wnter through which the bridge is car- ried varies from 13 to 3 ft. The soil of the bottom of the Lagoon, where it is built, is entirely mud. The founda- tion is upon })ilcs driven into the bed of the Lagoon. The jiiers from the platform formed on the heads of the piles up to the impost are of Tstrian stone, the arclies and s})andrils are built of brick, the cornice and parajict are of Istrian stone. Close inside tlie parapet, on a level with the roadway, two chan- nels arc formed for carrying fresh water from the mainland to Ikmii-e. o 3 298 Boute 26. — Venice — Hotels — Bestaurants, Sect. III. It may give some idea of tlie magni- tude of tlie work to mention that, amongst other materials, 80,000 larch piles were used in the foundations, and in the bridge itself 21 millions of bricks and 176,437 cubic ft. of Istrian stone ; and that, on an average, 1000 men were employed daily. It cost 5,600,000 Austrian Ifte, 186,666Z. The bridge was much mjured diming the siege of Venice in 1849., when several of the arches were destroyed, and a battery formed on the Piazza Maggiore. The bridge is traversed by the train in 8| minutes. Three trains leave Ve- nice daily, for Verona, Vicenza, and Padua, at 7T8, and 11, a.m., and 3'4 P.M., and as far as Pajana only at 5T0 P.M. Four trains daily for Treviso at 7T8, lOTO, A.M., 3-4 and 0'40 p.m. As Venice is a free port, luggage is ex- amined on leaving it : tliis is done at the station before starting. VENICE. Itah, Venezia : French, Venise : G^erm,, Venedig. Hotels : The best situated hotel at A^enice is the Alhergo lieale Danaeli, on the Riva dei Schiavoni, It was formerly the Nani-Mocenigo Palace, aiid is at a short distance from tl^ ducal palace. Tlie view from the fi’ont windows over the canal of the Giudecca and the Lagoon is line. In the autimin of 1845 it was enlarged, and there is now a very good table d’hote. Of late complamts have been made of the attendance and charges, which are higher tlian elsewhere at V’^enice, Avith- out greater advantages, except those of a more open situation, over some of the other liotels. In the autmnn mosquitoes arc a great pest at A^enicc, and especially on the Eiva dei Schiavoni, where no provision is made against them by ])a)iacli, in the shape of net curtains, an indispensable comfort. JO JEmpereur d' Aidriche^ Palazzo Grassi, Grand Canal, recently esta- blished, 16 very well spoken of as equal to Danaeli’s hi aU but situation, with more attention on the part of master and seiwants, and more mode- rate charges. Alhergo delV Ettropa, formerly the Giustmiani Palace, near the mouth of the gmit canal, and opposite to the Dogaua del Mare, and therefore close to the Place St. Mark : there is a table d’hote. Alhergo d' Italia^ a new house, at San Moise, on a canal near the Europa and the Feniee theatre. It is well re- commended, but is in rather a confined situation. The Hotel de la A'ille, a new hotel on the Grand Canal. Living here, en peiision, costs 7 francs a day. Alhergo San 3Iarco, in the Piazza San jMaren, a new hotel, kept by Pa- drun, well spoken of, and moderate as to charges. Second-rate Inns. Lima, close to the S.AV. angle of the Place St. Mark ; La llegina dJ Ingldlterra, in a small ca- nal not far from the Post-Office ; La Gran JBretagna, a small hotel on the Grand Canal ; Stella d' Oro, a small hotel and dirty, in Campo S. Alois^, where travellers sometimes go when the other hotels are full. Inferior ho- tels, frequented by the people of the country, are llegina iV Unglieria, Co- rona d' Oro, II Pellegrino, Alla Pizza, Vapore. Restaurants. There are few good at A'enicc : the best is in the Campo G alio, a small piazza close behind the Pro- curatie A''ecchie. It has a sign, in- scribed with the words, “ Caffe JIausJ' The Restaurant Framjais, over the Cafe Militaire, in tlie Piazza San Marco, oi)posite Florian’s, is a new establishment, wliero an excellent din- ner may be had for 3 zwanzigers Others are, JMarseille' s, at the Ridotto, opposite the Europa; il Cavalleito. just beside the Catle Haus ; il Vapore , il Capello. Many sorts of fish are verj good at Venice : Red Mullet (Trigla) ; Anchovies, fresh (Sardelle) ; 'I'urbot (Romho) ; Sturgeon (Storione) ; a larg( fish, called Lissa, is jnuch esteemed ; and Tunny (Tonno), from Aug. to Oct. The native wines are not remarkable : ; those of Concgliano and Vicenza an most esteemed. The best foreign wine at Venice is that of Cyprus. Veniw is excellently well supplied with fruit Austrian Dom. Mtnde 2Q. — V'^enice — Caf^ — Gondolas — Shops. 299 and vegetables from tbe islands of the Lagoon. Cafes, FloHan's has long enjoyed what is called an Em’opean reputation. It is situated in the centre of the Pro-^ cm’atie Nuoye, and is greatly resorted to by travellers. G ahgnani and the French newspapers may be seen there, and breakfasts a-la-fourehette and suppers may be had. Smokhag is not permitted in the rooms : persons who wish to smoke sit in the piazza in front of the Cafe. Close to Florian’s is the Cafe Suttil, frequented by the upper classes of the Venetians. Nearly opposite to Florian’s, m the Procuratie Yeccliie, is the Cafe Quachf the resort of the mili- tary and G-ermans. There is conse- quently no restraint upon smoking there. Itahan ladies rarely enter the cafes ; they take their refreslnnent — ice or coffee — outside. The arcade outside Florian’s is the rendezvous of the Venetian heau monde in the warm summer and autumn even- ings. Gondolas. The tarif is as follows : For a gondola with one rower, 1 zwan^ ziger for the first hour, and ^ a zw, for every succeechng hour. With two rowers double the above price. A gon- dola for the day, 4 zw. if with 1 rower ; if witli 2, 8 zw. If, however, a gondola is taken for the day or several hours, an abatement may be effected by previous agreement, but a buon-mano will be expected. It is a good plan for a traveller, as long as he is occupied in sight-seeing, to hire a gondola by the day, which with one man costs a florin (i. e. 3 zwanzigers). The gondolier is of course acquainted wdth tlie situation of all the objects a traveller wishes to see, and thus saves the annoyance and I cxjiense of a valet de place, j Etuflish Consulate. Mr. Dawkins, j CoiKSul- General ; Mr, Tatam, of the firm of Tatam and Mudie, bankers, San Vitale, Painters. ^fr. Nerly, a Prussian, w liOHc views of Venice are in great re- quest, resides in the Palazzo Pisani, near tin; Jlritish Consulate. IMiss Kinily S<-liniack, an English lady, dis- tinguished by much original talent, has made admii’able copies of many of the best pictures of the Venetian school, and may be heard of at the British Con- sidate. Carlo G-rubas, Calle dell’ Erbe, No. 6120, behmd the Dutch Consulate, also paints small views of Venice, both in oils, and body colour, at a very rea- sonable rate. booksellers. Herman Munster, a very obliging man. Piazza San Marco, Nos. 72, 73, is well supphed with foreign and Italian works, maps, guide-books, &c. Santini and Son, in the Merceria, have the latest pubheations in Italian, Grerman, and French. M^dwines. There is an excellent Enghsh dispensary near the post-office in the Campo San Lucca, No. 3801, and wdiich is in correspondence with Savory and Son, London. The Farmaeia Mantovana al Bedentore, in the Calle Larga, is also good and reasonable. Neivspapers. There is a reading- room at the N.W. angle of the Piazza St. Marco, in the Procuratie Vecchie, where French, Enghsh, German, and Itahan newspapers may be foimd. Per- sons may subscribe by the month or pay for a single admission. Valets de Place. Foim zwanzigers for the first day, and about 3 for the suc- ceeding days, is ample payment. At the churches ^ a zw. to the sacristan is sufficient. At the Doge’s Palace and the Academy somewhat more, but never exceedmg 1 zw. For a general assortment of English goods the best shop is Trauner’s m the Merceria ; he is said to have fixed prices, and to be very respectable. He and his son both speak Enghsh. The best bootmaker in Venice is Polli, wlio lives in the house of tlic Doge ]\larino Fahei'o, SS. Apostoh. Another, nearly as good, and more rea- sonable, is Drog, in the IMerccria, very near the Piazza S. IMarco. By far the best ladies’ shoemaker is Galimberti, tlic Frezzeria. d'hc best satin shoes may be bought here for 5 zwanzigers a pair, i. e. 3^. Ad. Gloves are chea]) and good, especially wdien made to order. The best shoj) is tliat o( Francesco IMilani, in the ]\ler- ccria a 8aii’ Antonio, No. 776, at the erd 300 Route 26.' — Venice — Lagoon. Sect. III. of the fii'st street, passing under the clock tower. His goods pass the cus- tomhouse free. Marcliandes des Modes. Madame Angelique Breant, Palazzo Capello, be- liind the church of St. Mark. Madame Lagache, behmd the Piazza St. Marco, air Ascensione. House-agent. Alessanch’O Rizzini, in the Frezzeria, is strongly recommended. Good lodgings in Yenice are scarce and dear. Steamers, to Trieste, every Monday and Thursday evenmg, and Wechiesday and Saturday morning ; and in summer daily at midnight. Average passage 8 hours. “The celebrated name of Yenice, or Yenetia, was formerly dhfused over a large and fertile province of Italy, from the confines of Pannonia to the river Addua, and from the Po to the Rhetian Alps. Yenetia was divided into Prima and Secunda, of which the first apphed to the mainland, and the second to the islands and lagmies. In the first, before the irruption of the Barbarians, 50 Yenetian cities .flourished m peace and prosperity : Aquileia was placed in the most conspicuous station : but the an- cient dignity of Padua was supported by agriculture and manufactures.” — Gibbon. Yenetia Secunda, placed in the midst of canals , at the mouth of several rivers, was occupied in fisheries, salt-works, and commerce. Yenice owes its existence as a city to the fugitives who, on the invasion of Italy by Attila, sought safety, after tlie fall of Aquileia, from the sword of the Huns, among the neighbouring islands. “At the extremity of the Gulf, where the Adriatic feebly imitates the tides of the ocean, near a hundred small islands are separated by shallow water from the continent, and protected from the waves by several long slips of land, wliich admit the entrance of vessels through some secret and narrow chan- nels.” — Gibbon. This natural break- water, or aggere, as it is termed, extend- ing nearly 80 miles, from Grado to CMoggia, has been formed by the de- posit brought down by countless rivers for ages, in a rapid fall, and not arrested till it meets the sea, where it has raised itself into imjiregnable ramparts (mu- razzi) against the mroads of the waves. Between the Piave and the Adige 6 channels admit a passage from the gidf into the Lagime. Of these the most northern is the Porto di tre Porti, navi- gable only by the very smallest craft. The island of San Erasmo intervenes between this and the second opening, bearing the name of the saint just men- tioned. The Porto di San Nicolo del Lido, a tim’d channel, which is now choked, was formerly the most impor- tant, and might be called especially the Port of Yenice. Southward from this strait the island of Lido, and the long sandy Littorale of Malamocco, extend- ing for nearly 2 leagues, form an out- work in front of tlie city, and are dis- joined from the similar barrier of Peles- trina by the Porto di Malamocco, at present the deepest channel. At the southern extremity of Pelestrina opens the Porto di Chioggia, taking its name from the town to which it leads. To- wards the land the islands are protected, partly by the channels of the great rivers, the Isonzo, the Tagliamento, and the Livenza, flowing from the Ju- lian Alps ; the Piave, the Musone, the Brenta, and the Adige, swollen with the snows of the Tyrol; and the Po, charged with waters both from the Alps and Apennines ; and partly by a yet more powerful defence, in a bed of soft mud covered with water not exceeding for tlie most part 1 or 2 ft. in depth. This expanse (the Lagoon) is navigable only by skiffs drawing a few inches water : but wherever it is traversed by any of the estuaries of the rivers, or by canals excavated for the purpose, it is navigable for ships of considerable burden. The navigation however is intricate and dif- ficult. Many of the principal channels are now marked out by piles driven in singly, or several together, at certain distances, along the edge of deep water. The islands withm the barrier are scat- tered through various parts of the La- goon ; some divided from each other but by narrow channels ; others more remote, as so many outposts. The chief island, called Isola de Rialto (which is Austeian Dom. Route 26 . — Venice — Bridges — Canals. 301 abbreviated from Jdivo alto — tbe deep stream), had long served as a port to Padua, and a few buildings for naval purposes had been constructed upon it. The fall of Aquileia, and the self-banish- ment of the neighbomdng inliabitants of Concordia — Opitergium, now Oclerzo — Altinum, TLOY^AUino — and of Patavium, now Padua — occmTed in the year 452 of our era : but as early as 421 a chm’ch dedicated to St. James had been erected on the island of Rialto, and a decree had issued from Padua for forming a town on it, and collecting there the stragghng inhabitants of the neighboiu’- ing island, under the government of annual magistrates with the title of con- suls. Sabellico has preserved a tra- dition that the earhest buildings of this town were raised on the very spot now occupied by the cathedral of St. Mark, and that the first fomidations were laid on the 25th March. Venice is built upon 72 islands or shoals, the foundations for the build- ings being formed with piles and stone. It is divided into two unequal parts by the Canalazzo^ or grand canal, whose course through the city is in the fot'in of an inverted S, and is also divided in all directions by 146 smaller canals, crossed by 306 public bridges. One bridge only crosses the Grand Canal, that of the Rialto. These bridges are frequent, and being steep are cut into easy steps : the bridge of the Rialto is necessarily the steepest. Tlie bridges are so numerous, and so well placed, that there is no part of tlio city — that is to say, no house — wliich cannot be walked to ; but many of the finest buildings, as on the Canal Grande, can only be seen from the water, out of wliich they rise. A gon- dola is tlierefore all but indispensable to the stranger. “ The small canals, or rii^ as they are termed, wliicli are bestrid by these bridges, are the water-streets of Venice ; but tliere is no part of citlicrof the two divisions to wliicli you may not also go more directly by land, through narrow jmssages called cate. There are, hc- side.s, several small squares, entitled cconp/^ or fields. “ The most considerable houses of Venice have each a land and water door ; but many, being built in the interior of these shoals, can have no immediate access by water. This is a considerable inconvenience, as it limits the use and comfort of a gondola, “ There is sometimes a wharf or a footway along the banks of the rii (called a riva), and usually secured by a parapet, bored for a wicket ; but the rii oftener extend from house to house, and these then consequently rise on either side from out of the water. The same may be said of the Grand Canal as of the rii, though here and there is a small extent of terrace or riva, in front of the houses .” — Letters from the North of Italy. As a general description of Venice, that of Rogers is pleasing, and was correct, but the railroad has superseded the passage from the mainland in a gondola, and, though it may jar with the prejudices of some, presents a scene not less singular. “ There is a glorious city in the sea. The sea is in the broad, the narrow streets, Ebbing and flowing ; and the salt sea-weed Clings to the marble of her palaces. No track of men, no footsteps to and fro. Lead to her gates. The path lies o’er the sea, Invincible ; and from the land we went, As to a floating city — steering in, And gliding up her streets, as in a dream, So smoothly, silently — by many a dome. Mosque-like, and many a stately portico. The statues ranged along an azure sky ; By many a pile, in more than eastern pride. Of old the residence of merchant-kings ; The fronts of some, tho’ Time had shatter'd them, Still glowing with the richest hues of art. As though the wealth within them had run o'er.” The Venetians have laid aside the pecidiarities of dress whi(‘h marked their nationality in their days of inde- pendence. The national dresses, the red Taharro of the men and the black Zendale of the Avomen, so often men- tioned in Goldoni’s plays, have entirely disap])carcd. The gondolas still retain unchanged their black funeral ap})oar- tincc. Conjurors, storytellers, and Punch, may still be often seen on the Riva dci Schiavoni. “The Venetian dialect, or rather 302 Route 26 . — Ve?u'ce — Trade — Port. Sect. Ill, language, was formeiiy so much che- rished as a token of uationahty, that the speakers in the Senate were com- pelled to employ it to the exclusion of the Tuscan or Volgare. It possesses gi’eat softness and pleasantness of sound, and bears somewhat the same relation to the Volgare that the Portuguese does to the Castihan ; the consonants are ehded, and the whole softened down ; as m Faclre^ Pare ; Madre, Mare ; Figlio, Fio ; Casa, Ca ; and some have regretted that it did not pi’evail instead of its more fortunate sister. It is softer and more winning than the Tuscan, though it faUs far beneath it in dignity and force. The judgment, however, of a foreigner is of little weight. It has had better testi- monies borne to its merits by Bettinelli, and a host of Itahan writers who may natiumlly be supposed to have had a nicer and more cUscriminating sense of its perfections. In all the hghter and gayer walks of poetry it is dehghtful ; and the Venetian verse is, compared with the verse of other nations, very much what Yenetian painting is as to that of the rest of Eiu’ope.” — Pose's Letters. The manufactures of Venice are the glass-works, m which are produced magnificent mirrors, beautiful artificial pearls, gems, and coloured beads, &c., employing about 4500 men ; the wo- men and clnldren are employed in the various manufactm-es — beads, jewellery, gold and silver chains, gold and silver stuifs, silks, laces, and velvets ; soap, earthenware, wax and spermaceti caudles, sugar refineries, &c. Printing is more extensively carried on in this than in any otlier city of Italy ; and books form a considerable article of export. Ship and boat building is car- ried on to a considerable extent at Venice and Chioggia, The inhabitants are not, however, fully employed ashore, and a great number depend on fishing and on navigating the vessels belonging to the port. The latter, exclusive of fishing-boats, amount to about 30,200 tons of shipping, employed chiefly in the coasting trade. The entrances to the port of Venice are intricate ; the best ship entrance is by the channel of Malamocco, outside of which, in the Gulf, there is good anchorage. It is absolutely necessary to have a pilot to enter. Those of Venice are skilful and always on the look-out for ships. About 500 A'essels, exclusive of small coasters, frequent tills port annually. Its trade is not actuall}^ on the decline, but for many years its mcrease has been remarkably slow. The railroad fi-om Milan to Venice will probably increase the trade of the latter, but not so far as to raise its commerce and navigation to that of a place of fii’st-rate importance. Milan and Lombardy generally receive foreign products, chiefly by transit, from Genoa. The du’ect trade between England and Venice consists, annually, of cargoes of pilchards and other fish, several of coal, and a few of manufactm’ed goods. Venice is a free port, and most of the articles for the use of the citizens are admitted duty free. There are, however, small duties levied to raise funds to defray the municipal expenses. Goods of various descriptions are im- ported from Venice, and carried chiefly by contraband into the Papal states, and into the kingdom of the Two Sicihes. There is also a considerable trade carried on from Venice to Dal- matia, Albania, and parts of Greece, The Imperial Dockyard, formerly the famous dockyard of the Republic, is kept in excellent condition, and con- tains all that is required for the con- struction of ships of war. Within a few years past very exten- sive moles or dams have been formed, Avith stone brought from I stria, at the Malamocco mouth, in order that by narroAvmg the Avaterway the scour of the water flowing through might deepen the channel. The plan has been up to the present time successful. Vessels drawing 15 ft. now enter by this pas- sage without difficulty, and without waiting for a spring-tide. There is a continued ebb and flow of the Avater of the Lagoon at Venice, the rise and fall being between 2 and 3 ft., so tliat, when the water is loAvest, the Lagoon in some directions appears a vast expanse of Austeiax Dom. Route 26 . — Venice — Piazza of St. 3^ark. 303 mud. This is particularly observable oil looking westward over the Lagoon from the neighbourhood of the bridge whichL crosses the canal leading to the Ai’senal, It is liighly probable that tlie ori- ginal deptli of the Adriatic was very great, but at present its greatest depth between Dalmatia and the mouths of the Po is 22 fathoms, and a large part of the Gulf of Trieste, and the Adriatic opposite Venice, is less than 12 fathoms deep. This de- crease in its depth is caused by the quantity of deposits brought down by the numerous rivers which flow mto the head of the Adriatic. This shoal- ing of the water in its neighbourhood, and the intricacy of tlie entrance to its port, render the approach to Venice at night dangerous, and prevent it being adopted as the port for landing the overland mail coming from Alexandria, although it is well situated in respect of the shortest road across the Alps of the Tyrol. Its superior position to Duino for this pm’pose has, however, been strenuously maintained, and the difficulties of entering the port denied in some recent Venetian publications. The centre of business and amuse- ment at Venice, and the spot which a traveller usually fii’st visits, and most often revisits, is the Piazza of St. Marie. With tliis it will be therefore better to begin. On the E. side stands the chm’ch or basilica of St. Mark. On the N. or l.-hand side of a person standing in the middle of the Piazza, and look- ing towards the church, are the Procu- ratie Vecclde, formerly inhabited by the procurators of St. Mark. On the S. side, or opposite to the last-men- tioned building, are the Procuraiie Kuove. Towards the W. the Piazza fonnerly extended only as ffir as a mark in red marble let into the pavement, near tlio Kith arch of the Niiove Pro(;nratie, counting from tlie angle behind the campanile. This red mark indicates the position of a canal, on the hank of which formerly stood the Chttrek of Si. Giminiano, said to have been built by Parses in the Gth centy. In the 12th centy. the canal was filled up and the church pulled down to afford space for enlargmg the Piazza. The church was rebuilt on the spot on wliich now stand the vestibule and staircase of the Palazzo Regio m the centre of the W. side of the Piazza. The church was rebuilt and decorated in the 16th centy., from the designs of Sansovino., who was afterwards birried in one of the chapels. This church re- mained until 1809, when it was pulled downi to make room for the present building, and Sansovino’s remains were removed to S. Maiuizio. The length of this Piazza is 576 ft. ; its greatest width, ^. e. from the corner close to the campanile to the opposite side, 269 ft. ; its least width, wdiich is at the W. end, 185 ft. At right angles with the Piazza, at its eastern end, is the Piazzetta, ex- tending from near the base of the campanile to the Molo or quay formed along the edge of the canal, from the garden of the viceroy’s residence to the extremity of the southern front of the Doge’s palace. On the W. side of the Piazzetta stands the Pih- lioteca Antica, and on the E. the Ducal palace ; and on the Molo, near the southern end of the Piazzetta, stand the two famous granite columns. A large flock of pigeons will always be seen frequenting the Piazza and the neighboiming buildings. They have existed there so long, that thefr origin is forgotten ; various explanations have been offered, too long and too unsatis- factory to insert here, to account for their existence, and for their having been fed at the expense of the govern- ment. They are protected by the almost superstitious care and affection of tlie Venetian people. San Marco. This church did not become the cathedral until tlie year 1817, when the patriarchal seat was removed to it from San Pietro. Lntil that jieriod it was, in fact, the Ducal Chapel, founded, as it should seem, in the year 828, by the Doge Giustiiiiano Participazio, for the jmrjiose of receiv- ing the relics of St. Mark, which had then just been translated, or rather, in 304 Route 26. — Venice — Cathedral of San 3Iarco. Sect. III. plain English, stolen from Alexandria, by Bono, the “ Tribune ” of Mala- mocco, and Bustico of Torcello, These remains were deposited in the Chapel of St. Tlieodore : but the popiilar ve- neration was transferred, apparently without hesitation, from St. Theodore to the Evangehst, whose symbol be- came the emblem, and almost the palladium, of the repubhc ; and the too humble Clnu’ch of Narses was de- molished to make room for the more splendid edifice of the newly chosen protector. Giustiniano died, leaving the cliurch unfinished ; but it was com- pleted by his hehs, and stood until destroyed in the conflagration which terminated the life and reign of Pietro Candiano, 976. Pietro Orseolo I., the successor of Candiano, was the founder of the pre- sent edifice. The foundations were laid in 977 ; but nearly an hundred years elapsed before the shell was com- pleted, under the reign of Domenico Contarini, 1043. Many precious adorn- ments, and in particular the mosaics, were added by the Doge Domenico Salvo, 1071 ; and it was not conse- crated till the time of Ordelaffo Ealiero, on the 4th October, 1111. Although it has been disputed to which of the several eras of construc- tion the present Basilica is to be ascribed, and whether or not it is to be considered as a specimen of Byzantine art, it may be without much doubt said that the original design has un- dergone httle alteration, and that it was due to Greek architects, or to artists who had studied in the school of Constantinople and the East. “ The plan of St. Mark’s, like that of Santa Sophia, is a Greek cross, with the addition of spacious porticoes. Tlie centre of the budding is covered with a dome, and over the centre of eacli of the arms of the cross rises a smaller cupola. All the remaining parts of tlie budding are covered with vaults, in constructing which the Greeks had be- come expert, and which are much to be preferred to the wooden roofs of the old Basihcas. “ Colonnades and round arches sepa- rate the nave from the aisles in each of the fom* compartments, and support galleries above. The capitals of the pillai’s imitate the Corinthian, and are free from tlie imageiy which at that time abounded in other churches of Italy. It is computed that in the decoration of tins budding, without and within, above 500 pillars are employed. The pdlars are aU of marble, and were clnefly brought from Greece, and otlier parts of the Levant. Whilst St. Mark’s was building, every vessel that cleared out of Yenice for the East was obliged to bring back pdlars and marbles for the work in which the republic took so general an interest. “ The defect of the interior of St. Mark’s is, that it is not sufficiently fight. The windows are few in pro- portion to the size of the budding, Ilich, therefore, as the interior is, it is gloomy to a fault, m spite of the bril- liant rays of a southern sun .” — Gaily Knight. In the fa9ade are two rows of co- lumns of Yerd-antique, porphyry, ser- pentine, and other marbles, some with Armenian and Syrian inscriptions deeply engraven, and showing by then’ various sizes and proportions that they were not executed for the positions in winch they now stand, but have been brought from older buildings. Several tablets of ancient sculpture are inserted in the exterior walls. They are of various ages and nations. One on the N. side, in the small place of the lions, appears to be in Persian style, and represents Proserpine, a female holding a torch in either hand, and riding in a chariot draAvn by tAVO serpents or dragons, and of which a duplicate will be found at San Donuno, near Parma. In the corner op^AOsite the Palazzo is mserted a remarkable group of four full-length figures, said to have been brought from Acre, sculp- tured in dark purple porphyry, striking from the peculiar colom' of their polished surface, and from their posi- tion. It is very evidently a group of the LoAver Empire, probably of the age of Theodosius j but the absence of any Aust. Dom. R. 26 . — Venice — Cathedral of San Marco. 305 inscription, as well as of any know- ledge of its original locality, forbids any further conjectures. Five large mosaics fill the recesses over the door- ways. Beginning on the rt. of the spectator, the subject of the first and second is the removal of the body of St. Marc from the tomb at Alexandria, executed in 1650, from the designs of Pietro Veccliio : of the centre the sub- ject is the Last Judgment, executed by Pietro Spagim from the drawings of A. ZancM in 1680 : the next recess contains the Venetian Magistrates ve- nerating the body of St. Mark, designed by SeJjn. Rizzi, in 1728 : the last recess contains the most ancient of these mosaics, a work of the 15th century, representing the church of St. Mark. Four mosaics occupy the semicfrcular gables above, beginning with that which is above the one last mentioned in the lower row : they represent the Taking down from the Cross, the Descent into Hades, the Besm-rection, and the Ascension, by Luigi Gaetano^ 1617, from the drawings of Majfeo Verona. The archivolts of the centre doorway, and of the portal wliich encircles it, are embossed with Prophets and Evan- gelists, allegorical representations of the months of the year, trades and labours ; to which, witliin and without, must be added several of those mystical figures which have been so often de- scribed, of lions and other beasts, de- vouring or prostrating human creatures. Some of the smaller apertures in the lower story of the church are filled with slabs of stone pierced in patterns, in a very Oriental style ; others have Gothic tracery. Tlie elevation is also tcnninated by Gothic work, tabernacles, crockets, finials, filled with and bearing statues great and small. The celebrated bronze horses, formerly gilt, stand over the central ])ortal of the vestibide, in a situation which renders it (lifUcuit to see them well eitlicr from below, or when having ascended to the level on which they stand. They were brouglit from the II ii)j)()drome at Constanti- nople, being part of the share of the \'e- nctians in the ])lunder when that city was taken I»y the Crusaders in the foiu’th crusade. “ Wliile almost every church throughout Christendom re- ceived a large accession to its reliquary from the translated bones of saints and confessors, scarcely one monument of ancient skill and taste was thought worthy of preservation for a similar purpose. The Venetians afford a soh- tary exception, in the removal from the Hippodrome of the foim horses of gilt bronze, which, except durmg thefr short visit to Paris, have ever since crowned the western porch of the Basihea of St, Mark. Antiquaries hesitate concerning the date and even the country of these horses ; for by some they have been assigned to the Eoman school, and to the age of Nero ; by others to the Greeks of Chio, and to the school of Lysippus. According to their most generally received history, Augustus brought them from Alexandria, after liis conquest of Antony, and erected them on a triumphal arch at Rome : Fence they were successively removed by Nero, Domitian, Trajan, and Constan- tine, to arches of their omi ; and in each of these positions it is believed that they were attached to a chariot. Constantine in the end transferred them to liis new capital. It may be added to then* story, that, when recon- veyed to Venice in 1815, the captain of the vessel selected for tliis service claimed descent from the great Dan- dolo.” — Sketches from Ven. Hist. They are not in the highest style of art, and Cicognara says that the casting in the making of them was ill managed, and that the artist was compelled to finish them up by many solderings. The A-alves of the five dooi’s of the vestibide are of bi-onze : on tliat next to the centre door, on tlie 1. hand as you enter, is an inscription, show’- ing that it was executed in the year 1800, by BertucciOy a Venetian gold- smith. L^jum entering the vestibule, which extends along the wliole front, by the central door, there is seen in the pave- ment a lozenge of reddish marble, marking tlie spol^ where Pojie Alex- nndei’ 111. and the Ihnperor Frederic Barbarossa wore, on tlie 28rd July, 306 Route 26. — Venice — Cathedral of San Marco. Sect. III. 1177, reconciled, througli the inter- vention of the Yenetian repubhc. The Pope, it is said, placed his foot upon the head of the prostrate Emperor, repeatmg the words of the Psalm, “ Thou shalt tread upon the lion and adder.” TJie vaulting of the vestibule is covered Avith mosaics, and around the walls stand numerous cohunns of pre- cious marble, brought from the East. Among the mosaics may be noticed St. Mark, in pontifical robes, over the centre door of entrance to the cliurch. It was executed in 1545 by Francesco and Yalerio Zuccato, from the designs of Titian. Opposite to tliis is the Crucifixion, by the brothers Zuccati, in 1549. The Pesiu’rection of Lazarus, the Annunciation, the Eour Evange- lists, the Eight Prophets, the Angels and Doctors in the frieze, are also by the Zuccati. This vestibule opens, on the rt. hand, into the Ca^ella Zeno, in which is the splendid tomb of Car- dinal Zeno, cast in 1505-15, from the moidds of the two Lombardi, Pietro and Antonio, and of Alessandro Leo- nardo. There are foiu’ finely worked columns of bronze, and tlu’ee statues in the same material — one called Ma- donna della Scarpa, St. John the Bap- tist, and St. Peter. Of the three doors which open from the vestibide into the church, the centre one, and that on the 1. of the centre on entermg by the centre door, are Yenetian works executed between 1100 and 1130. That on the rt. is said to be of Gireek workmanship, and to have been carried off from. S. Sofia at Constantinople in 1203. On it are some Greek inscriptions. The interior is very rich : the walls and columns are of precious marbles, the vaultmg is coA^ered with mosaics with gold grounds, and the pavement is of tessellated marble. This mar- queterie in marble, called by tlae Ita- lians vermiculato, is not only remark- able for the beauty and richness of the patterns, but for the symbols and alle- gories supposed to be contained in the various devices. The following are given as instances : — The roimd, AA-eU- fed, sleek Lion on the sea, and the lean, meagre Lion on the land, denoted what Avoidd be the fate of Yenice if she deserted the profits of her maritime commerce for the vamglories of ter- ritorial conquest. Two cocks carrying off a fox indicate the conquest and captm’e of tlie crafty Ludovico Sforza by the two Gallic monarchs Charles YII. and Louis XII. It would be useless to attempt to describe the sub- jects of the mosaics ; in some cases they are clear, in others they liaA^e never been explained. Over the cen- tral door is an ancient mosaic of the 11th centiuy, the Yfrgin and St. Mark. Entering by tins door, on the rt. hand, is a basin for holy water, of porphyry ; the base supporting which is an ancient altar of Greek Avorkmanship, represent- ing dolphins, &c. Fm’ther on the rt. is the chapel of the Baptistery, adorned with marbles, bas-reliefs, and mosaics, nearly all executed about the year 1350. In the middle is a marble basin, with a bronze cover adorned vfith bas-reliefs executed by Tiziano Minio, and De- siderio da Ffrenze, pupils of Sansovino, in 1545. On the top of the cover is a statue in bronze of St. John the Baptist, by Francesco Segalla, in 1565. Against the Avail in this chapel is the monument of the Doge Andrea Dandolo, who died in 1354. He was the last doge Avho Aras buried in St. Mark, the senate having decreed that no doges shoidd in future be buried in St. Mark. He was the fi'iend of Petrarch, the first his- torian of Yenice, descended from the celebrated blind hero of tlie fourth crusade, and the forndh doge of his name. Beturning to the church, near a pilaster, by the X. transept, is the chapel of the Cross, with a small tri- bune svq^ported by six columns ; that nearest the altar on the epistle side is the most valuable in the church, being of black and white porphyry, an ex- ceedingly rare specimen. At the end of the X. transept is the Chapel della Madonna de’ Mascoli, of Avliich the marble altar is a work of the early Pisan school ; the statues of the Madonna, of St. Mark, and St. Aust. Dom. it. 26 . — Venice — Cathedral of San Marco. 307 John are of the school of Nicolo Pi- sano ; the angels in front are of a later date. The mosaics in this chapel ai’e among the finest ; they represent tlie history of the Yrngin, and are by Michiele Griambono, in 1430. This artist was one of the first who aban- doned the stiff and dry manner of his predecessors. On the wall above the entrance to the chapel of St. Isidore, and to the rt. of that of the Yirgin, is a curious mo- saic, representing the genealogical tree of the Yirgin, executed in 1542, by Bianchini, from the designs of Salviati. The choir and its divisions rise in triple ascent. It is parted from the nave by a rich roodloft or screen, after the G-reek fashion, surmounted by four- teen statues executed by Jacobello and Bietro Paolo dalle Massegne (1394), pupils of the Pisan school. The pres- bytery contams the high altar, standing under a Baldacchino, supported by four columns, entirely covered with bands of sculpture, G-reek in style, and supposed to be of the 11th century, but with inscriptions in the Latin character and language. The bands, nine upon each column, contain the principal events and traditions of the G-ospel history, from the Maniage of St. Anna to the Ascension. At the sides of the high altar are eight bronze statues — the four Evangelists by San- sovino, and the four Doctors attributed to G. Caliari. There are two altar- pieces, or “ Pale.” The interior one is not seen unless request is made for that purpose. The outer “ Pala” is in four- teen compartments, by Messer Paolo and his sons, in 1344. It is more Greek and stiff than contemporary works at Florence. This covers the Pala dl Oro, or leone Bisantina, one of the most remarkable specimens now existing of Byzantine art, made in 976 at Constantinople by order of tlie Doge Pietro Orseolo ; but repaired by Fuliero 1105, by Pietro Zani 12^9, and lastly by Andrea Dandolo 1315. By all these processes it has gained in splendour, but it has lost in autheu- t icily. It exhibits a mixture of what we may call Gothic art. yome of the inscriptions are in G-reek, some in Latin. The material is silver gilt, en- circled with coarse gems and enamels. The leters are in niello. The represen- tations of sacred personages and sub- jects are of the usual description : some are from a legendary hfe of St. Mark, The most curious are of the Doge Fa- liero and the Empress Irene. The Pala is now arranged in tlmee panels, folding horizontally ; but according to its original plan, it appears to have been placed upon the altar. Taken as a wl;.ole, it is inferior in workmanship to the goldsmith’s work and enamel of Lombardy, France, or Gfermany, at any of the periods to which it belongs. It has lately been thoroughly cleaned and put in order, and the part already done was in 1845 to be seen in the Trea- sury, mentioned afterwards. Behind the high altar is another, now called the Altar of the Holy Sacrament. The bas-rehefs are by Sansovino. It stands, like the great altar, under a Baldac- chino, supported by four pillars fluted in spirals, and said to have been brought from the Temple at Jerusalem. They are of oriental alabaster, semi-trans- parent, so that the hght of a taper shines through them. By the side of this altar is the en- trance to the sacristy, closed by the bronze door, upon which Sansovino is said to have exercised his skiU during twenty years. The subject is the Death and PesLUTection of our Lord. In the border are introduced small busts, starting forward with exceeding life and vivacity. Three of these are por- traits — of Sansovino, of Titian, and of the mfamous Aretino, Aretino was the intunate associate of these artists : whether they liked the vices of the man, or courted liim from the dread of his pen, the connection is equally discredit- able to their memory. The expense was defrayed by Federigo Contarini, one of the procurators of St. Mark. Sansovino has authenticated the work by subscribing his name. The Suer is fg is a noble apartment, and was ])robably used also as the cha])lerhousc for the canons of the Basilica. The coved roof is richly 308 Route 26. — Venice — San Marco — Clock-Tower. Sect. III. covered with mosaics. The best are St. George and St. Theodore, by Zuc- cati after Tintoretto. The presses and seats are of inlaid and veneered wood, or, as it is here called, intarsiatura. Those by Fra' Sehastiano ScMavone are considered as amongst the best of this species of art. In tlie S. transept is a door open- ing into the Treasury of St. Mark, situated between the transept and the Baptistery, and wliich is carefully kept under lock and key, and can only be seen, except by special permission, on Friday, at about midday. It is divided into two departments, one containing sacred reliquaries, the other objects of art. This treasury became at various times very opulent, and formed a sort of reserve fund on which the state drew in great emergencies. In 1797 most of the available objects were turned into money, and the valuable objects of art whicli remain are deposited at tlie Zecca or Mint, with an intention, it is said, of arranging them in some convenient place in the library of St. Mark. The other department, which contains the sacred objects, contams some very fine specimens of Byzantine workmanship. The collection of rehcs is rich, and some of the objects are rare, as a bit of the dress of our Saviour, a small quantity of earth which imbibed his blood, a bit of the pillar to wliich he was bound wdien scoiu'ged : there is a portion of the genuine cross, of course. In front of St. Mark are the 3 bronze pedestals, in which are inserted tlie masts from which were once proudly pendent tlie three gonfalons of silk and gold, commonly supposed to signify the three dominions of the republic — Venice, Cyprus, and the Morea; or, as some say, their portion of Constan- tinople and of the Eastern empire. The gonfalons, after having given way to the tricolor, are now replaced by the Austrian standards. These masts were formerly inserted in wooden framework, as may be seen in a picture by Gentile Bellini, re^^resenting this end of the Piazza, in the Academy. Of the pre- sent beautiful bronze pedestals, one was placed there by Paolo Barbo, a Pro- curator of St. Mark, in 1501 ; the others were added by Loredano, 1505. All were the workmanship of Alessandro Leonardo, — sea-nympbs and Tritons, elaborately finished and excellently de- signed. To the rt. on coming out of St. Mark is the Torre delV Orologio, or tower of the clock, so called from the dial which shines in the centre, resplendent with gold and azure, the sun travelling round the zodiacal signs wliich decorate it, a,nd marking the time of twice twelve hoiu’s. Above are two figures of bronze, called by the people Moors, wlio beat the said hours upon the bell. They strike the hours twice over, the second set of strokes at an interval of five mi- nutes from the first. In a writer of the last century there is a story of one of these bronze men havmg committed miuMer, by knocking an unfortunate w^orkman, wlio stood within the swing of the hammer, off the pai’apet. The Virgin of gilt bronze, and, above, a gigantic lion of St. Mark, upon an aziu’e and stellated ground, decorate the two upper stories. Pietro Lorn- hardo w'as the architect of the tower, j 1494. The clock, as appears by an ] inscription beneath it, was made by | Giovan’’ Paolo Rinaldi of Reggio, and j Gian Carlo, his son. Having been i injured by lightning in 1750, it Avas restored by Eerracina of Bassano, in 1755, for the sum of 8500 ducats of silver. The wings to the tower, which are of tlie architecture of the school of Pietro Lombardo, were added at the ; beginning of the 16th century. Beneath the tow-er of the Orologio is the entrance to the Merceria, the part of Venice wliich exhibits most pros- ■ perity. Here are the principal shops ; and the best retail trade carried on in the city is nearly all concentrated in this quarter. The streets about the Merceria, and through whicli you may thread your way to the other main land of the Rialto, are very narrow and much crowded. Beyond this toiver the Procuratie Vecchie, standing upon 50 arches, forms nearly the entire N. side of the piazza. This fabric was raised by Bartolomeo Bitono di Aust. Dom. R. 26 . — Venice — Procuratie — The Palace. 309 Bergamo, in 1500, and was intended for the habitation of the procurators of St. Mark, who were reekoned amongst the most important dignitaries of the republic. They were originally the church- wardens or trustees of San Marco, having the care of the fabric, and the management of its property ; Bartolo- meo Tiepolo, elected in 1049, being the oldest upon record. With the increase of the riches of San Marco, their numbers were augmented, till at length they were increased to about 34, and the enlargement of the board, or tribunal, was accompanied by a great extension of their powers. Amongst other duties, they constituted a court of orphans, being their official guardians and trustees. The proeura- tori were in such liigh repute for their mtegrity and good management, that it was a common practice for parents in other states of Italy to appoint them executors of their wills. And, gene- rally speaking, the doge was elected from this body. The office was held for hfe, and, as the republic declined, a certam number of the places were sold as a means of filhng the coffers of the state. This practice began during the disastrous war of Candia. They had two prices : the old nobility paid 30,000 ducats (worth about 5 francs each) for their gown, the new 100,000. Amongst the latter class of purchasers was Ottavio Manin, the ancestor of the I last doge of the republic, and imder whom it expired. For the accommo- dation of the increasing numbers were ereeted the Procuratie Nuove, the older ^ edifice not being sufficiently splendid or convenient for their use. This building is in the lower stories a conti- ' nuation of the Biblioteca : Scamozzi, to wliom it was intrusted, adopting for I the most part the design of Sansovino, added a third story. “ For this upper order of the Procuratie Nuove Sca- mozzi has often been unjustly I’e- proaclied, because lie did not confine i liimsclf to two stories, so as to complete Ithe design of Sansovino. The design I of Scamozzi, liad it been continued in ithe Piazza Sun Marco, would have placed in the background every other piazza in Europe. The two lower stories of the Procuratie Nuove are similar in design to the Library of St. Mark ; and it is greatly to be regretted that Scamozzi was so much otherwise occupied, that he had not the opportu- nity of watching the whole of its exe- cution, which woidd have extended to 30 arcades, whose whole length woidd have been 426 ft. Scamozzi only su- perintended the first 13 ; the 3 built by Sansovino excepted, the rest were trusted to the care of builders rather than artists, and, from the little atten- tion bestowed upon preserving the profiles, exhibit a neghgence which in- dicates a decline in the arts at Venice.” — Gwilf. The seulptures here are elegant, particularly the foliaged frieze of the Ionic story, interspersed with sea-gods and sea-nymphs. These Procuratie Nuove w'ere con- verted into a palace by Eugene Beau- harnois, and now constitute the Pa~ lazzo Reale. This palace is continued along the western side of the Piazza by a facade built by the French govern- ment, agreeing, to a certain extent, with the magnificent structures of which it is a continuation ; but having rather a heavy attic, and not very skd- fully united with the older building. To make way for this addition to the palace the church of San Geminiano, one of the finest works of Sansovino, and his burial-place, was demolished. The history of the church of San Gle- miniano is ciu’ious. It was first founded by Narses upon ground by the side of the campanile, and now forming part of the piazza, which was enlarged to its present extent by the demolition of the aneient fabric. This took place under the dogado of Vital’ Michele; and the consent of the pope was soli- cited, but not obtained. ‘ ‘ Tiie apos- tolic see may pardon a wrong after it is committed, but never can sanction it beforehand,” was the reply. A(;ting upon this guarded reply, they demo- lished tlie church, and rebuilt it u])on the site which it afterwards occupied. Blit yearly the Doge came forth with Ids train to moot tho parisii jiriost, 310 Sect. III. Iloute 26. — Venice — Library of St. Mark. Tivlio, standing upon tlie desecrated spot, demanded of liis serenity tliat he would be pleased to rebuild the cburcb upon her old foundations. “ iNext year,” was the reply of the Doge ; and thus was the promise renewed and broken imtil the repubbc was no more. The second cburcb of San Geminiano, faibng into decay, was replaced, about the year 1505, b}' the structm’e which has recently disappeared. The palace contams some good paintings, dispersed in its several apartments : amongst others, in the octagon saloon, Tintoretto, the Adora- tion of the Magi, and Joachim chaven from the Temple, a legend not in holy writ. In the chapel, Albert Durer, an Ecce Homo. — Francesco Bassano, the Presentation in the Temple. Se- veral very clever pieces, and some showy modern frescoes, by JELayez and other modern artists. The W. side of the Piazzetta is occu- pied by the Bihlioteca Antica, now part of the Palazzo Eeale, and united to the builduigs of the Piazza. The donations of the MSS. of Petrarch and of Cardinal Bessarione induced the Senate to build the hbrary in 1536 ; a task which they intrusted to Sanso- vino, who, in 1529, had been appointed architect to the republic. Petrarch ajopears to have contemplated his visits to the Lagoon with no ordinary satisfac- tion ; and, in order more substantially to testify liis grateful sense of the frequent hospitahty of the republic, he offered his hbrary as a legacy. In 1362, while the plague was raging at Padua, he had fixed his abode at Venice, wliich was free from infection ; his books ac- companied him, and, for their convey- ance, he was obliged to retain a nu- merous and extensive stud of baggage horses. On the 4th of September in that year he wrote to the Senate, — “ I wish, with the good-will of our Sa- vioim, and of the Evangelist himself, to make St. Mark heu* of my librai’y.” His cliief stipulations were, that the books should neither be sold nor dis- persed, and that a building should be provided in which they might be se- cure against fire and the weather. The Great Council gladly accepted tliis liberal donation, and addressed its thanks in terms of courtesy (perhaps not exaggerated, if we remember the times in which they were widtten), “ to a scholar unrivalled in poetry, in moral' pliilosophy, and in theology.” A jDalace, which belonged to the family of Molina, and, in later years, was converted into a monastery for the nuns of St. Sepulclme, was as- signed as a residence for the poet, and as a depository for his books. This collection, which formed the nucleus of the now inestimable H- brary of St. Mark, though by no means extensive, still contained many treasures of ,no small price. Among them are enumerated a MS. of Homer, given to Petrarch by Nicolaus Sigeros, ambassador of the Greek Emperor ; a beautiful copy of Sophocles ; the entire Iliad, and great part of the Odyssey, translated by Leontio Pilato, ancl copied in the handwriting of Boccac cio, whom the translator had instructec in Greek ; an imperfect Quinetdian and most of the works of . Cicero transcribed by Petrarch himself, wh( professed most unboimded admiratioi for the great Homan philosopher. Th Venetians, to their shame, grievous! neglected the poet’s gift. When Tc masini requested permission to inspec the books, in the early part of the l7t centiu’y, he was led to the roof of S Mark’s, where he found them, to u^ his own words, “ partly reduced t dust, partly petrified ” — dictu mirun. in saxa mutatos ; and he adds a cat;, logue of such as were afterwarc rescued from destruction. About century after the establishment of th, first public library in Venice it w; largely increased by the munificence Cardinal Bessarione, who, as patriar( of Constantinople, possessed freque opportimities of securing MSS. of gre rarity ; and afterwards by that of Pr j lessor Melchior Wieland, a native Marienburg, who, out of gratitude f benefits conferred by the republic, 1 queathed it his collection in 1389. ■ now contains about 60,000 vols., whi ; in 1812 were transferred from the P - J ; - I. ■ V. J t C »MJm- Jrn^' Aust. Dom. R.2Q . — Venice — The curatie jSTuove to the splendid saloon in the Ducal Palace, no longer re- quired for the assemblies of the G-rand Council. “ The library of St. Mark is a build- ing of noble design, notwithstanchng the improprieties with which it is re- plete. It consists of two orders, — the lower one of higlily ornamented Doric, and the upper one Ionic, and very graceful in effect. Of both these orders the entablatures are of inordi- nate comparative height. The upper one was expressly so set out for the piupose of exlubiting the beautiful sculptures with wliich it is decorated. The cornice is crowned with a balus- trade, on whose piers statues were placed by the ablest scholars of Sanso- vino. A portico occupies the ground- floor, which is raised three steps from the level of the piazza. This portico consists of 21 arcades, whose piers are decorated with columns. In the inte- rior are arches corresponding to the interior ones, 16 whereof, with their internal apartments, are appropriated for shops. Opposite the centre arch is a magnificent staircase leading to the hall, beyond which is the library of St. Mark. The faults of this building, which are very many, are lost in its grace and elegance ; and it is, perhaps, the chef -d' oeuvre of the master. Whilst Sansovino was engaged on it, he pro- pounded an architectural problem, which reminds us very much of the egg of Columbus: — ‘How can the exact half of a metope be so contrived as to stand on the external angle of the Doric frieze ? ’ The solution, clumsy as that of the navigator with bis egg, practised in this building is however a bungling absurdity, namely, that of lengthening the frieze just so much as is necessary to make out the lefieiency.” — Owilt. The interior dc- •orations are in keeping with the cxtc- •ior. Tlie ceiling of the great hall in .vhich the books were deposited is illed with very fine ornaments in 't iifco, and with paintings by the best V enetiaii artists. Three eompartmeiits ire by Puulo Veroyiese. Other objects re — Tinloretloj St. Mark delivering a Zecca — Lion of St. Mark, 311 Saracen, and the furtive exportation of the relics of St. Mark from Alexan- dria, and the grand staucase ; the latter has fine ornaments in stucco by Vittoria, The Zecca, or Mint, adjoins the Bib- lioteca, on the Molo. Built by Sanso- vino, it is a noble specimen of Italian rustic- work, above which are two orders, Doric and Ionic. Brom this building, the Zecchino, the ancient gold coin of the republic, acquired its name. The Cortile of the Zecca is by Sea- mozzi. Here is a singular figure of an Apollo, by Cattaneo, holding a golden ingot.' This figure has been censimed as inappropriate ; but, without doubt, the sculptor considered Apollo, or Sol, as the alchemical emblem of the noble metal. In the Zecca are preserved some of the articles of curiosity formerly be- longing to the treasury of St. Mark. At the southern extremity of the Piazzetta are the tivo granite columns, the one surmounted by the lion of St. Mark, the other by St. Theodore, exe- cuted by Pietro Gruilombardo (1329). These columns so completely formed a part of the idea of Venice, that they were copied in most of the cities sub- ject to their dominion. St. Theodore stands upon a crocodile : his head is covered by a solid nimbus. In his 1. hand he wields a sword ; a shield is on his rt. arm. This is considered, says Francesco Sansovino, as symbolical of the temper of our republic ; and that she exerts her strong hand for her own defence, and not to attack others. St. Tlieodore Tyro was, as his surname imports, a young soldier, a S}vian, who suffered martyrdom under the perse- cution of Maximin, and was much honoured by the Eastern Church. Narscs, after expelling the Osti’ogoths, visited (a.d. 553) the rising republic of tlic Venetians — for Venice, properly so called, did not then exist — -and built a cliurcli or cliapcl in liouour of St. Tlie- odore, now included in the church of St. Mark ; and St. Tlieodore continued the jiatron of the rejmblic \iulll St. Mark obtained the popular veneration in his stead. The lion sullercd during the repub- 312 Sect. III. Route 26. — Venice — Columns — Campanile. lican rule of the Trench. From the book wliich he holds the words of the G-ospel were effaced, and '•^Droits de V Somme et dii Citoyen ” substituted in their stead. Upon this change a gon- dolier remarked that St. Mark, like all the rest of the world, had been com- pelled to turn oyer a new leaf. The lion was afterwards removed to the In- valides at Paris ; and thus, as French writers now admit, by tliis foohsh translation the Piazzetta was deprived of a monument which, without any peculiar merit as a work of art, was of the greatest value as a liistorical featcme of this interesting city. It was re- stored after the fall of Paris. The capitals of the columns speak their Byzantine origin. Tlrree were brought from Constantinople. One sank into the ooze as they were land- ing it ; the other two were safely landed on the sliore ; but, as the story goes, there they lay, no one could raise them. Sebastiano Ziani (1172-1180) having offered as a reward that he who should succeed should not lack any “ grazia onestaC a certain Lombard, nicknamed Nicolo Barattiero, or Nick the Blackleg, offered his services ; and he placed the columns on their pedes- tals. Nicolo claimed as his reward that games of chance, prohibited else- where by the law, might be played with impunity between the columns. The concession, once made, could not be revoked ; but the legislature enacted that the public executions, which had hitherto taken place at San Griovanni Bragola^ should be inflicted in the pri- vileged gambling spot, by which means the space “ between the columns ’’ be- came so ill-omened, that even crossing it was thought to be a sure prognosti- cation of some fatal misfortune. At the other end of the Piazzetta, where it abuts upon the Basilica of San Marco, are some more curious relics of ancient times. The Stone of Shame, a species of pedestal upon which bankrupts stood, and were cleared from their debts after making a cession of their property, ac- companied by certain humiliating cere- monies. The square piers of St. John of Acre, originally forming part of a gateway in that city, and brought to Yenice, as some say, by Lorenzo Tiepolo, when he took the place in 1253. Other accounts tell that they were conveyed hither in 1291, by the merchants and colonists who fled from Acre when it was taken and destroyed by the Sidtan of Egypt, According to another account they be- | longed to the church of St. Saba. I They are covered with fretwork and inscriptions, apparently formed of mo- i nograms, which have never been ex- I plained : and, whatever may have been ■ their origin, they are of great curiosity , and antiquity. Near the angle of the Piazza and i' Piazzetta stands tlie great Campanile tower of St. Mark. This building was ; begun in 902, under the government of Domenico Tiepolo, but it was not car- ried up to the belfry until the time of , Domenico Morosini (1148-1155), whose epitaph is so ambiguously worded as to claim the honour of the entire edifice. The ascent is by a continuous inclined plane, which winds romid an inner tower which is hollow or open. The present belfry, an open loggia of four arches in each face, was built in 1510, by Maestro Buono ; the whole being ' surmounted by a lofty pyramid. The prospect hence is magnificent. A watchman is stationed in the belfry, who at stated times beats the great bell; i and who, when not so employed, per- ; forms the usual duty of explaining th( ' prospect. The height of the Campanilf is 323 ft., and it is 42 ft. square at th( base. At the foot of the campanile i‘ the very beautiful and much criticisec ' loggia of Sansovino, built about 1540.1 ornamented with four statues — Pallas' Apollo, Mercury, and Peace — cast ir ' bronze by him. The order is a fancifu ! Composite. The columns are of rid marbles. The elevation contains severa bas-reliefs in marble, of which the thre principal are in the attic, and represen in the centre Yenice as Justice, with two rivers flowing at her feet : on tin I rt. of the spectator, Yenus — the symbo,l of the Island of Cyprus; on the 1 ■ 1 Jupiter — the symbol of Crete. Th ■ Austrian Dom. Route 2G. — Venice — Palazzo Ducale. 313 two bas-reliefs also beneath the bronze figures, on the side towards the fiag- stafis, are much admired ; the subjects are, the Fail of Helle from the E-am of Plu’jxus, and Tetliys assisting Leander. The interior, which was used as the station for the Procuratori commanding the guard during the sitting of tlie Con- siglio Grande, has a Madonna by San- sovino. Falazzo Ducale. On the eastern side of the Piazzetta stands the Doge’s Pa- lace, or Palazzo Ducale, The southei-n front extends along the Molo as far as the canal which separates the latter from the Riva del Schiavoni. The first palace which was built on tliis spot was in 820. This having been destroyed in a sedition was replaced by another, built about 970, by the Doge Pietro tJrseolo. This last was, 150 years after- wards, destroyed by a great fire, which consumed a third of Venice. A second fire having destroyed the palace, its reconstruction began under the Doge Marino Faliero (1354-5) ; the architect, or at least the designer, bemg Filijppo Calendario ; according to modern his- torians the Filippo Calendario who ^ap- pears as a chief conspirator in Lord Byron’s tragedy. That a person so named did take an active share in the plot, and that he was hanged wdth a gag in iiis mouth upon the red pillars of the balcony of the palace from which the duke w’as wont to view the spectacles in the Piazzetta.^ is unquestionable ; but the contemporary chronicle describes ’lim as a seaman ; and it should seem that the real Filippo, at least the real artist, died in the precedmg year whilst employed upon his works. Many por- tions, however, are earlier than his time; and many important additions, includ- ing the very beautiful entrance called the “Porta della Carta,” are of the iext or 15th centui’y. A great deal, particularly the fagades of the cortile vitbin, is much later — the interior of bo building having been exceedingly liiniaged, or rather reduced to a shell, )V^lwo successive fires, in 1574 and 577. All the principal apartments '•on' destroyed by these conflagrations. Bit lie paintings of Giovanni Bcllino. Car- I N. LLali) — 1852. paccio, Pordenone, and Titian, repre- senting the triumphs of the republic and the heroes of her annals, together with the vast halls whose walls they covered, perished in the flames. The efforts made for extinguishing the fire were, in a great measure, ren- dered ineffectual by the torrents of molten lead which flooded down upon the surrounding crowds. The walls were calcined and riven. One corner of the building had fallen, several co- lumns and arches w ere shattered ; and Palladio, wdao w'as consulted with other archif;ects, maintained it would be dan- gerous, if not impracticable, to attempt the re-insertion of the floors. Palladio, in giving tliis opinion, proposed to re- build the whole palace in a more nniform and elegant modern style. That his genius thus employed would have pro- duced a beautiful and magnificent struc- ture, cannot be doubted. But after much consideration in the Senate, it was determined not to innovate, but to re- tain the fabric as much as possible in its ancient form. In the repairs and alterations, how'ever, of the interior cortile, the Itahan style is a good deal introduced. The plan of the building is an irre- gular sc[uare : the sides fronting the Piaz- zetta and the Afo/o, on a line with the Riva dei Schiavoni, are supported upon double ranges of arches. The colmnns of the lowest tier of arches are partly imbedded in the pavement, the level of which was raised (1732) about a foot, in consequence of the inundations to which the Piazzetta and Molo were sub- jected, which gives them an undeserved appearance of clumsiness. They are raised, however, not upon bases but upon a continued stylobate, as dis- covered some years ago wlien the piaz- zetta was repaired. It appears, from mimerous observa- tions made with great care, that the mean level of sea at Venice rises about 3 in. in every century : so that, as these columns liave been erected five centu- ries, about 15 in. of the lower }iart of them arc now concealed, owing to tlie rejieated and necessary elevation of tlie pavement. V 314 Sect. HI. Route 26. — Venice— Before tlie fire both the upper and lower loggia were only separated from the main cortile, as well as from the Piazza and Piazzetta, by ranges of open arches, but now this is closed. The whole of the loggia towards the Molo, and the first six of the columns on the side of the Piazzetta, were raised by Ca- lenclario ; the remainder by Maestro Harfolomeo, between 1423 and 1429. The capitals, executed by the former and liis pupils, belong to the 14th cen- tury ; tliey, together with those exe- cuted by the latter, are curious for design and execution. They contain figures and groups, allegorical or em- blematical of good government and the due administration of the law ; such as the legendary story, so pojDular in the middle ages, of the Justice of Trajan, the Seven Sages, and a long train of analogous imagery. The 9tli and 10th of the u]3per tier in the Piazzetta, reckoning from the angle at the door of entrance, called the Porta della Carta^ are of red marble ; from between these two columns sentences on criminals were proclaimed. Dr. Moore, writing from Venice about 20 years previous to the end of the republic, says, “ The lower gallery, or piazza, under the pa- lace, is called the Droglio. In this the noble Venetians walk and converse ; it is only here, and at council, when they have opportunities of meeting together, for they seldom visit openly, or in a family way, at each other’s houses, and secret meetings would give umbrage to the state inquisitors ; they choose there- fore to transact their business on this public walk. People of inferior rank sel- domremainon the Broglioforany lengtli of time when the nobility are there.” The large window towards the Molo is rich in figures and bas-rehefs, exe- cuted about 1404 either by Maestro Bartolomeo or under his directions ; and tlie other large window, towards the Piazzetta (1523-1538), is as remark- able in its kind, having been executed by Ttdlio Lombardo and Guglielmo Bergamasco : all are wrought with the greatest care. The principal entrance of tlie Palazzo is from the Piazzetta through the Porta della Carta. The -The Rogers Palace. inscription “ Opus BartholomsDi ” over the arch (about 1429) declares the name of the architect. It possesses great symmetry and delicacy. Opposite to, and seen through, the Porta della Carta is the Giants’ Stair- case, the Seal a dei Giganti, erected towards the end of the 15th century. It derives its popular name from two co- lossal statues by Sansovino, Mars and Neptune, fine, and noble in their atti- tudes, which stand on either side at the head of the stau’case. The portals and arehes are inlaid and incrusted with the finest marbles, most delicately worked, by Bernardo and Domenico di Mantua ; and the steps themselves arc inlaid with a species of niello, or intar- siatura of metal. The Scala dei Gi ganti almost runs down into a fine portal on the opposite side, built b} Cristoforo Moro in 1471. It is a vei*} curious specimen of a peculiar transi tion style. Tlie statues of Adam anc Eve are by Antonio Bizo of Verona and are considered as having suiq)asse( all previous productions of the Veneto i Lombard School. ! «En the courtyard are two fine! sculptured bronze wells, one execute' by Nicolb di Marco in 1556, the othe by Alfonso Alherghetti in 1559. 0 the 1. hand, when ascending the Giant Staircase, is a beautiful fa9ade of stories in height, by Guglielmo Bergc masco, forming one side of the Con de’ Senatori. The ceremony of tl coronation of the Doge was ancient performed at the head of the staircas Turning to the rt. at the top of tl stairs, against the wall of the logg i may be observed an inscription let in the wall, commemorating the visit Henry III. of France to Venice in 157 and the openings of the terrible lioi mouths, the heads having been knock away. Passing along the loggia y find near the end the great stairca I the Scala d’ Oro. Sansovino had a cc | siderable share in its construction. 4 | ornaments in stucco are by Alessano I Vittoria, and the paintings by Franc I the whole was completed about i I year 1577. There was much difficu ’ I in conforming this staircase to the p 1 1 Austeian Dom. Route 26. — The Doge's Palace — -Paintings. 315 of the building. The adaptation of the fretwork to the cove of the ascend- ing roof is particularly skilfid. After ascending 2 flights of this staircase a large store on the 1. hand gives admis- sion to the suite of rooms which occupy the facades of the Palace on the side of the Molo and Piazzetta. The first room entered is an antechamber, now filled with books, and containing over the door leading to the great liall a portrait of Paolo Sarpi, attributed to Leandro Bassano. From this room you enter the Sala del Maggior Consiglio. This truly magnificent room, 175^ ft. long, 84^ broad, and 51^ ft. high, was begun in 1310, and completed in 1334. It was afterwards painted by Titian^ Bel- ling Tintoretto, amd Paul Veronese. The fire of 1577 destroyed this hail and the adjoining one, deUo Scrutinio, and i all the wmrks of art they contained. It is now the Regia Bibliotheca di San Marco, or Marclana, the libraiy of the Republic having been transferred here from the old Library in the Piaz- zetta in 1812. It is open from 10 till 1 o’clock. The decorations of this hall of the G-reat Council remain unaltered, and the splendid paintings which de- corate the walls are proud mementoes of the opulence and power of the republic. In the history of art they ! are remarkable for a circumstance which had considerable influence on art. They are amongst the earliest large speci- ; mens of oil painting upon canvas, a , material first employed by the Yene- tian school. On the rt. as you enter, ] that is, upon the wall at the E. encl [ii if the hall, is Tintoretto — Paradise. Damaged and jj ilackened by time and picture-cleaners, ret still powerful and impressive, hougli confused in the composition ; aid to be the largest picture ever •ainted upon canvas, being 84j ft, in ^ v'idth, and 34 ft. in height, f Proceeding rouiid the hall, beginning vitli the picture next to this, at the E. lid of the N. wall, the paintings occur ■i 0 the following order. On the N. i 1. Carlo iiwiX Gahriello Cagliari, sons of Paolo Yeronese, Pope Alexander III. discovered by the Doge Ziani and the senate in the convent of La Carita, where he had concealed himself wdien flying from Frederie II. in 1177. Ac- cording to one historian he vras dis- guised as a scullion, according to another as a poor priest ; in the painting his dress rather resembles the latter. Ba- ronins takes great pains to refute this legendary story, considering it as dero- gatory to the character of the pontiff, and he is particularly angry with this painting. It is full of action. The groupl in the gondola in the foreground is good. 2. By the same. The Embassy de- spatched with powers from the Pope and the Republic to the Emperor ; a small composition cut in two by co- lumns, one in the light and the other in the shade : the groups are animated. 3. (Above the window.) Leandro Bassano. The Pope presenting, the lighted taper to the Doge. By this act the Doge and his successors acquired the privilege of having such a taper borne before them : cmnously mo- dernised in costume. 4. Tintoretto. The ambassadors meet Frederic II. at Pavia, praying liim to restore peace to Italy and the Chm’cli, when he made the proud answer, “ that unless they delivered up the pope he would plant his eagles on the portal of St. Mark.” The principal figures, the two ambassadors, have great grandeur. 5. Francesco Bassano. The Pope delivering the consecrated sword to the Doge previous to his embarkation, and from which the Doges enjoyed the privilege (as it is said) of caiising this mark of dignity to be carried before them until the extinction of the Re- public. The scene is placed in the Piazza of San IMarco, of which it is a representation as the buildings now existing stood at the end of the IGth century, jircvious to the not very nu- merous alterations which they have sustained. 6. (Above tlic window.) Fiammingo. The Doge deiiarts from Venice receiv- ing the Pope’s blessing. 7. Domenico Tintoretto. The great r 2 316 Route 26. — Venice — The Doge's Palace — Faihtings. Sect, III. naval battle wliicli took place off Pirano and Parenzo in Istria, when the Im- perial fleet was entirely defeated, and Otlio, the son of tlie Emperor, taken prisoner, an event wliieh induced Fi*e- deric to treat for peace. It is, however, rather unfortunate to be compelled to recollect, when looking at this picture, that it is a mere piece of national boast- ing, inasmuch as it appears, from the absolute silence of all contemporary writers, that no such battle was ever fought. In the foreground is a Pisan galley, which the Yenetians are in tlie act of boarding from the Doge’s vessel, upon wliich floats the banner of St. ]\Iark. Tlie details of armour, cos- tume, and equipment are curious. 8. (Over the door.) II Vicentino. Otho presented to the Pope. 9. Jaco 2 )o Pahna. The Pope re- leases Otho, and allows him to repair to his father. The principal group is good ; the others are affected and irre- levant. 10. Zaccaro. The Emperor sub- mitting to the Pope. This painting is amongst the finest in the series. Amongst other beautiful passages is the group of the lady and her little boy. The motlier is impressing lier child with tlie awful veneration due to the Pontiff. Less harmonious are the semi-heroic figures in the angles, which approach to extravagance. 11. (Over the door.) Girolamo Gam- herato. The Doge, who had co-operated so strenuously in the Pope’s cause, having embarked with him and the Emperor, they land in Ancona on their way to Rome. On this occasion, ac- cording to the Venetian historians, or rather legends, the Anconitans came out with two umbrellas or canopies, one for the Pope and the other for the Emperor, upon wliich the Pontiff de- sired that a third sliould be brought for the Doge, who had procured him the consolation of peace. To this act of distinction the Yenetians ascribed the umbrella borne over the fiead of the Doge on grand occasions, as shown in some of Canaletti’s pictures, but which was in truth probably only a fashion borrowed from Constantinople. The three umbrellas, which are very prominent in the painting, and Avhich, without doubt, are accurate represen- tations of those seen at Yeiiice, are quite oriental in their fashion. On the AY. side of the hall, beginning with the pictm'c next to that last men- tioned, are, 1. Giulio del Moro. Consecrated banners bestowed upon the Doge by the Pope in the church of St. John Lateran ; a composition in which the story is remarkably ill told. In the foreground are some strange grotesque figures, in particular a dwarf (without doubt, a portrait) leading a dog. 2. (Between the 2 Avindows.) Paolo Veronese, a fine work. The return of the Doge Contarini after the great naval victory gained by the A^enetians over the Genoese off the classic pro- montory of Antium (1378) ; a victory which, however, did not prevent tlie Genoese from entering the lagoons in what was called the AAm* of Chiozza, and reducing A^enice to the last ex- tremity, 3. L' Aliense. Baldwin receives the croAvn from the hands of the Doge Dandolo. In a figuratiA'’e sense this is ti'ue, for, the dignity having been offered to Dandolo, he rejected it ; but, his- torically speaking, it is untrue, inas- much as he Avas croAvned by the hands of the legate. On the S. side of the hall are, 1. (jS'ext to the last picture.) 11 Vicentino. BaldAvin elected Emperor of the East by the Crusaders in the church of Sta. Sophia. 2. Pomenico Tintoretto. The second conquest of Constantinople by the Crusaders and the Yenetians (1204), which was followed by the pillage and conflagration of the city. 3. J. Palma. The first siege and conquest of Constantinople by the Cru- saders (1203), the assaidt being led on by the Doge Dandolo, blind, and more than 90 years of age. 4. II Vicentino. Alexis, the son of the dethroned Emperor of Constan- tinople, Isaac Angclus, implores the aid of the Yenetians on behalf of his father. In point of fact, “his cause Austrian Dom. Route 26 . — The Doge^s Palace — Paintings. 317 was embraced and pleaded by the Mar- quis of Montferrat and the Doge of Venice. A double alliance and the dignity of Csesar had connected with the imperial family the two elder bro- thers of Boniface : he expected to de- rive a kingdom from the important service ; and the more generous ambi- tion of Dandolo was eager to secm*e the inestimable benefits of trade and dominion that might accrue to his coun try . ” — G-ihhon. 5. (Over the window.) Domenico Tintoretto. The surrender of Zara, 6. Vicentino. Assault of Zara (1202) by the Venetians, commanded by the Doge Dandolo and the Crusaders. j 7. De Clerch. The alliance between 'the Venetians and the Crusaders, con- cluded in the church of St. Mark, 1201. The ambassadors on the part of the Crusaders were Baldwin Count of Flanders (afterwards Emperor), Louis Count of Blois, G-eofirey Count of Perche, Henry Count of St. Paid, Simon de Montfort, the two Counts of Brienne, and Matthew de Montmo- •ency. The ceiling is exceedingly rich with tainting and gilding. Three larger )aintings are placed in a line down the entre of the ceiling. That nearest to he great picture of Paradise is by Paul '^eronese, and represents Venice amid he clouds and crowned by Gloryi The I entre pictm’e, wdiich is oblong in form, i by Jacopo Tintoretto., and consists f two parts : above, Venice is seen mong the Deities ; below, the Doge a Ponte with the senators is receiving i eputations from the cities who tender llegiance to the republic. The third icturc, answering in position to the rst, is by Jacopo Palma : the subject Venice seated, crowned by Victory, ad surrounded by tlic Virtues. Some ’ the smaller paintings are worthy of •ing pointed out. Two octagonal pic- ires, on either side of the first men- oned oval, arc by P. Verone.se. As )u stand with your back to the ])ic- re of Paradise, the octagon on tlic . rc))resents the taking of Smyrna ; at on tlie 1. the defeiurc of Scutari, le two beyond these are by Francesco Passano ; the subject of that on the rt. is the Venetian Cavah’y routing the army of the Duke Visconti : of that on the L, the Victory of the Venetians over the Duke of Ferrara. There are three octagonal pictui’es on each side of the last oval by Palma. The two middle ones are by F. Passano ; that on the rt. (relatively to the same ];)Osi- tion as before) represents the victory gained by Vittore Barbaro over the Duke Visconti ; that on the 1., the victory of G-eorge Cornaro over the G-ermans. Round this chamber is the cele- brated frieze of portraits of the Doges, with the black veil covering the space Avhich should have been occupied by the portrait of Marino Falieri, with the weU-known inscription. These por- traits are, many of them, by Tintoretto., who must of course have painted the earher ones from fancy. Besides the books several pieces of ancient sculpture liave been placed here, some of which are of great merit, e.g. a group of G-auymede and the Eagle, which has been attributed to Pliidias, an opinion in which Canova concurred. Others are, a small statue of Apollo, resembling very much that in the Poggio Imperiale at Florence. The librarian has the custody of the splenchd Greek Cameo, found at Ephesus in 1793, called the Jupiter A^giocus, and the celebrated Map of the World, drawn in 1460, by Fra Mauro, showing the surface of the globe according to the state of knowledge at that time. A corridor connects this hall with the Sala dello Scrutinio, which occu- pies the rest of the fa(,‘ade towards the Ihazzetta. The principal door is a triumphal arch erected in ]69t to Francesco Morosini, surnamed 11 Pc- loponnessiaco, from his having con- (piered the Morca. 1 1 is ephemeral con- (piest is now })rincipally recollected as coiniectcd witli tlic destruction of the Parthenon. The three oilier sides are adorned with historical jiictures; be- ginning on the rt. hand, supposing you to have cntereil by this arch, the sub- jects are as follows: — 318 Boute 26 . — Venice — The Doge’s Palace — Paintings. Sect. III. I. II Ticentino. Pepin, tlie son of Charlemagne and King of Italy, pre- paring for the attack of Tenice, or rather of the islands of the Lagoons (809) ; and 2, his defeat in the Canale Orfano^ which hence derived the tra- ditional name it still retains, in conse- quence of the numbers who were ren- dered fatherless by the slaughter. 3. Santo Peranda. The Caliph of Egypt defeated by the Yeuetians. 4. Ih Aliense. The Capture of Tyre by the Crusaders and the Venetians, (1124), under the Doge Domenico Mi- chielli, when he dismantled his sliips, so as to leave the crews no choice between death and victory. 5. Marco VeeeUio. The defeat of Eoger Kmg of Sicily, by the Venetians (1148). 6. On the wall opposite to the tri- umphal arch is a large picture of the Last Judgment, one of the best works of Jacopo Palma. 7. Tintoretto. The takmgof Zara in 1065. 8. (Above the window.) Yicentino. The taking of Cattaro. 9. Ticentino. The battle of Curzo- lari, on the feast of St. Griustina (1571). 10. Pelotti. The demolition of Mar- garitino. II. Liberi. The victory gained in the Dardanelles over the Tiu’ks by Mocenigo (1639). The frieze of Doges is continued and concluded in this apartment. Many are by Tintoretto. The last Doge, Manini, under whom the republic ])erished, has recently been placed here. There are also several fine historical paintings in the ceihng, the best of wliich is an oval in the line of the centre of the ceiling, and at the end of the room next to Palma’s Last Judg- ment. It is by Francesco Passano. and represents the Capture of Padua by night. Returning to the staircase and as- cending to the top of the Scala d’Oro, a door on the 1. hand opens into the suite of rooms which fiU the upper story on the eastern side of the build- ing. The first ix)om is the Atrio rpiad- rato^ of wliich the ceiling ivas painted by J. Tintoretto. Erom tliis you enter the Sala delle quatfro porte ; so called from the four doors, designed by Pal- ladio, remarkable for then* symmetry. The ceiling is the joint production of Palladio, Sansovino, and llttoria; the two first having given the designs, which were executed by the last. Here, as m the subsequent apartments, only a selection of the paintings can be noticed. Those of the ceiling are in fresco, by J. Tintoretto. On the Avails, to the 1. as you enter, is the Doge Marino Grimani on his knees before the Virgin, St. Mark, and other saints, by the Cav. Contanni : to the rt., a great picture, representing Faith, by Titian. The two figures at the side are by Marco Tecellio ; and Battle near Verona, by the Cav. Contarini : opposite to this is the Doge Cicogna recefring the Persian ambassadors, and the arrmil of Henry III. of France at the Lido, by Andrea Micheli, called II Vicentino. The tivo fii’st -mentioned pictui’es, by Contarini and Titian, Avent to Paris in 1797, and Avere brought back in 1815. Leaving this room by a door opposite to the one by Avhich yon entered, you pass into the Anti Collegio, a guard-room, con- taining four splendid paintings in Tin- toretto's best style. They hang by the sides of the tAvo doors. The subjects are, IMercury and the Graces; the F'orge of Vulcan ; Pallas driving away Mars ; Ariadne crowned by Venus. On the Avail opposite to the AvindoAvs are, the Return of Jacob to the Land of Canaan, by J. Passano ; the Rape of Europa, b}' Paul Veronese, a very fine painting: the action of the bull licking Europa’s feet has been criticised on the ground (hat it makes the god assume too much the character of the animal. This ])icturt went to Paris. This room contain:- also a splendid fireplace, and a rich dooi’Avay Avith two pillars, one ol verde-antique, the other of cipollino ; both Avere designed by Scamozzi. Oa'CV the door are three statues by Vittorio. I The fresco in the centre of the ocilinp is by P. Veronese, as well as the foiu chiar’-oscuro paintings : the latter havt Austrian Dom. lioute 26. — The Doge's Palace — Paintings. 319 been repainted by Hizzi. Hence you pass into tlie Sala del Collegio. This was the presence-chamber, in which the Doge and the Gra^idi, his Privy Council, received foreign ambassadors. The picture over the door, and the three to the rt. as you enter, are by J. Tin- toretto. The subjects are, — 1. The Doge Andrea Gritti before the Ma- donna and Cliild. — 2. The IMarriage of St. Catherine. —3. The Virgm with Saints and Angels. — 4. The Doge Luigi INIocenigo adoring the Saviour. On the wall at the throne end of the chamber is a splendid work of P. Vero- nese — a grand but confused composi- tion of Venice triumphant, or the Victory of Curzolari (1571), in which are introduced portraits of the General, afterwards Doge, Sebastiano Veniero, and the Proveditore Agostino Barba- rigo. The two side figures in chiar’- oscuro are also by P. Veronese. The ioicture between the windows, repre- senting A^enice, is by Carletto CalUari. riie rich ceiling was designed by djntonio da Ponte; all the paintings tre by P. Veronese. The compartment learest to the door represents Neptune, Mars, and flying children. In the ■entre an oval, containing Faith j the laxt is, A^enice seated on the world vith Justice and Peace. These com- lartments are surrounded by 8 smaller, epresenting 8 Virtues ; and by 16 II chiar’-osciiro in green, with subjects rom ancient history. A fine frieze, epresenting events from history, runs ound the room. The chimney-piece, ^ith pilasters of verde-antique and tatues, is by G. Campagna, the paint- igs by P. Veronese. There are two hors with columns of cipoUino. A oor in the side of this room opens f ito the h'a/a dei Pregadi or del Senato. letween tlic windows is a picture said ) be by Marco Vecetlio, but by some ttrilmted to Bonifacio : t lie Fleet iou k I S. LorcTizo Giustiuiaui to the Jkitri- r-eliate of Venice. On the wall above j le throne is a great work of .7. 'J'into- I llo : the Saviour dc-ad, with Saints I id two Doges kneeling. The two figures at the side are also by him. Of the pictures on the side opposite to the windows, three — 1, The Doge Fran- cesco A^enier before A^enice ; — 2, The Doge Pasquale Cicogna kneeling before the Saviour ; — and 3, The League of Cambrai, are by J. Palma ; the 4th, the Doge Pietro Loredano before the Madonna, is by J. Tintoretto. Above the door, opposite to the throne, is a fine work of J. Palma., the Doges Lorenzo and Girolamo Priuli adoring the Saviour. The paintings of the ceiling^ are by different artists; the best is the oval in the centime, representing A^enice amid the Clouds with many Deities, by J. Tintoretto. A small corridor, on the same side as the throne, leads to the chapel tln’ough an antechamber, in which, between the windows, is a beautiful work of Bonifacio, Clu’ist driving the Money-changers from the Temple. The Chapel has little remarkable except the altar, by Scamozzi, and a Ala donna and Child, sculptured by Sansovino. This apartment, in fact, v'as merely a private oratory, the real chapel of the Palace being the Church of St. Alark. A small neighbom’ing staircase contains the only fresco pamt- ing remaining in AVnice by Titian. It is a single figure of St. Christopher. “ It is very rich in colour, but there is no tone in it that has not been obtained by means of the usual fresco colours. This picture has been pauitcd with great rapidity, apparently in two days, as there are traces of joining in one place only. Tlie outline ivas first been carelessly marked in Avith the point, without any cartoon, and the artist has altered it considerably as he painted. In some places ]>art of tlic drapery lias been })ut in without any outline having jircviously been made, and tlie back- ground has been liastily rubhed in at tlic same time with tlic ])ieture, and is A'cry slight and careless. Titian has ]>ateh(Hl over a great ]>art of this jiic- turc in a free but somewhat clumsy manner. 'J'hc intonaeo, which is ahout ■j'J. of an inch in thickness, has falK'n olf in sonu' places, showing that it was spri'ad on the bri>*k \iall without any 320 Route 26. — ■ Venice — The Doges Palace — Paintings. Sect. III. previous plastering.” — C. Wilson. Re- turning to the Sala delle quattro Porte, you pass into the Sala del Consiglio del Died. Op- posite the windows is the Visit of the Wise Men, by Aliense. To the rt. the Doge Sebastian Ziani retuniing from the victory obtained over the Emperor Frederic Barbarossa, met by Pope Alexander III. : the painter, Leandro Bassano, has introduced his own por- trait in the figure carrying the umbrella behind the Pope. Opposite to this, the Congress held at Bologna in 1529, by Clement VII. and Charles V., when the peace of Italy was restored, by Marco Vecellio. The frieze is by ZelotlL In the very rich ceihng, an oval, containing a figure of an old man seated near a beautiful young woman, is a fine work of P. Veronese. Two paintings, one an oval representing Neptune drawn by sea-horses, and an oblong containing Mercury and Peace, are by Bazzacco, the rest are by Zdotti. Sala della Bmsola. The ceiling is painted by P. Veronese. Sala de' Capi del Consiglio di Died contains a fine marble chimney-piece, sculptured by Pietro da Said. The centre com- partment of the ceiling, an Angel driving away the Vices, is by Paid Veronese. The other compartments are many of them good. In the gallery leading to the Scala de’ Griganti are several aj)artments not usually shown unless you inquire for them ; they contain some paintings, interesting either from their merit or their curiosity. Amongst others are — G. Bellino, the Deposition of the Body of our Loi’d in the 8epidchre. — JacoheUo del Fiore, the Lion of St. Mark, — and a series of costumes of the ancient magistracy. The ceilings of aU the apartments contain many other paintings by the best Venetian artists, which our limits prevent us from particularising. The Pozzi, or dark cells in the two lower stories, are yet in existence : obscure and intricate passages lead to them, and the nethermost tier are perfectly dark, and coiTcspond with the well-known and accurate descrip- tion given by Sir J, C. llobhouse in the notes to the fourth Canto of ‘ Childe Harold.’ They were all lined with wood, but this wainscoting was chiefly destroyed when the cells were thrown open by the French. The famous Sotto Piomhi are, of coiu’se, at the top of the building, as their name denotes “ under the leads,” They were formerly xised as prisons, and were represented to be very dis- agreeable places of residence ; the heat in summer and the cold in winter being intense. Silvio Pellico was one of the last persons confined here : but it has been lately discovered by the defenders of the Venetian government that they must have been rather pleasant abodes. A few have been recently con- verted into dwelling apartments ; the others are used for lumber-rooms. The Ducal Palace is separated, on the eastern side, by a canal called the Bio di Palazzo, from the public pri- sons, the Carceri, a fine building, which, on the side facing the palace, has a gloomy character suited to its destina- tion. They were built in 1589, by Antonio da Ponte. The front towards the Riva dei Schiavoni is of a less severe character, owing to the architect placing in tins part of the Inulding the apartments intended for the Signori di Notte, the heads of the night police, which enabled him to introduce larger openings than in the portion intended for the seexirity of criminals. It can now contain about 400 ])risoners. “It is a very handsome building, with rustic arches below, and above these a range of Doric columns on ])edestals, and a large cornice with consoles in the frieze. These w'ould be objectionable if the columns were on the ground, or perhaps if the height were divided by any strongly pi’ojecting cornice over the rustic arcades; but as it is, forming the only entablature to the whole height, it has a noble eflcct.” — Woods. The Molo is connected with the Riva dei Schiavoni by i\iG Ponte della Paglia; standing on which and looking up the Rio di Palazzo, a covered bridge is seen, connecting the palace with the Austrian Dom. Route 26. — Venice — The Arsenal. 321 prisons, and at more than the usvial height above the water. This is the celebrated Ponte dP Sospiri, or Bridge of Sighs. T/te Arsenal. The fifth bridge on the E-iva dei Schiavoni, after crossing the Ponte della Paglia, is a swing bridge. This crosses the canal leading to the Ai'senal. Just before you reach this bridge a passage on the 1. leads to the entrance to the Arsenal. If we con- sider the size of the vessels when Yenice was a naval power, the extent, size, and completeness of the basins, yards, and buildings of the arsenal must convey a high idea of the great- ness of the power of Yenice. The arsenal attained its present dimensions, nearly 2 miles in circuit, between 1307 and 1320. Walls and towers, battlemented and crenulated, smTOund it. They are attributed to Andrea Pisano. The principal gate- way is an adaptation of a Roman triumphal arch ; erected in 1460, as appears from an inscription on the column on the l.-hand side. An attic with a pediment was added in 1581, surmounted by a statue of St. Giustina, by Girolamo Campagna, in commemoration of the great battle of Lepanto, fought on the festival of St. Giustina, 7 Oct. 1571. Near this en- trance stand the four marble lions brought by Morosini from the Pelo- ponnesus in 1685. The most remark- able of them, that which is erect, stood at the enti-ance of the Pirseus, which from tins image was commonly called the Porto Leone. It is of very ancient workmansliip, and it has been conjec- tured, upon somewhat dubious grounds, to liave been originally a memorial of the battle of Marathon. Engraven on this lion’s shoulders and Hanks are some very remarkable Runic inscrij)- lions, wliieli have so much exercised the learning, and ballled the penetra- tion of the antiquaries. The liead of the second of the lions, also from Atliens, is a restoration. “Tlie Bceond is, I lliink, the finest ; it is ncmnbejit : both the first and ."eeond are adiiiiral)le works, and un- doubtcdly of Pcntclie marble. Tlie I third appeared to me to represent a I panther rather than a lion ; the figure j is lanky and not beautiful. Tlie fom’th is a little thing of not much value, I I believe of marmo greco, that is, a large- j grained, saline marble, of a white not j very pure, and marked more or less witli greyish stripes.” — Woods. The noble armomy was in part dis- persed by the French. It has recently been re-arranged, and still contains some very interesting objects, but of which many were brought from the armoury of the Ducal Palace.— The great standard of the Turkish Admiral, taken in the battle of Lepanto, of red and yellow silk. Much fine and curious ancient armour, interesting both from its workmanship and the historical per- sonages to whom the suits and pieces belonged. Some however are apocry- phal, e. g. Attila’s helmet. Among those which have more claim to be considered genuine are the shield, helmet, and sword of the Doge Sebas- tiano Ziani, 1172-1178. L^pon the fu’st is the Rape of Helen : upon the last, an Arabic ciplier. The armour of Gattamelata^ for man and horse, of fine Milan work- manship. The full suit of Henry lY., given by him to the republic in 1603. This was brought from the Palazzo Ducale, and, as they say, is unques- tionable. Arhaletes., or cross-bows, of remark- able power. One was tried in the presence of the late Emperor of Aus- tria, by shooting bolts against a steel cuirass, at the distance (as it is said) of an hundred yards. The cuhass is riddled tlirough and through. Helmets and shields of the ancient Yenetian soldiery, and of very strange forms, quite unlike those of France or Eng- land : quivers yet filled with arrows, perliaps used by the Stradiotos and otlicr semi-barbarian troops of the rcj)ublic. A ])ress full of instruments of mur- der and torture. A s})eeies of spring j)istol, in tlie shape of a key, with which it is said that hT’aneeseo di C'ar- rara, the tyrant of I’adua, was aeeus- tonied to kill the objects of his sus[)i- V 3 322 Route 26. — Venice — The cion, by shooting poisoned needles at them. In front of tliis press are some helmets of iron of rough Avorkmanship, without apertures for the eyes or mouth, so that the wretch enclosed in them could neither see nor breathe. Such being the case, it has been oddly conjectured that they AA-ere intended for the protection of the AA^arriors aa Iio stood on the proAA's of the Venetian galleys. Others suppose that they AA’ere used as instruments of tortime, or of restraint equiyalent to tortime, a conjecture less improbable ; for head- pieces of a similar deseription AA-ere apphed, at the discretion of the gaoler, in Newgate, the Fleet, NorAA’ich Castle, and other English prisons, in the course of the last centimy, and in Ire- land till a later period. At all eA^ents, it is probable that Carrara had no- tliing to do with them, but that, like the contents of the Spanish Armoury in the ToAA^er, they Avere exhibited to keep up a national feeling against an enemy. Ancient artillery and fire-arms : a springal of iron, not cast, but composed of fifteen pieces riyeted together, and coyered Avith exceedingly elegant ara- besques, made by the son of the Doge Pasquale Cicogna, aaEo flourished to- Avarcls the close of the 16th centy. This also formed part of the ducal armoury. These armouries also contain me- morials of tlie Venetian High- Admiral Emo (died 1792). The bas-reliefs from his tomb, representing uayal sub- jects, AA'ere brought from the church of the Padri Serviti, Avhich AA'as pulled doAvn by the French. The memorial, a rostral column surmounted by a bust, Avas made for the place Avhere it noAV stands, and is interesting as being amongst the earliest Avorks of Canoya, executed at Rome in 1794. It is ex- quisitely finished. The arsenal contains four basins, tAAm large and tAAm small. These are nearly surrounded by dry docks, and slips for the building of yessels, and workshops, Tlie roofs are supported by ancient arches, lofty and massiye, some circular, some pointed, standing Arsenal and Dochyard. Sect. III. upon huge cylindrical pillars, Avith an- gular leafy capitals, like those found in the crypts of churches. The columns are sculptured Avith numerous shields of arms and uiscriptions, some of Avliich are in the ancient Venetian dialect. The rope-walk is amongst the most recent portions of the arsenal, having been built in the early part of the last centy. It is supported by 92 elegant Doric pillars. The model-room still contains some curious materials for the history of naval architecture, galleys, galliots, and many other vessels now obsolete. The collection Avas exceedingly rich and important, but the French de- stroyed a great portion. They also burnt the celebrated Bncentoro, the vessel from which the doge annually espoused the Adriatic. A model of it is here, but it Avas made from draAv- ings and recollections, after the loss of the original. The ceremony of the espousal, Avhich took ]3lace otf the Lido mouth, Avas intended as a continued assertion of the right of the republic to the dominion of the Adriatic, and may be traced back to the year 1245. Long before the actual fall of Venice, the arsenal dis])layed all the decre- pitude of the state. "When the Frencli entered A^enice, they found thirteen men-of-Avar and seven frigates on tlie stocks. This enumeration seems re- spectable ; but of these vessels, none of Avhich Avere completed (nor Avere there any sutlicient stores or materials for completing them), tAvo had been begun in 1752, two in 1743, tAvo in 1732, and the remainder at subsequent periods, so that, if the one most ad- vanced could have been launched, she Avould have attained the respectable and mature age of 75 years. At pre- sent, the business of the arsenal is just kept alive, affording a scanty memorial of the operations Avhich so struck the fancy of Dante as to furnish the sub- i ject for one of his most strange and 7 striking similes : — “ Qn.ile neir arzank de’ Viniziani liolle 1’ iiiverno la tenace pece i A rimpalmar li legiii lor non sani Che navicar non ponno ; e’n cpiclla vcce Austeian Dom. Eoute 26 . — Venice — Canal Grande — Palaces. 323 Chi fa suo legno nuovo, e chi ristoppa Le coste a quel die pill viaggi fece ; Chi ribalte da jiroda, e chi da ^oppa ; Altri fa remi, e altri volge sarte ; Chi terzeruolo ed artimon rintoppa ; Tal, non per fuoco, ma per divina arte, Eolfia laggiuso una pegola spessa.” Inferno, xxi. 7-18. “ As in the arsenal of Venice boils Th’ adhesive pitch in winter, to repair The bark disabled by long watery toils ; For since they cannot put to sea, — instead One here his vessel builds, another there Caulks that which many voyages hath made ; One strikes the prow — one hammers at the poop, — One mends a main, and one a mizen sail, — One makes an oar, another twists a rope ; So, not by lire beneath, but art divine. Boil'd up thick pitch through all the gloomy vale.” Canal Grande. Palaces. — We ■will suppose a traveller to embark in a gondola at the end of the Piazzetta on the Molo, and to proceed up the Grrand Canal or Canalazzo, and will point out the more remarkable palaces, as far as the limited nature of these pages allows. Nearly opposite to the end of the Piazzetta is the island and church of St. Giorgio, and adjoining this, and [ enclosed by a sort of mole with a I lantern tower at each end, is the ori- ! ginal Porto Franco.^ whose limits are i now extended to a considerable circuit round Yenice. To the westward of this is the wide canal and Island of the Giudecca. ^ ; On entering the Grand Canal, the ! Dog ana del Mare., built in 1G82, is on ; the 1. hand, on tlie point of land di- ! viding the Grand Canal from that of 1 the Giudecca : beyond this is the Ch. ! of S. Maria della Salute. On tlie j rt., after passing the gardens of the i palace, and the pavilion, in a Greek I style, built by Napoleon, at tlie cn- ■ trance of the canal is the Palazzo ' Treves, formerly Fmo, containing a I collection of pictures by modern artists, 1 and two fine statues by Canova, tlie I Hector and Ajax, Peyond tliis is tlie Palazzo Giustiniani, now the Albergo delV Kuroga. A little further is the \Casa Ferro, which, although it has iiily two windows in front, is a bcau- iful B])C(;imeii of t he Ah'iietiaii Gotliic tyle. Further on, on the same side, is the Palazzo Corner, built by Sanso- vino, in 1533. The fagade has three orders — Doric, Ionic, and Composite. It is noAv occupied by the Regia dele- gazione della Provincial. Further, on the 1., incrusted with fine marbles, and bearing this inscription, “ Genio Urbis Johannes Darius,” is the Palazzo Da- rio, in the style of the Lombardi. Beyond, with a quay in front, is the Accadeniia delle belle Arti. Opposite to this is the Tragitto or ferry of San Vitale, the busiest ferry on the Grand Canal, and where it is proposed to erect a suspension bridge. Proceeding — on the rt., P. Giusti- nian Lolin, by Longliena. On the 1., P. Contarini dagli Scrigni, with three orders — Rustic, Ionic, and Coinnthian — attributed to Scamozzi. P. Rezzonico, by Longliena, with three orders — Doric, Ionic, and Corinthian. The thh’d order was added by Massari. Threo palaces of the Giiisiiniani family, in the mediaeval Yenetian style. P. Fos- cari, highly praised by Sansovino : built towards the end of the 16th centy., and attributed to Mastro Bar- tolomeo, the architect of the Porta deUa Carta in the Doge’s palace. Here, in 1574, Francis I. was lodged : it being then considered as the Palazzo wliich, in all Yenice, was best adapted for the rece])tion of royalty. The tragic history of the Doge Foscari and his son is well known. They were not a powerfid family, for the power of a family depended upon its numbers, and they were few ; hence, possibly, the extreme harshness and rigour ex- ercised against them received so little mitigation. P. Balbi, by Aless. Vitoria, in 1582, witli three orders — Rustic, Ionic, and Composite. Behind it is seen the camjianile of the churcli of the Frari. The temporary building for tlie ])ublic olUcers, wlio distributed tlie jirizes at the Regattas on the Cl rand Canal, was always erect I'd by the side of tlie llalbi Palace, as it commands a view ol’botli reaches of the canal. On the rt. hand, Palazzo Conlarini, built between 150 1 and 1516. The artist is unknovMi, but it seems to be of the i 324 Route 26. — Verdce — Palaces. Sect. III. school of the Lomhardi. The eleva- tion has much fancy and elegance. On the 1., Palazzo Gnmani a San Toma. A noble building of the 16th eenty., probably by Sanmicheli, now dismantled. On the rt. are tlie three palaces of the Mocenigo family. The first is the property of a French mer- chant ; the other two are still inhabited by members of tlie Mocenigo family. Lord Byron came to reside here in 1818. He at first occupied the palace in the centre, b\it afterwards moved to the one nearest to the Rialto, belong- ing to Count Mocenigo, who was then attached to the court at Tienna. Tin's palace contains Tintoretto’s sketch for the great picture of Paradise at the Doge’s palace, not injiu’ed, as the pic- ture is, by cleaning. The Mocenigi were amongst the most illustrious of the Venetian aristocracy. They boasted of four doges, and of Procurators of St. Mark in almost every generation. On the 1., Palazzo Pisani a S. Polo, built at the beginning of the 15th centy. Arabesque Gothic, but the latest of its kind : the outline is according to the ancient fashion, but the minuter lines betj’aj the approach of the studies of Roman architecture.. Here is the ce- lebrated “tent of Darius,^’ by Paolo Veronese, remarkable for the richness of the composition and colouring, and the expression of the figures. The anaclu’onisms of the costumes have been criticised. — “ I went to see the Pisani Moretta Palace on account of the va- luable picture by P. Veronese. The females of Darius’s family arc kneeling before Alexander and Hephoestion ; the mother, who kneels in front, takes the latter for the king, but he declines the honour, and points to, the right person. Tlie gradation from the motlicr to the wife, down to the daughter, is full of trutli, and most happy. The youngest princess, kneeling quite at the end, is a charming little child, and has a most ingenuous, wilful, sturdy little face ; her position does not seem to please her at all.” — Goethe. The group of Icarus and Diedalus, by Canova, by which liis rising repu- tation was estabhshed, and wRicli was ■ fonnerly in the Barberigo Palace, is ! now here. The Pisani, though belonging to the second class of ^'enetian nobihty, and strangers by origin, w'ere amongst the most illustrious families of the republic. To this family belonged Vittorio Pisani, the great naval eom- m.ander. Having been condemned to imprisonment for the loss of the battle of Pola (1379) by the senate, who visited the misfortiine of a commander as a crime, the ])cople, during tlie war of Chioggia, when the very exist- ence of the republic was threatened, demanded his enlargement ; and he was brought forth from his dungeon to victory. Palazzo Barberigo. The fii^ade and entrance are in the Rio di 8. Polo ; only a wdng and terrace are on the Grand Canal. The Barberigo collection of pictures, so celebrated for its many 'I'itians, has been recently sold to the Russian Government. On the rt., P. Corner- Spinelli : in the style of tho Lombardi in the 15th centy. Some parts of the interior by Sanniichcli arc deserv- ing of attention. — P. Grimani. Now thepost-onice, from the designs of San- micheli, wdio unfortunately died before it was completed, in consequence of which some alterations for the worse W'ere made in the design. It consists of three Corinthian orders exquisitely worked. It is one of the finest of the more modern palaces. Sanmicheli w lio was employed to build it by Girohnno Grimani, fatlicr of tlie Doge Marino Grimani, liad great difiiculties to con- tend with, in consequence of the irre- gular form of the site, of wliicli the smallest side fronts tlie Grand Canal. Above are two grand stories, in w'hich the Venetian window may be seen to great advantage. Being a public build- ing, it is kept in good repair. The Grimani w'cre originally Vicentine nobles, but after their aggregation to Venice they rose to high dignities in the state. Tw'o Doges were of this family, Antonio and Marino. Upon the election of the latter, 1595, his duchess, a lady of the Morosini fa- mily, was inaugurated with great Austrian Dom. Route 26. — Venice — Palaces — Rialto. 325 splendour, for it had been the custom of Yenice, if a doge was mayried, to render the ceremony of his wife’s ac- cession a reason, or an excuse, for gay and sumptuous festivity, far beyond what took place when the new prince was sohtai-y in his dignity. She was conducted from her palace to San Marco, clad m cloth of gold, wearing a golden crown, and, stepping into the bucentauro, she was thus brought to the piazza, where she landed, amidst the strains of martial nmsie and peals of artillery. Clergy and laity, priests and fraternities, guilds of merchants and companies of mariners, came out to meet her. In the ducal palace she was enthroned amidst her ladies, and the balls and festivals of rejoicing lasted for weeks afterwards. Pope Clement YIII., whether to show his favour to the republic in general, or to the Houses of Grimani and Mo- rosini in particular, presented her with the golden rose, blessed by the pontitf every year. According to the etiquette of the court of Rome, this rose is given only to sovereign princes, and the gift awakened, if not the suspicion, at least the caution of the senate. It had liitherto escaped notice that, al- though the doge wore only the beretta, the crown of liis consort was closed or arched, which was considered as the peculiar privilege of sovereign princes, not owning any superior, and hence denied to the dukes of Milan, or the electors of the empire. The rose was, by the order of the senate, taken from the dogaressa, and deposited in the treasure of St. Mark : and the corona- tion of her successors was afterwards disused. Opposi'c, and on the l.-hand 'ide of the canal, is the Palazzo Tie- oolo, of which the architecture is nio- lem and elegant. The fac^ade has hree orders, Doric;, Ionic, and Coni- losite. Here is de])osited the Nani I ollection of anticpiities, Greek, Roman, I i.d Kgyj)tinn. I Palazzo Farsetli (beyond the Leone bunco), now tlu; Rcsidenza Mimici- , ale: on ttie staircase are two baskets r fruit, almost the earliest works of 'anova ; executed when he was tiftccn. Palazzo 3Ianin, lately restored by Selva, who designed the present ar- rangements of the interior. The archi- tect was Sansovino. It has thi’ee orders, Doric, Ionic, and Corinthian. The land on the rt. hand in pass- ing up the canal forms the island of San 'Marco, that on the 1. the island of the llialto ; and at this part of the canal, near the Rialto bridge, tlie land on the 1. hand is the spot on Avhich Yenice as a city first existed. Even till the Ifith centy., and perhaps later, “i2/yo alto''' was considered as the city in all legal documents, and distin- guished as such from the Stede of Yenice : and of all the eyots and islands upon which the city now stands, it is the most of a continent. After the population was extended into the other quarters, the Rialto continued to be the seat of all the establishments con- nected with trade and commerce. The Fabhriche, a series of buildings, cover- ing, pei’haps, as much as a fifth of the island, and partly connected by ar- cades, were employed as warehouses and custom-houses ; the exchange being held in the piazza, opposite the church of San Jacopo (the first church built in Yenice), an irregular and now a neg- lected quadrangle. The whole place was the resort of the mercantile com- munity ; but if you seek to realize tlie locality of Shy lock and Antonio, you must station yourself in the double poi’tico at the end of the piazza oppo- site to the church, that being the spot where the “ Banco Giro" was held, and where the merchants transacted the business of most weight and conse- quence. SabeUico tells us that this “nobilissima piazza” was crowded from morning to night. In the night of the 10(h of .ranuary, 15i;i, a lire broke out which destroyed all the buildings as well as their con- lent s. The senate, lully imj)rossed with the necessity of preventing any stagnation in the transaction of busi- ness, innnediately decreed the recon- struction of the eonnnereial buildings, and they were intrusted to Antonio Scarpat/nino. lie was an artist of small rej)utatioii; and Vasari speaks 326 Pioute 26 . — Vemce — Bridge of the Rialto — Palaces. Sect. III. most coutemptuously of his procliic- tions, partly on account of their po- sit iye demerits, and partly because liis plans and designs were preferred to those of the celebrated Frate Giocondo. The Fabhriclie are now principally con- yerted into priyate houses. Many portions have been demolished, all ai’c neglected and in decay ; and the mer- chants no longer congi*egate here, but transact them bushiess in them count- ing-houses. There were several churches iipon the Fialto. San Jacopo is desecrated : San Griovanni, by Scarpignano^ is not ill-planned. The only building on the island now possessing any splendoim is the Palazzo dd Camerlinghi, only one side of which is upon the Grand Canal : to examine its architecture it Avill be necessary to land. At the foot of this Palazzo is the Ponte di liialto. This very celebrated edifice was begun in 1589, in the I’eign of the Doge Pasquale Cicogna, Antonio da Ponte being the architect. Ilis design was pi’eferred to those given by Palladio and Scamozzi. Cicognara says lie is not sufficiently estimated ; but this edifice is more remarkable for its solidity and originahty than for its beauty. There was an older bridge of wood wliich was replaced by the present structure. Sabellico informs us it was so constantly thronged by passengers that there was liardly any hour of the day when you could get along without much difficulty. It was intended that the bridge should have been much more adorned tlian it is at present. Tlie ornaments wliich it now exhibits are confined to the figures in the siian- drils ; the Angel and the A^irgin, St. Theodore and St. Mark. The span of the arch is about 944 ft., and the thickness of the arch-stones about 4 ft. 4 in. It is segmental, and the height from the level of the water is about 21 ft. The width of the bridge j is about 75 ft., and this width is divided longitudinally into 5 parts ; that is, into 3 streets or passages, and 2 rows of shops. The middle street or jiassage is 21 ft. 8 in. Wide, and the 2 side ones near 11 ft. The number of shops on it is 24. The palace of the Treasimers, or dei Camerlinghi^ now the Triov.nale d'Ap- pello, is on the 1. hand immediately after having passed through the bridge. It was built by Gi/gUelmo Pergamasco in the year 1525. It is irregular in figure owing to its site, but is admired. Opposite, on the rt. hand, is the Fondaco dei Tedeschi. The FondaeJd form a curious portion of the reminis- cences of tlie ancient commercial pros- perity of A'enice. They were the fac- tories of the different nations, very shnilar in object to some still possessed by the Franks in the Levant, or of the Eimopeans at Canton, where the mer- chants of each language and race coidd dwell together under a domestic juris- diction ; where their business could be transacted, and them goods safely housed. It is hardly necessary to ob- serve that they have long since ceased to be applied to them original use. Some are converted into ]')ublic offices, but, generally speaking, they arc falling to decay. The finest and the best pre- served is the Fondaco de' Tedeschi, now the Fogana, near the foot of the Eialto. It was built somewhere after 1505, when the older Fondaco was burnt j down. The architect was Frate Gio~ \ condo, Avhom we have already noticed i as having been the disappointed com- ! petitor tor the rebuilding of the Eialto ; and it is remarkable as being almost | the oidy certain and unquestionable ' specimen of his style in A^enice. Coiq)led ^ arches and arched poi'ticoes mark it as one of the diversified channels by which the A^eneto- Gothic style })assed into the classical style. It has now a somewhat heavy character ; but its Avails Avcrc j originally covered Avith frescoes by Giorgione and Titian, Avhich have long since disappeared. On the 1. arc the Fahhriclie Nuove, built by Sansovino in 1555. The facade has tlmce orders, Eustic, Doric, j and Ionic. OiA the rt. Palazzo MicJieli delle Colonne, noAV Martinengo, contains a very curious annoury. Several jAieccs of armour are said to be of the time of the crusades, but this assertion is doubtful, though the pieces are highly Austrian Dom. Route 2Q . — Venice — Palaces — Manfrini GaJlenj. 327 wortliy of notice. It also contains some good tapestries after Efepliael’s designs. The Casa or Ca' cV Oro, the most remarkable of the ancient Palazzi, and of which the ornaments are the most decidedly in the oriental taste, particu- larly in the ogee or contrasted turns of the arches. It was gilded, and hence derives its name ; others say it was called after the Doro family. It was much dilapidated, but has undergone a complete restoration by the present proprietor, Madlle. Taglioni. On the 1. hand are the Palazzo Correr della Pegina, built by Rossi in 1724, and the vast Palazzo Pesaro, built by Longliena. The facade has three orders — Eustic in diamond forms, Ionic, and Composite. It is now an Annenian college. On the rt. are the Palazzo Grimani attributed to Samnicheli, and the Pa.- lazzo Vendramini Calergi. This, whicli in the 16th centy. was reckoned as the very finest of the palaces, was built in 1483 at the expense of the Doge An- drea Loredano, by Pietro Lombardo. But the circumstances of the family I compelled them to alienate it, and i it was sold in 1681 to the Duke of I Brunswick for 60,000 ducats ; and by ( the latter, not long afterwards, to the j ! Duke of I\Iantua. It now belongs to I the Duchesse de Berri. The order is Corinthian ; but columns are placed as mullions in the great arched windows which fill the front. It contains some works of art, amongst which ai’C statues [ of Adam and Eve by Tullio Lombardo, I removed from the Vendramini Mauso- leum in San Griovanni e Paolo, and se- veral interesting relics of theelder branch lof the House of Bourbon. On tlie his the I Palazzo Correr. — A very curious Ubrary ; amongst others the manu- script collections of tlie celebrated Col- 'etta, most learned in the ecclesiastical inti(iuities of Waiice, and a very large ■ollcctiou of miscellaneous objects of , mticpiity and the fine arts. 1 Further on to tlie rt. a canal, nmcli viderthan tliose lutlierto ))asscd, ojuais 'Ul of the Canal (1 ramie, and leads to lestre. On the acute angle formed by this canal, which is called the Canna- reggio {i.e. canal regio), with the grand canal, stands the Pala,zzo Labia, built by CominelU. It is mucli dilapidated, but contains a hall painted in fresco by Tiepolo. Proceeding up the Canna- reggio, after having passed under the Ponte di Cannareggio, you see on the 1. the Palazzo Manfrini, an elegant modern buikUng, and well kept up ; it contains the best collection of paintings in Ve- nice after that of the Academy, and is to be seen on Mondays and Thursdays from, 9 till 1. In each room is placed a catalogue of the })ictiu’es ; the more remarkable pictures, therefore, are alone here men- tioned. The ten rooms are marked by large letters : in the room mai’ked A. are — Giorgione : Woman with Gruitar. — G. Pellino : a Madonna — and Rxi- bens : Ceres and Bacchus. — B. Titian : Catherine Cornaro, Queen of Cyprus, is most interesting. The sweet harmony of colour, and the splendour of the ornaments are remarkable. But it must be recollected that there are reasons for doubting whether this por- trait is rightly named. — Titian: a mag- nificent portrait of Ariosto. — Gior- gione : three exquisite portraits. — C. [ Rocco Marcone : the Woman taken in I Adultery. — T^elasqties : a portrait. — B. Gennaro : a Sibyl. — D. Titian: De- scent from the Cross, similar in compo- sition to that in the Louvre. — Lorenzo Lotto: Holy Family. — ; portrait. — Pietro Perugino : Clirist washing the Disciples’ Feet.— Pudora- nino : the Sacrifice of Tphigenia. — P. Veronese : portrait. — E. G. da Udine : IMadonna presenting Jesus to Siineon. — G. J)ow : the Pliysician. — 31urillo : a S]iej)herd, the only ])ictnrc of this artist in Venice. — F. Pordenone : his own Family ami five of his I’upils, and tlie Ciivumcision.— P/v/. Bor/olomeo : the Coronation of tlie Virgin. — G. G. Bellino : Our Lortl at Emiiiaus. — Ra- phael (?) : a large Cartoon, the Em- barkation of Noah. — 11. iUaiiy ancient liieiiires, Cimabue, Giotto, Siv . — I’or- t rails of Petrarch and Laura iiv Jacopo Hcllini, the lather of Giovanni . — 1. G. 328 Route 26. — Venice — Palaces. Sect. III. Santa Croce : Adoration of the Magi. — K. Sebastian del Fiombo : Presenta- tion of Christ. — Guido: Lucretia. — Agost. Caracci : the Flight into Egypt. “ I went over the Manti-ini Palace,” says Lord Byron, “ famous for its pic- tiu’es. Amongst them there is a por- trait of Ariosto, by Titian, surpassing aU my anticipation of the power of painting or human expression : it is the poetry of portrait, and the portrait of poetry. There was also one of some learned lady, centuries old, whose name I forget, but whose featimes must always be remembered. I never saw greater beauty, or sweetness, or wis- dom : it is the kind of face to go mad for, because it cannot walk out of its frame. There is also a famous dead Christ and hve Apostles, for which Bonaparte offered in vain 5000 louis ; and of which, though it is a capo d' opera of Titian, as I am no con- noisseur, I say little, and thought less, except of one figure in it. There are 10,000 others, and some very fine Giorgiones amongst them, &c. There is an original Laura and Petrarch, very hideous botli. Petrarch has not only the dress, but the featiu’es and air, of an old woman, and Laura looks by no ineans like a young one or a pretty one. What struck me most in the general collection was the extreme re- semblance of the style of the female faces in the mass of pictures, so many centuries or generations old, to those you see and meet every day among the existing Italians. The Queen of Cyprus and Giorgione’s wife, particularly the latter, are Venetians, as it were of yes- terday ; the same eyes and expression, and to my mind there is none finer.” There is one error . in this account which it is necessary to correct, as it lias been repeated % others. Gior- gione died young, unmarried ; the lady whom he calls tlie wife of Gior- gione is said to be the daughter of Palma Vecchio. Besides pictures tliere are good specimens of Niellos^ or en- graved silver plates. Some, which have been covers to Missals, are par- ticidarly good. A room in this palace is also devoted to a fine collection of the j fossil fishes from Monte Bolca, near Ve- rona, shells, fossils, &c. ; and in another apartment the old and rich furniture of Gobehu tapestry, &c., are still seen, left just as when the Maufrinis were in their full power. In one of the rooms there is a re- markable echo. Tills palace also possesses a good library, and, Avliat is a species of cu- riosity at Venice, a good-sized garden. Other palaces, not upon the Grand Canal, which ought to be mentioned, ai’e the Falazzo Trevisano (Ponte di Canoniea), probably by one of the Lom- bardi, richly incrusted with fine marble, and marking the transition from the Gothic to the Italian. Tliis palace afterwards passed to the Capello family ; and from hence the celebrated Bianco Capello eloped. Falazzo Cornaro Mocenigo (Cam ])0 di San Paolo), originally Cornaro, built by Scamozzi about 1548, remarkable for tlie boldness of its elevation and its grandeur, notwithstanding the nudti- plicity of its parts. The Falazzo Grimani a S. Maria Formosa is attributed to Sanmicheli ; it contains a fine collection of ancient statues, bas-reliefs, urns, vases, and in- scriptions. On the 1. hand as you enter is a colossal statue of Marcus Agrippa, brought from tlie vestibule of the Pantheon at Rome. In tlie elegant chapel is a fine work of Falma Vecchio: Christ crowned with Thorns. Also, Two Heads of our Saviour and llic Virgin, by Salviati. Among tlie pic- tures in this ])alace are the Institution of the Rosary, a fine picture, by Albert Durer, containing portraits of the artist and liis wife. Five pictures reyiresent- ing the Story of Psyche, by F. Salviati, the largest and one of liis best works. The Pm'ification of the Virgin, Gentile j Bellino. On a ceiling is the Disjmte of Neptune and Minerva about giving a name to Athens, by G. 8alviati.\ One room contains several Greek sta- tues, bronzes, &c., arranged by J. San- sovino. Churches. — Generally spcalcing, the churches of Venice are fine, and vciy varied in their character ; tliat is tc 329 Austrian Dom. Route 26 . — \enice — Church of the Frari. say, they fall into four principal styles, which, as amongst themselves, are very uniform. The first is a peculiar Gothic, generally plain, massy, and solemn, un- hke the arabesque richness of the ducal palace, and the secular structures of the same order. The second is a style which here they term Lombard, but which is a revival of the Roman style in the 15th centy. The tliird is clas- sical — 'Itahan, properly so called — of wliich the principal examples in the sacred edifices here are Palladian. The last is the modern Italian ; sometimes overloaded with superfluous ornament. Perhaps no city in Italy, not even Rome itself, formerly possessed so many clurrches m proportion to its size. It was the pohcy of the Yenetians that every shoal and island should have its great mother church, surrounded by a host of minor oratories. The FraH^ or Sta. Maria Gloriosa de' Frari, built, at least designed, by Nicolo Pisano, about 1250. It contains several fine tombs and of considerable j historical interest. In the basins for j holy water are two small bronze statues I by Girolamo Campagna ; that on the ^ 1. represents St. Antony, that on the ' rt. Innocence. Commencing the circuit ’i of the church on the rt. hand as you enter — near the second altar Titian is buried (he died 1575, at the age of 99 I years), and a plain slab marks the spot - where his body is laid. The inscription I I is a doggrel rhyme : — “ Qui (,Mace il gran Tiziano de’ Vecelli, I limulator de’ Zeusi e degli Apelli.” S ' No monument has hitherto been raised, thougli one has several times been pro- jected : the design of Canova’s was ntended originally by him for Titian. / ]ii monument lias been recently (May, 11852) ordered, at the sole exjiense of 'he Emperor of Austria. 3rd Altar, I 'resentation of the Virgin in the jl’ernple, with Saints, t. Cattaneo, by Avhom are the other statues and bronzes. Opposite to this is the most splendid monument of its kind in Venice^that of the Doge Andrea Vendi’amin (died 1479). “ The basso-rihevos and the statuettes round the sarcophagus seem as if taken from the intaglio of a Greek gem, so pure is the outline, so grace- ful the invention, and so dignified the style.” — Cicognara. The statue of the deceased Doge, stretched on tlie bier, exhibits him as fallen asleep rather than as dead. In the architectural ])ortion the arabesques of the friezes are particularly remarkable. They are attributed to Alessandro Leopardo, he AA'ho made the bases of the standards opposite San Marco. The elevation of Andrea Vendramiu to the dogado (1476) marks the decline of the pri- mitive jiolicy of the state, lie Avas the first of the newly ennobled families admitted to the honours heretofore monopolised by the deseeudauls of the ju’imitive aristocracy. 4'he fouiuU-r of the family Avas a banker or money- changer, Avho, having titled out a vessel at his own expense during the Avar of Chioggia, Avas inserted in the Libro d’Oro as the rcAvard of his liberal ]>at riot ism. Vi'iidi'aniin’s reign Avas short and unprosperons ; and a jH'ace Avilh the 'I'urks Avas ])Ui'ehasetl by the cession of Negropont, Lemnos, and 332 Route 26. — Yeime — Church of La ^hadonna delf Orto, Sect. III. many other possessions in Grreece, 1 Albania, and the Archipelago, and the payment of an annual tribute of 10,000 ducats. In the 4th chapel are I two good works of Leandro Lassano, ' one on the wall on the 1. hand, the Disinterment of a Corpse ; the other, oyer the altar, the Trinity, Madonna, and Saints. After passing the 5th chapel, on the wall on the rt. is a marble group representing Tittore Capello kneeling before S. Elena, by Antonio Dentone (1480). Beyond tliis a door leads into the chapel of the Eosary, which is splendidly decorated by Vittoria Cayn/pagna, and other cele- brated artists. It contains some fine alti-riheyi of the history of our Lord. On the ceiling aboye the altar is the Virgin crovvmed in Paradise, by«7. Pahna (1594). Keturning into the church, on the rt. hand, after having left the ti*ansept, is a fine picture by Tiyitoretto^ the Crucifixion. Further on, beyond the door of the sacristy, is the monu- ment of the Doge Pasrpiale Malipiero (ched 1461), and under it the Coro- nation of the Vu’gin, attributed to Carpaccio. Then follow monuments of doges and generals, and at the altar, which is the second on the 1. hand on entering the church, is the cele- brated Peter Martyr, by Titian.^ one of his finest works, indeed often called the third picture in the world. It re- presents the martyrdom of the saint (see p. 132). At the last altar is a fine statue of St. Jerome, by Alessandro Vittoria. On the wall on the l.-hand side as you enter the principal door, is the monument of tlie Doge Giovanni Mocenigo (died 1485), a fine work of Tullio Lomhay'do. In tlie Campo in front of the church, one of the largest plots of open ground in Venice, stands the celebrated statue of Bartolomeo Colleoni da Bergamo, the second equestrian statue erected in Italy after the revival of the arts, that of Gattamelata being the first (see Padua). Andrea Verrocchio gave the design and model for this group, but, according to the story, he died of grief because he could not complete it, in consequence of the failure of the moidd. I It was cast by Alessandro Leopay'do, j whose mnne can be traced in the in- j scription upon the girth beneath the I horse’s body : “ Alexander Leopardus I F. opus.” This may be rendered “ fusit opus.” “ It is interesting as a specimen of art of the time, but it is ' heavy in form, and the action of the | horse is not true to nature.” — IVesf- macott jun.., A.K.A. The pedestal is ■ lofty, and suj^ported and tlanked by | columns. Colleoni is said to have been the first who employed field-pieces in ' warfare. This is not exactly correct ; j but he is nevertheless to be considereil i| as one of the great teachers of the ,1 modern art of war. The statue is very J animated. La Madonna dell' Oydo. A fine j Gothic cluu'ch, built about 1350, and of which the fa9ade is much in tlio style of Sant’ Alessandro, at Bergamo, j but of brick : the fine arch over the door is erocketed. Some juirts of this chiu’ch approach our decorated slvle. An elegant circular archway is in the fa 9 ade. Over tlie door are statues of St. Christopher and the twelve Apostles, by Maestro Barloloyneo, who executed the Porta della Carta. The churcli was very dilapidated, but in 1845 was undergoing repair. The roof, fiat, and of wood, was formci’ly richly jiainted. An enormous Saint Christopher, by Morazzone, stands in the choir, of wood. The church contains several I paintings hy Tint oy'etlo ; the jirincipal ( one is the Last J ndgment, a most sin- j gnlar picture, and of enormous size, at j least GO ft. by 30. Nothing can bo , more strange than the composition, or || more unlike the ordinary representa- i tions. The figure of our Lord is at the summit, and not particularly con- spicuous. All around and below him are hosts of Angels, Saints, and Martyrs, sitting on clouds, and occupying nearly the whole canvas, but few of them dis- tinguished by any symbols. A stream of water crosses the picture, in which many figures arc struggling ; a boat full of fiends and condemned souls render it probable that it is the Styx. Lower down arc the dead rising from their graves. Opposite to it, and ol Austrian Dom. Route 26. — Venice — Churches. 333 the same size, is the "VYorshippmg of ; the Grolclen Calf. The arrangement is peculiar. In the centre foiu’ men are carrying the idol upon a board covered j by a cloth ; below are heaps of gold I and jewels ; mingled groups all around ; the rt. is full of richly costumed female figures. To the 1. is Mount Sinai ; in the clouds are many angels, one holding the tables of the law : — altogether a pictiue of great power. These two great works are on the walls of the principal chapel. Besides these, the chm-eh contains, at the first altar on the rt. as you enter, a fine work of Cima da Conegllano : Saint John the Baptist and torn' other Saints ; and a masterpiece of Tinto^'etto ; the Pre- sentation in the Temple. The fourth altar is the Martyrdom of St. Lorenzo, a good picture, by VandgJce. On the organ are paintings, also by Tintoretto ; and beneath is a small but fine Ma- donna and Child, by G-ioranni BelUno. Above the high altar are the Five The- ological Virtues ; and under these, on , the rt., the Martyrdom of St. Christo- I pher ; and on the 1. St. Peter regard- ing the Cross, which is sustained by Angels ; all by Tintoretto. The fourth cliapel on the 1. hand^ on entering by the door at the end of the nave, is the chapel of St. Agnes ; the Martyr- dom of the patron Saint ; one of the most pleasing pictures of Tintoretto. 1 st. Agnes, in wliite drai:>ery and with tier white lamb, all allusive to her 'lame, is in a full bright liglit, looking ^upwards and awaiting her death; jjibundance of figures around. This I lainting was carried to Paris. Before ts spoliations this church was tlie idlest in Venice ; but much lias been I atried ofl‘, and tlic neglect of repairs ) f It iu9 caused the almost total destruction f the paintings which formerly ex- ded on the roof. The best time for ving this church to advantage is to- urds the afternoon. The eainpanile j f this church is ascended, like that of j '. Mark, by an inclined ])lane. It is 1 I’incipally of brick, and the ornaments V formed out of that material. 1'he | !)per portions were partly destroyed l by a thumlerstorm, when the ^ shattered fragments fell on the roof of the church. San Pietro di Castello., interesting as being the mother church or cathech’al of Venice, from the earhest times of the republic down to 1807. The cam- panile (1474) is fine. The other parts of the building were, however, entii’ely modernised in 1621, by rmncesco Sme- raldi. “ It is an imitation of Palladio, with the pedestal eut through to admit the door, and the pediment sui’mounted by a ponderous attic : how different is the same comjDOsition when managed by different people ! InternaDy, the nave is too short, and its hues are sadly interrupted by the large transept; it would have been handsome had this been omitted.”— 7Food.y. It contains a very curious chair, or tlu’one, of marble, which, according to popular tradition, is the very Cathedi’a in which St. Peter sat at Antioch. An inscrip- tion in Cufic or Syriac characters has not yet been satisfactorily explained. Some say it is a sura from the Koran. The church contains some good paint- ings by Lazarini, and other artists of the more modern Venetian school. The rich Vendramini chapel is incrusted with marble; it is from the design of Longhena. The Capella Chinsa, called that di tutti i Santi, contains a mosaic after the designs of Tinto- retto. San Zaccaria. This chureh is in a remarkable transition style, built about 1450 ; Matteo Lombardo being, as some supjiose, the architect : Gothic in the choir, and semi-Byzantine in the nave. It is said not to have been com- pleted till 1547. “ The western front seems to belong to the latter date, or perhaps has been added still later, but the rest of the building is in a sort of pointed style. The cornices are orna- mented with sim])le, ])ointcd arches, and there are many ))ointed aivhes to the windows, and clustered columns about the choir ; but we have also little domes, and Corinthian columns (had enough) suppt)rteil on high pe- destals. I’hese passages of one style into another are often curious, hut seldom beautiful. 4’he side aisles 334 Boiite 26. — Venice — Churches. Sect. III. are veiy lofty, tlie clerestory windows very minute, so that tliis mode of ar- rangement seems to have been pre- seiwed to the last period of pointed architecture.” — Woods. In the church, a tine picture of the Virgin and Child, and four Saints, is by Giovanni Bellino. By Tintoretto is the Birth of St. John the Baptist. Another Giovanni Bellino is the Circumcision, within the choir. The three altars in a side chapel, by Giovanni and Antonio di Micrano (1445), are richly decorated with earr- ings and paintings, and are remarkably valuable specimens of early Venetian art. St a. Maria de' Miracoli : built be- tween 1480 and 1489. This plan was produced by competition. The name of the successful architect is not pre- served ; but he appears to have endea- voured to get the prize by novelty of style ; and the exterior exhibits a very curious attempt to unite the Byzantine and Italian styles. The designs were executed by Pietro Lombardo^ and some portions are his own. Within, the ornaments of the altar and presby- tery have singular beauty. The build- ing is much neglected and decayed. In its flourishing days the Madonna, from whom it derived its name, caused it to abound with alms and offerings. The front is rich in marbles, and adorned by a very indifferent statue, the pro- duction of a Venetian artist of the IGth centy. Titian lived in the neighbour- hood of this chiu’ch, which was an- nexed to a Franciscan monastery. San Francesco della Figna. This magnificent, though still unfinished church, was built at the expense of the Doge Andrea Gritti, by wliom the first stone was laid Aug. 15, 1554. Sanso- vino had made the designs ; these were criticised, and differences of opinion arose, particularly with respect to the proportions of the building. The doge was troubled, and opinions were taken; amongst others, Titian was consulted. The building was completed, but from the designs of Palladio, and much of what we now see, the fa9adc, with its lofty portal, bears the impress of his style. “ The inside is not beautiful ; the outside does not at all correspond witli it, and nobody need doubt that the buikhng was the work of two arclii- tects. In the fagade of this chiu’ch the lower cornice belonging to the smaller order is only continued in two or three flat members in the intercohmms, and there is a small projection in the wings on which the cornice returns, so that these flat mouldings alone are interrupted by the columns. Both orders are on a high continued pedestal, which breaks round the principal co- lumns, and is cut through to admit the door. Over the door is a large semi- circular window.” — Woods. The entrance is profusely adorned. It contains 17 chapels ; in the fourth chapel is the Besm’rection, by Paolo Veronese. The Capella Giustiniana is in the sumptuous style of the Lom- bardi. Santo Salvatore, by Pietro Lom- bardi, altered by Sco/niozzi, but with a front by Longhena. “ The front is of two orders, or rather of one order surmounted by an attic of almost equal height, forming a square com])Osition, with an unmeaning pediment over the centre. The columns are very wide apart, as there are only four in the range of tlie whole front ; yet, on the whole, the appearance is not bad, though one cannot call it good. The inside has a nave and side recesses, or, as Moschini has it, a nave with three transepts, the farthest ol whicli is longer than the others ; each intersection is covered with a little dome, and each dome is crowned witli a small lantern. The piers which sepa- rate these transepts are perforated in both directions with a small arch. The lights are kept high, and tlie general eflect is very good. Where there is a, range of lower arches opening into th( nave, surmounted by a continued cor nice, the simple vaidt forms bj'^ far tin finest finish; but in a case like this.4 where the siele-arches are as higli a: the nave, tlie succession of domes i possibly superior, at least the uppei and lower parts seem perfectly suitci to each other.” — Woods. Beyond th< first altar is a monument of Andre: Austrian Dom. Route 26 . — Ve?u'ce — Churches. 335 Dolfin and his wife, attributed to G-iuUo dal Moro : the figvire of our Saviour in the middle is fine. The second altar, and the statue of the Ma- donna and Cliild, are by Campagna. Then conies the splendid monument of the Doge Francesco Venier (died 1556), by Sansovino ; but which has the de- fect of being, like many others of the same class, rather the faer. In this bj the management of the perspective is I very remarkable. • I Sanlo Slefano, 1325 ; with fine , I oaintings ami monuments. Tlic toler- ance wliich distinguished tbe republic ' i s maintained by the Austrian govern- j licnt ; and the (liHercnt — a term 1 j iri])loycd as synonymous Avith sects— - ( ontinue to enjoy the utmost freedom, i iotonly in (he celebration oft heir ])ubli(; q -'orship, but in the administration of i leir internal government, and the ma- i nagement of their several communities. Of these, the Greeks are still the most prominent. Their church, San Gior- gio dP Greet, was built A’om the de- signs of Sansovino. It is Avell known that the Greeks do not admit of sculp- ture in their sacred edifices. Medallions of mosaic in the facade, and, within, paintings of AAdiich the gi’ound is co- vered Avith silver plates, therefore con- stitute the principal ornaments. The women are separated from the men, as in a synagogue, and the Avhole mode of chanting the prayers and cele- bratihg the form of Avorship has much similarity to that of the Jcavs. There are no seats, and the congregation stand during the whole of the service. “ The outside of San Giorgio de’ Greci is altogether bad. The inside is an oblong room, not, I think, very Avell proportioned or well decorated. Yet Moschini appeals to the judgment of his predecessors in eonfirmation of his OAvn, that it is the finest of Sansovino’s works, full of ‘ majesty amd magnifi- cence, and as, on the score of elegance, the artist has here touched perfection, so, in point of solidity, he seems to have erected a richly adorned castle.’ It was thirty years in building, and the expense was defrayed entirely by subscription among the Greek inha- bitants of Venice, and those aaLo fre- quented that city. On the division Avhich separates the sanctuary from the body of the church are some paintings coated Avith silver, and hav- ing croAvns and other ornaments of gold attached to them, and leaving hardly anything visible but the heads. I Avas assured that the jAaiufing Avas complete beneath this covering, and that the parts Avhich wnre figured in loAv relief on the silver plate corre- sponded exactly Avith the ilraAvings be- hind it.” — JVoods. San Lazaro, the Armenian convent, stands out of the main city, on its OAvn island. If Avas foundetl about the be- giuuiug of the last century by the Al)bot !\1 ('(“hilar. 4'ho church and the couveutual buildings are ]iat terns of neat ness and good ordi'r. Here, as is well knoAvu, Lord r>\rou amused biiu- Ci 2 340 lioute 26. — Venice — Scuole. Sect. III. self by studying the Ai’meuian lan- guage ; and he has borne full testunony to the merits of its -vTorthy inmates. The service, like that of the G-reeks, is an Oriental hturgy ; but the Arme- nians acknowledge the supremacy of the pope, and are in communion with the church of Eome. They have an excellent library, with a great number of ciu’ious Oriental manuscripts ; and the convent may be regarded as a species of metropohs of Armenian literatiu’e. Many important works, such as the translation of Eusebius, have been printed here, besides the greater portion of the litiu’gical and other rehgious books for the use of them widely dispersed community. The Ai’inenians are amongst the most respectable and opulent native mer- chants at Calcutta, and they contribute liberally to the support of this national institution. A large bequest, amongst others, was made for the education of a certain number of children here. The Scuole of Venice were institu- tions of a very peculiar nature, and of which the intent could scarcely be collected from theu’ name. They were associations, composed principally of laymen, but acting by authority of the Church, and who effected most of the objects for which our modern bene- volent and charitable institutions are founded. They were “ Blanket and Clothing Societies 3 ” “ Societies for vi- siting the Poor in their own Habita- tions “Mendicity Societies;” and provided services for boys, and dowries for maidens, of whom more than 1500 are said to have been annually married by their aid. These religious frater- nities, of which there were five, became very opulent by the private contribu- tions, gifts, and legacies wliich were liberally bestowed upon them. Tlie buildings in which they assembled are amongst the most remarkable monu- ments of ancient Venice ; not of the government, but of the people ; for the foimdations were in the strictest sense voluntary and private. Of these buildings, perhaps tlie Scuola di San Marco (which stands close to, and at right angles with, tlie cluu’ch of St. Giovanni e Paolo) is the most striking, for the external archi- tecture of its elevation is singidarly fancifid and elegant ; Byzantine rich- ness blenchng itself with classical archi- tecture. Martino Lornhardo, the ar- cliitect, has in this building so much surpassed his former productions, that it is conjectured that he Avas helped by Frate Francesco Colonna, the author of the celebrated ‘ Sogno di Polililo,’ a book in which a great number of very singular and beaut ilul designs are introduced ; and Avho lived in the ad- joining monastery. Tlie present build- ing Avas erected soon after 1485, AA’lien its predecessor Avas destroyed by fire. There is much fine Avork in the inte- rior, particularly in the carvings of the ceihngs. The structure is iioav a por- 1 tion of an hospital, formed also out of the adjoining convents of the Domini- cans, and of the mendicant Franciscan Friars. Scuola di San Rocco. This was be- gun in 1517. It has been attributed ■ to Sansovino, but is noAv usually given to Pietro Lombardo and Serlio. Hoav- , ever, during the space of more than 2( ' years, AA'hich elapsed before the building Avas completed, Mastro B. Buono, Santc Lombardo, Scarpagnino, and Sanso- vino, were all consulted, and contribute! someAvhat towards the design. TIk principal front toAvards the “ Campd" is by Scarpagnino. “ It is of 2 orders each of 6 entire columns, round whic) the entablature breaks. The AvindoA\'. are arched, and in pairs ; each pair i placed in an arched recess in the lowc; story, and croAvned Avith a pediment ii the upper. It is more singular tliai beautiful. Buono' s style is more sim])k and that of the Lombardi would pro bably be better than the one adopted for they had some taste and feeling ii their way, though it too often happen that their houses are monuments, an- their monuments gingerbread.” - Woods. The fraternity, in 1560, b( came the patrons of Tintoretto, Avlr continued to paint here during 18 ycau Tlie lower Sala is a magnificent hal the walls of which are covered by hi | paintmgs. The best are the Anmuici! I AusTRiAii: Dom. Route 26 . — Venice — Accademia — Paintings. 341 tion, and the Slangliter of the Inno- cents. On the staircase, the Visitation, also by Tintoretto; the Annunciation, by Titian. The upper Sala is also filled with paintings by Tintoretto., of which the MAacle of the Loaves and Fishes, the Last Supper, and the Resurrection, may be particularly distinguished for their richness of grouping and inven- tion. The picture at the altar repre- sents S. Rocco in glory ; the statues at the side, St. John the Baptist and S. Sebastian, are by G. Campagna. Round tins Sala are scidptures in wood ; those on the side opposite to the altar are by Michael Angelo. The ceiling is very fine. The compartments, whidi are all by Tintoretto., contain subjects from the Old Testament. Over the doorway of the Sala delT Aihergo., so called because here the fraternity received their guests, is the portrait of Tintoretto., by him- self, painted in 1572. Within is the Crucifixion, considered, on the whole, to be his chef- d' oeuvre, showing great powers of invention and composition, but exceedingly injured, owing to the dilapidated state of the buildings ; and several other subjects, including the 6 fraternities of Yeiiice. The Ch urch con- tains many paintings by Tintoretto. On I the rt.-hand side of the nave are, the Annunciation, the Pool of Bethesda, and St. Rocco in the Desert : and in the principal chapel are 4< great pic- tures. — Titian, our Lord dragged along by an executioner, much injured. On the 1. side of the nave, — Pordenone, St. Martin and St. Christopher. — Mosca, statues of St. Sebastian and Pantaleone. Accademia delle Belle Arte. Tbe auilding in which the Academy is lo- •ated is the ancient Convento della Ca- ■itd, and it was one of those Tipon .vhich Palladio bestowed the greatest [ tudy ; we have besides the advantage )f his own explanation of liis designs, le having published an account of it in lis architecture, lie intended that the a])itablc portion of tbe (convent sliould epre.scnt a Roman mansion, at least ecordijig to the idea which, Pompeii shiglhcn undiscovered, Ik; was enabled o form of such struetures : but it lias istained many misrorlunes. 4'lic larger part was burnt down in 1650. The French turned it into barracks ; and though the present appropriation of the building was intended to preserve it from further degradation, still, to adapt it, several alterations were needed, by which what was left of the original plaii and design has been much altered and impau’ed. Many of the riches of the Venetian school of paint- ing are here deposited, together with other fine specimens, of which the fol- lowing are the principal. In the room numbered I., and called Sala (lelle piibliche Punzioni : — No. 1. The Assmnptionof the Virgin, by .• blackened by candles and incense ; it formed the altar-piece in the church of the Frari. Count Cicognara, suspecting its value, had hunself ch^awn up to it, cleaned a small portion, and, having ob- tained it from the priests of the church, in exchange for a new and bright paint- ing, placed it in this gallery. “ In this pictime Titian has employed the whole power of his palette, from its brightest and purest light to its richest and deepest tone. The composition divides itself into 3 compartments of unequal size ; the largest in the centre, where is the subject of it, the Blessed Virgin. Her action is grand and devout, her character maternal, the arrangement of her drapery such as to produce a full and fine form. It is a glorious work, its power of colours is immense : far beyond that even of any other picture of Titian that I have seen, and it is painted with great bravima. I wish I could say more of its sentiment, but that is a quality to winch it can lay but little claim.” — Phillip.^, P.A. — 2. Adam and Eve taking the Ibrbiddon Fniit, Tintoretto. — 3. St. Jerome, St. Mar- garet.- — -4. St. Mark. — 5. St. Bruno and St. Catherine. — b. St. Barnabas and St. Silvester, Bonifazio. These arc pictures of great ability. — 7. St. Francis re- ceiving tbe Stigmata, and other Saints, by Conegtiano, a dignided and excellent S])ccimen of tbe master; as also 10. — H. 'fbe Calling of tbe Sons of Zebedet', Marco Ha.saiti, a master in wlnnn a sim- ])!(' dignity and severity is nnitt'd with a beautiful and powerful colouring. Jlo 342 Route 26. — Venice — Accademia — Paintings. Sect. III. appears to have been in close alliance with Tivarini, a large altar-piece in the Frari having been begun by Tivarini and finished by Basaiti. His pictures m this collection are beautifid but severe. — 9. The Presentation of our Lord in the Temple, Carpaccio, taken fi’om the church of St. Job, considered as the chef- d' oeuvre of this artist, “who is, properly speaking, the historical painter of the elder Tenetian school.” — 11. The Eaising of Lazarus, Bas- sano, finely grouped and rich in colom-, — 12. St. Lawrence and other Saints. Pordenone : considered the chef- d' oeuvre of this artist : the figures of St. J ohn the Baptist and St. Augustine are very fine, pure in design, and full of life and vigour in colourmg. — 13. The Holy Family, with many Saints, and 3 Angels playing on musical instruments, by Giovanni Bellino. — 17. Portrait of a Doge, Contarini, an imitator of Michael Angelo, though of the Tenetian school. 3 by Bonifazio. — 15. Our Lord sur- roimded by Saints, with an Angel tuning a Lute. — 16. The Supper of Dives. In this latter large and fine pic- ture, the groups of musicians, who, ac- cording to a pleasing custom of the Tenetians, are never absent from such festivals, are particidarly attractive from the truth of character and life of the heads. — 18. St. James and St. Do- minic. — 20 and 22. The Propliet Eze- kiel and the Prophet Isaiah, in chiar’- oscuro, by Paul Veronese. — 21. The Tenetian Slave delivered by St. jMark, Tintoretto ; one of tlie wonders of this school of painting. All is motion, ani- mation, and energy. “ It is certainly by far tlie finest work 1 have seen of Tintoretto. If it lacks the sober manly judgment of Titian, it has extraordinary brilliancy of imagination to compen- sate,' and a more perfect and dearer hue than any j)icturc I have seen of this school.” — -Phillips, R.A. — 23. The Marriage at Cana, Padovanino, an art- ist of the Tenetian school in the 17tli centy., not remarkable for grand or noble conception, but for an agreeable softness of execution in his heads. This is considered his chief work : it is rich, elegant, and animated. — 24 and 25. Portraits of a Dominican Monk, and of a Doge, Leandro Bassano. — 26 and 27. St. Francis of Assisi and St. Paul, and the AToman taken in Adultery, Bonifazio. — 29. The A"h*gin on a Tluone, P. Veronese, Avith many Saints sm'i’ounchng her, Avas, like many of its neighbours, judged Avorthy of being transported to Paris. — 31. Tlie Fisher- man presenting to the Doge the ring, which, having risked his boat Avhen the Saint stilled the tempest, he had re- ceived from St. Mark. (See the story told beloAv, Sala Secunda nuova.) Paris Bordone, his chef-d' aanrre. Tliis pictiu'e is rich in figures, and the com- position and ardiitectural arrangements are most pleasmg. Tlie harmonious and beautiful tones of this artist’s colouring charm, hoAvever Avanting he may be in the depth and force of his more jiOAver- ful companions. — 32. Our Lord bearing liis Cross, Carlo Caliari, sou of Paul A^eronese ; and 34. The Last Supper, by Benedetto CaHari,\n$> brother. — 35. The Assumyition of the A’^irgin, Palma Vecchio. (The upper part of the pic- ture is unfinished.) Sala delle Antiche Pitlure, marked lA’^.— 1. The ATrgin and Saints, Bar- tolomeo Vivarini. This artist nourished about 1463 : his Avorks have great sharpness and severit y of draAving, and Avithal considerable ability and often a marked dignity. — 2. vVltar-piece of many compartments, Michele Mallei di Bologna (about 1469). — 3. The Sa- viour ami four Saints, Michele Giam- hono (died about 1450). — 5. Another altar-])iece in several (•ompartments, the Coronation of the Tirgin in the centre, by Lorenzo Veneziano, dated 1357. — 4, 6, 7. St. James, St. Anthony, and the Saviour dead, Marco Basaiti. — 8. Coronation of the Tirgin, Gio- vanni and Antonio di Murano. — 10 and 12. St. Augustin and St. Jerome, Vincenzo Catena. The influence of Vivarini on this artist’s style is per- ceptible.— 14, 16, 17-20. St. MatthcAv and other Saints, by Luigi Vivarini the younger, Avho flourished at the close of the 15th centy. “ He ha.s much of the feeling and colouring of Carpaccio.” L. (7.— 15. An altar-piece Austrian Dom. Route 26 . — Venice — Accademia — Paintings. 343 of many compartments, by Nicolo Se- mitecolo. The centre compartment, representing the Coronation of the Virgin, is a work of a later artist. Semitecolo lived about the middle of the 14 th centy. — 22. The Yh-giu and two Saints, Giacobello del Fioi'e, dated 1436 ; chiefly interesting as a specimen of a rare artist. — 23. The Yh’gin en- throned, under a canopy supported by Angels, with the four Doctors of the Church by her side, Gio. and Antonio di Murano. Tliis large pictm’e, dated 1446, is curious. The Sale delle Statue, numbered X., XI., XII., contain a good collection of casts of ancient and modern statues and bas-reliefs, including many by Canova. Several rooms contain works of little interest : of these, many are mferior Flemish pictures, many by unknown artists : most are gifts, and of recent acquisition. But observe the foUow- ing Pinacoteca Contarini, Sala mag- giore, marked VI. Virgin (half-figure) and Child, Gio. Bellini. — Virgin and Child, with four Saints, Cima da Cone- gliano. — Virgin and Child with St. Peter, St. John Baptist, SS. Catherme and Rosa, Boccaecino Cremonese. In the Corridor, marked VIII. — Two pictures representing allegories of Fortune; and a third, Bacchus in his Car, Gio Bellini. Galleria Palladiana, marked XIII. — 26. The Head of an Old Woman, be- lieved to be the portrait of his mother, by Titian ; very fine. — 29. Portrait of a man of letters, Moroni. — 45. Portrait of Jacopo Soranzo, by Titian, formerly in tlie Pi-ocuratie Xuove. — 58. The Virgin and Child, with Saints, Giro- lamo Santa Croce, known ])ar(icularly hy his cabinet ])ictures, with small pleasing figures. At a later period rhis artist followed the modern manner )f 4'itian, without, however, particu- arly distinguishing liimselfin it. 41iis s amongst the l)cst ])ictures of the alter kind. — 7(5. The Addolorata, yin- nnetto da Messina. About the middle »f the loth centy. this artist repain'd () t he Net herlands, and th('re, as if is aid, learned Van ICyck’s secret in the preparation and use of oil colours, which knowledge he spread amongst the Venetians. This picture is a good specimen of Antonello’s later time. Prima Nuova Sala, marked XIX. — 2 and 11 are portraits of noble Vene- tians, Tintoretto. — 6. Another Venetian portrait, Giorgione. — 10. A similar subject, by Contarini, and, 14. The same, by Bassano, have all great in- terest. — 18-22 and 43, 45, and 46. The pictures representing the History of St. Ursula and her 11,000 Virgins, by Carpaccio, ai’e particularly worthy of attention : they were in the school of St. Ursula, and are good samples of this master, who loves to fill up the backgrounds of his pictures with land- scape and architecture, and to intro- duce the daily life of Venetians of his time in the greatest variety. This has been engraved by Gr. and F. Calin- berti. — 25. The Presentation of the Virgin in the Temple, Titian ; very fine. “ It has freedom in its execution, and beauty in various combinations of its parts. It is exceedingly slight in its execution, but many of the heads have a great deal of character — indeed, are evidently portraits.” T. P. — 28. Christ giving the Crown of Thorns to St. Catherine, wfiiile one of gold, re- served for her in Heaven, is shown her in exchange, a beautiful pic- ture, with many figures of Saints around. Bissolo was one of the most distinguished artists of the school of Giovanni Bellini. — 29. Procession and Miraculous Cure in the Piazza di San Marco, by Gentile Bellini ; very in- terestiug, as showing the state of the piazza in the year 1496, when the pic- ture was painted, and tlie costume of the ]ienod exliibited in many animated figures. Gentile Inul great delicacy and grace, Init lie wanted tlie vigour of Ills younger brotlicr, Giovanni.-— 51. By tlie same artist, and the companion ]ueture, is equally deserving of atten- tion. 36. 4'he Annunciation, Martin da Udine; a ])ictur(' of tranquil and noble h('auty, by this rare master. — 37. Gur l>urd between St. Koch and St. Sehast ian, Ilartolomeo Montagna ; an unpleasant dryness t»f manner is 344 Fioute 2G.— Venice — Accademia. Sect. III. united to a dignity of conception in this artist. — 44. The Deposition of om* Lord from the Cross, Lazzaro Sehas- tiani, the scholar of Carpaccio. — 51. Mii’aculous Appearance of the Holy Cross to Antonio Eiccio, Lazzaro Se- hastiani, whose works resemble those of Grentile Bellini. — 52. Mu-acle of the Holy Cross, Giovanni Mansueti. Like Sebastiani, Mansueti was a scholar of Carpaccio, and his works also cliielly relate to the mh-acles supposed to have been wrought by means of the Cross. — 54. G. Bellini, the Recovery of the Cross di’opped into the Canal near San Lorenzo ; a very cmaous picture on account of the portraits which it contains, as well as for the costume of the figures, much of whicli is uncouth and ungraceful, but, without doubt, true. There is hardly any light and shade. Sala Seconda, marked XX. — 2. Ilocco Marconi, Deposition from the Cross, with two Saints. — 4. Tinioreito, the Assmn]:)tion. — 11. The Supper of Chi'ist in the house of Levi, painted 1573. “ Full of power and life.” L. G. — 12. St. Matthew and St. Mark, P. Veronese. — 21. Death on the Pale Horse ; and 22. The Griiardian Angel, Palma the younger. — 23. Titian, St. John in the Desert ; a noble and vigo- rously drawn figure. “ A figure of common nature in form and action, with a head of fine character, and ma- jestic and commanding couiitenance. The style is of his best manner, and Ihe colour of his richest and clearest. In the background arc tlie mountains of his own Cadore, and a beautiful landscape below.” T. P. — 25. Tlie An- nunciation, P. Veronese . — 2C. The Yh- gin in Glory, Padovanino. — 27. One of the earliest ])aintings of Titian, the Meeting of Mary and Elizabeth ; and 30, his last, unfinislicd work, tlie De- position from the Cross. — 20 is a very curious picture by Giorgone, one of the principal works of imagination now existing of this painter. (Sec Kugler, § xevi.) It exhibits glowing colouring and masterly drawing. The subject of this picture is a story so characteristic of the superstitious age in which it was believed, and so often referred to in the works of art at Venice, that we sliaU give it here. It is a legend recorded by more tiian one authentic chronicler, and believed sufllciently to give birth to a public religious ceremony. “ In the year 1341 an inundation of many days’ conti- nuance had raised the Avater three cubits higher than it had ever before been seen in A^cnice, and during a stormy night, Avhile the Hood appeared to be still increasing, a poor old fisher- man sought what refuge he could find by mooring his crazy bark close to the liiva di San Marco. TTie storm Avas yet raging, Avhen a person a])))roached and offered him a good lure if lie Avould but feriy him over to San Giorgio Maggiore. ‘ Y"ho,’ said the fisherman, ‘ can reach San Giorgio on such a night as tliis ? Heaven forbid that 1 should try ! ’ But as the stranger ear- nestly persisted in his rccpicst and pro- mised to guard him from harm, he at last consented. The passenger landed, and, having desired the boatman to Avait a httle, returned Avith a compa- nion, and ordered him to row to San Nicolo di Lido. The astonished fisher- man again refused, lill ho Avas pre- vailed upon by a further confident assurance of safety and excellent pay. At San Nicolo they picked up a third person, and then instructed the boatman to proceed to the Tavo Castles at Lido. Though the Avaves ran feaid'ully high, the old man by this time had become accustomed to them, and, moreover, there AA'as something about his mys- terious crow which cither silenced his fears or diverted them from the tempest to his companions, Scai'ccly had they gained the strait Avhen they saw a galley rather fiying than sailing along the Adriatic, manned (if Ave may so say) Avith devils, who seemed hurrying, with fierce and threatening gestures, to sink Venice in the deep. The sea, which had hitherto been furiously agitated, in a moment became unrulllcd, and the strangers, crossing themselves, conjured the fiends to depart. At the word the demoniacal galley vanished, and the tlu’ce passengers were quietly landed Austrian Dom. Route 26. — Venice — Theatres. 345 at the spots at which each respectively had been taken up. The boatman, it seems, Avas not quite easy about his fare, and, before parting, he implied pretty clearly that the sight of this miracle, after all, would be but bad pay. ‘ You are right, my friend,’ said the first passenger, ‘go to the Doge i and the Procuratori, and assure them I that, but for us three, Venice would have been drowned. I am St. Mark, i my two comrades are St. Greorge and St. Nicholas. Desfre the magistrates to pay you ; and add, that all this trouble has arisen from a schoolmaster ! at San Felice, wlio first bargained with the Devil for his soul, and then hanged himself in despafr.’ Tlie fisherman, who seems to have had all his wits I about liim, answered that lie might tell I that story, but he much doubted whe- I ther he should be beheved ; upon which [j St. Mark pulled from his finger a gold ring, worth about five ducats, saying, ‘ Show tliem this ring, and bid them look for it in my Treasury, whence it will be found missing.’ On the morrow the fisherman did as he was told. (See Paris Bordone’s masterpiece in the first room, 31.) The ring was discovered to be absent from its usual custody, and the fortunate boatman not only received Ids fare, but an annual pension to boot. MoreoA’er, a solemn proces- sion and thanksgiving were appointed, in gratitude to the three holy corpses which liad rescued from such calamity the land afibrding them burial.” — Yen. Hist. Tlie Bossi collection belonging to this Academy contains many and beau- tiful drawings by Paphael, Michael Anfjelo, Leonardi da Vinci, and others, witli some good bronzes and sculp- tures. I li The Sala delle Padunanze Accade- miche, or roo)u in Avhich the Academy liolds its meetings, is a noble apart- Tiient, painted by Titian. Tt contains some very curious s])ccimcus of‘ ancient sculpttire, collected by Cicognara from various demolished churches. Over the chair of the ])r('sident is a vase of ])orj(hyry, containing the rigid hand of Canora, with Ids chisel above, d'he preservation of the latter rehc has been dictated by that feeling which has pre- served the telescope of Yewton, the inkstand of Ariosto, the sword of Fre- deric, and the palette of Wilkie ; but the former seems strange to those who have not acquired a habit of venerating the fr’agments of Saints. The Pinacoteca Manfredini is depo- sited in the buildings of the Ecclesias- tical Seminary (see p. 338), to wliich establishment it Avas beqiTeathed by its late OAAmer. It contains some fine sketches by Correggio for the Duomo of Parma, and some other tolerably good pieces. The cloister of the Semi- naiw is entirely filled with monuments and inscriptions saved from demohshed churches. House of Titian. According to Mrs. Jameson the direction by wdiich tins may be found, though AA'ith difficulty, is, “Vella contrada di S. Cancino, in luogo appellato Birigrande, nel campo Eotto, sopra la palude o Canale ch’ e in faccia all’ isola di Murano, dove ora stanno innalzate le Fondamenta nuove.” For details, however, the traveller must be referred to that lady’s interesting account. Theatres. The principal theatre is la Venice, originally built in 1791. The whole of the interior was burnt in De- cember 1836, but Avas restored by May 1837. It is a handsome theatre and of a good size. It is open during the carnival season, i. e. diu’ing the Avinter, and sometimes in the spring, for the performance of operas and ballets, The office for places is, during the day, situated about the middle of the Pro- curatie vecchie. It Avill be discovered by the playbills stuck up before it. The price of admission is 3 zwanzigers. The next theatre after the Fenice is the Tealro Gallo, so called from the name of its proprietor, but also knoAvn by the name of Teairo San Benedetto. In autumn, Avintcr, and s]u-ing, an opera conqiany, usually second-rate, perform at tills tlicatre. When the Fenice is shut the ]'>erfonnances are rather better. It Avill contain about, a thou- sand s]>ectators, is not inelegant, but is unfavourable for hearing. Q 3 346 Fioute 26 . — Venice — Artesian Wells — Islands. Sect. III. The Teatro Apollo, a San Lucca, is usually open for the drama, not often for the opera. The Teatro San Sam%iele is rarely open. It is a pretty theatre, well adapted for hearing, but distant. Opera bulfa is performed here. The Teatro Malibran is near the Eialto. It is opened during the day, evening, or night. It is large. The amusements consist of rope- dancing, sword-swallowing, and such-hke per- formances. It received its present name from the gratitude of the pro- prietor to Malibran, who performed here tlmee nights at his request, to redeem liis ruined finances, and then refused to accept any salary or recom- pence. The Giardino Publico, at the end of the Hiva de’ Schiavoni, was formed by the Trench, but has been extended and inaproved of late years. Artesian Wells — Supply of water . — Several Artesian wells have been re- cently sunk at Venice (in 18l7), at the expense of the municipality, and under the dhection of a very talented French enguicer, M, Degoussee. Situated in the midst of a salt marsh, Venice had hitherto been dependent on its cisterns for fresii water, or on its being brought from the mainland in large flat-bot- tomed boats, attended with great ex- pense. M. Degoussee, who had exe- cuted several works of this kind in France, was led from geological con- siderations to conclude that an ample supply of fresh water might be ob- tained, at an inconsiderable depth and expense, and the residt has fidly con- firmed his previsions. Before the Ke- volutionary movement in 1848 no less than seven Artesian wells were pouring forth unceasing currents of fresh water, and suj^plying fountains in several of the squares of Venice ; and although at first prejudices were raised against it, from its slightly chalybeate quality, it has come into general use, and is greatly superior to that of ill- kept cisterns, or of the muddy rivers of the Littoral. It will interest the tra- veller to visit some of these fountains, spoutmg on the borders of the Laguna, as in the Piazzas of Santa Maria For- mosa, of the Gesuiti, &c. The water coiitams a small quantity of iron and some vegetable matter, the latter de- rived from the peaty stratum throng] i which it filters. It is supjjosed, Avith great probability, that the water Avliich rises to the siu'face through these borings has fallen in the form of rain upon the mountahis bordering on tlie Lago di Garda. The islands scattered round Venice in the Lagoon contain, many of them, buildings worth seeing. A few excur- sions too about the Lagoon, such as that to Torcello, will give a clearer idea of the natm-e of the site of Venice | than a mere inspection of the city itself. Murano is the most considerable, and AA^as formerly the most flourishing, of these islands. It is aa'^cU knoAvn that the glass manufacture of Murano AA^as the most perfect in Europe, not only during the middle ages, but even till the beginning of the last centy. Mirrors, flasks, drinking-ciqis, and an infinite variety of small articles, were i made here Avith considerable skill. Be- f'il sides tlie real beauty of the Venice ! crystal, it Avas supposed to possess the virtue of detecting poison. Tlie cup Avould break into shivers if any en- venomed beverage were poured into it. At present the glass manufacture is carried on upon a reduced scale, beads constituting its principal article. Murano now contains a population of about 5000 Inhab., and several re- markable buildings : of these the chief is the Luomo, or cathedral of San Do- nato. “ In the year 1125 Domenico Mi- chael, 34th Doge of Venice, took the island of Cephalonia on liis return from tlie Holy Land, and brought from thence the body of San Donato, once Bishop of Evorea, in Epirus. This treasure he deposited in the an- cient church of Sta. Maria, at Murano. The lAi’obability is that the cliurcli was entirely rebuilt soon after this trans- action, as the style of its architecture is in accordance with that of the 12tli centy. The eastern apse exhibits one Austrian Dom. Route 2Q.~~ Venice — Islands — TorcelJo. 347 I I'i 1 ! of tlie richest specimens of external decoration in the Lombard style. From the veneration of the saint the church of Sta. Ifariawas soon called S. Donato, In front of the high altar is a bas-relief of San Donato,, carved in wood, wdiich was executed by some Venetian artist at the beginning of the 14th centy.” — (?. K^iight. The hemisphere over the altar, co- vered with gold, contains only one figure, a lengthened, ghastly Virgin, in the hardest Greek style, with the Greek monogram. The columns in this part of the church are of line Greek marble, but are permanently covered with da- mask, by which furniture decoration their effect is rather injured. The pavement resembles that of St. Mark. It exhibits various patterns ; many are exactly like what are found in Roman tesselated pavements. An inscription gives us the exact date (1140), and this renders it a specimen of great value. In other parts the church has been modernised. Behind the high altar are portraits of the Podestii Memmo and his wife, dated 1310, and said to be' amongst the earliest known specimens of the Venetian school. In the church of San Pietro e San Paolo are some good pictures. Gio- vanni Pellino, the Virgin enthroned. — Tintoretto,, the Baptism in the Jordan. — Paolo Veronese, St. Jerome in the Desert. — Palma Vecchio,an Altar-piece, in which is introduced the portrait of the Senator Pasqualigo. San Michele di Murano stands upon an island of its own. It is rich, both in the interior and the exterior. The monument to the memory of the Greek monk Eusebius has a remarkable epi- taph, composed by Aldus. Connected with the church is the Capella Emi- liana, a beautiful structure, by Gugliel- mo di Bergamo, built about 1.530. This convent formerly belonged to the Ca- maldolcsi; and the famous Fra’ Mauro, the geographer, was a member of Ihe house. They are now extinct, and the monastery is tenanted by (lie Francis- cans, wlio have recently hcen ])ut in ))ossc3.sion of tlie fabric, from whence they start daily to levy alms in Vctiice. The cloister is much used as a burial- place by the richer inhabitants, who are prohibited by law from burying their dead in the city, and who dislike to place the coi’pses of their relatives in the common cemetery. Isola di Purano and Isola. di Ma- zorho, — These islands contain much garden-ground : a good proportion of the vegetables con sinned at Venice are grown upon them. The inhabitants are poor, but well contented and in- dustrious, and preserve some features of the ancient character of the Vene- tians. Isola di Tor cello, or Torzelo, — “ Tor- cello Avas the parent island of the Ve- netian states ; the spot to which the unfortunate inhabitants of Altinum and Aquileia fled for safety when their homes were made desolate by the northern invaders. Torcello thus peo- pled became a town, and had its ca- thedral and its bishops long before the existence of St, Marie’s! Others sought refuge here from the desolating and persecuting arms of the Arian Lom- bards ; and to escape their yoke Paul Bishop of Altino translated his see here about the year 635, taking with him the relics and treasures of the cathedral which he abandoned. The dig seems to have decayed as early as the 11th centy. ; but the succession of the Episcojial see continued until the revolution, as well as tlie repvhlic. There was a podesta and senate of Tor- cello, in whom all the rights of the ancient community were vested, and who, amongst other privileges, conferred titles of nobility on such as were ivill- ing, like our primitive baronetcy, to assist the treasury of the state — in this instance, by the payim'nt of ten zec- chini, somewhat about five pounds sterling. — “ In process of time Torcello was enriched with tlie remains of Sa. Fosca, a virgin of noble birth, Avho, together ivith her nurse, Maura, had, (luring tliC]H'rsccution of Dccius, earned tlie palm of martyrdom at Kavenna, her native city. Her relies, in the first instance denied tlie rights of sepulture, AV('re carried off liy the (diristian sailors to a town on the coast of Africa, and, i 348 Route 26. — Venice — Torcdlo. Sect. III. when that to^vn had been destroyed by the Saracens, they were brought back to Italy by a Yenetian merchant, and deposited at Torcello ; soon after wliich this church was built for their recep- tion. The exact time at which the body of Sa. Fosca was brought to Torcello, and consequently the exact date of this building, is iTiiknown ; but the cluu’ch must have existed before the year 1011, because in that year, as is proved by a deed cited by Cornelius, two sisters, Maria and Bona, natives of Torcello, endowed the church of Sa. Fosca with certain lands. The building itself pre- sents all the appearance of remote an- tiquity, Upon the whole, we may safely assume that it is at least as old as the 10th centy. The plan of this building, whenever it was erected, must have been imported from the East ; for Sa. Fosca is not a Latin Basilica, but the square cluuch of the Ureeks, sur- mounted by the Oriental cupola. The capitals of the pillars of the porticoes by which it is surrounded are very peculiar ; neither formed after Roman models, nor admitting Lombard ima- gery. These were also probably of Byzantine extraction. The interior is gracefully designed, consisting of a pe- ristyle of insulated columns and piers, wliich together support the dome. The church underwent restoration at dif- ferent times — in 1247, and again at a later period ; but the original character of the building has been preserved. Cicognara speaks in high terms of tlie arcliitectural merits of this little build- ing, and is of opinion that both Sar- pagnino and Sansovino were mdebted to it for the design of churches which they built at Yenice, and by which they increased their reputation.” — G. Tonight. In the immediate vicinity of S. Fosca stands the cathedral of Torcello, in the same state in which it was rebuilt in the beginning of the 11th centy., by Orso Orseolo, Bishop of Torcello, and son of the celebrated Doge Pietro Or- seolo. This edifice neither resembles its Lombard contemporaries nor its Byzantine neighbour, but might be thought more ancient than it really is, as it is built on the Latin plan, and in the more Roman style of the old ba- silicas. The fact is that the Yenetians, from them marithne and commercial pursuits, were always accustomed rather to look abroad than to Lombardy for their models ; and if this cathedral is in the Roman and not in the Byzantine style (as were most of the Yenetian buildings), it perhaps was copied from a church which then existed, and still exists, on the opposite shores of the gulf — the cathedral of Porenzo, in Istria, which was built in the 6th centy., and to which the cathedral of Istria bears a strong resemblance. “ The chancel of the cathedral of Tor- cello is vei*y remarkable. In this in- stance, behind the principal apse, there I are 5 additional apses, separated from i the sanctuary by an intervening aisle, | introducing a cliange wliich places the choh very much in that insulated po- , sition which it occupies in later build- 1 ings. Nor is this the only peculiarity \ of this chancel. The principal apse in | this instance, and in this alone, has in- | ternally the appearance of a theatre. | 8 semicircular steps of wliite marble | rise above each other, forming seats for | the clergy of different degrees, and con- i| ducting, as it were, to the bishop’s | tlu’one, which occupies the central spot ! at the summit.” — G. Knight. The vaulting is covered with mosaic figures of the Apostles : above is the , figure of our Lord. Opposite to these gaunt and ghastly figures, another vast mosaic represents the Last Judgment, where kings and emperors are, as usual, introduced ; them costume is purely Byzantine. It is probably of the 10th centy., remarkably bright and crude. It represents the state of the blessed and the condemned. Limbo, or Hades, is figured in one compartment ; Hell and Heaven in others ; Death and the grave are brought before you, the worms writhing in the eyeless skulls. As works of art they are on a par with the paintings of savages, or the woodcuts of halfpenny ballads ; but they are curious, because, like the monkish tales of equal merit, they must have been designed to excite the devotions of the pious, and 1 Austrian Dom. Route 26 . — Vi tlie fears of the wicked. “ The Olym- pian Jove, created by tlie muse of Ho- mer and the chisel of Phidias, might inspire a philosophic mind with mo- mentary devotion ; but these Cathohc images were faintly and flatly delineated by monkish artists in the last degene- racy of taste and genius,” — Gibbon. The chon- retains its original reading- desks of marble, and the enclosure of marble worked in Oreek patterns. The altar-table, of embossed silver, is of G-reek workmanslup ; only some few compartments remain, and these are now affixed over the entrance of the choir. The windows are not the least curious part of the structure. They are closed by valves or shutters composed of huge slabs of stone. The windows are now glazed, but the glass is evi- dently a later addition. The Campa- nile, which stands quite disconnected from the church, beyond the eastern end, may be ascended without difficulty. From the top a fine view is obtained of the Alps and of the Adriatic : and the character of the Lagoon, and of the islands formed in it, may be satisfac- torily observed. Amongst the curiosities of Torcello ^3 a massy stone chair, standing in the )pen field, and called the “ Throne of iMilaT It is perhaps the seat in which he cliief magistrates of TorceUo were naugurated. ^ The Lagoon, immediately opposite to Jenice, is closed by a long shoaly islaiid, •lalamocco. The H. E. entrance into he Lagoon is protected by the Gastello I Sant' Andrea., built and constructed ■y Sanmicheli, whose talents as a mili- iry engineer were as great as tliose Inch he exhibited as a civil architect, he plan of the fortress is a pentagon ; ad the foundations were not laid with- ut great difficulty. Sanmicheli was uch censured, and it was bruited )Out that the edifice was insecure, ich an accusation miglit have cost e architect his head, but the senate, tlie story goes, determined to jjrove 0 fortress. Tlie 40 embrasures Avnre muted with the largest guns, double arged, and all were fired siniulta- ously, but not a stone was moved, nice — CUoggia, 349 and Sanmicheli’ s detractors were dis- missed with deserved contumely. The shore of this Littorale, towards the Adriatic, constitutes the Lido, now associated with the name of Byron, as the spot where he used to take his rides, and where he designed to have been buried. Tombs there are already ; ancient Jewish sepultures, moss-grown, and^ half covered with drifted sand, adding to the gloomy feeling of the solitude ; the few trees are old and stunted, the vegetation, the “ rest har- row,” is harsh and arid, all around seems /desolate. The sunset from the Lido is most magnificent. Lxeursion to CMoggia ; in Aenetian, Chiozza . — During the summer, on Sim- days, the Trieste steamboats frequently make excursions to Chioggia, leaving Yenice between 9 and 10 a.m., and ar- riving back between 6 and 7 p.m. The distance between Yenice and Chioggia is about 20 m., which is performed in 2 hrs. It is an excursion worth making, as thereby a good general view of the Lagoon, S, of Yenice, of the small islands studded about it, and of the long islands which divide the Lagoon from the Adriatic, is obtained. Chioggia, too, preserves those features of a fish- ing and mercantile settlement amid the waters, which in Yenice disappeared under the splendour of a Capital city. The excursion can hardly be made in a gondola, because even with 2 rowers between 4 and 5 hrs. would be re- quired for the voyage from Yenice to Chioggia, and as much of course for the return. The steamer, leaving her moorino's opposite to the Biva dei Schiavoni, proceeds down the Canal Orfano, leaving on the 1. the islands of S. Sei- volo, on which is tlie madhouse, and S. Lazzaro, which contains the Armenian convent, and on the rt. La Grazia : then entering the canal of S. Spirito, it passes on the L S. Clemente and S. Spi- rito, and on ilie rt. tlie Lazzaretto di Povcglio. It then passes nearer to the long island oflhc Lido, wlicre tlie chan- nel bends round close to the village of Malamocco, whicli gives ils name fo this part of the channel. Further on. 350 Route 27. — Venice to Ferrara. Sect. III. opposite tlie Fort Alberoni, wliicli is at tlie southern extremity of the island, and guards the Malamocco entrance on the N.j the channel is called la Boc- chetta. The steamer passes out from the Lagoon into the Adriatic at the Porto di Malamocco, as there is no deej) channel within the island of Palestrina, Extensive moles, formed with large blocks of Istrian stone, are seen on each side of the IMalamocco entrance ; these have been made of late years in order to increase the scorn* by contracting the channel, and thereby obtain a greater depth of water. The steamer then coasts along at a short distance off the shore of the long island of Palestrina, on which are a succession of small towns, S. Pietro, S. Stefano, S. Antonio, and Palestrina, which are picturesque, and show varied and rich colours. The entrance of the Porto di Chioggia is wide, but not deep : the steamer enters, but it is necessary to land in boats. Chioggia consists of a long and wide straight street, extending the whole length of the island on which the town is built, with smaller streets branching off from this at right angles. On the seaward side are canals, streets, and alleys filled with boats, masts, nets, and the usual implements of a fishing town. A wide arm of the Lagoon separates the town from the long bank or island which here divides the Lagoon from the open sea. On this island is the small town of Salio Marina, between whose inhabitants and those of Chi- oggia there exist great rivalry and jealousy. In the principal street are several churches, two of considerable size, but having a faded and dilapidated appearance. There is also a mixture of large houses wh h small, and a few cafes, whose style is 'by no means splen- did. At the end of this street a long low bridge of numerous small arches connects the town with the adjacent island, and tliereby with the main land to the southward. The population is engaged in the coasting trade, in fish- ing, and in piloting vessels into the harbour of Yenice. Chioggia has a re- putation for the beauty of its women, who are said to have furnished the mo- dels of the fine figures of Titian. The people of Chioggia are very proud of their descent : they are remarkable for their attention to dress. The Mantilla and Zendale may still be seen there, and the regular old Italian story-teller heard in the street. Goldoni’s account of the inhabitants in his day droUy hints their decline in prosperity : — “ In questo paese si divide tutta la populazione in due classi : ricchi, e poveri. Quelh che portano una par- rucca ed un mantello, sono i ricchi ; quelli che non lianno che un berretto, ed un cappotto, sono i poveri, e bene spesso questi idtimi hanno quattro volte pin danaro degli altri.” The works of the Murazzi, or great wall separating the Lagoon from tlie Adriatic, are on a vast scale in the neighbourhood of Chioggia. They have been .recently greatly restored ; the sea face laid on a slope of 4 to 1. In returning from Chioggia to Yenice, in the afternoon, the sunset, as seen over the Lagoon, whth the Euganean hills and the Yeronese mountains in the distance through the golden haze, is very fine. EOUTE 27. VENICE TO FEEllARA. (9^ posts = 79 m.) Yenice to Padua by Ely. (Ete. 26). 1^ Monselice. Cross the Adige at JBoara. Tlir country is flat and almost marshy, but teeming with the most luxuriant vcge tation. 1^ B.ovigo (in going from Eovigo t( Monselice an additional horse is re quired, at least in winter, on accouii' of the badness of the road). Inn Cappa d’Oro, a very comfortable house’ A small city, active and cheerful. Th' cathedral is now the seat of the Bisho] of Adria. That ancient city lives on) in the name of the Adriatic : its siti at a short distance from Eovigo, ca , scarcely be traced, and the excavation ; have not been productive of any objccl j of great interest. The Duom,o of Ec j vigo is a plain building, with a fci ' second-rate pictures. The Piazza b( 351 Austrian Dom. Route 21. ~Ve fore tlie Palazzo del Podestll is orna- merited with a column, which did hear the Lion of St. Mark. The chapel of the Madonna., a circular building, at the extremity of the city, contains a host of Yotive ofierings and paintings, the latter principally by the inferfor artists of the Venetian school. The road continues through the flat country intersected by canals ; part of it runs upon an embankment, and the country continues to display the same exuberant fertility. “To check the aberrations of the rivers in this part of the country from their channels, a catastrophe which used formerly frequently to occur, a general system of embankment has been adopted ; and the Po, Adige, and almost all their tributaries, are now confined between high artificial banks. The increased velocity acquired by the streams thus closed in enables them to convey a much larger portion of foreign matter to the sea ; and, consequently, the deltas of the Po and Adige have gained far more rapidly on the Adriatic since the practice of embankment be- came almost universal. But, although more sediment is borne to the sea, part of the sand and mud, which in the natural state of things would be spread out by annual inundations over the plain, now subsides in the bottom of the river chaimels ; and theh capacity being^ thereby diminished, it is neces- sary, m order to prevent inundations -n the following spring, to extract natter from the bed, and to add it to he banks of the river. Hence it hap- )eiis that these streams now traverse he plain on tlie top of high mounds, ike the waters of aqueducts, and at ferrara the surfixce of the Po has be- ■ome more elevated than the roofs of he houses. Tlie magnitude of these ■arriers is a subject of increasing ex- cuse ^ and anxiety, it having been mietimcs found necessary to give an Iditional lieight of nearly one foot to 10 banks of the Adige and Po in a ngle season.”— Xyt//. “ The ];ractico cirdiarikmont was ado])fed on some the Italian rivers as early as the >tb centy. d he deltas of the rivers lice to Ferrara, falling _ into the upper part of the Adriatic have gone on rapidly increas- ing within the period of history. From the northernmost point of the Gulf of Trieste, where the Isonzo enters, down to ^ the S. of Kavenna, there is an uninterrupted series of recent accessions of land, more than 100 m. in length, which within the last 2000 years have increased from 2 to 20 m. in breadth. The Isonzo, Tagliamento, Piave, Brenta, Adige, and Po, besides many other smaller rivers, contribute to the advance of the coast-line, and to the shallowing of the gulf. The Po and the Adige may now be considered as entering by one common delta, for two branches of the Adige are connected with arms of the Po. “ In consequence of the great con- centration of the flooded waters of these streams since the system of em- bankment became general, the rate of encroachment of the new land upon the Adriatic, especially at that point where the Po and the Adige enter, is said^ to have been greatly accelerated. Adria was a seaport in the time of Augustus, and had in ancient times given its name to the gulf; it is now about 20 Italian or geogr. miles inland. Bavenna was also a seaport, and is now about 4 m. from the shore. Yet even before the pi-actice of embank- ment wns introduced, the alluvium of the Po advanced with rapidity on the Adriatic ; for Spina, a very ancient city, originally huilt in the district of Eavenna, at the mouth of a great arm of the Po, was, so early as the commencement of our era, 11 m. dis- tant from the sea.” — Prin. of GeoL, i. 435. The length of the course of tlie Po is 410 m., and tlie superficial extent of the hasiu drained l>y it is 22,05(5 geo. sq. miles. (The basin drained by the Thames is 0400 geo. sq. miles that by the Severn 4000.) ’ Steam navigation has been of late ears introduced on tliis noble river, lit liy no means t o tlie extent t o which it might 1)0 carried for the transport of merebandize, owing to the un- settled regulations of the Eivierian provinces, and the neglected condition 352 Boute 28. — Venice to Trieste. Sect. III. of tlie navigable channel. In 1845 the steamer Contes sa Clementina, leaving Tenice, ascended the Po to the month of the Ticino near Pavia ; it was the first of a fleet of steamers belonging to a Venetian company, presided over by Count Mocenigo, budt for the purpose of carrying on a regular navigation between Venice and the provinces bor- dering on the Po and its affluents. The navigation of this great artery of Northern Italy has of late attracted much of the attention of the Austrian government. 1 Polesella. Reach the Po, which divides the Austrian from the Papal territory. Cross at Fonfe cli Lago Scuro, by a flying bridge. The Papal Dogana will give but little trouble, and a civil word and a small bribe will remove aU diffi- culty. c) T 7 , (■ See HandhooTc for 2 Ferrara. | Central Italy . Inn : The Tre Mori is much im- proved ; it is now good, 1845. ROUTE 28. VENICE TO TEIESTE. Railway trains leave Venice for Tre- viso 4 times a day, performing the journey of about 16 m. in less than an hour. The line of railroad to Treviso separates from that to Padua (Rte. 26) at Mestre. Treviso., the ancient Tarvisium {Inns : Albergo Reale ; Quattro Co- rone), a city of 18,600 Inhab., on the Sile, a tributary of the Piave. Treviso was formerly capital of the Trevisan Mark, as it still is of the province of the same name, and a Bishop’s see ; it is situated in a vei:y fertile territory, and possesses flourishing manufac- tories of cloth, paper, &c. The Duomo, or old cathedral, dedicated to St. Peter, though unfinished, is a fine building, with its five cupolas. It contains a chapel covered with good frescoes, by Pordenone. There is an altar-piece by Titian, representing the Annunciation, and a curious picture representing a pro- cession of the Trevisan authorities, by iJomenici, a native artist. The Grothic church of San Nicolo contains paintings by Gian Bellini and Paris Bordone, and a someAvhat celebrated one by Marco Pensahene, erroneously attri- buted to Sebastian del Piomho. In the Monte di Pi eta there is a fine pictm-e by Giorgione, the Entombment of Christ, said to have been his last work, and even finished by Titian. The Palazzo Publico and Theatre are fine buildings ; the Villa Manfrini has ex- tensive gardens. The high road from Milan to Vienna, by the Ampezzo and Pontebba routes, joins that from Venice at Treviso ; having crossed the great plain of the Trevigiano from Vicenza, passing tlu’ough Cittadella on the Brenta, and Castelfranco, the country of Griorgione. Two roads lead from Treviso to- Avards Trieste, both joining again at Codroipo ; the first and sh ortest through Oderzo, a large village, the ancient Opitergium. Manticano. Motta, a town of 5000 Inhab., on the Livenza, which is from this point navigable. Scarpa, the celebrated ana- tomical professor of Pavia, was a native of tliis place. San Vito, 1 m. from the Taglia- mento, a flourishing town of 5000 Inhab., with linen and silk manufac- tories : there are some good pictures by Pompeo Amalteo and his master Licinio, in the choir of the hospital church. The other or upper road from Tre- viso, which is that vAn shall folloAV, runs along the foot of tlie last declivi- ties of the subalpine hills, and is more ])icturesque and interesting. Leaving Treviso, we arrive, by a broad well- kept road lined with villas, at 1 Spresiano, 3 m. beyond which wc cross the Piave, on a wooden bridge of . several arches. , 1 Conegliano {Inn La Posta, good). The town is surmounted by an extensive castle, that gives a fine appearance to it as it is approached. Tliere arc fres- coes by Pordenone, now nearly oblite- rated, on the outside of several private I liouses in the town ; in the Duomo is | an altar-piece of Cima da Conegliano,. Austrian Dom. Route 28 . — Venice to Trieste. 353 a native of the place. Gonegliano gave a ducal title to the oldest of ISTapo- leon’s Marshals, Moncey. On leaving Gonegliano we pass under a triumplial arch, erected in honour of the late Emperor Francis I. of Austria. 3 in, farther the great road by the valley of Gadore, and the Ampezzo pass to Inspruck, branches off to the 1. (See HandhooJc of S. Oerniamf, Ete. 228) . Sadie {Inn .- La Posta), a town of 3700 Inhab., on the Livenza. It re- tains some traces of its former import- ance, being surrounded by a good wall and ditch ; tiie palace of the Podesta is a considerable building. 1 Pordenone {Inn: La Posta, good) contains 4000 Inhab., and is supposed do occupy the site of the Portus Naonis jof the Eomans. It contains a large paper-mill on the Eoncello torrent ; G-iovanni Antonio Licinio, called the Pordenone, was born here in 1483 ; there is a picture of St. Ghristopher by him in the principal church. If Codroipo {Inn : II Imperatore) . Here the two roads from Treviso join. Half way between Pordenone and tliis ilace the Tagliamento is crossed upon , wooden bridge, 1 130 yards, or nearly wo-thirds of a m. long, the bed of the iver being here upwards of a m. wide, I nd a real “ Sea of Stones,” showing he changeable natime of the river’s ourse. From the Ponte della Delizia, n the 1. bank of the Tagliamento, a oad branches off to the 1., and, follow- ig it, leads to Osoppo, a fortified town, nd Yenzona, and by the Yal di Ferro ji Pontebba, and thence to Yillach by le Yalley of the Drave to Yienna. ■lee Ilandhoolc of Souili Germany, Ete. 50.) From Godroipo tlie post-road iakes a considerable detour to Udine, 1 Lit a more direct one jiasses across the lain to Palma Nova, a very strongly- i rtified town, 3 m. W. of the river ' >rrc. The road from Godroi})o to , dine passes througb. Easagiiapenta d ^ Camj)o Formio, or more ju’Operly I impo Fonnido, where the treaty l)c- 1 ecu General J’.onajmrte and the Ihn- ■ rur of Austria was signed in Octob(;r 07, by which AFnice was so sliamc- I 1 fully sacrificed by the French general, by being ceded to Austria — one of the deepest blots in the political history of Napoleon. The mean house in which this disgraceful act was perpetrated is still pointed out. 1^- Udine {Inn: L’Europa, good), a city of 20,000 Inhab., once a place of mucli importance as the capital of Friuli. It is still surrounded by its ancient walls. In the midst is the old town, also walled, and sunmmded by a fosse of water. In the centre is the castle, on a height, said to have been founded by Attila. Udine presents so many 'features of resemblance in its buildings to the mother city, to wdiose rule it was so long subjected, as to merit thename ofYenice in miniature : it has its grand square, its palazzo publico^ a fine building on arches in imitation of tiie Doge’s palace — the two columns, the winged lion of St. Mark, and the campanile with two figures to strike the hours. The cathedral, dedicated to the Yirgin, in the Byzantine style of archi- tecture, is the most interesting object in the town. The campanile dates from the 12th century. In the bishop’s pa- lace is a ceiling painted by Giovanni dt Udine, wliose house still exists, and is remarkable from being adorned within and without with stucco ornaments, probably by himself. The castle on the height is now used as a prison ; the view hence over the plains of Friuli IS very fine. The Gampo Santo is well deserving of a visit. 12 m. E. of Udine is Gividale, the ancient Forum Julii, interesting from its numerous Eoman antiquities : its Diiomo, or collegiate chiircli, founded in 750, is a remarkable G othic edifice. Tlie archives contain some valuable ancient MSS. 1 Percotto. 1 Romans. Between Percotto and ibis post tlie direct road from Go- droipo by Palma Nova joins our route at San Yilo, one m. \V. of the passage of the I’orri'. From Eomans a roail liraiKilies o(I‘ on the 1. to Gradisea, situated on (be 1. bank of tlie Isonzo, till' road lo 'Jlaesle (;rossing llie same- celebrated river, the theoretical bouml- 354 Route 28. — Venice to Trieste. Sect. III. ary of Italy, towards tlie X. E., by two branches at Sagrada. 1 Montefalcone. Hence tbe road runs near the Adriatic to San G-io- yanni on the Timayo, the ancient Ti- mavus, ^ a in. from the coast, — perhaps the most northern point of the Adri- atic. 1 Santa Croce 1 Trieste An interesting excursion may be ' made to Aquileja either from Montefal- ^ cone or Palma Noya, the former 15, ; the latter 10| m. ddstant from it. From ! Palma Noya the road passes tln’ongh ’ Sti*asoldo (3 m.), Ceryigna (2-2 m-),| Terzo (2 m.), Aquileja (3 m.). Aqui- ! leia was in ancient times one of the; most important proyincial cities of Home, and one of its strongest frontier ; fortresses, the chief bulwark of Italy’ towards the N.E. Augustus often resided at it, and its population wasj See Handbook of South Germany Ktes. 248 & 254. I then estimated at 100,000 soids. It was taken by Attila in 452, and reduced to ashes by that ferocious barbarian, who* caused it to be razed to the ground. It contains at present about 150 houses, and 1500 Inhab. Its climate is pestilential at certain seasons from the marshes in the midst of whieh it is situated. The Huomo, built between 1019-42, is a splendid architectural monument of the middle ages, histori- cally remarkable as the metropolitan chiu’ch of the Patriarch of Aquileja, whose stone throne, in which he was installed, is still preseryed behind the altar. The crypt is ycry curious. Among the remains of antiquity are fragments of the palace of the Pat riarch Poppo, who built the cathech-al and a detached tower of sandstone. The Koinan remains in the neighbourhood are yery abundant ; excavations are going on, and a local museum contains what lias been recovered. ( 355 ) SECTION IV, DUCHIES OF PAEMA AND PIACENZA, Eotjtes. eoute page 34. Piacenza to Parma . . . 356 35. Cremona to Parma, by Casal Maggiore and Colorno . 377 (Tuein to Piacenza, 25 posts, Ete. 6.) EOUTE page 36. Parma to Ma.ntua, by Guast- alia 378 37. Parma to Lucca, by Fornuovo and Poniremoli .... 379 (/Milan to Piacenza, 8^ posts, Ete. 22.) PRELIMINARY INFORMATION. § 1. C-OYEENMENT. These two dismemberments of ancient Lombardy, which were bestowed by Pope Paul III. on his son Pier Luigi Farnese, remained in the possession of liis descendants until the extinction of the male branch of that celebrated fiimily in 1731, when they devolved to the Spanish branch of the House of Bourbon, in virtue of the iniieritance of Elizabeth Farnese, the daughter of the last duke of that family, who had married Philip Y. of S^iain. Tliis transfer was confirmed by the treaty of Aix-la-Chapelle ; at the breaking out of the Avars of the Frencli Eevolution tliese duchies were governed by Ferdinand the grandson of Eliza- beth, and were invaded by Bonaparte in 1796. From that period they may be considered as dependencies of France, forming one of the Departments of the Eegno d’ltalia, that of tlie Taro. On tlie fall of Napoleon, Parma and Piacenza, to which Guastalla had been annexed, were made orcr to the Empress j Maria Louisa for her lifetime by the Allied Powers at the congress ol Yienna-, i and afterwards to revert to the descendants of the last dukes of tlie House of Bourbon, to Avhom in tlie mean time the duchy of Lucca had been given in compensation. On the death of Maria Louisa, in December, 1847, Duke Cliarles II. of Bourbon became Duke of Parma and Piacenza ; but, having abdicated in favour of liis son the year folloAving, the present Duke Charles III. commenced his reign on the 27th August, 1849. In the event of failure of male issue in the reigning family, the duchy of Parma Proper is to revert to Austria, and that of Piacenza to the Crown of Sardinia. The sovereignty of Parma now embraces Ihe former duchy of that name, the duchy of Piacenza, and the district of Poniremoli, ceded to it by Tuscany on the sovereign of the latter country coming info jiossession of the duchy of Lu(!ca. Cuastalla, Avhich formed a ]>art of the possessions hold by JVlaria lamisa, has been transferred to Modena. 4'he laws and coins of the united duchy arc French ; and the tone of the little ■ourt, from the long reign of the ex-Frcnch Km|)ress, is ocpially Callican, with .strong admixture of Austrian. § 2. Natuee ok the Counteal — iMiviinANTS. — P eoduce. Parma, as a government, comprises Ihe I wo small duchic'.s of Ranna and Pia- - ■nzii, and tlie province of Jmnigiaua, willi a po]mlatiou in 1 S50 of 191, 790 356 Route .34 . — Piacenza to Parma. Sect. IV. souls. It is of a triaugiilar shape, having the Po on the N. for its boundary, and the Apennines on the S. The portion of the plain of Lombardy Avhich is comprised within Parma is watered by numerous canals, and is remarkably fertile. The mountainous districts are di*y and rocky, but afford pasturage. The metayer system prevails ; the engagements are not, hoAvever, free between the landlord and tenant ; the administration favours and protects the latter, in order that he may not be forced to accept unfavourable terms, the landlord having only power to demand from the tenant to a specified extent delineated by the law. Pasturage is extensively follow’ed. The farms are small, and the mode of cultivation is not in an advanced state, except in the plain country. ]\Iany of the inhabitants of the mountain districts leave their homes annually to seek for employment during the agricultural season in Lombardy and Tus- cany, and return with the money earned to maintain themselves and then* families ; others, for a much longer period, as itinerant musicians, &c. Most of those Italians with organs, &c., whom we see about our streets, come from the districts of Parma and Modena bordering on the Apennines. Whenever avc find this migration to seek for employment abroad, the people may generally be considered as not in a favora-able condition in tlieir own country. Tliis applies equally to the Irish and the Westphalian peasant ; the one leaves his country for England, the otlier for the Netherlands, during harvest-time. The trade of Parma is limited to the importation, chiefly through Glenoa, of colonial produce for its consumption, British and other foreign manufactures, and articles of luxury, sxich as dress and ornaments. The exports consist chiefly of cattle, hogs, sausages, and cheese, some silk, and a good deal of wune to the districts beyond the Po. § 3. Money and Posting. The coin struck by Maria Louisa is very beautiful, and, as before observed, is similar to the French in value, differing only in the impression. The old lira of Parma is still in circulation ; 97 of these are equivalent to 20 francs ; but in ordinary dealing 5 lire of Parma are equal to a franc, a lira being thus 4 soldi. The Austrian coinage is current. The Tuscan paul passes for 12 soldi. The posting regulations are the same as in 7i.ustrian Lombardy. The passport must be vised by the Austrian diplomatic authorities, and that is sufficient. EOUTE 34. PIACENZA TO PAEMA. (5 posts.) Piacenza {Inns: Albergo di San Marco, known also under the name of Leone cV Oro, as St. Mark is repre- sented by his winged hon ; the best, and tolerable : on the ground-floor of this inn is a strange collection of old paintings, but of no merit. Albergo dTtalia. La Croce Bianca). Piacenza la Fedele, founded by the Boian Gauls, received, it is said, from the Eomans the name of Placentia, on account of its pleasing situation. It Avas one of tlie towms AAiiich revived tlie soonest after the invasions of the northern barbarians, and obtained an early share of the commerce Avhicli in the middle ages enriched the Italian toAvns. In the 10th century the fair of Placentia was the principal mart of the peninsula. The city now contains about 32,000 Inhab., a number wliicli is not by any means in proportion to the ground covered by its circuit. Once a most opulent and splendid (uty, it noAv lias a deserted aspect. The fortifications, even if in good repair, Avould not protect the city in modern w^arfare. Parma. Route 34 . — Piacenza — Piazza de' Cavalli. Sol The most bn.sy part of Piacenza is in the neighbom’hood of the Fiazza dd Cavalli^ so called from the bronze statues of the two dukes, Alessandro and his son Fanuccio Farnese, which stand at either end of the terrace, in front of the Palazzo del Commune^ or Palazzo Publico. “ This budding was erected by the merchants of Piacenza, and was begun in 1281. The lower part is of stone, and in the pointed style ; the upper half is in the round style, and of brick, with terra cotta mouldings and ornaments. This budd- ing is one of the many instances which prove that the Saracenic style, finding its way through Venice, had in the middle ages a partial influence upon the architecture of Italy, The windows and the forked battlements of this building are in a Saracenic manner, and the Saracenic passion for variety appears in the dissimdarity of its parts, for the windows of the front are varied, 1 and the two ends of the building are purposely made mdike each other. It is a noble building, in spite of its ano- I malies and mixtime of different styles and materials,” — G-. Knight. The statues were designed by Fran- cesco Mocchi, a scholar of Giovanni di Bologna, and cast by Marcello., a Roman artist. They were decreed by the city on the occasion of the pubhc entrance into Piacenza of Margherita Aldobrandini, the wife of Ranuccio, and were executed at its expense, at a : cost, exclusive of the pedestals, of , 44,107 Roman scudi, then equivalent to , about 7200Z., but at the present period to a much larger sum. The statue of Ranuccio was erected in 1020, that of Alessandro in 1024. Ranuccio is in an attitude of command ; Alessandro is reining in his steed. The rider has pulled up the horse ; but the speed with which they have been proceeding ' is seen by the flutter of his drapery t and the housings and mane all carried out by tlie wind. “ Tliese statues ob- tained for Mocchi a wide reputation at ! the time, and must be allowed a ])lace amongst the great woi’ks in bronze ; but Cicognara observes that Mocchi was carried away by the passion fur singrdarity which turned the heads of so many artists in the 17th centiuy. In consequence, there is too much flutter both in the horses and in the men ; and the statues possess neither the repose nor the simplicity which constitute the truly beautiful in art.” — G. Knight. These colossal statues, instead of being formed of several pieces, are cast at one jet. There are perhaps no other examples of groups of equal size thus cast. The traveller here first becomes ac- quainted with the countenances of the Farnese family, whose elevation so deeqfiy tarnishes the Pa]3al tiara. Ales- sandi-o, who succeeded to liis father Ottavio in 1586, and died 1592, is the “ Prince of Parma ” whose name was so familiar in England in the reign, of Elizabeth, as, for example, in the famous old ballacl on the “ Armada :” — Their men were young, munition strong, And, to do us more harm a. They thought it meet to Join their lleet All with the Prince of Parma, All with the Prince of Parma. He was bold and enterprising- Governor of the Low Countries, he served Philip wisely and prudently ; and, as a general, was less sanguinary than the other captains of his age. He died in 1592 at Arras, in conse- quence of the wounds which he had received at the siege of Rouen, liis services having been transferred to France for the piu’pose of assisting the party of the League. The bas-rehefs upon the pedestal represent the taking of Antwerp (1585), and the raising of the blockade of Paris (1591). The Prince of Parma had been despatched by Philip to assist the party of the League ; and this achievement Avas fol- lowed not long afterwards by Ales- sandro’s retreat. Alessandro Avas suc- ceeded by his son Ranuccio. Gloomy, suspicious, covetous, and merciless, Ranuccio was constantly in dread of tlie vengeance of the nobility, Avhom he insulted and 0 ])i)rosscd ; and a sup- ])Oscd conspiracy enabled liim, in 1612, to wreak Ids vengeance. On the I9tli May in tliat year a scallbld Avas raised against the Aviudows of the Farnese 358 Route 34. — Piacenza — The Daomo. Sect. IV. palace ; and Barbara San Vitali, Coun- tess of Colorno, was brought forth, shown to the people, and beheaded ; she w'as followed by the noble Pio Torelh — his head fell also ; San Vitali, Marquis of Sala, succeeded, and foiu’ others of the chief families. The exe- cution lasted foiu’ hours, the duke looking on with grim delight. He wished to extmpate the famihes ; and we dare not repeat the treatment in- flicted upon the cliddi’en of San Vitali. The son and nephew of Torelli escaped ; and the latter, taking refuge in Poland, and having married the heiress of the family of Poniatowski, became the an- cestor of the last mifortunate King of Poland, Tlie Duomo stands at the end of tlie long, narrow “ Contrada dritta,” which proceeds in a straight line from the Piazza. Though not of remote date, having been consecrated by Pope Inno- cent II. in 1132, it is, excepting some interpolations of the IStli century, in an ancient Lombard style. The porches are cm-ious. In the archivolb are sculptured various figru’es, emblema- tical of the heavens and elements ; amongst them are the twelve signs of the zodiac ; the sun and the moon ; stars, planets, and comets, and winds. The pillars of the portals stand upon combinations of crouching figures, together with the usual Hons, and the whole exterior is full of cru’ious details. A window in the apse is remarkable, the moulding of the archivolt standing free from the wall, with whicli it is connected by foru’ grotesque heads. The interior is in a Lombard style, with wide spreading arches rising from massy columns, with bold plain capi- tals : over the crown of each arch a statue is let into the wall, and on most of the pillars are small tablets, repre- senting workmen of various descrip- tions, a wheelwright, a carpenter, a smith, and many others, denoting the Crafts who contributed to the expense of erecting the building. The chofr retains its stalls of rich intarsiatura ; massy, bossed chofr-books ; and its twenty-four canons, who, with dinh- nished means, still retain their station in the cathedral. The paintings are of a superior order. Six of the eight sides of the cupola are painted in fresco by Guereino ; two, namely, the E. and N.E. compartments, supposing the church to stand exactly E. ancl AV., are by Morazzone. A nearer view of them may be obtained from the colonnade which runs round the top of the drum, but the ledge is rather narrow, and has no hand-rail. The subjects ai’e : — four Prophets, four Sibyls, cliofrs of Angels, and Biblical subjects. “ Guereino gives at all times too pictm’esque a character to his sub- jects to attain much elevation, but here he has, to a certain extent, risen above this. These frescoes have been injured in a peculiar manner, — birds getting into the dome have flown against and scratched them.” — C. Wil- son. “ The Guereino frescoes are very remarkable for their great power in coloiu’ and skill in execution of fresco on a large scale, and have less of the heaviness usually pervading the works of this master. At the great distance from which they must be seen from the floor of the cathedral, they are quite satisfactory, and fine specimens of interior decoration.” — C. W. C. Lower down are figures of Charity, Truth, Chastity, and Humility, by Franchini. “ In the tribune are frescoes by Agostino and Ludovico Ca- racci, full of academic power and skill, showing great knowledge of the human form and much grandem' of contour ; the colours are distemperlike, but in as 'perfect preservation as if hut just do'ne. In the apsis is the Ascension of the Madonna, encfrcled by Angels, by Agostino Caracci ; in preservation, and execution of its kind, quite complete, and full of skill ; and in the arch above this are colossal figui’cs of angels, grand but academic in treatment. Three of the four compartments in the vaulting above the high altar arc , by Ludovico Caracci^ similar in design and treatment.” — C. W. C. Tlie sub- jects are — the Souls of the Just in Hades, and the Angelic Hierarchies. The fourth compartment is by Ca'tnillo Procaccini; the subject, the Assump- " Parma. Ilouta 34. — Piacenza — • Churches. 359 tion of tlie Vii’gin. By tlie same artist are tlie Visitation and the Descent of the Holy Grliost, on the S. wall of the chancel above the arches. By Andrea Sirani is a strange paintmg of the 10,000 crucified Martyrs. Accord- ing to the legend they consisted of an army of 9000 Boman soldiers, com- manded by Primicerius and Helias, wdio were miraculously converted to Christianity, and of 1000 more of the troops sent against them who followed their example. Their persecutors were the Emperoi=s Hadrian and “ Anto- nins,” and the crucifixion took place by the advice of King Sapor. In a j chapel at the end of the N. aisle is a picture, wliich has become very black, I of St. Martin and the Beggar, by Lu- i dovico Caracci. By Fiamenghino, a , St, Francis, and a Besurrection. Over the doorway is a Grothic tablet, or rather series of tablets, full of details. The Seu,rolo is like that at Parma, a complete and well-lighted church, with transej^ts and chom, and nmnerous columns with varied capitals, y To the Campanile, a plain brick tower of about 200 ft. in height, is affixed a large projecting cage of iron, put up by Ludovico il Moro in 1495, and, as the tradition goes, for the pur- pose of exposing state prisoners to the gaze of the multitude. The Chtirch of San Francesco Grande, near the Piazza de’ Cavalli, was built by the Fraciscans in 1278. I The exterior is partly in the Boman- ij csque style ; in the interior it exhibits f a Gothic style. The Altar is richly I plated with silver. The Cupola of tlie Altar of the Conception is well painted m fresco by Malosso. Church of Sant Antonino, the ori- ginal Cathedral of Piacenza, founded V. D. 324, as it is said upon the spot \ where St. Barnabas preached to tlie I peojile, rebuilt in 903, and again 1101, uid much altered and added to at I various subsequent periods, lastly in . 1502, so that only one portion of its I nedifcval architecture now remains, lamely, the curious entry called “ // Caradiso.'" Tlie .Sanctuary and Choir 1 " Modena, who died in 1628, at a very early age, and few of whose paintings are found except in his native city. These pictures are principally subjects h’om the Apocalypse, and were admired and studied by Guercino. The draw- ing is exa ggerated and mannered, Ga- vassetti is one of the numerous artists who, having painted but little in oil, are little known. An ancient painting upon wood of the 14th centy. should also be noticed as curious ; it repre- sents the incidents from the life of the patron saint. Church of San Savino, founded in 903, and rebuilt in the 15th centy. The crypt is probably as old as the 10th centy. : the pavement is tessel- lated, representing the Signs of the Zodiac. In the church are good speci- mens of Niivolone and Zucchero. Church of San Giovanni in Canale, founded by the Knights Templars. In the cloisters are some curious frag- ments of paintings of very eaidy date. The building, which is spacious, con- tains a San Giacinto by Malosso, and some productions of modern artists. Here is a fine tomb of the Count of Montalbo, Orazio Scotti, by Algardi, Church of Sant Agostino, desecrated and closed, and in danger of demoli- tion. This church, by Vignola, is a very noble fabric. The nave is supported by 34 Doric columns, each granite shaft being of a single stone. Church of San Sepolcro, by Fra- mante, and a beautiful specimen of cin q ue - cent o ar chit ect ure . Church of Sta. Maria della Cam- pagna, also hj Braniante ; but a por- tion has been pulled down and rebuilt, and the pi’evious proportions of the interior spoiled. This alteration occa- sioned the destruction of several fres- coes by Canvpi. Tlie frescoes of this churcli, though little known, are ex- cellent. “In this church is a cupola and chapel painted in fresco by Forde- none, showing to what extent colour may lie carried in fresco, il’lio orange and blue, azure and gold, ]mr|ile and red are as rich as in t he \'enctian pic- tures, and similar in treatment : the 360 Houte 34. — Piacenza — Churches. Sect. IV. design not more severe, and witli tlie same tierce dash in execution. On the 1. of the western door on entering there is a small fi-esco of St. Augustme (done as a specimen previously to his being engaged to put his hand to the larger works), more complete and carehd in finish, and veiy beautifid in colour ; the rosy tints and luscious fulness in the flesh are as fine as can be.” — C. W. C. Tins fresco has been wantonly injiu’ed and scraped olf ; as has also one fur- ther on, in a chapel on the 1. hand, representing St. Catherine disputing with the Pagan pliilosophers. This last is rather inferior in design to the rest of Pordenone’s works in this church. On the wall at right angles with it is an oil picture of the Marriage of St. Cathe- rine, also by Pordenone, which has become black and unintelligible, while the fresco is still clear. This pictime the French were unable to remove ; because, when they attempted to roll up the canvas, the painting, which was executed upon a prepared ground of plaster or gesso spread to the thick- ness of about |th of an inch on the canvas, broke and fell off. Opposite to St. Augustine is a St. Oeorge, painted by Gatti as a specimen, when contending with Pordenone for the execution of the frescoes of this church ; it is wretched. “ The cupola is like- wise by Pordenone ; it is divided into 8 panels which contain Scripture sub- jects. Immediately under the cmcular opening of the lantern, and on the bands which divide the panels, are painted small compositions of cliildren playing with animals among festoons of flowers of exqvusite colour and fancy. Below the dome, on the frieze of the entablature, from which it springs, is a circle of small frescoes from the hea- then mythology, in which the painter has evidently revelled.” — C. TV. C. Sub- jects which are thus so incongruously mixed with Scripture subjects are : 1. Neptune and Ampliitrite with sea monsters ; 2. Eape of Europa ; 3. Sile- nus drunk, borne by Fauns and Satyrs ; 4. Bacchus with Fauns and Satyrs ; 5. Hercules strangling the Serpents, and other figures expressive of his Laboiu’s ; 6. Jupiter hurling lightning at the Griants ; 7. Diana hunting with Nymphs and Satyrs ; 8. Venus and Adonis, with Cupids, Nymphs, and Sa- tyrs. “ In tliese the painter’s fancy and fire are mifettered.” On the piers, which alternate with pillars in supporting the entablature, are figures called apostles, said to be by Pordenone, but very inferior to the paintings in the dome, and resembhng more the works of Bernardino Gatti, called Sojaro, who painted the drum below tJiese piers with Scripture subjects. Tlie penden- tives are painted by Pordenone. These frescoes may be seen exceedingly well from the terrace which runs round the drum, behind the pillars and piers, and w'hich is very wide. In a series of Scriptm’e histories on the arches of nave and choir, the best are, — Tobias and the angel Baphael, Daniele Campi ; Euth and the Beapers, Tiarini ; and several by Gavassetti, of which Eachel and Bebekah, and some subjects from tlie history of Tobit, are the most striking. The Church of San Sisto was rebuilt in the 16th centy. If formerly con- tained Baflaelle’s celebrated Madonna di San Sisto, which, in 1754, the monks sold to the King of Poland for about 12,000Z. Amongst the paintings which remain are the Slaughter of the Inno- cents, Camillo Procaccini ; Sta. Bar- bara, Palma Giovane ; The Martyrdom of St. Martin, Bassano ; the Martyr- dom of St. Fabian and St. Benedict, Paolo and Orazio Farinata. The monument of Margaret of Austria, wife of Ottavio Farnese, is rich but heavy ; it was sculptured by Giacinto Fiorentino. The intarsiatura of the stalls of the choir is very elaborate and good of its kind. The ancient Palazzo Farnese, built' by Margaret of Austria, from the de- signs of Vignola, has been a most sumptuous edifice, and the remains of its splendid ornaments may bo traced on its degraded and dilapidated halls. The French employed it as a barrack. Tiie Citadel, a regular pentagon, was begun by Pier Luigi Farnese in 1547. It is now permanently occu- Parma, Route 34 . — Environs of Piacenza — Velleia. 361 pied by an Austrian garrison, and has been greatly strengthened by new works since 1848. The charitable institutions of Pia- cenza are still very numerous and im- portant. One (amongst many) may be instanced as interesting to the cur- sory traveller. It is the Instituto Gazola, founded for the maintenance and education of young females, who also receive marriage portions. The pupils are all taught drawing, and the house contains a very good collection of objects useful for instruction in the fine arts. The walk round the decayed ram- parts of Piacenza offers some fine and peculiar views ; the masses of the churches and jDalaces within, the dis- tant Alps and Apennines, and the glimpses of the Po, studded with wil- lovsy islands. Neighhourhood of Piacenza. A very interesting excm*sion may be made to Velleia, the Pompeii of Nortliern Italy, which lies somewhat to the E. of S. of Piacenza ; but it cannot be posted, and a part of the road is scarcely practicable for any carriage, excepting the vehicles of the country ; the distance is about 20 miles. It lies through the following places, j San Polo, formerly the fief of the ancient family of Anguisola, whose castle is still standing. San Giorgio, hard by the torrent Nura. Here is a large and fine ancient castle, and a palazzo from the designs of Vignola, both belonging to the noble family of the Scotti. Rezzano, near which is also a feudal astle, now dismantled. Padagnano. where the carriage-road ends. The track now leads to the fertile md picturesque valley of the Chiero, md passes by a spot about f of a mile 'rom VeUcia, wlierc flames, formed (as t is supposed) by the combustion of car- (uretted hydrogen gas, are constantly Hsuing from the gi-ound ; and you oon come in sight of the Monte Moria nd Monte Rovinazzo, anciently one lountain, but severe(l by tlie fall of 10 vast masses by wliich the city was S eetroyed. It is conjectured that the N, Italy — 1852 summit contained a lake, and that the waters, percolating through a lower stratiun of clay, detached the superin- cumbent rocks and soil, which, as at Goldau, slid down and covered Yelleia in their fall. And it is remarkable that the names of both the hills have reference to the catastrophe ; Povi- nazzo being derived from rovina, and Moria from Morte. IN^o medals have been found of a later date than Pro- bus ; and hence we may conclude tliat the catastrophe took place in or not long after his short reign. Velleia, though it must have been a city of considerable note, is nowhere direcily mentioned in any existing ancient writers ; but tliere is a remark- ably curious indirect notice of it in Pliny. It is in relation to the census of the Eoman empire taken by Trajan, on which occasion there were found to be at Yelleia six persons exceeding 110 years of age, foiu’ of 120, and one of 140. The subterraneous ti-easui’es were first obscurely kno’wn in the 17th cen- tury ; and for a long tune those who were in possession of the secret worked the mine with much profit : the larger bronzes went to the bell-founders, coins and ornaments to the goldsmiths of Piacenza ; but in 1760, the circum- stances having been made known to the Infante Don Philip, then Duke of Parma, the excavations were begun scientifically, and in the course of five years as many statues, inscriptions, and smaller antique articles were found as have filled the museum at Parma, hereafter described. An amphitheatre, temples, a forum, have been discovered ; none of the walls are more than 10 ft. in height, the mighty crush liaving thrown down the upper part. The ex- cavations have not been regularly or systematically pursued since 1765. Maria Louisa intended, it was said, to pidl down and rebuild a church wliich, as is siqiposcd, stands over one of the princi[)al buildings. We now return to the main road from Piacenza to Parma, which, ujion quitting tlie gates of tlie city, is tlio celebrated \4a Emilia, so called froia U 362 Route 34. — Riacenza — Fiorenzuola. Sect. lY. Emilius Lepiclus, wlio constructed it B. C. 187. This road took a u'ide cir- cuit from Bologna, passing tln-ongli lilodena, Parma, and Piacenza, to Milan. Other branches are more doubtful ; in tliis portion it generally follows a straight line ; and wlien Ave see the track diminisliing and loshig itself in the far perspective, we are constantly reminded of the journey of William of Deloraine, — “ Straight to the right before him lay, For many a mile, the Roman way.” San Lazzaro^ so called from an an- cient hospital for lepers, upon tlie site wdiereof is noAv erected an extensive and unportant ecclesiastical seminary. The celebrated Cardinal Alberoni left aU his property to this institution. Besides the students it supports many poor. The college contains some good pictures. The Legend of the Appa- rition of our Lord to St. Francis, by Ziiccaro ; a Virgin and Cliild, hj Pietro Perugino ; tw'o paintings of Soldiers, by Borgognone ; his own portrait, by Caravaggio. In the chiu’ch is the monument of the Cardinal benefactor. The whole institution is conducted upon the kindest and most liberal prin- ciples. Ponte NtM'a, near which were dis- covered the mosaic pavements now in the Museum at Parma. Cadeo, wdiose name, like San Laz- zaro, is a memorial of ancient piety ; for here, in 1110, one Gisulplms, a Placentine citizen, founded a hospital, Casa di Bio, or Ca' Beo. Fontana fredda, now a very small village, but anciently the seat of the Lombard kings. Here Theodoric the Ostrogotli had a palace, and the spring, trvdy answering to its present name, is in ancient clrro nicies called “ Fons Theodorici.” He is supposed to have founded the now parocliial church of San Salvatore. Cross the torrent Arda, remarkable for the variety of its pebbles ; jasper, quartz, onyx, and dendritic stones. Here the landscape begins to vary. On leaving Piacenza you first pass through rich meadoAvs almost perfectly flat, divided by hedges and a feAV vines, the blue and pirrple Apennines being in the far-distant horizon. But vines noAv increase rapidly, and you obtain a better vieAV of tlie southern Avail of the plain of Lombardy. In this district is groAAm the Vin Santo, the best of the Avines of tliis district ; it is clear and pure, “ blood red,” but Avithout mucli strength or flavom*. 2 Fiorenzuola, a small but rather active toAvn, nearly square in form. It is supposed to be the Fidentia of anti- quity. It has many mediaival rehcs. To one tower many chains are pendent, to Avhich, as it is said, crhninals AA^ere boimd. Small as the place is, it Ai'as once rich in conventual and ecclesias- tical establislnnents. The principal clumch, SanFiorenzo, is still collegiate. The carved work of the choir is re- markable ; and the Sacristy contains some ciu’ious relics of ancient art, amongst others a fine Niello. Velleia may be reached from Fio- renzuola : the road is shorter than from Piacenza, but it is not so good. It passes through CastelV Arquato, which stands on the bank of the Arda, a decayed but interesting town. The Palazzo Publico is a fine and perfect G othic building. Near Castell’ Aa’quato is the Monte Zago, abounding in fossil shells and marine animal remains in the highest state of preservation. Some yet retain the stains of the flesh which decayed upon them. The Cortesi col- lection was principally foi'med from fos- sils found in this neighbomdiood. From Fiorenzuola you continue upon the straight Homan road to Alseno, the centre of a territory remarkable for its fertility in this most fertile region. The country on the 1, extending to the Po Avas once called the Stato Pal- lavicino, from that illustrious family, now so scattered over Italy, aaAio held the sovereignty of it. Its chief towm, Busseto, was erected into a city by Charles Y., and was the place of a conference between that sovereign and Paul III. The other toAvns are Corte Parma. Route 34 . — Borgo San Donino. 363 Maggiore and Soragna, on tlie road I from Cremona to Parma (Pte. 35). 1 Borgo Ban Donino {Inns : Croce Bianca, opposite the Duomo, fairly good ; — Angelo, the last house going S. in the town, also fairly comfortable and civil ; but it is necessary to fix Avitli the landlord the price of your accommoda- tion, for, not having much custom, he makes the most of what he can catch) . This small city, often noticed in the mediseval history of Italy, contests with Fiorenzuola the honour of being the ancient Fidentia. The castle and towers, which so often enabled the inhabitants to defy the 'power of Parma, have long since been levelled with the ground. The principal vestiges of mediaeval antiquity which the city still retains are the Grothic Palazzo Piihlico and the Duomo. “ San Donino, in whose ho- nom’ this clnu’ch was erected, was a sol- dier in the army of the Emperor Maxi- mian, and served under his orders in Giermany. Donmo, with many others, became a Christian ; and when Maximian issued an edict, ordering all persons to renounce the Christian faith on pain of death, Donino fled, but was overtaken near the river Strione, by the emissaries of the tyrant, and immediately put to death. IS’ear tliat spot there was at that time a village called Julia. “ In 362 the Bishop of Parma, ad- monished by a dream, sallied forth and discovered the body of Donino— known to be that of the martyr by an hiscrip- tion found on the spot, and by tlie sweet odour which issued from the grave. A chapel was immediately erected to receive the holy remains : and w'e learn from a letter from St. Ambrose to Faustinus that the village of Julia had changed its name into that of San Donino so early as 387. “ From that time the shrine of St. Donino became one of the most fre- quented in Italy, and received oblations which led to the construction of a temple on a larger scale. The existing chur(;li is a large building, and lias un- dergone various alterations. Tlie oldest ])art of it is in tlie Lombard style ; but the very curious andricli fa(,-ade belongs to limes subsequent to those of the Lombard — to times when the imitation of the Roman bas-reliefs succeeded to the monstrous imagery of the 7th and 8th centuries. No record remains of the period at wliich this facade was erected ; but there are various circum- stances w’hich give us reason to beheve that it cannot be older than the 12th century. Tlie barbarous character of the sculpture, the neglect of all propor- tions, the heads as large as the bodies, might seem to indicate a remoter an- tiquity ; but there is a bas-relief over one of the gates at Milan, known to have been executed at tlie close of the 12t|i century, which is no less rude, and which proves that the arts of Italy, down to that period, continued to be in a state of the low'est depression. The projecting portals, the pediment , over the doors, the pillars resting on animals, are aU features of the latter part of the 11th and of the 12th century. Those were times in wdiich public tranqidllity was beginning to be restored, and in which the laboims of ecclesiastical archi- tecture were entirely resumed in every part of Italy. At no great distance from S. Donino the cathedral of Pia- cenza was rebuilt in 1122, the facade of which exhibits a composition of much the same character ; and bas-reliefs of the same kind, though somewhat more skilfully executed. In the still more immediate neighbourhood of this church the cathedral of Parma w'as rebuilt in the latter part of the 11th, and the begin- ning of the 12th century. Nothhig can be more probable than that the emula- tion excited by these adjacent w'orks should have prompted the addition of the existing facade to San Donino’s shrine.” — G. Knight. There is a good deal of mediaeval sculpture, curious to the antiquarian. In one of the lateral porches, the porch of Taiirns, the lieads of bidls arc intro- duced ; in another, the porch ot Aries, the pillars rest upon kneeling rams, ami the ram’s head is introduced in the capitals, while the sun — represented by a radiated human head — a])])cars in the archivolt. Some scul])turcs of the porches arc avowedly taken from Scri])- turc history j others as avowedly not. 3G4 Sect. lY. FiOute 34.— “ Fortis Ercoles” is Avrestliiig witli tlie lion. A square tablet, containing the figure of a woman in a chariot drawn by dragons, holding a torch in either hand, is tlie same design which at San ]\Iarco at Yenice is called Proserpuie. It is in the same smgular fiat workman- sliip. Among the scidptures dotted on the walls of tlie apsis are the hunt of the soul by the Demon, under the hiero- glyphic of the stag and the liomids ; and the “ Petra Solis,” exhibiting the sun, followed by an inscription in uncial letters, which only one Frete could un- derstand. The interior of the cathedral, which is scarcely altered, is as interest- ing as the exterior. The crypt is among its antique singularities. Borgo San Donino contains a large depot de mendicite estabhshed by the French, rendered necessary by the suppression of the conyents whose buildings they occupy. Rovacchia Codura^ on the torrent Koyacchia, where a chm'ch marks the site of a deserted yfilage. Rarola, where a certain Podesta of Parma built a castle, for the purpose of keeping the “ Borghigiaui” in check. The traces of the ruined budding are in the fields to the S. of the road, and the situation so struck Ariosto, that he has described it in the foUowmg stanza : — “ Giacea non lungi da Parigi un loco, Che volgea un iniglio, o poco meno intorno, ‘ Lo cingea tutto un argine non poco Sublime, a guisa d’ un teatro adorno. Un castel gia vi fu, ma a ferro, e a foco Le mura e i tetti, ed a rovina andorno. Un simil pud vederne in su la strada, Qual volta a llorgo al Parmigiano vada.” Orlando Furiuso, cant, xxvii. 47. 1 Castel Gaelfo, a small place, with the fine ancient castle from whence it deriyes its name. One portion is in nun, other portions are partly modern- ized ; but the bold projecting macluco- lations stiU remain, as well as the ori- ginal outline, testifying to its feudal gi-andeur. Tlie walls are now covered Avith ivy. The castle was, at one time, called To7're d' Orlando, not from the Paladin, but from Orlando Palavicino, who held it for the GhibeUine party ; but bemg besieged and taken (1407), by Ottone Terzi^ the Lord of Parma, and -Castel GueJfo, a great leader of the opposite faction, lie denominated it Castel Gnelfo, in honour of the victory which he had obtained. Beach the banks of the Taro, from autmnn to sprmg a fine and rapid tor- rent rnshmg to join the Po, wliilst in the summer, the wide waste of the stony bed marks the extent of its stream at other seasons. Tliis stream is of con- siderable note in ancient geography, as having been the boundary betAveen the Gaidish and the Ligurian tribes. In the autumn it swells Avith sudden and impetuous fury, and dmang the Avhole AAinter season the passage Avas here at- tended with much dilficulty and peril. Such dangers so often occurred during the middle ages, that bridge-building was undertaken as a work of Cliristian charity : and, someAAdiat like the Pont Saint Psp7'it, the first bridge over the Taro was erected some time after 1170, by the exertions of a poor hermit of Nonantola, who, stationing himself by the side of the Yia Emilia, begged until he collected snlTicient money to build it. But, after sustaining reiAeatcd damage from the violence of the Taro, the hermit’s bridge Avas finally carried aAvay in 1345, and ill replaced by a ferry, dangerous and inconvenient, even till our OAvn times. The present really magnificent bridge was begun by Maria Louisa in 1816, and completed in 1821. It is about 2350 ft. in length (or nearly double that of Waterloo bridge), and composed of 20 arches. Colossal statues of the four principal streams of the duchy, the Parma, the Taro, the Enza, and the Stii’one, resting iq)on their urns, adorn the abutments at each end ; and it is in most respects a work AA^orth}^ of the best times of Italy. From this spot, and during the re- mainder of the joiuniey for 25 m., the views of the Apennines, ranging along the southern horizon, are line; bold, though not craggy, hill above liill, coloured Avith tints of purple and blue. The costume of the female peasants is here rather uncouth : they are concealed in great cotton cloaks with frilled bor- ders — a species of G erman or Flemisli attu’e. San Pancrazio : tliis district abounds Parma. Route 34, — Parma — The Duomo. 365 in quails. The road runs on in a per- fectly straight hue to Parma. 1 Paema. Inns: Albergo della Posta, good, in the main street. II Pavone, a well-conducted house in an out-of-the- way corner of the Piazza. Tliis capital, whose popidation now exceeds 41,000, approaches to an oval shape, which it has retained from remote antiquity ; for, founded by the Romans, or rather con- verted mto a Roman colony, B.c. 187, it is said to have been called Parma, from its similarity in shape to that species of target or shield. When the city was under the immediate authority of the popes, it was represented by a female figure sitting upon a pile of shields, and holding a figure of Yictory, with the inscription of Parma aurea. But the torrent Parma, which divides the city, most probably gave its name to the buildings wliich arose upon its shores. Parma suffered from the earthquake in 1832, and several houses were so fai’ injured as to require being rebuilt ; and j improvement is gouig on here as well as i elsewhere. The Roman Via Emilia crosses the Piazza Grande in the centre of the city. This piazza is principally formed by public buildings, the Palazzo del Ooverno with its campanile, and the Palazzo del Commune. So complete has been the subversion of the ancient co- lony of Lepidus, that a few inscriptions are all that remain of the Roman age. I The name of Parma is connected with 4 some of the principal events in the li Lombard league; but little of its me- : dieeval character remains, except in the ii fine group formed by the JJuomo, the Baptistery, and tlie Campanile, which stand close to one another, a little to I the X. of the main street, at the 2nd 1 and 3rd turning after leaving the Piazza j Grande. i First, as to tlic JJuomo : the exterior j of tlie W. front is almost unaltered. The transepts and the choir are Lom- l)ard, and the centre is crowned by an I octagon tower and dome. In tlie great ])ortal the ])ecnliar Londiard st^le will l)c recognised. The building was con- Hccrated by Pope Pascal II. A.i). 110(>; many portions are much later. I'hi* colossal hons of red marble, the one grasping the serpent, the other tlie ram, were sculptured in 1281 by Qiamhono da Bisone. The sun mystically placed in the keystone of tlie circular arch, the months on either side ; the hunt, the allegory of the pursuit of the sold by the fiend, in tlie architrave, are curious : and some Roman inscriptions built up in the Myalls inchcate perhaps how many more are concealed in its core or beneath its foundations. One, in elegiac verse, apparently of the Lower Empire, has elegance. The interior, deducting some Grothic interpolations and some modern addi- tions, is in a fine Lo-mbard style, and the arrangement of the triforium is re- markable : “ The vaulting of the nave is elhptieal ; a circumstance I do not remember having met with elsewhere in a building of this era.” — Woods. Mag- nificent but perishing frescoes cover the walls. The most unportant of these cover the cupola, and were executed by Correggio between the years 1526 and 1530. The subject is the Assumption of the Virgin. The painter has imagined that the octagon form, from which the cupola rises, embraces the space of earth in which was the sepidchre of the Ma- donna ; for this purpose, upon the octa- gon itself, from whence the great vault springs, runs a balustrade, and upon that is a candelabrum at eacli of the 8 angles, with a number of boy s between engaged in lighting the wax tapers, or bmaiing incense and odoriferous lierbs. In front of the balustrade, and also on the base of tlie ciqiola, stand the Apos- tles disposed around looking upwards with astonisinent, and as if dazzled by the great light of ihc Celestial Host, who trans]iort the Virgin ; and above, Heaven appears o]ien to receive her. The Angel Gabriel desctaids to meet her, and the diflerent hierarchies of the blcssi'd circle around him. In flic four arches under Ihc cupola are rejiresenleil the Four I’rotectors of the City of Far- ma— St. llilai-y, St. Bernard, St. John the Faplist, and St. I’homas ; I'ach oc- cu))ii'H mi arch, attended by Augel>, symbolical of the virtues of' the Saim, I and with the emblems and ornami'?;t.s 366 Pioiite 34. — Parma — The Duomo. Sect. IV. of Ills dignity. St. Joiin, holding a Lamb upon his lap ; angels around darting, as it were, through the clouds : St. Thomas, also siUTOunded by angels, some bearmg exotic fruits, emblematical of tliis apostle’s laboiu’s in India ; St. Hilary, lookhig down upon the city with an expression of kindness and pro- tection ; while St. Bernard, kneelmg, is hnplormg on its behalf. This magni- ficent work, which occupied so many years of the artist’s life, was poorly paid and inadequately appreciated. lie Avas much teased and thwarted by the ca- thedral wardens : one of them told him that he had made a “ hash of frogs,” guazzetto di rane. This great work of Correggio is remarkable for its chiaro- scuro, confined indeed, as compared with his oil pictures, to a hght scale, especially in the upper portions ; for its wonderfid foreshortenings ; and for the extensive range m the size of the figures, in order to convey by then* perspective diminution an impression of great space. “ It must be evident that gradations in magnitude Avill be more full and varied when they comprehend, if only hi a limited degree, the perspective diminu- tion of forms. The great Italian artists seem to have considered this essential to distinguish painting, however severe in style, from basso-rilievo, m which t,he varieties of magnitude are real. But in the works by Michael Angelo and Baphael this perspective diminution of figures is confined to narrow limits ; partly because the technical means may have been wanting to mark the relative distances of objects when the work w'as seen under the conditions required ; but cliiefly because figures much reduced in size cannot be consistently rendered expressive as actors or spectators. In the second compartment of the ceiling in the Sistine Chajiel the effects of the perspective are expressed without re- straint ; but the indistinctness which was the consequence was probably among the causes that hiduced Michael Angelo to reduce the space in depth in the other comjiartments (as regards the figures) almost to the conditions of sculpture. In Baphael’s Transfigura- tion the figiues on the mount are sup- posed to be distant with reference to those below ; but, had they been so re- presented, they w ould have been devoid of meaning and importance : they are, therefore, by a judicious liberty, brought within that range of vision where ex- pression, action, and form are cognizable. One great exception is, however, not to be oimlooked ; Correggio, vdio ivas devoted to picturesque gradation under all circumstances, and sonietunes at any sacrifice, adopted a different course. The perspective diminution m the cu- polas at Parma (to say nothing of the objects being represented as if above the eye) is extreme ; so that even the prin- cipal figiues are altogether subservient to the expression of space. This was the chief object ; but the grandeiu of form and character which the nearer figiues exhibit has been justly con- sidered to place these works far above subsequent efforts of the kind, which in the hands of the ‘ machhiists ’ soon de- generated to mere decoration. “ If the criticisms wdiich the frescoes in the Duomo at Parma called fortli on their completion had any founda- tion, it may be inferred that the great distance at which the figures were seen rendered it impossible, in some cases, to discern the nicer gradations of light and shade which are essential to make perspective appearances intelhgible. Such considerations must, at all events, operate to restrict foreshortening under shnilar cucumstances.” — Jdastlake. “ At first, and seen from below, this inagniGccnt work appears extremely confused, but with great amenity of colours. This confusion is found to arise from two things, the destruction of the colours and consequent relief of the parts, and the blotches of white ]iroduced where the plaster has fallen, which I regret to say are neither few nor small. The hghts too have doubt- less changed somewhat of their tone, and become darker than tliey were originally. The predominating colour is a beautiful light and warm grey, Avarmed by its union with the yellow light of the centre, within that mass of beatified beings which surrounds the Vuguij and wLich presents to the mind Paema. Route 34 . — Parma — The Duomo. 367 i I i of tlie observer a ricli garland of deli- cate flowers. Tlie grey is not confined to the sky and figures, but is carried in rather a warmer tone to the imita- tion of stone-work, at the bottom of the paintmg where the large figures of saints Avith genii are contemplating the beatification of the Yrngin. This lower part is of the grandest and richest character in hne, in light and shade, and in colour. The parts are better separated than in the upper part, in which I cannot help thinking there is too great a multitude of legs and arms, wliich confuse the effect ; but perhaps the object of the painter was, as well to give simplicity and effect to the figm*e of the Virgin, as to fill the scene with figures, and give a splendid idea of the heaven of heavens, wliich he Avi.shed to represent. The effect is ex- tremely injured by the round window which is found in each of the eight compartments of the base of the dome, and the picture is well seen only when those lights are hidden — then, and then only, the whole combined effect is ob- servable. The grey of the sky above the undermost figures is brouglit down over the warmer stone-work by grey draperies cooler than the waU, sup- ported and enriched by the accompani- ment of deep colours, as red, green, and yellow, and these aid much tlie delicacy of those of the mass above. That mass reheves the under dark part off" the sky, but the clouds, among wliich the groups of angels are placed, are not agreeable in form, many of them appearing like liuge blonm blad- ders. This lower mass is illumined by a yellow, which streams down from above, on one side of the opening, which is througli the clouds ; but tlie light of the flesh thereabout, and of the clouds (some of which arc even blue), and of the drapery of the Virgin, is rather of a pearly hue, tliough the last is red with blue as usual. The ivliole of that mass has the same relief from the sky as is seen in some of Kubens’ Assumptions. The whole of the lowcist pari is rcli(!vcd off tlie bluest port ion of the sky, by light mion Ihe genii and j the (Irajicries of the saints: some in j strong colours and dark shades, ofif the warm grey stone-work, giving an ex- cellent base to the gaiety of the upper part. In this work I see clearly the somce of the beauty of Sm J oshua : his separation and selection of parts, rejecting minor and unimportant ones, his draperies, his suavity of tone and brilliancy of coloim with simplicity. It is fraught with rich invention, and parts are involved, exposed, and inter- changed, with the most intelligent fancy, for the production of that union of effect which Mr. Fuseli has so justly and so beautifully stated to be the basis of Correggio’s principle. In this no 6ne foreran him : it is entirely his own, whether he may have learned his largeness of style in his line from M. Angelo or Faphael, or not. ALL other duomos that I have yet seen are dark and heavy in comparison with this, and the figures cut out ; but here all acts to produce gaiety, and appears to blend with atmospheric tint into the air that surrounds and involves them, and render it a soiu’ce of great beauty and cheerfidness ; the observer has no fear lest the figimes shall fall upon liiin.” — Prof. Phillips, R.A. The decay of these frescoes is to be chiefly attributed to the old uisufiicient roof over the dome, which still exists under the new leaden one, which has been added to save the wrecks of Cor- reggio’s works from final destruction. Their present bad state has also been partly attributed to Correggio having used what is called a rich intonaco ; that is, wdtli a small proportion of sand. A closer inspection of them may be obtained by ascending to tlie roof of the church, from four small openings in the driun of tlie cupola. Tlie vaultings of the choir and nave are by Girolamo ell Michele Mazzuoli, the cousin and scholar of Parmigiano. The other ])ortious of the lun^e are by LaUanzio Gamhara, who worked here from 15()8 to 1573. Near the door he has introduced Correggio and Parmi- giano, line heads, and evidently por- traits. l»y G. Cesare Procaccuii are j two good paintings of King David and j 8t. Cecilia. Py Reriiardino Gatli is a 368 Boute 34 . — Parma —Battisterio. Sect. IV. Crucifixion, and the Martyrdom of St. Agatha, below. The Haganzola Chapel is covered by ancient frescoes, as bright as if they were quite new. They were painted by Grassi in the 15th century, and represent various martyrdoms — St. Peter, St. Sebastian, and others ; the drawing is, of course, stiff and bad. Until recently these paintmgs were covered with whitewash. Amongst the minor objects of curi- osity are the seats of the choir, finely carved, and the rich high altar ; also fragments of a fine painted glass win- dow, executed by Gondrate in 1574, from the designs of G-ambara. The inscription upon Bodonids tomb is cut in imitation of his printing types. The tomb of Bartolomeo Montini (died 1507), by de Grate, should also be noticed. Petrarch held preferment here. He was, as he most truly styles himself in his will, inutile Archidiacono : he du’ected that, if he died at Parma, he should be interred in this cathedral. In 1713 a cenotaph was erected here to his memory by Count Hicolo Cico- gnari, a canon of the cathediaal. This monmnent is of variously - coloured marble, and is covered with inscriptions to the honom* of the Laureate. The under Church is large and well lighted, and supported by 28 columns of rich marbles, with varied Corintli- ianized capitals. It contains some good specimens of sculpture by Prospero Clementi of Reggio — the Altar and Shrine of San Bernardino degli TJberti, Bishop of Parma (died 1133). The saint is represented between angels supporting his mitre and pastoral staff. The bas-reliefs were designed by Giro- lamo Mazzola. The tomb of Barto- lomeo Prato, erected in 1539. Two weeping figures are full of expression : the drapery is of good execution ; the background is a mosaic upon a gold ground, rare in a work of such modern date. Of the paintings, the best is the Assumption of the Yirgin {Anselmi). Battisterio, “This is the most splendid of the Baptisteries of Italy. It is entirely built of Avhite marble. It was constructed after the designs of Benedetto Antelini, and was begun in the year 1196. But the work ex- perienced many interruptions, espe- cially during the supremacy of the powerful and ferocious Ezzehno da Romano, who, in the middle of the 13th century, governed the north of Italy in the name of the Emperor, and who, displeased with the inhabitants of Parma, forbade them access to the quarries of the Veronese territoiy, from which the marble with which the bat- tisterio was built was obtained. In consequence of these interruptions the battisterio was not finished before 1281, which will sufficiently account for the appearance of the round style in the lower part of the building, and of the pointed above. “ Externally the battisterio is encir- cled with several tiers of small columns, which, with more obseiwance of ancient rules than is usually found in the Lombard style, support continued ar- chitraves. The interior has 16 sides, from which spring converging ribs that form a pointed dome. The portals are enriched with mouldings and pillars, but without imagery,” — G, Knight. Over the S. door is some allegorical and grotesque sculpture. I)i the in- terior stands an immense octagonal font, cut out from one block of yellow- ish-red marble. It appears from the inscription that this font was made by Johannes de Palissono, 1298. AU the childi’en of Parma are still brought here. The baptistery is a collegiate church, liaving a chapter of six canons and a provost, besides inferior officers, and the registers begin in 1459. In one corner of the building is a smaller font (or, at least, what is now used as such) , covered with Runic fohage and strange animals ; it stands upon a lion setting his paws upon a ram. Except- ing the galleries, the walls and dome are covered with frescoes, supposed to have been executed about 1270, by Nicolo da lieggio and Bartolomeo da Piacenza. “ They are meagrely executed, but well preserved.” — G. K. Besides tlie frescoes, there are — the altar-piece, by Filippo Mazzolo, the father of Parmigiano, and St. Octavius, Parma. Route 34. — Parma — San Giovanui. 3G9 by Lanfranco. The stalls, of inlaid work, or intarsiatura, are by Bernard- ino Canocio, 1493. The fine ancient brick Campanile is about 250 ft. in height. Church and Convent of San Gio- vanni. This very ancient Benedictine monastery dates from the lOtli centy. The interior has been attributed to Bramante, but it appears to have been I designed by one Zaccagna, and begun I in 1510 ; tlie exterior is nearly a centy. later : the design is good and strikmg. It contains frescoes in the dome by Correggio.^ now damaged and obscured by damp and smoke. This work was i intrusted to Correggio in 1520. In it is represented a vision of St. John. He, in extreme old age, and the last surviving apostle, beholds, in a moment of extacy, his companions in heaven, who form a circle around their Master resplendent in all his glory. Tlie saint is alone upon the earth, and is depicted below all the others at the extreme edge of the cupola. He kneels upon a rock, his arms leaning on a book, which is supported by a number of boys, of whom the very clouds are full. Each of the 4 pendentives contains an Evan- gelist, with a Doctor of the Church, viz. St. John with St. Augustine ; St. Matthew with St. Jerome ; St. Mark witli St. Gregory ; St. Luke with St. Ambrose ; all seated in various atti- tudes upon clouds, and supported by gracefid children. “This is a much I smaller work than that of the Duomo, and painted some time before, when he was only 26, that is in 1520, finished in 1524. By this work, which is ex- tremely large and grand in style, it appears that he very early abandoned his instructors and penetrated that mysterious system of management of light, and shade, and colour, Avhich none before him had done, and em- bodied that beautiful principle which is entirely his own, totally dilferent from that of Leonardo da Vinci, Avho lias been frc(iucntly miscalled the author of it. Correggio’s system is rather in opposition to his, for here the light is the predominant part, and the darks are ern])loyed to snjiport it, in accord- ance to the present choice of the Eng- lish school, extending the plan of Sir Joshua. The style, as I have said, is extremely large, and, if he adopted any- thing of that quality from seeing M. Angelo and Batfaelle’s works, it must have been before the commencement of this work, for here it is in full power. The finish of this picture is more com- plete than in that of the Duomo. It would seem that he could not yet trust himself with freedom,^ or know' so well the power of distance to give finish. It has the same beautiful admixture of lighf with light, and dark with dark, but there is also the same defect in principle of colouring. The darks of the figiu’es and of the draperies have more local colour than the lights or half-tints, instead of being of the coloiu’ of shade. The figure of the Saviour, the Ascension of wdaom is the subject of the picture, is a most weak composi- tion and ugly form. Many of the figures of the apostles and saints below, how'ever, compensate by the grandeur of character and the style in which they are w'rought. They are upon an immense scale. The arrangement of colour is somewhat similar to that of the Duomo. The Saviour ascends to a yellow light which streams from above ; below him are the clouds and grey sky, and below that the saints and apostles in strong colour and shades. “ The figures in the pennaehi or an- gles are much injured by the peeling off of the plaster : some parts appear very fine. I forgot to say that the heads and expressions of the saints in tlie group below' are far more complete aud appropriate than in those of the Duomo, wliicli are in general very coarse and gross.” — Brof. FhiUip.^.— Parma-— Accademia Ducale. apartments of tlie Academia Ducale^ founded in 1574, and, according to the i usual fantastic fashion, called the Aca- \ demia degli Innominati ; and each member took an epithet of conceal- ment, such as L' Oscuro^ Z/'Ascoso, L'lncerto, II Sepolto, and so on. After many changes the Academy was re- established in 1822. In its better i days it numbered amongst its members many scientific and literary characters I of eminence ; at present it is princi- I pally a school for the fine arts. Of S this establishment the Galleria Arci- j ducale is a portion. The collection is not large, but contains several pictures of the highest importance. It is pecu- j harly rich in the works of Correggio, i! the most celebrated being (1) the pic- '' ture called the St. Jerome., in conse- I quence of his being the most remark- able figure in the group, of which the ll centre is formed by tlie Madonna and I Child ; St. Mary Magdalen is op])osite to St. Jerome, kissing the feet of the Infant. The history of this fine paint- ing is curious. It was bespoken by an old widow lady, one Briseis Berganza, who, in her contract with Correggio, made her stipulations as to what she ? was to have for her money with the j utmost minuteness. The price was 80 ^ golden crowns. Correggio was em- i ployed durmg six months in the widow’s house painting the picture, ' ind, when it w^as finished, she was so j.vell satisfied with it that she gave I lim, besides his board, two cartloads ;j)f faggots, a quantity of wheat, and a 1 )ig. The V idow bestowed the painting jqmn the Convent of 8t. Anthony at i ^arrna in 1527; and it speedily ac- ' luired an European re])utation, so i riuch so, that Don Joam V. of Bor- ; ugal in 1544) opened a negotiation vitb tlie convent for the ])urcliase of he ))ainting, ofiering, as it is said, as mch as 460,000 frs., a sum which ppears incredible. Tlie magistrates f Parma, hearing of the intcmlcd con- I •act, and fearing lest their city should )se its ornament, gave notice to the like, and he stopjied the bargain by •moving the jiieture and placing it in I le cathedral. Here it continued till 37 o I 1756, when one M. Jollain, a French painter, obtained an order from the reigning duke, the Infant Don Phihp, to make a copy of it. Tlie chapter made some difficulties, upon wdiich the duke sent a file of grenadiers and re- moved it, and after a lapse of a year placed it in his new-founded Academy. It was one of the earliest works of art carried off by the French. “ Tlie Angel next to St. Jerome is extremely beautiful ; other portions are, how- ever, not quite free from affectation.” — Kiujler. The Yirgin is lovely ; but all the children’s heads are slightly exaggerated. “ The grace, the taste, in the action of the Magdalen, and the management of her drapery, has been, and must for ever be, the theme of all who see it. Grentleness and entire devotion reign throughout her figure. The colour is, ])erhaps, the quint- essence of colouring, — rich without being gaudy, soft without duhiess or insipidity, deep without blackness, full yet broken, clear yet mellow, and its harmony complete.” — Jhillips., It. A. The Italian writers upon art often call this picture “ II GiornoA from the wonderfid effect of bright daylight whicli it exhibits, thus placing it in contrast with his celebrated Kotte, above which it is placed by IMengs, who considered it as the finest of Cor- reggio’s wnrks. (2) La Madonna della Scodella ; a Flight into Egypt, deriving its name from the seodella — the small dish or porringer which the Virgin holds in her hand. Vasari calls this picture “ divine.” “ Though skillful, it is harder and drier than the St. Jerome, and lacks its lustre; either it was never fully glazed, or it has been overcleaned ; yet its surface does not appear crude ; it is finished more minutely to its boundaries, and that jierhajis causes flic hardness.” — Phillips, It. A. “ These two Cor- reggios have been moved (1815) into separate rooms, with a view to their being seen to greater advantage ; but this good intention lias been frustrated by the mistakes made in carrying it into elfeet. The walls of the ])rineipal room arc hung with figured silk, in 374 Route 34 . — Parma — Accademia Ducale. Sect IV. the pattern of which Correggio’s initials A. A, (Antonio Allegri) occiu’ repeat- edly ; but, in consequence of its heavy lead-colour (which the custode- says was chosen after repeated trials of various tints by the cognoscenti of Parma), and the lowness of the side windows on each side, one reflecting a cold dayhght, the other a warm sun- light reflected from a stucco wall, and both glazed with groimd-glass, the St. Jerome pictiu’e is deprived of the value of all its greys, and in conse- quence loses much of its brilliancy, and the eyes of the spectator are dis- tressed and puzzled by the opposing influences. The picture of the ‘ jSco- della ’ is in an equally cold grey room.” — C. W. C. (3) The Deposi- tion, or Talcing cloivn from the Cross, in the artist’s second manner. “ This is equally juicy and luminous with the St. Jerome, though its colour is with propriety kept less luxurious and rich, except about the Magdalen, where its fulness gives contrast and silveriness to the other parts. This picture shows the weak point of Correggio, and he here fell short of Paffaelle as far as he surpassed liim in colour, effect, and harmony. The expressions are not the offspring of feeling ; the striving of the painter with nature is evident ; the figm’es act, not feel, and fail to affect the observer : the dead Saviom^ alone lias a natural air.” — Phillips, R.A. (4) The Martyrdom of San Plaeidio and Sta. Flavia is its companion. “ Tlie same defect reigns in this as in the last ; it excites not the sought- for impression. The lady is particu- larly theatric. The expression of St. Plaeidio is much nearer the mark. The harmony of this pictm-e is quite perfect, and the plan ingeniously con- trived.”— P.A. (5) Our Sa- viour hearing the Cross, and sinking under its weight ; the Yirgin in a swoon in the foreground. This is one of Correggio’s early works, “ executed before he had shaken off the style of arrangement, or rather want of ar- rangement, of his master Andrea Man- tegna. It is totally deficient in com- position and drawing, but exhibits a perfect feeling for colour and har- mony.’’ — Philipps, R.A. (6) La Madonna della Scala, a fresco which has been twice removed, first from a gate of the town, and afterwards from an oratory, yet still considered as one of Correggio’s finest works. The Ma- donna holds the Cliild in her lap, regarding him with fervent tender- ness ; his arms are clasped around her neck ; he looks towards the speetators. It has been much damaged by weather, removals, and restorations. — Amongst the Correggios may perhaps be classed a copy, by Ludovico Caracci, from the frescoes in the cathedral j an exceed- ingly beautiful group of children’s heads, full of grace and charm. By Annihal Caracci is also a copy of the two figures of Christ and the Yirgin crowned, by Correggio, now in the library. Raphael, Jesus glorified. Tlie Yirgin and St. Paul on one side, St. John the Baptist and St. Catherine on the other. It was much restored at Paris, and Passavant speaks very doubtfully of its origmality. Its early history is quite unknown, and it can- not be traced beyond the last century. Passavant thinks it is the work o1 some clever scholar of Baphael— Francesco Francia, tlie Taking doui from the Cross ; Joseph of Arimathea i St. John, and the tlnee Marys sfanc ' round tlie body. — Radalocchio, Sai Prancesco d’ Assisi receiving the Stig mata, in a wooded landscape ; a goo( specimen of the school of the Caracci — Tiepolo, Two ancient Saints, a deai body lying between them. — Parmiyi ano, the Marriage of St. Catherine very lovely. — Marinari : this pupil c ] Carlo Dolce has produced a beautifu ' Magdalen. — Ludovico Caracci, tM ' pictures upon a colossal scale, froii the legendary history of the Yirgi Mary, — the Apostles bearing her I the Tomb, angels in the air wavin incense over her ; the Apostles opci ing tlie Tomb, and finding it flllc with roses in token of her Assumptioi — Parmigiano, Study of Heads, Yirgin and Child, St. Jerome and 8 I Bernard, painted by him at ninctcf ' ' Parma. liOute 34 . — Parma — Library — Museo Ducale. 375 years old ; and a sketch in oil, on paper, of the Entry of our Lord into Jerusalem, formerly at the Calorno palace, fidl of figures. — Anselmi^ two fine pictm-es of the Yhgin with different Saints. This artist was a native of Lucca, but of an ancient family of Parma, whence political disturbances had driven his father. — Rondani, the Virgin and Cliild appearmg to St. Augustine and St. Jerome. — MazzuoJa, cousin to Parmigiano, a Holy Family with St. Michael, and an Angel play- ing on the mandoline. These latter painters were cliiefly of the school, and formed by the imitation, of Correggio. -—By ScMdone, who also was his ardent imitator, we have a fine work, the Angel appearing at the Sepidchre to the thiree Marys. This small but choice collection con- sists chiefly of the works of Correggio and his school ; but there is, besides, a VandyTce — the Virgin with the Infant leeping on her breast; St. Jerome writing, by Guey'cino ; and oim Lord imongst the Doctors, by Giovanni Rellini. A fine and almost colossal bust of Vlaria Louisa, by Canova^ adorns the ipartment. The annual exhibition of modern )aintings takes place in two adjoining ooms. The original librar}^ is said to con- ain 10,000 vols. Maria Louisa is aid to have added 30,000 more ; judg- ng from the look, the number is not Quch exaggerated. It contains the ery valuable Hebrew and Syriac ma- luscripts of De Bossi, the great Ori- ntal scholar, bought by Maria Louisa, or 100,000 frs., as well as his printed ooks. It is altogether well selected, nd is much used by students. Amongst he cui’iosities are the following : — iUtlier’s Hebrew Psalter, with many iitograph Tiotes of the great reformer; vidently the co])y from which he orked in making his translation of le Bible. A very beautiful MS. of “ctrarcli, which l)clonged to Francis L, id was taken amongst his baggage at le liattle of l*avia. The autograph •llcctions of the K>’cat anatomist Mor- gagni. A map of the world made by Pezzigani in 1361. The Koran foiind in the tent of the Grraiid Vizier Cara Miistaplia, after the raising of the siege of Vienna. The very large collection of ancient and modern engravings made by Massimiliano Ortalli, lately piu’chased for 45,000 frs. The Heures which belonged to Henry II. of France, in each page of which is the emblem and motto of Diana of Poictiers. The library is fitted up with elegance, and is ornamented by a fresco painted by Correggio^ and removed from the choir of the demolished church of San Grio- vanni, representing our Saviour crown- ing the Vhgin with a crown of stars. “It is on a large scale, and the figure of the Virgin is grand and flowing in line, more so than tliat of Christ, though there is excellent drawing in \hAR—Rhillig)s^ R.A. Tlie Mnseo Ducale has many inte- resting monuments. The main stock consists of the antiquities foimd. at Velleia. Amongst the principal ob- jects are the following,. — the Tabula alimentaria of Trajan, or the regula- tion or ordinance for the distribution of his gifts for the maintenance of the children of tlie poor. He gives the sum of 1,144,000 sesterces, to be in- vested in lands, of wfliich the proceeds are to be employed in maintaining 245 males and 45 females, all to be legitunate, together with one sinrnus and one spuria, a proof ho\v much the Eoman policy, even at that period, I’espected the sanctity of marriage ; every boy was to receive 16 sesterces by month, and every girl 12, but the spurius and the spuria only 10 each. It appears that tlie whole siim invested produced about 5 ]ier cent. The tabula is nearly 12 ft. in length by about 5 in height; tlie writing is in seven columns. The names and situa- tion of the lands are given, thus ren- dering it an interesting memorial of local to])Ography. — • Anot her inscri])(ion contains the fragments (>f laws to be observed in Cisalpine Caul. — 'fhe tomb of a Purpurarius, with the implements of Iiis trade.- - A siqiposed Agrippina, of marble. — A colossal head of .lu- 376 Route 34. — Parma — Tipografia Dacale. Sect. IV. piter ; fine, but Avitb a new nose, &c. — An Athlete, conyerted by restorations into a faun. — A small statue of bronze representing a drunken Hercules ; he is leaning back, and ahnost off his ba- lance, corresponding with the semi- farcical character assigned by the old Greek comedy to the gluttonous son of Alcmena. — An Egyptian slave — a crying baby — tine candelabra — Ionic and other capitals. — Many colossal fragments of statues, hands, feet, torsoes. All the larger marble statues appear to have been crushed by the fall of the moimtain : the metal ones escaped better. — A mviltitude of small utensils ; bracelets, lamps, snuffers, rings, keys. — Two fine colossal statues of basalt, Ilercides and Bacchus, found at Home on the Palatine Hill. In 1724 they were placed in the Villa Colorno, and returned here in 1822. The mu- seum also contains a very rich collec- tion of gold Homan coins, found in Parma or its vicinity ; one a Galhenus, suspended to a golden chain like the decoration of an order. Plans and vieAvs are hung up, showing the present state of Velleia and the excavations. The Tipografia JDucate is known to all the bibliographical and biblioma- nical world as having been under the direction of the celebrated Bodoni. Bodoni cast his own types, and he had a great variety of founts ; his paper was almost ahvays supplied from Ger- many. Among his collections may be seen various fine specimens of typo- graphy, and amongst them different methods of printing music. “ Music is usually printed from pewter plates, on which the characters have been im- pressed by steel punches. The metal being much softer than copper, is liable to scratches, which detain a small portion of the ink. This is the reason of the dirty appearance of printed music. The above, though the method by far the most frequently made use of, is not the only one em- ployed, for music is occasionally printed from stone. Sometimes also it is printed with moveable type ; and occa- sionally the musical characters are printed on the paper, and the lines | printed afterwards. Spechnens of both these latter modes of music-printing may be seen in the splendid collection of impressions from the types of the press of Bodoni, at Parma; but not- withstanding the great care bestowed on the exeeution of that Avork, the per- petual interruption of continuity in the hues, arising from the use of move- able type Avhen the characters and hnes are printed at the same time, is appa- rent.” — Balhage. In the Casa Bodoni , are his collections, which contain some | good things : A. Caracci, his own por- trait ; Andrea del Sarto, a head called Dante ; Titian, a head called Petrarch ; Scliidone, a good copy of Correggio’s St. Jerome. Two small paintings, in his early manner. The Teatro Nuovo, begun in 1820, and opened in 1829, is a very shoAvy building withinside. It cost 2,000,000 francs, or lire Italiane. Besides the Bodoni collections there are some others Avhich may be noticed. Palazzo Sanvitale contains a St. Ca- therine by Parmigiano. The Stuardi 1 collections are now in the hospital of the Congregazione della Carita, to which institution the late benevolent owner bequeathed the whole of his property. They contain a series from the age of Cimahue, together with the original draAvings of Correggio, for his paintings in the Duomo. They are drawn Avith great freedom, and are ol the highest interest. The Cabinet ol the Marquis Posa Prati is also of some repute. The Cavalier Toschi and his school are engaged in a series of elaborate drawings from the frescoes of Cor- reggio ; from which engravings an being executed, which will preserve i\ J knowledge of these great works, no^^ so decayed. They are executed wit! great care, and may be seen in Londoi at Messrs. Colnaghi’s of Pall-Mall. In 1843 the remains of a fine Eomai theatre Avere discovered at Parma. The torrent Parma has here m beauty : it is crossed by three bridges In the suburbs is the Palazzo de. Giardino. It was built by Ottavi< I Earnese, but was altered and enlarger Parma. Route 35. — Cremona to Parma. 377 in 1767. It is partly stuccoed and looks unfinished, but eontains some curious frescoes, which about a cen- tiuy ago were covered with paper- hangings of the most ordinary descrip- tion. Parts were uncovered by the French about 40 years ago, others very recently ; some are still concealed. The frescoes in one room are by Agos- tino Caracci ; but were left unfinished by him, as we learn from an inscrip- tion, which says that it is better to see them unfinished by his hand than finished by any other. They represent the Pape of Europa, the Triumph of Venus, the Marriage of Peleus and Thetis, in three large paintings occu- pying three sides of the room. On •■he window side is Apollo and Daphne. iln the centre of tlie ceiling are three [Cupids, and other subjects in lunettes ibove the four sides. “ There are l^ome frescoes in the Palazzo del Giar- lino worth visiting ; the best are by Igost. Caracci. AJthough shght and •oarse in execution, the classical stories hey represent are pleasingly told, ind with much poetic feeling ; parti- ■ularly that one of Peleus and Thetis, diere the coy modesty of the lady, he enjoyment of the Cupids, and tlie eneral languid voluptuousness are uccessfully treated.” — C. TF. C. 1 Another room is decorated with alle- ories representing various scenes of njoyment ; one the palace of Armida, ith its columns and walls of crystal, ke the Palais de la Verite of Ma- ame de Grenlis, through which the gm’es are seen. Another room con- dns mythological subjects. There is Iso an enormous collection of portraits I f the members of the liouses by hich Parma has been ruled ; none r the sliglitest merit as works of art ; id as strange and queer., both in ok, expression, and costume, as it is >.ssible to bring together. In tlie ill-room arc models of the Bridges idt by Maria Louisa over the Trcbbia nl the 'faro. Ihe (riurdiiw is old-fashioned and serted, but not unpleasant. POUTE 35. CEEMOKA TO PAEMA, BY CASAL MAG- GIOEE AYD COLOENO. (5 1 posts = 48 m.) Cremona, | 1 Cigognolo, ? Pte. 23. li Piadena, j Casal Maggiore ; a small but important town on the banks of the Po, here a mighty stream : the country is always at the mercy of its devastat- ing wayes. “ Sic pleno Padus ore tumens super aggere tutas Exenrrit ripas, et totos concutit agros. Succubuit si qua tellus, cumulumque furen- tem TTndarum non passa, ruit ; turn flumine toto Transit, et ignotos aperit sibi gurgite campos. lllos terra fugit dominos ; Ins rura colonis Accedunt, donante Pado.” Pharsalia, vi. “ So, raised by melting streams of Alpine snow, Beyond his utmost margin swells the Fo, And loosely lets the spreading deluge (low : Where’er the weaker banks oppress’d retreat, And sink beneath the iieapy waters’ weight, Forth gushing at the breach they burst their way. And wasteful o’er the drowned country stray : Far distant fields and meads they w ander o’er. And visit lands they never knew before. Here, from its seat the mouldering earth is torn, And by the flood to other masters borne ; While gathering tliere, it heaps the growing soil, And loads the peasant with Ins neighbour’s spoil.” Rowe's Lucan, vi. 464-476. The embankments, in many parts, look clown upon the adjoining coun- try ; and from time to time “ the king of rivers” fully asserts his devastating power. “ Tliere is an old channel of the Po in the territory of Parma, called Po Vccchio, which was abandoned in the 12th ccnty., Avhen a groat number of towns were destroyed. Tlu're tiro re- (‘ords of parish cliurehes, as those of Vico Belignano, Agcijolo, and Mar- tignana (which lie a little to the N. and JshW. of C'asal Maggiore), having bc'eii pulled down, and afterwards re- biult at a greater distance from the J 378 Route 36 . — Parma to Mantua. Sect. IV. devonring stream. In tlie I5tli centy. tlie main brancli again resumed its deserted channel, and carried away a great island opposite Casal Maggiore. At the end of the same century it aban- doned, a second time, the bed called ‘ Po Vecchio,’ carrying away three streets of Casal Maggiore.” — Lyell. “ Proluit insano contorquens vortice silvas Fliiviorum rex Eridanus, camposque per omnes Cum stabulis armenta tulit.” Georg., i. 481. “ Then, rising- in his might, the king of floods Rush’d through the forests, tore the lofty woods, And rolling onward, with a sweepy sway, Bore houses, herds, and labouring hinds away.” Dryden’s Gewgics, i. 649-653. The traveller will have full time to study, not only these quotations, but probably to read good part of the Georgies, in crossing the ferry, one of the clumsiest and worst ordered of its kind. The heavy crazy boat is mis- managed by three rowers, who have to contend here vhth the strength of the stream ; now rowing, then punting, now ch*agging ; so that, from land to land, the passage usually occupies a considerable time. Shortly after, you reach Sacca. Here the dogana shows that you have entered the Parmesan territory. Colorno, on the Parma, formerly the lief of a noble family, of whom the last member was the beautiful Bar- bara Colorno, sacrificed, as before men- tioned, to the insane tyranny of Ba- nuccio I. Upon her execution the fief was confiscated, and the Palazzo be- came what it now is, the principal villegiatura of the sovereign : it is a large and stately, but somewhat neg- lected, building. Under the Farnese family it contained several remarkable pieces of antiquity and works of art. A fine statue of Maria Louisa, in the character of Concord, is its principal ornament. It has also some tolerable modern frescoes by Borghetti. The Chiu’ch of San Lihorio, near the Pa- lazzo, has some rich ornaments and marbles. Cortile San Martino. Here is an- other deseci*ated building, once a mag- nificent Carthiisian monastery, with a fine church in the Benaissance style, neglected and faUing into ruin. The above is the only road on which there are post relays between Cremona and Parma ; but there is a more direct o]ie, which crosses the Po at the Porto di Cremona to Monticehi, from whence it branches off to the 1. to Corte- , maggiore, Busseto, Borgo San Donino, i and Parma (see Bte. 34) ; and an- other to the rt., through San Nazzaro, Caorso, and Boncaglia, to Piacenza, about 20 m. 2 PABMA (in 365). BOUTE 36. PARMA TO MANTUA, BY GUASTALLA. (6 posts = 53 m.) Vico'pre, with a small church in tlie I style of the Benaissance. | Sorholo, on the Enza torrent, a village and dogana ; this place being on the frontier of Modena. 2 Brescello ; pleasantly situated on the banks of the Po, here dotted with numerous islands. This town, wliicl is now on the rt. bank of the Po, i^ one of those of which the site waf formerly on the 1. bank. “ Subse quently to the year 1390, the Po dc sorted part of tlie territory of Cremona and invaded that of Parma ; its ok channel being still recognisable, am bearing the name of Po Morto.”- Lyell. The road runs along the Po by Bo retto and Gualtieri, and crosses tin i jj Crostolo torrent, which formerly se’ 1 parated Modena from Guastalla. I 1 Guastalla. — {Inns: La Posta, IjJ . CapeUo Verde, II Leone d’Oro.) Tlii jj small city, containing between 200' jj and 3000 Inhab., is quite in propor tion to the duchy of which it is tk capital. Forming with those of Panii ij^ and Piacenza the sovereignty of Man [j, Louisa, it reverted to the Duke of Mq [, dena on the death of that princes; ijj Parma. Route 37 . — Parma to Sarzana. 379 [n the Lombard times it was known jy the name of Guardstall. It is a ery primitive place, in which two hiysicians, two surgeons, and one mid- vife are paid out of the public funds o do aU that is needful for all the nembers of the community. The statue n bronze of Don Ferrante Gronzaga I., iy Leone Leoni^ in the piazza, is the )uly work of art in the city. He is rampling upon Envy, represented in he shape of an ugly satyr. Don Fer- ante had been accused of treason ■gainst the emperor, but he disproved he charge made by his enemies. The athedral has only very recently ob- ained a- bishop, the see having been nstituted in 1828. There are eight ther churches, and many charitable istitutions. Luzzara^ on the banks of the Po, village and dogana, and where a I'Jmall body of troops is usually sta- ioned. It is a point of much military mportance; and here, in August 1702, he imperialists under Prince Eugene Liffered a memorable defeat from the Tench. One m. beyond Sailletto cross the o by the ferry or porto of 2 Borgoforte, so called from the rong castle built here by the Man- lans in 1211. 1 MANTUA (Kte. 23). EOUTE 37. PARMA TO SAEZANA, CAERAEA, AND LUCCA. This road is kept in tolerable repair, it is heavy in winter, and at all times lU until it reaches the summit of the pennines. It lias been much ini- oved of late years, and a diligence irts by it 3 times a week from Parma Pontremoli, leaving at 5 A.M., and I’iving at 3d 5 p.m. It was much •(juented in tlic middle ages by j)cr- iis going to Home from countries yond the Alps; hence the names it ■re of SLrada Francesca and Iloinca •n given to it. Anciently a branch of the Yia Clodia appears to have tra- versed this pass of the Apennines. Since the death of Maria Louisa the Tuscan province of Lunigiana, of which Pontremoli is the capital, having been annexed to the sovereignty of Parma, the whole of this road, as far as the Sardinian and Modenese frontier sta- tions of San Benedetto and Aulla, are within the Parmesan territories. This route may prove convenient to persons desming to reach the baths of Lucca, sea-bathing at Spezia, &c., from Lombardy, without going round about l^)y Bologna on the E., or by Grenoa on the W. The only tolerable sleeping -place will be found to be Pontremoh, which may be easily reached in a siunmer’s day from Parma. Collechio, a village pleasantly situ- ated at the commencement of the hilly country ; there is a line Grothic church with a baptistery here. F rom Collechio the road runs along the hiUs which bound the valley of the Taro, gradually approaching that river, to 2 Formiovo (Forum Novanormn), at the foot of the Apennines, on the rt. bank of the Taro, at its junction with the Ceno, a considerable stream from the AV.S.W. There are many vestiges of Eoman antiquities in the more re- cent buildmgs of Fornuovo, particularly in the walls of the great cluu’ch and some of the adjoining lionses ; the church is rather a line Lombard struc- tm*e ; on the facade are some curious bas-reliefs, particidarly one representing the Seven Mortal Sins. Fornuovo de- rives some celebrity from the battle fought here in 1495 between Charles VIII. of. France on his return from Naples, and the Italian confederates under Franceso Gonzaga, Marquis of Mantua, when the latter were de- feated with gi’cat loss, although num- bering more tlian four-fold the victo- rious army. The roads leading from Parma to Bargo Taro ami Bardi sepa- rate here. Tlicre is a tolerable Italian Inn here (Albergo Beale), the peo[)le t he road begins to ascend rapidly from Formiovo, over a spur of the Apennines se^iaratiug the Taro and 380 Route 37 . — Parma to Sarzana. Sect. IV. Bagnanza valleys, winding round tlie high liill of Monte Prinzera, and pass- ing throiigli the villages of Piantogna and Cassio. 3 Berceto (Albergo Eeale, rather better than at Fornnovo ; the Dihgence and Vettiu’ini generally stop here) lies in the midst of the mountains ; it is a picturesque ancient tomi. The church is a Grothic building ; the piazza in front, the fountain, and the whole scene around, is singular ; this is the last town before crossing the Apen- nines ; the road from hence ascends the Bagnanza toiTents to the Cisa Pass, where, before the incorporation of Pon- tremoh Avitli Parma, the dogana stood. The Cisa Col is very wild and desolate, at an elevation of 3420 Eng. ft. above the sea ; it is supposed that it Avas by this pass that Hannibal penetrated into Etruria, after having defeated Sempronius on the Trebbia. "We here enter the province of Upper Lunigiana, Avhich, until the death of Maria Louisa, belonged to Tuscany, but, on the trans- fer of Lucca to the latter country, the district of Pontremoli reverted to the duchy of Parma. The road de- scends rapidly by Monte Luncjo and Mignenza on the Magra, the rt. bank of which it follows to Bontremoli {Inn : II Pavone, at the Posta: although not over clean, it is a tolerable house, with very civil people, and the best stopping-place between Parma and Sarzana) . T1 lis city, of 3400 Inhab., which dcrfres its name pro- bably from a shaky bridge over the Magra (Pons tremulus), offers a striking contrast to all the traveller has hitherto seen. He finds himself amongst a neAv race, and many buildings have a pecu- liar character. Situated in a triangle formed by the Junction of the Magra and Verde torrents, it consists of an upper and lower toAvn, the former sur- rounded by massive and picturesque fortifications. Pontremoh, being during the middle ages as it were flie key to one of the most frequented passes of the chain betAvecn Tuscany and Lom- bardy, lias repeatedly changed masters. Some of the old toAvers were raised in 1322 by Castruccio Autelminelli, the lord of Lucca ; others by the Grenoese, when they held possession of the Lu- nigiana. It also belonged for a time to Milan ; and the armorial bearings of the Sforzas, and still more of the kings of Spain, sIioav its ancient union to that poAverful duchy. Annexed to Tus- cany by the treaties of 1815 until Lucca became annexed to the latter, on the deatli of the widow of Napo- leon Pontremoli aaus handed over to the reigning Duke of Parma. The lower toAvn of Pontremoli has a more modern aspect ; the Duomo, unfinished, was begun in 1620. Sta. Annunziata in the S. suburb Avas built in 1471 ; AAuthiii stands a small octagonal temple of Avhite marble and fine workman- ship. The other churches are modern- ized. The road, on leaving Pontremoli, runs parallel to, but at some distance from the IMagra, passing Villafranca, where the Bagnone torrent enters it ; several fine old castellated remains arc scattered over the country on each side of the river. Filccttiei'a, between Pontremoli and Villafranca, has a fine old Kocca, once belonging to the Malespinas. 2 Terra Rossa (no Inn), near tlie junction of the Coviglia and Tavarone torrents with the Magi’a, both of Avhicli must be crossed ou leaving it for Sar- zana. lio not let travellers allow them- selves to be imposed upon by the ])Copk offering assistance to cross these tor- rents, as it is imnecessary. A ncAV roiu' has been recently opened from Ten: llossa to Sarzana by Ardla (the Papa gallo is a poor cabaret, but with civi people, before entering the gate) ; tli* couuti’y as far as Aulla is very bcauli- j ful; after leaving this town the Au T letta torrent is crossed in a ferry-boat j the laiiding from which is bad f' ; carriages on both sides. The Sardi nian frontier is crossed at San Bene detto. 4^ Sarzana ; an extra horse betwee; Sarzana and Terra Rossa, both Avay^ from Nov. 1 to May 1. (Rtc. 13.) Travellers wishing to proceed t< ARMA. Route 37 .- — Parma to Sarzana. 381 Aicca and Florence need not go ont of j heir way to Sarzana ; after crossing i he Aidetta, on leavuig Aulla, we enter he duchy of Massa Carrara ; the car- , iage-road ascends for 5 m. to i Ceserano, a small town, where a road j ranches off on the 1. to Fivizzano, a ' ewly-acquired possession from Tus- j any of the Duke of Modena ; from | lis place a hilly road leads by Terenzo nd Tendola to j Fosdinovo, a town of 1850 Inhab., { -iry finely situated on a projecting part j £ , the Apennines ; it stands pictu- ‘squely itself, and offers very fine ! .ews over the Mediterranean, the Grulf j of Spezzia, and the sliore to the east- ward ; the myrtles grow wild in abun- dance between Fosdinovo and the plain to the S. There is a good road of about 5 m. from Fosdinovo to Rortone, where it joins the high road from Sarzana to Lucca, 3 m. below the former station. From Fosdinovo a considerable ascent of nearly an hour to Monte Grirone, and an equal distance to Cas- telpoggio^ where there is a kind of Inn (the Pistola). From Castelpoggio the road is good and very picturesque as far as Carrara. (See Fte. 40.) ( 382 ) SECTION V. DUCHY OF MODENA. The present Dnke of Modena, Francesco T., Avas born 1st June, 1819, am succeeded his father on the 21st January, 1846. In addition to his principa ^ title he is Ai’chdnke of Austria, and Duke of Ouastalla, Massa, and Carrara ' His territories embrace the duchies of !Modena Proper, Guastalla, and Eeggio ' on the N., and of Massa and Carrara, the district of the Apennines, and Fiviz zano, recently acqnu'ed by exchange from Tnscany, on the S. The Modenesi territory therefore extends from the Po to the Mediterranean, althongh tlie por tion of sea-coast is very small, and devoid of ports or harboiu's. § 1. Ageicultuee. — C o:irirEECE. Modena is of somewhat greater extent than Parma. Its soil and production are similai’, except to the S. of the Apennuies, where the olive and orange grow ii the open air. The population in 1850 amounted to 586,458 Inhab. The farm are small, and the metayer system prevails. In tlie Apennines the peasants ar.| often proprietors of the land. Agricultural industry is iu a rude state, and th. duchy seldom yields sufficient grain for tlie inhabitants, avIio live in great ])ar on roasted chestnuts and chestnut flour, polenta, and a few vegetables fried ii common olive oil. Wheat, maize, some rice, AA'ines, olives, and other fruits, som vegetables, silk, hemp, and some flax, are the principal objects of culture. 'Jli valley of Cxarfagnana is that alone in Avhich dairy pasture is followed to an extent. The Dnke and a few of the principal landlords own the large flocks < sheep wliich pasture on the Apennines and the slopes of the mountains. 0 ; the latter, beech, pine, oak, and also chestnuts abound. The vine is exter sively cultivated abont Reggio and Modena, from Avhich a large quantity { wine, of a strong rough description, is ex]iorted to Lombardy. The worst ( these, with water, constitutes the drink of the popidation. The labouring ]) 0 ))i lation live in general very sparingly, and are seldom enabled to eat any an inn food. Iron and some other minerals are ibnnd : the marble of Carrara, Avliic seems inexhaustible, forms the most valuable article of export. Some sill works, linen and canvas, leather, paper, glues, and pottery, all on an insi; nificant scale, with the ordinary handicraft Avorks, coni]nnse the manufactnrh , industry of this small state. Its trifling commerce is, like that of Parma, coi fined to an interchange of its few surplus products for sugar, coflec, and articli of luxury ; all of Avliich, from both being inland countries, are comprised in tl trade of the suiTOunding countries. § 2. Posting. — Money. ^ The posting regulations are the same as in the Lombardo- Venetian kingdom; ; the currency is Italian or Austrian. The mm of the Austrian government y the passport is sufficient for travelling in the duchy of Modena. Modexa, Route 38 . — Parma to Modena and Bologna. 383 EOUTE 38. PAEMA TO MODENA AND BOLOGNA. posts=62 m. Quitting Parma, you resume the Yia Emilia, stretching out in a straight line before you. Erne views of the piu’ple Apennines in the distance. San Lazzaro ; the name of tliis place hidicates the former existence of the ancient hospital. Lepers were strictly prohibited from entering the city of Parma, hence the necessity of this house of refuge. The Portone di San Laz- zaro, which crosses the road, was erected for the purpose of commemorating the solemn entry of Margaret of Medici, ! when entering Parma for the purpose of celebrating her marriage with the Duke Odoardo. San Prospero. Then by a long bridge cross the torrent Enza, furious in win- ter, but ill summer havmg its course [ marked only by a bed of stones. The Eliza abounds, nevertheless, with ex- cellent fish. About a mile further on enter the territory of Modena, and encounter a custom-house at Sanf Ilario. 5 m. S. of this hes Montecchio, celebrated as the birth- place of Attendolo Sforza, the father of Francesco Sforza, the founder of the great but unfortimate second dynasty of Dukes of Milan. Cross the Crodolo torrent, which, under the French, gave its name to the lepartment, before reaching Pegjio {Inns: Posta, Grigiio), a lourishing city, containing upivards of LG,000 Inhab. Pegmni Lepidi was bunded by, or at least received the privileges of a Roman colony from, Eniilius Lepidus. The devastations of Vlaric, and the restoration of the city »)y Charlemagne, liave ellaccd almost •very vestige of antiquity. A curious flornan statue of Janus, of fairly good ^ vorkmaiisliii), lacking botli arms, t > built into tlie cornc)- of a liousc near f lie Palazzo da liecchi, like the Uonio i 'i Pleh-a at Milan. A statue, wliich I H said to be that of Lcjiidus, is jire- 'Tved in the Palazzo del Convnunie. f jeveral curious Roman inscriiitions and altars are preserved in the cortile and arched porticoes of tins building. The great romantic poet of Italy was born at Reggio, and the house in which Ariosto Ih'st saw the light is, accord- ing to immemorial tradition, pointed out near the Palazzo del Commune. No theme of controversy, from the time of Homer downwards, has been more fierce than that respecting the birthplace of great men. Ariosto has himself spoken too clearly to permit any other city to contest with Reggio; but that is not enough, for, if cities and villages cannot dispute, then locahties in cities and villages will. One party maintains that Ariosto ''rmist liave been born within the precincts of the cita- del ; and this species of civil war rages as yet undecided. The house itself has no appearance of age, and has nothing but the tradition to render it remark- able. The Luonio is of the 15th centm-y. The faqade, which is unfinished, is ornamented with marble columns, and recumbent on tlie pediment of the great door are fine statues of Adam and Eve, by Clementi. They are larger than life, and Clementi has evidently imitated his master, Michael Angelo, in the position of tlie figures, which are like the “Morning and Evening” in the Laurentian Cliapel at Florence ; besides these there are SS. Cluysanthus and Darius, and other patron saints. Within the cathedral arc several other fine works by Clementi : — -The Tomb of Ugo Rangoni, Bishop of Reggio. He is represented in the atti- tude of benediction, larger than life. By Clementi also are the bronzes of the High Altar, representing Christ Triumphant, and the statues of Saints Prosjier, Maximus, and Catherine in tlie choir. Clementi himself is buried in tins cathedral, under a monument scul[)tiired by his able pu])il, Pacchione, who was both a seul[)tor and an archi- tect. In a chapel is a slat ue of llishop Ficcarelli, who died in 1825. It is above the ordinary run of modern Italian sculpture. A supposed Caracci in the choir is much damaged. Another monument is that of Francesco Maria 384 Route 38. — Reggio — Madonna della Ghiara. Sect. V. d’Este, late Eisliop of Reggio, died 1820. He left all liis property to the cathedral. Madonna della Ghiara, The plan of this chiu’ch is a Grreek cross. It was begmi in 1597 from the designs of Balhi, and completed by Baccliione^ who added the vaulting of the cupola. The architectm*al details are good. The interior is covered with frescoes. Large and small there are upwards of 200 compartments thus decorated, and in good preservation. One series is by Luca Ferrari (1605-1G54), a native of Reggio, the disciple of Gruido, more ‘‘ grandiose,” says Lanzi, than delicate, yet with a share of the grace of his master. Amongst these are several Scripture histories, which, hke all the paintings throughout the chm-ch, are explained or allegorised by short mot- toes ; as, for example, Rebekah at the Well, “ Mausit aquas in g audio, defonte SalvatorisF Another series is by Tiarini, of Rologna (born 1577, died 1668) , This painter, who lived dm-ing the greater part of his life at Reggio, was in some respects formed by the Caracci, yet preserved a distinct cha- racter. His compartments also are Scripture histories, intermixed with devices : — Samuel offered by his mother to the High Priest is one of the best, with the motto “ Quod Leo vovit, de- vote reddiditB A third series is by Lionello Sqoada (1576-1622), a friend, and yet in some degree a rival, oiTiarini, and to whom he was superior in coloiu'- ing, but inferior in design. Sq^ada was here in direct competition with Tiarini, and the series which he has left con- tains some of his most carefully exe- cuted works. In this scries, Esther before Ahasuerus, “ Humiles exaltaii sunt,” is the best. Py Lesani (1594- 1657), a pupd of Sqocida, and who esta- blished himself at Reggio, is a curious series of figures, representing eight religious orders, with the virtues sup- posed to belong more particularly to each. By Gavassetti (died 1628), a beautiful series of Prophets and Virtues. Many of the paintings of emblems are clever. A Crucifixion, by Guercino, seems a fine pictiu’e, but it is dfrty and ill seen. The original Madonna della Ghiara, once an old painting upon a garden wall, has long since perished. The present one was painted in 1573, and placed in a magnificent shrine or altar, ornamented with mother-of-pearl and coloured marbles : beautiful lamps of silver are suspended before it. A fine monumental bust of l\Iaria Teresa of Este Avas erected, 1820, by her daughter, Maria Beatrice. The very ancient Basilica of San Prosqqero (Avhich stands behind the ca- thedral) Avas entirely rebuilt in the 16th century. The demolished build- ing was in the Lombard style. Six colossal hons of marble, AA-hich sup- ported the portals, are still before the modern clnu’ch. One grasps tAvo skulls Avith his hind paws ; others have the usual rams and serpents. Within, the structime is grand and regular. Eine, but damaged, frescoes by Camjpi and Procaccini — - amongst other subjects, the Last Judgment, Heaven, Purga- tory, Hell — decorate the A^aultings. Other paintings are by Tiarini. In the sanctuary are some statues, a cru- cifix, and massfre ornaments, in silver. Grreat rents, now filled with mortar, shoAV the damage which the cliurdi sustained, a few years ago, by an earth- quake. Reggio has a good public library and a museum. In the latter are the collections of the celebrated Spallan- zani : heAvasborn at Scandiano, witliin the district of Reggio, and therefore the inhabitants of the city considoi- him as their fellow^-citizen. Reggio is also tlie country of Valcsnieri, Toschi, and Paradisi. There is an active ti-ade liere in Avine, silk, cheese, and hemp, so that the place has an air of prosperity. A road much improved of late years, and with a military object, leads from Reggio to the shores of the Me- diterranean by the Pass of Sassalbo, Eivizzano, and Sarzann., througli a country offering httle interest, and only one decent resting-place at Castcl- nuovo nei Monte ; there arc no relays of horses upon it, and it is chiclly traversed by persons carrying fisli from the Gulf of Spezzia to Reggio Modena. Route 38 . — Modena — The Duomo. 385 ind Rubiera ; it is probable it will low be more travelled over, since the listrict of Fivizzano has been miited to the possessions of the Duke of Modena. About 12 m. S.W. from Reggio is Canossa, celebrated as the place where ;he Emperor Henry lY., after suppli- cating during three days, bai-efooted and bareheaded, obtained absolution Tom Pope Gregory YII. 1 Hubiera, a m. before reaching the Secchia, This place, surrounded by rery fine fortifications, was a fief be- longing to Bojardo, Lord of Scandiano, and author of the ‘ Orlando Inna- norato.’ There are remains of a Roman bridge over the Secchia, The road continues through a plain, vith many vines ; but, in other re- ■ipects, with somewhat diminished fer- tility. 1 MODEI^A {Inns: II Grande Albergo S. Marco. It belongs to the government, and is kept up partly at he Duke’s expense. Grande Albergo •eale, new), anciently Mutina^ possesses lothing but the features of land and dream to recall its early history. The ity is pleasantly situated between the alleys of the Seccliia and the Panaro, md the verses of Tassoni well describe he locality . — Secchia Rapita^ canto i.. t. 8, 9. Modana siede in una gran pianura, Che da la parte d’ Austro, e d’ Occidente, {’erchia di baize, e di scoscese mura Del selvoso Apennin la schiena algente ; Apennin, ch’ ivi tanto all’ aria piira S’ alza a veder nel mare il Sol cadente, Che su la fronte sua cinta di gelo Par che a’ incurvi, e die riposi il cielo. i r « M Da r Oriente ha le liorite sponde Del bel Panaro, e le sue limpid’ acque, Ilologna incontro, e a la sinistra 1’ onde, Dove il liglio del Sol gih morto giacqiie, Secchia ha da 1’ Aquilon, che si conf'onde .N’e’ giri, che miitar sempre la piacijue ; Divora i liti, e d’ infeconde areno ■Semina i prati, e le campagne amene.” i I'lie city, wliich contains about >,000 Inliul)., is fortified, and the imparts, tliougli destitute of strength, li;r a very pleasant walk. The views y. of the Apennines from them are pecu- liarly beautiful. One curious remini- scence is connected with the ramparts of Modena. The hymn sung by the Roman sentinels as they paced the summit of the wall, when they aw'aited the attack of the dread Hungarians, is still preserved. The Citadel, and its place I armes^ include perhaps fully one-thn-d of the area of the capital, which possesses a character dilFering much from the other Lombard cities in its domestic architectime, it bemg more of a Ger- man cast. The Duomo. “ This splendid budd- ing was begun in 1099, at the instance and with the assistance of the cele- brated Countess Matilda, of whose vast possessions Modena formed a part. In 1108 the work was so far advanced that in that year the body of St. Gemi- nianus, the patron saint of Modena, was translated into the new Basihca, wdiich was at the same time conse- crated to Pope Paschal II., in the pre- sence of tlie Countess Matilda. The bulk of the fabric tlierefore belongs to the close of the 11th century. The name of the architect was Lanfrancus, as is proved by an inscription still extant on one of the external walls ; but it is not known whether he was a native of Modena or not. The style is Lombard througliouf. External arcades ornament both the W.. end and the great semicircular apse. In, the interior, monsters and grotesque images are stdl retained in the capitals of some of the pillars. But a featime which is not found in the old Lombard churches may be remarked here, in the large projecting porch, two stories in, height, which advances before the prin- cipal entratice ; and in the lions, on the backs of wliich the ])illars of the porch repose. Tliough projecting porclies were an essential jiart of the primitive cliurches, tliey seem to luvve been aban- doned under tlie Lombard dynasty, and not to have been resumed till the 11th century, when they beianne uni- versal. The lions are symbolical. They were intended to rejiresent the strengtli and vigilance of the Chureh. At u S 386 Route 38. — Modena — The Duomo. Sect. V. later period tlie animals -n'liicli were introduced in the porches often repre- sented the arms of the state to which the building belonged. For example, the gritlln is the crest of Perugia, and the wolf that of Sienna. Perugia and Sienna were constantly at war : in consequence, the doorway of the Pa- lazzo Publico of Perugia is decoi’ated with a griffin tearing a wolf. “ On either side of the nave there are galleries. Under the chancel is a lofty crypt. To gain elevation for the crypt, the chancel is approached by several steps, as at S. Miniato and else- where. The ])ortals exhibit ornaments and bas-reliefs of different periods, from the 12th down to the 14th cen- tury. The earliest a-i’e executed with littie skill, though they must have excited great admiration at the time, as an inscription preserves the name of the artist. Over the head of one of the figiLres, at one of the side- doors, appears the name of Artres de Bre- tania — a proof that the legends of ro- mance were popular in Italy in the 12th century.” — G. Knight. The sculptures on the doorway re- present the principal events of the life of St. Greminianus, the patron of Mo- dena ; amongst others, his expelling the Demon from the Daughter of the Emperor Jovinian. Others represent Scripture histories. The portal near the campanile shows a city walled and turreted, assailed by kniglits with the pointed shields and conical helmets of the 11th century, and whose names are written in barbarous characters. Here are the names of some of the heroes of the round table. Many an- cient Eoman inscriptions and tombs are about the faqacle. Behind the altar of the crypt is the tomb of San Greminiano. The scurolo has been altered ; the original architectiiral fea- tures are singular. The marble co- lumns supporting the church itself liave capitals nearly resembling the Corinthian. The paintings in the Duomo are below mediocrity. It contains, how- ever, some good works of art. The screen of red marble which surrounds the chou’, finished at the top by small double columns, supporting a species of balustrade, is peculiar. An altar- piece in the style of the Renaissance, in tei'ra-cotta, with abundance of small curious statues. Another altar-piece contains the earliest known specimen of Modenese art. It is by Siefano de' Serafini di Modena, and was executed 1385. It is hard and dry, and more than usually Byzantine. The pidpit is of marble, scrdptured, 1322, by 2'omaso di Cam'pione ; and the intarsiatura of the stalls in the choir, executed in 1465, should also be noticed. Near tlie sacristy, in a niche, behind and above an altar about half-way up on the N. side, is a beautiful group of the Nativity, in terra-cotta, by Jdega- relli. So many of the works of this admuable artist have perished, that this is kept shut up, but it will be opened by the custode. The tombs in this cathedral are interesting. Several, belonging to the Rangoni family, are of a grand period of monumental art. Tliat of Claudio Rangoni, designed by Giulio llomano, consists siinply of a sarcophagus beneath a canopy. Two angels, supporting a tablet in which the initials I.H.S. are inscribed, above, and a similar one below, constitute its only ornaments. Claudio, who died 1537, at the age of 29, succeeded his father, Francesco Maria, as Count oi Castclvetro. He was a great protectoi of literature. He was married tc Lucretia, a daugliter of the celebratec Pico della Mirandola, who erected tlii.- monument to his memory. The torn) of Lucia Rusca Rangoni, his motlicr is even more simple — a vase crowniiij.' a sarcophagus. This is also by Giulic Romano. Tliere is a striking momi ' ment of Ercole Rinaldo, tlie last duki of the House of Este, wlio died ii 1803. Ercole Rinaldo, who was ! prince of no ordinary merit, was do prived of Ins dominions by the Frencl invasion. A principality was erector for him in the Breisgau, but he wouh not accept this compensation, and dic( as a pi-ivate individual at Treviso, 140 Oct. 1803. He married Maria Teresi i Cibo, Sovereign Princess of Massa Car ,[ ( (1 P l! i It ii ll 111 111 It II III |ri \ti Im Modena. Route 38 . — Modena — The Ducal Palace. 387 rara, tlie last lieii’ess of the noble family of Cibo Malespina. It is she who is bmhed at Keggio. They had but one daughter, Maria Beatrice, who married the Archduke Ferdinand of Austria. The duchy had been previously secured to her by the treaty of Versailles. She died at Vienna, 1829, at an advanced age. The late duke, Francesco IV., was her son. “ The campanile, or ghirlandina, as it is called, from the bronze garland which surrounds the weathercock, is 315 ft. high, and is one of the four owers of which the North of Italy has .•easoii to be proud. Whether it was mdertaken at the same time with the jhurch is uncertain ; but the square oart of it must have been complete in 1224, for in that year it was seized ipon by one of the factions who at that ime dist’ui'bed the peace of Modena. Che upper pyramidal part was only Inished in 1319.” — Gr. Knight. In this tower is stiU kept the old vorm-eaten SeccMa rapita^ or the vooden bucket, which, taken by the dodenese from the Bolognese in the attle, or rather affray, of Eapolino, lov. 15th, 1325, was here deposited y the victors, the Ge^niniani, as a ophy of the defeat of the Fetronii, ith wonderful triumph, as described 1 Tassoni’s celebrated poem : — Quivi Manfredi in su 1’ altar maggiore Pose la Secchia con divozione : E poi ch’ egli, ed il clero, e Monsignore Fecero al Santo lunga orazione, Fii levata ia notte a le tre ore, H dentro un.i cassetta di cotone I Ne la tone maggior fu riserrata, I Dove si trova ancor vecchia e tarlata. iNIa la Secchia fa subito portata Ne la torre maggior, dove ancor stassi I n alto per irofea posta, e legata Con una gran catena a curvi sassi. S’ entra per cinque porte ov’ h guardata, !■. non h cavalier, die di l;i passi, ,N4 pellegrin di conto, il qiial non voglia peder si degna e gloriosa spoglia.” Sccehia liuidtu, cant. i. G3. lic Modenese and Bolognese arc qioctively called Geminiani and Fe- from their patron saints Gcmi- |uius and I’etronius. Ant Francesco^ near the southern gate, a Gothic chm’ch, desecrated by the French, and restored for divine worship by the late Duke. S. Agostino^ now called S. Michele.^ on the S. side of the street, near the Milan gate; over the door is “Pan- theon Estense.” In the 1st chapel, on the it., is the remarkable group of the Taking down from the Cross, by Begarelli. It is of terra-cotta ; the figures, w'hich are as large as hfe, are full of animation. “ If his clay coidd become marble,” exclaimed Michael Angelo, “ woe to the antique !” “ Ae la cretOj delle figure di costui diventasse marmo^ guai alle statue antiche .'” The by-name of Begarelli or Bigarino^ for they called him either way, was ModanoF His compositions show much grandeur of conception. The Ftiical Falace was begun in the 17th century. Much was added by the late Duke, who died 21st J anuary, 1846, and it is now a fine building. It is said that, when the late Emperor of Austria visited the Duke, he clapped liim upon the shoulder, saying, “ Ya bene, Francesco, hai piu bel palazzo di me." It contains coiu’t after coiud, with open staircases, galleries, arches upon arches, such as are seen in the backgromid of old Italian pictiu'es. Other parts remind one of Heidelberg, though in a less elaborate style. The collection of paintings in this palace is large ; some are good, but the best, including the Notte of Cor- reggio, were sold in the last centirry, and are now the chief ornaments of the Dresden gallery. Amongst those which remain are the following : — a Crucifixion, by Guido ; the single figure on the cross, the background in awful darkness, has a fine and simple effect. St. Kocli in Prison, by Guido also, in his early manner; a grand and dark picture, but not very pleasing. Mar- tyrdom of St. Peter, Guercino ; fine, but witli flic cliaracteristie coatvseness and scattered lights wliich often mark tliis artist’s style. Ivinaldo and Ar- mida, also by Guercino-, the light lino, but t he i)ieture unpleasing as a whole. A Crueitixion, by Fomarancio, like Guercino ; fine, but with the same cs 9. 388 Route 39 . — Modena to Pistoja. Sect. V. defects. A Holy Family, said to be by And. del Sarto, but not an un- doubted original. Tlie Virgin appear- ing to tli-e Carthusians of Bologna ; a striking pictime, by Dosso Doss^i, of j Ferrara, by whom are many other good paintings (the Annunciation, the xido- ration of the Shepherds, &c.). The Crucifixion, by Andrea Mantegna-, hard and stiff in style, but a curious and interesting old pictm*e full of figimes. The Yu’gin and Child above and three Saints below, of whom St. Pellegrino is in the centre, Garofalo : another Virgin with Angels round her, by the same artist. The Assumption of the Virgin, the Twelve Apostles standing below ; a large and fine pic- ture, by Francia. The Cu’cumcision, by Procaccini, a large picture with colossal figures a fine specimen of the master. Portrait af Ludovico Larea, by himself, a Modenese artist, imitator of Guercino. Some of the most in- teresting pictui'es in this collection are tlie Four Elements, two by Ludovico, two by Annihal Caracci. They are well placed over four doors in the palace : tvater is the finest. An As- siunption of the Virgin is also by Lud. Caracci. The Nativity, a beautiful sample of Pellegrino Munari, a Mo- denese, and the scholar of Raphael, who is said to have been assassinated. This ^cture was formerly in the church of St. Pavd. St. Francis offering Flowers to our Lord, the Virgin, &c., by Leonello Spada. In one of the rooms are frescoes by Nicolo del Abate, the subjects taken from the Trojan war, as desci-ibed in the AEneid. The ceiling of the great hall is painted by Francescldno dev Bologna, an arlist whose style resembles that of Luca Giordano. Here also are fine pictures by Procaccini, Crespi, and Tiarini. There are also a good many family pictures ; amongst others, one by Soli of the Duke Ercole Rinaldo, whicli entirely exculpates the artist from tlie charge of flattery. The library, the Bihlioteca Fstense, is rich in manu- scripts. Tliree of the most learned men in Italy, Zaccaria, Tiraboschi, Muratori, have been its cmators. The museum contains some curious medi- seval sculptures. Quitting Modena, you pursue the Via Emilia. The plain is covered by i a sod of great fertility. Most of the land is used for grazing. Long rows of trees, generally festooned by vines, divide the fields ; but where the vines are trained against the nudberries they are not festooned. Sanf Androgio. The Panaro is crossed fey the bridge built by Duke Ercole Rmaldo, and which is finely flanked by four sohd towers. Here you quit the duchy of Modena, and enter the papal territory. The douaniers of his Holiness are civil, and usually give no other trouble except that of desiring the gentlemen of the party to get out of the carriage and declare, as gentlemen, that they have nothing liable to the duties. 2I< pauls are paid for the barriers the traveller receives a holletone in return. Castel Franco, or Forte Urhano. The old walls and i*amparts of the castle, called afteu’ Urban VIII., wlu built it, are picturesque. The churcl possesses a dubious Guido. The sih of the battle between Mark Antoii\ and the Consrds Hortius and Pansa i: supposed to have been in this neigh bourhood. 1;} Samoggia. 1 Handhoolc for Bologna, j Central Italy. ROUTE 39. MODENA TO PISTOJA, BY BAIIIGAZZO AND SAN MARCELLO. ; This is a long dreary road, throug' a country offering little interest cxccj to the geologist. It traverses the ceii tral chain of the Apennines three time' On the northern side of the ApenniiK it is not, generally speaking, in goo repair, wliere it runs through tlie M< denese territory ; the contraiy is tl case with the Tuscan portion. Tliei are neither post-horses nor diligences H but vetturini frequently travel by i employing two days and a half betwee i Modena. Route 39 . — Modena to Pidoja. 389 Pistoja and Modena. Were it kept in better repair it would offer, now tliat the railroad is completed between Pis- • toja and Florence, some advantages to • the traveller going from Verona and ' the Italian Tyrol to the shores of the , Mediterranean. Formigine, a town of 1800 Inhab., is the first stage, 9 m. from Modena, on the plain, in a district rich in grain, vines, ancl mulberry-trees. MaHnello^ 5 m. fartlier, entering the hilly region, I Paidlo or Pavullo, a borgo, 35 m. I from Modena ; 4 m. beyond which the i road, which had hitherto run nearly S., P changes its direction to W.S.W., turn- ji ing abruptly round the picturesque i hill of I Montecucullo, with a castle on the ' summit, the birthplace (in 1609) of the I celebrated military commander Monte- cuculli, the rival of Turenne and Conde. A dreary road of 15 m., ,| through a pasture country, leads to j Barigazzo, a small hamlet, close to I which are emanations of carbnretted ^ hydrogen gas, similar to those near i Pietramala, on the road from Bologna to Florence, and which ignites on a ^ light being applied to it. Ascending i along the Scoltenna torrent we reach { Pieve Pelago^ a village of 1800 Inhab,, I ' in a cold inhospitable region; and 7 m, higher up the hamlet of Fiumalho. Here the principal ascent of the Apen- nines commences, having the ^Monte Cimone, the highest peak of this part : of the chain, about 4 m. on the 1. The j most elevated point of the road, at the Col deir Abbetone, is 6310 ft. above the sea. Here we enter the Tuscan terri- tory, Pistoja being 35 m. distant, and by a rapid descent of 7 m. reach Cutigliano, a village of 1200 Inhab., on the Lima river, which we follow as far as San, Marcello^ a prosperous borgo on the Limastre. There are some iron and cloth works in the neighbourhood. A bridle-path leads down the ravine of the Lima to the baths of Lucca. There is a beautiful road of 22 m. from San Marcello to Pescia by Petiglio and la Pruneta. Frohi San Marcello the road to Pis- toja runs easterly, ascending again the central chain by Cartreee and Barde- lone, to descend to Ponte Petri, a bridge on the river Beno, and near its source. Here we are again on the N. side of the Apennines. Yvom Ponte Petri (Pons Presbyteris) the road ascends along the Reno, here a mere mountain-torrent, to the hamlet of Piastre^ close to its source. By a slight ascent to Cireglio, from which the water runs towards the Ombrone, the central chain is crossed for a tliird time. The space which here sepa- rates the affluents of the Po and Arno is perhaps less considerable than at any other point. Descending along the Ombrone, which the road erosses by a bridge at Burgianico, 2 m. before arriving at Pistoja, (See Rte, 40.) ( 390 ) SECTION VI. TUSCAN STATES. § 1. Territory. — 2, Agriculture. — 3. Manufactures. — 4. Wines. — 5. Money, Weights, Measures. — 6. Posting. — 7. Passports. — 8. Servants. — 9. Paint- ing. — 10. Sculpture. Routes. EOUTE PAGE 40 Sarzana to Lucca and Pistoia . 401 41 Lucca to Florence, by Peseta and Pistoia 414 EOUTE 42 Lucca to Pisa . . . 43 Leghorn to Florence 44 Bologna to Florence . PAGE . 423 . 449 . 452 PRELIMINARY INFORMATION. § 1. Teeeitoey. The present work describes no part of Tuscany S. of the Ai'no, excepting the road from Leghorn and Pisa to Florence. But this district includes, with the portions of Tuscan country described in the preceding sections, the principal territories of the ancient republics of Florence, Pisa, and Lucca, which render it full of interest. As to its natural character, it is a series of valleys formed to a great extent by the roots of the Apennines, and it combines much picturesque beauty with exuberant fertility. The resources of this state are numerous ; the soil, climate, and configuration of the country are as various as the diversities presented by the sterile, cold, Apennine region, — the fruitful valleys of the Arno, of the Chiana, and Ombrone, — and the unhealthy Maremma. The present population since the accession of the Duchy of Lucca is 1,696,500, and it is rapidly increasing under the mild government of the reigning sovereign Leopoldo II. The population of the towms is given according to the census of 1845. § 2. Ageicultuee. The metayer system prevails in Tuscany, and, unless it be in the Maremma, the farms, as well as the estates, are small. The proprietor of the land supplies the capital ; the cultivator the implements and the labour ; the produce being divided between them. The metayer lives from hand to mouth, seldom with any grain, oil, or wine in reserve ; they are usually indebted to their masters ; the system begets such idleness that a hired labourer will do three times as much work in the same time as one metayer. The metayer system has existed from time immemorial. Of a date anterior to the Roman dominion, it has survived the middle ages, for the feudal system was never generally prevalent in Tuscany. The contract between the landlord and peasant, which is unwritten, is in force for one year only ; the proprietor may discharge his cultivator every year at a fixed period, but a good tenant will Tuscany. Tuscany. — Agriculture — Manufactures. 391 hold by the estate from generation to generation. The system depending too on mutual good faith, a good labourer is indispensable to the well-doing of the landlord. In the partnership the proprietor supplies all the capital, and the cultivator the labour and utensils ; the produce is equally divided between them. The cultivator is only obliged to supply the labour required in the ordinary cultivation. If the proprietor is desirous of reclaiming waste lands, he must pay the cultivator wages for extra work. The seed for sowing is supplied at joint expense ; that required for the support of the cultivator the proprietor is in general bound to supply. Tuscany is highly cultivated. A small extent of land, of very moderate fer- tility, suffices for the support of a family of ten or fifteen individvals. No other system could draw from the land so large a mass of produce. But an enormous capital is swallowed up by the land. The cultivation is by no means scientific. Every species of cultivation which does not contribute to furnish direct con- sumption is neglected. The same field is under cidtivation for wheat, vines, and olives at one and the same time, and frequently for fruit, herbage for cattle, and aU the different varieties of produce that ipay be required, not according to the condition of the land, but to the wants of the family. This erroneous self- sufficing principle pervades everything, even to the extent that a single field should produce everything — that one man should do eveiything ; there is no such thing as a division of labour — no intermediate branch of occu- pation. The same individual who has planted a vine, or sown his field, must sell the final produce to the consumer ; the labour of the Tuscan proprietor is, therefore, so complicated, that it is impossible to get through it. The re- sult of all this is, that out of all the gross produce the net revenue to the Tuscan I i proprietor is most miserable. The gross produce is in itself large — very large tj — in proportion to the natural productiveness of the soil; but it is small con- |lsidered in relation to the expenses incurred, to the capital absorbed, and to the ■jlabour bestowed upon it. The cultivators are said to constitute at least one- Bthird of the population of Tuscany. The living of the peasantry is frugal. ■Bread varies according to the quality of the soil and the grain it produces. In II most of the provinces it is a mixture of rye, barley, and Indian corn, with a y little wheat ; in some places, however, it is of pure wheat. Next to bread beans I form the principal article of nourishment to the cultivators. They drink but little wine, but more frequently acquarello (piquette) . To eat meat once a week is considered a luxury. The poorest of them are satisfied with a i:)iece of bacon. I The nmnber of cattle is on the increase considerably, and the consumption of I meat still more. The supply of wlieat is inadequate to the consumption of Tuscany. There is an appearance of neatness and cleanliness, as well as contentment, which prevail among the Tuscan peasantry, wliich is extremely pleasing, and which may be mistaken for a state of independent circumstances. The valleys of the Arno and Chiana are, however, cultivated with great care, and with less waste than in many parts of Europe. Among the productions of importance silk is increasing, and the annual quantity produced is stated at nearly . 260,000 lbs. The olive-oil is an article of great value, which might be greatly [ increased in quantity. § 3. Manufactures. i The manufactures of Tuscany have never been cither restricted nor main- tained by legislation. In this res]')ect, as in everything connected with liberty of (nmmerce, Tuscany has been the first country to take the lead in that system which has immortalized the name of Sir Ilobert Bed. Except as far as the usual handicrafts in towns and villages, such as (‘arjientcrs, joiners, wrights, blacksn)iths, shoemakers, and masons, have been called by necessity into opera- 392 Tuscany. — Manufactures. Sect. VI. tion, the people look to agriculture chiefly for theu* support : those who are employed in the straw-hat making, and in the spinning and Aveaying of such woollens, linens, and silks as are made in the country, are generally found at AA^ork in their oatu habitations. Notwithstanding the predilection of the Tuscan people for agriculture, the folloAving branches of manufacture employ a great part of the popidation of towns : — Sti'mo Platting and Straw Hats. — This important branch of industry has long been celebrated for its fine and beautiful workmanship. It AA'as long a profitable and extensive article of export, until the high duties in England and France on the Tuscan hats, bonnets, and platting, rendered the price too high for the use of any but the opulent classes. Besides the general use of straAv hats in the country, the value of hats and platting exported averaged from 6,500,000 to 7,500,000 hre per annum, a great part of which was smuggled into foreign countries. This interesting branch of industry is foUoAved in the tOAA'ns and in the country. Preparing the straAv in bundles of diflerent degrees of fineness, platting, cleansing, and making up for use or exportation, afibrd em- ployment to the female population, — moderately paid, it is time ; but, at the same time, in a much cheaper countiy, far higher Avages than is paid for straw- platting in London, Dunstable, and other places in England. Florence, Prato, Pistoja, Pisa, Leghorn, and intermediate places, are the localities of the straw manufactories. The young females of the Contadini often by their industry and skill in straAV- platting realise their marriage doAA^er. Chateauvieux says, “ each girl can, for a fcAv pence, purchase straw to work up, and earn between 30 and 40 sous, 15 to 20 pence, per day.” Silk Manufactures. — Florence is the principal seat of the silk manufactures, especially for throwing, weaving, &c., the number of looms being estimated at nearly 4000. There are silk-mills and works also at Sienna, IModigliana, Pistoja, and Prato. Even the silk-looms in Florence are in the houses of the respective weavers. In the female schools of industry there are, with other branches, a number of silk-looms. Woollen Manufactures. — These are chiefly of a coarse description : the woollen caps called heretti, and the military caps, calahassi, AA’-orn by the Turks, are manu- factured extensively for the Levant trade. The value exported, of both, is esti- mated at nearly 75,0001. sterling. In Prato and its neighbourhood there are above thirty woollen manufactories of AToven cloths, five of Avliich are for caps. Florence has manufactories of carpets, in one of which criminals are employed. The colours and textures of the Morentine carpets are beautiful. Linens and Hemjp Tissues are manufactured chiefly in the country districts, and almost exclusively for ordinary wear. Cotton Manufactures. — ^There are few manufactures of cotton in Tuscany, the country deriving its supplies from England. Paper and Printing. — Both these are extending ; there are about fifty great, and small of the first, and about forty printing-presses. Paper is manufactured in very large quantities and for exportation about Pescia. Alabaster and Marble. — There are a great number of alabaster works at Yolterra, &c., and marble and sculptured works in Florence and other places. Porcelain. — There is one establishment near Florence which produces souk beautifid high-priced specimens. Tanneries and Works of Leather. — There are several tanneries, but they tar little more, if any, than the leather dressed and used in the country. Common Marthenware, common Glass, Furniture, carriages of vanous kinds, agricultural implements, &c., are all made for ordinal^ use. Tuscany. Wines. 393 Hardware and Worlcs of Metal. — The cutlery, iron and other metal works are only moderately good. The best cutlery is made at Pistoja. A considerable quantity of iron is manufactured in the duchy from the Elba ores, but not sufficient for the consumption of the country. § 4. Wines. The process of wine-making is better understood, and a greater number of good wines are produced, in the Tuscan dominions than in any of the other states of Italy. The Glrand Dukes have taken considerable pains to improve their vineyards, by importing the best species of vines from other countries, as, for instance, from France, Spain, and the Canaries; and the wines made at their villas show that their labours have been attended with considerable success. According to Redi’s patriotic dithyrambic, entitled ‘ Bacco in Toscana,’ the wines of Tuscany are the first in the world, and they perhaps might be, if a better choice were displayed in the soils appropriated for their growth, and if greater science were displayed in their fabrication. That it is not from igno- rance on the former of these points that the T^uscans so often err appears from several passages of the poem just mentioned, in which the author anathematises those who first dared to plant the vine on low soils, and celebrates the excellence ! of the juice which flows ! “ (lair uve Lrune i Di vigne sassosissime Toscane.”" j “ Among the ancient laws of the city of Arezzo,’^’ he remarks in a note, “ was i| one granting free permission to plant vines on such hills as were calculated to produce good wine, but strictly prohibiting the cultivation of them on the low grounds destined to the growth of corn.” The injudicious method also of training the vine excites his just indignation. In the description of Tuscan wines much confusion has arisen from not attending to their different qualities. As the press is little used, and the grapes have, in general, attained their full maturity — being, besides, in the ease of the choicer sweet wines, dried for six or seven w'eeks within doors before they are trodden — the first juice {nmstum lixivium) necessarily abounds in saccharine natter, and the wine procured from it will consequently belong to the sweet ; ^lass, But, when this is drawn off, it is customary to add a quantity of water i ro the murk, which, after a short feiunentation, yields a very tolerable wine ; and . X repetition of the process furnishes an inferior sort. In this way, a great pro- ! lortion of the ordinary wines of the country are made ; but all the choicest I growths, all the vins dl entremets, are more or less sweet. The Montepulciant J vine, which a fraveller will most probably have set before him, will be the I ' ommon wine of the place, and will not enable him to judge of the most f j steemed wine in Tuscany, and “ die d’ ogni vino e il re.” According to Redi, ; I mother source of enmr arises from the circumstance of several of the best \ jl'uscan wmes receiving their appellations from the grapes which yield them, 1 [s, for example, the Aleatico, the Columbano, the Trebliano, the Vernaccia, Ac.; s md as these names are not confined to Tuscany, but are common to the I growths of other parts of Italy, the difficulty of distinguishing them is still urther increased. i The Aleatico, or red muscadine, which is produced in the highest perfection t Montepulciano, between Sienna and the Papal State ; at IVlonte Catini, in -le Yal di Nievole; and at Ponte-a-Mariano, in the Lucchese territory, and of Inch tlie name in some measure expresses the rich epudity (it being obviously eriyed from r)\id(w, to ex))ose to the sun), has a brilliant puriile colour, and a isciou.s aromatic flavour, but without being cloying to the palate, as its sweet- css is generally tcnn])ered with an agreeable sharjmess and astringency. It is, 1 fact, one of the best specimens of i\\c dolce-jiiccanti wines; and probably B 3 394 Tuscany . — }Vines — Money. Sect. VI. approaches more than any other to some of the most esteemed wines of the ancients. The rocky hills of Chianti, near Sienna, furnish another sort of red wine, which is made from a dilierent species of grape, equally sweet, but rather less aromatic ; and at Ai’timino, an ancient villa of the Grand Dukes, an excel- lent claret is grown, which Redi places before the wine of Avignon. The wine of Carmignano is also held in much estimation. These are the chief red wines of Tuscany. Formerly several wliite sorts were made, of which the Verdea, so called from its colour inclinmg to green, was in high repute. Frederic II. of Prussia preferred it to all other European wines ; and in the time of our James I. to have drunk Verdea is mentioned among the boasts of a travelled gentleman : — “ Say it had been at Rome, and seen the relics, Drunk your Verdea wine,” &c. Beaumont & Fletcheii, The Elder Brother, Act ii. sc. 1. The best used to be made at Arcetri, in the vicinity of Florence. Next to it ranks the Trebbiano, so called from the grape of that name, and much extolled for its golden coloiu’ and exquisite sweetness ; being in fact rather a syrup than a wine. For making it the sweetest grapes are chosen, and, according to Ala- manni, partly dried in the sun, after having had their stalks twisted. The fennentation continues four or five days ; the wine is then introduced into the cask and undergoes repeated rackings during the first six weeks or two months. It appears from Sismondi’s account, that most of the Tuscan white sweet wines now pass under the denomination of Trebbiano ; but there is very little made, the white grapes being chiefly consumed in the manufactui*e of red wmes. — {^Henderson, Hist, of Ancient and Modern Wines, 236.) I The produce of the vineyards is now more than sufficient for the consumption I of Tuscany ; but as the native wines are easily spoilt by carriage, the surplus, be- ' yond that consumed in the coimtry, is distilled to obtain the brandy contained in them. § 5. Monet. — ^AVeigiits. — Measures. There are various modes of keeping accounts in Tuscany ; the fundamental money may be considered the lira, which consists of 20 soldi, each soldo con- sisting of 3 quattrini or 12 denari. The most common currency is the yaolo. The values of the different coins of Tuscany are as follows. Gold Coins : — £. s. d. The Zeccliino, or Sequin, also called Ruspo, or Gligliato, the only coin of pure gold issued at the jiresent day 0 8 10^ The Ruspone, or 3-Sequin piece, valued at 40 Lire or 60 Raoli ..168 Silver Coins : — • The Seudo, or Francescone, contains 10 Raoli 0 4 5f, The Raolo contains 8 crazie = 54 French centimes 0 0 1 Lira = 20 soldi = 240 denari 008 The Francescone also contains 6| Lire or 6 lire and 1 paolo. It is also diviclc( into 4 Florins : the Fiorino or Florin (so called from its bearing tlie Flenr de-Lis, the arms of Florence, on one of its sides) is equal to If lire or 2' pauls. Copper Coins : — 1 Crazia — 5 quattrini = 20 denari. 1 Qtiattrino = 4 denarL The Crazia is a coin of the ancient Medicean government, and none liave beci struck of late years. Tuscany. Coins — Weights and Measures. 395 The Denaro has not been coined since tlie days of the republic ; the smallest Tuscan money is now the Quattrino. Tims the !^*ancescone = 4 florins = 400 quattrini, afibrding an easy decimal system for calculation. There are several pieces multiples of the smaller coins, as 5 pauls or mezzo scudo, and pieces of 2 pauls : also half-pauls in great abundance. Values oe Foeeign Coins The English sovereign is worth from 44^- to 45 pauls. Napbleon exchanges for 35^ or 36 pauls, and sometimes more. 5-franc piece - - 8 pauls 6 crazie. The Colonnato or Spanish pillar dollar is current for 6^ Hrc, or 9 pauls 4 crazie. j The Roman doUar has the same value as the Spanish. I The Zwanziger or Lira Austrica = 1 lira and 9 denari, or 1 paid 4 crazie \ and 2 quattrini, I At Leghorn every species of coin may be found in circulation. The sovereign joasses for something less than 30 lire, and the shilHng for 2 paoli. !; Weights and Measuees. } Weights. — The Tuscan pound = 0'74864 lb. Avoirdp. Therefore 100 pound ir a Quintal is 74'86 lb. avoirdp. In round numbers, therefore, a Tuscan pound is 12 ounces avoirdp., or | of a lb. of that measure : it is -j| of a pound iTroy. It is the same as the Roman pound. J Measures of Length. — The standard measure of length is the Braccio Fioren- j:ino, v/hich is divided into 20 soldi, and each soldo into 12 denari, or 60 quat- j rini. The Braccio is equal to 22'98 English inches, or 1'915 English feet, or '|h5836 mMres. The Tuscan mile consists of 2833'33 of these Braccia. 67’2948 lire equal to a degree of the equator. The Tuscan mile is therefore equal to * -808 English yards, or 1 mile English and 48 yards, or 1'6536 kilometre, l] The Tuscan post consists of 8 miles, and is therefore equal to 8 English iniles and 384 yards, or 8i miles nearly. Distances are expressed in miles and :|i )Osts. ^ There is another Braccio used by builders and surveyors which equals 21'6 liblnglish inches, or O' 5486 metre, and 5 of these make the Pertica or perch, ill Swperficial Measure. — The Saccata of land is composed of 660 square Per- |iche, and equals 1 acre 36 perches English measure. The Stioro contains ‘ ! 541'3 square Florentine Braccia. J Dry Measure. — The Stajo is divided into 2 Mine, 4 Quarti, 32 Mezzette, 64 ifj^uartucci, or 128 Bussoli, and contains 0'6913 English bushels. The Moggio js composed of 24 Staja, and therefore equals 2 quaiders 4f bushels English Measure. The Sacco contains 3 Staja. ; ( Liquid Measure. — The Barile of Avine is divided into 20 Fiaschi, 80 IVIezzette, ir 160 Quartucci, aud contains 12'042 English gallons, I The Barile of oil is divided into 16 Fiaschi, 64 Mezzette, or 128 Quartucci, jnd contains 8'8313 English gallons. 1 The Soma is composed of 2 Barili. f^ji As the coinage and measures of Lucca are still current in that part of Tus- V I annex a table of them : — i| jj § 6. Coinage, Measuees, and Weights of Lucca. I Accounts are kept in lire, soldi, and denari ; a lira contains 20 soldi, and the „ j>l(lo P2 denari. The following are the coins in circulation, and their values : — 396 Tuscany — Pasting — Passports — Servants. Sect. VI. French. The gold Doppia Lire. 22 Soldi. Francs. Cents, 0 = 16 50 = s. 13 a. 0 The silver Scudo = 7 10 = 5 62 = 4 'A' '’2 — Mezzo = 3 15=2 81 = 2 — Terzo — 2 10 = 1 87 = 1 5^ — Quinto 1 10 = 1 12 = 0 lOf — Lira — 1 0=0 75 = 0 7^ — Mezza = 0 10 = 0 37 = 0 Tliere are also pieces of 2 lii’e, Avliich at first sight so resemble pieces of 2 ^ French francs, that a stranger might mistake them. In Lncca, Tuscan money is current at its value * in Tuscany, the Sardinian money is current in like manner. : Linear Meastires . — The braccio is divided into 12 once : — 1 hraccia = 0 * 5905 metre = 23 ' 2479 Engl. in. or 23f in. nearly. The canna = 4 hraccia = 2 • 362 metres = 7 ft. 8 • 99 Engl. in. or 7 ft. 9 in. nearly. The pertica = 5 hraccia = 2 • 9525 metres = 9 ft. 8 * 239 Engl, inches. The mile— 690 pertiche = 1771 *5 metres = 1936*2495 Engl, yd. = 1 m. 176^ yd Weights . — The Lucchese pound differs only by a few grains more from thal of Tuscany;. § 7. Posting. The tariff is th« folloAving, at the rate of 5 paoli per horse, except on entering or quitting Florence, when you pay 6 paoli. The regulations as to carriages are of the usual description, but are not very rigidly insisted upon, for tin postmasters have not got a monopoly, and the government rather encouraget competition.. ' Paoli. Francs or lire Italian!. Pair of horses ... 10 = 5’60 Postihon .... 3 = 1*68 Stalliere, per pair and per post ^ — 25 6 paoh is the usual mancia to the postilion. If 3 horses are taken, the tliirc is ridden by a boy, who receives half-pay. § 8. Passports, ' Upon entering the country, the passport of any of the great powers stiffices but on quitting, it must receive the visa of your own Minister, of the Tusen Minister for Foreign Affairs, as well as that of tlie ambassadors or consuls of tli states to which you are immediately proceeding. The police ydsa is valid onl during 3 days, and if the traveller does not set out within that period from tt date it must be renewed. A carta di soggiorno must be taken out by persor remaining for any time at Florence, or tlie other large towns. ^ § 9. Servants. English residents in Tuscany frequently experience great annoyance from the disputes with their Itahan servants. The law is very different from ours, ar the servants often take a dishonest advantage of their masters’ ignorance. T1 following summary of the liabilities of the master may therefore be useful. By the law of Tuscany, every servant engaged at yearly wages is entitled 1 6 months’ notice to quit, or to 6 months’ wages : the better way is to engage 1 the month, and to have a written agreement, stating that you are entitle to discharge at a fortnight’s notice. Any foreign servant brought by a strang I Tuscany. Painting. 397 into Tuscany, and discharged by him there, however bad his conduct may have been, can, upon applying to the tribunals, compel the master to pay his full coach-fare and expenses back to his own country, unless the employer have a written agreement, signed by the servant, to the contrary. Families intending to winter in Florence generally engage a cook, at a stipulated price per month, to furnish everything required for the house ; but, in this case, it is necessary for the stranger to advertise in the Gazetta di Firenze, liis name and resi- dence, and stating that his seiwants have orders to pay for everything in ready money, and that he will not be accountable for any debts tliey may contract in his name ; failing to do this, the cook will probably pocket the whole of the money paid him for housekeeping, and the master will be compelled to repay all the tradesmen’s bills. It is also necessary to be extremely particular to take a written receipt for every weekly or monthly payment made to the cook, as, in default of this, he will probably, on the eve of the departure of the family, go into com’t and swear that he has been supplying the house upon credit during his master’s whole stay ; and, altliough his master may have been in the regidar habit of paying him weekly in the presence 6f members of his own family, and of the other servants, still, as, by the Tuscan law, the evidence of neither rela- tions nor servants is allotved to he given in the master’s favour, and as his own oath is not taken, the stranger will, after much delay and law expense, be obhged to repay the whole. The above is by no means an isolated case, but one of very common occurrence. It is also extremely desirable, in engaging apartments, to avoid employing a valet-de-place, or other person similarly situated, as he will be sure to levy a contribution, which is added to your rent. Any gentleman intending to pim- chase pictures, or other w'orks of art, should also be particularly cautioned against allowing a valet-de-place to accompany liim, or have the slightest connection with the transaction, as such an assistant will be sure to help in defrauding you. § 10. Painting. It was in Tuscany that the art of painting was revived in the middle ages. At the era of the revival of art in Tuscany, artists were artificers in the strictest sense of the term. They studied their art not in the academy, but in the workshop. The “ Arte degli Orefici,” the goldsmiths’ craft, was the chief school ; hence came some of tlie best artists in all the three branches of archi- tecture, sculpture, and painting. Brunelleschi, Ghibei-ti, Orcagna, Luca della Eobbia, Massolino, Grhirlandajo, Pollajuolo, Botticelli, Verrochio, Francia, Finiguerra, Andrea del Sarto, Baccio Bandinelli, Benvenuto Cellini, Salviati, Lione, Vasari, and a host of other inferior names, all were brought up in this trade, which some practised to the end of their lives. Painters were chiefiy employed in church imagery and ornaments, as decoi’ators of houses and furni- ture. The articles which gave occupation to their pencils were of various descriptions. The most costly seem to liave been the ponderous well-lined chests in which the trousseau of the bride was conveyed to her new domicile, or in which the opulent citizens kej)t their i*obes and garments of brocade and velvet, no small portion of their inheritance. Bedsteads, screens, cornices, and other ornamental portions of the rooms, were adorned in like manner. Subjects were often boiTOwed from the legend or the romance, the ilhistrations of tlie ! popular literature of the age. Here also were exhibited tlie amiiseinents of tlie world : — tilts and tournaments, the sports of the chace, and the pastimes ot wood and field, were often particularly chosen ; and upon such works the most ! excellent painters exercised theinselves. Even under tlie first Aledici, when the I altered spirit of the jmrsuit had rendered jiainting a jirofession, it was still j talked of as a trade. It was in the holtegaf the sliop, and not in the studio, 398 Tuscany. — Sculpture. Sect. VI. tliat tlie painter was to be found. The statutes of tlie Company of St. Luke, or tlie “Arti de’ Dipintori,” at Florence, 138G, sliowthat, as in London, they were a mere guild of workmen or tradesmen. There were the like fraternities at Bologna and at Venice; and all were equally comprehensive, admitting as their members trunk-makers, gilders, variiishers, saddlers, cutlers, in short, all work- men in wood and metal whose crafts had any connection wdth design, however little that might be. Most, perhaps all, of what we shoidd now term the easel pictui’es of the oldest masters, have been detached from articles of ecclesiastical or civil furniture : and indeed, before the 16th centy., it may be doubted whether any cabinet picUires, that is to say, moveable pictimes, intended merely to hang upon the wall as ornaments, 'without being considered as objects of veneration or w’orship, ever existed. For an account, however, of the artists of the Florentine school, and for their respective characters and merits, the traveller must be referred to Kugler’s Handbook. § 11. SCULPTUEE, The earliest mediaeval sculpture of Tuscany appears, perhaps, at Pistoia, where a Maestro Gruamonte has left several specimens of his chisel : they seem above the average of his age. Pisa was illustrated by Nicolo di Pisa and other artists of the Pisan school, of whom Andrea worked much at Florence ; and an impulse having been thus given, the art speedily attained the greatest vigour. Sculpture with the Florentines, like painting, was a trade, and very frequently connected with some other calling. Very often the sculptors Avere also orejici^ or workers in metal. At the head of the Florentine school, properly so called, stands Andrea Orcagna, or Orgagna (1326-1389), who was originally a gold- smith. He became an architect, painter, sculptor, and poet. “ His works in sculpture, notwithstanding a certain dry quality of execution that pervades them, have great merit. His most esteemed performances are the sciilptures on the altar in the chapel or oratory of Or San Michele in Florence. Orcagna showed great talent in the management of his draperies, preserving eonsidcrable breadth in the forms and dispositions of the folds, and so composing them as not to conceal the action of the limbs.” — Westmacott jun., A. R.A. A new era of Tuscan sculpture begins Avith Donatello. There has been some discussion as to Avho Avas his master, and there are several very able men who flourished just before him, and who led the Avay. Jacopo di Pietro della (Quercia, otherwise Jacopo della Ponte, is one of these : he produced the beau- tiful tomb of Ilaria del Carretto at Lucca. There wei‘e also many Fiesolani of great ability : they were rather a school of masons and workers of ornaments, but they acquired great dexterity of hand : one of them Avas Andrea da Fiesole, who worked with great purity of style. Donato di Petto Pardi, better known as Donatello (bom 1383, died 1466), travelled much in Italy, studymg the antique at Home. “ The works of Donatello are numerous, and remarkable for their superior qualities. His conceptions were bold, and his execution vigorous, and it is easy to see in his performances the reason for tlie compliment paid to his statue of St. Mark by one Avho could so Avell appreciate these qualities as Michael Angelo — ‘ Marco, perche non mi parli?’ It is probable that the some- what exaggerated treatment which is observable in some of the productions of Donatello, as well as of his contemporary Grhiberti, arose from their desire to avoid the dryness and poverty of form in the works of some of their immediate predecessors.” — Westmacott jun. Tlie greoi Filippo PrtmellescJii (1377-1446) attempted to rival Donatello, but not successfully, for, much as he excelled in architecture, in sculpture he showed but inferior talent. Antonio Filarete, a disciple of Donatello, is principally known as an architect. Michele Michelozzi worked with Donatello. Desiderio da Settignano, a favourite scholar of Dona- Tuscany. Sculpture. 399 I tello, who died at the age of 28 years, was most graceful in his designs, and succeeded most happily in giving to his marble an appearance of softness. Nanni di Banco (1383-1421) was a scholar of Donatello, more distinguished I for his good and amiable qualities than for his skill : he was, however, much j employed. Antonio Rossellini (flourished 1440-1480), and Bernardo his j brother, are most fully masters of all the mechanical portions of their art ; but both had merits also of a liigh order, and Michael Angelo much admired the I expression of Antonio's countenances and tlie execution of his drapery. He ; worked with the utmost freedom ; .the marble seemed to yield before his hand j hke wax, and his figm'es are pervaded by tenderness and sweetness. Lorenzo E Ghiberti (1378-1455), educated as a goldsmith, has secured a lasting repu- tation by Ins celebrated bronze gates of the Baptistery at Florence. He was also a good painter, and has left some curious historical writings upon art. , Lucca della Robbia (1388-1460) was also a goldsmith. He worked sometimes ; in metal and marble, but principally in a species of porcelaui of his own in- ij vention — burnt clay, painted with vitrified colom’s, and possessing remarkable ! durabihty. Agostino and Ottaviano, his brothers, worked in the same line, and ll their performances can scarcely, if at all, be distinguished from those of Laicu. ii?l! Andrea^ a nephew of Luca, and exceedingly devoted to his art (1444-1528), K another Luca and a Girolamo followed, all keeping the secret of the porcelain, y. which died with them. “There is a tradition that Luca della Bobbia committed iij liis secret to writing, and enclosed the paper, or AALatever it was inscribed on, in | some one of his models before he sent it to be baked ; so that it could only be ti known at the price of destroying, or at least injuring, a number of his works, 01 till the document should appear. Among his productions are some of great i I beauty. They consist chiefly of groups, in alto-rilievo, of the Madonna and 1 1 infant Saviour, or Christ and St.John as children, and similar subjects.” — |j Westmacott jun. The Majani, Benedetto and Girolamo — some say uncle ; and nephew, some say brothers — were artists of great fertility of invention and ; much elegance. Benedetto worked much in wood, both in carving and m inlaid i. j wood or intarsiatura. Antonio del Follajuolo (1426-1498) possessed so much 4 1 anatomical knowledge that he has been called the precursor of Michael Angelo. ^ ' Though not a pupil of Ghiberti, Pollajiiolo worked much under that great I master ; he and his brother Pietro were also excellent goldsmiths and workers ! j in metal. Andrea del Verrocchio (1432-1488), a goldsmith, and afterAvards a j I pupil of Donatello, possessed, like Pollajuolo, great anatomical knowledge. He ' principally failed in his draperies. He was an artist of much inventive skill, ' : usually working in metal, and he first made plaster casts. Maiteo Civitali \ (1435-1501) has been noticed at Lucca. Until a mature age this very exquisite I artist practised as a barber. Andn'ea Ferrucci and Mino da Fiesole both belong i to the school of Fiesole. 3Iichael Angelo {iVl hecdcme at an early age i the scholar of Domenico Gliirlandajo, the most celebrated painter of liis time, 1 and afterwards studied under Bertoldo, the director of tlie academy established ' by Lorenzo de’ Medici at Florence. “ Till the time of Micliael Angelo the ' Avorks of art since the revival were all more or less meagi’e and dry in style, ; although considerable feeling and talent Avere occasionally dis]3hiAnd in their I conception (or invention) and composition. Extraordinary elforts Averc somc- ; times made, as by Ghiberti and Donatello, to infuse into thenx a better and 1 more elegant quality of form, but it was left for Michael Angelo to ellect that i total revolution in style which has stamped not only his oavu ])roductions, but I the art of his age with a character peculiarly its own.” — Westmacott jun. I Baccio di Montelupo (flourished 1490), also of the school of Ghiberti, ])rodiiccd j but little in Tuscany ; he was free and bold in manner. Gialiano di San Gallo (d. 1517) and Antonio di San Gallo (d. 1534) are more known as arc‘hitocts than as sculptors ; their minor oniaments show' much taste. But in (his line 400 Tuscany.— Scvlpture. Sect. VI. | they were much excelled by Benedetto di Bovezzano^ whose works of this de- scription exhibit the utmost delicacy of touch and elegance of design. Andrea Contucci worked principally out of Tuscany ; ridiat he has left here is generally simple and affecting. Of Francesco Rustici there are remarkably few s]')ecimens. Cicognara considers Eera, a pupil of Bandinelh, is, allowing for some incorrectness, amongst the best artists of the Florentine school. Of Benvenuto Cellini (d. 1570), as a sculptor, only two spe- cimens are known to exist ; one of these is his Perseus, certainly a masterpiece of art, Vincentio Danti is perhaps a little exaggerated in his anatomical dis- play ; this pupil of Michael Angelo approaches most nearly to the excellences i of liis master, and he fuUy understoocl as well the theory as the practice of his I art. Bartolomeo Ammanati (1511-1592) was excellent as a sculptor as well as I an arcliitect. He was often employed on statues of large dimensions, which at ]| this pei’iod had become much in vogue. Giovanni di Bologna (1524-1599), a Fleming by birth, came to Italy at an early age, and lived so many years at Florence that he must be considered as a master of the Tuscan school. He is 1 one of the first in whose works we observe a decline in sculpture. Instead of [ grace we find affectation and mechanical skill held in high estimation. “ His ' works are full of imagination, and are executed with a boldness and ability that both surprise us and call forth our admiration ; but there is at the same time an exaggeration in the attitudes, and an endeavour after pictiuesque effect, that disappoint us.” — Westmacott jun. In Bietro di Francavilla (1548-1611), a Fleming from Cambray, but an adopted child of Florence, we can begin to trace the rapid decline of art. Not without considerable ability, he is mamnered and affected. Giovanni Caccini (1562-1612) was a free and clever workman, and an excellent hand at restoring an antique. Many of the ancient statues in the Grand Ducal gallery owe, in their present state, more to him than to their first authors. Pietro Tacca (d. 1640) must be particularly noticed. This disciple of G-iovanni di Bologna was an artist of great and real genius : he worked in every species of material, even in wax, but he excelled in bronze, the castings of Ids figures being conducted with the greatest skill. Antonio Susina (d. 1624) was an excellent worker in bronze : he had, in his time, almost a monopoly of crucifixes and of similar church images. In the decline of ai*t Gherardo Sil- vano (d. 1675), who was also an architect, showed a considerable degree of cleverness and truth. Of the last period Foggini may be mentioned with praise, as showing great mastery of the chisel, though with all the faults of the school of Boubillac, of whom he was nearly a contemporary. Respecting the present state of the Fine Arts in Tuscany little can be said. Some of the principal artists have considerable merit, but in the midst of the most splendid models, and enjoying all the advantages of tuition, there is no approach to the original talent of former ages. “You wall find,” said an Intel- i ligent Italian to us, “ in our Academies scores of Raphaels and Michael Angelos ' under twenty years of age, showing much genius, much precocious talent ; but what becomes of it nobody can tell : it all evaporates.” Massa, Caerara, &c. Route ^O.—Sarzana to Lucca — Carrara. 401 ROUTE 40. SAEZAISTA TO LUCCA. 1| Sard, posts, and 5 Tuscan posts. Grenoa to Sarzana (Rte. 13). I 1^ or 1 Tuscan post, Avenza (an 1 extra horse from Avenza to Massa, I and vice versa), pop. 2000, situated on ! the torrent bearing the same name. I The castle was built by Castruccio I Antelminelli about 1322, for the pur- ! pose of protecting the dominion which he had conquered in the Lunigiana. It is a grand building, little injured : ^ the round towers which flank the for- ^ tress are surmounted by machicola- g tions of the boldest character. Avenza i is the first town of the duchy of Massa, t' and the Modenese dogana is stationed here. In 1845 a plan for a canal and N artificial harbour here was sanctioned i'! and the works commenced by the ) ' Duke of Modena. i Between Sarzana and x4.venza, but i! on the coast and nearer to Avenza, are the scattered and scanty remains i i of the once celebrated Luna or Luni, I a very ancient Etruscan city, giving ' its name to the Grulf of Luni, now ‘ the Gulf of Spezzia, and to the whole district of the Lunigiana. Lucan makes ! it the residence of Aruns, the oldest I i and most venerable of the Etruscan I augurs. Lucan’s verses attest the ! Etruscan origin of Luna and its deso- i lation in his time : — “ Haec propter placnit Tuscos de more vetusto ' Acciri vates, quorum qui maximus aevo I Aruns incoluit desertae moenia Lunae.” Luna has not flourished much since , Lucan’s days. It became the port of shipment for the marbles quarried I from the adjoining mountains and from : Carrara ; and its “ candentia moenia” I are described in the curious poetical itinerary of Rutilius Numentianus. : Home have supposed that Luna was ! dismantled by the Lombards ; and in 1 1016 the Emir Musa plundered it and carried away its inhabitants into ( aptivity. From this period Luna fell iinto great decay, thougii it continued jto be tlie scat of the bislu>]>, until tlic I see was translated, in 14fi5, to Sar- zana, and it is now wholly deserted. The remains of the Roman age, above ground, are but scanty : an amphi- theatre, a theatre, and a circus may be traced with some distinctness, and some other fragments of edifices. Ex- cavations, however, have produced rather an abundant harvest of curious bronzes and inscriji tions. There are some few remains also of the ancient cathedral. To the 1. of the road between Avenza and Massa, and 'which may be reached by a road of 4 m , lies CaRraea. {Inn: Aqnila Nera, dirty and dear. The landlord is a sculptor.) The little principality of Carrara is almost all mountain and valley. The peaks of the mountains, out of -whose sides the white marble is quarried, are of a beautiful warm grey colour, and are visible at a great distance all roiind. The city stands in a narrow valley be- tween five mountains, the Poggio di Montia, the Monte d’ A.rme, the Pog- gio di Vezzala, the Poggio di Bediz- zano, and the Poggio di Codona. The town is a continued studio, peopled with artists, in various costumes : mostly they affect the shaggy aspect of the German Burschen, wdth a wMd grow th of hair, whiskers, mustachios, and beard, and every variety of head covering. Their productions generally are beautifidly finished, and nicely mo- delled. The profusion of marble gives a cheerful appearance to the city, espe- cially to the more modem buildings, of which the principal is the Academia delle belle Arti. The principal cluu’ch, which is collegiate, W'as built in the 13th, and has some good scidptures of the 15th centy. “It corresponds in age and style with the lluomo of Monza. These twm buildings afford examples of a peculiar and most grace- ful Gothic. Fragments of a siTuilar style occur at Harzana ; but this church at Carrara is decidedly the most perfect gem of its kind. 1 prefer it to that at Monza.” — P. The Madonna delle Grazie is remarkable for its ffue marbles. From Carrara there is a steep ascent to Torano : the summit commands a 1 402 Route 40. — Massa. Sect. VI. noble view ; on the one side Massa and tlie Mediterranean, on tlie other the ravines of the mountains in which the quarries are situated. The excur- sion to these celebrated quarries must be performed in a little carriage of tlie country. The road is not passable for ordinai'y carriages, but the postilions will stop for you at a convenient station, and you pay one franc per hoirr for every horse which you detain. The excursion may be accomplished in about two hours. There are 31 quar- ries, of which not above seven or eight furnish the statuary marble. The path lies by the side of the torrent Torano ; and after traversing the fine gorge, partly artificial, between tlie Monte Crestola and the Poggio SU- vestro^ you reach the quarries of Cres- tola and Cavetta, which supply a marble of very dehcate grain : the largest blocks are quarried further on under Monte Sagro. This last is the “ Pavaccione” marble. This portion of the quarry district is most pic- turesque : but another, to which the road by the side of the Pedizzano leads, is interesting, on account of the curious vestiges of the ancient work- ings. They are found in the quarries of Fantiscritti, Sj m. from Carrara. These derive their name from three small ancient figures of Jupiter, Bac- chus, and Hercules, sculptured upon a rock ; and which, being very tiny, have been denominated fanti by the peasants : and many names of travellers having been also inscribed upon the rocks, the odd compound oifantiscritti was formed. All around are lying j)i- lasters, columns, architraves, blocked out, but left unfinished. They appear to be of the Lower Empire. Bejoining the high road, which, after leaving Avenza, continues beautifully varied, you pass Mirteto ; and, cross- ing the torrent Erigido by a bridge, enter Massa, or proceed direct by a good road leading from Carrara to Massa, about 5 m. 1 Massa Ducale ; so called to dis- tinguish it from the numerous other places of the same name, i. e. Massa, of Avhich the origin is veiy obscure. (An additional liorse is required in gomg from Avenza to Massa, and vice versa.) Inn : Albergo delle Quattro Nazioni is noAv very comfortable. — The vicAvs of this httle city are remarkably picturesque. An old castle extends along a noble rocky ridge, a stream flows below, vines are trained over trel- lises, and oranges flourisli. The quan- tity of marble employed in the build- ings speaks of the vicinity of Carrara. The Palace of the Princes of Massa is the principal building in the city. Maria Teresa, the eldest co-heiress, of the noble house of Cibo-Malaspina, by her marriage in 1741 Avith Ercole Einaldo, tlie heir of Francis III. Diike of Modena, brouglit this principality to the liouse of Este, to AA'hom it now belongs. During the French occupa- tion Massa and Carrara Avere placed under the Baciocchi. Tlie Princess Ehsa chose the palace as her summer residence, and, in order to make it more to her taste, she ordered the splendid cathedral which stood in the Piazza, noAv planted AAuth orange-trees, in front of the palace, to be demolished, and in tlie course of a fcAV weeks the fiibric Avas entirely rased to the ground. The ]iresent Duomo is a plain building, formerly the Eranciscan convent, of the 17th centy. ; but in the fai^ade is a curious ancient doorway, — a circular arch supported by twisted columns, — Avhich is a portion of one of the portals of the demolished cathedral. The mountains enclose and shelter Massa; the road to Lucca passes through a most fertile country, and is constantly ascending and descending : sometimes you obtain an cxtensiA^c view of the sea. The noble forests of olives also add much to the fine and peculiar character of the scene. Pass the ruins of the Castle of Mon- tignoso, fine and picturesque, beauti- fidly situated upon a bold hill. The history of this castle, properly called the Castello d' Agldnolfo, can be tracedfl to Lombard times, and is full of re- markable incident. After passing Mon- > tignoso some short distance, the Tuscan j frontier is crossed at Torre di Porta ; I I (I il I'l li « lift II luj ■St Lucca, &c. Route 40 . — Pietra Santa — Lucca. 403 and 2 m. beyond this, at Querceto, a good road on the 1. hand leads to Se- ravezza, a cool, cheap, and picturesque summer residence, — a sort of quiet miniature Bagni di Lucca. Proceeding 2 m., we arrive at 1 Pietra Santa, (The Unione, a new Inn, kept by Bertolacci, is vei’y good ; it is near the Poste.) Pop. 3185. This city, on the outer edge of one of the outlying fragments of the Tuscan states, is beautifully situated, with a background of swelhng hills. It is surrounded by venerable old walls, which coidd tell many a tale of Gruelphs and Grhibellines. In the centre of the city is an interesting group of eccle- siastical buildings. The ch. of St. Martin is called the Puomo from its \ size, for it is not a cathedral. It was ^rebuilt in the 13th centy., but many I parts are later. The fa^-ade is nearly I all of the 13th centy., and contains a l^fine rose- window which abounds in Incurious details; so also do the door- l|ways. The interior is much modern- t jised : the pillars of coloured marble are |Of the latter half of the 16th centy. The pulpit is by Stagio Stagi, an artist of wonderful merit (see Pisa, I Duomo), by whom there are also many I sculptures in the choir. The Bap- I dstery contains bronzes by Ponatello, y ind sculptures by Stag% executed I ibout 1525. The font is an ancient Tazza, with figures of sea-gods. The I )ronze figure of St. John, which crowns I he cover, and the Baptism in the i ordan, are by Ponatello. ^ The ch. of Sant' Agostino is of the I lothic of the 15th centy. : the front rt ^ rich, but unfinished. It is full of >i urious ancient tombs ; the nave is uite paved with them. In the first liapel to the rt., on entering, is a icture, the best at Pietra Santa, dated I 513, by Taddeo Zacchia. of Lucca, id a fine altar by Stagi, or in his ' yle. This church, and the adjoining I onastery, now belong to tlie Padri 'olopi, an educational order. The impanile, detaclied from tlio Duomo, id the nia^-hicolated Toum, Jlatt, licli slands between tlie Duomo ami . Agostino, complete the group. The road continues tlirough the same well-cidtivated and lovely country. Where the soil of the hills is visible, it is of a deep red. 1 Montramito. (From Montramito to Lucca an extra horse, but not vice versa.) The relai is a single detached house, at tlie foot of the hiU, which you climb by a long ascent, from whence you have a fine view of the sea, and then descend into a well-cidtivated plain. Above, upon a beautiful hill, stood the ancient castle of Montra- vanto. Montramito was formerly called Monte Travante. At Montramito a road to the 1. leads to Stiava, a villa of II. K,. H. the Duke of Lucca, another on the rt. to Yiareggio, which is much frequented in summer for sea-bathing. It has no beauty in itself, but affords a glorious view of the mountains of Carrara, and contains a theatre, where, in 1810, to- lerable operas were given, under the management of the celebrated Pacini ; pop., in 1844, 6546. Before reaching Lucca, on the rt. is the small village and curious castle of Nozzano, said to have been built by the Countess Matilda. Massa Rosa, otherwise 3£assa Gros- sa ; a scattered borgo, at the foot of a hill, covered by a villa, anciently a feudal castle, once a regal villa. Cross the Serchio. Here is a good cross-road which joins the highway from Lucca to Pisa, at the village of Montuolo, in a quarter of an hoirr of vetturino-travelling, without going- round by Lucca. Nave, anciently Nav>e d' Pribrando. 2 Lucca. Pop., in 1844, 21,894. {Inns : Albergo dell’ Exiropa, good, kept by Gustavo Pagniiii, nephew to the person of that name at the Baths ; La Croce di Malta, very good ; Pclli- cano, said to be good, kept by Orlandi, who also keeps tlie hotel ofthesmne name at tiic Baths.) Posf-ojpce. Ijctters arrive and are despatched daily : they are given out every day but Sunday, fi-oiu the 1st of 3 line lo the 3()th of September, between 8 in the morning and 1 P.M., and in the afternoon hetween 4 and 5 — from 404 Route 40. —Lucca — Cathedral. Sect. VT. tlie 1st of October to the 31st of May inclusive, between 9 in the morning and 1 P.M., and in the afternoon be- tween 3 and 4. On Sundays the office closes at mid- day. The office for re- ceiving letters is open every day but Sunday, from 10 in the morning till 12, and in the afternoon from 3 till 6. On Sundays from 4 till 6 in the after- noon only. Letters need not be pre- paid. “ Idicca V Inclustriosa^^ wears an ap- pearance of considerable activity, and even cleanliness. It was a place of im- portance under the Lombard kings. After the subversion of the Lombard dynasty Lucca was governed by dukes of its own, whose rule extended over the whole of Tuscany. In the 12th centy. Lucca became a free town, and, for above a centy. was governed by consuls of its own choice ; but dis- turbed, in common with the other cities of Italy, by dissensions amongst its own nobles, and by Griielph and Ghibelline factions, it was so far weak- ened as to fall into the hands of the stranger. In 1314, Ugnccione della Fagginola, Lord of Pisa, favoured by the Ghibelline party, made himself master of Lucca, from which time Lucca was governed by despots till 1369, wlien its inhabitants purchased a charter from Charles IV. for the sum of 300,000 florins, and thus recovered their liberties. Lucca was the first place in Italy where silk was produced and manu- factured. “ In the year 1314, Lucca alone, among her sister republics, en- joyed the lucrative monopoly. A do- mestic revolution dispersed the manu- facturers to Florence, Bologna, Venice, Milan, and even the countries beyond the Alps ; and thirteen years after tliis event the statutes of Modena enjoin the planting of mulberry-trees, and regulate the duties on raw silk.” — Gibbon. The production of silk had been introduced into Lucca from Sicily, whither it had been brought from Greece by the Normans. Lucca retains two monuments of the Roman age ; portions of its amphi- theatre (see Piazza del Mercato^ p. 410), and some small remains of a theatre. The latter are not far from the ch. of S. Maria di Corte Landini. The Pifonw or Cathedral (near tlie middle of the S. side of the town), dedicated to St. Martin, is a remark- able monument of architecture and art. It was founded in 1060, and conse- crated 6th Oct. 1070, by Ansehno Ba- dagio^ who, having filled the episcopal cliair of Lucca, became supreme pon- tiff under the name of Alexander II. (1061-1073). (St. Marc. Hist, d’ltalie, iii. 193.) IIcAvas the pope who presented the consecrated banner to William of Normandy AA'lien about to invade Eng- land, Most of the featmes, however, of the building raised by Alexander II. have been obliterated by subsequent additions. The fine fa(,*ade, of three large unequal arches below and three tiers of small arches above, Avas erected by the sculptor and architect Gmdefto in 1 204. “ The rich inlaid work of the fronts of this church and S. Miclicle i are altogether unique. Both represent j hunting-jiieces, lions, wild boars, wolves, ; foxes, and deer pursued by hounds and men, with lance and liorn, constantly repeated.” — R. The atrium abounds with curious ornaments of the date of 1233 and interesting inscriptions. “ One of the most masterly composi- tions of any school of sculptiu'c is a semicircular alto-rilievo, over the 1.- hand door, of the Taking down from the Cross, by Nicolo da Pisa .” — West- macott, A.R.A. ; on the architrave below is a mezzo-rilievo of the Adora tion of the Magi, by Giovanni, his son Tlie principal inscriptions are, one recording in hexameters tlie founding and consecration of the catlicdral Alexander II. ; the epitaphs of Adel bert, the “ Dux Italise,” and of Berth his Avife ; and a curious covenant, o engagement, entered into by the monei changers A.D. 1111. In the interior the lower arclies ( the nave are Lombard, the upper poi tions are Gothic, added about 130t when the church Avas lengthened an raised. Tbe gallei'y, which we call tl Triforium — here of large dimensions- | is fiUed in its arches with the richo t Lucca, &c. Route 40. — Lucca — Cathedral. 405 Gothic tracery. The roof is richly co- loured in fresco : the mosaie payement, which in part remains, is curious in Gothic patterns ; the deeply - tinted stained glass, of which there is much, I is rich, particularly in the uppermost tier of windows on the 1. side of the chofr. The centre window of the choir bears the name of the artist, Pandolfo d’ Ugolino da Pisa. A cresset, a species of yessel composed of iron bars, is sus- pended from the vaulting of the nave. The bishops of Lucca (since 1726 an archbishopric) possessed numerous an- cient and honorary privileges, derived from emperors and popes — jurisdic- tions and regalities, as Counts of the Empire — power of creating 8 knights of the order of the golden spm*, — and j many others which have become value- \ less or have passed away. The only privileges, in fact, practically existing, are those enjoyed by the archbishop, of wearing the pvirple of the cardinals of Eome, and of having the eeremony performed before hun of burning the flax in this cresset : whilst, as the light flames arise and are spent, the choris- ters chant “ Sic transit gloria mmidi.” But whilst this ceremony is performed before his Holiness only on the day of his coronation, it is repeated before the prelate of Lucca whenever he officiates pontifically on solemn festivals. Begin- ning the examination of the ulterior on the rt. hand on entering at the W. end, the objects most deserving of notice I are the following : — At the first altar, I The Nativity, 1). Passignano : at the second, the Adoration of the Magi, F. Zuccari .- at the third, the Last Supper, Tintoretto : at the fourth, the Cruci- fixion, IJ. Fassignano : at the pillar near the fifth altar stands the very beautiful marble puljiit executed by Maiteo Cimtali, in 1498. Enter the sacristy, in wliicli is a Ghirlandaio, a 1 fine 8j)ecimen of this master, and which is quoted by Vasari. Tlie jirincipal figure is the Virgin, attended by Pre- late.s and Saints, Po})e Clement, St Peter, St. Paul, St. Clement, St. Se- liustian. Below is a small long ])ie- ture, rejtresenting jiassages in the lives of tlie saints, vi i-y tiny figures ileli- cately pencilled in chiar’-osem’o. In this sacristy is kept a curious ancient cross of silver gilt, executed in 1350 by Bettuceio Baroni. Eetimn to the eliurch and enter the S. transept. Here is the very beautifid monument, in Carrara marble, of Pietro da Noceto, Secretary of Pope Nicolas V., erected in 1472 by Matteo Civitali. The works of this artist (born 1435, died 1501) exist only in Lucca, his native city, and in Genoa. Cicognara thought this, perhaps, the finest work of the kind in the 15th century. Beyond tliis is the fine bust of Domenico Bertini,the friend and patron of Civitali, 1479. In the chapel of the Sacrament, which is oppo- site the monmnent of Noceto, are two small angels kneeling before the taber- nacle, by Civitali. Leaving tliis chapel, on the rt. is the altar of St. Eegulus, who stands between St. Sebastian and St. John the Baptist, by Civitali. Be- neath are bas-rehefs, representing the martyrdom of the saints whose statues are above. Herodias dancing before He- rod is a gi’aceful figure. St. J ohn is re- presented as eonsumed by abstinence. The chofr is splendidly fitted up. The throne of the archbishop is shadowed by a rich canopy of crimson damask. The eighteen canons, like their prelate, have many honorary privileges, such as wearing the mitre borne by cardinals, and the pectoral, which are even j-et much prized, whilst the thfrty-three chaplains, whom we should call minor canons, are in their degi*ee equally pri- vileged by being allowed to wear the cappa magna. In the N. transept, flanking the high altar, is a curious historical memorial — the altar conse- crated to God tlie Deliverer, Den Lihe- ratori. This was erected by the Luc- chesi after their deliverance from the Pisan yoke in 1369, ami seems to have been known from the time of its erec- tion by the name of the Allar of Libert g. As it now stands, it is the work of Giovanni di Bologna, 1579. I’lie main subject is tlie Resurrection of our Lord. On one side is St . Peter, on the otlier St. Paulinus, the first Bisho}) of Lucca. On tlie wall, by the siile, is a beautiful picture by Daniel 406 Route 40. — Lucca — Volto Santo — San Michele. Sect. da Yolterra^ a small figime of St. Petronilla. In the adjoining Capella del Santuario is a very fine Fra' JBar- tolomeo^ dated 1509 ; a Virgin and Child ; an Angel with a lute below ; St. John the Baptist and St. Stephen. Near the door in the N. transept is a marble sarcoj)hagus with figures of children and a female figme on the top. It is the tomb of Ilaria del Car- retto (died 1405), wife of Paolo Guinigi, Signore of Lucca ; a work of Jacopo della Quercia: much praised by Va- sari. “The couched figure is deserv- ing of great praise : the head-dress is singular, and consists of a truban-like fillet round the brow divided by bands of stars. The same head-dress in eveiy respect occurs in a picture by Gentile Bellini^ in the collection of Professor Eosini at Pisa.” — R. Proceeding round the church, after passing the organ, at the first altar is the Visitation, Ligozzi. In this pictme the artist introduces himself as speaking to a prelate. Near the next altar is a small octagonal temple or chapel of marble, richly gilt and adorned, by Matteo CivUali^ 1484. This chapel contains the “ Volto Santo di LticcaS in mediaeval Latin called and spelt “Vultum de Luca.” This is an ancient crucifix carved in cedar -wood, and supposed to have been made by Nicodemus. According to an ancient tradition it was mnaculously brought to Lucca in 782, and was per- haps one of the earliest of the images which, acquiring what we shoidd term an European reputation, exercised such a deleterious influence tlnoughout Cluistendom. Amongst the many oaths and imprecations used by William Eufus, his favourite one was “ per vultum de Luca,” which by some mo- dern historians has been translated b}^ the “ face of St. Lu1ce." The figure is long and meagre, clothed in a pontifical dress, stifi' and dark : “ The face of the original is fine.” — R. Whether it be the production of Byzantine artists is a contested point. It is only ex- posed for public devotion three times in the year, when tlie head is adorned with a silver-gilt crown and the breast with a large trinket. It may, however, be seen at any time by special permis- sion from the Archbishop : but a fac- simile copy is always exposed to view. Before the entrance of the chapel is a lamp of solid gold suspended by chains of the same metal, a vow of the Lucchesi in 1836 when they were in terror of the cholera. Immediately beliind this chapel is a fine statue of St. Sebastian, ■ by Matteo Civitali. At the fourth altar is a highly praised Presentation in the Temple, Bronzino. The history of the Volto Santo is in part told by a fresco by Comno Roselli on the N. side of the great door, — an angel ap- pearing to Nicodemus in the back- ground, and Nicodemus again in the foreground with a trunk of a tree, which he is about to hew into the sacred image. ' Behind the cathedral is a curious little Gothic chapel, Sta. Maria della Rosa^ probably of the 13th century. San Michele. “ San Michele was I originally founded by Teutprandus and Gumpranda his wife, in 764 ; and the i bulk of the fabric belongs to that date. ^ At that time the archangel, for whom a particular devotion had, in the pre- ceding century, been imported from Apuha into the N. of Italy, was the . favourite protector of the Lombards. ^ B ut the rich faqa de, to which tl lis church owes its celebrity, was added at a much later period, in 1188, when Lucca was • a free town, and its inhabitants re- solved to do credit to themselves by adding splendour to their pubhc build- ings. In 1188 the celebrated architect Giudetto, who was afterwards em- ployed to decorate the cathedral in the same manner, was called upon to en- noble the W. end of San Michele. The *. idea of this facade is evidently taken m. from the cathedral of Pisa, though | executed in the more florid style which I had subsequently come into fashion. I If this faqade sins against classical I rules in the multiplicity and irrcgu- ^|l larity of the orders of ifr columns, in • | their variety and over enriehment, it nevertheless produces a grand and im- posing effect. The whole is constructed of white marble from the quarries in the neighbomfliood. The statue of the i Lucca, &c. Route 40 . — Lucca — San Frediano. 407 archangel at the summit is of colossal size. The wings are composed of separate plates of bronze, so contrived as to suffer the wind to pass through them freelj, lest it should have a dan- gerous purchase upon so large a mass completely exposed to its power. No- tliing more was done at S. Michele during the thraldom of Lucca, but when Lucca was again enfranchised the second order of the lateral colonnade was added (in 1377). The colonnade is sufficiently in harmony with the facade, but evinces the greater degree of pm’ity of taste which by that time began to prevail .” — Grally Knight. ■ 8an Frediano (in the centre of the N. side of the town). San Frediano was the son of an Irish king. Having become a Christian, he made a pil- grimage to Rome in early life, and having gone back to Ireland and founded a monastery there he returned to Italy. He arrived at Lucca in 560, at a moment when the episcopal chair was vacant, and was chosen by the people for then* bishop. He governed the Church of Lucca 18 years, and, dymgiu578, wasbmded in a church he had Wilt. Pertaric King of the Lom- bards, who began to reign in 671, had inch a veneration for San Frediano that le resolved to build a splendid church n his honour, and, in the construction )f it, availed himself of the materials of he deserted amphitheatre. He did not 4 ive to finish the building, but it was * ompleted by Cunibert, his son and uceessor. The plan of this church is that of he long or Latin basilica. It is of arge dimensions, 255 ft. long, 80 ft. vide, and 73 ft. high. The walls are )uilt of stone. The style of the archi- ccturc is not the usual style in which he Lombards were accustomed to 'uild, but the more Roman style of the lore ancient Basilicas. Single ])illars u]jport tlie arches on either side of the live, and no imagery is mixed with le foliage of their cajhtals. Of this le explanation is to be found in the latcriuls of whicli the cliurch was nilt. Jf it is true, as stated by Land id others, that the materials were taken from the ruins of the amphi- theatre, a large supply of pillars and capitals would be afforded, which the architect of the chiu’ch would naturally employ in the shape in which he found them ; and it was at the time that this church was built that these materials were likely to be at command, because it was not till the early part of the 7th century that the amphitheatres of Italy were destroyed. In vain had the bishops protested against them. The amphitheatres remained on foot till the arrival of the Lombards, whose morals, purer than those of the luxurious people of Italy, would not allow such schools of vice to remain in existence. This is one of the churches which have been turned completely round. The principal entrance now occupies the original position of the apse, and the apse has been rebuilt, apparently with the old materials, in the original situation of the door. The change took place when tlie walls of Lucca were rebuilt, and the cluuch, which had formerly stood without the walls, was now comprised within them, and required to front the street. This alteration was made in the 12th cen- tury. It was then the Abbot Rotone erected the new front in its present form, and added the pictiues in mo- saic with which it is decorated. Tlie roof was formerly carved and gilt, but was renewed in 1843 in a plain style. Beginning the cucuit of the interior at the rt. hand on entering at the end of the nave, — the ancient font, intended for baptism by immer- sion, is covered with scidptures by an artist wlio has inscribed his name, “ Robertas Magister.” The characters show that he floiuished in tlie 12tli century. The modern font, by Nicolao Civitaii, is of delicate workmanship in the best cinque-ccnlo style. At the altar behind the pulpit is a much- estccmcil jiicturc by Francia, the Virgin received into Heaven, in his early style, and he has roiicatcd portions of the conqiosition in a picture in the Duomo of Jfr'i’rara. The worshipjiiug llgurcs consist of two Kings, two Bishops, and a Friar, the last evidently a portrait ; 408 Boute 40. — Lucca — Churches. Sect. VI. smaller subjects iu cliiar’-oscimo are in- troclucecl into the frame below. Around the liigh altar is a mosaic paTcment of the 14th centmw, interesting as being like that of Edward the Confessor’s chapel iu IVestminster Abbey. The high altar itself has been recently put up ; it is not an ornament to the build- ing. Standing against the wall of the choir is an enormous slab of marble, about 17 ft. in length and 7 in height. It is supported by piers of brickwork, and does not touch the wall behind. An hiscription, apparently of the 1.1th century, testifies that St. Erediauo, assisted by his canons, lifted tliis stone, dug in a quaiTy four miles off, and, placing it on a car, it was drawn by two wild cows to the place where it now stands. On the opposite side of the chm’ch is the Cajpella del Sacra- mento. Here the altar has some re- liefs, by Jacopo della Quercia, 1422, representing the Virgin and Child, with four Saints, and events of then* lives ; highly praised by Vasari. Proceeding romid the churcii you come to the Chapel of Sand Agostino, containing fine but damaged frescoes, by Amico Aspertino, a scholar of Francia. The subjects are taken from the legends of the Volto Santo, and the history of Lucca. The Campanile forms no part of the original building. It was probably added before the church was turned round. Its windows increase at each story in an ascending series, an arrange- ment frequently seen in the more an- cient belfreys of the north of Italy. San Griovanni (close to the cathe- di’al), a very ancient basilica, somewhat like San Erediano, and probably of the same age, but much altered. Over the principal doorway yet remains an ar- chitrave, representing the Virgin and the Apostles. It is probably of the 11th centy. The baptistery, a large square Lombard building, has been altered in later times : it is impressive from its size. The font has been re- moved. San Romano ; a church existing in the 8th centy., but altered to its present state in the 17th centy. by Vincenzo JBuonamici, known by his works i t Malta ; the alterations, however, stopped short, and left the front imfinished. On the outside of the nave are four large tombs, each with a canopy, placed sometliing like those at Verona, upon which are crosses of a pecidiar fashion: they are falling into decay. This church was held for some centm-ies by the Dominicans, who have been restored ; and it is, from its vicinity to the pa- lace, considered as the chapel of the Ducal family. This church contains iu a chapel of the transept, on the 1. hand as you face the high altar, the magnificent Fra' Bartolomeo, called the “ Madonna della Misericordia,” or the Vh*gm interceding for the Lucchesi dm’iug the wars with Florence. This picture is in excellent preservation, and is dated 1515 : it was presented by the noble family of Montecanini, who, in finely varied groups, mostly in atti- tudes of prayer, fill the foreground. Above is the Vu’gin, with outstretched arms, most earnest in sup})lication. There is at the first altar, on the L- haiid side on entering by the great door, another Fra' Bartolomeo, dated 1509, St. Mary Alagdalene and St. Catherine of Sienna. The colouring is excellent. Doth pictures arc specially noted by Vasari. There are some other good pictures. — Basdgnano, St. Hyacinth raising the Dead ; a female figm’e in momming is beaut iful. — Guidotti, the Madonna presenting the I infant Saviour to St. Agnes and St. ' Monica. San Salvatore, a Lombard building. | with some curious sculptures ; one bj Biduino of Pisa, about 1180, the im mediate predecessor of Nicolo Pi.sano shows the dawn of a new period of art It is iu half-relief, and is upon tlu architi’ave, over the small lateral door I it represents a miracle of St. Nicolaus ' The architrave of the smaller dour o | the facade, on the rt. as you face it, lia a curious earlier bas-relief, probably ( ^ the 11th centy., representing a feast, (■ which the principal figure is a king. i Santa Maria Forisportam,, so caUci from its having been without the gat. of the city prior to 1260 j a fine Lou Lucca, &c. Route 4 - 0 . — Lucca — Churches and Palaces. 409 bard clinrcli, but altered in 1516, by tbe nave and transepts being made loftier. It has two good paintings by Guercino ; one, wliieli is at the thu’d altar in the aisle on the rt., represents Sta. Lucia ; the other, wdiicli is at the altar in the transept on the 1., and is the best, represents the Yirgin, St. Francis, and Pope Alexander II., a fine and dignified figure. It was giyen by the Mazzarosa family, to whom the altar belongs. San Vineenzio ; the fagade of the 13th centy., wdth remains of earlier work, particularly the portal with its lions. At the high altar is a Cir- cumeision by Ligozzi^ brilliantly co- loured. San Fietro Somaldi; the front of Lombard, mixed with Italian Grothic, was added in 1203. It contains a Palma Vecchio, a group of Saints, Sant’ Antonio Abbate being the prin- cipal figure. San Crist of oro ; tlie fagade is con- sidered interesting in the history of architecture, as showing the transition Prom the Lombard style to the Italian Grotliic. It has a curious circular win- iow. Cimtali was buried here, but mly a plain slab marks the place of his p’ave. St. Maria di Corte Landini^ built n the 13th centy., retains small ves- iges of its original architectiu’e, ex- epting as to parts of the fagade. Of liis the lower portion is singvdar, a ow of arches, with half-length monsters ■rojecting over the door. It belongs 1 0 the “ Chierici regolari della Yergine,” ho devote themselves to education, nd were therefore exempted from the eneral suppression ; it is a species of rivate chapel, but will be opened by ♦ 1 C sacristan. The interior is entirely ^ loderniscd, with mucli gilding and esco. The roof is in imitation of ]>er- I lective, retiring cujiolas and balus- I adcs. Over tlie higli altar is an I -^sumption of the Yirgin, by L. Gior- • >no. At the two altars which Hank : ( t high altar arc cojiies of jiicturcs of uido, sold in 1840. Paolini, the n Tth of 8t. .John the Baptist. — J'^anni, c Ijirtli of the Virgin. \ N, Italy — 1852. SS. Crocifisso dd Pianchi., so called from a crucifix left here by the White Penitents, an association of very doubt- fid character, in 1377, passing here on their way from Spain. It contains in the transept the Assimiption, by Spag- noletto ; and the Martyrdom of St. Bartholomew, by P. Battoni. San Francesco, evQcted for the Minor Observants in 1442. It contains a tablet to the memory of the celebrated Castruccio Castracaui degh Antelmi- neUi; he died Sept. 3, 1328, in his 47th year. The Piical Palace is part of a vast building, designed in 1578 by Amma- nati, of which not half has been com- pleted ; and his designs even for that were much altered by Jnvara and Pini, in 1729. The great marble staircase is fine ; but since the sale of its pictiu’es, the palace contains no object requfring peculiar notice here. In front of the palace is the Piazza Phicale, a monument of the Baciocchi. Here, among'st other buildings, stood the noble church of the Madonna, built towards the conclusion of the 16th centy. by Glierardo Penitesi. It was of the Doric order, and constructed wholly of marble. Princess Elise did not like it so near the palace, and therefore it was, like the C’athedral of Massa, in spite of all remonstrances, levelled to the ground. Deposito di Mendicitd, formerly the Palazzo Borghi, a noble specimen of a class of buildings pecidiar to Tuscany, palaces intended for habitation and state, and also for defence. In the Scaligerian castles defence is the first object, and magnificence the second ; but in these, peace takes precedence of war ; but it is an armed peace. This building is of red brick, in the Italian Gothic style, with midlioned ivindows and gloomy cortiles. It was built in 1413 by Paolo Guinigi, one of tho chiefs of the very ])owerful family which, from ahoul 1380 to 1430, ruled the rej)ublic of Lucca. Annexed to it is a lofty tower of many stories, on tho ruined toj) of which ]»lants grow. This building is now \ised as a i)oor-housc. The exterior is, however, unaltered, and T 410 Fioute 40 . — Baths of Lucca. Sect. VI. deserves tlie attention of tlie arclii- tectnral antiquary. Close by is another Palazzo, also bearing the G-ninigi arms, gnles, a cross van’, and nearly in the same style. The Palazzo Pretorio, wliich dates from the time of the repubhc, is a good specimen of tlie Penaissance. The Palazzo 3Iansi, Piazza S. 2Iaria Pianca, has several excellent Italian, Dutch, and Flemish pictures : the best picture is the Sacrifice of Isaac, by Fer- dinand Pol. It also contains some excellent specimens of Francia and Ni- cholas Poussin. The Piazza del Mercato (near S. Fre- diano) occupies the site, and preserves the form, of the ancient ampliitheatre. The external cmcnit is to some extent preserved; the most remarhable re- mains are between the principal en- trance, wliich is at the E. end, and the entrance at the N. end of the minor axis. It seems to have been built at the end of the 1st, or tlie beginning of the 2nd centy., and it has been calcu- lated that it was capable of containing 10,685 spectators seated. It had 2 stories of arches, each 54 in number. The lower part of the building is now concealed, owing to the earth having accmnulated to the height of nearly 11 ft. The interior space, wliicli is the ancient arena, was a few years ago en- cumbered with small houses and gar- dens : but it was cleared, and the line of the houses carried bach to the ancient curve of the arena, and the present gateways opened, under the directions of the architect Nottolini. The entrance at the E. end, which is wider and lower than the others, is part of the ancient Avorh. The inarhet was, by the order of the present Duke, transferred here from the Piazza S. Michele, on the 1st Oct. 1839. Thei’e are very pleasant walks and views about Lucca. Such are the Avalk romid the ramparts, the inner side of which is planted with trees, and that along the line ot the aqueduct., which, by 459 arches, supplies the city. Hence may be seen to great advantage the beautiful outlines of the hills, bounding the plain in which the city hes. The Eoman remains, called the Paths of Nero, near the lake of Mas- saeiuccoli, are interesting, and their arrangement intelhgible. Their site, about 8 m. from Lucca, to the ~W., is exceedingly beautiful. If time aUoAVS, the folloAving villas, Torrigiani at Camigliano, Montecatini at Gattajola, and Mansi at Segromigno, Avill repay the trouble of a visit by the traveller, being amongst the finest in Italy, excepting those in the vicinity of Rome. Baths of Lhcca. — These baths, situ- ate in the finest of the Tuscan valleys, are about 15 m. from Lucca, reckoned at 2 posts. If a stranger, travelling post, wishes to proceed to the baths Avithin 24 Ims. after arriving at LiAcca, he must take post-horses ; after that tune he may travel as he chooses. An excursion from Lucca to see the baths occxTpies a summer’s day. Leaving Lucca by the Porta Sta. Maria, or di Borgo, you see a high embankment, raised, at enormous ex- pense, as a barrier against the inunda- tions of the riA^er Serchio. From this bank comes the ancient proverb, Avlicn speaking of any ruinous undertaking, that it cost as much as the Serchio at Jjucca. The Serchio, during the 30 in. of its course previous to reaching the plain of Lucca, descends as much as 48 ft. ]ier m., and thereby brings doAvn so much deposit as to cause a constant rising in the level of its bed. In con- sequence of this, the summer height oli the river, at the distance of half a m l from the city, is 9 ft. above the sill oi I the gate of Sta. Maria, which is one o' I the most elevated points. The difficulty I and expense of confining the river t(| its present channel continues increasinpi so much that various plans haA^e beei I proposed for carrying it off to the so!'| by a ncAV and artificial channel. Tli‘ present excellent road to thebaths is dii' ;| to the Princess Elisa ; it was previous!; || execrable. Soon after passing the Snj I milestone, a road to the rt. turns t 1 Marlia, a summer palace of the sovc I reign. It Avas purchased and einbci J lished by the Baciocchi. It stands ii'l a fine park of 3 m. circumferenc< || Lucca, &c. Route 40. — Lucca — Excursion to the Baths. 411 waUed in ; tLe shrubberies are laid out in tbe English style ; the gardens are in the French taste, ornamented with fountains and jets d’ean, in imitation of Marly, whence its name is derived. In order to see the Palazzo, it is neces- sary to have an order. Several Lucchese nobles have large and handsome villas, with flower-gar- dens, in the neighhoiu’hoodof the palace. Many of them are to be let, at from 50 to 100 scudi a month, according to the season. They are generally well fur- nished and commodious, but the situa- tion is hot ; there is no shade about the house ; and they are walled in by an amphitheatre of luxm’iant hills fr’om every coohng breeze ; whilst the great vegetation inevitably produces musqui- toes. To those who dread not such an- noyances the villas around Marlia will prove agreeable residences. The neces- saries of life are easily procured in the neighbom-hood. The factor of each vflla supplies oil and wine, firewood, and sometimes provender for horses ; and the village of Moriano contains a good butcher and baker. After passing the turn to Marlia the road approaches the Serchio^ which is crossed by a sandstone bridge, the Ponte a Moriano^ ornamented with co- lossal statues of saints. This bridge ^\as erected m 1832, in the place of the old one, carried away by a flood in 1819. The road from thence ascends with the river through a splendid valley, luxuriant in vegetation ; the nearer liflls rich in olives and vines, the moun- tains covered witli chestniits ; every tui’ii presents a varied and beautiful J landscape. On the summit of a lofty hiU you see a noble edifice ornamented witli marble colonnades. This is the Convento delV Angelo. Its situation is salubrious, and tlie view from it beau- tiful. A succession of pictui'csquc villages adorn the valley and mountain sides, at intervals of 2 m. They are called Seslo, Pal iV Ottavo^ and JJiecimo^ according to their distances from the capital, anil liavo borne these names from the time of the Eomans. The last gives its name to the Ponte a JUiecimOj of which all but 2 arches were swept away in 1842 ; thence the vaUey narrows, and much engineering is apparent in the formation of the road. A dehghtful drive continues along the banks of the Serchio, wdiich comes down with a strong current, often bearing a file of rafts, each guided by a pair of half- naked mountaineers, with long poles. These rafts are broken up for exporta- tion on reacliing the mouth of the Serchio. The road continues through a chest- nut forest, whose fruit is the principal food of the poorer mountaineers. Its cultiv/ation was sthnulated by the pre- miums of Paolo Griiinigi, the Signore of Lucca. The chestnuts are dried m a great oven, ground to floin, and baked betw'^een hot stones into cakes, which resemble the Scotch scone, or English crumpet. They are sweet and nutri- tious, but heavy, and cost a thnd less than wheaten bread. This valley is a rich field for the bo- tanist, and many of our garden-plants are recognised. After 12 m. pass Borgo a Mozzano : and a fine ancient bridge, of 5 irregular arches, comes in sight, called Ponte delict Maddalena. Its construction is attributed to Castruccio, in 1322 ; but the common jDCople, who call it the Ponte del Biavolo, claim the Fiend as its architect. Tlie second arch from the rt. bank is 60 ft. high, and 120 in span ; the causeway is but 8 ft. wide, and so steep that no carriage heavier or larger than a hght calesse can venture over it. The little town beyond, the emporium of the mountain commerce in silk, wool, and hemp, with its convents, ancient churches, fir and pine trees, is flanked to the E. by smiling liills, covered with vines and olives. To the N. and AV. the view is closed by lofty mountains, richly clothed in cliestnut forests, and beyond are the cloud-cajiped A])cnninos. 2 m. further, the Lima, a tributary mountain stream, joins tlie Serchio, in the ])lain formed by tlie junction of the 2 valleys, which, after heavy rains, hears the ajipearancc of a lake. A road t o the bat hs runs up both hanks of the Lima, over which a suspension-hridgo 412 Route 40. — Lucca —Baths — Villa. Sect. VI. is erected, to replace one of stone car- ried away by the terrible inundation of 1836. The road to the 1. here leads into the upper yaUey of the Serchio, a district called the Garfagncina, and into Lombardy by the pass of La Foce. The distance from here to the Mode- nese frontier is 20j Eng. m., and to Lucca 14. After another mile the traveller reaches the flourishing hotels, lodging- h.ouses, and shops of the village of Ponte a Serraglio. Tliere are no baths here ; but in consequence of its central posi- tion between the Bagni Caldi and the Bagno alia Villa, the former of which is on the 1. hand, and the latter on a hill on the rt., as yoei come from Lucca, and from its situation being adajjrted for carriages, this village has become a favourite place of meeting and resi- dence of persons frequenting the batlis. Ponte a Serraglio, — Inns : Tliere are 3 excellent hotels ; the chief one is the Hotel de I’Europe ; all belonging to one owner, Pagnini : he is clever and enter- prising, and is married to an English- woman, who is most active and helpful. He has also established a club-house, called the “ Oircolo di BiunioneV in- cluding a large table-d’hote, library, reading-room, billiard-table, card-room, &c. The rooms all open on a picturesque garden and shrubbery. The object of this club was to afford a place of general rendezvous for the company at the baths, independent of tlie Casino, which fell into the hands of a French company, who came liere wdien gam- bling-houses were prohibited in Paris. This Casino became the pest of the baths, until gambling was forbidden by the late Duke, in 1846, since which it has been respectably conducted. Palls are given in it every week, and billiard and reading rooms are always o]-)en to strangers. The Hotel de Itussie and the Croce di Malta are also well sj)oken of. The Ponte is the first of the Path villages : the second is tb.e Bagno alia Villa. Here Orlandi’s excellent hotel, the Pelicano, has an active and obliging master and mis- tress. Further on is the Trattoria, of Gregorio Parsantini, who sends out excellent English dinners, on cheaper terms than cookery can be achieved at home. Near the chapel is the Casa Gregory, the most extensive boardmg- house at the Pagni alia Yilla. The pro- prietor has 3 other lodging-houses in tlie neighbourhood, all very good. The office of the bank of Signor Peverada of Pisa is in the Casa Gregory. The Villa is a long street of about 20 lodging-houses, commencing Avith that of Pettini, who supplies dinners, if required. Many of the houses have the advantage of a garden, and some have stabling. Pagnini hires and lends plate and linen on hire where it is not supplied by the lodging-houses. The houses let from 50 to 350 scudi for the summer season, or from May to Oc- tober, In the Villa is the English chajjel, erected by private subscription. The architecture is Venetian. Annexed to it are apartments for the clergyman, who officiates at Pisa during the winter. The chapel lias been placed under the protection of the Pishop of London. Some new baths are constructing oppo- site. A road turns off to the 1., and ascends till it brings the visitor to the palace, where the Duke of Lucca resided from the end of June to the middle of Sept. Around the palace are a dozen good houses to be let, mostly belonging to the Lucchese no- bility, and preferred by foreigners for their more elevated situations. From the piazza of the palace you may walk, ride, or be carried in open portantini (a species of palanquin), over the moun- tain to the Bagni Caldi, the 3rd village, con- : taining a group of lodging-houses, on the side of a high hill. Those who prefer bracing air will find it in this situation. An excellent carriage-road winds down to the Ponte a Serraglio, jj and there are shady walks, by short i cuts, for pedestrians. , Tliere are 5 establishments of baths, j 4 are to the S. and W. of Ponte a Ser- j raglio, and are called Bernahb, Pocce | hasse, Bagni Caldi, and S. Giovanni; . about half a m. to the eastward, on tiio slope of the same hill, are the Bagni I 1 Lucca, &c. Route 40 . — Lucca — Baths — Bagni Caldi. 413 alia Villa. The most commodious are those of Bernahb, on the hill imme- diately behind Pagniiii’s hotels. They owe their name to a native of Pistoja, who, in the 16th centy., was cimed of a cutaneous complaint by these Avaters, whose Yudues up to that time had been I undiscovered. There are 2 springs : the heat of one is 111° Falmenheit, of the |i other 90° Fahrenheit ; the supply is H abundant. Higher up the hill are the R Bagni Caldi., formerly called the Bagno flj dl Corse na. Here also there are 2 d springs, one of Avhich is the liottest at || the baths, its temperatiu'e at the source being 133° Fahrenheit. There are 2 vapoLu-baths at this establishment. The l| Bagno S. Giovanni has 2 springs, whose i; temperature does not exceed 101° Fali- r renheit. At the JDocce hasse there are , I 11 springs, whose temperature varies (t j between 117° and 88° Fahrenheit. The ) ” Bagno alia Villa has 3 sprmgs of ; about 106^ Fahrenheit. The Avaters j here are used internally and are sent ! to various parts of Italy. The whole : of the springs supply about 65,827 ] gallons every 24 hrs. They all con- j tain sulphates and muriates of lime, : of magnesia, and of alumina, but prin- i cipally sulphate of lime. There is also : a small deposit of silex, and of iron ' in a state of peroxide. Then’ specific I gravity at 66'^ Falu’enheit is 1-13. The 1 baths ai’e of marble, Avith douches, stoves for aii-mg linen, and every con- . j venience. A bath costs two paids, and |! I a trifling gratuity to the attendants if then’ linen is used. I The waters flow from beneath the hill, whose base is washed on the E. ' and S. sides by the Lima, and on the VV. by the Camaglione brook. One opinion is, that they come from the Montagna di Celle, m. off, from a ; spot called the Prato Fiorito, remark- able for its early and bi’illiant vegeta- tion, and for tlie rapid melting of tlic ( snow from its surface, notwit])standing I its elevation. Tlie mountain is of a conical form, one side presenting a pcrpendicidar rock, and tlie other an inclined jilane of greensward, ena- jmelled, especially in June, with flowers i ! of great variety and beauty. The asccutj m., is by the Bagni Caldi, and may be made on horseback, or in a chair. It is best to go by Avay of the Monte Fegatese, and return by 8. Cassiano di Controne. The path runs for some way through the dry bed of a river, in the shade of a fine chestnut forest. As a summer residence, this valley is the coolest in Italy ; the sun ap- pears 2 hrs. later, and disappears 2 hrs. sooner, owing to the height of the mountains, thus insuring cool morn- ings and evenings, and curtaihng the accumulation of heat during the day. The river Lima also, dashing along from rock to rock, keeps up a continued circulation of air. The A'alley is re- markably healthy : malaria and fe\'er are never heard of, and the annual mortality is not per cent. The native popuktion of these villages amounts to 1000 souls ; the deaths rarely exceed 15 yearly, and have been sometimes as fevv as 11, one half infants. In September, however, tlie evenings become cold and damp. There is a beautiful sequestered ch’ive of 3 m. up the river Luna, by the old iro]i-works, and another doAvn the river Lima and up the Serchio, over the temporary Avooden bridge, to the upper and wider A^alley of the Serchio, towards Torrile Cava and Galicano, or by another tmni to Barga, a small old Tuscan city on a mouniain 10 m. off. The roads are generally excellent, though injured occasionally by inunda- tions. The favourite drive to the Ponte della Maddalena is watered every even- ing, and the roads about the baths are well lighted at night, except during moonlight.. There are many interesting points, accessible only to j)onies, donkeys, and ‘portanlini. One favourite spot is the village of Lugliano, in the valley of the Lima, Avhere there is a curious tree, of which the branches form a bower, and containing a table largo cnougli for 12 persons to dine. A niucli longer ex- cursion is often made to tlie Bargello, an old watcli'tower on tlie summit of a eouical mountain, from whence the whole duchy of Liicoa, tlie sea, and, it 414 Route 41 . — Lucca to Florence — Pescia. Sect. Yl. is said, Corsica and Elba, are to be seen on a clear day. Physicians. — Dr. Carina is the di- reetor of the baths ; he has been in England. Dr. Giiorgi, a clever zealous young man, is the medical attendant of the commune. Of English physicians. Dr. Deakin comes from Rome, Dr. G-ason from Pisa, and Dr. Trottman from Florence, during the smnmer months. There is a good apothecary, who has Enghsh medicines, at the Yilla. Tradesmen., S^c. — At the Ponte, Cor- don has an excellent store for all kinds of useful articles ; and at the Villa, Angudese, a civil Italian, keeps a ma- gazine of the same kind. Circulating- libraries abound ; and there are milh- ners and dressmakers from Florence. Huband’s English livery stables sup- ply good richng-horses and light open carriages of all descriptions, while the natives offer ponies and donkeys ; an evening pony ride costs 5 pauls, and a day’s excursion 10 ; the portantini re- ceive 20 pauls for a day’s excursion, and 2, 3, or 4 for an evening airing, ac- cording to the distance. Strangers may, by an arrangement, find the Bagni hotels quite as reason- able as those of Interlaken. Families coming for the whole season to Pag- nmi’s may have their table well sup- plied, masters at 9 pauls per diem, or less, cliildren and servants at half price. The charge of their apartments depends on then- selection. From June to September letters ar- rive from Lucca every morning soon after 9 o’clock, and the estafette returns with those of the Bagni at half-past 2. Before and after the high season, the Lucca procaccio takes the letters in the morning, and brings the arrivals back by 6 in the evening. • There is a weekly procaccio to Florence, and another to Leghorn, and great facilities for re- ceivmg tiainks, packages, and musical instrmnents from England. There are good Italian teachers at the Baths, and professors come during the season from Rome and Florence to give lessons in singing and music. Signor Guerini, from Florence, is a good Italian master. ROUTE 41. LUCCA TO PLOEENCE, BY PESCIA AND PISTOJA. (About 50 Eng. m.) LUCCA (see Rte. 40). The greater part of this route may be now performed by railroad, the lines being completed between Lucca and Pescia, and between Pistoja and Flo- rence ; the intermediate portion be- tween Pescia and Pistoja being m pro- gress. Trains leave Lucca at 8‘25 a.m., and 5’30 p.m., employing 45 min. to reach Pescia. The Rly. rims about 3 m. S. of tlie old post-road, nearly parallel to that to Fucecchio, and m the plain, as far as the first station, ^ AUospaccio Stat. ; And from thence follows the valley of the Pescia torrent to San Salvadore Stat. PESCIA {Inn: Albergo della Posta; tolerable, and reasonable if you bar- gain) . A flourishing and pleasant small city (pop. in 1845, 6506), of which the situation is beautiful in every direction, but perhaps most so when approached from the Florence road. But whichever w^ay you look, the landscape is filled with villas, convents, castles, and towers, above and amongst groves of ohves and midberries ; while the background is of purple hills, rising in graceful forms. The neighbourhood of Pescia is one of the parts of Tuscany where the white mulberry was first introduced, it having been cultivated here since 1340. The Tuomo has been modernised, only a small portion of the ancient faqade remaining. Its principal ornament is a monument ascribed to Montelupo, the disciple of Michael Angelo, and the executor of Raphael’s will. The chapel in which it stands is a rich specimen , of the cinque-cento style. The other ■ churches are not remarkable. There are several manufactories ol paper in and about Pescia, from which large quantities are annually exported ; the wmter of the Pescia river is con- Tuscany. Boide 41 . — Lucca to Florence — Pistdia. 415 sidered peculiarly well adapted to this fabrication. A very agreeable road of 22 m. leads to San Marcello, on the way from Pistoia to Modena (Rte. 39). Following the post-road, to tlie 1. are the Bagni cli Monte Catini. Very poor Inns^ and the lodginghouse-keepers ex- I tortionate. The Vvarm springs here are 1 much frequented in the autumnal months. In the middle ages they were greatly resorted to, but, having been S neglected, they were again brought into ■! notice towards the end of the last cen- 'j tury, when the present bath-buildings i were erected by Leopold I. There are .! several springs, all very copious. Tiieir D temperature ranges from 68° to 93° ij Falir. They are sliglitly aperient. < I Monte Catini, whence they derive their t i name, is a mountain about 2 m. to j the N.E. of the baths, crowned by the . town and castle of the same name. I The ruins of the fortifications are ex- ^ j tensive and picturesque, and are ciu’ious ; ! memorials of ancient military arclii- • 1 tecture. Here, on the 29th Aug. 1315, I the Florentines were completely de- I feated by the celebrated Grhibelline ] leader, Uguccione della Faggiuola, the i lord of Pisa and Lucca. 1 Fieve a Nievole, beautifully situated ' on the brow of the ascent towards ! Monte Catini. It possesses an ancient I cluu’ch, near which another has been I recently built on a large scale. I Seravalle, a pictiuesque little town. I Above are the ruined towers of the I ancient Rocca or castle ; and the old 1 gateway which crosses the road an- ' swers to its name by closing the valleg. ; Situated as the fortress is, between i Pistoia and Lucca, it was a post of : great importance in mediaeval Avarfare, , and withstood many a hard assault, j The castle is apparently constructed I out of the ruins of more ancient build- I ings, and some portions of the church j seem to be as old as the 12tb centy. A line distant view of Pistoia is gained from the summit. The ground is here S I much broken with finely wooded hills. 'Barite on the Ombrone. As you approach Pistoia the scenery slightly varies in character, but with increasing beauty. \\ PISTOIA ; situated at the en- trance of the Ombrone valley, where it opens into the great valley of the Arno. {lym : Hotel de Londres, situated just without the city, improved ; Albergo della Posta, in the town.) Pop. withhi the walls in 1845, 13,102. Lofty and Avell-preserved ramparts siuround the toAAm. The Medici arms are conspicu- ously seen on the froAvning summits of these Avails : within, the city con- tains ' objects of interest. The first Avhich strike the traveller are tlie for- tifications AAdiich vfe have just no- ticed. They are regidarly formed, Avith bastions ; but in their style they form an intermediate link between the strongholds of the days of balistas and catapults and those of the age of Yau- ban. The streets are all thoroughly Tuscan, and generally retain then; pri- mitive aspect. The city has not fallen into decay, but was never opulent. In her pi-esent institutions Pistoia pos- sesses some faint vestiges of ancient times. The cliief of the community is the Gonfaloniei’e, Avho, except in the period of French rule, has been elected regularly from 1329 to tlie present time. The Balazzo della Conimiinitd aaus begun in 1294, and was still incomplete in 1385, when some additions were made to it. It is a valuable specimen of the Italian-Gothic as applied to civil purposes. This Palazzo preserves memorials of a hero named Grandonio, Avho Avas 7^ hraccia, or about 15 ft., in height, and Avho in the year 1202 con- quered the Balearic Islands. Nothing of him, it is true, is found in Muratori, or Denina, or Sismondi ; but the blank in their pages is made iq) by his por- trait, as largo as life, on the Avail of one of the halls, noAV called the Camera degli Avocali. The painting is exe- cuted in fresco, in verditer, shaded Avith In’OAvu, mudi in the style oi' Baolo Uccello. Beneath are tlie verses re- counting Grandonio’s deeds. Outside of the Palazzo is suspended Gi'andonio's 416 Route 41. — Pistoia — The Duomo, Sect. vr. brazen mace -uitli a pine-apple top, wliicli mace was so much prized that it was kept in order at the expense of the commianity ; and, lastly, Gran- donio’s brazen head, over which two keys are suspended, which are supposed by some to be the keys of the capital of the Balearic or Cannibal Islands, for such the tradition makes them. But the brazen head is also said to be that of Filippo Tedici, who in 1322 betrayed Pistoia to Castruccio degh Antelminelli. Tedici was allowed to live with his head upon Ins shoulders, but it is said that after his death fom* of these brazen heads were put up as a token of ignominy ; and it is also said that the keys never came from the Balearic or Cannibal Islands, but that they are the keys of the prisons, and betoken the release of all the debtors and other prisoners by the alms and intercession of the bishop, Andrea Franchi, in 1399- The Palazzo, partly occupied for public offices, is a wilder- ness of great halls, dusty chambers, and corridors. In one of the rooms connected v/ith the quaritere del gon- faloniere are 12 ainbos or pulpits, of marble of exquisite workmanship of the 12th or 13th centy., and which were found in 1838 under the pave- ment of the cathedral. A number of curious old paintings are dispersed about the rooms, staircases, and pas- sages. — By Fra' Paolino is the city of Pistoia at the foot of the Virgin. The frescoes of Giovanni di San Giovanni are much damaged, but still show beauty- There are also some ancient inscriptions. In the centre of the building is a noble cortile, a Gothic cloister below, and a Gotliic corridor above. Tlie area is fdled with frag- ments of early date, brought from the cathedral, and found beneath the pave- ment when it was relaid. On the opposite side of the piazza is the Palazzo Prelorio, which was completed between 1217 and 1220. This also is an excellent specimen of Gothic domestic architecture : it is curiously ornamented with ancient cressets, and the arms of the ancient praetors. The seat of judgment is in this cortile, and over it are the follow- ing quaint verses : — “ Hie locus odit, amat, punit, conservat, honorat, Nequitiam, leges, crimina, jura, probos.” The Duomo has been built at various periods. Fire and earthquakes had greatly damaged the fabric, when in the 13th centy. it was enlarged accord- ing to the designs of Niccolo Pisano^ and inerusted on the outside and or- namented within with white and blaek marble^- The curious portico was inerusted with marble in the same way in 1311. This porch contains some frescoes by Paldxicd and Giovanni Christiania now damaged- Over the principal door is a beautiful bas-relief in terra-cotta of the Virgin and Child, surromided by angels and fruit and flowers, by Andrea^ the nephew of Luca della liohhia. It was placed here in 1505, and was originally gilt. The whole of the interior was much modernised and ornamented in wretched taste in 1838 and 1839. Massy co- lumns with corinthianised capitals, a crypt, and here and there a mouhhng or a doorway which has escaped, bear the stamp of the 11th centy., or perhaps of an earher age. The tribune, adorned with mosaics, was erected in 1599. The whole of the roof is of 1657. Paintings and sculptures are in great variety. Amongst many others, the following may be noticed: — Fasariy two ; the Paschal Feast, and Moses striking the Rock. — Bronzino, the Re- surrection, one of his largest pictures ; grand, but left imperfect. He con- tracted in 1601 to paint this and two other pictures for the sum of GOO crowns, which was to cover all expenses “ excepting ultramarine but he did not work steadily, and, having brought one picture to its present state, he left it as it now stands. In the Capella del Sacramento is a very ancient Ma- donna in fresco, now covered with a glass. — Lorenzo di Credi, Virgin and Child with St. John and St. Zeno, a fine picture, much in the style of Leo- nardo. — Tomb of Bishop Bonati de’ Medici (1475), with a fine bust in basso- rilievOj by Posselino. At the foot is Tuscany. Route ^\.—Pistoia—The Duomo. 417 the slab which covers his remains, with the ancient Medici arms in mosaic, in cliief a tortrenx, charged with a cross gules. — Tomb of Cardinal Forteguerri, begun in 1462, by Verrocldo^ and com- pleted by Lotti. — Font, by Andrea Fer- rucci da Fiesole^ covered with sculp- times, whilst the architecture in which it is set is in the finest cinque-cento style. Near the door of the nave is the in- teresting monument of Cino da Fistoia (died 1336), once eqiially celebrated as a lawyer and as a poet. But his com- mentaries on code and digest are for- gotten ; and, as a poet, he is scarcely recollected as one of the great fathers of Italian verse ; yet, in his own time, few enjoyed so much celebrity. The iass a traveller’s luggage clear of examina- tion at the second, both estabhshments exhibit an equally intense appetite for bribes. A milestone, close to the fron- tier, is marked 59 m. to Modena. Before reaching Fieve a F el ago the small toAvn of Fiumalho is passed on the rt. It contains an indifferent inn. The Posta at Pieve a Pelago is a wretched place. At Farigazzo, 8 m. fru’ther, it is the same. At Faullo, called also Favtdlo, which is 16 m. further, the Posta, which stands almost behind the church, is somewhat better. About 10 m. before reaching PauUo the road becomes very bad. Paullo is 30 m. from Modena. The descent to the plain is very long, but nowhere steep. Part of this road is carried along the ridge of a spin’ of the Apen- nine, with a deep glen close on each side. The view hence across the plain, with a foreground of wooded and culti- A^ated hills, and studded with clnu'ches, castles, and toAvns, is very beautiful. At about 12| m. from Paullo, on the rt. hand, at Montardoncino, is an inn, a single house, said to be tolerable ; and near Maranello, 18 m. from Paullo, on the 1., just before crossing a small bridge, is another, Avith three or four tolerable rooms. It has by some been considered pro- bable that it wns by this pass, then un- knoAvn to the Homans, that Hannibal crossed the Apennines, Avhen he out- manoeuvred the Roman generals, posted at Luca, Arretium, and Rimini, and ad- vanced into Etruria, previously to the battle at Thrasymene ; bixt it is more likely that the Carthaginian general entered Etruria by Pontremoli and the pass of the Cisa, by the road from that toAA'ii and Parma. (See Rte. 37.) The Maria Antonia Raihvay noAV connects Pistoja Avitli Florence. Trains stai’t five times a day, ])erlbrming tlie journey in an liour and live minutes, folio Aving the direction of the post- road. The road, Avhich runs at the foot of the undulating hills, is beautiful. Besides the railway there is a good carriage - road to Florence through Monte Albido, Brozzi, San Donato, 422 Route 4 1 . — Prato — Churches. Sect. VI. and Polverosa, -wliicli does not pass through Prato. San Fiero Stat. PRATO. Pop. witliin the Avails, in 1845, 10,070. iinn: La Posta.) A bright and pleasant toAvn, of which the principal ornament is the groiip of the Fuomo^ with its campanile, and the bidldings surrounding the piazza m which they stand. The Fuomo is partly of the 12th and partly of the 14th "^centm-y. The facade Avas completed about 1450. Within and without the budding is curiously inlaid in stripes of black and green serpentine, from the neighbour- ing Monteferrato, alternating Avith whitish marble. From one corner of the fagade j:)rojects the celebrated pid- pit, or gallery, by Donatello^ and Avhence the rehc preserved in the church, the sacra cintola, the ghdle of the Virgin, was exposed to the venera- tion of the multitude. In the seven compartments in bas-relief he has sculptured a beautiful group of children, supporting festoons. He AA-as paid 25 florins of gold for each compartment. Over the principal doorway is a fine specimen of Luca della Rohhia, the Virgin between St. Stephen and St. Lawrence. Within, some of the Avindows of the choir are pointed ; these, with the columns and capitals of the E. end, were executed about 1320, when this part of the chmch was enlarged, by Giov. Pisano. The rest of the interior, including the columns of serpentine and the arches of the nave, belong to the original structure of the 12th century. There is a fine painted-glass Avindow. The paintings by Fra' Filippo Lipp>i in the choir are the most valuable of his works. They have been carefidly re- stored by an artist of Prato, Ant. Marini. The compartments represent- ing the Decollation of St. John the Baptist, and Herodias dancing before Herod, are the best. Opposite are — the Benediction of St. Stephen and his Interment. In the latter are introduced two fine figm’es — a bishop reading the service, and another priest Avith a red heretta : one of these is said to be the painter, and another his disciple Fra' Diamante. Otlier compartments con- tinue the history of St. Stephen. The merit of Lippi is enei’gy, and his faidt exaggeration, approaching to caricatiire. The crucifix of bronze, the size of life, on the high altar, is by Pietro Tacca. The Capella della Sacra Cintola^ or del S. Cinffolo, is separated from the nave by a screen of brass curiously en- graved and chiselled, Avhieh is fi-om the i design of Fil. Prnnellesco. This chapel is filled AA'ith frescoes, by Agnolo Gaddi ^ (about 1395), representing passages in the life of the Virgin. The small statue of the Virgin, on the altar, is by ] Giov. Pisano. Over the door of the j sacristy is the monument of Carlo dei j Medici, natural son of Cosmo Pater Pa- ! trise, dean of this chiu’ch, by Vicenzio j Danti, 1566 : the head of the Madonna, ' forming part of the accessories, is fine. i IS’ear the principal door is a fine picture ' of Ridolfo Ghirlandaio., the Vu’gin giving the Cintola to St. Thomas ; and in side j chapels are. Carlo Dolce, the Guardian S Angel ; Melius, St. Peter of Alcantara. ' The ch’cidar pMpit, by Mino da Fiesole, is in a beautiful cinque-cento style. Tlie foliage and ornaments arc flowing and elegant : the figiues are less so. It rests upon a curious base of sphinxes and serpents. The Mai’tyrdoni of St. Stephen is the best compartment : one, the Decollation of St. John the Baptist, is unfinished — left so, tlie cus- tode says, in consequence of tlie un- tunely death of the artist. The campanile, in the Lombard style, is attributed to Gion. Pisano. Chiesa della Madonna delle Carceri, begun in 1492, from the designs of Giuliano di San' Gallo. It is upon tlie plan of a Greek cross, with a beautiful centre cupola. The high altar, by liis brother Antonio di San Gallo, is well . planned and decorated. The ancient Palazzo Pretorio, noAV | del Popolo, has been converted into a j prison, its G-othic Avindows stopped up, I and the building degraded. Tliis build- ing was originally the Palazzo of tlic gi’eat Guelph family of Guazzagliotri, and, even in its present state, is interest- ing and characteristic. 423 1 Tuscany. Route 42 . — Lucca to Pisa, Empoli, and Florence. ! The Collegio Cicognini has a fine I Italian front. It is an ecclesiastical seminary. I The ancient walls of Prato are fine : I the Gastello delV Imperatore was built i by the Grhibenines for the purpose of defending the cause of Frederick II. Campi, a floimshing borgo on the river Bisenzio, in a rich but unhealthy alluvial soil. It has a fine old machi- colated castle. The Casa del Comune is curiously carved with the armorial bearings of the magistrates. The chimch of S. Crespi, of the 12th century, has been disfigured by whitewash and altera- tions, so that its original features can hardly be discerned. Sesto Stat. Gastello Stat., near tlie Yilla of i la Petraja. ' Rifredi Stat. ) Floeence. There are two carriage- j roads from Prato to Florence, the most I * interesting through Sesto, Quinto, Quarto, to Ponte a Eifredi, passing mider the hills, and near the beautiful j Grrand Ducal villa of la Petraja, so I celebrated for its flower-gai’dens. I I EOUTE 42. ! LUCCA TO PISA, EMPOLI, AND ELOEENCE. ! (85 posts about 62 m.) I Tlie railroad between Lucca and Pisa I is open. i Immediately upon leaving Lucca you I enter upon a most fertile and lovely ; coimtry, abounding with olives of noble : growth. ' Pass by Morduolo, a village on the I rt. bank of the torrent delV Ozzeri with I rather an interesting ancient church. I Further on is a ruined castle upon a , fine olive-covered hill ; b(4ow is the vil- I lage of Ripafratta, and the river Ser- I chio, the pass between the castellated ! rock and the river being picturesquely I closed l)y a fine ancient tower. The I prospect here is pleasantly varied ; villas I in the plains, sparkling and bright ; ! hamlets scattered amongst the rocks and woods on the 1. The road then opens upon the Val’ d’Arno, command- ing a fine view, the hills retiring in beautiful forms, terminated by the cas- tellated point of Monte JDiero. The castle is beautifrdly overgrown with vegetation ; and the hill upon wliich it stands is the most western spur of the Monte Pisano, which Dante, in Ugo- lino’s dream, describes as interposed between Pisa and Lucca. “ Questi pareva a me maestro e donno Cacciando 1 lupo e i lupicini al monte Per che i Pisan veder Lucca non ponno.” Inf., xxxiii. 27-30. Bagni di San G-iuliano, or di Pisa; the ancient Aquoe Calidse Pisanormn. The bath-buildings are good and the situa- tion is very agreeable ; but the Bagni di Lifcca have all the company. There are two establishments well fitted up, standing near each other on a piazza ornamented with two fountains. One is called the Bagno Orientate, the other the Bagno Occidentale. The soilrce called the Pozzeto, which is in the for- mer, is the hottest of the springs ; its temperature is 106° Fahrenheit. That in the bath called degli Ebrei is the coldest ; its temperatiu’e is 86° Falu’en- heit. There are several other sources of temperatures between these : the most abundant is the Maestra. The water is exceedingly limpid, and while warm without smell. According to an analysis by Santi, 100 pounds (Tuscan measure), from the spring Maestra, con- tain the following ingrecUents : — Carbonic acid . . . 187 cub. in. Carbonate of lime . . 281 grains. „ of magnesia . 87 ,, Ilydi-ochlorate of soda . 265 „ „ of magnesia . 199 „ Sulphate of soda . . 203 ,, „ of lime . . 969 „ „ of magnesia . 325 „ Alumina .... 46 „ Silex . . . . 12 „ 2387 grains. There arc 12 private baths, named after the heathen gods ; and one for the poor. Many Eonian remains have been found here. Pisa Slat. Population, in 1815, 28,530. Jnns : Le tre Donzelle, now called 424 Boute 42. — Pisa — The Duomo. Sect. VI. Hotel Pererada, on tlie N. or suniiY side of the Lung’arno, near the middle bridge, kept by Peverada. It was en- larged and improved previously to its being opened by him in Sept. 1844, by the addition of the Palazzo Beltrami. Families who prefer private apartments unconnected with the hotel may be accommodated in the Casa Lenzi, wliich is immediately contiguous to the Ponte del Mezzo, and also belongs to Sig. Pe- verada. Sig. P., who speaks English weU, is agent to Messrs. Coutts and Co,, and carries on liis banking business both here and at the Baths of Lucca ; and is also a Commission Agent for ex- pediting works of art or other property to England and the United States of America. TheVittoria, ontheLung’arno, adjoining the Tre Donzelle, is kept by Pasquale Piegaja, who formerly kept the Croce di Malta, at G-enoa, and has lived in English families. It is an ex- ceUent and well-managed hotel, great attention and civihty are shown, and the charges are reasonable. The Gran Bretagna, kept by Avogaddi — at the W. end of the Lung’arno, and near the English chm’ch, in a quiet situation, with a fine view towards the N. — is excellent and moderate. There is a table d’libte in the hotel. La Colomba, moderate. M. D. Vanniniisa good Italian master, speaking English, Erencli, and G-erman. Dr. Cook and Dr. NankiveU, Enghsh physicians, and Dr. G-ason, an eminent Irish surgeon, practise at Pisa. The railroad between Pisa and Leg- horn has been open since 14th March, 1844. The journey occupies 25 min. Its length is 12 m. 740 yards. The railroad is also now open the whole v'ay to Florence (La Leopolda) . Trams start five times a-day from Pisa : at 4, 6‘55, and IITO, a.m. ; and at 4 and 6'10 p.m. ; performing the journey in 2| hours. From Leghorn tlie trains start \ an hour earlier. Fares from Leghorn to Florence — 1st class, 7^. ; 2nd class, 4s. Qd . ; 3rd class, 35. There are also 2 additional trains daily; making 7 in aU between Pisa and Legliorn. Pisa formerly stood at the junction of the Serchio and Arno ; but owing to the alteration and increase of their delta by the deposits brought down, they now flow into the sea by separate channels. At the mouth of the Arno stood the celebrated Portus Pisanus. Pisa was once an important naval station, and very flourishing commercial town. The climate of Pisa is remai’kably mild during the wmter. With respect to healthiness there is a considerable dif- ference of opinion. The quantity of rain which annually falls here much ex- ceeds the average of Florence on the one side, or of Leghorn on the other. The water of the Arno is not considered as salubrious, and that of the wells and springs near the town is hardly drink- able ; and the frequent epidemic diseases anciently prevailing in Pisa in the mid- dle ages, and its then general unhealthi- ness, have been, and with much proba- bility, ascribed to the bad quality of the water. The inconvenience has been, however, enth-ely remedied by the care and munificence of Ferdinand I. and Cosmo II. A watercourse has been formed from the Valle dl Asciano ; at first by channels passing under-ground, and afterwards along an aqueduct of more than 1000 arches, extending up- wards of 4 m. in length. Near tlie city, which it enters on the S.W. side, the arches are about 40 ft. in heiglit. There are 8 reservou’s for rendering the water clear, by depositing the particles sus- pended in it. This great work was begun in 1601, and completed in 1613, and cost 160,000 scudi. The cathedral at Pisa, with its bap- tistery, campanile, and the Campo Santo, or cemeteiy, are a group of build- ings of more cmnosity than any four edifices in the world. It has, too, been well observed that they are “ for- tunate in them solitude, and their society.” They group well together, and are seen to advantage. “ They are more curious from being so strongly marked with the distinguishing features of the Byzantine and Romanesque styles. The Itahan architecture in the Byzantine or Romanesque style pre- served a very different sort of character from that of the same date in Germany and other parts of Europe. Thus, — ruSCANY. Route 42. — Pisa — The Duomo, 425 taking tlie cathedrals of Pisa and Worms, whose respective periods of construction are very close together — the former is separated into its nave and aisles by colmnns with Corinthian capitals, reminding one very much of the early Christian basilica ; in the lat- ter, the separation of the nave from the aisles is by square piers.” — G-wilt. The cathedral of Pisa owes its origin to the following events : — Commercial enterprise and naval acliievements had Luade the Pisans affluent. At length, m 1063, having engaged to assist the N’ormans in freeing Sicily from the Saracens, the Pisans attacked Palermo >vith their fleet, broke the chain which orotected the harboam, and returned lome with six of the enemy’s largest jcessels, laden with rich merchandize. t Triumphant, enriched, and devout, they j’esolved to transmit to posterity a me- jnorial of their success in the shape of a ) lew cathedral, which should at once do ( ' lonour to God and their country. In t he beg inn ing of the year 1064 the first \ itone of the cathedral was laid, and the \ inished building was consecrated by ! Pope Gelasius II., in 1118. The name C)f the architect, as is testified by his [ epitaph, still extant on the front of the pimilding itself, was Busketus. Whether ' le was a Greek or an Italian has been l.varmly contested. It consists of a jiave with two aisles on each side of it, -transepts, and choir. Its bases, capi- i als, cornices, and other parts were frag- > nents of antiquity collected from dif- erent places, and here with great skill , wrought together by Buschetto, The )lan of the church is a Latin cross ; its ength from the interior face of tlie Avail o the back of the recess is 311 ft., the ■vidth of the nave and four aisles 106 ft. ) in., tlie length of the transepts 237 ft. t in., and its width, with its side aisles, )8 ft. The centre nave is 41 ft. wide, ind has 24 Corinth ian columns, 12 on 1 acli side, all of marble, 24 ft. 10 in. ligh, ami full 2 ft. 3 in. in diameter, ind each shaft is a single block. The leight of the columns, capital and base ncliuled, i.s 30 ft. 10 in. From the ■ ' npitals of lliesc columns arches sju’ing, ' ud over them is another order of co- il lumns, smaller and more numerous from the circumstance of one being inserted over the centre of an intercolumniation below, and from their accompanymg two openings under arches nearly equal to the AAudth of such intercolumniations. These form an upper gallery or trifo- rium, anciently appropriated to the use of females. An arcliitrave, carried along the whole flank of the nave, betAveen the arches and the gallery, reproduces the long horizontal line of the ancients, and completes the classic character of the building. The foim aisles have also iso- lated columns of the Corintliian order, but smaller. The transepts have eaeh a nave and two side aisles, AAuth isolated eolumns, the same size as those of the other. The soffit of the great nave and of the transepts Avas made in its present form after the fire : it is of wood, flat, with compartments and rosettes, carved and gilt ; but the smaller ones are groined. The height of the great nave is 91 ft., that of the transepts about 84 ft., and that of the aisles 35 ft. In the centre nave are four piers, on AAdiich rest four large arches, supporting an elliptical cupola. The pointed arches under the cupola Avere introduced after a fire Avhich destroyed the original cupola, and damaged the AAdiole church. The fire took place on the 15th October, 1596, as usual from the caifflessness of plumbers Avho Avere repairing the roof. The church is lighted by windoAvs above the second order of the interior. The windoAvs, excepting those of the clerestoiy, arc filled Avith stained glass of bright and rich colours. Some por- tions are copied from the subjects in the Cam2^o Santo. The Aundting of the eastern apse is filled Avith mosaics on a gold ground. In the centre is a gi- gantic figure of our Lord. Tlie Virgin and St. John arc on either side. Tliese mosaics Avere completed in 1320. Tlie exterior of the edifice is surrounded by steps, whicli add greatly to its ellect. The extreme Avidth of the Avestern front, measured above the i)lintli moulding, is no ft., and tlie height from the jiavemcnt to the apex of the roof is 112 it. 3 in. The fa(;ade has five stories, the first AA'hereof consists of seven 426 Route 42. — Pisa — The Ruomo. Sect. arches, supported by six Corinthian columns and two pilasters, the middle arch being larger than the others ; the second has 21 arches, supported by 20 columns and two pilasters ; the third is singular, from the facade contracting where the two aisles finish, and formmg tAvo lateral inclined planes, whence in the middle are columns with arches on them as below. The columns which are in the two mclined plane gradually diminish m height ; the fifth story is the same, and forms a triangular pe- diment, the colimms and arches as they approach the angles becoming more diminutive. The two exterior sides have two orders of pilasters, one over the other. The roof of the nave is supported, externally, by a Avail de- corated Avith columns, and arches rest- ing on their capitals. The A\'hole of the building is covered Avith lead. The drum of the cupola is externally orna- mented Avith 88 columns connected by arches, over Avhich are pediments in marble, forming a species of croAvns. “The principal point of difference in these cathedrals from the old basilicas, in imitation Avhereof they Avere doubt- less built, is in the addition of the transepts, by AA'hich a cruciform plan was given to these edifices. The style of the cathedral of Pisa is mucli lighter than most of tlie buildings of the period ; but AA'hatever the taste and style, the architect of it Avas a very skilful mechanic.” — Givilt. The building has, hoAvever, suffered a good deal from settlement. Not a single line of it is upright j the facade overhangs its base visibly ; the loAver roAv of arches had subsided at the W. end 3 feet before tlie upper one was superimposed ; the former hai e been built level again by a dead Avail, AA^hich reeeives the upper story. It is ciufious also that, in tlie seven arches composing the basement story of the front, although the 1st and 7th, tlie 2nd and Gth, and the 3rd and 5th are in- tended to correspond, none of the pau’s do actually correspond, there being a variation of about 2 inches in each pair. “The Duomo of Pisa is one of the most remarkable monuments of the middle ages ; exhibiting a degree of arcliitectural excellence Avhieh had not been approached for centuries, and AY Inch, if it evenually assisted to pro- duce a general unprovement in the ecclesiastical architecture of Italy, re- mained for long, not only unrivalled, but alone in its superiorty. The fact is, that for that superiority it Avas much more indebted to the genius of the in- dividual by Avhom it Avas erected than to any general amehoration aa IucIi took place at the time. The Avhole elfect of the interior is magnificent ; but Avhen Ave recollect hoAv diilerent Avas the sIaIc of the contemporary buildings of Italy, our respect for Busketus Avill be jiro- portionably increased. It must have been in conformity Avith the taste of the age that he introduced the alternate layers of AAdiite and red marble, of Avliich the AvaUs are composed.”— Cr. Knight. The original bronze doors of the Duomo Avere destroyed by the great fire ; the present bronze doors, mo- delled in 1602 from the designs given by Giovanni cli Bolofjna^ Avere executed by the best Avorkn\en of the age, Mocchi, FrancavUla, Tacca^ Mora^ Giovanni deV Opera, Siisini, and Pagani. The centre doors contain eight comjiart- ments, the history of the Yii’gin from her bh’th to her glorification ; the rt. and 1. doors six each, the histo)\y of our Lord ; and each compartment , besides the historical representation, lias a de- vice or emblem allusive to the history. In the transept called the Crociera di San Ranieri is the only bronze door Avhich escaped the fire. It contains 20 compartments from the Gospel his- tories, in rude relief. The falling of the roof of the naA'c during the fire damaged or destroyed many of the ancient works of art Avliich , it contained. Amongst these Avas tlie imlpit, the masterpiece of Giovanni di Pisa. Some ]iortions Avere saved, and these form a part of the present pulpit : columns of porphyry and brocatello standing upon lions, imitated from the antique, and such as arc seen on sar- cophagi, and the four statues of the Evangelists. Near the door arc the remains of a fresco attributed to Per- Tuscany. Route 42 . — Pisa — The Duomo. 427 nardo Falcord. They are cimoiis as sho^\^Ilg how the building was adorned before the fire. The designs of the 12 altars in the nave and transepts are attributed to Michael Angelo ; the execution to Stagi of Pietra Santa. The first point is dubious, the second is certain. They unite great simplicity in the general design to the greatest variety in the details. If Michael An- gelo gave the architectural elevations (for it is not at all probable that he woidd have been asked to do more), all the filling up is by Siagi, whose fancy and delicacy of taste are, in this style of art, very great. Other works of Stagi are in different parts of tlie cathedi’al : the Altar of San Biagio, in a beautiful cinque-cento style. The statue of the saint is by Tribolo, who began working here, but who ran off, being dissatisfied with his pay. The altar of Saints Gamaliel, Nico- demus, and Ahihon, whose relics were presented by the “pio Goffredo” to the Pisans, in grateful acknowledgment of their services, is also by Stagi, Most dehcate and tasteful are the arabesques and foliage, intermixed with masks, monsters, as neat as if they -were mo- delled in wax, and yet with the utmost Grecian pm*ity. In the chapel of the Anminziata are also remains of the work of Stagi. The altar-piece is by Francesco Mosca. It represents Adam and Eve : the Ser- pent, according to the rabbinical tra- dition so universally adopted by the Tuscan artists, has the liead of a female. The altar is covered with cliased work of silver, given by Cosmo lY. This is covered, but will be shown on applica- tion to the sacristan. The silver figures which support the shrine arc of great elegance, and seem to be rising from the altar. The silver of the altar, &c., is said to have cost 30,000 crowns. The altar was twice ro])urchased by an archbisho]) from the Erench, first for crowTis, and afterwards for l2,fH)0 crowns. The cboir and aj)sis are the ])arfs wliich suffered least from f lu; fin*, and have a va.st variety of ornarmaif ac(m- mulated by time. The interior of the cupola is splendidly painted by B.iminaldi, the best artist of the more recent Pisan school. He died of the plague in 1630, at an early age. By Mechan'ino of Sienna, otherwise called Beccafame, whose works are rare out of his native city, is a series whose subjects include the Finding of Moses, St. Matthew, St. Mark, and several others. Ghirlandaio' s frescoes have been much restored. The intonaco fell off in great pieces, and this, and some of the other damage sustained by the Pisan frescoes, is attributed to the bad quality of the lime. The groups of angels are good in design. — Four figuref^ by Andrea del Sarto, SS. Jolm, Peter, Catherine, and Margaret, are in his best style. The enclosure or parapet of the choir is, in part, formed of foiu’ ancient and two modern bassi-riliev.i : the first are by Frate Gnglielmo Agneli, the pupil of Nicolo di Pisa. The High Altar, a ponderous but gorgeous pile of rich and elaborate marbles and lapis lazuli, was erected in 1774. But the foundations having sunk considerably on one side, the front was rebuilt in 1825. This settlement of the high altar, standing so close to the cam- panile, seems to show the nature of the soil. Above are the figures of our Lord with Angels, by Giovanni di Bologna. Behind the high altar is a picture by Razzi of Abraham and Isaac, which is said to have been taken away by Napoleon. On the rt. is a column of porphyry, with a fanciful capital, by Stagi — flowers, foliage, angels, pierced and undercut with freedom and neat- ness. Opposite to it is another cor- responding, by Foggini, who })ossessed great mechanical skill. It is said that two fluted columns near the high altar came from a temple or palace built by Hadrian, and that the cathedral was erected on its site. The woodwork of the stalls of the choir, with their rich inf arsiat lira, is amongst the best speci- mens of tliis braneli of art. Besides these ])aintiugs there are many others of great merit. — And. del Nr/r/o, St. Agues ; very beautiful. I'he Adoration of the \hrgiu, dark and dis- coloured, but fine. Tlio N'irgin, St, 428 K^ect, YI. JRoute 42. — Pisa — Duomo — Campanile. Thomas, St. John, and St. Francis. Anch’ea died -whilst he ^Yas employed upon tills piece, -which was finished by his disciple Sogliani . — Cristoforo AJ- lori, the Yu’gin in G-lory, siuTOunded by female samts and holy women : one is a repetition, or nearly so, of liis cele- brated Judith in the Pitti palace, a pictiu’e of fine effect. — YenUiri Salim- heni, the Celestial Hierarchy. — Pierino del Vaga, a Madonna and Saints, begun by lihn, but he did not keep to the work ; and, haying frequently absented liimself, it was given to Sogliani, by whom it was finished. When Pierino returned he was so incensed, that he. entfrely threw up his engagement, and left unfinished the other paintings wliich he had begun. — Lomi, six large pamtings in the style of AUori. — Pas- signano, a fine, though injured, picture of the Triumph of the Martyrs. — Cig- naroli (1706-1772), two large pictiu’es of legendary liistories. — Yanni (1565- 1610), Angels with the Holy Sacrament of the Altar, Doctors of the Church below. There are very many other pictures, and some of quite modern date. A painting called the 31adonna delV Organo, the object of Homan Ca- thohc devotion, is kept under lock and key, and cannot be seen without special permission. It is a Grreek painting, and was venerated at Pisa before the year 1224, and may possibly be as old as the fu’st foundation of the present buildmg. Tlie Daomo was once very rich in monuments j ])ut some were destroyed by the fire, others have been removed to the Campo Santo. Of the more ancient, there remains that of Arch- bishop Hinuccini (died 1582), by Tacca. The figure of our Lord, of bronze, is ■well designed, and, like aU Tacca'.s- works, an excellent casting. — Amongst the modern works, the tomb of Cardinal Francesco d’ Elci, erected in 1742, and the work of Vacca of Carrara, is re- spectable. — The white mai’ble vases for holy water are elegant. Upon one is an exquisite group of a Virgin and Cliild, after the designs of Michael Angelo, and executed under liis in- spection by one of his pupils. The bronze lamp suspended in the nave, and of fine workmanship, is said by some to be by Tacca ; by others, by Yicenzo Possanti. According to the well-known story, tliis lamp sug- gested to Galileo tlie theory of the apphcation of the pendidum. The extraorchnary Campanile, or bell-tower, more usually called the “ Leaning Tower,” was begun in Aug. 1174. The architects were Ponannits of Pisa, and William of Innsbruck. It is celebrated from the circumstance of its overhanging upwards of 13 ft., a peculiarity observable in the Garisenda tower at Bologna and many other Italian towers, but in none to so great an extent as in this. There can be no doubt whatever that the defect has arisen from bad foundation, and that the failure exhibited itself before the tower had been carried up one-half of its height ; because, on one side at a certain height, the columns are higher than on the other ; thus showiiij; an endeavour on the part of the builders to bring back the u]3per part of the tower to as vertical a direction as was practicable, and recover the situation of the centre of gravity. The Avails too are strengthened AA'ith iron bars. In cousequence, the materials adhere firmly together ; and, as the courses of stone cannot slide one on another, the toAver does not fall, because the centre of gravity still remains within its base. The tower is cylindrical, 50 ft. in dia- meter and 178 ft. high. It consists of eight stories of columns, in each of Avhich they bear semicircular arches, forming open galleries round the story. The eighth Avas added by Tomaso Pe- saro about 1350. There are some slight ornaments in the basement, in Avhicli the arches are solid ; mosaics, and a few sculptures, amongst others a copy of the pseudo- Egyptian bas-relief in the jamb of the window of the Duomo, and which, it is su].)poscd, was adopted as a type of tlio Porto Pisano. An inscription also has been added, commemorating the recent congress of the Savans. The ascent of the campanile is by 330 steps, and is very easy, and the "USCANY. Eoute 42 . — Pisa — The Battisterio. 429 ummit is secured by double rails, of "hicli the uppermost is about the eight of the shoulder. On the sum- ■lit are seven bells, so arranged that he heavier metal is on the side Vvdiere s M-eight counteracts the slope of the uilding. These bells, of which the rrgest weighs upwards of 12,000 lbs., re remarkably sonorous and harmo- ious. The best toned is the fourth, ailed the Pasq^iareccia ; it was this )ell which was tolled when criminals .'ere taken to execution. It was cast n 1262, and has many ornaments, a .gure of the Virgin, and the devices of ^isa. The bell-founders of this city njoyed great reputation. The pro- pect from the smnmit of the cam- >anile is interesting. The city and he surrounding plain are seen in then’ all extent. The Mediterranean, Leg- lorn, with the hills of Monte Nero lear it, studded with its white villas, nd the island of G-orgona in the far lorizon, and, in fine weather, even the sland of Capraia. In other dmections, he fine hills of the Lucca frontier, the |)aths of San Griuliano, and the Certosa, urther N., and the rugged chain of llpi Apuani. In clear weather it is aid that Corsica may be discerned. The Battisterio. Dioti Saivi, whose lirthplace even is unknown, com- nenced, in 1152, the baptistery of lisa, but did not complete it. It emained unfinished for a number of ears, from a deficiency of funds. At ength the citizens of Pisa levied a rate or the purpose. On the wail of tlie nner gallery on tlie S. side, near the loor, there is this inscription, cut deep n the wall, in the character of tlie iiiddle ages — “ A.D. 1278, iEDIFI- ’ATA FUIT DE NOVO and tliis s considered as indicating tliat the vork was resumed in 1278. There is ’eason to believe, from the date of a nonumcnt of an 0 ])erarius, or builder, vithin tlie fabric, that it was not com- ileted before tlie 14th century ; all vliich sufficiently accounts for the Inials and ornaments in the jiointed tyle, which ajipear in the iipjier jiarts •f this building. It is 100 ft. in dia- aetcr within the walls, which arc 8 ft. 6 in. tliick. The covering is a double brick dome, the inner one conical, the outer hemispherical. The former is a frustum of a pyramid of 12 sides. Its upper extremity forms a horizontal polygon, finished with a small parabo- lic cupola, showing 12 small marble ribs on the exterior. The outer vaidt terminates above, at the base of the small cupola, which stands like a lan- tern over the aperture. From the pavement the height of the cupola is 102 ft. The entrance is by a decorated doorway, from the sill of which the general pavement is sunk three steps round the building, the space between the steps and the wall havmg been provided for the accommodation of the persons assembled to view the cere- mony of baptism. An aisle or cor- ridor is continued round its interior circumference, being formed by 8 gra- nite columns and 4 piers, from which are turned semicircular arches, which support an upper gallery ; and above the arches are 12 piers, bearing the semicircular arches which support the pyramidal dome. On the exterior are two orders of Corinthian columns, the lower one being engaged in the wall, which support semicircidar arches. In the upper order the columns are more numerous, inasmuch as eacli arch below bears two columns above it. Over every two arches of the upper order is a sharp pediment, separated by a pinnacle from the adjoining ones, and above the pediments a horizontal cornice encircles the building. Above the second story a division in the com- ]iartments occurs, which embraces three of the lower arches ; the se])aration being eliected by piers triangular on tlie plan, crowned by pinnacles. Be- tween these piers semicircular headed small windows are introduced, over each of which is a small circular win- dow, and thereover sliar}) pediments. Above these the convex surface of the dome s])rings u]i, and is divided by 12 ribs, truncated below the vertex, and ornamented with crockets. Between these ribs are a species of dormer win- dows, one between every two ribs, ornamented with columns, and sur- 430 Route 42. — Pisa — The Battisterio. Sect. VI. nioimtecl eacli by tlu’ee small pointed pediments. The total height is abont 179 ft. The cupola is covered with lead and tiles ; the rest of the edifice is marble ; but marble of an mferior sort to the original Carrara was being used in the repau’s wliich were being executed on the outside in 1845. The prmcipal sculptures of the exterior are on the eastern doorway. They repre- sent the martyrdom of St. John the Baptist, together with three larger statues. The colimnis are all elabo- rately worked. The 30 Grothic pedi- ments above each contain imagery. Within, the pavement before the altar is mosaic. Other parts of the pave- ment are filled with foot-worn monu- mental marble figures, carved in bas- relief, with arms and inscriptions. They are principally of the 14th and 15th centiu'ies. In the centre of the build- ing is the font, formerly used for bap- tism by unmersion, about 14 ft. in cha- meter. At the alternate angles are 4 small basins, whose use has not been ascertained. The lower moiddings are of brocatello ; the vessel itself of mar- ble. The ornaments are rosettes carved in the stone, and filled in with coloured stones. The bottom of the font is ornamented in the same manner. The altar and the enclosure around are all decorated in the same style of inlaying. From the centre of the font rises a pillar, supporting a figure of St. John, attributed to Baccio Bandinellh but not worthy of his name. The great ornament, however, of this building is the pulpit, or pergamo, i. e. reading-desk, by Nicolo Pisano. This work, erected in 1206, was so much prized, that it was placed under the special guardianship of the law ; and during the holy week the Podesta was sworn to send one of his officers, with a proper guard, to preserve it from injury. It is a hexagon, resting upon 9 pillars, a mystical number ; 7 for the pulpit — 1 at each angle, and 1 in the centre ; and 2 supporting the stau’case. There are two marble desks ; one for the Gospel, another lower down for reading the Epistle. The first, pro- jecting from the side of the pulpit, is itself m the shape of a book, and sup- i ported by an eagle ; the second, rising from the staircase, rests upon a bracket column of brocateUo. The shafts of these columns are of various materials ; five are of granite, each of a different sort ; one is brocateUo ; one aspro ch SicUia ; and the two supporting the stau’case Parian marble. The columns stand upon male figures seated, or ( rather crouching, and upon a griffin, a lion, and a tiger or leopard, alternately. These are plainly imitated from similar |, supporters in Lombard buildings. The arches are cfrcular, but in each is a Gothic trefoU; figures are placed in the spandrils of the arches, and the mouldings are, with slight variations, . taken from Homan architecture. The - bas-reliefs are the foUowing : — 1. The i IS’ativity. 2. The Adoration of the ' Magi. 3. The Presentation in the Temple. 4. The Crucifixion. 5. The Last J udgment ; a very extraordinaiy production. Vasari says that it is exe- cuted “ con pazienza e dihgenza m- fiinta.” IJnderneath are the lines recording the date and the name of the artist. The sixth side is formed by the staircase. Campo Santo. This celebrated ce- metery, winch has given its name to every similar place of interment throughout Italy, was founded by the Arclibishop IJbaldo (1188-1200). The prelate, retreating from Palestine, whence he was expelled by Saladin, found some compensation for his de- feat, by retiu’ning with his 53 vessels laden with earth from Mount Calvary. This earth was said to reduce to dust i within 24 hours dead bodies buried in it. He deposited it in ground which he purchased ; but the present struc- ture enclosing it was not begun until 1278, by Maestro Giovanni di Pisa, f The tracery of the arches is Gothic, and much speculation was occasioned by the sujjposition tliat it was coeval I with the arcade ; but it is in fact of I the later half of the 15th century, ) having been completed in 1463 ; and it was originally intended to liave in- troduced stained glass. Over one of the two entrance doors is a tabernacle Tuscany. Route 42 . — Pisa — Campo Santo. 431 n marble, witb 6 statues by Giov. di Visa. The dimensions of the biTilding re — length, 415 ft. 6 in. ; width, 1.37 ft. 10 in. ; from the pavement to he roof of the cloister, 46 ft. ; width )f cloister, 34 ft. 6 in. The collection of sepulchral monu- nents is interesting. The greater lumber, however, do not belong to the )lace, having been brought from the Duomo and other churches in the Pisan territory. The Pisans began ‘oUecting at an early period, not merely or curiosity, but for use ; interring heu’ departed friends in the heathen sepulchres. The Campo Santo was ih’eady a museum in the days of Queen Jhristina of Sweden. It owes its pre- sent rich collection to the exertions of he late Cavalier e Lasinio, who was ustly appointed to the office of con- I iervatore of the edifice, whicli, during :he revolutionary era, he rescued from lestruction. Of the sarcophagi appropriated by :he Pisans, the finest in point of work- manship, as v/ell as the most interest- ng as a monument of history, is that ivhich contains the body of the Conn- ess Beatrice. It stands near the niddle of the N. cloister, and is narked out by this inscription on it: — “ Qvamvis peccatrix sum Domma vocata Beatrix In tumulo missa jaceo quae Comitissa.” A.D. MI.XXVI. The archaeologists are much at vari- mcc as to the subject which it repre- s;5ents; whether it be Adonis taking Leave of Venus, the chace of the Caly- 1 Ionian boar, or Phaedra and Ilippo- I ytus. There is no reason for suppos- ng it to be more ancient than the age of Hadrian. Several Roman sarco]‘)hagi are nearly of one pattern, tlie front covered with i curved or venniculated fluting ; tlie . 'lutings closing upon a tablet in tlie I -eritre, with bold figures at tlie angles. I riicy liave generally, witli more or less \ ilteration, been adopted as mediaeval i! 'epulchres : soinctimes armorial bcar- > ngs are inserted in the ancient wreatlis i or tablets, or inscriptions in Gotliic r aipituls running along the mouldings or amidst the imagery. Such, for in- stance, are the following : — Aldobrando del Bondo claims a very fine sarcopha- gus, on which is sculptured Hercules and Ompliale. That borrowed by the noble family of the Porcari displays exceedingly beautiful fohage only, and therefore was probably an ancient Christian tomb of the earhest period. Cupid and Psyche twice repeated, river gods, and Ganymede, cover the marble which contained the bones of Gallo Ognelli, who, being a magistrate of the republic, also filled the office of Operario of Santa Maria. Diana and Endymion are sculptiu-ed on the sarco- phagus/which once contained the bodies of Gherardo del Canfera, Paida his wife, and Francesco his son ; whilst Beato della Pace rested in a tomb orna- mented by a Victory or Fame, of ex- quisite design. Sometimes the more prominent sculptures have been recut or altered in the middle ages : one example, amongst many, may be seen in a tomb bearing the inscription, “ Biduinus fecit.” There are some curious specimens of the work of the early Roman Christians : thus the favourite type of the Good Shephered is found upon them, as in the frescoes of tlie Roman catacombs. The statue erected by the Pisans as a token of the gratitude due to the Emperor Frederick I., and originally placed over a doorway in the Duomo, surrounded by a group of his four coun- cillors, as they are called, may yet be seen here in a tolerable state of pre- servation. The drapery, particularly that of the Emperor, is skilfully exe- cuted, and the details of the costume liighly curious. Another imperial monu- ment, the tomb of the Emperor Henry VII., or of Luxembourgh (died 1312), contrasts singidarly, from its elaborate- ness, with the simplicity of the Suabian Emperor. Henry was the great pro- tector of the Pisans, and equally the enemy of Florence. The Italians main- tain that he died a natural death ; the Germans, that a Dominican friar ])oisoned him with a sacramental wafer at Buonconvcnto. A statue of Hercides, with a lioness 432 Route 42. — Pisa — Carnpo Santo. Sect. VI at liis feet and a cub in liis hand, is supposed by some learned antiquaries to have been brought by the ancient Pisans from the ruins of Carthage. It is square, and somewhat “goffo,” and exliibits rather a pecidiar style. Other authorities ascribe this ancient statue to a Pisan artist of the 16th centy. Two inscriptions inserted in the walls, containing decrees of the colony of Pisa in memoi-y of Lucius and Cains, the sons of Augustus, are held to be valuable, as illustrating the municipal history of the Eoman Empire. A Eoman bas-relief of the Lower Empire was supposed by popular tra- dition to represent the delivery of Migliarino, a village near Pisa, from a serpent which infested the woods around. The people consulted JVino Orlandi, the sculptor ; and he, by means of an iron cage or trap, con- structed with wonderhd art, captiu’ed the beast, and brought liim into the city. The cage is, in fact, the usual Eoman plaustrum, drawn by oxen ; but the load is, though enth’ely unlike a serpent, yet a strange nondescript, and the compartment in the centre is surrounded by fom’ seniisaurian mon- sters. Numerous rehcs of the 14th centy. are of value. The noble sepulchre of Count Bonifazio della Grherardesca, and his family, is amongst the most promi- nent removed from the now suppressed church of San Francesco ; but it has lost many of the statues which adorned it in its original locality. Some valuable fragments from the Duomo and its adjoining appendages are here ; c. y. a triplet, apparently re- presenting theological virtues, part of the ancient pulpit, by Nicolo Pisano. The outhne of the bodies and limbs are seen beneath an ample drapery, with gracefid effect. Four bas-reliefs from the spandrils of the arches of the same pulpit represent prophets. A beauti- ful fragment by Giovanni Pisano^ apparently of a pidpit, representing tlie Seven Sciences, small female figures in alto-rOievo. There is Grammar, with a child on each knee sucking her breasts, and Philosophy, crovmed as the Queen of the Sciences. A smaU statue of St. Peter, described by Vasari a? then standing upon one of the Beni' tiers in the baptistery, is good. The high altar of the cathedral, by Pimu- aldo Pisano, removed to make way foi the present one, with arabesques. Several capitals, dislodged during the repairs of the Duomo and the Cam- panile, enable the observer to examine the execution in these buildings. An altar-screen, by Tomaso Pisano, shows a profusion of labour. The Virgin is in the centre compartment, six saints on either side. It is remarkable for simplicity of style united to profusion I of ornament. There are perhaps 300 other pieces of sculpture hi this building ; but we j can only notice the celebrated Bronze Griffon, dismounted from the pinnacle of the Duomo. It is the work of Arabian artists, and inscribed with Cuflc characters, but once supposed to be Egyptian or Etruscan. But though Ai’abiaii, it is as clearly not Mahometan, j and it is most probably an idol or a talisman belonging to the Druses, or some other of the tribes who even still secretly reject the doctrines of the Koran. The Ambulatory is paved with slab ■ tombs of the Pisan families who had the 1 right of interment here, said to be 600 ! in number. They are generally in low relief, much worn by the feet of genera- tions who have trodden them ; and they are interesting as specimens of costume of different classes of citizens, { doctors, knights, merchants, bishops, ' abbots. Tlie dates of these figures are j generally between 1400 and 1500. To describe them would be endless ; one may be pacticularised as a fine example. It is the monument of Antonio di Santo Pietro, a famous civilian, 1428. ■ Burials rarely take place here now ; j but there are some bad modern tombs, j as of Pignotti and Algarotti. Just to the 1. of the western entrance is a i monument to Berhnghieri, a distin- guished surgeon of Pisa, with a beauti- ful bas-relief by Thorwaldsen. ' i We will now describe the frescoes Tuscany. Route 42 . — Pisa — Campo Santo. 433 painted on the walls ; but, owing to the space which even this will occupy, w^e must refer to Kugler’s Handbook of Painting for critical remarks. About the time when the structure was completed Giotto had just finished a painting of St. Francis receiving the stigmata, from which lie acquired great credit. It was placed in tlie church of St. Francis, which then was one of the most favourite places of devotion in Pisa ; and the citizens, little as they loved Florence, yet did not reject tlie advantage which they could derive from the skill of the member of the rival community. He began his works with six paintings from the history of Job, forming the commencement of this interesting series of early fresco-paint- ings. It is but recently that travellers have described the paintings of the Campo Santo otherwise than in terms of dispraise : and until Lasinio called the attention of the government to the preservation of these valuable monu- ments of early art, they were not merely neglected, but exposed to in- tentional injury. Some of the paint- ings of Giotto were destroyed, to make a place for the tomb of Count Alga- rotti. All are more or less spoiled by damp. Damp sea-air, damp walls, and an “ Monaco^ or plaster, which, pro- bably from the nature of the lime em- ployed, appears to have been peculiarly absorbent of humidity, have all contri- buted to the decay. Hence the colours are generally faded ; some of the paint- ings have almost entirely scaled off from the wall, and otliers in large por- tions. When the “ intonaeo ” has been thus removed, the design is often seen drawn' upon the wall in a red outline. In a large portion of the series the subjects are found in that version of Holy Scriptiu’es which w'as read in the monastic paraplrrases. The rest are from the Christian mythology — that is, the Lives of the Saints. Tile paintings, in the order in which they were executed by the artists, are as follows : their position may be found by referring to the plan. North. With few exceptions, they are in two ranges, one above and the other below. Of the paintings executed by Giotto, w'liich comprehended tlie principal suli- jeets of the hfe of Job, three remain in part. I The first of the three forming tlie [upper series, the subject of which is Job feeding the poor, and feasting with Ills friends, has several outlines and heads which remain, and arc very graceful. N. Italy — 1852. The Temptation of Job . — As usual in compositions of this date, a series of subjects is included in one painting. The first portion show's the tcnqiting demon, pleading before the Almighty. Deneath, faintly indicated, is a wide ])crs])cctivc of the sea, with islands. The centre is formed by the invasion of the Saheans, t he bat-w'inged demon soaring above, and bearing the aveng- ing sword. The whole is much in- jured ; and the third ]iassago in this compartment is, in particular, so much U 434 Route 42. — Pisa — Campo Santo. Sect. VI. defaced, tliat it is difficidt to make out the subject. It seems to have re- .presented the destruction of the house ■where the sons of Job, were feasting. Job visited by his Friends. — Two subjects are included in this picture : the conversation of Job with his friends, and tlie friends of Job receiving their rebuke from the Lord. “It is singular that Eliliu is absent from the whole composition.” — R. The background is formed almost enth’ely of architecture. A city, apparently an idealised view of Florence, with some Roman buildings, is introduced ; on the other side, an Italian villa. To the rt. of Alga- rotti’s monument there still remains the figure of Job receiving in prayer the news of his misfortunes. These paintings of Giotto obtained so much celebrity when executed as to induce Benedict IX. to call the artist to Rome. Of the next series the authorsliip is much contested, some attributing the paintings to Buffalmacco, and others to Fietro da Orvieto., about 1339. 1. The Crucifixion ; much damaged, and portions are by other and inferior hands. The group representing tlie fainting of the Virgin, and the Angels above, in various attitudes surround- ing the Saviour, are the best preserved portions. 2. The Resurrection and the Ascen- sion; retouched. Tliese are amongst the most doubtful of the series. 3. The Universe. — A curious allegori- cal representation of the creation, re- presenting our Lord as holding tlie sphere of the universe, delineated ac- cording to the cosmolog-y of the middle ages : the earth in the centre sur- rounded by the elementary and plane- tary spheres, the empyrean and otlier heavens, and the celestial hierarchies, t)i.e names being united in Gotliic characters. The same idea is adopted in the fine Luini in the Litta palace at Milan (p. 189). In the lower corners are the two great doctors, St. Augus- tine and St. Thomas Aquinas. A short descriptive and devotional poem is in- scribed below. 4. The Creation. — Next follows a compartment representing the creation of man and of woman; the temptation ; , the expulsion from Paradise, and the state of labour subsequent and conse- quent. 5. The Death of Abel—TBa two sacrifices, the death of Abel, and Cain t killed, according to the tradition, in a thicket, by Lamech. | G. Noah and the Deluge. — The build- ing of tlie ark, the return of the dove, and the sacrifice after the deluge. The curiosity of the females, leaning upon f.l the open timbers of the ark and con- l templating the work, is rendered Avith ;’j nature and simplicity. | These frescoes are surrounded by an [ ! elegant border in Avhich is introduced j; the portrait (according to Vasari) of ^ Buffalmacco himself. It is in that f which divides the Abel and Cain from ^ the Deluge. ' Simone Memmi (died 1344), the painter of Laura and friend of Petrarch [-j (see Florence, Sta. Maria Novella), 8 when first called to assist in adorning the Campo Santo at Pisa, began by the — 1. Assumption of the Virgin over the ^ principal entrance. There is beauty in p the movement of the angels and tlie i solemn modesty of the principal figm’c ; « and the picture is still in good preser- 3 A^ation, and tolerably free from those n restorations AAfiiich are apparent inmost ra of the other paintings. Tliis subject is detached from the series, Avhich re- y ]Aresents passages taken froin the life of ^ St. Ranieri, aa4io, though not canonized, | was held in great veneration in Pisa, n his native toAAUi. Tlvere is a ti'icnnial / fete in honour of him called the lUu- \ minara, early in June, when the Avhole | of the Lung’aimo is illuminated. It jJ is a beautiful sight. ^ 2. St. Ranieri' s Call. — The first in the series, by Memmi, represents the | saint’s sudden call from a life of worldly vanity. lie is represented as leaving off playing upon the cembalo, while the ^ gay assemblage of damsels are still dancing. The female figures, who ‘ dance with exquisite grace, are croAvned with garlands, and are evidently por- traits, and accAirately represent the costume of the age, and, Avith the sur- j rounding architecture, bring the scenes i Tuscany. jRoute 42. — Pisa — Campo Santo. 435 of the Decameron before the eyes of lie spectator. The moment chosen is ivhen one of the damsels addresses Ranieri with the words “ Wilt thou lot follow this angel ?” pointing to Fra’ Alberto Leccapecore, a man of iioly life, who was then passing along Tie way. Eanieri obeys the word, and ':bllows Alberto to the church of St. Vitus ; and here several passages are again accumulated, amongst others the "estoration of his sight, which he had lost by weeping for his sins. The greater portion has been retouched, rliere is in this composition a curious machronism : the nimbus surrounds St. ilanieri whilst he is yet unconverted. 3. St. Ilanieri as a. Pilgrim. — Three passages are united in the next paint- Tig. In the centre, Eanieri receives rhe scMavina, or robe of a hermit, the single garment which he wore. The Virgin enthroned, the crescent moon beneath her feet, a star upon her rt. shoidder (the first of these symbols being an emblem of the immaculate conception), receives his vow. This portion is much damaged. Two grace- ful female saints have fortunately nearly escaped injury. 4. St. Ilanieri embarlcs n 2 :)on a Gal- leon for the Holg Land. — It is not easy, however, to make out what is the subject of this picture. It seems to be St. Eanieri returning in a Pisan vessel, bringing the relics of some saint. On the side of the vessel a long box is placed, into which one of the figures is looking, and holding his nose, as if a bad smell came from the box. On the Cjuarter, below the figure of the steers- man, are three shields, on one of Avhich IS the cross which forms the arms of 1‘isa. 3. St. Ranieri in Palestine.— \n the third of Mernmi''6 paintings we have the visions and tenipfatioiis of Eanieri M the Holy Land. Our Lord appears >o him, as at his transfiguration, be- ween Mo.scs and Klias. d. The Demon dislurhing him in the t'hoi)\ and retreating discomfited, dosing his ears. And Ranieri's /h'.f- frihntion (f Alms after his return from I’alesHne. Antonio Peniziano, who died 1384, continued St. Eanieri’s history in three paintings of great merit, and which Vasari considered as amongst the most graceful of the ancient school. 1. In the first, Avhich has two com- partments, are represented the Sainfs Lmljarkation and return to Pisa. It has nearly perished. In the second portion is the legend of St. Eanieri rendering visible to the Fraudulent Innkeeper the demon, in the shape of a winged tiger-cat, sitting upon the cask of wine. The dehn- quent was wont to dilute the noble liquor ydiicli he sold, and St. Eanieri first put it out of his power to deny the fact, by pouring some of the article into the fold of his schiavina, Avhen the wine passed through and the water remained behind. 2. The Peath and Funeral of St. Ranieri. — This is exceedingly damaged. The Saint has just breathed his last, surrounded by monks. In the second compartment, the corpse, upon an open bier, is carried to the tomb. A priest or prelate is reading the service, sur- rounded by the inferior ministers hold- ing tapers and the holy- water vessel. 3. Lastly, The Miracles of St. Ra- nieri worked after his Peath, almost Avliolly gone ; the chief and best figure was that of the mother invoking the saint on behalf of her dying child. We now take the series by Andrea and Bernardo Orgagna, including The Last Judgment and The Infernal Re- gions. The subjects of these paintings are represented by the same artists in the Strozzi Cha])el in Santa Maria No- vella ; but there arc many dillcrences in the conception as well as in the trcarnient of the details. 1. The Last Judgment is wholly by Andrea, well preserved, and full of strong and sti-ange cx]iression. T’he two great masses of the blessed and the con- demned are divided by the ministering archangels. In both are seen an ecpial ])ro]U)rtion of the several ranks ami ordei’s of men, — the lirst receiving tho invitation to join the Lord with joy, the latter listening to their comleinna- u 2 436 Sect. VI. Route 42. — Pisa — Campo Santo. tion witli hoiTor, sliame, and despair. There are here some touches of the satirical spu'it observable in Santa Maria Novella : kings, queens, and monks are amongst the damned ; and a Franciscan monk, who had risen amongst the good, is stopped by the archangel, and carried to the other side ; and one, in the ahito civile of Florence, who has risen on the side of the condemned, is led to the side of the blessed. The angels dividing the two companies are fine. St. Michael, distinguished by a cross on his cuirass, has a stern countenance, and is one of the three archangels executing ven- geance. King Solomon is represented as rising exactly between the good and the bad, and apparently uncertain as to where he should place himself. An archangel in the centre holds the sen- tences “Come ye blessed” and “ De- ]:>art from me ” in either hand ; beneath are the angels sounding the trumpets ; and in front a third, clothed in a long- garment, and half concealing his coun- tenance. It has been supposed that this figure represents the guardian angel grieving at the loss of so many who had been committed to his charge. Higher stiU are the Twelve Apostles, evidently with reference to Eevelations. 2. The Inferno. — This was executed by Bernardo after the designs of An- drea ; and the lower portions having scaled off, they were repainted by So- lazzano in 1530. Whatever it may have once been, it is now disgusting, vulgar, and childish in the last degree. 3. The TriumiAi of Death., by Andrea Orcagna. — This has been considered as one undivided composition ; but it seems rather a set of allegories bearing upon the one tlieme of tlie destiny of mankind ; quaint and almost uncouth. The subject on the rt. hand was sug- gested by the once popular legend of the three kings, who, hunting in a forest, were conducted to three open tombs, in which they beheld the ghastly corpses from which they were to receive the warning calling them to repentance. Orcagna has represented the bodies in three stages of decay ; and the three leaders of the proud ! cavalcade equally display three grada- tions of sentiment — light unconcern, earnest reflection, and contemptuous disgust. It is said by Vasari that the second is the portrait of the Emperor Louis V., or the Bavarian ; and the third of TJguccione della Faggiuola, the Signore of Pisa, In the second great compartment on the 1., the De- stroying Angel, with dishevelled hair and bat’s wings, is about to level with her scythe a joyous party of youths and damsels, exhibiting what we may suppose the cream of Florentine fashion, the men with hawks on then- fists, the women with little dogs, others playing and singing, the scene taking place in an orchard or bower. On the other side are the wretched, the blind and maimed, the diseased, imploring Death, ; but in vain, to relieve them from their miseries in these verses, inscribed be- neath them : — “ Da die prospentade ci ha lasciati : () niorte, medioina d’ ogni pena, Dell ! vieiii a darne ormai 1' ultima cena.” Below are those whom Death has smitten, ■ — the rich and powerful, knights and sovereigns and prelates, old and young ; the departing soids, represented as new-born babes, seized by angels or demons as they issue with the last breath of the departed. In one of these Orcagna has ellect ively de- picted the horror of the soul at finding itself in the grasp of a demon. The sky above is filled with angels and demons bearing olf the souls to bliss or punisliment : the demons are bear- ing olf their prey to a volcano, pro- bably Mount Etna, Avhich, according to the legends, Avas considered as the entrance of the infernal regions. In the last portion, to the rt. of the pic- i ture, is a subject Avhich has no appa- j rent connection with the rest, unless it | be supposed to designate the blessing | attendant on retirement from the world. | It represents aged recluses, one tending \ his goat, and another gathering fruit. Vasari bestoAvs high praise on these ' figures. I The Saints of the Desert, by Pietro j Laurate. — This compartment is filled I Tuscany. Route ^2,—Pisa--Campo Santo, 437 j with groups, representing the lahoui’s and conversation of these anchorites, j as well as their temptations. One is I lodged in a tree ; another recluse is receiving food through the window of \ the cell in which he is immured ; some busily employed in basket - making. Sturdy demons are assaulting and scourging St. Anthony. Panutius is ] resisting the temptation of a fair fiend, by putting his hands into the flame. St. Hilarion expelling the dragon which infested the mountains of Dalmatia : Hilarion advances in calm confidence, whilst his companion is about to re- I treat in teri’or. The groups are jotted I over the wall, as in a Chinese paper- I hanging. Six compartments were painted by I Spinello Spinelli of Arezzo. Three are entirely defaced. These were con- i| sidered by Yasari, who saw them in a ;| more perfect state (though even in his |i time they were not free from injury), II as the best specimens of the colouring || and the design of this artist. i The three which remain are subjects ij from the life of St. JSphesus. 1. The first is divided into two com- il partments, — the saint presented to tlie I Emperor Diocletian., much injured ; j and the apparition of our Lord com- I raanding St. Ephesus to desist from i persecuting the Christians, j 2. St. Ephesus fighting against the I Eagans in Sardinia. — This, like the preceding, is divided into two com- partments, and is unfortunately also ■ much injured. Here is represented i the second apparition of our Lord to the saint : a winged horseman, witii a cross on his breast, is presenting to : liirn a spear, or long stall'. The same figure is afterwards seen engaged in the battle; St. Epliesus is kneeling to this : figure. The circumstance of this event taking place in an island is re])rcsentcd by tlie sea winding at t!ic bottom. 3. Martyrdom of St. Ephe.'ms. — In ; the centre is a strange and unplcasing representation of the saint in the fiery furnat;e. fi'hc most commcn(lal)le ]>art of tlie design is tlie consternation of i the hystanders at the flumes coming I out against tlicmsclvos. The Series of Eihlical Histories, begun by Buffalrnacco or Pietro di Orvieto, was continued by Benozzo Gozzoli, the pupil of Fra’ Angelico da Fiesole. (See Floeence, San Marco.) They are the finest, and also by far the most extensive, occupying the greater portion of the N. wall ; so that Yasari calls the work “ opera terribilissima e da metter paura a una legione di pit- tori and they employed the painter 16 years, from 1469 to 1485. We begin with — 1. The Cultivation of the Vine, and the Drunlcenness of Noah . — One good group consists of a female receiving a heavy basket of grapes from the gatherer of the fruit, standing on a ladder above. Ill the l.-hand corner of this fresco is the well-known figure of a female pre- tending to cover her face with her hand, but slily peeping through her fingers, which has given rise to the phrase of “ Come la Vergognosa del Campo Santo.” 2. The Curse of Ham . — The prin- cipal group consists of the patriarch, his wife, and the object of the maledic- tion. The distance is composed of a rich landscape, terminating in receding ranges of hills. 3. The Building of the Tower of Bahel . — The architecture and costume show Florence in Gozzoli’s time. It contains several portraits. In one group are seen Cosmo de’ Medici, Pater Patriae, h’’s son Pietro, and his nephews Lorenzo and Giuliano. Po- litian is also represented as a jn-iest, wearing a heretta. The countenances are characteristic and national. 4. Abraham and. the IVorshippers of Belus . — This sidiject is taken from the Ilabbinical tradit ions so ividcly adopted in tlie middle ages. One jaissage re- presents Abraham as rescued from the fiery pile into which he had been cast for refusing to worshij) tlie idol of Pclus, whilst Nachor his brother, who complied, is consumed. In the back- ground arc ])crsons st riving and fight- ing, 8up[)oscd f.o indicate the crimes produced by had govi'rnmcnt. Tlu' architectural c-ompositions, which fill the background, probably convey a 438 Route 42. — Fisa — Campo Santo. correct idea of tlie general effect of Florentine structm*es in then’ state of perfection. 5. Abraham and Lot in Lgifpt . — A crowded and rich composition, in wdiicli the history of the patriarchs is repre- sented, from the first strife between their herdsmen and the going forth of Abraham. The group on the rt. hand of Abraham, followed by Sarah and others, setting out from a machicolated castle, is spirited. 6. Abraham victorious . — The scene is in the same rich and formal land- scape. The two principal subjects are — the rescue of Lot by Abraham, and the offering of bread and wine by Mel- chisedec, which occupy the rt. and the 1. of the picture. The battle group is executed with s])irit. The patriarch is in the armour of a connctable of the times, wielding his mace, and in the same martial costume when meeting the King of Salem. 7. Abraham and Ilagar .- — This pic- ture consists of many spirited groups, but which appear disproportioned with respect to each other. It is also much damaged in parts. In the portion re- presenting Tlagar as given up to Sarah tlie artist has introduced a portion of a city— Florence or Pisa, of course — with a fine group in the dress of his times, evidently portraits, though now unknown. A remarkable group is tliat of Sarah chastising Hagar, who is after- wards seen at a distance in the desert, accosted by the angel. The whole scene is alive with birds and beasts, oddly disposed among the figures. 8. Destruction of Sodom, and Dscape of Lot .- — Lot and his family are placed upon a projecting cliff, by which they are brought nearer to the spectator than the inhabitants of tlie condemned city, who fill the remainder of the pic- ture. The prevailing feeling seems rather that of utter despair than of any attempt to escape from the flashes of flame which the ministering angels are casting down. 9. Sacrifice of Lsaac . — This event is the most prominent portion of the pic- ture, which includes many other pas- sages. Quite in front is a very natural Sect. VI. I I group of the preparation for the '' journey. The composition is divided , in the most formal manner by a round- . topped tree exactly in the centre. Tlie I rt.-hand side of the pictiu’e is crowded > with groups — the strife of Isaac and Ishmael, the sending forth of Ilagar, ; ] the appearance of the angel to her in | the desert, and the preparation for the ! i joimiey of Abraham and Isaac. As in j j some of the preceding pictures, Denozzo ' , has introduced a rich 'palazzo. ( 10. The Marriage of Lsaac and Le- j belcah. — On the rt. hand, under a splendid loggia, is Abraham sending j forth Eleazar. Here again, if the t figure of the patriarch were abstracted, ] we have an exact representation of the - , contemporary life of the artist. In the | , central subject of the Meeting at the I ; Well, the female figiu’cs, with pitchei’S ^ on their heads, are very graceful. The tim’d division exhibits the Espousals and the Bridal Eeast. 11. Jacob and Lsau. — Two passages Avere included in this splendid compo- sition, one of them, the counselhng of Jacob by his mother, is destroyed. On the rt. hand is the birth of the twins. The nurse of Jacob is exulting in the beauty of her nursling over his brother. Beneath a triumphal arch Esau is seen yielding his birthright to Jacob. In front of a gjalazzo, which, receding in perspective, fills the remainder of the field of the picture, are the sub- jects of the benediction of Isaac, and the return of Esau from the cliace. 12. Jacob, from his Departure to his Dspo’usals with Rachel. — A succession of groups, containing some of the most ' gi’aceful compositions of the artist. Peculiarly beautiful in tliis respect arc the dancers assembled at the bridal festival. 13. Meeting of Jacob and Dsau — Dinah. — In the foreground are intro- duced, very prominently, three groups of contemporary portraits. Lorenzo de Medici is known. The other groups are spread over the fields, of whidi tlic background is even more than usually rich in landscape and architecture. Much of the fresco has fallen oil, and it has been repainted m other parts. Tuscany. Route 42 . — Pisa — Campo Santo. 439 14. The Life of Joseph, from liis departure from liis father’s house to his deliverance from prison. Here also the groups representing the pas- sages included in this portion of sacred history are jotted over the field, often interfering witli one another. Thus, the casting of Joseph into the well, and the displaying of his garment to his father, are without any separation W'hatever. In the latter group many of the female figures have much grace and beauty. 15. Continuance of the Life of Jo- seph. — In the centre, in a species of triple triumphal arch, opening into a long perspective of aisles, and at either extremity of the picture, are the angles of splendid palaces, supported by co- lumns and arches, closing the scene, while various edifices are seen in the background, amongst others, a cathe- dral, in wliich the leading lines of Florence and Pisa are blended. The three main subjects are. Pharaoh de- claring his dream to the magicians, the appointment of Joseph as viceroy of Egypt, and his discovering himself to his brothers. Amongst the best portions is the group of the Magi- cians, or Wise Men, in somewhat per- plexed consultation. Many of the countenances are evidently portraits. 16. — The Infancg and first Miracle of Moses. — In this composition the architecture holds a most prominent place. The centre shows the interior cortile of a palace, and the angles are ornamented, as in the preceding sub- ject, with lofty structm’es. Many of the incidents are taken from the Apo- cryphal traditions. In the first group the infant Moses is seen taking the crown from the head of Pharaoh, and casting It on the ground. Pliaraoh’s daugliter looks on with a smile of ap- proval, In the centre compartment is another of these incidents; llie infant stretching forth his hand on the burn- ing coals, having ])revionsly rejected tlie fruit which liad been ofiered him. Pharaoli’s daughter is astonished at tlic result of the ordeal. Two children, a girl and a boy, who are her coni])a- nions in this and the ])receding group, are evidently portraits. In the last division is the changing of the rod into a serpent or dragon. The nearest attendant shrinks away with affright. 17. Passage of the Ped Sea. — In the background is a w'onderful spread of landscape, in many parts extremely injured, and in others retouched. The best portion, though the least conspi- cuous, is that of Moses and Aaron, with the people of Israel, retmaiing thanks for their deliverance. 18. The Giving of the Lem to Moses. — Much damaged, and badly repainted. The principal groups are collected at eithey extremity of the picture, be- tween which the view oj)ens upon Mount Sinai. 19. Aaron’s Pod and the Brazen Serpent. — On the rt.-hand side of the picture is the examination of the rods of the different tribes. In the centre compartment is the tabernacle. Beyond is Moses, presenting the bud- ding rod to the heads of the tribes, a continuation of the first group. Lastly, is the elevation of the brazen serpent, here represented as a wdnged dragon. This picture also has suffered much from time, and more from repahs. 20. The Fall of Jericho, and the Death of Goliath. — Parts of one very long picture, of which the centre por- tion is entirely gone, and the remainder is much damaged. In the second, the conception of Goliath is coarse and bad ; David is better. 21. The Adoration of the Magi . — This picture, over the door of tlio “ Capella di Tutti Santi,” has been traditionally snpiiosed to be the speci- men piece wdiicli Benozzo ])roduced when first engaged by the Pisans to nnclertakc this work ; but this tradi- tion is now discredited. A numerous cavalcade is seen following the three kings, amongst which may be disco- vered the real or supposed poilrait of Benozzo, a young man with a cap or hood on his head, the last figm-c on the rt. hand of llie subject. Besides the ])aintings which we have enumerated, there arc some otlier an- cient fragments. '’fhe eastern ami western walls arc decorated with mo- 440 Sect VI. Boute 42. — Pisa — dern paintings, executed in tlie l7tli century by Ghirlanda of Carrara, Guidotti^ and Rondinosi. The history of Judith and Esther, Belshazzar’s Eeast, and the history of King Osias. They have little merit. The Cajpella Maggiore was added in 1594. It contains some ancient pic- tures, fragments of the 14th and 15th centuries, and a good Aurelio Lomi, a St. Jerome. The CapeLla degli Ammanati is ori- ginally of the 14th century. Here are deposited several fragments by Giotto^ of wliich the principal are 7 heads brought from the Carmine at Florence, and which are curious, as being authen- ticated by Vasari. The Campo Santo is kept shut, but it is opened by the custode, who attends for about six hours in the day ; he lives close by, and expects a fee of one paul for each person. Ko drawings of any kind can be made in it without the permission of the Conservatore. But permission is readily obtained ; the Conservatore lives close to the Piazza, not five minutes’ walk from the Campo Santo ; and if he is out his Avife gives leave. An extra fee to the custode will also procure leave ; but there is more than one custode, and one does not recognise the leave granted by the other, so that this last method of obtaining leave to draw is rather expensive. Pisa retains its ancient boundaries. The old wall wliich girds the city re- mains nearly in the same state as ivhen defended by her citizens against the forces of Florence. The Piazza del Buomo is partly bordered by this wall, of Avhich the circuit includes much garden-ground ; and the destruction of many convents has increased the imid. These outskirts have therefore a deso- late appearance ; but tlie central part of Pisa has hardly the deserted cha- racter which has been attributed to the city ; and the Lung' ami ^ continued quays on both sides of the river, are cheerful. The grand triennial illumi- nation of the Lung’arno on the feast of Son Eanieri (16th June) is the most remarkable spectacle of Pisa, and is -Bridges — Lung'arno, celebrated as a species of national j jubilee. The next will be in 1854. Three bridges cross the Arno. Tliat highest up the river, with 4 arches, is called the Ronte alia Fortezza, from the Citta della Nuova, which was Inult by the Florentines at the latter part of the 15th century, and destroyed in the 17th, having stood close to it. 1 The central bridge, with 3 arches, t called the Ronte del Mezzo ^ or Ponte Vecchio, from its being the earliest bridge, was erected in its present form by the engineer Fossi Franc. Nave, in the reign of Ferdinand II. It was immediately preceded by a bridge with a single arch, which fell 1st January, 1644, on the centering being removed. It was upon the Ponte del Mezzo that ■ the celebrated combat, called the Maz- 1 zascado, used to take place, which * could hardly be called a sham fight, since it often ended in loss of life or limb. The contest took place between the North and the South sides of the city, 6 companies of 80 on each side. The last fight took place in 1807, and it seems likely that it never AviU be re- peated again. The bridge most to the W., with 5 arches, is the Route a Ma/re, built in 1331, and restored a century later by Brunellesco. Many interesting buildings yet adorn the Lung'arno. Near both ends of the Ronte del Mezzo are groups of imposing edifices. The links of a chain hanging over the arch of the principal doorway, with the motto Alla Giornata, sculp- tured in large letters on the architrave, distinguish the Ralazzo Lanfreducci, now Uppezzinghi. All that is knoAvn i respecting the chain is that the church of San Biagio alia Catena, of which the Lanfreducci were the patrons, was demolished to make room for the palace. 1 The meaning of the inscription has been I lost. The design of this fine palace has j been erroneously attributed to Michael i Angelo. It is by Cosmo Ragliani. I There is a small collection of paintings iil in it ; amongst them a fine Guido, an allegorical subject — Pluman Love sub- dued by Love Divine. The Ralazzo Lanfranchi, now Tos- canelli, is perhaps more certainly by Tuscany. Routs 42 . — Risa — Santa Maria della Spina, 441 Michael Angelo ; the details are solid and good, and, like its neiglibour, tlie mellowed tint of the marble adds much to the effect of the architecture. It w^as for some time the residence of Lord Lyron. Contrasting with these two palaces is a third, temporarily used as the CivicJie Stanze, now the Caffe dell’ Ussero. It is of brick, with triple-headed Gothic windows, carrying us back to the times of the Eepublic. It is richly orna- mented with medallions and foliage. The house, No. 698, on the Lung’- arno, is a very antique and singidar building, and deserves attention. On the other, or S. side of the Ponte del Mezzo, is the Logge di Banchi, or Medicean building, having been erected by B'uontalenti at the expense of Ferdi- nand I. (1605). The open arches are supported by pilasters of rustic- work — - a style much favoured by the Tuscan architects. These Logge di Banchi are now used as a corn -market, and stand between the Palazzo del Governo and the ancient palace of the Gambacorti family, now the Custom-house. The great Sala has some decent paintings by recent artists. Accademia clelle Belle Arti. Tins was founded by Napoleon in 1812 ; but his endowment consisted of his patronage and some plaster casts. The establish- ment was afterwards placed under the able direction of Lasinio. It contains several curious and some valuable paint- ings. A good ancient copy of a de- stroyed fresco of Gozzoli — Solomon and the Queen of Sheba. — Giotto, a Virgin and Child, authenticated by Vasari. A painting in five compartments, the Virgin and Child, and Saints ; the centre is by Giovanni Pisano ; a curious por- trait of Dante. “ An exquisite Pintu- rlcchio ; 4 figures, with a fiat landscape, behind. Ilis woi'ks are rare in North Italy. The picture is hung iqi over a door out of the way. A valuable Fi- lippo Lippi — Madonna, St. Matthew, St. James the Great, and St. Augustine. The ])rinei])al figure is poor, but the rest is noble. The collection is other- wise of some interest, as exhibiting the relation which Giv.nl a da Pisa bore to Giotto. Several works of the former are of higher merit liere than is usually attributed to them.” — B. Santa Maria della Spina, on the S. bank of the Arno. “ This chapel is an architectural gem, and at the time it was executed wais considered to be a miracle of art. It stands on the side of the Arno, on the S. bank, and w'as built for the convenience of mariners, who, in the flom’ishing times of Pisa, repaired to this chapel before they set forth on their voyage to implore the protection of the Virgin. It was built twice. The first edifice vms begun in the year 1230, at the joint expense of the Senate and of a noble family of Pisa, the Gualandi. The celebrated sculptor, Giovanni Pisano, is said to have exe- cuted some of the statues with which this building was adorned, and, by the talent which he displayed on that occa- sion, to have obtained the privilege of giving the design for the Campo Santo. In 1323 the Senate of Pisa determined to enlarge this chapel. At that time it was that the building acquhed the form and exuberance of ornament which it at present exhibits. It appears from successive decrees of the senate that the work was in progress during the greater part of the 14th century. In this building, though its general style is that of the advanced period, round forms still make tlieir appearance ; but, in all the upper part, the pointed style is em- ployed alone. The canopies and taber- nacles are of the most delicate workman- ship. The statues are well executed ; ancl if, in proportion to the size of the building, they appear to be too numer- ous, it must be remembered that the Italians had a peculiar passion for this species of decoration, not ordy from their love of ornament, but because Italy abounded in good scul])tors. The whole buildingisofwhitemarble.” — G. Knight. There is a portrait of Nicolo Pisano in one of the small statues on the F. side. Within arc some of the best works of Nino J*isano — a IVIadonna offering a fiower to the Infant Saviour. “ Tliis ex(iuisite work seems to have been richly ])ainted, and the hair gilt.” — B. St. 1 John — St. Peter, which has been mueb u 3 442 Route 42. — Fisa — Sau Paolo a Ripa F Arno. Sect. VI. 1 praised — a portrait of Andrea Pisano, tkecomiteuance strongly marked. There is another Madonna, which Cicognara ascribes to Nino, bnt Avhich is claimed by others for Nicolo or G-iovanni di Pisa. There are several paintings ; the best is by Pazzi — a Madonna and seve- ral Saints. “ It is a very iioble pictime, and has much sentiment and feeling.” — P. This chapel derives its surname from a thorn in our Saviour’s crown, which was brought from the Holy Land by a merchant of Pisa, and presented to this chapel by his descendants in 1333. The surname, however, was not adopted till the beginning of the next century. San Paolo a Pvpa P Arno is another of the Lung’arno ornaments. Its archi- tecture, both internal and external, is of the 11th century ; for it appears from a Papal bull, dated 9tli February, 1115, that service was then performed tliere, and that this church, together with the adjoining monastery, belonged to the monks of Vallombrosa. The facade, with its four orders in the centre, and two on the flanks, remains in its ori- ginal state. There is a great variety of ornaments on this front, and it is difll- cult to decide Avhether some are ancient, or imitations of antiquity. The churcli is in the form of a Latin cross, and is divided into a nave and side aisles by columns of oriental granite, with marble capitals, of varied qjatterns, supporting arches. It is called the Puomo VeccJdo, and it has been thought that the j^re- sent cathedral is, in fact, a copy of San Paolo instead of being the original. The ancient paintings, by Cimabue, Buffahnacco, Simone Memmi, and other old masters, vdiich once covered the in- terior, have nearly all been whitewashed. The Lung'arno is closed on the W. by the Torre Guelfa, which forms a beautiful termination of the view, espe- cially in the evening sun. It is now used as a prison, and is generally called the Torre dei Sforzaii. It was intended for the defence of tlie Ponte a Mare, the bridge at its foot, and it is also a part of the arsenal, in which some other vestiges of the buildings of the age of the Repubhe may also be seen. The Diwmo growp and the Lung' arno form tAvo of the principal features of 1 Pisa. The Piazza de' Cavalieri is the ( third. This Avas the centre of ancient ‘ Pisa, and in the days of the Republic t Avas the Piazza degli Anziani, the Fo- o rum of the Pisans ; but Avhen Cosmo 1 I. established his order of St. Stephen t (1561), he granted the piazza, Avith its t smTOunding buildings, to this institu- g tion of pseudo-chiAMry,, The order Avas g framed in imitation of that of Malta. I The knights bear the same cross as to 2 form, but gules in a field argent, being > Malta counter-changed ; and in like ( manner they performed carovane, or [ expeditions, against the Turkish in- ( fidels. This aristocratic institution Avas, however, unpopidar in Tuscany. i It grated against the ancient feelings j of the Commonwealth ; neither did it I agree Avith the commercial spirit of ’ the country, Avhich drove a good trade Avith the East, and did not at all ad- mire fighting its customers. The Conventual Church of the order is partly from the designs of Pasari, and AA'as begun in 1565 ; but the in- terior Avas not concluded till 1594-06 ; the front Avas added, according to i\Ii- lizia, from the designs of PiiontaJenti. The general efiect of the interior, a single nave, is impressive. On either side are the Turkish trophies aa'oii by the knights, — banners, shields, tugs (or horse-tails), scimitars, poop lanterns, picturesquely arranged against tlie ’ Avails ; and which, you are told, Avero taken by the Pisans from the Saracens. The details of the architecture arc good ; but the principal decoration of the building consists in the paintings of the ceiling, executed by the best artists of the later period of Tuscan art, and enclosed in richly ornanicnled compartments. They represent the following subjects: — Cigoli, the In- stitution of tiie Order. This is in- teresting from the number of good and striking portraits Avliich it contains. — Ligozzi, the Triumphant Return of the j Twelve Galleys of the Oi’der from the " Battle of Lepanto, in Avhieh they took an imjAortant shai’e, well coloured, and one of the most spirited of the set, — Christoforo Allori, Mary of Medici cm- Tuscany. Route 42 . — -Pisa — Torre della Fame. 443 barking for France to espouse Henri Quatre. The richly adorned galley, the “ Capitana di San Stefano,” in which the princess sailed, forms a prominent object in the composition. — Jacoipo da lEmpoli, the Naval Yictory gained by the Galleys of the Order in the Ar- chipelago, 1G02, when five Turkish galleys were captured, and much spoil gained. — Ligozzi, the Attack and Plundering of Prevesa in Albania, 2nd May, 1605. — Jacojyo da Idmpoli, Assault and Capture of Bona on the Coast of Africa, 1607, when, amongst other pi’ey, the knights carried off 1500 of the inhabitants as slaves. The high altar, of rich coloured marbles and stones and gilt bronze, is splendid, though rather overwrought. It was put up by Foggini about 1700. The specimens of porphyry and jasper are peculiarly fine. In the centre is St. Stephen, the protector of the order, who must not be confounded with the protomartyr. On the 1. hand of the church is a Nativity by Fronzino, with the motto, “ Quern gemdt adoraviV' It is a picture of very great celebrity, fall of figures and of animation. The Yirgin, in conformity whth the motto, is in an attitude of adoration. The drawing, as in all good specimens of Bronzino^ lias much of the character of Michael Angelo. The Miracle of the Loaves and Fishes, by Lodovico Futi (about 1590), is distinguished by the correctness of the drawing. The costumes are those of the age of the artist, and have much variety. A series of paintings by Vasari and others in chiar’-osciuo represent the principal incidents in the life of the patron saint. They, as well as another Vasari, the Stoning of tlie Protomar- tyr, are not pleasing. The organs of this church are reckoned the finest in Italy. The Palazzo ConventnaJe of the order stands close by the church, on the site of the Palazzo degli Anziani. The architecture of the present building is by Vasari. Tlic front is decorated witli arabesques in tlie ])ecu]iar style called “ graffito,” executed by Forzori, under the directions of Vasari. They are produced by scratching otF the white coat which has been laid upon a black ground, and giving the middle tints by distemper. They are now nearly obliterated. Six fine busts of the first six grand dukes, who were grand masters of the order, are ranged just below the uppermost story. The bust of Cosmo II. is by Pietro Tacca, the scholar of John of Bologna. The fountain, by Francavilla, though small, displays fancy in the fish-mon- sters. By Francavilla also is the fine statue of Cosmo I. as grand master of the order, in front of the palace. The Palazzo del Consiglio delV Or- dine ' is another of the characteristic buildings of this piazza. It is of marble, and by Francavilla. Like the other palace, it is of the time of the Pepublic. The great hall is painted by Salimheni. The Collegio Pateano, opposite to the Church of San Stefano, has some faint vestiges of good frescoes. The institution was founded in 1605, by Archbishop del Pozzo, a Piedmontese, for the benefit of his countrymen study- ing in the University. Eight are main- tained here for four years. The Torre della Fame, formerly the tower of the Gualandd alle Sette vie, was situated in this piazza, by the side of an archway, under which passes the street leading to the Buomo. No vestiges remain of this building, the scene of the sufferings of Count L^go- lino, which Dante has immortalised. Its epithet is thus mentioned ; — “ Breve pertugio clentro dalla muda, Ija qual per me ha 1 titol della fame, E ’n che convieiie ancor ch’ altri si cliiuda, M’ avea mostrato per lo suo forame Piu lune gia.” Inf., xxxiii. 22-2G. “Tliroiigh a small loophole in that dismal cell (The ‘cell of hunger’ call'd from my sad fate, And where some other yet is doom'd to dwell) Pull many moons had shed their broken light.” Y'kiqih’4' Dante. It was ruined in Ihc Kith century, but some of tlvc walls were apparent till a very recent period : they are now enth’ely incorporated in a modern house. 444 Route 42. — Pisa — Sta. Catenna — San Sisto. Sect. VI. It is wonderful that the Pisans should have allowed so interesting a relic to disappear. Sta. Catenna.^ a suppressed Domi- nican monastery, built by Guglielmo Agnelli., is a Gothic adaptation of the Duomo, tier above tier. It Avas com- pleted about 1252. Like many of the churches of the Dominicans, who were preaching friars, it approaches more to the shape of a room than is the case with the churches of otlier orders. It has no aisles, nothing Avliich can in- terrupt the sound. The borders of heads round tlie windows are curious. The rich marbles of the front, fretted by small arches, are the gift of the Gualandi family. This church was the first settlement of the Dominicans in this city : they were brought over by Uguccione Sardi, who himself took the habit of the order. St. Thomas Aqui- nas resided for some time in this con- vent, and the pulpit from which he preached is yet preserved, “ On the l.-hand side of the door, at the bottom of the nave, is the monument of Simone Saltareili, Bishop of Parma, and after- M^ards Archbishop of Pisa (died 1352). It is composed of an altar tomb Avith bas-reliefs ; the canopy above is sup- ported by ill-shaped arches ; it has marble draperies, which angels draw back, exhibiting the effigy below, vfhich is hardly to be seen in the darkness. It is fine, though cut on the outside only for effect. Above this rises a tall, disproportionate, and inelegant taber- nacle, under which is a villanous copy of the Madonna of Nino in Sta. Maria della Spina. The bas-reliefs below have character and exjAression, but the rest is of rude and clumsy workman- ship. On the l.-hand side of the nave, half way up, is a cmdous picture by Francesco Trahii, a pupil of Orgagna. Christ from his lips sends rays of light to the heads of the four evangelists, from whom they are reflected to the head of St. Thomas, who then illumi- nates, first Plato and Aristotle, and then all the doctors of the Church. The figures of the Greek philosophers are the finest. Just beyond this picture is St. Thomas’s pulpit. In a chapel of the S. transept is an altar-piece, attributed to Fra Fartolomeo ; it has been entirely repainted, and is good for nothing. In a chapel beside it, in the same transept, ai’e tAvo most in- teresting statues by Nino Pisano, called ‘Faith and Charity,’ but the subject is doubtful ; they are admirable for grace, purity, and animation, and remarkable for bearing evidence of the rich painting Avliicli all Nino’s Avork seems to have undergone. The iris of the eye has been painted dark, the inside of the dresses blue, and their fringes as well as the hair have been gilt.” — R. The Piazza di Santa Caterina, an open place produced by the demolition of tlie once fine churcli and convent of San Lorenzo, has no architectural beauty excepting from the church of Sta. Caterina, which has been spared. In the centre is a statue of the Grand Duke Leopold I. in Roman armour, remarkable for its size and the beauty of the marble of which it is com- posed. San Sisto. The feast of St. Sixtus (6th August) was a fortunate day in the annals of ancient Pisa. Upon that memorable day tlie folloAving victories Avere obtained: in 1006 against the Saracens in Calabria ; 1063, again against the same enemies, at Palermo ; 1070, against the Genoese ; 1089, over the Moors in Africa ; 1114, the sailing of the successful expedition against the Balearic Islands ; and 1119, over the Genoese of Porto Venere. In conse- quence of these repeated coincidences, the citizens erected the church of San Sisto, as a token of their gratitude. The Consiglio Grande of the Republic used to meet in this church ; and throughout all the changes which the country has sustained, the city still re- tains the advowson or y)atronage. It was begun in 1089. The interior is supported by muges of line ancient columns of granite and cipollino; many are fluted. The paintings are not of much merit ; but affixed in the walls and over the door are three good bas- reliefs of the early Pisan school, origin- ally formingpart of thepulpit. Amongst the monumental inscriptions is one to Tuscany. Route 42 . — Pisa — San Nicolo — University. 445 the memory of Giovaimi Battista Bona- parte, of San Miniato, died 1274. San Nicola, founded about 1000, by Hugh Marquis of Tuscany, being one of the seven Benedictine abbeys which he endowed. It has been repeatedly altered and reconstructed. The cam- panile, built by Nicolo Pisano, is curious and beautiful. The exterior is a solid panelled octagon for two stories ; the third is an open loggia, and surmounted by a pyramid. Like many other of the public buildings in Tuscany, this has been hacked and whitewashed. The interior, which pre- sents a winding staircase supported by marble columns and arches, exhibits singular skill and contrivance. This staircase is important in the history of art, for, according to V asari, it afforded the pattern for the staircase of the Belvedere. Some mosaics in the in- terior of the church are early. The paintings are of an inferior character : one only, by Aurelio Lomi, may be noticed. The altars are rich in mar- bles, particularly that in the chapel of the Madonna. San Frediano, founded by the noble family of Buzzaccherini Sismondi in 1077, and of which a portion is pro- bably unaltered. The noble ancient columns may have been taken from some Roman building. The front has some curious fragments of an early date ; a Romanesque frieze with what we should call Runic knots. The church is imperfectly lighted, so that the paintings cannot be well seen ; and none are of any great merit. The slab marking the place of interment of Giovanni Stefano de’ Sismondi, 1427, is one of the few memorials of this ancient family, San Michele in Borgo claims to stand on the site of a heathen temple. Tlie crypt, which has been supposed to show vestiges of paganism, is of the 11th centy., and higlily remarkable. It was painted in fresco, of which some small remains may yet be discerned ; all the figures are Christian emblems ; the cock of vigilance, tlie eagle of zeal, the lion of fortitude, and so on. The fa(;ude of tlie church above was built by Gtiglielmo Agnelli, a pupil of Nicolo da Pisa. It is a Gothicised copy of the Duomo, a buildmg which has been most influential in and about this city. The interior, whicli is of the early part of the 13th centy., is fine, with rows of granite columns. Excepting a Virgin and Saints by Battista Lomi, which is tolerable, the paintings are not re- markable. San Matteo, on the Lung’arno. The church, which is Gothic, is partly altered. Connected with it is a curious convent, which cannot be entered with- out special permission. It contains a fine 0-othic cloister. There are some good paintings in the interior chapel of the nuns, particularly a specimen of Aurelio Lomi, the glorified Redeemer sm’rounded by Saints and Angels. San Pietro in Vinculis, consecrated in 1118: much curious antiquity both within and without. San Francesco. — This church, like many of those belonging to the Fran- ciscan order, has no aisles. The vault- ing is a bold span of 57| ft. The lofty campanile is half supported by two large consoles springing from the wall of the chm'ch, “ On the roof of the choir are some interesting frescoes, probably by Taddeo Gaddi. The clois- ters are remarkable for the richness of the foliage within their enclosure, and for the grace of their columns. The chapter-hall contains good frescoes of Niccola di Pietro ; the most important in Pisa after the Campo Santo.” — B. The cloisters contain the tombs of the most distinguished fomilies of Pisa. San Sepolchro, a singular octangular church, built by Liotisalvi, the archi- tect of the baptistery, for tlie Knights Templars. The Unwersitg of Pisa owes its foundation to Bonifazio Kovello della Gherardesca during his rule in Pisa, 1321) to 1341. It soon enjoyed great renown, owing to the distinguished persons wlio filled its chairs. It is, even at this day, one of the most celebrated in Italy. Until witliiii tlie last few years the government did everytbing in its ])Ower to restore it to its ancient splendour, by calling to it the best 446 Route 42 . — Neighbourhood of Pisa. Sect. VI. professors from every part of Italy ; a system adopted in Germany, and wliicli has so much contributed to the fame of the universities of that country ; but it is to be regretted that the present Grand Duke, discontented with the political feeling of some of its members, has in a great measure broken it up by transferring the faculty of law to Sienna : the consequence lias been the dechne of this once celebrated seat of learning. Tliere is a good marble statue of Galileo in the cortile of the university, erected on the occasion of the first meeting of the Scienziati Italiani, which took place at Pisa on the 1st Oct. 1839. The Sapienza, as it is called, is a well and conveniently fitted up building, commenced in 1493, but enlarged in 1543 by Cosmo III. There are now three faculties — theology, medicine and surgery, physical sciences and mathematics. It contained on an average between 500 and 600 students before the late suppression of the faculty of law; and though this number may not appear very large, the activity of the city greatly depended upon their resort to it. The Botanical Garden of Fisa con- tests the dignity of antiquity with that of Padua. This may be true as an in- stitution or estabhshment, for the plan was directed and carried into execution by Cosmo II., in the year 1544, on a plot of ground near the arsenal. But that garden was abandoned in 1563, and a second formed on the other side of Pisa, under the directions of the celebrated Cesaljdno ; and this second garden being given up in 1595, the present one, the third, Avas finally made by Giusepge Benincasa. With- out being sufficiently i4ch to satisfy the scientific botanist, it is a very pleasing spot to the stranger, exhibit- ing in healtliy growth so many slirubs, and plants, and trees, which, amongst us, are seen under glass, or struggling against the damp, cold, and darkness of our ungenial skies ; noble palm- trees, magnolias 60 or 70 ft. in height, the Mespilns japonica^ and many fine varieties of the oak. The sensitive plant also lives all the year in the open ah’ ; but the banana requires the pro- tection of a conservatory. To tlie stranger the ricli vegetation and un- stinted growth of this garden compen- sates, in a measure, for the want of that arrangement and neatness which is seen in similar institutions at home. The Museo di Sforia Nahirale was established in 1596, by Ferdinand I. The most interesting branches are those of Tuscan geology and ornitho- logy. It has been much enlarged and enriclied of late years bj^ the exertions of the Professors Savi. Some fcAV Eoman remains are still visible at Pisa. Of these, the most important are the Ancient Baths. Tlie Sudatorium remains entire, and is within in the form of an octagon, siu’- mounted by a vault, and Avith large niches in the alternate sides of the chamber. The remains of the vestibule of a pagan temple may be traced in tlie suppressed church of Sta. Felice, now the “ Archivio del Duomo.” Tavo magnificent marble capitals, belonging to one of the exuberant varieties of tlie Corinthian, are imbedded in the outer Avail of the building. They consist of figures springing out of a single roAV of acanthus-leaves ; Jove holding a sceptre Avith a tropliy on tlie one side, and a Victory on the other ; these two latter figures taking the places of tlie Composite volutes : on the other capi- tal is the god of silence, Harpocrates, between two Victories. They are re- i markable, as suggesting the origin of j the fanciful Komanesque capitals. ! On the 14th Aug. 1846, Pisa expc- ' rienced a smart shock of an eai’th- quake, vdiich threAV down the vaulting of the roof of S. Michele, and did some trilling damage to other buildings. No one was killed. Neighbourhood of Fisa. — Tlie Cas- cine, or dairy-farms, belonging to the Grand Duke, are about 3 m. from Pisa, outside the Fort a Nuova, and bc- tAveen the Maltraverso canal and the rt. bank of the Arno. Upwards of 1500 coAvs are kept here ; but the camels are the principal curiosities. There are about 200 of them j they do 1 I Tuscany. Route 42 . — Pisa to Florence. 447 not here do nmcli work, and the keep- ing of them up is merely a whim. The Certosa^ situated in the Valle di Calci, about 5 m. to the E. of Pisa, is a very extensive and richly decorated budding of the 14th century, and con- tams a fine church and cloister. With a view of preserving so splendid a building, Ferdinand III. re-established the Carthusians here in 1814. San Fietro in G-rado, upon the road to Leghorn, about 3 m. S.W. from Pisa. This is a curious church, erected before the year 1000. It was altered, whitewashed, and plastered in 1790 ; but where the original can be dis- cerned, the Pomanesque is seen in a style different from the Duomo. It is built with ancient materials. Of the 26 columns which divide the nave from the aisles, 15 are of G-rcek marble, and 11 are of Oriental granite. The capi- tals, which are of different orders, style, and size, are of Eoman work- manship. The campanile is of a cen- tiu’y or two later. According to tra- dition this church owes its name to the fact of St. Peter having built a chm-ch on this spot wdien he here set liis foot for the first time in Etruria. Here was the landing-place “ Gradus.” The authority quoted for this fact is a sermon of Yisconti Archbp. of Pisa in the 13th centiu’y. Witliin half an hour from the gates of Pisa you enter into a very beautiful (!Ountry, exhibiting diligent cultivation. The fields are generally compact. The vines festoon the trees, and every open- ing shows a charming distance. Tiie railway from Pisa to Florence runs close to the old post-road, or near it, as far as Signa. Novacchio Slat. 6 m. Cascina Slat., a clieerful small town in a very fertile district near the Arno. J’ortions of tlie church and ba])tistery are perliaps as early as the lOfh cen- tury. Here, in 1364, the Pisans sus- tained a signal defeat from the Floren- tines upon the feast of Han Yittorio, July 28 j and thenceforth that day became a national festivity among the victors. Fornacette. The church, rebuilt in 1786, has some tolerable paintings. Fontedera {Inns : Grand Albergo ; Ancora d’ Oro ; both very indifferent), a large village at the junction of the Era and Arno, with a jiopulation, in 1845, of 5767, in the richest part of the Yal d’ Arno di Sotto. The church wns built in 1273. Here the road to Yolterra turns off to the southward. The distance hence to Yolterra is about 30 ni. (See Hand- hooJe of Central Italy, Pte. 26.) Fotta St at., close to the Arno. Castel, or Cal del Bosco, the ancient boundary between the territories of Pisa dud Florence. San Fomano Stat. A road on the rt. leads to Monopoli, on a hill very abundant in tertiary marine fossils. On the rt. of the road, at about 2 ni. to the S. of the Pierino Stat., stands San Miniato delle Belle Torre, so called from being ci’owned with lofty belfries and towers, rising con- spicuously fi’om one of these heights. (Pop. in 1845, 2624.) Frederic II. fixed the i*esidence of the Imperial Yicar here (1226). It is celebrated as the birtliplace of Francesco Sforza, and as the first seat of the Borromeo and Bonaparte families. The Duomo was altered to its present form in 1488 ; some parts are of the 10th century. In 1775 it was adorned with statues and stuccoes. The Grand Duke of Tuscany has recently grarted the title of mar- quis of this place to an Englishman of Hebrew extraction. La Scala. (There is a tolerable Yetturino inn here.) All along this ])orfion of the road the characteristic features of the Yal d’ Arno prevail. Fields in square plots, bordered with trees, principally elms, a rich land- sca]>e, closed in by undulating hills. Fmpoli Slat. {Inn : Ijocanda del Sole ; a ])Oor place, but tolerable rooms), a tliriviiig town, wifli a po])u- lation of 6500, situated in the centre of the lower valley of the Aiaio, the most feililo ))roviuee of Tuscany, of wliicli it was, by G uuiciardini, called the granary. Its narrow streets, over wliich the ancient houses project upon 443 Sect. VI. Route 42. — Pisa to their timber machicolations, swarm lihe a beehive ; it looks as if every trade were carried on in the open air. Had the proposal made in the first meeting, or “ 'parliament,^' of the Ghi- belline chieftains in 1260, held in this place after the great battle of the Ar- hia, prevailed, Empoli would have be- come the capital of the Florentine state. In this memorable conflict, described by Dante as “ Lo strazio e ’1 "rande scempio Che fece 1’ Arbia colorata in rosso,” the power of the Guelphs seemed com- pletely annihilated, and all who be- longed to their jaarty — nobles and popolani, women and children — fled from Florence, and took refuge at Lucca and Bologna. It was then sug- gested that, in order to root out the hated faction, Florence should be razed to the ground, and the seat of govern- ment transferred hither ; and this would have been carried into effect, had not one man opposed it, Farinata degli TJherti. “ Never,” exclaimed he, “ will I consent that the dear city which our enemies have spared shall be destroyed by our own hands. Were I the last of the Florentines, I would die a thousand deaths to defend her walls,” So saying, he quitted the assembly ; but his voice prevailed. Dante was born five years after the battle of the Arbia : his meeting with Farinata furnishes one of the finest passages in the ‘ Inferno ’ (Canto X.) . In his last words to Dante, Farinata exults in the good deed which he had performed : — “ Poi di’ pbbe, sospirando, il capo scosso, A cio non fu’ io sol (clisse), ne certo Senza ct;'ion sarei con gli altri mosso; Ma fu’ io sol cola, dove sofferto Fu per ciascun di torre via P'iorenza, Colui die la difesi a viso aperto.” “ Then sighing mournfully, his head he shook ; ‘Not singlv mix’d I in that fray,’ said he, ‘ Nor without cause such part with otliers took. But when asst*mbled numbers had decreed 'J’o sweep fair Florence from the earth away, My voice alone was raised against the deed.’ ” Wright’s Dante. The palace in which the parliament of the Ghibellines is said to have been Florence — Empoli. held is yet standing in the Piazza del Meracto. The front is painted in fresco ; but all about it has a character of later date. The collegiate church, sometimes mistaken for a cathedral, built in 1093, preserves its original fat^ade nearly un- altered. The other parts were altered to their present state in 1738. It con- tains several good pictures ; amongst others, Giotto, Sta. Lucia in the Ca- vern, a fresco. — Jacopo da Fmpoli, St. Tliomas. — CigoH, the Last Supper. — Ligozzi, the Vision of St. John. — Three excellent species of scifipture, a statue of S, Sebastian by Rossellino ; the Virgin, a bas-relief, by Mino da Fiesole ; and the tripod supjjorting the holy-water basin to the 1. of the prin- cipal entrance, by Fonatello. Close to the church is a fine and ancient baptistery. It contains at the altar paintings representing the martyrdom of St. Andrew, attributed to Ghir- landaio. The font is of 1447. San Stefano (1367), formerly belonging to the Augustinians, retains some good frescoes by VoUerrano ; and Santa Croce displays a Cigoli of some merit, the Exaltation of the Cross. Tliere is a handsome fountain erected about 1830, in the great square. — Empoli used to be remarkable for its popular sports and games, but all have become extinct, except that on tlie feast of Corpus Christi a corso is held in the old national style ; witli climbing of “ mats de cocagne,” and the like, sup- posed to be the memorials of the fes- tivities practised upon the election of the magistrates of tlie “ League of Ein- poli,” 1260, a confederation comprising twenty-four communities, forming a minor republic under the supremacy of the Florentines. A Bailroad is now open from Em- poli to Sienna: tlie distance is performed in two hours, up the beautiful valley of the Elsa ; the Stations being Castel Fiorentino. Certaldo, the country of Boccaccio. Poggibonsi. Sienna. — (See IlandhooJc of Central Italy.) This road wiU afford not only ihe Tuscany, Route 43 . — Leghorn to Florence, 449 j quickest line of conveyance from Pisa i and Leghorn to Sienna, and to Rome ; I but also from Florence to Sienna, Yol- i terra, &c. i A mile before reaching Monte i Lupo station is Amhrogiana, a villa built by Ferdinand I. upon the site of one formerly belonging to the noble family of the Ardinghelli. It is in a semi-castellated style, with four great towers at the angles. The Glrand Ducal family never reside here, though the situation is pleasant. Many good paintings of flowers and animals, by the two Scacciati and Bart. Bimbi, wore placed here by Cosmo III. i Monte Lupo Stat. (Pop. 1482), a 1 situation commanding beautiful views ) of the reaches of the Arno, and of the ii surrounding country. The Rocca, or i; castle, was fortified according to Vil- ij lani by the Florentines, in 1203. On i| the opposite bank of the Arno, is the |i once stronghold of Capraja^ also rising ! boldly upon a hill. The men of Ca- praja, in alliance with the Pistojesi, sorely annoyed tlie rising republic of Florence ; and the Florentines, accord- ing to the fancies of those times, called the fortress (which stood close to the site of another previously denominated Malborghefto) Monte Lupo., the Mount I of the Wolf by whom the capra., or I goat, was to be devoured. Much earth- j enware is manufactured here of a very j rude kind, but with patterns much like i the antique. The road after this continues to run 1 along the Arno, sometimes quite upon I its bank, in the narrow defile connect- ing the lower and the central valleys of the Arno, in the latter of which Florence is situated. On the hills grow stone pines ; and in the ravines be- tween tlicm, and along the gorge in wliicli the river runs, extensive quarries pietra .serena, the sandstone used in the monuments of Forence, are ofiencd. A great deal of engineering diniculfy was experienced in carrying the rail- way through lliis defile. Signa Stat. (the Railroad licre crosses the Arno to the rt. hank, aban- doning the old post-road to Florence) (Pop. 4U20), an ancient borgo, sur- rounded by noble old walls, still re- taining their bold machicolations. It was fortified by the Florentines, in order to guard this road, by the advice, according to the Italian historians, of the English Condottiere Augut, i. e, Hawkwood, 1377. It is the centre of the manufacture of straw plait and straw hats, here carried on to a great extent. The narrow streets are filled with the busy workers. San Donato Stat., near Brozzi, a large village in the centre of a district which is considered as the very garden of the V al d’ Arno, and where cultiva- tion is carried to the highest degree. The numerous villas and the busi- ness of the road announce the approach to the capital. But smiling as it is during a great part of the year, the country round Florence is peculiarly bleak during the spring. Even as late as the middle of March, the roads are often whitened with frost, and the sky dark and gloomy. The Railway Station is in the Cascine, the Hyde Park of Florence, close to the Porta di Prato. Florence Stat. (Rte 44.) ROUTE 43. LEGHORN TO ELORENCE. Leghorn, Ital. Livorno. Lnns : the Hotel San Marco, kept by John Smith, is perhaps the cleanest and most comfortable in Leghorn. Thom- son’s, along-established and respectable hotel, has been lately removed to the Piazza dei Due Principe, is now very well conducted, and in a good situation. The Acquila Nera, a large house near the sea, and the Vitforia, in the Via Ferdinanda, both newly fitted up, arc Avell spoken of. The Hotel du IS’ord, near the landing-place, is convenient for travellers passing through. The Pension Suisse, a second-rale house. Beslaurants., La i’ergola, aud 11 Geardinctlo, in t he Via Cl ramie. 7 VII the steamers from and to Mar- seilles and (Jlenoa, going l.o and coming from Italian ports S. of Lcighorn, stop here. With respect to tlie dilferent steamers which navigate along this 450 Route 43. — Leghorn. Sect. YI. coast between IMarseilles and Xaples, see the information giyen nnder the head of Genoa. The French steamers carrying the mails offer the advantage of sailing about 12 o’clock in the day, and thus allowing you to see a great portion of the line of coast to Givita Yecchia, the private steamers always starting late in the evening ; another advantage is, that on leaving Leghorn for IMarseilles they do not touch at Genoa, thus saving an entire day. It must also be observed that, if time is an object, the French mail- steamers are the only ones upon whose regularity you can rely. They arrive on the iOth, 20th, and 30th, in the night, of each month, fi’om Marseilles ; and sail for Civita Yecchia and Naples on the following day. The same go- vernment steamers arrive at Leghoi'n, from Civita Yecchia and Naples, on the morning of the Gth, 16th, and 26th, and sail for Marseilles the same clay at 1 p.m. The boatmen’s charge by tariff for lanchng from, or pictting on board, the steamers one person with a mo- derate quantity of luggage, is 1 franc or 2 pauls ; and 20 francs for shipping or unshipping a loaded carriage. Passengers landing at Leghorn for a few hours are charged 3 paids for the pooi’house ; but although this tax has been levied for years, no such establishment yet exists, and the tra- veller is pestered at every step by sturdy beggars. The town porters have also the right to unload carriages arriving by land, and to transport passengers’ baggage coming by sea. Tliere is no tariff, and travellers arc subject to all kinds of extortion, 10 or 12 francs being a common demand for doing next to nothing. Leghorn being a free port, baggage is not examined upon landing at Leg- horn, but on going out of the Floren- tine gate. Railroad to Pisa and Florence: trains at 6^, 10’45 a.m., and at 1'35, 5-40 ; to Pisa, 7’45 p.]\r. Fares : 1st class, 7 paids ; 2nd class, 4/6 pauls ; 3rd class, 3 pauls. The journey takes 25 minutes. Ilaclcneg Coaches ply in abundance at Leghorn ; there is no tariff, but 3 1 pauls per hour is the usual fare. Passports . — Traimllers arriving at ’ Leghorn by the steamers must have their passports vised at the pohee, for 1 which 3 pauls are paid. If the traveller proceeding to IMar- seilles has taken the precaution of having his passport vised at Florence • by the British and French minister, he will meet with no delay or expense at Leghorn ; otherwise he must have it signed by the British and French con- suls, ancl pay about 11 francs. Travellers proceeding to Civita Yec- chia or Naples must obtain the visa of the Papal or Neapolitan consuls ; the want of the latter will prevent the j traveller even landing for a few hours > at Naples. The Papal and Neapolitan 1 ministers at Florence do not sign the passports of persons proceeding by sea to Civita Yecchia and Naples, evi- dently for the purpose of putting fees into the pockets of then* consuls at Leghorn. PooJcseller.—lSh'. Monsalvi, book and print seller, 26, Yia Fcrdinanda, speaks English, and is civil and oblig- ing to strangers. Manufaciiires, Sfc . — Coral ornaments are beautifully manufactured here. Tlie coral fishery is extensively carried on from Leghorn, several large feluccas being fitted out annually for the N. coast of Africa. The principal fislung- j grounds are about La Cale, Biserta, and i W. of Tunis. Tlie Tuscans share to an equal amount in this fishery with the Genoese and Neapolitans. The Mafjazino Micali is a great en- trepot for sculptures in alabaster, and the like. Ahat's Bazaar is stored ivilli Cashmere shawls and Oriental ciulosi- ties ; like otiier Livornese, he asks more than he intends to take ; and at Dinis warehouse old lace and English articles | in general, may be procured. | In no part of tlie Continent will (ra- | vcllers be able to obtain at so cheap a I rate English articles, or in so varied an assortment, as at Leghorn. All per- sons bound to the S. of Italy, or to the Levant, wall do well to bear this in mind. Leghorn being a free port, Tuscany. Route 43 . — Leghorn. 451 everything English or Erench may be there obtained as cheap as in London or Paris. A handsome building called “ Ca- sini all’ Ardenza,” and consistmg of several houses, let as furnished lodg- ings, has been built by a company, about 2 m. from Leghorn, on the sea- side, under Monte iS’ero, where sea- bathing and pure air may be had in perfection. An omnibus runs thence to Leghorn several times a- day. A tolerable restaurant is attached to the estabhshment. There are also other houses nearer to Leghorn, let as lodgings. Villa Palmeri adjoins the Baths San’ Jacopo, and Villa Crassilli just outside the gate. Leghorn has been greatly enlarged of late years by including the subimbs within the walls. Amongst the ports upon the Mediterranean it ranks as the fifth 5 viz. after Marseilles, Gtenoa, Trieste, and Sinyrna. It contained, in 1845, 71,077 Inhab., of whom upwards of 8000 were Jews. The historians of Tuscany have labo- riously tried to trace the existence of Legiiorri to the age of the Homans. It was a place of some im]3ortance in the 14th centy., but it owes its present greatness and prosperity entirely to the wisdom and good government of Eerdinand I., who (following the plans of his father and grandfather) may be considered as the read founder of the city. The first stone of the new walls was laid by Francesco I. on the 28th of March, 1577, but they had not made much ])rogrcss at his death. Most of the ])ublic buildings were erected by Ferdinand I., or about Ins time. A few years before {i. e. in 1551) the j)Opulation amounted to 719. lie in- vited inhal)itants of every nation and creed, — Coi’sicans who were discou- tenled witli tiie government of Genoa; Italians of other states seeking to escape the tyranny of their respective govennnenls ; Roman Catholics who withdrew from ])ersecut ion in Eng- land ; and new Christians, that is forcibly converted I\roor.s and .lews, us Well as .Jews who adhered to their religion, then driven from Spain and j Portugal by the cruelty of Pliilip II., animated and assisted by the Inquisi- tion. But above all others, the inha- bitants of Provence, and the traders of Marseilles, who were suffering from the war then wasting France, crowded to Leghorn. When, too, Philip III., by the edict of Valencia (22nd Septem- ber, 1609), expelled the Moors from Spain, “whose valleys were, in their industrious hands, as another garden of Eden,” Cosmo II. invited over 3000 of the exiles, in the hope that their great agricultural skill and in- dustry would fertilize the unwhole- some maremma^ or marsh-land, near Leglrorn. They were, however, found to be such turbulent subjects, that they were mostly afterwards shipped off’ to Africa. To these measui’es the present commercial prosperity of Tus- cany is in a great measure owing, so that Montesquieu called Leghorn the chef-d’ceuvre of the Medicean dynasty. The Jews have not increased in pro- portion to the rest of the population, stiU a large proportion of tlie trade is in their hands. The Camera del Com- mercio^ whicli represents the mercan- tile community, consists of 12 members, who are chosen from the most opulent merchants of the first class. This body has a considerable degree of au- thority ; business is very good and steady, and the number of commercial failures remarkably small. As might be anticipated from its history, Leghorn ])ossesses few inter- esting objects of art. The Torre del Marzocco, or Torre Rossa, is almost the only monument of tJie age of the Republic. It derives its first name from the Marzocco, or lion, placed upon it as a weathercock ; and its second from the colour of the marble. The T)i(omo is interesting, in eonsc- queuee of tlie fa(;ado liaving been de- signed by Inigo .Jones. 4'hc ])aiulings in tlie iS()//il/o, liy Lirjozzi, constitute its principal ornament. 9'liis eliureh was originally only ]iaro(‘hial, and the ('piscopal sc'o is of recent, foiuulat ion ; and another catliedral upon a larger scale has been begun. 4o2 Route 44 . — Bologna to Florence. Sect. VI. La Madonna . — Here are two good pictures by Roselli and one by II Vol- terrano. Every species of religion is per- mitted to have its place of worship, The English chapel is regularly served by a resident chaplain. The cemetery contains several beautiful and interest- ing marble tombs, amongst others those of Smollett and of Erancis Horner. It was, until late years, the bimying- place for all our countrymen who died in Tuscany and Lucca, and indeed for many of those who died at Home, there being no other English burying- ground in Italy before the present centy. The Grreeks have two churches, one for those who are united to the Church of Home, and the other for those who remain faithful to the Patriarch of Constantinople. The outward cere- monies are, however, pi’ecisely the same in both ; and those travellers who are not going to Venice or to Horae sliould take the opportunity of witnessmg their service. The Synagogue is richly ornamented with marbles, and is also an object of curiosity, next to that of Amsterdam. The marble statue of Ferdinand I., by Giovanni delV Opera, is a noble work. At the four corners of the pedestal are four Turkish slaves, in bronze, by Pietro Tacca, modelled from a father and three sons taken by the galleys of the Order of St. Stephen in the battle of Lepanto, and who attracted the notice of the grand duke when they landed, by their strength and manly beauty. They are repre- sented with their hands chained behind them : each with a different expression of grief, anguish, and despah', bespeak- ing the mental sufferings which they endured, and which speedily released them, within the first months of their hopeless captivity. The three Lazarettos of San Pocco, San Jacopo, and San Leopoldo, are all remarkable buildings of then- kind, and are well managed. Each was in- tended for a separate class of vessels, distinguished according to dilfei’cnt degrees of danger of contact, The first was for those which arrived Avith a clean bill of health ; the seeond, for those which Avere Avhat Avould be called in the East compromised; the third, for vessels with a foul bill : or, as it is expi’essed in the Italian, according as the patente Avas netta, tocca, or hrulla. The monastery of Monte Nero, upon a hill near the city, is Avortliy of a visit. The hill is covered Avith villas of the rich Livornese, and presents a pleasing prospect in the view from the roads and town of Leghorn. The monastery guards, in a richly decorated temple, a celebrated picture of the Virgin, Avhich is said to have been A^en crated by tlie people of Leghorn for 500 jnars : “ con gran frutto e grandissima divozione.” It is one of the many similar Avorks AAdiich found then* own way to the places which they noAV occupy. It is agreed by all Avriters on tlie subject that the present picture sailed by itself, in the year 1345, from the island of Negropont to the neighbouring shore of Ardenza, Avhere it was found by a shepherd, avIio, by the dhection of the Virgin, carried it to the spot where it now is. It is 7 ft. 7 in. high, and 4 ft. 0 in. AA’ide, is ])ainted on canvas glued to panel, and represents the Virgin and infant Saviour, avIio holds a string AAlxich is tied to a small bird. The aqueduct, AA'hich, Avhere it crosses the valley, is upon the Homan model, supplies the city with water brought from Colognole. It was erected in 1792, and is a fine Avork. Pisa. For the railroad from Pisa to Flo- rence, see Hte. 42. HOUTE 44. BOLOGNA TO FLORENCE. (9 posts = 72 m.) In going fi'om Florence to Bologna in the winter, with a pair of horses, two others are required at Mon1,e Carelli, and a third horse at every other station except Fontebuona and Pianoro. The proprietors of the diligence be- Tuscany. Route 44 . — Bologna to Florence. 453 Handbooh to Central Italy. tween Bologna and Florence wdl con- vey carriages between those two towns. Their charge, with 4 horses, varies from 28 to 52 Francesconi (including barriers and bridges). They change horses twice, and perform the jom’uey in 16 hours. Boloq-na. 1|- Pianoro (Inn : La Posta). Pianoro, as its name indicates, is in the plain, on a level space in the valley of the Savena. Ilere the road begins to ascend. \\Lojano (Inn; La Posta, middling). About this point begins a rapid ascent, presenting a fine view. Just before Filigare you pass through Scarica I'A-ssino (unload the donkey). At Pa Ca is the Papal custom-house, and a clean little inn. 1 Filigare (Inn: La Posta). Enter the Tuscan territory. Tlie Dogana is an ample and rather ' fine building. Noble views are commanded from it and its vicinity : a wild waste of mountains is all around, bleak and bare, but with a finely varied horizon. From some points the Adriatic may be distinctly seen in the sunshine. The road, although not so scientific as those constructed in more recent ^je- riods, is still very good : it skirts the Monte Beni, one of the finest moun- tains in this region. In order to pro- tect the traveller against the gusts of wind, walls have been erected by the government. 3 m. further on is Pietra Mala, a village with a tolerable inn. Close to tins place some remarkable phenomena are observed. The Acqua Buja, is a spring, frc(juently almost dry, between Monte Beni and Monloggioli. If a lighted matcli be brouglit near the mud of tliis sj)ring, tlie gases exhaled from it immediately take fire, burning with a lambent flame. Half a mile to tlio eastward arc the more extraordi- nary fires of Pietra Mala, which are constant ly issuing from a sloping spot of about H ft. across, of rocky ground. By a very higli wind tliey are extin- gui.shed, but a.s soon as it calms they light again spontaneously, and at night they may be seen for a considerable distance. The flames, Avhich resemble those of burning alcohol, rise to the height of about a foot from the ground. In damp weatlier they be- come more luminous. Tlie cause has been well described by Volta ; the gas emitted is a combination of carbon and hydrogen, resembling a good deal in composition the vapour of alcohol, and is probably produced by the de- composition of the vegetable remains in the subjacent sandstone rock. You now pass close under the Monte Beni, covered with scattered rocks of ser- pentine, and the Sasso di Castro. The height of the mountains is about 3000 ft., but they have an appearance of desolation which conveys the idea of greater altitude. 1 Covigliaio (La Posta, clean and decent : an extremely good country inn, and well supplied with provisions; it is the best sleeping-station between Bologna and Florence). This place is beautifully situated in a wild but shel- tered mountain valley. To the W. is the Sasso di Castro, to the N. Monte Beni : the rocks protrude everywhere through the scanty soil. 4 m. more of gradual ascent bring you to the summit of the pass, where winter and severe storms prevail above half the year, rendering additional clothing ne- cessary. Hence the road descends into the valley of the Sieve. 1 Alonle Carelli. This little borgo is partly by tlie road-side and partly on the adjoining heights. The slate and limestone rocks in the neighbour- hood, at the place called the Frhaja, are in very singular contorted forms. There is a tolerable Albergo, called the Maschere, a single liouso by tlie way- side, 18 m. from Florence, where the vetturini make a halt. Beseending still we arrive at 1 Cajfaggiolo, on the rt. bank of the Sieve. Tlie palace by the road-side was built by Cosmo de’ Medici, the merchant prince, whose favourite re- tirement it was. It is an interesting specimen of architecture, as well as a lino object, with its loiig-extouded, 454 Route 44. — Caffaggiolo — FJm'ence. Sect. VI. battlemented, and macliicolated n-alls, gatCAvays, and tOAvers, standing in a rich meadoAA', and the vieAv in the back- ground closed bj purple hills. It Avas enlarged by Cosmo I., but the internal arrangements of the older palace have been but little altered. After the death of Cosmo, Caffaggiolo became the favourite residence of Lorenzo and of his family : and here the young Giovanni, the futm-e Leo X., was educated by the celebrated Pohtian. Clarice, the wife of Lorenzo, resided here AA'ith their children, and Politian complained bitterly of the time which she compelled Giovanni to lose in reading the Psalms. Caffaggiolo, like so many of the palaces of the Medici, possesses a fear- ful celebrity from the crime perpetrated witliin its walls. Here the beautiful Eleanor of Toledo Avas murdered, July 11, 1576, by her husband, Pietro de’ Medici ; and on the 16th of the same month Isabella de’ Medici was strangled by hers, Paolo Giordano Orsini, at his viUa of Cen’eto-Guidi (7 m. X. of S. Miniato). “ They were at Florence when they Avere sent for, each in her turn ; Isabella under the pretext of a hunting-party : and each in her turn to die. “ Isabella Avas one of the most beau- tiful and accomplished Avomen of the age. In the Latin, French, and Spanish languages she spoke not only Avith fluency, but elegance ; and in her oAvn she excelled as an improvisatrice, ac- companying herself on the lute. On her arrival, at dusk, Paolo presented her Avith Gvo beautiiul greyhounds, that she might make a trial of their speed in the morning ; and at supjier he Avas gay beyond measure. When he retired he sent for lier into liis apartment, and, pressing her tenderly to his bosom, slipped a cord round her neck. She was buried in Florence with great pomp ; but at her burial, says Yarchi, the crime divulged itself. Her face Avas black on the bier. “ Eleanora appears to have had a presentiment of her fate. She Avent when recpured ; but, before she set out, took leave of her son, then a child, weeping long and bitterly over him.” — Hogers. All about Caffaggiolo the country and the vegetation are most beautiful : vines and mulberries most luxuriant. Tlie cypress and box hedges groAv Avell, and the odour of the latter is strong and pleasant in the sun. Tlie Apen- nines, seen from hence, are finely formed : the purple, in various grada- tions, from the most sombre to the lightest, is characteristic of the Apen- nines. The road again ascends, to cross the spur or lateral chain of the Apennines AAdiich separates the Tal di Sieve from that of the xirno, by Yaglia and Ferroglia. This portion of the undulating hilly road is pecu- liarly beautiful when you are proceed- ing from Florence. 1 Fonlelmona, in a picturesque, though stony valley. Near here, about a mile to the 1., stood the palace of Pr'atoliiw, built by Francesco de’ Me- dici, from the designs of Bernardo Buontalenti^ but now dismantled and demolished, excepting some small ]ior- tions of the out -buildings. The gardens are ornamented Avith curious fountains and Avaterworks ; but they have been much neglected. Tfie colossal statue of the Apennines, attributed, but erro- neously, to Giovanni di Bologna^ yet remains. All tiiis part of the road is upon the roots of flie Apennines, clothed Avith olives and vines. Passing on the rt. Trespiano, tlie great extra- mural cemetery of the city, gardens and country-liouses become more and more numerous, till at last you see Florence. Tlie view during tbc last fcAV miles before entering Florence is extremely beautiful. Florence is en- tered by the fine Porta San Gallo. 1 FLOKENCE. — .• Hold d’ltalie, on the Arno, looking to tbc southward, is Avell situated for winter. It is kept by Sig. Paldi, Avhose Avife is an Englishwoman. The Hotel des lies Pritanniques, on the S. side of tlio Arno, near the Ponte S. Trinita, is kept by the same proprietor.^ — H5tel Iloyal de la Grande Bretagne, on the N. side of the Arno, very good, but expensive. No tablc-d’hote or coffee- ^USCAXY. Route 44 . — Florence — Miscellaneous Information. 455 j>om. Breakfast, 3 pauls ; dinner and I ine, 7 paids ; bed-room and sitting- )om, from 15 to 20 pauls a- day. — jlotel de I’Anio, near the latter. — The llotel dll Nord, in the handsome Pa- Itzzo Bartohni, and in the Piazza Santa I’rinita, is a small clean hotel, with a lood table-d’hote at 5 pauls. It is .May, 1816) kept by a rrenchman, |dio was cook to Jerome Bonaparte. — lotel de York, good ; frequented by [he better class of Italian families and I’rench : a very good bachelor’s hotel, ind improved of late years. — Porta Ibssa, an economical house, much re- lorted to by Prench and G-erman com- aercial travellers ; breakfast, with meat ud fruit, 2 T pauls ; dinner, including rine, 5 pauls. — Hotel de Yew York, ■n the Luiig’arno, next to the Corsini Hlace, with table-d’hote, well spoken if — The Pellicano, now I’Europa., in he Piazza Santa Trinita. Bestaiivateurs. — The Aquila d’Oro, lorgo Santi Apostoli, is good and noderate. The Luna, in the Yia Con- lotta, near the Piazza Gran’ Duca, is jood. Cafes. — The cafe Honey, in the ^iazza Sta. Trinita, is the most fre- piented in Floreaice. Honey is the Tunter of Florence as regards ices, •onfeetionery, &c., and his hoiise is riucli resorted to for breakfast, as this neal may be obtained here for less han half the price charged at the lotels. There is a separate snibking- 'oom, naTnely, the one on the side learest the Amo. The Cafe della Minerva and Cafe Elvetico are also food ; but smoking is allowed. The wo latter are also restaurants. L()dijh\(js. — Pi'ivate lodgings abound n Florcu'-c: a comfortaUe bachelor’s ijmrtment, well situated, may bo had h from 13 to IS dollars ])cr month, nchiding service; and families will •:i>ily llnd apartments to suit all sizes ind means. As a place for living, Kl(jrcnf(' is perha])S the cheapest in j llalv. ?*Iiss Clark’s boarding-house, liUng’ariK), in the house once occaqiied I ay Srluiciderf’s hot«‘l, can bo rc'-oni- j 'maided. It was esLablislu'd by the , mother of the prc.sent [)ro[>rietor, and ] has maintained a good character for more than a quarter of a century. The charges are very moderate, 12 paids (5.?. ?>di) per day, including evei’jThing; the society is respectable, and it is an excellent establishment for ladies, or families unacquainted Avith Florence and its language. News Hoorn ami Circulating Lihrarg. — Vieusseux’s, in the Palazzo Buon- dehnonti. Piazza S. Trinita, is excel- lent, but the subscription, about IO 5 . a month, is high. The collection of jour- nals and newspapers of every country is very extensive and Avell chosen. Near the Palazzo del Podesta is an olTice caflled “ Denunzie dei Forestierif vhere may be seen a foho in which the names of all strangers, recently arrived, are alphabetically arranged, Avith their addresses, and the place Avhence they came, and, if they are gone, their destination. Volumes Avhich have been filled up, and therefore contain less recent arrivals, may also be inspected. Wine Merchants. — Mr. J ames Tough, a vei’v respectable man, in the Piazza Gran’ Huca, is extremely obliging, and Avill obtain lodgings and attend to all tlie Avants of his customers, giving ad- vice, &c. : he is at the same time banker and wine-merchant ; and, in the latter respect, better supj)lied Avitli fo- reign wines than any other in Florence. ]\Ir. Brown, in the Yia Ilondinelli, keeps a large grocery and wine Avare- house. Grocers. — Samuel LoAve, in the Piazza Sta. Trinita, and Townley in the Piazza degli Antinori and Lung’arno, are well siqiplied in Avincs, tea, sugar, and all English articles. Printsellers. — Luigi Bardi, Piazza San Gaetano, is llie ])rincipal, and one of ilio most extensive in Italy. Ed- ward Grodbaw, an Englishman, and Ibianerly an assistant at Bardi’s, an ()l)liging man, has opened a sliop for ]irinls, di’aw ings, stationci’y, Ac., o]>po site 1 lie (.'ale Doncy. flan hers. — .Mcs.srs. Fenzi and Hall, Piazza Grand Duca ; Maipiav, Parken- liam, and Smith, Piazza Santa 'I'rinitil, who have branches of their bank at the 456 Route 44. — Florence — Miscellaneous Inforrnatmi. Sect. VI. Baths of Lucca, Pisa, Siena, arid Borne ; and French and Plowden, Piazza Santa Trinitii. Mr. Brown, 4203 in the Via BondineUi, professes to take bills on England without commission, by which a saving of 1 per cent, is effected. He lias adopted the usefid plan of posting the rate of exchange daily at the door of his bank. Agent. — Mr. Sami. Lowe, Piazza Trinita, agent to Messrs. M‘Cracken, and banker to many Enghsli families. Diligences . — To Bologna three times a-week, in 16 hrs., and thence to Milan, Mantua, and Venice ; a diligence runs in the summer season to Bologna by Pistoja and the baths of la Poretta. A malleposte three times a-week to IMantua. Malleposte and diligence to Borne three times a-week, by Siena and Viterbo, in 36 lirs. To Arezzo tliree times a-week. To Forli, by way of Dicomano, three times a-week, in 19 lu's. ; a very agreeable road, and convenient for those who Avish to visit the Bomagna, Bavenna, &c. Malle- poste daily to Genoa by raihvay as far as Lucca. Bailways are now' open from Flo- rence to Leghorn, Pisa, and Lucca ; to Siena by Empoli and Certaldo ; to Pistoja by Prato. The fares are gene- rally speaking moderate : the station of the Pisa and Leghorn railroad (the Leo- polda) is in the Cascine, near the Porta del Prato ; that of the Pistoja and Prato line (the Maria Antonia) within the walls, behind the Church of Santa Maria Novella. Veiturini to Borne may be always met with. The joimriey by way of Arezzo, Perugia, and Terni, occupies five days in summer and six in winter, sleeping each night at a good inn; by way of Siena, one day less ; the fare for a single person, including living and expenses, from 12 to 15 dollars, 2/. 14.s. to 3Z. Is. Q)d. Families having their ow'n carriage may hire four horses for the journey by either road, which, in- cluding tolls, barriers, exclusive of living, or huona mano., wdiich is about 20 fr. for the whole journey, will cost 16 to 18 napoleons, 320 to 360 fr. The chstances from Florence to the principal places in Italy, in English miles, measimed along the nearest high roads, are as follow : — To Genoa, 182 — Turin, 293 — Milan, 244 — Verona, 174 — Mantua, 142 — Veniee, 186 — Modena, 82 — Bologna, 72 — Bavenna, 115 — Pistoja, 21 — Pisa, 53| — Leg- horn, 58 — Siena, 41 — Arezzo, 48 — Borne, 190 — Naples, 365. CarHages . — A carriage furnished by an hotel-keeper costs 25 })auls per day ; but residents may obtain from a car- riage-hirer a good open or close car- riage at 50 dollars a-month, including the coachman. Gamggee, in the Piazza San Gaetano, and lluband, on the Lung’arno, can be recommended as livery-stable keepers and horse-hirers. Gaetano Bartolotti, Borgo St. Aposloli, 1177, is a fair-dealing horse and car- riage hher. Hackney coaches in abundance ply in Florence. There is no tarill’, but 3 pauls a course is the usual hire. Private carriages to go out in the evening may be hired for 5 pauls, ex- cept to the palace, for which, without reason, they charge dearer. Dassports. — Travellers w'ishing to j remain beyond a Aveek at Florence I must obtain a Carta di Soggioiaio at the Police OlUce, which remains in force ! for only two months, and for Avhicli | a fee is exacted, the amount varying i according to the number of the family, | Persons going to Borne must have their passports vised by the British and Tuscan Minister for Foreign Af- fairs, and, if })rocccding by land, by the Papal Nuncio ; if by way of Leg- hom, by the Papal Consul at that port. Travellers going to Mai'scilloB by sea will save themselves delay and expense at Leghorn by obtaining at Florence the visa of the French Mi- nister. Clothes, Shoes, 4"c., may be liad in Florence cheaper than in Paris : there is a good English tailor, Haskard, very moderate in his charges. The | best boots cost 30 pauls, 14.v. ; men’s shoes 12 to 15 pauls, 6 a‘. to 8.s-. Coc- chi, in the Via dei Balestrieri, No. 823, ' is a good bootmaker; and Fani, in the ' Via Porta Bossa, is a good gentlemen j 'ruscANY. Route 44. — Florence — Miscellaneous Information. 457 and ladies’ shoemaker, and moderate in liis charges. Ladies' ShoernaLer. — Fiacchi, Yia Maggiore, 1871. Modistes. — Mad. Besan^on, over the Cafe Doney ; Mad. Giraud, Tia Bon- dinelli, 4203 ; Mad. Lamarre, Yia EondineUi. All thi’ee are fashionable and good, but by no means cheap. Dressmakers. — Mad. Feton, 4255, Piazza S. Maria jS'ovella ; Mad. Du- plan, alia Porticinola, a3S96 ; Begina, good and reasonable. Piazza della St. Annunziata. Linendraper, cf’c. — Charles Molk- necht, 44a Bonchnelli, an excellent shop, with reasonable prices, for Eng- hsh flannel, hnen, calico, &c. The proprietor speaks English. Leghorn Straw Bonnets. — In this article there are several dealers : a very good round hat for a man, uncut, should not cost more than from 12«. to 14s. for an article wliich would not be procured for less than from 40s. to 60s. in London. Ladies’ hats from 4 to 60 dollars ; but very handsome ones may be had for 14 dollars, or 3 giuneas. Generally speaking, the Florence shop- keepers, with few exceptions, ask about twice as much from a stranger as they will take : all you have to do is to beat them down with good humour and civility. Phgsicians. — There are four excel- lent English ])hysicians resident at Florence, — Dr. Harding, who is the Locock of Florence ; Sir Charles Her- bert ; and Dr. Wilson, M.D., late Phy- sician to one of the London Hospitals, possessing considerable expei’iencc both of English and Continental practice. Dr. Trottinan, Yia della Scala, 4280. Of native physicians. Prof. Zauetti is the most in vogue ; and Prof. An- dreini and Bignoli arc among the most celebrated Italian surgeons of the pre- sent day. Apolhecaries. — Forini, Piazza del Grunduca; Magrclli, Mcrcato Nuovo ; Cioai, Jhazza (lei Duomo. Medicines are com])Ounded according !(; tlie Englislj I’harmacopceia at the Kanna- ciu I'Y-rrari in the Piazza Hta. Trinila, where the charges are very moderate, N. 1852 . and where every English patent me- dicine may be obtained. II. Boberts, an English chemist and efruggist, keeps the Farmaeia del Sole, opposite the Corsi Palace, 4190 in the Yia Tor- nabuoni. Teresa Massoni, 4252, Piazza S. Maria Novella, 4° piano, is a respect- able and quiet nurse to attend upon sick persons. She has been accustomed to attend upon English ladies ; her daughter, Yittoria Massoni, is an ex- cellent needlewoman, both for em- broidery and plain work, and goes out by the day ; her charges are very mo- derate. Mrs. Petri, an Englishwoman, Yia Eoinana, 2307, is an excellent monthly and sick nurse. Baths. — There is an establishment in the Boi-go Santi Apostoh, on the site of the old Boman Baths, near the Piazza Sta. Trinita. A hot bath costs 3 pauls : baths are sent to any part of the town at 5 pauls each and a small gratuity to the porter. A new bath estabhshment has been set up in the Yia Maggio, equally good ; prices, paul, and 1 paul by subscription. Fancg shops. — Prinoth’s, in the Mer- cato Nuovo, is well supplied with everything French and English. Boolcsellers. — ^M. Molini, in the Yia degli Archibusieri, who is a pai’tner in the London house of the same name, is one of the most extensive and best- informed booksellers in Florence ; all French and English wmrks may be ob- tained at his shop. Guide Books, &c. Mr. Molini, formerly librarian to tlie Grand Duke, sjieaks English well, and travellers will had him and his sou most obliging in giving inforinatiou about masters and books, &c. Piatti has an excellent collection both of old and new books, but principally the former. Near the Duomo are several good and cheap booksellers. MnsicsoUer. — Bicordi, Piazza del Duomo; Ducci, Piazza San Gaetano, also lets pianos on hire. Sculptors. — Bartoliiu, Pampaloni, whose studio contained, in August, 181'5, a Magdalen and a Venus, both of considerable merit, and t’ostoli, the latter a vei'y rising artist ; bis slatuo X 4o8 Route 44. — Florence — Miscellaneous Information . Sect. VI. of Galileo pavticvilarlv good. Powers, [ Via della Poruace, 2538, an Amerisaii j artist, whose fine statue of the Greek : Slave was exhibited iu London in 1851. j Bazzanti is recommended for sepidchral j monuments, having put up most of those hi the Enghsh cemetery, and sent many to England : he also keeps the largest and best warehouse in Elorence for alabaster figm’es. Painters. — Bezznoli, Bnonarotti, jMussmi, Piatti, Pietro Milani (portrait jiainter), Yia Maggio. G. Tibaldi di Bologna, Borgo Ognissanti, is a good copyist of paintings in oil and water colour, and is also a teacher. Wood-carving and Picture-frames . — Tuscany has been long celebrated for this branch of art, of which we have seen some magnificent specimens at our Great Exhibition, by Barbetti, of Elorence, and Ginsti, of Sienna. Bar- betti, of whose work several fine speci- mens are in England, lives near the Chapel and Ponte delle Grazie ; he is celebrated for . liis pictru'e-frames : Ligozzi, Borgo Ognissanti ; Pacette, Yia del Palagi; Alfani, Yia Maggio, are good workmen. Pngraver. — Jesi, who executed the fine prints of the Madonna di Casa Tempi, and of the portrait of Leo X. Italian Masters. — Don Antonio Boschi, Casino dei Nobili, Piazza S. Trinita, 1° piano, is well recommended ; P. Aretmi, Lnng’arno, No. 1198 ; (h Tivoh, at Molini’s library ; Sig. Gue- rini, of Rome, 460, Borgo degli Albozzi, — his wife, an Englisli lady, goes out as a daily governess. An English lad}", Mad. Dupre, has established a scliool for young ladies, whicli is well recom- mended. Tire terms are 50Z. per annum for all branches of general female edu- cation. Tlie English Chaplain attends and gives religions instruction. Post-office. — Letters leave Elorence daily for England, Erance, Rome, Naples, and Genoa ; bu^ lettei’s posted on Eriday do not reach London sooner than those posted on Saturday. Letters ai-rive from England every day except Tuesday. Letters leave for the Levant ajid India on the 2nd, 12th, and 22nd of every month ; but their andval in I India depends upon the days of for- j warding the India mails from London, j Persons m Italy having correspondents j in India should be particular in pro- j vid ing them with the address of a house at Malta to receive and forward their letters to Italy. Otherwise, ac- cording to the present very income' nieut regulations of tlxe London Post- office, the letters go on to England, and are not forwarded from thence till the parties are written to by the London Post-office and deshed to cause tlio postage to be paid in London. This causes a delay of some weeks, and a heavy additional postage. Letters for England may or may not be prepaid ; the postage is 17 grazie in the former case. A letter from Elorence to London now takes 7 days. The post-office on feast-days is only open for an hour before chiu’ch-time. Divine service is performed every Sunday at 11 in the morning and 3'30 in the afternoon, in a new church situated nel Magho, at the back of S. Marco. It Avas built by subsci-iixtion, and opened iu Nov. 1844. Persons Avisliing to engage seats for any pei-iod shoxdd ap])ly at the churcli every Saturday from 1 till 3 o’clock. The charge for a family of G persons for 6 months is 140 pauls. The price of admission to a single service is 2 pauls. This cliarge is made at the doors, or tickets may be obtained at the principal English shops. A Swiss church is ojiened next to the Casa Schneiderf, on the Lung’ arno, where the service is performed in Erench in the morning, and in English in the afternoon, in the Presbyterian foi-m. Elorence. Pop. in 1845, 106,899. “ Firenze la hella'" has been cele- brated by many in all ages for the beauty of its situation. If the traveller ascend to the high ground of the Bo- boli Garden, or to the church of S. Miniato, or to Bellosguardo, or to Eicsolc, ho will admire the ])icturesquo forms of the buildings of the city, the bright villas scattered about the rich and wooded plain and on the slopes of the hills, and the fine forms of the mountains Avhich enclose the prospect. Tuscany. Route 44 . — Florence— General Aspect. 459 The environs of Floreuee have been described by Ariosto in the 'vvell-knowii lines — “ A veder pien di tante ville i colli, Par che il terren ve le g^ermogli come Vermene germoj^liar suole e rampolli. Se denfro un mur, sotto iin medesmo nome Fosser raccolti i tuoi palazzi sparsi, Non ti sarien da pareggiar due Home.” Ariosto, cap. xvi. delle Rime. "Witliin, the streets are, with few ex- ceptions, narrow. The older biuldings are grand from their massive character : the basement story being often of great sohdity, sometimes of the most massive rustic work. The finest palaces are crowned by a deep cornice in a bold style of ornament, whose size is pro- portioned to the total height of the building. This massive rustic base is a characteristic of the Tuscan style. This is the term usually employed by Yasari. Tliis peculiar character pre- vailed till the 17th century, when the builchngslost aportion of their national character, and became more like those of the rest of Italy. A profusion of iron- work adds to them prison-like appearance, which is increased by the comparative scarcity of windows and the smallness of the apertvmes. Yery many of the facades of the churches are unfinished. Florence lies so com- pact that the visitor may visit and revisit every feature of im])ortance dur- ing every day of his stay. IModern Florence forms an hregidar pentagon, unequally divided by the Arno, now shallow and sluggish, now swelling and rushing down from the mountains with irresistible fury ; thpec quartieri are on the N. of the Arno, and one on the S. side of the rher. The ancient city was wholly on tlic X., and an altentive obseiwer may yet find indications of llic successive cn- largianents which it has sustained. Tlie Primo Cerchio, or nucleus, was confined witliin narrow limits, forming nearly a rectangle, of wliich llie (Vont- age towards the Arno extended from tlie Ponte S. Trlnita to half way Ik'- tween tlie Ponte Vecchio t\m\ [\\c, Ponte atle (Jrazie, a distance of about 100 }urd.s, and extending from X. to S. about 600 more, the ancient church of the Aposioli being just without the walls, and the Duomo or cathedral bemg just within. This was probably the precinct of the original Roman colony. The first distinct historical notice of Florence is found in Tacitus (Ann. I. 79), in relation to the em- bassy sent by the Florentmes to Rome, A.D. 10, for the purpose of presenting them petition against the proposed diversion of the Cliiana into the Ai-no, a scheme devised for diminislhng the then frequent inundations of the Tiber, but by which tlie danger which their district sustained fr'om inundation would have been increased. Remains of Roman buildings have been dis - covered, but rude and poor, and indi- cating the insignificance of the city. A few notices of the existence of Flo- rence after the invasions of the Rar- barians can be traced, but the history of the city is exceedingly obscime. Modern criticism equally rejects the legends of its foundation by the Roman senate upon the site of the camp of King Fiorino after the destruction of Fiesole, and the tales of its desolation under Attila, and its restoration by Charlemagne. It appears, however, to have continued increasing in popida- tion under the government of the cele- brated Countess Matilda. The inhabitants of the Primo Cerchio Avere the descendants of the ancient Etruscan or Roman colonists, subju- gated but left undistimbed by the Teu- tonic victors. Many poAverful and noble families, liOAvever, of the adjoin- ing country, as it is thought of Lom- bard lineage, had been from time to time settling themselves round about the city, in the dillercnt horyhi, the smallvillagcs and toAvnshi[)S Avhich grew up around it. These Avere aggregated to the community, aaIk'u the distinc- tion of origin liegan to be obscured, and in 1()7H it Avas decreed that the Avliole po])ulation should be included Avitliin tlie Avails of tlie ISecondo Cerchio, of Avhieh the Arno frontage extimds from the Ponte detla Carraja to the Ponte (tUe C’/v/r/c, about double the length of the first enclosure. X 2 4G0 Route 44. — I'lorence — Anciert Towers. Sect. VI. In the Primo Cercliio the iiarroTmess and complexity of the streets, or rather of the alleys, mark the crowding of the ancient population round the fane of them tutelary saint, St. John, the pro- tector of Florence. Both the first and the second Cerchio were thickly stud- ded with the towers of the nobles, varying from 120 to 150 hraccia in height, at once the token of aristocracy and the means of abusing aristocratic power. Hence, in the great revolution in 1250, which estabhshed democracy, it was or darned that all these towers should be reduced to the height of 50 hraccia^ an injunction which was rigidly executed ; and these truncated dun- geons were afterwards either demo- hshed or incorporated in other build- ings. At Oneglia the traveller may see some of these towers in them ori- ginal state, others, more altered, at Pavia and Bologna. At Florence only one of them subsists ; it is the Torre de' Girolami^ more commonly called Torre di San' Zanohio^ situated at tlie angle of a street near the Mercato Nuovo ; and where, according to the popular belief, tliis Bishop of Floren^-e, who flourislied in the 4th century, was born. Antiquaries liave supposed it to be Etruscan, but it is evidently not older than the 11th century. It has been altered and G-othicised. Tlie Terzo Cerchio^ the circuit formed by the existing walls, and whieli in- cludes the Oltr' Arno, was begun in 1285, and not completed, at least on the 1. bank of tlie Arno, before 1388. Arnolfo gave the plans and designs. In the usual spirit of magnificence whicli distinguished tlie republic, it was decreed in 1324 that, at the dis- tance of every 200 hraccia, tliere should be a tower 40 hraccia in height, as well for beauty as for defence ; and some were much loftier, Giovanni ViUani, the historian, was director of the works, and he has described them with delight and pride, Tlie aspect of this portion of the city differs mucli from that of the fii’st and second circles. It wants them early historical monu- ments, but here are the great Convents of Friars, wdiose orders did not arise or become of nnportance until after the building of the second emeuit, and which here obtained the extensive sites which many still enjoy. The streets hero are wide, straight, and well- planned ; many of them existed as Borglii before they were taken into the town. Of these tlie Via Larga is the principal. The citizens took a larger measure than they were able to fill. In the main city there is yet much void ground, and in the Oltr' Arno fully one-half is occupied by the Glrand Ducal Garden of Boboli, and that of the noble House of Torrigiani. The walls which mark this last en- largement of the city, and the length of whose circuit is 5 m. 7 fiml. and 61 yds., English measure, continue entire and unbroken throughout the whole extent, excepting where the more modern citadels of the Belvedere and the Fortezza da Basso have been in- serted ; but the towers which orna- mented their circuit have generally been demolished, or lowered to the level of the curtain. “ These towers,” says the historian Yarchi, who had seen them in his younger days, “ en- circled the city like a garland.” They were demolished in 1527, when the Florentines were menaced by tl)e Im- perial army under tlie constable Bour- bon. Tills was the era when the mo- dern system of fortification began ; and outworks being cast up by the cele- brated engineer Antonio di San Gallo, it was thought that the ancient towers rather diminished the defensibleness of the city. The most perfect are on the southcin side of the Oltr' Arno. The walls are utterly unavailable foj' any purpose of defence in modern war- fare. Their utility consists in furnish- ing stations for the examination of passports, and in affording the means of collecting various small city tolls, of w'hich the only one that can concern a foreigner is the pedaggio, paid for opening the gates after the hour (8 o’clock) when they are shut for tlie evening. All the ancient gates are nearly uni- form in design ; a tower, pierced by a circular arch. Porta San Gallo^ Porta Tuscany. Route 4:^. — Florence— Ancient Gates — Bridges. 461 San Miniato^ Porta San Niccold, Porta S. Frediano, and Porta Romana, are perhaps the most perfect, yet all have suffered mutilation by the cutting down of the towers wliicli surmounted them. Several of the gates are decorated with “ Marzocchi,” or figures of lions, con- sidered as emblematical, but which are now m general too w^eatherworn to be very intelligible. The Porta San I Giorgio, decorated with a bas-relief of the legendary saint from wliom it de- rives its name, varies in design from the others, and is not destitute of pic- turesque beauty. Opposite to the Porto San Gallo is a triumphal arch, erected 1737, in commemoration of the enti’y of Francis II. The architecture is from the designs of Giado. It is an imitation of the arch of Constantine, covered with ponderous bas-reliefs, by artists of little note. Two Medicean fortresses break the line of the ancient walls, and are mo- numents of the destruction of the liberties of the republic. Pope Clement VII. directed the building of the For- tezza da Basso, on the N. side, for the express purpose of keeping the city in the obedience of his nephews, the base- born Alexander and Tlippolitus. The i first stone was laid on the 15th July, ! 1537, at 25 min. past thirteen o’clock, according to the horoscope cast by Friar Jidian Buonamici, and it was completed in less than a year. The Medici were strongly advised to erect this fortress by Filippo Strozzi, who here expired, caught in the toils which he had woven. (See Palazzo Strozzi.) Tliere is nothing remarkable in the in- terior of the fortress, excepting some ancient cannon, and tlie circumstance of its having been amongst the first examples of regular polygonal fortifi- cation. The fortress of Belvedere, on the S. side of the city, corresponds with the Forlezza da Basso on the N. It stands upon the Poggio, or liill oi' San Giorgio, jwljoiuing the gale of that name. This fortress commands a noble view of the city, which it could batter down and (le.stroy. it was built in 1530, by order of Ferdinand I., lluonlalenli being the architect. In the centre is a small but not inelegant Palazzo. Beneath are the vaidts intended to contain the Grrand Duke’s treasures. The ii’on door is said to have been closed by a subtle lock, which, by its chscharge of pistols would kill any one attempting to open it, unless he possessed the secret of turning the key. A contrivance of the same nature was exhibited many years ago in London. The portion of the river within the city is crossed by four bridges, all of which at various times have sufiered more or less rtiin from the rivePs fm'y. Tlie 4-i*no, generally so placid and low, is fed by mountain torrents : and occa- sionally swells in the coiu’se of a few hours to a most extraordinary height, inundating the adjacent parts of the city, and bearing down all obstacles before it. The Ponte alle Grazie, or dd Riiba- conte, the furthermost to the E., was first built by Lajgo, the father of Ar- nolfo, under the direction of Messer Ruhaconte, a Milanese, who filled the office of Podestd in 1235, He himself laid the first stone, and cast in the first bushel of lime. It is to this Messer Ruhaconte, w'ho was a great improver, that Florence owes its pre- sent flagstone pavement, brick having been the material previously employed. This bridge has undergone frequent repairs. It w'as exceedingly damaged by the great perpemlieular walls, in the shape of ail octagon, to a certain height, and, X 3 456 Boute 44. — Florence — The Cathedral. Sect. VI. placing tlie dome upon these walls, secured for it the elevation wliich he desu’ed. The finest view of the exterior is oh- tamed from the S.E. Here the pro- portions of the dome, rising from amidst the smaller cupolas by which it is simrounded, can best be appreciated. The traveller should, instead of, or be- sides, going up the campanile, go up the dome ; 1st, because it is higher, and the view towards Fiesole is not interrupted by the dome itself, as it is from the campanile ; 2ndly, because the arcliitectm-e of the two shells is thereby seen ; and 3rdly, because no correct idea of its size can be formed without doing so. Over the first door on the N. side are statues attributed to Jacopo della Quercia ; over the second door, en- circled by rich Gothic work, is an As- sumption, by Nanni cV Anton di Banco ^ called La Mandorla^ or the almond, from the shape of the compartment in which it is placed. Beneath are the two small statues by Donatello^ and in the lunette is an Annunciation in mo- saic, by Lorn. Glm'landajo. On the S. side the Madonna over tlie door nearest to the campanile tower is attri- buted to Niccolo Aretino, and that over the other door to Gio. Pisano. The interior is rather dark, owing to the smallness of the windows, and the rich colours of the beautifid stained glass by whicli they are filled. The impression of size is enhanced by the proportions of the four arches, which stretch along the whole length of the nave. These arches are all pointed, but not truly Gothic, having large key- stones, upon which armorial bearings are scidptured. The wliole design is characterised by grandeur and sim- plicity. The pavement is tesselated with red, blue, and white marble, add- ing to the finish of the structure. The stained glass of the windows is said to have been executed at Lubeck, by a Florentine artist, Domenico Livi da Gamhass% 1434, who, in a coeval entry in the book of the works, is styled the greatest master in this art in .the world : the designs of the greater part of them are attributed to Ghi- herti and Donatello. Over the prin- cipal door is a mosaic representing the coronation of the Yu-gin, by Gaddo Gaddi. Above the side- door in the W. wall, to the 1. or N. of the principal en- trance, is the monmnental fresco paint- ing of Sir John Hawkwood. The name of this celebrated knight is with some difficidty discej’ned in its Itahan ver- sions, — such as Giovanni Aucohedda^ Falcon’ del Bosco, Giovanni Acuto or Acutus, the last being here adopted in the inscription to his memory. Su' John was tlie son of a tanner, one Gilbert Hawkwood, and born at Sible- Hedingham, in the county of Fssex. “ He wns first bound,” says Frdler, “ to a tailor in the city of London ; but soon tmmed his needle into a sword, and his thimble into a shield, being pressed in the service of Kmg Fdward III. for his French wars, who rewarded his valour with knighthood. Great the. gratitude of the State of Florence to this their general Hawkw’ood, who, in testimony of his surpassing valom' and singular faithful service to their State, adorned him with the statue of a man of arms, and sumptuous monument, wherein liis ashes remain honoured at tliis present day. Well it is that monument doth remain : seeing his cenotaph, or hono- rary tomh^ whicli sometime stood in the parish-chm’ch of Sible-Hedingham (arched over, and in allusion to his name, he-rehussed with hawks flying into a ivoodi), is now quite flown away and abolished.” “ Hawkwood appears to me the first real general of modern times ; the ear- liest master, however imperfect, in the science of Turenne and Wellington. Fvery contemporary Italian historiiui speaks with admiration of his skilful tactics in battle, his stratagems, liia well-conducted retreats. Praise of this description is hardly bestowed, cer- tainly not so continually, on any former captain.”^ — Ilallam. Besides bestowing this monument, the republic interred Hawkwood at their expense, and all the noble citizens of Florence came out in funeral pomp. Tuscany. Route 44. — Florence — The Cathedral. 407 By a decree of tlie Signoria, Paolo Uecelli was employed to paint tliis effigy. Tlie 'pendant to Sir J olin is another equestrian and monumental portrait, of the same size and nearly in the same style, painted by Andrea del Castagno. It was likewise placed by the repuhhc to commemorate another hired general, Nicolo Tolentino^ wdio, taken prisoner by the army of Milan, died in captiyity (1434), not without suspicion of poison. These two fres- coes haye been lately moyed from the wall to the end of the naye. On the wall on the rt. hand on en- terhig, that is, in the S. aisle, is the monument of Brunelleschi. He was buried at the expense of tlie republic. His bust, a portrait, is by liis disciple Buggiano : the inscription wns com- posed by Carlo Marzuppini, the chan- cellor of the repubhc, and records the I gratitude of his country. To Giotto, whose monument is a little further on, the same tribute of respect was paid ; but liis bust, by Benedetto di Majano, was placed, long afterwards, at the ex- pense of Lorenzo de’ Medici. The epitaph is by Politian. Next is a statue, which was one of those which I formerly adorned the "W. front, attri- t buted to Donatello. Then a fresco of ; St. Jude, by Lorenzo di Bicci. The I monument next to this, with a seated I figure by Andrea Pisano, is that of I Antonio d’Orso, Bishop of Florence, ; I who, when the city was besieged by j the Emperor Henry YH., manned the : i walls with the canons of his cathedral, ■ I whom, in full armour, he led on against \ the enemy. Further on, beyond the : door, ai’e two frescoes in grey, by Lor. ' Bicci ; the first represents Luigi Mar- sili ; the second. Bp. Pier Corsini, d. 1 1405. Further on is a bust, by Andrea ' Ferucci, of Marsilio Ficino, the great j restorer of Platonic philosophy : he I also received the tribiite of a public I funeral. j 'I’he interior of the cupola is ])aintcd jin Fresco from designs of Vascrri, and begun by him, but linislied, after his death, by Zuccheri. They represent : l*arudise, Prophets, Angels, Saints, the Gift of the Holy Spirit, the Punish- ment of the Condemned, all Dantesque in their general stoiy. The figures are bold and gigantic. YHien first ex- posed, they excited universal disap- ]:)ointment : and Lasca, who made them the subject of one of his burlesque madrigals, declares that the Florentines will never rest till they are white- washed : — • “ Georgin’ Georgia’, debb’ essere incolpato, Georgia’ fece il peccato. Presuatuosameate ii prirno e stato La cupola a dipiiigere. E il popol’ P'ioreatiao Noa Sara mai di laoaeatarsi staaco, Se fotce im di, aoa se le da il bianco.” The choir and the high altar are placed beneath the dome. This posi- ‘tion has the advantage of adding a meaning to the dome. The choir is upon the plan of one previously erected by Arnolfo, but which was renewed in its present form from the designs of Baccio di Agnolo (1547-1568). It con- sists of an octagon basement or dado, supported by Ionic columns. The basement is adorned Avith fine bas- reliefs, by Baccio Bandinelli, and some, of scai’cely inferior merit, by his dis- ciple, Giovanni delV Opera. These bas-i’eliefs of Bandinelli “ are admirable for theh breadth and fine treatment, and disposition of their draperies. The fault of his composi- tion generally, whether of one or several figures, is in its too pictiwesque ar- rangement, and in his placing liis figures in somewhat forced and affected atti- tudes.”— Westmacott jtin. Behind the high altar is a group of Joseph of Arimathea, the Yirgin and another IVlary entombing the body of our Lord, left unfinished, by Michael Angelo. “ This, as a composition, is of the highest merit .” — Westmacott jun. It is said that he worked at tliis group during the later years of his life, intending to have it placed upon his tomb. Over (he door of the Ancient Sa- cristy, wliieli is between the S. tran- sept and the tribune at the E. end, is tlic As(!cusion, in terra cotta, by Luca della. Ilohbia, and above arc reliefs by Donatello. 468 Sect. VI. Route AA.— Florence — The Canipanile. It was in this sacristy that Lorenzo de' Medici took refuge when he es- caped the daggers of the Pazzi. Under the altar at the E. end is the bronze slirine of San Zanobio, by Ghi- herfi. The principal compartment re- presents the miracle said to liave been worked by the intercession of San Zanobio, the Eesuscitation of a dead Child. In this tribune is a statue of St. John, by Donatello^ and one of St. Peter, by Baccio BandinelU, when young. The sacristy between the tribune of the E. end and the N. transept is called the Sacristia della Messa. The bronze door and the terra-cotta bas- relief over the door are by Luca della Bohhia : tlie latter is the first work executed by him in this material. The figures in marble of Children on tlie Lavatoiy are by Bnggiano. The frieze of children, surrounded by flowers and fruit, is by Donatello. The pavement of the centre of the N. transept contains a small circular tablet of marble, enclosing anotlier smaller piece placed eccentrically. The latter, together Avith a plate of brass fixed near a window of the lantern of the cupola, and pierced to admit a ray of the sun, form the gnomon, con- structed by Paolo Toscanelli (died 1482), a mathematician of eminence. It has been improved by Father Xi- menes, by the addition of a graduated metal plate. One of the purposes for which it was intended was to observe the change which takes place in the obliquity of the ecliptic. Near the door in the N, aisle, nearest the choir, is the poidrait of Dante, by Domenico di Michelino., placed here by a decree of the republic in 1465. The poet is represented with the features and costume of the generally adopted idea of Dante, familiarised to us by Plaxman’s designs. On the rt. hand are Hell, Purgatory, and Paradise, in small groups ; on the 1. is Florence enclosed within its turreted circle of walls ; the inscription in Latin verse under it is by Politian (1490). Over the other side door is a wooden tomb, wLich seems to have been ori- ginally draped. It is supposed to cover the remains of Pietro di Toledo, Yicei’oy of Naples. — Another problem- atical tomb is of marble ; it is orna- mented AAuth a cross between two eagles. Tradition gives this tomb to Conrad, the son and rival of the Em- peror Henry IV. ; but history rather negatives tliis. — Beyond is the tomb of Antonio Squarcia Lupi, the cele- brated organist, erected by Lorenzo de’ Medici; his bust is by Majano. The Campanile, or bell-tower, was designed by Giotto, and begun by him in 1334, pursuant to a decree com- manding him to construct an edifice which in height and in richness of work- manship should surpass any structure raised by the Greeks or Homans in the most palmy periods of their power. It is a tower, square on the plan, rising in the same dimensions to the height of 27 5f ft. Eng. Taddeo Gaddi, who had the direction of the works after the death of Giotto, considered that it woidd be better to omit the spire, AAdiich, according to the design of Giotto, Avas to have risen from the top of the present tower to a height ot 50 braccia, i. e. 95f ft. It contains only four stories, of which the tallest are the basement and the topmost one. The windows in the upper story are larger than tliose in the two beneath. The architecture is Italian -Gothic. On the basement story are two ranges of tablets, all from the designs of Giotto, and executed by him, and by Andrea Pisano, and Luca della Bohhia. The following are the subjects, according to Forster : — The lower range of rebels represent the progress of the civilisa- tion of man. Commencing on the W. side, at the end nearest the duomo, and proceeding to the rt. hand round the tower, the subjects of the lower range are as follow : 1 and 2. Creation of Adam and Eve. 3. Their first labour. 4. Jabal, “ the father of such as dAvell in tents, and of such as have cattle.” 5. Jubal, “the father of all such as handle the harp and organ.” 6. Tubal- Cain, “ the instructor of every artificer in brass and iron.” 7. Noah’s disco- very of Avine. S. side. — 1. Early r<;li- TuSCiXY. 469 ; Route 44 . — Florence — Baptistery . gion, Sabianism, or tlie worsliip of tlie host of heaven. 2. House-building. 3. The woman provides the liouse with earthen vessels. 4. Man taming the Horse. 5. Woman at the loom. 6.. Legislation. 7. Daedalus, as the repre- sentative of exploring and emigration. E. side. — 1. Invention of navigation. 2. Hercides and Antaeus, symbolical of War. 3. Agriculture. 4. Use of the Horse as a beast of draught. 5. Arclii- tecture. N. side.— The seven liberal Arts and Sciences. 1. Phidias, Sculp- ture. 2. Apelles, Painting. 3. Do- natus. Grammar. 4. Orpheus, Poetry. 5. Plato and Aristotle, Philosophy. 6. Ptolemy, Astronomy. 7. An old man with musical instruments. U pper range. W. side. — The seven cardinal virtues. S. side. — The seven works of mercy (see these enumerated, p. 420). E. side. — the seven beatitudes (?). N. side.— The seven Sacraments, or rather six, for instead of Penance there is a Madonna and child. Over the door is the Transfigui’ation, by Andrea Pi- sano. These reliefs are curious, and of beautiful workmanship ; but some of them are exjDlained by conjecture only. Above the two ranges of reliefs are sixteen statues larger than life, four on each side. On the W. side are the four Evangelists, three of them by Donatello. The two centre figures re- present Francesco Soderini, his patron, and Barduccio Cherichini, one of his most intimate friends. The latter is the famous Zuccone^ or Daldpate^ which, it is said, the artist preferred to all his other works. “ Parla^i' ex- claimed he, as he gave the last stroke of the chisel to the dumb effigy. Dona- tello worked confuria; and the excla- matiou was a burst by which the work and the master were erpially charac- terised. The statue next the S. side is by Gio. de' Rossi. On the S. side are the statues of four Prophets : three by Andrea Pisano, the fourth by Gioltino (?). On the E. side are four saints, tlie two statues in the middle are l)y Donatello, the two on tlie outside by Niccolo Aretino. On the N. side are four Siliyls, Die first three to the eastward, by Puca della Rohbia ; the fourth by Nanni di Partolo. Within, the stories form finely vavdted chambers. The staircase can be easily ascended. On the summit may be seen four great piers, from which was to have risen the spire. The cost of this tower was enormous : it is calculated in the books of the Duomo that the average cost of each square braccia (say 4 ft. square), reckoning the apertures as well, was 1000 florins. The particu- lars are collected from coeval authori- ties ; yet then.' amount is rather start- ling. Two fine statues, by Pampaloni, have recently been erected on the S. side of the Piazza del Duomo, in honour of the architects of the Duomo, Arnolfo and Brunelleschi. They are among the best productions of modern Itahan art. The conception of Brunelleschi is good ; on his knee is the plan of the Duomo, and he is looking up to see it realised. Near this statue is the Sasso di Dante, a flagstone thus inscribed, where for- merly stood a stone seat on which Dante used to sit and contemplate the cathedral. Patisterio di San Giovanni. — The chief ornaments of the baptistery,— those to which it owes its reputation,- - are the three bronze doors, executed, one by Andrea Pisano, and the two others by Ghiberti, which latter were declared by Michael Angelo worthy of being the gates of Paradise. The gate executed by Andrea Pisano is the one towards the S. It was com- pleted in 1330, as appears by an inscrip- tion which yet remains. Giotto, as we are told by Vasari, gave the designs. Later authorities have doubted this ; yet the figures, particularly the allegori- cal figures of virtues in the lower com- partments, — are Gioitesque in concep- tion and in design. Hope stretching fortli her hands towards the Celestial Crown is an excellent example of Christian allegory. Above are the principal events in flic life of St. John. “I'liese compositions have a Gotliic and simple grandeur.” — Flaxman. “ ddiis work is admirable for its beauti- ful sent iment and siinplicily, though it 470 Route 44 .—-Florence — Baptistery . Sect. VI. must be allowed to be deficient in tlie I meclianical excellences of sculp tnre.” — Westmacott jun. “"Wlien this gate was fixed and exhibited, the event was celebrated throughout all Tuscany as a festival. The Signoria, or rulers of the Republic, who never came forth from the palazzo in state except upon the most important occasions, attended the first exposition of the works which they deemed the i)ride of their city. They were accompanied by the ambassadors of the then rival crowns of Naples and of Sicily ; and the rights of citizenship were granted to the Pisan — he, the son of the rival republic — as the highest honour wliich could be awarded to him by whom Florence had been thus adorned.” — Q. Revieto. The northern and eastern gates were added (1400-1424) at the expense of the mercliant-guild. The work was thrown open to general competition, and Gliiherti, Brunellescld, Donatello, Jacopo della Quercia, Niccolo d' Arezzo, Francesco Valdambrina, and Simone da Colie all strove for the prize. In the casting and execution of the N. gate, Ghiberti, who is said to have been only 20 years of age when he began his work, was assisted by his father, Bartoloccio, and by nine other artists, all of whose names are pre- served in the annals of tlie wardens of the baptistery. Upon this gate are displayed the principal events of the ministry of our Lord. The third, or eastern gate, and the most beautiful, represents in the compartments the leading events of the Old Testament, whilst the framework is filled with statues and busts of patriarchs, saints, and prophets of the Jewish dispensa- tion, in bas-relief. The statues of Miriam and Judith are to be distin- guished. Elegance of design is espe- cially remarkable in the recumbent figures at the lower portion of the door. Flaxman observes as to these gates, “ The criticism of Sir J. Rey- nolds was one indisputable proof of that great man’s judgment in the sister arts. His observation amounted to this,^ — that Ghiberti’s landscape and buildings occupied so large a portion of the compartments, that the figures remained but secondary objects, entirely contrary to the principle of the an- cients.” — Leet. X. “ Ghiberti brought to this work a great knowledge of composition, a superior acquaintance with the more beautifid forms and movements of the human figure, a re- fined feeling for expression, and con- siderable powers of execution. They very far surpass the works of his j^rede- cessors in the revival of sculpture, and in many respects have not often been excelled. It is not pretended that these reliefs are free from faults. Their chief imperfection arises out of the un- defined notions which then existed of the true principles that respectively govern, or shoidd govern, composition in painting and sculpture. It is ob- viously out of the province of the latter art (which is confined to representing objects by defined forms alone) to attempt perspective appearances and effects wdiich can only ]:>e truly and correctly given by aid of colour, or by the skilful distribution of liglit and shadow. In the work under considera- tion this principle is invaded. Objects are represented in various planes, and those which sliould be subordinate are, in consequence of the necessary relief given to them in order to define their forms, forced upon the attention, or cast sliadows to the injury of more im- portant features in the design. The number of small parts and a too great minuteness of detail are also defects in this remarkable work, and deprive it of that breadth of effect wliich is so ad- mirable a quality in art.” — Westmacott jun, A.R.A, Tlie design of this gate was suggested, and the subjects chosen, by the cele- brated Leonardo Bruni, surnamed Are- tin o from his birthplace, in a letter addressed to the committee to whom the arrangement of the work was in- trusted. In this letter he insists upon the necessity that the artists shoidcl be well informed in the histories, so as to represent them with accuracy. Very beautiful borderings of plants surround the S. and B. gates of the Batisterio. The sums paid to Ghiberti and h'is "use ANY, 471 Route 44 . — Florence — Baptistery. ssistants for tlie two gates amounted 0 30,798 florins, a sum wliicli shows he exceedingly high standard by which uch proficiency was measm’ed. Cfroups, Iso of bronze, adorn the frontispieces -f the three portals, all of merit. Over he S. door is the Decollation of St, rolin, by Yincentio Danti ; over the 'astern door is the Baptism in the J or- lan, by Andrea da Sansovino; and )ver the N. door, St. John preacliing 0 a Sadducee and a Pharisee, by Fran- 'esco Rustici, but executed, according o. Yasari, according to designs by Leonardo da Vinci. Borghini con- nders these statues as among the best productions of modern times. At each side of the eastern gate is 1 dark and shattered shaft of porphyry. It is said that, when the Florentines (1117) assisted the Pisans by guarding their city during the expedition which achieved the conquest of Majorca, they were offered their choice between two of the trophies won in the island, cer- tain bronze gates, or two splendid columns of porphyry. The latter being selected, they were duly transmitted to Florence, covered with scarlet cloth : but, when the drapery was removed they had lost all their beauty, for the rival republicans had spitefidly passed the gift through the fire, whence, as it is said, arose the proverb, Fio- rentini eiechi, Pisani traditoriP They are now encirled and kept together by iron bands ; for the Piazza being entirely filled with water during a vio- lent storm in April 1424, occasioned, as it should seem by the bursting of a water-spout, conjoined to an inunda- tion of the Aimo, the eoluinns were undermined, tlirown down, and broken by the fall. Above are the rusty links of the massy chain which, borne away from the Porto Pisano in 13G2, were here suspended in triumph. The Baptistery itself is in form an octagon, supporting a cupola and lan- tern. Tlie external wall, of black and wlute marble, is a coating erected in 1288-93, by Arnolfo. Tlic structure which this coating encloses is sup]ioscd by tlie early Florentines to have bcc'n the temple of their tutelar deity Mars, who, injured by the substitution of another patron, long continued to dis- play his ire against his unfaithfid votaries. Thus Dante introduces Ja- copo di Sant’ Andi’ea, saying, “ r fui della citta die net Battista Cangid ’1 prime padrone ; ond’ ei per qiiesto Senipre con 1’ arte sua la fara trista.” Inf., xiii. 143-145. “Mine was the city which exchanged of yore For .John the Baptist her first guardian ; he 'Will always use his means to make her sad.” Wright’s Dante. And a statue of the god of war, formerly on the Ponte Yecchio, was supposed to have stood beneath the centre of the dome, which,, in its ori- ginal state was open to the sky ; the lantern having been erected in 1550. Within, the 16 splendid Corinthian and composite columns, unquestionably ancient, surmounted by a range of Ionic pilasters, as well as the general arrangement of the structure, and its similarity to the Pantheon, give some countenance to the opinion of - its Homan origin. On the other hand, the irregular employment of the Roman orders, and tlie fragments of a reversed inscription, may be considered as proofs that it was raised in a barbarous age ; and the Tuscan archeeologists seem in- clined to consider it not older than the 6th centy. It seems clear that it was a finished building in 725, and it is evident tliat, whenever it was built, the architect must have had the Pantlieon in his mind, so strong is the general resemblance between the two buildings. Originally, this building was not the baptistery, but the cathedral, ft stood without the walls ; but in those times it was not unusual for cathedrals to be so placed. When the (*athedral was biult St. John’s became the Baptistery. At the beginning of tlie 13tli centy. the western door was closed up, and the tribune built for the altar, which Avas restored in 1732. Uji to 1293 the building was surrounded with graves, wliich are s])oken of b}' Bo(!caccio ; but in (hat year the ground around it was paved, and, owing lo (he accumulat ion of card), the basement of stiqis which ran all round was concealed. 472 Route 44 . ^ — Florence — .Bapfisteiy. Sect. VI. Dante speaks of tliis building, — ^‘mio bel San' Giovanni," — as if lie de- lighted in it : tliongli bis mischance in breaking some part of a baptismal font, for the purpose of saving a child from drowning, occasioned one of the many unjust charges from wliich he suffered m his troubled life. Speaking of the cavities in which shiners guilty of simony are punished, he compares them to the fonts, — . . . “ nel mio bel San Giovanni, Fatti per luogo de’ battezzatori ; L’ un degli quali, ancor non e molt’ anni, Kupp’ io per iin che dentro v’ annegava : E questo fia suggel ch’ ogni uomo sganni.” Inf., xix. 17-21. . . . “ In St. John’s fair fane, by me beloved — Those basins form’d for water, to baptize ; (One of the same I broke some years ago. To save a drowning child ; be this my word A seal, the motive of my deed to show).” Wright’s Dante. The portion which he damaged was some smaller font or basin conjoined to the large one. But the explanations are not very clear, and the great font itself was destroyed by Francesco de’ Medici, upon the occasion of the bap- tism of his son Pliilip (1577), greatly to the displeasure of the Florentines, who carried away, as relics, the fragments of marble and of mortar. The present font was erected in 1658, but it seems to be of an earlier period, and has been attributed to Andrea Pisano. The cupola is covered with mosaics, some by a Grreek, Apollonius ; others by Andrea Tafi, Taddeo and Agnolo Gaddi, Fra Jacopo da Torrita, Domenico Ghir- landajo, Alessio Baldovinelti, Lippo Lippi, and other Florentine artists. Though executed at different periods, they exhibit nearly the same style. Perhaps few masses of mosaics are so large as those whicli cover this cupola, and extend for some way doAvn tlie walls. — A gigantic figure of our Lord in the centre, the Rewards and the Punisii- ments of the Just and of the Wicked, the Orders and Powers of the Celestial Hierarchy, Prophets, Patriarchs, and the Bishops of Florence in the lowest range of the seven circles, enrich, while they darken, the vault above. In these frescoes appears the Lucifer of Danto with the soul “ che ha maggior pena” half in his mouth. Beneath is a varied pavement (1200) of smalto ; which, as at Lucca, is ex- actly of the same workmanship as that at Westminster Abbey. The patterns are very complicated and beautiful. The site in the centi’e of the demolished front is paved with marble, and a por- tion of the pavement is occu])ied by a very remarkable memorial of ancient science, older than the mosaic, and as- cribed to Strozzo Strozzi, the great astrologer, wlio died 1048. In the centre is the Sun, surrounded by the following verse, which may be read either way, and does not make much sense any way : “ EN GIRO TORTE SOL CIOLOS ET ROTOR lONE.” Tliis is surrounded by a zodiac or- namented with arabesques, the avIioIc in low relief. In the centre of tlie scidptured Sun is a point ; and it is supposed that when the stone was in its original position (for it has been moved), the rays of the Sun shone exactly upon that centre at 12 o’clock on Midsum- mer-day, on the feast of St. John tlie Baptist. Near the S. door, and between it and the principal altar, is a statue of Mary Magdalen, by Donatello, of wood, smaller than life, and remarkable from its being unlike the common conception of the character. The saint is repre- sented as Avorn down by penance, witli no luxury of dress, her beauty gone, yet its traces left. Tlie noble tomb of Balthasar Cossa (John XXIII., d. 1419) bears tlio insignia of the popedom on the armorial sliields. He was deposed in the coun- cil of Constance (1414) and Ottone Colonna, or Pope Martin V., substituted in liis stead. Martin objected to the title of “ Quondam Papa” here given to his predecessor, but the Florentines would not forget that their countryman had been Pope, though deposed. The tomb is in the style of the Renaissance. The sarcophagus is supported by Faith, Hope, and Charity ; the two latter by Donatello ; the rest is by Micbelozzi. h .m„narlr F I "USCANY. Route 44. — Florence — Or’ San^ Michele. 473 All the baptisms of the city are still >erformed in this church, according to he ancient ritual. According to the 'crbal information of the registrar, he average number of baptisms is low 3500 per annum. From 1470 to .490 the average was 2094 annually ; rom 1770 to 1790 it was 3355. In .835 it was 3564. It is stated that, aking the average of months, buths re scarcest in June, and most plentiful Q January, February, and March. We lotice this assertion, in order that those j^ho are mterested in statistical in- uiries may, if they choose, examine nto its accuracy. The Piazza di San^ Giovanni is, in ict, one with that of the duomo. The ospital of the Bigallo on the S. side, hough modernised, shows some fine emains of Grothic, attributed to Niccola "^isano. The small statues in the front, acing the Baptistery, are by Andrea r Niccola Pisano. The oratory, now sed as a depository for government apers, contains three statues (one being f the Yirgin) by Alberto Arnoldi 1358) ; and, on the step of the altar, lany figures painted by Bidolfo Grhir- indajo. Between this building and the laptistery is the column of San Zano- io, erected in the 14th century, to ommemorate a mhacle said to have akcn place upon the translation of his dies : a withered trunk of a tree, hicli was touched by his coffin, having prouted out in leaves. Several of the ouses about the duomo, though much Itcred, bear the marks of republican ntiquity, particularly one with fine rejecting shields. In the Gaardaroha^ near the duomo, re preserved several remarkable monu- lents of ancient art. — Tlie Possale.^ or Itar-table of the baptisteiy, is of silver,- iehly enamelled, and the frame-work is f delicate Gfothic workmanshij). It as begun in 1366, but was not com- Icted till after 1477. Ghiherli, Or- \igiia, Bartolomeo Ceiini., Andrea del "'erroccliio., and Antonio del Pollajuolo [cre cirqiloyed ujion it, and the books f account, testifying the jiaymcnts ladc to them, arc yet jircscrved here, he table, which is about 5 ft. in height and 15 in length, is in three divisions. In the centre is a fine statue of St. John, by MicTielozzi di Bartolomeo. Around, in compartments, is the history of the life of St. John. The tabernacle and filigree work are of great delicacy. In the portion executed by Antonio del Pollajuolo the countenances are re- markable for their expression. The figures, of course, exhibit a progress in style. The altar-table is only used on the annual festival of the patron Saint. — A rich silver crucifix (about 1456), by Betto di Francesco Betti^ a Floren- tine, Milano, the son of Domenico Bei, and Antonio del Pollajuolo. — A pastoral staff of tlie same period, with the Virgin, St. J olm, and other figures. — A mosaic diptych of Gireek workmanship of the 11th century. It had been preserved in the Imperial Chapel of Constanti- nople, and was sold to the baptisteiy towards the end of the 14th century, by a Venetian lady, Nicoletta de Grrioni- bus. Her husband had been chamber- lain to the Emperor John Cantacuzene. The figures are small, and the work- manship is fine and delicate : the tes- serae of the mosaic are microscopic, and are so well put together as almost to have the effect of miniature. As far as design is concerned, this diptych is the finest specimen of Byzantine art now existing. Tlie setting is evidently of much later date than the compartments. The Guardaroba also contains many early paintings of the scliool of Giotto. Or’ San' Michele. This building should be viewed with tlie remembrance tliat the part which is now a churcli was originally a market-place, and that the upjier part was a granary. From this latter clestinatiou the building de- rives its name, “ Horreum Sancti Micbaelis.” Erected by Arnolfo in 1281, by order of the Sigiioria, tlie basement, then an ojieii loggia, con- tained a picture of the Virgin, by Itgo- lino Sanese, wliicb, having in 12t)l per- formed sundry miracles, bc(‘ame the object of great veneration. About 1337 it was (U'tiM’inincd to consecrate this jiortion of the edillco, which was thcre- nj)on facial willi stone and einbellished by Taddeo Gaddi — if, indeed, it waj» 474 [Route 44. — Florence — Or’ San^ Michele. Sect. VI. not entirely altered according to his de- signs — and a chapel Tvas erected around the painting. The crowds who visited it disturbed the market-people ; and the Signoria, having determined to convert the whole lower story into a church, under the dmection of And/t'ea Orgagna, the openings of the arches of the loggia were closed up. This sanctuary com- manded so much veneration, that, in the year of the great plague, described Boccaccio, 1348, the ofi'erings amount- ed to 35,000 golden florins. The two upper stories, however, continued em- ployed for their original purpose until Cosmo I. in 1569 converted them into a depository for the pubhc archives, and as such they are still employed. The statues with which the exterior is adorned are among the best produc- tions of the ancient Florentine school, and were erected at the expense of various trading guilds. Beginning at the eastern side, and moving round to the L, they stand in the following order : St. Luke {Giovanni di Bologncc), by the advocates and notaries. St. Thomas with Christ {Andrea del Yer- rocchio), by the Mercanzia. St. John the Baptist {Qliiherti), by the Arte de’ Cahmala, or drapers. On the S. side, St. John the Evangelist {Baccio di Montelu'po), by the silk-merchants ; St. George {Donatello), by the sword- makers and armourers — a masterly pro- duction. “ Donatello’s marble statue of St. George is a simple and forcible example of sentiment ; he stands up- right, equally poised on both legs, his hands resting on his shield before him. Michael Angelo, after admiring this statue some time in silence, suddenly exclaimed ‘ March.’ ” — Flaxman. St. James {Nanni di Banco), by the fur- riers. St. Mark (Dowafe/Zo)— greatly admired by Michael Angelo, who is said to have addressed the statue Avith the query, “ Wlarco, perclie non mi parli'T On the W. side, St. Eloy {Nanni di Banco), by the blacksmiths, Avlio have universally adopted the Bishop of Tournay as their patron saint ; he is the protector at this day of the Wor- .shipful Company of Blacksmiths in London. — St. Stephen {Ghiberti), by the wool trade ; so much admired, that the artist thereby procured an order from the money-changers or bankers for the St. IMatthew in the next niche. This j niche had been assigned to the bakers, | who had proposed to adorn it with * St. Lanu’ence ; but, being a very poor t company, they resigned the post to the ; more opulent community. “ Ghiberti’s St. Matthew wants the severe chastity of the apostolic character, and the head i is inferior to those in the spandrels of his gates ; the attitude also is affected, and the drapery unnatural. His talents were better suited to the elegance and dehcate finishing of smaller Avorks.” — Flaxman. N. side, the next niche originally contained Donatello’s St. George, Avhich explains Avhy there is a bas-relief by Donatello, referring to St. George, below it. It is noAV filled with a statue of St. Luke, attributed to Mino da Fiesole. In the next niche is placed a group of four saints, wliose names are not knowm, by Nanni di Banco, foreed into their present ill- adapted site by his master, Donatello, with the aid of amputations performed on the figm’es, St. Philip, appertaining to the shoemakers, also by Nanni di Banco. Lastly, St. Peter, placed by the butchers, by Donatello. Of the plates of majolica, or circular tablets of earthenware, by Luca della Bobhia, re- presenting the emblems or ensigns of the trades, and inserted in the Avails, only two remain. The Avindows of the church are ex- ceedingly beautiful. The arches are circular, but the tracery flows in inter- secting curves with delicacy and grace ; and the niches or tabernacles arc in the best style of Florentine Gothic, of which they exhibit the peculiarities. All these are from Orgagnai s A gentle-' man of great taste, William Hamilton, i Esq., some years ago proposed to have i this building modelled m alabaster, and | it could be weU represented by this 1 mode. The interior (to Avhich the principal entrance is on the W. side), as might , be expected from its original destina- i tion, has not the usual architectural j arrangement of a church. The plain ^ ruSCANY. Route 44 . — Florence — Santa Croce. 475 nd massy piers which divide it into wo corridors or aisles are suited to he market. The frescoes by Agnolo xaddi, Jacopo di Casentino, and An- Irea del Sarto have been whitewashed. 5ome portions the stained glass yet •emain. It is rich and harmonious in •olomv The pride of the chiu'ch is the taber- lacle of white marble, constructed, for lolding the miracle-working picture, Orgagna., 1348-1359, with olFer- iigs made during the great pestilence, hu-mounted by a statue of St. Michael, t rises nearly to the roof, and a stair- :ase within leads to the interior of the •anopy. Arabesque patterns are formed )y the richest marbles being inlaid in i fine mosaic work, enhancing the deli- •ate white ground ; and occasionally oright colours are produced by bits of ^lass placed over foil. The interior of .he vaulting of ^the canopy is mosaic. Every inch is finished with elegance. It is profusely adorned with sculpture, )f which the following are the subjects, fu front of the shrine two bas-reliefs, — the Marriage of the Yirgin and the Annunciation, “ the first exquisite, and .ike Angehco,” H. — fine. At the S.W. mgle, supporting the column, are two grand heads of prophets, and three rhtues, — Patience, Fortitude, and Per- severance. On the S. side are the Nativity and Offering of the Wise Men. In the first, the sliepherds, seen in the distance, are most characteristic of Orgagna. Between these two bas- reliefs is Charity, or Divine Love ; and at the S.E. angle. Humility and Chas- tity. On the E. side are the Presenta- tion in tlie Temple, with Simeon and Anna; and the Angel appearing to Joseph, and bidding him flee into Egypt. At the N.E. angle Docilitas (a beautifid figure), Prudentia, and Soler- tia. On the N. side is tlie Birtli of the Virgin : next to it, in the centre, is Faith, the least satisfactory of all the beads : tlien Christ teaching in the I’emple wlien twelve years old. “ The story is told most marvellously. The bead of the princi])al figure is broken, but the body is full of exfircssion : some j small figures lean forward most earn- | estly to listen; one, cmdously enough, playing on a psaltery.” — H. At the angle are Obedience, Justice, Devotion. There are also two heads of prophets at each angle. “ The angels round the central picture are very characteristic ' of Orgagna.” — H. The grand compo- sition beliind, the Death and Assmnp- tion of the Virgin, with the name of the artist and the date 1359 inserted, cannot be seen from below. It needs a ladder. The sculptor has here, ac- cording to Ahasari, introduced his own portrait in the elderly Apostle, with shaven beard and a hood wound round his heafl. The church also contains, over the principal altar, a fine pieta by Orgagna. A marble statue of the Virgin and Cliild, formerly in a niche on the out- side, by Simone da Fisole. A group in marble of the A^irgin and Child and S. Anna, by Franc, di S. G-allo. Owing to the Florentines having snccessfidly risen against the tyranny of the Duke of Athens on the 26th July, 1343, they erected in this church an altar to Sta. Anna, wdiose anniversary is on that day. And there is still a procession of the Arti or trades, with banners, to this churcli on that day. The exterior of Or’ San’ Alichele was dilapidated, but it is now repahed (1846). Santa Croce., the jirincipal chiu’ch of tlie Black or Observatine Friars in ancient Florence. St. Francis sent his earliest colony to this city in 1212, who, after some migrations, were placed in this magnificent building, of which the first stone was laid witli great pomp in 1294. Arnolfo was the arcliitect. It is 460 ft. long and 134 ft. wide across the nave and two aisles. Almost from its foundation tliis church became the favourite place of interment of tlie Florentines ; and it has been called tlie “ AVeslininsler Abbey” and the “ Pantbeon” of I’loreuce. In the front of tiie cliurcb a few bases of dark marble mark the begin- ning of the faqade, which Castilio (Jua- ratesi, who was not one of those “ who ! build a clnu’ch to Cod and not to fame,” would have completed from a 476 Route 44 . — Florence — Santa Croce. Sect. VI. design by tBaccio cli Agnolo^ bad he been permitted to place bis arms on the building : but the “ Opera!” (the council of works) refvised permission. In a niche over the principal door stands a bronze statue by Donatello — St. Louis Bishop of Toulouse, Above, * in a circle, are the letters i. n. s., re- markable as liaving been placed there by St. Bernardine of Siena after the plague in 1437. lie was the inventor of these initials to denote the name and mission of onr Lord. Having remonstrated with a maker of playing cards, which then were illuminated, upon the sinfulness of his calling, the man pleaded poverty, and the needs of his family. “ Oh,” replied the saint, “ I will help you ;” and writing the letters i. h. S., he advised the card- maker to gild and paint these upon cards, and sell them ; and they took greatly. St. Bernardine then travelled the country, putting up i. H. s. wher- ever he went ; and thus these initials may afford a criterion of antiquity. Tlie steeple of Sta. Croce, recently ei’ected at an expense of 10,000 scudi, is a monument of bad taste, and en- tirely out of keeping with the style of the church. It was originally begun according to a design of Baccio Bandi- nelli, at the expense of C. Qaaratesi, but remained unfinished for the same reason as that which stopped the facade. Interior. In the front is a fine round window with stained glass, re- presenting the Descent from the Cross, by Ghiberti. The pavement is strewn with sepulchral slabs. Many of the earlier are in very low relief; these effigies are interesting from the cos- timie. Others are inlaid with coloured marbles. The tomb of John Ketterich, or Kerrich, successively Bishop of St. David’s, Lichfield, and Exeter, and who, sent upon an embassy by Henry V. to Pope Martin V., died shortly after his arrival in Florence, 1419, is nearly in the centre of the church, and the inscription is very legible. Few, however, of the names in this pavement have much interest beyond the walls of Florence, excepting, perhaps, that of Giovanni Magalotti (d. 1377). When the Florentines, hitherto so devoted to the papal see, declared w’ar against Gregory XI., allying themselves with the “ Eoman republic” (1375), in de- fence of liberty, they appomted a “ board,” consisting of 8 members, called the Balia della Guerra., wdiom the common people called the Otto Santi, w'liile the pope, less decorously, styled them the Otto Biavoli. Ma- galotti, who was one of these Otto Santi, died in office, and was honoimed by a public funeral. Beyond the second altar, in the aisle on the rt. hand when entermg, is the tomb of Michael Angelo Buona- rotti. The thi’ee sister arts, Paintuig, by Battista Lorenzi., Sculpture, by Cioli, and Architectm’e, by Giovanni, delV Opera, appear as mourners. His bust, by Lorenzi, was considered a most faithful likeness. The figure of Archi- tecture is the finest : that of Painting w^as originally intended for Sculpture, and was to have stood in front of the sepulchre ; but Michael Angelo’s family, when the tomb wus in part exeeuted, remonstrated against this arrangement, as they considered that his peculiar ex- cellence lay in sculpture, which shoidd, therefore, have the post of honour ; and the statue Avas accordingly transformed, tliough not so completely but that some signs of her original destination remain. It is said tliat M. Angelo chose the position of the monument himself, in order that, Avhen the great doors of the church w^ere open, he might see from his tomb the cupola of the cathedral, i Abetter reason is that the vault and • chapel belonged to the Buonarotti family. At the third chapel is Christ bearing his Cross, by Vasan. Then come the monuments of Buonarotti the antiquarian, and Micheli the botanist.' Between this and the next chapel is the monument to Dante, by Stefano j Ricci, so disproportional from its huge i size to the rest ; it was erected at | public expense in 1829. On the rt., » Italy points with triumph to him ; on ; the 1., Poetry leans on his sarcophagus mourning. Beyond the fourth ehapel is : • Alfieri’s monument, by Canova, erected | at the expense of the Countess of Al- j USCANY. Route 44 . — Florence- Santa Croce. 477 any ; and beyond tbe fifth, that of lacliiavelli, by Innocenzo Spinazzi, rected m 1787, from a subscription et on foot by the Earl of Cowper : be- ond the sixth, Lanzi’s, by Crius Belli. 'urther on is the tomb of the Caval- anti, with St. John tlie Baptist and t. Francis, by Andrea del Castagno, nd the Annunciation, by Donatello. leyond the side door is the monument f Leonardo Bruni, surnamed Aretino, >’om his birthplace, Arezzo. — “ He was tie first who replaced the rude struc- u’e of periods by some degree of hythm, and introduced his country- len to something more brilliant than ney had known before ; though even e is not quite as polished as a fasti- ious delicacy would require. Aretin’s istory of the Goths, which, though he > silent on the obligation, is chiefly ranslated from Procopius, passes for is best work. In the constellation of cholars who enjoyed the sunshine of avour in the palace of Cosmo de’ Me- tici, Leonardo Aretino was one of the Idest and most prominent. He died t an advanced age in 1444, and is one ■f the six illustrious dead who repose in he church of Santa Croce. Madame e Stael unfortunately confomided this espectable scholar, in her Cormne, dth Pietro Aretino : I well remember piiat Ugo Foscolo could never contain fl'is wrath against her for tliis mistake.” I — Dallam. The monument is by Bos- elini. Above is a fine bas-relief of the .^irgin by Verrocchio. On the oppo- |i| ite side of the church, to the 1. on h ntering, are — the Descent from the Voss, by Ang. Bronzino : — tlie mo- ijiuments of Filicaia and of Galileo: i lie tomb, the bust of Galileo, and the jitatue of Astronomy, are by Foggin% R 787 ; the statue of Geometry is by \\ricciati; tlie whole at the expense of jiis pupil Yiviani. Monument of Sig- i: lorini, member of the imperial council (■ nder Leopold, with a figure of Plii- I isopliy weeping, Ricci. Clirist and I t. Thomas, Vasari. The tomb of larsuppini, by Desiderio da Seitig- ii ano, exliibits tlie last step from mc- ^ iaival to modern Italian art. 4Mie f! ombs of this class and era are of a ii very uniform type — a sarcophagus, ap- proacliing to the antique in general form ; a recumbent figure ; and, above, a medallion usually with the Virgin and Child. Marsuppini (b. 1399, d. 1453), chancellor or secretary of the republic of Florence, and one of the proteges of Cosmo de’ Medici, enjoyed, wliile hving, a high reputation for eloquence and abihty. The descent of the Holy Spu-it, Vasari. The upper end of the church is not in its original state, having been altered by Vasari. It consists of a series of chapels, some of which contain some remarkable frescoes by early masters, though 'many have been effaced. In order to explain their contents more clearly, we have inserted a sketch of the ground-plan ; referring to which, we will point out the principal objects of interest. Beginning in the N. transept, A is the Capella Salviati (now Aldohran- dini Borghese), which contains in the recess a a modern tomb of a lady of fine features and sweet expression, the Polish Countess Zamoiska ; it is by Bartolini, and is in contrast with the old simplicity of manner. B is the Capella di SS. Ludovico e Bartolomeo ; at 1 is the monument belonging to the Bardi family. It corresponds in style of architecture with that of tlie Sil- vestro Chapel, D 4 ; but its sculptures are rude. “ The bold spring of the lowest part of the canopies of both, | and the diminishing proportion of the upper part, gives them peculiar light- ness.” — R. At 2 is a marble door with a Madonna and Child, attributed to Giotto, but both are poor. “ Tliey seem to liave been painted lor this place, whicli they fit exactly ; if they had been so placed by Giotto, Vasari would have mentioned them.” — R. At 3, over the door, is Donatello's Cru- cillx, but shut up. It was one of his early works : and, being iiroml of it, he showed it witli exultation to Briincl- Icsehi, who told him, “ chc gli pareva chc egli avessc messo in croce itn eon- tadiiio,” “ that he had placed on the cross a figure of a peasant ratber than I a representation of Christ, whose person 478 Fioute 44. — Florence — Santa Croce. Sect. VI GEOUND PLAN POE EAST END OP SANTA CEOCE, PLOEENCE. was of the greatest possible beauty, and who was in all respects the most per- fect man that was ever born.” — The sequel will be hereafter told at S. Maria Novella. C, the Capella Nicolini, is rich with flue inlaid marbles of many colours. Around the walls are grand statues of Moses (something like that by Michael Angelo on the tomb of Pope Julius II.) and Aaron — Humility — Modesty taming a Unicorn — Prudence, by Francavilla. The fresco Sibyls, by .FrancescJdni {II VoUerrano, about 15G0), are fine. Bronzino has a ma- jestic pictm-e here, the Coronation of the Virgin, interesting as being left unfinished by the death of the artist. The Assumption of the Virgin by the same hand is also good, tliough too dark and heavy in colour. D, Capella S. Silvestro ; at 4> is the tomb of Bet- tino (Ubertino) de’ Bardi, with the fresco of Gioilino mentioned by Va- sari. The upper part is now destroyed, having been repainted. Nothing re- mains but the single figure of Ubertino, and this is solemn and expressive, and looks hke a portrait ; but, in point of art, it is decidedly inferior to Giotto. “ The outhne is harder, and the realisa- tion less complete.” — B. At 5 is Christ I laid in the Sepulchre, “given by soim to GioUino, but there is internal evi dence that it is not his. It has, liow ever, been dreadfully repainted, wliicl makes it more difficult to judge, but if is more like Taddeo Gaddi than aiu one else. It particularly resembles tlu pictiu'e of the same subject attributec to him in tlie Accademia, both in con ception and details, especially in tlu tomb, which in both is inlaid witl marble panels of various colours painted witli great brilliancy and little success. In the centre of the tomb is. a medallion with a female head, in tlu peculiar white head-dress, bound undci the chin, of wliich Taddeo Gaddi is so fond.” — B. At 6, on each side of the altar, are St. Eomulus and S. Cenobius, half effaced. At 7 are three h’escoes by GioUino, from tlie life of S. Sil-' vestro. “ They are half effaced, and difficult to make out : in the highest, he is cither baptizing or boiling some- body in a great caldron ; I think the former. In the next, wliicli is more important, an ox is kneeling to him, while a Madonna (?) looks on from a tlirone, with a saint on each side. In the low'est he takes a dragon by tliei nose, in the midst of a ruined city, and Tuscany. Route 44 .' — Florence— ^anta Croce. 479 )lesses the people. The plants wliicli I jrow in the fissures of the rent walls, md these fissures themselves, are a 'ery pretty bit of naturalism, as near he tiling as can be found of this pe- i 'iod. These frescoes are agreeably I 'Touped, and remind one of Giotto, I n a way most disadvantageous to I Sriottino, whose heads are at once uore finished and have less life. He I lias, however, much power, and the ,! expression of death in one or two of the 'lodies is true and fine.” — R. E, Ca- oella del Fidcie Beraldi^ also called Caiiella dei Santi Martiri, contains Trescoes, according to the guide, by Bernarno Daddi (?). They appear incient, and in some respects are in- cerestmg. The indignation and viru- lence of the Pharisee seizing St. Stephen (in the martyrdom of St. Stephen at S) is well given, and there is energy throughout. The stones are placed as by E. Bartolomeo on St. Stephen’s head : but the Martyrdom of St. Lawrence, at 9, is vulgar, and all the drawing of both frescoes is hard and crude. Over the altar, first comes the picture of 40 martyrs, a mere daub, aad above tiiis is a Luca della Bobbia, “ wliich may, perhaps, be taken as the fahest, because the most finished, ex- ample of the enthe impropriety of tins mode of working. It is in high relief, and completely coloured, the prevalent colours being a blue verditer, pale, raw, and yet dead ; and an equally valueless and intrusive green. The flesh is clay colour. The design is not equal to Kobbia’s usual work, but the Madonna is very sweet, and by a great effort of imagination, in getting rid of tlie colour, fine qualities show througli- out. There is a nasty brown colour, also, in large spaces.” — R. It is re- markable for the disagi’eeablcness of its colour, yet tfie expression is sweet. The two chapels, 1) and E, cadi cmi- tain fine painted glass. In tlio next tliree, marked E, G, II, tlicre is notliing worthy of notice. The choir retains tlie lofty proloiiged octagon termina- tion, witli tlie walls and roof coated with frescoes and richly coloured glass. Behind the high altar arc frescoes by Agnolo Gadd/i, representing legends connected with the history of the Wood of the Cross from Adam to Constan- tme. K, Capella dei Bardi della Li- herta. “ Behind the altar is a most interesting picture, always kept covered and in a dark place. It is Cimahue's portrait of St. Francis, of wliich Vasari says, ‘ Lo ritrasse (il die fu cosa nuova in que’ tempi) di naturale come seppe il nieglio.’ The saint is standing, the face drawn full front, and very much in the Greek manner ; it is much harder and more rude in drawing than the Madonnas of the Academy and Sta. Maria ^Novella, and more rigid, yet with greater power and expression. The face is emaciated and severe, the corners of the mouth drawn down, tlie stigmata round and dark. Bound the pictiu’e is a most interesting series of 20 small paintings, treated in a quaint, forcible, and delightful way, and rich in movement and composition. They, however, appear more archaic than those of the Ufllzi picture, though, on the other hand, the central figime is, there, far more rude than the St. Fran- cis. His receiving the stigmata is not here, unless it be at the top, which is concealed by the curtain ; or unless, indeed, it be one on the 1., in which a crucified figure is extended on the ground, and the saint standing seems touching it with a rod. On the other side he is driving out the devils from a number of possessed persons, the former flying away in little black spider-like shapes, as represented by E. Barto- lomeo. The other histories seem highly mystical.” — R. L, Capella Beruzzi, recently purchased by the Bonaparte family, contains the tomb of Charlotte Bonaparte, daughter of Joseph, ex-King of Spain (wlio married the brother of the present President of France), who, with his wife, are also here interred, and of a child of the Prince of Canino. It is by Lor. Barlolini. Over the altar is ‘d.\\ Andrea del Sarlo, entirely s]K)ilcd by retouching. At 10 is Giotto's fresco of the Death of St. John, lately uncovered from under a coating of whitewash; a similar fresco is si ill covered on the opposite wall. “ Herod 480 lloute 44 . — I lorence — Santa Croce. Sect. VI. and two otlier persons are sitting at table under a canopy, of wlucb tlie form is the same Avith Giotti, Avliether it be the roof of a manger, or the palace of Herod the king. A musician on the L, playing on the violin, is a beautiful figure, A'ery like Perugino’s treatment of similar subjects, and full of the same subdued feeling. The Herod, also, is very grand, though perhaps not a good ideal of Herod, for he is calm, kingly, and free from appearance of evil pas- sion. Herodias sits on the extreme light ; the face is nearly gone, but seems to liave been made wicked and sensual. Her daughter kneeling pre- sents her Avith the head. In the centre of the picture the daughter is dancing, or at least moving softly, while she plays the lyre, and a soldier brings in the head of St. John. The two actions are thus curiously involved — the soldier comes ill between tlie musician and the dancing maiden, Avho is immediately repeated on the rt. giving the head to her mother. The second figure of lier is exceedingly ugly, and the like- ness of her mother wonderfully kept ; but the figure with the lyre is fine, and would have been beautifid, but that the shaded side of it is in coloim so nearly the same as the background, that it is lost in it, and hence half of the face looks like a badly-draAAm profile. The faces of the musician and of Herod are worthy of any period of art. The ch’a- peries are, liowever, somewhat clumsier, rounder, and less felt, than those of the Campo Santo at Pisa.” — R, In the chapels marked M, N, there is nothing to note ; AAdiitewash covers the frescoes of Giotto. In the Capella Morelli, marked O, are strange legendary re- presentations by the Giotto school. At 12, St. Michael and a Dragon, much in the manner of Spinello Aretino ; and at 11 is some legend of an ox in a cavern at the top of a mountain, &c., but it is difficult to form any opinion as to their merits, as tlie chapel has no windoAV, and is therefore nearly ]iitch-dark. In P, the passage leading to the chapels and to the sacristy, are many works of the Giotto scliool, “ but none to be depended upon, as either his or of anybody else of his school ir partici Jar ; but many of them are good, and all traditionally valuable. The most interesting is the Crucifix, as- serted to be that sent by Margheritom to Parinata degli Uberti, after his defence of Florence. The honom’ is disputed by a Crucifix in the sacristy. There are twm inferior works of Ange- lico in this passage.” — R. In the chapel S, called Capella del Mediciy and also del Noviziato, is an altar-piece of Luca della Pobbia, and many in- teresting wmrks of the Giotto school The sacristy is rich in decorations, anu little altered from what it was in ole times, except that the paintings bj Giotto, which ornamented the doors o: the presses, have been removed. A fine altar-piece and many frescoes de- corate the chapel, attributed to Taddeo Gaddi. The borders to these frescoes! are in arabesque. P is the Ca-pella de. RaroncelU. At 13 are the best Taddeo Gaddi frescoes in Florenee. At 14 is a work of Randinelli, which conceals a tempera picture at 15, by Giotto, in scribed Avitli his name. At 16 is a noble fresco, the Assumption of th( Yirgin, attributed to Ghirlaudajo, bul doubtfrJ. At 17 is a monmnent likt tliat in the opposite transept ; the statues are partly by Niceola Pisano The chapel of the Holy Sacrament, T contains the monument of the widov of the last Pretender of the House o Stuart, the Countess of Albany, wlu. died at Florence in 1825, by San tarelli. It is in imitation of the cinque cento style, and is pleasing. In tlii; ‘ chapel Vasari has painted on wood th(| Cenacolo, or Last Supper. Tavo statuct by Luca della Rohhia, of St. Dominic! and St. Bernardino, are very fine spe cimens of his style, but they have v porcelain brilliancy. One work of art of great excellence' remains to be noticed, the pulpit, b; Benedetto da Majano. It is of ree and white marble. The fine bas-relief are, — Pope Honorius confirming tP Pegidations of the Order ; St. Franci- Avalking uninjured tlu’ough the fire be fore the Sultan ; St. Francis receiving the Stigmata ; the Death of the Saint Tuscany. Route 44 . — Florence — Santa Maria Novella. the Martyrdom of Tive Bretliren of the Order in Mauritania. Underneath are five figures, Faith, Hope, Charity, Fortitude, and Justice. The architec- tme is in the cinque-cento style. Many of the glazed terra-cottas by Zdica della Rohhia are on the walls of the corridors of the conyentual build- ings. The smaller refectory contains a fine paintiug by CHovanni di San Giovannf the Miracle of the Loayes and Fishes : the artist has introduced his own portrait, clad in a red gar- ment. This chamber accommodates aU the friars who now liye in the con- vent ; and, being much impoverished, they have let out the great refectory as a carpet manufa.ctory. Yet here are two very large and well - preserved frescoes, by Giotto and Cimahiie ; one of the Last Supper, the other of the Tree of St. Francis, of which oin* Lord is represented as the stem. The clois- ters are interesting ; almost every stone bears a memorial, an armorial bearing, or an inscription. The recent epitaphs are mostly in Itahan, which is too dif- fuse for the lapidary style. It is also satisfactory to observe^ considering the reproach of nuptial infidelity so often cast upon Italian ladies, that every one here interred has been a model of conjugal purity and affection, which we may take on the best testi- mony, that of the disconsolate widower ; but as it can hardly be probable that the good alone have died, we may pre- sume that a similar character is due to the survivors. The yoiith of a large proportion of the deceased is reinark- ible. The paintings of the life of St. Francis are not without interest. The Inner cloister contains the sepvdchral chapel of the Pazzi, built by Brunel- leschi in 1420, and showing remarkable correctness in its classical details, as well as originality in their combination. This chapel contains the four Evan- gelists, and the Apostles, &c., in terra •otta, by Luca della llohhia, and angels n marble by Lonatello. Two or tlirce tpen monuments, like those at Ycrona, 4and near tlio wall. Among the an- aent monuments, that of Francesco 'duzzi is attributed to Nino son of N. Italy — 1852, 481 Andrea Pisano, and that of Grastone della Torre, patriarch of Aquileja, to Agostino da Siena. Another tomb is of ruder w'orkmanship, with a species of Byzantine character. That of Ala- manni de’ Caraccioli, 1337, stands out boldly. The artist is unknown. The Piazza of Sta. Croce is regular and spacious. On tlie rt.-hand side, when looking to the church, is the Palazzo of Niccolo della Antella, the lieutenant or deputy of Cosmo II. in the academy of design. It is covered wdth frescoes, remarkable, besides then' elegance, for their having been executed in 27 days, in 1620. The subjects are mythological and allegorical ; faded, but of merit, being by the best artists who flom-ished at that period. The democracy of Florence was founded in the Piazza di Santa Croce, in the year 1250. The government of the state liad been vested by Frederick II. in the Grhibelline nobles, to the ex- clusion of all others. This oligarchy imposed heavy taxes ; and the Uberti in particular had given great often ce by their pride. A sudden t um ult arose ; and the goodmen, as they are styled by Yillani, assembled here, with the determination of taking the power into their own hands, which they ac- complished without the slightest resist- ance. Having made themselves people, according to the expressive term of the Chronicles, and forcibly rendered by Hallam as “ a resolution of all deriva- tive powers into the immediate opera- tion of the popular will,” they elected Uberto di Lucca as Capitano del Popolo, aud twelve military chiefs, or Anzianidel Popolo, the leaders in arms of the citi- zens. Up to this period the Florentines wei*e subject to the Emperor: with this, revolution began their democracy, Santa Maria Novella was the first colony of the Preaching Friars in Flo- rence. St. Dominick, the founder of this celebrated order, in the same year (1216) ill which his iiislitutioii w'as confirmed by Hoiiorius HI., having been pi-cviously a]iproved by lunocent III. , scut a small detachment of friars to Florence. In about 1222 they were, after some removals, located in a small Y 482 Route 44. — Florence — Santa Maria Nomlla. Sect. VI. but very ancient cbiu’cli, then standing without the walls of Tlorence, the site of which is now mcluded within the present magnificent edifice. The spa- cious chm'ch, two large cloisters, and several smaller quach’angies, sacristy, refectory, and chapter-house, are spread over the area granted by the magis- tracy and people. The faqade of the church is com- pleted — a rare thing in Florence, It is composed of compartments of white marble and serpentine. This fagade is the most modern portion ; for, though begun in 1348, it was not finished till 1470. As it now stands, it is from the designs of Leon Batista Alberti. In- serted in the front are two curious astronomical instruments, placed there by the Padre Ignazio Danti, astro- nomer of Cosmo I. — a quadrant dial (1572) and an armillary dial (1574). The use of the first is expressed in an inscription on the E. side of it. The ships introduced in the front are sup- posed to have been the device of the Eucellai family, who defrayed great part of the expense. The wall of a cloister extending from the front is composed of arches, each containing an ancient tomb, like those at Pistoia and Lucca. These were executed about 1300, at the time when tombs were made in imitation of the ancient sarco- phagi, and when, as at Pisa, the ancient tombs were used again. From these tombs the neighbouring street has ac- qufred the name of Via degli Avelli (street of the tombs). The church, begun in 1279 from the designs of Fra Ristoro and Fra Sisto, lay brothers of the order, is Grothic, The campanile, a fine tower with a spire in the Pomanesque style, is at- tributed to the same architects. The building was carried on by Fra Borghese and Fra Albertini., and com- pleted in 1357 by Fra Giovanni, Bra- chetti da Cam'pi, and Fra Jacopo Ta- lenti da Nijpozzano, all members of tins community. Michael Angelo gave to this church the title of his bride. The church is 322 ft. long, 88 ft, wide across the nave and aisles, and 203 ft. through the transepts. The arches, which rest on the columns dividing the nave from the aisles, are of varyuig span ; those in the middle are larger than those nearer the fagade ; and these last are larger than those nearest to the high- altar. The architectural decorations of the altars and chapels were added by Vasari and others, by the direction of Cosmo I. There is much splendid stained glass in this church, particidarly in the cfr- cular window of the fagade, containing the Virgin surrounded by the angehc host. Over the principal door is a crucifix attributed to Giotto. This i chui’ch stands N. and S., the high altar I being at the N. end. In the aisle on the rt. hand, vdien entering by the S. end, are the Annunciation, by Santi di Tito ; St. Peter Martyr (on a pilaster), by Cigoli ; the Paising of Lazarus, by Santi di Tito ; and the beautiful monu- ment by Bernardo di Matteo da Set- tignano, of the Beata Villana, who was I widow of Pietro di Posso, and who, |j having died in 1360, acquired a reputa- tl tion of sanctity, and, as a saint, wasjj venerated by the Florentines, though | she was not finally canonised till 1824. { It is remarkable that the novehst Sac-j chetti, her contemporary, in a ver} I singular letter or essay, in whieh he blames the indiscreet devotion of tlu j common people, expressly adduces hei example as one of veneration misap , plied. She is represented as sleeping in perfect tranquillity, perliaps ii death • above are two angels of ex treme beauty, with a scroll upon whicl a very short epitaph is inscribed, A the end of the transept, which is oi: the rt. hand when looking towards th high altar, in a place raised above th level of the pavement of the churcli' and between the Cajgella dei Rucella\ and that of de' Bardi da Vernio, is th celebrated picture of the Virgin seate> on a throne with the infant Saviour o her lap, larger than life, upon a go! ground, with six angels around, b Cimabue. It shows a marked in provement in drawing beyond the ai of the time, and, when produced, : excited the highest admiration. Whil the painter was employed upon i 483 I Tuscany. Route 44 . — Florence- Charles of Anjou passed tlirougli Flo- rence, and was taken to see it ; none had then seen the picture, but, profiting by the king’s admission, all Florence followed ; and, such was the wonder excited and pleasure given by it, that the quarter in which Cimabue lived acquired the name of Horgo Allegri, which it long retained. When com- pleted the picture was carried from Cimabue’ s house to the church in triumphal procession. Here, on one side, is Sta. Lucia, by Ridolfo Ghirlan- daio ; and, on the other, the Martyr- dom of St. Catherine, Buggiardini : some of the figures in the latter pic- tm’e are attributed to Michael Angelo. In the Capella di Filippo Strozzi (which is that next to the high altar on tliis side), behind the altar, is the Tomb of Filippo Strozzi, by Benedetto da Majano. It is in the cinque-cento style : the groiqi in the centre, Angels worshipping the Yirgin and Child, is arranged with the simplicity and form- ality of an early picture. Great sweet- ness of expression, and finish, distin- guish this work. It was tliis Fihppo Strozzi who built the Strozzi palace. Here are frescoes by Filippino Lippi, 1486. On the ceiling, Christ, the foiu Evangehsts, and St. Antony. On the walls apocryphal miracles of St. John and St. Philip ; on the 1, St. John raising Drusiana from the dead ; on the rt. the expulsion of the dragon from the temple of Mars by St. Philip. “ The choir is entuely painted in fresco, by Lorn, del Ghirlandaio, but cannot well be seen even at the best time (about 9 a.m., when there is a little reflected light from two upper windows before tlie curtains are drawn) on account of a huge wooden altar erected in front of them, and which almost walls them up. Nevertheless, tliey well deserve more than one visit by any one interested in the progress of art. In these works there is a. great step forward in shaking oil' the dry shackles of earlier art, ami mucli na'ivete and originality. The portraits of contemporaries, introduced in all these subjects as spectators, are ])arli- j cularly interesting, as vvell for thcii- -Santa Maria Novella. great character as them exceeding beauty and simpheity, ]:>articularly in many of the females. To the student in art also these frescoes are particu- larly interesting, Ghirlandaio being perhaps more facile in execution than any other of the frescanti.” — C. JF. C. These frescoes were executed at the expense of the families of Tornahuoni and Tornaquinci, to supply the place of others by Orgagna, vrhich had be- come decayed. Michael Angelo was the pupil of Ghirlandaio, and some portions of them are traditionally re- ported to be by liis hand. The sub- jects of these frescoes are — on the rt.- hand wall on entering the choir, the history of St. John the Baptist ; on the 1. hand, that of the Yirgin. Beginning at the lowest painting on the rt. of the spectator, in the first series, the sub- jects stand as follows : — 1. The Angel appearing to Zacharias in the Temple. This fresco contains portraits of many of the painter’s contemporaries. The four half-length figimes conversing together at the side of the pictme on the 1. hand of the spectator are as follow : — the first, in the ch’ess of a canon, is Marsilio Ficino ; the second, with a red cloak and a black band at the neck, is Cristofano Landino ; the figme turning to him is Gentile de’ Becclii, Bishop of Arezzo ; and be- tween these Gvo last, raising his hand a little, is Politian. Here are also the portraits of the Avhole family of Torna- buoni. 2. The Salutation : the single figure, followed by two attendants, who walks behind Elizabeth, is Ginevra de’ Benci, celebrated as one of the beauties of her time. 3. Tlie birth of John the Baptist : it contains a beautiful whole- length female portrait. 4. Zacharias declares the name of the cliild. 5. Preaching of Jolm. 6. Bajfiism of Christ. 7. Tlie feast on Herod’s birtli- day, ami the dancing of tlie daughter of Herodias. On the o]iposi(e wall, beginning Avitli the lowest ])icture on the 1. hand of the speclator: — 1. Jo- achim (Iriviai out of tlie 'IVnqile, his oU'ering not being received on aeeount of his being clhldh'ss in Israel. Here, the lour figures on the side nearest t he Y 2 484 Route 44. — Florence — Santa Maria Movella. Sect. VI. window are portraits : the old man in a red hood is Tommaso, the painter’s father. The one with his head un- covered, with his hand on his side, and wearing a red cloak over a blue tiinic, is the painter himself. The figure with a black head of hair and thickish lips is Bastiano da S. Gemignano, his pupil and relation ; and the other, turning his back, and with a small cap on his head, is the painter’s brother, David Ghirlandaio. There are also portraits of his contemporaries, including Pietro, Lorenzo, and Giovanni de’ Medici, and his patron Tornaquinci, 2. The birth of the Yirgin. This fresco contains a remarkably lovely group of female figures surrounding and tending the infant. 3. The Presentation of the Virgin in the Temple. 4. Her Mar- riage. 5. The Adoration of the Wise Men. 6. The Massacre of the Inno- cents, 7. The Death and Assumption of the Virgin, In the vaulting of the roof are the four Evangelists : on the wall in wLich the window is arc events from the lives of St. Dominic and St. Peter Martyr : St. J ohn in the Desert, the Annunciation of the Virgin, and above the windows many of the pro- tecting saints of Florence kneeling. Under the window are portraits of Giovanni Tornabuoni and liis wife. The tail triple Gothic window contains fine stained glass, the designs of winch are principally whole-length figures by Alessandro Fiorentino (1491). The seats of the choir were designed by Vasari, In the next chapel, called the Capella dd Gondi, on the rt. hand on leaving tlie choh, is the crucifix of wood, by Brunelleschi, which was exe- cuted by hun out of rivahy with Dona- tello, when he raUied the latter upon the inelegance of his in Santa Croce, as before told. It is said by Vasari that, when Donatello saw this production of his rival, he was so surprised with its excellence, that, lifting up his hands in astonishment, he let go his apron fiUed with eggs and cheese for his dinner, all of which fell upon the ground, saying, — “ To you belongs the power of carving the figure of Christ ; to me that of representing day-labourers.” — “ A te e conceduto fare i Christi, ed a me i contadini.” “ Though it is far from the perfection that the above anecdote would imply, it is a remark- able work for expression, and in that respect ranks deservedly before the performance of Donatello.” — Westma- cott junior. The crucifix of Donatello is rigid and without expression, faults which he afterwards most ably cor- rected, this rivahy having doubtlessly led hun to pay greater attention to expression in his subsequent works. This work of Brimelleschi is somewhat open to the criticism which Sir J. Rey- nolds made upon the early paintings of the crucifixion, that they represent our Saviour as if he had been starved to death. In the Capella de' Gaddi, the Raising of the Daughter of Jairus is by Ang. Bronzino ; the two bas-reliefs in marble by Giov. dell' Opera; the designs of the two tombs and of the altar-table by Michael Angelo ; and the pamtings on the ceiling by Aless. Allori. This chapel is a rich spechnen of the best Italian architecture by Dosio. In the Capella Strozzi, which is at 'the end of the l.-hand transept as you look towards the high altar, and is entered by a flight of steps, ai*e frescoes of Bernardo and Andrea Or- cagna. The Inferno, with the names of the sins and of the sinners, vn-itten in Gothic capitals, has been entirely repainted, and is good for nothing. Opposite is Heaven, with endless groups of Angels and of glorified' Saints. Over the altar is the Last Judgment, in which the sathe of the middle ages is displayed ; those on thc i 1. hand being those who in this world were most honoured — bishops, abbots, | monks, nuns, nobles, knights, and. , ladies, intermixed with, grotesque fiends, amongst which may be re-i i marked a demon dragging a reluctant corpse out of the grave. The treat ! ment of this subject is hke that of tin same portion of Scripture in thc,| Campo Santo at Pisa, also by Orcagna fl The altar-piece, or altar-table, is bji Andrea Orcagna, representing St. Do B minic presented to the Virgin, witl 1 many other figures, all delicatchH Tuscany. Route 44 . — Florence — Santa Maria Ffomlla. 485 finished. His name, wrought in early Grothic characters, forms a kind of border beneath the picture, which lie pamted, piu’suant to a contract made between him and Tomaso Strozzi, 1357. In this chapel the stained gla^s is fine. Over the door leading to the campanile is a small fresco, by JBuffal- macco, the Coronation of the Yirgin, with a host of Angels. The sacristy is a fine Grothic chamber, built by Fra Jacopo cli Fipozzano, but it seems at first to have been intended for a chapel. Here are preserved some re- liquaries, beautifully painted by Frate Angelico da Fiesole^ wliich the sacristan will show u]ion apphcarion. “ The Annunciation, by Angelico, in the sacristy is by far the finest small work by him in Florence.” — B. The cru- |cifix over the door is by Masaccio^ and formerly existed at the altar del Ro- sario in the church, surrounded by figures which are now covered by a picture of the Virgin of the Hosary, by Vasari. Beneath this sacristy and the Strozzi chapel are some vaults, sup- posed to be portions of , the original church. They exhibit paintings of the early Florentine school, but they are employed as depositories for lumber. In the Capella de' Fasquali is the Ee- sui'rection, by Vasari. Foidher on is om- Lord and the Woman of Samaria, by Aless. Allori. Three of Michael Angelo’s best pupils contributed to the mausoleum of Antonio Strozzi. Andrea Ferrucci gave the general design ; the gracefid Madonna, wliich forms the centre compartment, was ex- ecuted by Andrea and Silvio da Fie- sole ; the Angels, and some of the minor ornaments, are the w'ork of Maso Boscoli. The puljiit is ivortli notice ; the sculptures give the usual events from tlie life of the Yirgin with great jiurity and ex]iression. They arc by Maestro Lazzaro. The figures liave been gilt, in the nave is a bronze tomb of Fra Leonardo di Stagio Dati, by Ghiberti. Tlic Chiostro Verde (wliicli is on tlic W. side of the clmr(;li, and may be entered citlicr liy a door in the [>iazza or by one in the aisle) was built from the designs of Fra Giovanni da Campi, in 1320, with circular arches and Grothic pillars, and derives its name from the prevailing tint of the frescoes, green, shaded with broAvn ; painted, about 1348, by Paolo Uccello and by Fello, principally with subjects from the Book of Glenesis. These frescoes find admu'ers, especially among the Gferman artists. All are much injured, but some good fragments may be found, especially among the figumes in the portion representing the Deluge. In the representation of the Fall, Paolo Uccello has, as was usual with the painters of his age, represented the serpent with the head of a female. The life of Abraham is by Uello. In the N.W. angle of this cloister is the Crucifixion, by Stefano del Ponte Vecchio, scholar of Giotto, with St. Dominic and St. Thomas Aquinas, both fine figures, at the foot of the cross. In the distance is a curious view of ancient Florence, with the Arno, tlie towers, and the walls. On the N. side of this cloister is the entrance to the ancient chapter-house, afterwards called the Capella degli Spagmioli. It was built in 1350. The architect was Frd Giacopo Talenti da Nip>ozzano, and the painters Simone Memmi and Taddeo Gaddi w'ere selected for its adornment as the best artists of the time. Memmi, who had just retmmed from Avignon (where some fragments of his w'orks may still be seen in the Papal fortress), nns then at the height of his reputation. He took three sides, E., H., and S., leaving the fourth and the vaulting to Gaddi. On the E. side is a most singidar and complicated composition, intended to represent the Church Militant and Triumphant, as forming the entrance to Paradise. The Pope and the Em- peror, as guardians of the Gdmrch, which is represented by Arnolfo's de- sign for the cathedral of Florence, arc seated on thrones. Near the Eni- l)cror are tcnqioral councillors — Kings, Princes; near t!ic Poj)c, s|>iritual — Cardinals, Pishops ; ami around arc many distinguished jiersons. A troop of ravenous Wolves, (haven away from 486 Route 44. — Florence — Santa Maria Novella. Sect. VI. a flock of slieep by a pack of spotted black and white Dogs (the eolours of the Dominicans), ligin*e the heretics repelled by the exertions of the Domi- nicans, or Domini canes. Some of the heretics, being converted by argument, tear then' books, and their sonls pass to the gate of Paradise. On earth are represented human pleasiu’es and vanities, and the means by whieh they are rendered innoxious. St. Do- minic earnestly points out the way to heaven, which is seen over the chimch ; St. Peter receives the elect, and opens the gates of heaven, in which Christ is entlu’oned amid tlie host of angels. In the group Memmi has introduced, ac- cording to Vasari, portraits of himself, Cimabue, Arnolfo, Lapo, Benedict XI., Philip le Bel, Laura and Petrarch, Bo- caccio, Fiametta, &c. The portrait of Cimabue is in profile. The face is thin, reddish, and sharp ; the beard small. On the head is a liood of the fasliion of the day, enclosing it, and fastened under the throat. By his side is Simone Memmi himself, also in profile. The soldier in full armour be- tween them is Gruido Novello. Laura is dressed in green, and represented with a small flame of fhe between her breast and throat. Benedict XI. is tlie Pope on the throne, and at his side is the Cardinal Xicola da Prato, then Legate at Florence. Opposite, on the W. side, is a com- position, by Taddeo Gaddi., represent- ing the triumph of St. Thomas Aquinas. Seated on a throne in tlie centre, he holds an open book in his hand, in which is inscribed the text (Wisdom, ch. vii. vv. 7, 8), “Wherefore I prayed, and understanding was given me : I called upon Grod, and the Spirit of Wisdom came to ine. I preferred her before sceptres and thrones, and es- teemed riches nothing in comparison of her.” He is surrounded by Moses, St. Paul, St. John the Evangelist, Virtues, Angels, and Saints ; at his feet are the leaders of heresy and false philosophy, Arius, Sabellius, and Aven’hoes. In the second range are 14 female figures, personifications of the sciences and vu’tues, as defined by the schoolmen ; and beneath them arc those who, accordhig to the prevailing ideas, excelled therein. The symbols are often very perplexing. Beginning on the 1., and proceeding regularly tc the rt. : — 1. The Civil Law is repre- sented holding the globe in her hand,i and with her is Justinian. 2. Canoi Law, and Pope Clement V. 3. Spe- culative Theology, and Peter Lombard. Master of the Sentences. 4. Practica, Theology, and Boethius. 5. Faith and Dionysius the Areopagite. 6 Hope, and John of Damascus. 7 Charity, in a red robe, drawing a bow and St. Augustin. 8. Arithmetic, witl a board for working addition, anc Abraham as its inventor. 9. Grco metry, with square and compass, am Euclid. 10. Astronomy, and Atlas 11. Music, and Tubal-Cain. 12. Logic! a beautifid matron holding a serpent and Zeno the Eleatic. 13. Bhetoric and Cicero. 14. Grammar, and Do j natus. i On the X. side Memmi has repre ' sented Christ bearing his Cross, th Crucifixion, and the Descent into Hell , the last a cavern in a rock, and fiend retreating in grinning disappointment;. Under the character of Longinus (i. cj the Homan centurion) Memmi portray the tyrant Walter de Brienne. Th paintings on the S. wall, whic did contain the life of St. Dominit: are nearly effaced. Two scenes, th Preaclhng of the Saint, and the llaic ing a gul to life, may be partly niadj out. Semi- Gothic arabesques divide tl( vaulting into compartments, in whic^ are the four following subjects : — ]j The Besurrection of Clirist, in wdiic,. the painter seems to have intended th; the body of our Lord should radiaf light ; 2. Christ saving tlic Aposthi from shipwreck, witli St. Peter comiri| to 1dm on the water ; 3. The Ascei sion ; and 4, the Descent of the Hoi Ghost. The latter is represented as ' it had happened at Florence in tl painter’s time ; the A]:>ostles being i| an upper room or sollar, such as i still seen in many of the old housi here 3 the Parthians, Medes, and Elan Tuscany. Route 44 . — Florence — Santa Maria Novella. 487 ites, in various and strange costumes, standing without, below. The light is scantily admitted into this spacious room, through windows opening into the cloister, divided by heautifid spiral columns, and tlirough an aperture above, so that the paint- ings can only be well seen on a bright day. The Chiostro Grande^ the largest in Florence, consists of 56 arches ; each lunette containing a painting, repre- senting acts of St. Thomas Aquinas, San’ Pietro Martire, and other saints of the Dominican order. The best are by Scmti di Tito and CigoU, particu- larly Saint Vincent Ferrer receiving the Habit of the Order. The old refectory^ which is on the E. side of the Chiostro Gr ancle, from which there is access to it, contains a fine fresco, by Bronzino (1597). It represents the Israelites in the Desert, the G-athering of the Manna, and the Israelites drinking the W ater gushing from tlie Eock. The figures are larger than life. The figures drinking from the waters are fine. Here also is a Madonna of the early school, possessing some merit. One portion of the building remains to be mentioned. It is the Spezieria, where may be procured medicines care- fully and well compounded, and essences and sweet waters, of which every kind may here be purchased, and at a very reasonable rate. In 1418 the republic of Florence determined to exercise public hospitality towards distin- I guished strangers, like the of I the Greek republics, and the hospitimn 'publicum of the Eoman ; and it was deereed that a s])acious building should be erected for that pur])ose, near the monastery of Sta. Maria Novella. One of the first occasions on which it was used was when, in 1439, the General Council, which had been opened at Ferrara in 1438, for the ])ur- ])Ose of briiiging about the reunion of the Greek and Latin cburchcs, was, on account of Ibe |)lague having broken out tluTC, adjourned to f’lorcuci!, by Pope Lugciiiiis IV. On that occasion the I’opc, tlie Greek Emperor ,jo!m Palseologus, and the Greek Patriarch Josephus, and numerous ecclesiastical dignitaries and theologians were lodged here ; and here also were held all the sittings of the council, except the last, which was held in the cathecbal. The building was afterwards incorporated in the monastery, and devoted to its present use. The series of apartments constituting this establishment are ap- propriately and elegantly fitted up. Many of the tall vases and jars are of very beautifid fayence, enamelled in yellow and green, and often decorated, not unappropriately, with the 5 pills or boluses, the arms of the Medici, who took this establislmient under tlieu’ spe- cial protection. In the mineral-water room, formerly a chapel, are frescoes representing the history of Christ’s passion in 12 paintings, by Spinello Aretino, in 1400. In the principal apartment is the bust of Father Tomaso Yalori, the late director of the estab- lishment, and by whose liberality it was preserved. When the convent was suppressed by the French, he pur- chased the laboratory and carried on the busmess until the restoration of the monastery, Avhen he surrendered it to its owners. He died in 1825. The Spezieria has an entry distinct from the convent in the Via della Scala. Here ladies can enter, as well as into the cliLU'ch and the Chiostro Verde, but not into the Chiostro Grande, or other portions of the monastery, unless per- mission be obtained from the arch- bishop or his official j and this is not easily granted. During the French rule, this fine building was occupied by troops, who damaged the ]iaintings in the cloisters. By the return of the Grand Duke, tlu; former owners of Sta. Maria Novella were replaced in their convent, but the lion’s share of their pro))erty remains in the ])ossession of government, ami their number is therefore much di- minished, though they still constitute a respectable community. 4'ho Piazza of tUa. Maria Kov(dla, formed on two sides by tlie ehureh and by the conventual buildings, is irregu- lar. It has been, and still is, the si’cne 488 lloute 44. — Florence — San Lorenzo. Sect. VI. of tlie principal public festivities of the Florentines. In the centre are two obelisks supported by tortoises, cast by G-iovannidi Bologna. They are crowned by the Giglio of Florence. San Lorenzo is externally a mass of rough and dingy brickwork. The ch’aw- ings by Michael Angelo.^ for the com- pletion of the front, are extant. The original basilica was, perhaps, the oldest sacred structure in the city : it was consecrated by St. Ambrose in 393 ; but, having been greatly damaged by fire in the 15th centmy, it was determined tiiat it should be rebuilt in a better style than before. The person employed, and whoso name Yasari conceals, was an amateur architect : “ uno che si andava dilettando di architettura j^er passatempo.” Some portions were raised, when Giovanni de’ Medici re- quested Brnnellesclii to give his opinion of the building : the latter very openly spoke out, and exhorted Ins patron to contribute influence and money for the purpose of raising a more appropriate temple. Brunelleschi spoke to a will- ing auditor ; and by the voluntary contributions of the Florentines, of which Giovanni, and afterwards his son Cosmo, bore the greatest part, the pre- sent church was begun ; the first stone having been laid in 1425. The Corin- thian columns are finely proportioned. Cu’cular arches spring from the squared cornice above each capital. The details are taken with precision from E-oman models — the Lamb and the Book with Seven Seals being introduced in place of heathen emblems. Brunelleschi did not hve to complete the b\iilding, and hence some alterations were made which have been found fault with. Among the additions are the ornaments, with the elevations of the two doors of the Sagrestia Yecchia, by Donatello: tlie teiTace at the lower end of the church is attributed to Michael Angelo : the altars of the several chapels are modern. There are two fine pulpits, or A.mboni, in the nave, executed, after the designs of Donatello, by Bertoldo, his scholar. The subjects of the bronze bas-reliefs on them represent the Passion and Ee- siu'rection of om* Lord. The finest are the Descent from the Cross, and the Entombment. Behind the pulpit, on the S. side of the nave, is a large fresco of the Martyrdom of S. Lorenzo, by Ang. Bronzino. In the Capella degli Opera% which is next to this towards the transept, is an Annunciation, by Dilig'po Upg>i. In the pavement near the high altar is the monument of Cosmo de’ Medici, or Cosmo il Yecchio, who died Aug. 1st, . 1464, bearing on it the title of “ Pater Patrise,” bestoAved upon him by public decree in the year after his decease. The memorial consists of a slab of por- ' phyiy, inlaid wnth verd’ -antique and precious marbles, marking the spot AAdiere his body lies. The Sagrestia Vecchia, which is on the 8. side of the church, Avas designed by Brunelleschi before it was settled that he shoidd rebuild the Avhole church. The bas-rehefs, the four evangehsts, the- two bronze doors, and the elevations oil the doorways, are by Donatello. In: the tribune over the altar is a singu- lar allegorical painting, constellations, | planets, the moon in Taurus, and the sun in Cancer. — By Donatello is tin sarcophagus in the middle of the pave ment, being that of Giovanni d’Aver- ardo dei Medici (died 1428), the father of Cosmo il Yecchio, and the founde] j of the greatness of the family. Tluij' tomb is of great elegance, but unfor-;! tunately obscured by a great marbh,. table placed over it. Picarda, the wifi' of Cosmo, is buried in the same tomb , Near the door is the costly monumcn ! by Verrocchio., erected by Lorenzo am i Giuliano de’ Medici, to the memory o|| Pietro and Giovanni, them father anti their uncle. Bound the sarcophagusj composed of porphry and verd’ -antique I are fine bronze festoons of foliage. A\ cabling, m bronze, over the monument || is also a specimen of the perfection o ] metal Avork : the date is 1472. On thi| wall is a small painted bas-relief, appa ! rently contemporary, of Cosmo del Medici. | In the Sagrestia nuova, or CapelUi dei depositi (which is on the N. side o; the church, and to which there is enj| Tuscany. Route 44 . — Florence — San Lorenzo. 489 trance from tlie Via delle Cantonelle) built by Michael Angelo, Ave have a building planned for its monuments, and the monuments planned for the building which contains them. The monuments are those of Lorenzo and Griuliano de’ Medici. Lorenzo was the grandson of Lorenzo the Magnificent, and Avas created Duke of Urbino by his uncle Leo X. In 1518 he married Magdeleine de Boulogne, of the royal house of France, and the sole fruit of tliis union was Catherine dei Medici, afterwards the queen of Henry II. He died in 1519, surviving the birth of his daughter only a few days. “ The statue of Lorenzo is seated. He is represented absorbed in thought. He rests his face upon his hand, Avliich partially covers the chin and mouth. The general action is one of perfect repose, and the expression that of deep meditation. It is impossible to look at this figure without being forcibly struck with the mind that pervades it. For- deep and 1 intense feeling it is one of the finest • Avorks in existence. It has been well [, observed of this statue that it has no e resemblance to the antique, but it rivals c the best excellences of the ancients in '• expression combined with repose and :• digxn.tj.'‘'—WestmacoUjim. The figures j reclining at his feet are intended to re- !! present Morning and Evening. The If other monument is that of Griuhano de’ 1 ' Medici, the third son of Lorenzo the li: Magnificent, who, after the elevation of ff his brother Leo X., held, under the bi title of captain-general of the Church, if the chief command of the papal troops, liil Having intermarried with the sister of oj the Duke of Savoy, he Avas honoured If’ by Francis I. with the title of Didie It,' of Nemours. He died in his 37th year. If, in March 1516. The figures on his J tomb arc intended to represent Day it and Night. 0 “ In the lower part of the tAvo monu- y merits of Cxiuliano and Lorenzo are )} allegorical figures of Day and Night, j( and the Dawn, or Morning and Even- ing. Tliey bear tlie impress of the [|(j master mind and liand ; but the Adolcncc t of action and forced exjircssion of tlieso Jatatues are not in character, in the first place, with the repose which is appro- priate to monumental sculptiu’e, and they do not harmonise Avith the figures above them. The intimate knowledge of anatomy possessed by Michael An- gelo, and tlie evident mastery he had over all difficulties of execution, appear sometimes to have tempted him, as in these statues, to mdulge in their dis- play at the expense of propriety of design.” “ But these defects, and defects they undoubtedly are, must not blind us to the great merits of the master who, while sculpture may be said to have been fri a transition state — balanced, as it were, betAveen the stiff and mannered simplicity of the “ riiiascunento ” and the ancient Greek school (just then beginning to be admired) — had the genius to strike out for himself a style as original as undeniably it is imposing. M. Angelo seems to havu felt that the Avorks of liis contemporaries, admirable as were some of them for intention and expression, Avere eminently deficient in nobleness of form. The remains of Greek sculpture offered, it is true, the finest models in this respect, but he had no sympatby with their subjects, nor the train of thought that helped to produce them, and Avithout these sym- pathies he was of course unable to ap- propriate the types supplied by these works, as Avith his innate feeling for tlie “ grandiose” he Avas incapable of illus- trating his own ideas by adopting the dry and meagre forms of the revivers. His OAAoi mhid supplied this want ; and thus M. Angelo stands alone as the bold inventor of a style. It has its defects, but they are all on the side of greatness. Compared with that of the ancients (of one period and of one school only), the scidpttire of Buo- narotti, it must be granted, Avants chastencss and simplicity; but iliere is notliing in it little or mean, cither in form or expression ; and it is more than probable that, had a pseudo-clas- sical ])assion not raged in Italy, inqios- ing a bastard taste' on every exercise of the intellect, whether in art or literature, Michael Angelo would have developed the sculpture of the Christian religion y 3 490 beci. > Route 44 . — Florence — Medicean Chapel. as successfully and as sublimely as Phi- dias did that of the ancient mythology. It would be right, then, to hesitate before we yisit with overwhehnmg con- demnation faults which were in a great measiu’e but the consequence of ch*cum- stances. It shordd be remembei*ed that no artist of any age has ventm’ed to think so boldly for himself as M. Angelo ; and though his manner of doing it cannot always be approved, he must ever be considered one of the great landmarks in the history of the art. It is true, he has been overpraised by many more who yet have only been able to see his unperfections. His imitators have cliiefly caught the faults of his style, and have caused the in- fluence he has exercised on art to be deplored ; but no real judge or sound critic will venture to say that the best of M. Angelo’s works do not place then’ author far above those who (whether, in aflectation of primitive shnplicity, they repeat the diy hard works of the revivers, or, in real admiration of the sculpture of the Greeks, continue to multiply copies of the ancient models) are, after ah, but a race of imitators — servum pecus. In addition to the works above referred to, by M. Angelo, in the Medici Chapel is a remarkable group, unfinished, of a Vmgin and Cliild. Tliis •work has the forced and overstrained character of composition which appears in so many of M. Angelo’s productions ; but it is, notwithstanding, a perform- ance of liigh merit, irhe style of form is large and grand, the treatment is dashing and vigorous, and it is by no means deficient in beauty. It is im- possible not to see in it the conception of a master mind and the work of a master hand!” — WestmacoU jun.^ A.R.A. The merit of these sculptures was fully appreciated when tliey first ap- peared. They are praised in prose and in verse, and the Noite^ in par- ticular, suggested to G-iovanni Battista Strozzi the elegant quatrain — “La Notte che tu vedi in si dolci atti Dormire, fu da un An^^elo scolydta In questo sasso, e perche dorme ha vita: Destala, se nol’ credi, e parleratti.” Michael Angelo replied with equal, per- haps superior, elegance — “ Grato m’ e ’1 sonno e piii 1’ esser di sasso ; Mentre che il danno, e la vergogna dura Non veder, non sentir m’ e’ gran' ventura ; Pero non mi destar ; deh parla basso.” The statue of Lorenzo has been called “ II Pensiero” (the thought) of Michel Angelo. “ The Madonna and Child on the N. side of this chapel is simple, and has a sentiment of maternal aftection never foimd in the Greek sculpture, but fre- quently in the works of this artist, particularly in his paintings, and that of the most tender kind.” — Flaxmany Lect. AT. The statue of St. Damian on the A^irgin’s rt. hand is by llaffaello da\ Montehipo, that of St. Cosmo by Fra Giov. Angelo MontorsoU. The Medicean Chapel (which is at the back of the choh’) is an ilhistrationj of tlie old story of the painter who. being unable to represent Venus beau- tiful, covered her with finery. Tlu first stone Avas laid in January, 1604 the architect being Giov. dei Medici and afterwards Matteo Nigetti. It: founder, Ferdinand I., intended thi building for the actual reception of the Holy Sepulchre In 1603 there arrivec at Florence a mysterious personagi from the East, styling himself Faccarj dine, Emir of the Druses. This emii now he was on Cliristian ground, re vealed the fact that he was a descendan i of the “ Pio Goflredo,” and, as sue! ; entertained an hereditary hatred agains ■ the Turks ; and he ofiered liis aid t the Grand Duke to enable liim to at quire (i. e. to steal) the most revere '' relic of Cln’istendom. When FaccaiJi dine returned to Jerusalem in 160t<, small fleet of galleys was despatched t the coast of Syria, under the comman of the captain-general, Ingliirarai ; an Faccardine and his confederates ai tually found means to enter tlie churef and to begin tlieir operations for dt taching the sepulchre from tlie rod when, being discovered by the “ malice of the Greeks, they were compelled f take to flight, leaving the marks of tl Tuscany. 491 Route 44 . — Florence — Medicean Chapel. saw. The ill success of the intended larceny was viewed as a great misfor- tune. Cosmo II. converted the build- ing mto the cemetery of the grand ducal family. The walls are entirely covered with the richest marbles and pietre dure , — jasper, chalcedony, agate, lapis lazuli, and still more precious stones, com- posing the Florentine mosaic of pietre cornmesse, of whicli the materials are entirely cUlFerent from that of the modern Homan mosaic. In the Koman mosaic the colours are artificial, it being formed of little pieces of glass, called “ smalto.” In tlie Florentine mosaic no colours are employed, ex- cepting what are natimal to the stone ; and the varied tints and shading are formed by a judicious adaptation of tlie gradations which the material affords. By means of these only, graceful and elaborate representations of flowers, fruit, ornaments, &e., have been produced. Marbles and jaspers of brilliant colom-s, being, of course, very valuable, are only used in thin slices, like veneer, about | of an inch thick. The process is extremely tedious, and therefore expensive ; the pattern is drawn on paper ; each piece is then cut out and drawn on the stone chosen. The stone is sawn by means of a line whe stretched by a bow and with emery powder, and is worked down with emery at a wheel until it fits exactly ; it is then jomed to the other pieces by being set m a backing of white cement about ^ inch thick ; when the work is completed this cement is planed down even, and a slab of slate put at the back. Some of the works now in hand in the Grand Ducal manufactory, and intended for tlie high altar of this chapel, will be tlie most beautiful specimens yet pro- duced. Tliis Florentine mosaic seems to be the “ opus sectile ” of the Romans. Tlie armorial bearings of the cities and state.s of Tuscany incorjHn-ated in the dominions of the Medici, wliich range round tlie dad(j of the chapel, are exuinjiles of the richness of this wor k. The (Jijliu of Florence was once white; it is now red ; and the alteration is de- plored by Dante as one of the conse- ciuences of her discord and divisions : — “ vid’ io glorioso, E giiis ‘0 ’1 popol suo tanto, che ’1 giglio Non era ad asfa mai posto a ritroso, Ne per division fatto vermiglio.” Faradiso, xvi. 151-153. “ have I seen Her people just and glorious, so far that ne'er Stain’d through division had her lily been With vermeil, or reversed upon the spear.” Wright's Dante. This red giglio is the most elegant of the coats. It is delicately and elabo- rately formed of different hues of coral and cornelian, inlaid so as to represent the relief and the shading of the flower, which is evidently, like the fleur-de-lys of France, no Jihj, but the three-petaled iris, which still waves on the old walls of Florence. All the bearings, as be- fore observed, are purely colours of nature; the giallo antico standing for or, lapis lazuli azure, rosso antico gales, and so on. In the bearing of the golden Lion of Massa the mane is represented by the insertion of darker and lighter portions of the marble, and the eye is inlaid of black marble. In only one instance is help given by art. It is in the case of the Lion ai'gent of Pienza, which, formed of semi-transpa- rent alabaster, has, beneath it, a shading on the ground, which shows through the stone. The Medicean cenotaphs are, in splen- dour of material, in accordance with the mausoleum which encloses them. Chalcedony, jasper, mother-of-pearl, turcjuoises, and topazes, are lavished on these monuments. The statue of Ferdinand I. (died 1609) was modelled by Giovanni di Bologna, and cast by Pietro and Ferdinando Tacca. As a work of art, the statue of Cosmo II. (d. 16‘2i), attributed to G iovanni di Bologna, stands pre-eminent. It is not, however, by Giuvanni di Bologna, but also by Tacca. The cushion u])oii which the grand ducal crown is placed is of the nio.st wonderful workinanshi}), inlaid not merely with pietre dure, but with jirecious stones. The grand ducal crown, which differs in shajie from all other Muropean crown.s, was the fancy of Pope Clement YIL, when he invented 492 Route 44. — Florence — Laurentian Library, Sect. VI. the title of Grand Duke.” The roof is covered with frescoes executed be- tween 1828 and 1837, by the late director of the Academy, Benvemiti. The bodies of the Medici are contained in a crypt below. A portion of the vaults in which the bodies are laid is passed throiigh, if the chapel is ap- proached from the back entrance. The chapel may be seen from ten till four o’clock, the custode being then in at- tendance ; but the church is only open during the usual hours. A notice is hung up in the entrance to the chapel, requesting that no fee may be given to the custode, as he receives a salary from the Grand Duke. The cloister on the S. side of the body of the church, is small and regular; a second loggia or arcade runs above. Here is the tomb of Paolo Giovio, Bishop of ISTocera, who died in 1552, an eminent writer of history and historical biography. The statue is by Francesco di San Gallo. This cloister opens into the celebrated Laurentian Library. A noble but unfinished vestibule, designed, like the rest of the building, by Michael Angelo, leads into the library. Some variation was introduced in this portion by Vasari. The library itself forms a long and lofty gallery, of which the effect is improved by the fine stained windows, from the designs of Giovanni da Udine. In each of these the armorial shield of Clement VII. is introduced. The terra-cotta pavement, with its grotesque but ele- gant patterns, in brown, red, and yel- low, was constructed by II Tribolo. The Rotonda attached to the library was finished in 1841, by the architect Poccianti. The Mediceo -Laurentian Library is a noble monument of the attention of the family of Medici to the advancement of learning. It has ■ undergone many vicissitudes. It was begun by Cosmo, whose natural disposition led him to take an active part in collecting the remains of the ancient Greek and Ro- man writers, and who was enabled by his wealth, and his extensive mercantile intercourse with different parts of Eu- rope and of Asia, to gratify a passion i)f this kind beyond any other individual. To this end he laid injunctions on all his friends and correspondents, as well as on the missionaries and preachers who travelled into the remotest coun- tries, to search for and procure ancient manuscripts, in every language, and on every subject. Besides the services of Poggio and Traversari, Cosmo availed himself of those of Christoforo Buondel- monti, Antonio da Massa, Andrea de Rimino, and many others. The situa- tion of the eastern empii-e, then daily falling into ruins by the repeated at- tacks of the Turks, afforded him an opportunity of obtaining many inesti- mable works in the Jlebrew, Greek, Chaldaic, Arabic, and Indian lan- guages.” — Eoscoe. “Cosmo ofMedicis was the father of a line of princes whose name and age are almost synonymous with the restoration of learning: his credit was ennobled into fame ; his riches were dedicated to the service of mankind; he corresponded at once with Cairo and London; and a cargo of In- dian spices and Greek books was often imported in the same vessel. The genius and education of his grandson Loi’enzo rendered him not only a patron but a judge and candidate in the lite- rary race. In his palace distress was entitled to relief, and merit to reward : his leisure hours were delightfully spent in the Platonic Academy : he encouraged the emulation of Demetrius Chalcocon- dyles and Angelo Politian ; and his active missionary James Lascaris re- turned from the East with a treasure of two liundred manuscripts, fourscore of which were as yet unknown in the libraries of Europe.” — Gibbon. When Pietro, the unlucky son of Lorenzo, provoked the vengeance of the people, this library, with difficulty saved from destruction, was purchased by the Re- public in 1496. The government, how- ever, sold it to the convent of San Marco. When the Dominicans fell into trouble, on account of Savonarola, the library was taken from them and re- moved to the Palazzo Publico. They soon afterwards recovered it, however (1500) : but, being much in debt, they iu their turn sold the collection to Leo X. (then Cardinal Giovanni de’ Medici), who deposited the volumes in one of his faSCANY. Route 44 . — Florence — Laurentiau Library. 493 R,oman palaces. They then passed to Z!ardinal Giidio de’ Medici (Clement YII.); who determined to restore the collection to Florence, as the proudest oortion of the Medicean inheritance, xnd he accordingly founded this struc- ture to receive them, for which Michael Angelo gave the designs. At the death of the Pope, 1534, it remained incom- plete, and the manuscripts were aban- doned to dust and decay, until the building was finished, while Michael Angelo was living in his old age at Rome. They were arranged and placed under proper care by Cosmo I. Great additions have been made to the original Medicean collection by Cosmo’s successors, by whom have been added the MSS. of the Gaddi library; those collected by the Senator Carlo Strozzi ; those of the private library of the Grand Dukes, and of the Lotaringico -Palatine library; the orien- tal manuscripts illustrated by Assemami Archbishop of Apamea; the Biscioniani, Segnani, and Scioppiani MSS. ; and those which were found in the suppressed monasteries prior to the French inva- sion. Count Angelo d’Elci (1841) gave his valuable collections of Editiones Principes; Franc. Xav. Pedi, the last of the family, bequeathed the MSS. of the celebrated Franc. Redi (1626 - 1698); and the Cav. Fabi’e, the painter, placed here the manuscripts of Alfieri, as well as many printed Greek and Latin classics, containing marginal comments or translations by the poet. The present Marchese Luigi Tempi has also deposited here some valuable con- tributions from his own library, in- cluding one of the finest copies of the Divina Commedia. This library now contains upwards of 9000 manuscripts. In mere numbers many are larger, but none, the Vatican excepted, so impor- tant. It is particularly lich in works in Hebrew, Arabic, Syriac, Coptic, Greek, and Latin, and of the great Italian witters of the 14th, 15th, and 16th centuries. There is a catalogue of the Arabic, Persian, Syriac, and other oriental MSS. by Assemami, in 1 vol. folio, 1742. One of the Hebrew and liabbiiiical MSS., by the lilirarian Biscioni, published in 1752; and one of the MSS. in Greek, Latin, Italian, and other modern languages, by the librarian Bandini, printed at Florence in 11 vols. folio, 1764 - 1793. The continuation is being executed by the present librarian, Furia. Suspended at the end of each desk is a tablet, containing the titles of the several MSS. Among the sights of the col- lection are the following: — The cele- brated Medicean Virgil, the earliest MS. of the poet, revised by Tertius Rufus Asterius Apronianus, about a.d. 494, containing the whole works, with the exception of a few leaves of the Bucolics. The numerous corrections which/ it contains attest the care with which it was collated. — The Pandects; the earliest MS. : captured by the Pisans when they stormed Amalfi (1135). It was formerly generally believed, but on insufficient evidence, that, in conse- quence of this discovery, the study of the civil law was revived, and its juris- prudence ultimately adopted through- out the greater part of Europe. This MS. was preserved at Pisa with as much veneration as if it had been the Palla- dium of the Republic. Every three months it was visited by a deputation of the magistracy : and when, after the fall of Pisa (1406), it was I’emoved to Florence, equal veneration long con- tinued to be rendered to it. Tapei’s were lighted, monks and magistrates stood bareheaded, as before holy relics, and the books were opened beneath a silken pall. The work is written in a bold and beautiful character, “is com- posed of two quarto volumes, with large margins, on a thin parchment, and the Latin characters betray the hand of aGreek scribe.” — G-ihhon . — Two fragments of Tacitus. Tlie first con tains, in a most cramped and difficult Lombard character, the first five books of the history, and the last six of the annals. Some antiipiaries place its date as high as 395; but it belongs more probabl}/" to the 11th century. The second, brought from tlie monas- tery of Corbey, in Westiihalia, was ])ui'chascd by l’o])c Loo X. fi'om tlie discoverer Areimljoldi, for 500 golden florins. This i\lS., which is more legible than the jireceding, may bo as old as 494 Route 44. — Florence — San Marco. Sect. VI the 6th century, and is the only MS. which contains the first five books of the annals. — A Quintus Curtius of the 10th century is the earliest text of that writer. — The Diviua Commedia : The transcription of this manuscript was completed, as appears by the colophon, on the day when the ^ ' Duke of Athens, ” Walter de Brienne, was expelled, 1343, or twenty -two years after the death of Dante. — The 'Decameron, transcribed in 1384, from the autograph, by Fran- cesco Mannelli, the godson of Boccaccio, consoles the Tuscan student for the loss of the original. It contains some whimsical marginal notes, and the or- thography differs widely from that of the modernised editions. Here too is the correspondence relating to the famous Deputies’ edition of the Deca- meron, the official version of the Roman Church. — A copy of Cicero’s Epistles, Ad Familiares, is from the pen of Petrarch; some of his letters, and his autograph signature upon the first page of his Horace, are also shown. The handwritings are totally dissimilar; but inasmuch as it has been lately demon- strated (by the gentleman who sold them) that Melancthon’s autographs exhibited thiidy-seveu distinct and dif- ferent handwritings, it would be cruel to doubt the authenticity of the Pe- trarchian remains. — Terence from the hand of Politian. — The celebrated letter of Dante in which he rejects the con- ditional permission to return to Flo- rence. — Unpublished writings of Ficino. — A versified description of the poet’s person in a MS. of Dante of the 1 5th century,— Some of the Syriac MSS., particularly the Gospels of the date 586, from the monastery of St. John at Zagba in Mesopotamia, contain illumi- nations which are fine specimens of Byzantine aid. In the Canzoniere are portraits of Laura and Petrarch, of the 14th century. — The Evangeliarium au- reum, from the Cathedral of Trebisond. — A missal of the 14th century, with illuminations by Don Lorenzo Carnal - dolense. In a bottle is kept Galileo’s finger, which the antiquarian Gori stole from his tomb at S. Croce. The Laurentian Library is open daily, except on festivals, from 9 till 12. The assistant expects a small gratuity. Tht chief librarian is generally in attend ance, and those who wish to consult or use the manuscripts will experience, as in the other public establishments all the facilities they can desire. At the H. E. corner of the Piazza, iu front of the church of S. Lorenzo, is the pedestal intended to support tht statue of Giovanni de’ Medici, fathei of Cosmo I., and known as the captain of the Bande Mere. The bas-reliefs are: by Baccio Bandinelli. In the principal bas-relief, which represents soldiers di viding captives and spoil, the artist has introduced a figure carrying off a hog; this is one Baldassare Turini of Pescia, against whom Bandinelli had a spite, and whom he has thus immortalized. Giovanni de’ Medici died in the service of Francis I. (1526), having previously attached himself to the Imperialists. The unfinished statue which it was in- tended to place upon this pedestal is now in the Palazzo Vecchio. Church and Convent of San Marco . — The Dominicans of the strict observ- ance” were introduced here in 1436, by the authority of Pope Eugenius IV. ; the Silvestriui, a branch of the monks of Vallombrosa, having fallen into bad repute. The Dominicans, ever in the pulpit, long continued highly popular. Cosmo de’ Medici promised 10,000 scudi towards the re-erection of their : church and monastery, and spent i 36,000. The designs for both church' and convent were given by Michelozzo. All the buildings, however, have been' much altered, and the church exhibits little of the original master. The front | was completed in 1777 from the designs j of Fra. Giov. Pronti. The architectural ;j decorations of the altars, and the Sal- viati Chai^el (1588), dedicated to Sant’' Antonino, were designed by Giovanni di \ Bologna. (This chapel is on the 1. hand ' at the end of the nave). The statue of ' the Saint, in the act of benediction, is ; by the same artist. St. Thomas, St. Anthony the Abbot, St. Philq^, St. John, St. Edward, and St. Dominic, ' are by Francavilla, his pupil, and from his designs. The three Angels, and the bas-reliefs in bronze, are by Portigiani, j The paintings in chiar’-oscuro on a gold* I, Tuscany. Route 44 . — FlorenceSan Marco, 495 le 1 - e, 3 , H I 3 ground beneath the archivolts support- ing the cupola are by Bronzino. Two large frescoes representing, one, the fu- neral procession, the other, the burial of St. Antonino, are by Passignano. In the front of each are three almost naked figures, which seem to have been introduced by the artist solely to show his skill in drawing. — Chapel of the Holy Sacrament (at the upper end of the church), begun in 1678; architect, P. F. Silvani : the w^alls and pavement are composed of rich marbles. Here are six large paintings relating to the institution of the Saci’ament of the Eu- I; charist, either in history or in type, i: such as the Falling of the Manna (Pas- signano), and the Sacrifice of Isaac (./«- copo da Empoli), — Our Lord with the Apostles, by Santi di Tito, and finished by Tiberio his son. This chapel con- tains other paintings, frescoes, and bronzes, in the best style of the early part of the 17th century. The church also contains, on the rt.-hand side of the nave, the Virgin and several Saints; a fine Fra Bartolomeo, much injured by candles. — Of older art, a singular Greek Virgin and two Saints in mosaic, upon a gold ground, is encrusted in the wall of the Capella Ricci, on the rt.-hand side of the nave. It is remarkable as being one of the very few relics of the ancient mosaics of St. Peter’s at Rome, where ic w^as placed by Pope John VI. a.d. 703. It was brought here in 1609, from the ruins of the Basilica, when it was finally demolished to make way for the present structure. A crucifix by Giotto, painted on wood, with a gold ground, now over the principal door, drew all Florence to see it when it was first brought to this convent; and it is said to be the very j:)roduction which established his popular reputa- tion above that of his great predecessor Cimabue. “ O vano gloria dell’ umane posse Com’ poco verde in sula sima dura, Se non e giunta dall’ etati grosse ! Credette Cimabue nella pintura Tener lo campo ; ed ori ha Giotto il grido, Si die la lama di colui oscura.” Puryaloriu, canto xi. 01 — 9G. In this churcli are interred Ang. Polt- tian, Gir. Benivieni, and Giovanni Pico della Mirandola, whose character is thus given by Hallam: — “ On his first appearance in Florence, uniting rare beauty with high birth and unequalled renown, he had been much sought by women, and returned their love. But at the age of 25 he withdrew himself from all worldly distraction, destroying, as it is said, his own ama- tory ]Doems, to the regret of his friends. He now published several Avorks, of which the Heptaplus is a cabalistic ex- position of the first chapter of Genesis. It is remarkable that, with his exces- sive tendency to belief, he rejected altogether, and confuted in a distinct treatise, the popular science of astro- logy, in which men so much more con- spicuous in philosophy have trusted. But he had projected many other un- dertakings of vast extent : an allegorical exposition of the New Testament; a defence of the Vulgate and Septuagint against the Jews; a vindication of Chris- tianity against every species of infidelity and heresy; and finally, a harmony of philosophy, reconciling the apparent inconsistencies of all writers, ancient and modern, who deserve the name of wise, as he had already attempted by Plato and Aristotle. In these arduous labours he was cut ofl’ by a fever at the age of 31, in 1491-, on the very day that Charles VIII. made his entry into Florence. A man so justly called the phoenix of his age, and so extraordinarily gifted by nature, ought not to be slightly passed over, though he may have left nothing which we could read with advantage. If we talk of the admirable Crichton, who is little better than a shadow, and lives but in panegyric, so much superior and more wonderful a person as Joliu Pico of Mirandola should not be forgotten.” The grave of this prince is indicated by an inscription, which records, if not his real reputation, the esteem in which he was held by his contemporaries. — On a little wooden tablet below is an inscrip- tion in memoiy of Politiaii, in Avhich his death is ])laced in 1499, instead of 149 1, when it really happened. Politian was one of those, Avho, “ Dyiti'T, put on the woods of Oominio, Or as Francisoan think to pass diyuised.” 496 Route 44. — Florence — San Marco. Sect. VI. He was by his own request buried in the dress of the order of this monas- tery. Fie Convent (which ladies are not permitted to enter) contains the finest works of Fra Beato Angelico da Fiesole (b. 1387, d. 1455), who was a member of this house. These paintings re- mained unjustly neglected for more than three centuries, and have been of late years as unjustly extolled by the artists and admirers of the modern German school. Nevertheless, there are in these works qualities which should not be overlooked by any one desirous of appreciating art. Fra An- gelico may be called the last and m«.st perfect of the Byzantine school o painters, to whose style he added as much as a mind altogether nurtured in asceticism could do. He is totally without those beauties which are so conspicuous in Leonardo da Vinci and Raffaelle, but there are in his works a holiness and purity of exjDressiou which, perhaps, have never been surjmssed by either of those painters. The works of Fra Angelico in this monastery were formerly very nu- merous; many have perished or have been removed. The situations of the existing works are as follows : — In the outer cloister, in a lunette beside the dooi’, is the Head of St. Dominic : op- posite, under a glass, is St. Dominic at the foot of the cross: in another lunette, at the farther angle, is the Head of Christ. Opening out of the N. side of this cloister is the ancient chapter- house, containing the Crucifixion. On the rt. hand of the cross of our Lord (the two thieves being also represented) are the three Marys, St. Mark, St. John the Evangelist, St. Lawrence, St. Cos- mo, and St. Damian. On the 1., St. Dominic, St. Ambrose, St. Jerome, St. Augustine, St. Francis, St. Benedict, St. Bernard, St. Romuald, St. Ber- nardino, St. Peter Martyr, St. Peter of Verona, and St. Thomas Aquinas; the latter known, as usual, by the sun uj)on his breast. All these figures are nearly upon one plane: the colouring is clear and bright, the drawing timid and incorrect. The expression of the countenances disappoints as to strength, but there is purity and tboughtfiilness in the heads. The dark red sky behind the cross is probably the red gi'ound upon which, as in all the early frescoes, the blue sky, which has since fallen off, was painted. A border of arabesque compartments, in which are contained saints and patriarchs, the prophetic sibyls and the prophets, surrounds the picture. Each prophet bears a label, on which are inscribed the words in which he foretold the sufferings of our Lord. At the summit is the emblem- atical pelican, shedding her blood for her little ones. A species of frieze contains a sort of spiritual pedigree; St. Dominic, in the centre, holding a branch in each hand, whence spring smaller stems with medallions of his most celebrated disciples and followers. “^‘This is by no means a first-rate work of Angelico, and shows all his faults, though many of his beauties.” — B. Fronting the top of the stairs, in the corridor of the first story, is the An- nunciation. Opposite to it is another Crucifixion, very fine. Further on in the same corildor, on the rt.-hand side, is the Madonna and Child en- throned with four saints. In three cells on the 1. hand of this corridor are, — the Coronation of the Virgin, called the finest work in the convent; Christ’s descent to the spirits in prison; the three Marys at the Sepulchre. The second, or great Cloister, was designed by Michelozzo. The frescoes in the lunettes represent the works and miracles of the life of St. Dominic. Some are real acts of charity, as when he offered himself as a slave to redeem the only son of a widowed mother; others are like dreams, real or waking, and perhaps were so. In the old re- fectory is a Last Supper, by Dorn. Ghir- landaio. Girolamo Savonarola was a brother of this house. Strongly as he had opposed the interests of Lorenzo, the latter, when dying, sought consolation from his ministry. ‘'Wilt thou believe with a perfect faith?” was the first cj^uestion which Savonarola put, after confession, to the expiring sinner. — Lorenzo assented. “Wilt thou, to the utmost of thy power, restore all that Tuscany. Route 44 . — Florence — the Annunziata. 497 hou hast wrongfully acquired?” was he second inquiry. — Lorenzo hesitated, )ut, after a while, he gave the required womise. “Wilt thou also restore •Florence to liberty, and to the enjoy- ment of her popular government, as a ree commonwealth?”^ — was the third question of Savonarola. — Lorenzo turned his face away, and spake not a word more. The papal chair was then polluted by Borgia. Savonarola loudly urged ohe reform of the Church, calling upon :;he faithful to come forth from the mystic Babylon. He was equally un- sparing of his reproofs of the vices of his countrymen ; and the huge piles, m which the works of Dante, Petrarch, Boccaccio, and Pulci were consumed, — causing the present scarcity of the early editions of their woiics, — testified his influence and his fanaticism. But the wicked Pope, as might be expected., was his implacable enemy ; and his zeal, politicaf as well as religious, raised up against him a whole host of relentless opponents. The convent of St. Mark was attacked by the infuriated multi- tude on Palm Sunday, 1498, and after a long and stout defence by the monks, the choir, then enclosed by a high wall, whither they had retreated, was stormed. Savonarola and two of his brethren, Fra’ Dominico and Fra’ Silvestro, were dragged foxth, and thrown into the pi-ison of the Palazzo Vecchio. Charges of heresy and schism were preferred against him. He was repeatedly put to the tortiu’e ; the agony extoided a confession, which he I’e- tracted as soon as he was released fi'oixi the rack; and on the 23rd May, 1498, he and his companions wei-e hanged, and then burnt on the Piazza de’ Sig- nori, and their ashes cast into the Arno. Pi-eviously to his execution he had been degraded . — “1 separate thee from the Church militant,” said the Official. “But thou canst not separate me fi’orn the Cliurch tiiumpli- ant,” was Savonarola’s reply. So late a.s the last centxu’y there were many vvlxo honoured him as a saint and a martyi-. Jt was through tlie ])reaching of Savouai'ola that Fra Bartolomeo be- came a monk, and a member of this house. The convent now contains about seventy Mars. One of them. Fra' Sera- fno, like his predecessoi’s, cultivates painting, and possesses much merit as a very faithful copyist and not unsuc- cessful imitator of the early Florentine master. The chui’ch of San Marco pos- sesses a missal full of illuminations, fittributed to Fiu Angelico; and al- though Kugler supposes them to have been executed by one of his scholai’s under his own eyes, several of them are of the highest beauty, and quite woidhy of Fi’a Angelico himself. Sa7i Mm^co possesses a Spezieria, which /I’ivals that of Sta. Maria l\o- vella for elegance of arrangement and excellence of goods. The ancient vases of majolica, or, as we call it, Eaphael’s ware, constitute a great attraction to the curioxxs in these mattei’s. Ladies are allowed to enter the Spezieria, though even more strictly excluded (unless by special peianission) from other portions of the convent than from Sta. Maida. At a short distance from S. Mai’co, at the end of the Via della Sapienza, which runs out of the E. side of the Piazza di S. Marco, is La Santissima Anaimziata, called dei Servi . — This church was dedicated to the “Vei'gine Annunzifita,” by seven Flo- rentine gentlemen, who, in 1233, had betciken themselves to a contemplative life on Mt. Senario near Floi’ence, aixd instituted the oi’der of the “Sei'vi di Mai’ia,” under the rule of St. Augustin, in commemoi’ation of the most holy widowliood of the blessed Vii’gin. This church became very popular, and so ci’amrned with wax legs, firms, and other pai-ts of the body, in return for mh’aculous cui’es, and . with llgui’es of distinguished persons who had visited it, that the former used to fall on the congregation, and injure the uorks of art, and it became necessaiy, uheii the church was lupaii-ed, to clear them out. Before the church is a cloister or atiium, of which the iVont towanls the Piazza was designed by Caccini, following the ])lan set him l)y .bdo/i/t» di San G'dlo. Like several other build- ings in this i)iazza, this front is in the Bi'unelleschi style, that is to say, arches 498 Route 44. — Florence — the Annunziata. Sect. VI. supported upon columns : the disadvan- tage of which mode of construction is here well shown, as between nearly every two columns is an iron tie, sub- sequently introduced to counteract the lateral thrust of the arch. The cloister is surrounded with paintings in fresco of great beauty. It has been glazed for the purpose of preserving them from the weather, and the key of the door is kept at the Academy. On the l.-hand side of the cJoister, on en- tering it from the Piazza, and on the wall flanking the entrance to the church, is the earliest work of the series, a Nativity by A/esso BakJovinetti, remark- able only for the elaborate finishing of the details. Next to this are six sub- jects from the life of San Filippo Be- nizzi. 1. Of these, the compartment nearest the church was painted by Co- simo Roselli : it represents San Filippo assuming the habit of the order, and has little merit. The series being left unfinished by Roselli at his sudden death, Andrea del Sarto was employed to finish it; he executed, 2. The saint clothing the naked; 3. Lightning kill- ing two of a party of gamblers, who had mocked his preaching; 4. San Fi- lippo healing a woman possessed by an evil spirit; 5. The death of the Saint, and a boy restored to life by being touched by the saint’s bier ; 6. Six children cured by having the saint’s clothes laid on their heads. The old man in red drapery bending forwards, and with a stick in his hand, is a portrait of Andrea della Robbia, the sculptor. These compartments were the first which Andrea executed. ‘‘The frescoes by Andrea del Sarto in the vestibule are full of modest simplicity and feeling, and are very remarkable in subdued but harmonious combina- tions of quiet colours and tones. There is also a religious quietism and pro- priety about them which render them well adapted to the jjlace they occupy. The best are, — the People kissing the Vestments of S. Filippo Benizzi; and the Morticini, a dead child restored to life by the grace in the dead Saint ; and the Birth of the Madonna.” — C. W. C. When Andrea del Sarto executed these frescoes, he was in exti’eme povei-ty, working for the most miserable pay. Through the artful bargaining of the sacristan, according to Vasari, he re- ; ceived but ten ducats for each compart- ■ ment. Here Andrea was buried: and here is his bust, by Montelupo, taken from the life. On the opposite side of the cloister are (nearest the church) — the Adoration of the Magi. The Magi are represented as having alighted as if they had arrived close to the spot where the infant was : his nativity being drawn on the other side of the doors by Baldovinettii. — The birth of the Virgin, full of pleasing figures. These two are by Andrea del Sarto. — The Marriage of the Virgin is by N/wicirt6((/'i0 (1483-1524). , A portion, including the countenance t of the Virgin, was destroyed by him, because the friars uncovered the paint- ing before it was quite completed. Few of his frescoes ai’e extant. — By Pojfiomo, the scholar of Andrea del Sarto, is the Visitation. The figures are very grand in form, and the colouring is excellent. When Michael Angelo saw a fresco v/hich Pontormo painted at the age of 19 in an arch of the portico of this church, but which has now perished, he said, “Questo giovane sara anco tale, per c{uanto si vede, che se vive e seguita porrh quest’ arte in cielo.” — The Assumption of the Virgin is by II Rosso. Vasari praises the group of in- fant angels, the colouring, the attitudes, and some of the heads, but observes that the figures are rather overlaid with drapery. The head of St. James, who is dressed as a pilgrim, is a j^ortrait of Fi'ancesco Berni, the moderniser oi Boiardo’s Orlando Inamorato. In the church, beginning on the rt. -hand side on entering, is a picture of the Virgin, St. Nicholas, anti othei saints, by Jacopo da Empoli. — In the Capdla del Medici is the tomb of Or-, lando Medici, by Simone di Betto, the brother of Donatello. In the rt. tran- sept is the tomb of Baccio Bandinelli, by himself (died 1559). It consists oi a Pietk, our Lord supported by Nico-' demus, and it was executed by bin' for its present application. On the frieze at the back of the monument are the profiles of Baccio Bandinelli aiul his wife Julia. The roof of the nave h i Tuscan r. Route 44 . — Florence — the Annunziata. 499 )ainted by II Volterrano. By him also, lided by his pupil UUvelli, are the oaintings of the cupola. The cupola tself is one of the earliest works of Alberti. The high altar is also attri- buted to Alberti, but some ascribe it to Leonardo da Vinci. The choir is, or i’ather was, by Alberti, for it has been altered, and its original design lost under the rich marbles with which it bas been adorned by Silvani. The door of the choir, with a Pieta above it, is by Giov. Bologna . — In the Gapella della Vergine del Soccorso (the farthest chapel of the choir) is the tomb of Gio. Bo- logna, with a fine crucifix in bronze, and some clever but exaggerated bas- reliefs, all by him. Further on is a fine Eesurrection by Ang. Bronzino — The Virgin and Saints, by P. Perugino. — On a pillar of the tribune is the tomb of Angelo Marzi Medici, Bishop of Arezzo, by Francesco di San^ Gallo, who has subscribed his name and the date 1546. The recumbent figux’e of the old man is full of expression. In the Villani chapel, at the side of the entrance to the sacristy, are buried the celebrated historians Giovanni Matteo and Filippo Villani. In the last chapel next the transept, on the 1. of the nave, when looking to the high altar, is the Assixmption by Pietro Perugino, the most important work of his in Florence for the number of figures. — The re- duced copy of Michael Angelo’s Last Judgment, is by Ales. Allori : in it, as is said, he has introduced a portrait of Michael Angelo himself. The Chapel of the Annunziata, the first to the 1. on entering, was built in 1448, at the expense of Pieti’o de’ Medici, from the designs of Alichelozzi. The altar and many of its oniarnents are of silver; the head of our Saviour is by Andrea del SaCo. The wealth lavished here is in honour of a ixiiraculous fx'esco of the Aixixuxxciatioix by Pietro (Javaliiiii, accordiixg to Vasari ; bxxt paixxted by angels, according to po})ular belief. It is probably of the latter half of the 14th ceixtxxry, and has not ixiuch nxerit as a woi’k of art. It is ex[)osed only on extraordinaiy occasions, and on the Feast of the Annunciation. The oi'a- toi’y adjoining the chapel is x'ichly in- cx’usted with oxmaxnents in pietra dura, prixxcipally symbols of the Vix’gin; a rose, a star, a lily, a moon, axid xnany othei’s of the same class. The great cloistex’, which is on the hi. W. side of the church, was built by Cronaca. Sevex’cxl ancient toxnbs, of earlier dtxte than the buildixxg itself, have beexi pre- sexwed within its walls. Over the door leading from the cloister ixito the church is the celebx'ated “^Madonxxa del Sacco,” by Andrea del Sarto; a Holy Family, painted ixi fresco, for which it is said he was paid oxxly a sack of wheat, froxn whexice it derives its xxame. But St. Joseph leans oxx somethixxg like a wheat- sack, x(ixd this is equally givexi as the source of the xxaxxie. The coxnposition is fixxe, broad, and simple, but the colouring is leather ixxjured. The cloister is full of paixxtings. The main sexdes coxxsists of subjects ttiken froxn the lives of the Sevexi Fouxxdex’s of the order of the Servi, all Florentixxes — Buoxifigluolo Monaldi, Buonagiunta Maxxetti, Axnadeo Amidei, Manetto deir Antella, Sostegno Sostegni, Uguc- cione Uguccioni, and Alassio Falconieri, together with poxdraits of the xxxost eminent persoxxages of the order. The pxiixxtex’s ax’e — - Poccetti (1542-1612), Frate Arsenio Mascagni, a xnexnber of the ox’der (1579-1636), Alatteo Rosselli (1578-1650), aixd Ventura Salimbeni. The Capella de' Fittori, which opens ixito the great cloister, is interesting 0X1 account of its connection with the history of Florentine xirt. The Com- pany of Painters, or Guild of St. Luke, assembled as eax4y as 1350, under con- stitutions approved of by the then Bishop of Florence, Jacopo Palladini. Their fix’st place of meetixxg was in the Hospital of Sxinta Maria Nuova; but in 1563 they rexiioved here, with the ap- probation of Cosmo I. The sculj)tox’s and the architects joined thenx, aixd the chapel is now vested in the academy. Amongst other objects it contains, over the altar, thx-ee small subjects from the exploits of St. Cosmus and St. J lamia- xms, rather ludicrous, l>ut valuable, by Jieato Angelico; a fi’csco by Pontormo ; St. liuke, by Vasari; Sand di Tito, Cosmo I. dii-ecting the buihling of the Clxiu'ch ; the subject is treated, in oCO Route 44. — Florence — Scalzo. Sect. VI. fresco, allegorically, and some call it the building of the Temple of Solomon. By the same aidist also is a fine Cena- colo in the refectory. Two good, but damaged frescoes, by Andrea del Sarto, are on a wall in an adjoining garden. The Piazza della Annunziata is one of the most beautiful parts of the city. The logge of the church face the N. side. On the E. are the build- ings of the Spedale degV Innocenti, or Foundling Hospital ; opposite is a building in a similar style ; in the centre are the equestrian statue of Ferdinand I., and two bronze foun- tains; and out of the S. side opens the. Via dei Servi, at the end of which is seen the cupola of the cathedral. The Spedale degl’ Innocenti was established in 1421 by the influence of the celebrated Leonardo Bruno (see Santa Croce), whose speech in the great council pro- duced the adoption of the scheme. Brunelleschi gave the design, but, being employed by the Florentines in the war against Lucca in 1429, and invited to Milan by Filippo Visconti to build a fortress, the building was intrusted to Francesco della Luna, his pupil, who made several ill-jiidged alterations. It is said that, on Brunelleschi, at his return, finding fault with these, and in particular Avith the architrave being brought down to the ground at one end, della Luna defended the alteration by saying that he had taken it from the church of St. Giovanni, on which Brunelleschi replied, “ S Centura! in quel tempio non m e che un errore, e tu lo hai riproduttol” In the spandrils of the arches are infants in swaddling-clothes, by Luca della Bobbia ; an odd but ap- propriate ornament. In the coui-t, over the door of the chapel, is an Annuncia- tion, also by Tmca della Robbia. In the chapel, behind the high altar, is the most important easel picture of Dorn. Ghirlandaio in Florence. It is full of figures. It is painted in tempera. The subject, as of those in the Uffizi, is the Adoration of the Magi, but it is far finer than either of them : the massacre of the Innocents is represented in the distance. The statue of Ferdinand I. was cast from cannon taken by the knights of St. Stephen from the Turks ; won, as the inscription says, in the style of Tasso, ‘Glal fiero Trace.” It is by Susini, and was erected in 1608. The two fountains were cast AUider the direction of lacca, and have whimsical figures something like that at Pisa. The admirable frescoes of Andrea del Sarto, in the cloister of the suppressed confraternity “• dello Scalzo,” are also intimsted to the care of the Academy. The proper name of the fraternity was “i disciplinati di San Giovanni Bat- tista but it being the custom in their processions that one brother of the order should walk barefooted cariying the crucifix, they derived their popular name from this barefoot, this Scalzo. The painting by Avhich he began is the Baptism of our Lord, the 7th in the series (beginning on the rt. on en- tering). The next Avhich he executed are Justice and Charity. Andrea hav- ing been allured to France, the con- fraternity employed Franciabigio, who executed, 5. St. John receiving the Blessing of his Parents before he re- tires to the Desert ; a most pleasing and simple composition ; and, 6. tlie Virgin and St. Joseph. Upon the return of Aiulrea to Florence, he completed the series: 10. St. John preaching. 11. St. John baptizing the Diciples. 12. St.John brought before Herod. 13. The Feast of Herod and the dance of Herodias. 14. The Decol- lation of St. J ohn. 1 5. Herodias with the Head of St. John 16. Hope. 2. The Vision of Zacharias, a design of great elegance. 3. The Visitation. 4. The Birth of St. John the Baptist. The border is painted by Franciabigio. Andrea, here, as at the Annunziata, Avas paid miserably. For the large compartments he received eight scudi each, and for the single figures of virtues three. The paintings are, un- fortunately, much damaged by damp' and violence ; many parts can hardly be traced. The key of the cloister is kept at the Academy. Santo Spirito, belonging to the Austin Friars. The church which preceded the present building, was built at the end of the 13th century, and was burnt in 1470. The fire was occasioned by some negligence in the management of fuSCANY. Route 44 . — Florence — Spirito. 501 he theatrical decorations of a ^‘Mys- ery” representing the descent of the Toly Ghost, a show exhibited before iiovanni Galeazzo Sforza, Duke of lilan, when he visited Florence in reat state. It is said that in the con- .agration of the church the autograph f the Decameron, bequeathed by ioccaccio to Fra’ Martino da Signa, nd after his death to this convent, y'as consumed. The shell, however, of his church remains : it is now used oS a furniture manufactory, and stands tanking the entrance from the Piazza nto the first cloister. It is a quad- angular room, 109:J ft. long, 37 ft. vide, and 35 ft. high from the ground 0 the tie beams. Some of the win- lows on the S. side are still pre- erved. The existing church was begun, >efore the fire, about the year 1433, from he designs of Brunelleschi. The first :olumn of the interior was not raised mtil 1454, eight years after his death : ,nd the church was completed about M81. The front is an unsightly mass )f brick. The interior is perhaps the inest of the works of Brunelleschi ; hough, from having been completed ifter his decease, it does not entirely igree with his designs. The altei’ations tppear, however, not to have affected he general conception, which is splen- lid and graceful. The interior forms 1 Latin cross, 315 ft. long, 191 ft. hrough the transepts, and 107 ft. vide across the body of the church, rhe aisles, which are carried round the ransepts, are formed by most elegant lorinthian columns, from which spring -ircular arches. The nave and tran- epts are double the width of the side dsles ; and at the extremities of the i.rms of each cross there are four win- lows instead of the usual number of hree ; so that the centre ends with a ;olurnn, and not with an arch and an iperture beyond. The recesses for the iltars have little depth, by which the )rnaments of the altars are rendered uore visible. Each, it is said, accord- iig to the original design, should have ontained a statue. 'The internal de- oration of the three doors of the fi-ont s novel and rich. The pai'ts which lave been criticised, and which are said to be changed from Brunelleschi’s de- sign, are — the great pillars which support the cupola, which are said to contrast too strongly in height and diameter with the others, and not to. receive well the arches above — the members of the cornices as being heavy and bad in profile —the recesses of the altars as being too high in proportion to their width— the pillars of the altars for being mean and disproportioned — the windows also as being too high for their width — and the cupola for being so small and elevated as not to be seen from below, except when the spectator is immediately beneath it. The choir, enclosed by magnificent balustrades of massy bronze and marble, at six of the angles of which is a figure in white marble of an angel, and at the remaining two statues of St. John and the Virgin, was begun in the year 1599 by the Cav. Gio. Batt. Michelozzi, and completed in 1G08 at an expense of not less than 100,000 crowns. It and the high altar, of rich pietra dura work, with its Baldacchino, are the work of Caccini and Silvani. The ciborium is by Giov. B. Cennini. The numerous paintings in this church include some good specimens of the Florentine school of the 15th century. Commencing the circuit of the church on the rt. hand on entering at the end of the nave, — at the first altar is an Assumption by Fiero di Cosimo ; — at the 2nd is a copy of Michael Angelo’s Pieth at St. Peter’s at Berne, by his pupil Nanni di Baccio.— The two Angels, by Franciabi(]io. — In the rt. hand transept is a Madonna with two saints, by F. Lippi: near it, in the Nerli Chapel, is a Madonna and Child, with St. Martin and St. Catherine : the infant Saviour reaches towards the cross with which St. John is playing ; by Filippino Tjippi. In the Capelin dci Nasi, in this transept, is a good copy of a Porugino, the vision of St. Bernard. It is valuable, because tlie original is in Bussia. Hero also is a IMadoima and four saints, given to Giotto, but not by liini. The infant Christ lias a goldfincli, cardellino,” in his liand. In tic Pith chapel from the entrance, reckon- ing along this rt. hand side of the 502 Boute 44. — Florence — The Carmine. Sect. VI. church, is a crucifix, which was the only object saved when the old church was burnt. It belonged to the sect of the White Penitents, who exhibited such extraordinary fanaticism in Italy and other countries in the 14th cen- tury. This crucifix has always been regarded with much reverence, bear- ing some reputation for performing- miracles, more especially since its escape. — Capella dei Biliotti, Madonna and two saints, Botticelli. — The archi- tecture and sculpture of the Capella del Sacramento are by Andrea Contucci da S. Savino . — In that chapel of the 1. hand ti-ansept which is the first on the rt. hand on leaving the choir is Christ bearing his cross, by Eidolfo Ghirlandaio. The sacristy, the entrance to which is opposite to the 6th intercolumni- ation, on the 1. hand side of the nave, was built by Cronaca, and is worthy of the edifice . to which it is attached. The beautiful Corinthian vestibule, which connects it with the church, is by Andrea Contucci da San Savino. He was reproached with having spoilt his composition by placing the ribs of the vaulting capriciously, and not over the pillars, and defended himself by refer- ring to a similar arrangement in the Pantheon at Pome. The sacristy itself is admirable for proportion and har- mony. It is octagonal, with a square chapel opening out of it on the N. side. It has two orders, both Corinthian. The upper is, perhaps, rather insigni- ficant, and with intercolumniations too great. The first cloister, on entering from the Piazza, is of the Tuscan order, by Alfonso Parigi. The cloisters are filled mth memorials, ancient and modern. Amongst the modern is a tablet placed to the memory of Napoleon Louis Bonaparte, who died- at Forli, 1831. A series of frescoes by Paolo Perugino, Ulivelli, Baldi, Cascetti, and Bimbacci, in the lunettes of the first cloister, represent the lives of the Saints of the order. The second cloister, which is Doric, is by Ammanati, 1564-1569. It has some good frescoes by Poccetti. Here was, until the suppression of the mo- nastic orders by the French government, a valuable library of books and manu- scripts, amongst which latter formerly were those which were bequeathed to the convent by Boccaccio. The Cam- panile of St. Sph'ito is from the design of Baccio d’ Agnolo, though it was not completed till 1541. Milizia calls it ^^the most beautiful of the kind.” Church and Convent of the Carmine . — This church, formerly one of the richest in Florence, was nearly destroyed by fire on the 29th Jamiary, 1771. The flimsy architecture of the restored structure requires no notice : but the Brancacci chapeh which, thoiigh opening out of the choir, escaped the flames, contains the famous series of frescoes hyMasolino, Masacico, owd Filippo Lippi. They repi-esent the life of St. Peter, but with incidents drawn from eccle- siastical legends as well as from Scrip- ture. The German critics have, after their manner, been exhibiting their hyper-sagacity in authoritatively as- ’ signing various portions to the respec- tive artists in opposition to the usually received account. The result of course is doubt as to almost every part. Avoiding this controversy, we will give the subjects of the paintings in order, together with the names which have been assigned by persons of some skill, leaving to the traveller the vain and unprofitable task of deciding between these names and those given by others. On entering the chapel, the first paint- ing on the 1. hand in the upper of the two lines in which the paintings are arranged is a small work represent- ing the expulsion of Adam and Eve from Paradise, by F. lAppi. The se- cond, which is a large painting, is the Tribute Money, by Masaccio. Our Lord, standing in the midst of the Apostles, is pointing to St. Peter draw- ing a fish out of the stream. To the ' 1. St. Andrew is calling his brother St. Peter. On the lower line, the first and narrow painting is by Masaccio, and represents St. Paul conversing Avith St. Peter, who is in prison. In the figure of St. Paul will be seen the source whence Kaffaelle derived the figure of St. Paul preaching at Athens. The second, or large compartment, is I Tuscany. Route 44 . — Florence- hiefly by Masaccio, the youth and some gures in the centre being by Lippi. n the centre is a naked youth, kneei- ng, as just restored to life by St. ^eter, surrounded by fine grave figures, looking on with deep interest. To the i. hand of the picture, in a separate omposition, three monks are seen jieeling before St. Peter. Behind is a arden wall, with flower-pots and trees, simple scene, with very fine figures. This is sometimes called the Raising of ■'lutychus ; but it represents the apo- ryphal miracle, said to have been vorked by the Apostles, in raising the on of the king, when Simon Magus had ailed. The skulls and bones in the fore- ground are supposed to have been used in he magician’s incantations. Some say hat in this composition Dante is intro- luced as Simon Magus, and Pope Boni- ace VIII. as St. Peter ; but this is ■ery doubtful. On the wall at the dtar end, on the upper line, the narrow compartment on the 1. hand of the pectator represents the Preaching of >t. Peter, and is by Masolino ; that on he rt. hand, Peter baptizing, by Masaccio. On the lower line, the sub- ect of the painting on the 1. hand is ^eter and John healing the cripple, by Masaccio: of that on the rt., Peter ind John distributing alms, by Masac- io. On the wall on the rt. hand, he large painting is by Masolino : the ubject is a combination of Scripture nd legend. It represents the Healing »f the Lame Man at the Beautiful Gate >f the Temple, by St. Peter and St. Tohn. To the 1., in a distinct com- josition, is St. Peter raising a female, us daughter Petronilla, who, cured by lim of the palsy, is sitting upon a bed n an iipi^er loggia. The scene takes dace in a city, whose streets are appa- rently those of old Florence. Some call this subject the Raising of the laughter of Jah'us. The next, or nar- ■ow compartment, represents the Fall •f Adam, and is by lAppi. On the ower line the large compartment re- )resents tlie Crucifixion of St. Peter, fo the rt. is tlie saint, head down- vards, fastened to the cross, a] (parent !y [uite dead, rigid and cold, surrounded (y executiouei’s and spectators. On — The Carmine. ^ 503 the 1. hand is Hero, ordering the execution, and surrounded by a cha- racteristic and animated group, amongst whom Seneca and Pyrrhus are con- spicuous. The rt. hand, and finer por- tion is by Masaccio ; the Crucifixion is by Lippi. The narrow picture represents St. Peter delivered by the angel from prison, while the guard is asleep in the foreground. This is by Uppi. Masolino, by whom these frescoes were begun, dying at an early age, the work was continued by Masaccio; the era is well fixed by its concurrence with the return of Cosmo de’ Medici. Masaccio had quitted Florence, and disdained to return, until the restora- tion of the great patron of art. Michael Angelo, and also Raffaelle and the artists of their age, diligently studied these frescoes, a circumstance alluded to in Annibal Caro’s epitaph upon Masaccio, in which his peculiar merits are described. “ Pinsi, e la mia pittixra al ver fu pari ; L' attegiai, 1’ avvivai, le diedi il moto, Le diedi atfetto. Insegni il Buonarotti A tutti gli altri, e da me solo impari.” Masaccio died at a still earlier age (26) than his predecessor ; and the paintings in the chapel were completed by Fra Filippo Lippi, who appears to have worked from the designs of his predecessors. Raphael studied these pictures with as much diligence as Michael Angelo ; and some — as, for example, Adam and Eve in one of the smaller compartments — are said to have been copied by him in the Vatican. Behind the altar in this chapel is an antique painting of the Virgin and Child, said to be by St. Luke, and brought by the monks from Greece. It is only exposed twice a year ; but the sacristan will show it on application. Opposite is the Corsini Chapel, contain- ing the body of St. Andrea Corsini, and very fine alti-rilievi, representing him celebrating his first mass, ascending to heaven, and descending to assist the Florentines in battle; all by Fvcpjini. Some of the tombs escaped tlic con- flagration : that of Pietro Sodei-ini, by Bcnedctlo da Fovezzano, in the choir, is singular and beautiful. The monument 504 Pioute 44. — Florence — Apostoli — Sta Trinitd. Sect, VI. is in stucco, and consists simply of a sarcophagus standing upon a base be- neath an arch. Sludls and bones com- pose a great portion of the ornaments, worked and combined with foliage and other ornaments. Pietro Soderini, created in 1502 Gonfaloniere perpetuo of the Florentine republic, was wise, gentle, prudent, and possessing every qualification for the chief magistracj^, except firmness of character. “ Under Soderini the Pepublic recovered a transient independence. But, in 1512, he was deposed by the intrigues of his enemies : the Medici were recalled ; and after a series of struggles and per- fidies, an imperial decree gave to the vile and profligate mulatto, Alessandro, in 1531, the title of Grand Duke of Florence, he having already absolute power.” — Q. Bernew. In the refectory is a Last Supper, by Vasa7^i. Santi Apostoli. (Situated behind the Lung' arno, on the rt. bank of the river, half-way between the Ponte Vecchio and Ponte Sta. Trinita.) This church, according to an inscription in the faqade, referring to another de- posited beneath the altar, was founded by Charlemagne after his return from Rome, and dedicated by Archbishop Turpin, in the presence of Roland and Oliver as witnesses ; ^Gestibus Rolando et Uliverio.” This is a fable ; but it can be proved that the church existed befoi-e 1000 a.d. Though subse- quently altered, the original design may be easily traced. The church is in the form of a Roman basilica, with a semi- circular tribune at the end. Instead of the present windows of the nave, there were formerly others, long and narrow, according to the style of the earlier churches ; and the recesses for the chapels have been added. Seven circu- lar arches, supported by eight columns, built of small courses of masonry, divide the nave from the aisles. The capitals are imitated from the Compo- site ; the acanthus-leaves are not highly finished, but distinctly formed. As a monument of antiquity it is interest- ing. There are several paintings and mo- numents in this church. Vasari : the Immaculate Conception, one of his best works. A Virgin in the manner of Giotto, a fresco. L. della Pobhia: a tabernacle for an altar in terra-cotta. Tomb of Odo degli Altoviti (died 1507), an elegant production of Benedetto da Povezzano. The ornament of the prin- cipal door of the front is also by him. This church is generally closed at an early hour, and application must there- fore be made to the sacristan. The Bot'go degli Apostoli was one of the most considerable of the townships which were brought into the circuit of Florence by the second circuit of the walls, and, when a distinct localitj", was famed for its springs and waters. It was full of towers, and often the scene of the most obstinate confiicts between Guelphs and Ghibellines. St. Arnhrogio. — This church is con- nected with a Magdalen conventual establishment, and contains the most valuable fresco existing of Cosimo Ro- selli. It is in a small chapel called the Capella del Miracolo, on the 1. hand at the end of the nave, and is so badly lighted that it is seen with difficulty. The altar-piece of this same little chapel is by Alino da Fiesole. Santa Trinita, built in 1250 hj Nicola Pisu7io, has been much altered. The present fac^'ade was designed in the Ifith century by Buontalenti, by whom also the choir was erected. The two outer aisles of the five which the church originally had have been closed up to form chapels. The older architecture is simple and good. In a chapel near the altar is a cuiious view of ancient Florence, in bas-relief : the buildings are made out with great detail. In the Capella de' Sassetti, which is the last chapel on the rt. of the High Altar, close to the door of the sacristy, is a series of frescoes representing incidents from the life of St. Francis, by Bornenico Ghirlandaio. On the wall on the 1. hand when looking to the altar, and in' the upper picture is, 1 . St. Francis hav- ing given up all his possessions, even his garments, casts himself- naked at the feet of the Bishop of Assisi. On the same level, on the wall behind the altar, is 2. Pope Honorius approving of the rules of the order. The saint per- forms the miracle of presenting roses Tuscany. Route 44. — Florence — Churches^ ^-c. 505 to the Pope in January. This fresco ' contains a portrait of Lorenzo the Magnificent. On the rt.-hand wall above is 3. St. Fi-ancis, in the presence of the Mahometan soldan, passes un- hm-t through the fire. On the l.-hand wall below 1, is 4. St. Francis receiv- ing the stigmata. Opposite to this is 5. The Death of St. Francis surrounded by monks and priests. Above the altar is 6. St. Francis appearing in the sky and restoring a child to life. In this is introduced a view of the Ponte Santa Trinith, and the adjoining Palazzo Spina, as it then stood, and several con- temporary portraits. Beneath the last, on either side of the altar, are the donor, Francesco Sassetti, and his wife, kneel- ing. These frescoes were executed in 1480, and may be classed amongst Ghir- landaio’s finest works. “'In that over the altar, of the Eestoration to Life of a Child fallen from a Window by the j apparition of the Saint, the portraits ! are very interesting. On the 1. of it is the famous youth, surnamed the Bello, on account of his beauty. But the best of all Ghirlandaio’s works is the fresco on the rt. — ^^The Death of St. Francis.’ This is a most admirable work, full of intense expression and feeling. The variety of grief in the followers and friends of the saint, the simple and solemn dignity of the group at the head of the dead figure, and the contrast to these in the indifibrence of I the boyish torchbearers are admirable. There are also two fine portraits I on each side of the altar of a Man I and Woman kneeling, whose heads I are also done in bas-relief on the tombs I at the sides of the chapel, being the portraits of his employers.” — I c.w. c. The Piazza di Santa Trinita, in front ! of the church, is irregular but pictur- esque. In it stands a fine column of oriental granite, brought from the baths of Caracalla at Rome, and erected, in 15G4, by Cosmo I., as a com- memoration of the suiTcnder of Siena in 1554, as well as of his victory at Monte Murlo, in 1 5:57, over tlxose whom his tyranny had made exiles, headed by Filipi )0 and Piero Strozzi. It is surmounted by a statue of Justice, in A. 1852. porphyry, by Ferrucci; the drapery is of bronze. La Badia (near the Bargello, in the Via dei Librai). — The greater portion of the present church, which is in the foi’m of a Greek cross, was erected in 1625 by Segalorii. There are some remains of the earlier building of the 13th century, by Arnolfo. Over the door between the vestibule and the church is a bas-relief of the Virgin and Child by Mino da Fiesole. Beginning on the id. hand on entering — the tomb of Bernardo Giugni (died 1466) is one of the finest productions of Mino di Fiesole. Giugni filled the high office of Gonfaloniere di Giustizia, the duties of which, in an age of faction, he administered with the greatest imparti- ality. The statue upon the sarcopha- gus represents him extended in death. After passing the choir— by the same I artist, although not put up until 20 I years after his death — is the tomb of Hugh Marquis of Tuscany in the 11th century, the founder of the Badia, and to whom, in 1481, the monks erected this memorial. Above the or- chestra is the Assumption, by Vasari. In the chapel of the Bianco family is a picture by Filippo Lippi, representing the Virgin, accompanied by angels, ap- pearing to St. Bernard, 1480. In the first cloister is a fresco representing St. Benedict enjoining silence, much injured, attributed to Beato Angelico. In the upper loggia is St. Benedict casting himself naked on thorns, by Bronzino. The light and beautiful campanile of the Badia forms one of the principal ornaments of the views of Florence. Santa Felice, (a little beyond the Piazza de’ Pitti, at the corner of the Via Romaua and the Via S. Agostino,) in which the vestiges of a very ancient Romanesque style are overlaid by re- cent stuccoes and adornments. It contains an altar})iece b}’’ Salvator Jiosa, Christ and I’eter walking on the sea. Christ, the Virgin, and Saints, Mich. G hirlandaio : and at the high altar, a picture by Fra Angelico. Oratorio degli Angioli, (in tlie Via degli Alfani,) begun by Brunelleschi, but left unfinished for want of funds. z 506 Route 44. — Florence — Palazzo Veccldo. Sect. VI. Had it been completed it would have beeu ail octagon church of singularly pure architecture. The drawdiigs are extant, and the design has been imi- tated by Bramante. Santa Maria 2Iaddalena dd Pazzi. The church, annexed to a subsisting convent, was begun by Brumlleschi, and completed by 6r. di San Gallo. The Ionic cloister was also built by San Gallo (1479), of the Ionic order, copied from an ancient capital found in tlie ruins of Fiesole, and belonging appa- rently to the later period of the em^iire. The volutes descend to the necking of the columns ; and under the ovolo is a frieze a third of the diameter high. The cloister has been spoilt by bricking up many of the intercolumniations. In the chapel, by the entrance, an excel- lent specimen of PoccettVs skill, the Martyrdom of Saints Hereus and Achil- les. The church has many paintings, of which the best are — St. Ignatius and St. Rocco, Raffaellino del Garbo. — Santi di Tito, the Agony in the Garden. The high altar, containing the body .of St. Mary Magdalen, is very .splendid, though not in good taste. It is rather difficult to obtain entrance to the cha- pel of the Mater Dolorosa, within the precinct of the monastery, as permission must be obtained from the archbishop. ‘‘This chapel contains a grand and well- preserved fresco by T. Fenujino, a Cru- cifixion. It consists of six figures in three compartments. In the centre is .Christ crucified, with the Magdalen at the foot of the Cross. The Christ Is a failure the Magdalen is very fi.ne. On the 1. is the Madonna and St. Bernard., on the rt. St. John and St. Peter. The whole of the sky is now nearly white, the blue havmg perished ; but in the 1. hand compartment the whole of the upper part .of the sky and the tops of the trees have been villanously repainted, leaving a sharp line where Perugino’s work begins. The land- scape in the central division is excpiisite — a river flowing at the base of rocky hills among trees and a village with a Gothic spire ixi the distance .” — IL The Piazza del Gran' Daca, formerly the Piazza dei Signori, is the central •spot of Florence for business and in- terest. On the E. side stands the vast Palazzo Vecchio, erected in 1298, as the residence of the Gonfaloniere and Priori, or superior niagi.stracy of the Republic. After having been occupied by "Walter de Brienne, it became, in 1540, the palace of Cosmo I., who in that year removed from the Palazzo in the Via Larga, where the Medici nad hitherto lived as private citizens. He continued to reside here until 1550, when, this building not aflbrding suffi- cient room for his court and establish- ment, he removed to the Pitti Palace. Since that time the Palazzo Vecchio has been occupied by government offices. As soon as the great revolution, in 1250, was effected, which placed the government in the power of the demo- cracy (see Santa Croce'), the citizens determined to erect a residence for the elective magistracy, the Gonfaloniere, and the eight Prioil, who continued in office for the space of two months each. During this period, according to the singular maxims of government which then prevailed, they were not allowed to pass the tlire.shold of their prison, in which they were boarded, eating at a common mess or table, at the expense of the Republic, but with I’epublican simplicity and parsimony. The present structure, however, was not raised till | 1298, Arnolfo being the architect. It is imposing from its mass and enormous battlements, deep machicolations pro- jecting over the walls, and the bold and lofty tower, bearing, not upon the walls of the structure, but upon the machi- colations, so as almost to warrant the local proverb, that it is a tower built in the ah'. Beneath the machicolations are large escutcheons, with the bearings of the ancient republic, and of the Sestieri, or wards and quarters, into which the city was divided ; and these arms were the banners under which the citizens went forth to war. This bell- tower was part of an earlier structure: Arnolfo was directed to include it in^ the new building, and accornpii.shed this difficult task with singular skill. But the directions which he was com- pelled to obey have deprived his build- ing of its intended and proper sym- Tuscany. Route 44. — Florence — Palazzo Veccliio. 507 metiy. A portion of the piazza had been occupied by the palaces of the Uberti, a family of the Ghibellines^ which^ when the owners were banished by the prevailing party, had been de- molished, and the ground declared accursed, never to be built upon again. “Our palazzo must not stand upon that condemned ground,” said the citizens. Arnolfo remonstrated, but in vain, and the palazzo was deprived of its symmetry. The building was much altered by Taddeo Gaddi, who added the present battlements ; and it sustained another great change under the Duke of Athens, who added the whole portion noAV employed as the Dogana, and in which strength Avas peculiarly consulted. These altera- tions were executed under the direction of Andrea Pisano, who settled at Flo- rence Avhen at work upon the gate of the baptistery. Michelozzo, too, en- larged and improved the interior in the time of Cosmo il Vecchio. Lastly, when the Duke Cosmo took possession, so many alterations (principally in the intei’ior) were introduced by Vasari, that, as the latter says Avith some degree of exultation, Arnolfo Avould not have knoAvn his Avay about the building had he come back again. The interior cortile is supported by I massy columns, alternately circular and octagon, covered with rich arabesques and fine Avreaths. On the Avails are 1 Auews, principally of German cities, exe- cuted upon the marriage of Fei'dinand I., of little value, except as giving their ancient aspect. In the centre is a very beautiful though small fountain, with a Cupid cast by Verocchio. Within, ascending a grand staircase by easy steps, you enter, on the first floor, the great saloon, which offers the I principal object of curiosity. It is not, as the Florentines boast, one of the largest rooms in the Avorld, being about 170 ft. in length by 75 in breadth, but its height, and the ponderous magnifi- cence of the caiwed ceiling, rich in faded gilding and deep coin})artments filled with elaborate oil paintings, ren- der it impressive. It is also connected Avith one of the most remarkable pas- sages in Florentine history, having been erected by the directions of SaAmnarola (see San Marco, p. 496), for the meet- ings of the “Consiglio Popolare,” Avhen a transient but ineffTectual attempt was made to restore the ancient liberties of the Commonwealth. I^eonardo da Vinci, Alichael Angelo (then very jmung), Baccio di Agnolo, and “ II Cronacaf were all consulted; but the construction Avas intrusted to the last-named artist, AA^ho exerted all his extraordinary skill to give perfection to the edifice. All the tribunes, the amphitheatre and seats, and all the fittings -up designed by him for the accommodation of the popular assembly, haA^e noAV disappeared; and the walls and ceiling are covered Avith the display of the triumphs of Cosmo I., by Vasari: those on the walls re- present the conquest of Pisa, and the battle of Marciano, which gave Siena to the Florentine state. At the four cor- ners are four other historical pictures; tAvo by Ligozzi. One of these repre- sents Boniface VIII. receiving, in 1300 (the year of the Jubilee), the congra- tulations of twelve ambassadors, Avho, though despatched from tAvelve differ- ent states, Avere all Florentines by birth. But, as amongst them appears Messer’ Guiscardo Bastai, Avho represented His Sublimity the Khan of Tartary, it is probable that his Holiness did not re- quire a very strict verification of their credentials. Of the two others, one is by Cigoli ; the other by Passignani. The semi-heroic costume of some of these frescoes takes off the interest of truth; blit those AAdiich represent the deeds of the Medici, and AAdiich are true in costume, are valuable. There is Cosmo accompanied by his dAA’arf, To- maso Trafredi the hunchback, in ar- mour, leading on the Florentines to the Siege of Siena by night; the soldiers pouring into the city in armour; and all lighted by the paper lanterns on the ends of poles iioav in use here, especi- ally on feast-days, among the children. j\Iany good statues are placed here, but they seem lost in the great space and dim light of the ehamber : — Michael Angelo, a fine but uufinislied allegorical group. Victory and Captivity. — G. di Bologna, also allegorical. Virtue over- coming Vice . — Baccio Bandinclli, Cosmo z 2 508 Route 44. — Florence — Palazzo Vecchio. I., Duke Alessandro Giovanni de’ Me- dici, of the ^‘Bande nere,” Clement VII., Charles V., and Adam and Eve. The Sala delV Udienza, painted by Salviati, is a noble apartment, in which the ceiling is more rich than that of the Salone. The rooms above the Scdone are worth seeing, on account of the faded remains which they contain of the magnificence of the Medici. These and some rooms adjoining the Scdone, which latter are called the Quartiere of Leo X., were painted by Yasciri and his pupils. These paintings contain portraits of man 3 ^ ce- lebrated Florentines from the time of Cosmo Vecchio to that of Cosmo I, At the end of a long suite of rooms is a chapel dedicated to S. Bernardo, painted by Ridolfo Ghirlandajo with pleasing cherubs’ heads on a gold ground, and a whole altar service of amber, little figures of saints, rosaries, vases, &c., some made of the clear, and some of the opaque amber, and beautifully wrought. In a room adjoining the chapel, hung with tarnished purple and gold fleur- de-lys, with old tapestry, and inam}^ portraits, is the picture of the infamous Bianca Capello, representing her as a stout, bold, jovial -looking woman of 40. The view from the upper window of the palace over the cit}- and the adjoining country is magnificent. The Gcdleria liecde in the JJffizi ina}^ be entered froin a side door in the Palazzo Vecchio. The area adjoining the Palazzo and the neighbouring Lorjcjia dd Lanzi are full of statues, among which the bronze equestrian figure of Cosmo I. is one of the finest works of Giovanni dl Bologna. Cosmo was the actual founder of the Medicean djmasty of princes, under wdiose rule, during two centuries (15.37- 1737), commerce, agriculture, indus- try and the fine arts declined. Nearer to the Palazzo is the cele- brated fountain of Neptune, by Amma- ncato. It is usually called (at least by the common people) the fountain of the giant; and certainlj'- the Deity is of rather disproportionate magnitude. The hoi-ses of the car are exceedingly spirited. Equally animated are the tritons, nymphs, and satyrs, who are congregated round the margin of the Sect. VI- basin. On the site of this fountain stood the Binghiera, or tribune, from whence the orators of the Republic harangued the assembled people. The David, by Michael Angelo, is on the l.-hand side of the doorway of the Palazzo Vecchio. ''The powerful hand of the great sculptor is visible in it, and the grand air that is given to the figure by the turn and expression of the head andthroat justly claims our admiration; but it is not one of Michael Angelo’s finest works. It was executed under very unfavourable circumstances, Buo- narotti having been called upon to finish it when the block had already been worked upon by an inferior artist [Si- mone di Fiesole], and considered to be spoiled. ’’^ — Westniacott jnn. This will account for the rather attenuated figure, making the head aj>pear too large. Ano- ther colossal figure, of Hercules subdu- ing Cacns, by BaccA Bandinelli, flanks the other side of the doorway of the palazzo. The latter is a fine group, but not, perhaps, equal to those which stand under the Loggia de' Ijunzi. — Pre- eminent amongst these is the Perseus, by Benvenuto Cellini. Cicognara is of opinion that the contour is too robust, and that the character of the hero re- quired a form "un po’ piii Apollinea e rneiio Erculeo;” but this seems h}q 3 er- criticism. The base on which it stands is adorned \vith small statues and sculp- tures in middle-relief, allusive to the story of Perseus, all by Cellini. Cor- j responding with this is the group of the if Rape of the Sabines, by Giovanni di | Bologna. "John de Bologna, after he | had finished a group of a jmung man '■ holding uj) a jmung woman in his arms, with an old man at his feet, called his friends together to tell him what name he should give it; and it was agreed to call it the Rape of the Sabines ; and this [ is the celebrated group which now stands before the old palace at Flo- rence.” — Sir J. Beynolds. The meaning is helped by a bas-relief of the Rape of the Sabines, inserted in the pedestal. "As a specimen of invention, it is wonderful for its expression and its energ}^ of action ; and it is impossible not to admire the courage of the sculp li tor who ventured to execute so daring Tuscany. Route 44 . — Florence — Markets, 509 a work in sucli a material; but it is ^pen to criticism for the extravagant corkscrew contortions of the composi- tion.” — Westmacott jun. Judith slay- ing Holofernes, in bronze, by Donatello, seems too small among the other statues aear it, being only the size of life. The figure of Judith has great dignity ; but the position of Holofernes, sitting up- right before her in sleep to have his head cut off, is unnatural. The group is said to be emblematical of the depo- sition of Walter de Brienne, and to have been erected in that feeling by the people. Here are also six ancient co- lossal statues of females, said to repre- sent Sabine priestesses; two lions, one by Flamminio Vacca, who has inscribed his name, and the other brought from the villa Medici at Rome, and believed to be of Greek sculpture; a Centaur by Gio. Bologna, and a marble group representing Ajax dying, supported by a soldier. It is said to be of Greek workmanship, and was restored by L. Salvetti, a Florentine sculptor. The Loggia de' Lanzi, erected by Orgagnain 1375, is a noble specimen of the transition style. It consists of three circular arches, supported by angular pillars approaching to the Co- rinthian, with a balustrade above. The amplitude and the fine proportions of this building ai’e such, that when M’chael Angelo was consulted by Cos- mo I, upon the best mode of improving the piazza, he answered that the best ornament would be to continue the loggia all around. But the work having already cost 80,000 florins, the duke was discouraged by the expense. This loggia, erected by the Republic, was part of an intended design for the en- largement of the piazza, with porticoes, gallery, and mint. Cosmo I., after as- suming the sovereign authority, raised, as well for state as for protection against the Florentines, a body of German or Swiss Landsknechts, or as the Italians call them Lanzi, under the command of Bathasar Fuggler, and who, having one of their guardhouses near the Loggia, gave it the name by which it is now known. The attach- ment of these Lanzi to good liquor, as well iis their national peculiarities— for [ they never adopted either the language or the costume of the Italians — always exposed them to a certain degi’ee of ridicule, by which the Florentines re- venged themselves. Opposite the Palazzo is a long, low, ancient building, now partly used as the post-offlce. It is called the Tetto dei Pisani, having been erected by the Pisan captives after their defeat in 1364. They w^ere led into Florence in triumph, and treated with every circumstance of contumely and scorn. They were brought in carts, tied together, as we are told, in bundles, as if they were merchandise. When they entered the gates they were made to pay toll like beasts. Amidst the hootings of the Florentines, they were then brought to Marzocco — a stone lion, emblematic of Florence, standing high upon the rin- ghiera - and compelled to kiss him — not upon his face; and lastly they were cast into prison, but brought out daily, as convicts, to work upon this build- ing. The two markets, the Mercato tecchio and the Mercato Nuovo, stand in' the veiy centre of the ancient Primo Cer- chio. They exhibit close and narrow streets, not of the cleanest description, provisions and goods of every sort, and a most brilliant display of flowers ac- cording to the season. Many of these flowers are little known to us in Eng- land, particularly the Mimosa Faruesi- ana, or Gaggia, a most delicious vege- table perfume. The dialect of the Mercato Vecchio has been considered as remarkable for its peculiar harshness; and to those even who cannot follow the discourse, the strong aspirate, which, for example, transforms cavcdlo and casa into havallo and hasa, is very remarkable. The Loggia of the Mercato Nuovo was built by Cosmo I. from the designs of Tasso. In front is a bronze copy of the famous Boar in the Ujfizi gallery, east by Pietro Tacca, forming a fountain. In the centre of the Loggia is a circle of coloured marbles, supposed to repre- sent the wheel of the Caroccio \ipon which the standard of the Republic was formerly borne to war. The building above the Loggia is employed as a re* 510 Boute 44. — Florence — Palaces. Sect. VI. positoiy for notarial instruments. Many of the shops in this part of the city have a very antique appearance, and none more so than the ancient Farmacia dello Spirito Santo. Palazzo del Podesta, or Bargello, at the corner of the Via del Palagio and Via dei Librai. This singular building was erected as the residence of the Podesth., the chief criminad magistrate of the Republic, and who, according to the statutes, was always to be a Guelph, and a stranger from some other state of Italy. The first qualification was intended by the Guelphs to prevent the opposite party from having any possible chance of justice; the second, to secure some possible chance of justice amongst themselves. The Palazzo was erected by Lapo, about the middle of the 1 3th century ; the walls are encrusted with the armorial bearings of the magistrates. On the side towards the Via dei Librai is inserted the standard measure of the Florentine Braccio. On this biiild- ing rises a lofty tower, upon which was a painting representing the trea- cherous confederates of the Duke of Athens hanging with their heads down- wards, their family arms being added to increase their disgrace ; but of this scarcely a vestige can now be discerned. At a later period this palazzo was ap- propriated to the Bargello, or chief of the police. It is now used as a prison. The ancient apartments were richly adorned with frescoes, which, according to the custom of Florence, were white- washed. One of these in the chapel, painted by Giotto, was described by Vas3.ri as containing the portraits of Dante, Brunetto Latini, Corso Donati, and others of the great poet’s celebrated contemporaries. It might have been thought that, in a city where Dante is honoui’ed as the greatest of her childreii, such a portrait would have been pre- served as the most precious relic; but no, the brush went over it all. The place of the paintings was well known, yet not the slightest attempt was made to reco- ver them until 1840, when a subscrip- tion was raised by some foreigners, Englishmen and Americans, for de- fraying the small expense of removing the whitewash; and, after repeated ap- plications for two years, the government gave its permission that the money should be so employed. The result has been, that the interior of the chapel has been cleared and cleaned out.; the whitewash having been from | to inch thick. The portrait of Dante is a little damaged in one eye. In a room on the second fioor is one of the best fresco works of Bidolfo Ghirlandajo. The Palazzo Biccardi (Via Larga, No. 6038) loses some of its historical remi- niscences in its present name. This stately residence was begun in 1430, by Cosmo de’ Medici, from the designs of , Michelozzo. It continued in the posses- sion of the fixmily till 1659, when they sold it to the Marquis Gabriele Riccardi ; but, towards the end of the last century it was bought by the Grand Duke, and is now employed as a species of Somer- set House, partly for literary jxurposes, and partljrtor government offices. The building is a noble specimen of the Florentine style. In the windows of the upper stories Doric and Corinthian pillars are introduced as nmllions. The windows of the ground fioor are by Michael Angelo, and they are curious as being the first example of a window- sill supported by consoles; an invention of Michael Angelo. In the interior court are eight bas-reliefs by Donatello, good, but less interesting than his works usually are, being portraits imitated from ancient gems and medals. Seve- ral antiques are deposited here ; and two fine sarcophagi, having been used like those of Pisa for mediseval tombs, and formerly inserted in the walls of the baptistery. The great gallery is very splendid. The paintings are by Luca Giordano (1632-1705). The subjects are the Apotheosis of the Medici, and groups explained as allegorical of the vicissitudes of human life. The quan- tity of ultramarine employed was so great, that the assistant, who washed the painter’s brushes, is said to have made a large sum by the operation. The chapel has some beautiful and well - preserved frescoes by Benozzo Gozzoli: “They are as fresh and pure as when first painted (and Gozzoli died in 1478). The subjects are hunting- pieces, processions, angels kneeling, Tuscany. Route 44. — ■Florence — Public Buildings. 5il &c. ; full of vernal beauty and poetry, feeling and simplicity, and yet of variety in treatment. The delicate purity and freshness of the colour show how well fresco may be adapted to the deco- ration of even small rooms ; about its superiority for large there is no doubt.” — C. W. C. These frescoes contain several Florentine portraits ; that of Gozzoli himself is fine. They contain also the figure of the ass foreshortened, which Gozzoli introduced at Pisa, and of which he was so proud. Vasari especially mentions it there, but not here. The Biblioteca Riccardi, formed by the family, and purchased by the state in 1812, is open to the public daily from nine till two, except on Sundays and festitals. It contains about 3600 manuscripts, and about 20,600 printed books ; many copies of Dante ; corre- spondence of Italian literati ; and some valuable classics. There is also a good though small collection of coins, gems, and medals. In this palazzo the once-famed Acca- demia della Cnisca still assembles. It arose out of the Accademia Fiorentina, founded in 1540, in consequence of a feud amongst the members : its first meeting as an authorised assembly was in 1582. Their object was the cultiva- tion and refinement of the Tuscan dia- lect. Their conceit was that their busi- ness should consist in the separation of the fine flour from the bran, or crusca, and all their devices are in accordance. A boulting machine is their heraldic coat, with the motto, “ II piu bel fior’ ne coglie.” The backs of their arm- chairs are in the shape of a winnowing shovel ; the seats represent sacks ; every member takes a name allusive to the miller’s calling, and receives a grant of an estate, properly described by metes and bounds, in Arcadia. Their first object was the selection of such writers as might justly serve as standards of language : these tliey have designated as “ Testi di JAngua” and from these authorities the Dizionario della Crusca was compiled. Tins aca- demy incurred much ridicule for tlie pedantry it displayed. P>y Tjcopold I. tlie Academia della Crusca was united to the Accademia Fiorentina. It was afterwards revived, in 1814. Casa del Peruzzi (Piazza dei Peruzzi). These buildings are interesting, not only as specimens of early domestic architecture, of which the outline, at least, is undefaced, but on account of the connection of the ancient possessors with England. The family, or firm of the Peruzzis, distinguished amongst the royal merchants of Florence, had a branch or agency established in Lon- don, at least as early as the beginning of the reign of Edward I., and they continued in great credit till Edward III. To this monarch they advanced money to the amount of 135, 000 marks, which', not being repaid, they became bankrupt. The other great Florentine houses, theBardis andthe Frescobaldis, the Barings and Rothschilds of their age, were involved in the same calamity. TTie Bardis and the Peruzzis families still subsist, and are in possession of the bonds given by Edward III. for securing the loans so made. A lofty and not inelegant arch, the remains of the Loggia dd Peruzzi,- and which was used as a kind of private exchange, yet remains. It Avas painted hj Paolo Uccello, who was commissioned to decorate the A'aulting with repre- sentations of the four elements. Earth, he figured as a mole; Water, by a fish; Fire, by a salamander; and Air, by a camel. Paolo had heard that the camcleon lived upon the pure element; but, not knowing exactly what kind of a beast a camelcon was, he painted a camel with a wide gaping mouth, in- haling the wind. The arms of the Peruzzi, a shield semee of pears, are yet seen upon some of the adjoining walls. In the , neighbourhood of this Palazzo stood the Roman amphitheatre : the site can be traced by tlie very irregular oval space formed by the buildings covering the same ground. Palazzo Strozzi (Piazza delle Cipole, No, 1013, but extending into tlie Via dei Ijcgnaioli) was commenced in 1480, by Penedetto da Majauo, ajid continued by Simone del Pollajaolo, nicknamed Cronaca, in consequence of the lengthy tides he liad to tell about Romeiind its wonders. The two lower stories iire of 512 Boiite 44. — Florence — Palazzo Strozzi. Sect. VI. Dold rustic -work, the lower being rougher than the upper. The decora- tions^ of the Tuscan order, and the magnificent Corinthian cornice, were added by Cronaca. This cornice, Va- sari says, was taken exactly from aii ancient design at Eome, the several parts being only enlarged by Cronaca in proportion to the size of this palazzo. About the time of the erection of the palace flourished Nicolo G^xisso, called Caparra, an excellent worker in metal ; and the cressets, “ Lumiere maravi- gliose,” as they are called by Vasari, which project from the angles, com- posed of a species of Gothic filigree, are curious and beautiful specimens of his work. It is said that the right of fixing such cressets was a peculiar honour granted to the families who had distinguished themselves by the gown or the sword, and that those of less consideration were only allowed to illuminate the battlements of their towers ; but this rests upon very slender evidence. The interior court is also by Cronaca: ‘Gt does not correspond with the exterior, bvit is extremely beautiful . ’ ’ — Mil izia . Filippo Strozzi, the founder of this building, boasted that it should excel all others in magnificence. There was a great rivalry between him and the Pitti family; and, as the story goes, Luca Pitti, when he built his Palazzo (see Palazzo Pitti'), boasted that it should be large enough to contain the palace of Strozzi within its cortile. This Filippo Strozzi was the father of the unfortunate Filippo, one of the last champions of popular liberty; who, although married to Clarice, daughter of Pietro de’ Medici, was strongly op- posed to the aggressions of that family, and when, upon the death of Alex- ander, Cosmo I. assumed the govern- ment, Strozzi joined- the republican party. Taken prisoner in the battle of Montemurlo, 1537, he was cast into the ‘^Foidezza da Basso,” and, being cruelly put to the torture, is said to have committed suicide, a sword having been left, perhaps to tempt him to the act, in his cell. It is added that, with his own blood, he wrote upon the wall or floor of his dungeon the well-known line of Virgil, “ Exoriare aliquis nostris ex ossibus ultor.” A last will and testament, inscribed "'Deo liberatori,” and in which Strozzi apologizes for the act, has been attributed to him on very doubtful authority. This Palazzo contains a good col- lection of paintings, amongst which may be noticed - Giotto : his Portrait by himself. — Alessandro Allori : several very interesting specimens; a portrait of Filippo Strozzi the patriot ; Ruggiero flying from the castle of Alcina; Her- cules and Antaeus. — Baccio Bandinelii: his own Portrait; and many others. Palazzo Bartolini (Piazza S. Trinita, ISTo. 1128), built by Baccio d' Agnolo, who ^‘introduced a cornice copied from one formerly at Rome in the gardens of the Constable Colonna, but now destroyed. Baccio had not the judgment of Cronaca: he applied to this small palace so large a cornice that it appeared like an immense hat on the head of a child. This was the first palace with windows ornamented by pediments, and columns to the doors, bearing an architrave, frieze, and cor- nice; a novelty which, like all others, was first blamed, and then passionately admired. All Florence x'idiculed Bac- cio for this new style ; not only per- sonally, but with sonnets and epigrams, reproaching him with building a chapel instead of a palace. Those who ridi- culed the building did not understand the subject, nor the reason for placing pediments over the windows.” — Milizia. Villa Torrigiani (on the S. side of the Arno, in the Via del Campuccio) has one of the most extensive and agreeable private gardens of Florence, containing extensive conservatories. There are two villas in the gardens, which are now let to foreign families of distinction, and form the most agree- able residences within the walls. In the centre is a high tower, representing the armorial bearings of the family. In the Palazzo del Nero (Piazza dei Mozzi, No. 1530), belonging to the same family, is preserved a mask in terra-cotta said to have been made from a cast taken from the face of Dante after death, and a few choice pictures. Palazzo Pandoljini, now Nencini (Via Tuscany. Route 44 . — Florence — Casa Buonaiotti. 51S S, Gallo, No. 5935). ‘ ' The exquisite fa 9 ade of this palace is attributed to the divine Raffiielle d’Urbino. In it almost all the requisites of street archi- tecture are displayed.” — Gwilt. Palazzo Uguccioni (Piazza del Gi’an- duca, No. 519), built in 1550. Its design has been successively attributed to Raffaelle, Michael Angelo, and Pal- ladio. Over the door is a bust of Francesco I. by Gio. Bologna. Palazzo Borghese, a modern building, but a good specimen of street archi- tecture, is now a club, to which strangers can be introduced by a mem- ber. Palazzo Corsini (Lung’ arno. No. 4175), from the designs of P. F. Silvani, 1656, contains a valuable collection of paintings; the specimens of Carlo Dolce are remarkably good of their kind. Palazzo Capponi (Via S. Sebastiano, No. 6303), of good architecture, built at the close of the 17th century, from the designs of Carlo Fontana. It con- tains a valuable library and collection of manuscripts, some pictures, and is the residence of the Marquis Gino Cap- poni, the worthy head of a family which held a conspicuous place in the history of Florence. Casa Gherardesca (in the Borgo Pinti), anciently belonging to the historian of Florence, Bartolomeo della Scala. The garden is pleasant. The family claim to be of the stock of Count Ugolino, and a bas-relief in terra cotta, attiibuted to Michael Angelo, in the cortile, repre- sents his history. The house contains a few pictures. Calazzo Pinuccini (Fondaccio di S. Spirito, No. 2011), built from the de- signs of Cigoli, about 1600, contains a small but curious collection of figures. Andrea del Sarto : two cai'toons for the paintings in the Scalzi. — Gozzoli : a Madonna and Saints. — AU>ertmelli : a Madonna, may be particularly noticed. The fine library, and collections of curiosities and pictures, of this Palace, have been recently sold. (Jasa Gmdagni (Piazza di S. Spiiito, No. 2086), also has a good collection of pictures, particularly some fine Sal- vator Rosas. Casa Albizzi (Borgo dcgl’ Albizzi) contains a valuable fresco by Pietro Pc- rugino, the Entombment; it is remark- able for the fineness of the colouring. Casa Altoviti, in the same street, is remarkable for the portraits of 1 5 illus- trious Florentines, sculptured in mid- dle-relief on its exterior. They were executed at the latter end of the 16th centmy. Casa Bxmiarotti (Via Ghibellina, No. 7588). The house of Michael Angelo is one of the most interesting objects in Florence. The family still exists, and has continued in dignity and ease; and they have prided themselves on pre- serving the residence of their great kinsman inviolate. Not merely is the internal arrangement retained, but a great portion of the furniture continues to occupy its original station. The rooms open into each other, without any lateral communication; the first of the series is the saloon, where his own statue, by Antonio Novelli, is placed between the windows. Opposite to it is one of the only three oil j^aintings which can be ascribed to him with any certainty, — a Holy Family. It is xm- finished. The Battle of Hercules with the Centaurs, in high-relief, though done by him in his youth, shows great power, as Vasari rexnarks. On each side of the room are five paintings representing the most remarkable events of his life ; and the ceiling, divided into fifteen conqxartments, is painted in like mannei', with pieces relating to his history. The next room is his real studio. Here are a Cruci- fixion, and a small Pietii, and his bust in bronze, by Giovamii di Bologna, full of spirit and finely executed. Michael Angelo’s mode of working was exceed- ingly characteristic. He would fre- quently start fx’om his bed in the midst of the night and rush into this studio; and in order to give himself light, he made a kind of helmet of pasteboard, on the top of whicli was a socket into whicli lie xxsed to fit a great tallow candle, and, thus illuminated, he con- trived to chisel away, working with his right hand; Avhcn he painted, ho xxsed his left. The third I’oom is also a studio, with good fi'cscoes by his scholars; a Ma- z 3 514 Route 44. — Florence — Casa Martelli. donna, in low-relief, by bim, executed, as Vasari says, in imitation of the style of Donatello, but with more grace and better design ; and a bust of his nephew, hj Gio. Finelli. The wooden “armoiries” stand unaltered, and many of his relics are shown, — his walking-stick, his slip- pers, his cup, and the like. Fortunately, they have escaped the diligence of col- lectors. Here also are kept many of his manuscripts, his letters, and his ricordi, or journals. It was the custom of Florence for everybody to keep such journals for family use, and they are yet extant in many families of great eminence, from the 15th century to the beginning of the 18th, containing mines of curious information. Casa Guicciardini, near the Palazzo Pitti, was the residence of the cele- brated historian. Nearly opposite to it is Casa Macchiavelli, No. 1754. Via Guicciardini, the house once inhabited by Macchiavelli : a tablet in the wall marks the fact, but the house has been so often altered that its original cha- racter is lost. The Casa di Dante is in the Via Ric- ciarda. No. 683: although retaining few traces of antiquity, yet it has an interest as the place of Dante’s birth, and of his residence during his youth. The longish narrow door, of antique form, in the Via Ricciarda, just before reach- ing the Piazza di S. Martino, and oppo- site to the tort'e della Castagna, is the entrance. The house of Amerigo Vespucci stood upon the site of the Ospedale di San Giovanni di Dio in the Borgognissanti : an inscription preserves the memory of its site. Casa Targioni, in the Via Ghibellina, contains the botanical and other col- lections of the justly celebrated na- turalist Targioni, and aftei’wards in- habited by his scarcely less celebrated son. The collections of Micheli, for- merly h§re, are now deposited in the Grand-ducal museum. Casa Martelli, in the Via della Forca, contains some works of eminent artists. Salvator Rosa : The Conspiracy of Cati- line, treated in the same manner as in the picture in the Pitti . — Giulio Romano: a picture of Witchcraft. There are Sect. YI.1 also pictures by Andrea del Sarto, Cigoli, Crist, Allori, &c. Donatello : a youth- ' ful bust of St. John; a marble statue ~ of St. John the Baptist; and one un- ' finished of David. Donatello was in- debted to one of the Martelli family, a " rich merchant, for his education. The fresco by Raffaelle, which was ’ discovered in the autumn of 1845, is in the refectoiy of the suppressed convent of S. Onofrio (in the Via di Faenza), | now turned into a coach-painter’s shop. ' It is very fine, and represents the Last ; Supper. It is in Raffaelle’s second ' manner, and the monogram of the artist, RAPL. V. R. S., with the date j MDV., has been found on the robe of St. i Thomas, and leaves little doubt as to , its origin, although no mention of this j fresco is made by any of the biographers ; of Raffaelle, which is satisfactorily ac- counted for by their having all lived after his death, and not having had access to this convent, belonging to one of the most rigorous orders, which was hermetically sealed to all persons, and especially males, from without. The fresco was cleaned by an excellent artist, Sig. Ign. Zotti, who was one of its dis- coverers, and the celebrated artist Jesi has executed a beautiful engraving of it. ‘^In the remnant of an old cloister ' of the chiu’ch of St. Maria Nuova, ad- ; joining the Hospital, is a fresco, by Frd ' Bartolomeo, of the Last Judgment. It '■! is in a ruined condition, but still suffi- > cient remains to show his abilities, i The arrangement of the upper part is j precisely the same as that of Raffaelle j in the picture of the Dispute of the i Sacrament ; the characters of the Apos- i ties and Saints are well attended to; ! both are drawn from Giotto and Fik t Angelico, and seem to have been con- j ventional.” — T. P. ; Galleria Imperiale e Reale . — Open to ? the piiblic every day except Sundays i and holidays, between 9 and 3. This celebrated collection, the richest i and most varied in the world, is depo- ■ sited in the upper story of the Uffizi, a j' fine building erected by Cosmo I., for ; the public offices or tribunals, and I which besides these contains, on thetj second floor, the Magliabecchian Li^i brary. Fasari was the architect. ^'Th^« Tuscany. Route 44 . — Florence — Uffizi — Vestihides. 515 fa 9 ade has a portico, with openings al- ternately circular and level ; — the centre opening supported by double insulated columns, and the others by large piers with niches. Over the entablature of this portico, which is Doric, with a plain frieze, and dentals above the cornice, is a lofty attic; the windows are small. This idea evinces an im- proved taste. This is Vasari’s best building.” — Milizia. The building con- sists of three sides of a parallelogram, in the form of a Greek n. It was begun in 1560. The tribune was built by Bernardo Bimitalenti, by order of Francesco I. The vestibules, the hall of Niobe, the rooms for the gems, bronzes, and Etruscan vases, were completed in their present form by Zanobi del Rohso, in the middle of the last century. The gallery, properly so called, is part of the corridor built by Cosmo I., to, enable him to pass from the Palazzo Pitti to the Palazzo Vecchio without descending into the streets. This cor- ridor of communication, which opens into the western gallery, is Vasari’s work, and was completed in five months. Where needful, it is carried over arches : and the roof of it may be seen from the windows of the Uffizii, winding dowm- wards, and crossing the Ponte Vecchio, being lost amidst the buildings of the Oltr’ Arno. On the outside, at the end of the loggia, is a statue of Cosmo I., by Giov. Bologna. The niches have been re- cently filled with statues of celebrated Tuscans, executed by modern artists, at the expense of a patriotic society. There are already placed — Orcagna, by Bazzanti; Dante, Demi; Lorenzo the Magnificent, G razz ini; Leonardi, Pa.m- paloni ; Petrarch, Leoni; Benv. Cellini, Carnbi; Giotto, Dupre; Michael Angelo, Santarclli. The original collections of the Me- dici family were dispersed at various periods; tlie collections of Lorenzo wei’e sold in 1494, and lastly then- palace was plundered after the assas- sination of the mulatto Alessandro, in 1.5.47. Cosmo L, however, recovered much of what had belonged to his an- ce.stors, and he was the founder of this museum, in whieh ho was much as- sisted by the advice of Vasari. His. successors rendered it what it now is. Most was done by Ferdinand I. and- Cosmo II. Ascending the stairs, you enter the first Vestibule. Here are placed the busts of the Medici family; three of which, viz. of Ferdinand I. (d. 1609), Cosmo II. (d. 1621), and Ferdinand II. (d-. 1670), are in porphyry. It is said that the art of working in this material was rediscovered by Cosmo I. Fer- rucci, the author of the statue on the column in the Piazza Santa Trinitk, was the earliest modern who worked successfully in porphyry. Here are- also k bronze statue of Mars, and a Silenus with an infant Bacchus in his arms, and some antique bas-reliefs in- serted in the walls. Second Vestibule. — The Florentine Boar, and two noble figures of wolf- dogs, seated, and full of animation. Several fine statues larger than life. One, called Apollo Coelispex, is an ex- ample of the extent to which restora- tions have been earned in this collec- tion ; if these are deducted, the antique portion will be reduced to the trunk, part of the right thigh, and the stump of the right arm. Yet the statue, thus made up, has been treated as a valuable illustration of the second Pythian ode. There is no collection where caution is more required than in this, before a statue is admitted to be an ancient work throughout. Adrian, Trajan, Au- gustus, statues larger than life ; all pos- sessing merit, particularly the latter, of which, however, the head is modern. Many busts of which the names are un- known. Two four-sided votive columns, covered with interesting reliefs; that to the rt. is surmounted by a head of Cybele; that to the 1. by a fine head of Jupiter. The horse iii this i-oom was once supposed to belong to. the group of Niobe. The Cor/';V/ors.— These are em})lo.yod both as a picture and a sculjiture gal- lery. The ceiling of the eastern gal- lery is ])aintcd with mythological sub- jects, arabcsciues. These were ))ainted in 1.581, and are attnbnted to Poccclti. In the southern and western corridors the subjects are taken from the bio- 516 Sect. VI. Route 44. — Florerice — Uflzi — Pictures. gi'aphy and history of Florence : these were executed in 1655 by various artists. Twelve divisions of the ceiling of the W. corridor having been de- stroyed by fire in 1762, they were restored at that time. Each corridor has a frieze of portraits, begun by Cosmo I., who employed Cristoforo Popi to copy the collection of Paolo Giovio : his successors continued it, and the series now numbers 533. It in- cludes many men of letters and au- thors, whose portraits are not easily found elsewhere; but they have little merit as works of art. Each of the following descriptions of the works of art contained in these corridors begins at the northern end of the eastern cor- ridor, near the entrance, and proceeds from thence regularly round the cor- ridors. Pictures. ■ — The paintings form an historical series, chiefly of the Tuscan schools. They are arranged chrono- logically, beginning at the N. end of the E. corridor, near the door of en- trance. The greater part was collected by or under the directions of Vasari, who advised Cosmo I. to keep them together as illustrations of the history of art. The collection is worthy of notice in this respect, and as being the earliest formed for instruction, and as an object of cunosity. Amongst these pictures the following are more par- ticularly interesting, as showing the progress of early art:- — Saint Bartho- lomew, by Cimabiie, 1240-1300. Giotto, 1276-1336, Our Lord in the Garden. Angelico da Fiesole, 1387-1455, two good specimens; one representing the Virgin and Child in the centre, and Saints around; the other, a similar subject, is in the form of an altar-piece, with folding-doors, which the custode will open if asked to do so, Filippo Lip- pi, a Virgin and Child supported by Angels. Pollajolo, 1426-1498, three Saints. “ Excellent drawing in the hands and feet, with good proportion, and large draperies. His colour ap- proaching to the Venetian.” — T. P. J^uca Signorelli, 1440,1521, the Infant Jesus, the Virgin, and St, Joseph. “A. round picture, wherein the style of form is very considerably improved or enlarged, and action and expression well felt and understood. There is great intensity of look and action in the Virgin turning over the leaves of a book, with somewhat of the grace of Correggio in the fingers. There is another of his which appears to be of an earlier date, as the accompaniments are move petite. There is great ability and style in the drawing of some naked figures in the distance, in varied actions, which justify what Lanzi has said of him, — an original mode of thinking, an aim at grace, and a variety of action, with good drawing and rotundity of form in the naked child.” — T. P. Boticelli. An infant Jesus, and Virgin ci’owned by Angels, a circular picture, shows a great advance in grandeur and beauty of style. 1). Ghirlandaio, 1451-1495, the Adoration of the Magi. “ In this picture, and in another at the Academy, he exhibits the same feelings precisely as in his frescoes, but these pictures are wrought more carefully. In this one the colour of bis draperies is ex- tremely rich, but his flesh imperfect, and his keeping completely out; — figures diminished in size, but equally strong in colour with those in the fore- ground, and gilt in the armour, &c.” — T. P. Lusts . — The series of busts of Roman emperors is unrivalled, except in the Capitoline Museum at Rome, extending from Coosar to Constantine. Of many there are duplicates and triplicates. The following are deserving of notice: — J. Ccesar, in marble, face furrowed with wrinkles, and the hair brushed forward to hide his baldness. Augustus: 3 busts : the regular features and calm counte- nance contrast strongly with those of J. Caisar. Julia, the daughter of Au- gustus, Marcus Agrippa. These last two are remarkably fine. Caligula, highly characteristic. Busts of Agrip- pa and of this Emperor are very rare. Nero, as a child and as a man: the youthfixl, almost infantine, head is not only delicate in feature, but sweet in expression; and in the cruel and hard- ened man a resemblance may be traced to the child. Otho, con.sidered by Win- kelman as the finest of its class, having also, like that of Caligula, the merit Tuscany. Route 44. — Florence- of scarcity. VitelUus, evidently a like- ness, big and burly, almost approach- ing to caricature. (See p. 94.) Julia, the daughter of Titus : a finely executed and well-preserved bust. Vespasian. The features express the plain good sense characteristic of this emperor. Nerva: ‘‘his mild disposition was re- spected by the good.” — Gibbon. Trajan, three busts, one colossal. Plotina, the wife of Trajan, finely executed and very rare. Adrian, of fine work- manship, with an ample beard. uTlins Verus, whom Adrian adopted as his successor. ‘‘A gay and voluptuous nobleman, recommended by uncommon beauty to the lover of Antinous.” — Gibbon. Marcus Aurelius, four busts, representing him at different periods of his life, and with various proportions of beard, Faustma the elder, the wife of Antoninus; two busts, one very fine. Two busts of children, one of which is Annius Verus, son of Marciis Aurelius. Lucius Verus, the son of ^Elius. Three busts, Commodus, rare, in consequence of the destruction of his portraits and monuments. Septirnius Geverus, two ousts, both fine. Caracalla, evidently an unflattering likeness, of excellent workmanship, Geta, three busts. Al- ’■)inus, the competitor of Severus for the ompire, a bust in alabaster. Alexander Severus, two busts, very rare. Maximin, 3haracteristic of the bold barbarian. The elder Gordian, the only existing oust. Philip, tolerable workmanship. i Constantine ; the workmanship shows many symptoms of the decline of art. Very rare, “ None of these heads,” ob- serves Forsyth, “ are absolutely entire: most of their noses and ears have been mutilated; indeed^ such defects were oommon even in ancient galleries : — ‘ Et Curios jam dimidios, humeroque mino- rern Corvinum, et Galbam auriculis nasoque ca- rentem.’ JUVENAr,. :Vn imperial nose may, liowmver, be dways authentically restored, as it ippears on coins in profile.” Gtatucs — The best statues of the lastern corridor are, — a young Athlete, lolding a vase. Urania — at least so called, for the emblems, the globe and — Uffizi — Sculptures. 517 compasses which she holds, are modern additions or restorations. The drapery is fine. — A Vestal bearing the name of Lucilla. — Apollo, with a serpent by his side; the portions which are antique are fine, but the restoration of the rt. arm is bad. In the southern cor- ridor are, — a Cupid, a Bacchante, and Venus Anadyomene. In the western cor- ridor are two statues of Marsyas, one rather deficient in expression, restored by Donatello, the other of a reddish rnai’ble restored by Verocchio. Just beyond these statues a small door opens into a narrow corridor containing some fine Sculptures of the modern Tuscan School, chiefly of the 15th century . — “ Here are preserved some extremely interest- ing specimens of aid of this period, by Benedetto da Kovezzano and others. These works merit a careful examination, as they offer not merely valuable illus- tration of the progress that was being made in the art at the time they were executed, but they possess qualities which claim for them high praise as examples of rich composition and ap- propriate expression. Many of them are likewise worthy of attention for an approach to great beauty of form, and for the skilful treatment of the dra- peries.” — By Benedetto da Bovezzano are subjects intended for the chapel and shrine of San Giovanni Gualbeido, taken from the life of the saint : they are in the first paid of this corridor. They were, unfortunately, sadly mutilated by some foreign soldiers, in 1 530, who were quartered in the monastery of St, Salvi, where these sciilptures then were. — “ A long group of figures by Andrea del Veri’occhio, representing the death of a lady in childbirth, is excellent for natm-e and pathos in the different cha- racters, thougli nobleness of expression may sometimes be sacrificed to truth.” — II. II. In the second pai t of this corridor, “ Two works of Luca della liobbia, bassi-rilievi in marble, formerly in the Duomo of Florence, according to CicogiKira, deserve particular atten- tion for their composition and the ex- pression. '^Ifliey re[)resent a choir, or gi‘o\ij)s, of singers. They are true to nature, although not flattering as to 518 JRoiite 44. — Florence — Uffizi — Bacchus and Faun. Sect. YI. beauty; and they only want a more elevated class of form to render them equal to the productions of the best works of the best periods of art. It is said that these rilievi were executed in competition with Donatello, whose rival performance is still in existence. By Donatello there are some curious bassi- rilievi, in marble, representing groups of children dancing to music. The composition is most skilful, and the expression and character most care- fully and successfully attended to. The relief is much more flattened than is usually seen in early works, and the background is studded with gold-leaf, laid on in small circles. These pro- bably are the rilievi which he made in competition with Luca della Robbia.” — Westmacott jun., AM. A, Alichael Angelo, a holy family, an unfinished circular bas-relief; Ant. Rosellino, bas- relief, the Virgin praying to the infant Christ ; Donatello, small bust of St. J ohn the Baptist, in black marble ; Benedetto da Majano, bust of Pietro Mellini ; busts by Mino da Fiesole of Pietro de’ Medici, and Rinaldo della Luna; remarkable bust of Machiavelli in 1495. Sculptor unknown. Aliche- lozzi, a statue of St. John: the sculp- tures of this celebrated architect are rare. Returning to the great corridor ob- serve the following statues : Hygeia, drapery good; Discobolus, su]3posed to be a copy of that of Mjwon; Minerva, in the style of the ^ginetan school; one of the two statues of MJsculapius. Marcus Aurelius, in the best style of Roman sculpture. — Melpomene or Clio. A very curious specimen of Grteco- Roman sculpture of the 5th century, in the very last era of paganism. From the inscription, in a character almost approaching to Gothic cursive, we find that the sculptor’s name was Atticianus. The Bacchus and Faun of Michael An- gelo, of which the following story is told by Wright, a veiy intelligent tra- veller-, who visited Florence somewhat more than a century ago. “ When Michael Angelo’s reputation was raised to a great height, his adversaries, en- vious of his fame, had no other way left to lessen it, but by comparing his works with the antic|ue, endeavouring to show how far he fell short of the ancients; he took a resolution of put- ting the skill of his judges to the test, aird made this Bacchus and Faun . When the work was perfected, he broke off the light hand, which holds a cup, and laid it by in his closet ; the rest of the figure he buried, and let it lie some time in the ground. At a proper op- poi-tunity workmen were ordered to dig, as for other purposes, in another part of the ground, and to carry on their work so that they must of course come to the place where the statue was hid. They did so, and found it; and, by direction, talked of it in such a manner as that it might come early to the ear of some of his adversaries, who were not long in going to view the new discovery; and when they had cleared the eai-th from it, they found a fine group of a Bacchus and Faun, all entire, except one hand, which was wanting to the Bacchus. They judged it straight to be antique, and a fine antique too. The discovery was soon noised about, and among the rest that flocked to see it, Michael Angelo came himself : he was not so loud in his praises of it as^ the rest were. It was a ^bella cosa, a good, pretty thing. ^Well,’ say? one of them, ^ you can make as good i one, no doubt.’ He played with then a while, and at last asked them ^ What will you say if I made this ? It may be easily imagined how tin question was received. He then only desired their patience while he stepper home, as he did, and brought with hin the hand he had broken off, which upon application, was found to tall; exactly with the arm. It was br-oke: off in the small part of the arm, jus above the wrist, where the seam is ver; visible .” — “ In the gallery of Florene' is a half-drunken Bacchus, by Michae Angelo. An ancient subject, it stil has the merit of being filled witl Michael Angelo’s own feeling for cha ' racter and expression, but it falls shor of the manner in which the Greek, || would have treated it. It wants purit ’ of taste, and the beautiful form fre from affectation or display, which th ancients knew so well how to apply ii all their conceptions. Michael Angel , Tuscany. Boute 44 . — Florence — Ujjizi — Tribune. 519 in this work attempted to represent what he could not feel as a Greek sculptor would, and to this only is to be attributed its inferiority.” — Westma- cott jun., A.B.A. Bacchus hj Sansoviao, highly praised by Vasari ; Apollo, a vigorous sketch in marble, by Michael Angelo; St. John the Baptist, when young, siipposed to be by Mino da Fiesole . — David as the Conqueror of Goliath, by Donatello. The same sub- ject is repeated by him in a finer bronze statue: St. John the Baptist, wasted by fasting, is also by him, and one of his finest works. At the end of the cor- ridor is Bandinelli’ s fine copy of the Laocoon. It was executed by order of Leo X. as a present to Francis I. ; but when it was finished Clement VII. liked it so much that he kept it. At a short distance in front of this is an antique figure in touchstone of Mor- pheus, represented as a boy asleep with a bundle of poppy in his hand : very expressive of perfect repose. Sarcophagi. — On the 14 sarcophagi which are placed in the corridors may be seen various bas-reliefs, of which the subjects are taken from the hea- then mythology. The last one is Christian, and has on it the history of J onas : the workmanship is very coarse. Near the middle of the first corridor, or eastern arm of the gallery, a door opens into The Tribune . — This sumptuous apart- ment, completed by Cosmo II. jn 1610, was originally built by Francesco I. as a cabinet of miscellaneous curiosities. Amongst other objects, his curious col- lection of astronomical instruments was here deposited; and an aperture (now closed) in the cupola admitted the rays of the STin upon a meridian line in the pavement. Here was also his rich collec- tion of medals and gems. The cupola is beautifully iacnisted or inlaid with mother-of-pearl ; the pavement is of rich marble. Here are assembled some of the most valuable works of the gal- lery; but as this room was not, when l>uilt, intended for theii- recei)tion, it is not well adapted for the ]:)ictures. “The five works of scul])ture which are collected together in the Tribune are sufficient in themselves to confer a reputation on any museum of art. The first which attracts attention is the far-famed marble statue, universally known as the Venus dd Aledici. It is an example of perfect art in its class. It is worthy of remark that the an- cients seem to have made a distinction between mere passion and the refined affections which Avere supposed to be presided over by the goddess of Beauty and Grace ; and in their sculpture marked the difference by the character of personation in the celestial and the terrestrial Venus. The Venus de’ Me- dici may be considered an example of sculpture when the art had, in a great degree, departed from its highest aim, that of addressing the sentiment by means of tranquil expression and simple grandeur of form, and had entered on the comparatively easy task of fasci- nating the senses by the display of the soft and beautiful models offered by a less idealised nature. It is thought that the female figure was never represented entirely undraped till the age of Prax- iteles, In the exquisite work now under consideration the spectator is captivated by the unveiled beauties of the figure, by the graceful turn of the head, the tender, smiling, and the rich flowing harmony of lines in the torso, and the lower extremities, “ The countenance of the Medicean Venus is amongst its highest excellences, and gives an elevated character to the whole figure. The expression is not tender or smiling ; the mouth, indeed, I’etains its unrivalled SAveetness, and the forehead has even a grave air. She is evidently solicitous to disco- ver whether she is obseiwed. Yet the look does not indicate the timid modesty of a young girl, l)ut the dig- nified anxiety of a noble married lady in SAich circumstances. Combining this Avith the position of the arms, it is im- possible to conceiA^e more feminine pu- rity tlian the statue displays : it may be called its motive, — The Venus Ana- dyomena, in the southern corridor of the gallery (]>. 517), displays the same sentiment, but Avitli a more timid, A irginal expression : it seems :us if, in case of any one ajipoaring, one Avould crouch screaming on the ground ; the 520 Route 44. — Florence — Uffizi — Tribune. Sect. VI. otlier, bid tlie intruder go about bis business.” — H. H. This statue was much broken when found, but the parts have been well adjusted. The feet are particularly beautiful. The only restorations are the arms and hands ; they are by Bernini, and do not cori-e- spond in character ^vith the rest of the figure. The height of the figure itself is 4 ft, in. Eng. measure ; if thefigui-e stood erect it would be about 5 ft. 2 in. “ The Apollino, like the Venus de’ Medici, is of the school of beautiful and tender form. Its character is that known by artists as the Androgynous ; a combination, or mixture, as it were, of the female with the youthful male figure. This statue is justly consi- dered one of the most valuable monu- ments that have reached us. It exhi- bits very high qualities of art. The balance of the composition is skilful, the attitude is easy, and there is a graceful and harmonious flow of lines from almost every point of view. The individual parts, especially in the body, or torso, offer excellent examples of this class of ideal form. The height of the figure itself is 4 ft. 6 in. Eng. measure. “ The Dancing Faun displays the great skill of the artists of antiquity in the adaptation of form to a required purpose. The ideal of this class of poetical subjects requiring no prepon- derance of the elements of mere physi- cal strength, while at the same time it was important to avoid the appearance of refinement, the muscles are less developed than is usual in the adult male figure, and are of a firm and knotty character. There is also an appearance given of elasticity, and ca- pability of agile action. The general harmony (or ‘ keeping ’ as it is techni- cally called) is well sustained through- out this admirable work, and the whole figure appears in motion, from the finger down to the foot which presses the scabellum. The portions of the statue which are restored are carried out in the true spirit of the original work. The modeim additions are from the chisel of Michael Angelo. The Lottatori. — The group of the Wrestlers, or, more correctly, of the Pancratiasts, is a remarkable example of intricate and yet compact compo- sition, of which there is no similar ancient specimen remaining. It is a work abounding with energy and ex- pression, while, at the same time, it has the praise of being free from undue exaggeration. It exhibits also very highly technical qualities ; in the ana- tomical correctness in the details, pro- priety and choice of form, and most skilful execution. The sculptor has shown, in this most difficult subject, his perfect mastery over his materials. One of the heads is antique, but some doubt has been felt respecting the other, that of the upper figure. If it is ancient it is believed to have been retouched. “ L’Arrotino, or the slave whetting his knife, has given rise to much discus- sion and speculation as to its subject ; some considering it simply as it is here designated, while others are dis- posed to associate it with various well- known histories ; the conspiracy of the sons of Brutus ; that of Catiline ; or with the fable of the flaying of Marsyas. These, however, are questions which have little or nothing to do with its consideration as a work of art. In this respect its merits are of a very high order. It obviously represents a figure whose attention is suddenly arrested and withdrawn from his immediate oc- cupation, and the attitude is simple and perfectly true to nature. The head especially is treated in a most masterly manner ; and the earnestness manifested in the countenance assuredly entitles this statue to rank amongst the most valuable ancient v/orks of expression.” — 7i. Westmacott jan,, A.R.A. There is some uncertainty whether the Venus was found in Hadrian’s villa at Tivoli, or at Rome, in the portico of Octavia, of which some noble remains exist, close to the church of S. Angelo in Pescaria. The Apollino was lately ' broken by the falling of a picture, but I has been so well mended that the da- mage is hardly visible. The choicest paintings of the collec- ! tion are deposited in the Tribune. Michael Angelo. — The Virgin pre- senting the Infant to St. Joseph (a circular painting). This is one of the three recognised easel pictures of this aSCANY. Route 44 . — Florence — Uffizl — Tribune. 521 aaster, and as such most highly valued ly his contemporaries. It is particu- arly described by Vasari. ^^The im- >ression this work at first sight made ipon me was unpleasing, accustomed as am to seek for the most agreeable qua- dies of painting, — beauty in form, in xpression, in chiar’-oscuro, in colour /ell conducted and united so as to tresent to the eye, under the most 'leasing aspect, harmony in the ar- angement and hues of coloiu’s, and, or serious subjects, solemnity of tone, lere are none of these requisites in a licture; but here are, to compensate, kilful drawing, a delightful fulness f sentiment, and vast and powerful mowledge of form, grand and severe, ut not beautiful, except the two heads f J oseph and the Saviour. Here is an xhibition of great power in composi- ion of lines and forms in the limbs nd in the draperies. It is painted, am told, — for I should not have dis- overed it, — in tempera (body water- olours), and varnished ; and is la- oured to a degree perfectly astonish- ag. Every feature, every limb, every old of the drapery, is completed to its tmost limit ; no work of Van der Verfif is more so; and the drapery is ivided and subdivided into folds in- ricate in themselves, and perhaps too umerous and broken for fine style, hough the lines are conducted v/ith reat skill. Of its colour it is in vain 0 pretend to speak ; it sets all reason at efiance, in the flesh particularly. In hat of the principal group, one colour ? taken for the lights, and another for he shadows, and they are worked to- ether to produce the form, and that is endered most scientifically. And yet, liough the colour of the flesh, in the rincipal figures, where he laboured lost earnestly, be thus defective, here are a clearness and purity in hat of some of the figui'es in the back- round (which, by the by, seem intro- uced for no other purpose than to how his knowledge of the figure) that re extremely true and agreeable. As o harmony, that seems never to have ntered his head, but it has a tone f a peculiar kind in the sky and back- round. In sliort, the great talent manifested here is extremely imposing, and one regards it with increasing esti- mation as one continues to look at it. The knowledge of its author thus rises to view, overpowering the discordant effect produced by its aspect at first. Every return to it adds new interest, till at length admiration of the power it exhibits so blends itself with the condemnation one feels inclined to be- stow on its defects, that, if I do not leave it gratified entirely, I do humiliated.” — Prof. Phillips, li.A. Raphael. — A Portrait, a Florentine lady, name unknown, called Maddalena Doni, the wife of the painter’s Floren- tine friend Angelo Doni, but there is doubt as to the identity. There is great beauty in this early and delicately painted picture. The gentleness of ex- pression, and the happy turn of the neck and bosom, are admirable. It has suffered by cleaning and repairs. — A Holy Family, commonly called Madonna del Gardellino (Goldfinch), beautiful in composition, and sweet in expression. Vasari considers it as. re- markable also for the truth of its colouring. This picture was painted in Florence by Raphael for his friend Lorenzo Nasi, whose house being de- stroyed by the smottamento ” of the Monte S. Giorgio, the picture was bu- ried in the ruins, but was recovered and carefully joined. — La Fornarina, a Female Portrait, which bears the date of 1512. The colouring is remark- ably warm, and, as it rather differs from Raphael’s usual tone, some con- noisseurs have attributed it to Sebas- tian del Piombo, or Giorgone, but without the slightest foundation. There is much doubt as to whom it represents, but the best opinion seems to be that it is the portrait of one of Raphael’s mistresses. —Pope Jidius II. A veiy fine head ; the picture most carefully painted, tlie colouring rich and deep. It is a repetition of that in the Pitti })alace : at Florence no one doubts but that both, are originals. — St. John lu’caching in the Desert. The authenticity of this picture, of whicl) there are many repetitions, has been unnecessarily doubted ; but its beauty, as well as the circumstance of 522 Route 44 . — -Florence — Uffizi — Tribune. Sect. vr. its being painted in tela, Avhile the others are, or were, on wood, prove this to be the celebrated San Giovanni which Raphael painted for Cardinal Co- lonna, and which he gave as a fee to his physician, Messer J acopo, who had cured him of a dangerous illness. It has been in the Medicean gallery since 1589. — By the side of these pictures hangs a Holy Family, a pleasing picture called a Raphael, but which, according to Passavant, is by some other artist, perhaps by Franciahiyio. Wagner con- tests the point, and considers it a real Eaphael. Titian. — The Venus, so called, but supposed by some to be the portrait of a mistress of one of the Dukes of Urbino, In her rt. hand are flowers, at her feet a little dog. T\vo figures in the distance are searching for clothes in a chest. The Venus recumbent, by Titian, is perhaps the most perfect picture in the whole col- lection. I do not mean to say that it is the work of the deepest thought, or the purest sentiment ; I speak of the mere application of the princijales of the art of painting ; its power of con- veying perfect imitation of well-chosen form and character. Its form and its colour are as well knoAvn as piants and copies can make them : but neither has print yet given me the full idea of its effect, nor copy of its depth, its pu- rity, and its brilliancy of colour and of tone.” Prof. Phillips, R.A. — A second Venus, considered as inferior to the first. — Portrait of Monsignore Becca- delli ; a fine, simple, expressive por- trait, wearing a square trencher cap on his head, and holding in his hand a Brief of Pope Julius III, Beccadelli was Archbishop of Pisa, and tutor to the young Cardinal Ferdinand de’ Medici. ^Vhen Beccadelli was nuncio at Venice, and Titian painted this portrait, he was in his 75th year. Paul Veronese. — Holy Family, with St, John and St. Catherine. Annihal Garacci . — A Bacchante, Pan, and Cupid: one of his best works. Ribera, called Spagnoletto . — St. Je- rome. Guercino. — A Sibyl, noble in expres- sion and action. — Endymion Sleeping. Fra’ Bartolomeo. — Tavo noble fi- gures of the Prophets Isaiah and Job; the latter holds a scroll, Avith Ipse erit Salvator mens. Daniele da Volterra. — The Massacre of the Innocents; full of figures finely draAAm. Andrea del Sarto. — Madonna and Child, between St. John the Evange- list and St. Francis, called la Madonna di San Francesco. A very grand pic- ture. The Virgin, in the simple and beautiful character of the head and dress like the Madonna del Sacco. The Saints, noble figures ; and the Angels below the Virgin, graceful and beauti- ful. This is considered the finest of the many fine works of this master at Florence, whose merits can only be ap- preciated in his native city. Albert Diirer. — Adoration of the Magi; ’ the heads in a grand style, i Andrea Afantegna. — Three pictures: | the Circumcision, the Adoration of the I Kings, the Resurrection. The figures ' small, and finely and carefully finished. Pietro Perugino. ■ — The Virgin and Child, betAveen St. John the Baptist and St, Sebastian; a simple and beauti- ful composition and fine expression. The background is a grand architectural scene, carefully painted. Luini. — Herodias receiving the Head of St. John. Much like Leonardo da Vinci, and careful and delicate in exe cution. Correggio. — The Virgin kneeling ii adoration before the Infant, aaJio it' sleeping on a portion of her drapery ' Given by tlie Duke of Mantua tt Cosmo II. in 1617. — The Virgin am Child in Egypt, painted by Correggv at the age of 20; Head of St. John the Baptist in the charger; Head of i Child, larger than life, and painted oi paper. There are four pictures at tributed to Correggio ; I can give credir to three, though they are not of hif best; but the fourth — a head of i\ youth — I doubt. The best is of thi Virgin adoring her child laid dowi before her. It has great beauty c' colour, and freedom of execution pecu liar to him; it is exceedingly afiectec in the air, but at the same time grea tenderness of expression is rendered i:, Tuscany. Route 44 . — Florence — Uffizi — Tribune. 523 ^t. There is too much of background CO it, so that the figure loses its conse- quence, although he has endeavoured to remedy that evil by making it very simple and dark.” — Frof. Phillips, B.A. Farmegiano. — Holy Family, with Mary Magdalen, and the prophet Za- charias. Guido. — A Virgin in Contemplation, half length, and seemingly studied from the statue of Niobe. Domenichino. — A fine portrait of Car- dinal Agucchia. Yandgke. — Two fine portraits, one of Charles V. on Horseback, armed; over his head an eagle holds a crown of laurel: the other, a figure dressed in black, with an expressive countenance, is called Jean de Montfort. — Baroccio : Portrait of Francis I. Duke of Urbino, — Giulio Fornano : Virgin and Child.— Rubens : Hercules between Vice and Virtue, personified by Venus and Mi- nerva. In two rooms on the N. side of the Tribune are placed works of the Tuscan school. In the smaller of the two, which is entered from the Tribune, the pictures most deserving of notice are the following : L. da Vinci. — A fine portrait, at one time called tliat of Rafiaelle — Medusa’s bead. ‘‘ Nothing struck me more than 1 Medusa’s head by L. da Vinci. It appears just severed from the body and cast on the damp qiavement of a savern: a deadly paleness covers the countenance, and the mouth exhales a pestilential vapour; the snakes, which fill almost the whole picture, beginning to untv/ist their folds ; one or two seemed already crept away, and crawl- ing up the rock, in company with toads and other venomous reptiles.” — Beck- ford. ‘^The head of Medusa, so well known in story, is finished with ex- treme care and delicacy; but the parts are not very well relieved; the head itself has great beauty of form. I think the great point in Leonardo’s character as an artist is the extreme lesire he aj>pears to have felt to obtain perfection by carrying exj)vession to its utmost point; and he obtained it where he completed his work, as in this ]>ic- ture.” — T. F. Fra Bartolomeo: Two small pictures, representing the Na- tivity and the Circumcision, united. They are much praised by Vasari. — Fra Angelico : Six pictures: — The birth of John the Baptist; Coronation of the Virgin; Preaching of St. Peter; Mar- riage of the Virgin ; Adoration of the Magi; Death of the Virgin: interesting pictures full of figures. In the last the corpse of the Virgin is seen ex- tended on a bier: above the body is a glorified figure of our Lord blessing the corpse, and holding a small figure, allegorically representing the soul of the Virgin, in his arms. The Apos- tles, standing round, have each a flame of fire, ^ as on Pentecost, on their heads. — Fidolfo Ghirlandaio : Adoration of the Magi. — Cristof. Allori : The Saviour sleeping on the cross. — A fine copy of the recumbent Magdalen at Dresden. — Masaccio : An old Man, painted with great truth. — Botticelli: Calumny, an allegory as described by Lucian. — Bronzino : An allegory of Happiness ; Portrait of the dissolute Bianca Capello, mistress and wife of Francis I., a deli- cate and almost fascinating counte- nance, but also exhibiting somewhat of the embonpoint described by Mon- taigne. In the background is an alle- gorical group, which is called the ‘‘Dream of Human Life,” and is a duplicate of the so-called Michael An- gelo in the National Gallery in London. — Gigoli: St. Francis with the stigmata. — Carlo Dolci : St. Lucia, in a red mantle, with a wound in her neck. In the second and larger room are the following pictures : — Jacopo da Empoli. — “ The most per- fect colourist of the Florentine school, and the picture by him here is one of his best. The subject is St. Ives reading the q>etitions of widows and orphans. He is seated on an elevated place, with a strong deep tone of colour in his face, a red piece of drapery on his head, and a white pelerin on his shoulders, painted to perfection over a brown mantle. He relieves from dark brown and grey architecture t)f ex- cjuisite tone and clearness in its depth. 'I’lie figures around him are well com- posed, and, if they liad not some of them been too much lost in the ground, 524 Route 44. — Florence — Uffizi — Pictures. Sect. VI. and if a little better arrangement of colours had been made, this picture would not yield to the best of the Fle- mish school.” — T. P. Artemisia Lomi .-Ju- dith striking off the head of Holofernes. Ridolfo Ghirlandaio. — San Zanobio raising a dead child; excellent in each figure, in the grouping, and in the fulness with wdiich the story is told. — Its companion is the Translation of the Body of the Saint, which gave rise to the miracle commemorated by the column near the cathedral. These two pictures have great variety of action and j^ower of expression, with an increased breadth, and aim at tone emd colour quite Venetian, and pro- duced in the same manner. It is, how- ever, overdone; blackness usurps the place of shade, contrasts of red and green, in different tones of light, forbid harmony. What he did, however, was a great advance in the art, though not in the best direction. He appears to have sought, and in a measure obtained, what few Florentines before him had thought of,— - chiar’-oscuro.” — T. P. Mariotto Albertinelli. — The Visitation of St. Elizabeth. The two noble figures of the Virgin and St. Elizabeth approach, in style, to Fra’ Bartolom- meo, with whom Albertinelli was in early life a fellow-student and a friend. “ I have seen several pictures by Al- bertinelli, but not upon a scale to compare with this in any respect. It partakes largely of the colour of the best time as well as form, if we except the error, common to the school, of making colour stronger in the shade than in the light. It is exceedingly fraught with feeling; the Virgin is the personification of delicacy, modesty, and self-possession in a female of fine and elegant form in figure and drapery. The school had not got idd of the formal arrangement of architecture and sky as background, but it is fine in colour. The whole is exceedingly strong and deep ; red and blue, opposed by orange and white, with dark architecture off a light blue sky exceedingly luminous, compose its arrangement, which tells with immense force. There is below it one of those painted steps of the altar, exhibiting small pictures of the Annunciation, the Nativity, the Child lying on the ground, Joseph and Mary praying beside it, and the Presentation, all full of the same feeling and richness of colour.” — T. P. Andrea, del Sarto. — St. James and two Children in the dress of Penitents. The action of the Saint pleasing and affectionate, taking one child under the chin ; and the attitude of the child caressed, simple and reverential. — His own portrait. Pontormo . — Cosmo il Vecchio, Pater Patriae. In the “ abito civile” of a noble Florentine citizen, with a red velvet vestment and berretta. Before him is a laurel branching into two stems, one of which is cut down, whilst the other is flourishing; alluding probably to the fate of his two grandsons, Giuliano and Lorenzo. — Joseph present- ing his fatherto Pharaoh, A long picture, containing many pleasing groups, Vasari. — Lorenzo de’ Medici. Vasari made up the j^ortrait, not merely in countenance, but in costume, from the best contemporary paintings and draw- ings which he could find. About the figure are many allegorical accessories, of which it might have been difficult to guess the meaning, had not the inter- pretation been furnished by the artist himself. Lorenzo leans his hand upon a species of pilaster, against which is a very grotesque head, repi'esenting (as Vasari informs us) Falsehood biting her own tongue. Another pilaster, with a head thrown quite backwards, and a vase standing upon the forehead thereof, still more perplexingly signifies Vice conquered by Virtue, An antique lamp burning denotes the illumination which Lorenzo’s successors received from his virtues. — Alessandro de’ Me- dici, the first Duke of Florence, is equally full of recondite meanings. Of these it may be sufficient to notice that his seat has three legs, as a perfect number’, each leg being composed of three terms, whose arms are amputated, to represent that the people have neither arms nor legs. In the centre will be discerned a head, with bands issuing from its mouth, to show how the Ee- public was bridled by the strong castle l|| erected by the Medici (see Fortezza da Tljscany. Route 44 . — Florence — Ujjizi — Pictures, 525 Basso) ; and the red drapery cast upon :he seat indicates the shedding of the olood of those who were opposed to vhein. The swarthy complexion^ thick ips, and black crisped hair^ testify he negro blood of Alessandro’s mother, i slave. Bronzino. — Eleanor of Toledo, wife )f Cosmo I., with her son Ferdinand I, it her side. There is another picture :>f her, by the same artist, in the first )r small room. — The Descent of our saviour into Hades ; considered the 'hef-d’ceuvre of Bronzino . It was brought nto the gallery by the late Grand ^uke Ferdinand III. from the church 0 which it belonged. — By the same land are two Portraits of Children, he Princess Mary and the Prince larzia, son and daughter of Cosmo L. : they are full of life and intelligence. Fra’ Bartolommeo. — ^The Virgin and Ihild, on a Throne, suiTounded by everal Saints and Protectoi's of the •ity of Florence. In front is Sta. lejiarata, with a palm-branch. One of he noblest designs of this great artist. Leonardo da Vinci. — The Adoration )f the Magi, a mere sketch, very in- eresting, as showing the commence - nent of this artist’s pictui'es. “ The )oard was carefully prepared with a vhite gesso ground, on which the de- ign was freely drawn. It was then lassed over with dark colours, thus •cquiring a deeji tone at the commence- nent. Some of the heads are- made >ut with great character, but not pro- eeded far with. Some trees in the background are drawn as if they were lever to be touched again.” — T. P. Cigoli. — The Martyrdom of St.’ Ste- )hen. In a room which opens out of the S. ide of the Tribune, and opposite to the Tuscan school, are some works of other talian artists, amongst which the fol- owing may be noticed : — Albano. — "Wnus reposing, surrounded >y Cupids, some shooting at a heart uspended from a tree as a target, ■thers making arrows; Paiie ofFuro})a; It. Peter delivered by the Angel out f Prison. — Balvator P(>sa : A sea-piece r’itli rocky foreground ; a fine landscajbc rith a foreground of rocks, round which a river flows. — Cignani : The Virgin with the infant Jesus giving her a rosary. — Giiercino : Landscape with men and women singing. — Dosso Dossi : Massacre of the Innocents. — Solimene : Diana bathing, Calisto discovered. — Garofolo : Annunciation.— Jnd/’ca 3Ian- tegna: Virgin and Child, seated near a quarry. — Titian : Christ in the house of the Pharisee. Between the room last described and the S. end of the E. corridor, are the rooms which contain the pictures of the French, Dutch, and German schools. They are usually entered by a door which opens out of the southern or short corridor, and therefore at this point the following enumeration of the principal pictures begins. These schools are, however, by no means well repre- sented here. On the rt. and 1. of the door are two portraits by Fahre, which are interesting : Alfieri, and the Countess of Albany. — Nic. Poussin : Theseus find- ing his father’s sword; Venus and Adonis on Mount Ida. — Largilliere: Por- trait of Rousseau. — Philip de Champagne: Portrait of a man dressed in black. — Bourdon: Repose in Egypt.- — G. Poussin: Dark landscape with two figures, one fishing. — • Gagneraux : Lion - hunt ; Charge of Cavalry. — Borgognone: Two large battle-pieces. In the middle of the room are, the statue called the Venus della Spina, or a Nymph drawing a thorn from her foot ; and a young man who is wounded in the foot: the lastsub- j ec tis often repeated in antique works. German and Dutch Pointers. — Benner : Man in a fur dress and cap. — A. Diirer : Head of St. Philip, in tempera. — Buhens : Venus and Adonis. — Holbein: Portrait of a man in black, with a paper in his hand. — Claude: Sea-piece, sunset. On the rt. is a palace rejiresenting the Villa Medici at Rome. — A. Flzhcimer : 1(» small pictures of Apostles and Saints. — Jfolbein : Poidrait of Richard vSouthwell, Privy Councillor to Henry VI II. — I'ctcr Neefs : Interior of a Cliurcb. — A. Jligiton: Fruit. — P.Fcefs: The Death of Seneca. — Holbein: Por- trait of 'Thomas IMore; k’nincis I. of France, in armour, on horseback. — Ilcmling : Yirgin and Child, with two angels, one playing a violin, the other 526 Route 44. — Florence — Ujjizi — Cabinet of Gems. Sect. IV. a harp. — L. Cranach: Foiu' pictures: Luther, Catherine Bora, Luther and Melancthon, and John and Frederick the Electors of Saxony. Dutch and Flemish Schools. — Jan Steen: Boors at table, one playing a fiddle. — Gerard Dow : A Woman selling Fritters. — Adr. v. Ostade: Man with a lantern. — Geixml Dow : A Schoolmaster teaching a little Girl to read. — Rem- brandt : A Peasant’s Family. — Mieris : 8 pictures. — Adr. v. der Werff : Judg- ment of Solomon; a Nativity. — Poelen- hurg: Moses striking the rock; Adora- tion of the Shepherds. — Pynaker : Landscape, tower near a river. — J. Euisr dael : Land-storm. — Adr. van der Welde : Two landscapes. In this room are two tables of oriental alabaster, on one of which is a beautiful small statue of Morpheus, considered to be a work of Grecian sculpture. ‘ ‘ His languid hands scarcely hold a bunch of poppies ; near him creeps a lizard, just yielding to his influence. Nothing can be more just than the expression of sleep in the countenance of the little Divinity.” — Beckford. At the E. end of the short, or S. cor- ridor, is the Cabinet of Gems. Lorenzo de’ Medici took peculiar pleasure in this branch of art, both in collecting ancient specimens and in encouraging living artists. Of these, the most eminent was Giovanni, sarnamed “ delle Corniole,” from the stone upon which' he most fre- quently exercised his skill. Many spe- cimens of his workmanship, as well as that of his contemporaries, are to be found in this collection. Sevei’al of these cinque-cento productions have been mistaken for antiques. The small apartment, or fl''ribune, in which these gems are kept, has much beauty. It is supported by four fine columns of ala- baster and four of verd’ -antique, and the gems are contained in six presses, or cabinets, each with a number. Here are a series of busts, worked out of gems ; amethysts, chalcedonies, and tur- quoises. — Imperial portraits on cameos; Vespasian, Tiberius, and Li via; Augus- tus and Galba, singularly characteristic ; the Salian priests bearing their shields ; Etruscan. — Antoninus Pius sacrificing to Hope, or, as some say, Julian sacri- ficing to the Moon, the largest cameo known. — Bellerophon and the Chi- msera. — Pan and the Signs of the Zo- diac, now asceiflained to be modern, but which had previously betrayed the learned into various theories. — Savona- rola, with an inscription describing him as a prophet and a martyr, by Giovanni j delle Corniole, and of exceedingly fine ' workmanship. — The Triumph of Cosmo ; I. after the siege of Siena, a splendid , cameo by Dominico Romano. — A Mi- j nerva, or at least an armed female figure, supposed to be Etmscan; upon i the back is engraved ‘‘Christus vincit, ' Christus regnat, Christus imperat it : f was probably employed as an amulet in i ^ the Middle Ages. — Cupid riding upon a Lion, by a Greek artist; the letters ' badly cut in relief. — Theano delivering ' the Palladium, a remarkable cameo. — A great number of vases of agate, ^ jasper, sardonyx, lapis-lazuli, and other pietre dure. A few of the more iin- portant works may be more particu- larly pointed out: — In Cabinet I., to "■ the rt. on entering, a vase cut out of a ' block of lapis -lazuli, nearly 14 inches “ in diameter. Two bas-reliefs in gold, by Gio. Bologna . — Cabinet II. A vase ' of sardonyx, with the name of Lorenzo de’ Medici engTaved on it.^ — ^A casket of rock crystal, on which are admii’ably engraved the events of the Passion, in , 17 compartments, executed by Valerio Vicentino, the best artist of his day in works of this kind, for Pope Clement VII. The artist’s daughter assisted ; him in this exquisite work, which was !' sent as a present from the Pope to Francis I., on the marriage of his niece ‘ Catherine de’ Medici with the younger v brother of the Dauphin, afterwards ; Henry II. — A species of shrine, con- taining the portrait of Cosmo I., made j up of enamel and precious stones. — A I tazza of lapis-lazuli, with handles of gold, enamelled and mounted with dia- j monds ; a cup of rock crystal with a cover of gold enamelled, both attri- buted to Benvenuto Cellini. — Three fine chasings in gold, by Gio. di Bologna. — | Cabinet V. A bas-relief in gold, repre- f senting the Piazza del Gran Duca. Gio. Bologna . — Two beautiful small statues, i|* St. Peter and St. Paul. ‘ ^ Tuscaky. Route 44 . — Florence — Uffizi — Pictures. 527 Out of the western corridor open all he following rooms : — Venetian School. The first great door- ray on entering the southern end of the western corridor opens into two rooms, a which are contained pictures of the ’’euetian School. The finest of these are, ithe first room — Giorgione, Portrait of leneral Gattamelata, attended by his ■age. It could not, by the dates, have >een done from the life, and it is da- aaged; but interesting as a portrait of man so celebrated in history. — Titian, ortr-ait of the sciiljjtor Sansovino, in lack, the right hand resting on a larble head. — Morone, an old man. — Go. Bellini, Christ dead, in chiaro 2 uro. — Morone, a fine Portrait in a panish dress, called by some, but er- jueously, St. Ignatius. — Moretto, Ve- ils an cl her Nymphs weeping for -donis. — Titian, Holy Family. — Bas- ino, His own Family: a large party, 1.1 engaged in playing on various in- iruments, and singing. Titian and his ife are introduced in the background. -Baul Veronese, Esther before Ahasu- ’us, a rich and grand picture, full of ue figures. — Tintoretto, Portrait of the enetian admiral Veinerio, in armour, ith his right hand on his helmet. — 'iti'in, Francesco Maria della Rovere, uke of Urbino, and Eleanor his wife, VO noble portraits. The plate armour ■ the duke is finely painted, the conn- nance severe and noble; that of the ichess is pleasing, dignified, and mple ; her dress distinguished by its chness, the colouring transparent and ire. The sceptre or mace before the ike, upon which are the keys and ira, denote that Urbino was held as fief of the church. Through the win- )w, behind the duchess, is a beautiful ece of landsca 2 ie. — Beneath are four le heads, one by Baul Veronese, one T P. Bordone, one by 776. Tinelli, and le last by Gunqmgnola. In the second room are — Jac. Bas- no. Two Dogs. — Titian, Sketch for the ttle of Cadore, one of tlie 2 )ictures stroyed in the fire at the Doge’s 2 >a- ce. — The Virgin, Infant Christ, and . Anthony. — Giovanni de’ Medici, Tier of Cosmo I., jiainted after the ath of the original. The countenance is marked by severity, extreme saga- city, and acuteness. The helmet and cnirass shine as if reflecting the light of the sun. — Tintoretto, the Marriage at Cana. “A well-finished work of great beauty of comjiosition for playfulness of effect.” — T. B. — Pordenone, Conver- sion of St. Paul. — Morone, Portrait of N. Panetra, an old man seated with a book in his hand. — Titian, The Virgin, in red. Infant Christ, and St. Cathe- rine. The Flora, a portrait of a lady in a white shift, with yellow hair and fair complexion, and flowers in her left hand. “The flesh extremely natural and round.” — T. P. — Sebastian del Piombo, A warrior; a bay -tree by his side. — Morone, Portrait, a bust; a book in front. — Giorgione, Moses p.rovingthe burning coals and the gold; Judgment of Solomon ; a Holy Society, an ob- scurely allegorical incture. — “ Bonifa- zio’s Last Siiji^ier is an inefficient work in composition, but in clearness, truth, fulness, and brilliancy of colours, Titian’s Venus in the Tribune alone rivals it, and in some resjiects the flesh of Bonifazio is better than Titian’s.” — T. P. — -Moretto, Man playing on a gui- tar, — P. Veronese, Crucifixion. — Tinto- retto, Fine Portrait of the sculptor Sansovino in his old age, a comjiass in his hand. — Giorgione, Portrait of a Knight of Malta, holding a chaplet. — Bordone, Portrait of a man in black, with red hair.— 776km, Catherine Cor- naro. Queen of Cyjirus, with a repre- sentation of the wheel in the back- ground, as a sjiecies of 7'ebus denoting her name ; in the full Greek dress, a gemmed crown upon her yellow hair, splendid in the colouring of the dra- ]>ery, and jiure and trans^iarent in the flesh. Autograph Portraits of Painters. The collection was begun bj’’ the Cardinal Leojiold de’ Medici, and has been con- tinued to the jiresent time. Amongst the most striking are the following: — Baphael. A beautiful young head. This very I’emarkable jiainting was ex- ecuted in 150G, when he was about ‘2;> years old, and it is su 2 )iiosed tliat he left it with his relations at Urbino as a remembrance. The hair is chestnut- brown, and the eyes dark. M. Von 528 Route 44. — Florence — Uffizi — Portraits. Sect. VI. Eumolirj who has written very learn- edly on the subject of Italian art, says, that the hair loas flaxen and the eyes were blue, but that they have changed colour in consequence of having been repainted. Passavant denies the fact, and the Italian artists laugh at the theory. — Giulio L’omano. A striking portrait on paper, in black and red chalks. — Masaccio. Head like those in his frescoes, both in costume and cha- racter. — G. Bellini. Small, with a large red coif. — L. da Vinci. Esteemed one of his best and most carefully painted works. ‘‘It is exceedingly grand: it is too dark in tone, and if he proceeded always in the mode in which the pre- paration before spoken of was con- ducted, I do not know how he could be otherwise than dark.” — T. F. —M. Angelo. In a flowered dressing- gown ; but not really supposed to be by himself. — Titian, Tinforet, and Bas- sayio. All fine portraits of old men. — And. del Sarto. Executed just before his death, at 42 years old ; much esteemed. — Pietro Perugino. One of the most remarkable in the collection for its beauty, character, and expression. — Parmigiano. — Guido. A Elemish-looking head, in a large round hat. — Guercino. Honestly show- ing his own squint, whence he has his ..name ; well executed. — Domenichino. Simple and interesting portrait. ^ — The Caracci. Five portraits, three of Anni- bale; all very intelligent-looking, espe- cially the two profiles. Vandgk. — Bembrandt. Two portraits, one very old, the face mapped over with wrinkles ; the other middle-aged. — Gerard Bow. A beautifully - finished picture. The artist with a hat on, holding a skull in one hand, and looking out of a window : the accessories beautifully painted. — Quintin Matsys and his Wife. Intex’est- ing in costume, and- pleasing in expres- sion. — Sir Godfrey Kneller. In an im- mense v/ig and full dress. — Alessandro Alloy i. Very good ; so also Christoforo Allori. In different styles, but all first rate, are Mieris, Antonio More, Gerard- son, Honthorst, and Albert Purer. The English painters are Jacob More, Pey- nolds, Northcoie, Ilarland, Brochedon, and Hayter ; and in the corridor is the worthy gentleman, who is designated as “ Princes Phoare.” When he came to Florence, having written his name Prince Iloare in the hotel book, he was saluted as “11 Principe Hoare,” and charged accordingly. In the centre of the large room is the celebrated Medicean Vase, on which if scxilptured the Sacrifice of Iphigenia. Those who know the tale, will name the figures for themselves. Much discussioi has arisen on the subject, for whici there is no room here. Cabinet of Egyptian Antiquities. Thl- small collection was made in 1826 The present collection was principallj formed by Nizzoli, the chancellor o. the Austrian Consulate at Alexandria, and purchased by the Grand Duke The articles are generally in good pre sei’vation ; but it presents little that i,- striking to those who have seen the col lections at the British Musem, Paris, oi Turin. Hall of Inscriptions. These, whiql are very numerous, are arranged ii classes by Lanzi. They are, of course more intended for study than fo' hasty inspection. Many statues an( sculptures are placed round the room The most striking are the follow- ing _ A Priestess, fully draped; the hea< and left hand are modern. Bacchu leaning on Ampelos, nearly a duplicat of a group at Rome. — Mercury, ver fine. — Venus Urania, half draped: th remains of colouring may yet be see: in the hair and head-dress. Some cor sider this statue as next in beauty t the Venus. — Venus Geiiitrix or Ev terpe : a fine statue, but much restored and the restorations once or twic changed, to suit the denomination which have been given it. In the middl of the room are two Egyptian statues c granite, and under the group of Bacchu and Ampelos is the Pompa Isiaca, ai altar, pseudo-Egyptian, of the age c Adrian. Here are also six curious sma' sarcophagi, all intended for childrei;|| and a profusion of small statues aui busts : among the latter of which is a, interesting one of Plato, Inserted i; the wall is a large and fine bas-relieJ representing, according to Gori, EaHl Tuscany. Route 44 . — Florence — Uffizi — Sculpture. 529 Air, and Water, personified by three female figures. of the Hermaphrodite. The statue from which this hall derives its name, is lying upon a lion's skin. The lower portion has been skilfully restored. The ancient portion is very fine. The position is the same as in the celebrated statue at Paris.— -Ganimede. A torso converted into a very beautiful entirety by Benvenuto Cellini. Head, arms, feet, and the eagle, are from his chisel, and of exquisite beauty. — Infant Her- cules strangling the serpents. — A frag- ment of a statue, in Parian marble, of Bacchus, or a Faun, w^earing a goat skin. — A fragment of a torso in basalt. — Cupid and Psyche. ‘‘The group of Cupid and Psyche, interesting from the beauty of youthful male and female forms and harmony of lines, is an alle- gory of the Pythagorean philosophy, representing the union of desire and the soul.” Flaxman. — The heads of the figures are so close to each other, that there must have been much mechani- cal difficulty in the execution. — Torso of a Faun. Considered by some as su- perior to that of the Belvedere Torso. Busts. — Brutus. Left unfinished by Michael Angelo ; but wonderfully ef- fective. The features, particularly about the mouth, have some resem- blance to those of Savonarola. Be- neath it is engraved : — “ Dum Hruti sculptor de marmore ducit, In mentem sceleris venit, et abstinuit.” To this Lord Sandwich replied : — “ Brutum effecisset sculptor, sed mente recursat Miilta viri virtus, sistit, et obstupuit.” Above, is a mask, the head of a satyr, the first production of Michael Angelo, at the age of 15 years. — A very fine colossal bust of Alexander the Great, ‘^casting up his face to heaven with a noble air of grief or discontentedness in his looks,” called Alexander dying. Alfieri wrote a fine sonnet on it. — A su- perb female head, called Berenice. The head-dress is singular, and resembles that of the age of Louis XIV, — A co- lossal head of Juno. — A colossal bust of Antinous. - An alto-relievo repre- senting a wearied traveller reposing. Hall of Baroccio. — Ghcrardo dalle N. /^a/y— 1852. Botti (IIo7ithorst), Adoration of the In- fant Saviour. — Bronzino, Deposition from the Cross. — Velazquez, Philip the IVth of Spain on horseback; said to be the picture sent to Pietro Tacca, from which he executed at Florence the sta- tue in bronze, formerly in the Buen Retiro, but since 1844 in the Plaza del Oriente, at Madrid.— A Portrait of Scappi, whose name appears on the letter in the right hand. — Mantegna, Portrait of Elizabeth, wife of Gonzaga, Duke of Mantua. — Bazzi, called II So- doma, Apprehension of Christ by the Soldiers. — Ann. Caracci, A Man with a monkey on his shoulder. — Baroccio, The Virgin, interceding with Christ, a pic- ture called the “ Madonna del Popolo.” — Alex. Allori, Giuliano de’ Medici, Duke of Nemours, a copy from Raf- faelle. — Holbein, Two portraits, one of a man, the other of a woman. — Rubens, Portrait of Helena Forman, his second wife ; in her left hand is a string of pearls. — Andrea del Sarto, A woman in a blue dress. — Sustermanns, Porti'ait of Galileo. — Carlo Dolce, Mary Magdalen. — Sassoferrato, The Virgin of sorrows. — Vandyk, Portrait of a princess in black, bearing some resemblance to Mary Stuart. — Rubens, Portrait of Eli- zabeth Brandt, his first wife ; in her right hand is a book. — Pourbus, Por- trait of the sculptor Francavilla. — — Carlo Dolce, Santa Galla Placidia, placing a crucifix in the place of an idol : it is a portrait of Felicia, second wife of the Emperor Leopold, dated 1675. — Gherardo dalle Notti, The Infant Saviour in the Manger. — Ann. Caracci, Portrait of a Monk in white. — Albano, The Infant Saviour, surrounded by angels bearing the instruments of the Passion. In this room are four tables of Flo- rentine Mosaic or Opera di Commesso. The finest is the octagonal one in the centre. It is the richest work of the kind ever made. It was begun in 1613, from the design of TAgozzi, and occupied 22 workmen during 25 years, being completed in 1638. It cost 40,000 se- quins. Pocctti designed the medallion in the centre. Hull of Aiubc. — The fine figures of Niobe and her children were discovered 2 A 530 Sect. VI. Route 44. — Florence- at Rome some time previously to 1583, near the Porta S. Paolo. Mr. Cockerell has most ably shown that they most probably were oiiginally arranged in the tympanum of a temple. By some they have been supposed to be the identical statues by Scopas, which Pliny describes. They were deposited in the Villa Medici, and brought thence in 1775. The saloon in which they are placed is a fine apartment, but it is not well lighted for sculj)ture, nor are the statues well arranged, and the effect of the group is injurecl by the figures being thus scattered. They are not all of equal merit; Niobe is the finest: the daughter on her left, the dying son, and those on each side of the pedagogue, are the next in merit. The dying son should be placed next to the daughter, who is on the rt. of Niobe, and who is looking at him. One statue in this room, the second to the 1. on entering, has by some been supposed not to have formed part of the group of Niobe’s children, but to be a Psyche ; l)ut this is evidently an error, as her attitude is as marked as possible. Forsyth says, — I saw nothing here so gi-and as the group of Niobe; if statues wdiich are now disjointed and placed equidistantly round a room, may be so called. Niobe herself, clasped by the arm of her terrified child, is certainly a group ; and whether the head be original or not, the contrast of passion, of beauty, and even of dress, is admirable. The dress of the other daughters appears too thin, too meretricious, for dying princesses. Some of the sons exert too much atti- tude. Like gladiators, they seem taught to die picturesquely, and to this thea- trical exertion we may, perhaps, impute the want of ease and of undulation, which the critics condemn in their forms.” — Forsyth's Italy, p. 42. Among the pictures in this room are — Snyders, a Boar Hunt, — Rubens, Henry IV. at the Battle of Ivry, an animated sketch; Entry of Henry IV. into Paris after the Battle of Ivi-y. — Lely, Portrait of Prince Rupert, and of General Monk. Gherardo dalle Notti, three pictures. Cabinet of Vases in Terra Cotta , — Greek or Etruscan. This collection, also, offers many objects worthy of - Uffizi— Sculpture, attention. The most important portion consists of those, about 800 in number, which w^ere found at and about Sar- teano, near Chiusi, in a most remark- able Necropolis of ancient Etruria. They are black, with basso -rilievos, rarely found elsewhere, and are cer- tainly very interesting and valuable. In the same room are some fine speci- mens of the so-called Raphael ' ware. In the middle of the room is an expres- sive statue of the Genius of Death, which has been absurdly restored as a Cixpid. Cabinet of Modern Bronzes , — The Mer- cury of G iovanni Bologna, — ‘‘His famous bronze statue of Mercury is conceived in the true spirit of poetry, and is deservedly admired as one of the finest productions of modern art. The form is light, and the action graceful.” — Westmacott, jun, — Benvenuto Cellini, The bust of Cosmo I., considered by the artist himself as one of his finest wnrks; and two small models of his Perseus, one in wax, the other in bronze. — Ghiberti, The sepulchre of the martyrs Probus, Hyaciuthus, and Nemesius. — The trial piece, executed when he was 20 years old, representing the sacrifice of Abraham, which ob- tained for him the order for the gates of the Baptistery. — Brunelleschi: his triad piece, when competing for the same work, and which he did not obtain. — Donatello: a very singular and beau- tiful statue, apparently allegorical, of a winged child. It stands close to the copy of the Faun of the Tribune — David as the Conqueror of Goliath (to the left on entering, in the corner.) This fine statue is historical. It stood ori- ginally in the cortile of the Medici palace ; but when Cosmo was exiled in 1433, it was seized by the Signoria, and placed in the Palazzo Vecchio. — Andrea Verocchio: another David (opposite to the last.) It is rather lean. There are also here many copies in bronze of celebrated pieces of sculpture. Cabinet of Ancient Bronzes, — Contain- ing some of the finest specimens of Etruscan art. Here is the Chimera discovered at Arezzo in 1558, and in the highest state of preservation; the tail, or serpent, alone is modern. The fragments of the original tail which Tuscany. Route 44 . — Florence — Ujjizi — Sculpture. 531 were found with the image seem to ' have been lost. The goat’s head is represented as dying ; the lion’s head showing fierceness and vigour. “ A 7Tiingled monster of no mortal kind ; Behind a dragon’s fiery tail was spread, A goat's rough body bore a lion’s head. Her pitchy nostrils flaky Ham(;s expire ; Her gaping throat emits infernal fire.” Pope’s Homer : Iliad. The workmanship shows that it is not of a very remote period ; but the entire similarity of the figure to the Chimera as represented upon the gold medals of Siphnos, proves that the artist strictly adhered to his mytholo- gical archetype, although he improved its style. On the right fore-paw is an insci-iption in Etruscan characters. — A robed figure, in the act of speaking, discovered in the Valle di Sanguinetto, near the lake of Thrasimene, supposed to represent one of the Lucumons, or elective rulers of the Etruscan state : others have considered it to be Scipio Africanus. An inscription upon the border of the robe, as far as it can be read or guessed, gives the name of Metello. — A statue of a Young Man found near Pesaro, in 1530. No statue in the collection has excited more antiquarian controversy. Some call it Mei’cury, Apollo, or the Genius of Pesaro. Others suppose it is a Bac- chus; fragments of a vine stem, as is said, being found near it: Bembo en- gi’aved upon the pedestal: — ^^Ut potui hue veni, Delphis et fratre relicto;” ‘‘an inscription,” says Addison, “which I must confess I do not know what to make of.” This statue is known by the name of the Idol. The base, at- tributed, but erroneously, to Ghiberti, represents Ariadne, and Bacchanalian figures. — Minerva, found also at Arezzo : very beautiful, and curious for costume. It is damaged by fire. — The Head of a Horse. — In two corners of this room are glass cases. In that on the rt. on entering are — a Genius distilling am- brosia from the lips of Bacchus — a statue of Pluto — one of an Amazon. In the case on the It. are six Niellos by Muso di Finvjuerra. It was from these works that the art of engraving took its rise. Also by the same artist: the Assumption of the Virgin. Four- teen cases ranged round the cabinet contain various small objects. In Case II. are several statues of Venus, in various attitudes and with various at- tributes. In Case VII. are animals which served as heads to Roman stan- dards ; amongst others, the eagle of the twenty-fourth legion. — Case XI. Ivory dyptic of Basilius, consul a.u. 1295, or A.D, 542. This is a curious monument, for in Basilius the last shadow of the dignity expired. The waxen tablets containing the memoranda of the daily expenditm-e of Philip le Bel of France, about the year 1301, These tablets 5,re dispersed; other leaves are at Ge- neva and at Dijon. — Case XIII. A silver disk, representing Flavius Arda- burius, consul a.d. 342. — Case XIV. A lamp representing St. Peter’s Bark, an, early Christian relic. The Uffizi gallery contains also very fine collections of drawings, engravings, medals, cameos, and intaglios, which, however, it requires special permission to see, and there is some little difficulty in obtaining it, except through the medium of the British minister. Drawings and Engravings . — These are principally kept in the presses which are placed round the hall of Baroccio. The drawings, which begin with Giotto and come down to the present time, amount to about 28,000. The collec- tion of engravings is not less rich in the works of great artists. Medals . — This very valuable collection was in great measure formed about the time of Ferdinand II. by an Eng- lishman, the Rev. Peter Fitton, a Romish priest, who quitted England during the Protectorate, He was a man of rare learning, not only in numismatics, but in otiier branches of archa}ology; and the collection has received repeated additions in every class since his time. Both the ancient and the modern coins and medals are classed according to countries, and clironologically arranged, without attending either to metal or size. This aiM'angement, suggested by Eckel, renders the collection more in- structive than when the medals are separated by metal or magnitude. The contents of the collection have formed 2 A 2 532 Route 44. — Florence — Palazzo Pitti. Sect. VI. Ti the subject of very magnificent works, bixt it is by no means exhausted. The Imperial medals, extending to Constan- tine Paleeologus, are remarkably fine, and amount to about 9000. Perhaps, however, the most interesting portion to a foreigner are the Italian coins and medals, and which are rarely found to any extent out of Italy. The largest proportion of the medals of Vittorio Pisano and his school are highly inter- esting, not merely as works of ai*t, but on account of the characteristic por- traits which they exhibit, and the events which they commemorate. The series of current coins of the mediaeval and modern Italian states is the most complete in existence, and has been continued to the present time. That of the gold florins of Florence is pecu- liar, for they began in 1252, and are the earliest specimens of gold coinage in Western Europe. They derived their name Fiorino from the flower, the giglio, with which the^ are impressed. Cameos and intaglios. — These are both antique and modern, and amount to above 4000. Many are equally remark- able for the extreme beauty of the workmanship and for the fineness of the material. The collection is the richest in existence. Palazzo Pitti. — This splendid struc- ture, now the residence of the sovereign, was commenced by Luca Pitti, the formidable opponent of the Medici family, and who, at one period, en- joyed the greatest popularity. This he forfeited by his plots against Pietro de’ Medici in 1466. Most of those who participated with him in the conspiracy fled or v/ere banished. — ^‘Luca, though exempted from the fate of the other leaders of the faction, experienced a punishment of a more galling and dis- graceful kind. From the high estima- tion in which he had been before held, he fell into the lowest state of degrada- tion. The progress of his magnificent palace was stopped; the populace, who had formerly vied with each other in giving him assistance, refused anj?’ longer to labour for him. Many opu- lent citizens who had contributed costly articles and materials demanded them back, alleging that they were only lent. The remainder of his days was passed in obscurity and neglect, but the extensive mansion which his pride had planned, still remains to give celebrii.y to his name.” — Roscoe. According to popular tradition, this palace was intended by Pitti to surpass that of the Strozzi, which Pitti boasted should be contained within his cortile. Dates are said not to be entirely in ac- cordance with this stoiy. Pitti em- ployed Brunelleschi to give the designs, probably about 1435. Brunelleschi car- ried it up to the windows of the second story. It remained some time in an unfinished state, in which it was sold in 1559, by Luca the great grandson of the founder, to Eleonora wife of Cosmo I., who purchased the neighbouring ground, and planted the Boboli gardens. It was carried on long afterwards by Bar'toloymneo Ammanati, who added the wings and finished the splendid court. The armorial bearings of the Republic are of still more recent date, having been executed by Alfonso and Giulio Farigi; nor is it yet completed. The exterior elevation “is entirely of rustic work. The windows of the first story are arched ; they have been ornamented by Ainmcmati with elegant mouldings and triangular pediments. Between these windows are others more simple, placed a little above them. In the second story are 23 windows without any ornament, with round holes in the centre of the archivolt, and a continued balustrade before them. There then rises in the centre a third story, likewise rus- ticated, which has seven windows, and on each side a balustrade with statues at the extremities. The doors are 28 ft. high, the windows being in the same proportion. The court is surrounded on three sides by a portico of three orders of architecture, of columns in half reliefs : the first Doric, the second Ionic, the third Corinthian ; the whole being worked in rustic, but much lighter than the fa 9 ade. We cannot account for the greater part of the windows in this coui’t having their pediments bro- ken. The solidity of the arches above them is ingeniously contrived : the great space of the cornices is supported in the centre by the key-stones, which sp: lii on re« tal mi' ak \?li Do vai lie ass , ui tup !l :foi jin i lei U i m .1 1)5 Tuscany. Route 44 . — Florence — Palazzo Pitti — Halls. 533 j spread out more than the lateral ones ; , the impost or architrave of the smaller I order does not in the least interrupt the regularity of the rustic work : the en- tablature is unbroken. At the extre- mity of this court, Ammanati formed a beautiful grotto of an elliptical figui-e, whimsically ornamented with isolated I Doric columns, and embellished with I various fountains, niches, statues, and j rich vaultings.” — Milizia. I In the Cortile is a somewhat odd j assemblage of sculpture. In the grotto I under the fountain is Moses, made j up from an ancient torso, by Corradi, ! surrounded by allegorical statues of I Legislation, Charity, Authority, and i Zeal. At the side of the grotto are j Hercules and Anteus ; Hercules, a copy [of the Farnese Hercules; Ajax; and a i basso-rilievo of the mule, which, accord- i ing to tradition, was commemorated by I Luca Pitti in gratitude for the good service it performed in conveying ma- ; terials. j The chief attraction of the palace I is the collection of pictures, which, j formed somewhat later than the Gal- I leria Reale, has become the finer of the I two. The principal part of the col- 1 lections of Cardinal Leopoldo de’ Me- i dici, and Cardinal Carlo de’ Medici, I are also here deposited. Ferdinand II. I made many important additions to it, I by purchasing the best paintings then j existing in the Tuscan churches. The I number exceeds 500 ; none are bad, and li they are, for the most part, well seen. ■ The pictures have, many of them, more j especially some of the finest, been con- I siderably injured by excessive cleaning ! and varnishing. I The gallery, which is on the first { floor, is open daily from 10 to 3, ex- i cept on Sundays and festivals. No 1 fees are expected by the keepers, and i the rooms are fitted up with chairs j and ottomans, and each room contains ! two or more tabular catalogues of the pictures in it. No difficulties are raised, if permission be sought to copy a painting. It is obtained by a written ; application to the Maggior-domo, The first vestibule contains a statue of Venus, and two of Plercules, anticpies, but not of very high value. In the second vestibule are two Fauns of Greek sculpture, and a fine Bacehus by Baccio Bandinelli, and a group of Mercury and A rgus by Francaxilla. The guard-room is a fine apartment with antiques (real or so called), and busts of Cosmo I., Ferdinand II., Ferdinand III., and Leopold. The gallery consists of a series of splendid apartments, the ceilings of the first five of which were painted in fresco by Pietro da Cortona, about 1640. Each of these is denominated from the planet, which, according to the concetto of Michael Angelo Buon- arotti (the nephew of the artist), was to denote one of the virtues or ex- cellences of Cosmo I. The allegories are exceedingly forced and elaborate, and not far off from absurdity, but the general effect is very rich. Hall of Venus : so called by the rule of contrary, the allegory being the triumph of Eeason over Pleasure. Minerva rescues a youth, under whom is figui’ed Cosmo I., and conducts him to Herciiles. — 1. Lticas Cranach, Eve. — 2. Salvator Rosa, an allegorical painting, representing Falsehood by a man holding a mask. — 3. Tintoretto, Cupid, born of Venus and Vulcan : The colour is more vivid and clear, more like flesh than Titian’s, Avith all the peculiar brilliancy of Tinto- retto in his best time.” — T. P, — 4 and 15, Salvator Rosa, Coast Views ; both of these fine pictures are of an unusual size, and in an unusually bright style. — 9 and 14, Rubens, two noble Landscapes. — 11, Bassano, the Martyrdom of St. Catherine, — 13, Ros- setti, Triumph of David. — 16, Reni- branclt. Portrait of an old Man. — 17, Ti- tian, Marriage of St. Catherine, and, 18, Portrait of a Lady in a rich dress, called the ‘ Bella di Tiziano :’ — 30, Feti, Parable of the Lost Piece of Money. Hall of A}jollo. — The tutelary Deity of Poetry and the Fine Arts receives Cosmo, guided to him by Virtue and Glory, This ceiling, being left un- finished by Pietro da Cortona, Avas completed by Ciro Ferri. Some of the finest pictures are; — 36, C. da Carpi, .Portrait of Ai’chbishop Barto- 534 Route 44. — Florence — Palazzo Pitti — Halls. Sect. VI, lini Salimbeni ; 38, Palma Yecchio, the Supper at Emmaus ; 39, Murillo, a Virgin and Child; 40, And. del Sarto, Virgin and Child, St. John and St. Joseph. — Cristoforo Allori, the Hospi- tality of St. Julian; 43, Franciabigio, a Portrait of a swarthy man; 46, Cigoli, St. Francis in meditation; 49, T. Titi, Portrait of Prince Leopold de’ Medici, afterwards cardinal, as a child; 51, Cigoli, a Descent from the Cross; 54, Titian, Portrait of Pietro Aretino; 55, Barocoio, Portrait of Prince Frederick d’Urbino when a child; 58, And. del Sarto, the Deposition from the Cross : the Magdalene, clasping her hands in agony, is of high merit; 60, Reyribrandt, Portrait of himself; 59 and 61, Ro/phael, two Portraits ; one of Maddalena Strozzi Doni ; the other of her husband, Angelo, Raphael’s friend, and painted when Raphael was twenty-two years old. These paintings continued in the possession of the Doni family till 1758, and afterwards passed by in- heritance to the Marquis of Ville- neuve, at Avignon, who, in 1823, sent them to Florence, and offered them for sale. The mysteries of picture- dealing are unfathomable. The King of Bavaria had them examined by Pro- fessor Wagner, who in spite of the identification of the pictures by the very minute description of Vasari, the continued possession of the paintings by the Doni family, and the absence of any duplicates whatever which could create any uncertainty, declared his opinion that they v/ere not genuine. The keeper of the Galleria Imperiale declared the like; but upon examination by Herr Metzger, by trade or profession a picture cleaner and restorer, they were declared to be genuine (of which, indeed, there could not be any reason- able doubt), purchased by the Grand Duke for the sum of 5000 scudi ; and they are justly reckoned amongst the greatest ornaments of the gallery. They have been very carefully and honestly treated, and have suffered less from cleaning than almost any of the other Raphaels. — 63, Raphael, Leo X., with two Cardinals; one his nephew, Giulio de’ Medici, afterwards Clement VII.; the other, de’ Rossi. “ The praise due to this picture, which is no light portion, must be given to its fulness of character, and its rich- ness of hue; it can never be extended to its composition, or its arrangement of effect. To the praise, however, thus demanded by the higher quali- ties of portraiture it is justly entitled. The sedate look, the erect and firm position, accord with the condition of the person and his occupation, i-eading that book whence all power is derived. An illuminated bible is open before him, with the words of the beginning of Genesis, made legible. He has ceased to read, turns down his glass, and is thinking. The tone of colours of the whole accords with all this; it is serious, but clear: it is rich and deep, and in general harmonious. The defect of the work is dryness and hard- ness in the execution, the features being marked with overwrought care and labour, and the shadows of the face are a great deal too dark, so as to destroy all breadth. Raffaelle has evidently laboured to be exact in the resemblance of his Holiness; but fol- lowing more his historic freedom in those of the attendant Cardinals, has executed them with much more free- dom in style and greater approach to nature. In composition they press too close upon the principal figure.” —T. P. Hall of Mars . — The ceiling indicates the successes of Cosmo in war. Mars appears as the Thunderer : a confused Battle by Sea and Land; Victory fol- lowed by Peace and Abundance. In this room are — 78, Cigoli, an Ecce Homo, one of his finest works; 79, Raphael, the celebrated Madonna della Seggiola. The sweetest of all his Madonnas, if not the grandest. Nature, unsophisticated nature, reigns trium- phant through this work, highly sought for, highly felt, and most agreeably rendered. The composition has the merit of intiJcacy, whilst it has the ap- peara^ice of simplicity; and lines are made to traverse each other to pro- duce variety, without any probability that the art will be discovered unless sought for. The arrangement of colour is artfully conducted, and if it be the D) ff I eJ P' w ff T tl fc '■ cl C 1 0 t: i J ( t r c P 1 1 Tuscany. Route 44 . — Florence — Palazzo Pitti — Halls. 535 perfection of colouring, that by its means each object in the picture be made to assume its full importance whilst it retains its proper place, then I see no reason to find fault with this : except perhaps there is rather a large portion of blue in the lower part, which might have been, and probably was, advantageously broken by shades. Though I think the arrangement of the colours good, I cannot say much for the hue, which is dull, and lacks clearness in the half tints and shades.” — T. P. 83, Vandyke, the Portrait of Cardinal Bentivoglio : very noble. The head is distinguished by an expression of great intellect and refinement. It is most injuriously elevated so high that its peculiar beauties are lost. — 87, Palma Vecchio, a Holy Family; 93, Titian, a Poi'trait of a Man, name unknown. — Raphael, a Holy F'amily (called deir impannata”), injured by cleaning and retouching. It de- rives its name from the introduction of a window, closed by doth instead of glass; 95, Rnbens, his own Portrait, with that of his Brother, and the two Philosophers, Lipsius and Grotius, very fine : 96, Christoforo AUori, Ju- dith with the Head of Holophernes, a master-piece of colouring. Hall of Jupiter. — Hei’cules and For- tune introduce Cosmo to Jove, from whom he receives a Crown of Immor- tality. Beneath are seen the results of peace. Vulcan rests from the laboiu’s of his forge; Mars flies away upon Pegasus, and the like. Here are: 111, Salvator Rosa, the Catiline Conspiracy. The heads are deficient in elevated character. — 113, Midiael Angelo, the Three Fates. As an allegory it has power, as a picture' it is weak. It has no great pretensions to fine form, though there is grandeur in the cha- racters: it has no colour, or rather I would say tone, for colours one would not seek in such a subject, except as a painter regards colour as the vehicle of sentiment: its chiaro scuro, if not offensive, has no claims to praise. As a design, however, it conveys poetic sentiment. The earnest look of tlie principal figure, who has tlie control of the fate of a Imman being, and spins the thread of his good or evil destiny, is deeply felt, and as strongly con- veyed; her sister, whose occupation it is to cut short the course of his ex- istence, watches the token of the moment when she shall perform her potent function, with an earnestness due to its importance: whilst the third, penetrating the future, antici- pates the suffering of the subject. It has, therefore, that fulness of senti- ment which distinguishes the labours of M. Angelo; but it is portrayed with the feeble hand of senility.” — T. P. 123, Andrea del Sarto, the Virgin in Glory, with five saints below; 124-, A. del Sarto, the Annunciation; 125, Fra' Bartolomeo, '“^The figure of St. Mark must have been in its time a very extraordinary production, exhibiting, as it does, a largeness and grandeur of style with the simplicity which was the glory of his predeces- sors. The position is, perhaps, some- what forced in the management of the arms, but its lines are finely varied. The foldings of his drapery are large in form, giving a boundary to the figure, relieving, as it does, from the majestic architecture behind him, of an extremely grand form. The sleeve is peculiarly fine. The conception of the whole, enthroned as he is, is ad- mirably invented for a religious work; and its somewhat formal composition has an imposing and fine effect, and shows its author to have been im- pressed with sentiments of an elevated class worthy of the man destined to be the friend and guide of Eaffaelle.” — T. P. 146, L. da Vind, a Portrait of an unknown female. Hall of Saturn, to whom Cosmo, now in mature age, is conducted by Mai'S and Prudence, to receive the crown offered by Glory and Eternity. 150, Vandyke, a fine Portrait of our Charles I. and Henrietta his Queen; 151, Raphael, Pope Julius II. “A portrait so different in tlie character of its execution from that of Leo X., that it is with difficulty one can con- ceive the same man could paint both. Equally strong in character, as to po- sition and aspect, fuller in line, richer in colour, more free in execution, and. 536 Route 44. — Florence — Palazzo Pitti — Halls, Sect. VI. in short, more like to nature. The Julius of the Uffizi Gallery differs materially from this, and corresponds more with the others. It has not the air of a copy, its beard is rendered like that in our National Gallery in straight lines. The velvet is not so well understood, is redder, and its effect not luminous as in this picture, and it is, altogether, heavier, duller, and harder.” T. P. — 152, Schiavone, the Death of Abel; 158, Domenichim, St. Maiy Magdalene ; 1 64, Cerugino, the Descent from the Cross; 165, Raphael, the Madonna del Baldacchino ; the Virgin and Child enthroned, with the four Fathers of the Church. A picture in which is made evident his liaison with Bartolommeo, and his en- deavours to learn and improve himself by association with that able man. This is so exactly in imitation of that master’s style of design of colour and management, that it was at one time attributed to the Frate : but it is plainly discernible as the younger man’s, by the superior delicacy which is in it, the roundness of the angels, and fulness of feeling about the Virgin and child.” T. P. — 166, Annibale Ca- racci, the head of an old man, not quite finished; 171, Raphael, Portrait of Inghirami. He is painted as se- cretary to the conclave in which Pope Leo X. was elected ; he is often, but erroneously, styled a cai'dinal; 172, Andrea del Sarto, the Dispute concern- ing the Mystery of the Holy Trinity; some say, respecting the real Presence ; 174, Raphael, the Vision of Ezekiel. “A sublime and beautiful little pic- ture.” — T. P. ^SSmallness of dimen- sions is not accompanied by smallness of treatment. Minute imitation is not found in this picture, diminutive as it is.” Eastlake. — 178, Raphael, Cardinal Bibbiena ; character is strongly marked. There is a duplicate of this portrait at Madrid ; and many parts of the present picture are supposed to have been done by Raphael’s scholars. ‘‘ It is as hard in form, and violent in contrast with its ground, and as imperfect as a pic- ture, as the Julius is fine in all these points.” — T. P. 179, Sehastiano del Pionibo, Martyrdom of St. Agatha, a disagreeable subject, showing great power of drawing, and fine colouring. Hall of the Iliad. — The ceiling painted, by Sabatelli, about 20 years ago, in which the artist has united his alle- gories to the Homeric poem. 184, And. del Sarto, Portrait of himself. “ There is great precision of character and expression in this portrait, of which there is a duplicate in the gallery, not so strong and rich as this. It has a steady piercing look, and a mellow and rich effect.” — 1\ P. 185, Giorgione, a Concert of three figures. The Flo- rentines imagine, oddly enough, that two of the figures represent Luther and Calvin, quite forgetting that when Giorgione died, 1511, Calvin was not yet born, and that Liither was still a monk in his convent; 188, Salvator Rosa, Portrait of himself; 191 and 225, Andrea del Sarto, the two Assumptions, placed opposite to each other. In the first of these admirable pictures, he has introduced his own portrait, as well as that of the donor, in lay habits. Ill the second is also the portrait of the donor, a bishop. In both, the grouping is the same. According to the tradition of Florence, after he had begun the first, the panel cracked ; and he was so much disheartened by this untoward event, that he abandoned the work, leaving it unfinished, and began and completed the second. There are many objections against this story; but we shall only state one, viz. that the picture is not unfinished. ‘^His characters in gener-al lack elevation, and do not well support the serious and imposing aspect which his pictures possess from their tone, and the formal arrangement he acquired in imitation of that drawn by Fra Bartolommeo from the older masters, but rendered by him somewhat more geometric and imposing.” — T. P. 192, Scipione Gae- tano,- Portrait of Mary de’ Medici, Queen of France. — 200, Morone, a noble portrait of Philip II. of Spain; 201, Titian, Portrait of Cardinal Ippolito de’ Medici, as commanding officer of the Pope’s Hungarian legion; 206, An- giolo Bronzino, Portrait of Francis I. de’ Medici. — Parmegiano, “The Ma- donna della Colla lunga is the very Tuscany. Route 44 . — Florence — Palazzo Pitti — Halls, 537 excess of style in grace of composition even to aS’ectation, yet it has charms. It is beautiful in the face, and beauti- fully rounded in the Virgin’s head and neck. The colours of the flesh gene- rally are not very far from the truth.” I — T. P. Saloatoi' Rosa, a Warrior. The stiifa, an elegant cabinet ; the walls painted by Pietro da Cortona, with allegories allusive to the four ages of man, and the four ages of the world. The vaulting is by Rossellino — Virtues and Fame. In this chamber are some small antique statues and other valu- able articles of virtu. Hall of the Education of Jupiter, ! painted by Cafawb— The pictures here are not in general first rate, and seve- ral are by unknown artists ; amongst those called anonymous in the catalogue is, however, an excellent portrait, 245, which some attribute to Raphael. It is the portrait of a lady with a veil on the back of her head, somewhat in the Genoese fashion. There is a repe- tition of it at Naples, with the attri- ibutes of St. Catherine, and the same original seems to have sat for several of his Madonnas. It represents one of the mistresses of Raphael, and is de- scribed as such by Vasari.— 270, Carlo Polce, St. Andi-ew kneeling before the cross upon which he is to suffer mar- tyrdom ; considered as one of the chefs-d’oeuvre of this master. 277, and 279. Angiolo Bronzino. Two interest- ing portraits ; one of Lucretia, the other of Garzja de’ Medici when a child. HaU of Ulysses, painted by Martellini. Ulysses returning to his home in Itha- ca; allusive (as we are told) to the re- storation of the late Grand Duke Fer- dinand III. — 295, Carlo Dolce, or his school, St. Lucia: pleasing, though not first rate; 297, Bordone, Pope Paul III. — 307, And. del Sarto, The Madonna and Saints, — 318, Lanfranco. The Ecstasy of St. Margaret of Coi'tona upon the Ap- parition of the Saviour. — 321, Carlo Dolce, an Ec.ee Homo. Hall of Prometheus, painted by CoUg- no7ie. Amongst the pictures here are some by Florentine masters; Filippo Lippi, Lorenzo di Credi, &c., which are interesting. — 337, Gaetano, Ferdinand I. de’ Medici ; and 369, DeW Altissimo, Pietro de’ Medici. — 377, Botticelli, A Portrait of ‘‘ la bella Simonetta,” the mistress of Giuliano de’ Medici, and whose untimely death is lamented in the poetry of Bernardo Pulci and Politian. — 391, Oliver Cromwell, by Sir P. Lely, one of the few authentic portraits of the Protector ; it was painted expressly as a present to the Grand Duke of Tuscany, and sent by the Protector in his lifetime ; it is per- haps the truest likeness that now exists of that great man. Hall of Justice, by Fedi. 392, Carlo Dolce, A Royal Saint, who is called both St, I^ouis King of France, and St. Cassimer King of Poland. — 398, Arte^ misia Gentileschi, Judith.— 409, SebastL am del Piombo, An Old Man’s Head : powerful. — 411 and 412, Both and Swcmefeld, Landscapes. Hall of Flora, painted by Marini and Landi . — Amongst the rather inferior pictures here, are some pleasing land- scapes. — 416, 436, and 441, by Gaspar Poussin. Canova’s Venus occupies the centre of this room. She stands upon a pivot, and cap thus be tinned round by the custode. Her head, owing to the hair being curled and arranged, seems to be too large for her body. When the Venus de’ Medici was car- ried off to Paris, this statue replaced her in the tribune. Hall “ dei Putii,” painted by Marini and Rabbiniti . — Amongst some land- scapes by Brill, Ruysdael, sea views by Backhuysen, fruit and flowers by Van Huysum and Rachel Ruysch, is a fine and large landscape, 477, by Salvator Rosa, representing the story of Dioge- nes throwing away his cup on seeing a boy drink out of his hand! Gallery called the gallery of Pocetti, and painted by him with various alle- gories; 489, Riminaldi, The Martyrdom of St. Cecilia : a good specimen of a somewhat rare master. The other apartments — the music- room, the pavilion, and the gallery of Hercules, are all painted by recent artists, and are elegant, but not above '* the ordinai-y class of the habitations of royalty. The Private JJhrary of the Grand 24.3 538 Route 44. — Florence — Palazzo Pitti — Boholi Gardens. Sect. VI. Duke contains upwards of 60,000 volumes. It was begun by Ferdinand III., after the Graud-duciil Library had been incorporated, for the use of the public, with the Magliabecchhm and Laurentiaii Libraries, by the Grand Duke Pietro Leopoldo; and continual additions are made to it under the di- rections of the present enlightened so- vereign. As a useful modern library, it is one of the best in Italy. There are about 1600 MSS. The Bobot Gardens join the palace. If it be .asked why they are called Bo- holi, all the Academicians of the Crusca cannot tell; but for want of a better derivation, some have supposed the word to be Etruscan. They were planned in 1550 by II Tribolo, under Cosmo L, and canied on by Buontalenti. The ground rises behind the palace.; and from the upper portion fine views of Florence, with its domes and towers, are gained. Amongst the latter, nest to Giotto’s Campanile, the tower of the Badia is conspicuous. The long em- bowered walks, like lengthened ar- bours ; the living walls of verdure, are admirably adapted to this climate ; whilst the terraces and statues and vases add equally to its splendour. Many of the statues are restored an- tiques, and many are by good artists. Of these, the most remarkable are four unfinished statues by Michael Angelo, said to have been intend..ed for the tomb of Pope Julius II. They are placed at the angles of the grotto which is oppo- site to the entrance to the gardens from the Fiazzi del Pitti. This grotto, con- structed by Buontalenti, was used as an icehouse, and as such is described in Redi’s clever and whimsical lines — ‘ E voi Satiri lasciate Tante frottole e tajjti riboboli, E del ghiaccio mi portate Dalla grotta del giardinu di Boboli : Con alii picchi Di mazzapicchi Dirompetelo Sgre'oiatelo Infragnetelo Stritolatelo Finche tutto si possa resolvere In minuta freddissima polvere.” The group of Paris carrying off Helen placed here is by Y. dd Rossi; Venus, by Giov. Bologna; and Apollo and Ceres, by Bandinelli. The statue of Abundance, higher up in the garden, was begun by Gioe. Bologna, and finished by Tacea. The statues of rivers at the fountain in the small island, ai-e by Giov. Bologna. The vegetation, laurels, cypresses, yuccas, &c., are magnificent. The gardens are only open twice in the week ; on Sundays and Thursdays. The Museo di Storia Naturale open daily to the public, which, with the Specola, or Observatory, joins the Pitti Palace, resulted, in the first instance, from the pursuits of the Grand Ducal Medici, several of whom encouraged experimental science. The collections were greatly enlarged by Pietro Leo- poldo, and much was added from the collections of Targioni, a naturalist of very great and universal talent ; and the Museum contains many objects of importance and value. All the numerous collections are well aiTanged, and considerable addi- tions are making to them by the mu- nificence of the present Grand Duke. The mineralogical collection is particu- lai-ly rich in beautiful Elba minerals. The ornithological collection is w'ell axTanged: that of fossil bones, disco- vered in the Val d’Arno di Sopra, is particularly worthy of the attention of the naturalist; containing remains of mastodons, elephants, rhinoceros, hip- popotami, tigers, hyoenas, gigantic deer, &c. Lectures on mineralogy and geo- logy, zoology, natural philosophy, and botany, are given annually by pro- fessors attached to the museum ; and an extensive botanical garden, and collection of fruits, seeds, and wax models illustrative of vegetable phy.siology, are also a part of the esta- blishment. The models in wax are interesting. The more ancient, by Zumrno, a Sicilian, who executed them for Cosmo III., principally represent corpses in various stages of decomposi- tion. The others are, more strictly speaking, anatomical, and display every portion of the human body with wonder- ful accui’acy. They embrace also many curious objects of comparative anato- my. Attached to the Museum is the Tribune^ or TenixAe, erected by the pre- Tqscany. R. 44 . — Florence— Palazzo Pitti — Academy of Fine Arts. 539 sent Grand Duke to Galileo, and inau- gurated upon the meeting of the Italian Association for the Advancement of Science in 1840, In the centre is a statue of the Tuscan philosopher, sur- rounded by niches in which are placed busts of his principal pupils, and with presses containing the instruments with which he made his discoveries, and those employed in the experiments of the celebrated Accademia del Cimento. Many of them were previously dej:)o- sited in the Museum, others have been purchased by the Grand Duke. The walls are beautifully inlaid with mar- ble and jasper : the ceiling is richly painted in compartments, representing the principal events of the life of Gali- leo ; all the talent of Tuscany has been employed for the purpose of rendering the tribute worthy of the object for which it is intended. This tribune is said to have cost up- wards of 36,000^., without including the price of the manuscripts of Galileo and his pupils, which the Grand Duke has collected, at any sum, wherever they could be obtained, Accademia delle helle Arti . — The Aca- demy, which owes its origin to a so- ciety of artists, established in 1339, at Florence, under the title of the Compagnia di St, Luca, and which received the title of Academy from Cosmo I,, was located in the sup- pressed Hospital of St, Matthew in 1784, by the Grand Duke Leopold ; it has been enlarged by the addition of the suppressed convent of St, Cathe- line, and now includes several schools, lectureships, and professorships in va- rious branches of the fine arts, and of science. The instruction given at the Academy is divided into three classes, 1 , Arts of Design, 2, Music, 3, Mecha- nical Arts, The building itself offers nothing remarkable in the architec- ture; but in the first cortile or cloister ai'e inserted in the walls several of the best productions of Luca della Rohbia ; medallions and bas-reliefs, amongst which are many brought from the (’or- tosa. Some curious specimens of sculp- ture and models are deposited here ; amongst others, John of Uologna’s model of the Uape of the Sabines ; and the unfinished statue of St, Matthew, by Michael Angelo. “ There is an extremely curioua and interesting series of pictures in the gal- lery by Tuscan painters, arranged chro- nologically, from Cimabue and Giotto do\vu to Fra Bai’tolommeo ; showing the gradual progress of the art, with its occasional steps in advance, and its blundering and stumbling as it grew. They were taken from altars in con- vents and in churches during the con- trol of the French, and were not re- turned, The pictures of the later times are not fine.” — T. P, The earliest work, indeed, the Byzantine Magdalen (1), is prior to the revival of painting in Italy, Amongst the most prominent paintings are the following : — 2, Cimahne. — The Virgin, holding the infant in her arms, and surrounded by several angels. Taken from the church of Sta, Trinith,, at Florence, The same subject by Giotto (4), taken from the Convent of Ognissanti, Flo- rence, 5, Ten small pictures repre- senting events in the life of St, Francis. 6, “ Twelve pictures of a small size; the subjects from the life of Christ ; exhi- biting the same fulness of sense and feeling which dictated, and is found more highly perfected in the great work at Padua. Good sense, entire devotion to the nature of the subject treated, were the basis of these productions.” — T. P. 8, Giottino. — A picture in three compartments, the centre one repre- senting the Virgin and St. Beniard. — Taddeo Gaddi (9), Angelo Gaddi (12), follow — 14, G. da Fabriano. — Adoration of theWiseMen, dated 1423. — A Descent from the Cross by FnC Angelico da Fiesole (15) possesses most extraordinary bril- liancy of colouring. — The Virgin and Child, by Masaccio (IG), not equal to the frescoes at the Carmine. — 17, Mary Magdalen — 18, Saint Jerome; 19, Siiint John the Bujjtist, A. del Castagno ; all remarkable for their glnustliness. — The Baptism of our Lord, by Andrea Tcroc- ch io, 25, Vasai-i says that the first angel on the I'ight hand was painted by Leonai'do da Vinci, wlien he was yet a yontli : and that Verocchio, on seeing his early (ixcelkmce, gave uj> his art in despaii* of ('quailing liis jnipil. The Co- 540 Sect. VI. Route 44. — Florence — Academy of Fine Arts. rouation of the Virgin, by Sandro Bot- iicelli, 2G. — 30, Virgin and Child and saints ; 31, Nativity, by Dorn Ghir- landaio : ‘ ‘ who in his oil pictures does not appear to so much advantage as in his fr escoes.” T. P. — The Birth of our Lord, by Lorenzo di Credi, 32, one of his best works. — Pietro Perugino, 34, Our Lord in the Garden of Olives, and 35, the Assumption of the Virgin. Observe the upward turn of the Virgin’s head, and a fine figaire in green looking up- wards ; the colouring is rich and full ; 37, A Crucifixion; a Deposition from the Cross ; 38, the upper portion by Filippino Lippi, and the lower by Pietro Perugino. “ The upper portion is the best.” — C. TV. C — And. del Sarto, 40, St. Michael, St, John the Baptist, St. John Gualberto, and St. Bernard. — ‘ ‘ It shows light delicate freedom of ex- ecution.” — C. TV. C. — A Pietk in fresco, 42, from the Convent of the Annun- ziata at Florence, Two young Chil- dren ; 41, Fra Bartolommeo ; 44, Two frescoes representing the Virgin and Child ; 43, The Virgin appearing to St. Bernard. This is the first work which was executed by this ai'tist after he took the cowl. They are not fine; 56, Four Heads of Saints in fresco, and a fifth in oil, the last representing St. Peter Martyr with the features of Sa- voiiai’ola. — 51, Mariotto Albert inell i : The Annunciation. — 71, Angiolo Bron- zino : The Taking down from the Cross ; grand, but unfortunately injured by the picture-cleaner; 70, 72, Two fine portraits: one an armed soldier, the other a female ; both probably members of the family of the ^^edici. —90, Cigoli: Saint Francis in prayer; 91, Saint Francis receiving the Stigmata. An admirable painting: the expression of fatigue and utter weakness in the coun- tenance of the Saint is admiz-ably true to nature. According to the story, Cigoli felt himself unable to realize the idea of the Saint, when a pilgrim, wayworn and droojjing, craved an alms. Cigoli requested him to serve as a model. The pilgrim consented, but dropped from debility: and, at tiiat moment, the painter made the sketch which he worked up into this cornposi- .tion. Opposite to the door of entrance into the gallery containing the above lai-ge pictures, is a door opening into the gallery of small paintings of the ancient Tuscan school, on wood, li- terally painted tables, as they are called in our old English. There are also a few works of other schools and later times. Observe the following: — 17, A Cartoon attributed to Paphael. Though the composition may be his, the chawing has been consitiered not sufficiently good for his hand. 19, Two portraits in profile, one of a superior of the order of Vallombrosa, the other of an abbot of thai monas- tery. Some have attributed them to Eaphael, but they are by P. Perugino. There are many paintings by Fra. Angelico, among which may be noted two, 14 and 20, which served as shut- ters, and which represent theological discussions. 46, An Entombment. 47, The Last Judgment ; and 59, Eight tablets divided into 35 sub- jects, where the actions of our Lord’s life are painted with gi’eat delicacy and beauty. These last were taken from the Convent of the Annunziata. Fra. Angelico was, as far as feeling and delicacy went, a far supeiior artist to most of those who followed Giotto; but, at the same time, that feeling led to weakness in execution. In a small room at the Accademia there is a great number of his pictures brought from various convents and churches, when they were suppressed by the French, and never returned. Among them there are two of the Last Judgment; in one, the figui'e of our Saviour is surrounded by glojy and angels, and accompanied by the Virgin and Saints, and Apostles arranged jxrecisely in the manner, and the same mateiTals are employed, as by Raffaelle in the Dis- pute of the Sacrament (in the upper part). Ill the other there is more beauty in the groups, and agreeableness in the colour; its groups are more varied and full in action, and exhibit great originality of thought. His is a sentiment of be'^uty, and his the power of blending emotion with grace. His group in the last mentioned picture, of an angel dragging a sinner from Route 44 . — Florence — BiUioteca MarucelUana, 541 I T USCANY. I among the blessed, is a powerful dis- play of energy in feeling of the terrible I and strong; whilst another group in I the same work, of an angel adminis- tering to the enjoyment of a good pei'son, is the essence of all that is gentle and amiable. His disposal of di’apery is perfectly Giottesque, with great intelligence, truth, and grace ; and I should think there could be no i doubt that Rafifaelle, in the cultivation I of his taste in Florence, drew largely upon his works, as well as upon those of Masaccio and Ghirlandaio. Fra. Angelico’s commencement in the art was as a Miniatore with his brother, and it may be said that the quality of that style of art attaches to his larger works in their minute finishing, and ; the mode of it, viz. : hatching.” — T. r. In the large room, in which the annual exhibition of the works of living artists takes place, are casts of ancient bas reliefs, and many old pictures and cartoons by celebrated masters. The most remarkable are, — Two Cartoons of Fra. Bat'tolommeo. 11, S. Constan- tino di Fabriano; 12, S. Lorenzo di Ripafratta. — 16, Cartoon of Michael An- gelo, Lot and his Daughters. — Five Cartoons of Fra. Bartolommeo, 20, Car- dinal Dominici; 21, St. Anthony of Turin; 22, St. Matthew; 23, Two Saints; 26, St. Paul. — 30, Cartoon, C. Cijpumt, Angels and Seraphim. — 37, Cai’toon, Fra. Bartolommeo, A Holy Family, very good. — 38, Cartoon, liaffaelle, Virgin and Child; the dra- pjery is very fine. — Five by Andrea del Sarto, 39, Cartoon, Women and Chil- dren; 40, Children playing Shepherd’s Pipes; 43, Cai’toon, The Virgin, Christ, and St. John ; 54, Cartoon, Two Warriors crowned; 55, Two Winged Children. — 51, Correggio, Head looking upwards. — 58, Cartoon by Bronzino, representing the Descent of our Lord into Hades. It is fuller of figures, more beautifully and coiTcctly drawn than the picture in the Uffizi. An interesting work is now publish- ing, containing outline engravings and descriiitions of the most remarkable pictures of the Galleria delle Relic AHi in chronological series. The Gallery of Casts for the use of students is in the same building as the academy. At one end of it is a fresco, representing the Repose in Egypt, by Giovanni da San Giovanni. At the door are placed casts of the finest of the three bronze gates of the Baptisteiy. They are beautifully executed. In this building are also rooms for those works of the pupils of the academy w'hich have obtained prizes, and for the usual apparatus of such institutions. The manufactory of Pietre Commesse, or Florentine Mosaic, is carried on here at the public expense. The skill attained by the workmen in turning the smallest particle to account is very entertaining. The employment is in- j urious to health : and when the work- men attain sixty years of age, they are comfortably pensioned by the govern- ment for the remainder of their lives. There are also several dependencies of the academy in the Casa di St a. Caterina, situated in the Via Larga. Here are the music rooms and schools of mechanics and chemistry, where lec- tures on these sciences as applied to the fine arts are delivered and well at- tended. Here also is a collection of Eg}q)tian antiquities, recently founded by the Tuscan government. It was formed by Bossallini, who was sent to the East in 1829 in company with Champollion. They are all of the usual description, excepting two, which deserve ciu'eful examination, — viz., the porcelain bottle with an inscription in Chinese charac- ters, said to have been found in an Egyj)tian tomb: — ‘Guid the Scythian car,” found in the tomb of one of the warriors or captains of the host of “ Raineses the Great,” n.c. 1 560, It is of wood, carefully Avorked, Avith orna- ments, not numerous, of ivory. There 3re no fastenings of metal, all being of a vegetable substance sup}>osed to be birch bark, Florence is rcmarkabl}' Avell provided Avith libraries: for, besides those Avhich Ave have reckoiual, there are others of great importance. d’he Biblioteca MarucelUana, in the 1V« jAtrga, is i»rincipally composed of o42 Route 44. — Rloi'ence-— Palazzo Pitti—Lihranes, Sect. VI. printed books, and was bequeathed to the public by its munificent collector, the Abate Francesco Marucelli, who died in 1703. It was opened to the public in 1752, and from funds left by the founder, assisted by the public treasury, the best new publications are added to it. It is under the same management as the Laurentian. The Marucelliana is only open Monday, AVednesday, and Friday, from nine till one o’clock, and is closed upon every holiday. It has an excellent though rather complicated classed catalogvxe, compiled by the founder. The Biblioteca Magliabecchiana con- tains both manuscripts and printed books. It is named from its founder, Antonio Magliabecchi (d. 1714), the most singular of bibliomaniacs, for he read all the books which he bought, Up to the age of forty years, he was a goldsmith upon the Ponte A^ecchio, when he obtained the appointment of librarian to Cosmo III., having, how- ever, already acquired a laige portion of his stores. “Two or three rooms in the first story of his house were crowded with books, not only along their sides, but piled in heaps on the floor, so that it was difficult to sit, and more so to walk, A narrow space was contrived, indeed, so that, by walking sideways, you might extricate yourself from one room to another. This was not all; the passage below stairs was full of books, and the staircase from the top to the bottom was lined with them. AA’'hen you reached the second story, you saw with astonishment three room.s, similar to those below, equally full, so crowded that two good beds in these chambers were also crammed with books. This apparent confusion did not, however, hinder Magliabecchi fi’om immediately finding the books he wanted. He knew them all so well, that even as to the least of them it was sufficient to see its outside, to say what it was; and indeed he read them day and night, and never lost sight of any. He ate on his books, he slept on his books, and quitted them as rarely as possible.” The libraiy, which is under the same roof with the Uffizi Gallery, is, properly speaking, the British Museum of Flo- rence. A copy of every book published in the Tuscan states is here deposited, and the number of volumes, which of com-se is constantly increasing, amounts to upwards of 150,000. The manu- scripts are upwards of 12,000 in num- ber. A large propoi-tion are historical. The classification, which was effected by the first librarian Coochi, may be profound, but is deficient in the best quality of a catalogue. — simplicity. The four principal branches, Belles Let- tres. Philosophy, and Mathematics, Profane History, and Sacred Histoiy, ai'e each subdivided into ten sections ; and, according to this arrangement, the first section of the whole library contains works on Grammar, and the last, the various editions of the Bible. Alphabetical indexes facilitate the re- searches of the inquirer. The library has an ample staff of officers, and is 0 ))en every day, except Sundays and festivals, from nine till two. Among the rare works it contains are the fol- lowing; — Two copies, one on vellum, of the Mayence bible, 1462 ; a copy on vellum of the first printed edition of Homer, Florence, 1488, with minia- tures; Cicero ad Familiares, the first book printed at A’^enioe, 1469; a mag- nificent Anthologia of Lascaris, Flo- rence, 1494; Dante, with the com- mentary of Landino, printed on vellum at Florence, 1481, embellished with miniatures within, and on the outside with nielli. This copy was ])resented by Landino to the Signory of Florence. The charitable institutions of Flo- rence are numerous and impoi’tant. The enumeration of them would far exceed our limits. One of the most curious and ancient is The Compagnia della M isericordia, whose establishment is on the south side of the Piazza del Duomo, at the corner of the Via della Mortc, and op- posite the Campanile. It was insti- tuted about 1244, and Landini (Storia della Com. d. Misericordia, p. 25) gives a curious account of its origin. It was established out of funds arising from fines for profane swearing, mu- tually imposed upon themselves by the porters employed by the extensive Tuscany. Route 44 . — Florence — Hospitals — Theatres, 543 cloth manufactories of Florence, upon the suggestion of their Dean,” Piero di Luca Borsi. The benefits it con- ferred were so great, that it soon re- ceived the support of the principal citizens of the republic, who associated, according to the plan of the original institution, for the purpose of giving assistance in cases of accidents, of aid- ing the sick or hurt, and, in case of sudden death, to ensure for the corpse a Christian burial. This religious so- ciety includes persons of all ranks, from the Grand Duke do^vnwards ; but the higher orders prevail. When on duty, they wear a black monastic dress, with a hood which conceals the coun- tenance. The city is dnuded into dis- tricts?, and a ceiTain number of mem- ber are alwaj^s in attendance, w'hilst all, however they may be engaged, attend at a moment’s warning, on being summoned by the toll of their great bell, to perform the duties required. The chapel contains a good bas-relief by Luca della Bobbin . The Ospedale di Santa Maria Nuova was founded in 1287, by Folco Portinari, the father of Dante’s Beatrice ; it now contains beds for 1000 patients, and is remarkably well managed. It is the anatomical and medical school of Flo- rence, and has produced some of the most eminent physicians and anatomists of Italy. In the cloister is Fra’ Barto- lomeo’s fresco of the Last Judgment before mentioned. . The Ospedale di Bonifacio (on the west side of the Via S. Gallo, not far from the Porta S. Gallo), so called from having been founded in 1.‘377, by Bonifacio L\ipi of Pai-ma, Marquis of Soriigna, and who had been a condot- tiero in the pay of the republic, and been made a citizen of Floi-ence. It is a splendid building, richly endowed, and containing within its walls various establishments. Its princi})al destina- tion is that of a lunatic asylum, and attached to it is tho military hospital. It htus also wards for cutaneous diseases and incurables. Amongst the recent institutions is the Societa di San Giovnn’ Balisfa, founded in 1827, j)artly for keci)ing alive devotion to the patron saint of Florence, and partly for the purpose of endowing poor maidens. The bestow- ing of marriage endovunents is one of the most favourite charities in Tuscany, The sums thus distributed amount to between 3000/. and 4000/. in Florence alone. Schools are numerous. Theatres . — There are nine theatres. The principal are, — 1, La Pergola. This is under the management of 30 noble proprietors, called ‘‘Immobili,” and is now the opera ; the performances are usually mediocre, excepting during the Carnival. The house is handsomely fitted up, and is capable of containing 2500 persons. The modern opera had its birth in Florence : it arose under the auspices of the Grand Duke Ferdinand I.; and the “Dafne” of Ottavio Rinuc- cini, acted 1594, is the first genuine specimen of this species of composition ; that is to say, of a drama entix’ely set to music. The original Pergola w^as built by Tacca, in 1650: it was of wood, and stood till 1738, when the present fabric was erected. — 2, Teatro del Coco- mero, or degl’ Infuocati, where, usually, plays are acted. — 3, Teatro Nuovo degl’ Intrepidi, in the Via dei Cresci. — 4, Teatro Leopoldo, formerly called del Giglio, near the Piazza del Granduca, enlarged and embellished in 1841, and opened for the performance of music. — 5, Teatro Goldoni, in the Via S. Maria, on the south side of the Axmo; con- nected mth it is a day theatre, or Arena, an open place for A\arious spec- tacles, — 6, Teatro Alfieri, in the Via Pietra'Piana, remaikable for the beauty of its internal decorations. — 7, 2’eatro dei Solleciti in the Boi’gognissanti. — 8, Teatro degli Arrischinti, in the Piazza Vecchia. The two last are quite minor theatres. Popular Festivals . — There are several popular and other festivals yet kept u}) at Florence, which are sutUciently re- markable to make it worth while for the traveller to arrange his time so a.s not to lose them. Midsununer-daii, or tho fea.st of St. John the Baptist, the ancient protector of Fhn’cnce, is solemnised l>y the races of the Gocchi, in the I’iazza of Santa Maria Novella. 'I'hose Coccfii are imi- tations of the Roman cans, but have 544 Route 44. — Florence — Festivals. Sect VI. foui' wheels, and were invented by Cosmo I. Each is dra\\*n by two horses. In these races there is much fun and little skill. On the vigil of the Saint’s day there are fireworks on the Ponte alia Cai-raja, and an ilkmii- nation on the Lungarno. On the morn- ing of the festival the Court attends high mass in the Ciithedral, and after- wards the races in the Piazza di S. M. Novella. In the evening performances of music tc\ke place in the Piazza del Granduca, and of the Duomo ; the principal streets and buildings, such as the Cupola, and Campanile of the Ca- thedral, S. Giovanni, and the Palazzo Vecchio, are illuminated. Saturday in Passion Week . — A chariot, laden with small mortars or chambers, and filled with fireworks, is brought in the morning into the Piazza del Duomo, and placed opposite to the central door of the cathedral. A string is carried from the chariot to the choir by which a dove is made to descend on the formei*, whereupon fireworks go off. This takes place when the choir has reached the Gloria in excelsis;” the mortars are then discharged, and all the bells in the city, which have been silent during the week, begin to ring. The chariot is then dragged to the “ Canto de’ Pazzi,” and the remaining fireworks are there discharged. Pazzin’ de’ Pazzi is said to have been the first of the Crusaders who scaled the walls of Jerusalem in the crusade of 1088; and, as the story goes, the “ Pio Gof- fredo” granted to him in reward, the arms of Bouillon, and some bits chipped off the Holy Sepulchre, which, when brought to Florence, served to light the holy fire. At all events, the Pazzi appear in the middle ages to have dis- tributed the holy fire at Florence, in the same manner as was done at Jeru- salem, going from house to house with a torch. This festival is popularly called lo scoppio del carro. Maunday Thursday . — The Grand Duke performs the ceremony of washing the feet of twelve poor old men in the Pitti Palace. This performance is not, how- ever, peculiar to Florence, but is gone through by the Pope, and other Catho- lic princes. Ascension Day is kept as a species of popular jubilee; every body makes ho- liday. The Cascine, in particular, ime filled with fixmily paities of the richest and of the poorest citizens, taking their men-y banquets. The Assumption of the Virgin, i^ug. 15. — The images of the Virgin in the streets are dressed up with silks and flowers, and sometimes musical ser- vices ai-e performed before them. The Nativity of the Virgin, Sept. 8th. — Altars are erected in the streets, and decorated with flowers, and the young folks, i. e., up to manhood, amuse themselves with paper lanterns, carry- ing them suspended to poles. The principal scene of this festivity, which is called the rifcolone or fierucolonc, is the Via dei Servi. A sort of fair pre- cedes it, princii^all}’^ attended by the inhabitants of the province of Casentino, and of the mountains round Pistoia, who bring yarn and small objects for sale. This fair is held in the Piazza dell’ Annunziata, and of the Duomo, and in the Via dei Servi, Twelfth Night . — On the vigil of this feast a strange noisy ceremony takes place among the lower classes, called the festa della hefane, snp])Osed to be derived from the ancient religious i)an- tomimes. On the Feast of Sta.Anna (26th July), the anniversary of the expulsion of Walter de Brienne, the church of Or’ San Michele is decked with banners of the different Arti Awd Sestieri (Arts and Trades) of Florence, Neighbourhood of Florence. Besides the i)laces described on the different routes in this beautiful neigh- bourhood, tlie following maybe noticed, taking them according to the different gates by which they can be reiichcd. Porta alia Croce . — At a short distance from this gate, a little to tlie left of the road, are the remains of the suppressed monastery of S. Salvi, containing a Last Supper by Andrea del Sarto. “ It is in j)erfect preservation, being the only thing respected by the rabble and soldiers in the siege of Florence in 1589, So says Vasari. It is an im- pressive and effective work, although r use ANY. Route 44 . — Floreme — Porta San Miniato. 545 i I the heads are somewhat wanting in dignity.” — C. T7. C. \ Porta a San Miniato. WTien standing upon the bridges of the Arno, the stranger may have ob- I seiwed several buildings in the distance, upon a hill to the eastward of the city. These are the convent and church of San Miniato al Monte. After quitting Floi’ence by the Porta San Miniato, and ascending the Via Crucis, you reach a terrace commanding the city below, and on which the Franciscan convent of San Salvadore del Monte is situated. This church was built by Cronaca, and ‘Ms of such exquisite proportions, that Michael Angelo used to call it la hella Villanella.^’ Milizia. — To the south- east of this church is the convent of San Miniato, with its church, in a situ- ation, used for a military post, in the last siege of Florence, when the citizens vainly endeavoured to preserve the expiring republic from the tyrannical grasp of the Medici. Michael Angelo had been appointed Gommissario Generate, and to him the fortifications of the city were intrusted; and San Aliniato being a very important outpost, he raised around it the outworks and bulwarks which, in pai-t, still remain. The campanile of San Miniato, raised by Baccio d’Agnola, in 1519, was of great use to the Flo- rentines, as enabling them to watch the movements of the besiegers, who constantly shot their heavy bombards at it, perhaps at the rate of a stone bullet per hour. These discharges, however, had injured the tower to some extent, when Michael Amjelo sus- pended woollen mattresses from the projecting cornices of the campanile, and thus intercepted the shot, many of which are still lying about its base, and, by this ingenious contrivance, the building was saved. “ 'i'he church is a very remarkable building, exhibiting, as it does, a great and sudden inqu-overnent in style. A church, in honour of St. Miniato, had been erected here in very early times. It is on record, that S. Frediano, who W{iH bishoj) of Lucca in the 7th century, was {iccustomed to come evei-y year in solemn procession, with his clergy, to prostrate himself before this shrine; and when Charlemagne was at Fiesole he con.sidered this rnonastei’y to be one of the places upon which it became him to confer donations. But in the course of the troubled times which ensixed, the church and the monastery went to decay. In the early part of the 11th century, Hildebrand, bishop of Flo- rence, a pious and energetic man, was animated with a strong desire of raising this edifice from its ruins; and, in 1013, laid the first stone of the church which still exists. In this undei-taking he was assisted by the Emperor Henry II., whose attention may have been more particularly drawn to St. Miniato by his n^ar relation, James of Bavaria, who was at that time bishop of Fiesole. The plan of S. Miniato is that of the Latin Basilica. It is a noble church, of large dimensions, and, in the style of its architecture, dismissing the Lom- bard altogether, seeks to return to Roman proportions and Roman simpli- city, offering a remarkable contrast to the buildings w'hich were expected at the same time in other parts of Italy. This, no doxxbt, resulted in gx*eat xnea- sxxre from the xnaterials of which it was composed, — the pillars and xnarbles of ancient Roman bixildings; but xnuch of the chaixge mu.st have been owing to tbe architect. Sonxe man of genius (as was the case, afterwards, at Pisa) mxxst have arisexi xit the tixne, whose taste was sxxperior to the age. The pillars ai-e single shafts ; ixot stuxited, as in the Lombard chxxrches, bixt of good propor- tions; with capitals free fx'oxn inxagery, and either aixtique or skilful imitations. In the constrxxction of this church there is another architectural peculiarity. Large arches are thrown, at intervals, over the nave, conxiected with sxnaller arches, which are thrown over the aisles; at once as.sisting to siq>]'anding the whole labile together, and giving it additional strength. When these arclies occur, the pillaxs are ex- changed for compound i)iers, one shaft of which is carried up to meet tlie arch above. Jn this church the crypt is made of more importance than the sanctuary itself. The nave leaella di Santa Maria is nearly unaltered ; the style is an Ita- lian-Gothic. The stalls for the monks are elegantly carved, and the rich pavement is kept delicately clean; and indeed, considering the very limited means of the Carthusians, the place is in capital order. The small Chapel of St. John has a fine painting of the saint by Benvenuti. A subterranean chapel contains the tombs of the founder and his family: four tombs are sculptured in bas-relief by Donatello ; the tomb of Niccolo himself by Oryagna. A canopy, supported by four twisted columns, is placed over the figure of the deceased. He is in full armour; the countenance fine and expressive. A long inscrip- tion, in Gothic capitals, records his deeds. Three slab tombs, in relief, represent his father, his sister Lapa, and his son Lorenzo. They are attri- buted, but probably incorrectly, to Orgagna, as they do not seem to be in his style, exhibiting a Gothic formality which he had cast aside ; the details of the costume are curious, and as perfect as when they were carved. Lastly is the tomb of Angelo Acciajuolo, Bishop of Ostia (died 1409), by Donatello: a severe countenance ; the sculpture, in basso-relievo, most elaborate and effi- cient. Very beautiful is the border of fruit and flowers, by Giulvnio di San Gallo, which surrounds the figure, rising out from two graceful figures. Justice and Cliarity. ’riie Capitolo, or Chapter- House, looks like a chapel. It lonument of Leonardo IT) !.')), by Francesco da Ginlitno. His Ills feet are Giovanna of Naples. Some say that contains the Andrea Orgagna was the architect ; and Buonafede (died wherever the oi-iginal Gothic i-emai)is, j San Gallo, the son of it is in a grand style. Acciajuolo re- head rests on a pillow; 548 Route 44 . — La Petraja — The Cascine. bare. The Crucifixion in fresco, by Mariotto Alhertinelli (died 1512), the scholar of Fra’ Bartolomeo, rivals the works of his master. The com'ts and cloisters are inter- esting, One small cloister is glazed with beautiful stained glass, from the designs of Giovanni da Udine. It con- sists of tablets of the life of St. Bruno, inclosed in arabesques. The refectory is a fine apartment, with a pulpit by Mino da Fiesole, from which pulpit one monk reads to the rest during meals. The cells of the monks are, according to the rule, small detached houses. A small contribution should be given by visitors towards the repairs of the Certosa, for the monks are very poor: it will be well bestowed. Porta al Prato. 10 m. from Florence is Poggio a Cajano, a villa of gi’eat interest, an- ciently belonging to the Cancellieri of Pistoia. As it now stands, it was re- built by Lorenzo, who employed Giuli- ano di San Gallo as his architect. The vaulting of the principal salone was considered as a masterpiece of bold- ness. This ajDartment was afterwards decorated at the expense of Leo X., who employed some of the best Flo- rentine artists upon the frescos, which still remain, Andrea del Sarto, Francia- higio, and Pontormo : the subjects are all classical, but applied, though with some degree of straining, to the history of Lorenzo. Here, on the 19th of Oc- tobei’, 1587, expired Francesco I., and on the following day, the profligate Bianca Capello. Some say they died in consequence of partaking of the poison which they had prepared for their brother Ferdinand, who succeeded to the Grand Duchy. Having discovered, as the story goes, the intended trea- chery, he drew his dagger, and com- pelled them both to feed upon the fatal viands. This seems, however, to be a legend ; and the best opinion is, that the wretched pair died in conse- quence of disease brought on by their excessive gluttony and intemperance, A suspension bridge over the river Ombrone, which runs through the park, was erected in 1833 by the Grand Duke. Sect. VI. I It was the first bridge constructed in Tuscany on this plan. It is about a quarter of a mile from the high road. La Petraja di Gastello, 3^ m. from Florence, formerly a stronghold be- longing to the Brunelleschi family, and i sturdily defended, in 1364, against the i Pisans and the bands of Sir John Hawkwood, who, at that period, was ■ in the service of the enemies of Flo- rence. One tower of the castle re- . mains, but modernised. Za Petraja ‘ was brought into its present form by Biiontalenti, and is one of the Grand Duke’s summer residences. In the garden is a beautiful fountain in the cinque-cento style, surmounted by a lovely Venus by Giovanni Bologna. The shady plantations of cypresses, the evergreen oaks and laurels, are most , luxuriant, and the view of Florence, of the hilly countr}^ to the S. of it, and , the Val d’Arno completes the charm of the scene. The frescoes by II Vol- terrano, in the logge, have merit as j works of art. They are historical, principally relating to the history of ' Cosmo I. and his times, but some are from other periods ; and they are in- teresting on account of the numerous portraits which they j^reserve. Amongst the great folks, gi’and dukes, popes, and cardinals, we again meet with To- maso Trafredi, Some portions have a humorous cast, as, for example, a half - drunken German landsknecht, keeping back the crowd from the presence-chamber of Pope Clement VII. The gardens are well laid out, and the florist will fiud one of the richest collections of out-door plants in Italy. At the foot of the hill on which La Petraia stands, is Gastello di Quarto, also a pleasant villa, part of the ancient patrimony of the Medici. The shady garden is em- j bellished with fountains fed by streams which descend from Monte Morello, and statues by Arnmanato ; one colossal ^ figure is said to represent the Apen- nines. About 2^ m. fai’ther is the | celebrated china manufactory of La Doccia, the property of the Marquis Ginori. ii The Gascine are, perhaps, rather xin- :I justly depreciated by travellers. Their ;| Tuscany. Route 44 . — Careggi — Fiesole. 549 aame is derived from the dairy or jheese farms, to which they are an adjunct. They are the Hyde Park of Florence, for displaying fashionable carriages or exhibiting horsemanship. The carriage- ride is a double road, one aear the Arno, perhaps to the extent of about m. ; the other, on a pa- rallel line. Between the roads and the Railway are plantations, pastures for the cows, and a race-course. In these there is nothing very remarkable ; but the surrounding landscape is magnifi- cent. In the early part of the summer, the fire -flies swarm here, and afford a curious spectacle. At a later period of the year they are replaced by glow- worms, which, throughout the Horth of Italy, have a brilliancy much ex- ceeding that of our English species. In the Cascine (as well as in many parts of Florence) you are beset by the flower-girls, with countenances and manners passing through all grades from innocent prettiness and sprightli- uess, to boldness and impudence ; of- fering, or rather forcing, their little bouquets upon you, and repelling your tender of coppers in return. Their practice is, if you will permit them, to supply you with flowers during your stay, for which they expect, of course, a buona-mano upon your departure. The younger women generally wear the great flapping .round hat, often wreathed with artificial flowers ; and, on festival days, very smart aprons, pearl necklaces, and all sorts of trinketry and finei-y. Porta San Gallo. Careggi, or Ca’regia, distant 3 m., built by Cosmo il Vecchio, from the designs of Michelozzo, is unaltered in its general outline ; but it is no longer a royal villa, having passed into private hands in 1780. It has gi'eat interest, in being one of the most favourite resi- dences of Lorenzo il Magnifico ; and 'here the meetings of the celebrated Platonic academy were held. Here, on jthe 1st of November, the supposed an- niversary of the birtli and death of Plato, the members held their symi)o- siuni ; and here (8th April, 1402) Lorenzo died, shortly after his memo- rable interview with Savonarola. Pietro de’ Medici, the son of Lorenzo, con- tinued at Careggi ; and here his son received the warning conveyed by the ghost of his father to the improvisatore Cardiere, telling him how he would soon be a misei’able exile. Between Careggi and Fiesole are si- tuated several handsome villas, — those of the late Madame Catalan! ; the Villa Salviati, a fine specimen of the 16th century ; the Villa Caponi ; the Villa Palmier!, celebrated by Boccaccio ; and at the base of the Hill of Fiesole, the Villa Rinuccini, laid out like an English pleasui;e-ground ; the Villa Mozzi; and Villa Guadagni. Fiesole. — Two carriage-roa,ds lead to Fiesole, from the Porta a Pinti and the Porta San Gallo, the former of which is the best : the two roads meet at the Dominican Convent. Hence, until re- cently, the road was no longer practi- cable for any wheel carriage, and the visitor was compelled either to walk or to ride upon mules, unless he pre- feiTed the only vehicle which would ascend the hill : it was literally a great wicker basket without wheels, and up you were dragged by two oxen, much as criminals used to be drawn to the place of execution upon a sledge. There is now an excellent road, made at the expense of the city of Fiesole. We should have formed a joint-stock com- pany, and issued shares to raise the supplies. The Fesulans issued titles of nobility. They have a Lihro P Oro, and those inscribed therein gain par- ticular rank. No one can be presented at court unless he is noble, and there was the most ample demand for the honour. Marquesses, counts, and ba- rons, who paid various sums, 300 dollars and upwards, for their patents, have been created by dozens. Both here and at Lucca, several Englishmen have bought these ridiculous titles and decorations. The road is excellent, and most lovely as it winds iq)wards bordered by gar- dens of villas. From Florence to the to]) is an hour’s drive. The Dominican convent, founded in 1406, was supi)ro8sed in 1808, and has 550 Jioiite 44. — View from Fiesole. Sect. VI. not been since restored. The conven- tual buildings, however, still subsist. The church is attributed to but if so it is not in his best manner, and has been much altered, though in good repair. It contains a fine picture by Fra Angelico. Higher up, upon the hill, is the Villa Mozzi, erected by Cosmo il Vec- chio. This is one of the most inter- esting and beautiful spots in the neigh- bourhood of Florence. In ancient times, the grounds of this villa are said to have been chosen by Catiline, as a place of deposit for his treasures. He fiew to Fiesole on quitting Rome, the leader of a desperate cause ; and was defeated near Pistoia, almost within sight of this Etrurian hill. In 1829, a treasure of about 100 pounds of Roman silver money, all of a date anterior to the Catiline conspiracy, was found in the garden. This villa continued in the possession of the Medici family, and here the Pazzi intended to have carried their consjiiracy into effect in 1478. (See Machiavelli, Istor. Fior. viii.) Lorenzo ever retained a predi- lection for this villa, and the terrace still remains, which is said to have been his favourite walk. Pleasant gar- dens and walks bordered by cypresses add to the beauty of the spot, from which a splendid view of Florence encircled by its amphitheatre of moun- tains is obtained; and Hallam has described the scene in language so poetical and yet so true, that we give the traveller the pleasure of comparing it with the view which he will behold ; — In a villa overhanging the towers of Florence, on the steep slope of that lofty hill crowned by the mother city, the ancient Fiesole, in gardens v/hich Tully might have envied, with Ficino, Landino, and Politian at his side, he delighted his hours of leisure with the beautiful visions of Platonic philosophy, for which the summer stillness of an Italian sky appears the most congenial accompaniment. “ Never coidd the sympathies of the soul with outward nature be more finely touched ; never could more striking suggestions be presented to the philo- sopher and the statesman. Florence lay beneath them, not with all the magnificence that the later Medici have given her, but, thanks to the piety of former times, presenting almost as varied an outline to the sky. One man, the wonder of Cosmo’s age, Bru- nelleschi, had crowned the beautiful city with the vast dome of its cathedral, a structure unthought of in Italy before, and rai'ely since surpassed. It seemed, amidst clustering towers of infeiior churches, an emblem of the Catholic hierarchy under its supreme head; like Rome itself, imposing, unbroken, unchangeable, radiating in equal ex- pansion to every pai’t of the earth, and directing its convergent curves to heaven. Round this wnre numbered, at unequal heights, the Baptistery, with its gates worthy of Paradise; the tall and richly decorated belfry of Giotto; the church of the Carmine with the frescos of Masaccio; those of Santa Maria Novella, beautiful as a bride, of Santa Croce, second only in magni- ficence to the cathedx'al, and of St. Mark; the San Spirito, another great monument of the genius of Brunel- leschi; the numerous convents that rose within the w^alls of Florence, oi’ were scattered immediately about them. From these the eye might turn to the trophies of a republican government that was rapidly giving way before the citizen prince who now surveyed them ; the Palazzo Vecchio, in which the sig- niory of Florence held their councils, raised by the Guelph aristocracy, the exclusive but not tyrannous faction that long swayed the city ; or the new and unfinished palace which Brunel- leschi had designed for one of the Pitti family before they fell, as others had already done, in the fruitless struggle against the house of Medici, itself des- tined to become the abode of the vic- toidous race, and to perpetuate, by retaining its name, the revolutions that had raised them to power. “ The prospect, from an elevation, of a great city in its silence, is one of the most impressive as well as beautiful we ever behold. But far more must it have brought home seriousness to the mind of one who, by the force of events, and the genei’ous ambition of Tuscany. Route 44 . — Fiesole — Etruscan Walls. 551 his family, and his own, was involved in the dangerous necessity of governing without the right, and, as far as might be, without the semblance of power; one who knew the vindictive and un- scrupulous hostility v/hich, at home and abroad, he had to encounter. If thoughts like these could bring a cloud over the brow of Lorenzo, unfit for the object he sought in that retreat, he might restore its serenity by other scenes which his garden commanded. Mountains bright with various hues, and clothed with wood, bounded the horizon, and, on most sides, at no great distance ; but embosomed in these were other villas and domains of his own : while the level country bore witness to his agricultural improve- ments, the classic diversion of a states- I man’s cares. The same curious spirit which led him to fill his garden at Carreggi with exotic flowers of the East — the first instance of a botanical collection in Europe — had introduced a new animal from the same regions. Herds of buffaloes, since naturalized, in Italy, whose dingy hide, bent neck, curved horns, and lowering aspect, contrasted with the greyish hue and full mild eye of the Tuscan oxen, pastured in the valley, down which the yellow Arno steals silently through its long reaches to the sea.” — HallairCs 1 Hist, of Literature. ' Not far distant is a monument with an inscription, which, if construed strictly, would designate it as placed upon the very ‘‘Sasso” whereupon those who suffered ‘^per man’ della crudele Fesulea gente” expired as martyrs. Here, according to tradi- tion, St. Romulus, the patron of Fie- sole, suffered martyrdom. There are several fine bursts of view into the valley below. The villa Salirati is the most prominent object; the Villa of Schifanoia, or dei Tre Visi, formerly belonging to the Falmieri, which Boc- caccio made the retreat of the fair story-tellers in the pestilence of 1348, may also be lienee distinguished. About half way u]i the hill is the Villa Vitelli, founded liy (liovanni do’ Medici, and a little further on, the (Jkapcl of St. Ansano. It was restored by Bandini, the librarian, and appears to have been served by his brother: their tombs are within. The dwelling of the priest adjoins the chapel, com- manding a delightful view. Within the chapel, are eight saints attributed to Cimabue. On the right of the ascent are the shady woods of the suppressed convent of San Francesco, now La Doc- cia di Fiesole, one of the most agree- ably situated villas about Floi’ence. You now reach Fiesole . — The ground plan of this city is an irregular paral- lelogram, rising and falling with the inequality of the ground. The long and almost unbroken line of Cyclopean wall towards the north, is the portion which has suffered least from time or violence. You descend to it by a path behind the Duomo, and the rampart may be here contemplated .in all its rude magnificence. The huge stones of which the Etruscan wall is composed are very irregular in shape and unequal in size, but seldom assume a polygonal form. The form of the masses em- ployed in the so-called Cyclopean con- structions varies with the geological nature of the rock employed. In all the Etruscan and Pelasgic towns, it is found that when the sandstone was used, the form of the stones has been paraUelipipedal, or nearly so, as at Fiesole and Cortona; whereas, when limestone was the subjacent rock, the polygonal construction alone is met with, as at Cosa, Roselle, Segni, Alatri, Ferentino, &c. ; and the same observa- tion will be found to apply to every part of the world, and in a marked degree to the Cyclopean constructions of Greece and Asia Minor, and even to the far-distant edifices raised by the Peruvian Incas. Sometimes the pieces of rock are dovetailed into each other: others stand joint al)Ove joint; but, however placed, the face, or out- ward front, is perfectly smooth. No projection, oi- woi'k advancing beyond the line of the wall, ajipears in the original structure. A small and sinq)le arch, the only fragment remaining of a gateway, which is found about the centre of the northern wall, and in front of which it stands, seems to be Roman, tliough possibly of very early 552 Route 44. — Fiesole — Duomo. Sect. VI. date^, and introduced when the Fesu- lans became subject to the Eepublic. Many competent judges, however, think it is Etruscan, like the wall. What is singular, there is no coiTesponding open- ing in the Etruscan wall, so that it is probable that the city was entered by a drawbridge, let down from the top as an inclined plane, and then drawn up again. There are various holes and apertures in different parts of the walls, which, as is usual in similar cases, have given much employment to the minute conjectures of the antiqixary. Some of them may result from the mechani- cal contrivances used in raising the massy blocks of which the structure is composed : some may possibly have been occasioned by the attacks of the besieger. Considered as a whole, the fortifications seem to have sustained but very little alteration since the period of their erection. The site of the fortress or acropolis of the Etruscan city is now covered by a Franciscan monasteiy, which, from its site, well deserves a visit, and the traveller will be courteously received by the monks. Fragments of the foun- dations are occasionally brought to light by excavation, and more extensive remains existed within time of memory. Within the precinct is the very ancient Church of St. Alexander. The nave is flanked by eighteen fine columns of cipollino, 15 of which are perfectly preserved, with Ionic capitals and bases of white marble, said to be Parian, but of Roman workmanship. This church had the title of a Basilica, and it is conjectured to have been one. An altar dedicated to Bacchus, but of which the inscription is mutilated by an excavation in the centre, and which stands near the entrance: and certain ancient cisterns discovered in 1814 in front of the building, but since covered up again, are adduced by the learned lughirami in support of his opinion in favour of the antiquity of the building. This church was dismantled by Leo- pold I. in 1784. The roof of the nave and the rich pavement were removed, and the space within the walls con- verted into a public cemetery. The building continued in this state till 1814-1818, when, at the instigation of Bishop Tommasi, it was restored to divine worship. But the repairs which were needful for this purpose have, in some measure, deprived the edifice of its original character, the columns alone retaining their original appearance. Some slight remains of an amphi- theatre constitute all the remaining vestiges of the edifices of the ancient city, whether of the Roman or of the Etruscan age, excepting some frag- ments employed in the construction of other buildings, and the relics which have been from time to time discovered in the soil. Of these the most remark- able is a bas relief, representing an augur, now in the gallery at Florence. The Fesulans were celebrated for their skill in augury, and are so described by Silius Italicus (viii. 478) in his enumeration of the nations assembled at the battle of Cannae; and hence, the monument possesses peculiar interest. The theatre was dug out in 1 809, at the expense of a spirited foreigner, the Baron Schell ersheim, a Prussian. Large and perfect portions of the exter- nal wall, and of the semicircle intended for the spectators, were then brought to light; but, excepting some small portions, have since been again covered with earth or destroyed. The remains of the Etruscan acropolis have equally disappeared within time of memory. The Duomo, whose internal arrange- ment resembles a good deal that of S. Miniato, was begun in 1028 by the Bishop Jacopo il Bavaro, and is rude in its construction. The pillars are built up of small courses: some have ancient Composite capitals, inartificially placed upon shafts of larger dimensions than themselves; others are in a barbarous Romanesque style. In the same style is the crypt, whose construction is in great measure unaltered. Some parts of the building are of as late a date as the middle of the 1.3th century. The frescos, by Ferrucci, representing in- cidents from the life of St. Romulus, are much decayed. The altar of the chapel opposite to the tomb of Bishop Salutati is by Mino da Fiesole, repre- senting the Virgin, St. Leonard, and St. Remigius; it is certified by an in- Tuscany. Route 44 . — Fiesole — Porta a Piiiti. 553 scriptiou, ‘‘opus Mini,” (1465.) The bust of the bishop is also by Mino. An altar-piece, also by a Fesulan, Andrea Fcrrucci, possesses great beauty, both in the figures and bas-reliefs, the latter representing the martyrdoms of St. Matthew and St. Eomulus. The humble Palazzo del Commune is decorated, according to the usual cus- tom, with the arms of the Podesths who have administered the affairs of the community. This building, the churches, the Episcopal seminary, and some few lowly dwelling-houses round the Piazza, probably the ancient forum, compose the city of Fiesole. The views hence are peculiarly fine. On the north, you see the valley of the Mugello. On this side, and just below the height, is the villa of Scipione Am- mirato, the Florentine historian. Here many of his celebrated works were composed. Towards the south, taking your station either from the “Forum,” or the more elevated point of the Fran- ciscan convent, you command the cen- tral Val d’Arno, from its eastern ex- tremity to the gorge of the Gonfolina, by which it communicates with the Val d’Arno di Sotto, with Florence as the main object in the rich landscape below. To the E. of Fiesole, and on the prolongation of the ridge on which it is situated, is the Monte Ceceri, celebrated for its extensive quarries of Pietra Serena., a variety of sandstone, which has furnished the stone for the principal edifices of the Tuscan capital. The view from the summit of the Monte Ceceri is still more extensive than that from the town of Fiesole. In descending, a slight deviation from the road will lead the traveller to the Badia Fiesolana, considered by tra- dition as the site of the primitive cathedi’al of the diocese of Fiesole. [n 1462, Cosmo de’ Medici employed Brunelleschi to build the church and monastery which now exist. The con- ventual portion of the building is a fine monument of liis skill. The cortile is elegant. The church is not large, but admirably proportioned. It has been phmdered of almost all its works of art, exceidiug some inlayings in pietra N. — 1852. dura., and a bas-relief by Desiderio da Settignano. The facade of the older church, in the style of the 1 2th century, remains. Cosmo would not allow it to be altered. This monastery was sup- pressed by Leopold, and, after many changes, is now converted into a print- ing-office and lithographic establish- ment, founded by the learned Inghi- rami, under the name of Tipografia Fiesolana, and where he published his principal works upon Etruscan antiqui- ties. Porta a Pinti. The best road to Fiesole leads from this gate : a few hundred yards from the gate on the rt. is the Protestant Ceme- tery, which well merits a visit from the English traveller : it is remarkably neat and well kept, for which the managing committee, composed of Swiss, German, and English Protestant gentlemen, deserve the greatest credit. It is principally tenanted by our coun- trymen, over whose remains are erected some very beautiful monuments, by Bazzanti, a clever Florentine artist; the charges for interment are very moderate, and on the whole the regu- lations, as regards poor Protestants, are extremely liberal. The gate is generally closed, but the Custode will be found at the Grocer’s shop opposite the Porta a Pinti. A little further on is the Cemetery of the religious congregation of La Misericordia, and the road from thence to Fiesole is lined with handsome vil- las of the Florentine nobility. Excursion to the Sanctuaries of Vallom- brosa, Verna, and Camialdoli. Florence to Vallomhrosa, 18^ JhJng. rn. Leaving Florence by the Porta alia Croce, the road runs along thert. bank of the Arno, at a varying distance from the river, as far as Ponte a Sieve, 10 m. distant from Florence. Tlie road passes Rovezzano, 2 m. from Florence, and Remole, 5 m. further on. It is the post-road to Arezzo, and the first sta- tion is at I’onte a Sieve. On leaving this last ])laeethe I'iver Sieve is crossed, which rises in that paid of the A pen nines where tlicy are traversed between 554 Route 44, — Vallombrosa. Sect. VI. Bologna and Florence. About a mile | beyond Ponte a Sieve the road to Val- lombrosa leaves the post-road to Arezzo, which latter road continues along the rt. bank of the Arno towards the S. ; the Vallombrosa road, which is practi- cable for carriages, turns to the 1., and begins to ascend the mountains towards Vallombrosa, which is now in full view, and a mile further on passes a tolerable inn called Fal tje. A little further, and at about 2 m. from Ponte a Sieve, the road to Vallombrosa turns off to the id. and leads to Pelago, which is nearly 4 m from Ponte a Sieve. There is a very fair village inn at Pelago ; but it is advisable for a party which includes ladies to reach the Monastery before night Here the carriage road ends, and the traveller must take to a saddle or walking. A mile and a half from Pelago, Paterno is reached, a sort of grange belonging to the monks of Val- lombrosa, from which there is a pic- turesque view of the dark deep valley, and of the torrent at the bottom. Beckford, who visited the convent in the third week of October, says, After ascending a tedious while, we began to feel the wind blow sharply from the peaks of the mountains, and to hear the murmur of the groves of pine. A paved path leads across them, quite darkened by boughs, which meeting over our heads, cast a gloom and chil- liness below We galloped on, and entered a vast amphitheatre of lawns and meadows surrounded by thick woods beautifully green. The steep cliffs and mountains which guard this retii’ed valley are clothed with beech to their very summits; and on their slopes, whose smoothness and verdure equal our English pa.stures, were dispersed large flocks of sheep. The herbage, moistened by streams which fall from the eminences, has never been known to fade ; thus, whilst the chief part of Tuscany is parched by the heats of sixmmer, these upland meadows retain the freshness of spring. I regretted not having visited them sooner, as autumn had already made great havoc among the foliage. Showers of leaves blew full in our faces as we rode towards the convent, placed at an j extremity of the vale, and sheltered by firs and chestnuts towering one above another.” These forests produce a considerable revenue to the monks, who cut down the oldest trees, and plant others in their stead. Here may be seen magnificent specimens of the fir tribe. The mad is jxaved in passing through the forest, to preserve it from being torn up by the felled trunks of trees, when they are dragged down the mountain, or being washed away by the heavy rains. Up to about a mile from the summit chestnuts, oaks, and beech are seen, justifying Milton’s simile, the accuracy of which has been called in question on the ground that, the forest consisting entirely of fir, it could not be true that the rebel angels “ lay entranced, Thick as autumnal leaves that strew the brooks In \"allombrosa, where the Etrurian shades, High overarch’d, embow er.” Four miles beyond Paterno, after passing through a fine forest of pines, the traveller arrives at the Suntuario of Vallombrosa : “ Cos! fu nominata una badia, Ricca e bella, ne men religiosa E cortese a chiunque vi venia.” Orl. Fur. can, 22, st. 36. Vallombrosa was ancientljr called Acqua Bella. The monasteiy was founded in the 11th century by S. Giovanni Gualberto. He was the son of the lord of Petroio of Val-di-pesa, the head of a noble and rich family m Florence ; and, though piously brought up, gave himself up in his youth to dissipation and the pleasures of the world. His brother Hugh having been killed by some person of good birth, Giovanni Gualberto considered himself bound to avenge his brother’s death. Eeturning from S. Miniato a Monte on Good Friday to Florence, accompanied , by a troop of armed followers on horse- back, Gualberto met the author of his brother’s death in a narrow road, where there was no escape. As Gualberto was going to kill him, he threw himself i at Gualberto’s feet and extending his arms in the form of a cross, besought his executioner to call to mind the events commemorated on that day. I Tuscany. Route 44 . — Valhmlrosa. 555 Gualberto, being struck by the appeal, forgave bis enemy, and conducted him to the church of S. Miniato, where upon their a23pearance before the cruci- fix, the figure of our Saviour inclined his head to Gualberto, w’ho thereupon became a monk of the adjoining monas- tery. Finding the abbot simoiiiacal, he left the monastery with another monk, and being pleased with the hermitage of Camaldoli, which they visited, he retired into the solitude of Vallombrosa, and there shortly after- wards founded an order according to the rule of S. Benedict. The institu- tion received the approbation of Alex- ander II. in 1070, and Gualberto became the first superior. He died 12 July, 1073, at the age of 74; and in 1193 was canonized. His life was written by Jerome, a monk of Val- lombrosa, in 1480, with an account of the miracles, the 2 )erformance of which had by that time been assigned to him by tradition. The monks of Vallom- brosa wore originally a grey habit ; in 1500 they adoi)ted brown. The order took its name from the place of its in- stitution, and w’as the first which ad- mitted lay brethren. It never became very numerous or acquired much im- portance. The site, as well as a vast extent of land round the monastery, was granted by Ita, the abbess of S. Haro, on condition that she and her successors should appoint the superior. But owing to the loose observance of their vows by the nuns of that con- vent, they were in 1255 removed by Pojje Alexander IV. to another estab- lishment, and their connexion vith this monastery ceased; and the right of nomination jjassed into other hands. The monastery at Vallombrosa became veiy rich from endowments, by the Countess Matilda and others; and in 1 637 the present extensive and splendid buildings were erected. It was a great place of refuge for j)riests during the invasion of Italy by the French. Among the i’emarkal)le men wlio have been monks of Vallombrosa, was Guido Aretino, who was a member of this house when he first became known as a writer upon music (about A D. 1020). After having visited Rome twice, upon the invitation of two suc- ceeding popes, he was j^revailed upon by the abbot of a monastery at Ferrara to settle there. Some writers have ascribed to Guido the invention of counteiq^oint, which is scarcely less absurd than ascribing the invention of a language to any individual. It is jDretty certain that he was the first jDerson to use, or recommend, the use of ‘^lilies” and “spaces” for musical notation : in fact, the “ stave.” But he is chiefly famous as the undoubted inventor of what is technically called “ solfaing.” Having observed that the music then in use to the following Hyn^n to John the Baptist, by Paul Diaconus (eighth centuiw), ascended upon the first syllable of each half-line in an uninterruj^ted series of six sounds (Jiexachord), he adapted these six syl- lables to re 2 )resent the six sounds Hymn. Ut queant laxis resonare flbris Mira, gestorum /amuli tuorum, Solve polluti /abii reatum Sancte Johannes ! The sjdlable Do was substituted for Ut, and Si added, late in the seven- teenth century. The churcli is in the form of a Latin cross, and well designed : decorated with gilt stuccos, fine marbles, and 2 >aintings in oil and fresco. On the left of the nave is a chaiDel, entered under a fine arch from the left arm of the cross. In this chapel, behind the altar, which is of fine marble, is a choir whei'e service is jierformed once a year. The sacristy is lined with fine presses of elegant workmanship in chestnut. The convent, which forms a quadrangle, is sj)acious, and presents a noble as})ect; which, as well as every thing it contains, has the a])pearance of o|)ulence and comfort. The refec- tory is ca 2 )able of holding 200 j^ersons at table. There is a smaller apartment for the retinue of persons of rank. Adjoining this second refectory is a si)acious hall, containing paintings, and a well-built kitchen, in which every thing recpiisite for cooking is to be found. The iq)i)or i)art of the convent contains the dormitories, and the library, which once possessed some 2 b 2 556 Route 44. — YaUombrosa — Paradisino. Sect. VI. of the most valuable manviscripts and rare books in the world; but the French on suppressing the convent despoiled the collection of all that was valuable, as well as carried off some most valuable paintings, and a fine collection of natural history. There is a building called the For'estiera for the reception of strangers, upon whom it is the duty of one of the monks to attend. Gentlemen are pro- ^fided with comfortable beds in the convent, but ladies, who are not al- lowed to enter the convent, have apartments assigned to them in this building. No charge for board or lodging is made upon the traveller: the usual mode of payment, therefore, is, to give to the monk who attends upon strangers a sum of money, re- questing him to distribute it among the servants. At a short distance from the large convent is the Paradisino, or Celle, a small convent built on the summit of an isolated rock, about 250 ft. above the other. A rough path leads to it. At the foot of the rock runs the small torrent Vicano, coming from the sum- mit of the glen, and forming at this spot a pretty cascade , In this convent or hermitage is a well-built chapel, several dormitories, and two oratories : above it a handsome gallery, which looks down into the chapel, hung with paintings done by an Englishman, of the name of Henry Hugford, who, after a long residence at Florence, sought an asylum in this hermitage, and is known as the revivor and improver of the manufacture of scagliola. From the windows are seen most extensive and beautiful views over the rich valley of the Arno to Florence, and, when the weather is clear, to the sea in the direction of Leghorn. This fine view becomes still more magnificent a little before sunset. Still more extensive views may be obtained by ascending Monte Seccheta, a spur of the Prato Magno, lying to the south of the Para- disino. Vallomhrosa to La Verna, 27 m. Those who intend to visit La Verna and Ca- maldoli, or either of them, and have come as far as Pelago in a carriage. should direct it to meet them again at the Osteria della Gonsiima, which is situated on the high road from Ponte-a- Sieve to Prato Vecchio and Bibbiena, near the summit of this ridge of that branch of the Apemiine which divides the valley in which the Arno rises from that in which Florence stands. This village of Consuma is about 10 m. from Pelago and 6 m. from Vallom- brosa, to the north-eastward, and de- rives its name from the Monte Gonswna, on whose northern slope it is placed. A bridle path leads to it from Vallom- brosa. The inn is wholly without ac- commodation, and is a mere baiting place for charcoal carts. Leaving Coii- suma, on the northward is seen the Monte Falterona, from the sides of which rises the Arno : the prolonga- tion of the chain on the right hand is called the Prato Magno. About 3 m. from Consuma a view is obtained of the upper valley of the Arno, which forms the i^rovince of Casentino, the scene of some of the severest warfare in the civil war of the Guelphs and Ghibellines, and retaining, in numerous ruins of castles and hill-forts, memo- rials of the powerful families engaged in that contest. Nine m. from Con- suma is Borgoalla-Collina, where, in the church, may be seen Cristofano Lan- dino, preserved like a mummy. The Florentine republic bestowed on him the palazzo and ancient castle of Bor- goalla-Collina, as a reward for his com- mentary on Dante ; and here he retired, in 1497, at the age of 73, and returned no more to Florence, in order to avoid being engaged in the intrigues against the Medici. He died here a few years after, either in 1504 or 1508. After half a mile of descent the road crosses the Arno, and traverses a small plain, called Campaldino, the scene of a cele- brated battle between the Guelphs and Ghibellines, on the 11th of June, 1289. The Aretines, who formed the chief portion of the Ghibelline party, were routed with the loss of 1700 men killed, and 2000 taken prisoners: among the former was the celebi-ated Guglielmino Ubertini, bishop of Aj-ezzo, who fell fighting desperately in the thickest of the fray, having rallied his troops Tuscany. Route 44 . — Poppi — Bihhiena. 557 upon the bridge at Poppi, half a mile further on. Dante was present at this battle, being then 24 years old, and served among the Florentine, i. e. the Guelph, cavalry. Poppi, which is on the I't. bank of the Arno, singularly placed on a high rock, whose base is washed by the river (Pop. in 1845, 1874), is a very ancient town, and the capital of the Casentino. The only old building in Poppi not in ruins is its castle, occu- pying the highest part of the rock, and having been a place of some strength before the use of guns for breaching. It was built by Lapo in 1230, and bears some likeness to the Palazzo Vecchio at Florence. The court-yard contains some curious ar- chitecture; and a staircase celebrated for the skill shown in its construction, and resembling that in the Bargello, leads to a chapel containing frescos which, according to Vasari, are by Spmdlo. The land round Poppi is highly cultivated. The pronunciation of the inhabitants is said to be the best in Tuscany. The road continues along the left bank of the Arno, and four miles beyond Poppi is Bihhiena, the native town of Fran- cesco Berni. Here is a decent country inn. The population is about 2300. Beyond Bibbiena, towards La Verna, the road is no longer practicable for a carriage ; but may be traversed for about 4 m. by a country car. It is however exceedingly steep, with awk- ward turns, and for those who cannot walk, horses or mules are far prefer- able. La Verna is 6 m. from Bibbiena, two m. from which latter place the road crosses the torrent Corselone. It is said to derive its name, which is also written Alvernia, and Vernia, from its perpetual wintry climate, to which Dante seems to allude, calling it ‘^il crudo sasso tra Tevere ed Arno.” The convent of La Verna, the most curious of the three sanctuaries, is situated on the south side of a circuit of rugged rocks. The highest point of the mountain on which it stands is called La Penna. Here is a chai)el, and from lienee a most extensive view is obtained. To tlie eastward are seen Umbria, the march of Ancona, the mountains of Perugia: on the west, the valley of the Casentino, the chain of the Prato Magno : to the northward is the source of the Arno, and to the north-east that of the Tiber. There are also some points within the cu’cuit of the convent inclosure, which are visited as curious rocks and chasms, called the Masso di fra Lupo, la Baca del Diavolo, and the Masso Spicco. The convent of La V erna was founded in 1213: the principal church was built in 1264. The convent was nearly de- stroyed by fire in 1472. It has ac- commodation for about 100 monks. They provide all strangers who arrive with food and lodging, but have no property, and depend upon alms for the support of their establishment. A short distance to the south of the convent is the village and ruined castle of Ghiusi, formerly a strong place. It occupies the site of the ancient town of Clusium Hovum. Michael Angelo’s father was appointed by the Signoria of Florence Podesta of Ghiusi, and Ca- prese, a small town about 5 m. to the S. E. in the valley of the Tiber, and at the latter place the great artist was born on the 6th March, 1475. Verna to GamaldoU. The traveller may return to Bibbi- ena and reach Camaldoli from thence, passing through Gamprena, and Sod, and La Mausolea. The shortest way, however, is as follows: from La Verna to the crossing of the torrent Gorsalone 3 m. : thence to Gaynprena, 3 ; to La Mausolea, 1 ; from La Mausolea to Garyialdoli, 5; in all, 12 m. The ascent to the mountain on which Camaldoli stands begins at La Mausolea, a grange belonging to the convent of Camaldoli. This sanctuary, which, for comfort and for beauty of situation, is a most agreeable resting place, is situated on a rocky slope of the Apemiine, inclining toward the south, and thickly covered with fine firs, and watered by streams, ! and called the Giogana. It is said to ! have been founded about a.T). 1000, by j S. llomualdo, whose life and miracles I were written in 1483 by tlie monk Jerome, and is capable of containing 558 Route 44. — Camaldoli. Sect. VI. more than 100 monks, whose present number, however, is small. The church and convent were destroyed by fire in 1203, and were so much injured when the convent was besieged, in 1498, by the Duke of Urbino, that shortly after in 1523 the old church was rebuilt and adorned inside by some youthful paint- ings of Vasari. The church was en- larged and restored also in 1772-1776. There is a commodious forestiera for the reception of travellers ; to the west- ward of the convent are caserne, or dairy farms, where excellent butter and cheese are made ; and behind the convent is a saw-mill, by which the timber belonging to the monks is squared, and cut into planks prepara- tory to its being drawn by oxen to the banks of the Arno, and floated down to Florence. Higher up the glen, and about 1^ m. to the northward of the convent, is the Eremo, or hermitage; a sort of second and smaller convent, with nu- merous cells on the ground-floor, ar- ranged symmetrically in rows so as to form streets, and with a neat chapel. The order is very rigid in its discipline ; the monks are summoned to prayers seven times in every 24 hours through- out the year. The first prayers are at 1 in the morning, and certain of the members are appointed in turn to clear away the snow which, in the winter season, often impedes their passage from the cells to the church. The diess is perfectly white, with a cloak reaching down to the knees. From this hermitage there is a fine view of the glen and forest, which is one of the most ancient in Tuscany, and in which are to be seen a few i-emaining pine-trees of enormous size. Those which were recently felled for the rebuilding of the Basilica of St. Paul at Rome, and some sent to Mahemet Ali, were believed to be nearly 400 years old. One of the highest points of the ridge on which Camaldoli fs built is called Scali, mentioned by Ari sto on account of the extensive view it affords : “ . . . Senopre il mar Schiavo e il Tosco Dal giogo onde a Camaldoli si viene.” A path to the eastward from the hermitage crosses the central ridge of the Apennine, and by this there is a pleasant walk by Ridracoli and S. Socia to Civitella, down the valley of the Bidenle, and thence to Forli and Ravenna. Camaldoli to Florence. The best way of returning to Flo- rence is by Prato Vecchio and Stia. The distance from Camaldoli to each of these places is about 7 m. There are i two mountain roads in this direction. One, which ascends the mountain to the W. of the hermitage, and, con- i tinning along the ridge to Casalino, I about half a mile further on at Valiana, ! divides into two branches — one leading j through the village of Arna to Stia, ' the other along the rt. bank of the torrent Fiumecello, to Prato Vecchio. - The other road, which leads more di- rectly to Prato Vecchio, starts from the convent, and running at first south- ward for about a mile, passes through the wood on the skirt of the glen; it is paved to* facilitate the draught of the felled timber, and as a protection from the heavy rains. Hence there is a fine view of the deep glen and of the plain be- yond. The road then crosses the ridge to the westward, the summit of which commands a very extensive view of the surrounding chain of the Apennines, and of the valleys formed by them. This part of the chain is perfectly i barren, and the track is cut through i the sandstone rock. The road then : descends to the village of Moggiona, I which stands on the bank of a moun- tain stream; and then, again ascending j out of this ravine, crosses another ridge ; of mountains, from which is obtained i a fine panoramic view, comprising the - towns of Prato Vecchio, Stia, Poppi, ' and Bibbiena, and convent of La Verna; | the high range of the Falterona to the ’! northward, and to the westward the I Prato Magno, and between these the I Arno winding through the valley of the ©asentino, and j Li ruscelletti, che de’ verdi colli Del Casentin discendon giuso in Arno, Facendo i lor canal i e freddi e molli. i In f. Canto xxx . In front, in coming down the moun- a Tuscany. Route 44 . — Camaldoli to Florence. 559 * taiiij upon the top of a hill upon the op- posite side of the Arno, are the ruins of ' the castle of Romena, held formerly by , counts of that name, and mentioned by ' Dante in the 30th Canto of the Inferno. Near it, according to some, and not at Siena, is the Fonte Branda mentioned by the poet. At the foot of the moun- tain the torrent Fiumecello is crossed, and a quarter of a mile beyond is Prato Vecchio. From this town the carriage road to Florence, a distance of about 30 m., runs northward along the 1. bank of the Arno as far as Stia, where it crosses the Arno. A mountain path runs northward from Stia to the source of the Arno, and to the summit of the Falterona, from which the prospect is magnificent, extending to the Mediter- ranean on one side, and to the Adriatic on the other. The road from Stia to Florence, after some broken and steep, but picturesque ascents, during about 3 m., leaving the castle of llornena on the 1.. falls into the high road from Bibbiena to Ponte a Sieve and Florence. Travellers who wish to visit the three sanctuaiies of Vallombrosa, La Verna, and Camaldoli, should leave Florence in good time in the morning, and reach Vallombrosa in the after- noon, then proceed the next day to La Verna; on the third to Camaldoli, and return on the fourth day to Florence. Those who go only to Vallombrosa and Camaldoli may reach the latter pla.ce on the second evening and return to Florence on the third ; or if they visit La Verna and omit Camaldoli, then by starting early, Florence may be reached in one day from La Verna. On a summer’s day, by starting from Flo- rence very early, travellers may visit Vallombrosa and return the same day. The lodging and fare at the monas- teries are better than at the country inns at Pelago, Bibbiena, or Prato Vecchio; but tourists must remember that at the monasteries meat is not to be had on Fridays or Saturdays, or on the vigils of feast days. As the atten- tion which travellers receive varies generally inversely as their numbers, they will find a more hospitable re- ception at La Verna and Camaldoli than at Vallornbi’osa. P . ■ •' ..':r;.-’;.r;: ": »>' -is’.v •• m \ L^'^y .3t,j3ij Muf.i -yjy. 'iJru - , >iii . T^l ■ <; » ' *'■?' . . ' .' , v'' • - -fr'i-' -j '1' '■ . ' m" * * ' '^-^^*1* * r*- V . : , -^T ^ 1 ... .r.,A4^,5ir.~. . . ,t. ?•,/%>(,«■,• iS^'i’‘-'^|^V*'i . J? '■■ ■ . '1*<\ '" : '.■"'• ' .a. , • . ,.-'c. ' 1 ;- 'i ■) P ‘ . i i > ymifT ‘ t 1 .«, fcr :^Sr .-i > yeiijKMs; — ■ “■ .i/tta- "•■■ ’ "■•' ■ • -'^- “ ■"■''•■' W4-: Ij: 5',.- iJri, ^ u :y ->.?i . „ „ , ^ ^ ' ' ";X ,ji' !'^i‘rif/>i tt'Jr 1 u'-.i.-Im .-'i-AA!*. ^a4i 1- 4^^2. 485. 492. 501. 507, 508, 509, sio, 535 - 539. 5 - 4 (>- I Angelo, Michael, birth of, 557. , house of, 513. Anglo-Saxon i^oems, 32. Anone, 45. Annual pageant at Vicenza, 276. Anselmi, 368. 370. 375. Ansuino, 293. Antelini, sculptures of, 368. Antenor, tomb of, 282. Anthony, St., church of, 285. Antignate, 228. Anticiuities of Turin, 22. Of Como, 130. At Lucca, 406. Antonino, St., town of, 8. Apennines, 46. Appian," Seyssell’s translation of, at Turin, 24. Appiani, 173. 181, 182. 189. Appio, Jlonte, 76. Acpia Negra, 207. Aquapendente, 294. Aqueduct at Marzana, 272. ofLucca, 410. of Pisa, 424. at Leghorn, 452. Araldi, 372. Arbeletes at Venice, 321. Arcari, 220. Arcetri, 546. Arch at Susa, 6. 8. Archiepiscopal palace at Milan. 17L Architects, xxii. Architectural remains at \’er- celli, 33. Architecture, domestic. jin Italy, xxiii. military, xxiii. , school of, 5. , Romanesciue and Gothic, xxii. Military, x.xiii. Do- mestic, xxiii. of Lombardy, 1 26. Archives at Turhi, 17. at Cremona, 209. Areola town, 113. , held of, 274. v\rda river, 362. Ardiiia valley, 5. 45. I Arena at Padua, 289. I , San 1 ‘ier d’, 85. ! Areuzana, 84. ; .\rengaria, 77. j Argeiita, 21. Ariai) Lomb.iids, persccuiiou ! l-y, 147- 2 H 3 562 ARIOSTO. Ariosto, 4 j. 77. 96. 204. j&4. Arlesega, 281. Ai’menian convent at Venice, 339- Armoury at Turin, 17. Arna, 77. Arno at Pisa, 441. Arnolfo, designs of, 460. 464. Arosia river, 78. Arpino, Cesare d’, 19. Arqua, 226. Arquata, 46. Arrighi, 420. Arrigo, Peter d’, 417. Arsena, 79. Arsenal at Venice, 321. Genoa, 102. Arts encouraged in Savoy, 4. Aspertino, 408. Aspetti, Titiano, statues by, 286. Assarotti, asylum of, loi. Asti, comity of, i. , city of, 44. , wines of, 44. Astigiano territory, 44. Attila’s helmet, 321. throne, 349. Augusta Bagiennorum, ruins, 55- Augustine, St., tomb of, 199. Augustus, statue of, at Susa, 7. Aurelian way, 71. 73. Ausonius, 1^9. Austrian Dominions : — Pass- ports — Money, 1 15. Weights — Measures, 1 1 7 . Posting, 1 18. Territory, 1 19. Nature of the country — Agriculture — Productions, 1 20. Lan- guage — Fine Arts, 125. Avanzi, Jacopo, frescoes by, 286. Aventine, Mount, 21. Avenza, 401. Avigliana, castle at, 10. Avogadro, 242. Azzo Alberto, 225. E. Bacchiglione river, 275. Badagnano, 361. Badalocchio, 374. Badia, ruins of the, 553. Badile, paintings by, 19, 253. Bagaadore, 240. 244, 245. Bagnasco, 56. Bagne at Genoa, 88. Bagno, F., 244. Balbi, 384. Balduccio, 160. 171. 416. Bambaja, sculptor, 148. Bandinelli Baccio, 400. Bank of Genoa, 103. at Florence, 455. of Nigra and Co., 12. Index. BELLINI. Bankrupt’s stone at Padua, 284. at Venice, 312. Baptisms in Florence, 472. Baptistery at Como, 130. at Padua, 285. at Parma, 368. at Milan, 150. at Verona, 260. at Pisa, 429. at Florence, 469. at Cremona, 209. Baradella tower, 128. 13 1. Barca, paintings by, 265. Barile, 415. Barlassina, 132. Baroni, 405. Barthel, sculptor, 330. Barroccio, painter, 97. 150. 181. 240. Bartolomeo, San, ruin of, 44. , convent of, 70. , gate of, 281. , Maestri, 314. 323. 332. , paintings by, 27. 247. 327.406.408. Bariicchi, Padre, 28. Barucco, 242. Basaiti, 178. 187. 330. 338. 341. Basaltic formations, 273. sarcophagus, 23. Basilica of the Superga, 29. of St. Mark, description of, 303. Basiletti, 182. Bas-reliefs, 25. 137. 163. 231. 268. Bassano, works of, 19. 27. 92, 93. 177- 187. 240. 276. 284. 294. 310. 315- 317, 318. 320. 332. 337- 342, 343- 360. Bassia, Martino, 158. Baths of Acqui, 58. — — of Abano, 227. of Caldiero, 273. of Recoaro, 281. of Lucca, 4 10-414. of Mount Catino, 415. of San Julian or di Pisa, 423. Battaglia, 226. Battle of Areola, 274. of Marengo, 47. of Montebelio, 49. of St. Quentin, 24. of Turin, 14. 29. — ■- of Mondovi, 57. of Pavia, 198. of Marignaiio, 204. Battoni, 19. 41. 181. 409. Bay of Genoa, 46. Bayard, anecdote of, 235. Bazzanto. Beauvoisin, Pont de, 6. Begarelli, statues by, 370. 386, 387. — terra-cottas of, 386. Beket, G. B., tomb of, 269. Bellini, G., 19. 27. 177. 179. 242. 246. 277. 308. 315. 331. 336. I 343. BONOMETTI. Bellino, 92. 179, 180. 320. 327, 328, 329. 333, 334- 339- 347- Bellotti, 168, 273, 318. Beltraffio, 19, 181. Belvedere fortress, 460. Belzoni, bust of, 284. , medal of, 284. Bembo, the painter, 19. 208. Bene, 55. Benedetto, the historian, 129. Berceto town, 380. Berengario, king, sacrament- ary of, 136. Bergamasco, 314. 326. Bergamo, 229. to Brescia, 234. to Lecco, 23 1 . Bergeggi, 81. Bernard, St., 203. Bernhardt, painter, 20. Berni, description of Verona, 249. Bernini, 80. 83. Bertani, architect, 220. Bertolotto, painter, 94. Bertuccio, 305. Bevera torrent, 53. Bevilacqua, 182. 225. Bianca of Carignano, 50. Bianchi, 153. 193. Bibbiena, 557. Bible, illuminated, 24. Bicocca, 127. Biduino, 408. Bigio, Fr., 20. Bignonia flowers, 281 Bimbacci, Binasco, 194. Biondi, poet, 81. Birago, D., architect, 153. Bissoio, 343. Blanc, Mont, 30. Bloemen, 178, Boara, 350. Boboli, gardens of, 458. 538. Bocca Negra, Boccaccino, B., frescoes by, 208. , paintings by, 246. Boccaccino, Cam., 21 1. Boccaccio’s Livy, 185. Bodoni, collections of, 376. , tomb of, 368. Boetto, frescoes by, 57. Boffalora, bridge of, 39. Bol, painter, 180.410. Bolca mountain, 272. Bologna to Florence, 452. Bolognese, S., 179. Boltiere, 229. Bonded warehouses, 87. Bonferraro, 225. Bonfires at Turin, 14. Boniface of Savona, 51. Bonifazio, 180. 254. 319. 338- 34L 342- Bnnnets of the Contadine, 114. Bono, San Giovanni, tomb of, 148. Guido, 90. Bonometti, 244. INDEX. 563 BONSIGNORE, Bonsignore, 265. 269. Books on Italy, xvii. Bordighiera, 76, 105. Bordone, P., 27. 90. 157. 176. 246. 442. 527. Borghetti, 478. Borghetto, no. near the Mincio, 271. 1 Borgoforte, 4 79. ^ San Donino, 464. Borgognone, 21. 92. 154. 157. I 159. 165. 171. 182. 186. 196, 197. 247. 462.525. Borguignone, 94. Bormida river, 45. San Carlo, 1 50. , valley of the, 58. BoiTomini, 72. Boscoli, Bossi collection at Venice, 445. , cartoon by, 1 86. Botanic garden at Rivoli, ii. at Milan, 184. at Padua, 295. at Pisa, 446. Botero, Giovanni, birthplace of, 56. Both, paintings by, 21. Botticelli, 187. Bower of Correggio, 471. Bozzolo, 212. Bril, 54. Braccini, 417. Bracco, no. Bramante, works of, 14, 41. 144. X55, 156. 159. 166, 167. 185. 188. 201. 205. 459. Brainantino, 41. 154. 174. 176. Brambilla, 147. 149. Brandizzo, 40. Brandt, painter, 92. Brazen Serpent at i^Iilan, 164. Brea, Ludovico, 66. 70. 81, 82. Breglio, 54. Bregni, 429. Brenta, the, 296. 451. Brentella torrent, 281. Brera Gallery at Milan, 175. Brescello, 478. Brescia, 244-248. Capture by the French — Bayard, 244. Roman remains, 246. Anti- quities, 247. Paintings, 249. Churches, 249. Palazzo della Loggia, 244. Broletto, 245. Library, 246. Galleries, 246. Palaces, 247. Campo Santo, 248. Brescia to Milan, 228. , to Bergamo, 244. , to Verona, 248. , to Venice, 248. Brescian school of painting, 249. Bresciauino, 242, 448. Breughel, 21, 178. Brian ti, 471. Brianza, La, 127. Bricks, price of, 50. Bridge at Mantua, 220. at Pavia, 201. CALUSIO, Bridge, fortified atVallegio, 271. over the Taro, 464. of boats, 206. Brignato, no. Brignola, 241. Brill, 21. Briosco, 265. Brockedon’s ‘ Italy,’ xx. Broletto at Como, 140. of Brescia, 245. Broni, 49. Bronze table at Genoa, loi. Bronzino, 19. 27. 187. 246. 416. 524, 525. Brucciauesa, Brugnoli, 267. I Brull, P. 246. Brunelleschi, xxii. 498. 417. 464, 465. 470, 484, 488, 501, 506. Brunetta, La, ruins of 7. Brunetti, 148. ^ Brusasorzi, 220. 225, 254. 261. 265, 266, 267, 268, 269, 270. 274. Bruzolo, 8. Bucentaur vessel, 422. Bulfalmacco, 447. 442. Bugalla, 46. Buggiardini, Buonamano, xv. Buono, 294. 412. 440. Burano, 447. Burial-grounds (English), 452. Bussola, 148. Bussolino, 8. Bussone, Fr., history of, 50. Buti, 444. Buttinoni, B., 154. Buzzacarina, bounty of, 285. Buzzi, Carlo, 144, 144. 148, 150. 192. c. Caccia the painter, 4. Ca' del Bosco, 447. Cacciaguida, 255. Cacciatori, 144. 149, 150. Caccini, Cadeo, 462. Cadibona, 61. Caffaggiolo, 454. Caffarelli villa, 21. Cagnacci, 19. Cagnola, 187, 244, Cairo, 60. , Francis del, 20, 181, 182. Calabrese, 27. Cains, institutes of, 260. Calano, 174. Calceo, 228. Caldara, P., 228. Caldiero, baths of, 274, Calendario, 414. Caliari, 415. 419. 442. Calessio, castle of, 242. Calisto, 19, 162. Calusio, MSS. of, at Turin, 24. CAREGGI. Calvart, 19. Calvi, Lazzaro, 66. , Pantalion, 66. Calvotone, 212. Camaldoli, 557. Cambiano (Marq.), pictures of, 26. Cambiasi, 19. 81. 102. Cambiaso, frescoes by, 56. 66. 85. 92, 94. 97, 98. Cambrai, league of, 24 5 Camerlata, 14 1. Camerio, 254. 265, 266. Camillo, tomb of, 214. , painter, 150. Camogiia church, 107. ’ Campagna, 254. 419. 421. 441. 355, 336. 441- Campagnola, 287. 294, 295. Campanile church at Carmag- nola, 50. Campello, 240. Campi, Ant., 154. 157. 171. 174. 208. 210, 211. Bernardo, 42. 156. 174. 197. 201. 206. 211. 459. D., 460. 484. G., 154. 174. 208. 210, 211. 245. Campi, castle at, 424. at Pisa, 440. at Brescia, 248. Campo Formio, 454. Canaletti, paintings by, 19. 180. 247. Candelabrum of ’walnut-wood, 266. Candia, 42. Cangrande, court of, 255. Canocio, 469. Canonica, 157. 190, 191. 229. Canova, basso-rilievo of, 277. statues by, 289. monument by, 294. monument of, 440. works of, 211. 244. 247 . 424. 425- 343- 375- Canossa, 485. Canturio, 144. Cape Crow, 114. Capelli, Dr., 148. Capo della Croce, 78. Capo della Mele, 78. Cappucino, 27. 94. Caprajo, castle of, 449. Caprasio, Monte, 8. Car of triumph at Vicenza, 277. Caracci, the, 19. 27. 94, 94. icx). 156. 176. 179. 220. 428.458, 459- 374- 376, 377-388. Caracalla, statue of, 517. Caracciolo, Cardinal, tomb of, 149. Caradosso’s sculpture, 155. Caravaggio town, 228. the painter, 20. 28. 94 . 181. 186, 187. 228. 241. 462. Carcare, 60. Cariani, 178. 244. Careggi villa, 549. 504 INDEX. CARIGNAN. I Carignan, principality of, i. I Carignano, 50. 54. (Jarignano to Raconigi, 50. Carinagna, 77. Carlo V., coronation of, by Ricci, 270. Carlone, Battista, 67. 85. 92. 99. 100. lOj. Carloni, painter, 44. Camiagnola, 50. Caronno, 192. Carotto, 255. 265, 266, 267, 268. Carpazio, 246. 342. 343. Carpi, Carpione, 276. Carra|fc242. Carrara, 198. duchy, 401. city of,— artists, 401. to Lucca, 402. pistol of, 321. Caniages for posting, 118. Carsaniga, 127. Cartoons at Hampton Court, 218. Casal Maggiore, 377. Pusteiiengo, 206. Casale, city of, 40. Casciovola, Cascina, 447. de Pecchi, 228. Cascine at Pisa, 446. at Florence, 548. Casella, paintings of, 14. Casentino, 557. Cassano, 228. Casselli, frescoes by, 208. Cassine, 58. Cassini, G. Dorn., astronomer, 76. Cassio, 380. Castagno, Andrea del, no. Casteggio, 49. Castel Altieri, wells of, 44. Ceriolo, 47. of Andora, 78. — — S. Giovanni, 49. of Este, 225. of Calessio, 232. of Sermione, 248. Nuovo, 249. Arquato, 362. Guelfo town, 364. Franco, 388. Castelbarco, Count of, tomb of, 268. Castellaro, 225. Castello, Bernardo, 66. 82. 85. 93. 99. Castello, Valerio, 90. Castelli, 95. 99. 144. 188. Castellucchio, 212. Gas'elpoggio, 381. Castiglione,i9. 93. 181, 218. , palace of, 219. Catalpa, the, 134. 281. Cataneo, 267. 286, 287. 31T. Cateau Cambresis, treaty of, 24. Cathedral of Susa, 7. — Turin, 13. GEVA. I Cathedral of Vercelli, 32. j Novara, 35. i Casale, 40. | Voghera, 48. ! Coni, 52. i Fossano, 57. i Mondovi, 57. ! Acqui, 59. I Ventimiglia, 75. | Albenga, 79. j Savona, 81. Genoa, 96. Como, 128. I Monza, 1 34. Milan, 143. Pavia, 198. Lodi, 205. Cremona, 207. Mantua, 219. Bergamo, 231. Brescia, 238. Verona, 258. Vicenza, 277. Padua, 284. Venice, 303. Parma, 365. Reggio, 383. Modena, 385. Massa, 402. Liicca, 404. Pistoia, 416. — - Prato, 422. Pisa, 424. Leghorn, 451. Florence, 463. Catini, Monte, baths of, 415. , the, at Genoa, 98. Catullus, villa of, 248. Causeway, fortified, 271. Cava Tigozzi, 207. Cavalier Maggiore, 5 1 . Cavazzolo, 269. Cave consecrated by Urban III., 272. Cavemago, 234. Celia, 83. Cellini, Benvenuto, 17. 515. 526. 529. Cenac jlo of Leonardo da Vinci, 13. 167. Cenis, Monte, ii, 16. Centa river, 78. Centallo, 51. Cerano, painter, 156. 171. 173- 182. 193. Cerea, 225. Ceresone torrent, 281. Ceriale, 80. Cerrutti, 182. Certosa church, ruin of the, 44. of Pavia, 194. of C arignano, 192. of Pisa, 447. of Florence, 547. Cervara, 107. Cervia, Cervo, 78. Cesare, Giulio, 201. Ceserano, 381. Ceva, marquisate of, i . CITADEL OF TURIN. Ceva, city, 56. Chair of Attila, 349. Chambery to Turin, 12. Champagne, P. de, 21. Champollion, inscription in ln)- nour of, 22. Chapel of Giotto, 290. of St. Sudario, 15. Chapter-house at Florence, 482. Charities of Genoa, icxd. of Turin, 28. Charlemagne, 8. 42, 43. 201. Charni, Marg. di, 15. Cheese district, 229. Cherasco, 55. Treaty of, 55. Chiabrera, birthplace of, 82. Chiaravalle, abbey of, 203. Chiari, Roman remains at, 228. Chiavari, 108. Chieri, 42. Churches, 42. Ma- nufactories, 43. Chioggia, 350. Chiusa, 8. Chivasso city, 31. 40. Chocolate in Ifiedmont, 12. Christiani, frescoes by, 416. Church of San Mark, 303. of Frari, 3 29. Churches at Turin, 15. Vercelli, 33. Novara, 36. Casale, 41. Chieri, 42. Genoa, 98. Como, 130. Milan, 152. Pavia, 199. Cremona, 210. Mantua, 219. Bergamo, 231. Brescia, 239. Verona, 261. Vicenza, 277. Padua, 285. Venice, 328. Parma, 369. Reggio, 384. Modena, 387. Lucca, 406. Pistoia, 418. Prato, 422. Pisa, 441. 444. Leghorn, 452. Florence, 473. Ciceroni, xiv. Cicognara, xix. 199. Cicognolo, 212. Cigliano, 31. Cignani, 19. Cignaroli, the painters, ii, 428. Cimabue, pictures of, 327. 376. 479 - Cinque Terre, no. Cinque-cento style, specimens of, 269, 270. Cimella, 70. Ciocca, painter, 166. Cisa station, 380. Citadel of Turin, 12. INDEX. 565 J CIVITALI. I Civitali, M., statues by, 97, 405, 406. j , burial-place of, 409. Civerchio, 240. j Cividale, jjj. ) Claude, paintings of, 21. Claudius Bishop of Turin, his ' opposition to tlie use of j images in Divine worship, I 12. ! dementi, P., 219. 368. jSj. Clerch, De, J17. Climate of Turin, ij. Ptivoli, II. Italy, IJ. Nice, 69. Pavia, 202. Pisa, 424. Clocks, invention of, 285. at Mantua, 219. Cloisters of Padua, 288. Coccaglio, 2J4- Codogno, 206. Codroipo, J5J. Cogoletto, 84. 105. Coins current in Italy, 116. , Tables of, xxviii. Colla, 244. Collatine nuns, 166. Colle d’Albaro, 106. Collechio, 479. College at Cremona, 210. Colleoni, monument of, 2jo. statue of, JJ2. Colletta, MS. collections of the, J27. Collina di Torino, ij. Collina, the, 25. 29, jo. Colonna del Rb, 73. Colorno, 378. Columbus, birthplace of, 84. 106. Comaschi, the, 129. Cominelli, J27. Como : Situation, 127. Duomo, 128. Paintings — Monu- ments, 1 29. Baptistery — Broletto — Antiquities, 130. Theatre — Palaces — Port, 131. Como to Milan, 127. 133. Conca, 239. Conegliano, 178, 179. 333, 339. 341. town, 352. Conigliano, 85. Coni, 51. Fortress of, 52. Conservatorie, loi. Constantia, 21. Constantine, statue of, 517. Contadine, dress of the, Contarini, 318. 542. 343. Conti, bas-reliefs by, 197. Coptic inscriptions, 22. Cornara, Carlo, 196. Cornaro, Luig, 296. Cornelius Nepos, birtlqilacc of, 25T Cornkhe road, 71. Corradini, 178. DAVID. Correggio’s bower, 371. cupola of, 365. paintings of, 26. 178. 189. 220. 223. 345- J66. 369, 370, 171- I74> 475, 376- 522. Corsico, 42. Corso, Nicolo, 66. Cortesi collection of fossils, Cortile San Martino, 378. Cortona, Piet, da, 19. 181. 533. Cossale, 210. 239. 241, 242. Cossali, bust of, 268. j Costa, L., 219. Costume of Pavia, 202. Cottius, statue of, at Susa, 7. Covigliaio, 453. I Cozzo, 42, 282. Crayer, G., painter, 20. Cre'cy, Genoese bowmen at, 104. Credi, Lorenzo, 416. Crema, Carlo di, 167. '265. Cremona, 207. Cathedral, 207. Churches, 210. Torrazzo, 209. Palaces, 210. S. Sigismondo, 211. Cremona to Parma, 377. Crescentino, 40. Crescenzago, 228. Crespi, Dan., 19. 17. 37. 153, 154. 166. 177. 181, 182. 192. 199. 388. , G. B., 182. 199. Crivelli, 177, 178. Cromwell, portrait of, by Lely, 20. Cross-bows of great power, 321. Crostolo torrent, 378, 383. Crown, the iron^ 136. Ci’ucifixion, by Avanzi and Ze- vio, 286. Crusca, academy of the, 51 1. Crjqit of mosaic, 265. at Stella, 272. Crunella valley, 272. Curioni, Currency, tables of, xxviii. Currone torrent, 48. Curtatone, 212. Curzio the poet, tomb of, 183. Custom-houses of Austria, 206. Cuzzano villa, 272. Cjqirus, Queen of, tomb of, 335. R Dairy farms at Olona, 39. Pisa, 446. Florence, Dandolo, And., 100. Dante, xx. 37. 104. 113. 18?. 252. 255. 271. 289. 322. 443. 448. 471, 472. 491. 49?. grand-tlaughters ol', 273. villa of, 272. Darn, xviii. Daun, Marshal, 14. Darici, painter, 102. DUCAL PALACE. Davila, grave of, 273. Deaf and dumb asylumn at Genoa, loi. De Angelis (Sig.) pictures of, 28. Decurions of Turin, 14. L’ego, 59. Battle of, 60. Deltiore, Candido, 28. Deiner, painter, 180. Dentone, works of, 330, 332. Desani, 384. Desenzano, town, 248. j Desiderius, king of the Lom- ! bards, 3 . j Desio, 134. I Dessaix, death of, 48. I Devil’s Mountain, 273. I Dialects of Piedmont, 4. j Lombardy, 125. Venice, 301. I Diamante, 422. Diano Castello, 78. I Marino, 78, 105. I valley, 78- I Dichat, death of, 58. I Diligences, xiii. I Diotti, frescoes by, 208. 228. ! Diottisalvi, 445. I Dockyard at Villa-franca, 72. I Genoa, 104 Dogana river, 42. Doganas of Italy, xi. Austria, 206. Dog -inspection, tyranny of, 183. Doges, paintings of the, 315. Dogliani, 55. Dolce, Carlo, 19, 27, 422, 537. Dolcebono, architect, 161. Dolce Acqua, castle of, 76. Dolcino, F., 37. Dolo, 296. Domestic Architecture iu Italy, xxiii. Dumenichino, 19. 27. 79. 83. 92. 176. I Donatello, bronzes by, 287. 403. j 422. 1 statues by, 284. 330. 472. I 477.488.519- I Dondi, Lucrezia, bust of, 284. Donnus, king of the Alpine tribes, 6. Donzelli, birthplace of, 231. Dora-Baltea, 31. Dora-Riparia river, 25. I Dora-Susina river, 6. 8. 13. ! Doria, Andrea, 78. 112. I , ^■illa of, 84. I , palace of, 95. I , tomb of, 100. j , Lamba, 100. I Dossi, 1)., 388. Dow, Gerard, 20. 327. ?26. Dragutte, a celebrated corsair, 107. Drovetti, Cavaliere, collections of, at Turin, 21. Due, G. lo, 20. Ducal jjalace of lUodena, 387. 566 IJyDEX. DUCHY OF PARMA. Duchy of Parma, 355. of Massa and Carrara, i82. of Modena, 382. Dungeon of Yaleggio, 271. Dungeons at Venice, 320. Durer, Albert, 13. 21. 28. 82. 9J. 102. 174. 187. 310. 328. Dusino, 44. E. Earthquake, singular effects of, 44. Eastlake’s Handbook of Paint- ing, xix. 4, 223. Edda, mythology of the, 22. Edessa, frescoes by, 200. Egyptian Museum at Turin, 21. at Florence, 528. Emilia, Via, 59. Empoli, games at, 448. Enfer, IBreughel d’, 21. Enrico Scrovigno, 289. Enza torrent, 383. Eremitani, the church of, 293. Esa, castle of, 73, 105. Este, 225. hills of, 280. Etruscan walls, 551. paterae, 23. Euganean hills, 280. Eugene, Prince, battle-scenes of, 14. 29. , letter of, 16. , cuirass of, 17. Eusebius, St-, his copy of the Gospels, 32. , burial-place of, 32. Exeter, Bishop of, tomb of, 476. Eyck, Van, paintings by, 102. Ezzelino, murder of, 277. F. Fabriano, Factories of Venice, 299. Fairies, bath of the, 70. Falcieri, 268. Falconetto, 266. 285. 295. Falconi, 427. Falb at Turin, 14. Family, royal, succession of, 2. Fan of Queen Theodalinda, 135. Fantiscritti, 402. Fantoccini, 26. Farinati, 260. 266, 267. 269, 270. 273. Faniese palace, 372. Favolo, 276. Felizzano, 45. Ferraglia, 454. Ferramola, 242, 243. FLORENCE. Ferrara to Venice, 350, Ferrari, Gaudenzio, 4. 18. 40. 97. 129. 153. 157. 162. 166, 167. 173. 181. 187. 192. Ferrari, Luca, 384. , architect, 157. Ferrato, Sasso, 19, 189. Ferri, Giro, 19. Festivals at Turin, 14. Feudal castles, 271. Fiammenghino, 148. 240. 243. J58. Fiammingo, 315. Fiasella, Dom., 67. 85. 99. 109. Fidanza, 182. Fiescho, Luigi del, 80. Fiesole, view from, 553. , city of, 551. Figini, 150. 167. 180. Filarete, 231. Filattiera, 380. I Pdliberto, Emanuele, 2. , statue of, 24. Filigare, 453. Filippino, 146. Pdnale, 80. 105. Fino, 132. Fiochetto, physician, Fiorentino, 360. 419. Fiorenzuola town, 362. Fiumicelli, 292. IGvizzano, 381. Florence : — Hotels. Cafds, 454. Miscellaneous infor- mation, 455. General as- pect, 458. Accademia delle belle Arti, 539. Acc. della Crusca, 511. Bargello, 510. Boboli Gardens, 538. Bridges, 461 . Campanile, 468. Churches — S. Ambro- gio, 504 ; Annunziata, 497 ; Apostoli, 504 ; Badia, 505 ; Baptistery, 469 ; Carmine, 502 ; Cathedral, 463 ; S. Croce, 475 ; S. Felice, 505 ; S. Lorenzo, 488 ; S. M. Madda- lena, 506; S. Marco, 494; S. Maria Nuova, 514 ; S. Maria IsTovello, 481 ; Or’ S. Michele, 473 ; Oratorio degli Angioli, 505 ; S. Spirito, 500 ; S. Trinita, 504. Festivals, 543. Fortresses, 461. Guardaroba, 473 . Ilospi tals and Charities, 542, 543. Libraries — Lau- rentian, 492 ; Magliabec- chian, 542 ; Marucellian, 541 ; Private, of G. Duke, 537; Eiccardi, 511. Loggia de’ Lanzi, 509. Loggia dei Peruzzi, 5 1 1 . Manufacture of Mosaic, 541. Markets, 509. Museo di Storia Natu- rale, 538. Palazzo Pitti, 532. Palazzo Eiccardi, 510. Palazzo Vecchio, 506. Pri- vate Palaces, 510-513. Pi- azza deir Annunziata, 500 ; S. Croce, 481 ; S. Giovanni, FRASSINATO. 473 ; del Gran Duca, 506 ; S. M. Novella, 487 ; S. Trinita, 505. Eaffaelle’s fresco, 514. Tetto dei Pisani, ^ 509. Theatres, 543. UfSzi, 514. Walls, 460. j Florence : — Neighbourhood of. ' Arcetri, 546. Badia, Fie- solana, 553. Bellosguardo, i 547. Bibbiena, 557. Camal- doli, 557. Careggi, 549. Cascine, 548. Casentino, 557- Gastello, 548. Cer- tosa, 547. Chiusi, 557. Fie- sole, 551. Monte Ceceri, 553- Monte Falterona, 556. Monte Seccheta, 556. Pog- gio a Cajano, 548. Poggio Imperiale, 546. La Petraja, 548. Poppi, 557. Prato magno, 556. Prato Vecchio, 558. S. Salvi, 544. Stia, 558. Vallombrosa, 554. Verna, 557. Villa Mozzi, 550. Villa Schifanoia, 551. Florence to Leghorn, 449. to Lucca, 414, 423. Floris, F. 21. Fogolino, 276. Fondulo, Gabrino, 209. Fontana, 157. 197. iredda, 362. del Tempio, 70. Fonte buona, 454. ■ Sano, 57. Foppa, A. 152. V., 154, 176. Foreign coins, tables of, xxviii. Formentone, 244. Formigine, 389. Fornace, Fornaci, 229. Fornuovo, ruins at, 379. Fortana, An., paintings by, 157- Foscari, Doge, monument of, 329. Foscari palace, 323. Foschi, painter, 177. Fosdinovo, 381. Fossano, 57, 195. Fossil remains, 44. 55. 232. 272. Fostinello, 244. Fra’ Bartolomeo, 27. 522, 523, 541. Fracastorius, the poet, 252. Franceschini, painter, 92, 93, 388. Franchini, 358. , F. 20. 27. 178. 246. 374- , Guido, 27, 242, 370. 388. 407. Francial)igio, 498. 554. Francis 1., 12. 198. 204. 206. Franco, paintings by, 314. Frari, church of, 329. Frassinato, 72. INDEX. 567 , FRATE ANGELICO, j Frate Angelico da Fiesole, 496. I 499- 505- 540- I Frederick the Great, 16. j Freemasons of Germany, 144. ! Fresco painting, xxiv. Frescoes at Turin, ij. at Vercelli, jj. at Novara, 35. of Luca Cambieso, 56. at Genoa, 91. by Cambiasi, 102. by Taormiiio, 106. by Montorfano, i 'jo. by Luini, 161. by Campi, 206. at Milan, 157. at Mantua, 219. by Sandrini, 239. — — by Rossi, 240. at Verona, 266, 267. of Brusasorzi, 267. by Morone, 269. by P. Veronese, 272. at Padua, 285. by Titian, 287. at Pisa, 432. at Florence, 466. 478. 496. 498, 499, 500. 502. 504. 546, 547- Frisio, Adriano, 16. Friuli, mountains of, 280. Fulignate, Nic., 177. Fusina, 153, 296. Fytt, paintings by, 20, 179. G. Gaetano, 305. 536, 537. Gaggiano, 42. Gagnereau, 21. Galeazzo, 154. Galeotti, painter, 91. 100. Galileo, 289. 295. 547. , temple of, 539. , finger of, 494. , observatory of, 547. Gallery at Milan [RreraJ, 175. Verona, 253. Brescia, 239. Turin, 18. Venice, 340. Parma, 373. Modena, 387. Genoa, 90. , Imperial, at Florence, 514. 532. of the Academy, 539. , Pitti, 532 . 537 - Galliano, 133. Galliari, 182. Gallinaria, island of, 78. Gamalero, 58. Gambara, 181. 213. 240, 241, 242, 243, 244, 245, 246. 248. 307. Gamberato, 316. Gamolo, 42. Gandiui, 239, 240, 241, 242, 243 - GIOCONDO. Garda lake, 249. Gardens, public, at Genoa, 89. Venice, 346. Botanic, at Rivoli, 1 1 . Milan, 184. 191. Pisa, 446. Padua, 295. of Boboli, 538. Garessio, 56. Gargagnano, 272. Garlanda, 79. Garofali, chapel of the, 48. Garofalo, 19. 92. 177, 178, 179. 187. 388. Gaston de Foix, 235. , tomb of, 187. Gatini, painter, 97. Gattamelata, armour of, 321. Gatti, 360. 367. 371. , Bernard, 21 1, 212. Gaudenzio Ferrari, 4. 3 ' 3 . Gavassetti, 359, 360. 384. Gavone castle, 80. Gazzaniga, 229. Geminiani, 387. Geldorp, paintings by, 20. Genlis, Madame de, 78. Gemiaro, 327. Genoa, 47. 62. Roads, 63. Money, 64. City of, 85. Inns, 85. Port regulations— passports — steamers — carri- ages — Post-office — Bankers, 86. Provisions — Manufac- tures, 87. Description of the city, 87. Navy, 88. Forti- fications, 89. Palaces, 90. Paintings, 91 . Churches, 96. Theatres, loi. Academy, loi. Arsenal, 102. Palazzo Ducale, 102. Goldsmiths’ Street, 103. Bank of St. George, 103. Genoa, Duke of, 2. to Turin, 43. to Nice, 67. — ^ to Sarzana, 106. to Pavia, 202. Genoese States, 2. Character of the people, 65. Women, 87. Geological specimens, 270. Gera, 206. Germano, San, 31. Gherardini, Mel., 148. Ghiara d’Adda, 206. Ghibellines, 45. 57. Ghiberti, 399. Ghiliiio I’alazzo, 46. Ghirlandaio, 405. 418, 419.422. 427. Gbitti, painter, 240, 241, 242. Giacondo, Fra’, 253, 326. Giandolo, 53. Giant’s staircase at Venice, 314- Gibljon, anecdote of, 261. on Italy, 120. 158. 260. Ginguond, xx. Giocondo, F., 261. 269. GUIDO, Giolfino, 260. 268, 269. Giordano, Luca, 92. 94. 180. 231. 409. Giorgio, San, 8. 272. 361. Giorgione, imin tings by, 119. 180. 187. 246. 326. 328. 343. Giottino, 177. 469. 539. Giotto, paintings by, 178. 208. 291. 327. , death of, 464. 539. , chapel of, at Padua, 290. , architect, 289. Giovane, Palma, 161. 239, 240 241, 242. 360. ’ Giovanni, Fra, 266. 283. — — , Marquis, his death, 31. Giovenone, paintings by, 18. Giovio, Benedetto, monument of, 129. , Paolo, paintings by, 186. Giudetto, 404. Giugno, 240. Giusti, 285. Glass, stained, of Italy, xxiv. Gnocchi, Pietro, painter, 161 162. 166. Gobbino, 273. ‘ Golden Legend,’ 84. Goldsmiths at Genoa, 103. Gondrate, 368. Gonzaga, Francesco, 214. Gorgonzola, 229. Gorlago, 232. Gos})eis, ancient copy of the, 32. Gotardo, San, 172. Government of Genoa, 87. Goyeu, Van, 179. Gozzi, 182. Grana river, 52. Grandonio’s brazen mace, 415. Gran turco, 132. Gi'assi, 368. Grate, de, 371. Gravellone, 202. Greffier, 21. Greghentino, 127. Greghetto, 20. Gregory the Great, Pope, 135. Grezzana village, 272. Grimaldi, the, 74. Grimani palace at Venice, 327. Gropello, 228. Gros, Pierre le, 14. Gruamonte, 419, 420. Guala, Cardinal, 33. Gualberto, St., 554. Gualtieri, 295. Guarienti, frescoes bjq 293. Guarini’s Imildings, 13. 15, 16. 26. 57 - Guanheri, 207. Guastalla, 119. 378. Guelphs, 45. 57. Guercino, i?. 19. 27. 91, 92, 93, 94, 95. 98. 176. 179, 180. 187’ 188. 196. 247. 358. i84’ 187. 409. Gugliehnina, 204. Guiccardini, xviii. Guido, Arotino, 555. 568 INDEX, GUIDO. Guido’s paintings, 19. 27, 28. 91, 92. 94, 95. 100. 173. 181. 187. 247. 293. 328. 387. 409. Guidotti, 408. Guilombardo, 31 1. Guisoni, 219. Gulf of Spezia, iii. Gustavus of Sweden at Padua, 289. H.' Hagiology, legends of, 241. Hallam, Mr., on Mirandola, Hals, painter, 180. Hamelinck, painter, 186. Hams of Trino, 40. Handbook of painting, xix. 4. 179. Hannibal, his passage of the Alps, 8. , fountain of, 49. Haratcb, Count, pictures of, 27. Harlequin, origin of, 230. Hawkwood, Sir John, 466. Hayez, painter, 173. Helmet of Scarpa, 17. Hemli'nck, Hans, 20. Hercules, temple of, 158. Hesse, the fresco-painter, xxvi. Hobbema, paintings by, 178. Holbein, Hans, 20. 92. Homer, MS. of, 185. Hondekooter, paintings by, 20. Honthorst, paintings by, 20. Hope, Mr., on architecture, 175. Horned cattle in Lombardy, beauty of, 10. Horologe tower at Venice, 308. Hot-water streams, 58, 227. Hugtenburgh, 21. Huysum, Van, 21. Hydrophane mineral, 10. I. Iconology of middle ages, 291. Imola, F. da, 93. India, Tullio, 270. Indus tria, city of, 23, 39. Inganna poltrone hill, 272. Inns, xv. Inscriptions, Coptic, 22. , sepulchral and medical, 24 - Institutes of Caius, 261. Iron crown of Lombardy, 136. Iseo, Lake, 232. Isiac table, 21, 40, 215. Isis, temple of, 22. Island of Palmaria, 112. of Tino, 1 12. of Venice, 300. of Murano, 346. of Torcello, 347. of Malamocco, 349. Isonzo river, 351. LANTANA. Italy — Passports and Doganas, xi. Routes, xii. Modes of 1 travellmg, xii. Laquais de I Place and Ciceroni, xiv. Money — inns, xv. Books, ! xvii. Objects to be noticed, j xxi. Fresco-pamting, xxiv. Music, xxvii. Tables of cur- ! rency, xxviii. Itinerary of Antoninus, 73. Ivara, see Juvara. i Ivory carvings, 23. i diptychs, 36, 136. I vessel, 151. Ivrea, marquisate of, i. J. Jablonsld, discoveries in my- thology, 22. Jandine, 242. Jesuits, library of, 183. college of, 220. Jordaens, 21. Josephine, Empress, 133. Josephus, historian, 185. Juliet, tomb of, 271. Jupiter Ammon, statue of, 23. Juvara, works of, 10. 13 . 16. 29. 128. 219. [K. Kauffmann, Angelica, 20, 231. Kellerman, 47. Kempis, Thomas a, 24. Key pistol of Carrara, 321. Kill-cats, palace of, 270. King Donnus, 6. Klenau and Napoleon, 215. Knoller, M., 173. 181. Kugler’s handbook of painling, xix. 4. 179. L. Lago di Garda, 248. della Madonna, 10. di San Bartolomeo, 10. Lagune fortress, 349. Lakes at Avigliana, 10. Lake Gerondo, 206. Iseo, 232. di Garda, 248. Lamazzo, 162. Lambro river, 127. 146. Landi, 247. Landini, Lanfranchi, painter, 28. Lanfranco, 91. 537. Lanini, painter, 4. 42. 156. 165. 176. 181. Lannes, 47. Wounds of, 275. Lantana, 239. LIONS. Lanzi, xix. Laquais de Place, xiv. Larea, 388. Lateral tablets at Milan, 164. Laurate, 436. Lavagna, 109. Lavagnai'o river, 109. Lavaria, Sig., pictures of, 27. Laugier, Lorenzo, 20. Laurentian library, 492. Layne, paintings by, 92. Lazar ini, 333. Lazzaro, 182. League of Cambrai, 235. of Lombardy, 45, 140. Lecco, 127, 232. to Bergamo, 231. to Milan, 127. Lecomte, Jules, xx. Leghorn ; conveyances, 449. Passports — manufactures — imports, 450. History of buildings, 451. Aqueduct, 452. Leghorn to Florence, 449. Legnano, 171, 225. Legnani, Legnaja, Leida, Luca de, 20. Lely, Sir Peter, 20. Leo, M., architect, 254. Leonardo, 167. Leoni, 148, 189. Leopardo, 308. 331, 332. Lepanto, battle of, 321. Lerici, 112. Lessini, Monti, excursions to, 272. Levan te, province of, 120. Levanto, no. Leyden, Lucas van, 21. 187. Libraries at Susa, 8. at 'I'urin, 16. 24. at Vercclli, 32. — at Novara, 36. at Genoa, 95. loi. of Jesuits, 183. — - (Ambrosian), at Milan, 184. at Mantua, 220. at Brescia, 246. at Padua, 285. at Parma, 375. at Pistoia, 421. at Florence, 492. Libri, G. de, 253. Liceo institution, 268. Licetus, birthplace of, 107. Lighthouse at Genoa, 88. of Tino, 1 1 2. Ligozzi, 406. 409. 448. 451. Ligurians, their character, 65. Limone, 52. Lingueglia, 78. 105. Linterno, 191. Lion of St. Mark, 3 1 1 . Lions of marble from the Pelo- ponnesus, 321. INDEX. 569 LIRA. Lira Italica and Austriaca, xxix Livy, monument of, 28 j. Loano, 80, 105. Lodi, Alberto di, 205. , Calisto da, 162. 166. 181. 205. 241. 24?. 246. , Ermeneg. di, 210. , Guglielmo di, 205. Lodi: origin— inns, 204. Ca- thedral — paintings — cheese, 205. Lodi to Milan, 20J. to Piacenza, 204. Loggia de’ Banchi, loj. Lojano, 453. Lomazzo, 162. 171. Ijombardino, 159. Lombardo, 308. 314. 327. 332, 331 - Lombard league, 45. 140. ox — plough, 10. school of art, 125. Lombardo-V enelian kingdom, 115. Lombardy, great plain of, ip. under Austria, 125. municipal buildings in, xxiii. Lomi, paintings by, 19. Lonato, 248. Londonio, 182. Lorenzi, basso-rilievos, &c., by, . 157 - Loreto, 127. Lorraine, Claude, 21. 71. Lotto, 231, 232, 246. 327. 417. Lovere, 232. Lucan, 74. 377. 401. Lucca city : cathedral, 404. Re- lics at, 404. Paintings, 405. Antiquities, 406. Churches, 406. Baths, 410. 414. Lucca, pruicipality of, 403. to Florence, 414, 423. Ludovico, paintings by, 95. Lugano, 244. Lugliano village, 413. Lugo village, 272. Luini, pictures by, 19. 27. 129. 153, 154, 155- 159- 161, 162. 165. 171. 175, 176. 178. 180, 181. 186. 187. 189. 192, 193. 195. 197. 246. Lunigiana, province of, 113. Lurago, the architect, 91. Lusignano, 78. Lustermans, 20. Lutes of Amuti, 207. Luther’s psalter, 375. Imti, 419. Luzzara, 379. M. Mabuse, painter, 20, 102, 174. Machiavelli, xviii. Madonna di V'ico, sanctuary of, 57 - j MASS A. Maffei, tomb of, 270, Maganza, 243, 253, 276, 277, 288, 294. Magenta, 39. Magra river, 52. 64. 113. Mala, Via, 70. Malamocca island, 349. Maleotto, paintings by, 167. Malosso, 208, 210, 359. Malpaga, Castel, 234. Manfrini palace, 327. Mangiard, paintings by, 21. Mansueti, 344. Mantegna, Andr., works of, 19. 27. 178, 179. 187. 189. 216, 217. 219. 247. 263. 277. 280. 293. 388. , chapel of, 293. Mantua, 119. 213. Sieges, 214. Buildings, 216. Churches, 219. Towers, 219. ' Monu- ments, 219. Palaces, 221. Mantua to Milan, 206. to Venice, 225. Manufactories of silk twist, 131. of straw plat, 449. of fustian, 43 . MSS. at Turin, 17. 24. — — Vercelli, 32. 1 Milan, 184. I Venice, 310. Parma, 375. Florence, 493. Manzoni, xx. 126. Maps of Italy, xx. Maraino, 134. Maratti, Carlo, 19. 91. 99. Marble quarries,56. 63. 145 .272. Marcello, 357. , San, 389. 421. March tower, 280. Marches!, 38. 129. 131. 143. 150. 153. 166. 201. Marcone, Rocco, 327. 331. 344. Marengo village, 47. , battle, of, 47. Maria Louisa, necklace of, 271. Marignano, 204. Marinate, 286. Marinari, 374. I Marini, 537. I Marino Falieri, 317. Mark, St., palace of, 309. , church of, 303. Marlia palace, 410. Marochetti, 5. 24. Marone, P., 239, 240, 241. 243. 245. Manpiisate of Ivrea, i. Susa, I. Cera, i . Saluzzo, I . Marzana, 272. Masaccio, ])ictnros of, 276. I frescoes by, 702, 503. ! Mascagni, Fra, 499. i .Mas(jlino, 70?, 703. i Massa, duchy of, 401. i , city of, 402. j MILAN. i Massa Rosa, 403. Massena, 89. 274. Masserotti, 210. Mastino, tomb of, 254. Matsys, Quintin, 27. Mattarana, no. Matteis Paoli, 179. Matthew, the artist, 5. Mauro, 317. Mazorbo, 347. Mazzola, 368. Mazzuchelli, paintings by, 19. Mazzuola, 180. 187. 370, 371, 372 - . 375 - Meda, Giuseppe, 150. Medals, discovery of, 59, 282. , collections of, 23. Mediajval architecture, 126. Mela torrent, 236. Melas, 47. Melegnano, 206. Melani, 419. Melone, Memmi, S., 435. 486. Mengs, Raphael, 173. 187. Mentone, 75. 106. Menzini, poet, birthplace of 461. Merula, tomli of, 160. Mestre town, 296. Mestrino, 281. Metayer system in Piedmont, 2. Meulen, Vander, 21. Meuron, death of, 275. Michele, San, 273. , monastery of, 8. Michelozzo, 496. 499. 507. 718. Miel, Jan, 5. 20, 21. Mieris, 20. Mignard, 20, 21. 27. Milan, duch}'-, 2. Milan:— Inns, 137. Vetturini, 137. Diligences, 138. Rail- roads, 138. Post-office, 138. Booksellers, 175. Gates, 141. Castello, 142. Arco della Pace, 142. Duomo, 143-152. Churches : — S. Alessandro, 157. S. Ambrogio, 162. S. An- tonio, 176. S. Bernardino, 154. S. Carlo Borromeo, 152. S. Celso, 1 76. S. Eufemia, 1 76, S. Eustorgio, 159- >S- Fedele, 1 71. S. Giorgio in Palazzo. 177. S. Giovanni in Conca, 177. S. Lorenzo, 178. S. Marco, 171. S. Maria del Carmine, 171. S. .Maria presso S. Celso, 176. S. IMa- ria (Idle Grazie, 167. S. Ma- I ria Incoronata, 171. S. IMaria della Passione, 173. S. Ma- ria dei Scrvi, 173. S. Mau- rizio Maggiore, 161. S. Na- I zaro, 177. S. I’aolo, 176. S. j Pietro in G(>ssate, i 73 - S. Saliro, 174. S. Sebastiano, 177. S. Sepolcro, 177 - S. I Simpliciano, 171. S. Stefanu 570 INDEX. MILAN, in BrogUo, 154. S. Tomaso in terra mala, 17 1. S. Vit- tore al Coi-po, 166. Public buildings : — Am- brosian library, 184. Arci- vescovado, 17?. Brera, 175. Goperto de' Figini, 188. Os- pedale Maggiore, 187. Os- pizio Trivulzi, i 83 . Palazzo Imperiale, 171. Palazzo della Citta, or Broletto, 174. Pi- azza Borromeo, 188; della Fontana, 188 ; Leone di Por- ta Orientale, 188 ; de’ Mer- canti, 174. Private buildings ■ — Casa Andriani, 189 ; Archinto, 189; Borromeo, 189; Me- dici, 189; Melzi, 189; Pi- anca, 189; Scotti, 189; Tri- vulzi, 189. Palazzo Litta, 189 ; Clerici, 189 ; Pozzi, 189. T heatres ; — Arena, 191. Canobiana, 190. Carcano, 190. Fiando, 191. Filodram- matico, 190. Eb, 190. La Scala, 190. Public garden clubs, 191. Milan to Turin, 39. to Como, 127. 133. to Monza, 137. — — to Varese, 192. to Genoa, 194. to Pavia, 194. to Lodi, 203. to Piacenza, 203. to Cremona,, 206. to Mantua, 206. to Venice, 206. to Bergamo, 228. to Brescia, 228. to Chiari, 228. Milano, Gaspar, 244. , L. di, 128. 181. Milanti, sculptor, 148. Militaiy Academy, 18. architecture, 126. In Italy, xxiii. Millesimo, 61. Milton, 547. Mirteto, 402. Mincio river, 248. Minerals, collection of, 25. Miracles of Curtatone, 212. Missals at Turin, 18. Mocchi, Fr., 357. Modena, 119. Duchy of 382. Cathedral, 385- Wooden bucket, 387. Palace, 387. Gallery, 387. to Ihstoja, 388. Molineri, birthplace of, 51. Mombelli, L., 242. 245. Mombello, villa of, 132. Monaco, 74. Monaldi, birthplace of, 76. Monastery of San Michele, 8, 27D Monbarone mountain, 71. Moncalieri, 43. MONUMENTS. Moncalvo, 37. 43. 44. 154. 166. 200. 201. Mondovi, 57. ■ , battle of, 57. iMondalavia river, 55. Moneglia, no. Money, xv. in Piedmont, 5. in Eiviera, 64. in Austrian Italy, 115. in Parma, 3 56. in JModena, 382. in Tuscany, 394. Jibney, Tables of, xxviii. Monselice, 226. Monsignore, F., 220. 266. Montagna,Bartolomeo, 1 77.197. 266. 277. 294. 34 h Montagnana, 225. 285. Montalbano, 71.’ IWontalegro, 107. Montalto, frescoes by, 157. Montbossir, Hugh de, 9. Montecchio, 383. Monte Piricliiano, 8. 10. Caprasio, 8. Musind, 10. Cenis, ii. 16. Ciceri, 553. Eosa, 30. 31, 35. Negro, 76. 77. Baldo, 248. Stregone, 59. Appio, 76. negro church, 77. Bolca, 272. cucullo, 389. di San Quirico, 85. Prinzera, 380. Moria, 361. Eovinazzo, 361. del Diavolo, 273. bello village, 275. Berico, 275. 2 ^ 9 • Viso, 43 52. — — Zago, fossils at, 362. Morale, 225. Forte, 272. Lupo, 449. Carelli, 453. Montea del Po, 39. Montelupo, 414. 474. Montenotte, 61. Monterosso, no. Montferrat, duchy of, 2. 40. castle of, 31. Montferrat-Paleologo, dynasty of, 31. Monti, 143. 149, 150- 171- WIj 247. Monti Lessini, excursions on, 272. Montini, tomb of, 368. Monticelli, Montignoso Castle, 402. Montorfano, 170. Montovano, 223. Montramito, 403. Montuolo, 403. 423. Monmnents of the Doges, 330. MYTENS. Monuments at Turin, 14. at Milan, 148. at Mantua, 219. at Verona, 254. at Pisa, 431. at Florence, 472. Monza : Cathedral — town-hall — Gueen Theodolinda, 134. Eelics, 135. Iron crown — ivory diptychs, 136. Bas- reliefs — palace — railroad, T37- Monza to Milan, 137. to Como, 133. Moor, C., painter, 20. Moraglio, 141. IMorandi, 420. Morazzone, 20. 37. 159. 173. 193. in- Moreau, crueltj'’ of, 58. Moreno, Lorenzo, 66. Moretto, 157. 177. 208. 231. 239, 2UO, 2ui, 242, 243, 244. 246. 265. 267. Morgagni, at Padua, 294. , MSS. of, 375. Morone, frescoes by, 269. , paintings by, 246, 247. 265. 268, 269. , And., 288. Moroni, paintings by, 260. 266. m- Moroni, 19. 27. 177. 179. Mortara, 42. Mosaics, XXV. 35. , crypt of, 272. Mosca, works of, 26. 427. Mosquitoes at Mantua, 213. Metis, Christopher de, 198. Motta, 352. Moucheron, 28. Mozzecane, 272. Mozzonica, 228. Mulberry plantations, 43. 133. 404. Multedo, 77. Mummies at Turin, 22. Municipal bodies, powers of, 2. Municipal buildings in Lom- bardy, xxiii. Murani, 334. 342. 388. Murano island, 346. Murillo, 20. 327. 534. Musscher, Van, 21. Museum at Turin, 21. Pamia,..375. — - Mantua, 220. Pavia, 202. Milan, 182. Padua, 295. Musical instruments of Amatl, 207. Music of Italy, xxvii. Musind, Monte, 10. Mystical sculptures, 259. ] Mytens, paintings by, 20. NArOLEOX. K. Xapoleon, 2. 7. 46. 60. 79. i3_j. 137- 145, 168. 215. , battle-scenes of, 47. 55. 57. 60, 61. 205. 215. 274. , letters of, 16. Narses expels the Ostrogoths, 311. , ancient church of, joj. Nave, 403. Naviglio Grande, 39. di Pavia, 194. Navy of Sardinia, 88. Neapolitan dollar, . . ; Neefs, Peter, 21. Nervi, 106. Nervia river, 76. Netscher, C., painter, 20. Nice, 2, 67. , Castle, ruins of, 69. Con- ference of, 70. Environs, 70. Hotels, 67. Carriages, lodging-houses, 68. Trades- men, steamers, 68. Vettu- rini, 68. Nice to Genoa, 67. Nicolo di Pisa, 445. 473. 480. Niebuhr, discoveries of, 261. Nigra,'bankers at Turin, 12. Niello, 362. Nipozzano, 482. Nizza, 54. Nogara, 20. 225. Noli, 81. 105. Notti, the painter, 28. Novara, 35. 38. Novalese abbey, 8. Novarese, . Novelli, 513. Novi, Ber. da, 197. town, 46. Nozzano, castle of, 403. Nuns of Collatine order, 166. Nuvolone, 37. 153. 157. 181, 182. 193. 359- Obelisk at Arcole, 275. Observatory at Turin, 21. of Galileo, 547. Obstat, 247. Occhiali, 77. Ogionno, 179, 181, 182, 186. Oglio river, 212. 231. Olando, Luca d’, 91, 92, 93, 94, 107. Oldrino, stained glass by, 154. Olginate, lake of, 127. Olivieri, paintings l)y, 18. Olmo, San J’ietro al’, 59. Gloria, 39 . Oltre Po Pavese, 2. Omodei, architect, 144, 143. Oneglia, 2. 56. 77. 105. INDEX. 571 PELAGI. Oneglia, to Turin, 54. 57. Ora, 84. Orbetto, 265. 267. 269, 270. Orcagna, 398. 436. 484. Oreo river, 30. Orfanotrofio, garden of, 271. Orfengo, 35. Orgagna, 475. Organs at Como, 130. Ormea, 56. Orso Orseolo, Bishop, duomo by, 348. Or to, V. dell, 192. Oscuro II Vallone, 70. Oslo, 229. Ospedaletto, 225, 234. Ospizio, Peninsula di’ Sant, 73. Osservatore Fiorentino, xviii. Ostade, 20. Otho, statue of, 517. Ottini, 267. 269. Ox of Lombardy, 10. ' P. Pacchione, 384. Pacetti, 143. Padovano, 284. 288. 294. Padovanino, 231. 284. 327.338. 342. Padua, 228. 281. Palace of Reason, 282. School of Paintings, 283. Cathedral, 284. Clocks, 285. Churches, 285. Giotto’s Chapel, 290. University, 294. Palaces, 295. Padua to Venice, 296. to Vicenza, 281. Pageant at Vicenza, 276. Paglia, 240, 242. Pagliani, Painters of Cremona, 208. at Brescia, 239. of Verona, 235. Painting, school of, in Genoa, 66 . , in Tuscanj^ 397. Paintings at Turin, 18-21, 26- 28. Como, 1 29. Milan, 173. Brescia, 239. Imcca, 407. Palaces near Turin, 29. Ghilino, 46. at Genoa, 90-9?. loi. Imperial, at Milan, 171. of the Gonzagas, 216. at Mantua, 216, 221. of Martinengo, 234. della Loggia, 244. at Verona, 270. at Vicenza, 277. at I’adua, 295. of Doge at Venice, 313. of Venice, 323. at I’isfoia, 420. Pelagi, Pelagio, works of, 16. PIERINO DE YAGA. Palavicini, chapel of the, 97. Palazzetto, 281. Palazzolo, 234. Palladio, works of, xxiii. 275, 276, 277, 278, 279. 285. 295. 318. 334 - U6. , villa of, 280. Palimpsests at Milan, 184. Pallas, fountain of, 59. , temple of, 245. Palma, 231. 288. 316, 317, 318, 319. 329, 337 > 318.534, 535 - Pahnaria, island of, 112. Palmieris drawings, 27. Palmizzano, 178. Palvasene, Sir H., 93. Pampaloni, 469, 515. Pandino, 196. Panfilo, 239. i Panini, 18, 19. i Pantena, 272. I Paolini, 409, 416, 419. I Papagalli, 419. Pappafava family, 296. Parentino, 288. Parma, 119. 365. Cathedral, 365. Correggio’s Cupola, 365. Baptisterj4 368. Steccata, 370. Farnese Palace, 372. Ducal Academy, 373. Gal- lery-Library, 375. Museum, 375 - Parma duchy, coins of, 356. , Alessandro, “ Prince of Parma,” 357. to Cremona, 377. to Mantua, 378. to Lucca, 378. to Modena, 383. Parmesan chee.se district, 205. Parmigiano, 27. 92. 176. 370, 371, 372- 374 - 376- 525, 536. Parodi, 46. 67. 92. 94. 286. 338. Parola, 364. Passignano, 405, 408. Passports for Italy, xi. Florence, xi. Pauline, Princess, 133. I Pavia, Certosaof, 194. Castle of, 198. City of, 198 ; its history. Cathedral, 198. Churches, 199. University, 201. Costume, 202. Pavia, records of, 12 5- to l\Iilan, 194. to Genoa, 198. Pazzaro, pictures l).y. 20. Pedone city, ruins of, 52. Pedoni, 2 to. Pedrini, Gio., 179. Pedrocchi, anecdote of, 282. I’egli, 84. Pellegrini, 36.95. 144, 147. 150. 157, I 58. 171 . 176. 186, 193, 196, 228. I’cllizono, And., 147. Penitesi, 409. Perabo, 145. I’erinaldo, 76. Pierino de Vaga, 66. 572 INDEX. PEROVANO. Perovano, architect, i6i. Persigliano marble, 56. Pertinchamp, 25. Perugino, Peter, 196. 210. 327. 362. 506. Pesa, 244. Pesaro, General, monument of, 329. , the artist, 95. Peschiera town, 249. Pescia city, 414. Pestagalli, P., 150. 171. Petrarch, 185, 368. , retreat of, 191. , chair and inkstand of, 226. , his funeral sonnet upon Cino di Pistoia, 417, Petro, S., 148. Petronii, 387. Phillips on the Cenacolo of Da Vinci, 169. Piacenza, 356. Piazza di Ca- valli, 357. Cathedral, 358. Churches, 3 59. Citadel, 3 60. Piacenza, duchy of, 355, 119. to Turin, 12. to Parma, 356. Piadena, 212, 377. Piantogna, 380. Piave river, 351. Piazetta at Venice, 311. Piazza, paintings by, 157. Piazzi the astronomer, 13 1. Picinardi villa, 212. Pictures, collections of, atVer- ceili, 33. , Genoa, 90. , Cremona, 208. , Tm-in, 18, 26. Piedmont: Territory— Govern- ment, I. Nature of the country — produce — revenue, 2. Language, 4. Fine arts — litei'ature, 4. Posting — money, 5. Weights and measures, 6. Piermarini, 190. Pietra, 80.105. Pietra-dura work, 1 59. 491 . Santa, city, 403. Mala, 453. Pietrino, G., 19. Pietro, N. di, 445. Pieve, 56. Pieve a Nievole, 415. Pelago, 389. Piguerol earthquake, 44. to Tm-in, 1 2. Pignotti, xviii. Pilati, 243. Pinacoteca of Vicenza, 279. Pinocchio, Pino, 42. Pinturicchio, 441. Piola, 19, 20. 67. 91. 94, 95-97) 98. , death of, 103, , Dom., 104. Piombo, Sebastiano del, 91, 93- 328. 339- PORPORATI, Pippi, 20. Piranesi, Pirichiano, Monte, 8. Pitti Palace at Florence, 532. Pisa, 423. Climate, 424. Cathe- dral, 424. Leaning tower, 428. Baptister}^ 429. Ceme- tery — Campo Santo, 430. Sarcophagi, 431. Monu- ments, 431. Frescoes, 432. Churches, 441. 444. Acca- demia, 441. .Palaces, 440. 443. Torre della fame, 443. Ijung’arni, 440. Neighbour- hood, 446. Pisanello, 253. 265. 268. Pisani, the naval commander, 324. Pisano, Andrea, 321. 418. 467, 468, 469. , Niccolo, 416. , Giov., 418. Pistoia, 415. Palaces, 415. Cathedral, 416. Churches, 418. Hospital, 420. Pistoia to Pescia, 414. to Modena, 421, , Giov., 419. Pistols, original manufactory of, 421. of Carrara, 321. Pitentino, A., 220. Pizzagalli, 171. . Pizzighettone, 206. Placidia, history and tomb of, 158. Platina, G. M., 208. Pliny, birthplace of, 129. the younger, 129. Birth- place of, 253. Plough of Lombardy, 10. Po river, 2. 13. 25. 43. 49, 50, 52. 202. 206. 35t- 378. Poelemburg, 178. Poel, Vander, 21. Poggio-a-Cajano, 548. Pola, Bartol., 197. Polcevera river, 85. Polesella, 352. Polla, tomb of, 36. , the, 1 71. Pollentia, 54. Pollenzo castle, 54. Pomarancio, 99, 387. Pomponazzo, Pietro, 219. Ponte Decimo, 46. Currone, 48. di Veja, 272. Nura, 362. dera, 447. di Lago Scuro, 352.^ Pontormo,; 524. Pontremoli, 380. Poppi, 557- Porata, G. 203. Pordenone, painter, 20. 174. 208. 221. 246. 327. 341, 342. 352. 359, 360. town, 353. Porporali, the engraver, 5. RAVENSTEIN. Porta, G., sculptor, 98. , P., architect, 192. Port of Como, 1 3 1 . of Genoa, 88. Porto Maurizio, 77. Venere, 112. Possanti, 428. Potter, Paul, 20. 27. Pourbus, painter, 20. Poussin, Gaspar, 21. 180. , N., 20. 21. 79. 179. 246, 247. 410. Prato, Bart., 368. cathedral, 422. , circular pulpit of, 422. Vecchio, 558. Precious metals, works in the, xxiii. Predore, 232. Prestinari, 150. Previtali, 179. Primaticcio, 218. 220. 222. Procaccini, 35. 130. 150, 153, 157. 159- 167. 171. 173. 177- 188. 193. 201. 240. 243. 358. 360. 368. 388. Procaccino, 19. 94. 98. 176, 177. 181, 182. Processions, i-eligious, 14. Procuratorial residence, 309. Provezzi, fossil remauis at, 232. Puget, statues by, 98. Pulpit at Milan, 165. Puppet-shows, inventors of, 26. Putti, Giovanni, 143. Q. Quadri, G., 166. Quails, hill of, 43. Quarries of marble, 402. Quarterly Review', 470. Quarto and Quinto villages, 106. Quentin, St., battle of, 24. Querceto, 403. Quercia, 406, 408. Quincy, 20. Quinto village, 272. E. Racconigi palace, 50. Ragione palace, 282. Railroad to Milan, 138. to Pisa, 447. Railroads,'’xiv. Rama, 242, 243. Ranuccio, tyranny of, 357. Rapallo, 107. Raphael’s paintings, 18, 19. 26. 92, 93. 99. 173- 180. 186, 187. 247. 327. 345- 374- 534, 535- Ravenna, 171. 178. Ravenstein, painter, 20. INDEX. 573 REA TORRENT. Rea torrent, 55. Recco, 106. to Eapallo, 107. Recoaro, baths of, 281. Records of Pavia, 125. Reggio, city, 383. , Nicola da, 368. Relics at Turin, 14. at Genoa, 98. Religion of Piedmont, 4. Rembrandt, 20, 21.94. 180.327. Renaissance style, xxii. Reppetti, xviii. Reptiles, 131. Re vein, 27. Rezzano, 361. Rialto at Venice, 325. Rice, cultivation of, 203. Ricbini, architect, 156. 159. 162. 171. 189. Ricchino, Fr., 144. 243. 246. Ricci, 19. 270. 285. Riccio, And., 264, 287. Rigaud, 91. Riminaldi, 427. Rinaldi, 284. Ripafratta, 423. Riparia, river, 13. Riva di Chieri, 45. di Taggia, 77. Riviera, 71, 72. 77, 78, 79. Rivoli, 10. Rizzi, 305. 319. Robereto castle, 45. Robbia, Giovanni del, 420. , Luca della, 399. 'I'erra-cottas by, 416. 422. 480. Robertelli, 66. , paintings by, 81. Robillante, 52. Roccia Melone, Mont di, 8. Rodario, Tomaso, 128. 129. Rodolii, 288. Rodolphinus, architect, 418. Rogers, Mr., on Venice, 301. Rolls, ancient, at Turin, 22. Romana, Giulio, 41. 99. 144. 187. 213. 216, 217, 218, 2*9, 220. 222, 223. 232. 386. 523. Romanesque churches,xxii.i 26. Roman crypt and sarcophagus, 272. mosaics, xxiv. remains, xxii. 39. 54. 55. 59. 70. 158. 183. 250. 272. , in Lombardy, 12. 24. 126. , of Marzana, 272. Romanino, 177. 208. 239, 240, 241, 242, 243. 246. Romano, G. C., 197. Romeo and .J uliet, stoiy of, 271. lionca, valley of, 272. Pmnco, 46. Rondani, 375. Kondis.sonc, 31. Roos, pictures of, 20. Itosa Govona, 28. , Monte, 31. 35. 53. , i’ietro, 239. 243. [] : SAN GIORGIO. Rosa, Salvator, 19. 27. 92. 181. 247. Roscoe’s Lorenzo de’ Medicii, XX. Roselli, 406. 498. Rose’s Letters, 88. Rossi, 240. 243. 327. Rossini's History of Painting, xix. Rotari, 267. Rothenhammer, painter, 20. I Rotonda Capra, 280. Rovacchia Codura, 364. ! Rovato, 234. Rovegiia, 55. Roverbella, 272. Rovigo city, 350. Royal family of Sardinia, 2. Roya torrent, 53. Rubens, pictures by, 20, 21. 27, 28. 91, 92. 94, 9?. 100. 1 176. 180. 247. 327. ^ ' Rubiera, 385. j Rubini, birthplace of, 231. ' Rudbeck's discoveries, 22. i Ruta, 106. I Sabbatelli, 37. 171. i Sacca, 378. I Sacchi, Bernardo, 21 1. i Sacchi, P. F., 66. j Sacile, 353. I Sacra di San Michele, 8. I Sacramentary of King Beren- gario, 136. Sacristy at Turin, 14. — - Milan, 151. Cremona, 209. Venice, 307. I Sagrestia Nuova, 488. Sal Dalmazio, 52. I Salaert, 21. I Salaino, 181, 182. I Sala, V., frescoes by, 156. ; Saletto, 225. : Sailletto, 379. i Salmcggia, paintings by, 153. [ 166. 180, 181. 231, 232. j Salto Marina, 350. j Salto della Bella Alda, 9. Saluzzo, marquisate of, i. I Salviati, 20. 328, 329. 3 3 8. ' Sanmicheli, the ardiiied, I xxiii. 225. 252. 258. 267, 208, 269, 270. 273. 273. 287. 324. j Sammoggia, 388. I San Benedetto, 379. San Carlo, liistory of, 150. Sanctuary at Monte Berico,279. San Donato, 204. 449. San Donino, 363. Sandrini, 239. Sanese, 292. San Fedele, 78. San Frutliioso, 107. San Giorgio, 361. SCARP AGNINO. : Sangiorgio, painter, 143. 1 San Gmliano, 204. I Sanguinetto, 225. ! San Lazzaro, 362. 383. j San Lorenzo, 77. 105. 107. I San Martino d’Albaro, 106. L. j San Martiri, 161. [ San Maurizio church, 15. 220. San Pietro d’ Arena, 85. I San Polo, 361. I San Prospero, 383. I Sandredam, 20. San Remo, 76. 105. San Romano, 447. San Sisto, 252. San Stefano, 77. Sansovino, works of, 286. 303. 307. 309, 310, 311, 312. 314. 318. 323. 325, 326. 328. 334 > I??- 338, 339 - 471- San Vito, 352. Santa Margherita, 107. Sant’ Ambrogio, 10. 164. 272. 388. Sant’ Ilario, 383. Sant’ Ospizio, 73. Santuario d’ Alzano, 234. Sanzio, Giov., 178. Saraina, Torello, tomb of, 264. Sarcophagus of basalt, 23. at Tortona, 48. at Milan, t68. of Maggi, 239. of Cangrande, 256. , Roman, 272. of Antenor, 282. ! Sardinia, political changes, 62. ' Character of the country, 62. Produce — state of the country, 63. Roads, 63. lAsting, &c., 64. Money, 64. Character of the popu- lation, 65. Inns, 66. Fine Arts, 66. Sarnico, 232. Saronno, 192. Sarto, Andrea del, 19. 27. 91. 92. 173. 180. 246. 376. 388. 427. 498, 499, 500. 513, 514- 522. 534, 535, 536. 540- 544- 548. Sarzana, 114. painter, 173. to Genoa, 106, 108. no. to Imcca, 401. Sarzanetta, 114. Saurian reptiles, 13 1. Savigliano, 51. 57. ’ Savoldi, G., 177. 240. 246. Savona, city of, 81, 105. Sav()y, Dukes of, 2. Saw-mill, ancient, 220. Scala, La, 447. Scaligeri, 254. , tombs of the, 256. Scammozi, xxiii. 2}o. 278. 309. ?i I. 3'8, 319- 328. 337- j Scarena, 54. Scarpa, helmet of, 17. Scarpagnino, 325, 526, 340. 574 INDEX. SCARSELLINO. Scarsellino, i8i. Schalken, paintings b}’, 20, 21. Schiavcne, 308. 536. Schidone, 19, 375. Scliizzi, paintings by, 21 1. Scrovigno, Enrico, 289. Sculpture in Italy, Lombar- dy, and Tuscany, xxiii. Sciiole of Venice, 340. Seborca, castles of, 76. Secchia Eepita, 387. Sedan-cbairs, 87. Sedriano, 39. Segurana, Catherine, bra\-ery of, 70. Seiter, 19. Sementi, 19. Semini, painter, 19. 82. Semino, painter, 91. 93. Semitecolo, 285. 342. Sepulchral inscriptions, 24. Sepulture in churches, 129. Serafino, Fra, 497. Seraralle, 415. Serchio river, 403, 410, 413. Serio river, 231. 234. Serlio, architect, 372. Serpent of the desert, 164. Seraglio of Mantua, 213. Sesia river, 35. Sesostris, statue of, 23. Sesto, Cesare da, 19. 35. 179, 180. 182. 186. 189. 201. Sestri, 85, 105. 109. Settignano, 477. Settimo, 30, 39 - Seyssell, monument of, 14. , MSS. of, 24. Seyter, Daniel, the artist, 5. Sforza, fall of, 38. , ancient castle of, 42. Shakspoare and Verona, 271. Shame, stone of, for bankrupts, 284. 312. Shrines (curious), 41. 97. Sienna, paintings by, 92. Siffert, paintings by, 20. Signa, 449. Signorelli, Luca, no. Silk-twist manufactories, 1 3 1 . trade of Turin, 12. Simonetta, 148. villa, 192. Sirani, Andrea, 359. , Eliz., 20, 92. Sismondi, xvii. Snyders, 21, 181. 530. Soave town, 272. Sojaro, 199. 208. 360. Solari, 4. 150. 153. 156, 197.- Solimene, 19. 102. Sommiachino, 208. Sornmariva, 54. Sorbolo, 378. Sori, bridge of, 106. Sorisene, 241. Solaro, C., 128. Sospello, 53. Sotto Piombi at Venice, 320. Spada, L., 384. 388. taxaro. ; Spadarino, 273. Spada, painter, 19. ■ Spagna, P., 305. Spagnoletto, 19. 27. 95. I Spazi, architect, 128. Sperandio, 219. Spezia, gulf of, 1 1 1 . , town of. 111. ! Spigno; 59. j Spinazzi, 477. ; Spinelli, 437. Spotomo, 81. Spranger, painter, 21. Springs (hot) of Acqui, 58. of Abano, 227. Squarcione, 187. 293. Staff of Alphonso di Ferrara, 17. Staffura torrent, 48. Stag-io Stagi, pulpit by, 403. Other works by, 427." Stained glass of Italy, xxiv. Sandrart, 180. Statues at Susa, 7. at Turin, 13. Egyptian, 22, 23- Steamers in the Mediterra- nean, 449. • to Nice, 68. on the Adriatic, 300. to Leghorn, 449. to Marseilles, 449. Steccata at Parma, 3 70. Stella, painter, 21. sanctuaiy, 272. Stenta torrent, 106. Stilettoes, ii. Stone of shame, 284. 312. Strabo, in. Stracchino cheese, 229. Stradclla, 49, 225. Stradivarius, 207. Stregone, Monte, 59. Strozzi, painter, 93. 472. 483. Studio of Padua, 294. Stupinigi palace, 30. Stura river, 51, 52. Sublej'ras, 181. Succession of royal family, 2. Succhi, painter, 85. Sudario Santo relic, 15. Sunday, observance of, in the Sardinian states, 4. Superga, the, ii. 29. Susa to Turin, 6. , arch at, 6. • , marquisate of, i. Susini, Suzzano, 223. Swine, herds of, reared, 40. Sword of state, 17. Synagogue at Leghorn, 452. T. dlfcdeo. Count, tomb of, 49. Tagliamento river, 351. Tambroni, 182. Tanarelo mountain, 56. Tanaro river, 45. , curious tradition of, 45. I TORRIANT. j Tanaro, sluices of, 46. , source of, 36. . Taormino, frescoes by, 106. Taro river, 364. 379.' Tarrico, paintings by, 35. Tasso, 13, 309. , statue of, 230. Tassoni, 71. Tavarone, 66. Tavella, painter, 92. Tiiveroni, painter, 91. Taylor, Jeremy, on the religion of ltal3', 213. Tempesta, 21. 92. 246. 247. Tempio, valley of, 70. Temple of Isis, 22. of Hercules, 158. Templi, 21. Tenda, 53. Teniers, 20. 21. 27. 247. Terburg, G., 20. Terra-cottas, by Robbia, 48. Terra Nuova, 42. Rossa, 380. Theatres at Genoa, 101. Milan, 190. Turin, 18, 26. Como, 13 1. Vicenza, 279. Venice, 343. Vercelli, 35. Theodorius, tomb of, 265. Theodolinda, queen, 135. Thorwaldsen, sculptures bv, 35 - 247. 432. Tiarini, 19. 360. 384. Tibaldi, Pellegrhio, 32. Ticino, 38. 202. Ticozzi, xix. Tidone river, 49. Tiepolo, frescoes by, 189. 231. 327. 374. Tino, island of, 112. Tintoret, 19. Tintoretto, paintings by, 27, 90. 94. 177. 179. 240. 246, 247. 267. 315- H7, 318, 319- 32a. 331, 332, 333 , 334, 33 L 336. 337 - 338. 339, 340, 341, 342. 344 - 347 - 533 - 535 - Titian, paintings by, 18, 19. 27, 28.41. 91,92, 93,94. 156. 174. 177. 180. 186, 187. 189. 240, 241. 246, 247. 279. 288. 295. 315- 318, 319- 226, 327, 328. 330. 332. 334, 335- 338. 340, 341. 343. 344, 345. 352. 376. 522. 525. 534, 535. Tombs, ancient and curious, 266. Torano torrent, 402. Torazzo at Cremona, 209. Torbido, 260, 265. Torcello island, 347. Torelli, Ilippolita, 213. Toriano, 80. Torino, hills of, 13. Tornabuoni, 541. Torre del Mangano, 194. J Torriani, 132. 204. | INDEX. 575 TORRIANO. Torriano, tomb of, i6o. 264. I'orsero torrent, 80. Tortona, 48. Fortress of, 55. Torture, instruments of, 321. Toscanelli, 468. Town of Carmagnola, 50. Towers of Mantua, 219. of Pavia, 202. Traini, 461. Trajan, busts of, 517. Travelling, modes of, in Italy, xii. Vetturini, diligences, xiii. Eailroads, xiv. Trebia river, 49. Trebbiano, 113. Trecallo, 13?. 'I'recate, 38 Trcscorre, baths of, 242. Treviglio, 228. Treviso, 352. Trezza, castle of, 247. Tridate, Jac. di, 149. Trinita, 57. Trino, 40. d’rismegistus, Hermes, his cos- mogon3% 22. Trivella, castle of, 53. Trivulzii, chapel of the, 155. Trojan war, illustrations of, 218. TrophEea Aug-usti, ruins of, 73. Tulip- tree, 281. Turbia, 73, 105. Turchi, 180. Turin, battle of, 14. 29. Turin, ii. Hotels— restaura- teurs, II. Buildings, 12. Situation, 13. Climate, 13. Cathedral, 13. Eelics, 14. Churches, 15. Palaces, 16. Armour j', 17. Archives, 17. Theatres — picture-galleries, 18-21. Observatory — mu- seum, 21. Egyptian anti- quities, 22. Medals — uni- versity, 23. Libraries, 24. Statues, 24. Minerais, 25. Theatres, 26. Charities, 28. Hospitals, 28. Superga, 29. 'rurin to Susa, 6. _to Chamberj", 12. "to Geneva, 12. to Milan, 30. 39. to Genoa, 43. to Eomagnano, 30. to Cormayeur, 30. — — to Val d’ Aosta, 30. to A.>ti, 42. to Piacenza, 47. to Nice, 49. to Oneglia, 54. 57- to Savmia, 61 . to Caringano, 57. Tuscan States ; — 'I'errilory — Agriculture, 390. Manufac- tures, 391. Wines, 395. Money— Weights and l\Iea- sures, 394. Posting — i>ass- ports — servants, 396. I’aint- ing, 397. Scul])ture, 398. Two columns, Venice, 314. VENICE. u. Ubbriachi, 198. Udine, 353. , G. da, 327. 351- , M. da, 178. 341- Ugolino, Count, 461. Umbria, Polla, tomb of. 36, University of Turin, 23. Pavia, 201. Padua, 294. Urbino, Carlo, 153. 157. Utrecht, treaty of, 42. V. Vado, 81. 105. Vaga, Pierino del, 27. 66. 83. 96. 106. 109. 428. I Val Cunella, 272. Val Pantena, 272. Val Policella, 272. Valdagno, 281. Valentin, paintings by, 20. Vallardi, the publishers, 175. Valegio, castle of, 271. Valenza, 2. Valerius Maximus, burial- place of, 56. Valley of Eonca, 272. Vallombrosa, 554. Vandyke’s paintings, 20, 21. 27. 90, 91, 92, 93, 94> 95- 176- 180. 246, 24^. 3IU 175, 523. 535- Van Eyck, 102. Vanlindt, 92. Vanloo, II. 20, 21. Vanni, painter, 19. 99. 428. Vanschuppen, 21. Vantini, architect, 141. Vaprio, 229. Varese, 193. Varigotta, 80. Varotare, 295. Varra river, 110. Vasari, the architect, xviii. 284. 467. 515- 521- , paintings by, 416. 419. 476, 477. 480. 499. 504. 524. Vases, ancient, 23. Vecchio, Palma, 18. 27. 173. 240: 328. 338. 342- 347- 409- 535- , Pietro, 305. Vecellio, Marco, 318, 319, 320. Velazquez, 19. 92. 94. 108. 180. 187. 247. 327. 529- Velleia, ruins ot, 361. Velours, Breughel do, 21. Velvet of Genoa, 87. Veneziano, 342. VTuiice : — llolels, 298. Cafds — gondolas— sho) IS, kc., 299. (thurches : St. Mark, 303. S. Francesco della V'igna, 3 34. Gesuili, 338. S.GiovanniCn- VERONA. sostomo, 339. SS. Giovanni e Paolo, 331. S. Giorgio de’ Greci, 3 30. S. Giorgio Mag- giore, 336. S. Jacopo di Ei- alto, 335. S. Lazaro, 339. S. Lucia, 337. Madonna dell’ Orto, 332. S. Maria del Carmine, 339. S. Maria For- mosa, 337. S. Maria dei Frari, 329. S. Maria de’ Miracoli, 3 34- S. Maria della Salute, 338. S. Martino, 335. S. Nicolo, 339. S. Panta- leone, 339. S. Pietro di Cas- tello, 333. Eedentore, 336. S. Salvatore, 3 34- Gli Scalzi, 339. S. Sebastiano, 335. S. Stefano, 339. Tolentini, 337. S. Trovaso, 337. S. Zaccaria, 333. Public buildings Doge’s Palace, 313. Arsenal, 321. Academy of Fine Arts, 341. Canal G rande, 323. Library of St. Mark, 310. P. Gri- mani a S. Maria Formosa, 328. Palazzo Balbi, 323. P. Barbarigo, 324. P. Gri- mani, 324. P. Foscari, 323. P. Manfrini, 327. P. Moce- nigo, 328. P. Pisani, 324. Procuratie, 308. Eialto Bridge, 326. Fabbriche, 325. Scuola di S. Marco, 340. Scuola di S. Eocco,- 340. 'Ilieatres. — Fenice, 345 ; Gallo, 345 ; Apollo, 346 ; San Samuele, 346 ; Malibran, 346. Zecca, 31 1. Islands Murano, 346 ; Burano and Mazorbo, 347 ; Torcello, 347 ; Lido, 349 ; Chioggia, 349- Venice to Ferrara, 350. to Padua, 298. to Trieste, 352. Ventimiglia, 77. 107. Vercelli, the physician, 31. ,Eordship of, i. | city, 31. Its librar}’, 52. Churches, 33. Pictures, 34. Vorla, painter, 180. Verna, 557. Vernet, 21, 27. Wrolongo, 39. Verona, painter, 179. 265. 294. 307. — , G. n., 26c. Verona, city of, 249. Ancient buildings ; — .Amphitheatre, 7.70. Koman theatre, 2<;i. Porta de’ llorsari, 2ri- I'orta do’ I.eoni, 271. Arco do’ Gavii, 231. — Fortifications, 232. Porta S. Sisto, 232. Porta N'uova, 232. — Biblio- teca Capilolaro, 260. Cas- tello N'ecchio, 237. Museo Lajiidario, 237. Palaces, 270. Piazza dolle Erbe, 254 576 indp:x. VERONA. VITONI. Piazza dei Signori,’ 255. ! Theatres, 271. Tombs of the j Scaligers, 254. j Churches : S. Anastasia, | 267. SS. Apostoli, 268. S. Bernardino, 269. Dnomo, 253. S. Elena, 265. S. Eu- ; femia, 265. S. Fermo mag- ' giore, 264. S. Giovanni in I Fonte, 260., S. Giorgio mag- , giore, 267. 8. Giovanni in | Valle, 266. S. Maria in Or- ' gano, 266. S. Maria della Scala, 269. SS. Nazaro e ^ Celso, 266. S. Sehastiano, ! 265. S. Stefano, 268. S. ' Tomaso Cantnarense, 269. 1 S.Zenone, 261. Vicinity, 272. Verona and Shakspere, 271. 1 Verona to Brescia, 248. to Mantua, 271. to Vicenza, 273. Veronese, Paul, 19. 27. 91. 95- 177, 178. 227. 240, 247. 267. 272. 277. 280. 288. 311. 315. 316, 317, 318, 319, 320, 324- 327. 334, 335- 337- 342- 344- 347- Verri, the historian, 125. Verrocchio, 332.417,474.477. 488. 507. 530. I Verrua, 40. 1 Vesalius of Padua, 294. i Vettone, architect, 54. 1 Vetturini, xiii. 1 Via Aurelia, 64. Via Emilia, 361. Viareggio, 403. Vicentine hills, 280. Vicenza : Inns, 275. Public buildings, 275. Palaces, 276. ■ Vicinity of, 279. [ to Venice (rail) 296. ! Victor Amadeus, 29. 1 Vico, 1 3 1. j Vicopre, 378. | Victory of Scargola, 100. Vida, Jerome, 210. j Vienna, congress of, 2 ; Veaty j of, 1 19. ! Vigevano, 42. Vignola, 359, 360, 361. 1 Villa Martis, ruins of, 54. , Villafranca, 68, 71, 72. 105, 271. Eoria, 84. Grimaldi, 84. Lomellina, 85. dell’ Paradiso, 106. Cesano, 132. of Mombello, 132. Mozzi, 550. Nuova, 79. 274. Church of, 274. of Pliny, 13 1 . Picinardi, 212. Spinola, 87. of Catullus, 248. Vivaldi, 85. ■ Arrighi, 249. Villano, 294. Vimercati, Giov, And., 148. Vicentino, 316, 317, 318. Vinci, Leon, da, 13. 27. 144. 167. 173. 182. 185, 186, 187. 189. 229.345- 525- Vini, Sebastian!, 418. Vintimiglia, 75. Violins of Amati, 207. Virgil, 282 ; and Dante, 271. Virtues, allegories of, 160. Visconti, Gaspar, tomb of, 160. , Ottone, tomb of, 149. , Ettore, death of, 1 34- — — , G. M., ferocities of, 171. , shield of, 194. Vismara, sculptures by, 166. Viso, Monte, 53. Vitale, San, 158. Ante, Tim., 177. AGtelli, Van, 21. Vitozzi, architect, 57. Anttoria, 287. 311. 314- 3i8. 332. 336. AAvarini, 329, 330, 331. 339- 342. Voghera, 48. A^olta, birthplace of, 131- Volterra, Daniel da, 19. 406. Volto Santo at Lucca, 406. Voltri, 84, 105. Voragine, 83. A’’otive images near Mantua, 212. Vries, 21. Vitoni, 418. ZUPEl.LI. w. AValnut-wood candelal>rum, j I 266. I AVarehouses at Genoa, 87. ] AA’eight, allowance of, 118. ; AA^erf, Vander, 20. ' AA'ilhelmina, Rincess, 204. ; AVillingen, 21. : AATnes of Asti, 3. of Acqui, 59. ' of Nice, 68. of Conigliano, 85. of Tuscany, 393. of Lombardj', 281. I AA’ooden bucket of Modena, I 387. AA’ordsworth, his remarks on ! the Cenacolo of Da AGuci, 168. ' AVouvermans, 20. 246. AVurmser in Mantua, 215. z. j Zaccagna, 369. ' Zacchia, 403. ' Zach, General, 47. Zago, mountain, 362. ' Zambecarri, 282. Zanchi, A., 305. Zanoia, poet, 141. Zarabatta, 148. i Zccca, at Venice, 311. : Zelotti, 277. 320. ' Zenale, B., painter, 154, 181. j Zeno, San, statue of, 263. I Zevio, 253. 265. 268. 285, 286. ( , frescoes by, 286. Zoboli, 239. ! Zucarelli, 246. Zuccari, 181. 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Musical Instruments. Perfumery. ScAGLiOLA Tables. Spa Ware. Steel and Iron Manufactures. Tiles. Toys. Turnery. Woollen Articles, wholly or in part made up. Plate of Gold or Silver, gilt or ungilt, in addition to 10 per cent., is liable to l5. Qd. per oz. Stamp Duty. MURRAY’S HAND-BOOK ADVERTISER. LIST OF DUTIES — continued. £ Alabaster, Sculpture of the cwt. 0 Anchovies the lb. 0 A RQUEBUSADE Water (for the Bottles, see Wine) the gal, 1 Books, of Editions printed prior to 1801 the cwt. 1 ,, in or since 1801, in Foreign Living Languages ditto 2 „ in the Dead Languages, or in the English Language, printed out of England in or since 1801 ditto 5 (N.B.— Pirated Editions of English Works, of which the Copyright exists in England, totally prohibited since 1st AprU, 1843.) Books, English, printed in England (unless declared that no Excise Drawback was received on Exportation) the lb. 0 Boots, Ladies’ untrimmed the doz, pair 0 „ Men’s ditto ditto 0 Shoes, ditto ditto ditto 0 „ Ladies’ ditto ditto 0 Casieos for every £100 value 5 Cigars and Tobacco, manufactured (3 lb. only allowed for passenger’s baggage) the lb. 0 Tobacco, unmanufactured ditto 0 (N.B. — Unmanufactured Tobacco cannot be imported in less Quantity than 3001b., or Cigars 1001b. in a package; but small quantities are admitted for Private Use on Declaration and payment of a Fine of Is. 6d. per lb. in addition to the Duty.) Coffee, Mocha, and other Coffees the Ih. 0 Coins, of Copper the cwt, 0 Confectionery, Sweetmeats, and Succades the lb. 0 Cordials and Liqueurs (for Bottles, see Wine) the gal. 1 Eau de Cologne, in long Flasks the flask 0 (N.B.— If other than the ordinary long Flasks, 30s. 4d. the Gallon and the Bottle Duty.) Embroidery and Needlework for every £100 value 15 Flowers, Artificial ditto 25 Glass, Flint or Cut, Coloured and Fancy Ornamental Glass, of what- . ever kind the lb. 0 Glass, White Flint Bottles, not cut nor ornamented ditto 0 „ Wine Glasses, Tumblers, and all other White Flint-Glass Goods, not cut nor ornamented the lb. 0 Gloves, Leather (not less than 100 doz. pairs can be imported in one package) the doz. pair 0 Maccaeoni and Vermicelli the lb. 0 Marble, manufactured the cwt. 0 Sculptured Stone the ton 0 Naples Soap the cwt. 1 Olives the gal. 0 Paintings on Glass, or Figured Glass the superficial foot 0 Paper-hangings, Flock Paper, and Paper printed, painted, or stained the square yard 0 PiCTtTRES each 0 „ and further the square foot 0 „ being 200 square feet and upwards each 10 Prints and Drawings, plain or coloured, single ditto 0 „ bound or sewn the doz. 0 Sausages the lb. 0 Silk, Millinery, Turbans or Caps each 0 „ „ Hats or Bonnets ditto 0 „ „ Dresses ditto 1 „ Hangings, and other Manufactures of Silk for every £100 value 15 „ Velvets, plain or figured the lb. 0 „ „ Articles thereof ditto 0 Stone from Malta the ton 0 Tea j the lb. 0 Wine in Casks, all except Cape Wine the gal. 0 „ in Bottles, „ ditto 0 „ and further on the Bottles the cwt. 0 Spirits in Casks (no Cask can be imported of loss contents than Twenty Gallons) the gal. 0 Spirits in Bottles (the additional Duty on the Bottles, ns on Wine Bottles.) 5. d. 3 0 0 2 10 4 0 0 10 0 0 0 0 3 6 0 14 0 7 0 4 6 0 0 9 0 3 0 0 3 10 0 0 6 10 4 1 0 0 0 0 0 0 2 0 Qh 0 1 3 6 0 1 3 0 10 0 '0 0 2 0 0 9 0 2 1 0 1 0 0 0 0 1 0 3 0 1 3 6 7 0 10 0 0 0 9 0 10 0 1 0 2 1 6 G 5 G 0 9 15 0 4 MURRAY’S HAND-BvOOK ADVERTISER. MESSRS. J. & R. MTRACKEN, 7, OLD JEWRY, LONDON, AGENTS, BY APPOINTMENT, TO THE ROYAL ACADEMY, And Agents generally for the reception and Shipment of Worhs of Art, Baggage, d-c. FROM AND TO ALL PARTS OP THE WORLD, Retuen their sincere acknowledgments to the Nobility and Gentry for the liberal patronage hitherto conferred on them. They hope, by the moderation of their charges, and their unremitting care in passing through the Custom-House Property confided to them, to merit a continuance of the favours they have heretofore enjoyed. Their establishment comprises DRY AND SPACIOUS WARE- HOUSES, where Works of Art and all descriptions of Property can be kept during the Owner’s absence, at most moderate rates of rent. J.& R. M<^C. undertake to execute Commis- sions, for the purchase of Pictures, Statuary in Marble and Alabaster, Bronzes, &c., being in direct correspondence with Artists, Agents, and Bankers throughout the Continent. British Artists resident abroad, having occasion to send home their Works for Exhibition, or to be passed by the Academy, will find it advantageous to address them to the care of Messrs. J. and R. M'^Cracken, whose appointment enables them to offer every facility. Parties favouring J. & R. M<^C. with Con- signments, are requested to be particular in having the Bills of Lading sent to them DIRECT by post, and also to forward their Keys with the Packages, as all Goods MUST BE EXAMINED immediately on arrival. J. & R. M^C.keep Lachrymaj Christi and Marsala Wines of first quality, also Port and Sherry ; and are general Importers of French and other Foreign Wines. Packages sent, by Steamers or otherwise, to Southampton and Liverpool, also attended to. THEIR PRINCIPAL CORRESPONDENTS ARE AT T . .,,2 f Messrs. Chaetier, Mory, & Vogue. LALiAJfe. ]yjgggpg_ ISA.\C VITAL & fils. BOULOGNE S. M.... Messrs. Chaetier, Mory, & Vogue. Mr. H. Sire. ( Mr. M. CiiENUE, Packer, Rue Croix Petits Champs, No. 24. PARIS -< Mons. Havet, Roulagier, 10, Rue Grange BateliM’e. ( „ Petit Fils aine, id., 23, Rue de la Concorde. HAVRE Mr. A. Chaumont, Mr. Thomas Taylor, Messrs. P. Devot & Co. ,, . T f Messrs. Horace Bouchet & Co. MAKbLiiLDTib jy^egg^s. BuzuTiL, RiCHAED & Co. Mons. Philigeet. BAGNERES DE BI- ) GORRE, (Hautes vMr. Aime'Geruzet, Marble Works. Pyrenees) j BORDEAUX Mr. Aime'Geruzet, 8, Place des Quinconces. GIBRALTAR Messrs. Archbold, Johnston & Powers. Messrs. Turner & Co. LISBON Mr. Arthur Van Zeller, Benin. & Orient. St. Nav. Co.’s Offices. SEVILLE Julian B. Williams, Brit. Vice-Cons. Don Juan Ant°.Bailly. nice Messrs. A. Lacroix & Co., British Consulate. r> w-MCk A S Messrs. Gibbs & Co. ; Mr. A. G. Barchi. GENOA ...-| Gomersall, British Vice-Consul. MILAN Messrs. Buffet & Beruto, Piazzale di S. Sepolcro, No. 3176. CARRARA Mr. Vincenzo Livy, Sculptor. f Messrs. W. Macbean & Co. Messrs. Thomas Pate & Sons. I Messrs. Henderson Brothers. Messrs. Maquay-, Pakenham, J & Smyth. Messrs. Giac°. Micali & Fig». Sculptors in Alabaster j and Marble. Mr. M. Ristori. Mr. Joseph Guano. McHenry [ Dunn. Messrs. Della Valle Brothers, Artists in Scagliola. [_ Messrs. G’“. Galliani & Co. » Mr. Feed. Peverada. Messrs. Huguet & Van Lint, Sculptors in Alabaster and Marble. Messrs. Emm'l Fenzi & Co.* Messrs. Plowden & French. Messrs. Maquay & Pakenham. Mr. Gaet°. Bianchini, Mosaic Worker, opposite the Cappella de’ Medici. Mr. Antonio di Luigi Pia- CENTi. Mr. J. Tough. Messrs, F"'. Pacetti, Picture-frame Makers, Via del Palagio. Messrs. Nesti Ciardi & Co. Mr. F. Leopoldo Pisani, Sculptor, No 1, sul Prato. VOLTERRA ^ Sig. OttA Callaj, and Sig. Gius®. Ciierici. LEGHORN PISA FLORENCE. MURRAY’S HAND-BOOK ADVERTISER. 5 MESSRS. J. S: R, MCCRACKEN’S CORRESPONDENTS— cowhmtecZ. BOLOGNA Mr. Flavio Perotti, British Vice-Consul. ANCONA Messrs. Moobf, Merellet & Co. ( Messrs. Freeborx & Co. Messrs. Torlonia & Co. Messrs. Macbean&Co. Mr. Carlo Trebbi. Messrs. Plowden, Chol- MELEY, & Co. Messrs. Pakekham, Hooker, & Co. Mr. Luigi Branchini, at the English College. CIVITA VECCHIA. Mr. J. T. Lowe, Jimr., British Vice-Consul. Mr. T. Arata. N A PT.'PS f Messrs. Iggulden & Co. Messrs. W. J. Turner & Co. Messrs. I CuMMiNG, Wood, & Co. PALERMO Messrs. Brown, Franck, & Co. MESSINA Messrs. Cailler & Co. { Mr. Emanuel Zammit. Mr. J. Aspinall. Rosina Dimech & Brothers, No. 69, Strada Teatro, Valletta, Sculptors in Malta Stone. Mr. P. P. Decesare, 53, Strada Reale, Sculptor in Malta Stone. Mr. Fortunato Testa, 92, Strada S‘^ Lucia. Messrs. Jos^*. Darmanin & Sons, 45, Strada Levante, Mosaic Workers. CORFU Mr. J. W. Taylor. ALEXANDRIA Messrs. Briggs & Co. CONSTANTINOPLE Messrs. C. Hanson & Co., and Mr. Black. SMYRNA Messrs. Hanson & Co. ' BEYROUT Mr. Henry Heald, ATHENS, PIRHiUS Mr. J. J. Buciierer. VFNTnp. J Messrs. Freres Schielin. \ Messrs. S. & A. Blumenthal & Co. Mr. John Harris. TRIESTE Messrs. George Moore & Co. OSTEND Mr. F. A. Belleroche. Messrs. Bach & Co. Mr. St. Amour. GHENT Mr. J. De Buyser, Dealer in Antiquities, Marche au Beurre, 21. BRUSSELS A 'MTWP.pp f Messrs. F. Mack & Co., Kipdorp, 1748. I Mr. P. Van Zeebroeck, Picture Dealer, &c.. Rue des R4collets, 2076. prkTTP.Tfn A Tw i Messrs. Preston & Co. Messrs. S. A. Levino & Co. Messrs. L. ( Mayer & Co. Messrs. C. Hemmann& Co. Messrs. Boutmy& C o. GnT.OlJlVP, S Mr. J. M. Farina, vis-^-vis la Place Juliers. 1 Messrs. G>"«. Tilmes & Co. M AVF, NTri'P J Mr. G. L. Kayser, Expeditenr. I Mr. Joseph Thuquet. Mr. W. Knussman, Cabinet Maker. ( Mr. P. A. Tacchi’s Successors, Glass Manufacturers, Zeil D, 17. Madame Veuve J. H. Stiebel, Zeil D, 30. Messrs. Bing Brothers, Zeil D, 31. Mr. F. Bohler, Zeil. Mr. G. A. ZiPF, Ross Markt. MANNHEIM Mr. Dinkelspeil. Messrs. Eyssen & Claus. (■ Mr. Hy. WiMMER, Printseller, Promenade St., No. 12. Messrs. MUNICH -< May & WiDMAYER, Printsellers. Mr. F. Steigerwald, Glass ( Manufacturer. Messrs. L. Negrioli & Co. RTSSTND'P.m j Steigerwald, Glass Manufacturer. ( Messrs. J. Bergmann & Co. RATISBON Mr. Auguste Koch, Dealer in Antiquities. NUREMBERG Mr. Paolo Galimberti, at the Red Horse, Dealer in Antiquities. BASLE Messrs Jean Preiswerk & Fils. BERNE Mr. Auguste Buesche. Mr. Albert Trumpy. n-'P.TVrp.v A ( Messrs. Ritzciiel, Pore & Fils, Grand Quai. \ Messrs. Aug. & Victor Snell. LAUSANNE Mr. L. Longchamps. INTERLACKEN Mr. J. Wyder. GRINDELWALD ... Mr. S. Rothacher, Fils. HAMBURG Messrs. SciiAAR & Clauss. Zahn & Vivifi. PP A riTTP. f Mr. W. Hofmann, Glass Manufacturer, Blauern Stern. i Mr. A. V. Lebeda, Gun Maker, &c. riAPT.RP. ATI / Mr. Thomas Wolf, Glass Manufacturer. I Mr. Carl Knoll, au Lion Blanc. VIENNA Mr. W. Hofmann, Glass Manufacturer, am Lugeck, No. 768. SALSBURG Mr. Alois Duregger. ( Messrs. Gebruder Rocca, Printsellers, Unter den Linden. BERLIN Messrs. Phaland & Dietrich, Carriers. ( Mr. Lion M. Cohn, Comm'^e Expeditenr. DPP.STTP.M S Messrs. 11. W. Bassknge & Co. Messrs. G. F. Thode Sdhne. ( Madame Helena Wolfsohn, Schossergasse, No. 5. NEW YORK Messrs. Wilbur & Scott. 6 MURRAY’S HAND-BOOK ADVERTISER. MUIiriCII. FRANCIS STEICtERWALD, JrANUFACTUKER OF ALL KINDS OF /oHtt} Slrtitli'3 k ItrnitES in Bjiife k CnlnntJii Cnistnl ikss, CUT, OR ORNAMENTED WITH GILDING, PAINTING, OR ENGRAVING, Begs respectfully to inform tlie Public that liis large Stock at MUNICH, the acknowledged seat of the Fine Arts in Germany, is, as it has been for many years, carefully supplied with the NEWEST and CHOICEST PBODUCE of his FACTORY. Francis Steigerwald has also an Establishment at Kissingen during the Season. Requesting his Customers and Correspondent^ in ENGLAND to continue to this Establishment the favour and confidence they have been pleased to bestow on his former one at FRANK- FORT ON THE MAINE, he begs to state that Purchases or Orders will be transmitted on the shortest notice, and without any further trouble, through the medium of his Agents, Messrs. J. R. M‘Cracken, No. 7, Old Jewry, London. MURRAY'S HAND-BOOK ADVERTISER. 7 ROME. ENGLISH PHARMACY. A6Q, CORSO, BETWEEN THE CIIUECH OF SAN CARLO AND THE VIA DE’ PONTEFICI. MR. SINIMBERGHI, MEMBER _OP THE ROYAL PHARMACEUTICAL SOCIETY OP GREAT BRITAIN, B egs to inform Visitors to Rome, that his Establishment is well provided with genuine English and French Patent Medicines. Prescriptions prepared with the greatest care according to the formulary of the London, Edinburgh, Dublin, and United States Pharmacopeias, and the quality of the drugs may be confidently relied on, as they are chiefly supplied direct from Apothecaries’ Hall. ' GEIf 0 A. SILVER FILIGREE V/ORK. G. LOLEO, (successor to FELIX PERNETTI,) No. 81, IN THE ALBERGO DELLA CROCE DI MALTA, Keeps a Magazine which boasts the most elegant and complete assortment of every description of objects of this renowned and special production of Genoese industry. The exhibition of it in London, on the glorious occasion of the 1st May, 1851, obtained, for its variety, elegance, and solidity, the admiration of the visitors to the Crystal Palace, and was honoured with a Prize Medal, He invites Foreigners and Travellers to visit his Establishment (without being expected to purchase), where every article is sold at fixed prices. His Agents in England are Messrs. J. & R. M‘Cracken, 7, Old Jewry, London. In his Show-room may be seen a Monumental Column in filigree work in commemoration of the Great Exhibition. FLOEENCS. G. BIANCHINI, MANUFACTURER OF TABLES AND LADIES’ ORNAMENTS, OF FLORENTINE MOSAIC. No. 4844, Via de’ Nelli, opposite the Royal Chapel of the Medici, Invites the English Nobility and Gentry to visit bis Establishment, where may always be seen numerous specimens of this celebrated and beautiful Manufacture, in every description of Rare and Precious Stones. Orders for Tables and other Ornaments executed to any Design. G. Bianchini’s Agents in England are Messrs. J. & R. McCracken, 7, Old Jewry, London. 8 MURRAY’S HAND-BOOK ADVERTISER. UICE. ENGLISH WAREHOUSE. T. W. HOW, AVINE MERCHANT, GROCER, &c. QUAI DU JARDIN DES PLANTES, (Two Doors from the Hotel de France). Wines and Teas of tlie choicest qualities. Hass’s and Allsopp’s Pale and Burton Ales, Stout, Porter, &c. Leinanii’s Biscuits, Eng- lish Cheese, York Hams, Pickles, Sauces, and a variety of other condiments and arti- cles too numerous to mention. Correspondents in London, Messrs. J. and R. M<=Ckacken, 7, Old Jewry. NICE. F. LATTES, NEAR THE PONT NEUF, (l&rucral <3[5cut, AXD AGENT FOR LETTING FURNISHED APARTMENTS. Letters addressed as above from parties requiring any information respecting Apart- ments, will meet with immediate at- tention. MTJN’ICH. HENRY AVIMMER, SUCCESSOR TO J. M. DE HERMANN, PRINT AND PICTURE SELLER TO HIS MAJESTY THE KING OF BAVARIA, EOYAL PEOMENADE STEASSE, No. 12. MAGAZINE OF OBJECTS OF FINE ARTS, PICTURES, PRINTS, DRAWINGS, AND LITHOGRAPHS. Invites the Nobility ami Gentry to visit his Estahlishincnt, where he has always on Sale an extensive collection of Pictures by Modern Artists. Paintings on Glass and Porcelain, Miniatures, Drawings, Engravings, and Lithograplis, the latter comprising the Complete Collections of the various Galleries, of which Single Copies may be selected. He has also on Sale all that relates to the Fine Arts. H. AVIMMER undertakes to forward to England all purchases made at his Establishment, through liis Agents, Messrs. J. and R. M'^Cuacken, 7, Old Jewry, London. MURRAY’S HAND-BOOK ADVERTISER. 9 FEA^'KEOET 0. M. BING BBOTHEBS, ZEIL, No. 31, (opposite the hotel pE RUSSIE,) MAlfUFACTOEY OF AETIOLES IE STAG’S HOEN, DEPOT OF DRESDEN CHINA. COPY OF THE STATUE OF ARIADNE. *** All kinds of Parisian Fancy Articles. Messrs. BING Brothers beg respectfully to invite tlie Public to visit tbeir Establishment, where they have always on show, and for sale, a most extensive Assortment of Articles in Stag’s Horn, of their own manufixeture ; consisting of Brooches, Ear-rings, Bracelets, Pen and Pencil-holders, Seals, Ink-stands, Watch- stands, Snuff-boxes, Cigar-boxes, Whips, Walking-sticks, Knives, Card-cases, and every description of article for the Writing and Work Table, besides Vases and other ornamental objects too various to be here enumerated. Messrs. Bing have also the finest Copies, both in Biscuit-Ohina and Bronze, of the Statue of Ariadne, the Chef-d’oeuvre of the Sculptor Dannecker, of which the original is in Bethman’s Museum at Frankfort O.' M. Messrs. Bing have likewise the Sole Depot in Frankfort of the Porcelain of the Royal Manufactory of Dresden ; and at tlicir Establishment may be seen the most splendid assortment of Figures after the Ancient Models, ornamented with Lace-work of the most extraordinary fineness ; likewise Dinner, Dessert, and Tea Services ; Plates, Vases, Candelabras, Baskets, &c. &c., in the Antique Style, ornamented with flowers in relief, and the finest paintings. Besides the above-named objects, they have a superb assortment of Clocks, Bronzes, Porcelain, and other Fancy Objects, the productions of Germany, France, and England. Depot of the verUahle Ecm de Cologne of Jean Maria Farina, of Cologne. Tlieir Agents in London arc J. and R. M'Crackk.n, 7, Old .Tewry. 10 MURRAY’S HAND-BOOK ADVERTISER. BONI^ 01^ THE EHIHE. MR. SCHMITZ/ PROPRIETOR OF THE GOLDEN STAR HOTEL, Begs leave to recommend his Hotel to English Travellers. The apart- ments are furnished throughout in the English style ; the rooms are carpeted, and the attendance, as well as the kitchen and the wine-cellar, is well provided. The STAR HOTEL has been honoured by the visits of the following Members of the English Royal Family ; — { H, M. Adelaide, Queen Dowager of Great Britain, accompanied by His Highness Prince Edward of Saxe Weimar, Lord and Lady Barrington, Sir David Davis, M.D., Eev. J. R. Wood, M.A., Captain Taylor, &c, &c., honoured the above establishment with a Three Days’ Visit. H. R. H. the Duke of Cambridge and Suite. H.R. H. the Duke and Duchess of Clarence and Suite. 1818. 1825. May March and Sept 1834. July 1836. Aug. 1837. July 1839. Nov. - Nov. 1840 1841 1841 1844 1845. June 1847. July ■{- M. Queen Adelaide, accompanied by the Earl and Countess of Errol, Earl and Countess of Denbigh, Earl and Countess Howe, &c. H.R.H. the Duchess of Gloucester and Suite. H.R. II. the Duchess of Cambridge and Suite. H.R.H. the Prince George of Cambridge and Suite. (H.R.H. Prince Albert of Saxe Coburg Gotha, accompanied by \ l^iNCE Ernest of Saxe Coburg Gotha, and their Suite. (H.R.H. the Duchess of Cambridge, accompanied by the Princess [ Augusta of Casibridge, and their Suite. ( H.R. H. the Duchess of Kent and Suite, accompanied by H. S.H. the t Prince of Leiningen. H. R. H. the Duchess of Cambridge and Suite. H.R.H. Princess Carolina of Cambridge. H. R. H. the Duchess of Cambridge and Suite. H.R.H. Princess Mary of Cambridge. ( H.R. H. the Duchess of Kent and Suite, accompanied by II. S.H. the Prince of Leiningen. ( II. R. II. the Duke and Duchess of Cambridge, with their Family ) and Suite. Mr. SCHMITZ begs to add, that at no Hotel on the Rhine will be found more moderate charges. 1 MURRAY’S HAND-BOOK ADVERTTSER. 11 PEANKFOET 0. M. P. A. TACCHI’S SUCCESSORS (lATJE FRANCIS STEIGERWALD,) ZEIL D, No. 17, fiajirniinti (6)lns0 raili Cnistnl JUarrlinttst P. A. TACCHI’S SUCCESSORS beg to acquaint the Public, that they have become the Purchasers of Mr. F. Steigerwald’s Establish- ment in this Town, for the Sale of Bohemian Fancy Cut Glass and I Crystals. I They have always an extensive and choice Assortment of the I Newest and most Elegant Patterns of I ; ORNAMENTAL CUT, ENGRAVED, GILT, AND PAINTED GLASS I : Both White and Coloured, In Dessert Services, Chandeliers, Articles for the Table and Toilet, and every possible variety of objects in this beautiful branch of manu- : facture. They solicit, and will endeavour to merit, a continuance of I the favours of the Public, which the late well-known House enjoyed in I an eminent degree during a considerable number of years. P. A. Tacchi’s Successors have Branch Establishments during the * Season at WIESBADEN AND EMS, ; Where will always be found Selections of the newest Articles from their principal Establishment. i j Their Agents in England, to whom they undertake to forward Pur- chases made of them, are Messrs. J. & R. McCracken, 7, Old Jewry, I London. 12 MURRAY’S HAND-BOOK ADVERTISER, COLOGNE 0. RHINE. JOHX MARIA FARINA, (OPPOSZTS THE TTT1.ZCH’S PEACE,) PURVEYOR TO H. M. QUEEN VICTORIA; TO H. M. F. W. III., KING OF PRUSSIA; H. M. NICOLAS I., EMPEROR OF RUSSIA; THE KING OF HANOVER, ETC., ETC. OF THK ONLY GENUINE EAU DE COLOGNE. ^PHE frequency of mistakes, 'vvliicb are sometimes accidental, but for the most part the result of deception practised by interested individuals, induces mo to request the attention of all English travellers to the following statement : — Since the first establishment of my house in 1709, there has never been any partner in the business who did not bear the name of Earika, nor has the manufacture of a second and cheaper quality of Eau de Cologne ever been attempted. Since 1S2S, however, several inhabitants of Cologne have entered into engagements with Italians of the name of Farina, and, by employing that name, have succeeded to a very great extent in foisting an inferior and spurious article upon the Public. But they have in this rivalry in trade not been satisfied with the mere usurpation of my name, the concluding phrase, “opposite the Julich's Place," which had so long existed my especial property, was not allowed to remain in its integrity. 'I'o deceive and lead astray again those of the public who are not fully conversant with the locality and circumstances, the competition seized hold of the word “ opposite," and more tlian one settled in my immediate neighbourhood, tliat they might avail themselves to the full extent of the phrase “opposite the Julich's Place." Vhen tried before the courts, the use only of the word “ opposite” was forl)idden, which, however, has been supplied by tlio word “at ” or “near," with the addition of the number of their houses. It is true, another less flagrant, but not less deceitful invention was, that several of my imitators established the sites of their manufactories in other public places of the town, to enable them to make TTse of the phrase “ opposite Place, or Market," on tlieir address cards or labels, speculating with respect to the proper name “Julich," on the carelessness or forgetfulness of the consumer. I therefore beg to inform all strangers visiting Cologne that my establishment, which has existed since 1709, is exactly opposite the Julich’s Place, fonning the comer of the two streets, Unter Goldschmidt and Oben Marspforten, No. 23, and that it may be the more easily recognised, I have put up the arms of England, Russia, &c. &c., in the front of my house. By calling the attention of the public to this notice, I hope to check that system of imposition which has been so long j)ractised towards foreigners by coachmen, valets de ])lace, and others who receive bribes from the vendors of the many spurious compounds sold under my name. A new proof of the excellence of my manufacture has been juit beyond all doubt by the fact of the .Jury of the Great Exhibition in London having awarded .me the Prize .Medal — See the Official Statement in No. 20,934 page 6 of the “ Times" of this month. Cologne, October, 1851. t -n a ^.txt i ’ J. M. FARINA, Opposite tHe Jullcb's Place. My Cu.stom-liouae Ayenis in London are Messrs. J. & R. M'Cuackf.n, 7, Old Jewry ; and my Agent for Great Britain is Mr. Wm. Langenbeck, 15, Maddox Street, Regent Street, and 9, Lime Street, City, MURRAY’S HAND-BOOK ADVERTISER, 13 UNION BANK OF LONDON. ^ SIR PETER LAURIE, Alderman', Governor. WILLIAM MOUNTFORD NURSE, Esq., Deputrj Governor. Rt. Hon. the Lord Mayor. .1. Barxes, Esq. J. Farquhar, E.sq. Leo Schuster, Esq. P. North.all Laurie, Esq. C. Lyall, Esq. J. Charm AX, Esq, II. Hulbert, Esq. A. Boyd, Esq. Lt.-Col. Mathesox, M.P. J. Scott, Esq. William Wilsox Scrimgeour, General Manager. Walter Laurie, Secretary. CIRCULAR NOTES. CIRCULAR NOTES of the value of £10 and iipM'ards,/ree of expense, and LETTERS OF CREDIT payable at the places indicated below may be obtained at the Head Office, 2, Prixces Street, Maxsiox House; Argyle Place; and 4, Pall Mall East. Abbeville Canada Gottenbourg Middlebourg San Francisco Aix-en-Provence Canton Gottingen Milan San Sebastian Aix-la-CbapcIle Cape Town Graefenburg , Modena Santa Cruz Alexandria Carlsbad Granville Montpellier Schwalback Aleppo Carlsruhe Grasse Montreal Seville Algiers Cassel Gratz Moreton Bay Shaiiffhausen Alicante Catania Grenada Moscow Siena Almeria Cephalonia Grenoble Moulins Singapore Amiens Cette Halifax Moulmein Smyrna Amsterdam Ceylon Hamburg Munich Spa Ancona Chalon Hanover Munster Stettin Angers Chambery Havre Murcia St. Galle Antwerp Chaux de fonds Hague Nancy St. Malo Archangel Cherbourg Heidelburg Nantes St. Omer Athens Christiana Hermanstadt Naples St. Petersburg Augsbourg Christiansand Hombnrg es Neufchatel St. Quentin St. Thomas Avignon Civita Vecchia monts New Orleans Avranchcs Clermont Fer- Hong Kong New York Stockholm Baden-Baden rand Innspruck Nice Strasbourg Bagdad Coblenz Interlaken Nismes Stuttgardt Bagncres dc Big Cobourg Jaffa Nuremboiirg Sydney Bahia Coire Jerusalem Odessa Tarbes Barcelona Cologne Kissingen Oleron Teneriffe Basle Constance Kdnigsberg Oporto Tdplitz Toronto Bayonne Constantinople Lausanne Orleans Beirout Copenhagen Leghorn Ostend Toulon Bergen Cordova Leipsic Palermo Toulouse Berlin Corfu Liege Paris Tours Berne Corunna ^ Lille I*arma Treves Besan^on Creuznach Lisbon Patras Trieste Bilbao Damascus I.ocle Pan Turin Blois Dantzic L’ Orient Perpignan Utrecht Bologna DaiTnstadt Lubeck Pesth Valenciennes Bombay Delhi Lucca Pisa Valencia Bonn Dieppe Lucerne Port St. Maiy Venice Bordeaux Dijon Lyons Prague Verona Botzen Dresden Madeira Presbourg Vevey Boulogne Drontheiin Madras Quebec Vienna Bremen Dunkirk Madrid Rastadt Vigo Breslau Dusseldort Magdebourg Itatisbonne Vitoria Bruges Elberfeld Malaga Rennes Warsaw Itriiiin Elsinore Malta Rheims Weimar Brunswick Emms Mannheim Riga M iesbaden Brussels I'lorencc Mantua Rio dc Janeiro Wildbad Burgos Foix Marienbad Itouic Worni.s Cadiz Franefort Marseilles Rostock Wurzbourg Caen (leneva .Mauritius Rotterdam Yverdon Ihiiro (lenoa .Mayence Itouen Zanto Calais Client Melbourne Salamanca Zaragosa ( 'alcutta Camhrai Cibraltar Cotlia .Messina Salzburg Zurich. 14 MURRAY’S HAND-BOOK ADVERTISER, LUCEENE. Board and Lodging Six Francs a Day, Children Half-price, at PHILIP SEGESSEE’S PENSION AU TIVOLI. Commanding beautiful views of the Lake and Mont Pilate, situated about half-a-mile from Lucerne. Any enquiries will be readily answered by Higford Burr, Esq., Alder- maston, Newbury, who can strongly recom- mend the Establishment. THE SCOTTISH TOURIST FOR 1852. (19th Edition.) Now ready. One Volume, 12mo, 8s. 6d., OLIVER & BOYD’S SCOTTISH TOUEIST for 1852. Being a Guide to the Cities, Towns, An- tiquities, Seats of the Nobility, and Picturesque Lake and Mountain Scenery of Scotland; with numerous Illustrative Engravings and carefully prepared Travel- ling Map.s. This well-known work, now the property of Messrs. Oliver & Boyd, has been almost entirely rewritten, and gives full and accu- rate information on every thing that can prove interesting or amusing to the Tourist. The separate Tours are minutely described, and enlivened with a pleasing variety of Anecdote and Historical Kemiuiscence. 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Orders should be addressed to the Publisher, at the Oliice 2, New Bridge-street, Blackfriars, London or to any Newsvendor. FOHEIGN BOOKS. GERMAN, FRENCH, ITALIAN, SPANISH, SWEDISH, DANISH, AND DUTCH G RAM MARS, DICTIONARIES, DIALOGUES, and a choice stock of the LITERATURE of the CONTINENT is always to be found at FRA2UZ TKIMM’S, 88, NEW BOND STREET, LONDON. Just published, fcap.,^s. cloth. HELEN OF IHNSPEirCK OR, THE MAID OF TYROL. A POEM, IN SIX CANTOS, Illustrative of the War of Liberation in 1809 embracing the e.xploits and execution of Hofer. “ The story of the Tyrolese struggle for freedom is well narrated, and many of the pass.ages have true poetic power and beauty.” — Literary Gazette. “ A composition singularly free from faults. A volume of more than respectable poetry.” — Critic. London: Hajiilton, Adams & Co.; Bristol: II. Oldland. MURRAY'S HAND-BOOK ADVERTISER. 15 FRANKEORT 0. M. MESSRS. LOHR & ALTEN, PROPRIETORS OF THE ROMAN EMPEROR HOTEL, Beg to recommend their House to English Travellers. This large and well situated Establishment is conducted under the immediate superintendence of the Proprietors, and newly furnished with every comfort. The “ Roman Emperor ” is often honoured by Royal Families and other high personages. The following have lately honoured this Hotel — •H3I. THE KING AND QUEEN, OF WURTEMBERG. H.M. THE QUEEN OF HOLLAND. H.R.H. THE CROWN PRINCE AND PRINCESS OLGA OF WURTEMBERG. H.I.II. THE ARCHIDUKE OF AUSTRIA. Sic. &c. &c. Table d’hote at 1, 1th. 30c., Wine included. Breakfast, 3Gc. ,, „ 4|-, 1th. 45c., without Wine. Tea, 42c. Bed Rooms, from 1th. to 3th. EHUSSELS. GENOA. CARRIAGES AND HORSES. T. SUFFELL Respectfully inforais British and American Travellers they cau always obtain a choice of EXCELLENT VEHICLES, OP. GOOD SADDLE HORSES, TO CONVEY PAP.TIES TO AND FROM WATERLOO, At very reasonable prices. HOTEL CROCE DI MALTA, MRS. V. PERNETTI. For Carriages by the day, half day, or hour, apply to T. SUFFELL, 12, Rue De Ravenstein, Montagne de la Couv, on the right hand side descending from the Place Royale. Carriages of every description foi' town use. A Pair of Horse Carriages for Waterloo, 20fr.; Gig or Cab, 15 fr.; and a Saddle Horse, 12 fr. This Hotel, which is the first in Geno.a, is situated in a most convenient position for visitors. I It has been lately re-cmhellislied and refurnished, and is conducted on a most liberal scale, under the personal active superintendence of the Proprietor, who takes this opportunity to assure all those who may honour her with their patronage, that nothing will he left undone to ensure their comfort and convenience, as well as to maintain the reputation of i her Establishment. 16 MURRAY'S HAND-BOOK ADVERTISER, The Official Descriptive and Illustrated Catalogue of the Great Exhibition of the Industry of all Nations. OUPPLEMENTAL VOLUME OF ILLUSTRATIONS of O those Articles for which PRIZE AND COUNCIL MEDALS have been awarded by the Jurors of the Great Exhibition of the Industry of all Nations, Messrs. SPICER BROTHERS and WM. CLOWES & SONS are preparing for publi- cation a Volume of Illustrations, in the highest style of Art, as a Supplemental Volume to the lUustrated Catalogue, which will embrace a large portion of those objects which are not included in the three volumes alre.ady published. This Volume will also include the Report of the Commissioners for the Exhibition, 1851, containing a mass of valuable information connected with the Great Exhibition, Statistical Tables of Number of Visitors, Amounts taken, &c. rrUE COMPLETE OFFICIAL DESCRIPTIVE AND A ILLUSTRATED CATALOGUE OP THE GREAT EXHIBITION OP THE WORKS OF INDUSTRY OF ALL NATIONS, 1851. In three bandsoiue Volumes, cloth, lettered, gilt edges, price Three Guineas. AVhole morocco £5 5 01 Whole Calf £500 Half do 4 15 0 I Half do 4 10 0 This work forms a complete Scientific, Historical, and Illustrated Record of the Great Exhibition of 1851. The numerous Illustrations consist of the most interesting and important objects of Art and Industry exhibited; and original Notes and Papers have been contributed by the following gentlemen. Professor Owen, F.R S. Baron Justus Liebig, F.R.S. Professor Lindley, F.R.S. Professor Forbes Royle, F.R.S. Professor Bell, F.R.S., Sec. R.S. Professor E. Forbes, F.R.S. Professor Ansted, F.R.S. Professor Hosking. Professor A. De Morgan, M.A. Philip Pusey, M.P., F.R.S. Rev, J. Barlow, F.R.S. Rev. J. Booth, F.R.S. Captain L. L. Boscawen Ibbetson, F.R.S. Dr. Lyon Playfair, C.B., F.R.S. M. Digby Wyatt, C.E., F.R.I.B.A. Henry Cole, C.B., F.R.S. James Glaisher, F.R.S. J. E. Gray, F.R.S. Robert Hunt, Keeper of IMining Records. Robert Ellis, F.L.S. S. Clegg, Jun., F.R.S. W. De La Rue, F.R.S. J. Spurgin, M.D. John Wilson, F.R.S.E. Henry Dibdin. W. C. Aitkin. H. Mauuslay, C.E. Robert Hendrie, Jun. J. A. Niciiolay. “ The work is without precedent in the annals of literature.”— “The sole industrial source for future investigations connected with the yet undeve- loped resources of the 19th century .” — Daily Neios. “ A complete literary type of the original to which it refers.” — Times. EXHIBITION 1851-JURY REPORTS. rFHE REPORTS BY THE JURIES on the Subjects in the -L 30 Classes into v/hich the Exhibition was divided, are issued in two editions, one in Large type, forming 2 vols., snper-roj'al 8vo, of about 1000 pages each, price Two Guineas; and the other in small type, double columns, fonning 1 vol., super royal 8vo, of about 1000 pages, price One Guinea. Both editions will be uniform in size Avith the Official De- scriptive AND Illustrated Catalogue. POPULAR RECORD OF THE GREAT EXHIBITION.— Jr HUNT’S HANDBOOK, being an Explanatory Guide to the Great Exhibition of the Industry of All Nations, 1851. In 2 voLs., price 6s. By Robert Hunt, Professor of Mechanical Science, Government School of Mines. ruHE OFFICIAL SMALL CATALOGUE, Finally Coi-rccted JL and Improved Edition, with a full Alphabetical and Classified Index of ContrihHtors and of Articles exhibited. Lists of Commissioners and others engaged in the Exhibition, &c., in one volume, with the British and Foreign Priced Lists, price 7s. fid. SPICER BROTHERS, Wholesale Stationers. WM. CLOWES and SONS, Printers. Official Catalogue Office, 2, Tudor-street, Neiv Bridge-street Blackfriars, and of all Boooksellers. MURRAY’S HAND-BOOK ADVERTISER. 17 To all Persons of Taste intending to Visit London. M ECHI, Of No. 4, LEADENHALL STREET, near Gracechurch Street, LONDON, Has long been renownied throughout the civilised world for RAZOnS, STROPS, CUTLERY IN GENERAL, NEEDLES, DRESSING-CASES, WORK-BOXES, TEA-TRAYS, AND PAPIER MACIIE IN ALL ITS VARIOUS APPLICATIONS, AS WELL AS EVERY REQUISITE FOR THE TOILET AND WORK-TABLE. His well-known Emporium has been re-decorated in a style suitable to the improved spirit of the age, and has received an accession of Stock calculated to meet the extraordinary demand which he anticipates. Among the sights of London, none are more interesting and extraordinary than its shops, and for a combination of taste and elegance, there is not one more conspicuous than Mechi’s. Those who wish to see the Manufactures of England displayed in the most attractive manner must not omit to visit Mechi’s, where they will find an abundance of objects adapted to the requirements of every class of purchasers. Catalogues will be furnished gratis, or sent to any address in England, post free. 4, LEADENHALL STREET. NEAR THE INDIA HOUSE. NICE.-MARITIME. HOTEL VICTORIA. BY J. ZICHITELL!, CROIX DE MARBRE, JARDIN DES PLANTES. This Hotel is delightfully situated, facing the Sea, and possesses a southern aspect. The accommodation is of a superior quality, and adapted for the Nobility, Families, or for Single Travellers. ENGLISH COOKERY. Now ready, with 100 Illustrative Woodcuts. Post 8vo. Cs. Strongly bound. MODERN DOMESTIC COOKERY. Founded upon principles of Economy and Practical Knowledge, and adapted for Private Families. A New Edition, most carefully revised and improved. JOHN MURRAY, Alrkmarlk Stkkkt, M aps Published under the super- intendence of the SOCIETY for the DIFFUSION of USEFUL KNOW- LEDGE, 9cf. coloured, 6c?. plain, each. The whole of the Maps and Plans have lately been most carefully revised, and all the recent discoveries added. 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The MAP of LONDON, corrected to the present time, price Is. plain ; ls.6J., coloured , 3s. hound in cloth, or 6/. on roller, varnished. A Catalogue, containing the whole of the maps, can be had of all Booksellers. Purchasers can have any of the Map.s in case, on roller, or bound, according to their order, on applying to the I’ublisher. G. Cox, 12, King Williiim-strect, Strand, and a Booksellers. 18 MURRAY'S HAND-BOOK ADVERTISER. MALTA.-EGYPT.-INDIA.— IONIAN ISLES. 33n Slppointmrnt OF THE LORDS COMMISSIONERS OF THE ADMIRALTY. H. B. Majesty’s Steam Packets, possessing every requisite accommodation for tlie comfort of passengers, keep up a regular Communication between England and India, vid Marseilles, Malta, and Alexandria, twice a Mouth. These fine Vessels leave Marseilles for Malta on the 9th and 26th, and Malta for Marseilles about the 12th and 24th, performing the passage in about 08 hours. On the 13th one of these Packets is despatched to Alexandria with tlie India Mails and passengers, which place she leaves with the Homeward Mail and passengers about the. 21st, occupying about 90 hours iu the voyage. The Packet for Marseilles waits her arrival, also one of the Peninsular Company’s Boats, to convey passengers to England via Gibraltar, to the 26th. IONIAN ISLES. On the 1st and 13th of each month one of these Packets is despatched to Corfu, vid Cephalonia, Zante and Patras, from whence passengers can proceed to Athens. She remains at Corfu four days, and returns (calling at the above ports) to Malta, arriving on the 10th and 23rd, in time to secure passages to England, i>id Gibraltar or Marseilles. Freights on SiJecie in accordance with Admiralty regulation ; 1 per Cent, on Silver, § on Jewellery. Freight on Packages and Parcels may be known on application at the Agents’. Passages, including Wines, a liberal Table, and every Expense, 1st Class. Female Servauts. 2nd Class. 3rd Class, if Victualled. 3rd Class, not Victualled. £ s. d. £ s. d. £ s. d. £ s. d. £ s. d. Between Malta and Marseilles 8 2 0 5 8 0 4 10 0 2 14 0 2 0 6 „ „ Alexandria 12 10 0 8 6 8 7 2 0 ! 3 16 0 2 17 0 ,, „ Corfu . . 9 0 0 GOO 5 10 0 2 10 0 1 17 6 „ „ Patras . . 7 0 0 j 4 13 4 4 10 0 1 16 0 1 7 0 And the intermediate Ports in proportion. BOOKIWG AGENTS. MAKSEILLES— L. Bouvkt. ALEXANDUIA — Mr. Davidson. BOMBAY— Timks Office. PARIS— A. & W. Galignani. ATHENS — C. Maroaretta, Esq. JIALTA — G. Muir, 217, Strada Rcalo. ZANTE— W. L. Reynolds, Esq. C EP II A LO N I A— C APTAiN Lefociiilo SINGAPORE— Mr. Eooak. PATRAS— T. Woodley. ENGLAND — Messrs. G. W. Whkatlf.v & Co., 156, Leadenliall Street ; and C. W. Df. Bf.rnaruy, Esq., 20, John Street, Adelphi, London. OJJices will be shortly Established at other Ports. G. MUIR, Booking and Superintending Agent to Her Majesty’s Packets in the Mediterranean. N.B. — Passengers leaving England by the P. and O. Company’s Steamer from Soutli- ampton on the 29th, are conveyed on to Alexandria by IL M.’s Packet leaving Malta on the 13th. Mr. Muir, the Agent, will be on board to tranship their luggage and give them any information. There is no expense attending it. MURRAY’S HAND-BOOK ADVERTISER. 19 . boitlogne-sur-mer; BRIGHTON FAMILY HOTEL. This large and delightfully situated Hotel possesses the advantage of being close to the Railway Station. It is surrounded by extensive and well-kept Pleasure Grounds and Gardens, to the extent of several acres, and affords a very agreeable residence either for a long or short period. The Faixa and Gardens yield abundance of Fruit, Vegetables, Butter, Milk, Eggs, &c., for the use of the Hotel. There is a Table dTlote at Six o’clock. f CARRIAGES ATTEND THE ARRIVAL OF THE STEAMERS. MUNICH. HOTEL MAULICH. BY E. MAULICH. ^HIS Hotel, which is the first in Munich, is situated in a central and most convenient position for Visitors to this renowned seat of the Fine Arts. It is conducted on a most liberal scale, and the Proprietor leaves nothing undone which a constant personal active superintendence can effect, to ensure the comfort and convenience of his Visitors. It has been honoured with the patronage of the highest personages of the Continent and Great Britain. The Proprietor begs to assure those who may honour him with their patronage that they may rely on a continuance of his endeavours to merit the same, and to maintain the reputation of liis Establishment. This day, fcap. Svo, Is. 6d. THE ART OF DINING.; OR, GASTRONOMY AND GASTRONOMERS. Two Essays, from the “Quarterly Review,” revised, with Additions by the Author. “Among tlie many distinguished and accomplished persons who have kindly fallen in with the humour of the undertaking, and have supplied the writer with valuable materials in the shape of liiiits, recipes, and illustrative anecdotes, he deems it an imperative duty to acknowledge liis obligations to Count d’Orsay, Lord .Marcus Hill, tho Jvight Hon. Colonel Dainer, tlie Hon. W. Stuart, (attaclied to the Hritish Embassy at Raris,) Sir Alexander Grant, Hart., Sir H. Hume Campbell, of Marchmont, Hart., tho Editor of the ‘Quarterly Review,’ the Antlior of the ‘ Spanish Handbook,’ Lady Morgan, and (last, not least) tlie Author of' Stuart of Diinleith.” — Author's Preface. JOHN MURRAY, ALBEMARLE STREET. •20 MURRAY’S HAND-BOOK ADVERTISER. 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Man, isr.2, 11 Ml mii Pi m w m