Valery, M: Historical, Literary end Artistical Travels in Italy, a complete and metnodical guide for travellers and artists. Translated from the 2nd edition by C.E. Clifton, evo, pp. 781" copious index and coloured road-map if Italy, Paris, 1839. av- '72 TRAVELS IN ITALY l-niMED BV CASIMIB, 12, RLE UE LA VIEILLE-JIOKRAIE. «f Is K'h HistoE''icajl f 1A¥13L Complete in one Vol am e S'hUrx. lite Bndjt and Castle, of SK'injeU. Roine a ATDTD) M.ir ° § K ITMOFJffi AH" X,l B m AnitY 5 3 , Qiiai Makquais, near the Pont des Arts . and 9, rue du Coq", near tte Louvre HISTORICAL, LITERARY, AND ARTISTICAL TRAVELS IN ITALY, A COMPLETE AND METHODICAL GUIDE FOR TRAVELLERS AND ARTISTS, BY M. VALERY, UBBABIAN OF TDE ROVAL LIBRARIES OF VERSAILLES AND TRIANON ; AiTiioR OF J'oijfiges en Corse, d I'ile d'Elbe et en sardaigne. ■Sranslatcb, WITH THE SPECIAL APPBOBATION OF THE AUTHOR, FROM THE SECOND CORnECTED AND IMPROVED EDITION, BY C. E. CLIFTON. WITD ^ COPIOUS INDEX AND A ROiD-MAP OF ITALY. Borghese vale, tnvirons of Rome. PARIS: BAUDRY'S EUROPEAN LIBRARY, RUE D€ COQ, NEAR THE lOBVRE. SOLD ALSO BY AMTOT, RUE DE LA PAIX ; TRUCHT, BOULEVARD DES ITALIESS ; GIRARD FRERES, RUE RICHELIEU; LIBRAIRIE DES ETRANGERS, RUE KEUVE-ST-AUGUSTIN ; AND BY ALL THE PRINCIPAL BOOKSELLERS ON THE CONTINENT. 1859 ADVERTISEMENT. The publisher, in order to make this work as perfect as possible, by allowing time for the translation to be finished with proper care, has determined on publishing a first part. The second part will appear, at the latest, by the 13th of May, embel- lished with an engraved title and a road-map of Italy. The publisher engages, at any time, to complete the copies for those who have purchased this first part. PREFACE. It is difficult to make but one tour in Italy ; and he who has no wish to return is scarcely worthy to have been there at all. I have visited it four times. Though there are many and ingenious works on Italy, it appears to me that none of them can serve as a guide to travellers of the present day. The Travels of Lalande, full of information once correct, now belong to the past; and since the epoch of their publication, the history of art has made undeniable progress : the opinions of M. Cochin, which be perpe- tually thrusts forward, appeared of doubtful accuracy to a great ar- tist, more than forty years ago. ' The description which I publish has profited by this progress, and is supported by the recent and best authorities, Lanzi for p^iinting, and Cicognara and Quatremere for sculpture and architecture ; the impressions and research of facts alone are mine. If it have no other merit, this book may become a kind of portable library, and be of service as a methodical catalogue of the vast museum of Italy. The literary effect is occasionally dimi- nished by these indications, but I have thought it my duty to prefer accuracy and usefulness. I have found it impossible to pass over in silence the names of so many noble painters, full of elegance and variety, in the second rank of the Italian schools, but who as- suredly would be in the first of any other. The fire-side reader may skip this nomenclature of paintings and statues, a kind of ' I.eller of Girodet wrillen from Florence, May, 1790. See his OEitvrcs posthumes, torn. 11 , p. 563. VI PREFACE. recitative that I liave at least endeavoured to enliven by incidental details relating to the artist and the anecdotical history of the art. As to the historical and literary part, for which a life past in the midst of books had better prepared me, I have written mider the belief that the reform effected in history in our days, that the system of the true, the painting of particulars, might be likewise extended to a traveller's narrative, to wliich the principles of the picturesque school seemed to me peculiarly applicable. The me- morable events, the great personages, the poetical reminiscences of Italy, are therefore interwoven with my account of places and monuments. "When inscriptions were characteristic, I have not shrunk from giving them : many a time have they revealed to me some touching misfortune, or some superior talent left in obscu- rity and neglect. In examining libraries, I have endeavoured to make the history of books bear on the history of men, and to render bibliography instructive and philosophical. The statistical data are drawn from local and official sources, and without going to excess, I thought they might present new views, and some- times supply the place of longer dissertations on the country. Welcomed by my colleagues the librarians, acquainted with most of the Italian literati, I have derived invaluable assistance from their obliging answers to my different inquiries. In fine, I have attempted to restore to the poets, tlie artists, the literati, and all the persons I have introduced, their true Italian physiognomy, too often distorted by the idle fancies of the English, the sentimenta- lity of the Germans, or the philosophical spirit of the French. Twelve years' unintermitted study of Italy, from the period of my first journey, has procured me such a mass of facts, that I have been compelled to omit a considerable number less inti- mately connected with my description, to prevent my book , assuming an inconvenient size. These facts, these details, these pictures of manners will find a place in a volume of Fancies itaiiennes about to appear, and will form a supplement to the Travels for sedentary readers. PREFACE. VII Italy, which was before so easy of access by the new roads, has recently become still more so by the starting of numerous steam-boats; which will be for that country like the cheap public conveyances which afford a rapid communication between the different quarters of large cities and thus destroy the distance. This interesting tour, in which study is a pleasure, and pleasure a study, is now no more than an easy promenade. I devoutly wish that my journal, which has swelled into a laborious work, after having been written under the glorious sky of that country, in places illustrated by its great men, within sight of its chefs- d'oeuvre, may help others to see it better and love it more ; for without loving, it is impossible to know it well. TRAYELS IN ITALY. BOOK THE FIRST. GENEVA.-GLACIERS.— BANKS OF THE LAKE. CHAPTER I. riivilcge of the earlier travellers. — DlJon— Tombs of the dukes of Rurguudy. — House of Do-suet. — Dissertnlion proposed by the ACMdemy of DIjoii on the revWal of the arts andstiences.— Dole.— Saiut Cergues. Had I (ravelled in the days (if Mon- taigne, I might have been allowed, like him, from the beginning of my jouiney, to give the particulars of every stage and of my several resting-places ; to speak with- out offence even of the cheer I had met with and the wine I had drunk ; as well as to relate the news, incidents, stories, and marvels 1 had learned on the way. But the prodigies of modern civilisation, the great roads and the newspapers, no longer permit, and have in fact almost proscribed, this part of a traveller's nar- rative. My adventures would appear common-place, my news out of date, and my astonishment ridiculous. This pecu- liarity of the olden times cannot be tole- rated now ; al the present day, to keep faith with the public, a voyage must be indeed a book. It has been attempted, but in vain, to make the delicacy of French taste conform to the frivolous I gossip and puerilities of certain English travellers, 1 will, however, confess that, during my first journey, such was my curiosity to sec and know, that I often lost the diligence dinner, notwithstand- ing its importance, that I might visit the monuments of the place. At Dijon, I went to the museum to see the tombs of the two dukes of Burgundy, John Fearnought and Philip-the-Bold, which were formerly at the Chartreuse, Each mausoleum is surrounded by a basso-relievo in marble, on which the obsequies of the princes are represented. In spite of the painful emotions intended to be excited by such a ceremony, it is easy to trace, under the frock and in the features of these monks, all the passions and feelings of the human breast por- trayed with a truth and reality altoge- ther admirable. I sought the house in which Bossuct was born, and was somewhat disappoint- ed when I found it to have ail the ap- pearance of being recently built. It is occupied by a small bookseller, and is covered with placards like the columns in the Palais-Royal. The house of Crebil- lon, on the contrary, is very extensive, and serves at present as bread-depot for the (roops. In the interior was a mill, of I know not what kind, w hich made almost as much noise as the thunderclap of Atree. As to Piron's house, I did not look for it; there is a certain degrada- tion of talent that produces an absolute indifference for the memory of an author. Independently of the learning forw hich the society of Dijon has always been dis- tinguished, this town is, as it were, the mightiest source of French eloquence : Bossuet belongs to it by birth, and Rous- seau by talent. It is well known that the program of its Academy, on the ef- fects of the revival of the arts and scien- ces, fired the genius of this writer ; yet Diderot ga\e him a good hint, if the anec- dote told by Marmontel be true : the af- firmative was the pons asinorum, and this old apology for letters did not suit the paradoxical raptures of Rousseau, t GENEVA. [Book 1. D6Ie reminded me of a pleasing inci- dent, related in the interesting Memoirs of Brienne ; it is a battle scene in m hich French honour and bravery are beauti- fully dispiajeiJ- " -^l the period of the king's conquest of Franche-Comt^," says Brienne, " the great Conde standing with Villeroi on the bank of the ditch of I)6!c, where their lathers in the preceding wars had not been very successful, this prince said to Villeroi: — 'Marquis, wc must here retrieve the honour of your father and of mine.' The ditch was wide and dry, and the passage consequently very dangerous. The attack was fierce and bloody. The marquis, who commanded the Lyonnese regiment, passed first, and gained the top of the bastion; he effected a lodgment there, and cried out from afar : ' Prince, my father is satisfied ; what says yours? ' — ' We will endeavour to content him,' said the prince laughing in the midst of the fire, and in a moment after he w us on the rampart." On this road to Italy are Montbar, Genlis,' Dijon, Coppet, Ferney, Geneva, places with which are associated the names and reminiscences of some of the brightest ornaments of literature, and which seem naturally placed in the way to such a country. The sudden appearance of the lake and the Alps from the height of Saint Cergues, at three leagues from Geneva, is one of the finest views of nature that I have ever seen. It is impossible not to be dazzled by the magnificence, bril- liancy, and grandeur of such a spectacle. At times long lines of clouds overtop the mountains, of which ihey have the form and almost the colour, seeming like other Alps suspended, extending and surmounting them. CHAPTER II. Geneva; its merit and (li.stiiiction. I had intended only to pass through Geneva, but I was induced to .slay ; for I found in that city literary acquaintance, ■ Tiie estate rrom which Madame de Cenlis iooli Iier name is in ricaidy,ntar Mojcn; the chateau is now demoli.-hed. * It is proved by the passport returns that tHenty- five thousand foreigners pass through Geneva every year. i Witliin t!ie last ten years the aspect of Geneva has been almost euUreiy rt^novaied. Tlie cily has a relish of civilisation, a kind of moral dignity and general good sense, in short, a certain gravity that pleased me. I loved its public spirit without pride, its patriotism without hatred, and even its stiff originality of character in the midst of such crowds of foreigners. " The town is small, black, old, and indifferently built; the population is only twenty-eight thousand souls, yet I could not perceive the slightest trace of pro- vincialism in tone or manner. ^ This singular attraction of Geneva, combined with the beauties ofits position, appears moreover to have been felt by persons whose pursnilsand destinies were widely different : fallen princesses, sons of kings, powerful ministers, court ladies overcome by ennui, and men noted for success in courl.s, have successively so- journed at Geneva. I myself have met elegant women there who might have occupied some of the grand mansions of (he Maine or Normandy, and who pre- ferred to live at an inu or hire apartments at Geneva, disregarding the smallness of the rooms, the simplicity of the furniture, the absence of an antechamber, and the horrors of the staircase. This distin- guishing feature, this indisputable su- periority of Geneva, proceeds, in my oi)inion, from its being placed in the centre of the most polished nations, from its being a kind of European tho- roughfare for the travellers who visit them, and from its social slate. This scientific, commercial, and manufactur- ing city must naturally escape the dis- agreeables of small tow ns : neither the same aristocratic haughtiness, nor the equally noisome self-importance of wealth can exist there; and the upstart vanity of our authorities would be difficult in a state where the civil list granted to the chief does not exceed a hundred louis d'or. This first magistrate of the republic is chosen from the citizens indiscrimi- nately, and the admirable example of professor Uelarive has been pointed out to me, who, a short time after having been first syndic, gave a gratuitous course been enlarged in tlie interior by two suburbs re- claimed from the lake : the houses have risen three or four stories ; and there are some of seven or eight which overtop tbecliapels and steeples. The popu- lation has increased to tt)irty-one thousand inhabi- tants, a great number of whom are Intruders and foreigners \\\\o have corrupted ihc national cha- racter and even the accent. ^ I Chap. HI. ] GENEVA. of lectures on chemistry as applicable to the industrious arts, which were atlemleii by the manufacturing |)opu!ation of Ge- neva. The opulence of the Genevese has covered the banlvs ofthe laiic with charm- ing abodes; but I prefer from my heart those which have remained Swiss : the Corinthian porticoes, the coh)nades, (he pavilions, and all the Grecian architecture of some of these villas are much less pleasing to me. At the villa of colonel Favrc is the admirable colossal group of Venus and Adonis, an effort of Canova's youthful genius; it was executed for ihe marquis Salsa di Berio, of Naples, but retouched all over by the artist when the group passed through Home on its way to Switzerland ; for grace and dignity it is said to equal the noblest productions of his maturer years. One Sunday, I met at the gates of Geneva two battalions of the civic guard which were returning from Conches, where they had been target-shooting for prizes. Every body, w ithoul distinction of rank or fortune, makes part of this guard, the appearance of which is superb. Assuredly, if the sight of some companies of the battalion of Saint Gervais, supping and dancing in the public square of that quarter, left such a vivid impression on the mind of Rousseau when a child, and which he has so eloquently described, he would not have been less struck with the appearance of this civic force of unpaid soldiers, whom an advanced stale of civiiisalion, with the comfort and increased dignity produced thereby, must have rendered superior to the old companies of Saint Gervais: his father might still say, as he embraced him : " Jean-Jacques, love thy country! " 'J he talent of Rousseau is never more ad- mirable than in the descriplion of popular emotions and patriotic sentiments. This simple note ofthe "Letter to d'Alembert," presents a picture full of life, warmth, and truth. ' An agreeable traveller, M. Valout, had forgotten this circumstance ^\lien. oa visiling the house of Uousseau's faliicr in ISl'J, lie aslied for the chamber lu which Jean-Jacques was born. After mnunling the dark and narrow stair of Ihis miserable house, and seeking in vain for some trace of the great man, CHAPTER III. House of Jean-Iacqne?.— Statue.— Condemnation of his EiniCe. I wished to see the house in which Jean-Jacques is said to have been born. It is occupied on the ground floor by a faiscur d'outils (tool-maker), as his sign- board indicates : a Parisian woikman w o'lld not have failed to take tiie title of fabricant (manufacturer); I am sure Rousseau would prefer the sign of the Genevese artisan. This house, notwith- standing the inscription, is not precisely that in which Rousseau was born, as his birth took place while his mother was on a visit,' but it was the residence of his f.ithcr. It was there that he passed with him the first years of that infancy already so sensible and impassioned, when, after they had spent the night together in read- ing romances, his father, hearing the swallows twittering their orisons, quite ashamed, said to him : " Let us go to bed ; I am more of a child than yon." On again visiting this spot in 1827, I found that Rousseau's house had been pulled down and replaced by a large h.indsome house of freestone, at which workmen were still employed. The love of comlorl and the spirit of property are regardless of the memory of the past, and, with the exception ofthe little bust in the botanical garden, there did not then exist at Geneva, after the lapse of less than half a century, the slightest vestige of Rousseau. A bronze statue, beautifully executed by f.I. Pradier, an able Genevese sta- tuary, has at length been erected to Rousseau by subscription, on the little shady platform called the lie des Bar- ques, near to w here the Rhone issues from the lake. It was inaugurated on the 2ith of Februjiry, 1835. I saw in the front of the town-hall, at the foot of the tribunal from the top of which the sentences of condemned per- sons are read, the place wht're Emile was burnt by the hand of the public exe- cutioner. This infamous sentence, which was given without trial and even before he only found a worlinian, who showed him two chambers, ami said to the disconcerted traveller ; — " II Is one of those two, make jour choice ; ' — Gale- rie lilhograpliice tie monneignevr te due d'Orteani. tome 11, GENEVA. [Book I. the book had reached Geneva, followed Avith the interval of a week only, the execution done at Paris by the hangman at the foot of the great staircase.' Vol- taire, settled in his estate of Les Delices, seconded by attorney-general Tronchin, and for once in unison with the parlia- ment and the Sorbonne, was the active and secret instigator of these proceedings. " It is true that the credit of M. de Vol- taire at Geneva," writes Rousseau, from Yverdun, to madame de BoulTIers, "has greatly contributed to this violence and precipitation. It is at the instigation of M. de Voltaire that they have revenged the cause of God on nie." — " 1 reached here yesterday," he again writes from Motiers-Travers to Moultou, on the 11th of July, "and shall take breath until it pleases MM. de Voltaire and Tronchin to pursue me and have me expelled." Vol- taire causing Emile to be burnt at Ge- neva and procuring an order to be issued for the apprehension of its author — per- secuting, from the height of his chateau, the poor, infirm, suffering, and fugitive Jean-Jacques, presents a rather unphilo- sophical compound of the Epicurean and inquisitor. CHAPTER IV. Temple of Saint Peter.— Protestant preaching. On passing through Geneva, at a sub- sequent period, I applied to that town the method I had followed in Italy of collect- ing historical information during my researches after works of art. The front of the temple of Saint Peter is an excellent work of Count Benedetto AIGeri Bianco, a clever architect whom Alfieri called his uncle, although he was a Roman, and of a collateral branch of his family. In the interior, against the wall, between two little columns and be- neath a narrow half-demolished pedi- ment, I observed the epitaph of Agrippa d'Aublgn6;» an eccentric character, a kind of Sully with a morose, satirical, and scoffing humour; but, as a writer, full of vigour and genius. The grand-daughter of d'Aubign6, the daughter of that Constant d'Aublgn^ who had betrayed his father, has since been seated near to the throne of France : one would think that she ' Emile was burnt at Paiistbe tith of June, i7C2; at Geneva on the 18tb. might have restored the ashes of her grandsire to his country, unless the dead were included in the revocation of the edict of Nantes. The marble mausoleum of Henry de Rohan in the temple of Saint- Peter, which was destroyed by the revo- lutionary ignorance of 1795., has been restored. This famous chief of the pro- testant party under Louis XIII., the au- thor of the Perfect Captain, was an able writer and a skilful warrior. The duke is in complete armour, and his armorial bearings are painted on the wall ; the aristocratic pomp of this monument forms a singular contrast with the nudity of a reformed temple, which is so strik- ing at Saint Peter's; but it does honour to the wisdom of the present magistrates of Geneva. Among the sepulchral stones and epi- taphs, which cover the walls of this tem- ple in considerable numbers, I remarked one to the memory of a baron of Kaunitz, who died at Geneva in 1608 at the age of fourteen years, and who was lord of Austerlitz {Dominus in Austerlitz). Though there be nothing there but what is very simple, one cannot see without emotion this terrible and glorious name placed on the tomb of an infant who died at so great a distance from his country. Among many ser.mons that I heard at Geneva there was one that seemed to me exceedingly fine; it was preached by M. Touron on occasion of the September fast. This discourse showed that consi- derable progress has been made in the preaching of the protestants, which seems now to approach more nearly to the ca- tholic manner. This superiority is pro- bably neither in the men nor the orators, but in (he form of the discourse. Under Louis XIV. protestantism was combated by the thunders of Bossuet, Fenelon, and the writers of Port-Koyal, and in strug- gling to maintain its ground under the blows of such powerful adversaries, its eloquence became controversial. Not- withstanding some fine inspirations due to exile, persecution, and misfortune, its rcfufjie style was heavy, languid, and without imagination. In the following century protestantism could not escape the general decline of Christian doc- trines, and its eloquence was chilled by the coldness of those moral virtues which ' The castle of Crest, wliere lie lived, is still to t>e seen at Jussy, two leagues from Geneva. Chap. YI. ] GENEVA. alone were advocated from its pulpits. The preaching ol' the present day, pru- dently abstaining from ihe controversies with which it was formerly c'ntangled, invigorated by sentiments of religion, the desideratum of the enlightened minds and generous hearts of our epoch, is perfectly evangelical. The sermons of M. Touron, like the Discours fumiUers d'un pastcur de campagne, by M. Cel- lerier, would be excellent parish lectures. The latter, in which the imitation of Massillon is very perceptible, possess all the unction and spirituality of which protestantism is capable. The services of the reformed church did not seem to me destitute of dignity or devoid of charms: the excommunication, pronounced by the minister from the pulpit again.'t those who communicate unworthily, was full of awe; the singing of the psalms and the simple music with which they are accompanied have a touching effect, and if the verses are bad, habit and piety, that sweet preoccupation of the soul in its aspirings after God, would scarcely perceive it or find fault with them. CHAPTER V. Palace of Clolilde. -Calvin.— Scalade. In my researches into the past of Ge- neva, I even went to examine the Gothic arcade of the Bour(/-du-Fcur, one of the city gntes, through which every body passes without noticing it; it is said to be the gate of the palace of Clotilde, the daughter of Chilperic, king of Burgundy, and the wife of Clovis. It was there that, sealed with her sister, she was exercising hospitality to travellers, when she received from the Gaul Aurelian, disguised as a beggar, the ring of the king of the Franks and his flrst proposals of marriage. It is strange to find this tradition of the woman who converted the Franks to Christianity in the city of Calvin, as if it were destined to be the source of religious re\o!utions of the most opposite character. In a little square I saw the hall, now- occupied by the Consistory, in which Calvin assembled his first disciples, w hen he was only a poor wandering fugitive, ' Jacques Gruet, beheaded; Michael Servelus, burnt; Valentine GenllUs, conriemned to die, and, but animated by that enthusiastic reli- gious zeal, which is the strongest of hu- man passions. When we recollect Cal- vin's first arrival at Geneva, we cannot help being struck with the sudden ascen- dency that he acquired ; this simple pro- fessor of theology, come by a mere chance, and maintained at the public expense, possesses all the authority of a master; if he retires, it is only to come back more powerful and terrible; he dic- tates to the magistrates the judgments they are to give, and, though the advo- cate of free discussion, punishes his anta- gonists with death. > In the quarter of Saint Gervais, I went to see a small enclosure made some few years since, at the extremity of which is a marble tablet attached to the outside of the church wall, bearing the names of the seventeen citizens who perished in the defence of their country during a nocturnal attack made by the duke of Sa- voy in 1602. A small plot of grass en- closed by an iron railing breast-high, some names inscribed against the wall, are the only monument erected to the memory of these courageous citizens, these ple- beian i^Ianlii, who had not even the geese of the Capitol for them; but this simple monument, so popular and na- tional, is more touching than the superb equestrian statues, gilt or bronze, of the condottieri, that decorate the squares and churches of Italy. The letter which Henry IV. wrote to the Genevese on the subject of this remuement, generously offering them his protection, with that vivid, princely, and military eloquence of which he is the inimitable model, has associated the memory of the Escalade w iih the history of France. CHAPTER VI. Museum.— Theatre.— Conservatory. The patriotism of the Genevese has re- cently endowed their city with a mu- seum; the very walls of the edifice are a present, for they were built with the money bequeathed by the Misses Rath, the daughters of the general of that name, who died in the service of Russia. Though only ten years have elapsed, it possesses already considerable riches. after his recantation, to make the amende hono- rable , I'.olzec, banished. 6 GENEVA. [Book I. Among the paintings of the Genevese school in the Rath museum may be re- marked : the portraits of Saussure and of Tronchin, by Saint-Oijrs ; the expressive portrait of Madame d'Epinai, by Liotard, painted in 1758, when she came to Gene- va an invalid ; two large landscapes by Delarive; Hornung's Death of Cal- vin, which has elTect, but is deficient in local physiognomy ; two landscapes, by Huber ; a winter landscape by Top- fer. David victorious, in bronze, is by M. Chaponiere, who. with M Pradier, does honour to the chisel at Geneva, In spite of Rousseau's philippic, a theatre has long existed at Geneva. A conservatory of music has been created within the last three years ; it has pro- duced some promising pupils, and Listz gave lessons there in 1836. The ancient severity of manners in the town of Cal- vin is daily diminishing, and this kind of Lycurgus, both writer and orator, would not see without displeasure that all the refinements of Attic taste are now succeeding to the rigorous discipline which he established, CHAPTER Vir. I.ibrarv. — Reading society. — Taste for reading among llie people of Geneva — Moiiuscrlpls of Dr. Coindet. — Autograpli letters of Voltaire, lious- seau, and Bonaparte ; literature of tUe latler. I devoted several days to an examina- tion of the public library, which contains forty thousand volumes and about five hundred manuscripts. There exists in this library a most precious work of art, Petitofs great enamel of Alexander in the tent of Darius. The building devoted to the library is a horrid place which has very much the appearance of a barn. It is well supplied w ith editions of the fifteenth and sixteenth centuries, but there is a deficiency of modern works; except the Description of Egypt, there are scarcely any of the best works that have appeared ' Tbe reading society has no other funds than those derived fromlheconlributions of its subscri- bers; its library now contains more than thirty thousand volumes, among which, it is true, tliere are many sets incomplete. Tlie number of members was three huuilred and twenty in t8.J(3; there were more than four hundred in )83l and (832. Foreign- ers are readily adrailled to the reading society ; in <836, there were a hundred and seven French, a hundred and three English, Qfty-tv^o Italians, flfty- one Gerraaa, Iwenly-lwo Russians or Poles, tweniy- during the last twenty years. The reading society is a well regulated institution ; it receives the literary and scientific jour- nals, the different reviews, and principal new publications, and is, I think, the cause of the unmerited neglect of the library. » Francis dc Bonnivard, the prisoner of Chillon, ' was the founder of this library, to which he gave his ma- nuscripts and books in the year 1551. It was afterwards increased by the be- quest of Ami Lullin, professor of eccle- siastical history, who had acquired a portion of the rare colleclion of counsellor Pdteau, the other part of which was bought by queen Christine, who sent it to the Vatican. Thus was the library of this counsellor of the parliament of Paris strangely destined to be divided between Rome and Geneva. I was struck with the great bulk of the loan book, and was then informed by M. Pictet Deodati, the librarian, whose attentions were truly indefatigable, that every citizen of Geneva, without ex- ception, had a right to the use of the books in the library. I looked over this loan book with curiosity. It did not contain, like ours, the names of idlers reading at random without taste or love of study; nor were the somewhat graver fantasies enregistered there, of those restless triflers who seek in our phar- macies of the soul vain remedies for imaginary evils; nor did it contain the names of those literary sharpers, who make books from books on all sub- jects indifferently, nor of those editors, writers of the stall and the shop, whose talent is only a kind of handicraft, and whose long compilations do not present one original idea, nor twenty pages of their own composition; but instead of these I found the names and very legible signatures of useful citizens and artisans. These come in person one day a week to change the works they have read for others; though there are nearly two thousand volumes in circulation, it never six Americans, fifteen Dutch, and one Turk. The society seems, however, to be on the decline by the president's report made in the month of January t837, and the expenditure has exceeded the receipts for some years past. ^ By a singular Inadvertence, Lord Byron, in- stead of celebrating the captivity of that Intrepid and temperate priest, Bonnivard, the real prisoner of Chillon, has sung the adventures of Imagiriary heroes. See p^s^ chap. xvi. Chap. VII.] GENEVA. happens that one is lost. Thus, this library is not only public but popular. This taste for instruction gives to the people of Geneva a sort of gravity and comprehensiofi lni]y remarkable, which Is not found elsewhere. In the clock manufactories, as in (he veillees of com- mon work-people, the best reader is chosen, and the audience agree to do his or her share of work so long as thus employed. In this manner that intel- lectual life, that esteem for the efforts of the mind and of thought, which, with all our means of publicity and all our literary agitation, are so little known in France, are much more widely dissemi- nated at Geneva. I remember that I had the good fortune to meet M. de Cha- teaubriand there, who had come from Lausanne to pass two days at Geneva, and he was pleased, as we returned from our ride, to take nie back to my inn. When I got out of the carriage I was surprised lo see my hostess, generally so full of business, standing still before the door; she soon followed me, and asked if the gentleman in the carriage was not M. de Chateaubriand. I said that it was, and I showed some astonishment at her knowing M. de Chateaubriand ; she sharply replied — " Oh! sir, who does not know M. de Chateaubriand?" I mentioned Ihis incident lo a Genevese, who from his profession is a perfectly competent judge of the Genevese man- ners, and he was not the least surprised at it. lie even assured me that if the passage of M. de Chateaubriand had been suspected at the time, all the street der- riere le Rhone would have been crowded. In 1826, I examined at my leisure, at the house of the late doctor Coindet, a very curious collection of autograph letters, which is at the present time in the hands of his eldest son. M. Coindet possessed, w ilh various letters of Voltaire and Rousseau, the manuscript of Emile, which however had no doubt been re- written from a former copy, perhaps that in the library of the Chamberof Deputies, which has many more erasures. The manuscript of M. Coindet presents rather correctionsof style than any real changes, and it is well known to what an extent Rousseau laboured his works. One of » I bave since, in ray travels in Coriica, dis- covered several of Napoleon's letters, of a date pre- vious to Ihis ; tliey are addressed lo bis family, and are no" in llie liands of M. Broccii.i of Ajacdo. One the most remarkable pieces of this col- lection is a letter from Rousseau's father lo Madame de Warens, in which he expresses his disapprobation at his son's wasting time in literary occupations; in this letter of the old clock-maker of Geneva may be observed some rude features of his son's genius. There is the same energy, the same haughtiness, if there cannot be said to be the same elevation, of sentiment. In the collection of M. Coindet, there was also, in Ave folio pages, one of Calvin's doctor's bills; lavements are almost as reiteres therein as in that of M. Fleurant. Among the treasures of M. Coindet was a packet of lettres de cachet, surreptitiously taken from the Bastille when it was destroyed, documents unworthy of the signature of Louis XIV. and Colbert, as in them these great men degrade themselves to the occupation of jailers, even prescribing the visits the prisoners may receive, and the number of turns to be allowed thera on the terrace. At the house of M. Cherbuliez, a learned bookseller, I saw, in frames, a letter of Voltaire, two autograph letters of Rousseau, and one of Bonaparte, the three men, perhaps, who have exercised the most violent intluence over mankind. Voltaire's letter is only an insignificant note of the 16th of March, 1776, addressed to M. Duval de Gex; he sends to him a letter written by the fermiers-generaux to M. Trudaine, respecting a person named Chahot, whom he patronised; the letter is not in his hand, but is signed by him. Rousseau's two letters, written fron Motiers, are addressed to M. de Beauchateau ; one is of the 1st of October, the other of the I7th of November, 1763; in the fust he invites him to dinner in very affectionate terms and with much good nature ; in the latter be speaks in a touching manner of the suffering state of his health : — " Without the hope of another life," says he, " I should have but little to say in favour of this." Bona- parte's letter is of the 29th July, 1786, and is addressed to M. Barde, the pre- decessor of M. Cherbuliez. It is one of the earliest of his now existing letters. ' The letter lo M. Barde is badly spelt, but not so illegible as his writing when em- of tbem was n rillen during bis cliildhood, at (he age of eleven, a sbort lime afler liis going lo Brienne. 8 GENEVA. Book I. peror ; its style is very ordinary, and affords little presage of the great man ; it relates to the purchase of certain histories ofthe island of Corsica and the pretended Memoirs of Madame de Warens and Claude Anet, as a sequel to the con- fessions of J.-J. Rousseau. ' — " J'en- TEyoTvotrereponse," y^nies Bonaparte, " pour vous envoyer I'arcjent a quoi cela montera." He directs M. Barde to address his answer to M. de Buonaparte, offlcer of artillery in the regiment of La Fere in garrison at Valence. However little the interest of this piece, it is im- possible not to feel some emotion on seeing obscurely exposed, in the corner of a bookseller's shop, and bearing the marks of its ancient classiOcation among other business letters, this letter \\ hose characters were traced by a hand so powerful, which was one day to give so many other signatures so widely differing, from the treaties dictated in the capitals of Europe, to the abdication accepted at Fontainebleau and the will of Saint Helena. Bonaparte's stay at Valence is the sub- ject of a very pretty anecdote related in the Memoirs of a contemporary.* At the period ofthe journey to Erfurth, IVa- poleon, having at his table the emperor Alexander and the princes of the Confe- deration of the Rhine, corrected an error which the prince primate made respect- ing the date ofthe Golden Bull. " When I was a simple second lieutenant of ar- tillery, "said he, on beginning hisphrase, and on remarking a movement of interest and surprise on the pait of his guests :— " When I bad the honour, " he resumed, "of being a simple second lieutenant of artillery, I remained three years in gar- rison at Valence. I was not fond of company and lived very retired. For- tunately I lived near a bookseller; I read over and over again all the books in his library during those three years, and I have forgotten nothing " If one calls to ' These memoirs had Just appeared at Oliambcry ; the first are ihenorliofM. Doppet, then apliKsliijn, and subsequently an Indilfereni general replaced at the siege of Toulon by Dugoramier; he was the author of Palilical and Militar;/ Memoirf. aud died in 1800 ; the latter n ere by his brother, a barrister. ' Memoi'S of M. de Bausset, vol. i. p. 32^. ' Bonaparte was a great novel-reader ; one of his most lllustrinus generals, a most veracious man, has related, that wheu he was calle.l into his pre- sence at Martigny, at the moment of passing the Great Saint Bernard, he caught a glance of the boob mind the divers literary judgments of Bonaparte, his letters, and his procla- mations, one might be tempted to think on the contrary, that, with the exception of chronology, his memory was rather detrimental to him, as being the source ofall that is false and exaggerated in them. His instinct w as better than his learning, and the gifts of nature than his acquire- ments. He could appreciate Corneille, Moliere, Racine, and the great writers ofthe age of Louis XIV.; save some par- tial errors on Fenelon, La Fontaine, Lesage, and madamede S^^ign(?, and he was perhaps too much shocked with the tinsel of some of Voltaire's pieces. His mililary eloquence was brilliant, but nearly always imitated and too highly coloured; the historical and sentimental common-places that he mixed with it were sometimes very ludicrous. Some of his letters addressed to his w ife, soon after their marriage, have recently ap- peared; notwithstanding the depth of his feelings, they are written in the very worst style of novels. 3 The literary taste of Bonaparte was correct, but not of a high order: in the plan of a portable li- brary of a thousand volumes which he sent to AI. Barbier, his librarian, Emile is formally excluded, while I have re- marked on one of his travelling catalo- gues, the Lettres a Emilie sur la mytho- logie, and the poems in prose of Florian ; in the section of epic poets in the plan of this portable library, Napoleon had or- dered Lucan and ihe Henriade, without thinking of Virgil, Camoens, or Milton. The tales and romances of Marm.ontel were among the books that he carried into the East wilh him, the catalogue of which he himself made oiit.^ He had an equal antipathy for Rousseau and Voltaire. When he passed through Geneva in 1800, and showed much politeness to its citi- zens, after making complaisant inquiries about Saussure. Bonnet, and Senebier, he said nothing of Jean-Jacques. Elo- Ihat Bonaparte had in his hand when he entered the room ; It was the Adventures of Guzman d'Al- farache. 'i Bourrienne's Memoirs, vol, II. p. 50 et seq. M. de Rourrienne appears, however, to judge the friend of his childhood too severely when he says: — '• I never knew a man more insensible lo the beautiful in poetry or prose. The finest works of our literature were to him nothing more than an arrongement of sonorous words, void of sense, which, according to bim, only pleased the ear. Chap. VIII. GENEVA. 9 quent reproacheshavebeen made against Napoleon's taste for the lower kind ol literature, but it was the consequence of his first acquaintances in tlie revolution, and his good sense vainly struggled to get rid of it. Geneva appears to mc deserving of reproach for an error in opinion that 1 will take advantage of this opportunity to mention. At the corner of every street, may be seen portraits and apotheoses of Napoleon. I remember that, on my ar- rival at Geneva, in pursuance of the active habits I had contracted, and to which 1 adhered in all my travels, I began to explore the city almost immediately on my arrival ; having asked the way to the parade, a person who was going thither, (it being Sunday) proposed to conduct me. After thanking him for his obliging offer in a suitable manner, I thought proper to congratulate this citizen of Ge- neva onlheindependenceofhis country. lie received my compliment rather coldly; and I afterwards found a similar feeling among persons of more inform- ation. ThisGenevcse Bonapartism sur- prised me exceedingly. In my early youth I had known, under the empire, some distinguished Genevese,and I had closely observed their opposition to the proceed- ings of that epoch, and the dissatisfaction of the government on account of it. I have not forgotten, as one of the richest anecdotes of the censorship, that a number of the Bibliotheque britanni- que, an excellent journal published at Geneva, was then suppressed or menaced with suppression, on account of an ex- tract from an luiglish life of Sir Thomas More. An allusion was found in it to the affair of the pope, and Geneva was almost censured as papist. Bonaparte abhorred Geneva andtiie Genevese, and his witty answer cannot have been for- gotten, when, on being invited to pass by Geneva, he said that he did not know enough English for that. This Gene- ' See his Letters, so felicitously trauslaled into French by Madame de Sterk. » Ue died on the CJlh February 1832. ^ One of the llrst hotanists in Europe. 4 Aullior of the History of Ihe Italian Republics of the Middle Ages, a partial work, but abounding wllb informaiioii; it ought to be read, as a neces- sary coirtplement to a voyage In Italy. 5 M. Duniont has publi^hed and rendered read- able the reveries of the Civil and penal Legislation of Jeremy Benlham; he died at Milan in September 1829. vese Bonapartism is connected with the remembrance of good administration, and some commercial advantages, but it is not the less an error. The impulse given by France towards a sort of social improvement might be useful to other nations less advanced, but could not be- nefit Geneva ; this enlightened city has need of no one to teach it civilisation. CHAPTER VIII. Society of Geneva. During the summer the society of Ge- neva is pretty generally dispersed among the villas of its environs. I could only catch a glimpse of it, although favoured with the obliging attentions of M. de Bonstetten, formerly the friend and lite- rary confidantofthe youthful Muller,' at that lime advanced in years, but still full of fire, grace, and imagination." But I can- not recall without a pleasurable interest the evenings that I past with some of the ministers. It appeared to me that peace, union, and domestic happiness reigned there ; the wives of these pastors and theo- logians have a kind of unpedantic gravity full of sweetness. The other ladies of Geneva whom I met with conversed well and with ease ; a few commercial terms were occasionally mixed with their ex- pressions, but I never saw any instance of that alTectation of refinement with which I have heard them reproached. In winter the society of Geneva is of a very superior kind ; as it comprises such men as De Candolle,^ Sismondi, i Du- mont,5 Maurice. 6 Rossi,? Hess, ^ Cha- teauvieux;,! such shining intellects, and sturdy combatants, that cannot be found elsewhere united within so small space. Sharp must the pains of exile be, since Madame de Stael could not be consoled or forget her sorrows in the range of such society. Geneva is singularly placed as a con- ^ Formerly professor, mallre des reqiieles, and prefect of France. 7 Pro'e.ssor of lloman law at the Academy of Ge- neva, a jurisconsult of the liighest distinclion, and author of the Treatise on penal law, published in 1821); he is now professor of polilical economy at the College of France. " Author of an interesting life of Zuinglius. 9 Author of Lettres nouvelles sur t'Ualie, and of Lellrea de Saint-James. FERNEY. [Book I. trast on the road to Italy ; this city, the seat of philosophy, industry, commerce, and liberty, utterly differs from the poe- tic soil of Italy, the country of the arts, of historical recollections, and absolute power. CHAPTER IX. Ferney. The visits to Ferney do not now excite the emotion, agitation, and ecstacy that were the order of the day some sixty years ago. The curiosity of the traveller, sometimes childish and ridiculous, ' has succeeded to the ardent fervour of the pilgrims of old : every body admires the talents and genius of Voltaire, but there is no man of sense that does not bl.ime his abuse of them. This celebrated ch;iteau, this portico of a scofGng and sceptical phi- losophy, is but a small house of a style of architecture at once meagre and clumsy. On the front are represented divers em- blems of philosophy and the arts, painted during the lifetime of Voltaire, with al- lusions to his various works. The thea- tre, situated in the court, was so badly built, that time has already destroyed it. The famous church opposite, which bore the scarcely religious inscription, Deo erexit Voltaire, is but a narrow chapel incapable of holding two hundred per- sons. The drawing-room and bed-cham- ber are still, as is well known, in the same state as in Voltaire's time. The drawing-room is small and ugly, and filled with ten arm-chairs and a little console. The frightful daub so humo- rously described by Madame dc Genlis is still there : it represents the Temple of Memory, and Voltaire, led by France, of- fering his Henri ade to Apollo ; the kind of toga in which Voltaire is clothed re- sembles a dressing-gown, and France, as to her look and dress, has an air hardly decent; the enemies of Voltaire are in a corner, overthrown and making horrible grimaces. In the bed-chamber is the earthen mausoleum, spit half through, in which Voltaire's heart was enclosed, and which from its material, colour, and degraded appearance, is more like a ' The bei] and window curtains of VoKairc's chamber, are almost in pieces, great numbers of travellers bearing away a shred every day unper- ceived. ' Ferney has reverted to the Bud6 family, of cracked stove than a tomb. Those em- phatic words, so liltle resembling his style, which he would never have written in his life, are still to be read thereon : — " My manes are consoled, since my heart is in the midst of you." A small detach- ed plate, on the middle of this strange monument, bears the more generally known inscription : — "His spirit is eve- ry where ; his heart is here." On the sides of this tomb are strangely enough placed the portraits of pope Clement XIV. and his landress.and those of the empress Catherine and her chimney-sweeper. On the side where the bed is, are the por- traits of Frederick, Lekain, and Madame du Chatelet, and near the only window of the room, are some small and very in- different engravings representing certain illustrious characteis, among whom friendship and a community of philoso- phical sentiment have given a place to Marmontel, Helvetias, Diderot, and the duke of Choiseul. Close to this room was his study, which is now a servant's bed-rooiTi ; and beyond that the library, now a somewhat extensive orangery. In the park is the great elm planted by the hand of Voltaire; it was struck by light- ning in 182{-, and its effects are still vi- sible in the dead boughs at its top. The park is flat, but presents several new and well planted avenues of an agreeable aspect, which form an effective contrast with the somewhat insignificant remains of the chateau." There is still living at Ferney an old gardener who has seen Voltaire: he speaks of him in an interesting manner, and without the cant usual to that sort of contemporaries. He has preserved a morsel of Voltaire's dressing-gown, his white silk cap with gold flowers, and his great box walking-stick. Leaning on the latter, the good fellow represents in a very natural manner some of the scenes in the life of Voltaire, his passionate do- mestic outbreakings, his love of frighten- ing the little bojs that came in his way, etc. Voltaire was always called monseigneur, and would have taken of- fence if any of his people or dependants omitted doing so; he rode out every day in a carriage with four horses. In spite whom Voltaire bought it. The present proprietor Is M. Eudii de Boissy, a descendant of the famous Guillaume liude, wliose wife, with a part of his children, retired to Geneva and embraced Cal- vinism. Chap. XI. COPPET.-SALEVE.-BOSSEY. of his beneGcent conduct to the residents on his estates, he was a lord strict enough and even hard towards poachers '. This same gardener still shows a register con- taining the seals of divers persons who had written to Voltaire. These seals en- abled hi:n to refuse the letters that he did not want to receive, and which he sent back without opening to save the postage ; there are epithets written by the side of them, some of which are not very flatter- ing for these tiresome and indiscreet cor- respondents. Among the prints in the chamber of this gardener, is one given him by Madame Denis, representing Voltaire in various costumes; in one of these he is disguised as a woman with a round cap; the effect of this old monkey- like countenance with such a headdress cannot be described. It is also probable that Voltaire, after corresponding with the femme de chambre of the duchess of Choiseul, » had a fancy one day to take the costume. Of all the places that have been inha- bited by celebrated men, Ferney is one of those which most disappoint the expec- tations ; ignorance of the beauties of nature has never, perhaps, been carried to such an extent : this park, at the foot of the Jura, has not a single undulation of surface, and one can hardly get a sight ofthe lake of Geneva or the Alps. CHAPTER X. Coppet. I visited Coppet, the asylum of the fugitive Bayle, where he sojourned w hile engaged in the education of the children of count deDhona ; it was also the retreat ' The (oMonlng anecdote of Voltaire, which, 1 believe, has never been printed, was communicaleiJ to me by a person worthy of credit who bad known him personally. " A poacher was caught and tufein before Voltsire. ' The rogue must be defended,' said he, after throwing himself back in his easy- chair, and he named Wagniere as his counsel, w ho refused, however, from I know not what motive, and M. Mailly-Chateaurenaud, then Voltaire s second secretary, under the name of M. Esprit, and subse- quently deputy of Franche-Comlc- at the States-ge- neral, was ordered to replace him. In the niid.-t of his pleading, M. Esprit stopped suddenly, and said he wanted a volume to read a quotation, that this volume was in the library of M. de Voltaire, and that he could lind it in a moment; the hl^'h justi- ciary allowed him to go for it. On his return, as be kept turning over the leaves ia vain wiihout of Necker, and for ten years the Siberia of Madame de Stael. The chateau had just been arranged with care and simpli- city ; it has nothing extraordinary and is badly placed, enjoymg no view of the .4ips, which is intercepted by the naked heights of the Voirons. The park is planted at the entrance w ith evergreens and has a dull aspect ; there is, however, a very pretty rivulet w hich might have been turned to advantage, though it now only serves to turn a mill. This taste in preference of the useful was visible throughout the estate, as well as in the life of its proprietor, a young man worthy of respect and regret, w ho was attached even to the illusions of virtue, and whose conscience was a more certain guide than his doctrines, which we may be allowed to decline following, though we cannot refuse them our esteem. 3 CHAPTER XI. Sal6ve.— Bossey. Saleve is not a One mountain, but this calcareous rock is to the Genevese what the Palatine or the Janiculum was to the Romans. To free nations mountains are the liveliest expression, and, as it were, the type, of their coimtry : Monlmartre might be held sacred by a moral and patriotic nation. This mountain which is so reiche, as it is termed at Geneva,- on the outside, has in the interior ex- tensive tracts of grass land, shady groves, smiling vallies. and productive pastures ; it seemed to me on entering it that I could discover some analogy with the Genevose character, rough at flrst sight, but full of merit and sterling qualities. speaking, Voltaire lost his patience and asked what book it was ' It Is your Pliilotopliicat Dictionary' coolly replied M. Chateaurenaud , M am looking for the word HumanHy there, and I find you have for- gotten it." Voltaire w:is struck by this remark, and dismissed the poacher with a present of six francs.'' It is a f:ict that the word Humanity is not in the Pliilosofihical Dictionary ; and Voltaire might have proDted by this occasion to add it. ^ See the Letters of the Marchioness of Deffand. 3 BaroD Augustus de Stael, n ho died In the au- tumn of 182". A notice of his life, prelixed to !ii6 Miscellaneous Works, published at the beginning of 1827, is attributed to the Duchess de Broglie; it is interesting, and very affecting, from the elevation of thought, the noble sentiments, and that kind of fraternal piety which inspired it. 12 SALEVE.-BOSSEY.-GUIDES. [Book i. On the declivity of the mountain, at the spot where the view is the flnest, is an inscription on the dilapidated walls of a house called the hermitage, which perhaps it was once in reality; it is almost effaced, but might well have been the motto of a hermit : iYasci, pati. mori. The abbe Delilie, in his harmonious verses in imitation of Gray, Ah I si d'aueun ami vous ii'lionorcz la cendre, etc. has said of the inhabitants of the country : iNaitre, souffrir, mourir est loute leur bisloire. When on the Saleve I did not forget the inspired verses of Laraartine: Te scuviens-tu du jour oil gravlssant la cime Du Saleve aux flaocs azures, and this mountain of Savoy was to me a poetic mountain. I had previously been to see Bossey, the abode of Rousseau's infancy. It was there, he said, that he acquired " so pas- sionate a taste for the country that it never left him," and which, indeed, is the better part of his talent. The situation of Bos- sey at the foot of Saleve is solitary, the prospect rather fine, but not very remark- able; and I think that the force of Grsl impressions, the generally cheerful life of a country minister, the company of his cousin, the power of children to amuse themsehes almost everywhere, and the melancholy of the rue du Che- velu, have given to Dossey half its merit. The parsonage of M. Lambercier, now pulled down, was situated in a hollow, and was abandoned by the present ca- tholic curate on account of its insalubrity. The celebrated walnut-tree, the protege of Rousseau, had been cut down, and lay for sale in the middle of the road ; it was felled in consequence of serious injury from a storm, towards the end of 1826. On seeing the two trees plant- ed by Voltaire ' and Rousseau thus smitten by heaven, with an interval of only two years, ( the tradition of Rous- seau's walnut-tree is, however somewhat doubtful ) might not bigotry be temjited to find therein a presage? The holm- tree ofSociniusal Scopetfo, near Sicnne, from which I believe he has even dated I SecCliapler !x, ante. some of his writings ( ex ilice &copet- tiana ), was cut down about the same time by the proprietor of the ground, a scrupulous character, who was alio incommoded by the curiosity of travellers, and the pilgrimages of the Polish sectaries of Socinius. The destruction of these trees planted by scepticism can scarcely affect any one ; their shade must be op- pressive, and the air one breathes there is a withering and dispiriting blast, which is truly that shadow of death .spoken of in Scripture. CHAPTER XII. First torrent. — Picluresque in inrtlvlduals. — Guides and valets de place. In my journey through the corner of Switzerland and Savoy that I had plan- ned to take in my road to Italy, I made use of Keller's map only, and found it truly excellent. This map accurately points out by signs the waterfalls, rocks, torrents, and most remarkable points of view : your impression of each object remains free and spontaneous, and you escape, by the information the map af- fords, the difl'use descriptions, the bad st)Ie, the epithets, the dull enthusiasm, and oratorical display of the guide-book makers. I shall never forget the effect produced on me, inexperienced traveller as I was, by the first torrent I saw in the Alps. At first I could not tell what that ap- pearance of vapor was on ihe top of the mountain ; my Parisian servant was not less surprised. Is it not, in truth, a stri- king image of a revolution? At first no one knows w bat to make of it, nor how it will fini.-h; wenmstdraw near to hear the noise and contemplate the ravages of the torrent. The picturesque, which nature pre- serves in such grand and terrible fea- tures, is gradually disappearing, more and more, and in diiferent manners, among men. TheGeiiCvese postilion who drove me to Sallenche wore a fine black frock- coat, gloves, and a round hat, while the Savoyard who took us to Chamouny had a kind of blue livery, with gold edging and a scarlet collar. Thus was I accom- panied in the bosom of the mountains by the neat simplicity of a free and commer- cial state, and the show and finery of monarchy and ciladine servitude. On Chap. XIII. ] GLACIERS. 13 the morrow I experienced another dis- appointment. Having starlcd at l)realv of day for Montanvcrs, I found myself in the company of goatherds who were conducting their charges to the moun- tains. I was anxious to bring hacit some of their songs for the ladies of Paris ; on my return 1 asiicd my hostess, a genuine Savoyard, who had never quilted her na- tive valley, to procure me some of them. After giving lierself considerable trouble, In the evening she brought me a trouba- dour's romance in good French, which her daughter had copied out on a sheet of fool- scap in a good round hand ; and although this good woman took much pains and greatly interested herself in the research, I could not get hold of the least song of these mountaineers. I then learned, that the French armies in their invasions, having disseminated among the people thesmutty couplets of the streets of Paris, the clergy had since laboured to replace them by versions from the psalms. Thus in the conflict between these two kinds of song, the popular airs have disappear- ed. The picturesquein individuals, after which I longed, presented itself to me for the Grst time in the gown and beard of the capuchin of Sion" and the hats of the Valaisian women. The rivalry and local jealousies which exist in both great and little towns, of which vanity is nearly always the foun- dation, is met with even in the bosom of savage nature: the guide of the Frozen Sea speaks derogatorily and with disdain of the diminuliveness of the glacier of Bossons ; 2 and the guide to the latter, in vaunting its resplendent whiteness, the transparency of its alabaster pyramids and the crystal of its springs, is almost epigrammatic on the discoloured hue of the Frozen Sea. I have since remarked the same pretensions between the cice- roni of Vesuvius and the Solfalare. The one treats the Solfatare as a tiny volcano long since extinct; the other, more justly, details the curious effects, the utility, and salutary properties of his ancient volcano, and jeers at the eternal smoke of Vesuvius. These mountain guides are full of candour, simplicity, and intel- ligence : placed close to the wonders of nature, they speak of them without af- fectation, and are far removed from the emphatic descriptions of the keepers of ' See Cljap ixv. post. our parks and gardens, or the domestic erudition of the servants in our country mansions. The valet de place, or rather the \a\cl out of place, as Alfieri has it, of the Italian towns, is not much better; and were it not for the assistance that his lavish use of the title of exceUenza affords him, he would find great diffi- culty in keeping up the conversation and finishing his periods. The cicerone of Pompeii is interesting ; but this man, who lives in some sort in the midst of the ancients, is still close to nature. CHAPTER XIII. Glaciers.— Saint Francis de Sales at the glaciers. It would be an act of temerity to give a new description of places so often, so eternally described, and which have been observed by Saussure, and sung by Ilaller, Delille, Fontanes, and Byron. Besides, I will own that, save in the first moments of astonishment and curiosity, I had too faithful a recollection of the ar- ticles written by M. de Chateaubriand against mountains. This divertisement ended by seeming to me a fatigue, and after having passed a whole day in climb- ing Montanvers, descending to the Frozen Sea and the source of the Arveron, then re-ascending to the cross of Flaissiere, whence the view of the Frozen Sea is much morecomplete, I found these places sad and desolate instead of sublime ; na- ture there appeared to me shorn of part of her charms. The water of the foun- tains is sometimes too hard; the inevi- table monotonous rhododendrum is an inodorous rose with a pale uneven leaf. Every thing undergoes a change on these heights; even the violet loses its mo- desty, and, instead of concealing itself humbly in the grass, becomes a large handsome flower overtopping it, and os- tentatiously exhaling a faint perfume from its lofty stem. I recalled the ad- mirable verses which Virgil puts in the mouth of a friend deceived by his mis- tress :— Tu prwul a palria ( ncc sit mibi credere lantuni ) Alpiiias, ahl dura r.ivcs. . . , M« sine sola vides 1 ali, le ne frigorn Imdanl I All I tibi ne teneras giaeies secet aspera planlas I And I saw in them a true picture of ' The Quest, but co llie largesi, of the glaciers. 14 COL DE BALME. Book I. the glaciers. What modern poet would have failed to indulge in a reverie on this lover in ihe midst of rocks and snows? but being obliged to follow at- tentively the steps of my guide among these precipices, my feet suffering from the flints, I found such musings abso- lutely impossible. The discovery of the valley of Cha- raouny is constantly, but erroneously, ascribed to Pococke and Windham, two English travellers. More than a century before, it had been visited by Francis de Sales, and charity had preceded curiosity in this secluded retreat of savage nature. Notwithstanding the incompetency of the historian, it is impossible t6 read without emotion the details of this visit to the glaciers, so different in its nature from those which fashion has since rendered customary. " It having been reported that Francis was at the abbey of Six, people came from all quarters to greet him. He there received, among others, the deputies and inhabilanls of a valley situated at three leagues' distance, who informed him of the disaster that had recently befallen them. As the province is full of very high mountains, the summits of two of them became loosened, and in falling crushed several villages, a number of inhabitants, and a great quantity of cattle, which are the .sole riches of the country . They further informed him, that being reduced by this accident to utter poverty, so as to be unable to pay their taxes, they applied to the duke of Savoy 'schambre des comptes to have them remitted; but they had done so in vain:— that they had reason to believe the authorities were not per- suaded that the evil was so great as represented, or that they were thought to be less poverty-stricken than they really were. They therefore entreated him to send and have every thing verified on the spot, so that on the report which should be made to him, he might write in their favour. "Francis, w ho had a most feeling heart for the misfortunes of others, was deeply affected by the calamities of these poor people, and offered to set off that very hour to go and comfort them, and render them whatever services lay in his power. This they opposed, representing that the country was impracticable and so rough that a horse could not go thither. The holy prelate asked Ihcin if they had not come from thence, and they answered that they were poor people used to such fatigues. — ' And I, my children,' replied Francis, ' am your father, obliged to pro- vide for your consolation and your neces- sities.' Accordingly, whatever entreaties they could n)ake, he set off with them on foot, and he was a whole day in going the three leagues from the abbey of Six to the valley. The mischief proved to be greater than they had represented. The inhabitants were reduced to extreme want and had scarcely the appearance of men : they were destitute of every thing, clothes, houses, and food. Francis mingled his tears with theirs, gave them all the money he had with hini. and promised to write in their favour to the duke himself. He did so, and obtained for them all that he asked." • At Mon- tanvers they show the Englishmen's stone, that is, the place where Messrs. Windham and Pococke seated them- selves : how different would be the feelings of the traveller, could he con- template and follow the traces of Francis tie Sales, and the path trod by him in the midst of these rocks ! CHAPTER XIV. Col de Balme. On the door of the church at Ar- gentiere. a very small village in a vale at the foot of a glacier, is the following touching inscription, full of piety and truth : Populum pauperem salvum fa- des. I passed the Co! de Balme, the view from which, extending on one side over the valley of Chamouny, Mount Blanc, and the lofty pyramids surrounding it, and on the other over the province of the Valais and the chain of the Alps from Mount Saint Golhard to the Fork, is truly magnificent and immense; which is not every where the case in Ihe midst of the peaks of the Alps, as some of them are overtopped by others. The descent from the Col de Balme is through a su- perb forest of larch, which, from the strength, size, and disorder of its vegeta- tion, resembles rather a virgm forest of North America than a thoroughfare fre- quented every year by artists and people ' Life of Saint Francit de Safes, by Marsollitr, b(,oli V. Cup. XYL] BEX.-CHILLON. 15 nf the fashionable world. They were llicii occupied in building a lillle pavilion on the summit of the Col dc Biilnte, which may be convenient enough, though I do not like it there : a calvary or reli- gious house seems belter adapted to these high mountains than the kiosk of a restaurant. CHAPTER XV. Saint Maurice; Flermit.— Marligny. Saint Maurice at tho bottom of its ra- vine, and IMartigny in the plain, present traces of the Roman domination and of the French during the Empire ; but these traces of the two most powerful societies that have ever existed, appear weak beside the might and majesty of na- ture which surrounds and overwhelms them ; and the ruins of walls and towers, once Roman military posts, with the re- pairs done to the bridge by our engineers at the time of our prefect, sink into in- signiQcance before the rocks, grottoes, and caverns that you have contemplated. At a quarter of a league from Saint Maurice is the fleld in which theTheban legion, with Maurice, its chief, w as mas- sacred ; these martyred warriors had for- saken their idols and were decimated for the sublime insubordination of their fdilh ;— Fui ieax dans la guerre, lis souffrenf nos bourreaus, Et, lioQS au combat, ils meurent en agneau^.' Not far from this place, half way up the mountain, among the rocks, is the habitation of a blind hermit. Nolwilh- standing his seventy years, the elevated position of his dwelling, and the narrow- ness of the path that leads to it, the old man can find his way very well without aid. Contrary to the ordinary practice of hermits in [ioems and romances, this one was not \ery resigned ; ho had never known like them the grandeurs and fickle- ness of fortune ; he was a poor peasant, who had lost his sight at the age of nine years, and, to live rent-free, haho has fulfilled his ministry with integrity must experience profound joy. Of all kinds of writing, history is that most in- timately connected with human actions. Gibbon was unmindful of a part of his duties when he spoke disrespectfully of the courage of the flrst Christians ; when, after eighteen centuries had passed, he persecuted these victims of their faith with his irony, and wrote epigrams ou their tombs. CHAPTER XX. Society. — Pieiis(s.— Environs. Wine and strangers make the prin- cipal trade of Lausanne ; but the produce of the former is far less uncertain than the letting of houses. The residence of foreigners gives to the polished, natural, amiable, and cordial manners of its so- ciety an air of cosmopolitism, agita- tion, and unsettledness ; visits are made and returned incessantly, and the even ings are passed in abundant collations at each other's houses. The conversation of the ladies is witty and literary. It is possible that on the latter point the opi- nion of Lausanne is somewhat too in- dulgent and prepossessed. No one ima- gines all the great French authors known and admired in this town, whose names have scarcely been heard at Paris. I had my share of this extreme favour, and will take good care not to speak ill of it, since I was indebted to it for the success of Sainte Ferine with certain disliuguished persons who had a right to be severe. There exists in the society of Lausanne an aristocratic decorum, and a distinc- tion between the diflerent classes still more decided than at Geneva, where every one is exactly what his works make him. The exclusives of the Rue de la ' The Pielists existed a long lime before, for Addi- son alludes to them in his Travels, llousseau speaks of the I'ielists of the province of Vaud ; — " \ou have not seen the Pietists,' h riles Suiiit I'reux to Julia, (letter vii., part vi.,)" but you read their books." He adds iu a note that these Pieiisis were " t kiud Bourg are very superior to those of the upper town, having grown more disdain- ful by their connection with the great lords that emigration di ove to Lausanne ; and St. Preux, notwithstanding his soul, his love, and his eloquence, would be a nobody there, quite unable to get a footing in this Faubourg Saint Germain of a little town in a small republic at the foot of the Alps. Lausanne was again, > some forty years since, the nucleus of the mystical and spiritual opinionsof the Pietists, a strange mixture of inspired, elevated, and subtile errors, taken from various ages, and uniting at once the fatality of predestina- tion, the ecstacies of Platonic love, and the sensations of magnetism; it was a kind of ascetic protestantism, which pro- ved that the reform effected was insuf- ficient longagotothe religious wants and ardour of certain minds. The opinions of the Pietists are still held by some per- sons, otherwise very respectable ; but, like all illusions, they are weakened, modified, and have now become a vague and varying religionism which each understands and practices as he pleases. If the interior of Lausanne is frightful, the impression produced is soon effaced when one gains the heights and the en- virons, where he finds delightful and extensive houses inhabited by wealthy Swiss or foreigners of distinction. Were I not afraid of falling into the novel style, it Mould be difTicult not to attempt a description of the impression I received in a charming garden," a veritable cor- beille of roses ; I heard there the exqui- site voices of some women singing Swiss airs ; it contained even some Roman an- tiquities, and a column taken, according to the inscription, from the house of Titus on the Aventine mount, which was well placed and had a good effect. The parade of the Signal, noted for its view, is as the belvedere and panorama of Lausanne. The forest of Rovcria is one of the finest I have seen; between trees of giant growth, intersected by deep ravines, are immense views of the lake and mountains of Chablais; it is Swiss nature in all its strength and ruggedness, of madmen who had the fantasy to be Chrislians and follow the Gospel to the letter, something like the methodisis in England, the Moravians in Ger- many, and Ihe Jansenists in France, etc. ' ' Li Jardin is the name of M. de L*"'s residence. 20 VOITLRIN. FBooK I. as Ihs pineta of Ravenna, which I have since visited, is Italian nature in all its splendour. CHAPTER XXI. Lake. After passing some days at Lausanne I look the steamboat for Geneva. I shall not undertake a detail of this voyage, which is almost as adventurous as thai from Paris to Saint Cloud by sea. There were many English on boyrd ; from the multitude of eye-glasses and telescopes directed to every point of the coast, and the vehemence of their discussions, one might have thought we were in the South Seas, on the eve of making some new discovery. In spile of the conventional enthusiasm. I will still avow that the absence of islands appears to me to give the lake of Geneva a sad and monotonous aspect; there are but few barks to be met with on it, and the two steamboats, starting always at a certain time, give but little animation to this great sheet of water." CHAPTER XXII. At Geneva 1 made an arrangement with a voiturin who was to conduct me to Milan. This humble mode of tra- velling is indeed the most commodious in Italy. It is true that one has not always bon souper, bon (jite et le resle ; but the voiturin undertakes for the whole of the expense, and one is not troubled about the necessaries of life. Duclos, with the dignity of men of letters in his time, received wine, oil. chocolate, and other provisions from the ministers and noblemen with whom ha lodged; but those usages are now out of vogue, and though the regimen of some of the voi- turin's hostelries is rather spare, it is still preferable to extending those pa- rasitical habits even to the highways. There are moreover some inconvenien- ces, such as fairs and feasts of towns or villages, the passage of rivers or torrents, in which the experience of the voiturin is very serviceable. This species of Alcn- tor in smock-frock and cap is nearly ' The lake of Geneva and its binks rorm ihe sub- ject of a small but excellent work by an old friend of mine, Pro'cssor 0. L. Mangel, a dislingiiislied Ge- I always a very good fellow, and I can say that mine, xMariano Marini, was excel- lent. His mode of life is also very agree- able : joyfully received and welcomed by his hosts, and held in consideration all along the road on account of the money he expends and the kind of train he brings with him, this perpetual tra- veller is a true citizen of the world. He traverses all the great capitals, but stilF preserves his jargon, his manners, and his primitive character. An habitual spectator of the wonders of art or the beauties of nature, his almost stoical in- difference contrasts with tbe astonish- ment and enthusiasm of the travellers he conducts ; slow as he is, he has no object in travelling but to reach his journey's end; he is of a positive turn of mind, and his little stages, indicated and w ritten down beforehand, are as irrevocable as the decrees of destiny. Should the merit of my favourite voi- turins seem thereby somew bat lessened, 1 should think myself deficient in im- partiality, the iiuramount duly of the traveller as well as the historian, if 1 did not say a word or two respecting the sagacity of their horses, and of the habits and singular acquaintance with the great roads that they ultimately acquire. A master-voilurin of Rome, I have been told, had engaged to conduct from that city to Paris a numerous English family with all their baggage. He had no one at liberty but a new hand who had never been that road. But the mare Julie was there, and the master recommended the driver to follow her directions respecting the stages and the hours of starting, which she indicated by certain motions, flutterings. or the shaking of her bells ; the man was prudent enough to conform to thisadvice, not imitating the muleteers of the dukeof Vendome, who. he said, were always wrong in their disputes with the mules. The journey w as very favour- able, and Julie, harnessed to a splinter- bar before the other four, led the human load from Rome to Paris. In your treaty with the voiturin, a written contract which ought to be worded with as much precision as the lease of a house, or an agreement w ith a publisher, there is an important varia- nevese; a third and new edition of It was published in 1837. Chap. XXV.] VALAIS. 21 tion which I must mention : instead of breakfast ( coUazione ) and of dinner {pranzo ) which in general exposes you to having only a middling cup of coffee in the morning and a late and unwhole- some supper, you must stipulate for two repasts { due pasti ) ; then you can de- mand soup in the morning, and a good dinner, that will allow you to wait till night. The poet's prcceptris very appli- cable in the case of a voiturin's agree- ment : — D'UD mot mis en sa place enscigna le pouvoir. CHAPTER XXIII. Ttionon. — Ripaille. In beginning my road to Italy, over a corner of Savoy, I nearly completed my circuit of the lake of Geneva. The road to Thonon is along the banks of the lake. This little town is celebrated in the his- tory of Francis de Sales, by the courage with which this illustrious saint opposed the violence of a regiment sent by the duke of Savoy to convert the inhabitants, and by the pious deception he made use of, as Fenelon did in Poitou in more recent times, to divert this dra- goonade. At twenty minutes from Thonon is Ripaille, neglected by all who scour Switzerland and Italy, which has given an energetic expression to two langua- ges, the French and Italian." This cloister of pleasure and repose which witnessed in Amadeus the double abdication of the sovereignty and the pontificate (the only instance of disgust and disdain of the two powers), after having been for some time a manufactory, is now a large and well managed farm belonging to a French woman. The church is made use of as a barn, and the seven towers that Ama- deus built for himself and the six knights, his companions and friends, are now almost destroyed. The promontory of Ripaille, encircled with large trees which conceal it on the side towards the road, Is a delicious solitude, and one can very well conceive the pleasant life that this joyous retreat afforded, and the devout epicurism of the hermits that inha- bited it. ' The Italians say andare a Ripagtia; and the Frencli faire ripaille. CHAPTER XXIV. Mcillerie.— Saint Gingolpb. The postilion now cracks his whip over the rocks of Jleillerie, and makes that peculiar kind of hissing that it is im- possible, as remarks the author of the Expedition nocturne autour de ma chambre, to describe by any ortho- graphical combination — gh! gh! gh ! in the same places which once resounded with the impassioned accents and the despair of Saint Preux. But these banks, though the high road passes by them, have not yet lost their melancholy and savage aspect. Saint Gingolph, near Meillerie, with its orchards gradually sloping down to the banks of the lake, and the kind of phenomenon of its forest of walnut-tre*s, is one of those charming places that the strange rudeness of its name has excluded from the Nouvelle Helo'ise, though a part of the action must necessarily have passed there. One half of the village belongs to Savoy, the other to the Va- lais; a little brook, which falls from the mountain, separates the monarchy from the republic. Saint Gingolph, small as it is, still offers a pretty exact image of the character of the two governments ; the part belonging to the monarchy is the most extensive, and contains the church; industry, represented by a ma- nufactory of nails and wire, is on the republican side. CHAPTER XXV. Volais. — Sion. — Porlrails. — Capuchins.— Biieg.— Road of the Simplon. The environs of Sion, the melancholy cai)ital of the Valais, are magnificent. The heights which overlook it are cover- ed with villages, churches, and oratories of a brilliant whiteness. At the entrance of the town, above the river and the rocks, may be perceived the ruins of the castle of Seon, whence the baron of Thurn, in 1370, precipitated his uncle Guichard, bishop of Sion, while he was reciting his prayers; an atrocity that the pious Valaisians revenged by driving the baron from the country after a bloody battle. The Tourbillon, a ruined castle, encumbered with vegetation, in the midst of rocks and precipices, command- ing an admirable prospect, preserves in 22 VALAIS. [Book I. its rude gallery the series of portraits of ail the bishops of Sion from the year 600, powerful and almost sovereign pontiffs, who were too often mixed up with the wars and revolutions of the neighbouring states. Among them is the portrait of that cardinal of Sion, the warlike Mat- thew Schirmer, the worthy ally of pope Julius II., and so fatal to the French armies in Italy. The cathedral is dedi- cated to the Virgin; it is an old Gothic church, and contains many tombs of Valaisian families, with other funereal monuments. As I have previously remarked, the rencontre of a Capuchin, near Sion, charmed me. The good father was on a large cart of the country loaded with grass and hay, seated familiarly in the midst of the peasants ; he presented me at last with that picturesque of indivi- duals which I had hitherto sought for in vain. Montaigne loved the (lapuchins, and despite the anathema of the philoso- phers, I ow n that I prefer them to other religious orders; they have often de- fended their country, as was seen at Sa- ragossa, and, I believe, in the Valais during the war of 1798, and they have never raised troubles by intrigues. For- merly one often found men of parts among them ; and several have been good poets and learned orientalists; il Cappu- cino (who was not always, it is true, a very worthy Capuchin) is one of the great masters of the Italian school. The Capu- chins have a character and physiognomy which is not generally found among other monks ; they love gardens, and their churches are commonly filled with shrubs and flowers, and they know how to choose, as wei! as poets and painters, admirable prospects and localities for the sites of their convents. In an econo- mical point of view, 1 am not aware that they are very disadvantageous. IS'otwilh- standing the Capuchins, the Valais seems pretty well cultivated. Their mendicity is said to be very offensive; but if, with all our civilisation, we have neither been able to abolish nor even to repress men- dicity, I am not sure that a system of begging, as orderly and courteous as that of the Capuchins, is not preferable to the licensed vagabondage of our police. Besides, these mendicants are not lazy like ordinary beggars. The Capuchins manufacture pretty articles of hardware, which, as a great master says, are exe- cuted with a certain perfection peculiar to them {con uim certa finitezza cap- puccinesca); ' they are ever active in case of fire, and they perform clerical duties. At five o'clock in the morning of the day after my arrival at Sion, I went to the convent of the Capuchins, situated in a fine meadow outside the town; they were saying mass, and every body was standing, even an old German Capuchin of more than eighty, w ho could hardly get down the stairs to reach the church. Il is said that the Capuchins are enemies of liberty, but I do not think so ; they have alw ays existed in the Valais, a republican and even demo- cratic slate. I ow n that my Italian tour has somew hat sunk the Capuchins in my estimation, as w ill be seen on the subject of the convent of Assise; but, at the risk of being thought inconsistent, I have de- termined not to suppress the favourable and very sincere impression first re- ceived. The traveller will make a stop at Brieg, a picturesque town at the foot of the Siraplon, in a smiling vale on the banks of the Rhone. The roofs of its houses and churches, covered either with shinmg slates, or sheets of polished me- tal, have a silvery brilliancy, and the tin globes surmounting the four enor- mous tow ers of the castle of the Slock- alpcr family give a somewhat oriental character to this trading town, the best- built in the Valais. It is impossible to speak too highly of the road over the Simplon. Some tiold eulogists of the past, however, pretend that the appearance of Italy was still more sudden and extraordinary, after one had, with infinite labour, traversed the Alps on foot or on a mule. It is true that there is no more difllculty in passing them now in the fine season ihan in going from Paris to the Bois de Bou- logne. I did not observe the ruin with which some travellers seem to threaten the road of the Simplon. Four years only were required for these immense works. The part extending to the gal- lery of Algaby was executed by French engineers, and the rest by Italian. It is pretended that this last half of the road offered the greatest difficulties, and that it surpasses the other in solidity and grandeur. The wild and solitary valley ' Maozoni, I promessi Spsoi, cap. xxxvi. Chap. I.l DOMO D'OSSOLA. 23 or Gotido, Avhirh gives its name to the most considorable of lliese gall(Mies, was the fruit oC eighteen months' labour day and night ; it Lore an inscription in these words : /Ere Italo, 1805. It seems as if it would have been easy to find an inscription somewhat more noble than this unique and vaunting allusion to money, without giving way to decla- mation of which such a monument has no need. At the sight of all these muti- lated rocks overthrown by powder, and of this daring breach made by art in Ihe lofty fortifications with which nature had defended Italy, I but little understood the story of Hannibal's vinegar, notwith- standing Livy, Appiao, and the reasons given by the good Dutems. Bonaparte had decided on the foundmg of an hos- fiital on the platform of the Simplon, which was to be a kind of branch esta- blishmcntof that of Saint Bernard. This was a grand idea, like all that he held with respect to religion, and the ruins of the deserted foundations of this hospi- table edifice give rise to feelings of deep regret. BOOK THE SECOND. ENTRANCE OF ITALY. CHAPTER I. Domo rl'OssoIa.— .Aspect of Ualy.— Passport.— Dom BourdiD. — Miues. It would be difficult to paint the en- chanting aspect of the valley of Domo d'Ossola from the bridge of Crevola ; and when one emerges from the galleries of the Simplon, those long, damp, obscure caverns, the eye, tired of rocks, forests, glaciers, torrents, and cascades, revels in the contemplation of nature in all her serenity and gracefulness, after having beheld "her in her most rugged garb. One would say that this new land smiles on the traveller, invites him to enter, and decks herself out to receive him ; sounds of joy seem to proceed from a distance; and the festoons of the vine hanging around the trees give to the country an appearance of festivity ; some- times the branches of a tree are inge- niously parted above the trunk, and the vine interlacing them forms a real antique vase covered with grapes, as those sculp- tured ones which embellish gardens and palaces. The meeting of some proces- sion, the songs of the people, the lively and spirited expression of the counte- ' The Risloire titteraire de la Congregation ile Saint-ilaur says Ibat Dom Boiirdin was born at Strz in Normandy. The aullioiity of the pnssport I Voyage d llalie el de quelr/ues endroits d'Aiie- vmgne, /ait is annees iiiOi el IG9G, p. 89) seems to roe decisive. 1 sliall do good service to Doiu Cour- nance, the glaring colours of the dresses worn by the women, the size and solidity of the buildings, — in fact, every thing combines to inform us that we are in Italy. The magic of the name deepens the impression on the senses , " Italy ! " I repeated involuntarily, " this, then, is Italy!" When dom Bourdin, a Benedictine, travelling in Italy in the year 1G96, entered Domo d'Ossola, after having passed three days in crossinglhe Simplon, which is now effected in a few hours, the Spanish governor who examined his [)assport, having ascertained that Dora Bourdin was from Franche-Comte, told him haughtily that his province would soon be under the king of Spain's govern- ment again. ■ The humble monk tells us that his only answer to this governor was ihsil God gave and took away crowns as it pleased him. The Piedmontese gendarme who took my pas.sport in the same town was less enthusiastic than the Spanish commandant of Dom Bourdin. There was not left, however, any con- quest to be taken from France, and I should rather have been tem|:ted to de- mand the return of Nice and Savoy. Domo d'Ossola possesses some old din by restoring him to Franche-Comte, as he «ili thereby find a place in the literary history of that province on which my learned and iudefaligabie brother, M. Weiss, librarian of the ton o of Besan- ^on, is uoiv engaged. LAGO 3IAGGI0RE. [ Book II. mines of sulphurated iron containing a portion of gold, and otliers of sulphurate of lead mixed wilb gold and silver; among them are the celebrated mines dei Cani, which retain noble and curious traces of their having been worked by the Romans. CHAPTER II. Borromean Isles. The successive stages, steps, terraces, arcades, balustrades, and rows of vases and statues, and all the symmetry of the Borromean isles, which would be extra- vagant any where else, are notdispleasing there, but form a contrast beside the awful irregularity of the Alps, which enclose and overlook them. The gardens, rather built than planted, of Isoia Bella, resemble a large pyramid of verdure, rising out of the water w ilh half its base cut away. Rousseau for some lime thought of placing the action of Julia in these isles, but he rightiy judged that they contained too much art and ornament for his characters. Such an abode requires the loves of princes, and lovers like La Valliere or Mademoiselle de Clermont. Isoia Madre is little frequented; to this it is indebted for (hat natural simplicity which its neighbour has lost. The palace of Isoia Bella is magnificent, but not in good taste ; it was erected in 1671 by Count Vitaliano Eorromeo, who transformed this rock into a garden. There are some paintings of the Chevalier Tempesta scattered through the apart- ments. Being condemned to death for the murder of his first wife in order to marry a person he loved, Tempesta was saved by Count Dorromeo, who concealed him in his island. These paintings are seventy-five in number, for the most part landscapes and pastoral scenes ; one might say that the painter endeavoured to forget his crime in contemplating the quietude and innocence of the fields. The portraits of Tempesta and his second wife are also there, placed opposite each other; there is an expression of cruelty in the beauty of the latter, which makes one feel that she was his accomplice. Despite the merits of the pictures, one feels a kind of horror in this museum by a single man, at the reflection that it is the work of crime and the passions. In the gardens of Isoia Bella I saw the two largest laurels in Europe; they might almost he taken for two of the trees in the Chumps Elys6es. These two laurels seem more particularly an emblem of glory. Their origin is unknown; they were planted by nobody ; they existed before the present gardens were made, and of themselves had taken root in the rocks. It is said that in one of the first Italian campaigns, Bonaparte, when at Isoia Bella, engraved the word battaglia on the largest of these laurels. An Aus- trian soldier afterwards made a sabre- cut at the tree, as if to erase the word ; the bark has been taken away by an Englishman, and now the glorious strokes traced by the conqueror's hand are scarce- ly legible. Beside the aristocraticand almost prin- cely sumptuousness of Isoia Bella arc the hard-earned comforts of Isoia Pescato- re {Isella). There every inhabitant has a small house, with a boat and a net, his small aquatic estate. The population of this island is truly extraordinary, and confirms the remark of Montesquieu on the propagation of nations living on fish; its circumference is less than half a mile, yet it contains more than two hundred persons Its aspect however is not un- pleasing; the village steeple, the tiny houses of the fishermen, their nets hung in festoons to dry, are grateful to the eye which has just been gazing on the mo- numental pomp of the palace and gardens of the Borromean isles. CHAPTER III. Lngo Magglore.—Fele— Storm. The Verbano steamboat, which starts from Sesto Calende and goes to Maga- dino, traverses the whole length of the Lago Maggiorc. In the passage the boat passes over the territory of three diffe- rent slates, Lombardy, Piedmont, and Switzerland. The Gazette de Lausanne and the Courrier Suisse, said to be in- dependent papers, are read on board the Verbano. Helvetian liberty may float with impunity over the kingdoms of Lombardy and Sardinia, but it is not suffered to reach the shore. The Lago Maggiorc is a neutral space, a kind of oasis for opinion, on which the severe censorship of the neighbouring states expires. This majestic lake offers a double aspect : on the side of Lombardy, it is CnAP. IV.] ARONA.-COLOSSLS. £5 bounded by fertile plains, and verdant hills, of no great elevation, ornamented with new houses ; the towering Alps ;ire on the other shore, which is wild, and bristles with rocks covered with con- vents. c/(a/c/«, and old fortifications. In lliis latter portion, of which the Bor- romean isles, situated in the middle of the lake, may lie called the limit, rises majeslically the rock of Caldiero, in ihe eleventh century the retreatof thedeacon Arialdus, a martyr to his sermons against simony and the concubines of the clergy. Olivia, the mother of Widus, the infa- mous archbishop of Milan, was so carried away by her maternal aflection, that, assisted by two priests, she assailed Arialdus in his hermilage; they cut o(T his ears, nose, lips, and hands, and last of all inflicted a secret mutilation, to which these infuriated wretches super- added the most indecent sarcasm.' What a strange and horrible history of mar- tyrdom instigated by a woman! Oppo- site the coast of Canero, which is so marvellously sheltered from storms, are two picturesque forls in ruins; in the beginning of the fifteenth century they were the resort of ihe five brothers Maz- zardini, a species of pirates who defended themselves there for two years against four hundred men of the army of l^hilip Maria Visconti, duke of Milan ; when obliged to surrender through want cf provisions, they were all thrown into the water with stones fastened round their necks. I was present at the fete given on the lake to the king of Sardinia, when be vi- sited the Borromean isles, in September 1828. Painted trium|ihal arches, with the Italian tinsel and customary Latin, had been erected where his majest^y was to pass. The appearance of Isola Bella when illuminated in the evening presented a most extraordinary coup d'ceil. The transparencies and theatrical decora- tions were well suited to an island so symmetrical and artificial ; and the roses of Sanquirico seemed more natural there than those of spring. This night scene was infinitely superior to the pompous harangues and receptions of the morn- ing. A multitude of illuminated boats io the shape of dragons, or of temples • Dicentes : Pradicator casUlatis hactenus fuisli, ft tu castus eris. K. Andrea, Vila S. Arialdi, cap. ixix, quoted bj Giulini in liis Memorie spetlanti at with Corinthian columns ornamented with foliage, crowded round the blazing island, and the enthusiasm of the Mi- lanese for sights of this kind was at its height. Unfortunately bad weather came on and deranged the fete, and the night was one unceasing tempest; it might have been said that the vast sheets of lightning and the old Alpine thunders were indignant at the feux dejoie and the new luminaries that disturbed their solitude and seemed to parody their ma- jesty ; the lightning replied to the rockets and the thunder to the crackers; and this contrast, which must have annoyed those in full-dress, added still more to the curious effect of the sight. The end of the day was less agreeable than the beginning; at Sesto (Jalende we were obliged to await the inspection of our passports by the police, as well as the searching of our boxes by the oflicers of customs, and all this on board the boat belonging to the steamer, exi)Osed to a tremendous rain. When we had landed in the insalubrious hole of Sesto, my prudent voiturin would not start for Milan till break of day, because of the robbers. Thus Italy, in the midst even of her fetes, can neither escape the unsea- sonable and vexatious perquisitions of her foreign masters, nor the lawless acts of her own inhabitants. CHAPTER IV. Arena.— Colossus. I did not content myself with merely viewing from the road the colossus of Saint Charles Borromeo, which stands on the hill of Arona : as a brother giant I owed him a visit; for if 1 have not exact- ly the genius of Leibnitz or Fielding (al- though like others I have occupied myself with philosophy and have also written my Novel), I am at least endowed with the high stature of those great men. I should have been inclined to penetrate into the interior of this bulky and inditfe- rent statue of Saint Charles, and, seating myself in the long nose of the saint, as other travellers have done, give way to meditation ; but my height was an obstacle to mounting the stairs, so I could have (loverno ed alia descriziotte delta cilia e dcUti cam- pagnu di Milano ne' secoli bassi. 26 CONVENT. [Book II. nothing more to do with the colossus : it is thus that mutual superiority occasion- ally prevents intimacy. What an advantage it is to have a po- sition ! This coarse colossus of Saint Charles, holding the book of his synodal constitutions in one hand, and with the other giving his blessing, — a statue twenty-one metres and a half in height, the head and hands of bronze, the rest wrought copper, — a kind of Egyptian monument, erected at the close of the seventeenth century, visible for miles round, is visited by every body, while the churches and paintings of Arona, so interesting with respect to art, are neg- lected. The vast collegiate church of Saint Mary has at its entrance a Nativity, which dates from the very commence- ment of the revival of sculpture in Italy. In the chapel of the Rosary, recently beautified, are some good paintings of RIorazzone, a vigorous artist of the se- venteenth century. The parochial church boasts an excellent painting in six com- partments, combining the style of Peru- gino, Leonardo, and Gaudenzio Vinci, and dated in the year 15.51, also a Na- tivity, one of the first essays of the ce- lebrated painter and decorator Appiani. On the steeple, supposed to be of the tenth century, is an image of Christ on the cross, enveloied in his tunic; as was then customary. The wealthy and commercial town of Arona is well situated ; it has a safe port and a small dockyard, and contains two thousand two hundred inhabitants; 1 recall with pleasure the memory of the kind hospitality I experienced there when J attended the fete of the Borroraean isles. CHAPTER V. Lombardy. Sesto Calende, on the Ticino, eight leagues from Milan, is the entrance of Lombardy. The immense, melancholy, and monotonous plain of Lombardy forms a contrast with the lively, spirited, and almost French ardour of its inhabi- ' M de Bounienne, an aulUor who appears very correct about Bonaparte, does not meaiiuu tbis In- cident in bis Meinoires , I have been assured of lis truth by the c/ai'eiidicr of the Uospilal of Ibc Great Saint Bernard, a man of singular merit. Jt is pio- bible that M. de Bourri^ioue is a more certain au- tants and the events of its stormy his- tory ; and this country, distinguished by nothing picturesque or characteristic, has less resemblance to its own denizens than its dull oppressors. CHAPTER VL Entrance of Ualy by the Great Saint-Bernard and 1 thevalley of Aosla.— GieatSt. Bernard.— Convent. ' The road to Saint Bernard has been passed over and described a thousand times. Certainly without diminishing the glory of the passage effected by our army with its cannon and the heavy baggage of modem armies, or wishing to lower the admiration that this grand mi- litary achievement must inspire, one still feels that this mountain has in all ages been the road for the invaders of Italy, and that it was possible to pass it. The little valley where our soldiers encamped is still shown, and the spot where Napo- leon, being thrown by his mule, must have perished wiihout the hilp of his guide.' This mountaineer was asked to follow the first consul, but he refused, because, he said, he was building a house that Bonaparte paid for : this house he still oc- cupies, while his less prudent companion in danger has lost his palaces. The chil- dren and inh.ibitants of this part of the Alps have an appearance of strength and health that is pleasing to behold; they are nearly all landowners, and their well cullivated property reminds one of the fields overhanging the abyss in the letter of Saint-Preux. I was prevented by bad weather from reaching the hospital before night. If I missed some few fine prospects, I cer- tainly lost nothing ol the display of cou- rage and virtue on the part of the monks, a spectacle far nobler than the scenes that surround them; for it appertains to the greatness of man. In correcting the abusive mistake of Lord Byron on Ihe subject of the priests of Saint Bernard, I only described them according to their fame ; I was not less touched on viewing them closely. These men, nearly all Valaisians, join to varied learning the Iboriiy respecting the cabinet, the Luxembourg, t lie Tuileries, aud Malmalsou, than ibe passage of the mountains. As an instance of Ibis, be pretends Ihal tlie sun rarely or never penelrales to Marligny^ whereas, on tbe contrary, it Is very trouble.'ome there. Chap. VI. ] CONVENT. 27 Christian and ecclesiastical politeness of the relif,'ious orders and the simplicity and hospitality of mountaineers; as priests they are edifying, intelligent, and free from narrow prejudices; th^ir mountain being continually traversed by the poor, the peasantry, traders of difl'erent coun- tries, wealthy travellers, authors, poets, men of science, artists, and ladies of dis- tinction, they ohtain sulBcient informa- tion respecting worldly alTairs. From the number of inhabitants, or beggars, who leave a country, they are enabled to judge of the wealth or poverty of that state; their charitable statistics on this point may be less uncertain than those of the government or certain celebrated authors. The convent receives the Bi- bliothequeuniversellede Geneve, a very instructive journal; the Gazette de Lau- sanne, and some scientific works. I re- gretted that I could not examine the library, which was all in confusion, not from negligence, but on account of works then in progress for raising the edifice a story higher. The most hardy adversary of monastic vows would be somewhat embarrassed here : what other men than monks could have lived here, for more than eight centuries. ■ under such a cli- mate? Charity with them supplies the place of that love of country which peo- ples the frozen regions of Iceland and Greenland. Tell men who have families to go and live on Saint Bernard, and you will soon see what a difference separates philanthropic institutions from the works of religion. All the part describing the Great Saint Bernard is excellent in M. de Saus- sure, instead of copying it, one can only attempt after him to give some of one's own impressions. One of the most for- cible that I felt was the effect of the morning prayers in the church of the convent. The Laudate Dominum, om- nes gentes, accompanied by the organ, was still more so'enin there, and the misericordia seemed verily confirmed on the venerable men who sung it. The charitable Catholicism of these religious men certainly appeared to me a more beautiful example to the protestants ad- jacent, than that of one of our bishops whose little diocese I had crossed two days before. ' The present conTent was founded as early as tlje year 062. One of our most illustrious captains, Desaix, is interred in the church of the Great Saint Bernard. If the column erected to his memory on the plain of Marengo has disappeared, his coffin is better protected by religion on the moun- tain of a free state. This French tomb is the most elevated in the world ; it stands on this lofty point above the clouds, as an advanced monument of our glory ; and the sepulture of the hero it encloses is well nigh an apotheosis. The tomb of Desaix has no inscription, not even his name : it is said that Napoleon promised to compose one. If the cares of government made him forget this pro- mise, perhaps he remembered it in his exile, \>ben, thinking of the many and glo- rious lives sacrifKed in his cause, he must have envied the victorious mausoleum of Desaix on the summit of the AIjjs — he, whose remains were about to be hidden in the bosom of the wave-beaten rock on which he was a captive. The epitaph of Desaix by his brother in arms of Egypt and Jlarengo would have been a sacred and imperishable monument, doing more honour to IVapoleon with posterity than all his creations and proclamations of |)rinces and kings of which nothing re- mains. Notwithstanding the while marble of which it is made and the great owl in the centre, the tomb of Desaix is naked : it is a pity that it has no Christian emblem ; a cross would seem better placed there than the melancholy and classical bird of Minerva. I did not omit going to see the cele- brated dogs of the hospital. One of them had been hurt ; it Avas in fact nothing more than a kick from a mule ; but I loved to ennoble the wound of this poor animal, and to suppose that he had re- ceived it in one of his perilous excursions to succour humanity. In his article on the dog, Bulfon has forgotten the hiindman's dog; his omission of those of Saint Ber- nard Is equally blameable and still more difficult to explain. The pompous au- thor of the Epoques de la Nature might easily overlook the vulgar dog of the blind in towns, but he might have met with, and he ought not to have omitted this dog, so noble in stature — this watch- ful host of the mountains, companion of the fatigues, the dangers, and almost of the charity of his masters— this dog, in a word, the most respectable of his species. VALLEY OF AOSTA. [Book IL In a corner of the convent, I observed lying on the ground a superb slab of black marble. From a Latin inscription thereon, I found Uial ihis stone had been devoted by the Viilaisians to Napoleon, as the restorer of their republic, which, however, in contemiit of treaties, this stubborn destroyer of republics ultima- tely made a prefecture. On a little plain in front of the convent are some ruins, among which many me- dals have been found, the ex voto offer- ings of devotees and pilgrims of the olden time. It is not known whether the building was a temple to Jupiter or an hospital; most likely it was a temple, for I can hardly imagine a pagan hospital in so horrible a place. The Swiss society of the Amis des Sciences natureUes is to hold a meeting at the hospital of the Great Saint Ber- nard in July next. Never has a learned society held its sittings so high. The convent will lodge these new and nume- rous Saussures, and while elsewhere a kind of jealous enmity subsists between the cloister and science, here it will be well received, treated as a welcome guest, and admitted to the hearth and banquet of the house.' CHAPTER VII. Valley of Aosta.—Aosta.— Calvin's column.— Cathe- dral.— Tomb of Thomas II.— Saint Peter and Saint Orso.- Antiquities. — Arch of Augustus.— Creiios. The valley of Aosta, despite its beauty, variety, and its rich \ineyards.= does not present the smiling contrast observed on entering Italy by Domo d'Ossola. This valley retains for some distance the prin- cipal features of Alpine nature, such as torrents, forests, rocks, cascades, preci- pices, at the bottom of which is the rum- bling Dora. The antiquity of this mili- tary road, previously perccptil)le in going up the Great Saint Bernard, is still more .so in the descent; and this narrow valley presents at every step the redoubt- ' This meeting lookplareonthe 21st of July 1829, it was composed ofeiglity-.^is persons, nmong«hom were several leiirned foielgncrs. sucli as the Ger- man Baron de Buch, kno" n by his geological works, and MM. Bouvard and Micbaux, frooch nalurali.ls. There were t»o sittings, on llie 2(st and 22nd, under the presidentship of the Canon Biselx, rector of VauTry, in which several scienllOc papers were read; and on Ibe 23d, says a journal, the whole able traces of the two most warlike people in history, the Romans and the French. The valley of Aosta, the banks of the Dora, and the impressions they produce ! are eloquently painted in the different i works of Count Xavier de Maistre, a sen- timental military writer, who is, as it wore, the bard of this little country. Aosta has 6,t00 inhabitants. In the centre of the public square is a stone column, surmounted by a cross, erected, as the inscription shows, in commemoration of Calvin's second flight from thecity of Ao.'ta, on his return from Italy, in the year tSi-i. Might not one suppose, on seeing this singular column, that there was question of the repul.se of some mighty conqueror, instead of the hasty retreat of an insulated wanderer, whose wholesirengthlay in hisdoctrines. The antique cathedral, restored in the fifteenth century, contains the tomb of one of those brave and skilful captains of the house of Savoy, duke Thomas II. ; it is a noble mausoleum of white marble, and from the superiority of the work- manship must be regarded as of the close of the fourteenth century or the begin- ning of the fifteenth. There are some good frescos in the sumptuous chapel of Saint Grat, erected in the sixteenth cen- tury by the marquis Roncas d'Aosta, minister of .state. An ancient consular diptych in ivory, of the year 406. is the oldest in existence that bears a date, and is placed in the first rank of those fragile and curious monuments of antiquity. The collegiate church of Saint Peter and Saint Orso is reckoned the oldest church in the valley. On the arched roof of the choir, some antique paintings in the Byzantine style, of the beginning of the thirteenth century, represent the apostles. In the sacristy is a fine missal, ornamented on almost every page with the arms of the Challanl family, the most illustrious in the valley, as well as with some rich miniatures of good taste. The population of Cretins and Albinos company descended, equally pleased with the zeal and unarrimity of the members of the society, and the manner in which llie monks o( Saint Bernard had done the honours of their convent. 2 The most esteemed w ines of the valley are those of Donasso and Arnazzo, and among the liner n ines, the loreUa of Sainl-rierre and the malmsey of Aosta. CuAP. VIIF.] INNS. id who inhabit the valley of Aosta, forms a singular contrast with the beauty of IhL- site and the grandeur of the Roman antiquities found there, such as the art h of Augustus, the bridge, the gale, the pretorian palaee, the amphitheatre, and the theatre. I saw some of the.-e wretch- ed monsters under the arch of Augustus, and the human species seemed to me there much more degraded and decrepid than the monuments of eighteen centuries. CHAPTER VIII. The Fores((ere.-Englishraea.— Inns.— Registers. Scarcely have you entered Italy, in- vested with your character of forestiere ( foreigner ), before you find the conduct and manners of the various classes of its inhabitants totally different : tiie higher orders are very obliging, hospitable, and good-natured ; to the populace, on the contrary, the foreigner, notwithstanding the ceremonious formalities with which he is overwhelmed, is nothing less than a prey, a kind of booty at which every one runs, and endeavours to bear off his share to the best of his means ; the little half-naked urchin runs after the carriage crying out caritd, until the period when, grown to manhood, he can take his ca- rabine and beg more nobly; Ihe per fidus caupo is no less cunning than in the days of Horace ; in short, voiturins, valets de place, postilions, chamberlains, boat mas- ters, all seem eager to bring about, in detail, a restitution to Italy of the tribute that invaders have but too often levied there ; and in this respect none fail in the duties of a citizen. Some of the autho- rities do not disdain to join the league ; the everlasting and expensive visa of passports are but an indirect tax on the curiosity of travellers ; and in some se- condary towns, such as Ferrara, Reggio, Placentia, the price of tickets at the theatres has been doubled to foreigners for some years past, with the consent of the municipality. Independently of the paid services, the servants of the houses where you are received, the custode, the officer of customs, the gendarme, in fact every body holds out a hand ; it is not what one buys that costs dear, but what one is perpetually obliged to give; and even the poet of the locanda ( inn ), the author of a sonnet on your happy arrival, in which he has made the Tiber and Arno rejoice for the thousandth time, also asks for a donation. The forestiere must, therefore, be re- signed, and come to the determination of not being too minute in his accounts, or he will find the pleasures of travelling diminished : the struggle would not be equal, so great is the instinct and craft of these people for getting money. The English, by reiterated complaints and boisierousness, have contributed to the improvement of the Italian inns, and may even claim the glory of having re- formed them ; they are in general very tolerable now, and I think them even belter tlian in France. The register, which the severity of the police obliges every hotel to keep accurately, is a book which I have often perused, nor is it destitute of its peculiar matter for medi- tation. The dili'erent names of all the travellers who pass, show the agitation, often very vain, of this world's things ; sometimes they recall the caprices of for- tune, and reveal the forgotten existence of adventurous persons, once celebrated and powerful, and whose old palaces were to them but a kind of hostelry. The column condizioni of the inevitable register is to numbers of persons very diiricult to Gil up; they do not know exactly what they arc, so uncertain are the fortunes of many in our days; so in- complete and temporary is the social order on some points, notwithstanding its improvements. The Italians gene- rally lake the title oinobile; that of gentilhomrne, or man of quality, is not taken by any Frenchman, although the Charter acknowledges a nobility, and even lh;it there are two kinds ; the names of rentier and proprietor are certainly pleasant enough, but they are somewhat common. The eta (age) is another po- sitive question which, for the ladies, is embarrassing at a certain epoch; the number of ladies of thirty-eight who travel can hardly be imagined; one would think it the best age for that enjoyment; the difficulty is sometimes complicated by Ihe proximity of some charming girl, who already begins to be interesting, and proves that it is a considerable time since her mother was in the same circumstan- ces. But the best cliapters are the names of your friends, who. like you, are tra- vellers; it seems that in Onding and following their traces, you diminish the 3. 30 SEASON FOR VISITING ITALY. [ Book II. sadness of separation, and that this sort of apparilion restores them to you, as in the rencontre sung in the same place by the poet : Plollus et Varius Sinueiisae, Virgiliusque Ocrurrunt, aiilmae quales neqiie candidiores Terra tulit, ncque quis me sit deviucllor alter. ^il ego contulerim jucundo sanus amico. CHAPTER IX. On the senson for vlsUing Italy. Though winter is the usual season for travelling to Italy, I will advise no one to follow this custom, unless going under the advice of a physician. The winter does not suit that fine country ; its aspect is then but little different from that of our provinces : there is nearly the same humidity and the same cold ; the rivers are overflowed, heavy and continued rains obscure the sky and inundate the fields ; the trees are dwarfish and look still worse when stript of their verdure, and the vine, which twined around them gracefully, is nothing but a species of rep- tile clinging to them, black and tortuous. The orange-trees seem charged to do the honours of the country alone, and to re- call some of its charms; but, despite the beauty of their fruit, there are not so many of them as is supposed, nor are they indeed higher than those of Versailles and the Tuileries. When I left Italy, generally towards the end of the year, and most frequently in v«ry foul weather, while crowds of foreigners were going thither in elegant equipages, in my tenderness for that country, I thought with pain of the first impression these strangers would receive ; 1 was tempted to cry out to them on the road that it was not Italy, the real Italy, that Ihey saw. The poor English ladies' maids, cruelly exposed on seats before and be- hind, especially inspired me with true pity ; probably they had read the Myste- ries of Udolpiio, in which, amid a thou- sand horrors, is such a smiling descrip- tion of Italy in spring; how great must have been their disappointment on be- holding it thus ! But if nature loses her glory, the monuments of art are scarcely more to be recognised ; they are made for the light and the sun of summer, and not for the fogs of winter. What num- bers of pictures, basso-relievos, chels- d'oeuvre of the best masters, disappear then in the obscurity of this dull season and the somewhat sombre light of the churches of Italy ! A singular instance of this disagreeable effect of an Italian winter occurred to two Englishmen at Rome in 1828 ; they arrived on the 10th of November, and set off on their return j. on the Ulh, to the great regret of their I banker, M. Torlonia, with whom they * had a credit of more than a hundred thousand franks. At the same period I also knew a young Frenchman at Rome, who, like others, had come to Italy in winter; on leaving Paris, he was fearful of his enthusiasm for that illustrious land, though when I saw him it was very se- date. This disappointed travelh r had caught cold on the road ; he was a dilet- tante, and ihe music he had heard was indilfcrent ; Turin and Florence, which he had merely passed through, seemed to him, as regards the streets and people in thern, nothing more than chief towns of a province, and the little shops of the Corso, or the hotels of the Piazza d'Es- pagna, where he had stopped, were but little calculated to excite that admiration which he at first feared being obliged to restrain. The great number of foreigners who flock to Italy in winter also deprive the country of a part of its physiognomy ; the distinguished natives seem as it were to disappear, lost in the midst of this exotic bustling society ; one can only catch a glimpse of them, and it is less easy to gain their friendjhip or to derive advan- tage from their information, borne away as they are by the whirlpool. As to the popular feasts and pilgrimages to Nostra Signora del Wonte, della Groita, dei Fiori, they have altogether ceased, and 1 have the bad taste to jirefer Ihein to the pom- pous rouls of bankers or ambassadors. The foreigner, or countryman whom I prefer and try to find in Italy is some artist, a painter or architect, sketching views, examining monuments on the spot instead of looking at thern on paper, working, studying, and loving the long days, a cheerful companion in mountain excursions and the horrors of the lo- canda, or a passenger like yourself on board the rapid bark wafted to many a shore famous in fable or history. Such is the happy companionship that I wish to every real traveller; and certainly he will find it more agreeable than that of Chap. XI. ] VERCELLI. the fashionables who only cross the Alps for the Scala of Milan, the Caseine of Florence, Ihe Corso of Rome, the Chiaja of Naples and other frivolous rendez- vous of European vanity. Italy, the inexhaustible source of mental en<;hant- ments and fanciful musings, is for such people no more than a spectacle to be gazed at, a kind of race or theatrical re- presentation, to which they travel post, with no object but to show themselves, to see who is there, and talk of what they saw. At the period chosen by these vi- siters, the beautiful solitudes of Vailom- brosa, Mount Cassino, the Camaldoli, are almost inapproachable; and a person would return with a very imperfect idea of Italy, >\ho had not been able to con- template them. It is, besides, my opinion that different countries ought to be viewed with the climates peculiar to them ; the hoary winter to Russia, the sun to Italy. The summer is not so oppressive there as ge- nerally supposed ; there is always an air, and (he inhabitants are much cleverer than we at protecting themselves from the heat. Italy doubtless owes its repu- tation for intolerably hot weather to the English and travellers from the North; but the temporary inconvenience it causes for a few hours in the day is amply com- pensated by the brilliancy and purity of the light, the magnificence of the morn- ing and evening, and the charms of night. CHAPTER X. Ilvrea.— Bridge. — Caslle. — Prisons of Italy. — Cathedral.— Mosaic. Before reaching the road from Turin to Milan we come to Ivrea, which has a One aspect at a distance, but is ill-looking within : the Roman bridge of a single arch, thrown over the Dora fi oui the rocks on its banks, and the castle composed of four lofty towers joined by a high brick wall, have an imposing mien and seem in harmony with their picturesque loca- lity. The castle is a frightful prison, which bears no resemblance to the hu- mane penitentiary establishments of Ge- neva and Lausanne. It must have been very difficult to effect an escape from those ancient fortresses, and the jailers of the old rock no doubt kept a much stricter watch than the philanthropic managers of the new houses. This great prison, at the entrance of Italy, reminded nic of the important part occupied by prisons in her history ; independently of the political imprisonments common to all nations and countries, never has any land had so many nor such illustrious captives; poets, literati, historians, ar- tists, whenever they have attained a certain degree of celebrity, have nearly all been confined. It seems as if a pri- son was in the destiny of every one that surpasses his foilows, and that it then becomes an accident, an ordinary event of life : it is to glory what ostracism at Athens was to popularity, or what the bowstring is at Constantinople; one might say that it becomes a natural con- sequence. The prisons of Italy are a part of its monuments, and if their traditions were less vague, they would not be with- out their grandeur, since they have re- ceived such inmates as Tasso, Machia- velli, and Galileo. The cathedral possesses at the high altar, the relics of Saint Warmond Ar- borio, bishop of Ivrea, about (he year 1001, and in the sacristy a picture by Perugino, Saint Joseph kneeling before the Infant Jesus, with the Virgin on his right, and Saint Warmond on his left, leaning on the shoulder of the Canon abbot Ponzone d' Aseglio, who ordered this fine piece. A curious piece of mosaic in white, red, and black stones, framed in the wall of the seminary, and apparently of the twelfth century, repre- sents the five liberal arts of that time. Grammar, Philosophy, Dialectics, Geo- metry, and Arithmetic. CHAPTER XI. Vercelll.— Invasion of (lie Barbarians.— St. Andreiv. —.Mausoleum ot T. G.illo.— Duorao.— Eusebius's hook of Ibe Gospels.— Saint Chrisloplier.— Fresco by Gaudenzio Ferrari. -Noble example of the Marquis Oe Leganez.— Saint Julian.— Library.— Archives. It was in the plains of Vercelli that Marius overthrew the Teutonic and Cimbrianarmy which several Roman ge- nerals had previously repulsed. The ancient invasions of the barbarians were natural, as the sun and abundance must have attractions for such people ; where- as nothing but the infatuation of the last years of the Empire could have induced 33 VERCELLI. [Book II. the chief of a civilised people to make conquests in the Norlh, a solitary fact in the history of distant expeditions. The wars of Charlemagne had at least the pretext of converting the Saxons to Chris- tianity, or rather he yielded to the grand necessity for repressing in person the in- cessant inroads of the barbarians. " He bad no wish," says Mezeray, "to possess the ice and rocks of the North." One must go back to the epoch of the great Roman captain to enliven this dull and tedious road from Turin to Milan, which, on this side, does not present the imposing and majestic aspect of the Alps. Vercelli has some delightful walks and a few palaces. The ancient castle or ducal palace, where the blessed Amadeus III. died, is converted into barracks. At the Tizzoni palace, now Casa Mariano, the property of a Jew merchant, is a superb fresco by Bernardino Lanino, a great Mi- lanese artist of the sixteenth century, re- presenting the Assembly of the gods, in the style of the Farnesine fresco, a bril- liant decoration of an antique hall now turned into a granary. The vast church of Saint Andrew, surmounted with four steeples, of a fine demi-gothic architecture, built in 1219 by Cardinal Guala de Bicchieri, legate in England the year before, has been as- certained to be from the same design as a church at Winchester, the plan of which, probably, Bicchieri brought away with him, as well as the 1-2,000 marks of silver, a sort of booty with which history reproaches him. This church has been recently restored in its primitive style at the expense of an association of pious persons. On the curious mausoleum of Thomas Gallo, first abbot of the monas- tery of Saint Andrew, who died in 1246, a fresco of that day, the oldest pic- ture of Vercelli, and one of the most in- teresting in Italy for the history of the infancy of the art, represents him in his theological chair; among his six scholars is Saint Anthony of Padua, distinguished by a glory ; at the bottom of the mauso- leum a contemporary basso-relievo in stone shows Gallo kneeling before the Virgin and Infant Jesus, while his pro- tector. Saint DenystheAreopagite, stand- ing, affectionately lays his hand on Gallo's head. The interior of the majestic Duomo is by the great Bolognese architect of the sixteenth century, Pellegrini, surnamed the Reformed Michael Angelo by the Carracci, and the exterior by Count Be- nedetto .41fieri Bianco, the first architect of Piedmont. The silver tomb of the blessed Amadeus of Savoy, given by king Charles Felix in 1823, is from the design of a clever artist of Turin, S. Sevesi. The choir, in sculptured wood, of the year 1822 and by Ran/.a, an architect of Vercelli, is an ingenious construction which holds together without a single nail and can be taken down in a day ; a precautionary measure of the canons, as the first choir was burnt by the French who were lodged in the church in 1798. I saw in the treasury the celebrated book oftheGospels said to be copied by the hand of Eusebius, the first bishop of Vercelli in the fourth century, and which Lalande gives for the autograph of Saint Mark, although it is a Latin version, and the apostleswrote only in Greek and Hebrew. This manuscript, formerly sealed with the bishop's seal and never opened but by his permission, the covering of which it was only permitted to kiss kneeling, was shown to me without ceremony by one of the choristers : it is in very bad con- dition, and I think one may venture to wish it a more attentive librarian. I also remarked an autograph letter of Saint Francis de Sales to the duke of Savoy, dated from Annecy, the 17lh Fe- bruary Ifilo, on the canonisation of Amadeus III.; it is elegantly written, and would deserve a place in the edition of the complete works of this amiable and kind hearted saint. Saint Mary Major, called the Ma- donna grande, a church of the last cen- tury, has replaced the ancient church of the time of Constanline, which was a remarkable monument; the remains of its portal, presenting a very curious as- tronomical basso-relievo, are preserved in the gardens of the Gattinara palace. Saint Christopher, the ancient church of the Umiliati, is recommended by the paintings of Gaudenzio Ferrari, a distin- guished assistant of Raphael, and chief of the Milanese school. The frescos, some of which have been retouched a few years since by an incompetent hand, representing divers subjects of the Life of Jesus-Christ and Saint Mary Mag- dalene, a large and pleasing composition, remarkable for the beauty of the heads and the graceful expression of the little CUAP. XII. ] NOVARA. angels, are perhaps the most excellent work of this artist. Tlie best prcservciJ is the Adoration of the Magi. The fresco of the martyrdom of saint Ca- therine, consideral)ly damaged, contains the ()ortraits of Gaudenzio Ferrari, of his master Jeroninio Giovaiinone, and of his ablest pupil Bernardino Lanino, of Ver- celli. These paintings, which were or- dered in 1.532 by Fra Angelode'Corradi, recall a noble action of the young marquis de Leganez, a Spanish general, who died in 1711, in exile at Purls, afler having been imprisoned as an Austrian at Vin- cennes. When he besieged and took Vercelli in 1638, he forbade his bom- bardiers to fire on the church of Saint Christopher, lest Ihe masterpiece of Ferrari should be injured, an act almost unknown, but which equals that of De- metrius Phalereus prolecling the painter Protogenes and making war on the Piho- dians and not on the fine arts. At the church of Sainl Julian, a pathetic Passion of Jesus Christ, by Bernardino Lanino, might well be attributed to Gau- denzio Ferrari, if the author had not apposed his name. The church of Saint Paul has the paint- ing of the Madonna delle Grazie, for the raising of the siege of Vercelli in 15.53 by the French troops, under the command of the duke ofBrissac; it is one of the best and largest of Lanino's paintings. The library of Vercelli, the Agnesi- ana, contains twelve thousand volumes. The archives, long neglected, though containing diplomas and do'.uments to as far back as the eighth century, have been recently confided to the enlightened management of a distinguished Pied- montese, professor Baggiolini, who had earned his livelihood as a schoolmaster, one of (hose talented Italians, as ! myself have witnessed, whom adverse fortune prevents from gaining celebrity. CHAPTER XII. Novara. — Duomo. — Capllulary Archives. — Library. —Fra Meslor Denis.— Saint Maik.— Sainl I'eler at rosario.— Vm Dulcioo.— Saint Gaudtnizio.— Steeple. Novara is an old dirty Spanish town, but ■ Tbis name is derived from ttie resemblance of tlic holes where pigeons rnalie their nests, « hether in VTalls or dovecotes, to llie little niches intended by the llomans to hold the urus of the same family. it has some rich and beautiful churches. The noble and elegant baptistry, once a columbarium. ' belongs to the best days of Roman architecture. The antique portico of the Duomo, a kind of lapidarian museum, presents a curious collection of votive altars, in- scriptions, and funereal urns. The church is old and ugly, but has several Itainlings very remarkable; in the chapel of Saint Benedict, the Christ, saint Gau- denzio, saint Benedict, and the Mag- dalene at the foot of the Cross, the heads of which, supposed by Gaudenzio Ferrari, are exquisite ; in the chapel of Sainl Joseph, the Sibyls, the Eternal Father, and Ihe other poetic and sublime frescos, unfortunately damaged, by Bernardino Lanino ; on the cupola the elaborate frescos of Giuseppe Montalto ; in the chapel of the Three Slagi, a Nativity, by an unknown author, which has been deemed worthy to be attributed to Titian, Corregio, or Paris Bordone ; in the sa- cristy, the imposing and graceful Mar- riage of saint Catherine, by Gaudenzio Ferrari ; a Last Supper, varied, by Caisar da Sesto, the best pupil of Leonardo di Vinci, the friend of Raphael, who de- licately said to him :■ — ' ' Is it not strange, that with a friendship like ours we reci- procally show each other so little regard in painting, and contend so much one against the other?" Among the documents of the capitu- lary archives, are some of the oldest in Italy : the Life of St. Gaudenzio and other Saints of Novara, written in 700, and the petition addressed in 730 by Rodoaldo di Gansingo to the bishop Gra- zioso to obtain the consecration of an altar erected by this Rodoaldo to Saint Michael. A precious consular diptych, of ivory, gives the names of some ancient bishops, and has this singular Inscription : — Ajraldus sublevita indignus domui precepto Arnaldi sine manibus fecit oc opus. The library of the seminary, public three days a week, has about twelve thousand volumes. Among the edi- tions of the fifteenth century may be re- marked the Dictionarium alphabetico ordine of Fra Nestor Denis, a scholar of The co/um6ar;u»j contained the remains of a great number of bodies in a small space; it was not lighted, e.xcept by the lamps used during the funeral ceremonies. 34 NOVARA. [ Book II. Novara, the first author of a dictionary, less known thanCalepino who suiceeded him, and, like others, plundered him without acknowledgment. The dedica- tion of the dictionary is addressed to Louis-the-Moor; it contains a splendid eulogium in hexameter verse of that prince, who. though criminal, was a pa- tron of learning and the arts, and kept at his court Leonardo di Vinci, I3ra- raante, and Demetrius Chalcondylas : Louis having been arrested in disguise near Novara, he was taken to France, and his captivity there must be regarded as a real calamity for literature. The church and fraternity of San Gio- vanni decollato, built in 1036, is in the form of an antique tomb, and is remarka- ble for its singular construction . It rests on four columns ofgranite without an iron cincture. An Adoration of the Magi, in the choir, is by Charles Francis Nuvo- lone, who acquired and retained the surname of the Guido of Lombardy, an artist full of devotion to the Virgin, who never painted any one of his tine madonnas, so sought after by connois- seurs, without having first performed some act of piety. The church of Saint Philip de'Neri has two recent works of art : the ancone of the choir, painted at Rome somewhat incorrectly by Professor rofanelli ; and a not ungraceful statue of the Virgin, by S. Prinetti, a sculptor of Novara. At the church of Saint Eupheinia, the front of which, executed in 17.S7, has no merit whatever, Ihe Martyrdom of Saint Genes d' Aries, by John Bai»tist Costa, is deficient neither in expression nor co- louring, although the painter has clothed the registrar of the Roman prefect in a Spanish dress. Saint Mark, one of the most regular as well as most elegant churches of No- veza, is farther distinguished by its paint- ings. The Virgin, the Infant Jesus, and Saint Anne, by w hat author is un- certain, from its originality and soft na- tural expression, has had the merit of being attributed to Camillo Procaccini. The i'/'Oces5(on made at Milan by Saint Charles Borromeo Cor the cessation of the plague, is by Moncalvo, a good pain- ter of the country in the sixteenth cen- tury, who has also painted on the cupola and the gallery of the choir an Eternal Father and Saint Mark carried to Pa- radise by the angels ; compositions at once vigorous, correct, and graceful. The Martyrdom of Saint Marie is ani- mated and poetic; it is by Daniel Crispi, one of those great old Italian masters, whose fame does not equal their merit, and who are scarcely known out of their country. In the small church of Saint Charles : — an Immaculate Virgin, a new work by S. Jacopo Conca. who seems to con- tinue the family of the indilferent and too much lauded painters to which he belongs; a Deposition from the Cross, by Cezano, a clever artist of Novara, a man of letters and courtier, who enjoyed the favour of Cardinal Frederick Borromeo ; a little Sacred Heart, by the celebrated Andreo Appiani, one of the few sacred subjects treated by this painter of the triumphs of Napoleon, his inspirer and his hero; a large Martyrdom of Saint Agnes, which formerly served as ancone at the church of the nuns of that saint, by Gilar- dini, an artist of the last century, rather clever at this kind of work. Saint Peter al Rosario was formerly a convent of powerful Dominicans, who, in 1307, condemned the famous here- siarch of Novara, Fra Dukino, head of the sect of the Gazzari, a barbarous sort of Saint Sinionians, for having preached the community of goods and women. Dulcino was burnt with his concubine the beautiful Marguerite, a nun that he had abducted from her convent; they both showed extraordinary intrepidity amid the horrors of their execution. Dulcino was taken, after being defeated at the head of five thousand sectaries, on Maunday Thursday, in a pitched battle; this is the warlike monk for whom Dante represents Mahomet so interested, when he makes him say : — Or dr a Fra Dolcin dunque clie s' arrai, Tu clie forse vedral il sole in breve, S' egli non vuol qui tosto seguitarmi : Si di viViinda, che strelta di neve Non reclii la viltoria al INovarese, CU' altrioienti acquislar non saria lieve. The insurrection of Dulcino appears not to have been completely suppressed, as four years after his defeat the cloister of the Dominicans was attacked, while they were assembled, by a band of armed men, who dispersed them after wounding and killing a great number. The exist- ing church, finished in 1618, and pre- CuAP. XIIF. ROADS IN LOMBARDY. 35 sorting the architectural contradiction of the Corinthian order at bottom and the Ionic at lop, is ornamented \>iih some good paintings. A Paradise, composed altogether of Dominicans, on the cupola, and the frescos of the chapel of Saint Dominick, are by Gilardini. JheVirgin, Saint Peter the martyr, and Saint Ca- therine di Siena, on the aiicone of the rich chapel of the Rosary, is a Dne pro- duction and deservedly praised ; it is by Giulio Cesar Procaccini, the ablest of the Procaccini. The superb basilickofSaintGaudenzio, by the architect Pellegrini, is rich in paintings by the best masters of the Mi- lanese school. In the chapel of the Happy-Death, a. Deposing of the Cross passes for the masterpiece of Moncalvo; and the different frescos, the Last Judg- ment, of Morazzone, prove the pow er, grandeur, and truth of his talents. The Guardian Angel, in the chapel of the name, by Hyacinth Brandi, the most celebrated pupil of Lanfranchi, recalls the lofiy style of his master. There is some resemblance to Paul Veronese in the Overthrow of Sennacherib, a lively and intelligent composition by Antonio Ranzio, the JVovarese painter of the seventeenth century. The ancone in six compartments of the chapel of the middle Aladonna was painted, in 15U, by Gaudenzio Ferrari, at the command of the canons of Saint Gaudenzio, who pa- tronised the arts; it is his largest work in oil before his journey to Rome, and the last of his earlierstyle; and, although the colouring is injured, it has his sweet, graceful, and natural expression. The chapel of the Crucifix has an earthen cruciflx, by Gaudenzio Ferrari, who was also very clever in this kind of sculpture. The vigorous frescos of the four greater Prophets are by S. Ludovico Saba- telli, a Tuscan, professor in the academy of Milan. The Saint Augustine writing his treatise on the Trinity, in the chapel of Saint Barbe, is an esteemed perform- ance of Giuseppe IN'uvolone. The two su- perb doors of the inner chapel of the tomb of Saint Gaudenzio are a solid mixture of cast steel and bronze : the four great bronze statues represent the patrons of the town and diocese of Novara; the Triumph of Saint Gaudenzio in fresco on the cupola, lull of imagination, is the masterpiece of Stefano Legnani, a good painter of the Lombard school at the beginning of last century, celebrated for his frescos. The tomb of the saint may be compared for magnificence to the most splendid in Italy. The colossal high-altar is resplendent with marble and bronze; it was consecrated in 1725, by Cardinal Gilbcrto Borromeo, bishop of Noara, and sutlers from the corrupt taste prevalent at that epoch. The sta- tues of the doctors of the church by Rusca of Milan, from their slender phy- siognomy, look like youthful old men, and the ^f.Jtrome has the appearance of wearing a wig. 1 he statues of S. Binetti are held in higher estimation, especially those of St. A7idrew, St. Paul and St. Bartholomew. In the chamber of the chapter, the St. Jerome writing, by Spugnuoletto, has his energy and effect. The oldest document in the archives is the Acts of the life of St. Gaudenzio of the eighth century ; they also possess a consular diptych in ivory, still superior for Its workmanship to that of the Duo- mo, and on which are sculptured two Roman consuls giving the signal for the public games. Un the outside of the basilic is a St. Peter, a carving of the daik ages, and some Roman sepulchral stones. The steeple, a splendid struc- ture by Count Benedetto Alfleri, Gnished in 1786, was built with the funds proceeding from a tax of a farthing on every pound of meat sold. On each side of the entrance a Roman inscription is enchased; one of them perpetuates the memory of a ceitain Tilianeoreus, who, although qucstor, owed nothing to the Repubiic {reipublicce nihil debuit), an unusual circumstance, it appears, among the Roman questors, since it was thought worthy of being transmitted to posterity in an epitaph. CHAPTER XHI. noute. — Bridges. — Roods ia Lonibardy. The road enters Lombardy on this side at Butfalora, on the Ticino : a magnifi- cent bridge has been built there of that fine hard shining sti ne found in the vi- cinity of Lago Maggiore. In no district has the admiiiislration des Ponts et Chaussces been more active or rendered greater services. The numerous rivers and canals on the road can now be passed without inconvenience. Agriculture flourishes in all this part of Italy, and 36 MILAN. [ Book III. every thing announces general pro- sperity; Austrian domination is there seen on its best side. The roads are real well-managed garden walks; even the grass is pulled up as soon as it appears. The Austrian government, in general so economical and paltry, is nobly libera! 1 in this respect. > BOOR THE THIRD. MILAN. CHAPTER I. Fr&iicU aspect of Milau.— Hoyal palace.— Frescos of Applani. — Villa. — Aichiepiseopal palace.- Foun- tain. — Vomo di pietra. — Gallery De Crisloforis. — Palace (/e//a Conlahititd. — Marini. — Uouse ofVis- raara. — Porta Or/entule. It is impossible not to be struck, even in passing, with the appearance of wealth, commerce, and industry of this great city. The population now amounts to a hundred and sixty thousand, but about the middle of the fifteenth century it was three hundred thousand. Its French aspect, so much increased of late years, was already remarkable in the days of Montaigne. He found that "Milan pretty much resembled Paris, and was greatly like the towns of France." Tasso observed the same resemblance, during the two years he passed at Paris in the suite of (Cardinal d'Este, when he wrote his partial and unjust parallel between Italy and France. The Corso has at present all the magnificent of the Rue du Mont-Blanc ; and without the clumsy hufan which escorts at night the brilliant caieches of the Corso, one might imagine one's self on the Boulevards of Paris. The multitude of sentry boxes placed at all the corners of the streets, and the automaton soldier sit there every niglit, have something gloomy and menacing. But such precautions are but too neces- sary considering the legislative condition ofthe country. The Austrian law never convicts on the evidence of the complai- nant, unless corroborated by the deposi- ' Tlie repairs of the excellent roads of tlie Lom- bardo -VcnelidU kingdom cost ),;JOIl,(;0O Austrian livres ( Ibat Is, 52,2(10 pounds sterling ) for liricen hundred and eighteen Italian miles; rather more than 26/. the English mile. From the report read tions of two witnesses or the confession ofthe criminal. This regulation is not at all adapted for the Italians, and particu- larly the Lombards, though attended with no inconvenience among the happy andtianquil population of Austria : thus, by a strange opposition of manners, does even the milder pari of the laws ofthe conquering people become impracticable and injurious to the conquered. The French aspect of Milan appears still more conspicuous in the palaces of the prince, which are bi illiant imitations of the imperial palaces of France, but less magnificent. Their number also is nearly the same, independently of the ordinary palace ofthe viceroy, la villa, with its English garden and its position ill the interior of the city, is the Elys^e Bourbon of this bastard Paris; and ;ilonza, another royal residence three leagues from Milan, reminds one of Saint Cloud. The frescos of Appiani, which are seen in these various residences, es- pecially the great fresco of the royal pa- lace of Milan, representing the Assembly of the gods, and the medallion of the principal saloon which presents Napoleon under the features of Jujpiter, are per- haps too much boasted by the Italians; but these showy decorative paintings produce a great elTetl, and seem more- over pretty much in conformity with the theatrical glory which they consecrate. The diUerent palaces of Milan are rather vast and costly houses than mo- numents ; the courts, surrounded with piazzas, have, however, a kind of gran- deur. Despite the lavish use of the title to the committee of roads and canals by Baron Pas- quier, on the Clh of October, )828, the expendllure on the roads ot France is 1750 fr. a league (25/. 10 s. the English mile) ; in England the cost Is from 5')/. to 61/. the mile. Chap. I. ] MILAN. ofpalazzo among the Italians, these pa- laces ilo not commonly bear so superb an appellation, but. unless devoted to some public service, they are, in general, more modestly called houses. The arcliitocluie of the court of the Archiepiscopal palace is ingenious. The octagonal building of the stables, wiih its Greek vestibule, a beautiful work of the great Holognese painter and ar- chitect I'ellcgrini, were by Saint Charles deemed worthy of a nobler use, as they indeed arc. In the square, in front of the palace, the Syrens of the fountain, by the sculptor of Carrara, Joseph Fran- chi.are reckoned among the best perfor- mances of recent times. In the Corsia de' Servi is the antique statue called by the people the Stone Man [Vomo di pietra), the Marforio of Rlilan, which has been taken for Cicero, Marius, and even Menclozzi, archbishop of Milan in the tenth century; it ajipears to be a Roman statue, and must always be regarded as one of the most ancient monuments of the town. The new De-Cristoforis gallery, fi- nished in 1832, from the elegant design of S. IMzzola, is lined with shops and co- vered in with glass, the first of this de- scription erected in Italy ; this conmier- cial monument may be compared with the finest of its kind, and, for the richness of its materials (the pavement is of 6«r- diglio and white Carrara marble) must even surpass them. The Durini palace, by Francesco Ric- chini, a Milanese architect, has a n)a- jeslic arcade. The house of Stampa Castiglioni, now dilapidated, was one of the first works of Bramante at Milan, and the paintings in claro-obscuro on the front were executed by him. The court of the seminary, by the Lombard painter and architect, Meda, is a noble and clever structure. The palace della Contabilitd ((he an- cient Helvetian college) by Fabius Maii- goni, a Milanese architect of the seven- teenth century, and Ricchini, passes for the finest in Milan : if the front is worth- less, the two courts produce great effect and recall the majesty of the plans of an- tiquity. The palace of Erha Odescalchi, the ancient residence of the Sforza Visconti, is light and elegant ; it is by I'ellcgrino Tibaldi or some one of his schuol. At the house of Pianca are fourteen portraits of the Sforzas in fresco, by Ber- nardino Luini, the Raphael of the Mila- nese school, also five other portraits of the Sforzas in marble, by Professor Marchcsi, an able living sculptor. Among the Milanese antiquities and curiosities of the house of Origo. there is in the garden a coarse basso-relievo re- presenting, it is said, the empress, wifeof Barbarossa, crowned wiih her diadem, and occu|>ied in one of the most secret duties of her toilet {in atto didepilarsi), an indecent production, formerly ex- posed to the publicgaze,till Saint Charles Borromeo had it taken down from the Porta Tosa. The most extensive of the palaces of Milan is that of Marini, remarkable for its fine front, built in 1525 by the skilful architect Galeas Alessi, fo."' the farmer- general of Milan whose name it bears; it is still occupied by the minister of finances and the administration of the customs. At the end of the Strada Marino is the bouse of Patellani, the abode of Pelle- grino Tibaldi, in which he died on re- turning from Spain, after having, as it were, founded the art of painting there. The ancient house o\ Bossi, at i)resent Vismara, given by duke Francesco Sforza to Cosmo, the father of his country, pre- serves on its front two superlj figures of armed women, of the richest S(ul|iture, the workmanship of the able Florentine statuary and architect, Micholezzo Mi- chelozzi, who was the first that got clear of the Gothic taste in Lombardy. The other principal palaces are those del Goberno, o( Brcra (palace of the arts and sciences), and the houses o( Serbel- loni, PezzoU, Belgioso, Ciisani, now the casino of the merchants, which has been thought worthy of Palladio ; Litta, of very bad taste notwithstanding its magnificence; Annoni, Melleri, Stam- pasoncino, where there are some \ery line pamlings; and Trivulzio, once the abode of a noble and amiable family, who had preserved the old baton of marshal of France, not less precious than all the masteri icces of their rich museum and rarities of their library. The new gate o( Porta Orientale, re- cently finished, the work ofS. Vantini, is superb, and perhaps the finest of those monuments belonging to the revenue and police, placed at the entrance of modern great ciiies, and a pretty decisive charac- teristic of their kind of civilisation. 4 38 MILAN. [Book III. CHAPTER IT. Diiomo.— Columns.— Slalue of Saint Barlholomew. — ToiTib of SI. Cli,'i!e>;. -Mausoleiiru of C.iidinal Caracciolo.-Cliappl of GiovaunI Jacopo Medici. — Baplibtiy. — Ambrosiau lite. — Chapel deW AWero. —View. The Duomo, with its hundred pin- nacles, and the ihrec ihousand statues perched on it. is but an enormous 105, with more boldness and singularity than beauty ; all this marble crowd seems alike "in form and expression, and its whiteness, like that of the huihliiig, is painful to Ihe eye.' In i-ealily there is no steeple; the temporary tower, a kind of pigeon-house which sup|>lies its i)lace, is ugly and ill-placed. Thedolhic of the Duomo is deficient in ncnvete; being at the same time vague and elaborate, and not the Gothic in all its primitive gran- deur of the cathedral of Cologne.^ 'Ihe gates, which are of the Roman order, and by no means in unison with the gene- ral character of the edifice, are decorated with tine basso-relievos and ornaments by Cerani and Fabius Mangoni. The two gigantic columns, each of a single ])iece of red granite, standing one on each side of the princiiial entrance, were drawn from the quarries of Baveno, near Lago Maggiore ; they are perhaps the highest ever employed in any building. The architectonic painting of the roof, a kind of decoration, doubtless well executed and suitable enough for a new building, has a disagreeable effect in these old monuments where all is commonly so real. Several witidowsof stained glass, manufactured at Milan after the solid and economical method of Bertini, have been since repaired, and their effect equals, if it docs not surpass, that of the old which were destroyed. The four evangelists and the four fathers of the Church, in bronze, of the two pulpits, by Francesco Brambilia, notwithstanding some affectation and confusion iu the drapery, are figures ' Should the ediOce be completed, the number of statues «lll amount to four thousand Cve luin- dred; the front alone has ucarly t»'o hundred and fifty. 2 Some persons have supposed that the Duomo of Milan is an imitation of Ihis cathedral ; like all imi- lalions. it must fall short of ils model, nor does the impression left on my n}ind by the Duomo of .Milan eonlradicl this general rule. ^ IS'un me Praxileits, sed Maicus finxit Agrates. sculptured and cast vrith great care and ability. The seventeen basso-relievos of the upper part of the wall surrounding the choir, designed by the same artist, are of a rare delicacy of touch , he also made the model of the grand and rich taber- nacle of bronze gilt on the high-altar. Over this last is the brilliant reliquary of the Santo Chiodo (one of the nails of Ihe true cross), a venerated relic, which, on the 3rd of May every year, the anni- versary of the terrible plague of 1576, is carried in procession by the bishop of Milan, in imitation of Samt Charles, after being w ithdrawn from Ihe roof by some of the dignitaries of the chapter, theatrically raised to the place in a painted machine, in the form of a cloud sur- rounded with little angels. The wooden stalls of the choir are covered with su- perb sculptures from the designs of Pel- legrino, Brambilia, Figini, and Meda. reiirescnling divers incidents of the life of Saint Ambi'ose, and other bishops of Milan. The celebrated statue, said to be St. Bartholomew, now placed behind the choir, seems to me but little w orthy of the chisel of Praxiteles, in spile of the inscrip- tion rather presumptuously engraved be- neath by the artist.^ This s^orl of reality is horribk', nor can I think that the Greeks, Avho made so many statues of Apollo, everreprescnted the skeleton of Marsyas.^ It would be difficult to avoid emotion on seeing in the subterranean chapel the body of Saint Charles, who is in a manner the hero of this country; the memory of this vast, ardent, unbending genius, this kind of governing saint, as also that of his family, is pre-eminent there above that of emperors and kings. ' The holy archbishop is clothed in his pontifical dress enriched with diamonds; his mi- tred head reposes on a gold cushion ; the sarcophagus is of transparent rock crystal, and the features even of the great man may be easily contemplated. It is true that the word humililas, the family, 4 The antique statue, known by the napae of Marsyas, formerly at the Villa Bar^'hese, but now in the Ruyal Mu.-eum, does not belong to the best limes of Ihe art ; it is a Faun hunQ to a tree by the bands, and does not represent Maisyas skinned. 5 The Borromeo faujily was originally from Tus- cany and San-Miniato ; their establishment at Milan dales from llie niaiiiage of I'liiiip, head of the family, "ilh Talda. sisler of the unfirtunate Beatrix Tenda, a relation of duke Philip Maria Visconii. Chap. II. ] MILAN. device of the Borromco family, which is written on ihe lotnb, is rather in contrast with so great a (iis|)iay of riciies. The tomb of Cardinal Fedcrico Kor- romeo, not less worthy of remembrance than his cousin the saint, is less magni- ficent and even too simple. Cardinal Fedcrico ought to have been canonized as well as Saint Charles ; but it seems that the expenses attending the canonization of the latter were so great that the family was obliged to decline this new honour. The interesting PromcssiSposi ofiMan- zoni, of which Cardinal Federico is, in a sense, the hero, have since made him amends and compensated for the injus- tice of fate. Under a glass cover, in a chapel, is the crucifix w hich was carried in procession by Saint Charles, as the inscription im- ports, during the plague of 1576; this monumcntofthe great archbishop's cha- rity is nobly exposed, as a real trophy, on an altar of his cathedral. The mausoleum of Olho the Great and Giovanni Visconti, uncle and nephew, archbishops and lords of Milan in the thirteenth and fourteenth centuries, is surmounted by an esteemed work of Brambilla, the statue, seated, of Pius IV., maternal uncle of Saint Charles, one of the benefactors of the cathedral. The magniQcent mausoleum of Car- dinal Marino Caracciolo, who died in 1538, appears to he the last performance of Bambaja, an excellent sculptor of Milan, who Urst succeeded in working the hard marble of the quarries of Lom- bard y. Over a console of flowers interlaced is the statue of the illustrious pope Mar- tin v., seated and giving his benediction, by the famous Jacopino da Tradate, who is also compared to Praxiteles in the in- scription on the high altar, which he erected in 1U8, so muchdoes this exagge- rated comparison seem connected with the general lapidary style of the Uuomo. The southern sacristy exhd)ils the ruins of the rich and antique treasury of this catheiiral. The fine statue of Christ bound to the pillar is by Gobbo ; a great painting of St. Charles blessing the crosses, by Cerano ; two chalices orna- mented with little figures of chddren and divers groups are of wonderful woikmanshi|t ; a gold patine is a mas- terpiece of chasing, attributed to the Milanese Garadosso, and the principal group, a Deposing from the Cross, is of admirable expression, notwithstanding the smallness of the figures: lastly, the celebrated Pallium is here preserved, representing the Birth of the Virgin, embroidered by Louisa Pellegrini, a painter in needlework of the earlier part of the scventecnih century, who obtain- ed by her skill the surname of the Mi- nerva of Lombardg. The statue of 5f. Ambrose is by Cesare Procaccini, equally great as statuary or painter; that of St. Satgrus, by Andreo Bifli, after a model by Brambilla. The great basso-relievo in marble of the chapel of the Presentation, so full of grace, nature, and truth. Is by Bambaja; a fine statue of St. Catherine, by Gris- toforo Lombardo, a clever Milanese ar- chitect and sculptor of the sixteenth cen- tury. The chapel of Giovanni Jacopo Medici, marquis of Marignan, has been thrown open by taking down the iron railing that enclosed it ; this alteration allows a much better view of the splendid mausoleum, from the design of Michael Angclo, erect- ed by Pope Pius IV, his brother, to this bold captain, a mixture of hero, corsair and bandit, the unwoithy uncle of Saint Charles. The statues and basso-relievos in bronze which adorn it are an esteemed production of Leone Leoni, a good sculp- tor, founder, and engraver of Tuscany in the sixteenth century. The Baptistrg, by Pellegrino, is ele- gant and graceful; the great baptismal basin, of porphyry, passes for having belonged to the hot baths of Maximian Hercules at Milan. As in the primitive church, the Ambrosian rite, which is followed in the diocese of Milan and dideis in many points from the Roman rites, has preserved baptism by immer- sion. This rite not only dates from a period as remote, as is generally supposed, as that of Saint Ambrose, who at most only reformed it, but it seems to have borrowed its [lompous liturgy from the ancient ceremonies of the Last. The chapel dell' Albero, thus named froni the superb bronze chandelier in the form of a tree, presented by the arch- priest of the cathedral. Giambattista Tri- vulzio, is ornamented with niuntrous very pretty basso-relievos by Brambilla, Andreo Fusina, Gobbo, and other excel- lent artists. The colossal statues of St. Ambrose 40 MILAN. [Book III. and St. Charles are esteemed productions of two good Italian sculptors of the pre- sent day, SS. Marchcsi and Monti of Ravenna. From the top of the enormous pyramid oflhe Duomo, a sort of marble mountain, the view is truly admirable; the culti- vated plains of Lombardy appear an ocean of verdure beneath the azure .sky ; the eye discovers at once the Alps and the Apennines, and this Immense horizon it like a new and superb panorama of Italy. Near the Duomo, in the piazza dei Mercanti, is a colossal statue of St. Am- brose, by the young Milanese sculptor Ludovico Scorzini ; it was orecied in 1834., and is the present of another generous Milanese, S. Fossani. Saint Ambrose is represented in the simple episcopal cos- tume of his day ; (he statue is expressive and the drapery good, in spile of the hardness of the marble, which is the same as ihit of the Duomo; it nobly replaces a worthless statue of Philip II., formerly placed in the same dark dingy niche, and on the same pedestal as that of the courageous and independent arch- bishop of Milan. CHAPTER III. Santa Maria riella Passione. — Mausoleum of Birago. — Chulcondylcis. — Nostra Signora di Sail Celso. — Slatues of Lorenzo Sloldi.— Cupola of Appiaiil. — Saiu! Nazarius. — Trlvulzio. The design of the front of Saint Ra- phael's church is by the great Pellegrino. Several of the pictures in this church are remarkable : the sublime St. Matthew of Ambrosio Figini ; St. Jerome, by Cesare Procaccini ; Elijah sleeping, by Moraz/one ; Jonah refusing to obey his father, by Cerano. The new steeple of Santa Maria dei Servi, is in horrible taste, and the cla- mour of the bells is so annoying that it has diminished the value of the houses near it. The inside of the church is richly decorated : the Virgin with the Infant Jesus and some angels is by Ambrosio Dorgognone; the Baptism of St. John by one of the brothers Campi ; the St. Philip Benizzi, by Daniel Crespi , ■ Loraazzo lost liis sight at tlie age of tliirty-lhree, if not t\Tent)-lhrce, years; lie wrote poetry, com- posed several works, and dictated bis Treatise on Painling, regarded as ibe most complete in exis- I the Christ in the garden of Olives, by Lomazzo, an illustrious Milanese |)ainter, poet, scholar, geometrician, natural phi- losopher, and distinguished aulhor.whose premature blindness was foretold by Car- dan from astrological calculations ; ■ a beautiful old Assumption, by an un- known author. The paintings of the choir, by Pamfliio Nuvolone, are very good, and an Adoration of the Magi, in the sacristy, has been thought worthy of Bernardino Luini. Santa Maria della Passione, by the architect Gobbo, with the exception of the ridiculous front by his obscure suc- cessor, is one of the best churches in Milan, and perhaps the richest in pictures. An Assumption In fresco by Pamfilio Nuvolone adorns the cupola. The Dead Christ, and the Virgin weeping, is by Bernardino Luini ; a small Descent from the Cross, by Cesare Procaccini ; a St. Francis, by his brother Camillo. The organ is by Carlo Urbini and Daniel Crespi, who have besides executed the different subjects of the Passion, in the best Tilianesque lasle, the fine paintings of the nave, and a St Charles Borromeo breakfasting on bread and water, whose terrible physiognomy would make one think that he is meditating some violent fanatical act. A fine Last Supper is by Gaudenzio Ferrari. The Christ in the garden of Olives, and a Flagellation, are the best works of Talpino. The Infant Jesus escaping from the Virgin's bosom to run into the arms of St. Joseph, is one oflhe l)ost holy families of Federico Bianchi. The paintings in the sacristy, by unknown authors, are remarkable, and exhibit the beauties of the ancient Lombard style. A St. Monica is by Giu- seppe Vermiglio, reckoned by Lanzi the first painter of Piedmont and one of the best of the seventeenth century. The mausoleum of bishop Daniel Bi- rago, erected by the great hospital of Milan, to which he bequeathed all his property, is a noble, elegant, and grace- ful monument by Andreo Fusina, one of the first Lombard sculptors in the fifteenth century. The tomb of Demetrius Chalcondylas be.irs the simjile and touching inscription of his pupil Trissino. a The ashes of this lence, and even superior to the fragments of Leo- nardo diViiui, which are collected under that title. " P. M. Demelrio Cbalcondylae Alheniensi CUAP. Ill] MILAN. H Athenian fugitive among the Lombards— of this first editor of Homer, who taught Greek to Benedetto Giovio. the brother of Paolo; to Gregorio Giraldi. count Casli- glione, and other learned Italians; to the German Reuchlin, the English Linacer, the celebrated founders of Grecian learn iiig in their respective countries, — and ihegralitudeofTrissino, the first restorer of the tragic art in Europe, show how much is due to this nation, and are, on the threshold of Italy, like an advanced monument of the services she has ren- dered. There are some fine paintings at Saint Peter's in Sessate : St. Maur by Daniel Crespi ; several incidents in the life of the same saint, by Moncalvo; an image of the Virgin, under a glass cover, by BernnrdinoLuini. At the chapel of SaiiU Ambrose, the woiks of Bernardino da Trevilio and Butinone, painters of the fifteenth century, are remarkable for their perspcitive; there is a Virgin at- tributed to Bramante. The old churchoi Saint Stephen Major was the scene of one of the most terrible catastrophes in Italy during the fifteenth century, the murder of (iaieas Maria, the unworthy son of the great Francesco Sforza, assassinated in the midst of his guards, the day after Christmas li"6, by three courageous young men, Carlo Vis- conli, Lampugnano, and Olgiati, at the instigation of their master, the gram- marian Colas, of Mantua ; another in- stance of tyrannicide sterile for liberty. \'isconti and Lampugnano were killed in the scullle, being abandoned by those who were to have seconded them : Olgiati was subsequently arrested and perished at the age of twenty-three by the hand of the executioner ; after the torture, when naked upon the scaffold, ready to be mangled with hoi pincers and cut in pieces, the skin of his chest being torn off, he uttered these proud and melan- choly VA ords : Mors accrba, fania per- petua; stabit vetus memoria facti. The present church of Saint Stephen, embellished by Cardinal Federico Bor- romeo, has some valued paintings : St. Gervase and St. Protase, by Bevilac- qua, ia a tolerably good style, despite In studiis litterarum graecarum Eminel\!is^i[no Qui vixit annos LXXXVII mens. V. Et ol>iil nnno Christi MDXl. Joaunes Georgius Trissinus, Gasp. Olius, the violation of the rules of perspective ; the second good HolyfamiUf, by Bianchi; the painting of the Trivulzio chapel, t)y Camillo Procaccini ; a St. John the Evangelist, by his brother Cesare. Saint Barnabas is of a good architec- ture, attributed to the Father Antonio Morigia, a great preacher, afterwards bishop and c;irdinal. A Dead Christ is an esteemed work of Aurelio Luini, who has not always preserved the nature and grace of his father Bernardino. The Virgin ivith the Infant Jesus, St. Ca- therine, and St. Agnes is superb, by Antonio Campi ; St. Bartholomew. St. Francis, St. Uernardin, of a beautiful composition, by Lomazzo. Santa Maria dcUa Pace, which was converted into a military magazine, and subsequently into a factory, has still some remains of the frescos of Marco d'Oggiono, the pupil and friend of Leo- nardo, of Gaudenzio Ferrari, and other clever painters. At the ancient refec- tory of the con\ent are a Crucifixion by this same artist, and thecoi)y of the Last Supper, executed at twentj-two years of age by the learned and unfortunate Lo- mazzo, perhaps some little time before his cruel blindness. Nostra Signora di San Celso, with the marble columns, fine statues, and sculptures decorating its front, the mag- nificent paintings and frescos of the roof and chapels, the richness of the orna- ments, has already all the grandeur and splendour of the churches of Rome. The majestic court is by Bramante, the front by Galeas Alcssi. At the entrance, the two statues of Adam and Eve. by the Tuscan sculptor Lorenzo Stoldi, have the grace and purity of the statues of anti- quity. The two Sibyls of the fronton, the four statues of the prophets, ihe Pre- sentation of J. C, the angels on the top of the church, are excellent iiroductions of Annibale Fontana. A Repose in Egypt, a very fine picture of Raphael, now at Vienna, must have made the re- semblance greater formerly. The silver cross and six silver candlesticks given by Joseph II. are a feeble compensation for such a loss." It is not positively kno\\n whether the plan of this building is by Pracceplori opiimo el saoclissimo POMlil. ' Ttiis Repose in EgijiH has been engraved In a superior manner by a pupil of Longlii. S. Ado I'io- ronl, and il procured Uim, iu 1829, tbe guld mi.dal 4-2 MILAN. [Book III. Bramantc or Gobbo. The Martyrdom of St. Nazarius and St. Celsiis, a Des- cent from the Cross, are by Cesare I'ro- caccini, who also made the two marble angels putting the crown on the Virgin's head. Two Martyrdoms of St. Cathe- rine are by Cerano. The great palming of the altar is very fine; it is by Paris Bordone, as well as the two prophets and 5^ Roch painted in fresco, above and below. The Resurrection of the Sa- viour, easy and original, is by Antonio Campi. The St. Maximus, an Assump- tion, the Christ leaving his mother at the moment of the Passion, — a painting which, according to Lanzi, loses nothing by bring placed near the best Lombard works in Ibis church, — are by Urbini. The Baptism of Christ, accurate and graceful, with a very fine glory of an- gels, is by Gaudenzio Ferrari; a St. Jerome seated, by Calisto Piazza ; the Conversion of St. Paul, superb, by Moretto, who contrary to his custom has signed it, as if he attached particular importance to this picture ; an Assump- tion, by Camillo Procaccini. A St. Se- bastian is attributed to Corrrggio. A group of angels well disposed is by Pam- filio Nuvolone. There are some small figures in claro-obscuro executed in per- fection by Giovanni da Monte, a pupil of Titian. The frescos on the cupola by Appiani, representing the four Evangelists and the four fathers of the Church, with an- gels and clouds, are one of the most etherial and most boasted productions of this brilliant decorator. The statues put in the niches are by the clever Lorenzo Stoldi, with the ex- ception of the St. John by Fontana, who is also the author of the statues and basso-relievos in the chapel of the Virgin. The stalls of the choir, of great beauty, Avere designed by Galeas Alessi. The elegant front of St. Paul's is by Cerano, not loss clever in architecture than in painting; the nave is probably by Galeas Alessi. St. Charles and St. Ambrose is one of the irreprochable productions of Cerano, and even superior for colouring to the al'ter-mentioned paint- ings by the Campi, who however are sin- gularly brilliant in this church. These paintings are : the Martyrdom of St. at Ihe ciiiibiiion of tlie Academy of flrie arts a! Nilao. Laurence, the Beheading of St. John, the Fall and the Death of St. Paul ; the Baptism of the same saint; the Miracle of the dead man brought to life, a Nativity, by Antonio; the Virgin, the Infant Jesus, St. Joseph, and some other figures, by Giiilio; the Saviour giving the keys to St. Peter, by Bernar- dino, who docs not seem of this family. The church of Saint Kuphemia, re- markable for its beautiful portico of the Ionic order in front, has : the Adoration of the Magi, by Fernando Porta, an unequal painter and an imitator of Cor- reggio ; a Presentation in the temple, sublime and well designed, by an un- known hand ; and the picture of the Vir- gin, with angels and saints, one of the best works of Marco d' Aggiono. The basilick of Saint Psazarius, built in 382, received the body of the saint from Saint Ambrose. Before entering this edifice, you must cross the mauso- leum of Giovanni Jacopo Trivulzio and his family ; opposite the door, and almost midway between the lofty ceiling and the tloor, is the tomb of this adventurous Italian, — this celebrated marshal, who created the French militia, and died in disgrace at Chartres or .Arpajon as a lord of the French court, — and on it is inscrib- ed the epitaph composed by himself: — Joannes Jacobus Trivultius, Antonii filius, qui nunquam quievit, quiescit. Tace. The other tombs of the family, seven in number, are of the same height. The eflect of these great suspended stone coffins is very singular ; they really seem as if they aspired to bear even to the skies the "magnifique temoignage de notre neant;"' but these tombs are empty, and in accordance with the rule estabiished by the council of Trent res- pecting burial. Saint Charles had the bones cf the Trivulzio transferred to the vaults under the church. At one of the chapels the tomb of Manfred Settala, a mechanician, somewhat pompously sur- named the Archimedes of Milan, a man whose travels and whole life were de- voted to the sciences, letters, and arts, contrasts with the warlike tomb of the Trivulzio. The painlings are : an As- sumption, by Lanzani, and four large and good paintings of Giovanni da Monte in the inner portal ; a very fine Last I Chap. IV. ] MILAN. 45 supper by Bernardino Lanino, an imi- tation of the one by Gnndenzio Ferrari, bis master, at the ciiurch della Passione. The chape! of Saint Catherine, ad- joining Saint Nazarius, and built after the design of Bramante, is still remark- able for the expressive and picturesque frescos, executed in 1546, by Bernardino Lanino, representing the Martyrdom of the Saint, and which leave nothing to be wished, except a little more attention to the drapery; by a whim then common among artists, the painter has represent- ed below his master Gaudenzio Ferrari, in his usual dress, disputing with another of his pupils, J. B. de la Cerva, while he himself in a black cap is attentively lis- tening to them. Saint Antony the Abbot is extremely remarkable for its paintings. The roof is by the brothers Carloni of Genoa, able fresco painters of the seventeenth cen- tury, who also worked in the choir with Moncalvo, whose 5^ Paul the Hermit maintains an honorable rank beside their works. A Conception, charming, is by Ambrose Figini ; St. Charles with the holy nail, by FoiGalizia, a clever female painter of the early part of the seven- teenth century. A Nativity, the Temp- tation of St. Anthony, are by Camillo Procaccini; a Descent from the Cross, a Resurrection, by iMalosso. ThcChrist carrying his Cross, is by the younger Palma ; an Annunciation, by Cesare Procaccini, a graceful masterpiece, per- haps too graceful, in which the mutual and almost roguish smile of the Angel and the Virgin appears somewhat out of place. St. Gaelanus, an Assumption, are by Cerano. The Virgin, the Infant Jesus, St. Catherine, St. Paul, a beau- tiful composition, is by Bernardino Campi : the glory of angels was added by Camiilo Procaccini, An Holy Ghost, judicious, but faint in the colouring, is by Fiorentino. A Nativity, by Anni- bale Carraccio, appears scarcely worthy that great master. The Adoration of the Mayi, by Morazzone, has all the ef- fect and luxury of drapery of the Vene- tian masters. The sacristy of the church of Saint Satyrius, in the shape of a little octagonal temple, is famed as a work of art : the architecture, by Bramante, is worthy of him; the heads, larger than nature, and the little children, are the distinguished performances of Caradosso, a clever sculptor, and highly-spoken of as an en- graver, very much admired by Benve- nuto Cellini, who knew him at Rome. The miraculous picture of the Virgin is of the eleventh century; the act of the madman who stabbed this image is by the cavaliero Perruzzini, a good painter of Ancona, who died at Milan, and who was an imitator of the Carracci and Guido; the Flight into Egypt, by Fede- rico Bianchi. St. Philip de Neri, pleas- ing and well designed, passes for one of the best paintings of Peroni. In another sacristy are some ancient paintings and a St. Barnabas, attributed to BeltrafTio, an amateur and good Milanese painter of the sixteenth century, the pupil of Leonardo. CHAPTER IV. Saint Sebastian. — Saint Alexander m Zebedia. — Paul Frizi.— Saint EuEtorge. — Mausoleum ofSaint Peter tlie Martyr. — George Merula.— Saii/a Maria della F/fJor/a.— Columns, chiircb of Saint Laurence.— Monastero Maygioie. Thechurch of Saint Sebastian, foun'ed by Saint Charles, from Ide plans of Pel- legrino, is one of the most splendid ar- chitectural monuments in Milan. The Martyrdom of the saint, by Bramante, is the best of his paintings in this city, and refutes the opinion of Cellini, who said that he had no talent for painting. The Annunciation, the Massacre of the Innocents, by Joseph Montalto, recall the elegance and grace of Guido, his master. St. Charles, St. Philip, a Cru- cifix icith the Virgin, St. John and Magdalene, are by Francesco Bianchi and Antonio Ruggieri, painters of the eighteenth century, inseparable artists, who have left a better example of concord and friendship than of taste. Saint Alexander in Zebedia, in spite of the abominable taste of the front, is rich and magniflcent. Divers incidents in the Life of the saint and of other martyrs, the Trinity, several subjects from the Old Testament, on the roof, in the choir, and at the high altar, are large and sublime paintings by Federico Bian- chi, Philip Abbiati.and of his expeditious pupil, Pietro Maggi. The paintings in a chapel adorned with exquisite sculp- tures, and two others relating to the Life of St. Alexander, pleasing works, full of expression, although somewhat elaborate, are by Agostino Saint Agos- 44 MILAN. [Book III. tino, the cleverest of the three Saint Agosliiii. A good Nativity, the As- sumption, and a Crucifixion, are by Camillo Procaecini. ThcMC is a chape! painted by Liidovico Scaramuccia, a dis- tinguislied pupil of Guido and Guercino; hewasalsoa writer on the arts, being the author of the booli eniiiied Le Finezze de'pennelli italiani{oi\ the superiority of the Italian pencil). The Beheading of St. John the Baptist, the Adoration of the Magi, very fine, in the sacristy, are by Daniel Crespi : the, roof, composed of graceful little angels, is by Moncalvo. Saint Alexander contains a splendid tomb, erected to the memory of the ce- lebrated mathematician and natural phi- losopher Paul Frisi by Count Pietro Verri, a noble Milanese, like this Darna- bite, a partisan and propagator of new notions on social improvement. Saint Eustorge, uniforndy restored by Ricchini, is one of the oldest churches in Milan. On the outside, at the entrance. is the pulpit, a kind of large stone gal- lery, from which, according to the in- scription, Saint Peter the Martyr refuted the heretics of his time. These religious traditions are touching; no one knows what has become of the pulpits of Bos- suet and Massilion ; the religious faith of the middle ages was less iudillerent and ungrateful to its great men than the ra- tionalism of our enlightened civilisation. The mausoleum of this saint, executed by Giovanni di Oalduccio of Pisa, is a very curious remnant of the art in the fourteenth century. It is the master- piece of one of those primitive artists who were so full of nature and truth; the Gothic Caryatides which represent the different virtues of the saint and sup- port the w hole structure, are a combina- tion of boldness and grace ; the oddity of some of the details belongs to the epoch and not to the artist, and this w ork would be perfect if imagination at that period had been regulated by taste. The archi- tecture of the chapel of Saint Peter, founded by Pigello Portinari, a clerk of Cosmo di Medici, seems by Michelozzi : a painting of the time represents the pious and industrious founder kneeling before the saint ; the ceiling is one of the fine frescos of the elder Civerchio. A mausoleum ornamented with columns supported by lions, of the close of the thirteenth century, Avas devoted by Mat- thew Visconli the Great to X)ne of his sons, Stephen, who by his courage had contributed to retrieve his father's for- tune. The altar of the first chapel, in three compartments, representing the Virgin, the Infant Jesus, St. James and St. Henry, is a good painting by Ambrosio Borgognone : the head of the last saint is the best. The very fine roof of the chapel of Saint Vincent is by Carlo Urbini. The chapel erected in 1307 by Cassone Torrione, in w hich his son Mar- tin reposes, has a Beheading of St. John, in good keeping, although executed by the hands of three painters, Cesare, Ca- millo, and Antonio Procaccini. 'I here are some fine frescos by Daniel Crespi in the chapel of the Annunciation. The bodies oi the three Magi, which are still worshipped at Cologne, were in a chapel at Saint Eustorge, whence they were taken, in the invasion of Federico Bar- barossa, by the archbishop of Cologne who accompanied the conqueror. On the wall of this chapel is a basso-relievo in marble of the Passion, a work of the fourteenth century, author unknown, which is destitute of neither simjilicity nor grace, and shows that the arts at that early period had made great progress in Lombardy. The coffin which held the doubtful and pompous relic still remains at Saint Eustorge with the strange inscrip- tion : — Sepulchrum trium Magorum. IN'ear the sacristy is the tomb of George .Merula, the pupil and mortal enemy of Phileljihus; the adversary of Politian, Calderino, and Galeotti Marzio;oneof ■ the best and most disputatious scholars of the revival of the arts, who treated printing as a barbarous invention (bar- baruin inventum), a paradox since main- tained by other Merulas less erudite that this laborious critic and historian. The tomb of this good hater was, how- ever, erected to his memory by a friend, his pupil, the poet Lancinus Curtius : the inscription he has put thereon is even somewhat touching." The church of Santa Maria della Vittoria owes its name to the victory gained near it by the Milanese over the emperor Louis the Bavarian. Though not finished on the outside, it is of beau- tiful architecture, and thought to be by Bernini. There are two remarkable ' Vixi aliis inter spinas, mundique procellas. Nunc hospes coell Merula Tivo mihi. LauciQus Cunius f. amicus posuit. Cu\p. v.] MILAN. 45 paintings : St. Charles administering the communion to persons smitten with the plague, by Giacinto Bruncli; and St. Peter delivered from prison, a painting executed at Rome, where the aullior, Ghisolfi, an excellent perspective painter, was attending the lessons of Salvator Rosa. The angels supiioiting this painting are an excellent production of Antonio Raggi. called the Lombard, a clever pupil of Bernini. The sixteen antique columns of Saint Laurence, uniform and placed abreast, exhibit a superb wreck and prove the grandeur, the importance, and the magni- ficence of Milan in the olden time. These beautiful columns, probably transferred from some antique edifice to their present position, are even higher than those of the Pantheon : one might really imagine them erected there as a [lortico to the ruins and ancient monuments of Italy. The present church of Saint Laurence ■was rebuilt by Saint Charles from the bold and noble designs of Martino Bassi. The Baptism of Christ by Aurelio Luini seems worthy of Bernardino ; the Assumption is by Rivola, one of the best pupils of Abbiati. The chapel of Saint Anthony was painted by Federico Bian- chi, Legnani, Molina, Yimercati, the last a clever pupil of Ercole Procaccini. A Visitation, by Bianchi, is altogether worthy of this favoured disciple of Cesare Procaccini. The ch.ipel of Saint Aquila has a marlvrdom o(St. Hippohjtus and St. Cassian, by Ercole I'rocaccini. In the sacristy, Jesus Christ appearing to St. Thomas, by Giambattisia deiia Cer- va, expressive, animated, and harmoni- ous, is one of the best paintings of Gau- denzio Ferraris school. Saint George al Palazzo, an old church re>tored, takes its title, it is said, from the ancient palace of Trajan or Maximian having been in its vicinity. There is a St Jerome by Gaudenzio Ferrari. The dilToreiit subjects of the Passion, painted by Bernardino Luini and his pupils, present a happy elTecl of light. The countenance of the Saviour in the Flagellation is admirably afTecting. Over the poital of Saint Sepulchre, the Dead Christ between the Marys, a fresco by Bramantino, the favorite pupi! of Bra- ■ Sii precious frescos of lliis great master, bis sons, and pupils, are preserved in an adjacent bouse, now ttie Inn of the Cro^s of Malta ; ibey ncre taken manle, has a wonderful effect in the per- spective : the legs of the Saviour, from whatever point they are viewed, seem turned towards the spectator, the first in- stance of this kind of tour de force which has since been so frequently attempted. In the subterranean oratory, made fa- mous by the fervent meditations of Saint Charles, IheChrist crowned with thorns is an admirable work of Bernaruino Luini. ■ Some statues of burnt clay, by Caradosso, representing the Virgin in a sicoon at the sight of her dead son, with the Marys and some saints, form a very pathetic scene. On the heavy front of Saint Mary Porta, the basso-relievo in marble of the Crowning of the Virgin is a fine work by Carlo Simonetta, who has also in the interior a good Magdalene, to whom an angel is administering the communion. There is a St. Joseph by Ludovico Quaini, a distinguished pupil and imitator of Guercino and Cig- nani ; the Adoration of the Magi in the chapel of the Madonna is by Camillo Procaccini. The church of Saint Maurice, or the Monastero Maggiore, the marble front of which, simple and in good taste, is at- tributed to Bramantino, has many admi- rable frescos of Bernardino Luini ; the principal of them represent the Apostles, the Flagellation of the Saviour, and divers incidents in the lives of Martyrs. The .irforaf/oH of the Magi, at the high altar, by Antonio Campi, a Deposing of the Cross, by Piazza, are excellent performances. CHAPTER V. Saint Ambro-e.— Ancient and modern pulpits.— Serpent. — Paliolto. — Mosaic. — Anspcrt. — Cbapel of Muicertoia.— Missal.— Monastery. The church of Saint Ambrose, the oldest monument of Christian antiquity at Milan, erected in 387, by the great saint whose name it bears, presents a real chaos of architecture ; these works of various and remote ages compose a shocking medley : the Italian architects are loo often guilty of the fault of not paying attention to the primitive cha- Ibither In I78B from the oratory of tbe bospilal of tbe Doly Crown, wbich was rcmovecj at tbat lime. 46 MILAN. [Book III. racier of the edifices when repairing them, which is never the c;ise wilh good architects in France.- IJefore the church is one of those spacious courts which the architects of the middle ages had already imitated from those of antiquity, and ■which are found before many of the Ita- lian churches. It was there that, during the existence of paganism, the profane remained, and where, in aftertimes, the rigorous |)uldic penances of the early ages of the church took f)!ace. There is something religious iri the aspect of these old porticoes, and they nobly separate the sanctuary from the tumult of cities. Some portions of this portico of the ninth century evince a taste and imagination singularly remarkable et that epoch. I regretted that, according to some anti- quarians, the (iresent gates are not those which Saint Ambrose shut against Theo- dosius, after the massacre of Thessalo- nica, 2 when libert> had fled to religion for refuge; when the remonstrances and acts of its ministers, men elected by the people, were the only resource, the only opposition against absolute power and the violence of the emperors. With these tra- ditions before us, it is easy to conceive why the republican conspirator of .XSilan, por- trayed by Miichi ivel, at the moment of deliveringhis country from the tyrant Ga- leas, in company with his accomplices in- voked Saint Ambrose, after having heard ruass and conlcfnplated his statue. ' In this chiirc h there is an inimense old pulpit of marlile. opposite to Ihe modern one; it is pretty much like the gallery used by the Romans, in which the orators had room to walk about. It struck me. while contemplating it, that in form as well as independence, the Christian pulpit had replaced the sugyestum of earlier days. These old pulpits are in much better taste than the kind of deal box suspended in our churches, above which rises a man who twists and agi- tates himself and seems ill at ease in so narrow a space. Were not one habi- tuated to this manner of preaching, it would appear a very singular exhibition. In the nave of Saint Ambrose is placed • For instance, Itie beautiful resloralion of llie Louvre by MM. I'ercier and Konlaine, of llie palace of Fonlainebli'iiu by Ueurlaud, and even the works of Itie I'alals-Royal M. Fonlaine could easily have surpassed the indifferent architecture of these buildings, but he has made the new constructions correspond wilh the old. on a column the famous brazen serpent that some have gone so far as to take for the one Moses ?aised in the desert, or at least made of the same metal, and on which the learned have discussed at such a prodigious length. The populace are persuaded that it will hiss at the end of the world; and the sexton one day in dusting it having somewhat deranged it, the alarm become general when the omi- nous reptile was seen turned towards the door; it was necessary to put it right immediately, in order to allay the ter- rors of those who already thought they heard it. Such is the antiquity of the monuments of this church, that the father Allegranza pretended to recognise in the great sar- cophagus of while marble placed under the present pulpit, the tomb of Stilicon and his wife Serena. On a pilaster is an antique port rait of Saint Ambrose, which, according to the inscription, a barbarous Lai in quatrain, was taken from life; the marble of the countenance is black, the head attire and the garment of a lighter shade. Saint Ambrose, h'ing born in Gaul, must have been white, and it is diflicult to image to one's self the bees de- positing their honey in the mouth of this species of blackamoor. The celebrated gold Paliotto of the altar, give by the archbishop Angilberto Pusterla, a wonderful production of a Lombard artist of the tenth century, the goldsmith Volvino, is deemed worthy to be compared (o the finest ivory diplychs which tlie sacred museums boast. Beyond the choir two large slabs of white marble, covered wilh inscriptions, point out the burial place of the em|)eror Lewis II. , a conqueror and lawgiver, who died in 87.5, and that of the illus- trious archbishop of .^lilan, Anspert. his contemporary, the founder of Saint Am- brose, a charitable, active, and enligh- tened pontiir, full of courage and inde- pendence Effeclor voli, proposilique tenax, as his epitaph says, 4 and who seems to It is said that these gales are only of the uinlh century. 1 See the address of Giovanni Andreo to Ihe statue of Saint Ambrose., book vii. of the Uislonj of Flo- rence. 4 The verses preceding this give a good sketch Of the character of Anspert ; Chap. V. ] MILAN. 47 be the Saint Charles Borromeo of the middle ages. The euiious mosaic of the choir, re- presenting the Saviour on a golden throne embeilishcd with precious stones, and beside him Saint Gervase and Saint Protase, appears to be (he work of some Greek artists of the eleventh century. Another mosaic, of the ninth century, is very curious : Saint Ambrose has fallen asleep while saj ing mass, and a sacristan is striking him on the shoulder to waken him and show him the people waiting. What a singular moment for (he artist to make choice of in the life of this great saint ! It is known that Fenelon fell asleep during the sermon; Saint An)brose asleep standing before the altar is still less edifjing. On the external wall of the choir, the Christ in his agony sup- ported by two angels, an affeciiiig fresco, one of the best pidntings of this basilic, though attributed to both Luini, and Lanino, appears to be by Ambrosio Bor- gognone. The chapel of Saint Satyr or of Saint Victor in del d'oro, thus called from the antique and brilliant gilt mosaic which surmounts it, has some lively and spirited frescos, representing the Shipwreck of St. Satyr and the Martyrdom of St. Victor, the work of Tiepolo, the last of the great painters of the Venetian school, to whom Bettinelli dedicated his poem on painting, in which he praises him for having re\ived the masterpieces and the golden age of his art. The rich chapel near it has : St. Am- brose receiving the vialicum, one of the bestworksof AndreoLanzani; the chapel of Saint Sebastian, the Saint unbound from the staUe, a beautiful production of Andirosio Hesozzi. The ch.ipeLl/arccnina, formerly Saint Catherine's, has been since decorated ■with all the elegance of modern art by the Marquis Cagnola, ' a celebrated Mi- lanese architect, author of the arch of the Simplon ; the statue of the saint in marble is a beautiful work of Pacelti. But has not the painter of the cmbellish- ments thought pr(»[ier to place large figures from ilerculaneum on the roof, Die jacet Anspcrtus, noslrao clarissimus urbls Aniisles, Vila. voce, pudore, fide, iEqui sectaior, turbcB pielargus egenae. The other verses of the epi'aph recapilulale the principal acts of this great mau's life, >vho is for- which form a strange contrast -with the holiness of the place and the modest air of the saint ! One of these figures carries a lamb on its head, and in this whimsical picture the lamb of the bacchanals may have been often taken for the paschal lamb. The chapel of Saint Bartholomew has that saint and St. John before the Virgin, by Guudenzio Ferrari. Near them, the Dead Christ with the Virgin, the Magdalene iveeping, and other figures, is but a superb wreck of a painting by the same artist. In an adjoining chapel, the Madonna dell' ajuto is a good painting of the Luini school. At the entrance of the sacristy are two remarkable frescos : Jesus dis- puting with the doctors, by Borgo- gnone ; the Virgin, the Infant Jesus, St. Ambrose and St. Jerome, of the old Milanese school. In the chapel beyond, a Nativity, by Uuchino, is gra- cious, well drawn, and full of morbi- dezza; the flgures around and the roof are by Ercole Procaccini. On the altar of the chapel of Saint Peter, the Christ giving the keys to the saint, is a dis- tinguished work by the daughter of Cor- nara. The paintings on the cupola of the last mentioned chapel, by Isodoro Bianchi, are fine. The Missal preserved in the archives of the basilic of Saint Ambrose, a vellum manuscript of the end of the fourteenth century, is splendid and curious : the chief ornament is a rich miniature re- presenting the coronation of Giovanni (ialeas Visconti, as first duke of Milan. Among the ambassadors and persons of importance who attended Galeas in the procession and assisted at the ceremony, snay be remarked a bishop of Meaux in the quality of ambassador of the king of France. The vast monastery built by Lewis the Moor from the plans of Bramante. an edifice of au architecture at once striking and noble, a real monument, and one of the most splendid of its kind, is now a military hospital. In the refectory a vast fresco representing the Marriage of Cana, is the masterpiece of Calisto gotten in most of the historical diclionaries. It is there remarked that be rebuilt the vrolls of (be town, and restored the anlique columns of Suint Laurence. ■ Died August 24, 4833. 48 MILAN. [Book III. Piazza, a clever imitalor of Titian and probably his pupil. Tiiis composition has however one strange | ecu!iarity; the artist has put six fingers to the hand of a woman on the rijjht side of the painting. CHAPTER VI. Sainl Victor.— Sari/a Maria delle Grazle. — Ccenacii- lum. — Saint Angelo. — Count Fi.mldn. — Stjict Mark.— Church of the Garden. — Saiut fidells. Saint Victor al corpo, a fine majestic church, is of the architecture of Galeas Alessi. On the cupola St. John and St. Luke are superb compositions by Bernardino Luini ; the roof of the choir is by Ambrosio Figini, who has also painted a beautiful St. Benedict, in a chapel; the roof of the centre and a St. Bernard, on the door, are by Ercole Procacciui ; a good Saint Peter is by Gnocchi. In the splendid chapel of Aresi, from the designs of Quadii, the statue of the Virgin and the prophets, by Vismara, are esteemed. The last chapel on the right has three fine paint- ings by Camillo Procaccini, representing certain scenes in ihc life of Saint Gre- gory ; the Virgin, and St. Francis, by Zoppo, a painter correct in colour- ing, but loo imaginative ; St. Paul the Hermit, by Daniel Crespi ; St. Ber- nard Tolomei, by Pompe Batoni, a Roman painter of the last century, who contributed to the reformation of taste; St. Benedict, St. Bernard, St. Francis, and St, Dominick, near the entrance, pass for the best works of the Cavalicrodel Cairo. Santa Maria delle Grazie scarcely retains the shadow of her primitive beauty. The majestic cu- pola, the choir, and the semicircular chapels of the sides are by Bramante. The remains of the Flagellation, and of other paintings of Gaudenzio Ferrari, still bear witness of their ancient per- fection ; a St. John the Baptist is at- tributed to Count Francesco d'Adda, a noble amateur of the sixteenth century, who imitated Leonardo Vinci; the fine frescos on the cupola of ihe choir belong 10 the school of this great master. In ' The faithfulness of tliis copy has been raucli disputed. The clever lloniau mosaist, Ranielli, has had the good sense to approach nearer Ihe orijJinal. " Cardinal Frederick confided its preservaliou lo a pupil of Giulio Ccsare Procaccini, Andrea Bianchi, surnamed Vespino, the sacristy the anonymous paintings re- presenting subjects from the Old and New Testaments, are curious, and particularly remarkable for the end of the fourteenth century and the beginning of the fif- teenth. The Coenaculum, by Leonardo Vinci, placed in the refectory of the old mo- nastry of Santa Maria delle Grazie, is not so diflicult to be recognised as I should have thought ; through the mists of ruin that envelope it, and the bung- ling retouching it has undergone, one may still discover the spirit, expression, variety, and life of this admirable compo- sition. The enthusiasm that it caused in the victorious Francis I., may easily be conceived, w ho, as he could not carry it to France, took the author with him and cultivated his friendship, though at that period he was advanced in years. Parini, an ingenious and elegant Italian contemporary poet, would have himself carried in his latter days, before the Coe- naculum; he said that a man capable of such a conception could have produced a poem ; the sight of these fine paintings, in spite of their damaged condition, ex- cited and fed the pious musings which alleviated his sorrows, and, if death had not intervened, he would have described and explained them. A mosaic of the Last Supper, after an oil copy by Bossi, placed in the pmacotheca of Brera, al- though executed in 1809 at the expense of the Italian government, has been sent to Vienna : ■ S. Gagna, an esteemed painter, made a new copy of it. in 1827, for the king of Sardinia. This lardy homage of kings, conquerors, and em- perors, seems some reparation for the barbarous abandonment in which the Dominicans had formerly left the Ccena- culum, of which the great Cardinal Fe- derico Borromeo already regretted that he had only found some slight remains which he endeavoured lo save ; > and of revolutionary outrages inflicted in 1797 on this masterpiece of Leonardo, when the apartment which contains it served as a stable and granary. Saint Thomas in terra amara, an in- auspicious surname of doubtful origin,' 3 It is supposed by some to be derived from (he puiilsbmenl intlicted by Giovanni Maiia Visconti on a priest of this church, vvhora he had interred alive for refusing to bury a person v^ liose family were not able lo pay Ihe expenses. IfoHever, the name appears to be of older dale. Chap. VI.] MILAN. 49 has been recently embellished with an elegant proHOo*. Thcflne^^f. Charles with angels is by Cesare Procaccini. The ancient golhic church of Santa Maria dclCannine, has a portal of rich composition, attributed to Ricchini. Jn the first chapel, the Virgin with the Infant Jesus and several saints is by Camiilo Procaccini. The statue of the Virgin, with the angels, is an excellent work ofVolpi. In the chapel of Saint Anne, a fine fresco by Bernardino Luini represents the Virgin, the Infant Jesus, and some saints. Saint Simplician, Gothic, has an An- nunciation, by Bernardo da Trevilio, the friend of Leonardo, the architecture and perspective of which are clever, but the figures and drapery of a miserable taste; St. Benedict is by Talpino; two subjects from the Old Testament, in the chapel of the Corpus Domini, are by Camiilo Procaccini. Ihe paintingsof the dome are admired ; the two great paintings of the chancel, by Francesco Terzi, a Bergamese artist of the sixteenth century, though somewhat dry in the designing, are effccii\e in the colouring. the Crowning of the Virgin, in the choir, is an excellent fresco by Am- brosio Borgognone. Santa Maria incoronata, composed of tw churi'hes. has some fine basso- relievos of the fil'teenth and sixteenth centuries; the frescos of the roof are by Ludovico Scaramuccia ; the lateral fres- cos, by Ercole Procaccini and Montallo. There is a fine mausoleum of Giovanni Tolcntino, who died in 1517; it bears a touching epitaph, expressing his fare- well to his wife and children. ' Saint Angelo, a majestic church, which was for a time converted into an hospital, still has some good paintings: the Mar- riage of the Virgin, by Camiilo Procac- cini, who has also done the ceiling of the choir and the three paintings which adorn it ; the side frescos are Ly Barab- biuo; the Virgin surrounded by saints, by Caravaggino ; the Christ between the two thieves, by Bramanlino; a head of the Saviour, a small fresco, from its beauty attributed to Bernardino Luini. The architecture of the church ol Saint Bartholomew is magnificent, but defi- ' Toga el armis vale Tydca conjux, valete liberl, nee tu delnceps conjux nee tos frills llbeii Joanuis Tollenlinalls senat. com. cq. q. MDX\ II. » One of lliein, Pagaao della Torre, who died In cient in taste. The illustrious Firmian, who for twenty-three years conducted the government of Lombardy in so wise and Internal a maimer, reposes in this church ; the mausoleum of this friend of letters, arts, sciences, and humanity, is a supe- rior production of Ihe sculptor Franchi. Saint Mark is sui)erb. Several of its paintings have great reputation : the Virgin, and the Infant Jesus who is presenting the kejs to Saint Peter with a politeness sonirwhat singular, is by Lomazzo; a St. Barbe, the colouring of which is beautiful, by Scaramuccia. The chapel of the Crucifix has some esteemed frescos by Ercole Procaccini, Montalto, and Busca; a Crucifixion, by the last-named, wiih the Virgin, Mag- dalene, and St. John, weeping, is very moving. At the Trotty chapel are a St. Augustine, by Talpino, and some fine frescos, by Stefano Legnani. The rich high-altar has been tastefully em- bellished by professor Jocondo Alber- tolli. The two great pictures by Ca- miilo Procaccini and Cerano, placed in the choir, opposite each other, are very beautiful; the one by the latter artist is generally preferred, "the Baptism of St. Augustine. In the sacristy the Virgin, the Infant Jesus, St. Syrus, and St. Joseph, an excellent production of An- tonio Campi, bears the date of 1569. The little church of Saint Joseph, in a plain but good stjle of architecture, by Ricchini, has the Death of the Virgin by Cesare Procaccini ; a Holy Family, by Lanzani ; St. John the Baptist, by -Montalto. Ihe church of Saint .Mary of the Garden, now turned into a storehouse for the city, is famous for the height and reputed wonders of the arches support- ing the roof, a singular structure of the fifteenth century, but extolled beyond its merits. Saint John aJle case rotte (of the de- molished houses) occupies the site ofthe palace of the Della Torre family, for- merly popular chiefs of the Milanese, de- magogues w ho grew into despots,!" whose residence was pulled down in a riot in 1311. The present building is by Ricchini, and the roof in compartments is very fine. The church of Saint Fidelis, unfi- nished, is a splendid monument of Pelle- 12^1, seems to have been really loved by the Mila- nese, who erected hlrn a tomb in the cemetery of lire convent of Chiaravalle. See /)«»(, book ly. ch. ii. 50 MILAN. [DOOK III. grini. Wilh an architectural extrava- gance altogether Italian, the richness of the front is continued with even greater splendour along the lateral wall of the ediflce. The St. Ignatius is by Ce- rano ; a Transfiguration, by Bernardino Campi ; a Piety, by Pelerzano, one of Titian's pupils, as his signature proudly testifies [Titiani discipulus). The paint- ings of the choir are great and good works of the brothers Santi-Agostini. The ma- jestic columns of polished, red granite from the quarries ofBaveno, like the two gigantic pillars of the dome, are of a single stone : Milan is one of the richest of the Italian cities in this kind of mag- nificent rarities. CHAPTER VII. Splendour of tlie Altars.— ClosiDg of Ibc churches in Italy. — Benches.— Uangings. The sumptiiousness of the Italian churches, until one becomes used to it, appears truly wonderful. The altar and even the pulpit are sometimes set with agates and other precious stones. It must be diiricult to speak in the midst of all these riches, and eloquent words must be requisite to touch an audience Ihiis dazzled. 1 much fear that the pre- cept of Horace may be often applied to the sermons delivered in these pulpits, Scgnius irritant aninins domissa per aurcm, Quam quae sunt oculis subjecta tidelibus. Nevertheless, I have never shared the pre- judices of the economists against sump- tuousnessin altars. Tbissumptuousness tends to neither corruption nor dissipa- tion like that of the world, but it is con- servative and useful. There are some ornaments also which can be ajipro- prialed to no other purpose, such as precious stones ; it would be dilTicult to put these objects of national jiride in circulation ; then, is it not belter to place them on an altar, where they add to the majesty of religion and excite neither envy nor hatred, than to make them ornaments for the forehead of a courtisan or the sword of a despot ? The churches of Italy are generally shut for some hours in the middle of the day, namely, from twelve to four or five'. There are none open during the whole day but the cathedrals, such as the Duomo of Milan, Saint Mark of Venice, Saint Peter of Rome, and other basilics. This regulation of closing the churches has something of protestantism about it; it seems opposed to the religious manners of the Italians as well as to catholic usages; it is, moreover, inconvenient to travellers, who frequently have but little lime to visit these churches, jiartly tem- ples, partly museums. The entrance of strangers is annoying to the worshippers, and not less disagreeable and painful lo themselves. One feels uncomfortable and confused at finding oneself standing alone, guide-book in bund, in the midst of a crowd of persons kneeling and pray- ing, occupied in counting the columns "of vert antique, Carrara marble, and lapis- iazuli. surrounded by half naked beggars. If you enter in the middle of a sermon, the embarrassment is not less ; the fire of the orator, the echoing bursts of his voice amid the silence of his auditory, the fierce and animated expression of his countenance, contrast strangely with the cool indifference and somewhat awkward air peculiar to persons who are gazing around as if seeking for something. How many limes has the piety and fervour of the worshippers appeared to me the better part ! And how vain the restless curiosity of the traveller beside the sublime simplicity of the believer I It would be adviseable to leave the morning to the services of Avorship ; for noon, the time of closing, is the precise moment when the light is the most favourable for the paintings. Despite Italian indo- lence, a more serious consideration aught to put an end to this injudicious practice ; independently of the_ frequent need of prayer that the soul" experiences, how many faults, crimes even, have been pre- vented by fortuitously entering a church ! It is said that every body sleeps at that hour, but the unhappy and evil-doers tieep not, and the passions do not know a siesta. At a period when there has been so much talk of ultramontanism, our clergy Avould not do amiss to copy the Italians in the benches and the cleanliness of their churches ; France is the country perhaps where the Deity is worst templed, and our negligence on that point is a dis- credit to our high civilisation. But there is one excess of zealous at- tentions that I will take care not lo pre- •scribe, since it is one of the greatest vexa- tions for the traveller. I allude to the CuAP. Mil.] MILAN. 5< mania >\hich possesses the Italians for hanging ihtir churches onhoiydays. On the e\e of such dajs, the upholsterer, armed with his hammer and ladders, takes |)ossession of the monument ; curi- ous iiiscri|)lions, tomits of great men, all (Jisa[)pear under his hangings; magnifi- cent columns of granite and Carrara marble are smothered under his linselry ; and there may be seen hanging on the front or to the vaulteii roof of some old basilic, or elegant temple of Bramanle. Palladio. or Michael Angclo, long strips of various stuffs, yellow, while, pink, etc., as at the shop fronts of our linendrapers. This ludicrous cnibelli>hinenl, a|)plied ^ ilh such bad taste, is the same lo archi- tecture as paint is lo the human face. I Lave even seen Saint Peter's decked out in this showy manner; it is true that the vastness of its vaults made the uphols- terer's task difTicult enough, and that the little square bits of crimson cloth that he had put up against the walls were hardly perceptible. The noisy labours of this artisan sometimes not being com- pleted when the fete begins, are aa- noyingly continued during the services, while on other occasions, he is in such haste that he begins to take down his finery before they arc concluded, leslthe brilliancy of such fine colours should be lost. CHAPTER VIII. Preacliing. The jests of some travellers on the grimaces, exaggerations, and buffooneries of the Italian preachers appeared to me unmerited. Withlheexcepiion, perhaps, of some popular sermons, their preaching is in general tjnii't and familiar; but, though inclining to a species of gossip, il has at least the merit of being applicable and praciical. Nolwilhstandmg the great crucifix in the pulpit, these sermons arc but lillle less cold than our own ; but the musical language and animated phy- siognomy of the speaker give them an appe.irance of warmih and vivacity. II among the orators of the Italian pulpi"t, there is none to oppose to the four emi- nent ones of France, the style of Ihcir panegyrics seems preferable to ours : they have -neither ihe same dryness nor mo- notony ; they arc more ornate and poetic, like their other sacred harangues ; and this kind of embellishment is not un- suitable lo the marvellous histories of the greater part of the saints of both sexes. Besides, the end of the preaching in the two countries is essentially different ; in Ilal\ faith and errors in conduct are com- mon : there are but fiw properly called libertins (freethinkers), and the Confe- rences of M. Frayssiiious, although trans- lated, will be less serviceable than at Paris. The preacher must combat the passions and frailties of the upper classes, and the excesses, and the impetuous, degraded appetites of the populace ; while argumentative preachers are necessary for the more moral, but more incredulous, population of France. The reformer of the Italian pulpit Mas the father Segneri, a Jesuil and contem- porary of Bourdaloue; but this Roman missionary, who was so powerful over the people of the provincial towns and villa- ges, when named theologian oflhe palace and preaching at the Vatican, fell short of himself, and regretted his former pro- miscuous audience, nor has he impressed on his reform the correct literary taste of our orators of the age of Louis XIV., addressing an elegant and polished court. The genius of the Italian language, being less precise, less didactic, less regular, and far more metaphorical than the French, must always be belter adapted for popular eloquence. I have heard some very good judges criticise the ;>«r(sm on which some oflhe modern Italian prea- chers pride themselves, who, instead of modulating harmonious and frigid ser- mons, would have done belter had they remained missionaries. The natural simplicity and unrcstrain- edness of the Italian character may be found even in their sermons; the au- dience, notwithslanding the solemnity of the place, hears without surprise effusions, avowals, and confidences, all perirenal to the orator; and this description of sym- pathy produces in men of talent the effects ofanewandmovingeloquence. A young preacher, Fra Scarpa, of Padua, after having with success preached at Rome during Lent some years ago, entreated his audience lo juin their prayers lo his for the welfare of his mother ; that Mas the only reward he asked for his labours, nor was it the only lime that he had in- troduced the subject of his beloved mo- ther in the pulpit. After one discourse by this true orator, a collection was made for the poor, and, as il frequently hap- MILAN. [Book III. pens in Italy, the country people, who had no money, were seen to Ihrow into the purse their rings and ear-rings, ordi- nary jewels, it is true, and of but little value, but the sacrifiee of them showed to what an extent their owners were capable of having their feelings wrought upon. One can scarcely conceive a si- milar movement among our peasants of Gonesse or Viilejuif. I was fortunate enough to know at Rome one of the men who confer the greatest honour on thj Italian pul|)it, the reverend Fra Jabalot, procureur-general of the Dominicans of the Minerva, a Frenchman by origin, who would even liave shone in France; he died in 1837. An ardent and most evangelical orator, Fra .Tabalot was besides an able lo- gician ; I was told that he had learned English in three months, that he might translate a very One sermon on faith, hope, and charity, delivered at the dedi- cation of the catholic chapel of Bradford, in Yorkshire, by Mr. Baines, bishop of Siga, a very excellent and most lucid recapitulation of the chief proofs of the truth of Catholicism, and throughout full of the tenderest charity towards the pro- testants. The Italian translation of Fra Jabalot is very correct, and it evinces that the original author, in more than one respect, resembles his eloquent in- terpreter. CHAPTER IX. Ambrosian Library.— Petrarcli's Virgil.— Palimp- sesli. — Letters and liair ofLucrezia Borgia.— Mys- terious catalogue. I went several times every year to the Ambrosian Library, which was shown me by the abbes Mazzucchelli.i Bentivo- glio, and Manciiii, director, subdireclor, and clerk ; men full of learning, modesty, and politeness. It contains sixty thou- sand printed volumes, and about ten thousand manuscripts. The famousVirgil of Petrarch, in which is his impassioned note on Laura, after ' An apoplectic attack had produced on tlie abb6 Mazzucchelli, in his latter days, a most exlrjoidi- nary effect; it had untaught him how lo rend. I went one evening lo his house, the day prewous to one of my visits lo the library, whither he no longer «enl; hoivever, on the morrow he would be there, but he acknowledged that he could not even spell Ihe name of Petrarca, and lo his death this learned librarian was unable to read. his death belonged to Galeas Visconli, fifth duke of Milan, as may be seen by his name, now almost elTaced, written on the leaf detached in 1795 by the abb(5 Mazzucchelli.^ Another inscription by Petrarch, less noticed, regards Ihe death of his natural son Giovanni, at the age of twenty-five, canon of Verona, who had robbed his father and given him much trouble. This Virgil seems the depository and confidant of Petrarch's sorrows. The curious miniatures, by the celebrated painter of Siena, Simon Memmi, as we are informed by a Latin distich, repre- sent Virgil seated, invoking the muses, and Jineas in a warrior's costume ; a shepherd and husbandman typify the Bucolics and the Georgics, and Servius, the commentator, is drawing back a thin curtain to indicate his explaining and removing the difficulties of the Latin poet. Though rather incorrect in the design, these miniatures, very probably executed from the ideas of Petrarch, a friend of the artist's, are deficient in neither originality, colour, nor truth : the figure of ^Eneas is one of the best. .4n inhabitant of Pavia succeeded in abstracting this precious volume, and in concealing it when that town was taken and the library carried away by Louis XH., in liyO; three centuries after it did not escape the commissioners of the republic : if it had made part of Ihe literary booty of the monarchy, it would have remained with us like the Sforzeide and other valuable articles of the same library now deposited in Ihe Biblioiheque du Hoi, and so well des- cribed by the good, learned, and ever- to-be-regretted Vaiipraet ; but this pil- lage by the revolution had not twenty years' date; that kind of political pres- cription which renders every thing legi- timate was not acquired, so the volume was taken back in 1815. The marginal notes of Petrarch, and those on the bottom of the pages, seem in the same handwriting as the note on Laura ; but ■•! A fac simile of the eight lines of I'etrarcli's note is given in the edilion of Ihe Rime, published at Padua by I'rofessor Harsaiid 1 1819-20, '2 vol. | ; it is followed b\ some historical remarks and very accu- rate criticisms, in which Ihe professor recliOes se- veral errors committed by the writers who had previously given the text. See t. i, p. 338. Chap. IX.] MILAN. 53 these lengthy and numerous notes, with quotations from other ancient authors and critical collations, must be little worthy of this erudite poet, since S RJai has not thought iheni of sulTiclenl jm|»orlaiice to putilish. Perhaps they are of Petrarch's youth, when his father snatched from him, and threw into the fire, the Virgd he was secretly reading, instead of studjing the Decretales. The Joseplius, translated by liufrin,a priest of Aquilea, but which :iluratori for good reasons thinks the work of one of the literati em()loyed by Cassiodorus to translate from the Greek the works of antiquity, is perhaps, with the Gregorian papyrus of JMonza, the most singular of the manuscripts written on papyrus and on both sides; according to Mabillon, it is now about twelve hundred years old. . AGreek manuscri|it ofa life of Alexan- der, w ilLout the author's name, thought by Montfaucon to be Cailistlienes, at first inspired me with unfeigned respect. I only knew Callislhenes by the Lysi- maque of Montesquieu, that admirable portrait of Stoicism, of which Callisthe- nes is as the hero and representative. The life of Alexander by a man of such talent and virtue, who had been so cruelly the victim of Alexander's wrath, seemed to me a veritable monument. The learned de Saiiit-Croix has since demonstrated that Callisthenes was only a rebellious courtier; being Alexander's historiographer, he had servilely mai.a- tained his pretensions to divinity by a thousand fables, and subsequently, not thinking himself adequately rewarded, he became a conspirator. The Uistonj of Alexander, attributed to Callisthenes, copies of which are not scarce, S. Mai having published it, is nothing in fact but a long and wearisome romance full of improbabililies and absurdities. I could not suppress a species of lite- ' The manuscripts of Saiat Colomb.tn de Bobbio amouDted to sevcu hundred In number; half of ihem were sold to Cardinal Frederick; the rest ^(ent to the Vatican. ^ Everj body has read the elegant translation of the llespublica by M. Villeraain, wiih his eloquent preliminary discourse. The learned labours of Pro- fessor Le Clerc, in reality the first editor of Cicero's complete works, on the Fragmenis, increased by these new discovei ies. are almost a creation, from the order and connection uhich be has effected among these scattered shreds, so confusedly thrown together in preceding eJiiions. Auother French professor not less distinguished, M. Cousin, has rary emotion, on seeing, in a large square wooden chest, the celebrated palimpsesti of the pleadings of Cicero for Scaurus, Tullius, and Flaccus,— on the writing of which the poems of Ledulius, a priest of the sixth century, had been transcribed, — as well as several unpublished sen- tences of the discourses against Clodius and Curio, till lately covered over with a Latin translation of the acts of the council of Chalcedon; the first discoveries of S. Mai, and the prelude of his suc- ces^ful labours. In contemplating these oM sheets, black and calcined, perforat- ed in some parts by the action of oxyge- nised muriaticacid, I loved tosee modern science rushing to the rescue of ancient eloquence and philosophy, and chemistry slrii)ping olf and annihilating the ignoble text which concealed a sublime original. It was impossible not to be struck at the sight of this second species of ruins, and this determined searching, if one may be allowed the expression, of the monu- ments of thought and genius, relics of the greatest orator of Rome, found again after more than ten centuries, under the Gothic lines ofa versifier of the middle ages and the protocol of ecclesiastical decrees. The palimpsesti of the Ambro- sian Library iiroceeded in part from the monastery of Saint Colomban de Bobbio, situated in the recesses of the Apennines, where, as well as at mount Cassino, a mass of precious manuscripts were stor- ed ;' in those barbarous times the cloister and the mountains were the asylum of letters; these learned remnants, publish- ed, annoted, translated by clever writers and experienced editors of our times, are gloriously promulgated through- out the civilised world; and Cicero, in his eloquent orations, is again listened to by a greater number than ever heard him in the forum or the Comilia.^ Themanuscriptsofthe Ambrosianalso found in the manuscripts of the Ambrosian n>aay various readings to the commeulary of rriiclus on the lirst Aldbiades. See tonic ii.tt iii. of his edition of Proclui, published in 1820. Though the ground has been passed over by such librarians as Muratori, who has given four quarto \olumes of his Anecdota ex Ambrosia»cE Oibltotli.odicibus, and S. Mai, the Ambrosian may still furnish new discoveries of an- cient authors. As to the moderns, what might not be the importance, for the history of the revival of letters w hich has yet to be written, of the colleclioii forming more than twenty volumes of manuscript letters, in Latin and Italian, of a great number of the literati and illustrious personages of the sistecnth 5. .'34 MILAN. [Book IH. alTorded S. Mai at a later period a part of his happier and more complete discovery, the Letters of Marcus Aure- hius and of Fronto,— found under a history of the council of Chaicedon, which also came from the monastery of Saint Colomban de Bobbio, — a curious monument of Roman manners, history, and literature, in which the young prince, so enamoured of philosophy, so virtuous, pure, and gentle, appears very superior to his master, who remained a sophist and rhelorician, notwithstanding the praise he had formerly obtained and the celebrated inscription beneath his statue: Rome, the mistress of the world, to Fronto. the king of orators! But there is a manuscript less imposing than these palinipsesti, namely, ten let- ters from Lucrezia Borgia to cardinal Bcmbo, at the end of which is a piece of Spanish verse by the latter, breathing an exalted spirit of the purest Plalonism ; the answer of the lady is much plainer, and she accompanied it with a lock of her flaxen hair. Thus does the bottom of this mysterious portfolio, this strange pedantic medley of poetry, philosophy, and sensualism, offer a striking charac- teristic monument of the corruptness of Italian manners in the sixteenth cen- tury.' This lock of a lady's hair, in a great library, in the midst of old ma- nuscripts, is a striking singularity ; one would scarcely ha\e expected to find it there, and it seems strange to confide the custody of such a charge to the doc- tors of the Ambrosian Library.^ I perused the manuscript of Philelphus De Jocis et Seriis, a collection of serious and humorous epigrams, epistles to princes and nobles, which consist of ten thousand verses equally divided into ten books; of this manuscript, said to bo unique, the first book and part of the rentnry ? We are indebted to M. Uenouard (or the edition of the Lellres de Paul Maniice, publlsljed at Paris in t83'i. ' Tlie verses of Bembo are printed in the folio edition of bis worlis ; Venice. (729, t. ii p. ."ii. Yo pienso si vie mune^e. The letler of Lurrezia Borgia is given verbalim at the end of Foscolo's Essai/s on Pelrarcli, p. 253 of the Italian translation of S. Ca- luilio Ugoni. to « hom we are indebted for thepub- licalion of this singulnr document. a 1 he librai ians of the Ambrosian have the title (il doctors ; but, although priests, they are relieved by the founder of a part of their ecclesiastical func- tions, to enable Ihein lo attend naore closely to their 'luty in the library. tenth are wanting; but S. Rosmini has made them sufficiently known. ^ The Joca et Seria remind us much more of the licence of Horace than of his simplici- ty, grace, and judgment ; and Philelphus, a necessitous suppliant, a badly paid pen- sioner, a scheming father,'* has not, in his panegyrics, the address, ease, and almost familiarity of the opulent and voluptuous flatterer of Augustus and friend of Maecenas. One manuscript, which forms a con- trast with the violent and abusive man- ners of Philelphus as a man of letters, is a kind of elegy entitled Lamento or Disperata, composed by Virginia Ac- caramboni, on the murder ofher husband by banditti; this unhappy woman her- self perished with her brother by the hand of Ludovico Orsini, her brother- in-law. The seventy miniatures, the remains of a fine manuscript of the Iliad in uncial letters, published by S. Mai and printed in the royal office at Milan, have that kind of artless fidelity which be- speaks their great aniiquity.and they are one of the monuments which prove the unintermitted study of the pictorial arts in Italy. The five large volumes of flowers so pleasingly painted, appear to be by Giambattista Morando, an artist of the early part of the seventeenth century. I should have liked to find at the Am- brosian the sketches of some new plays which Saint Charles Borromeo had en- gaged the provost of Saint Barnabas to examine, and on which he had himself written marginal notes. These dramatic criticisms of Saint Charles would be a curiosity at this day; one can scarcely conceive the licentiousness of the first Italian farces. ^ Ii is very likely that the manuscripts of these comedies were be- ' Vita di Filelfo. See the various rejected quota- lions in the Monitmentiinediti of the three volumes. •* It appears that one of the daughters of Philel- phus was parliculaiiy anxious lo get married, for he is continually begging a dowery for her. whether be address his verses to Francesco Sforza, the du- chess Bianca Maria his wife, Gentilis Simonetta, knight of the GoMcn Fleece, or even Caspardo di Pesaro, the duke's physichin. .Nam sine dote quldem, quam mulliim ponderet au- Nulla placere putet posse puel la viro. [rum, iNon genus flut probiias in sponsa qua?ritur: aurum nasc facit, et for mam eomprobat esse bonam. ' '^ce tlie work entitled I %entimenli di San Carlo Chap. IX.] MILAN. 53 quealhed by Saint Charles, with his oihpr books, to the chapter of Milan, the library of >^hi(h was suppressed in 1797, when, probably, they were lost in the confusion. It is. moreover, particularly difflcult to make researches at the Ambrosian. Would it be believed that its illustrious founder, cardinal Federico Borromeo, has forbidden the making of a catalogue? It is said that it cannot be effected with- out a dispensation from Rome. The existing apology for a catalogue is truly a mere cipher; the authors are arranged by their Christian names, which in Italy certainly have more importance than with us; in this list there is a crowd of Johns, Jameses, and Peters, and to find Petrarch, one must look for Francis. To increase the perplexity still more, there is no title on the backs of tbe books ; the aspect of these nameless volumes co- vering the walls of the immense hall, is somewhat inlimidaling, and were it not for the good fame of the founder, one might think ill of all this occult science. The librarians, however, know pretty well what they have and what they have not; but they only consult their memory, and the catalogue is purely traditional. It is not easy to explain the prohibition of cardinal Federico ; he had sought and collected at great expense books and manuscripts in all Europe and even in the East, had appointed learned men to explain and publish them, had attached to the Ambrosian an excellent printing-office no longer in existence, and yet he timidly concealed a part of these very discoveries; it is impossible to show at the same time more zeal and love for learning, and to take more pre- cautions against it. Of the physico-mathcmalical manu- scripts of Leonardo Vinci, there only remains now at the Ambrosian a single volume, which is of great size, called the Codice Atlantico, containing machines, Borromeo intorno agli apeltacoli, Bergamo, 1759, Id quarto, vtbicb 1 read at Milan, and ttlileh I re- gret is not to be found in Ibe libraries of Paris. ' Tbe numerous manuscripts of Leonardo Viuci are now dispersed : tbe Trivulzio library bas some of them; fourteen small volumes and some loose sheets of tbe same bind arc in the library of the Instilut at I'aris, and have been well described in the essay read to tbe lirst class in IT;)", by M. J. B. Ventiiri (Paris, Duprat, 1797 1, who has remarked that Leonardo Vinci bad pointed out the moiion of the earth, before Copernicus, from the fall of heavy figures, caricatures, and notes collected by Pompeo Leoni. The letters arc written from right to left, in the Eastern manner, and can only be read with a mirror. Like his worthy rival Michael Angelo, LeonardoVinci was also scholar, sculptor, architect, engineer, chemist, mechanician, and man of letters; with such men the multiplicity of accomplish- ments, instead of injuring each other, seems, on the contrary, to extend and strengthen them. Tbe sight of this sin- gular manuscript, with its reversed cha- racters, proves by its manner, how the influence of the East was reflected on Italy in Leonardo's age, and to bow great an extent the genius of Italy was indebt- ed to it for warmth and brilliancy.' There Is a small but rich museum in the Ambrosian library, in which may be seen the cartoon of the School of Athens, the first simple and sublime sketch of that immortal composition. M. de Cha- teaubriand, standing before that paint- ing, said, "I like the cartoon as well." And the latter, having been carefully restored, seems likely to outlast the paint- ing, which is daily falling to decay. A portrait of i.eonardo Vinci, in red crayon, done by himself, is a true patriarchal countenance; the features are calm and mild, notwithstanding the bushiness of (he eyebrows and the vast exuberance of beard and hair. Several charming paint- ings by Bernardino Luini, such as the young St. John playing wilh a lamb, the Virgin at the rocks, which were brought back from Paris, arc also at the Ambrosian; there is likewise a very fine fresco of the Crotoning with thorns, which in my oi)inion has less reputation than it merits; its figures pass for the portraits of the deputies of Santa Corona, a charitable institution to which these premises originally belonged. A monument has been erected at the Ambrosian to the ingenious Milanese painter and writer, Joseph Bossi ; the de- bodies. The most important of Leonardo's ma- nuscripts is the one which belonged to the library of king George III., given by bis son to the British Museum; this manuscript offers divers figures, heads of horses and other animals, subjects in op- tics, perspeclive, arlillery, hydraulics, mechanics, and some drawings with tbe pen, among n liich is a sketch of his own Last Supper, regarded by Ca- nova as more precious than any thing else he had seen in England. There are also some of Leonardo's manuscripts in Earl Spencer's library. 56 MILAN. [Book HI. sign and bas?o-relievos are by SS. Palagl and Marchcsi, and the bast, which is colossal, is a work of Canovas, full of life and expression. CHAPTER X. Library of Brera.— Obscrvalory.— Oriani. The library of Brera is principally composed of the old library of the Je- suits, and others proceeding from con- vents and religious housi^s suppressed in 1797, of a part of Ilaller's books, Count Firmian's, and the small but pre- cious collection bequeathed by cardinal Durini. The cabinet of medals occujiies a very handsome aparlment; it has a numismatic library tastefully selected by the conservator, S. Catlaneo; this ar- rangement is very convenient for stu- dents, as they are not obliged to have recourse to the great library for the books they may require, and which probably might not be in their places. The li- brary of Brera has only a thousand ma- nuscripts, among which are the famous choir books of the Chartreuse of Pavia ; but it contains a hundred and seventy thousand volumes, and is the best fur- nished of all the Italian libraries with modern books of science, natural his- tory, and voyages. The great number of readers is another resemblance be- tween Milan and Paris, and in crossing the great hall with its superb book- shelves, one might almost fancy oneself at the library in the rue de Richelieu. The elegant palace of Brera was for- merly a college ; its architecture is by Ricchini, except the front by Piermarini. In one of the porticoes, among other illustrious Milanese, is the bust of Parini, with an inscription which is exceeding- ly touching, when we remember that it was there that this excellent poet per- formed the duties of a professor, and formed youth to eloquence and virtue. The observatory of Brera, founded in 176G, after the plans of the learned Father Boscovich, and well supplied with the best of instruments, has been ornamented in these latter days by the discoveries of the great astronomer and mathematician Barnabas Oriani, w ho for more than Qfty ' It is said tlial Oriaui was toud of pointlag oul St Linlerno uear Milan, (seeliv. iv cliap. i. | a lillle \\all at which he had worked when a mason. years assiduously watched the stars there ; he was a man not less superior by his virtues and simplicity thanhisgenius.' Oriani was created count and senator by Napoleon, but he continued a scholar and a priest. He died at the age of eighty, on the 12th ofNovember 1832, and divided his property into two portions, one for charitable purposes, the other for the advancement of science. CHAPTIiR XI. rrlvate libraries.— Trivulzio library.— Verses by Gabrielle d Estrces. In Milan there are many remarkable private libraries ; as the Fagnani, which has a Qne collection of Aldine editions; the Melzi, rich in Italian works of the fifteenth century; the Reind, Litta, Ar- chinto, Trivulzio. By a kindness of w hich I shall preserve a lasting memory, I obtained access to the last mentioned, which does not count less than thirty thousand volumes and about two thousand manuscrli)ts. A minute detail of the Trivulzio library , transmitted by its owner to M. Millin, was inserted in the ^n- nales encydopediques, of 1817, t. VI. ; but it is not exactly correct now, a part of the books having passed into another branch of the family, and the enlightened zeal of the last marquis Jacopo Trivulzio, who died in 1831, one of those Italians that have accorded the noblest encourage- ments to letters, having been continually making additions to the part which re- mained. Lady Morgan has likewise given a description of some articles; such as the book of Uours, or primer for the use of the young Maximilian, son of Louis the Moor, with some beautiful vignettes by Leonardo Vinci,— characterisiic pic- tures, which are a kind of portraiture of princely education at that epoch ; in one of them the young duke is re|)resented on horseback, contemplated by the ladies ( il principe contemplato dalle donne ). The Trivulzio library is rich in manu- scripts and early editions of Dante, Boc- caccio, and Petrarch. A very fine ma- nuscript of the last is of his own time, and may be in his own hand, as the writing is exactly like the note in the Virgil at the Ambrosian ; the Paduan edition ( U72) isornamented withcharm- ing miniatures of Mantegiia's school. Lady .Morgan mentions an edition of the CUAP. XII ] MILAN. 57 same poet, printed, as she informs us, only fifteen years after his death, a sliglit oversight of half a century. There is a beautiful manuscript on vellum which her ladyship preferred describing, though the little she says is inaccurate, it is the oration of Isociates to king Nicocles, with some charmmg verses by Gahriciie d'Eslrc^es, to whom the manuscript had belonged, after having been at first Henry II. 's, lo whom it was dedicated when Dauphin. These are some of Ga- brielle's verses : De vraye amour aultre amour rcciprocque C'esl Ic parfiiict de son plus grand desir ; Maissy I'ainourderaullre amour semocque Pour ung amour trop moings digne chohir, C'est ung ennuy qui ne donne lo\sir. Temps ne repos pour tronver rcconforl. I,e dfsespoir esl pire que la mort, El jalouzie est ung vray desespoir. foy rompue, o Irop apparent iort ; Pour vous me faull pis que morl recipvoir. From the place where these almost unknown verses are found, they are doubtless authentic and of the time, an advantage that some oiher more cele- brated verses have not, like the Adieitx de Marie Stuart, printed, I believe, for the first time, in Monnet's Anthologie, ' or the verses of Henry IV., Viens. au- rore. These verses confute the tradition of her intellectual inferiority, and what is more, they are honourable lo her as a lover and a sensible woman : why should not the infidelities of Henry IV. have in- spired this bitter expression of unfeigned grief at that love qui de I'aultre amour se mocque ? The fact of Gabrielle's having read the discourse of Isocrates concerning the administration of a king- dom, proves that this royal mistress meddled with state affairs, and, perhaps, that she hud sought arguments against Sully in the Athenian rhetorician. The Trivulzio library possesses many manuscripts bearing the arms of Maihias Corvin, to whom they previously belong- » They are also inserted at t ii. p. 126, \o. 878 of llie Bihlinlheca lluveriaiia, wbence the book lias passed into tlieTilvulzio library, but ne readers of catalogues pay but liiUe atleulion to such trifles. The follorting verses, written on the tirst page of a blank leaf at tim beginning of the book, are more to our taste as tbey prove the bibliographic fact : Ce livreest ere, and savage despotism admired by the abbe Galiaiii. The as- cendency that it exercises has no effect on the national character, manners, or customs; it annoys without injuring, and is rather anti-pathetic than inimical ; the Austrian government iu its prudence docs not oppress, it intiommodes. CHAPTER XIII. Military College. The military college of Milan, intended for the children of the soldiers in the eight Italian regiments, is a well con- ceived establishment, and might serve as a model for others. It was begun in 1802 by genera! Theulitj, then minister of war, whose portrait msy still be seen under the vestibule. i The pupils arc three hundred in number, and fifty of them are sons of citizens paying a small annual sum. The titles of the other children are the services, the wounds, or Ihe death of iheir fathers on the field of battle ; dillerence of religion is no ob- stacle, provided the religion is acknow- ledged by the state, and the tolerance of the Austrian government on that point ^ General Theulii, of French origin, was born at Milan, and lyas a barrister In thai city when ihe French army arrived there. He then enlered the service, and cx)mmanded the lirst Cisalpine legion. This much esteemed man was killed by a cannon shot at the siege of Colbert In I8U7. Foseolo in- tended to write his memoirs, and had coilecled con- siderable materials lor that purpose. Marocco Ihe barrister has ptihlished a panegyric of Theulii. 60 MILAN. [Boor Ill- is well known. I have visited this young military colony with extreme plea- sure several times; it is under the ma- nagement of colonel Young, a man of great capabilities, who treats these young soldiers with paternal care : their highly improved gymnastic exercises (which the able director has composed by selecting from the different methods whatever was best) are applicable to warlike opera- tions, such as the passage of rivers, pre- cipices, assaults of forts, etc.; the course of instruction consists of writing, arith- metic, the German and Italian languages, geography, history, topographical draw- ing, etc. Similar insliiutions, to the number of fifty-one, exist for the other regiments of the Austrian army ; they must attach the inferior officer and the soldier to his colours, since in his absence neglect and want no longer threaten his family. It is probable that these esta- blishments are one of the causes which have preserved this same army from destruction during twenty years of defeat and misfortune. The military college is one of those establishments founded by good sense, justice, and humanity, which leave the most pleasing impression on the mind of the traveller. Other states support at a vast expense schools for pages, young ladies, and brilliant officers; there the soldier's orphan serves his apprenticeship to his father's trade; there he is taught honour, order, obedience, to love his prince and his country, and those mili- tary virtues, which are so simple, re- signed, and intrei)id. Such a creation would have been worthy of Louis XIV.; he who had opened so noble an asylum for the old age of our soldiers was worthy to prepare the gymnasium of their in- fancy. CHAPTER XIV. linaco;eca of Brera.-MilaDese scliool.- Raphael's Sposalizio. — Giiercinos Agar. — Cxpositious. — Pino, LoDglii, and Palagi colltclions. The splendour of Florence, Bologna, and Rome, and long-existing reputation of their museums, perhaps cause that of Brera to be too much neglected, which ' For instance, the Cue verse Jeune,et dans I'flge heureuxqni m(?connait la cr;iii)to, which Voltaire replaced, in the later editions, by the common verse was begun no farther back than 1805. If it has no great Tilians, and is also destitute of other masterpieces, it pos- sesses some admirable paintings of the first masters of the Milanese school, such as Gaudenzio Ferrari, its chief; Bernar- dino Luini, Bramantino, and others of this productive school, so distinguished for simplicity, expression, force, and the marvellous gift of perspective. The Marriage ofthe Virgin, a charm- ing work of Raphael's youth, is a paint- ing which in after years he would not have done so well in doing it better : talent, when arrived at perfection, at times loses something of its simplicity and grace. Raphael was twenty-one years old when he gave Lo Sposalizio; Voltaire composed his OEdipus at the same age, — brilliant essays which thus early revealed all the grandeur of their future compositions, and which after- thought variations could only weaken and disfigure." The Agar dismissed by Abraliam, by Guercino, is one of his finest works. This painting electrified Byron, according to the account of his shrewd cicerone at the museum of Brera." A head ol the Eternal Father, by Luini, breathes the simple, antique, and sub- lime spirit of the Bible. His little painting of Noah's drunkenness, not- withstanding some traces of the four- teenth century {vestigia ruris) is one of his best performances. The other re- rnaikable paintings are St. Peter and St. Paul, by Guido; the graceful Dance of winged Loves, by Albano ; the Woman taken in Adultery, by Agoslino Carracci ; the Woiuan of Samaria, by Annibale; the Canaanitish woman by Ludovico ; the Virgin, St. Petronio and other saints, by Domenichino ; the Adoratioii of the Magi, by the elder Palma ; the Moses taken out of the water, a simple and harmonious masterpiece by Gior- gione ; the St. Mark preaching in Alexandria, a vast and lifelike compo- sition by Gentile Bellini, to which, from his residence at Constantinople and in the Levant, he has been enabled to give an oriental colouring; the portraits of the Dukes of Vrbino, by Fra Barlolom- meo; the St. Mark and other saints, Au-dessus de son fige , aii-dessus de la craiute. = I.etler of M. H. Beyle lo Madame Belloc on Lord Byron, and Byron's Life, vol. iv, cliap. v. Chap. XIV.] MILAN. 61 in several compartments, by Mantegna ; the Annunciation, attributed to Feru- giiio, thouf^h in reality by Francesco Francia; St. Peter the martyr, by Co- ncgliano; a Crucifixion, by Bramantc; an admirable Head of an old man, by Titian. There is an interesting though somewhat ordinary painting by Giovanni Sanli or Sanzio, the lather and first master of Raphael, a poor painter, but a man of good sense, who felt that his lessons were insuflkient for such a pupil, and accordingh lost no time in consign- ing him to Peruglno. The different paintings of herds and shepherds, by Londonio, the Milanese painter of the last century, are very natural. By chance 1 had the good fortune to be present, in 18:27 and 1828, at the ex- hibition of the works which had disputed the prizes ofleied by the Biera academy of fine arts, as well as at that of other pictures by artists and dilettanti. These two exhibitions gave a favourable idea of the present slate of the Italian school. S. Palagi, of Bologna. S. Hayez, of Ve- nice, would not be disowned by the masters of those two schools. S. Palagi exposed a fine copy of Giorgione's Cesar Borgia; in the original the bastard of AlexanderVI.hashishand on his poniard, and in the baek-ground are seen a war- rior and a woman who seem to be his intended victims. This Inst doubtless alludes to the story of those nuns of Ca- pua, who withdrew into a tower at the time the city was sacked by Borgia's army, and ol whom, according to Guic- ciardini, he chose, aficr a minute exami- nation, forty of the handsomest to send to his seraglio at Home. The copy being intended for Count Borgia, the artist, from delicacy, had thought proper to suppress the poniard, the woman , and the warrior; this disarmed, inoffensive Borgia lost part of his tenible physiog- nomy, in spile of the merit of its exe- cution. There might not, perhaps, be any great cause to boast of such an an- cestor, were il not that, by a strange contradiction, names made fatuous by vice or even crime become in course of time titles of nobility. A charming subject, Neicton discovering the refrac- tionoflight in soapbubbleswhich a child is blowing, presented some fine details; the woman and child were graceful, but the figure of Nov ton was Nviihout cha- racter or genius. Veturia and the Ro- man ladies going to meet Coriolanus, in the camp of the Volscians, was another good painting by S. Palagi; with respect to costume, however, it was somewhat deficient : the dress of these Roman ma- trons, who at that [)eriod w ere still rustic, was by far too elegant and refined. The paintings of S. Ilayez, representing the Death of Clorinda, at the moment of her being baptised by Tancrede ; the Meeting of Mary Stuart and Leicester, as she is proceeding to her execution, a subject taken from Schiller, and the mo- merit of her ascending the scalFold, pro- duced a strong sensation. Italy has not escaped that taste, that craving after a reform in arts and letters, which tor- ments some spirits in France; and the bold and even capricious talent of S. Hayez, reckoned by his admirers the first Italian painter now living, belongs to the new school. The Young Toby restoring his father's sight, by S. Diolti, was also an interesting picture. The Subterranean Chapel of the families of Verona, and other interiors by S. iMi- gliara, were quite in vogue, and indeed they are charmingly natural and \ery picturesque paintings. There were also some Roman banditti at the Brera exhi- bition, but they were not so good as those of M Cognietand Leopold Robert. Two basso-relievos by S. Marchesi, one showing the Sepulchral monument of Lord Dungarvon's daughter, the other representing the Vision of a mother on the loss of her seven children, were full of grace and feeling. The colossal group by the same artist representing the Piety of S. Giovanni di Dio, founder of the congregation of the Fatebene fratelli, and destined for their convent, excited the ardent admiration of the Milanese, and seemed a work of merit. The exhibition of 1828 presented no- thing by SS. Palagi and Hayez, but there were many and excellent pictures by S. Migliara, such as the Condemnation of Jacques Molay, the Castle of the Inno- minato, several paintings of Gothic in- teriors by S. Moja, his happy imitator and almost rival ; two landscapes by S. Gozzi, the senior Italian landscape- painter, and like our Boguet, always graceful and vigourous, notwithstand- ing his eighty years; a superb pencil dr wing by S. Anderloni, after one of Raphael's Holy Families, now in thi^ Slairord gallery in England, and of which 6 3IILAN. [ Book III. there are several copies in existence at Rome and Naples, taken by his pupils. In sculpture iIkmc were some important works : an Apollo sleeping, executed after an earthen model of I'acetti, Ly S. Caccialori, his pupil; the model of the tomb erected to the noble Mel/.i, at Bel- laggio, by his nephew, the work of S. Aesti of Florence, and anotlier cenotaph, dedicated by the inhabitants of Chiari, a large village four leagues from aiilan. to the clever lapidarian writer Morcelli, their provost; ' a distinguished perfoini- ance of S. Monti of Ravenna. '1 his vast and splendid monument, erected by husbandmen to a learned and virtuous priest, is a new proof of the popularity of the arts in Italy; such an idea would never enter the heads of our peasants w ho most respect their clergjnian, and I arn not aware that a single individual has here received a like honour from his pa- rishioners. The divers plans of a cathe- dral before a large square surrounded by piazzas, announced that architecture also was well studied at Milan. The concourse of people was very con- siderable at these two exhibitions. In each of the rooms, instead of a custode, a great Hungarian soldier, with his firelock on his !-houlder, stood sentinel : this arm- ed Pannonian amid the productions of Italian art was a singular and mournful sight ; the listless air of the insulated con- queror, indillerent and statue-like, in she midst of tlie agitated crowd, seemed a pretty accurate personification of the kind of domination that he enforces.' What a vast interval between such a contrast and those exhibitions at the Lou- vre at once royal and popular — those splendid works ordered by the prinee and the state to decorate our cities, pa- laces, monuments and temples! Patrio- ' Tlie proTosI is a kind of superior reclor ; there are four clergymen at Cliiara, wlio are ecclesias- tically subjecl to lUe provosl. ' Ferliaps 1 ouglit to suppress this passage on Ihe Pannonian of lirera ; for 1 have since made my peace wilb him, and have ascertained that I did not at first do justice to h4s taste for the Une arts. At the exhibition uf )8:i8, as 1 «as again looking at these soldiers «llh the same impression, one of llicin, liiougli underarms, came to speak tome. 1 thought he was about to esecute some part of his orders, but it was not so ; he had perceived that I was Frencli, and with what was meant for an easy air, he said to me, pointing at the paintings: " // est jolt la maison comme fa." By the elegance of his lan- guage, I had no doubt that he hud been iu France, tism, family feeling, and the taste of some private persons for the arts had com- manded the execution of the works ex- hibited at Brera, but the sovereign had not ordered even one. The finest private collection of paint- ings at Milan, that of general Pino, was still for sale in 1828; it contained a great litian, Moses defending the daughters of Jethro ; the Woman taken in Adul- tery, by Poussin; St. Joseph and a child, by Guido; and an admirable Christ bearing the Cross, by Sebastian del Piombo. The gallery of Longhi was of no great extent, but was composed with the taste that might be expected of so clever an artist, who is besides distinguished as a poet and writer. I saw at his house in the same year a very fine drawing of Michael Angelo's Last Judgment, by S. Minardi of Rome, which he had begun to engrave, a work that he left nearly finished, and which, w ith the fine copy by Sigalon, will make known and pre- serve, in some degree, that masterpiece, which has suffered so much from the ravages of time and man, and is seen to such disadvantage.^ Ihc collection of S. Palagi is rich in Egyptian antiquities, and contains also divers Etruscan and Greek monuments, which make it a real museum. CHAPTER XV. Beccaria.- Punishment of deatb. In thti strada di Brera is a handsome hotel which was inhabited by Beccaria, whose medallion and those of eight other celebrated Milanese of both sexes are seen on the front.'* Beccaria, a genius full of paradox in bis passionate love of and I asUed him rather cavalierly how many limes he bad been pi isoner there. He replied, tw ice; and 1 saw by his air, which was by no means discon- certed, that his comrades had probably experienced tlicsame fate more frequently, ^ Longhi died on the"Jnd of January, 183), al the age of 1)5 years. ^ I^amely : Lecchi, Gialini (the historian of Mi- lan I; Agiiese (a celebrated female miitliematiclan) ; Frisi,Verii, Parini. Domeuico tialestrieri |w ho trans- lated Tasso into Milanese); Fumagalli. A nation, which, under a foreign domination, has counted such characters, and which in our own times has Manzjui, has certainly received no ordinary endow- ment. Ciup. XVI.l MILAN. 63 virtue and lium.inity, a pliilosoiihcr whose ojiiiiioiis were daring and rash, w bile his life was prudent, virtuous, and peaceable, has recently acquired parii- zans in the old and new worlds; his principles on the punishment of death have reg.iiue It is impossilile to see such moiiumenls dis- appear without feeling a profound emo- tion; these superior persons were also exceIl(,M!t men, plain, religious, and sin- cere. S. Manzoni, who. though dilTering on some theoretical points, seems called to succeed them, is recommended by the same qualities of the heart and by prin- ciples perhaps still more exalted. This writer has defended, against Rousseau and S. Sismondi, the possibility of com- bining Catholicism and liberty in a country that olTered him no example of it, and under a government little in- clined to favour such notions; his elo- quent treatise Sulla Morale callolica is a new proof of the might of Italian ge- nius, always on a level with the great princiiiles of civilisation, in spite of the obstacles which embarrass it. Such cha- racters do singular honour to Italy, if, as we think, literary characters are a toler- ably just expression of public manners, representing ihem with not less fidelity than their works. In the same year 1828 and the same month, died also at Ravenna the cele- brated F. Cesari, orator, theologian, grammarian, critic, biographer, burles- que poet, commentator and translator of Horace, Terence, and Cicero. I had visited him at Verona, his country ; he was a quick, ardent, restless elderly man, a really complete abbate. very obliging, eccentric in his dress and deporlment ; a determined Cruscantist, Cesari pretend- ed to make Cicero speak precisely as he would have expressed himself in Italian in the sixteenth century.^ Motwiihstanding his whims, irritability, and fleficiency of judgment and taste, his admirers were numerous, and his loss was blended, in the patriotic and literary regrets of ths Italians, with that of Monti and Pindc- monte. Milau. Verona was not less grateful towards Pin- demon le; his memory is to receive the same ho- nour there, and bis old and worlliy friend, the ba- roness Silvia Curtoni Verza, is at the head of the subscription. * For instance, he raatics him say /' tioro di Pusqtia, in uii credo, uii lespro siciliiiii", etc., ex- pressions which he defends in the preface intro- ducing- his iranslation of the second rulumc of Letlers. Milan, 1826. MILAN. [Book III. CHAPTER XVII. L.I Scala— Theatre— Kalian female singers.— Bow- ins to the public. — Decorations. — Ballet. — La Scala, society of Milan.— Carnevalone. In 1826 T di(J not see La Sralii at the season of its splendour. At that time there was no opera; the performance consislefl of a kind of tragedy called Dirce, wrilten by the actor who played the principal character; both the piece and the actors were exceedingly bad, and indeed this time I went for liothiiig but to see the theatre, which seemed to me more spacious and lofty than magni- ficent. La Scala has accommodation for more than four thousand spectators ; it was embellished in 1830, and has, at all events, the chief merit of a theatre of that kind, namely, that of being perfectly resonant, notwithstanding its immensity ; this advantage is principally OAving to the form of the roof a clever construction by Piermarini. a pupil of Vanvitelli, and the restorer of good architecture in Lom- bardy in the last century. I have since been present, in Septem- ber 1827. at some brilliant representa- tions of Mose and the Ultimo giorno di Pompei, a chef-d'oeuvre of Pacini. This opera had immense success at Milan ; people returned from the country, and some even came from distant towns to hear the Ultimo giorno and madame Meric-Lalande, a French singer then very muih liked in Italy. I found in the register of an inn the name of a prince, grandson of Louis XIV,, and like him an admirer of the opera ; he had written that he came to Milan, with his attendants, t.) hear the grand opera of the Last dag of Pompeii. The piece wa> wonderfully executed by Rubini and Tamhurini; madame M(5ric-La- lande, who is even lauded as a tragedian, appeired to me affected. It is true that affectation seems customary and almost insisted on among the actresses of the Italian theatres ; the g'imaces, Dnical ges- tures, and contorsions of the Italian fe- male singer are shown in every part of her person : the arms, fingers, and feet of these harmonious puppets, especially at the end of the air, start into mo- tion simultaneously with the voice, to increase the cllect. The perpetual salutations of the actor add still more to this defect of truth. As soon as the actor receives applause, forgetting his part, in the middle of the most touching scenes, he advances towards the pit, places his hand on his heart, and bows respectfully over and over again; I have seen Tan- crede less occupied with saluting his native land than in bow ing to the public. The first woman's parts at La Scala were played by French actresses, for madame Comelli, now madame Rubini, was there and sung in Mose; I have since heard a madame (Jasimir at Venice. Verger and Duprez, excellent singers, are French- men ; the latter, a favourite tenor, since engaged at our grand Opera where he has obtained such brilliant success, is a pupil of that excellent and impassioned master of song, (]horon, director of the school of religious music, a u.sel'ul establishment which was wrongfully neglected and suffered to fall in 1830 owing to its epithet of religious. Neither are English actresses rare in Italy ; I have seen them take the first parts at Turin and Genoa, and madame Cori Paltoni. an English lady favourably re- ceived by the public of La Scala, was prima donna in 1828. Foreign invasion extends even to the stage They played in 1828 la Prova d'un' opera seria, an old work, the music and words of which are by Gnecco ; it is a very amusing picture, a kind of Comic Romance of the singing troops of Italy, and I was delighted with it. The opera bulla, which in France, beside the scenes of Moliere, seems only an un- meaning bufloonery, api)eared to me in Italy, on the contrary, gay, natural, and true ; it is a plant of the soil that dete- riorates when transplanted. The deco- rations of La Scala are magnificent, and superior for effect, if not for painting, to all that is elsewhere seen. I remember nothing so astonishing as the eruption of V^esuvius in the Last dag of Pompeii, by S. Sanquirico. There was, however, in the last act, a trifling circumstance sufiicienlly ridiculous : on one of the pillars of the forum was a large transpa- rency with these words : Si representa col velario ; this scene-shifter's erudition would have been hissed at Paris, and properly too. The passing of the Red Sea in Mose, so feebly given at our grand opera, had not been executed ; but it was not caused by timidity on the part of such clever persons : all the ma- chinery of the theatre was employed in Chap. XVIII. ] MILAN £3 the piepar.Uions for Vesuvius, and the sea, which in naliirc proiiucrs and feeds voicunos, could not be represented be- cause of the volcano of La Scala. Ballets have an action and interest in Italy which we knew nothing of before the chiiim'mg Somnambule. Thev gave atLaScala in 1827 a balletentitled Zaira, which I expected to Qnd very had ; I imagined it dilTicnlt by gestures and ca- pers to render the feeling and passion of such a piece; the ballet, however, was well got up, and presented a fine spec- tacle ; it was there that I first had the pleasure of admiring the aerial graceful- ness of Taglioni, since called to reform the stiff and starched motions of our itn- cient opera, and to replace them by her natural, elegant, pure, and almost poet- ical dancing. In the year following I saw a long and tedious ballet entitled Agamennone,a kind of dancing paro !y of the piece by Alfieri and Lemercicr, which was represented in the Italian style, between the two acts of Ceneren- tola and la Prova d'un' opera seria, to give the singers a little repose : thus were all the horrors of the palace of Argos diversified with (he mad tricks of DonM.igiiifico and Maestro Cam|)anone, two humorous characters marvellously well played by Lablache. Tragic ballets are performed in Italy in great num- bers, these serious panto.mimes being more easily got up on account of the small number of subjects for the dance, as well as the mimic talent natural to the Italians; Gioja, the Italian Gardel, his composed a ballet on the Death of Cwsar ; I was present in 1828 at Bo- logna at the representations of his Ga- brielle de Vergy. and they promised a ballet entitled Atreo for the ensuing season. La Scala is all the society of Milan ; and people really know not how to pass the evening if there be no peribrmance, for they have not there, as at Florence, Rome, and Naples, a cor/)s diplomatique to give receptions. Notwithstanding the great fortunes and generally easy circum- stances of the inhabitants, no one thinks himself obliged to be at home. The suc- cessive revolutions that the country has undergone during the last forty years, and the consequent reactions, seemed to have annihilated social life. Those draw- ing-room insurrections, when liberty takes refuge in the opinion of the fashion- able world, which, in France, the different parties hive always opposed to an un- poiiular government, have no existence in Italy. The opposition, either in exile or powerless, travels or holds its peace; and the small talk of the boxes, perpe- tually interrupted by the arrival of the last comers or the compulsory departure of the first, owing to the want of room, is hardly calculated to develope conver- sational talent. The opera may indeed be but a feeble accessory ( which is natural enough, though it has excited the surprise and indignation of some travellers, since it has been already heard and will be heard agam forty times ). but it is occa- sionally listened to, and serves as another source of diversion. Such conversations, as is easily seen, can only consist of news and gossip, and it would be rather diffi- cult for ideas to find a |)lace in them. The frivolous and trifling habits of these meetings is, however, preferable to the dulnessofoure'car?e;and the multifarious relations that it establishes, as these visits are nearly of every day occurrence, pro- duce a kind of cordial and friendly fami- liarity not altogether without its attrac- tions. The practice of receiving visits at the theatre, so injurious to the spirit of society, is not to be eradicated in Italy : every lady is a queen in her box, and like Ca)sar, she will prefer the first place in that little empire to the second in a drawing-room. The out-of-door life at Milan is merry. Itsbrilliantcarnival, caUed Carncvalone, is prolonged to the Saturday after Ash- Wednesday, and during those four days, in spite of the solemn warning of the (Church, balls, masquerades, and every species of carnival extravagance are kept up with greater spirit than before. CHAPTER XVIII. Comic actors in Italy.— Italian Theatre.— Nota. — Pbilo-dramalic llieatres.— Fanloccini. There is one observation that has struck me in visiting the various theatres of Italy ; which is, that if the lyrical depart- ment shows symptoms of decline, the performance of comic pieces seems to have attained a high pitch of perfection. Were the several actors of that country united, who are now dispersed and belong to diilerent companies, they would com- pose probably the best comic troop in 6. 66 3IILAN. [Book IU. Etiiorp. Demarini was an excellent comcdiiin, ' Vcstii is very natural and lively ; Bon, an esteemed dramatic au- thor, is original and piquant; Modena is noble and pjithetic ; Domiiiiconi is full of warmll) ; signoras Marchionni, Luigia Bon, Inlernari, Pasquaiini, Belloni-Co- lomhelli, Polvaro-Carlolta, have sen- sibililv, grace, and delicacy, and I doubt whether there exists a more genlee! sou6re«e than signora Romagnoli. It is true that none of these actresses equal mademoiselle Mars, but the talent of that inimitable actress would he scarcely adapted for Italian comedy and the cha- racters it represents. The Italian man- ners being all exterior, if one may be allowed the expression, and generally uniform in the higher class, seem hardly suitable for the scenes and action of comedy. There is not sufficient variety and contrast in their vanities to require a lesson ; the satire of reason, the fir>t principle of the viscomica, would be too strong and too serious for people so habi- tually indifferent ; and the negligence and indolence of individuals are less comic than the pretensions, disappointments, and annoyancesof our social state. The difference" of dialects is another obstacle to the improvement of the Italian stage : the pieces which are written in these dialects, are the only merry and popular ones, but they are not intelligible to the whole nation ; the others, written in the book st)!e, a kind of dead language not resembling the vernacular tongue, cannot supply those spirited and natural expres- sions which excite the laugh peculiar to good comedy, sudden and free, long, hearty and communicative. The duke of Modena's company played in 1827 at the Re theatre, a very pretty comedy of Goldoni, / Pcttegolezzi de'lU Donne.' with an ensemble that we might wish some royal companies to imitate. In this comedy one of the characters was a ridiculous Frenchman, too common in the pieces of r.oldoni; but this Parisian en perruque of {he last century was but little like those of our day, who are more in favour in Italy. The antipathy for the French is of the preceding century . Ac- I He died in Jilan, who died in 12i^l. So mean a monument to such a personage, of so great a family, — a monument erected by the people, w hose affection La Torre had merited, if the epitaph, which for once appears sincere, may be credited, — shows a republican simplicity perfectly antique. This tomb is for the middle ages like the slone slab of the Scipios, and both are more worthy of respect than the splendid mausoleums, the master-pieces of art, which succeeded them. In the cemetery of Chiaravalle, in 1282, the heretic Guillclmina was in- terred as a saint, and afterwards ex- hurfied in 1300 as a witch, and burnt with two of her living followers; she had pretended to found an apostleship of women, to have successors of her own sex, like Saint Peter, and to replace the Roman pontificate by a female papacy. One of the two sectarians burnt with the corpse of Guillelmina was the abbess Maifreda, a nun of the order of the Umiliate, whom she had appointed her vicar, with the same powers as the vicar of Jesus Christ, but who was only the first martjr oflh;'se lamentable follies. CHAPTER III. Mor.za. — Tlieudolinda. — Iron cro^rn. — Archives. — Hector Visconll. — Palace. Greco, on the road to Monza, has some fine frescos by Bernardino Luini, discovered a few years since. Rlonza, a small well-situated town, with its rich basilic, offers the oldest and most nu- merous vestiges of the Lombards ; this old basilic, founded by queen 'Iheodo- linda and exhibiting in e\ery part traces of her life, seems as if it were the temple of the Italian Clotilda, who, like the queen of the Franks, converted her hus- band to the catholic faith. The history of this queen of the Lom- bards of the sixth century contains some natural and touching particulars. So great was the popularity of Theodolinda that at the death of Antaris, her first husband, the chief men of the nation in- vited her to chose a second whom they promised to recognise as their king. Theodolinda fixed hor choice on Agi- gulphus, duke of Turin, who was worthy of such an honour. The queen, without communicating her intention to him, simply invited him to come to her court. She went as far as Lomeilo to meet him, and there having ordered a cup to be brought, she drank half of its contents and presented it to him to drink the rest. The duke of Turin, on returning the cup, kissed the princess's hand with great respect. "That is not, said Theo- dolinda, blushing, the kiss that 1 have a right to expect from him whom 1 in- tend to be my lord and master. The Lombard nation has empowered me to chose a king, and it is 50U that it invites, by my mouth, foreign over it, and me." Agigulphus's gold crown, which the canon Frisi has described in his Histo- rical Memoirs of Monza, was taken to Paris in 1799 and put in the cabinet of medals in the great Library ; it was stolen in 1801, and melted dow u by the thieves. How strange the fate of this Lombard crown, to be conferred with such ingenuous grace, and to fall and come to its end by felon hands at Paris! .\t'ter the affecting marriage of Theodo- linda and Agigulphus, it is disagreeable to see them so grossly deceived by the crafty muleteer in Boccaccio's novel, which has been imitated by La Fontaine.' The reliquary of queen Theodolinda, a toilet cabinet of the middle ages, con- tains her crown, sapphire cup, perhaps the one >he presented to.\gigulphus, her fan of red parchment, and her comb, which, from the present taste of ladies for the Gothic, would be still a near ap- proch to the fashion. Among other articles in the treasury of Monza is a grand relic, namely, the entire gown of the Virgin, gorgeously enclosed in a silver frame, which is ex- posed on holydays. This pretended gow n is a sort of cotton of no great an- ' Gioin. III. DOT. iv. ; La Fon!.. Cont. liv. ii. Chap. III.] MONZA. 73 tiquity, in which even the Italian clergy (in general full of propriety and good sense) do not believe, and which it is time to leave olT exhibiting. This at- tempt to establish, as among the pa- gans, one religion for the people and another for the priests, is a deception unworthy the truth of Christianity. The iron crown, the real wonder of Monza, is enclosed in the u|)per part of a large cross placed in a chapel of the cathedral ; it is rarely seen but at a cer- tain distance, and durmg the short ser- vice which always accompanies its ex- position. The canons alterwards show an imitation of the true crown, which you may handle and conteniplale at your ease, as well as the very costly, but sometimes very insignificant, presents made by sundry sovereigns to this ca- thedral ; such, for instance, are certain little loaves of gold and silver presented through cardinal Caprara at Napoleon's coronation as king of Italy. 1 confess that I preferred to all this rich and mo- dern jewellery the gradual of Saint Gre- gory, a fine purple manuscript, > given to the cathedral of Monza by that great pope, who was the friend and confidant of the amiable Theodolinda ; and parti- cularly the famous papyrus containmg a statement of the relics that he sent her, a frail and venerable monument of twelve centuries, tlie real king of pa- pyrus, as the canon Frisi enthusiastically says, who deihrones without pity another papyrus belonging to the marquis Mallei. In my first journey I only saw the iron crown at a distance; a close inspection has since been allowed me, as well as of the iron circle it encloses, which, as every body knows, is made of one of the nails used in the Passion. 1 had been presented to the archprie^t and the chapter by an ecclesiastic attached to the Ambrosial! library, who was passing his vacation at Monza, the place of his birth. The hierophantof the temple was a good sort of man, but no great genius. I could not pardon him for the disorder and filthy condition of his archives, ■which have no catalogue but an inventory of the objects restored by France, in Vhich the titles are mutilated. 1 The letters of Saint Gregory's gradual are in gold and iitver; ttie lalter are almost efiaced, but tbose of gold are in heUer preservation. * M. de Sismondi says that at one and ttie same A series of medallions painted on the circular vault of the church of Monza, represents the princes who have been crow ned with the iron crown, from Agi- gulphus, the beloved husband of Theo- dolinda, to Charles V. After this last no brow has dared to bear it till Napo- leon. Among the historical mementos which abound at Moaza, is a painting repre- senting the solemn reception given to Henry 111. by Saint Charles Borromeo. May they, in that chapel which contains one of the instruments of our Saviour's Passion (the chapel del San Chiodo), have repented together of the Saint Bar- tholomew massacre, if it be true that this illustrious saint was privy to it! The remarkable paintings of this ba- silic are : the ceiling, by Isidore Bianchi ; the frescos near the high altar, by Mon- talto and Cesare Procaccini; a St. Ge- rard on a column, by Bernardino Luini ; the Visitation, by Guercino. The so badly kept archives contain an antique and curious collection of bulls and papal briefs, and diplomas of the em- perors, bound at Paris, and bearing the arms of the empire. One of the cele- bialed ivory diptychs represents Boetius in prison, comforted by Elpis, a dis- tii)gui.>;hed Sicilian lady, his first wife, holding a len-stringed lyre, or according to some interpreters, by an allegorical figure of Poetry. In the cemetery appertaining to the church is a strange corpse, that of Hec- tor or Astor Visconli, exhumed alter about three centuries "and found entire. Hector Visconti, one of the many bas- tards of Benarbo,^ received the sur- name of the Fearless soldier; being blockaded in the castle of Monza, he de- fended himself there against the troops of duke Philip Maria, until, as he was leadiiiKhis horse to the well, a fragment of rock thrown by a balista broke his leg, and killed him. The body of Hec- tor Visconti has since been put in a niche under one of the arcades which sur- round the cemetery : were it not for its whiteness the dried corpse might be taken for an armed mummy standing up- right; and this brave knight, leaning on lime Benarbo had thirty-sii children, and eighteen nomeu pregnant by him. [Ilist. des Rep. it., cb. Lll. ) 74 PAVIA. [ Book IV, his old iron sword which hears his cipher, seems still to be facing the enemv. The" i)alace of Monza is noble and re- gular, and one of Piermarini's best per- formances. The chapel passes for a masterpiece. In the rotunda of the orangeiy are the Adventures ofPsyctie, celebrated frescos by Appiani, which began his reputation. The gardens and hot-houses are vast and magnificent ; as is also the park, which is crossed by the Lambro, and is nearly three leagues in circumference. The remains of the palace of Federico Barbarossa at Monza have become pub- lic property ; the residence of this hum- bled and restilf emperor is now a store- house for the town. CHAPTER IV. The Cbarlerhouse of Pavia.— Tomb of GiOYaoni Galeas Visconli.— Arts encouraged by tbe monas- leries.— Francis I. at the Cbarlerhouse. It is impossible to contemplate the lustre, richness, and ornaments of the Charterhouse {Certosa) of Pavia, without becoming an admirer of its ancient masters, and feeling oneself almost a Carthusian. Splendour like this is the most innocent of all, as it is due to the culture and improvement of the soil : "The only conquest," as one writer feli- citously expresses himself, "which does not increase the number of the un- happy." ' The sumptuousness of the world, by which people are so dazzled, seems less deserving of respect than that of these magnificent recluses. The Charterhouse was suppressed by Jo- seph II., who confiscated its revenue amounting to a million ; at a subsequent period the Directory stripped ii even ol the lead on the roof: all these philoso- phic ravages, this ungrateful violence towards the benefactors of the country, this destruction of a national and reli- gious monument and miracle of art, do not inspire less abhorrence and compas- sion than any other ruiu.» For the repairs ol the Charterhouse, which is not irretrievably injured, 5000 li- ' Melon, Essai politii/ve sur le commerce. ' Tbe laking off the lead gave admission to Ibe rain, w hicb has done much damage to several pans of the church and injured Ibe paintings; many vres are now assigned, but a French ar- chitect would do but little with that sum. It must also be allowed that the climate of Italy is less destruclive than ours, and that the materials are of better quality and cheaper. The comfortable retreats of the an- cient monks may still be seen, to the number of twenty-four ; they are of a sirsgle story, with a fountain and small garden. Spalio brevl Spem longam reseces. The Gothic church is by a builder whose name is unknown. The elegant front, adorned with exquisite sculptures by the first masters of the fifteenth cen- tury, seems to be by Boigognone, no less skilful as an architect than good as a painter. The small columns beneath the ogive have been reckoned woithy of Bambaja ; the basso-relievos near the principal entrance are supposed to be by Gobbo; they represent a Visitation, a Miracle, a funeral Procession, and are masterpieces for grace, nature, and truth. The splendid tomb of the founder of the Charterhouse, Giovanni Galeas Vis- conti, finished in 15G2 by Cristoforo Ro- mano, is placed in the church. It is such a monument as ought to he erected by characters like these monks, to whom death always present, suiiplied the place of ambition, memory, and meditation. The tomb of Giovanni Galeas has always been empty; it was not finished til! one hundred and sixty years after his death; during this long interval, the place where his remains had been temporarily depo- sited was forgotten, and, like the Egyp- tian kings spoken of by Bossuet, this duke of Milan has never enjoyed his sepulchre. Behind this mausoleum are the figures in demi-relievo of Louis the Moor and his wife Beatrice, attributed to Gobbo ; the figure of Beatrice is one of the cleverest performances of the time; the chill of death alone has extinguished the expres- sion other features. Despite the spoliation of 1798, the Charterhouse of Pavia still presents some remaikable paintings; for instance, there painlings also were carried anay in 1798 ; the Gra- dual of the Carlbutiaus is in the Brera library, but as was usual with such amateurs of books, It has been sli ipped of its rich covering. Chap. IV. ] PAVI.\. are on the interior of the front the fresco of the Assumption, by Giuseppe Procac- cini ; the Virgin adoring the Infant Jesus, in Monlagna's styie, is by Arn- brosio Fossano; andSf. Veronica show- ing the Saviour's ivindiny-sheet to a number of ivomen, by Carnillo I'rocac- cini. Tlie flowers in hard slone, a ricli and brilliant mosaic, which embellish the front of this altar and several others, are the workoflheSacchi family, established at the Charterhouse, which, from one generation to another, has always fol- lowed the same occupation, and remained there in succession for three centuries. The monastic orders, by their uninter- rupted duration, have afforded and se- cured to the arts more ceriain and per- manent encouragement than all the governments. The painting in six com- partments, of the year 1496, by 3Iacrin d'Albe, a good old Piedmontese painti>r, who made the Qrst approaches to the modern style, is esteemed for the truth of its colouring. Two frescos from the Life of St. Syrius, by Antonio Busca, repeat the same countenances, and prove the indolence and eccentricity of the author. The Virgin, her Son, St. Peter and St. Paul, a picture now become dull and much damaged, is by Guercino. An Annunciation, by Gamillo Procac- cini, by its arrangement and attitude of the heads, recalls his clever imitation of Parmegi.mo. The ceiling of the new sacristy is by Alessandro Casolani, a painter of Siena in the sixteenth century, who v/as esteemed by Guido. An .45- sumption, the upper part of which, of beautiful expression and colouring, is by Gobbo, and the lower part, precise and true, by Bernardino Campi. The Christ before the high-priest is one of the best works of Paggi, a Genoese painter of the sixteenth century. An Annunciation is by Cesare Procaccini, and a Virgin, the Infant Jesus, two saints and three angels full of grace playing on instru- rnents, by Bartolommeo Montagna, a pupil of Giovanni Bellini, a painter of the middle of the fifteenth century; he was of Venetian origin but born at Vicenza, as it has been proved by a dis- tinguished man of that town. Count Leonardo Trissino, whose information and literary taste make him worthy of the name. The old sacristy hasa5f.il/arfin, by Bernardino Luini, and a superb St. Ambrose, by Fossano. At the altar of the Relics, Christ in the midst of the elect is by Danielo Crespi. The frescos of the choir were the last and finest paintings of this great artist, who, before the age of forty, was carried off, as well as his whole family, by the plague of Milan in 1030. The brazen gates of the tabernacle are by Francesco Brambiila: the stalls, a precious piece of inlaid work of the year li86, are by Bartolommeo di Pola. A basso-relievo by Denis Bussola, \.hc Massacre of the Innocents, is regard- ed as one of the best sculptures in the church for nature and expression. A Vir- gin surrounded with angels adoring the Infant Jesus, by Perugino, is admirable. The little court called the court of the Fountain, near the grand court, is de- corated with works in stucco, which are not surpassed in beauty and elegance by the finest works in marble. Brantome informsthat whenFrancis I. after his defeat was taken prisoner in the Charterhouse park, he desired to be con- ducted to church to perform his devotions, and when there, the first object that pre- sented itself to his eyes was this inscription from the Psalms : Bonum mihi quia humiliasti me, utdiscam justificationes tuas It was a great and affecting lesson, such as religion alone could give to the king who had lost all except honour. ' Some persons have received from the Charterhouse an impression difl'erent from mine; they found it rich and pretty, but not remarkable for grandeur; the situation, instead of combining the hor- rors generally attributed to monasteries of this sort, is exposed, flat, and mono- tonous. But the Carthusians of Pavia, being husbandmen, were doubtless more attentive to the quality of the land, than to its picturesque appearance. As to the impression produced by the building, it is owing, I believe, to the fact of those persons having visited it on their return from Italy, and after my several voyages I can easily conceive it. Nevertheless I thought it incumbent on me to attempt a relation of what I felt on surveying this monastic splendour, before I became ac- customed to it. Among the many projects for employ- ing the buildings of the Charterhouse, there is one which seems feasible and ' Tliis so often quoted expression of Francis I. is perhaps liclilious, as it is not in tbe original of tbe letter written to his mother the queen-regents 76 PAVIA. [Book IV. very excellent; that is, to convert it inlo an asylum for aged and infirm priests, and for country clergyinon no longer able lo continue their laborious ministry. Such an eslablishmenl would become like the Invalides of the priesthood; it would be, wilh the Invalides of the army, ^/temoif venerable place on the earth. ■ CHAPTER V. Pavla.—Universiiy.— Library.— Colleges. Pavia struck me by the singular con- trast which exists between some of its ancient monuments, the remnants of the middle ages, when it was the seat of the kings of Lombardy or the capital of a republican stale, and the modern and scientific aspect of its university, » with its museum of natural history, its cabinets of experimental philosojthy and anatomy, and its botaincal garden. The museum of natural historj h.is had the honour, rather unconunon to this kind of esta- blishment, of iiisjiiring the small but beautiful poem of Mascheroni, in which Daphnis calls the attention of Lesbia to the productions of nature with which it is enriched. ^ The number of students is fourteen hundred : these youths have a distinguished appearance, and arc noted for their ardour and capacity. As in university towns, the crowd of idlers and curious persons who are usually found in large capitals, do not interfere with the lessons, each feels that every one goes there to study. If Pavia lost some years ago many of its most cele- brated professors, such as Tamburini, Volla, and Scarpa, ^ it still owned some able masters, such as the profes^or of mathematical and experimental philoso- phy, S. Configliacchi ; of natural history, Brugnatelli ; of botany, Aloreiti; of mi- neralogy and zoology, Zandrini ; of general chemistry and j)hurmaceuti(s, Marabelli ; of anatomy, Panizza, the worthy successor of Scarpa, and corres- ponding member of the .\cadem> ofscien- ces at Paris ; of medical clinics and the- rapeutics, del Chiappa; of pure elementary Leltres Persanes, let. Ixixv. ^ Although foundert, as It is said, by Charle- magne, thisuulversity had greatly declined. Mari.i Theresa remodelled It, and llsorganlsaiion does not In reality belong to a more remuie period than the middle and clo^e of the last century. mathematics and surveying, Bordoni, a great mathematician ; of ecclesiastic law, Prina ; of Roman law, as related to the common law, Beretta ; of mechanics, Borgnis; of political sciences, Lanfran- chi. No one is allowed to follow the university courses without having pre- viously been atihe L)ceiiin. The course of instruction is divided into three parts, viz. : the faculty of politico-legal studies, medico-chirurgico-pharmaceulical stu- dies, and philosophical studies, which nearly corresi)ond with our faculties of law, sciences. and letters, notwithstanding the title of philosophical given to the last. The course of the faculty of politico- legal studies lasts four years ; the follow- ing are the professorships : st;;ti.stics, introduction to politico-legal studies ; natural law, private and public; crimi- nal law; Roman law, as compared with the common law ; ecclesiastical law ; Austrian universal civil law, and its difTerenccs with the French civil law; commercial law; maritime law; political sciences and the penal code, and judiciary procedure. The course of the faculty of medico- chirurgico-pharmaceutical studies con- tinues five years ; the professorships are : mineralogy ; introduction to the study of medicine and surgery ; practical ana- tomy ; botany; zoology; comparalive anatomy and physiology ; general che- mistry ; animal ai:d pharmaceutical che- mistry ; introduction to the study of theoretical surgery, pharmaceutical die- tetics, materia medica; general pathology; etiology and semeiosis ; midwifer) ; theo- retical surgery : use of instruments and theory of bandages: materia medica and treatise on poisons ; general pathology ; hygiene and general therapeutics ; prac- tical medical instruction at the patient's bed-side ; special iherapeuticsof theacule internal maladies; veterinary art ; foren- sic medicine; theoretical instructions on the diseases ol the eyes; public hjgiene {poUzia medicale). The course of the faculty named philo- sophical studies lasts two years : one part of its courses is not necessary lo obtain ^ Lesbla was the Arcadian name of Grismondi SuardI of Bergamo, a woman nho^e genius as a poet was pure, nuble, harmonious, but suiuenbat diffuse. 4 He died October 31, 1832, aged elghly-QTe years. Chap. VI.] PAVIA. 77 the grade of doctor. The obligalory courses are : religious inslruction ; Ihco- reticai [)hiloso|)hy ; pure elementary ma- thematics; latin philology; mora! phi- losophy; malhemalical and experimental physics. The following courses are not obligatory: universal history; natural history ; rural economy ; pedagogy ; his- tory of Austria; historical sciences; ar- cheology and numismatics; diplomatics; classical Latin literature; Greek philo- logy; criticism; Italian literature and language; history of the fine arts; his- tory of philosophy; German language; heraldry. By this table one may judge of the professorships of the university of Pavia and the extent of its education; it will confirm the remark that we have pre- viously made on the pretended obscu- ranfisme of Austria : in this list there Is a course of statistics, which we have never had, and courses in pedagogy and diplomatics in actual progress; real isor- mal and charter schools. As to the in- struction, I have been informed by some of the most distinguished professors that it is neither compulsory nor restricted; the salaries have been augmented, and are even higher now than they were under the French government, w hich had already made some additions to them ; they are at least as high as those of the professors of the academy of Paris, and it is well known that living in Italy is far less expensive. The ancient library of Pavia, establish- ed by the Sforza family, and chiefly by duke Galcas, w ith the advice of Petrarch, was successively despoiled by Louis XII. in 1499, and in 1526 by .Marshal Lautrec; the great library of the rue Richelieu is indebted to it for the finest editions of the fifteenth cejilury, of which it now has the richest collection in the world. The present library of the University was founded by Count Firmian, and it has received the greater part of Haller's books. Being intended for educational works, it has scarcely any ancient manu- scripts except those proceeding from the suppressed monastery of Saint Peter in del d'oro, and with all its fifty thousand volumes, it contains but few scarce works. Its collection of the memoirs of all the ' Dante bas some line verses on Ifie burying of Boetius in Saint I'eltr in cicl U'oro : lo corpoond'ella {'.'aninia santa] fu cac(ia!a giace scientific societies and academics in the original text, is the largest and most complete in Italy. The portfolios of the professors are carefully preserved Ihere, and must form an interesting compila- tion. An uiider-librarian's place was vacant about the middle of 1826, and was about to be compeleil for, as arc all literary functions in the Lombardo-Ve- netian kingdom. This method, which might be thought the best, and which appears to me very good for nominat'.ons to ofiices of a secondary nature, is how- ever oU'ensivc lo the Italians, and I have heard it reprobated by men of enlight- ened minds. There arc three free colleges at Pavia, namely, the Caccia, Rorromco, and Ghislieri colleges; the two first are fa- mily foundations and arc still supported by the founders' munificence. Such foundations are by no means rare in Italy; perhaps aristocracy has no nobler attribute than this perpetual benijfit of education conferred on successive gene- rations who must naturally become at- tached to these same families. The Cac- cia college receives from twenty-five to thirty pupils, all from Novara, the coun- try of the Caccia family; the Borromco, thirty-six; and the Ghislieri, sixty, and twelve boarders. The finest of the esta- blishments is the Borromeo college, founded by Saint Charles, as well as a great number of the first schools of Lom- bardy. With its imposing front, vast porticoes, the elegance of its architecture, the brilliant frescos of Federico Zuccari, representing the History of Saint Char- les, which cover the walls and ceiling of the great hall, this superb edifice seems rather a palace than a college. CHAPTER V!. Towers.— Bocllus.—Malasplna bouse. — Museum. I experienced numerous historical dis- appointments at Pavia : I went to the church of Saint Peter in del d'oro to look for the tomb of Boetius, thai really great man, minister, scholar, orator, philosopher, poet, musician, and martyr to the public welfare and the truth in an age of barbarism ; • it was no longer Giuso In Cleldauro, ed essu da marliro, E da esilio venne a qucsta paci . (.I'ARAD. X. U7. ) 7. 78 PAVIA. [Book IV, there : the church had been suppressed thirty years, and I beheld it then encum- bered with the forage of a Polish regi- ment. The body of Boetius h.id been put in the cathedral, but, in the language of the day, there were no funds to build him a tomb. Certainly the Liulprands and Othos, those princes of the middle ages that we look on as barbarians, some eight or ten centuries ago, had erected and magnificently enlarged the mauso- leum of Boetius; they had not yet, to avoid rendering honour to virtue, adopt- ed this eternal and invincible argument of our civilisation.' The tomb of Liut- prand was at first placed in the church of Saint Adrian, but some time after it was carried to the basilic of Saint Peter in del d'oro; in his will he desired that he might be interred at the feet of Boetius, that when he ceased to exist he might not seem to cease testifying his respect for that illustrious man. The coffin of this great king, as we are informed by a learned Pavian,a was supported by four small marble columns; his statue in royal robes was placed above. The decision of the council of Trent caused the cofliu to be taken down, as it was then decreed that the burial-place of saints only should be above the surface of the earth. The ashes of Liutprand were deposited at the foot of a pilast'r in the choir; the ori- ginal epitaph which told of his piety and valour, the wisdom of his laws, bis con- quest of the Roman state.and his victories over the Saracens in France when he flew to succour Charles Alartel, the tak- ing of Ravenna, Spoleto, and Benevento — all these signs of glory had disappear- ed, and nothing was left on his fallen < The tomb of Boelius was erected in (he church of Salnl Augustine by the liing of the Lombards, Liutprand, about 720; the emperor Otho III. erected another and a magniUcentoneiii marble «itha vsty remarkable inscription composed hy Gerbert, after- wards pope under ti:'^ uamc of Sylvester II. (iYo(i- ^'* Z;.]jaTienenli alia sloria delta sia patria yaccotle ed illuitrale da Giuseppe lloboUni, gen- liluomo pave.se. Pavia. 1826 et scq. ; torn. i. 210, and II. 86.) Gerbert was one of llie most learned men of his day, but he did not invent clocks as some have supposed |V. Gallia Christiana, torn, x.); he was born In Auvei gne, and may be added to the illustrious Auvergnals menlioneil by M. de Cha- teaubriand in his Voyage a Clermont. • Notlzie apparlenentialla sloria delta sua patria, raccolle ed Illustrate da Giuseppe Roboiini, vol. i. p. U4. < Petrarch, alluding to Ihc birth of an lllegili- male son previous to that of tliis daughter, avows tomb but the words, Here are the bones of king Liutprand; this simple inscrip- tion was one day destined to be itself ignobly smothered over with trusses of hay. and I sought it in vain. Pavia, called in the olden times the City of a hundred Towers, has but two now standing. One of those now thrown down, from its extravagant structure, was called the point downwards ( pizzo in giu). The tower which bears the name oi Boetius is modern ; the tradition even of his imprisonment in a tower can be traced no farther back than Jacopo Gualla, an historian of the fifteenth cen- tury. As to the site of the palace of the Lombard kings, probably near the church of Saint Michael, I was informed by a learn- ed man whom 1 consulted that there were fourteen opinions on the subject, without counting his own, I believe; so I had not the courage to look for its locality. In front of the Malaspina house are the busts of Boetius and Petrarch, men greatly differing in fortune, genius, and character, whom chance alone could have brought intojuxta-position. An elegant inscription by Morcelli, placed beneath the bust of Boetius, informs us that it was near that spot where he was im- prisoned, and composed his book on the Consolations of Philosophy. The in- scription on Petrarch's bust states that he came to pass the autumns within the walls of that house, the residence of his son-in-law Brossano, architectural sur- veyor to Galeas Visconli, and husband of his natural daughter, a trifling inci- dent, but somewhat crude, which sadly disconcerts our imaginings respecting the fidelity of Laura's bard.< This daughter himself, with a sort of Italian simplicity singular enough, how he had thought of escaping from the passion which enslaved bis mind and formed bis torment, by jleiding to propensities somewhat less plaionic. But he pretends that In spite of these indulgences he never really loved any but Laura, that he was always con-sclous of the dlsgracefuliiess of such habits, and ultimately ridded himself of them in his fortieth jear. Carm. lib. i. Ep. 12, «l Epist. ad Post, quoted by Foscolo, Essays on Pe- teemed, namely : a Crucifix, by Malosso; St. Anne, by Moncaho; St. Sebastian and divers saints, a painting in six compartments, inscribed with the name of Bernardino Colignola, a painter of the sixteenth cen- tury, whose works are scarce. Santa Maria Coronata, commonly called de Canepanova, of a plain but noble architecture, is by Braniante ; it contains some fine paintings : Jael and Sisera; David and Abigail, by Mon- calvo; a Judith, an Esther, by Tiarini,an excellent painter of the Bolognese school ; Rachel at the well ; the Hebrews marching towards the land of promise, by Camillo Procaccini ; and two other subjects from the Old Testament, by his brother Cesare. At Saint Marino, a Boly Family is attributed to Gaudenzio Ferrari; St. Je- rome and the Virgin, to his illustrious pupil Bernardino Luini. Saint Francis has two good pictures: a St. Matthew, by Bernardino Campi ; a St. Catherine, by Procaccini. Of the throng of deceptive remains which abound in Italy, Pavia, perhaps, possesses two of the most brilliant and best imagined. The first is the pompous pretended tomb of Saint Augustine, for- merly standing in the church of Saint Peter in del d'oro, and now in the cathedral. The sculptures which orna- ment it, consisting of fifty basso-relievos, ninety-five statues, in all four hundred and twenty figures, without including animals, are a singularly remarkable piece of workmanship of the close of the fourteenth century, and the most con- bis Guide of Pavia, and of Resmini, tn the Uistory of Milan, has been recently "ontradicted by San- Quinlino|Oe/i' italiana architetlura tlvranV la do- tninaziuiie longobarda, Brescia, 18^9). According to San-Quinlino, Favia and the old church of Saint Michael were burnt in 92i by tlie Hungarians: so that the present chu'Ch can only be of the end of the eleventh century. 80 COSMO. [Book IV. siderable of that epoch. The second counterfeit remnant in the cathedral is the lance of Roland, a sort cfoar pointed with iron, suspended from the ceiling. This cathedral is a monument of no great importance; it has been recenliy repaired, and the old Gothic is nearly hidden by the new constructions. There are some paintings, however, not desti- tute of merit, as those of the high altar, by Carlo Sacchi, a l^avian painter of the seventeenth century and a clever colo- rist; at the altar of the Rosary, the Mysteries, by Antonio Solari, surnamed Zingaro, who was born at Venice and not in the Abruzzi, as some have sup- posed ; a St. Syrus and two other paint- ings near it, the best works of Carlo Antonio Rossi, a pupil and follower of Procaccini ; a Flagellation; the Virgin and the Marys, by Danielo Crespi. The covered bridge over the Ticino, supported by a hundred columns of gra- nite, with its elegant front on the side towards the town, is a monument of the fourteenth century, which, with the waterworks of the same period, still bears witness to the grandeur and utility of the public works at Favia under the republican government. CHAPTER VIII. Varese.— Madonna del Monle.-Italian Catbollcism. —Cosmo. — Cathedral — .Edes Joiiw. — Lyceum. — Library.— Casino.— Theatre.— Tower of Baradello- Before returning to Milan, in 1827, I visited Cosmo. The road, on leaving Sesto Calende, diffei-s completely from the flat and monotonous one leading to Milan. This corner of Lombardy , being nearer the Alps, is picturesque and full of variety. The road passes by Varese, a rich and pretty town, of a joyous aspect and well peopled, near the lake of its own name; it has a theatre, a casino, and some splendid villas, where Italian magnificence is already displayed. A part of the road passes under some beautiful irellis work, belonging, I be- lieve, to the gardi.^ns of the neighbour- ing villas, and the view from thence commands all the country to a great distance. The octagonal baptistry of the principal church is a monument remarkable for its antiquity, and is a remnant of the Lombards. In an elegant little church, the Adoration of the Magi appears to be the last work of the old age of Camillo Procaccini, as we are informed by this pathetic inscrip- tion of the time : — Hie Camilli Procac- cini manus inclitCB ceciderunt. The figure of the Virgin has but little grace- fulness and is the weakest part of the painting, which is not, however, des- titute of a sort of variety. Near Varese is the famous Madonna del Monte, whose fete the maidens of the neighbourhood were then going to cele- brate (it was in the month of September on the eve of the Nativity of the Virgin). The whole district had that air of joy, which the Catholicism, enlivened by or- naments, ' of the inhabitants of Italy gives to the popular manners of the country. The prospect from the Ma- donna del Monte is varied, immense, and magnificent, extending from the chain of the Alps where Mont-Rose raises its towering summit, as far as Milan. Tiie church and the fourteen chapels, built by the roadside, have some good paint- ings of the best Lombard masters of the fourteenth century. 1 committed the fault of not going to Lugano, which its lake, the frescos of Luini, and its Gazette of the Ticino, render worthy of a visit from the lovers of nature, the arts, and liberty. I was delighted with Cosmo : its posi- tion in a species of valley on the banks of the lake and its many towers render it picturesque. The marble cathedral erected by the people is a vast and beau- tiful monument of the era of the revival. Rodari, an able architect and sculptor of the close of the fifteenth century, too little known, executed the elegant gal- lery, the chandeliers of the altar of Saint Lucy, the exquisite pilasters of the organ, the graceful ornaments of a little door, the Christ in his mother's arms, and some other excellent statues. On the outside wall are the remains of an in- scription relative to Pliny, which has been quoted by Grutcr and the divers editors of the Latin Epistolary, although it contains nolhing very interesting lor history. The baptistry is attributed to Braniante. The Nativity, the Adora- tion of the Magi, the Virgin, St. Je- rome and some saints arc by Bernardino Luini ; a Flight into Egypt, the Espou- sals of the Virgin, by Gaudenzio Fer- rari. ' D'orncmenls egaNe.— BoiLcir. Chap. IX.] COSMO. 81 The church of San Fedele, the oldest in the town, is of characleristic architec- ture. There are some fine frescos aitri- bulcd to Camillo Procaccini, and the chapel of the Crucifix is of good archi- tecture. The ^des Jovice presents, nnder the vestiljules, the porticoes of the court and the staircase, a real museum of aniique inscriptions. The device of the Giovio fan)iiy is several timos repeated on the walls, Fato prudcntior minor, a parody of that somewhat obscure verse of the Georgics, on the foresight of ravens : Aut rcnim fato prudenlla major; a motto of a destructive fatalism, little worthy of a scholar and philosopher. The jEdes Jovice was the abode of Count Giambattista Giovio, great nephew of Paolo Giovio, a man of erudition, and author of the Lettere lariane, somewhal ostentatiously surnamed the Varro of Cosmo. The library contains ancient manuscripts, some of which are still un- published ones of Paolo Giovio, Bene- detto Giovio, the second scholar of this family, and of the count Giambattista. A magnificent lyccum wjis founded in 182i. On the front are busts of the il- liistrious iiicrati of Cosmo from the two Plinys down to Carlo Gaston Rezzonico, a learned critic and tolerablv brilliant poet of the last century j busts, which are strangely enough surmounted by that of Saint Abbondio, which would be more suitably placed in the chapel, and its present position might now be occupied by the bust of Volta, the honour of Cosmo. The library of the lyceuni had a good beginning, and is already exten- sive. It is decorated with a large statue by Bernino of St. Isidore keeping his oxen. So perpetually laboured is the talent of this artist, that not only is the air of the saint devoid of every shade of rusticity, but even the calves are formal and have also, in their way, a smack of affectation. Cosmo has a superb literary casino. This establishment of an Italian town of fifteen thousand souls, is superior to all those of the same kind in Paris. The new front of the theatre is a noble piece of architecture, and the interior is pretty handsome ; but the players were execrable, and I cannot forget a certain Rosina, one of the most affected Italian singers that 1 ever heard. This worst of the Italian actors is not, however, cold or dull like that of our provincial per- formers : thanks to the language and the physiognomiesof the country, it is hearty, boisterous, expressive, and animated. On an eminence near the road, is to be seen still standing the tower of Ba- radello, anothei monument of the intes- tine broils and revolutions of Italy in the middle ages. It is there that Na(ioleon della Torre was confined in an iron cage until he perished, after nineteen months of torment; this |)erpetual chief of the Milanese was made prisoner by the army of the archbishop of Milan, Otho Vis- conti. whom he had expelled; a defeat which overthrew the power of the Tor- rlani and brought ahoul the sovereignty of the Visconli. Voltaire ridiculed these cage stories ; it is clear, however, that the inhabitants of Cosmo shut up in three iron cages Napoleon della Torre and five of his relatives taken with him. because he had intlicled the same [)unishmenl on one of their counlrymen. The tower of Gabbia, which is still in existence at Mantua, and retains its cage; and the tower of Pljcentia, which has also a cage, assert Ihi.- barbarity ; it even lasted more than two centuries. The impri- sonment of the six Toiriani took place in 1277; the same captivity is frequent at the end of the filleenih century : the duke of IS'emours and cardinal La Balue underwent it, and Comines confesses that he had an eight months' taste of it. During the French domination, a tele- graph was established on the tower of Buradello; it has since been suppressed, as well as all the others in the Lombardo- Venelian kingdom : one would say that German sluggishness felt embarrassed by the rapidity of such an instrument. CHAPTER IX. I.atie. — Greelj names. — Factory-convent.— Ptiuiana. Meizi villa.- Fiunie Latle.— Frafe nuns.— Grave- dona. — Biiplisliy. — Musso palace. — Sunimariva villa. —Basso-relievos of Thorvvaklsen. — Villa d'Esle. — Vico. — Oclescalcbi V ilia.— Elm. — Paolo Giuyio. It is difficult to describe the variety and the enchanting localities of the lake of Cosmo; with its woods, rocks, and cascades, the mildness of the air, and the olive and citron groves that reach 82 COSMO. [ Book IV. down to its banks, it presents an image, as it were, of Switzerland and Italy com- bined ; Greece even seems to be there, and she has given some of her harmo- nious names to sundry places in the en- virons : for instance, Lenno, Nesso, Lecco, Colonia, Corenno. which natu- rally remind one of Lemnos, Naxos, Leucadia, Colona, and Corinth. This number of Greek names is a proof of the emigration of the Pelasgians into the north of Italy, and the name of Cosmo, too, bespeaks a Greek derivation. The Pelasgians were originally from Ar- cadia,' and on these beauteous shores they found the freshness and charming solitudes of their native vales. ^ In spite of the singular, and perhaps rather cold, epithet of the great master, Lari Maxime, * the lake of Cosmo does not present, like some others, a great plain of monotonous water; on the con- trary, the scene appears to close, reopen, and renew itself every instant; its little straits produce the effect of a succession of lakes, and the headlands which they form present admirable views of diffe- rent kinds. I went over it several times with infinite pleasure, as well as its en- virons, and I could have wished to so- journ longer there. It would ndt be very expensive to live in this delightful country ; at Ealbianino, one of the best situations on the lake, I was shown a very pretty house then let to an English family forfiffy Milanese crowns a mouth, a little under 250 francs. On an agreeable acclivity, near the point ofTorno, a pretty village which rises in the form of an amphitheatre, may be seen the ruins of an old mona- stery, for the borders of the lake are all ' It would be easy to make a lengtliy note on the origin of tbe I'elasgians; it is said now ttiut lliey came from Itie land of Canaan ; I liave adliered to t!ie opinion of D'Amille, Freiet, and Rartlielemy. ' According to Stiabo, Pompey seiit Into tlils country, after it was ravaged by the Hbetians, live hundred Greeks of distinguished families to re- people it. 3 Georg. II. 159. Some injudicious commenta- tors had pretended to discover two lakes in the Lari maxime, namely, the lake of Cosmo and Lago Maggiore, a reading rightfully rejected by lleyna. ^ Pliny the Elder pretends that the periodical flow takes place every hour : In Comeiisi. jiula Larium tacum. Ions largus liorif singulis semper iniumescit ac residet, ii. 103 ; and Pliny the younger makes it three times a day, lib. iv. ep. 30. 5 The most satisfactary explanation of this phe- Govered with chapels, churches, and con- vents, which have a very picturesque ef- fect w hen viewed from the water. The monks of Torno belonged to the umi- liati, an order devoted to manual la- bour, and whose convents, numerous in Lombardy and on the banks of the lake of Cosmo, were woollen manufactories; the workmen lived there with their wives and children, subject to certain re- gulations. It appears that the trade at Torno was so flourishing, as to cause a relaxation of discipline among the umi- liaii from the increase of their wealth, and that it was found necessary to sup- press this factory-convent in 1571. I went down to the Pliniana, the most noted spot on the lake. The Pliniana was not, as is supposed, the abode of Pliny, but takes its name from the fa- mous fountain observed by the Elder Pliny and described by the Younger, whose letter, which may be read on the wall, totally differs from the passage in his uncle's Natural History . 4 On seeing the abundant and im[ietuous issue of this fountain, the periodical flowing and eb- bing of which is still a mystery, ^ I was struck with the might and unchange- ableness of nature, always the same though ages pass away, and the admi- rable order which she preserves arrtid the wreck of all things human ; science examines, and reason loses itself in researches ; but ever-teeming natuie lives, creates, and renews. The present palace of Pliniana, a massy and formal square building, was erccled in 1570 by Anguissola, one of the four chief nobles of Piacenzia, who poniarded the tyrant Pieiro Ludovico Farnese, son of pope Paul III, and threw his body out of the nomenon Is probably that given in a note to te- malres Classiqves latins: the ebb and How, says the note, may be produced by the agency of a siphon or lube formed by nature running through the clay and the rock. The following pleasing pas- sage from Pliny's letter, in which he ingeniously compares the ebb and flow of the fountain to the guggling of a botlle, makes a near approach to the conjecture of the .-iphon : — "Spirltus ne aliquis occultior OS fonlls et lauces modo laxat, modo in- cludit, proul Hiatus occurrll, aut decessit expulsus? Quod in ampullls celerlsque generis ejusdem vlde- mus accidere, qiilbus non blans, nee staltm patens exitus. Nam ilia quoque, quanquara prona et ver- gentia, per quasdam ohluctanlis aiiimw moras cre- hris quasi singultibus sistunt, quod effundunt.'" Lib. Iv. ep. 30. CUAP. IX. I COSMO. window. This nobleman died from ter- ror, after having discovered the project of an iissassin, who had i)een long con- cealed under monastic habits in a convent near Cosmo, awaiting an opportunity to surprise him. At every slep, even in the bosom of this sweet and smiling so- litude, one meets with the fearful remi- niscences vhich characterise the history and manners of the Italians at various epochs. Baradello had been the prison of him, who might almost be called the Cssar of Milan, ■ Pliniana became the asvlum of the Brutus of Pincenzia. JN'otwithslanding the authority of Paolo Giovio, the point oi Bellaggio must have been the Comwdia of Pliny. = There also doubtless is the molli curvamine which embraced it. Pliny's description of the two villas that he preferred to his other houses on the lake of Cosmo is a perfect parallel; it has all the symmetry and the peculiar elegance of that kind of writing : letters so skilfully composed are rather a book addressed to the public than a correspondence. A singular ana- logy exists between Pliny and Sacy, his translator, a rare occurrence, as those kinds of union are most frequently sulTi- cienlly ill-sorted ; both were men of great uprightness of character, of a gentle and amiable disposition, living in elegant, polite, and talented society, and born at an epoch of subtilty and decline. At Bellaggio the villa of Meizi, ele- gantly embellished by that illustrious Italian, has some paintings by Appiani. and is also remarkable for its gardens and fine prospect. A beautiful group of Dante led by Beatrice, is the work of Professor Cornolli, a clever siatuary, pa- tronized by IMelzi ; he also executed Mel/is sepulchral monument which stands in the chapel. The torrent called //^Mme/«ears. He was a good didactic and descriptive poel, hut in lyrical compukition he par- tially failed, and in epic tolally. The Commentarj which he published as secretary of the Athenaeum of Brescia are distinguished for purliy and elegance of style, and the art of expressing v^illi perspicuity the most abstruse ideas of science and philosophy. u COSMO. [Book IY. frate. They adopt ihis strange costume in consequence of a vow made liy their mothers, which ihey religiously observe. But coquetry loses nothing hy it; (his humble dress does not entirely conceal either their elegant forms or pretty faces; and among the rich, gold, coral, and lace occasionally shine on the robe of the good fathers. Gravedona has some importance with respect to art. Its antique and curious baptistry presents on the outside some hieroglyphics and unintelligible basso- relievos; and the miraculous fresco of the Madonna, as the old annalists relate, threw out such a brightness for two days, in 823, that it moved the.son ofCarloman to almsgiving and prayer. At the church of Saint Gusmcus and Saint Matthew, a fine Martyrdom of the two saints, pas- ses for a performance of Guercino. and the ceiling of the choir, by Pamfilio Nuvolone, offers a Glory of Angels with exquisite countenances. The marble pa- lace formerly belonging to the dukes of Alvitto, is of a noble architecture, and has a very fine effect when viewed from the lake. Some arm-chairs in the great hall, bearing the names of the cardinals of the time, have given rise to an opinion that it was once proposed to assemble there the general council, afterwards held at Trent ; a grand (.hristian consultation, which passed eighteen years in drawing up the doctrines and formulas of our faith, and which might have offered its religious reminiscences to make a new contrast w ith those of literature, politics, and war, associated with the lake of Cosmo. Lower down are discovered the ruins of the stronghold of Musso, an ancient fortification hollowed out perpendicularly in the rock by the indefatigable Giovanni Jacopo Trivulzio. Musso was defended with singular audacity by the famous Giovanni Jacopo Medici, • whose sisters Clarissa and Slargaret ( the latter after- wards; the wife of Count Borromeo and mother of Saint Charles ), shared his perilous adventures and stimulated the women to augment the fortifications. Francesco Sforza, after ordering the murder of Eclore Visconti. wanted to get rid of the instruments of that crime, Medici, and another captain named Poz- zino. The latter was killed ; Medici had ' See Lir. iii, cli. il. received orders to repair to the castle of Musso; however, while making the pas- sage he suspected Sforza's intentions, and opened the letter entrusted to his charge, by which he was convinced of the fate that awaited him. He immediately re- placed this letter by another enjoining the governor to transfer to him provi- sionally the command of the fort: and from this rock he braved all the attacks ofSforza both by land and water, became the terror of his race, pillaged all the environs, took possession of the Valteline, and did not consent to make peace until he had obtained, besides the payment of 35,000 sequins, the sovereignty of Lecco for himself and h's descendants, *and the possession ofMeleguano. another fortress between Milan and Lodi. in exchange for the one he occupied. It is painful to behold such men stained by crime; as it restricts the admiration their prodigious courage inspires : how great would their glory have been, if instead of being im- pelled by their own danger and personal interest, they had been actuated by pa- triotism and honour! Cadenabbia and Tremezzine, situated 01! the same side, in the middle of the lake, for position, climate, and their many beautiful villas, arelhe Baiae of this little Mediterranean. The Sommariva villa, although of the bad architectural taste of last century, is one of those splendid seats that would not have been disdained by the luxurious and voluptuous Romans, so severely reprehended by Horace, an Epicurean and poet who had little right to appeal to Romulus, the Elder Cato, or ancient usages. There may be seen an exact copy of Jocond, by Leonardo Vinci, many pleasing pain- tings of modern Italian and French pain- ters, as well as the Palamrdes, of Ganova, a statue which was accidentally broken when nearly finished, but which was ad- mirably repaired by the artist; the model of his pathetic Magdalen, and the beau- tiful basso-relievos of the Triumph of Alexander by Thorwaldsen, ordered by Napoleon for the (Juirinal palace, and which Pliny, at his early period too zealous a partisan of museums, would not, if now living, have failed to comprise in the list of those statues expelled and sent into the exile of villas. I went down to the villa d'Este, which was inhabited for three years by the princess of Wales. Her cipher may siill CilAP. IX. ] COSMO. 85 be seen in the dra\s ing-room, and in tiie tiicaUe ibat she had built there. This villa had previous!) lielonged to general Pino; on the flank of the eniintince which commands it, he had built walls and battiemenls so as to give a tolerably good imitation of Tarragona, of which he had gained possession. These military traces still remain, and they nobly divert one's thoughts from dwelling on the memory of the little Caprea of the English prin- cess. At the town of Vice, on returning to Cosmo, is the Odescakhi villa, the most extensive of the many villas on the bor- ders of the lake, and an abode of almost princely splendour, but which struck me as melancholy despite its late magni- flcent embellishments. All the rich wainscoting of this |)alace are less grate- ful to my taste than the shade of the su- perb old elm planted at its gate on the bank of the lake, with its stone bench, whence one can enjoy so delightful a view of Cosmo, the lake, and the moun- tains. At Vico, in the house called Gallia, now the property of the Fossani family, was the museum, or the gallery ' .See, in his tellers, tlie candid Immodesty or l)is conrcsslons on this subject [Lellere, p. 12; Tirabo- schi, I. Tii. part ill. p. 90.5-C), and nhat be says of bis pe/ifia doro in his lelteis to Henry II. king of France. ,nnd to Giambjtlisla Gastaldo. \Lell., p. ,31, 33; Tirabo.sclii, ilml.) Cassandra Ciovio, a lady of the family of Paolo Giovio, probably bis greal-niece, born at Cosmo In toil, seems lo offer a perfect con- trast with this wriier and e\en with Giiimbaltista Giovio, Ibe dull but erudlle author of the ie((erc (ariune, of which ne have already spoken. Cassan- dra has left a few poetical compositions, graceful and full of feeling ; such is tlusslanza from a poem she wrote at the age of eighteen, on the day of btr marriage with Geronimo iUagnocavallo :— Poicbe m' hai colta. Amor, ne' lacci luoi, r benedico 11 giorno, e 1 ora, e I' anno ; Ma tu che tulto in cielo e in terra puol, E se' d" alme genlll dolce llranno, Deh ! fa ch' lu piaccia sempre agll occbl suol, Occhi cagion del mio souve affanno ; Che se qual io con lul, sempr" ei lia mcco, Tu uon sarai detto incostaute c cieco. \Donne piii illuslii del regno lo/nbaido-veneto, Milan, 1828, p. 47.) " Lib. I. ep. iii. "Only endeavour," says Pliny, ',to have a better opinion of yourself; do iourself justice, and you will receive it from others,' of Paolo Giovio, the voluptuous asylum of that court prelate and man of letters, who, while passing his life in attendance on princes, or in the seclusion of his museum, must have resided but very rarely in hisdiocese of Nocera. Besides, there is little to interest in the recollec- tions of Paolo Giovio; this priest, nay, bishop, notwithstanding the elegance of his style, was but a venal and dilfama- tory writer.' Paolo Giovio pretended to have built his palace on the site of one of Pliny the Younger's villas. Ac- cording to IJenedetio Giovio, the Odes- calchi villa is on the same spot as the delightful Suburbaniim of Pliny's mo- dest friend, Caninius Rufus,i> with its gallery -where an eternal spring pre- vailed, its impenetrable shade of plane- trees, its canal with verdant banks ena- melled with flowers, and that lake which served as a basin to receive its waters ; 3 for the memory of Pliny is predomi- nant over all these shores ; he has be- stowed his name on one of the steamboats of the lake, and though more than se- venteen centuries have elapsed, he is still the glory of the country. Pliny inviled him to write, but Caninius Rufus appears to have preferred a prvdent silence : it is somelimes a great advantage lo have done nolliing, as it is said, and not to have given the measure of one s strength. Piiny's reasons, moreover, seem rather singular : " All olher possessions change masters thousands and thousands of times, but the produclions of jour mind will be always your own.'' It appears that Caninius Uufus yielded to tne persuasions of Pliny; lor, in a letter from the latter, the fourili of book viii, we learn that be was engaged in the composition of an epic poem in Creek verse ou Trajan's eipedilion against the Dacians. 1 Both the French translator of Pliny and the Italian have mistaken the sense in rendering lacus bv basin, as the aulhor of the Leilere lariane has demousirated; it is the lake Itself, as the present aspicl of Uie places still proves. This misconUuc- lion is not the only one that our visit lo the coun- try enables us to correct; iu the same passage ilia porticus, verna semper, does not seem righllj- ren- dered by portico where reigns an eternal spring, but by alley arched over by trees : thus the delight- ful avenue of holms leading from Albano to Castel- aondollo is siill called the Gallery. A French irans- la{or of Calullus has bestowed the usual epilhel o! Iranquille on the lake of Garda, whicb is the most agilaled of all ibe Italiau lakes. BERGAMO. [Book V, BOOR THE FIFTH. BERGAMO.-BRESCIA.-VERONA.-VICENZA. CHAPTER I. Vaprio. - Colossal Virgin. — Bergamo. — Fairs. — Duomo.— Santa Maiia Maggiore.-Colleoiii clia- pel.— Italian milUary genius. On the road from Milan to Bergamo IsYaprio, where there isto be seen, at the palace of Caravaggio, a colossal Virgin painted in fresco, and which, according to Vasari, appears to be by Leonardo Vinci instead of Bramanle. The head reaches to the first door, the rest of the body is hidden by a staircase, and has disappeared among the new buildings subsequently erected. An expression of modest bashfulness is predominant in this figure despite its enormous propor- tions, so very unsuitable for such a sub- ject. Most recent travellers have forgotten or neglected Bergamo, a town remark- able for monuments, aspect, and posi- tion, which occupies the top and sides of a steep hill and extends along its base. Its old established and splendid fair (which existed as early as 913) was just over when I arrived ; but enough was left to allow one to judge of its impor- tance. The square building that it oc- cupies is one o! the principal monuments of the town, and contains five hundred and forty shops with four great halls at the corners. Fairs were the means of exchange in the middle ages, and they owe their origin to the devotional prac- tices, pilgrimages, and indulgences granted by the popes in those times, and though they may seem to belong to the infancy of conimiTce, they are still ser- viceable to trade. The fair of Bergamo is the principal vent for the cloths ma- nufactured at Cosmo and the silks of Lombardy.' Commercial science does not seem to have kept pace with the intellectual sciences : in Italy I have 1 Tlie Bergamese mercljsnls sell llicse goods in London, nbere several or llietn bave warebouses ; Iheir fortunes are immense. Zurich also carries several times met on the road the car- riage loaded with goldlhatM. Rothschild sends, I believe, every month to Naples ; it seemed to me that such a proceeding was somewhat retrograde since the dis- covery of bills of exchange, an excellent invention due to the Jews when they were driven from France by Philip Augustus and Philip-the-Long, when, instead of being courted, respected, and a la mode, they w ere obliged to hide the effects and property they left there, and to give foreign merchants and travellers private bills on the persons to whom they had confided their wealth. The Duomo, an old church of the Lom- bard Arians, has been restored at various times, and last in the middle of the se- venteenth century. An elegant St. Be- nedict is by Previtali of Bergamo, one of the best pupils of Giovanni Bellini, and it has the magic colouring of that school. A Crucifixion and the great baldachin of the high altar are the work of Gio- vanni Paolo Cavagna, a clever painter of Bergamo, at the end of the sixteenth century ; St. Fermus and St. Rusticus in prison is by Cignaroli, a celebrated Veronese looked upon as a prodigy in his time, to w hom the emperor Josepli IL said that he was come to Verona to see the two greatest wonders of the ancient and modern world.the amphitheatre and the first painter of Europe. The 5^ Vincent, in the chapel of that name, is by Carlo Ceresa, a painter of Bergamo in the seventeenth century, who had studied the models of a better era. The second sacristy has some remarkable pictures ; three small ones by Lorenzo Lotto, a Venetian long resident at Ber- gamo, a pupil of the Bellini and grace- ful imitator of Leonardo ; the Christ risen, by Morani ; a Deposition from the Cross, by young Palma, and 5^ The- resa, by Antonio Balestra, a good painter on this trade advantageously; there is a colony of Us denizens established at Bergamo, «bere they have a chapel and miniitpr. Chap. 1.1 BERGAMO. of Verona, of the end of the seventeenth century, a pupil of Carlo Maratli, and like his master, not exempt from aHecta- tion. The antique baptistry, brought from the neighbouring church of Santa Maria Maggiore, and since become a kind of oratory, is an old and barbarous monument of an uncertain date. The finest church of Bergamo, Santa Maria Maggiore, with its lions of red marble supporting the columns of the front, displays the first traces of the former power of Venice. The fresco of the Assumption, by Cavagna and Ercole Procaccini, is majestic, full of life, and in Correggio's style. The St. Roch and the St. Sebastian, by Lolmo, an es- teemed Bergamcse painter of the six- teenth century, are in the taste and drawing of the fourteenth. The Pas- sage of the Red Sea is by Luca Gior- dano; a Deluge, by Liberi, has energy and variety. There is a fine painting in this church by Talpino, of Bergamo, the pupil and imitalorofRaphael ; the frescos of the roof, on the left of the liigh altar, are a remarkable performance of Cyrus Ferri, a Roman painter, the companion of Pietro de Cortone and his cleverest pupil. Above the little door is a small fresco, much injured but still beautiful, by Giovanni Cariani, who with Cavagno and Talpino forms the triumvirate of the best Bergamese painters. The Colleoni chapel, founded by a famous warrior w ho is buried there, has an elegantly ornamented front. The hero is mounted on a great horse of gilt wood, placed on the top of his superb mausoleum, a monument of interest for the history of art, by Ainadeo, a Paviim artist of the fifteenth century, who also executed the three statues of the altar and some of the sculptures on the front. Colleoni, who first made use of field ar- tillery and invented ordnance carriages, belongs to the great school of the Sforzas, Braccios, Carmagnols, and Maltestis, who founded the art of war in Europe, and who prove that military genius, once the glory of Italy, has never been extinct among the Italians. The Colleoni cha- pel contains a large painting, represent- ing the Battle in ivhich Joshua stopped the sun, by Giuseppe Crespi, called Spagnuolo, a fantastical painter of the Bolognese school in its decline ; and a Virgin full of grace, by Angelica Kauff- nian, which forms a strange contrast with the capricious and confused boldness of the Joshua. The frescos of the roof are by Tiepolo, and the Mattathias by Cignaroli. The church of Saint Erasmus is orna- mented with a painting dated 153S, by Colleone,a good painter of Bergamo,who, being neglected and des|.>iscd in his own country, left it to attach himself to the court of Spain : just before his departure, the unfortunate artist, conscious of his talent, painted on the front of a house a horse which has been much praised by some writers, and added these words — Nemo prophet a in patria. The church of Saint Andrew is re- markable for its paintings. The Virgin, her Son, and some saints, is an exqui- site work by Moretto. The three fine in- cidents from the life of the saint, on the roof, by Padovanino, are highly ef- fective, and perhaps this painter, so noted for his skill in foreshortening, never displayed a more astonishing example of it. Saint Alexander in colonna, a church of the fifteenth century, has a rich and novel cupola, and many beautiful paint- ings, principally in the three sacristies. A Last Supper, of good design and co- louring, though somew hat tinctured with the dryness of the fourteenth century, is by Caligarino, who from a shoemaker became an artist in consequence of the compliment paid him by his clever com- patriot, Dossi, of Ferrara, on the shoes which he carried him appearing painted. A St. John Baptist, which has been at- tributed to the elder Palma, is by the younger; and in the oratory near the first sacristy is a good painting by Gio- vanni Jacopo Gavazzi, dated 1512. Saint Bartholomew has a delightful Madonna, one of the best works of Lotto ; the next painting on the left is attributed to the elder Palma ; but it may possibly belong to the younger. The sacristy contains five of Bramanti- no's works; three of Lotto's ; a young 5^ John, a masterpiece of Guercino or Ce- sare Gennari, is wrongly attributed to Bassano. Saint Alexander della Croce has many fine paintings; a Deposition from the Cross, by Cignaroli; an Assumption, by Bassano ;the St. Anthony the Abbot, by Talpino; the Coronation of the Vir- gin, by Moroni, and the two side pain- tings, attributed to Andrea Schiavone, BERGAMO. [Book V. a happy imitator of Titian : in the sa- cristies, St. Mcholas of Bari, by the elder Palm;i ; a Crucifix.- by Prcvitali ; another by Moroni ; four little saints, by Bramanlino, and other \sorks of the best Birgamese masters. The little oratory of Saint Jesus has, under a glass cover, an extraordinary painting of Christ carrying his cross, the only work at Bergamo by the cele- brated and proliflc painter GianibaltistHi Castello, called il Bergamesco, who died in 1570, court painter at Madrid. Santa Maria delle Grazie has the St. Diego of Francesco Zucco, a good Bergamese painter, and pupil of the Campi, the rival of his clever compa- triots Talpino and Cavagna; the paint- ing of the high-altar is by the latter. At Santa Maria del Sepolcro is the St. Sigismund, oneofPrevilali's master- pieces. CHAPTER II. School at Saiila Grata.— Library.— Municipal patrio- tism of the Kalians. — Carrara scliool.— Painting perpetual in Italy. — Singers of Bergamo. — Old palace. — Tasso's ISergamese origin.— Palazzo della Poilestadura. — Ilarlequin. The small church of the Benedictine nuns of Santa Grata, with its gilding and tasteful ornaments, has all the bril- liancy of a drawing-room. It contains a much-admired painting, which has been at Paris, the Virgin in an aureola and several saints beneath, the master- piece of Talpino, thought worthy of Raphael by Vasari. This Bergamese convent of Benedictines, having been supprei-sedby an imperial decree given at Conipiegne (one might call il a capitulary of the time of Charlemagne) on the 25th April 1810, was not sulTered to revive, as most of the other women convents in Lombardy, except on the condition ot becoming a girls'school, so stubborn and unchangeable is the Austrian govern- ment in its sjstem of schools. The old convent of the Holy Ghost is converted into a house of industry. Tiie church offers some fine celebrated paintings : St. Anthony of Padua performing a miracle to convert a heretic, a painting of amazing elTcct, is not by Dominico, but Giovanni Viani his father, a pupil ofGuido; the Madonna by Lotto, in which the little St. John playing with a lamb shows a joy so lively and natural, is a charming figure, that, as Lanzi says, neither Raphael nor Correggio would have surpassed. The Daniel in the lions' den and the St. Francis, by Cavagna, placed on each side this picture, sustain their dangerous proximity tolerably well. The library of Bergamo has forty-five thousand volumes, the gift of private in- dividuals. The Carrara school of paint- ing and architecture was likewise found- ed by the generous man whose name it bears. Count Jacopo Carrara. In the absence of the patriotism and public spirit of free states, which tliey cannot possess, the Italians evince a love of art and of their native towns truly estimable, since it is habitual, and if its exercise be unproductive of glory, it has at least the advantage of being useful. This feeling impels them to a sort of partial benevo- lence somewhat singular. I was some- times surprised at the favour accorded to certain plays, as well as to certain actors and actresses ; but I learned that it was because the author or performers were of the town ; nostro Veronese, nostro veneziano, nostro ferrareze, bo- lognese, etc., is an expression of every- day use, to designate some compatriot artist or writer. The Carrara school contains many paintings attributed to various masters; a portrait of Raphael, supposed to be by himself, seems worthy of him for the sweet and noble expres- sion of the physiognomy. Among other portraits are seven by Van-Byck, two by Titian, one by Pordenone, one by Giorgione, one by Albert Uurer, and one by Holbein. The Galatea is by Orbotto ; a small painting of Christ between the two thieves, o(lia\}, by VincenzoFoi»pa, is affecting and clever lor that epoch; its inscription, Vincentius Brixiensis fecit, decidedly proves that this illustrious painter belongs to Brescia, and not to Milan, as Loinazzo and his followers have pretended. Four Bacchanals, three of which are copied from Titian, are by Padovanino; a St. Catherine is by Lotto; the Virgin, the Infant Jesus and four saints by the elder Palma; a Holy Family, by Parmegiano; a Nep- tune, by Rubens; two Pietys and a Magdalen are by Annibale and Agostino Carracci. A cabinet of prints, a collec- tion of medals, and a pretty good number of plasters, likewise make part of the Carrara school. Il is astonishing that, Chap. II. ] BERGAMO. "wilh so many helps and such means of study, the Italian school has not attained a greater eminence in the last three cen- turies. Possibly this multitude of such perfect models is an ohstacle to origin- ality and truth ; artists, instead of looking within to their own resources, turn to things without, and wander in a vague and sterile imitation: and instead of ex- pressing nature, they ape Titian, Ra- phael, or Giulio Romano; copying and re- peating instead of creating. The art then becomes a kind of trade, an easy, regular, and continuous occupation which recalls the remark made with singular self-gra- tulation by Scipio Maffci, that if they paint badly in Italy, at all events they are always painting.' The musical ly- ceum directed for forty years by Mayer, the clever Bavarian composer, is another institution of art honourable to Bergamo. By a kind of miracle, this little town alone, has produced a greater number of eminent singers than any city in Italy ; hence has escaped during thirty years past that flight of warblers, those har- monious tenors who have enchanted Eu- rope, from Monbelli, Davide father and son, to the incomparable Rubini. Under the portico of the Palazzo vec- chio delta ragione, or palace of justice, is a great statue of Tasso in Carrara marble. The father of the bard of the Gierusalemme was of Bergamo; misfor- tune and proscription had obliged him to quit the land of his birth, and to be a wanderer in Italy and France, for ad- versity is traced back and seems here- ditary in this poetic family : Ludovico Tasso, the maternal uncle, who was to Bernardo in the stead of a father, had been murdered in his house by robbers. This statue of Torquato seems to protest against the injustice of fate, which de- prived the inhabitants of Bergamo of the honour of such a compatriot; it is an expression of illustrious regret and noble sorrow, a partial appropriation of the great man whom they lost, after passing among them the first days of his infancy. Bergamo, the primitive country of Tasso, » Verona illmlrata, part, iii, fol. M3. ' See liis beautiful sonnet ou Berganno : Terra, ehe 7 Serio baoiia. etc. Rime, part, ii, 448, and the Lett, inedile, Ixxvii, Ixxxvl.cxxxi, and otbers, pub- lished at Pisa In (827. ^ " Pensa cbe quesia vita 6 simile ad una fiera so- lenne e popolosa, nella quale ti raccoglie grandis- slma turba di mercanti, di ladri, di giacatori : seems worthy to have given him birth, by the interest it ever continued to take in him. When he was detained in the hospital of Saint Anne, the town sent a petition to the duke of Ferrara in his fa- vour, w hich was presented by one of its first citizens; there was also sent as a present at the same lime a lapidary in- scription interesting to the house of Este, which its sovereigns had long coveted. After his deliverance, Tasso went to Ber- gamo, Avas visited by the magistrates, enthusiastically welcomed by his friends, his admirers, and the lovely dames ; and, although it was fair time, his presence was quite an event. Tasso has more than once spoken of Bergamo as being really his country, in his sonnets, dialo- gues, and letters, " and the comparison he has made of the miseries of human life to the perplexities of a great fair may be regarded as a reminiscence of this town. ^ The civic palace {deJla Podestadura), is one of the finest palaces planned by Scamozzi, but the upper part, which is not by him, and the statues over it, arc in very bad taste. The great hall offers several remarkable paintings : St. An- drexo d'Avellino celebrating mass, by Talpino; a Virgin, the Infant Jesus, with several saints overhead, and two Venetian magistrates kneeling below, by Felice Brusasorci, a noble and graceful painter ; the great Ccenaculum, by Bron- zino. The same piece contains also nu- merous portraits of cardinals and other illustrious Bergamese. The council- chamber is not less curious : there are a portrait of Bembo, by Titian ; the Adulterous icoman, by Talpino ; a ceiling by Francesco Bassano, and the original designs of the great architect, the au- thor of the plan, so badly followed, of this very palace della Podestadura. It is the commonly received opinion that Harlequin sprung from the vallies near Bei gamo, but German criticism and erudition have just found him an Etrus- can genealogy. 4 cbi primo si parte, meglio allogia ; chi plii indugi'a, sistanca, ed invecrbiandodifieu bisogiiosodi moUe cose; ^ uiolestato da' nemici, e circondato dall' in- sldie; al Qne muore infeliceraeute." Letter to bis hiiisman the cavalier Enea Tasso, of Bergamo, cxx.xtx of the Lett, iiied. ■* See Schlegel's Course of Uramalic titeralwe, lesson Vlll. 8. 90 ISEA. [Book V. CHAPTER III. Gorlago.— Tower of Telgale;— of Palazzolo.— View. —Mount Corcsglio — V/HO saiifo.— Castle of Cale- pio.— Vale of CaJepio. — Apcient lowers.— Lake of Isca. — Lovera. — Cenoiaph bv Canova.— OniiJo riel Tinozzo. — Hiogna — Iioii foundry.— Cascade. — Tavernola.— iWoH(e(i7«o/a — Foursisleis lii^rmits. — Isea — Predora. — Odd ruin.— Sarnico.— Montec- cliio. — Vengeance by dishonoured njuidens. The lake of Isea and its environs, though nearly always neglected, are worlh a visit. This corner of Upper Italy is disiinguished for his natural beauties, its works of art, and the pro- ductions of industry. At the village of Leriate, the principal church has a fine picture by Morone. The greater part of the churches of these villages have good paintings by Lom- bard or Veneliun masters. The church of Gorlago, embellished with sluccos and gilding, possesses some valuable old paintings. There is a hail in this same village, painted in fresco, a grand and splendid work by an un- known author, which is worthy of a palace. Telgate begins that chain of flourish- ing villages which occupy the vale of Caiepio. The tower is of great anti- quity. A vast steeple ornamented with ele- gant basso-relievos by S. Marches!, has been erected on ihe lop of the rock of Palazzolo. From this species of watch- tower the view extends afar all round the country, embracing the Duomo of Milan and the tower of Cremona. Mount Coccaglio, above the villages of the same name, offers another marvel- lous prospect. Up two thirds of the as- cent is an ancient monastery now be- come an intrnense cellar, where the sweet and rather pleasant wine of the country, known by the name of vino santo, is prepared and stored ; this wine, which every body makes at home, is dearer and held in higher esteem than all the most boasted foreign w ines. Be- side the grand Loggia is a chamber oc- cupied by prince Eugene in the campaign of 1706, where, after seeing the greater part of that army which was going to deliver Turin file off, lie dictated to his secretary a letter for the emperor, begin- ning with these words :— " I write to you from the finest point of view there is in Italy." On the door of this historical chamber these three words, unnecessarily enough, are inscribed : Intra, vide, ad- mi ra. The castle of Caiepio, which is not the ancient manor house of that family, but the palace built in 1^30 by Count Trus- sardo Caiepio, rises majestically on the steep bank of the Oglio, which foams along at its feel. The vale of Caiepio enjoys the mildest temperature, and some of its enormous mulberry trees are anterior to the iittroduction of silk- spinning. The numbers of antique towers covering the neighbouring hills for- cibly recall the cruel dissensions of the Guelphs and Gibelincs; some of these towers maintain their primitive eleva- tion, but the most part have been lowered into houses, a sign of the defeat of their occupants. Among the numerous boroughs and villages which border and embellish the shores of the lake of Isea, at once so smiling and sweet, so well cultivated and so wild. Lovera and Pisagna are the piincipal. Lovera, an ancient borough, injured in the wars between the Guelphs and Gibelincs, was more especially the victim of Pandollo Malatesta, lord of Bergamo, who to chastise its rebellion, repaired thither with his army in the first days of October 1415 : he took it, ordered the inhabitants to quit, and al- lowed them no more time than a candle would last that he had ordered to be lighted ; he afterwards sold the houses and land. Lovera has two great and rich churches adorned with paintings, and a fine cenotaph by Canova, one of the repi titions of that of Volpalo, ■ devoted by Count Tadini to his son, a young man of great promise, who was crushed by the ruins of an arch. At Castro, near Lo- vera, is a narrow abyss, where the torrent justly called the Orrido del Tinazzo pre- cipitates itself with a roaring noise. Pi- sagna, a small trading town, has a large square with a piazza opposite the lake, a modern churcli of the Corinthian order, and a fine iron foundry in a most pictu- resque spot al the foot of a majestic cas- cade. The Fenaroli palace, at Tavernola, enjoys from its terrace one of the finest prospects of the lake, particularly at sunrise. But the wonder of the lake of ' Cicognara bas pointed cut three repelilions of tbis ceuotapli ; tbe oue here alluded to must be Ibe fourth. ClIAP. IV.] BRESCIA. 91 Isea, which distinguishes it from the five other lakes of Loinbardy, although the smallest, is the high mountain, monte d'Isola, which shoots up from its bosom ; a mountain crowned by the sanctuary of the aiadonna and adorned at its base by vineyards, woods, Oelds, and meadows with fort Martinengo, its battlements and tower, once a kind of teiegrai)h of the Guelphs and Gibelines. At the foot of this superb peak crouch, scarcely rising above the water, two little islands which enhance its majesty. The chronicles of the convent of Conventuals relate that four maiden si^ters, seized with a holy enthusiasm, resolved to seclude them- selves and live alone on lour of the highest points on the borders of Ihc lake whence they might be able to see each other : the monte d'Isola was one of the retreats of these maiden hermits who were actuated only by the pure senti- ments of love to God and mutual alfec- tion. Isea, the principal port on the lake, lakes its name, it is said, from a temple oflsis, a proof of its antiquity. By the side of a rugged rock advancing into the lake, Predora shows its abundant vege- tation of orange and lemon trees. A tower, one half of which has been de- molished from top to bottom, owes its extraordinary ruin to the hostility of two brothers, one a Guelph, the other a Gibe- line, to whom it had fallen in heritage ; the Drst wished it to stand, the second to be pulled down. Sarnico, a populous trading borough, w ith a spacious square, stands close by where the rapid and noisy Ogiio issues from the lake. Ihe summit of Montecchio, formerly the site of a monastery, is now occupied by a beautiful villa hidden by a wood of evergreens. The view, at once smiling, varied, and extensive, is one of the most splendid in the country. The ruined caslle was, in the thirteenth century, the theatre of an event, noticed and sung by Alfieri,' which furnishes another proof of the energy of that age and also of the women of the country. Montecchio was then held by tw o brigand chiefs, Tizzone and Giliolo, from whose violence the whole country suffered, and near Isea resided two young orphans, Tiburgaand Imazza, daughters of Girardo Oldofredi whom they had recently lost. Tizzone ' See Hie foiloning cliiipttr. and Giliolo, conscious that their proposals to njarry their neighbours would not be acceptecl, made a forcible entrance dur- ing the night, with their men, into the villa of these noble ladies, and violated their persons. But Tiburga and Imazza, instead of bashfully deploring their in- juries and killingthemselves like Lucre- tia and other heroines of the same kind, flew to Brescia, raised the inhabitants to avenge the outrage, and, followed by an armed band, with thirteen women who had assumed cuirasses and military habi- liments like themselves, laid siege to the rock of Montecchio. The defence was obstinate; but at last Tiburga, having placed a ladder, met Giliolo in the breach, the very man who had dishonoured her, smote off his head with her sword, and showed it to her co?npanions •.( arms, crying out ^ — "God has given me the victory; so may the wicked perish!" Tizzone, after the taking of the fort, was discovered and taken in a subterranean hiding-place by Tiburga, whom he wounded with his lance, but she plunged her poniard in his heart. The bodies of Giliolo and Tizzone were thrown into the Oglio, and Imazza and Tiburga mo- deftly retired to their villa, became the wives of two brave inhabitants of Brescia, and began a long posterity who reli- giously preserved the arms which their two ancestors had used so courageously. CHAPTER IV. Brescia. — Antique t< mple. — Slatue of Viclory.— Bro- lello palace. — Biigilla Avogadro. — Women of Brescia.— Bayard's house. Brescia is a wealthy trading town of nearly forty thousand inhabitants; it has some fine paintings and noble edifices; but its various merits partially escaped me on my first journey, owing to the discovery of an antique temple, which I have since visited every year and watched its excavations with great interest. Doc- tor La bus had endeavoured to restore the inscription on the pediment, of which some few letters only reriiained ; he was of opinion that Vespasian erected a mo- nument in the town of Brescia, probably on account of the succour that it af- forded him when he seized on the em- pire after defeating the forces of Vitel- lius. This was but a conjecture, but the doctor has since had the rare antiqua- 92 BRESCIA. [Book V. rian triumph of seeing his hypothesis conflrmed by the finding of a portion of the original inscription. When I first contemplated these beautiful marble co- lumns which had been buried so long, 1 could not suppress my veneration for a soil vvhich is equally productive of the wonders of art and tlie blessings of na- ture, where one need only dig to draw from its bosom chefs-d'oeuvre or illus- trious mementos of antiquity; a soil not less prolific of fruits, than teeming with monuments. In the grand hall of the Gymnasium there were exposed sixteen figures dis- covered only some days before, among which, was a superb statue of Victory, perhaps the largest and finest of all those in bronze: in llie following year this statue had become an image of Fame, and in accordance with this change, a kind of large oval tablet of disagreeable effect had been placed in her arms, on which she appeared to be writing. This Fame of 1827 had not probably attained her last metamorphosis. In the absence of interests, principles, and discussions of a graver kind, the Italians turn the natural inconstancy of our judgments and opinions upon their statues and mo- numents, of which they are ever chang- ing the names, attributes, and destina- tions. As a consequence of that artistic and municipal patriotism, spoken of in a ' The cnrroccio was a four-wheeled car drawn by four pair of oxen. It was painted red, and llie oxen drawing it weie covered down to tlieir feet with red cloth ; a mast, also painted red, rose from the middle of the car to a great height, and was surmounted by a gilt globe. The flag of the tOH n floated on high between two white sails; lo^er down, towards the middle of the mast, a Christ placed on a crucitix with extended arms seemed to bless the army. The councils of war were held on this carroccio, and the military chest, the sur- geon's stores, and a part of the booty were kept there. It was not allowed to go out till authorised by a public decree, and was always accompanied by some hundreds of veterans armed with halberds and lances. A platform was set apart on the front for some of the most valiant soldiers whose duty it was to defend it; behind, another platform was oc- cupied by the musicians with their trumpets. Divine service was celebrated on the carroccio be- fore it left the town, and there was often a chap- lain attached to il, who accompanied it to the fleld of battle. The loss of the carroccio was reckoned the greatest ignominy which could befall a town; all the choice men of the army were therefore se- lected for the guard of the sacred car, and the decisive strokes were generally made in Its vicinity; it was the rem esse ad triarios of the Romans or preceding page, and which is to be found throughout Italy, the town has made great sacrifices and a considerable outlay in order to establish a museum of anti- quities on the very ruins of the disco- vered temple. This museum, consisting of monuments withdrawn from the earth, independently of the statue of Victory and other bronzes, contains se- veral basso-relievos, trunks, and frag- ments of statues in marble, tasteful or- naments, many articles in glass and earthenware, a fine mosaic pavement, and about four hundred inscriptions, the greater part of interest for the history of Brescia and even of Italy. I have since passed several days at Brescia, and inspected every thing mi- nutely under the guidance of one of its most distinguished inhabitants, whose attentions were truly indefatigable. The revolution of 1797 and the converting the old palace of Brolcttoto another use, as hotel of the prefecture, at present the seat of the delegation, a law court and prison, have nearly effaced all that was interesting in an historical point of view. I should have wished to find there the high mast of that carroccio ' won from the Cremonese in 1191. in the bloody field of Rudiano, a symbol of the mili- tary and religious liberty of the repub- lics in the middle ages, which the de- magogues of the last century destroyed, the charge of the vieille garde. The carroccio was devised by Erihert, archbishop of Milan, during the war of ihe Milanese with the emperor Conrad- the-Sallc : it was like the ark of the covenant to the tribes of Isi ael. This singular standard completed the military system of the Lombards at that epoch; it was necessary to augment the importance of Ihe infantry belonj>ing to towns by rendering it formi- dable, in order to oppose it to the cavalry of the no- bles : the carroccio gained this object ; the infantry when obliged to subject its movements to those of a heavy car drawn by oxen, acquired a more weight, solidity, and self-conDdcnre; retreats were effected more slowly and consequently in better order, and flight, othernise than disgraceful, became impos- sible. "It is not Irrelevant to observe,'' says M. do Sismondi," that the oxen of Italy have a more lightsome gait and are much quicker than in France; so that their pace is better adapted to the march of infantry." {Hist, des liep. Hal. du Motjen (iffe, chap. VI.) The use of artillery was one of the chief causes for discontinuing the earrocc;o, which only Ogured afterwards in certain ceremonies. lu Tassoni's Seech ia rapita there is an exact and poetic description of the carroccio : — Ecco il carroccio uscir fuor della porta Tutlo coperto d'or, etc. Cant. V p. 93. ClIAP. IV. 1 BRESCIA. 93 with Ihc portrait of Brigitta Avogadro. who, leading the woiiicii of Brescia armed with cuirasses arid lances, \aliai)tlj re- pulsed the redoubtable I'iccinino, in the assault he made on their town in 1U2. The ladies of Brescia liave left olT fighting, but Ihey seem slill to be somewhat fiery, if we may judge of Ihcm from the sati- rical verses of Alfieri :— Veggio Bresclane donne iniquo ppcglio Farsi de' ben foibili ptignalelli, Cui prova o aiuante iiilido, o sposo veglio. A Brescian of the family of the brave Brigilta, count Ludovlco Avogadro, has been singularly calumniated on the French stage by l)u Belioy, who has almost made him tlie traitor of his rhy- ming melodrama of Gaston et Bayard, whereas the count's enterprise was ho- nourable, having only for its object the deliverance of his native country from foreign invasion and the re-establishment of legitimate authority in Venice. It is true that the i)lain and unassuming Bayard is almost as miserably parodied in that piece, he being represented as a mere braggadocio. ' The execution of Avogadro and his two sons, and the frightful pillage of Brescia for seven days were crimes arising from the victory of Gaston, who is so sensitive and sympa- thetic in Du Belloy's verses. Ilisto- rica! tragedy, which seems capable of endowing the art with more comprehen- siveness, nature, and truth, has hitherto evinced but little fidelity in France. The Cid, like Gaston, was cruel; but how boundless the distance between such works, and is it not a kind of dramatic blasphemy and sacrilege to compare them for a single moment? The memory of Bayard and the friend- ly zeal of a guide so well acquainted with the history of Brescia, made me anxious to find the house which received the illiistrioiisknighi when, being wound- ed, after having the first passed the rampart on foot and repulsed that master Andrea Grilti who cued to his men in his Italian tongue; " Lei us hold on, my friends; the French will soon be tired, they have won only the first point; and if ' So strange was the manner of uiidcrslandiiig patriotism at tlie end of the last cenlury, lliut Bayard s chain, «hiili bad di'volved by rigbt of in- heritance to Ills collaleial descendants, was pre- sealed, in 1789, by lis pos;cssor lo Larive in a mud that Bayard was disabled, the rest should never come nigh; ^ "~he said to the lord of Molart: — " Companion, push on your men, the tow n is won ; as for me I can go no further, for I am a dead man," and then two of his archers took off their shirts and tore them to stanch the bleed- ing of his wound, .\ccording lo the not improbable conjectcres thrown out in the notes to Gambara's Geste de' Bres- ciani. Bayard, being wounded in the New Market, must liave been carried into the house of the Ccvola or Cigola family, situated in that stjuare. At that period there were only three families of note w bo had houses in the New Market, one of which, the Maggi, had no daughters at that time ; and the other, the Confa- lonieri, was opi)Osed to the French and had lost one of its members in the battle. One of the Cigola family, on the contrary, was an estjuire to the king of France, and Calimere Cigola had a wife and two daughters at that very epoch. This Ca- limere Cigola a[)peiirs besides to have been an arrant egotist and coward, as on the assault "he fled to a monastery," leaving his wife at the house, "under the protection ofQur Lord, with two fair daughters that she had, w ho were hidden in a loft under some h;iy." Bayard, after assuring his hostess that she h;id " in her house a gentleman who would not plunder it, " asked her where her husband was: " I bedoubt me much," said she, " that he be in a monastery w here he has great acquaintance ; " and when he came, he made him " fare jovially," saying to h m, that he must not be melancholy, and that he had lod- ged none but his friends." It was there that Bayard kept his bed a month or five weeks, longing " to be at the battle, and greatly fearing it would be given iiefore he was there." The scene of Bayard taking farewell has been painted and narrated a thousand times, and is known by every body. But the habitual surprise and astonishment inspired by so natural and simple a fact as his refusal of the ducats for having protected a lady and her daughters, proves that such conduct was then an exception, and that for a long time this, mode ofacquiring money Qt of enlhusiasm induced by «ilnessing that ac- tors personilion of Bayard in Da I!ello)'s piece, and this manner of disposing uf it lie fancied was rendering homage lo the memory of bis ancestor. ^ Mcmoires du loyal servilem\ ch. l. 94 BRESCIA. [Book V, had boon usual -willi military men : Sully himself relates that at the sacking of Villefranche he gained a purse of a thou- sand crowns in gold by saving the life of an old man who was jiursued by five or six soldiers. The noble disinterestedness and generous compassion of the French officer are part of those national qualities for which we are indebted to the reign of Louis XIV.; but the glory of Bayard is not less, as he preconceived and fore- stalled them. CHAPTER V. Palace of Ihe lojj/a. — I'olillcal incendiarism.- An- cient sjmplouis of heresy.— Library.— Curdiual Quirliii. The finest edifice of Brescia is the mu- nicipal palace of the Lorjyia. It is much to be regretted that this palace was con- sumed by fire in 1573, when the great hall of the palace, which Palladio thought ad- mirable, was destroyed.as well as the three vast paintings executed by Titian at the age of ninety-two ; one of Ihcra was the forge of the Cyclops, engaged in the manufac- ture of fire-arms, a subject most appro- priately placed in the guildhall of Brescia, a town which has ever been famous for its fowling-pieces. Notwithstanding the antipathies to ordered subjects, it is seen by Titian's letters, that this great painter exactly conformed to the magistrates' instructions, and had the extraordinary resignation to make no changes. Titian's fecundity is prodigious : independently ofhisnumerous masterpieces still extant, the paintings of Brescia are not the only ones he has lost by fire. An admirable picture of the Battle of Cadora between the Venetians and the Imperialists, placed in the grand council-room, was burnt in the conflagration of the ducal palace. The burning of the palace of the Loggia does not appear the efl"ect of accident, but premeditated design; the Venetian government was accused of it; such an act, it was alleged, was the only means it had of depriving them of the ' This humane act of Trajan's is also Ihe subject of a basso-relievo in marble, which Daate has placed In bis Purgalnry (x. 701, because il is pretended, as Gingueni bays (. fl(4(. /;((. d7/a/. ii. 1.50), that Saint Gregory was so touched by it that he asked and obtained the good emperor's deliverance from hell. The tradition of this incident seems popular in Italy. 1 have seen a representation of it in a church rights and liberties granted by the em- perors Conrad, Henry VI., and Henry VII., and guarantied by the doges Francesco Foscari and Leonardo Loredano. the titlesof which were in the public archives. What a strange scruple of power is this political sophism ; how perfectly worthy of the Italian governments of the six- teenth century ! In the council chamber are eight frescos by Giulio Campi, pre- viously placed in the room where the doctors or judges of the colleges held their sittings, and w hich, for that reitson, all represent instances of good and im- partial justice. These are two of them : Trajan on the point of setting out on a military expedition, dealing justice to a mother for the murder of her son who has been slain by soldiers; ' and Seleuc^is, king of the Locrians, author of the law condemning adulterers to the loss of both their eyes : his son Aris- teus, being found guilty of this crime, was on the point of being acquitted by the magistrates, and all the people peti- tioned for his pardon ; but Seleucus, at the same time a lather and a king, plucked out one of his son's eyes and one of his own, that the law might have the two eyes it exacted. Over the door is a Nativity byMoretto; below on each side St. Faustin and St. Giovite, by Foppa, as well as the fine painting of Christ and Veronica over the fireplace. In the room before this, a large painting repre- sents the condemnation, in 1810, of the priest Giuseppe Beccarelli by the podesta, the captain, the cardinal bishop of the town, and the Dominican inquisitor, the last act of the inquisition at Brescia. The heresy of Beccarelli, if he has not been slandered by the Jesuits, who were jealous of the prosperity of a college he had founded, seems to have been a kind ofPlatonism, and of mysticism mixed up with spirituality and sensualism ; he preached, said his accusers, that provided the soul were united to God by prayer, the boily might do what it pleased : he was condemned to the gallies, but his punishment was commuted by the senate at Verona, Saint Thomas Cantuariense ; but it is not recorded by any historian deserving of credii; both Baronius and Bellarmin treat it as fabulous. Others attribute Saint Gregory's compassion for Trajau to his admiration of that emperor's forum, a new and curious proof of the injustice of reproaching this great man with being a mortal foe to the arts and monuments of antiquity. (Sec Book xiy. chap, xvii.) Ciur. v.] BRESCIA. 95 who suspected he was the victim of jea- lousy, and he died in prison at Venice. Brescia is one of those Italian towns (hat have shown at dilTercnt times symptoms of schism and reform. ' The weak and tender Beccarelli, if he was not culpable, and the theologian (liovanni Ducco, arch- bishop of Coron and legate in Germany, who was stripped of his honours by Pope Sixtus IV. for writing too freely on the abuses of the Roman court, and who died at Brescia, his native place, where his tomb is seen in the church of Saint Na- zarius and Saint Celsus, were at all events far from the power and excesses of th^t Arnaud of Brescia ( as if the name of Arnaud, both in France and Italy, must needs remind us of doctrinal dis- putes and persecution), that Arnaud, the pupil and friend of the lover of Heloisa and antagonist of Saint Bernard, who was ten years masterofRome, andGnally perished at the slake before the Corso; a kind of apostle, tribune, and martyr, one of the Grst and most terrible innovators, whether political or religious. The library of Brescia has twenty-eight thousand volumes. The celebrated ma- nuscript of the Four Evangelists, of the sixth or seventh century, on purple vellum, is in a very good state of pre- servation : it has been explained by the learned Bianchini. The oldest edition is the second of Saint Augustine (Rome, 14G8), which is scarce and much sought after. The Grst edition of Petrarch (Venice, 1470) has some pretty minia- tures attributed to Mantegna's school. There is also a Gne Goran ; this book is common in the Italian libraries ; they were brought by the Greeks when driven from Constantinople, perhaps through one of those inadvertences to which flight and fear are liable. The original drawings of the Monumenta antiqua urbis ct agri Bvixiani, by the able and learned Sebastiano Aragonese, are cu- rious and scarce. The most precious monument of the library is a great cross given by Didier, the last kmg of the Lombards, to his daughter .Ansberg, ab- bess of the convent of Saint Julia of Brescia, the sister of Adelghis and of that touching Ermengarda who is so ' See Thomas M'Crie's work, Ilistory of the progress and siippressioii of the refonnalion in Italy. Edinburgh aud LoniJoti, 1827. * The dlplych of Itoelius, which cardinal Quii ini bad illustraled by divers lllcrnti, is nol in the li- pathetically portrayed in Manzoni's tra- gedy. The cross of the holy abbess is enriched with cameos representing the choir of the Muses, Pegasus, the three Graces, and other mjthological subjects, some of which are scarcely decent. This costly cross of Greek workmanship seems of itself to compose, as it wei'e, the ca- binet of medals and engraved stones of the Brescia library. A charming mi- niature of the Virgin and her son oq lapis lazuli is said to be by Titian : it is supposed to have been the medalion of Charles V. Notwithstanding the beauty of this gem, it seems of less price than the simple chain of Bayard, for it has never felt the beating of a noble and generous heart. The library of Brescia was the gift of one of its bishops, Cardinal Quirini," to whom Voltaire addressed those elegant stanzas. — Quoi ! vous voulez done que je chanle Cu lempie orne par vos biunfaits? etc. It was also to this cardinal that Vol- taire addressed his dissertation on an- cient and modern tragedy which is pre- Gxed to Semiramis. In this essay, after having so many limes spoken of Shak- speare with admiration, he qualiQesiTam- let as the fruit of the imagination of a drunken savage. The false judgments of Voltaire are nearly always connected with some jealous rivalry which is soon betrayed by the indiscretion of his self- love. He refused to believe in the de- votedness of the citizens of Calais, be- cause of some bad verses by Du Belloy and the noise made by his play ; in this instance it is evident that on the point of introducing the shade of Ninus on the French stage, he could not conceal from himself how far his accessible and fami- liar shade was inferior on its estrade, by daylight, in the midst of the Babylonian court, to the ghost of the English poet, appearing at midnight, by moonshine, on the platform of the castle of Elsinore near the rock-bound shore of the bellow- ing sea. A great number of autograph letters, forming seven large bundles, written to brary ; it belongs to the cavalier Nicolas Fe of lirescia. The public library possesses another re- garded as modern, the ivory figures ot which are perfectly intact and are full of grace and volup- iuousness. 96 BRESCIA. [Book V. Cardinal Quirini, were also bequeathed by bim to the library of Brescia. As the cardinal had relations with d'Agucs- seau, Cardinals Noaillcs and Fleury, Montfaucon, Uom Calmet, and the scho- lars and literary characters of the latter half of the age of LouisXIV., this corres- pondence must be curious to examine; a part has no doubt been extracted in the historical commentary that Quirini has written on his own life,' but this porlion is inconsiderable, and he must have experienced that feeling of embarrass- ment and reserve natural to every man obliged to speak of himself throughout three large \olumes, an embarrassment against which men have since become well hardened. CUAPTER VI. old Duomo;-nesT one.-Suint Afra.— Popular lite- rature— Murcello.- Ilea) anil grand music- Work of Saint Luke.— Anachronisms of painting.- Mar- tineugo mausoleum. The old Duomo of Brescia, one of the most ancient monuments of Italy, was mistakenly supposed a pagan temple, on account of the great number of idolatrous emblems found in it, and which were barbarously doomed to destruction by the town council on the 191h of April and the 25th of May 14 56. It appears that the Lombards erected the edifice about the middle of the seventh century . Two relics are religiou^ly preserved there : a large piece of the cross, which was given in 1149 by I'ope Eugene III. to Manfredi bishop of Brescia, and af- terwards purchased of the Venitianswho had received it from his heirs; and the small standard, a real oriflamme, as it is called at Brescia [croce d' orofiamma) carried in the crusade in 1221 by bishop Albert, who planted it on the walls of Damietta which he had seized upon at the head of fifteen hundred Brescians : after so glorious an exploit, Albert was named patriarch of Anlioch, a singular instance of an ecclesiastical dignity being conferred in reward for military cou- rage. The old Duomo has some good works : in the chapel of the croce d'o- rofiamma, the two great paintings by ' Covimentarius de rtbus pertineiUibus ad Auq. Mar. S.R.E. cardinalem Quiiinum. Brixia;, 17^9, cum appendice, 1T50, three laige vols , 8vo. The Hork «us continued by Padre Federico San Vital! , Gandini and Cossalc (the latter was a good painter and an unfortunate man who perished in his old age by the hand of his son) ; two statues of Faith and Charity, by Viitoria, an artist of Trent, who gained his celebrity at Venice; the fine mausoleum of Domenico Domenici, bishop ofBrescia, by an unknown author ; a St. Martin, by I'ioiro Rosa, a clever pupil of Titian, who died young; the Passover of the Hebrews, ihe Sacrifice of Abraham, a superb Elijah, and a David, by Morotto, likewise one of Titian's pupils, and a charming painter, whose numerous pictures at Brescia, says Lanzi, have induced more than one amateur to visit the tow n. The present new Duomo, a woik of the sixteenth century, was, like that of Pavia, rebuilding when 1 saw it. The Italians are a people of masons, and have an impatient ardour for building which impels them to be ever throwing down and re-erecting their edifices; a pitiable mania in such a country, so abounding with remissiscences and cu- rious monuments of the past. The churches of Brescia are rich, and interesting in an artistic point of view. At Saint Peter in, Oliveto, St. Lorenzo Giustiniani between Saint John and the Divine Wisdom, is graceful and full of morbidezza; the Virgin crowned by God the Father, with Saints Peter and Paul, and the figures of Peace and Jus- tice, at the high-altar, is a noble and majestic composition ; the tw o superb frescos of St. Peter and St. Paul, and of Simon the Magician, are by Moretlo ; St. Theresa kneeling before the Redeem- er bound to the Pillar, is by Cappu- cino ; the Ecstasy of the same, vivid and natural, is by Angelo Trevisano. The choir is ornainentcd with four majestic paintings from the history of Moses, by Ricchino. Moretlo's countryman and pupil. The Victory gained in 1629 by the Carmelite monk Jesus Maria over the duke palatine of the Rhine, passes for one of the best paintings of the Ca- valier Celesli, a pleasing easy painter, few of whose works have preserved iheir primali\e beauty owing to the compo- sition of his colours and the alfectation of effect in claro-obscuro. A Bearing a Jesuit, and forms in all five volumes. Some of cardinal Qulriuis manuscripts tiave come Into the possession of our Sociele des bibliophiles , it seems that they contain nothing rtorih eilracting. Cii.vp. VI.] BRESCIA. 97 of the Cross, is a valuable picture by PaoloZoppo.a clever iruitalor of the Bel- lini, who etnbeilished a great quantity of books with his miiiialures, and died of grief at Uesenzano, through having broken a crystal basin on which he had painted the sacking of Brescia by Gaston, a long and beautiful woik that he meant to present to the Doge Gritti. The church of Santa Maria di Cal- chera oders a noble, touching, and pic- turesque painting by Ronianino, the Bishop AppoUotiius administering the communion to the people. The Christ between St. Jerome and St. Dorothea seems a fresco by Moretto. A Visita- tion with a Qne landscape and forms and colouring in Titian's style, is by Calisto Piazza. The Christ at the Pha- risee's table, and Magdalen at his feet, is another masterpiece of Moretto. At Saint Euphemia, the St. Maur is one of the best productions of Ghiti, a good painter of Brescia in i he seventeenth century. The Virgin with the Infant Jesus and the little Saint John, adored by the Saints Benedict, Paterus, Eu|ihe- mia and Justine, by Moretto, is noble and graceful. St. Benedict visiting St.Scolastica passes for one of the gnod works of Santo Cattanco; ahead of an old man is remarkable. Saint Afra has some admirable paint- ings. Despite the resolution I had adopted in my Grsl journey not to oc- cupy myself too much with pictures, it was impossible not to yield at the sight of Titian's Adulterous woman. Paint- ing carried to th.it height of perfection becomes eloquence; it is an intollectu;il art which is understood and enjoyed by all those to w horn its exercise is not completely foreign. This beautiful fi- gure is the truest and most touching expression of woman's frailly and re- pentance. The Martyrdom of St. Afra Is one of the first and best preserved chefs-d'oeuvre of Paolo Veronese; but the saint's habiliments are too showy for a scairold, such theatrical costume being out of place there. It is supposed that one of the trunkless heads placed in a corner of the picture is the portrait of Paolo Veronese: Cristofoio Allori, the painter of Judith, in the Florence gal- lery, likewise gave his own portrait in the severed head of Holophernes. We may recognise even in these artist's freaks something of the gloomy genius of the Italians in the fifteenth and six- teenth centuries. The Virgin and her Son, by Cesare Procaccini, is the most Correggio-like of his numerous altar- pieces : Saint Latinus, Saint Charles, and the Angels have, however, a gayer and more wanton air than properly be- longs to them. St. ApoUonius baptis- ing, and St, Faustin and St. Giovite giving the eucharist in the night to the first Christians, by Francesco Bas- sano, is magical in its expression, co- louring, and effect. The figures of the two last saints, and the Martyrdom of St. Felix, are by the younger Palma. A Transfiguration is by Tintoretto. At Saint Barnabas, the Christ in the manger is a charming work, and the only one at Brescia, of Savoldo, an able painter of that town, and one of the best of the sixteenth century; he was a noble amateur who presented his paintings to the churches, after finishing them oil" leisurely and carefully, and never fati- guing himself by loo extensive composi- tions. The two small paintings of St. Roch and St. Sebastian, by Civerchio, one of whose paintings placed in the public palace so much excited the admi- ration of the victorious French that they sent it to Louis XII.; and a Last Supper, inthe sacristy, by Foppa, aie very good. Saint Alexander has some remarkable paintings; an Annunciation is one of the fine monuments of ancient painting. The Christ dead between St. Alexander and St. Paul, with a view of Calvary covered with excellent little figures, pas- ses for a masterpiece of Civerchio. The Virgin loorshipped by St. Honorius, and oiher saints, is one of the most es- teemed works of Geronimo Kossi, Mo- relto's imitator. Among the paintings of the church of Saint Dominick, may be distinguished, on the roof, the Saint and St. Francis praying to Christ, by Fiamminghino ; the Virgin, Magdalen, and St. Peter the martyr at the foot of tite Crucifix, one of the best productions of Gandini, in the style of Paolo Veronese and the younger Palma ; two paintings of the latter, Pius V. returning thanks to God and the Virgin for the victory over the Turks on St. Justine's day, in the year 1 571 ; the Souls in Purgatory praying for deliverance. Saint is'azarius and Saint Celsus de- serves a visit for the singular and beau- 93 BRESCU. [Book V. liful painting by Titian, divided into five compartments. St. Francis, St. Ni- cholas, St. Michael, a painting by Mo- retto, bears its Irj ing neighbourhood with honour. This church is still further indebted to this excellent artist for the Christ between Moses and Elias, and some small paintings in the sacrisiy, which also possesses a superb St. Bar- bara, attributed to Lactantius Gambara, a famous painter of Brescia, and clever imitator of Titian. The church of Saint Francis, which has some good paintings such as the St. Peter, by Gandin; ; the St. Francis and other saints, by Romanino; a Mo- ther praying to St. Anthony, by Fran- cesco Mallei, and especially a Sposalizio. by an unknow n author, ' recalls a sin- gularly characteristic literary incident. It was there that, on the 24th of June li25, Bartolommeo Haiguera read his Itinerarium Italice to the people after prayers, as Herodotus read his history before assembled Greece, another primi- tive, artless, and poetical itinerary, be- fore the invention of printing reading in public was frequent ; it is probable, there- fore, that literature was more popular then, than when it became necessary to learn reading, and even w riting, prepa- ratory to its cultivation : the verses of Dante were sung, better or worse, by ar- tisans, who have paid little or no atten- tion to them since. In our days were a book of travels in Italy to be read to the congregation after the sermon, it would appear a terrible scandal. Santa Maria dei miracoli is rich and elegant and has a superb and Titian- like St. Nicliolas by Moretto, with a fine Presen(a<(0/*, of the year 159i by Cossale. Saint John presents The academy of painting and sculpture lo sbow their gratitude to M. de Baville printed his speech, and offered him, through Lebrun, lo have bis bust made b> Girardoa and his portrait lakeu by Cbam- pague. The orator refused lliese honours, but wished Ibe academy lo offer them to his father, Ibe Ml St pre^idenl, «ho accepted them after a long re- sistance. Chap. Vlll.] LAKE OF GARDA.-SERMIONE. lOi Van-Obstal was one of the founders of the Paris academy of |)ainling, an insti- tution of little note, which does not ap- pear to have been very favourable to the art in France, as it was (irccisely from the moment of its dissoliilion that our school, having more liberty, seemed to become more extensive and take a higher character. The Campo-Santo of Brescia, begun in 1815, is a grand and beautiful monu- ment of its kind, which does honour to its architect, S. Vantini. The lombs are erected against the wall in the form of the ancient columbaria. The tomb of Marco-Antohio Deani, a pious and cha- ritable Franciscan known by the name of Pacifico, one of the most celebrated preachers of the day, who refused a bi- shopric offered him by l*ius VII., and only asked him to reestablish his order at Brescia that he might end his days there, bears an inscri[)tion by Doctor Labus, his countryman and friend. By an Italian artist's fantasy, of sufficiently bad tasle, the busts painted on the ceiling of the chapel are portraits of persons of the society of Brescia: all these male and female saints attired d la mode form a kind of circle, and seem mui h more out of place in heaven than they would in a drawing-room. A separate spot is al- lotted to suicides : Plato enounces the same opinion in his laws. The protes- tants have also a burying-place apart, but the grievous wrong of interring exe- cuted criminals among them existed for some time ; a disgraceful mixing o/'^/toxe who do evil with those who think in- correctly which has been very properly reprobated by S. Guiseppe Nicolini, a good poet of Brescia, the translator and biographer of Byron, in his Meditation on the feast of All Souls. * It is a singular circumstance that Brescia is the town which has more in- scriptions and fountains than any other in Italy, Rome excepted. The number ' E mat pensali c mal fallor ronfuii. It due novein're, Medilazioiie, Brescia, 18-4. Cesare Aricci, another disilnguislied poet of Dics- cla. has also composed a poem on the Campo Santo, and it ii one of lii^ best productions. » See also chap. i. of this hook The exportation of silks (or England from )8I5 to t83'i amounted to 28,930,000 livres; from I8U0 to t8l 4 it was only 11,794,000 livres. The Mount delle Sete a «ell of public fountains is seventy-two, and there are more than four hundred belong- ing to private individuals; by means of these a supply of pure refreshing moun- tain water, almost equal to that of Home, is distributed throughout the town. The discovery of the superb temple of Brescia has recently added to this kind of approximation, if such be permitted, with the Eternal City. How singular are the conquests of in- dustry ! the silk which is produced in abundance round about Brescia is pur- chased by the Knglish, and these Britons separated from the world now bear away the richest produce of the fields ad- jacent to the country of Virgil, a CHAPTER VHI. Lake of Gardn.— Sermione.— Sleamboat.— Isle of I.ecciii — Malsesiue. One of those tempests frequent on the lake of Gurda, FluctiOus el fremitu assiirgens, Benice, Marino. did not permit me the first lime to visit the coast ofSermione and the grottoes of Catullus. As I stood on the shore, con- templating them in the distance, in that sort of reverie peculiar to disappoint- ment, I was struck with the idea that the first poets of ancient and modern Italy and of France, sprung from the north, as Catullus, Virgil, Petrarch, Dante, Boc- caccio, Ariosto, and the seven or eight great poets that honour our literaluro, as if the poetical genius had still more need of meditation and reason, than of the brilliant light of the sun and tiie sen- sations it produces.* The setting of the sun after the slorm displayed, on the shores of the lake of Garda, a singularly superb effect of light. At his rising on the morrow, the east lavished other wonders: the sombre pv- rarnids of the Alps were distinctly out- lined on a sky still faintly coloured, but organised trading company and discounting bank, established at Milan in 1836, is calenlaU-d to extend and equalise this exportalion to the advantage of the producers. 3 Uorace and Ovid are exceptions among the Latin poets. Tasso's father was from Dergamo; his son seems, by accident, to have been born at Sorrento, as He have seen. The first contemporary poets of Italy, Allieri, Monil, Ce.sarotii, Ippolilo I'iudemonte, Manzoiii, Silviu Pellico, and Grosi, belong also to the north of Italy. LAKE OF GARDA.-SERMIONE. [Boor V. of ndmiiable purity, and a few clouds glided bv llie first rays of the sun seemed lilie the fringe of these magnificent hang- ings. The Monte Baldo, a picturesque and fertile mountain, surnamed the Garden oflhe Alps, whose lofty summit by a gentle and majestic sweep is united with the Tyrolian Alps, overlooks this almost boundless scene. It was impos- sible not to be enraptured at such a sight: these are the voluptuous moments of a traveller's life, which is always rather cheerless and uncomfortable when one journies alone. I have since visited the peninsula, or rather the rock, ofSermione and the vast ruins which cover it. The olive accords well with these ruins, and their charm- ing position still recalls that venusta Sirtnio which its poet was so happy to see again on his return from Bithynia and Thynia.' But after reading Ca- tullus attentively it is difficult to recog- nise his dwelling in the ruins bearing his name : that palace was perhaps the one belonging to Slanlius; the house of him who composed his epithalamium ■would be adjacent, that house which he received with a field and even a mistress,* and which was rendered more disagree- able by its mortgages than all the winds. ^ Catullus, notwithslanding his talenlSi was already a kind of courtier poet, al- though the manners of Rome were not then so relaxed, nor had Maicenas sanc- tioned literary adulation. lie often, much too often, speaks of his poverty, and rails against the race of protectors whom he curses : '< all this, certainly, is but little in character with the powerful Roman, who possessed the great and beautiful structures of Sermione, with their bath, a separate edifice, their lofty pilasters, and the immensity of their subterraneous vaults. The rank of Ca- tullus's father and the distinguished fa- mily to which he belonged have been adduced; but he would not be the only instance of a well-born man sinking into a debauched and servile poet. The con- ventional manners of the Romans could not indeed sanction the loose tone of Ca- tullus, nor the licentiousness and infamy of his poems. He has written both epi- ■ Catull. Corm., xxii., 5, 12. a M, Ixviil., 41, 67, 8. 3 id., xxvi., S, 4 /J , xxWii. grams and epithalamiums, two opposite kinds, but which it is not surprising to find in the same author, as malice can very well amalgamate with vileness. Such is, however, the power of glory ; no one knows the name of the opulent patrician who owned this superb palace, and after ages have thought they ho- noured its ruins by decorating them with the name of a poet. Sermione reminds us of some events of modern times. By a singular destiny, this peninsula, the abode of the bard who sung of Lesbia and her sparrow, was given by Charlemagne to the monks of Saint Martin of Tours to bear the ex- penses of their wardrobe ; for it seems that these monks liked to be better clothed than their saint. The fort of Sermione, with its battlements and antique towers, erected by the Scaligers, the sovereigns of Verona, has a fine appearance from the lake. When the Austrians evacuated the retrenchments of Sermione in 1797, the French general who took possession of them gave a fete in honour of Catullus ; but in the midst of the poetical toast and drinking songs, the inhabitants came to complain of the depredations they suf- fered from a detachment of our troops. Probably these brave fellows had un- consciously imitated rather too much, the lax morals oflhe poet they celebrated. After two thousand years the memory of Catullus proved useful to his country, as a narrative of that period pompously apprises us. The disorderly detachment was immediately dispersed among the inhabitants of other villages, good folks who counted no poets among their an- cestors, who, it appears, had never writ- ten any thing but prose. A steamboat now runs the w hole length of the lake of Garda ; assuredly it is not less rapid than the old ship devoted to Castor and Pollux by Catullus; but previously to its boat existence it had not, like that, delivered oracles :— Miaselus ille naviufli cflerrimus. Cytorio iu jugo Loqucnte socpe sibllum ediJil coma. 6 ^ Journal hislorique des opdrations mitilairea du siige de Pestliiera, el de I'allnqiie des retranche- iiients de Utrmiune, par F. Uc^nin, an ix, p. 110. * Caiult. Carm. iv. CnAP. VIII. ] LAKE OF GARDA.-SERMIONE. 103 After tAvo thousand years, such is the truth of Virgil's verse, that a double machine has been found necessary for this boat, to subdue the fluctibus et frc- mitu marino of the Latin poet. The boat of lake Garda has none of those learned and national names common to steamboats of other lakes, such as the Verhano of Lago Maggiore, the Lario, and the Plinio of the lake of Cosmo; it takes the respected but less poetic name of the archduke Regnier, who has truly usurped that honour over the Benaco. One does not meet here the elegant company of the above-mentioned lakes, but tradesmen, peasants, sawyers, and loads of packages. The day 1 was on this boat it coasted along the Brescian shore, which is very superior to the Ve- ronese. It starts from Desenzano and goes to Riva and Torbola, small towns at the extremity of the lake. They scarcely stop any where now, as I had done previously, but on the fertile bor- ders of the riviera of Salo, covered with olives, vines, and citrons, which have an absolutely enchanting aspect from the lake. Towards the middle the lake narrows, becomes wild, and presents a succession of grottoes, steep rocks, a fine cascade {the Ponale) and lofty moun- tains ; it is a Scotch loch under an Italian sky. A letter of Bonfadio, addressed to Plinio Tomacello, contains a description of lake Garda, which Ginguene extols as charming and faithful, though he does not appear to have ever visited the country.' Bonfadio's description is rather insipid and exaggerated, and he well deserved the castigation inflicted by the lash (frustra) of the burlesque Barclti ; the dreams of Platonism, in vogue in the sixteenth century, are absurdly enough mixed up with this description of a lake in the north of Italy. Cardan, a man of parts whose name has wrongfully become synonymous with atheism, tells us in the narrative of his life, » that he narrowly escaped ship- wreck at the entrance of lake Garda. • Hlsl. lilt, d'ltal. t. yill. p. 323, 514. Ginguen6 places Gazano, Bonfadio's native place, near the lake of Said. Tliere Is no sucli lata', Sulo is a small town; [he Riviera di Said, where Gazjno stands, is that part of the shore of lake Garda which lies ad- jacent : in the same manner we say in French la Riviere de Genes. ' Sec chap. XXX. The situation of an atheist in a tempest must be horrible, were it possible for one to exist under such circumstances, which I do not think, for the danger would compel belief. The history of Cardan, a kind of Confessions, which often do him no great honour, disproves his re- puted atheism, as there is in it a chapter on his religious feelings, which even con- tains a short prayer. ^ The isle of Lecchi, which is only an Italian mile in circumference, is one of the embellishments of the smiling part of lake Garda ; Dante thus speaks of this solitude : Luogo 6 nel mezzo la dove '1 Trenilno Paslore e quel di Brescia e '1 Veronese Segiiar poria, se tesse quel cammino.^ A monk of the family of Count L. Lec- chi, who now inhabits this island, found- ed there about the beginning of the six- teenth century, a theological school of great reputation. So fervent was the passion then for the study of divinity, that, to accommodate the multitude of his disciples, he was obliged to have the seals raised so as to form an amphitheatre, in the centre of which he delivered his lectures. Some authors pretend that Pope Adrian VI., whom they suppose the same person as Ludovico Rampini, one of the pupils of P. Francesco Lecchi, was born at Ilenzano, near Salo ; a con- jecture peculiar to the Italian literati, which seems to have but slight founda- tion : this [ledagogue of Charles V., this pope void of taste for the arts, — the un- worthy successor of Leo X., who, on ar- riving at Rome, turned away in disgust from the sight of the Laocoon, as from a profane divinity — this gloomy and rigo- rous pontid' seems more likely to have been born at Utrecht amid the fogs of Holland, than under an Italian sky. In the wilder part, near the extremity of the lake, is Malsesine, a large town on the Veronese coast. The embattled go- thic castle, of several stories, with an old tower, rises picturesquely from the rocks on the water's edge. It was there that ^ The tnenty-second. The arrangement of these Memoirs of Cardan is nhimsical enough : instead of following chronological order, they are divided inio coileclive chapters separately treating of his friends and enemies, his pleasures and pains, bis irayels, lawsuits, regimen, style of dress, e!c. 4 In/. XX. CD. \0i ITALIAN TYROL. [Book V. an agent of Venice tore and threw away Ihe drawing that Goethe was making of these ruins; and where, without the se- curity of a gardener who had served at Franiifort, the poet's country, he would have had much difficulty in escaping the persecution of the podesia and his grasp- ing secretary. Tiie borough of Malse- sine, the country and residence of two good poets, Giambaitiste Spoiverini and Bultura, has inspired Ihein with some verses. Spoiverini, in his poem of the Riseide, which he composed at Maise- sine, invites his Amaryllis to repair thi- ther : — Amarilli genlil, vieni qui, dove Tra' 1 niaimifero Torri, e la pescosa Torbole, ve degli altri allero mynte. La soggetta Malsesinc, Tannita Frimogeiiita sua lialdo vai.'beggi:i, Fiso ill lei la selvasa anllca fiiccia Immobilmfente e le cauule ciglia. And Buttura, who sojourned long with us, wished to die in his native town : Salve! mi scuole II seno Dl Malsesiiie mia I'aspetlo, e I'opre l.iele ricordo di uiia iiuova elate. Mi lerrei fortunalo Lasciando ulil meruoria al borgi) umile Ove apersi, e deiio cbiudeie 1 gioroi. Opposite Malsesine, on the Brescian coast, is the small village of Limone, where the Tyrolian Andrew Holer em- barl^ed a prisoner. When Europe had yielded, this mountaineer alone defended his country against the arms of Napo- leon. He was abandoned by the princes whom he had served, and delivered to his implacable enemy, who had osten- tatiously accorded favour to certain aris- tocrats, but could not pardon the rustic heroism of Hofer. An inhabitant of Li- mone who had witnessed his removal, gave me a few particulars respecting it. Hofer, calm and resigned, was accompa- nied by a young man, the son of a phy- sician of Gratz, who would not leave him, so great admiration had he for his courage and virtues. This Vendean of the Alps was fettered like a robber; and as the little bark which held him crossed the lake, its waters were unusually agi- tated, as if indignant at participating in such a murder : he was landed at the fortress of Peschiera, and taken thence to Mantua, where he was shot. Hofer was one of those rare and illustrious victims Avho, like the favouritesof fortune, appear but at long intervals ; the former acquire by sacrifices, imprisonment, calumnies, and death, a glory not less eminent, and much purer, than the latter can ever at- tain by success, power, and dominion. CHAPTER IX. Italian Tyrol.— Madonna of the 7hd/o/o(o.— lake of Loppio. — Koveredo. — Dante's verses : Qual' e quella /•tiiiia.— Valley of Ibe Adige. Near Riva, a small fortified town at the point of the lake, is a church of the Inviolata, which, with its pictures and cupola resplendent Avith marble and gild- ing, seems like a lingering ray of Italy in a poor and mountainous country. The miraculous image of the Virgin was shown me by a Franciscan of the con- vent, a jovial fellow who was almost in- toxicated, and exhibited the first traces of German manners by the side of Italian magnificence. The Franciscan, never- theless, very devoutly lighted two small candles on each side the tabernacle, be- fore he uncovered the image of the ma- donna and recited his prayer. The road across the mountains from Riva to Roveredo. is exceedingly pictu- resque. The limpid rock-hound lake of Loppio, with its Islands, has a thou- sand particulars that one cannot too highly recommend to artists. Roveredo is a pretty town, with a Ger- man aspect; it is entirely devoted to manufactures and commerce, and has neither the loitering inquisitive travel- lers, the monuments, nor the external appearance of Italian towns. Between Roveredo and Ala, another small town of the Tyrol, is to Slavino di Marco, a fallen mountain, or kind of avalanche of stones, which it is now said that Dante meantto designate, much more than the Chiusa, by : — Qual' e qiiella ruiua clie nel flanco, Di qua da Trento, I'Adice peicosse, per tremuoto o per sostegno manco, Clie d- 106 surmounted by the equestrian statue of each prince, are some of the most curious monuments of the town, but these old tombs, in the open air. are in a situation too noisy and confined. The most splen- did of them, and one of the finest of the fourteenth century, is not that of Can Grande, but of Can Signorio, his third successor, heir of the brother of Can Grande II.. whom he had publicly assas- sinated on horseback in the middle of the street, near his palace, ' who, when at the point of death, ordered his younger brother Aiboin to be strangled in his pri- son ; wishing to assure the succession to his bastards Antonio and Bariolommeo, the former of whom, as soon as he mount- ed the throne, caused the other to be poniarded. Never were so many in- stances of fratricide brought within so small a space as in this chapel ; and fable has recounted fewer horrors of the hos- tile brothers of Thebes, than history re- cords of those of Verona. Petrarch no doubt alluded to all these catastrophes when he too lightly wrote that Verona, like Acleon, was torn by its own dogs. ' .To divert my thoughts from this fearful subject, I sought information respecting the loves of Romeo and Juliet : — Flos Veronensiutn depereuiit juvenuin,3 a verse of Catullus, applied to much less honourable loves, and that one would imagine Shakspeare had imitated : — Veroua's summer lialli not such a flower; which passage M. Emile Deschamps has naturally rendered by C'esl la plus belle fleur du printcmps de Ytrone. taincd great success at the court. Being asked by Cane, or more likely by his brother and piedecessor Alboii), why be alone despised the man whom every body else admired, he answered : "It is because a similarity of manners is thi' foundation of friend- ship." Although the remark has escaped the many voluminouscommentalorson IbeDivina Coiiwiedia, I know not whether the phrase /« sctndere e 7 salir per I allrui icale be not a jeu de mots in allu- sion to the annoyances that Daute experienced with the lords of La Scala. ' The arcade under which Can Signorio com- mitted this murder, took and retained the name of Volto barliaro; it joins the Piuzzit de' ISignoti, where the Scaligers lived. " Episl. senil. ' Carm. C. 2. 4 The Archduchess Maria Louisa of Parma. 5 It is extraordinary that Dante, to whose genius the pathos of the story of Romeo and Juliet was so suitable, has said nothing about tbem, though tie VERONA. [Book V. I saw in a garden, said to have once been a cemetery, the pretended sarco- phagus of Romeo's bride. This tomb was the object, at the same time, of ex- cessive honours and strange indignities. Madame de Stael, and a very learned antiquary whom I knew at Verona, re- garded itasrealh that of Juliet. A great princess 4 has had a necklace and bracelets made of the reddish stone of which it is composed ; some illustrious foreigners and handsome ladies of Verona wear a small cofTin of this same stone, and the peasants in whose garden this poetical s.Trcophagus stood in 1826 used it to wash iheir letluce in. It is now religiously preserved in the orphan asylum. According to a popular but erroneous tradition, the Capelletta takes its name from the family of the Capulets, and some enthusiastic travellers hive lately taken drawings ofboth the interior and exterior. The memory of the loves of Romeo and Juliet has been renewed in Italy by Eng- lish travellers ; Shakspeare's play has made it popular. Thus do Dante and Shakspeare seem to meet at Verona, the one by his works, the other by his mis- fortunes; and the imagination delights in bringing together these two great ge- niuses, so tremendous, so creative, and perhaps the most astonishing of modern literature. ' CHAPTER XI. Amphitheatre.— People inhabiting the moQuments. —Arch of Gavins. The amphitheatre of Verona, now the finest and best restored of those edifices, speaks so eagerly of the Montagues aud Capulets : Vieiii a veder Montccchi e Cappellelti. (Purg. \i lo6. 1 A poetess, or more probably a poet of the time concealed under the name of Clilhia, celebrated it. This little poem in four cantos, printed in 15.53, had become scarce ; it has been reproduced by S. Ales- sandro Torri in his notes to the novel of Luigi da Porlo. (Pisa, i83l.) The noveltiers ■■\r\A Italian his- torians who have related the adventure of Romeo and Juliet, which happened in 1303 or t304 under liartolommeo delta Scala, the son of Albert, are later by more than two centuries. See the novel of Ban- dello, t. IV. nov. ix. A French translation of the novel of Romeo aud Juliet, by Luigi da I'orlo, fol- lowed by some scenes translated from Shakspeare's Juliet, is due lo a learned writer, M. Deltcluse, who has compared the play with the novel. Paris, 1829, iD-12. CitAP. XI.] YERONA. 10; has undergone many vicissitudes in its destiny : it has been thrown down by earthquakes, destroyed l)y barbarians, made a receptacle for the filth of the town, and e\en assigned as a residence for prostitutes, nor were any regulations made for its restoration and keeping in repair till the sixteenth century. In the next, it was cleared of the constructions that encumbered it, and the ditches of the citadel were filled up with their ma- terials. The long continued neglect of the amphitheatre seems to explain the cause of its not being mentioned by Dante, who had lived at Verona, and was always so eager to bring forward the wonders of Italy. It seems diflicult to believe, as some have pretended, that, the form, ascending seats, and vomitoria of the amphitheatre, having suggested the idea of the circles and distribution of his hell, this great poet never spoke of the monument lest his strange plagiarism should be discovered. The first time that I saw this vast circus, there was a small puppet-fhow built with planks in the centre, which formed an odd contrast with the beautiful marble seats and the Egyptian solidity of the vaults and arcades that surrounded it. Thus, in the history of nations, a magnificent scene is often occupied by ludicrous personages. I afterwards at- tended a rather childish spectacle in this same arena : pigeons had been trained to perch themselves on a pistol and sit motionless while it was fired; they also discharged a small cannon, and then let off crackers while soaring in the sky. The intrepidity of these pigeons, carrying thunderbolts like the eagle (which is said to be cowardly), was little to my taste; ' According to Saraina Torello, an esteemed Ve- ronese antiquaiian, llie amphitheatre of Verona «ill hold twenty-three thousand one hundred and eighty-four; Maffei reduces it to l«enty-t\\o thou- sand. » Despite all the researches of the learned, the period of the foundation of the amphitheatre re- mains uncertain. ^ In Suchetti ( nov. cxiv ) this scene passes at Flo- rence ; it is also suid that Dante somen hat eccentri- cally reproached a muleteer, who was likewise sinking his Ditiua Commedia, with adding to his verses a hoarse am to stimulate his mules: Mu queW ani noii celo post 10 ! (The same, nov. cxv. ) The poems of Dante and Boccaccio were commonly accompanied with music and dancing, from which practice are derived the names of Suuueta, Chansons \Canzoni), Ballads [Bal ali). This accompani- boldness is not becoming in graceful beings, and I preferred the tender and unfortunate pigeons of La Fontaine to these warlike ringdoves. When full of people, the amphitheatre must ofler a superb coup d'aeil, if I may judge of it by the number attracted by the pigeon performances. This coup d'ceil was given in the last century to the emperor Joseph II., and in 1822 to the sovereigns assembled at Verona; Pius VI. also en- joyed it when he passed through this city on bis way to Vienna. But 1 think that this Father of the Faithful, blessing twenty thousand Christians ' from the top of this arena of some Roman emperor,' must have been a grander and more allecting sight than all the pomps of worldly princes. The outside of the amphitheatre is inhabited by the poorer classes of the tow n. It appears to me however that travellers are sometimes too indignant against the occupying ancient monuments in this manner; for it detracts less from the picturesque of these ruins than would the residence of classes more elevated or the piaciice of genteeler trades : the forge, with its flame sparkling at night in the bottom of the amphitheatre of Verona, has a finer effect than the lights which illuminate brilliant apartments, or the gas ofsome new shop or coffee-house. It was probably an ancestor of this arti- san, a tenant of these ruins, to whom Dante in exile at Verona said, as he threw his tools into the street : — " If jou do not wish me to spoil your things, do not spoil mine : you sing my verses, but not as I made them; they are my tools, and you spoil them for me." 3 ment was even applied to lyrical pieces and those of amorous and mystical metaphysics, as may be seen by the line canzone of the Convito which Casella, the friend and music-master of Dante, sin^s to him at his request in Purgatory, to his great delight : — Amor che nella menle mi ragiona, Comincio egli ullor si dolcemenie Chela dolcczza ancor dentro mi suona. IC II, (12-115. ) Petrarch had a musical voice, and accompanied his vertesontheluie which he bequeathed to his friend, maestro Tomas Bombusius of Ferrara ; his Africa even was sung at Verona. An incident very li^e that of Dante and the blacksmith i^ related by the biographers of Arioslo. lie entered the shop of a potter who was singing, in a mutilated form, the 108 VERONA. [Book V. The arch of Gavius, the tomb of that illustrious family, was till some thirty years ago, another precious relic of an- tiquity. Its fluted colunms and elegant capitals which now bestrew the earth, and will soon disappear beneath the filih oftheCi((ade//a, are one of those wrecks brought about by civilisation, which are not less numerous and much more com- plete that those of barbarism. This monument, after escaping so many ra- vages, was destroyed in 1805, when the citadel near it was put in a state of de- fence. S. Pinali, a patriotic Veronese architect and distinguished antiquarian, the possessor of some valuable original drawings by Palladio, so vehemently bewailed the loss of this national ruin that the French Viceroy of Italy decreed its re-erection. Some proposed to remove it to a spot where they said it would be better placed, as if these old Roman tombs, forcenturies embedded in the soil, could be shaken and uprooted so easily. Five months only were asked for this fine job, and the probability now is that it can never be executed. CHAPTER XII. Eamparts. — Porta del ['alio. The illustrious Veronese architect San Micheli seems almost the builder of his town : every thing was done by him, — gates, bridges, palaces, fortifications, chapels, and tombs. As the Marquis de MafTei has said, the genius of Vitruvius seemed to have passed into this great artist.' Tht-re has been, however, a general mistake in attributing to him the invention of angular bastions ; Leo- nardo Vinci had previously ascertained the necessity of this arrangement which verses of the xxxiid Stanza of ibe first canto of Or- lando • — Ferraa, Baiardo mio, deh feraia il piede, Che r esser seuza te troppo lui uuoce, and broke several vases. The poller asked the rejson of his «ralh : '-Acui Lodovico, Eppurenon mi sono ricallalo a dovere : ia lioalinenle non ho che iufranli pocbi vasi del valore appena d' un soldo ; voi mi aveie guastali i iniei versi, che scnza paragone costano motto piii." ' According to Galiaiii and Solieni, «ho were interested judges, Vitruvius was of Formia; ; he has just been included in the collection of medals has been since adopted by all engineers, and the ramparts of Verona were not constructed till 1527, eight years after his death.' The superb ramparts built by San Micheli, which the peace has destroyed, were masterpieces of military architecture : the demolition was one of the articles of the treaty of Lunevilie ; but we may judge by the remnants of the bastion of Espagna and the bastion delle Boccare, which is still entire, of the strength and solidity of those con- structions. Of late years Verona has been again considerably fortified by Austria, without making any ado about it. The Porta del Palio,^ another of San Micheli's miracles, as Vasari expresses it, recalls one of those numerous national festivals celebrated in the cities of Italy during the middle ages. The Verona races, instituted in 1207 in honour of the victory gained by the podesta Azzo d'Este over the enemies of the city, have long ceased, but they will live for ever, since Dante has been their Pindar, and has compared his master Brunette La- tini to oue of the conquerors : — E parve di colore Cliecorrono a Verona 'I drappo verde Per la campagua , e parve di cosloro Quegli che vince e non colui che perde. i The Porta del Vescovo-a-S .-Toscana is associated with neither such glorious nor such poetic reminiscences, but the name and figure of the governor Teo- doio Trivulzio are sculptured on it; it was he that first introduced the culture of rice into the country of Verona in 1522 ; and though less renowned than the indefatigable Giovanni Jacopo Trivulzio, he was a much greater benefactor to mankind. of celebrated Neapolitans, which is published at .Naples under the direction of S. Taglioni. ^ See the Eisaji on the physico-malhemalical ma- nuscripts of Leonardo Vinci, by J. B. Venlnrl. Leonardo Vinci's aciiuaintance "lib practical mi I- tary architecture was very extraordinary, if we may judge by a memoir which he addressed to I.udovico Sforza about MOO. In attacking towns be engages to make a gallery under the flilclies full of water: might not one truly say that the Thames tunnel was already under discussion ? ^ Pal/0, a piece of cloth given as a prize lo (hose who won the race. 4 Inf. c. XV., l:;o-)2i. Chap. XIII.] VERONA. 10« CHAPTER XIII. Saint Zeuo. - Cathedral. — PaciOco.— Pope Lucio.— Mcliesolii's mausoleum. -Blancliini. -Saint Anas- lasia.- Thesis maiolained by Dunle.— I'tilesirini cliapel. The churchcsof Verona are numerous, magnificent, and replete with reminis- cences. There, as in many other Italian towns, the principal church is not the cathedral, but the church of some po- pular sainl, powerful in word rather than eloquent, a benefactor to the coun- try, whose temple is generally the most national monument of the place. It is thus that Saint Zeno, S;iint Anthony, and Saint Petronius, are really the first chur- ches of Verona, Padua, and Bologna, very superior to the cathedral with its titled archbishop and lazy canons. The oldest portions of Saint Zeno are of the ninth century. By a kind of miracle this church has hitherto escaped the everlasting labours of the ariists of Cosmo, as Algarotli designated the ma- sons who came from that town, and its appearance is still singularly venerable. The bronze doors i)resenting grotesque emblems, are of curious workmanship. The church, spacious, majestic, and gloomy, contains ihe statue of the saint, who seems in a roar of laughter ; it is made of red Verona marble, and the co- lour gives the visage a rubicund appear- ance, and adds still more to his jovial air. This Christian Zeno seems to con- trast with the austerity of the stoic chief. His tomb al.^o exhibits some fantastic figures of the earlier times, and near it, among the arabesques of the archivolt of one of the choir staircases, is one repre- senting two cocks carrying a fox sus- pended to a slick, nonteux commeun renard Lucius had scarcely lime to seat himself, so sudden and violent was the insurrection against his aulhoiity. It is said that he was the first elected by the cardinals alone, who then arrogated to ihemsclvcs the right of chosing the pope to the exclusion of the people and clergy. The frescos of the high altar, repre- eonting subjects from the history of the Virgin, were executed by Moro, a Ve- ronese painter, from drawings by Giulio Romano : the Assumption is admi- rable. Titian's Assumption, brought back from Paris, is interesting, if it be true that he has painted San Micheli under the features of the apostle in the centre, with his face turned towards heaven, and one hand on the sepulchre. The painting of the chapel of Saint Anthony is by Balestra, and a Transfi- guration by Cignaroli, his pupil. In the sacristy of the canons, an Assump- tion and a St. Charles with a crucifix , are esteemed works of Ridoifi, a painter and writer of the seventeenth century, who contrived to avoid, in his paint- ings and biographies of the Venetian ' Luca dedit lucem libi, Luci, poDtiDcalum Oslia, papaluni Uonia, Verona mori. Itnrao Verona deiiit luris libi t'audia, l.omii Exllium, curas Oalia, Luca mori. Ossa Lucii III rent. Max. cui Roma ob inviiiiam pulso Verona lulissimum ac gratisbimum peifu- cium fuit, ubi convenm CbrisliaDorum ado, dum yijccliira nmlta molilur, e \ita escessl!. artists, the false taste prevalent in Italy at that epoch. In the chapel called the Madonna del Popolo is an antique tomb of Julius Apollonius and his wife, with an inscrip- tion purporting that he had destined it during his life to his beloved spouse Attica Valeria, that he might one day be placed by her side; this loving couple were succeeded in their tomb by Saint Theodore, bishop of Verona. Near this spot is an enormous fish bone, a strange instrument for an executioner, which, according to the popular belief, served to decapitate the holy martyrs Fermus and Rusticus. The mausoleum erected to Nichesola, bishop of Bellona, by Francois Gervais, a Frenchman, canon of Verona, drawn and sculptured, according to tradition, by Sansovino, appears worthy of that grand artist. A monument was consecrated, in pur- suance of a public decree, to Francesco Bianchi, whom the learned prelate, Gaetano MarinI, regarded as the first man of letters in the eighteenth century; the inscription relates, and truly, that the meekness and modesty of this asto- nishing man, at once natural philo- sopher, mathematician, botanist, anti- quary, astronomer, and even poet, — who has so highly honoured Verona and Italy, equalled his vast acquirements. Over the door leading from the ca- thedral to the archbishop's residence is a pulpit from which the deacon formerly read the Gospel to the congregation ; an Annunciation is sculptured there. In accordance with the ancient practices, the Virgin is represented simply stand- ing, and not prostrate and in prayer, as she has always been painted in later days. Saint Anastasia, a church built during the sovereignty of the Scaligers, with its sculptured doors, majestic columns, lofty nave, cupola, and choir, is a monument of the magnificence of those princes as well as of the epoch. The chapel of Janus ^ It is remarked by Macbiavel on the subject of tlie public penance imposed by Pope Alexander on Henry 11. after (he murder of Thomas a Beckct, a senlence to which in our days the meanest cilizcn would be ashamed lo submit, that Ibis same pope could not make tlie Romans obey him, nor would they even allow him lo live ia Rome. litor. fio- reiil. lib. i. Chap. XIII. ] VERONA. Frcgose, a Genoese and general in the Ve- netian service, who died in 1565, erected by his son Ercole, is a monument half altar half mausoleum, and one of the most remarkahle in Italy; from the in- scription it a()pears to be by Daiiese Cut- tanco, an artist and poet of Carrara, whose thirteen cantos on the Amor di Marfisa delighted the youth of Tasso, and who was the master of Gcronimo Campagna, a great sculptor and archi- tect of Verona. There are some good paintings at Saint Anastasia : a very flue St. Vincent, by Count Rolari, an artist of graceful talent, who was painter to Catherine II. and died during the last century in Russia; near it is a fresco by an old and unknown author, part of which is in a good state of preservation ; the Christ dead and bewailed by the Marys, is attributed by Vasari to Liberate, but is by his great disciple Francesco Carotto, a clever Ve- ronese artist of the end of the fifteenth century; a Deposition from the cross and other old paintings of the Pellegrini chapel, and particularly ihe fresco of 5f. George, by Viltorio Pisanello, a cele- brated Veronese master of the first epoch of the Venetian school ; two paintings of the Holy Ghost descending on the Apostles, by Giolfino, the fricud, pupil, and guest of JIantegna. The chapel of the Rosary is of good architecture, and is said to have been executed from a design left by San Micheli. A fine old painting at the altar represents the Virgin, the Infant Jesus, and the saints and mar- tyrs Peter and Dominick, at her feet Martin Il.della Scala and his wifeTad- dea da Carrara ; this cruel and faithless prince, the successor of Can Grande I , may be called the Tiberius of the Vero- nese Augustus. In the sacristy, the noble and elegant altar-piece represent- ing several saints, is by Felice Riusa- Borci, as also the small portraits ofDomi- nican saints on the wall ; a graceful Assumption is by Orbetto. A stone cenotaph and bust bad just been erected in this church, in 1828, to the poet and improvisatore Lorenzi of Verona, by Ippolito Pindemonte and the archduchess Reatrice d'Este, an homage offered to talent by grandeur and friend- ship. These private monuments, so ' Naufr.igus liinc fugio; Clirlstum sequor : Is mllii buIUS lit common in Italy, are among the noblest decorations of their temples; it is a touching manner of honouring the friends they regret or the great men they ad- mire. Pindemonte composed, on the subject of erecting this monument, some verses on the death of Lorenzi, in which his pious anfl resigned muse seems rather more sceptical and independent. These verses were the last Pindemonte wrote, and they seem, like the song of the ex- piring swan, to be the dying inspiration of this tender and melancholy poet. The baptistry of the church of Saint John m Fonte, with its eight faces, on which divers sacred subjects are coarsely sculptured, is a curious Christian anti- quity, in which the patriotism of.Maffei found traces of nobleness. Saint Helena contains some old monu- ments, and especially the fragments of an old mosaic, the origin of which has be- come involved in uncertainty by multi- plied researches. It has also the tomb of a cardinal Teodin, Pope Lucius's com- panion in exile, and that of a pious, learned, and unfortunate Veronese, Leonardo Montagna, w ho died in 14S5 ; his epitaph is simple and affecting. ' The best painting, the celebrated St. Helena, by Felice Brusasorci, is of ex- Iraordinary beauty. It was in this church that Dante, in January 1320, when poor and in exile, maintained in Latin, before a numerous audience, a thesis on land and water, a strange sub- ject for this great poet to discuss, and a siufiular means of turning his talent to advantage. This public sitting in a church, which belonged to the manners of the day, and was regarded as a mark of honour for him who was to be heard, confirms a remark in a preceding chapter on the popularity of science and litera- ture before the invention of printing, when they were neither studied nor taught in the closet, but propounded be- fore the crowd and lor every body. Saint Euphemia has the fine Verita mausoleum, a capital work by San JMi- cheli. The old church, which had been repaired and renovated, dated from the Scaligers. It was then given to the her- mits of Saint Augustine of the monastery of Montorio, who estiibiished themselves there ; they acquired also several gar- Sil dus, Htque comes, sitque perenne bonuni. MCCCCLXXXV. 112 dens and houses adjoining as well as Ihe I right 10 enclose a street leading down to the Adige : ii appears that the latter pro- ceeding was oirensive to some parties, and the wall of the monks was thrown down in the night ; but they rebuilt it. and their tenure was maintained There are several tombs of literary men in this church : that of Renaud de Villcfranche, the grammarian, one of Pelrarch's nume- rous correspondents; that of Antonio da Lcgnago, a counsellor of the Scaligers, "learned and of repute in his day, " says Maffei ; those of Pietro dal Verme, and his son Lucchiiio ; a famous warrior to whom Petrarch addressed his treatise On the dutij and qiiaUfications of those who command, a sort of manual for mi- litary chiefs, in which he several times mentions good fortune as their chief me- rit. The form of this red marble tomb pretty much resembles that of Petrarch, which I have since seen at Arqua. The tomb of Fracastor is not at Saint Euphe- mia, as some have asserted, but that of his friend Rhamnusio is there. The best paintings of the church are : St. Paul before Ananias, one of the best works ofGiambattistadal Moro,a fresco which, on the demolition of the Widl it first oc- cupied, was carefully removed at great expense and placed over the door ; the Virgin with St. Roch and St. Sebas- tian, by Domenico Brusasorci ; and es- pecially two Virgins, by Carotto. The church of Saint Rernardin, which is decorated on the outside with frescos by Cavazzola, surnamed the second Paolo Veronese, by Farinali, called Ihe third, and by Giolfino, contains : the superb St. Francis, by Francesco Mo- rone, and another painter unknown, w ho did the beautiful aureola ; frescos by Giolfino, which are still full of life, des- pite the injuries of lime, and which olfer a view of ancient Verona ; a Virgin, perfect, by Francesco Monsignori, of Verona, one of the best pupils of Man- tegna. The chapel of the Cross seems a gallery of the best works of Veronese ' Tbis stone peculiar lo the environs of Verona, says M. Qualrc mere de Quincy, is the raosl valuable Uiud known, after ubite marble, for » biteness and Bneness, and at Ibe sama time better adapted by its liriuness, to be worlsed by the cliiscl : it is called bronzine, because «ben wrought it sounds like bronze. Disloire de la vie el des ouvvages des plus celehres architecles, t. I. p. 100. Paris, (830. ' It was at first somewhat blunderingly slated in VERONA. [Book V. masters of the good era. But all this magnificence nearly escapes attention beside the Pellegrini chapel, a master- piece of San Micheli. of itself a little temple. If, with respect to style and eloquence, some few pages are sufficient lo give Ihe measure of superior minds, as may be seen by Ihe Aventures d'Aris- tonoiis, the Reverie of Rousseau, Paul et Virginie, Rene, le Lepreux, it ought to be the same in the fine arts : the Pel- legrini chapel displays all its author's genius. Though erected three centuries ago, such is the skill of its disposition, the beauty of the light, and the singular quality of the stone,' that it still seems quite new, and one feels inclined to ask what immortal contemporary has just finished such a captivating wonder. CHAPTER XIV. San Fermo. — Mausoleums of the Turriani, Bren- zoui. and Aiighieri. — Saint Sebasiian. — Thomas a Beckel. — Sanla Maria in Orgimo.— Sacristy —Saiut George.— Ricovero. The church of San Fermo presents the celebrated mausoleum of the Turriani; but this fine monument was stripped by Ihe war of its bronze basso-relievos and the two genii placed on each side. One might have supposed that these tombs would be respected in all these ravages. Nothing is known of ihe fate of the two genii; the eight basso-relievos of An- drea Riccio are most clumsily enchased in Ihe wooden door of the hall of the CanatidesaltheRoyal-Mustum. ^ These Turriani, who are here so magnificently entombed, were neither princes nor fa- mous warriors, but good physicians and skilful anatomists, who had merely been successful professors at Padua, Ferrara, and Pavia : one of Ihem, Anionio, son of Geronimo, the anatomist, assisted Leo- nardo Vinci in more truly expressing the dilTerent parts of the human body. Out- side the church is the tomb of Aventino Fracaslor, ancestor of the great Gero- nimo, the physician ofCan Grandel.,and the Catalogue des commissaiies fraiifais de 1798, that the subject of these basso-relievos was the his- tory of Mausolus, king of Carta, and they were agiiin similarly eiplained in 1813. This notion was subsequently refuted by CIcognara, who thinks that the subject of these b.isso-relievos is the life, sickness, and dealh of Geronimo de la Torre. {Stor . del. SrutL, t. IV. p 292 et seq.) M. de Clarac has since added, in his Musie de sculpture, t. i. p. 409 Chap. XIV. ] VERONA. US inside are those of Francesco Pona, an- other celebrated physician, of several others of the same profession, and of Francesco Calccolari, a botanist, author of the Iter in Baldwin. San Fermo seems to be the Saint Uenis, or West- minster of the faculty. A singularly elegant tomb, one might almost call it graceful, perpetuates the memory of the Veronese historian Torello Saraina; this monument was erected by his townsmen as an acknowledgment of his learned researches. Few towns have had a belter share of historians than Verona; Saraina is still esteemed ; IMaffei owes his glory to his Verona illustrata; and Count Persico, by his excellent Descripiion of Verona and its province, has shown himself a worthy successor of these na- tional annalists. The mausoleum of the Brenzoni, a good work of the fifteenth century, which elicited the approbation of Yasari, is adorned with paintings on a gold ground by Pisanello. But the little altar of the Aligeri, as they pronounce it at Verona, with all its simidicity, is far otherwise imposing by its name alone. The poetical arms of this family seem worthy to have been chosen by Dante; they are a wing or on an azure Geld. The last descendant of Dante. Francesco Aiighieri, who was a very learned man, a good judge of architecture, and the best interpreter of Vitruvius, though his manuscript translation is perhaps now lost, erected near this altar the tombs of his two brothers, Pietroand Ludovico, the former well-versed in Greek and Latin literature, the latter an able juris- consult : it is pleasing to observe that, even to llie last, a family so celebrated for mental powers has not been unfaith- ful to the intellectual arts, and that when genius (ell away, its members never ceased to cultivate science. ' Over the principal door is a Cruci- fixion, a natural old picture by an un- known author ; which, from the two nails put in the feet, must be anterior to Cimabue, who first restricted himself to one. Thus, according to Jlaffei, Verona both preceded and excelled Florence in et seq., some reasonable explanations to Cicogna- iHh St. Peter and St. Francis, by Dal Moro ; the Christ with his mother and Magdalen, by Do- menico Brusasorci. A good Crucifix in bronze is by Giambattista of Verona, a sculptor much praised by Vasari. Saint Sebastian is one of the most splendid churches of Verona ; its front, from the design of San Micheli, remained long unfinished to the great allliction of Veronese patriotism, and has been but recently completed. The high altar is by the celebrated Padre Andrea Pozzi, of Trent, Jesuit and architect, who, with his brother the Carmelite, like- wise an architect, was one of the most zealous corrupters of taste in Italy towards the end of the seventeenth century : this altar has however been greatly extolled. Among the many paintings, the Saint suffering martyrdom, gracefully sup- ported by an angel, passes for one of Brentana's best works. On the ceiling, the same, by Paroliiii, is pleasing and well composed. A Moses on the ceiling of the sacristy is by Farinati ; also a Judith, a superb and fantastical work, in which he has even ventured to put cannons in the siege of Bethulia. Santa Maria della Scala shows the literary glory of Verona at very different epochs, and under manners greatly changed : it was built in 13:>8, by a vow of Can I., and il contains the very simple tomb of Mallei, its historian, antiquary, and poet, who died in 1755. At the altar delle Grazie is an old fresco of the nevra, who was married in 1340 to Marc Antouto Serego; from that epoch the name of Aligbierl is conjoined wiib Ihat of Serego; and lilt within some few 5cars, it was borne by a very amiable lady, tlw countess Serego Alighieii, whom I had the lienour to linow, and whose premature death ex- cited universal regret at Vero-iia. 10. H4 VERONA. [Book V. Virgin, and below Alberto and Martino dellaSrala, nephews of Can I. An As- sumption at Ihe high altar is by Felice Brusasord ; the Virgin with the seven founders, is one of Ihe best performances ofRotari ; an expressive St. Mary Mag- dalen, is by Coppa, a pupil of Guido and Albano. The Virgin and some saints, over the little door on the right, are lighl, graceful, and picturesque paintings by the Cavalier Barea. Byasingularcoincidence, at the church of Saint Thomas Cantuariense, there is the tomb of John Baptist IJecket, a mem- ber ofthesaint's family. Bossuethaslefla magnificent eulogy of the archbishop of Canterbury; speaking of the Church, he said that Becket defended even the out- works of that holy city. The plan of Saint Thomas was by San Micheli. who lived in its immediate neighbourhood. His house still exists, and is remarkable for its beautiful entrance ; a plain inscrip- tion on Ihe pavementofthe church points out where he was interred ; it recapitu- lates his immense labours, and its unvar- nished lale has a kind of eloquence arising from the truth of its statements, i There are some fine paintings in this church. St. Magdalen, St. Martha, and a choir of angels, is by Orbello. St. Job, St. Boch, and St. Sebastian ; the infant Jesus on his mother's knees playing with the little St. John, a painting in Raphael's manner, and even attributed to Carofolo, is by Carotto; the St. Je- rome, full of thought; the Virgin, St. Anthony the abbot, St. Onuphre, by Farinati. Such is the beauty of the latter saint, naked and sealed, that he has been regarded as an imitation of the antique torse. The oldest Christian antiquity of Ve- rona, and even of all the Venetian pro- vinces, is pcrh.ips the church of Saint Nazarius and Saint Ccisus, for it may possibly be of the sixth century. The grottoes adjacent served for retreats to the first Christians, and may be called the catacombs of Verona. The monas- ' San Mlcheli appears to have been not less esli- mable for bis social quiililies, than worthy of ad- nilraliou for his talents. So fervent was the piety of this archilect aiiiitl all his ocrupalions, ihal he never underlook any work nilliout having a solemn mass said to invoke aid from on high. Vasari, n ho knew him, records an incident that proves his singular conscientiousness. Being harassed by the remembrance of a connection which he formed in tery is partly demolished and is occupied by a soap-boiler; this manufacturer is a friend of the arts, and has had the paint- ings of the seventh century which are still visible drawn and engraved; these old paintings, coarsely executed in a kind of cellar, represent the apostles, some martyrs, and the soul of the just depart- ing this life, assisted by the archangel Michael, and may be called the first fruits of the brilliant Venetian school, which did not revive till four centuries later. The paintings of the present church are numerous; we may remark: the frescos of Falconelto, who became a great architect from chagrin, » through the first of these frescos not having procured him the praise he expected; divers incidents from the life of St. Blase, St. Sebastian, and St. Julian, by Monsignori; the Nativity, the Cir- cumcision, l\\c Adoration of the Magi, the Presentation in the temple, by Ihe younger Palma; on the shutters of the organ, are some Angels, gracefully ex- pressed, by Dornenico Brusasorci, whose harmonious songs one seems to hear ; a Conversion of St. Paul, lively and ex- pressive, by Bernardino India, an imitator of Giulio Romano : according to a tra- dition peculiar to painters and now generally adopted, the saint is on horse- back, although Scripture is silent on that point; a fresco of Adam and Eve, one of the best works of Farinati ; a Carrying of the cross, in fiesco, by Giambatlista dal Moro; a Descent of the Holy Ghost, superb, by Carmeri, the clever assistant of Paolo Veronese. Santa Maria in Organo is a wonder of art : the beautiful Coritithian front, from Ihe design of San Micheli, would be, if it were fini>hed, a model of sacred architecture. The altars and walls of its twelve chapels are covered with paintings by the first masters : St. Fran- cesca the Roman, much injured, by Guercino ; Ihe Passover of the Hebrews, a Last Supper, Pharaoh drowned, and other picturesque frescos, by Giolfino ; his youth, at MonteOascone, witli Ihe wife of a statuary, and knowing that Ihis woman, who was in slrnilened circumsiances, had a daughter of whom he Ihought it possible he might be father, he sent her fifty gold crowns as a marriage portion. It was in vain Ibat Ihe mother attempted to allay his scruples by assuring him of his error, he obliged her to keep the cum. ' See post, book vn. chop, vii. CaAP. XIV.] VERONA. 113 some beautiful landscapes by Domenico Brusasorci. A wooden chandelier, in the chapel of the Holy Sacrament, the carv- ings on the wainscot of the choir, and es- pecially the sacristy, by Fra Giovanni, an Olivetan monk oC Verona, are perfect. I observed among these last the Coli- seum, (he tomb of Augustus, and other Roman antiquities which did not seem quite suitable subjects for a sacristy ; they are another instance of the freedom of the arts in Italy before the council of Trent. This sacristy was mentioned by Vasari as the finest in Italy : the superb St. Francis, one of the chrfs- d'oeuvre of Orbetto, has since added to its magnificence ; it contains other charm- ing landscapes and views by Brusasorci ; some excellent frescos and portraits of Olivetan monks, by the Moroni, cele- brated painters of Verona in the fifteenth century ; among which may be noticed the portrait of the clever Fra Giovanni, executed in a superior manner by Fran- cesco Morone, who probably lived at the period of his admirable labours. The antique church of Saint Stephen offers one of those old stone scats des- tined for the earlier bishops, which may have suggested the idea that it once was a cathedral; this stone bears but little resemblance to the white satin on the episcopal throne of our bishops. Among the excellent paintings of Saint Stephen, may be remarked : the Virgin, the In- fant Jesus, St. Peter, and St. Andrew, by Carotto, the two first between St. Maur, St. Simplicius, and St. Placidia, by Gioltino; a St. Stephen, the Eternal Father, aChrist bearing his cross, the Adoration of the Magi, by Domenico Brusasorci; the Execution of the forty martyrs, one of the most brilliant mas- terpieces of Orbetto, which is singularly detrimental to two good paintings near it, the Massacre of the Innocents, by Pas- cal Ottiiio, and the Five Saints Bishops of Verona, by Bassetli. The church of Saint George Major is one of the finest of the revival : some attribute it to San Michcli, others to Sansovino, and it is worthy of both : but what l)r|ongs to San Micheli is the skilful d.iring with which the sides are supported in order to lay the cupola on ' San Micheli liad another nephew of grenfer ce- li'brilv, and on his own side, Giovanai GeroDimo. See pott, chap. xsi. the cross-aisle of the nave. The superb high-altar is by his nephew Bernardo Brugnoli.' Saint George abounds in admirable paintings : there is the picture of the saint, by Paolo Veronese, which has been brought back from Paris ; it is perhaps the best preserved of his works and the finest painting in Verona, remarkable for the excessively rich dress of its personages, the best clothed, I believe, in the whole realm of paint- ing. An Annunciation, St. Roch and St. Sebastian, the Christ praying in the garden, his Resurrection, a Trans- figuration, St- Ursula, prove the va- riety of Carotto's talent. A St. John baptising the Saviour, by Tintoretto, is full of vigour. The Martyrdom of St. George, in four parts, by Geronimo Romanino, is spiriied. varied, and ter- rible. The Apostles delivering a de- moniac, by Domenico Brusasorci; the Virgin in a glory, and Saints Benedict, Romuald, Anthony the Abbot, Maur, and Bernard, and especially three ar- changels, by Felice; Ihc Virgin, St. Lucy, and St. Cecilia, h'^ Morelto, areexcellent. A charming little picture by Geronimo Dai Libri. called by Lanzi the jewel of this church, [giojello di questa chiesa) represents the Virgin sitting between St.Augustinand Lorenzo Giustiniani; three little angels below are singing and playing on instruments ; they forcibly recall the verses of Dante, the last of which is so precise and beautiful, as the conclusions of his various cantos gene- rally are : — Tale iramagine appunio ml rendea Ci6 ch" io ut voted to him by the Aca- demy as well as the inscription to his honour, which he constantly refused while living, and even had it effaced when his fellow-citizens had put it up in his absence, a rare instance of the sincc- rily of this kind of modesty. How many monarchs and conquerors have fallen before statuary honours, and after a feigned resistance, have prudishly con- sented to accept immortality ! The mar- quis Mallei did not deserve the mean trick played him by Voltaire, who, after dedicating to him his Merope, wrote, under a fictitious name, a pamphlet full of quibbles and abuse against the Italian Merope : as if some few imita- tions could dmiinish the merit of such a masterpiece. Voltaire would have been far otherwise enraged could he have known Alfieri's admirable piece, less showy and pompous than his own, but truer and mure Grecian. Maffei showed himself ' Ludovlco Canossa, noted for liis uprlglilness and diplomatic talents, liad been the pope's legate In France and England. It was in the latter coun- try Ihat he had the singular interview wilb Eras- mus, wilhout knowing him, which Uoscoe relates more generous towards another Italian poet. Count Torelli, a distinguished writer of the sixteenth century, and also the author of a tragedy of Merope, in- serted by Maffei inliis5e/er«(ono/'//a/ian tragedies, in spite of the personal in- terest he might have in its suppression. The rich Verona museum, after being long exposed to the injuries of the air, has been better arranged recently through the municipal zeal of Count Geronimo Orti. CHAPTER XVI. Canossa palace; — Gran Cuardia; — Giiasta Verza ,— Poiupel ;— Bevilacqua ; — Rldolli;— Giusli.— Forna- rlna ol Verona — Palace detla Raij ione.—P inaco- teca. — Custora-hnu-.e — I'iazza delle Erbe. — Paint- ing of streets in Italy. — Campo Sanlo.— Casino Gazola. — Congress. The finest of the many palaces of Ve- rona, the masterpiece of San Micheli, the famous Canossa palace, once the abode of kings and emperors, whence the view of the Adige is so beautiful, has on its frieze, a singular ornament scarcely per- ceptible amid its magnificent architecture ; it consists of a mullitudeof mitres, placed there by the order of Ludovico Canossa, bishopofUayeux, who erected the palace. It is singular enough to see Italy indebted for one of its finest palaces to a bishop of Normandy.' The vast palace called dclla Gran Guardia in the fine Piazza della Bea, is not by San Micheli, though such is the conmion opinion, but it reminds one of his style : experienced judges detect ar- chitectural inaccuracies in it that such a man as he would never have committed. It appears to be from the design of Do- mcnico Curtoni, one of his nejihews. The Guasta Verza palace, indubitably by San Micheli, is of the most elegant and graceful taste, whereas his other palace, Pompei delta Vittoria, though smaller, is remarkalile lor its plain and sturdy front. 1 hat of the Bevilacqua pa- lace, also by San Micheli, but unfinished, appeared to Mallei somewhat licentious [alguanto licenziosa), so much richness and profusion were there in thecommix- tion of its columns. The precious mu- seum which for more than two centuries in his Life of Leo X., chap. xri. Ultimately he fet- tled in France under Francis II., whose confidence he gained, and was named by him bishop of Bayeux [vescono di llaiuia, as he rather oddly gave his sigoatuie). MS VERONA. [Book Y. conferred celebrity on the Bevilacqua palace is no longer in existence; its beau- tiful Venus, Pan, and Bacchus, its busts of emperors, and its superb Li\ia, have passed into Bavaria : the Augustus and Caracalla (very scarce) brought back from Paris, only pafscd through Verona on the road to Munich to rejoin the other chefs-d'oeuvre. The Ridolfl palace deserves a visit for its pompous Cavalcade of Pope Cle- ment VI I. and Charles V. at Bologna, at the coronation of the latter; it is an immense and beautiful ceiling, the mas- terpiece of Domenico Brusasorci, the Ti- tian of the Veronese school, one of the best works of this kind, and very curious for its portraits and costumes. The great Giusti palace, finished about the close of the sixteenth century, was described, as well as its garden, by that indefatigable writer and physician, Fran- cesco Pona, of Verona, in a scarce little book oddly entitled // Sileno, Verona, 1626, in-8vo. This palace has become a military lodgment, occupied by the Aus- trian commander and his troop. Its beautiful gallery, which was enriched by the principal remnants of the Molino Museum of Venice, was sold by the go- vernment about 1825. The garden is still frequented ; its prospect, grotto, echo, and labyrinth, are in repute at Ve- rona ; but it is melancholy ; its continually recurring steps, formerly used for drying cloth, recall the lime when the woollen manufacture was followed by nobles, and not thought derogatory. Andrea Scotto, author of an Itinerario d' Italia, of the year 1600, relates that the trade in wool and silk was so extensive at Verona, that nearly twenty thousand persons thereby gained a livelihood. The galleries of Verona are not now very remarkable; several have even been sold recently. At the ancient Mallei palace (which has a winding staircase truly unique for height and boldness), there was a beautiful Fornarina for sale in 1828, belonging to Signora B'**, su- perior even, it was said, to those of the Tribune and the Barbermi palace. Such at least was the opinion of the grand duke of Tuscany Cosmo HI., who seem- I See olso, on tbe adiniralion lliat lliis Fornarlna Inspiied in Appiaui and Clcoynara, the passage of a leiier hy Count Persico, quoled in tt)e notes of tUu Ualian iraDslalioaorM.Quatrem^redeQuiacy's ingly must be a partial judge, and of S. Pinali, in his letter addressed to the pub- lisher of the Journey to Cosmo, first pub- lished at Florence in 1828. Cicogiiara, though he greatly admired the Fornarina of Verona, did not think it by Raphael ; in his opinion it had not that great pain- ter's peculiar softness of outline, and be thought it might rather be attributed to Giulio Romano or some one of his school. ' The ancient palace della Ragione has on one side a basso-relievo representing the figure of a Dominican, which has caused it to be attributed with some foundation to Fra Giocondo, a good Ve- ronese architect of the fifteenth century, one of the architects of Saint Peter's, who brought into France the principles of good architecture, and built the Pont iNotre-Dame at Paris, sung by Sannaz- zaro. On the arch near this palace is the statue of Fracastor, and on the arch of the Volto barbaro > that of MaiTei. The Annunciation, in bronze, on the front, is by Geronimo Campagna, a clever sculptor of Verona in the sixteenth cen- tury. The spacious old council chamber, as- sociated with patriotic recollections which ought to be held sacred, has been trans- formed by means of thin plaster parti- tions into four rooms intended for the new Pinacoteca. The greater part of the paintings are bad, with the exception of a Deposition from the cross by Paolo Veronese, whose chefs-d'oeuvre are not numerous in the town that he honoured by taking its name ; it Is almost the same with Urbino, the country of Biamante and Raphael, which possesses neither house nor painting by these great mas- ters. Another remarkable painting, by an unknown author, in this unlucky Pinacoteca, represents the uniting of Verona to the republic of Venice, an act perfectly voluntary, a rare thing in the history of unions. The custom-house of Verona seems, by the noble simplicity of its architecture, a kind of forum, and one is almost olfend- ed at finding nothing but packages, por- ters, and officers. This edifice of such good taste, which had for architect Count Uistoire de la vie et ilea ouvrages de Raphael, by F. Longhena, Milan, 1829, p. Z2'J. ' Sec ante, tbap, x. note 5. CiiAP. XVI.] VERONA. H9 Alessandro Pompei, is nevertheless of ihc middle of last century, an epoch when the prevailing taste was detestable. One would think that the ascendent of the monuments of San Micheli and Palladio has influenced the architecture which succeeded them, and that when within view of such examples, it was impossible to go astray. On the Piazza delle Erbe is a column, erected in 1524, and formerly, according to a decree of the grand council, a debtor had only to touch this column, to find shelter from the pursuit of his creditors; a singular expedient, proving that it was already felt necessary to prevent the rigours of imprisonment for debt, so terrible in free states, which our improved legislation is attempting to correct. ■ The Venetian lion, an excellent work which surmounted this column, was broken in 1797. The statue of Verona {Madonna Verona) in the same square, formerly had a sceptre and a crown to show that this city was once an imperial and royal residence, but these were broken olT in 1797, and it is now covered wilh an arena that gives it altogether the air of a statue of Cybele, an emblem of the fecundity of the earth, which does not seem ill placed in the centre of a market. The statue holds in ils hand that noble and harsh inscription, the an- cient device of the republic of Verona : Est justi latrix urbs hwc et laudis amatrix. Painting in reality runs along the streets in Italy. Mantegna executed two frescos on the house of the painter Giol- fino, his friend, with whom he had lived as a guest; a poetic and not uncommon manner with the artists of the fourteenth and fifteenth centuries, of acknowledging hospitality. Mantegna's frescos are now scarcely to be recognised : having first been barbarously whitewashed, an un- skilful cleaning lollowed, and when I saw them they were again half covered by a large green Venetian blind. The Campo Santo of Verona was fi- nished in 1833; it is the work of S. Bar- beri, architect of the town, and, with its piazzas, temple, pantheon, and chambers ' See pojf, book vii. cliap. tI. * This casino was ahva;s very small; Ihe garden is in llie bad laste prevalent; in tbe lasl cenlury, wilh Us aviary and stone sialues ; but tbe vegeta- tion is pretty good, and the view of the Artige pleasing. of anatomy and of pathology, is the most imposing and best conceived of all recent erections of the kind in Italy. Pinde- nionle, who now honours this pantheon, could no longer eloquently lament the confused and barbarous sepulture estab- lished in thefiist, the philosophic Campo Santo of Verona, created under the French administration : Indisliote Son le fosse fra loro, e un' erba mula TuUo ricunpre : di cadere Incerlo Sovra un dilello corpo, o un corpo ignoto, Nel cur il planto slagneria respluto.— The name of Verona is connected with memorable events of our own days. It was for some time the asylum of an au- gust exile and his faithful companions; but these noble refugees did not find there the hospitality of the lord of Li Scala, and in their deep sorrow, they could not have accepted his joyous con- solations. The Gazola casino, almost sunk into a cottage, and now occupied by gardeners, ■' saw the commencement of that reign at once so long and so short, which succeeded that of 3i captive infant king. 3 This reign, begun in a foreign land, was destined to have a peaceful conclusion at theTuileries, amid a people who were astonished at having ultimately found the benefits of order and liberty. Verona became one of those rendez- vous of kings and emperors, grand poli- tical consultations, which the disquietude and agitation of Europe have rendered frequent in our days. Comines, an able judge in matters of business, was no partizan of such meetings : " Two good princes," says he, "who w ish to be friends, should never see each other, but send good and prudent people to each other." This opinion, which Comines supports by the history of his own time, is not true now. One of the benefits of civili- sation is the improvement of the moral character of sovereigns. Jf Greece was abandoned at Verona, perhaps her mis- fortunes were less owing to the senti- ments of the princes than the practices of those good people so much recom- mended by Comines. 5 Louis XVllI. was at Verona when be learned the death of Louis XVII, and published the mani- festo by which be declared (bat he neither could nor would change any part of the old French^con- stiuiliou, a rash engagement of which the Chart was afterwards a noble and Just contradiction. 120 GARGAGNAGO. The impression that Verona leaves is not less vivid Ih^in its first sight is striking ; it contains fine monuments of various epochs, of antiquity, the middle ages, and the revival; such as the amphitheatre, the chapel of the Scaligers, and the palaces of San Micheii and Palladio; in short, this town, the Austrian head- quarters of the Lomhardo-Venetian king- dom, numbering forty-six thousand in- habitants, still produces the effect of a flue capital. CHAPTER XVII. Environs.— Gargagnago, rc.-idtnce of Dante. I have rambled through the environs of Verona, and its hills, which rise am- |)hitheatrically and are commanded by the Alps, present an aspect at once joyous and majestic. Several points of the Veronese territory recall events con- nected with the literary and poetical history of the revival, as well as the finest feats of arms of contemporary glory. Oh visiting Gargagnago, the abode of Dante, I did not experience the disap- pointment sometimes produced by places inhabited by celebrated men, a disap- pointment that I felt at Ferney, and later, loo, at Vaucluse. Dante' wrote his Purgatort/ at Gargagnago. perha[is during his exile ; the Inferno was begun at Florence in the midst of factions ; and the Paradiso in Frioul, at the castle of Tolmino, and under that tranquil grot which the traveller still frequents. 1 bus do the three parts of this immortal poem, the work of Dante's whole life, seem in keeping with the misfortunes and situa- tion of the poet. Like the Homer of an- tiquity, this Homer of modern times has taken words from the dialects of the dif- ferent countries \\ here wayward fate had thrown him. There is nothing left at Gargagmigo of Dante's time, but the air and the site ; the latter, composed of loftv mountains, is grase and solitary, and one feels there a sort of harmony 'with the genius of the bard by whom it was in- habited. ' We learn from De Thou that he practiced me- dicine gratuitously : one of his most pathetic pieces is an epistle on the death of his two children, ad- dressed to one of the three bro'.hers Torriani. his friends :— [ Book \ I cannot reflect on my visit to Garga- gnago without sorrowful emotions. This old manor of Dante was then the resi- dence of a distinguished lady whose dea:h I have already lamented. The countess Serego-Alighieri had formed, at Gargagnago, a librarv of the rarest and best editions of this great poet, and had the intention of erecting a monument to him ; truly was she most worthy to bear his name, for her devout admiration of him, the elevation of her mind, and the aidour of her Italian feelings. Three laurelsconsecrated to Monti, Pindemonte, and the improvisatore Lorenzi, were planted by her at the poetical fete that she gave in 1820, to Monti and Loienzi, who had mutually wished to be acquainted with each other. In the recital of ray short voyages, I love to mingle the re- miniscences of women with those of illustrious men, and the ever-new im- pression of nature's beauties, the wonders of art, and all the enchantments which enra(itured me : this recollection still moves me with delight amid my sorrows. CHAPTER XVIII. IncafD.— Fracaslor's house.— Fracastor.— Ulvoli. - Baitle. I visited the house where Fracastor formerly lived, situated on the bill of Incaffiatthcfoot of .Montebaldo, between the Adige and lake Garda. Fracastor is now but a name, yet he was one of the first men of his day : natural philosopher, a>tronomer, g; eat as a physician and a poet, he is a new instance of the affinity that ever since Apollo has seemed to exist between the two art* in which he excelled, — between the inspiration of the poet and the coup cVoeil of the physician. Fracastor's pure and honourable life still adds to our admiration of his talents; generous, feeling, ever ready to aid, ' he eiijo\ed;itInca{l] the two blessings of the soul, letters and friendship. Fracastor's house, inlernalh much injured, is let at ten crowns to some peasants who inhabit it; but the walls are good and some traces of its better days are still visible; for instance, a kind of wooden ladder Batte, animos quando tri^tcs, curasque levare Musa potest Cdap. XVIIL] GARGAGNAGO. 121 affords ihc means of reaching the second floor, while the wail beside it is a polished and shining stucco; the place of the library and the wooden chair of Fracastor are preserved : the latter pretty much resembles Ariosto's arm-chair shown at Ferrara, and proves that men of letters at that period were not very indulgent in their habits. It appears, however, that Fracastor was not inattentive to comfort in his arrangements, for there is a Dre- place in every room of the house, a kind of luxury at that lime. The loop-holes made in the walls between the chambers and the staircase, over the door, for the purpose of watching and repulsing the Bravi, acquaint us with the violence and troubles of that period : the house of this poet and physician was quite a mmiature citadel. The view is tolerably extensive, but to survey the whole of lake Garda, you must ascend for some minutes; and I confess that I prefer the views that it requires some exertion to find to those which perpetually present themselves to our eyes until we at last think no more about them. Fracastor resided at IncafTi when he was summoned to Trent to be the physician of the council. How many times must he have regretted, amid the tumult of theological disputes, and even the balls and banquets of the reverend fathers, his woods, his books, and his calm retreat! ]t was at Incaffi, during a plague which ravaged Verona, that he composed that chaste poem, though its title has small claim to the epithet, ■ a charming work, which has no other fault than that of being addressed to Hembo, and of containing frequent eloglums of that corrupt, grovelling man, who was much more worthy of the subject than the verse. I was enraptured while reading Fra- castor's verses at Incalh ; he is the Vir- gil of that beautiful spot, which after three centuries still retains the same aspect. It must, however, be acknow- ledged that Monlebaldo, and the borders of lake Garda, with the translucid azure of its restless waves, are very superior to the watery plain and slimy marsh of Mantua. Fracastor's imitation of Virgil ' The Syphilis. A very inferior poem on the same subject liad preceded Fracaslor's : it was b\ Giorgio Sommaripa, a Veronese, and was prlrilcd at Venice, with otiier minor poems, in (487, This very scarce bools was pointed out to Bossi (notes on consists not merely in form and externals, an imitation of words and sounds, like that of most modern Latin versifiers; his verses have real warmth and feeling, with the enthusiasm of a mind at once captivated with the beauties of nature and zealous of its country's welfare. One might fancy it a distant but full-toned echo of the pipe and lyre of the Roman poet. Perhaps the patriotic verses of Fracastor, inferior in expression to those of Virgil, are even superior in sentiment: he embraces all Italy in his complaints, in his lamentations, in his desolation ; his grief is not that wealth-lamenting and somewhat selfish sorrow of the shepherd-courtier, Tityrus, who is so easily comforted after Octavius restores his property, and all whose sympathy goes no further than to offer a night's lodging on the leaves {fronde viridi) to the fugitive shepherd. To justify my admiration of Fra- castor, a poet that few persons read, I will transcribe some of the verses which most delighted me at Incafli, while so- journing with an enlightened and gene- rous host well worthy of feeling them : — Ausouia infelix, en quo discordia priscam Virtulem, et niuiidi imperium perduiil avilum. Angulus annc tui est aliquis, qui barbara non sit Servltia, et pra^das, et trislia funera passus? Dicile, vos, uullos soliti seutire tumultus, Vitiferl colles, qui flumine pulcber amieno Erelbenus fluit, et plenis lapsurus in aequor Cornibus, Euganeis properal se jungere lymphis. patria I longuin lelii, luugumque qiiieta Ante alias, patria divura sancllssliua tellus, Dives opum, foecunda >irls, laelisslnia cumpis Uberibus, rapidoque Athesi, et Benacide lynipha, j'Erumuas raeuioraie tuas, sumnianique malorum Quls queat, et diclis noslros aequare doiores, Et turpes ignoiuiuias, et barbara jussa ? Abde caput, lienace, tuo et te conde sub amne, Vicliices nee Jam Deus interlabere lauros. Independently of the beauty of its de- tails, Fracastor's poem is distinguished by the merit of invention : the episode of the young man who fell a victim to the new contagion is very affecting, and I doubt whether our descriptive poets have any prettier verses than these on the citron-tree and lemonade :— the history of the Life ani pontificate of Leo X. vii. 323-4] by S. Francesco Testa of Viceoza, a dieply- read bibliographer, whose activity, learning, and kiuduess 1 can never forget. u 122 AZZANO. SlJ neque carmliiibus ncgU'Cla silebere nos(ris llespciidum deciis, et Mcdaium gloria, citce, Sylvaium : st font! sacris canlala poells I'arte quoque liac mcdicam uon detiignabeic Musam. Sic libi sit scnipiT \liidis coroa, semper opaca. Semper flora novo redolens : sis semper onusla Per viridem pomis Sflvam pendcnlibus aureis. Ergo, ubi nitendom est coeiis le oppoucre morbi Semiulbus, vi mira arbor citbereia pra;stat. Qiiippe illam Cylberea, saum dum plorat Adonim Muneie donavll mullo, et virtulibus auxil. Ippolito Pindemonte has written a very fine epistle on Fracaslor, like him- self a Veronese : it is a happy inspira- tion of the verse and sentiment of that poet. My morning walk to Fracastor's house and its environs is one of my sweetest and most vivid reminiscences. The rock of Minerbe, on the other side of lake Garda, struck by ihe first rajs of the sun, sefemed like a block of rose coloured graniie. From the rock which crowns the height of Affi, I commanded on one side all the lake ; on the other the valley of the Adige, and before me were the lofty mountains of the Tyrol. It was at the foot of this eminence in the battle of Rivoli, that the Austrian general Lu- signan was defeated and taken, despite the beauty of his name, by those gene- rals of the French republic, young and new masters in the art of war, van- quishers of the tacticiansof the old school, who were beaten probably in all the rules. I had beneath me the battlefield of Rivoli, a confined valley, a victorious Thermopylae, in which any other army would have surrendered without the in- trepid firmness of its chief, w ho that very evening went to defeat and take Provera under the w alls of Mantua. Those were the bright days of Napoleon. I dis- covered, on visiting during the day the field of battle and the immortal plat- form, the traces of three cannons of our battery, a glorious furrow, which the earth now bedecked with lurf and flowers seems proudly to preserve. The battle of Rivoli is one of the first feats of arms in Ihe military history of the world: the admiration it excites is redoubled on seeing the locality, which makes one better able to api»reciate the rapidity, the courage, and constancy of the com- batants : to increase the prodigy of this day, it was two Italian generals, Rona- parte and Massena, who triumphed in Italy, if not for Italy. 1 "had an opportunity at Rivoli of con- [BooK V. versing w ith a man who has a sort of ce- lebrity in the country ; it was IWosca, a notable name, though belonging to a smuggler, which was the trade he prac- ticed at the time of the battle. Mosca was consulted by Donaparte respecting the roads; he carried him on his shoul- ders to a steep passage of Mount Saint Mark, on the borders of the Adige; he would not ask any thing for his ser- vices and was only rewarded with a small pecuniary present and permi?sion to carry on his smuggling rather more easily. Mosca retired some twenty-five years ago after thirty years' business, and was w hen I saw him a merry old man of eighty-three ; he had purchased a small estate, which produced him corn and wine, and I found him working in the fields. Mosca could neither read nor write ; in his account of the action, he frankly confessed that he advanced or retreated according to the chances of battle, and, like Moliere's Sosie, he might very well have taken Un peu de courage Four nos gens qui se baUaient. Notwithstanding his bit of an exploit, and his good fortune in military matters, Mosca did not seem a strong partisan of the F'rench, and he remained attached to the ancient regime of the Venetian government. CHAPTER XIX. Azzano.— The great Isoita.— Lilerarj ladles in Haly. Azzano was the abode of the great Isotta Nogarola, a learned lady, well- skilled in philosophy and theology, and famous for her dialogue on the fault of our first parents, in w hich she pleads for Eve against Adam, who is defended by her brother, before the podesta Nova- gero, who gives his decision. The scene lakes place in the morning at Azzano, and the lawyers and judge, as was then the usage, take their arguments from Aristotle, Cicero, Hippocrateseven, Ovid, and the Fathers. Isotta has composed a Latin elegy in honour of Azzano, the name of which she poetically traces back to the Sicilian nymph, Cyane, charged by Ceres with the care of her daughter, a trust of which she acquitted herself badly enough, and after the abduction of Chap. XIX. ] AZZANO. 423 Proserpine, fled intollaly. Isotta's elegy concludes with a prayer for the prospe- rity and honour of the Nognroia family, a prayer which seems lo have been heard as regards the latter part of it ; ■ she also, in the ordinary formula, wishes that Azzano may have a mild temperature, clear fountains, flowery meads, and pure streams ; but is there not something sordid in her desire to see them roil along the rich sand of the Pactolus, and does it not recall the verse of Petit- Jeau ? Mais sans argent I'honncar nest qu'uoe maladie.' The ancient manor of Isotta is nothing now but a new-built mansion, with an English park, great meadows, and a fine river, which also is of recent creation. Its avenue still exists; it is closed by an old iron palissade, and some decrepit old oaks near it appear to be its contempo- raries. The portrait of Isotta is in one of the rooms of the house; her features are broad and strong ; her mien some- what vulgar; she is clothed in black and white, and, except the veil, her costume is not unlike that of a gray nun : beneath is a Latin inscription purporting that it is doubtful whether she was more admi- rable for learning or conduct. 5 This portrait is, however, more than two centuries posterior to Isotta, as it bears the dale 1666. In the university library at Bologna. I saw another portrait with the same fihjsiognomy, which was for- merly in the library of Cardinal Filippo Monti. It is very "probable that Isotta ' General Noaarola, who died in 1827, althotigli an enemy of tUc Frencli, was a generous enemy ; lie saved several at llie massacre of Verdna in 1797. '■ History," says M. Daru, "ones liim tliis bonour- al)Ie leslimouy." (nisi, of Venice, book xxxvi, i.) " Tbe other works of Isotta are • Letleri. unpub- libbed Discourses. vUiicb bave passed from tlie Ambrosian to tbe r.ililiolbfeque royale of faris; Lalin discourse lo hisliop Eimalao D>irhain ; Elo- gitim of SI. Jerome ; Lulhi teller tuLuilovico Foscari. =1 Tbe great part of tlie Italian women tben fa- mous for t!ieir leariiing, Here not less illustrious for their strict principles. Some even seem nutquile free frou a l,ind of affectation and mania; sucb is tbe famous Veronica Garnbara, of Brescia, born in Ibe i-Hwe century with Isolta : she lost her hus- band in her youih.and wore mourning for him to the day of ber death; her apartment continued liung with blacli ; her carriage was alwa>s of tbe same colour, and her horses were alvia;s Ibe black- est she could procure. 4 She died at tbe age of thirty-eight. Some bio- has not been flattered in these after-date portraits: she must have been handsome, since her former master, the learned aiatteo Bosso, who had taken holy orders and been named canon after finishing her education, declined- returning to the Nognrola family whose friend he had long lieen, that he might not be exposed, as one of Bessarion's correspondents rather singularly informs us, to the dis- tractions that the charms of his pupil might produce. The great Isotta Nogarola, although she did not reach an advanced age,* obtained a high celebrity by her learning and writings : one of her chief works wfis a discourse addressed to Pope Pius II. and the princes assembled at Mantua, inviting them to a crusade, against the Turks ; ^ she was honoured by the praisesof Ermalao Barbaro, Mario Filelfo, and excited the admiration of Caidinal Bessarion, who went from Rome to Yerona to pay her a visit. Such a suffrage conferred sufficient glory. Amid the grand intellectual move- ment of the revival, the women were neither destitute of zeal nor ardour; queens, princesses, and ladies of noblest birlh enthusiastically pursued the new studies. The first Greek book printed in Italy, the grammar of Constantine Las- caris, was composed by a lady, the daughter of Duke Francesco Sforza,wife of piiiice Alfonso, afterwards king of Naples.^ Ariosto has given a poetical hut incomplete list of the illustrious women who loved, cultivated, and pa- tronised letters. 7 This high origin of grapbers make her ten years older , altbougli ladies in general remain stationary at tliirty-eight for some years, one can hardly suppose sucb a weakness on tbe part of so rational and pbilosopbie a person as Isotta. 5 Tbe princess Ippolita Sforza about to be spoken of, even went to Mantua and pronounced a dis- course on the same subject before tbe pope, which was formerly at the Ambrosian, and has been pub- lished by .Monsig. iMan?! It. ii, 192), a discourse which Pope Pius II. answered nilb greai courtesy. ** .Milan, Dionisi Paravlsino, i'u6. Ippolita Sforza was not less learned in tbe Latin tongue; she transcribed nearly all tbe Latin classics. In the library of the convent of the Uoly Cross of Jerusa- lem at Home, may be seen a line copy in ber band of Cicero de Senectute, with a great uumber of thoughts collected by herself. 7 Orland. fur., c. xhi. str. 3 et seq. See also the work of Signora Ginevra Canonici Facbini, of Fer- rara, already meniioned : Prospetlo biotjrafico delle Uoniie itaUam nnomale in Ulterattira, which 124 MADONNA DI CA3IPAGNA. [Book V. science seems to have preserved to it a kind of dignity with the Italian ladies, that it has not elsewhere; their educa- tion is profound when they have any, and has not the pedantic character of our Femmes Savantes or of the blue-stock- ings of England. This knowledge, con- nected as it is with the discovery of an- tiquity, has something great and virile about it; it does not dale from the hotel of Rambouiliet, and has not been immor- talised by ridicule from Its birth. The country, the aspect of the places, the names that they bear, and the reminis- cences they suggest, all combine to render the learning of ladies less extra- ordinary, and their Latin seems less a learned language than a dialect of the mother tongue. I have known some of these doctors of Verona, Padua, Venice, and Bologna, they were women of good society, amiable, lively, and natural, who were once beautiful and loved pleasure; they were, perhaps, less agitated, less harassed, and less impassioned than Co- rinne, but they had not fewer charms of character or intellect. CHAPTER XX. Bridge of Veja.— The original type of the Infernal bridges of Christian poets. The natural bridge of Veja, in the mountains of the Veronese country, is one of the most curious things I have ever met with. One might say that na- ture, too, has not feared to give her spe- cimen of architecture (as Scamozzi calls this bridge) in the very country which, fromVilruviusto San Michcli, Scamozzi, and Palladio, seems the land of the most eminent architects. The majestic arch of the bridge of Veja is composed of rock. and its river, a limpid cascade which never fulls, flows between the young shrubs on its turfy banks, glides over an immense stone polished by its waters, bordered with a bed of moss, and forms lower down a charming fountain. This savage bridge is decorated with light fes- toons of verdure which hang down pic- turesquely, swaying in the breeze be- neath its arch. The neighbouring val- Is preceded by a rery sensible refutation of lady Morgan's erroneous opinions respecting the ladies of llalv. lies, that must be passed before reaching it, are really infernal, so far as aridity and desolation can make them. Dante ram- bled over these mountains ; it is very pro- bable that the bridge of Veja gave him the idea of the bridges in his Inferno, of which the bridge thrown over chaos by Milton, between heaven and earth, is a grand imitation. Considered as the ori- ginal type of the bridges in the hell of Christian poets, a new machine which is not found in the descriptions ofTartarus, the bridge of Veja would thus evidently have a rare poetical importance. We have already remarked, on the subject of Romeo and Juliet, that Shakspeare is to be met with at Verona ; Milton is found in its environs. How strange that the ge- nius of the first English poets should have the source of its inspiration at the foot of the Alps in a province of Italy ! By the side of the bridge of Veja is a subterranean grotto, a long and lofty cavern formed by ro.cks. If Dante ever visited it, and if the cicerone who con- ducted him had the same profusion of torches, throwing out as black a smoke as ours, he might have drawn from this expedition a scene of demons for his poem ; but the muddy pool of the grotto (which lam not unacquainted with) was far removed from that river of hell sup- plied by the tears of all the unhappy. CHAPTER XXI. Tempio delta Madonna di Campajno.— Davila.— nistorical exbutnalions. On one side of Verona is the Tempio della Madonna diCampagna, a charm- ing structure by San Micheli and his worthy nephew Giovanni Geronimo. The historian Davila, also an able war- rior, by a catastrophe which seems to associate him with the personages of his history, not a solitary example of this bloody epoch, was assassinated by a musket shot not far from the Tempio della Madonna. His tomb was disco- vered in 1822 by the exertions of Count Persico. then podesta ; it is in the church, and the old inscription Benrici Cathe- rini Davila cineres, 1631, has been res- tored. The second baptismal name of Davila, the godson of Catherine de' Me- dici, explains his apology and justifica- tion of her life and conduct : an eloquent Chap. XXIII. ] COLOGNOLA. 126 and fanatical historian,' he treats the massacre of Siiiiit Bartholomew 'with iii- dilTerence, and hiilerly censures the ad- miral, Avho, according to his account, seems to have been treated pretty nearly in conformity with his merits. This dis- covery of Davila's tomb may be put in juxtaposition with other remarkable dis- interments that our days have witnessed. Charles I. reappeared in England after the death of Louis XVI. ; James II. was found again at Saint- Germain. One would say that these dead had returned out of curiosity, awakened by the noise of events similar to those of >\hich they had been witnesses or victims. Thus, did the historian of the Saint Bartholomew massacre appear after the murders of September and the proscriptions of the Terror, as if to be convinced that the passions of man, wlicther thoy bedeck themselves with the names of religion or liberty, are at all periods equally violent and cruel. The cupola of the temple where the historian of the French civil wars re- poses, became, in the Italian campaign, a kind of military obsirvatory for our victorious captains; but when I ascended to it, there was nothing to be heard but the musket volleys and cannon of the Austrians who were fighting a sham battle on the plain of Caj?i;jo-^ore. CHAPTER XXII. Areola. — Obelisk. Areola is one of those names that vic- tory has rendered magical, one of those places that bear witness to the greatest efforts of French courage. The blunder of the general, if such there were, was here rejiaiied and covered by the intre- pidity of the soldier. The obelisk erected t The siege of Paris, book xi. of the Ilistori/ of the French civil wars, is very line; in book x. the imprecalions of Beiiry Hi. agJiinst I'aris, shorlly before liis death, «lieu he «as riding along the heights of Sainl-Cloud, are remarkable for a spice of declamation almost modern ; they might very well have [iroceeded from the mouth of sorue of those foreign chiefs nhom ne saw on the same spot in 1815, when Saint-Cloud was the Prussian quarter-general: — 'Tarigi, tu sei capo del regno, ma capo troppo grosso e troppo capricdoso : c necessario die I'evacuazlone del sangue li risani, e liheri tutto il regno dalla tua frenesla ; spero che fra pochi giorni qui saranno uon le mura, non le ease, ma le vesligie sole di Parigl." on the bank of the Alpon a in memory of the battle of ArQola is .still standing, but despoiled of its inscriptions. The iron crown and imperial N have disappeared, and their traces inspire less regret. It is Bonaparte, the general of the army of Italy, and not the king of that same Italy that we seek at Areola ; the captain there is much above the prince, and the oak crown of the triumphal Romans would have been better on this monu- ment than the Gothic crown of the Lom- bard kings. Beside the mutilated obelisk stood a withered and broken tree, which seemed to associate nature's mourning with that of glory. A company of harvest-women were at work in the adjacent fields ; one of them, armed with her sickle, woultl explain to me this great battle of three days, given after Martinmas, when the waters of the Alpon were much higher than I saw them, for the torrent had then dwindled into a tiny stream. The small bridge of Areola is still of wood and without parapets, but it has not the grand proportions conferred on it by our patriotic engravings ; a stone bridge might have been built at the erec- tion of the monument, which, in its im- perial and military magnificence, seems .somewhat selfish. A village bridge is not without its value even beside the most glorious and best merited obelisk. CHAPTER XXIII. Colognola. — Bonfadto.—niasi— Amateur architects. — I'anlheon.— Pio-ya di Dulca. — Fossiles. Colognola was the abode of Bonfadio and the theme of his song ( de villa Co- loniola ). The house in which he was received, probably by some Spanish lord, (Magnae Alcon silvis cognitus Ilespcria;, ) ' Ronaparle seems to have answered the reproactj of injudiciously choosing his point of attack, and of not passing the Alpon at his mouth the first or se- cond day of the battle as he did on the third ; the French had suffered some reverses for eight days past, he could not expose himself in the plain with thirteen thousand men against thirty thousand, and the equilibrium was only partially established between the armies on the third day by the succes- sive advantages of the two first. Mcmoires pour servir a I'liisloire de France sous Napoleon, ecrits u Sainte-Helene, par les generaux qui ont partage sa caplivili. T. 1°, written by General Montholon, p. 19. II. Mr, COLOGNOLA. [Book V. is near ihc great Portalupi villa. The small garden is more properly a terrace, whence the view is very fine, extending over all the valley. But yew-trees and cypresses have succeeded to the hazels under whose shade Bonfadio received from his Phillis that platonic kiss, a cold and refined pleasure, not at all resem- bling the acre bai'ser of Julie. Besides, cypresses are plentiful in the Veronese, and therefore lose, as in Greece, their funereal character ; this fine tree also yields a good return to the proprietor. I had some trouble to find this house of Bonfadio; the people of the village always directed nie to that of the Signor Bonifacio, and this fact appeared to me a fresh instance of the liltle popularity of literary names, since literature has be- come a closet study. The letters of Bonfadio, though rather elaborate, are interesting for the philo- sophic and literary passion that they breathe : " II pensar e il viver mio," he writes to Benedetto Ramberti, a friend of Paul Manutius : his letters to the latter are the finest eulogy of that great prin- ter : " Troppo occupala, e faticosa in vero " e la vita vostra : ne so a che fine cio " facciate : per arrichire ? non credo : " perche voi non misurate le ricchezze "con la storta regola del volgo, e dei " beni di forluna, secondo i desiderj " vostri avete assai : e se le cose vera- " mente sono di chi le usa bene, siele un "gran signorc... E poiche avete indriz- " zato il corso della nobilc induslria vohtra " a si bel fine, non bisogna che piegate " punto; bench6 per giudizio mio oramai " poireste talor riposare. Andava gli " anni passati la lingua latina rozza, e "come foresticra smarrita. II padre " vostro la raccolsc in sua casa, e la ri- " dusse a politezza principiandole un bel- " lissimo edifizio..." He counsels him not to leave his house nor even his bed on account of the wind. " Mentre che "dura questo tempo, non uscite, non " diro di casa, ma non uscite di letto; " ponetc nel conservarvi maggior cura "che fin' ora non avete posto; avete " troppo grand' animo : 1' ingfgno e " maggiore; ma le forze ove sono? vi- " viamo, messer Paolo, viviamo." Some features of manners in those days will appear singular now. " Questo verno " ho letto il primo della Politka d'A- " ristotele in una chiesa ad auditor! " attempati, e piii mercantichescolari,.. " Mori il vescovo di Consa mio padrone : "era un giovane il piii robustoch'io " conoscessi mai ; affrontava gli orsi, ed " ammazzava i porci selvaggi ; era un " Achille." Not far from Colognola are the chd- teaux of the Counts Fompei, an old Ve- ronese family : that of Count Alessandro, built in 1737, is of his own architecture, as the inscription announces. The Ve- netian school of architecture is distin- guished by one peculiarity, namely, that it has produced besides clever architects by profession, a considerable number of amateurs, belonging to the more elevated classes of society, and altogether worthy of the name of artists by their proficiency and the style of their buildings. Count Alessandro Pompei, the editor of San Micheli, is in the first rank of these illus- trious amateurs. The chateau of Illasi was his first attemitl; soon after there arose, in the environs of Verona, similar palaces from his designs for the marquis Pindemonte and Count Giuliari, palaces which are like traditions of Palladio's style, and Verona itself is indebted to him for its splendid customhouse. At Santa Maria delle Stelle is a sub- terranean apartment called by the pom- pous name of Pantheon, the subject of numerous doubtful notices by the Vero- nese antiquarians ; this antique monu- ment is paved in several places with a fine many-coloured mosaic, in which the following inscription in Roman letters is perfectly legible, Pomponice AristochicB alumnce, placed on a pedestal under a coarse basso-relievo representing the death of the Virgin ; for this cave of Trophonius, as it is called by the canon Dionisi, became a chapel in 1187, dedi- cated by Pope Urban III. to Mary and St. Joseph. The latter, by a whimsical anachronism, holds in his arms the Infant Jesus in the basso-relievo of .Mary's death. The valley of Ronca, about fifteen miles from Verona, is celebrated through- out Europe for its shells, and likewise for a quarry of calcareous schistus full of fossile skeletons of fish, peculiar to distant seas, of species unknown or ex- tinct; these fish heaped together at the foot of the mountain Purga di Bolca, certain proofs of the revolutions of our globe, victims and wrecks of remote catastrophes, curious monuments, na- ture's antiquities, investigated and ex- plained in our days by her learned and Chap. XXIV] VICENZA. 127 ingenious interpreters, < and which a great contemporary Italian poet has sung : Quesle scnglle incorroKe, e quesle forme Igtiote al nuovo mar maiida dal Boica L'alma del luo Pompel patria Verona.' CHAPTER XXIV. UwUebello.— Vieenza.— Basilic- library. — Read- ing society. — Olyinpic tUeatre.— Olympic academy of the sixteenth century. — Palladio's house.— ralace.— Churches. I Slopped one night at Montebello and was horribly lodged, as this large village was then crowded with a numerous de- tachment of Austrian infantry on the march, hut it reminded me of a victory, and one of the new historical names be- longing to France. Vicenza derives its glory from the birth and palaces of Palladio, whose taste, at the very period of the decline, has been constantly transmitted and main- tained. But the filthiness of the town, which contains thirty thousand inhabi- tants, and the ugly shops of the place de- tract from the beauty of its monuments. An ordonnance de police would be there singularly useful to art. The public palace called the Basilica is a vast and magnificent restoration which began and extended the reputation of Palladio. This ancient Gothic structure renovated without any incongruity by so able a master, has become a model of taste, accuracy, and purity. In this pa- lace there are some masterpieces of ar- tists of the Venetian school. The half- moon representing : the tico Rectors of the town at the Virgin's feet, under a rich pavilion with Saint Mark, a ma- jestic composition, and one of Bassano's best; the Podestd Vincenzo Dolfin. with Peace, the town of Vicenza, an old man, and Fame dispersing the Vices, a painting of the same size, by Giulio Carpioni, is ideal and true; the Martyrdom of St. Vincent, by night, in the tyrant's presence, one of the good works of Alessandro Maganza of Vicenza ; the Virgin, Sts. Monica and Mary Magdalen adoring the Infant Jesus, with a beautiful landscape; the Virgin ' See the last edition of Cuvier's Reclierches siir les ossemenis fossilet, I. I7. p. 2(8 et seq., and the Description geologiqtie des environs de Paris, by presenting her son to Simeon, by Bar- lolommeo Montagna ; a 5^ Catherine ; the Virgin weeping over the dead Christ, with St. John and Mary Magdalen, by Marescaico, a graceful painter of Vicenza at the beginning of the sixteenth century ; the Adoration of the Magi, grand, by Fogolino; the Virgin, Infant Jesus, Sts. James and Jerome, by Conegliano ; the Virgin in the air surrounded by an- gels and cherubim, with God the Father above, and an apostle and St. Jerome below, by Giovanni Speranza, of Vi- cenza, pupil of Mantegna. The Loggia of the Prefettizio palace, now occupied by the delegation, is a monument by Palladio. It has some good paintings by Antonio Fasolo, a painter of Vicenza in the sixteenth cen- tury, an- imitator of Paolo Veronese, namely : Mutius Scoevola burning his hand; Curtius riding into the gulf; and Horatius Coccles fighting on the bridge ofSublicius. The library of Vicenza, called the Bertoliana, from the name of its founder, Count Giovanni Bertolo, a celebrated ju- risconsult and councillor of the Venetian republic, contains thirty-six thousand volumes and about two hundred manu- scripts. One iheof Gve vellnrn copies of Orlando Furioso, Ferrara edition, 1532, is adorn- ed with the portrait of Ariosto, after a drawing attributed to Titian. This edi- lion, the eleventh, was the last published during Ariosto's life; he corrected the proofs of it, and it is pretended that it caused his death, so dissatisfied was he with the printer, and he wrote to his brother Ga lasso that he was mat servito in questa ultima stampa e assassi- nato. A reading society has just been fou nded at Vicenza. The number of members is more than a hundred and twenty; it proves that the Vicentian youth, noted for its love of pleasure and fetes, knows how to combine therewith a taste for reading and solid converse. The Olympic theatre of Vicenza, built from Palladio's designs after his death, is a noble, elegant, and curious monu- ment. It has the form of an ancient theatre; the stage even is like those of ihe same and M. A. Brongniart, inserted in this last edition, t. ii. p. 426 et seq. ' Mascheronl. invito a lesbia. 128 VICENZA. [Book V. two theatres discovered at Pompeii two centuries after, and which this great man had divined. The members of the Olym- pic academy, who had it erected, repre- sented there in the sixteenth century, the dramas of Sophocles and Euripides, translated into Italian verse, barren imitations which left Italy without a tragic stage till the time of Alfieri. The inauguration of the Vicenza theatre was performed by the Olympic academy of the town, who performed the Greek OEdipus translated by Orsato Justi- niani, a Venetian noble. Ludovico Groto, himself a dramatic author and blind, personated Ol'dipus, at least dur- ing the last act, when OEdipus comes on the stage after plucking out his eyes. I do not think that Groto's infirmity added to the perfection of his play : it must, on the contrary, have injured that sort of ideal, which is the first condition of the imitative arts, and he was doubtless better inspired by that admiration, nay passion, that the learned of the revival felt for the chefs-d'ceuvre of antiquity. It was at Vicenza, according to Voltaire, that the Sophonisha of Trissino was per- formed in 1514 ; we arc told by the same authority that Trissino was a prelate, and even an archbishop, although he had been twice married and had had four chil- dren. The Italian Sophonisbaytus the. first of our regular tragedies,' and Vi- cenza is therefore the cradle of the triple unity. Tlie little house, said to have been Palladio's, is a chef d'ceuvre, but it was not his property as is commonly believed ; he built it at the order of the Cogolo fa- mily of Vicenza, and perhaps he after- wards occupied it as tenant; it was only surnamed little as compared with the other larger palaces that he had built there. The palaces erected from Palladio's designs are, the Cbiericato palace; the celebrated Tiene palace, some parts of w hich only have been executed ; the Porto -Barbaran palace, to which some embellishments in bad taste have been added that do not belong to the illus- trious architect ; the Foico palace, called Franceschini, of such majestic simpli- city; the Valmarano palace, one of his best chefs-d'oeuvre ; the Trissino palace ■ NotwIthstaiidinR Itie disputes of Ihe learned, it appears ttie liosmunda of Giovanni Bernardo Ruc- dal Velio d'oro which he did at twenty years of age. The Trissino palace, one of the finest in Vicenza and Scamozzi's masterpiece, built from his designs while he was at Rome, appeared even then the work of an artist who had nothing to learn. The Cordellina palace is by Calderari, a good architect of Vicenza at the end of last century, a restorer of the art and one of those noble amateurs of whom I have spoken already. Only a third of the palace is finibhed, but if completed, its magnificence would not be unworthy of the neighbourhood of Palladio's pa- laces. The churches of Vicenza are rich in paintings ; and most of the masterpieces of painting and architecture which adorn this town are due to its native artists. The cathedral possesses, by Barlolommeo Monlagna, the Virgin, the Infant, Jesus, and some saints ; a fresco of St. Joseph and other saints adoring the Infatit Jesiis ; by his brother Benedetto, the Eternal Father, the Christ, the Holy Spirit, l^'i Virginand St. John Baptist ; by AlessandroMaganza, the Virginwith the Infant Jesus, Sts. John, Paul, and Gregory, one of his best Avorks. The Miraculous Draught of Fishes; the Conversion of St. Paul, by Zelolti, one of the first painters of the sixteenth cen- tury, whose reputation is inferior to his merit, have been deemed worthy of Paolo Veronese, his companion, coun- tryman, and friend. In the choir is Noah's Sacrifice, one of the most dis- tinguished works of Liberi. The ora- tory of the Duomo, has some good paint- ings by Jlaganza. The Virgin em- bracing ihe Saviour in the temple, by Andrea Vicentino, is remarkable : the statues are of the Villoria school, and the best are at the altar. The outside of the church Santa- Corona promises little ; but there is much within.. The Saint, Sts. Mary Magdalen, Jerome, Monica, and Mar- tin, in pontifical robes, is a noble com- position by Barlolommeo Montagna. There are two other masterpieces, the Baptism of Christ, by Giovanni Bellini ; the Adoration of the Magi, by Paolo Veronese. The same subject at the little church cellal, played at Florence before Leo X., was only In the year <5I5. Chap. XXV. VICENZA. 129 of Saint Dominick is a clever imitation of Paolo Veronese, and the good works of Maganza. The Poor Hospital, adjoining the church of Saint Peter, presents an ele- gant funereal cippus by Canova, who hasembeilishedsomany rich and splendid abodes. It is sacred to the memory of the Cav. Trenlo; the female figure en- graving the name of this beneficent man on the column bearing his bust, repre- sents Felicity, an odd subject and too cheerful for an hospital. The church has some fine paintings by Maganza, among which may be distinguished the St, Benedict, with St. Placid and St. Maur, and a king In the act of presenting his son to (hem : the Christ giving the keys to St. Peter, by Zelotti, is excel- lent. The church of Saint Stephen ought to be visited for its Virgin on a throne, with Sts. Vincent and Lucy beside her, and, below, an angel playing on a harp, a work incomparably graceful and sweet, and one of the elder Palma's best. Santa Croce has an admirable Depo- sition from the cross, by Bassano. At Saint Rock there is an admirable Raphaelesque Madonna between two saints, by Marescaico, one of the best paintings in Vicenza; its St. Sebastian isof truly ideal beauty. CHAPTER XXV. Capra casino. -Cricoll.—Trisslno. -Nostra Siguora del Monte. Without the walls of Vicenza is the celebrated Capra casino, a masterpiece of Palladio, which a peer of Great Bri- tain, Lord Burlington, an admirer of his genius, and himself an architect, has imitated in his park at Chiswick. Per- haps that delicate rotunda, which har- monises so well with the bright sky and Jiving light of Italy, may not match so well with the misty atmosphere of Eng- land. The skilful architecture of Pal- ladio is attended with so much conve- nience when applied to modern wants and usages, that he has found a second home in the country proverbial for its love of comfort, and the first English ar- chitects seem to have naturalised his ' The chief of these architects are Inigo Jones, the English Palladio, Christopher Wren, James Gibbs, and Chambers, cited by M. Quatremere de plans by their multiplied imitations. « The views from the four fronts of the ca- sino, are admirable for their variety, a variety which exhibits the character of Italian natur«. Cricoli, one mile from Vicenza, isa villa built from the plan of Trissino, the au- thor of 5op/ionjs6a, a rural abode, still belonging to his descendants, in which he drew together the literary men of his time. It has a tower at each of its four corners, and there is something noble in the style of the architecture. Like Pom- peii, Vicenza contains the house of a tra- gic poet ; but that of the ancient city, carefully preserved by the ashes of Ve- suvius, is less damaged, after the lapse of seventeen centuries, than the house of the modern tragedian, which now ap- pertains to a large farm and is degraded into a barn. Trissino, however, render- ed architecture a more meritorious ser- vice by being the friend and Maecenas of Palladio, whom he conducted to Rome, than by his villa of Cricoli. Though he may have left no performance of super- eminent worth, it is evident that Tris- sino, an orator and poet both epic and tragic, was one of the most ardent cham- pions of letters and arts in an age when they were so very numerous. Near Vicenza is the church Nostra Signora del Monte, whose statue, of Greek workmanship, is overloaded with drapery. Some paintings are excellent : the Virgin holding the body of Christ in her arms, and with Saints Peter, John, and Mary Magdalen, by Bartolommeo Montagna ; the Virgin and Infant Jesus in the sky with angels ; the por- trait of the rector Francesco Griniani struck with the rainbow, and below Jus- tice, Charily, Peace, Plenty, Prudence, and Hope, who is introducing some mer- chants and many poor, with women and children, a vast and beautiful composi- tion by Giulio Carpioni. The Virgin setting the Infant Jesus on a pedestal off which an idol has been thrown. with Saint Joseph and three angels, is by M(^-nageot, a French painter, who con- tributed towards the end of last century to the restoration of our school ; an affect- ing present made by the artist to the town of Vicenza, in remembrance of the asylum he found there during the trou- Quincy, Uistotre de la vie el des ouvrages des p/us cetebres archilecles, t. ii. p. 5. <30 bles in France. lu the refectory of Ihe convent are : tbn Adoration of the Magi, a chef-d'reuvre of Benedello Montagna, and the wonderful painting by Paolo Veronese, representing Ciirist in a traveller's dress seated at St. Gre- gory's table. Mount Berico, on which the church of Nostra Signora stands, has almost grown into a monument, and the path to its summit is all under stone ar- cades. In this long structure, which is not the only one of the kind in Italy, there is a perseverance of art perhaps unique, and w hich belongs to this country alone. CHAPTER XXVI. SelJe Comuni".— Of their Cimbrian origin.— Afiago. — Society. -Inhabilan Is.— Fair. — .\ncicnt usages.— Popular electiou of tbe priest.— Ferracioo.—Mer- iia Coccajo.— Per ubbidirla. I spent four days in going over the ce- lebrated Sette Comuni, tribes of real mountaineers but little known, species of Al|;ine Baluccas, that some learned men and travellers have been inclined to imagine of Cimbrian and Teutonic descent.' This genealogy seems to have somewhat annojed the itihabilants of the Sette Comuni, for about the middle of last century they charged one of their compatriots to procure ihem information respecting it, and his work was executed at their expense. The historiographer of these villages has written an excellent book, but unfortunately the fir.st volume only has appeared ; '- he neither admits the fabulous antiquity, nor the etymolo- gical romance on which it is founded, and be regards the whole population as a ' Marzagaglia, a learned Veronese of the tifteeuth century, and master of Anionic Scaliger, was the first partisan of the Cimbrian origin, sopersevering- ly defended by Maffei and supported by Marco I'ezzo of Verona, author of the book de' Cnnlri Ve- ronetie Vicentini. In 1708 Frederick IV., king of Denmark, pretended to recognise some «ords of Iheir language. Betlinelli consented to the. belief that these villagers were only the remains of a Ger- man colony brought thither by the Othos. In our days M. Bonstetten alone has readopled the Cimbrian origin. Mallc-Brun. in an arlicle on the Tyrol and Voralberg {Aniialet iles Voyages, t. viiil, pretends, folloning the opinion of Baron nnrraayr, the latest historian of the Tyrol, that these mountaineers were probably only carpenters and others artilicers in W(jod proceeding from the Tyrol, and that the word zemliei leul, which in Tyroliin signifies workmen in luood, may have given birth to the tradition re- SETTE COMDNL— ASL\GO. [ Book V, mixture of different German hordes who at various epochs fled to these rocks for refuge. From Vicenza to Marostica, the road is a continual ascent through 6elds of flints. Marostica has produced some learned men, and of Ihem, the celebrated Projpero Alpino, a physician, traveller, and great botanist, was the person who introduced coffee into Europe, which, in spite of Madame de Sevign^, was no more destined to be forgotten than Racine. From Marostica to Asiago, the chief place of the Sette Comuni, the journey IS a true mountain excursion and none of the smoothest, which can only be ac- complished afoot or on mules. But the views in these mountains are beautiful; the Brenta becomes visible there, and a,s the traveller climbs the steep, his eye commands a greater portion of its course. Below tbe Sette Comuni are the Ber- gonze hills, very interesting in a geolo- gical point of view, which were studied attentively by a learned Vicentian of the Grst rank. Count Marzani, who died in 1836, aged Ofly - six ; he ascertained that the strata of tertiary calx, gravel- stone, and basalt alternated as many as twenty-two and even twentj-Qve times. Before reaching Asiago the road passes through a forest of pines intersected with recks, and the savage aspect of the town gives it a pomp well suited to such a capital. On the road, and not far dis- tant, are the ruins of the old government house of the Sette Comuni, which was overthrown by an avalanche, the sole con- spirator against ibis state, the only ene- my, the only barbarian which ever ven- tured to assault and destroy such a [talace. ceived among these supposed Cimbrians. A learned philologer whom 1 consulted at .Milan, Count Cas- tiglioni, a great authority in the northern tijngues, who has conversed with several of these moun- taineers, thinks that their dialect is only Ihe cor- rupted German ofSuabia. I regret not having been able to procure Count Giovannellls work on the Suabian origin of the Veronese and Vicentian vil- lages, which was printed at Trent in 1826, and has been vehemently combntied by Professor Stoffella of Koversdo. although, in ihe.e questions, it is al- ways requisite to beep on one's guard against the national prepossessions and patriotic feelings of lUe writer. « llemnrie istor-clie de' Selte Comune Vicentini, opera postuma dell ab. Agostino dal I'ozzo, Vicenza, 1820, in-Svo. published by the representatives of Ilolzo, one of the seven Vicentian villages, the birtli- place of dal Pozzo, who died at Padua in 1T9S, CuAP. XXVI.] SETTE COMUNI.-ASIAGO. m Asiago is not witbout a sort of rustic dignity ; its streets are well laid out, and is hasseverai fountains witii wooden laps. The church is solidly built; it contains the tombs of some old families of the country, covered with large slabs of marble, and the steeple, with its clock by the great Ferracino, ■ rises proudly on the flattened top of the mountain, which is clothed with no vegetation but grass. It seems that strangers rarely frequent theSettc Comuni, for my arrival in their capital was quite an event : my chamber at the inn was Oiled with a curious crowd in the evening, and in accordance with the Italian fashion, they first ho- noured me with a visit, as at Rome and Florence. The gendarme, whose zeal was less flattering, also came to ask for the evcr]iisling passaporto ; this military personage had not yet either arms or uniform, simply carrying the police stall. The society of Asiago is composed of ieven or eight ofiicials living at the inn or coffee house : these are the judge, the police magistrate, their two deputies, and three lawyers. These last have plenty of occupation, for the natives of the Sette Comuni are very litigious. The cle- verest of these lawyers, but recently es- tablished at Asiago, had found on his arrival sixty causes on questions of pro- perty, rcni-claims for money, wheat, Turkey corn, etc., and the population is under four thousand. When I visited him I could not suppress my astonish- ment at the quantity of papers piled up in his office. Shepherds and manufac- turers, — the Sette Comuni are famous for their straw hats, which are even carried to Paris ; their tobacco is good and their limber excelleiit for building, — the.^e men have neither Uie innocence of the former, nor the good faith and integrity that ought to characterise the latter. Although the day of my arrival at Asiago was a Sunday, the costume of the female peasants struck me as by no means pleasing; they wear large round hats, like the men's, and their dark-coloured habits are ugly, difl'ering but little from those worn on the plain. Instead of mountain airs and songs, I was unable, as at Chamouny, to procure any thing but some dull German canticles. The dialect of the Sette Comuni is daily growing obsolete, as their primitive man- ' Sec post, and in the nest chapter. ncrs have imperceptibly passed away. How singular that the only work printed in this savage tongue is the Doctrine of the Jesuit Bellarmin which was attacked by Bossuet and suppressed by Maria- Theresa as contrary to the temporal power! It will perhaps appear strange to engage in bibliographic researches in the bosom of these mountains where stones and grass are far more abundant than books,- but it is an old habit not easily laid aside, and I must, therefore, crave the reader's indulgence. On the second day that I i)assed at Asiago one of the four great annual fairs was held j the merchandise consisted of coarse ha- berdashery and vast quantities of those frightful round hats common to both sexes; the cattle fair, outside the town, on a grassy eminence surrounded by huge fragments of rock, was more picturesque. Under the Venetian government the in- habitants of the Sette Comuni did not pay tribute; they had the right of elect- ing their hiagistrates, were governed by their own laws, and enjoyed other privi- leges besides, of which smuggling was not the least; report says that they can scarcely resign themselves to the loss of the latter, which they exercise to the extent of their power. Nolwiihsianding the universal decline of the picturesque in manners, ^ some old usages still subsist in this country; if, like certain mountaineersof Auvergne, these people no longer marry exclusively among theni.selves ; if they no longer ma- nufacture their cloth ; if the merry mus- ketry of their wedding-feasts is no more heard ; in a word, if iheir joyous cere- monies are nearly lost, like the ancient Germans, they still assemble to weep over the tomb of their dead, for whom they wear mourning a whole year, con- sisting of a heavy frock of black cloth, which they never relinquish however hot the weather may be. At the proces- sion of Rogation week, which they rather pompously call giro del mondo (going round the world), they make a half-way repast; for there is something bacchic and German in the otherwise very fer- vent devotion of these mountaineers; and on the last day, the young maidens present to their lovers one, two, or three eggs, according to the degree of their at- tachment. ' See Book i. cli. xii. 132 BASSANO. f Book V. The clergyman of Asiago is slill elected by the people, who vote by ballot with a red or while ball ; the red is affirmative, the other negative. The priest had been elected in this manner about a month before (September, 1828), the bishop proposes four candidates, and in this case the one chosen was third on the list; the choice, however, is not ab- solutely restricted to the four thus named. Amid the extensive levelling of the Aus- trian administration, religion only has preserved to the Sette Comuni some ves- tiges of their ancient rights. The sonnet has penetrated even into the bo>om of these mountains : one of them was placarded at Asiago in honour of the archpriest Montlni, who had preached the Lent sermons in the parish of Saint James, and it expressed the ge- neral gratitude in the name of the paro- chial deputation. Asiago is the country of one of the most clever modern Latin poets, Gio- vanni Costa, professor and director of the celebrated college of Padua, called the seminary, who died in 1816, in the eightieth yearof his age. His Carmina, which have gone through several edi- tions, and his fine translation of Pindar in three vols. 4to, ought to render his name illustrious. On returning to Vicenza by Bassano, across fine mountains and superb rocks, at the foot of which a broad torrent rolls along its foaming waters on their way to join the Brenta, 1 found against the outer wail of the church at Solagna, the tomb of Ferracino, that simple and touching inscription on which recalls his singular genius." On the banks of the Brenta, in the bosom of a smiling valley, I saw in the church of Campese the mausoleum of Merlin Coccajo, born near Mantua, an elegant Latin poet, theVirgil of the ward- robe, and the first of writers in the ma- caronic style, who appeared to me little worthy of inhabiting such places : ■ D. O. M. Bartbolomcco Ferracino Venetae Reip. Meehanico Inveniendi iiigenio perficiundi solerlla Natura unice magistra Machlnatori Arcbimedis £emulo Jo. Baptistu parent! opliaio Barlholomcus avo dulcisiinio riis cum lacruniis M. P. Campese, la cul faraa nil' Occidcnte E ai termini d'Irlanda e del Catajo Stende il sepolcro di Merlla Coccajo.' The inhabitants of the Vicentine have an affirmative formula which they repeat incessantly, it is per ubbidirla (to obey you); it was ever the chorus of the very intelligent guide whom 1 took at Maros- tica to go over the Sette Comuni; if I spoke to him of a rock or torrent, he failed not to reply to me by his eternal per ubbidirla, and I am not quite cer- tain that when I met with the tombs of Ferracino and of Coccajo, he did not tel! me these dead bodies were Ihcie per ub- bidirla. CHAPTER XXVH. Citladella.— League of Carabrai. -Bassano.— Birth of Bassano.-Brldge.—Broccbl.— Publications of Bas- sano.— Tbe Bassanians. The road from Vicenza to Bassano passes by Ciltadella, the ditches, gales, and loopholed walls of which, although in ruins, have a fine effect. This remote part of the Venetian State forcibly recalls the recollection of its former power and the vicissitudes of its fortune ; at times you observeon the summits ofa mountain an old fort of red brick, a memento of the reign of the Scaligers, or of the lea- gue of Cambrai ; of that league, the most formidable which was formed in Europe against a people, from the fall of the Roman Empire, to the coalitions against France; but amidst its dilapida- tion and abandonment, these ruins still retain a sort of independence and gran- deur, and one does not perceive the evi- dence of a foreign yoke, as on the Piazza di San Marco, at the sight of the Austrian standard and their cannon. Bassano, an animated and commercial place, has 12,000 inhabitants, noted for their wit, intelligence, and politeness. Two of its manulactures evince an ele- gant and distinguished industry, the Vlilt annos LXXXV. M. IV. D. VI. Obiit IX cat. janv. A. MDCCLXXVII. = Secchi'arapiia, c\iii, 24. The \^ord Maccaronie is derived from tbe Italian Macaroni composed of a mixture of flour, cheese, butter, and other ingre- dients; a passage in the piece by Merlin Coccajo, entitled Merlint Cocaii apologia in sui excuaalio- nem, confirms this derivation. CuAP. XXVIII. ] ASOLO. 133 first, of porcelain, is thai of the marquis Ginoro, near E'lorencc, the only one I met with in Italy ; llie second, of straw h;ils which rival those of Tuscany. This pleasant town, formerly called Lilile S^enice, derives a lasting renown from its great painter Jacopo Rassano, the rival of Titian and Correggio, esteemed, en- vied, and admired by Annibale Carracci, Tintoretto, and Paolo Veronese. At the oratory of Saint Joseph islhe ce- lebrated Nativity by Bassano, bis finest picture, and perhaps the most remaik- able of modern paintings for the force ol' its tints and its lights and shadows. It was presented by Bassano to his native town, a patriotic homage which makes us esteem the author not less than we admire the chef-d'oeuvre. The famous bridge over the Breiita is the work of a villager of the Bassano, Ferracino, a sawyer, a peasant of genius, a self-taught mechanic, and one of the most skilful engineers of the iastci-nlury. It was also from Bassano that came one of the most learned contemporary geo- logists, the illustrious Brocchi, who so happily opposed Cuvier in his chef-d'oeu- vre of the sub-apennine fossil conchy- liology,— the best work that has ever ap- peared on the fossil shells of any country. Brocchi began his career, like most other distinguished writers in Italy, by poetry, and archeology ; — he wasaciivel} employed by the French administration as inspector of mines, and after losing his place he travelled over southern Italy and Sicily ; obliged for a livelihood to enter the service ol the viceroy of Egypt, this Italian, full of ardour, and iu the prime of his life, died of fatigue in the desert. He bequeathed to his country his manuscripts and rich mineralogical collection, now one of the greatest cu- riosities of Bassano, with the Nativity and the bridge, monuments of the active orscientiQc genius of the fellow-country- men of Brocchi. The numerous publications of Bassano, although devoid of ly[)ographical beauty, have not been without utility, since they were pretty correct and moderate in price. The printing-office of Rimondini Brothers, which at one time gave employ- ment to from fifteen to eighteen hundred workmen, is now in a languishing con- dition; it has had as many as fifty presses at work, but at present there are no more than three or four. Such is the variety, the fecundity of the painting of the Bassanos, of those ar- tists so united and intelligent in the di- rection they gave their school, which has, as Montaigne said of his Latin, over- flowed even into the villages and as far as the territory of Asolo and t^aslelfranco. Among these rustic masterpieces, may be remarked : In the parish church of Borso. a Vir- gin on a throne with two little angels abo\e it, and below St. Zeno, and St. John the Baptist, a work in the original style of Jacopo; In the church of Saint Zcno, a ma- jestic figure of the saint in a sitting po- sition, by the same; In the church of Fonte, St. John the Evangelist in a cloud with an eagle, holding a pen in his hand, an inspired figure; and below two bishops, one hav- ing a black beard and the other a white one, with two graceful Virgins by the same ; In the church of Poiaua, the Martyr- dom of St. Laurence, an animated pic- ture, remarkable for the effect of the flames amid the darkness of the night, by Francesco, son of Jacopo; Near Trebaselcghe, in the small coun- try church of Saint Fiziano, the Saint in pontifical robes seated, St. Francis, and St. Sebastian, and above the Virgin in the midst of a cluster of little angels, a noble and natural work, with a fine landscape, by Leandro, another son of Jacopo, and his faithful pupil. CHAPTER XXVIII. Asolo.— Asolani.-Calliedral. — Cenolapli of Canovo. — Biagadino palace.— Aqiiailuct. — Falieii palace. — Chateau of (jueen Calliei'iae Cornaro. Asolo, a small ancient fortified town containing two thousand inhabitants, is in a delightful situation on a well-wood- ed mountain, commanded by an an- cient castle. The prospect is really ad- mirable for its grandeur and variety. So fine a specimen of nature ought to have inspired ideas a little less insipid than those of Bembo's ^so/ant, consisting of dialogues oa love between the cour- tiers of Coruaro, queen of Cyprus, assem- bled in her garden, a kind of little Tus- culana full of gallantry and conceits ; in spite of their title and the general opi- nion, I have since easily satisfied myself 12 as to the fact that they were not written at Asolo.' The cathedral of Asolo presents one of the finest works of Damini, 5^ Peter, St. Nicholas {bishop). Saint Catherine, and St. Prosdocimus baptising some nobles of Asolo, richly dressed, and attended by their pages. A Virgin in the midst of graceful little angels, with St. Anthony the Abbot, and St. Basil, is a youthful work of Lotto, then the loo tiniid pupil of Giovanni Bellini. In the hall of the municipal council, a Genius weeping before the bust of Ca- nova was dedicated to the great artist by his friend, cousin, and fellow artist Manera d'Asolo, who died through grief at his loss. Another incident adds to the religious interest which this elegant cenotaph inspires; the marble was a long time at Rome in Canova's studio; he had commenced working it, but did not proceed on account of a flaw. At the extremity of Asolo, the ancient Bragadino palace is well deserving a \isit for its extensive view, obtained by cut- ting through a hill, and for the numerous anonymous frescos, which ornament the rich "front and exterior walls. On the front is a very animated representation of a great battle, in w hich the standard of one army is red, and that of the other blue, yellow, and white; and Solomon receiving the Queen ofSheba, whose head reminds one of the majestic grace given to his women by Paolo Veronese ; the young ladies and pages of the queen's suite have a very charming efl'ecl. The ancient aqueduct is an admirable work. This long open gallery pierced through the rock of the hill, the extremity of which has not been discovered, conducts to the fountain the smalf but precious stream of the only spring in the neigh- bourhood. The Falieri palace at the Pradazzi, near Asolo, possesses the most cele- brated production of Canova's youth, and which was considered as the dawning of his glory, the group of Orpheus and Eurydice, which he presented to his first benefactor, the Venetian senator Falieri. lie was sixteen years of age when he completed the Eurydice and ' M. Renouard, in liis excellent Annates de I'im- primerie des Aide, t. iii, p. ij, lias not escaped Ibis error as to the place nliere the Asolani were com- posed. Ceaibo ^vrote Ibcm at tbe court of Ercole d'Este, duke of Fcrrara, and tbey were dedicated to ASOLO. (BooE V. nineteen when he finished the Orpheus, and his rapid progress may be easily observed. The remembrance of this first attempt was always cherished by Canova, since, when he was bedecked by Pope Pius VII. with the title of mar- quis of Ischia, he took for his arms the lyre of Orpheus, and the serpent of 1-urjdice, blended together. Canova had the good taste never to sign his name otherwise thiin Antonio Canova. A yearly income of 3,000 Roman crowns (16,000 fr.) was annexed to the mar- quisate of Ischia, situated between Cas- tro and Canino ; the artist made a pre- sent of it to the academy of Saint-Luke, to the Archcological Academy, and to that of the Lincei; he founded three prizes, for painting, sculpture, and ar- chitecture, with a pension of three years for the lauieats; the prize called anony- mous was increased ; assistance was ac- corded to aged, infirm, or necessitous arlisis resident at Rome. A marquis of Ischia (the island), Inigo dWvalos, is ce- lebrated by Ariosto {Orlando, xxxiii, 29). Some verses of the poet might al- most apply to the artist who succeeded to the name of the great seignor : Quel gran marchese, Clie avra si d' ogni grazia il ciel cortese. Catherine Cornaro, queen of Cyprus, w horn the policy of the Venetians com- pelled 10 abdicate, appears to have sought diversion when depo.«ed from her throne, in the sovereignty of wit, and the con- versations on sentimental metaphysics then so much in vogue : one might call it the hotel of Kambouiilet, or the court of Sceaux at the foot of the Alps. I had the curiosity to visit the remains of her ancient residence, which, being distant from the high road, was accessible only by the most horrible paths. This castle, in which such subtile discussions took place, where gallimatias was the not un- frequent product of want of employment and ennui, is now^ a farm house. But the traces of queen Cornaro are there imprinted on all sides : four columns of the front still remain ; the barn, which must have been the drawing-room, has its ceiling ornamented with elegant ara- his wife Ihe celebrated lucrezia Borgia. See tbe article Bembo, in Bayle, and tbe Life and Pontificate of Leo X., by Roscoe. Dissertation on Lucrezia Eorgia. Chap. XXIX.] POSSAGNO. i%" besques, and the granary which is over it, and is of Ihe same size, is decorated in a similar manner. The paintings on the outside are very singular. The queen is there represented riding on her hus- band bridled and saddled like a palfrey; la regina col suo marito, said an old woman to us in triumph; in another part she is represented as the goddess Diana hunting the wild boar. On one side of one of the principal doors is Apollo in the costume of a troubadour, and with pointed shoes, pursuing Daphne already halfmetamorphosedintoa laurel, and on the other side is represented a cardinal as a hermit, with the aureola of a saint, a liind of Saint Jerome clad in purple, who tears out his heart and olTers it bleeding to Jesus Christ on the cross. Over the same door is the lion of Venice, the connection between these latter paintings presents a faithful image of the poetical and religious life of the captive queen of Cyprus. The chapel still exists, and contains many small frescos of excellent taste, mingled with armorial bearings in the stjlc of those in the castle ; this building alone retains its primitive destination, and whilst the pomp of royalty, the va- nity of wit, and the regrets of power have disappeared from the place, prayer has remained. CHAPTER XXIX. Possagno.— Temple bj Canova. — Metopes. — Piely.— Painling of Cauova.— Uis torub.— His house. About four miles from Asolo, on a small elevation at the bottom of a valley commanded by a triple range of moun- tains, is the temple raised by Canova, near Possagno, a vilhige containing four- teen hundred inhabitants, where he was born. Marble is common in these moun- tains, and one would say that it was to give it animuliou that this great artist entered the world at their fool. Part of the riches of Possagno consists in the abundance of a stone precious by its qua Itiy and by the diversity of uses to which it is applicable. Canova's family was engaged in the working of this quarry. The apparition of this pompous mo- nument of art in the bosom of savage na- ture, in the midst of woods and rocks, is marvellous. The portico, composed of eight fluted columns of the ancient Doric order, is similar to that of the Par- thenon, the vestibule to that of the tem- ple of Theseus, the cupola resembles that of the Rotunda, and, as in all the temples of antiquity, the light only enters by the doors and the roof, which has an opening of sixteen feet in diameter. This church, dedicated to the Trinity, was built from designs of the Venetian architect Selva, but which were in several instances cor- rected and changed by Canova. Through an absurd and very ancientcustom at Pos- sagno, females alone have the privilege of entering the church by the great door ; this portico of the Parthenon is thus de- voted to the particular use of the female peasants, and it has been necessary to open two side doors for the men. The church, begun in 1819, was not finished until 1830, and not brought into use for divine service until 1832. The death of Canova, which happened in 1822, must have contributed to these delays. His heirs have been accused of evincing indifference towards the com- pletion of a monument which would prodigiously decrease the amount of their inheritance ; but it appears that the charge is unfounded, and that the work from some details in the construction could not proceed more rapidly. Such was the benevolence of Canova, and such the noble use he always made of his riches,' that when at the close of his life he wished to construct the church of Pos- sagno, his resources were found to be ihsuflicient, and he was obliged to resume the most proDtable of his labours, and with the same fatigue to which indigence alone had at first condemned him. The expense of the building has been a mil- lion, and the interest of a capital of 113,437 fr. 66 c, is set apart for repairs. It is (liflicult to reflect on the destina- tion of this edifice without experiencing some emotion ; this Grecian temple erect- ed in a village in the Alps, this monu- ment dedicated to the service of God by one man, who intended to make it his tomb, and built it in his native village. The glory of Canova is more affecting on this spot; the European sculptor here shows himself only as a citizen and a Christian. No city monument will ever be more national or popular than the temple of this hamlet. The inhabitants came of their own accord, to assist the ' During one of the disastrous years of Ihe FrencTi occupation of Rome, Canova devoted i iO,000 francs to charitable purposes. 136 POSSAGNO. [Book V. I wo or three hundred workmen who were daily employed there; on holy- days, at an early hour in the morning, men, women, young and old, rich and poor, animated with the same zeal, the priest at their head, and singing sacred hymns, proceeded to the neighbouring mountain to fetch the marble necessary for the construclion of the temple ; they drew it in triumph, and in their rustic enthusiasm they had inscribed on their waggons the words reUgione, patria Canova, who had come to Possagno, ordered vehicles to be made for the use of the young girls, who employed them- selves in bringing the lighter materials ; these maidens, to the number of some hundreds, joyfully yoked themselves two and two to the carriage ; they were dressed in their holyday clothes, and had their hair ornamented with flowers. On the day of the ceremony of laying the first stone, they claimed and obtained the honour of going to fetch the water from a distant fountain. The sculjitor of the Graces, of Psyche and of Hebe was pleased to dress with his own hand after the antique one of those ex- tempore naiads, and with all the taste which distinguishes his female mjtho- logical figures. The new fashion so charmed the other villagers thai this Grecian head-dress still continues to be worn on Sundays. An indemnity of 1,000 fr. was granted by Canova to the giilsof Possugno, during the continuance of the works. His brother has since continued this act of generosity ; a sum of 60 Itoman crowns is every year de- voted as a dowry for three of the poorest and most virtuous; the choice was left to the churchwardens, who', embarrassed by the number of candidates, and by the dissatisfaction evinced by the unsuccess- ful, succeeded in having the sum divided into six portions. The multitude of can- didates may be explained by the fact, that any age from sixteen to forty-five was eligible. Some censorious spirits have blamed the erection of such a monument in such a small secluded village, but this monument will attract strangers to the place ; it has given it roads, and made it a thoroughfare ; for when I visited it, there was no access but by difficult foot- ' A bold bridge, of a single arch of forty yards span, bas been Ibrown across bel«ecn two rocks, paths, through the dricd-up bed of tor- rents; the foundation of the church by Canova is as a magnificent and eternal benefaction bequeathed by him to his obscure and needy country.' The seven metopes of the portico, re- presenting different £cri|)lure subjects, (their models, noble, graceful works of Canova, are in the interior), were exe- cuted in marble by some of the first IHipils of the Venetian Academy of Fine Arts. The interior of the building bas an air of simplicity rather harsh and naked, Canova not having been able to execute some works with which he had intended to decorate it. A Piety, a m.arble group of his later years, which he could not complete, and which was skilfully cast in bronze by the Venetian founder Ferrari, offers a delicate and striking ex- pression of the artist's talent. The head of the Christ, according to the lively expressionsofPietroGiordani.iesembles: " ia bellezza, la bonta, il valore, la man- " suetudinc, ecome fu benigno alia sem- " plicita del poveri e alia innoccnza del " fanciulli, pietoso alia miseria degli in- " fermi, severo coll' arroganle dovizia " dei signori e colla superbia e avara " dominazione dei sacerdoti : non limido " in.segnatore del doversi ainaie con sin- " cerila netta d'ogni superstizione Iddio, '• cui la misericordia e piii gradita che il " sacrificio, e che commando di amare e " tollerare gli nomini come fratelli, e non " usaresenon misuratamentelericchezze " tiranne del mondo." The last chef-d'oeuvre of Canova is worthily placed at Possagno; for it is the l-'oint of departure, still more than his works, which makes theglory of the man. At the grand gallery is the Apparition of the Eternal to the three Marys, and to the disciples, near the dead Christ, a capital picture by Canova, which he painted in 1797, and retouched in 1821. Never did talent fail into a more deplo- rable error. The upper part of the painting represents the Eternal Father in the semblanceof asun, as Louis XIV. was represented, and his bended arms hang across this sun; the Holy Ghost, under the ordinary form of a dove, shedding luminous rays from the beak, and an angel, who has nothing either heavenly or divine in his appearance, although of over a torrent at the point called // satto di Cres- pa)w, in order to faciiiiate the approach to Possagno. CnAP. XXX. ] MASER. it fine form, is blowing a trumpet with a theatrical air. In spile of the bad colour of the whole painting, and the poverty of invention and composition, the lower part is much superior to the ideal ; and some traces of the sculptor's skill may be recognized in the draperies. Some good paintings of the Italian masters ornament the temple of the great contemporary artist. They are : a fine and touching Madonna delle Grazie in a double compartment by Pordenone ; the Virgin in the midst of an aureola of angels, and below St. Sebastian, St. Francis, St. Roih and St. Anthony, an agreeable picture by Andrea Vicentino; Christ in the garden of Olives, by young Palma, a pathetic piece, and one of the best of his too numerous works ; and St Francis de Paule, refused by the sailors and passing the straits of Mes- sina on his cloak with his two acolytes, by Luca Giordano. The twelve figuresof the Apostles, a fresco by M. Dcmin, not- withstanding their too rapid execution, are noble and elfective, and happily re- place the statues which Canova did not live to execute. The marble tomb of the founder of this splendid monument is very simple, it was raised by his brother the bishop of Alindo, who, as the following touching inscription indicates, is to rejoin him there : — JOH. B. EPISCOPUS MYNDENSIS ANT. CANOV.E FRATRI DULCIS- SIMO ET SIBI VIVENS. P. C. In the village is the small house which was inhabited by Canova, the beau ideal of an artist's residence from its elegant simplicity, simplex munditiis : his works are framed in the different rooms. A large hall contains all the plasters; it forms a Canova museum, and the sight of this multitude of works, so great, so noble, or so gracelul, soon makes one forget the wretched painting of the immortal sta- tuary. CHAPTER XXX. Maser,— Manlnl pnlace.— Ctiapel.-Sluccos of VU- toria.— Olympos of Paolo Verouese. The pretty village of Maser, ten miles from Possagno, possesses one of the most complete and most finished wonders of art, which the good Lanzi, who might have described it, has compared to the villa of Lucullus; this is the Manlni Pa- lace, built by Palladio, ornamented with stuccosby Vitloria, and painted by Paolo Veronese when in the flower of his age. Palladio returned from Rome when he was employed at Maser by the illustrious Daniele Barbaro, patriarch of Aquilea, the learned commentator of Vitruvius, and the friend of the first literary men of his time. The elegant chapel, a small round temple, shows the inspiration of antiquity. The interior is delightfully overrun by statues, grotesque heads, and arabesques in stucco by Vitloria, which will bear comparison with the best works in marble, and which have left no room for painting. The latter art, banished to beneath the portico, does not there appear ill-placed ; on the ceiling, the Resurrection of Christ, by Pelle- grini, shows some very skilful fore- shortening ; the Virgin and St. Joseph has, fantastically, for a pendant. Fame showing the portraits of the noble founder of this chef-d'oeuvre. The palace, which is situated on a de- clivity, has in front a (light of steps extending the whole width of the front. The genius of Palladio and Paolo Ve- ronese bursts forth in the great hall. Amongst the personages placed in the brilliant balcony, painted on the ceiling, is one which excites general admiration ; an old woman pointing out to a young female a fine child who holds back a spotted dog, which is ready to fly at another child who is reading; near this are a young man and a parrot ; all these figures are life itself. The child with the dog, and the young woman, are said to be portraits of Paolo Veronese and his mistress. A singular optical illusion is here observed ; w hen the spectator places himself under cither of the children ; the old woman and the young one instead of looking at the child, have their eyes directed towards himself. A lunette poetically unites Ceres and Bacchus, as the emblem and source of life; one of the nymphs of the goddess is gently placing a little child on a bed of wheat sheaves; Bacchus is pressing the juice from a bunch of grapes into a cup; his retinue of wanton nymphs forms a strong contrast to the group of modest nymphs, the attendants of Ceres. The lunette opposite shows Venus reclining inde- cently enough by the side of her aged partner, with a long smiths' implement 12. CASTELFRANCO.-CONEGLIANO. [Book V. in his hand, and Flora followed by a lovely train of nymphs and little chil- dren, wearing flowers in their dresses, or carrying little baskets. But the richest of all these compositions is the octagon in the centre of the ceiling, a sublime work, where arc represented Olympus surrounded by the four elements, Plenty, Love, Fortune, and lastly, the figure of a female who appears a great admirer of Etruscan vases, as she is leaning on one and has another at her feet. The four rooms adjoining the hall, are covered with numberless allegorical fi- gures, of very ambiguous meaning. The eight elegant figures standing separate, which Algarolti took for the Muses, ap- pear to be only simple musicians. The two closed d(anish dress, cap in hand as if waiting to receive orders; the other a fair little girl, full of elegance and animation. It is impossible to conceive a more pleasing antechamber. Maser was the dwelling place of the last of the hundred and twenty Doges of Venice. Manini,' who so miserably abdi- cated ; the luxuries of his villa, the fear of losing it, or of seeing it laid waste, contri- buted perhaps to his want of character and resolution ; for this weak man was not a traitor, and he loved his country. ^ CHAPTER XXXI. Caslelfranco.— Saint Liberal.— Picture by Giorglonc. — Frescos by Paolo Veionese.— Acaiieray of llie Flloglotti — Conegliano. — Duomo.— Sainl Fioie.— Picture of Conegliano. Castelfranco, a pretty town, is the country of the great painter, Giorgione, Titian's rival; he died at the age of Ihirty-four, in despair at having been betrayed by his mistress, whom his pupil Luzzo di Feltre had seduced. The church Saint Liberal, with its noble, harmonious cupola, presents an bumble imitation of Palladio's liedentore at Venice. The architect Preti was of Castelfranco, as well as the greater ' Somcctironologistsonlyreckon onelmndredand nineteen Doges, because lliey exclude Itie usurper Pielro narbolano of the Cenlranico fausil;, vfho was, in )(I26, tbe Uvcnty-eiglilli doge. • Tbe election of tbe Dist D^ige was in the year 707; Manini was deposed In )"'J6, so Ibat we Und rulfilttd tbe prophecy of Ibc excellent Flor;jnline number of the artists who have decorated this church, which is a real museum, the sacristy alone containing more than forty paintings. There is Giorgione's cele- brated picture of the Virgin, called by Algarotti the magnificent painting of Castelfranco, the production of his youth, the bold first step of a career destined to be so steady and rapid. The fine, the superb Saint Liberal, armed as a knight and holding his banner unfolded, pla- ced near the throne of the Virgin, passes for the portrait of Giorgione; it contrasts strongly with the pious and me- ditative air of tbe Saint Francis oi)posite. which is believed to be the portiait of bis brother. The details even are ex- quisite, and the trees of the landscape in the background, where a fine castle and an elegant little temple may be dis- tinguished, appear to be agitated by a gentle breeze. After the chef-d'oiuvre of (iiurgione, comes the Presentation of the Virgin, by the younger Paltna, a pleas- ing picture, but of that bluish tint which he was so fond of giving bis paintings ; Christ descending into purgatory, to deliver the patriarchs and prophets, re- markable for the touching confusion of Adam, and particul.trly of Eve, a rich composition by Ponchino of Castelfranco, who took holy orders and afterwards be- came a canon. An Assumption, not- withstanding the difficulty of the subject for sculpture, is interesting from the fact of its author Torrelti, who had his studio at Pagnano, a village of the Trevisan where he was born, being the fiijt master of Canova, and because the little tower(monogram of Torretli) under Saint Liberal, passes for the woik of the young Antonio. Such was the immense popularity of Canova in Italy, and the honour attached to the smallest trace of him, that on his passing through Pagnano afterwards, this public inscription was dedicated to him : SALVETE. LOCA. NDLLIS. BEATIORA QUAE A. CA.NOVAM PHIDIACAE. AUTIS. CLEMEMA. DISCENTEM. VIDISTIS. SALVETE. ITEllUM. ITEllUMQUE. poet of tbe sixteenth century, Louis Alamanni, who said in bis second satire that the liberty of Venice would not last a tbousand years : Se non cangi pensier, 1' un secol' solo Non contera sopra ii raillesini' anno Tua llbertJi, che va fugeudo a volo. Chap. XXXII. ] TREVISA. 139 The statues of Faith and Charity by S. Zandoinenighi of Venice, recall to mind the morbidezza of Canova. The sacristy has received the three supcib frescos of Paul Veronese, Time and Fame, Justice, and Temperance, successfully transferred on canvas, for- merly at the neighbouring palace of the Soranza, of the architecture of San Mi- cheli, barbarously demolished, in spite of its massive strength, and which was cited by Vasari as one of the largest, finest, and most convenient country re- sidences. The calm, healthy appear- ance of Temperance, whose attention is directed to a vase of water, well expresses the good c(Tec(s of the virtue which she represents. Some other i)aintings in this sacristy are also remarkable. The Marriage of St. Ann and St. Joachim, by BeccarruzzJ, a painter of the siiteeiilh century, well expresses the kind of ten- derness felt by an old couple, who per- haps knew each other too late, and presents a Gne landscape. The St. Sebas- tian of the younger Palma, is expres- sive and the foreshortening good. The two tall figures of St. George and St. Li- beral clad in brown armour have a very martial air. The Supper at Emmaiis is by Paolo Piazza of Castclfranco, a pupil of Bassano, w ho became a Capuchin monk at Rome, and under ihe name of Padre Cosmo was a painter of great ori- ginality, as may be judged from the bustle which prevails in Ihe kiichen ■where dinner is preparing. The Amours of Cleopatra, which Padre Cosmo paint- ed at the Borghese palace, was a subject less befitting his pencil as a monk. The skilful painters of Castelfranco showed themselves subject to exalted passions; Giorgione died of amorous despair, Pon- chino and Piazza embraced the conven- tual life. Castelfranco has two other fine chur- ches; St. James the Apostle, by the clever Venetian architect Wassari, where is to be seen a good painting of the Saint, by Damini, of Castelfranco, of whom it has been said, doubtless w ilh exaggeration, that if he had not died so young he would have equalled Titian; and the church of Saint Mary, which contains twelve exquisite little paintings by this same Damini. The small and elegant theatre was so well arranged that it served in the mor- ning for the annual sitting of the Academy of Castelfranco, called the Academy of the Filoglotti, w here are produced the lo- cal panegyrics, dissertations, and verses, which latter are said to be occasionally rather harsh. Conegliano deserves a visit from the traveller for its charming environs, and for several of its paintings. The Duomo presents a Virgin on an elevated throne, and St. John the Bap- tist, St. Nicholas the bishop. Saint Cathe- rine, St. Apollonia, St. Charles Borro- meo, and St. Joseph, and at the foot of the throne two little angels, by the ex- cellent painter of the town, Cima, called Conegliano; the painting bears the date of 1192; though in a damaged state, the artist's gilt of relief and perspective may be recognised; this patriotic painter only demanded 412 livrcs 12 sous for this chef-d'auvre. St. Mark, St. Leonard, and St. Catherine, in a chapel of the church, doubtless belong to the best days of the art. On the ceiling of Saint Roch, a lively and harmonious composition by M. De- min represents in two groups the Saint, and St. Dominick, carried to Paradise by Angels; the dog of Saint Roch, who wants to follow his master, is playfully stopped by two little angels; the dog of St. Dominick, with his accustomed flam- beau in his mouth, also endeavours to follow his master, but two other angels execute the same task with him, and one of them takes away the torch. The fine church of Saint Martin has a soft and rural Nativity by Beccaruzzi, a native of Conegliano. San Fiore, the neighbouring hamlet to Conegliano, deserves a visit; its ancient and small parish church possesses the best preserved work of Conegliano, a valuable painting in eight compartments, the principal of which is occupied by a St. John the Baptist, dry, swarthy, stand- ing on the trunk of a tree, an admirable expression of the austere repentance that he preached. CHAPTER XXXII. Trcvisa.— Duomo — Procession of Dominici. — Mys- teries of llie Kosary of t. liordouiie.— Frescos of Pordenone.— XiiH«iic/nl(o/i of Tilian.-Saiut .Ni- cliolas.— Arcliileclure of tue couvents of Salut Doaiinick.-Fra Pensabene.— I'ortrails of Domi- nicans. — Saint Theoiiisles.— Saint Leonard.— Saint Gaelan.— San Giovanni del Ballesimo, -Trevisa is ill-built and ill-paved, but 440 TREVISA. [Book V. still of importance as regards the arts. The school of Trevi?a forms a brilliant branch of the Venetian. The Duomo, although modernised, is still of an imposing ai)pearance. Three chapels are by the l.ombardi, father and son, able Venetian sculptors and archi- tects of the Gfteenth century ; their sim- plicity and purity render more conspi- cuous the false taste of the works of the last century. The contrast is still further shown by the beautiful tomb of Zanetli, bishop of Trevisa, by the Lombardi : the eagle with extended wings, surrounded by a wreath of flowers, greatly excited the admiration of Canova. The tomb of Pope Alexander VIII. (Ottoboni), who was a canon of the cathedral, by the Trevisan Comino, is horribly heavy. The Virgin on a throne, ornamented wilh beautiful crimson curtains, holding the infant Jesus, and beside her St. Sebastian and St. Roch, is by Geronimo Vecchio, of Trevisa, painted in 1487 ; it has all the languishing colouring and dignifled grace of that painter. The Assumption by I'enacchi, an artist of Trevisa of the sixteenth century, not- withstanding the sliQ'ness of the drape- ries, produces a pleasing impression : a group of angels carrying up the Virgin is perfectly Mantegnesque. A long Pro- cession by Uominjci, another puinter of Trevisa of the same century, who died young, is extremely curious: all the small figures are natural, true, and full of life, and exhibit the contemporary portraits of the authorities of the city. A whimsical inscription put at the bottom brings to our recollection the peculiar estimation made of this picture by Ca- nova, the rival of Phidias. The vault of Saint Liberal, where his tomb stands, is an ancient, bold, and solid construc- tion. The St. Justine, transparent, and well preserved, by Bissolo, a good Vene- tian artist of the sixteenth century but little known, has a sort of liveliness about it, notwithstanding the sword that pierces the bosom of the chaste martyr: the canon on his knees praying with such an earnest pious air, is said to be the portrait of the person who ordered the picture. A Virgin sitting with the infant Jesus on one knee, supposed to be by Sanso- vino, is of the finest times of sculpture. The able Trevisan painter, Paris Bor- done, has decorated the Uuomo with three masterpieces. The grand St. Lau- rence strikes by the beauty and ce- lestial expression of the saint's head, the flesh of St. Jerome, the foreshortening of St. Sebastian, and the excellent ar- rangement of the whole. The Nativity presents the most happy contrast : the Infant Jesus who is looking with an air so loving and so happy at his mother, re- presented in a chaste and noble attitude; a shepherdess full of grace and simpli- city olfering to (Christ two doves, and the almost speaking figure with the ebon beard and hair, the portrait of Aloisa Rovero, who ordered the picture. The Mysteries of tlie Rosary, a small picture in six divisions, is exquisite and elegant, and may be considered a sort of minia- ture display of the author's peculiar qualities. St. John the Baptist, by Vit- toria, expresses penitence : the eflect is still increased by the statue being from the quarries of Istria, better adapted by its dark grey colour for a subject of this kind than the most brilliant marble. The Cross carried by the angels, by Amalleo, a good painter of the Venetian school, with the figures of St. James major, St. Diego, St. Anthony the abbot, and St. Bernardin, is a noble, graceful, and animated composition : the land- scape is a view of Motla, a town of the Trevisan, where the artist resided : the colouring has not the ordinary vivacity of Amalteo, who was upwards of fifty- nine when he executed it. The Holy winding Sheet, held by three bishops followed by priests holding torches, and shown to the adoration of the faith- ful, by Francesco Bassano, is rich, broad, and true. Pordenone, a powerful artist, surnamed the Michael Angelo of the Ve- netian school, has painted two superb frescos; the Epiphany, which, notwith- standing some exaggeration, is bold and majestic ; there is a foolish vain inscrip- tion indicating that it was ordered by the canon Brocardo Maichiostro, whom we shall hereafter have occasion to mention. The Eternal Father surrounded by a multitude of little angels entwined and descending to the earth, a fresco in the cupola, is wonderfully lively and airy. But the finest of the pictures of the Duomo is the Annunciation by Titian when young, admirably expressive, true, and natural, both in the perspective and drapery ; the only fault is, his having in- troduced the canon Maichiostro, who, Chap. XXXII. J THE VIS A. 4il because he ordered it, had the\>'himsical pretension to figure in it. The churcliot Saint Nicholas, the finest in Trevisa, dates from the year 1300, and has the Gothic grandeur of the mona- steries of Saint Doniinick. The architect belonged lo the middle ages, hut of his name we are ignorant, as we are of many others, builders of vast basilics, and immense monuments of that period, characterised by the strength and dura- bihly of its works.' These singular and religiousartists were more anxious about their salvation than their fame. Thus in architecture, the middle ages truly ap- pear, as some one has observed, lobe the epoch of great men now unknown. Saint Nicholas owes its foundation to the zeal and bounty of Pope Benedict XI., who Avas born in the Trevisan and belonged to the convent. As at the Duomo, an altar by the Lombardi, notwithstanding its exiguity, .'hews strikingly the false ta^te of the last century, exhibited in an enormous altar by the celebrated P. Pozzi. The tomb of Count Agostino d'Onigo of Tre- visa, a senator of Rome (which does not mean that he was a Roman senator), is another excellent work of the Lombardi. The ApparitionofClirist, by Giovanni Bellini, shows by its moi'bidezza that the old master had the good sense to approach the manner of his two great pupils, Giorgione and Titian. In the lower part of the picture aie the contem- porary portraits of the bishop, the podesta, and the prior of l he convent, all members of the pious Monigo foundation, that charitably helped poor females, several of whom figure %mong the portraits and are full of life. The St. Christopher carrying the Infant Jesus on his ^houlder is of the colossal size of ihirly-four feel, independently of his legs which are in the water; it dates from the year UiO, is a most able fresco by Antonio, of Tre- visa, and interesting as regards ait. The Virgin on a throne with St. Thomas d'Aquin, St. Jerome, St. Liberal, St. Dotninick, St. Nicholas the bishop, Benedict XL, and on the steps of the throne a little angel playing on the lyre, is an immense, elegant, and majestic composition, and was for a length of time supposed to be by Sebasliano del Piombo, ' Tlie arctiitects of l!ie churches Saint Anastasia of Verona, Saiot Augustine of Padua, receaily but was found from the registers of the convent to be by a monk, Fra Marco Pen- sabene, a Venetian, the great artist of the cloister, who must have been one of Giovanni Bellini's best pupils, though spoken of by none, notwithstanding his pretty interesting name of Fra Pen- sabene. The hall of the chapter, painted in 1352 by Thomas of Modena, represents a gallery of celebrated Dominicans, each bending over his little desk, reading or meditating, some wearing spectacles ; figures with little of the ideal, and totally destitute of variety, but natural and true. The church of Saint Theonist, now ap- pertaining lo a girls' school, presents on the arched roof, a Paradise, in which the .soul of the saint enters triumphantly, a fresco by the Venetian Fossali and the figures by Guarana; it is remarkable for the ornaments and perspective ; an As- sumption by Spineda, a noble and able artist of Trevisa, the imitator and almost the rival of Pulma, for drawing and delicacy of colouring; and a Magdalen at the fool of the cross, with the Virgin and St. John, a work alter ihe manner of Titian, by Jacopo Bassano, who after- wards adopted a sly le of his ow u and was also chief of a school. The church of the ScaJzi ( or bare- fooled Carmelites), by its form and ex- treme cleanliness, invites the soul lo devotion. Nolwilhslanding it has under- gone a fatal restoration, we recognise the original touch of Paris Bordone in the Virgin with the Infant Jesus, St. John the Baptist, and St. Jerome; the latter, half-naked and covered only with the cardinal's purple, is presenting his hat lo the Infant Jesus, who takes it as a plajihiiig. Ihe church of Saint Augustine, of an elliptic sliape and good architecture, has a Virgin, St. Joseph, and a saint, which brings to our mind the lively manner of Andrea Schiavone. Saint Leonard contains the Glory of the saint, a fresco of fine colouring by Giambaltista Canaletlo,and an old Virgin with the Eternal Father, St. Bartho- lomew, and St. Prosdocimus, perhaps by Jacopo Bellini, the worthy father of Giovanni and Gentile ; Ihe retouching has injured the Virgin, but as regards the destroyed, Saiat John and Paul of Venice, are not knonn. 442 TREVISA. [Book V. Eternal Father, the saints, and chiefly the little angels, it is a fine, noble, and graceful work. Another retouching has destroyed the figure of St. Sebastian, with St. John the Baplisiand St. Erasmus, by Giovanni Bellini ; hut the St. Erasmus remains untouched, and has preserv- ed all the charming characteristics of the artist. The front of the church of Saint Gio- vanni del Tempio, or Saiut Gaetan, is worthy, from its purity and chastencss, of its dale, 1508, which is inscribed on it, and it shows the style of the Lombardi ; but with the exception of a small gallery with a cupola, the interior, horribly modernised, is not at all in conformity with such an exterior. The steeple of Saint Martin indicates that the building is of a very ancient date. An Assumption by Spineda is much esteemed ; likewise St. Martin giving alms, and a Trinity by Orioli, a prolific painter and poet of the seventeenth cen- tury, born at Trevisa, to which he con- fined his natural but almost uncultivated talents. At Saint Andrew, the Virgin, St. John, Chrysostome, St. Lucy and below a little angel playing on the harp, in spite of its dilapidated stale, exhibits the sim- plicity and taste of Gentile Bellini. The most ancient church of Trevisa is that of San Giovanni del Battesimo, which possesses a Baptism of Christ, by Spineda, and a St. Apollonius, by Francesco Bassano. The small church of Saint Gregory has the picture of the Saint habited in his pontifical robes, one of the masterpieces of the younger Palma. CHAPTER XXXIII. Mont-de-Pi6l6.-The Dead Christ, by Giorglone. The Mont-de-Pi^t^ (where money is lent by the State on pledges) of Trevisa has still its celebrated Dead Christ, by Gior- gione, painted for this establishment, a most magnificent proof of its antiquity and richness. Christ is supported in a sitting posture by angels on the long mar- ble stone of the sepulchre. The paleness and sunken appearance of the dead body is wonderfully contrasted with the fresh- ness, strength, and agility of the angel, who has started to the opening of the tomb to which he clings with one hand. and with the other holds the corner of the crimson cloth, placed under the body of Christ. In spite of the injury of time, the retouchings, and the bad light it is placed in, it will ever be admired for boldness of foreshortening, the play of the light, and the terror blended with compassion that it inspires. One of the rooms of the Mont-de-Pi^td displays a Miracle of the loaves and fishes, a small, curious, and unnoticed fresco full of life, with a charming land- scape ; this fresco, although much da- maged, obtained the suffrages of two good judges, S. Missirini, and Count Cambray Digny, a Tuscan architect, ori- ginally from Picardy ; they were both of them at Trevisa in 1831, and may be said to have in some manner found it out. An old clerk told these gentlemen that tradition attributed it to Ludovico Fiu- micelli, a native of Trevisa, who too early abandoned the study of painting for that of architecture and fortification, but S. Missirini has no hesitation in believing it to be w orthy of the able Venetian master Bonifacio. In the same room are also the rich Epulon and Moses striking the rock, presenting two animated land- scapes, by Ludovico Pozzo, a Flemish artist, long resident at Trevisa, and rather posterior to Fiumicelli. Such was the fecundity of art in Italy in the sixteenth century that it is to be found even in an establishment to aid the indigent, where it shines amid the pledged garments of the poor, making a Mont- de-Pietd almost a museum. CHAPTER XXXIV. Library.— Theatre. —Pola palace. — Ancient DafGDl palace.— Uospital.- Bridge. The chapter library was founded by a liberal and noble Trevisan, Count Azzani Rambaldo Avogaro. a celebrated anti- quary, the friend of Muralori, a canon zealous for the literature and history of his country. He resuscitated the old academy of the Solleciti, which for a length of time had ceased to deserve its name. The correspondence of Avogaro with the learned of different countries is preserved in this library, and forms no less than 26 folio volumes. The Onigo theatre, a good substantial building of stone both inside and out, harmonious in its construction, was ar- CUAP. I] VENICE. 143 ranged internally by one of the Galli Bibiena, who were famous in Europe during Ihe last century for iheir laste and skill in decoration, and without whose aid it seemed hardly possible to celebrate a marriage, a victory, or a princely pro- cession. The Pola palace, built by the Lom- bardi, notwithstanding Ihe ruined state of the staircase, is worth notice for its noble front and vestibule. An honest shopkeeper occupies the ancient Dolfini palace, remarkable for the richness of its front, though the ar- chitect Pagnossini of Trevisa nourished when architecture was on the decline in Italy. In the arched roof of the principal saloon, now a warehouse, there is a Triumph of Bacchus, a fresco of a yel- lowish tint, with some Due foreshorten- ing, by Uorigny, a Parisian artist, one of Lebrun's pupils, who came to Italy when young and established a school ; he lived at Trevisa, and died at Verona, at the advanced age of eighty-eight. having for many years infested the Ve- netian school to the utmost of his power. The gale of Saint Thomas, w hich dates from 1518, has been held worthy, from the beauty of its front and its solid con- struction, to be attributed to Pietro Lom- bard!, as also the statue of St. Paul which surmounts it. The civil hospital of Trevisa is worth a visit, on account of two pictures in the director's new apartment : [he Nativity, full of grace and nature, by Caprioli, an artist of I he Modena school of the fifteenth century ; and the Holy family, a master- piece combining the graceful, natural, and expressive, by the elder Palma. A fine brick bridge in a good slate of preservation, notwithstanding its three centuries, is thrown across the Sile of w hich the poet Dante has sung. Dove sile a CagDano s' accompagoa, and which river waters the beautiful country of Trevisa. BOOK THE SIXTH. VEMCE. CHAPTER I. Veuice.— Its decline.— Venice on terra Grma. It would be difficult to describe the impression Venice produces on its first appearance ; the multitude of domes, steeples, palaces, columns, rising out of the bosom of the waters, looks at a dis- tance like a city under water and pro- duces a feeling of surprise and fear. One can scarcely imagine that to be the end of his journey and the destined place of his sojourn. Rotterdam, it is said, is not less extraordinary ; it may be so, but I cannot imagine that Holland ever resembled Venice : if commerce was the soul of the two states, in the one it was simple, grave, unassuming, austere, and economical ; in the other brilliant, pompous, dissolute, the friend of pleasure and the arts. Liberty in Ve- nice was the oppressive privilege of a class of nobles; in Holland it extended to all classes. The paintings of Cana- letto have so familiarised us with the harbour, the squares, and monuments of Venice, that when we penetrate into the city itself, it appears as if already known to us. Bonington, an English artist of a melancholy cast, has painted some new views of Venice, in which is most per- fectly sketched its present state of deso- lation; these, compared with those of the Venetian painter, resemble the pic- ture of a woman still beautiful, but worn down by age and misfortune. All those gondolas, hung with black, a species of floating sepulchres, look as if they were in mourning for the city ; and the gondo- lier, instead of singing the verses of Ariosto and Tasso,' is neither more nor ' These verses were, It is well known, only a Venetian translation; the gondoliers did not un- derstand the teit. 1U TREVISA. [Book YI. less than a poor boatman with but little poetry in his composition, whose only song is a harsh screaming ah eh at the turning of each calle,' to avoid the danger of collision with other gondolas that are not immediately visible. This aspect of Venice has a something in it more gloomy than that of ordinary ruins : nature lives still in the latter, and sometimes adds to their beauty, and although they are the remains of by-gone centuries, we feel they will live for centuries to come, and probably witness not only the decay of their present master's power, hut of suc- ceeding empires too : here these new ruins will rapidly perish, and this Pal- myra of the sea, retaken by the avenging element from which it was conquered, will leave no trace behind. No time ought to be lost in visiting Venice, lo con- template the works of Titian, the frescos of Tintoretto and Paolo Veronese, the statues, the palaces, the temples, the mau- soleums of Sansovinoand Palladio toiter- ing on the very verge of destruction. I visited Venice three different times, at intervals of about a year ; and at each visit was forcibly struck with its rapid decline. A skilful observer who was living there then calculated that it might go on for sixty years more in this manner. I cannot avoid acknowledging that the description 1 gave of Venice on my flrst visit, to be accurate now, must be reduced in some of its features. The population formerly was one hundred and ninety thousand, at the end of the last century it was but one hundred and fifty, and is now not more than one hundred and three, out of "which forty thousand are dependent on the charily of the rest. The number of gondolas, formerly six thousand five hundred, was in 1827 six hundred and seventy-eight. Comines pretended when he was there they amounted to thirty thousand (il s'en pniroit trente mille). In the midst of its destruction Venice found a man full of zeal, taste, and knowledge, who has collected, and ren- dered in)perishable in some degree the grandeur and magnificence of its monu- ments. In the work entitled Fabbriche piu cospicue di Yenezia, by Cicognara ' Tlie ca//e are Ihe streets, tlie passages of Venire, of which there are Iho thousand one hundred and eight; the number of houses tiventy seven thou- sand nine hundred and eighteen, and of bridges three hundred eud six. and the members of the academy of fine arts of Venice, which is the first and only complete work on this fine city, is a faithful and precious inventory of all its masterpieces, some of w hich even since its publication are no longer in existence. Another excellent work, a collection of Venetian inscriptions by S. Cigogna, will also be the means of preserving re- collections of what Venice was, and which the author has nobly dedicated to his country. Some years ago a bold plan was pro- posed by a zealous Venetian in order to prevent the ruins of his native city ; « this was to join Venice to the continent, a project already formed by Marco Fosca- rini, an enlightened Doge of the last century, at the epoch which preceded the fall of the republic. A road of com- munication was proposed to be made on the narrowest point of the lagoon, the length of which does not exceed two miles and a half; the materials to make this road might be easily procured in the mud of the marshes and the gravel of the neighbouring rivers; it was suggested that it should be planted with trees, paved for foot passengers, and edged by two parallel canals, with draw bridges for the defence of the city : the expense would not exceed a million and a half of florins (150,000 pounds). Not contesting the material advantages that Venice might immediately gain by its being join- ed to terra firma, the more particularly since the permission granted for a rail- road between Milan and this city, I do not know , if it were carried into eflect, whether such a change would not be to the imagination at least a different spe- cies of destruction, since il would take from the queen of the Adriatic her pecu- liar character and wondrous aspect. CHAPTER II. Fidzzj of Saint Mark.— Pigeons.- Coffec-houseai— fili. The Piazza of Saint Mark has not its like in the world, the East and West are there brought into each other's presence : on one side the Ducal palace with the in- * See Memoria sul commercio di Venezia, e sul mezzi d'inipedlrne il deccidimento, letta al venelo Ateneo dal socio ordlnarlo Luigi Casariui, segrc- tario dell' ioclita coogregazione csntrjie. Venezia , t823, m-8°. CUAP. II.] VENICE. U5 dented architecture, the balconies, and galleries of Arabian monuments, and the church of Saint IMark wilh its angular front and load-covered cupolas, remind the beholder of a mosque at Constanti- nople or Cairo ; on the otlicr side regular arcades with shops similar to the Palais- Roval at Paris. The same contrast is to be 'found among the men : there are Turks, Greeks, and Armenians, some lying down, others taking coffee and sherbet, under large awnings of different brilliant colours, resembling tents; some smoking perfumes in their long amber- lipped pipes of rose-wood, a crowd of indolent and majestic automata, while European travellers, and others occupied \> ilh their business, are hurriedly passing to and fro. The infinite number of pigeons that cover (he piazza of Saint Mark, the cupola of the church, and the roofs of the Ducal palace, add also to the Oriental aspect of these monuments. In a country where the ruling power, though slow in action, is ever on the watch, one would prefer the conveyance of letters by these birds. These pigeons have been in Venice from its earliest days. It was the custom on Palm Sunday to let fly from above the principal gate of Saint Mark, a number of pigeons with small rolls of paper tied to their feet, which prevented them from continuing in the air, and as they fell they were caught by the crowd, who began fiercely to dispute the prizes the moment they were loosed. This was a species of distribution to the public rather less ignoble than ours. It sometimes happened that the pigeons got rid of their impediments and sought an asylum on the roofs of Saint Mark and the Ducal palace, near to those awful Piombi where human captives bemoaned a lot far more unhappy ; here they rapidly increased, and such was the interest they excited that to comply w ilh the wishes of the ' During the government of Ibe Republic a person belonging to the city granaries fed tbe pigeons every morning on tbe piazza of Saint Marli ant) the Piozzella. When Venice was taken la t796, these stale pensiontrs were uo longer supplied, and have since been indebted to the corapassioii of the Ve- netians for their subs-islence. Consult the work of Madame Justine Uenier Michiel on the origin o( Venetian fetes, Venice, 1817, 5 vol. 8vo, an agreeable and learned work, one of tbe best books that has been published on tbe history of Venice. I met with the authoress, a very amiable woman, not- public it was decreed that they should not only remain unmolested but be fed at the expence of the state. Venice has lost its liberty, but those light and grace- ful creatures appear to have escaped the German conquerors.' Venice still palpitates in the piazza of Saint Mark; this brilliant decoration costs a million annually in repairs; while other distant quarters, some of which possess raagnihcent palaces, are left to fall into ruins : this corpse of a city, to use the expression of Cicero's friend, is already cold at the extremities, the life and heat remaining are confined to the heart. The Florian coffee-house, under the arcades Procuratie Nuove, in the old time of Venice was a species of institu- tion; it has not survived the decline and fall of the city. This celebrated coffee- house, like the other great coffee-houses in the piazza of Saint Mark, Quadri, Leoni, Sutlil, etc., is however open the whole night in all seasons, and, in fact, is never shut. Florian was formerly the conQilant and universal agent of the Ve- netian nobility. The Venetian who alight- ed there, had news of his friends and ac- quaintances; was informed when they would be back and w hat they had done in his absence ; tht re too he found his letters, cards, ^ and probably his bills; in short, every thing of moment had been done for him by Florian, with care, intelli- gence, and circumspection. Canova never forgot the more essential services be had received from Florian at the commencement of his career, when he wanted to become known; and he remained his friend through life. Flo- rian was often tormented with, the gout in his feet, and Canova modelled his leg and foot so that the shoemiiker could lake his measure without putting him to pain. This leg of a coffeehouse-keeper appears to me no less honourable to Ca- nithstandlng the deafness which afflicted her when advanced In years. She died at tbe age of seven- ty-eight In the year 1832. Madame Michiel also translated Shakspeare, and defended Venice in the most patriotlcmanneragainstM. deCbateanbriand. 2 The \i-iling cards in Italy are commonly orna- mented with emblems and monuments : 1 received cards at Verona on w bicb was an engraving of tbe iimpbithealre; the Venetians have on theirs the bridge of the RIalto, the front of Sjint Mark, (lie columns of the Hazzetta, etc. 13 VENICE. [Book VI. nova than his Theseus, it is pleasing to esteem him as a man whom we have admired as an artist. At the extremity of the piazza there are three piii or flag-masts which form- erly bore the glorious standards of Saint Mark, now replaced by the Austrian flag. The pedestals of these masts are in bronze, by Leopardo, and possess the elegance and taste of the Grecian artists. Independently of the great pains tiken by the artist, they are so beautifully po- lished that the figures have all the ap- pearance of having just quitted the work- shop; whereas they have been there upwards of three centuries, exposed to the injury of theair, the African siroccos, and to the misty saline spray of the raging Adriatic. CHAPTER HI. Ctiurcti. — Baplistry. — Bronze gite. — Ttie Vlrgia (lella Scaipa.—Pala d'oro.- Historical stones.— Horses.— Lion of Saint Marli.-CatDpauile.-iog- j/feHu. -Treasury. The basilic of Saint Mark, begun about the end of the tenth century by the doge Orsolo, is of chequered architecture, a mixture of Greek and Roman, but more especially Gothic. A description of the mosaics, sculptures, basso-relievos, and arabesques with which it is ornamented, would be endless. There are brilliantly blended Grecian elegance, Byzanlian luxury, and the talents of the Venetian masters. On seeing these splendid com- partments, the golden arched roofs, the pavement of jasper and porphyry, the five hundred columns of black, white, and veined marble, of bronze alabaster, vert antique, and serpentine, one would feel inclined to take this christian temple, except that is is somewhat too gloomily lighted, to be a palace of the Arabian Nights. Religion has preserved all these riches, which might have been dissipated in the speculations and enterprises of a commercial and navigating people. The wrecks of the magnificence of ancient Rome ornament the cathedrals of the mo- dern city, its successor. Saint Alai k has collected the costly spoils of Constan- tinople. Italy thus embraces the ruins of these two imperial cities. The benitier, or holy-water vase, a work of the Gfteenlh century, of por- phyry, is supported by an antique altar of Grecian sculpture, ornaiueutcd with dolphins and tridents. One of the bronze doors of the baptistry, covered with the figures of saints and Greek inscriptions, appears to have been brought from the basilic of Saint Sophia. The mosaic, of the eleventh or twelfth century, on the wall, represents the Baptism of Christ, and is a warm animated composition. St. John the Baptist, in bronze, placed over the font, by Francesco Segala, is one of the good statues of the sixteenth century. I remarked in this chapel of the baptistry, against the wall, the tomb of the doge Andrea Dandolo, w ho died in 135i, an intrepid warrior and skilful politician, the friend of Petrarch and the oldest historian of Venice, as his ancestor was its greatest hero. The name of Dandolo is so noble and great that I loved to repeat it under the vaulted roofs of Saint aiark, and had noi my respect for the .solemnity of the place prevented me, 1 should have made it re-echo there, as an illustrious traveller did that ofLeo- nidas on the ruins of Lacedemon ; but the echo of Saint Mark would doubtless have died away as speedily as that of Sparta, although the heroic acts of the Venetian warrior are less ancient by fourteen centuries. 1 must confess that my feelings were very difl"erent when, as 1 looked at the bronze door of the vestry behind the altar, a work that occupied thirty years of Sansovino's existence, I saw there in relievo the almost living head of Aretino beside those of Titian and the author, both of them his friends. I could perceive in it all the presump- tion of his talent and disposition; a man who made a lr.ade of calunmy, who praised for a certain price, and who may be considered the representative of the licentious and ancient manners of Ve- nice. The friendship between Titian, Sansovino, and Aretino, if it does but little honour to the two artists, must have contributed in an extraordinary degree to the good taste and splendour of Venice. These three men aided each other by mutual counsels, and the superb gate of Sansovino is a kind of monument of their close and constant union. Titian could not always escape the importunate pecuniary demands of the greedy author, nor his calumnies when the money was not forthcoming.' The four Evangs- ' See tlie following passage from one of Arellno's Idlers to the duke of Florence, daled October, )5'(5 ; ' La non poca quaullla di duuari cbe M. Tiziano si Cii.iP. III.l VENICE. »47 lists of bronze in the choir, are also by Sansovino, and are considered as some of his linesl works, also an altar behind the high altar, oinainented with basso- relievos in marble and bronze gilt. The Zeno chapel, the altar, and llie monnment of the Cardinal are the inesti- mable works of Pielro and Antonio Lom- bardo, and Leopardo. Here is also the celebrated statue of the Virgin ant by Alberghetti, with the cognomen of della Scarpa, because the Virgin has shoes on. The altar, the statue of St. James, and other masterpieces of Leopardo, are both noble and graceful. The fines! of the numerous columns of Saint Mark in white and black por|)h\ry, is in the oratory of the Cross, nearest the altar on the epistle side. The twelve Apostles, the Virgin, and St. Mark, in marijie, placed above the architrave which separates the body of the church from the choir, are by the brothers Jacobello and Pietro- Paolo dalle Masscgne, excellent Venetian artists of the latter end of the fourteenth cen- tury, pupils of the Pisa school, who seem worthy of a more advanced epoch. The great chandelier of Saint Mark, notwith- standing the oddness of its base, is con- sidered as one of the most remarkable works of its kind for the taste and nature of the figures, and the elegance of the ornaments. The Pala d'oro, a species of mosaic in gold and silver on enamel, placed above the principal altar, is a curious monument of art belonging to the Greeks of the Lower-Empire, and of that pros- perity—that military and commercial civilisation of the Venetians which pre- ceded the poetical and literary civilisa- tion of other Italian cities. Ordered at Constantinople by the republic towanls the end of the tenth century, the Pala d'oro was augmented and enriched at Venice in the three following centu- ries : it exhibits, symmetrically enchased among its numerous ornaments, a series of pictures representing subjects from the Old and New Testaments, the life of Saint Mark, the Apostles, the angels, and the projihets, with Greek and Latin rilrova, e la pure assai avidila che liene di accre- scerla, causa cli" egli uon dando cuia e obbligo die si abl)ia con aniito, ne a doveie die si coiivenga a' parentl, .solo a quello con isLiaua ansia atleode cbe gU prounetle gran cose.' ' Cicognara was tlie first who gave a detailed account of the Pala d oro in i!ie Fabbnche Ui Yene- inscriptions that are almost barbarous; the figures are stilT, plain, and sin- gular, but the ensemble has something dignified in it: one might compare it to an old poem or some ancient chronicle, interesting as regards the period to which it belongs, but which it would be irrational to take as a model after the masterpieces of the great arti.sts." If the fickle and conquered people of Venice appear to have forgotten their history, the stones and monuments are indelibly impressed with it, and no- where perhaps is the historical aspect of a liiace less defaced than there. A red marble pavement without any inscrip- tion near to the sixteenth arcade, recalls the most ancient recollections of Venice. It was there that Narses when he suc- ceeded Belisarius built the ancient church of Saint Geminian, destroyed in the iwelith century, when the canal on the edge of which it stood was filled up. Every year the doge and senate vi- sited the new church of Saint Geminian, pulled down in 1809,2 and they were reconducted with great pomp to this identical stone, the original limit of the piazza of Saint Mark. Not far from thence, in a retired street, there is a small white stone marking the spot where Boemondo Tiepolo, the Catiline of Ve- nice, perished ; he was killed by a pot of flowers that a too curious old woman ac- cidentally threw down from her w indow, in leaning I'orward to see him as he was going, at the head of the conspirators, to seize the Ducal palace and overthrow the Great council, a flower-pot which has cd'ectually saved Venetian liberty, as the Catiline Orations did Rome and the senate. Immediately after the defeat of Tiepolo's party, the council of Ten was created; a formidable institution, also due to the old woman's flower-pot. In- dependently of the mementos of glory and conquest which abound iu Saint Mark, certain squares of red marble, under the vestibule, still mark the spot of the fajnous interview where a dis- sembled reconciliation was affected be- tween Alexander HI. and the emperor zia, although a work of that kind belongs less to the history of architecture Ihau that of p:ilnling. The descriplion Is remarkatile for its scrupulous accuracy. 2 See post, chiipters XIY. and XXIV. This elegant church occupied the present hall and staircase of the Uojal palace. 148 VENICE. [Book YI. Frederick Barbarossa, through the media- tion of the victorious Venetians. Saint Mark presents a collection of re- lics of the greatest antiquity, the various mementos of conquest and revolutions. Before the entrance of the church, on the right, near the Piazzetta, are two pillars covered with Coptic and hieroglyphic characters, said to have originally be- longed to the temple of Saint Saba, at Saint Jean d'Acre. According to anti- quaries, the porphyry group, at the angle near the door of the Ducal palace, represents Harmodius and Aristogiton, the furious assassins of Hipparchus, the A thenian tyrant. The four famous horses of Corinth, or of the Carrousel, have resumed their former position on the tribune, over the principal door. Never was a trophy of victory more modestly placed, or worse, for they are scarcely perceptible. Won at Constantino|ile, brought back from Paris, these Greek or Roman steeds ' are associated with the two grandest instances of taken towns that history record. The lion of Saint Mark is replaced on his column, but mutilated. He ought never to have left it; though insignificant as a work of art, at Venice it was a public and national emblem ofitsancient power. It is venerable on the piazza of Saint Mark, but on the esplanade of the Inva- lides it was only a superfluous mark of the bravery of our warriors, less noble than all those tattered flags taken on the batilefield and suspended in the nave of the church. It was, moreover, a singu- larly ill-judged and odious act of a rising republic to humiliate, and spoil of the vestiges of their past glory, such old republics as Venice and Genoa. The 5acro Cattno,'' and the Lion of Saint Mark, were there patriotic monuments worthy of respect ; elsewhere they sunk into mere shop or cabinet curiosities, the prey of ruthless conquest. The rawpam'/e of Saint Mark is a bold structure, and one of the solidest and most elevated in Italy or even Europe ; it was begun in the tenlh century, but not finished till the sixteenth. The chief builder was the illustrious maestro Buono, a great Venetian architect, who is some- ' CIcognara regards these borses as a Roman 5voik of Nero's lime; the Cav. Mustoxidi prelends that tliey are Greek from the Island of Chios, and that they were carried to Constantinople in the Ufih century by order of Theodotius. The metal times confounded with other artists of the same name; he died in 1529. The ascent to its summit is by path, a real foot-path of brick, smooth and without steps. The sea, Venice rising from its bosom, the resplendent verdure of the fields on terra firma, the hoary tops of the Frioul Aliis, the crowd of islets grace- fully grouped around this imposing city, present a point of view which may almost be called a prodigy. The Logyietta, at the foot of Saint Mark's steeple, is of rich and elegant architecture, by Sansovino ; the four bronze statues of Pallas, Apollo, Mer- cury, and Peace, by the same artist, are held in estimation, as are also the orna- ments by Titian Minio, his clever pupil, and those of Geronimo Lombardo of Ferrara, one of the first sculptors of the sixteenth century. The marble basso- relievos are exquisite, especially the Fall of Uella from the ram of Phryxus, and Tethys aiding Leander. In the interior is a I'iostra Signora, another beautiful work of Sansovino. My eagerness lo examine Saint Mark's Gospel, which was not in the library, as I had been informed, induced me to solicit admission to the treasury, — an intrigue stimulated by the curiosity of a traveller and amateur for which I have no blush, and which was crowned with success. The Gospel, now almost moul- dered to dust, is enclosed in a frame; the damp has so far destroyed it, that only a few straggling letters can be with difficulty perceived. The ecclesiastics who showed it to me pretended, bow- ever, in opposition to Montfaucon, that it was on parchment and not papyrus, — though which is correct cannot be easily decided now. This manuscript is in Latin, and was taken by the Venetians at Utina in U20. Notwithstanding all the miracles attending its transfer to Venice, it is impossible lo regard it as authentic, since, as before observed, the apostles wrote only in Hebrew and Greek. J The part of the treasure deposited in Saint Mark's ( the other part, consisting of vases and pateras of hard Oriental stones mounted in gold and silver, is at the Mint ) may be reckoned, I believe, one was analysed at Paris, and ascertained to be pure copper, instead of Corinthian brass as generally slated, and as it was natural to suppose. ' See book xix. ch. vii. ^ Sec book It. ch. xi. Chap. IV. ] VENICE. 44d of the most extensive reliquaries in the world — a kind of glass-covered charnel- house, seen by the glare of candles and torches : there are exhibited some of the too numerous pieces of Ihe true cross, with Ihe nail, sponge, and reed used in our Saviour's passion; the knife he used at the last supper, with some Hebrew characters on the handle so nearly eUaced tbatMonlfaucon could notdecipherlhem ; some earth from the foot of the cross impregnated with the divine blood ; the humerus of Saint John Baptist; num- berless relics of Saint Mark; a superb silver cross, presented by the empress Irene, wife of Alexis Comnenes, to the church of Constantinople; and especially two admirable chandeliers, chefs-d'oeu- vre of the Byzantian goldsmiths, which alone would ample repay a visit to the treasury. All these spoils proceed from the taking of Constantinople; that vast pillage of the wrecks of antiquity, of saints' bones and modern jewels — a bar- barous conquest, as it even tore from the people the objects of their faith and ve- neration. CHAPTER IV. Ducal palace. — Government of Venice. — Calen- dario's Dgures and capitals.— Allegorical oaliit- iiigs. — Kape of Europa, by I'aolo Verone.se. — Pregadl.— Tilians St. Clirlttopher.— Ceiling bf Faolo Veronese. — Council of Ten. — Lion's mouth. — State Inquisitors. — Grand council. — Portraits of llie doyes.— Tintoretto's Glory of Paradise. The Ducal palace, by its architecture and stern gloomy aspect, gives no bad representation of the ancient government of Venice : it is as the Capitol of aristo- cratic power ; its origin even is surrounded with terrors ; the doge who begun it, Marino Faliero, lost his head, and the architect Filippo Calendario was hung as a conspirator.' The names, too, of some parts of it, are in unison with the impres- sion it produces : the Giants' Stairs, a superb structure, witnessed the coro- nation of the doges, and the Bridge of Sighs has the shape of a large sarcopha- gus suspended over the sea. A palace, a prison, and a tribunal, one might say, if the word centralisation were not ri- diculous applied under such circum- stances, that the ducal palace had fur- nished the flrst and most terrible example. ' See Ibc Italian Miscellanies. It is impossible, however, not to per- ceive that a singular exaggeration prevails in all the narfatives concerning the ty- ranny of the old Venetian government. For instance, we are told by a recent traveller that the reservoir of fresh water for the use of the city was placed within the limits of the ducal palace, and the nobles had thereby obtained the means of making their rebel subjects perish with thirst. It is a fact that there are two fine bronze cisterns, of the sixteenth century, in the centre of the palace court; but there are others in the various squares of the city, and every house has one to itself. The accusations against the Ve- netian government.whichwasadmired by Commines, were redoubled towards the close of its existence, at an epoch when, probably, they were least merited. It was long the fashion to extol its consti- tution, the wisdom of its laws, and the incorruptibility of its justice, which was even frequently invoked by foreigners, as it has since been to write on the con- stitution, finances, and commerce of England. Notwithstanding the heavy forbidding appearance of the Ducal palace, it has some elegant details, and in some parts is remarkable in an artistic point of view. The capitals of the Tu.scan columns in the front, ornamented with foliage, figures, and symbols, original master- pieces, of a taste at once bold and pure, and so interesting for the history of art, are chiefly by Calendario, the Michael Angelo of the middle ages, equally eminent as a sculptor and architect, whosefoundationsof the Ducal palace on the unstable soil of Venice are still ;i miracle for solidity. The Loggietta \s one of the most frequently mentioned woiks of .41essandro Vittoria ; the prin- cipal door, called della Carta, and its statues, arc excellent works of Maestro Bartolommeo ; there are eight beautiful Grecian statues on the clock front; the Adam and Eve, on the inner front, are esteemed; the small front to the left of the Giants' Stairs, by Guglielmo Berga- niasco, is of superior architecture; the two colossal statues of Mars and Nep- tune on the Giants' Stairs, are by San- sovino, but of his latter years; and the Golden Staircase, magnificently embel- lished by Sansovino, is ornamented with stuccos by Vittoria. The by-gone glory and splendour of 13. 450 VENICE. [Book Vf Venice are conspicuous in every part of the Ducal palace : immense paintings by Titian, Tintoretto, Paolo Veronese, and other able masters, recall the grand events of its history ; these beautiful paintings seem to breath a species of patriotism. Venice ever stands forth in ihem as the emblem of might, grandeur, and beauty ; she is a powerful goddess who breaks the chains of the bondsman, and receives the homage of subjugated cities; she is seated in heaven amid the saints ; she is represented sitting between Justice and Peace ; she is encircled by the Virtues, crowned by Victory, or ap- pears in the clouds amid a throng of deities : allegory there loses its ordinary coldness, as it serves to express a feeling of patriotic pride. I observed in one of the flrst rooms ( that of the stuccos ) a portrait of Hen- ry III. by Tintoretto; he has not that exaggerated childish air generally, and improperly, given him : when he was called to reign in Poland, Montluc had caused his portrait to be exposed to Ihe public view, that his mild and noble physiognomy and majestic stature might win him the affection and respect of his new subjects. It was on the occasion of his passing through Venice when return- ing from Poland, thatTintorettojkctched his portrait • on board the Bucintaur, w here he had gone with the king's at- tendants. The curious narrative by the ParisianClaudeDoron, revised by Pibrac, of the fetes ailending this passage, relates that "the people, atthe sightof thisking so young in years, calling to mind his noble deeds, thought him a second A lex- ander, and called him the wonder of the world." Henry HI., in his youth a hero, may have been feeble, inconsistent, and ridiculous on the throne of Trance; but, like all (he princes of the Valois family, he was neither deficient in intel- lect nor courage; he died at forty, when apparently recovering himself; he had already regained his warlike ardour, as may be seen in Davila, and, had he reached Ihe ordinary age of man, it is not unreasonable to believe he would have again displayed himself in reality a king. The hall of Four Doors is by Palladio: ' Tinlorelto did Ihe portrait in crayons at flrst, painted It in oil direclly after, envltli yarious readings for his where liberty is exempt from crime and licence ; where sages govern, and the good command the wicked; where in- dividual interests are unanimously and unreservedly sacrificed to the public welfare ; merits which give ground to hope (as I really do) that your stale may increase from day to day in strength and renown? I also felt that I could not chose a place more convenient or agree- able for my countrymen than Venice, whither flock nearly all the nations of the world, and particularly (he Greeks, who resort thither from their provinces and land there, and for whom it is like another Byzantium. Could 1, indeed, chose more appropriate objects for such a gift than those to whom I am attached by numerous benefits received? what city could I prefer to that \yhich I chose as my home after Greece had lost its liberty, and in which I have been so honourably received? Knowing that I atn mortal, feeling the advances of age, and alBicted with numerous diseases, to prevent all possibility of accident, I intend giving ail my Greek and Latin books to the ve- nerable library of Saint Mark, of your illuslrious city that you, your children, and descendants may see how deeply I was penetrated with your virtue, wisdom, and kindness, that you may derive abundant and perpetual ad- vantages from my books, and impart the enjoyment of them to those who delight in good studies. I therefore address to you the deed of gift, the catalogue of the books, and the bull of the sovereign pontiff, praying God to grant your repub- lic all possible prosperity, and that it may be blessed with peace, tranquillity, re- pose, and perpetual concord. From the baths of Viterbo, the last day of April 1468." Bessarion's present has not been fruit- less ; for more than three centuries the learned of all Europe have gone to consult his manuscripts : the French literati have not neglected them, from Amy otto Villoison andM. Cousin.' The laboursof the Aldi.the first printers of the Greek, and multiplicity of their editions, have extended Bessarion's boon. Thus edliion. So persevering and judicious have his researches beeu, that he brought to light several Greek manuscripts ihat even Morelli failed to dis- cover, and it is desirable Ihat the list of them sliould be pui)li>hed as a supplement to the catalogue of the latter. Henri Eiienne, who had been honour- CUAP. v.] VENICE. 155 has this great man contributed to the typographical glory of Venice, and the advantages she must have derived from that extensive trade. How deeply it is to be regretted, that (he formality of de- positing a copy of each work, very legi- timate in such cases, was not llicn pre- scribed I Had it been so, Saint Mark would now possess an unique Aldine collection complete, which would be pre- cisely where it ought.' The library of Saint Mark possesses many unpublished manuscripts of Bessarion, and his master Gernislus Plethon, the falherof Platonisni in Europe, a whimsical character, whose Greek, in the opinion of the learned, is dry, abrupt, and vulgar; nor did he speak so elegantly as in the Lascaris of M. Villemain. Gemistus Plethon, as well as his pupil, repaired to Italy for the council of Florence, the real epoch of the literary and philosophic emigra- tion of the Greeks into Italy, a;id not, as generally supposed, the taking of Con- stantinople, which only sent Ihilher gram- marians and rhetoricians. The two beautiful Arabic nianuscri|)ls on silk paper presented by Bessarion, of which the Venetians were so proud, have not re-appeared at Saint Marks, nor the precious Bible called La Magontina, now recognized as of 1456, and which is believed to have issued from the presses of Guttenberg. When retaken from t France in 1815, they were not restored to their real owners. Such a fraud in . the restitution appears still more odious ! than the pillage which follows victory and conquest. I The book of the Gospels, which is ! ably received al Venice, gave tiis Diogenes Laertes of 1570 aud liis Xeiiopboii of 1581, « it li corrections made from the raimuscripls of Bessarion. j ' The younger Aldus, h ho died at Rome, had j intended to bequeath to the republic of Venice his I extensive classical library, nhicb be bad iuheriled ■ from bis forefathers; but It «as, as oell as his other property, seized by the public aulboiily {la ccnsuia aposloUca] and bis many creditors. The I library was divided between the latter and bis ne- phews, after having been previously examined and despoiled of a number of arlicles by order of the pope, who doubtless did not bear away the least valuable. See M. Renoujrd's Annates de I'lnipri- mene des Aide, t. in. p 208, and Morelli, Dtlla pub- blica Ubreria di San Marco, p. 53-.'<. The deposit of a copy of all works printed in the Venetian state was not commanded by a decree uf the senate til| 1603. The most considerable library of .Mdiue edi- tions ever collected, was that of M. Renouard, sold retail iu Loudon, in 1828. nearly a thousand years old, according to Morelli, is one of those books which would suflice for the glory of any library less rich in ancient manuscripts. The celebrated manuscript of the Lombard laws, called the laws of Pre- visa, is one of the most precious known. A curious manuscript was discovered in 1826 by a learned Prussian professor, Charles Witte, and published by him in the Anthology of Florence;^ it is the canzone of Dante on the death of the emperor Henry VII., and other unpub- lished pieces, which reveal new and touching details, relative to the sorrows of the poet's exile, his tender love for his country in the midst of its civil discords, the illusion of his hopes, and that pas- sionate appeal, that kind of idolatry for the foreigner, i so extraordinary in a man possessing a genius so elevated and proud, but which showed him in the phantom of the Roman empire, and that of Charlemagne, a means of indepen- dency and of grandeur for Italy, far preferable to the republican and perse- cuting anarchy of which he was the victim. Perhaps also the chivalrous and feudal manners of the Gei man warriors of the middle ages were less repugnant to the generous minds of that epoch, than the practices of Roman policy, and the vices and simony of certain popes. A manuscript of the book of the ancient African author, Marcian Capella, whim- sically entitled ; On the marriage of Philology and Mercury, presents lively, brilliant, and poetic miniatures by At- tavaate, a Florentine artist of the flfteenth century, representing the a.sserably of ' See No. I.XIX. We are also indebted to M. Witle for the publication of the inlcresling collection of the Utters of Dante vvitli notes, primed at Breslau, and uliicli appeared in 1827, under the rubric of I'adua, in 8to, 107 pag. ^ In one of the unpublished sonnets of the ma- nu.-.cript of Saint Mark, Dame goes so fur as to com- pare the emperor to the Holy Sepulchre : Tornato el sol, die la mia mente alberRa, li lo speccbio degli occhi oiide era ascoso, Tornato e "I socro tempio e prezioso Sepolcro, Che 'I mio core e I'alma terga. In the canzone he makes this fine eulogium on Henry VII.: Nol vinse mai superbia nfe avarizia, Anzi r avversiti 1 facea possente, Cbe magnanimameule Ben contrastasse a chiuuque il percosse. 156 VENICE. [Book VI. Ihe gods, and the diCferent attributes of the arts and sciences. The manuscripts of the Gfteenth cen- tury of the work de SimpUcibus by DoclorBenedettoRiniorRiuio, of Padua, is singularly remarkable. The four hundred and thirty-two plants drawn by Andrea Amadio, a Venetian painter, have all the striking beauty and grace of the flowers of Redoute. A collection of this kind, so well executed, shows the taste at that time, and also the progress of botany and natural sciences in Italy, further confirmed by the important works which were printed there, such as the primitive editions of Pliny and Aris- totle published in the same century at Venice, and the curious Herbarius Pa- tuvie, printed at Mayence in 1484. The council of Chaicedon, a folio manuscript of the fourteenth century, a gift of Bessarion, is doubtless very vene- rable ; but I confess that I was more curious about the History of the Council of Trent, a manuscript corrected by the hand of its celebrated author. The copy is by his pupil and secretary Fra Ful- gcnzio Alicanzio, who succeeded him as consulting theologian of the Republic. The corrections, which are very nume- rous, are interlineary and marginal. This manuscript is in perfect conformity w ilh the first edition published in London in 1019, by 31arcanlonio de Dominis, with the exception of the title, and the preface added by this Dalmatian apostate, the unworthy countryman of St. Jerome; the true title is : Istoria del Concilio di Trento di Pietro Soave Polano, an anagram of Paolo Sarpi Veneto. Pere Le Courayer, the French translator of the History of the Council of Trent, presents one of those extraordinary re- semblances of character, talents, and destiny with its author, which are so rarely met with; ■ both were woithy monks, good w riters, and bold thinkers, and were persecuted for their opinions; but the monk of Sainle-Genevieve, con- demned by Cardinal de Noailles, and twenty-two French bishops, had not to dread the Catholic poniard of w bich the Venetian Servite narrow ly escaped being the victim, and never would he have been reduced, even if he had not retired pea- ceably into England, to wear, as Fra Paelodid, acoatofmail beneath his gown, I SeeBooli IV, ch. li. and to be escorted by another brother of his order armed with a musketoon. The portrait of Fra Paolo, believed to be by Leandro Bassano, is in the library ; his look is full of expression and vivacity, and one may there observe the turbulent genius of this theologian of the republic, of this Bossuet of the liberties of the Venetian church, but who has not the calm and solemn judgment of the theo- logian of Louis XIV., or of the orator of the assembly of the clergy in 1682. Twelve letters by Tasso ( published at Venice in 1833 by S. Gamba ), addressed to his friend Luca Scalubrino, are in- teresting, inasmuch as he speaks in some of them, of the composition of his Gerusalemme. The autograph manuscript of the Pastor Fido of St. Mark's is anterior to that of the library of Ferrara, which appears almost a fair copy. ^ The ma- nuscript of Saint Mark is much corrected, and full of additions, and passages sup- pressed ; one may thus judge of the ex- cessive labour which this poem must have cost its author. The manuscript of the two treatises on goldsmith's work and sculpture, by Ben- vcnulo Cellini, is most curious ; it appears to have been the author's rough sketch, from which Ihe printed text was compiled. Several fragments have been published by Morelli, and by Cicognara and Camba. A new and complete edition of these treatises would probably be interesting for the history of the art. Amongst the printed works, we ad- mire the superb copy on vellum of the Florence Homer (1488). retaken in 1815 from our Royal Library and magni- ficently bound with the arms of the Em- pire; the fine copy, in vellum, of the RhetoiicofGuillaumeFichet, a Savoyard who became doctor oftheSorbonne, and rector of the university of Paris. This rare and choice edition, one of the first books printed at Paris, and, though without date, of the year 1471, is due to the three German partners, Ulric Gering, Martin Crantz, and Michael Friburger, w ho first, practiced the art of printing there. The copy in vellum of the library of Venice was sent by the author to Car- dinal Bessarion, who is there depicted sitting under a canopy, with Fichet be- fore him presenting the work. ' See pojt, book Vll., cli. xil. CUAP. VI.] VENICE. 157 The different books and manuscripts given or bequeathed to St. Mark, as has been aheady seen hy the letter of 15es- sarion, show the esteem and reputation in wliicli the Veneti.in government was then hold. Venice was worthy of such gifts from the facility with which its lite- rary treasures were constantly accessi- ble; the mystery of its policy and ar- chives did not extend to these learned communications. The celebrated map of the world by Fra Mauro, a Camaldolite monk of St. Michael in Murano, formerly in this convent, drawn in li60, and described and explained in our days by Cardinal Zuria, another learned Camaldolite of the same convent, is a most curious mo- nument of cosmography. It is there seen that this cloistered d'Anville of the fifteenth century was acquainted with all that the ancient and modern authors had written before him on geography ; the Cape of Good Hope is there pointed out, although it was not then discovered, and Africa itself in its general form, dif- fers but little from the reality.' The first historical names of Venice figure amongst the librarians of Saint Mark; several have attained the dignity of Doge ; the library appears the road to the palace ; a novel and imposing example of the union of letters with the knowledge of affairs, even under an aristocratic go- vernment. The museum of antiquities annexed to the library of Saint Mark possesses some precious morceaux, works of the best tunes of Greece ; the fair and lascivious Leda; the little group of the Carrying off of Ganymede, the eagle of which is so spirited; two Muses; the group of a Faun and Bacchus ; the statues of Ulys- ses, Love, Plenty, Diana, and the Dead Soldier. A young female, in whose hand the restorer has placed a ridiculous pitcher, to convert her into an Ilebe, is, in the antique part, of admirable pro- portions. There is also to be noticed the basso-relievo, called Niobiade; two others representing little children; a ' The aullior of the article Fra Mauro in the Bi'j- qraphie has even remarked that in the interior of Africa, as represeuled in lliis map of the ivorld. Is the uanie of Dafar (Darfour), a counlry since unknown to Delisle, d'Anville, and all the other geographers of Europe, until Bruce, who was the first that heard of this country, discovered and cj- plored by Browne. It is to be regretted honeverihut very fine colossal foot, the almo.st colossal heads of a male and female faun of ex- quisite workmanship, and above all the superb cameo of Jupiter Egiochus (co- vered with theffigis), found atEphesusin 1793, and bioughl back from Paris to Venice in 1815. Amongst the medals, there is a very fine one representing Cardinal Donienict) Grimani; on the re- verse are Philosophy and Theology ; it is of 1493, and by the Venetian Yittorio Camelio, an adroit counterfeiter of an- tique medals,— an illustrious forger, whose clever imitations have tormented and mystified more than one antiquary. CHAPTER VI. Pioinbi.—Pozzi.— Different ages of the prisons.-- The loss of liberty is the oldest and worst of misfortunes; and the histories of prisoners are most replete with touching interest. The Venetian Casanova, the prisoner of the Piombi, is one of the first heroes of these tales ; he who refused to read the Consolation of Boetius during his captivity, because it pointed out no means of evasion. I saw the window by which he escaped with such adventurous boldness ; the chamber was then occupied by the graceful pigeons of Saint Mark of which mention has been made. The prisons of Venice, the subject of so much declamation, towards the end of the re- public, had become antiquated like every thing else. Just as in France, where the Baslile was scarcely stronger than the monarchy. The Piombi, of much later date than the Pozzi, which had been long tenantless when the republic fell, were only the upper parts of the ducal palace just under the leads, and the prisoners passed the jieriods of their imprisonment there without injury to their health, even after a detention of ten years, there being a current of air sufficient to coun- teract any excess of heat. Howard, who must be allowed a competent judge, ac- knowledged the salubrity of the Venetian prisons. No prisoner there was ever load Ihe map of Fra Mauro has been engraved so vers inaccurately in Ihe description by Cardinal Zurla (See a curious letter relative to the chief deviations it presents, written fiora Warsaw, June 0, 1830, lo M. de Uammer, by Count Joseph Sierakowsky, who had collated it with the original, but who was wrong in believing that the latler had been taken to Vienna. u \oS VENICE. [Book VI. with irons, a privilege perhaps unique in liie history of prisoners : if many were ( onfincd there for life, it was owing to ilie punishment of death being more ra- rely infiitted in Venice than elsewhere.' These terrible Pionibi are now delightful and much sought after apartments (in Italy apartments in the upper stories are gcncraily preferred), and a president of the court of appeal in Venice, Count Hesenberg. an impartial man, who has occupied them, has staled in a journal that he wished many of his readers might not he worse lodged. The Fozzi formerly consisted of several stories, two of which are still in existence. I have gone through these ancient dun- geons (eight are on a level with the court of the Ducal palace, and nine on the story above), the majority are still boarded round with planks which had been put up in order to prevent humidity, and the ancient bedstead, similar to those used by the Trappists, is in the middle of some of them. The vulgar opinion that these cells are under the canal is erroneous, though asserted as fact by IS'icolini in his tragedy of Foscarini, when speak- ing of this prison; nor have boats ever passed over the heads of the guilty par- ties confined in them. It is very pro- bable that the Pozzi of Venice were not more horrible than the other dungeons of the period; every age and regime have their peculiar prisons, in accordance with the various degrees of civilisation; but the impenetrable prisons of despotism are always cruel ; the forts of the Empire were not inferior to the ancient donjons ; at an era of reason, liberty, and industry, prisons are changed into a sort of work- shops; subject to continual inspection and superintendence, they are merely the instrument of the impassive magistrate who enforces the law. CHAPTER VII. Ilie Royal Palace.— The Great Uall.— Exposition of the products of Venetian industry.— Zecca. The celebrated Procitratie Nuove, the most important woik of Scamozzi, are now the Royal Palace; and, certainly, there is hardly any building more noble, simple, or varied. 1 he ancient librar;. ' On the arrival of the French in 1797, the regis- ter of couderauations for stale crimes having been forms part of it. This masterpiece of Sansovino, this edifice which, according to Palladio, was the richest and most ornamented that had been constructed since the ancients, which Aretino found above envy (this was, certainly, [)Iacing it very high), was erected by de- cree of the senate, in front of the Ducal palace, for the receiition of hooks; so great and so splendid was the hospitality Venice ever accorded them. The condition of artists was rude in Ihe sixteenth century ; they appear to have been subjected to a rigid responsibility, as is seen by numberless examples. Scarce- ly had Sansovino achieved his marvel- lous work, when, the arched roof falling- in, he was cast into a dungeon, deprived of his employment as architect of the re- public, and condemned to a fine of one thousand ducats He was delivered, re- instated, and reimbursed by the exer- tions of Titian, and especially of Aretino ; a trait which proves that the latter, in si)ite of his vices, was not incapable of aiding in a generous action, and of fulfil- ling the duties of friendship ; the mean- est minds have sometintes, in the events of life, a soil of reailiness to oblige from w hich other virtues of a purer kind think themselves dis[iensed. The two superb and colossal Cariatides at the entrance are by Viltoria, who also executed the stucco ornaments of the magnificent staircase. 1 he first hall, de- corated by Scamozzi, presents a ceiling liv Cristoloro and Slefano Rosa, two j-kilful artists in this deiiartment : in the centre, a figure of Wisdom, crowned with laurel, although of the extreme old age of Titian, is full of grace and life. The great hall has two remarkable paimings by Tintoretto : the first is the Carrying aivayofthe body of St. Mark from the Sepulchres of Alexandria, by two Venetian dealers who concealed it beneath slices of fresh pork, in the hope that, at this abhorred sight, the Mussul- man customhouse olTicers might let it pass w ithout searching. The second re- presents St. Mark saving a Saracen from shipwreck ; a beautiful painting, which disjilays the charity and noble spirit of the saint. The magnificent ceil- ing has seven compartments, each enclos- ing three ovals : it was painted in corn- opened, their number amounted to fourteen since the beginning of the century. CuAP. vni. 1 VENICE. 1.-.9 pelilion by the first masters of ihe six- teenth century, anrl Paolo Veronese bore o(T tlie pri/.e for his figures of Honour deified. Music, Geometry, and Arilh- mctic. The porlrails of sages, iiiaced between the windows and the angles of the hall, are by Schiavone and Tinto- reito. The exhibition of the products of Ve- netian industry, for 1827, was hold in this superb h;ill. There was nothing there of much importance, and (his in- dustry, once so famous, appeared ordi- nary enoiigh. Straw hats, in itnitation of the Florence fabric, were the most re- markable article. This im.portation is said to be very useful and successful; these hats are as fine as those of Florence and cheaper, but somewhat whiter and moie flimsy. They are manufactured by a house of Cassano. 1 remarked several bottles of a wine of very fine colour, but which appeared oddly placed amongst manufactured goods. During the four exhibitions which look place from 1823 to 1831, M. Berlan had obtained nine gold and silver medals, for his didVrent mechanical instruments. In 1831, the silk from the fine agricultural establish- ment of M. Maupoil, at Ifolo, between Padua and Venice, ap|)eared of a superior quality ; the worms there are fed on the mulberry-tree of the Philippine Islands, cultivated with success by thj skilful di- rector. Independently of the ancient and celebrated manufactures of glass, crystal, and pearls, Venetian industry has its spinning mills, sugar refineries, tan-pits, and manufactories of wax, drugs, silks, and gold-leaf. Those es- tablishments, including that for straw- hats at Bassano, occupy nine thousand work-people, and yield an annual profit of about six hundred thousand pounds sterling. The third part of the Royal Palace also offers some admirable paintings : in the octagon room, ihc Adoration of the Mayi, St. Joachim driven out of the Temple, by Tintoretto ; in the chijicl, the Eternal Father, with the Saviour on his knees, by (]arlclto (laliaii; the celebrated Ecce homo, by Albert Durer; the Dead Christ, and two friends weeping, by Paris Bordone. In throe rooms of the governor's apartments, ['e- nice surrounded by Hercules, Ceres, ' See post, fliap. xxiii. and some genii, is one of the first mas- terpieces of Paolo Veronese, who, also, did the Adam and Eve repentant, the Inslilution of the Rosary, and the Christ's agony in tlie Garden. The Christ's Descent into Purgatory, is by Giorgione, and the Passage of the Red Sea, in the earlier st5le of Tiiian. The Zecca (Mint), near the ancient library, is another chef-d'ceuvre of San- so\ino. Such is its skilful distribution, that, after nearly three centuries, it is still applicable to the purposes of the pre- sent coinage. Over the cistern in the court is an Apollo, which enjoys a sort of popu- larity in Venice, although the sculptor, Danese Caltaneo, pupil of Sansovino, and a distinguished poet, is not much known. This Apollo is fantastically enough seated u|)on a globe placed above a little mountain of gold, and holds in his hand an ingot also of gold. But for the rays emanating from his head, the god of music and of song, who in other respects has not a very noble air, might be taken for the god of riches only. He ought to be accompanied by statues of the Moon and of Venus, the former silver, the latter copper, so as to indicate the three kinds of money. The celebrity of the first Venetian ducats or sequins, so esteemed for the purity of the gold, and which arc still at this day the money preferred in the East, is as an- cient as the year 128i : many of the pieces pretending to a greater antiquity are apocryphal; the genuine, which de- termine ihe commencement of a well authintlcated series, bear the religious legend Christus imperat. CHAPTER VIII. Grand cannl. -Sainl Marllia. — Venelian.>i. — Palace. — Vcueliaii nobilily. The grand canal, bordered by magni- ficent marble palaces, erected in the course of ten centuries by the best ar- chitects, would be, if paved, the finest street in the world. These palaces of different ages exemplify the progress of Italian art, and form a vast, majestic, and instructive gallery of architecture. By a whimsical refinement of luxury and grandeur, the mud- buried [ulcwork of some is composed of the precious wood of Fernambuca : so that the foundations 160 VENICE. [Book VI. were neillicr less splendid nor less costly than the marble and columns of the sumptuous superstrucliire. The morrow of my first arrival at Ve- nice, in July, was the festival of Saint Martha, a |)opular holyday. Some il- luminated barks, full of musicians, passed along the grand canal during the night; and although few in number, they pro- duced an effect truly enchanting, and gave an idea of the long-past pleasures of this fallen city. 1 he feast of Saint Martha, which lasted till daylight, was celebrated at one extremity of the city, in a quarter bearing her name. Tables were set out. and jovial parties quaffed their wine in the boats and on shore; it was like a marine Vaugirard or Cour- tille. Notwithstanding the lively joyous- ness of that multitude, there was neiiher strife nor disorder. So generally well disposed are the people of Venice, that even in the time when Saint Martha was in all its glory, the Venetian government never made a display of police force there, and the safety of each individual was under the safeguard of the universal pleasure. All that is good in the Italian character is complete at Venice; gay, fickle, agitated, thoughtless, it appears yet more amiable from the grace, soft- ness, and originality of the dialect. The stillness of Venice has, I think, been singularly exaggerated ; after Rome, there is no part of Italy where the sound of the bells is more astounding, and the cries of the people are exceeded by none but the Neapolitans. Mailame de Stael, who has made so many ingenious and profound observations, pretends that not even a fly is to be seen in this place ; the conopeum ' placed over the beds but too well proves the contrary. There is a soft and melancholy plea- sure in gliding along the grand canal, in wandering amid those juperb |)alaces, those ancient aristocraticdwellings, which bear such fine names, and are the me- morials of so much power and glory, but arc now desolate, shattered, or in ruins. These Moorish windows, these balconies whence the fair Venetian, shut up like the Eastern dame, but volatile as the Eu- ropean, appeared to her lover, as he re- luctantly retreated in his gondola, are ■ A gauze curtain to Itet'p off ttie flies and gnats, in the Venelian language zenzalicia. a Tbe French in 1810 foimed u public garden, now dilapidated, without glass, or rudely boarded ; some few of them which are in good condition only bear the inscription of certain administrative or financial au- thorities of Austria, or the national arms of some indolent consul. In the midst of this destructi(m, the gardens, (a singular circumstance I) supply the place of build- ings at Venice; it is just the reverse of Paris, and I recollect that when seeking for the house of Titian, I only found in its place the wall of a garden, in a litlle blind alley ostentatiously called the Strait of Gallipoli.^ The desertion of the Venetian palaces began in the last century with the fall of the republic, when the degenerate pa- tricians preferred lodging in a casino near the Piazza of St. Mark, to inhabiting the ancient palaces of their fathers, too great for their littleness. Gambling, celibacy, and the species of social sel- fishness which they produce, had ener- vated the manners of the Venetian nobility. What public morals could be expected from the senator, who, clothed with his toga and the [)ompous insignia of his dignity, had acted in person as the croupier at the pharao table ; or from those patricians, one of whose privileges was to open gaming-houses, and who attended there in their magisterial robes? We are told that they unanimously re- nounced this lucrative privilege, when gaming was abolished, some time before the fall of the republic ; but it is probable that the mischief was done, and it was too late for them to return to the exercise of more serious and elevated sentiments. The gaming of the Venetians, pretend the defenders of its ancient regime, aided the developement of moral courage; they were renowned for the almost stoic im- passibility with which they lost or won the most enormous sums. That kind of daring which risks a fortune on a card may show firmness or energy in individuals, but it must be the ruin of society, and the habit of relying on chance is particularly injurious in a political point of view. As to celibacy, which was repressed and punished among the Romans, it was then at Venice as one of the privileges of the elder branch, of the talented or ambitious member of each which still exists; but it is neglected, and little fre- quented, the Venetians preferring their ancient and central promenade of the piazza of Saint Mark. CUAP. IX.] VENICE. m family, and marri.ige became one of the charges of a youngiT brother or of the least promising. It is just the reverse of the plan pursued by groat families in monarchieal slates. Hiit thise dilFerent kinds of celibacy, \\hichwere neither the holy celibacy of religion, nor the philo- sophic celibacy of study, nearly approxi- mated that which springs from liber- tinism. The Venetian patriciate may be re- garded as the most aucicnt and the most national in Europe, since it originated with the founders of the republic, and preceded by many centuries the ancestors of the olde.-t aristocracies.' But these haughty pairicians, who allowed every body to assume what tiilc he chose, did not in general take any themselves, and I know not what French author once upon a lime composed a dissertation, to prove that in fad they were not gentle- men. a In the choir of the church of the Charterhouse at Florence is to be seen the tomb of a patrician of Venice, the inscription of v\hich expresses the noble regret at having been compelled to change his title for one conferred by the grand duke of Tuscany. CHAPTER IX. Tievban palace. — Foscari. — Mocenigo. — Lord By- roD. — Pisani palace. — Ofpoeliclruth. — Paolo Vero- nese. — Barbarigo palace. — Death of liiiaii. — Gri- mnni palace (at Saint Lulic).— Biidgeuf the aiallo. — Micbeli, Corcer, Pesaro, Vendramini, and Man- frini palaces. The Trevisan palace, covered with Grecian and Egyptian marble, although it has no objeci of curiosity in the in- terior, merits notice; its elegant archi- tecture of the SI hool of the Lombardi, marks the epoch of the revival of taste. The Dario palace is in the same style and possesses the same kind of interest. On it may be read these words : Genio ' The Contarliii, acconliiig to some aulbors. de- rive llieir name from the nerd contadini, peasants, or villains. ' See the jusliDcative docutnenls of the IJistoire de Yeiiise by M. Daru. 3 These letters, «hich are sometimes more affec- tionate and lendtT tlian seems natural in Frederick, soon became those of a hard and >evcre master; be thus announced to him his accession to the throne, "My dear Mgarotli, my lot has changed. 1 expect you with impatience, do not let me lai)gui-.h." Tno years afternards he reproached him for his self sufficiency, and drjiy asked him, if it were conve- iirbi.1. Joannes Darius, a palriolic in- scription which the itresent ruin of Venice renders more touching. The Giustiniani- Lolin palace had a choice library, some fine paintings, a considerable numbi'r of valuable engrav- ings, various collodions formed with greattaste by Doctor .Aglietti, a celebrated physician of Italy, who published a fine editionofthecomplete worksof Algarotti, in which are iiiserted ihe letters written by Frederick during twenty-five years to this llali.?n Foiitonclle, the originals of which existed at the Giusliniani-Lolin palace. 3 Doctor Aglietti some years since by an act of great delicacy enriched these collections with a fresh curiosity. He and Doctor Z... had professionaliy attended Cicognara during his last illness, the latter bequeathed to the two doctors, his friends, whatever article of his effects they might prefer; Doctor L... chose a small antique head; Doctor Aglietti the 1)011 of the historian of sculpture in Italy.'* The ancient Foscari palace is in ruins, but its majestic and melancholy aspect is in unison with the refleclions it suggests ; Ihe observer feels that it must have been Ihe residence of that unhappy family, fallen from power, punished by imjiri- sonment. exile, and death, the Stuarts of aristocratic families. The Alocenigo palace on the grand canal was occupied by Lord Byron. I have heard much of his several years' residence at Venice, and of the scenes which look place at this palace, = and I have seen with regret that esteem is not the inseparable companion of glory. By- ron may however deserve some indul- gence on account of his abundant charities, which were quite equal to his dissipation and shameful licentiousness. The life of Venice, that life of quietude, pleasures, night-studies, and reading, must, how- ever, suit the taste of a poet. Few cities have been sung more frequently, or n ent to makean engagement with liim. iLetler of the lOlh Seolembcr, I7'i2.| Never perhaps was the anger and conlenipl of Frederick against Voltaire vented with such sharpness as in these letters. See the leitcrs of the tith September t749, lllh January, and 26lh May (75^. •» Aglietti had an apoplectic fit on the -ith August 1829, and lingered till the 3rd May I8:!C; he was se- venty-nine years of age. HIsrolleclion of engravings is now the properly of S.Giovanni Papadopoli of Venice. ' .See, on this subject, hi- Memoirs, which, how- ever, do not tell all, vol. III. ch. xvii. U. 162 VENICE. [ Book VI. better than Venice : Petrarch called it la Ciita d'oro : the classic verses of San- nazzaro, in which he sets forth its supe- riority over Rome, are well known : ///am homines dices, lianc posuisse Deos, the fine sonnet of AlQeri : Ecco, sorger daW acque to veggo altera la canula dtl mar saggia reina the romantic strophes of Childe Harold, and some pieces of several of our young poets. Amongst the Cne paintings of the Slocenigo palace is the sketch of the cele- brated GZoryo/'/'arac/Vse, painted by Tin- toretto, now preferable even to the pic- ture, which is to be seen in the ancient hall of the Great Council, since it has not had the misfortune to be retouched. The Pisani palace ( at Saint Paul ) contains the valuable painting of Paolo Veronese, the Family of Darius at the feet of Alexander; the females are dress- ed as Venetian ladies, the Hero of Ma- ccdon wears the costume of a general of the republic. In spite of the incor- rectness of these costumes, this chef- d'oeuvre is full of charms. Poetic truth, the only true, the only durable in works of art, the only truth which comes from the soul and responds to it, does not confine itself to chronology, and dif- fers entirely from that external and common reality, to which every body may attain, and of which some people are much too proud. The picture by Lebruii on the same subject is, excepting the lull bottomed wigs, more regular than that of Paolo Veronese; but certainly it cannot bear comparison wilh it. On seeing the dwarf, the monkey, the burlesque scenes which this great painter generally intro- duces in his most important compositions, and which are seen in his Family of Darius, his admirable, his poetic picture appears like a comico-heroic painting : it is Ariosto on canvas. The Barbarigo palace bears imprinted on it the traces of Titian, who lived in this family, preferring the residence in his dear Venice to the proposals made him by the popes Leo X. and Paul III., and to the honours pressingly offered him by Philip II., a strange suitor, re- jected by the painter. ' .\t the Barbarigo ' See Cook XII. (li. iv. palace is to be seen his celebrated Mag- dalen, less ideal than true, found at his house at the moment of his death, and which perhaps may be regarded as the original of his several Magdalens ; a Venus, spoiled by the scarf which the scruples of a Barbarigo had thrown over her bosom, and which has since been scraped off; a St. Sebastian, his last work, on which he was employed when the horrible plague of 1576, which af- terwards ravaged Milan, carried him off, full of health, at the age of ninelv-nine. It would ajipear that nothing less than such a catastrophe could de^lroy this im- mortal artist, and that otherwise he w ould never have died. The last moments of the honoured, opulent, and centenary life of Titian, were frightful ; he expired on the same couch as his cherished son and pupil Horace, who could not close his eyes; a band of robbers, taking ad- vantage of the dispersion of the magis- trates, forced his house, pillaged it, and carried off from before the glazing eyes of the artist even his most treasured works, which he would not sell at any price. As soon as the communications were again open, his second .son Pomponio, a priest of most disreputable character, came post from Milan, sold almost for nothing the furniture, jew els, and paint- ings which had escaped the robbers, or wtich had been recovered by the hands of justice; and like a second pillager, dissipated hisinheritanceina few months, and blushed not to dispose of the small patrimonial house ofCadore, leaving the last resting place of his glorious father tombless and unknown. The Barbarigo palace possesses two other curious and remarkable woiksof the great masters. The Susannah is a prodigy of Tintoretto, it presents a park with poultry, rabbits, and olherdomcstic animals which this mettlesome painter has executed and finished with exquisite taste ; it might be likened to Bossuet relating the dream of the princess Pa- latine. The group of Dedalus and Icarus, by Canova, in his most youthful days, a true and natural composition, indicates the return to a better taste, but has not yet the elevation which the talent 1 of the artist was destined to attain, and ' which Rome was to impart. The Grimani palace ( at Saint Luke), one of the most extraordinary chefs- d'oeuvre of San Micheii, who had to CUAP. IX.] VENICE. 463 remedy the irregularity of the ground : this palace, one of the most magnificent and elegant of Venice, rcrnarkablc for the pure and noble taste of its front, ves- tibule, and lower story, is now the Aus- trian post-ofiice. The delegation resides at the Corner palace in the Ca grande, a superb edifice, oneofSansovino's finest works. The ancient Farsetti palace, now the hotel rie//a Gran Bretagna, has on one of the staircase landings, two small bas- kets of fruit in marble, executed by Ca- nova at fourteen years of age for his first and constant protector, the patrician Falieri, a precocious attempt evincing a certain dexterity and delicacy of chisel acquired at his father's, who was enga- ged in the selling aud cutting of the fine Possagno stone. The celebrated mercantile bridge of the Rialto, by the Venetian architect of the sixteenth century, da Ponte, is showy and substantial, and carries back the mind to the origin of Venice, its festivals and prosperity. The' wanderers who were the first inhabitants of the kind of islet with which it communicates, and the name of which it bears, — those men, compared by Cassiodorus to birds that build their nests on the waters, doubtless had no idea that they were founding a powerful republic which was one day to have dominion over Italy, to take Con- stantinople, to resist the league of kings and emperors, to monopolize the com- merce of the world, aud to last fourteen centuries. The Micheli palace [dalle Colonnc) offers some magnificent tapestries from designs by Raphael. A handsome ar- mory contains the suits of armour worn by the illustrious doge DomenicoMicheli and other crusaders his companions. In another room are the books and pon- tifical ornaments of Cardinal Barbarigo, holy and peaceful relics contrasting with the arms of those warriors. The Corner della Rcgina palace was, for a most singular reason, unoccupied in 1828 : its last proprietor had bequeath- ed it to Pope Pius VII., as a token of his high estimation of that ponlifT's virtues, and its usufruct had been ceded to some ecclesiastics engagi'd in education, who wanted to let it, but were loo scrupulous to accept the offer of certain rich Jews who had proposed to become their te- nants. These worthy priests did not, like the Roman emperor and our own age, think it impossible for money lo have an ill odour. The Pesaro palace was forsaken by its master a short lime after the republic was no more ; he has not since returned to it, w ishing to avoid the sad spectacle of his conquered country. The owner of this marble palace, one of the largest and finest in Italy, occupies apartments in London ; from the ceiling in one of his rooms, he has simply suspended a draw- ing of his former dwelling, which makes those who behold it marvel at his con- stancy. Ihe palace of Vendramini-Calergi, by Pietro Lombardo, for taste, richness, and magnificence, is not inferior to the most exalted in Venice. There may be seenTullius Lombardo's two fine statues of Adam and Eve, which were formerly a part of the doge Andrea Vcndramini's mausoleum, at the church of Saint John and Paul, but have since been decently replaced by two female saints. The ManlVini palace is noted for its rich gallery of the different schools, and its curiosities. The Virgin and Infaht Jesus, and the Christ at Emmaus are by Giovanni Uellini ; a Descent from the Cross, the pearl of the gallery, and one of the finest and least injured copies of that masterpiece, is admirably pathetic and collected; the corpse of the Saviour bears the imprint of his incorruptible and divine nature; the portrait of Ariosto, lifelike and poetic ; that of Queen Cor- naro, by Titian ; the latter differs from the portrait at Brescia : the expression of the physiognomy is vulgar in one and prudish in the other; w hich last is probably the better likeness. A Womanplaying on the guitar; the celebrated painting called the Three Portraits are by Gior- gione, who seems triumphant there. This last masterpiece drew from Byron se- veral stanzas of admiration in his Vene- tian tale of Beppo, two verses of which are not, however, very accurate, as Gior- gione was never married." Moses strik- ing the rock is by Bassano ; Ceres and Bacchus, by Rubens; the Sacrifice of Iphigenia, by Padovanino ; an Ecce homo, a Flight into Egypt, by Agostino Carracci ; two superb portraits, one by Rembrandt, the other by Paolo Vero- ' 'T is but a portrait of his son and wife, And self, but siicli a n-oman I love in life (SI. sli.) nese ; a Shepherd, by Murillo ; Ihe Vir- gin presenting the Infant Jesus to 5)- "meoH, by Giovannid'Udina. Pordenone's por/ra«7of himself is perfect; Petrarch's portrait, by Jacopo Beliini, is any thing but pleasing; Ldtura's portrait, by Gen- tile Bellini, is very fine; aCirrumcision, by Fra Sebasliano del Pionibo; a Lii- cretia, by Guido. The \vorks of the old painters, Cimabue, Giotto, and IMan- tegna, are very judiciously placed to- gether in one room. TheGiustiniani palace (at the Zattere) has a library rich in national manu- scripts, several pieces of Grecian sculp- ture, a cabinet of medals, and a gallery, which has Padovanino's Ganymede for its chief masterpiece. CHAPTER X. nouses of Teolochi-Albrizzi aad Cicognara. The houses of Teotochi-Albrizzi and Cicognara, but a short distance from each other, equal palaces by their inha- bitants. Like Aspasia, Signora Albrizzi was a Greek, and like her, too, the friend of illustrious men differing in genius and talent, whom she has succeeded in [)or- traying, with faithfulness and ingenuity, in a style impregnated with all the grace of her sex.' In the centre of her draw- ing-room is a bu>it of her compatriot Helen, a figure full of charms and volufi- tuousness, presented to her by Canova, as an acknowledgement of his gratitude for the description of his sculptures given by Signora Albrizzi; this bust has been sung by Byron : — Id Itils beloved marble view. Above the worlis ,iiiii lliouglils of man, Wliat nature coulil, but would not, do. And beaul) and Canova can I Beyond imagination's power, Dayond the bard's defeated art, With imuiortalily her doiver, liehold the Helen of the heart! The head-dress has the form of a trun- cated egg, a felicitous allusion to the birth of Leda's daughter. Signora Albrizzi, whose amiable me- See her agreeable work entitled R4ratti. Eisais de Palinrieneiie sociale, by M. Ballanche ; Paris, Didot, 1827. * Three busts of Beatrix l)y Canova are now In existence : Cicognara's; Madame R****'s, ou which VENICE. [Book VI. mory I shall always cher\.«h, died in 1836, aged sixty-six, after a long illness, which had neither impaired her lively imagination nor the attractions of her mind ; during this illness the Memoirs of Madame Lebrun, her contemporary and fiiend, were read to her, and they brought to recollection her Venice of forty years past, with its joyous plea- sures, its beautiful religious music, and its good society of French efnigrants : in this manner did the authoress of the Ritratti find her pains alleviated by the narrative of our great porlrail-painter. Cicognara possessed Dante's Beatrix, another of Canova's chefs-d'oeuvre, given by him to this amiable, learned, excel- lent man, his worthy and partial friend, as a friend ought always to be, whatever Plato's proverb may say to the contrary. A writer who unites elevated thought with delicacy of feeling, lhi!S relates, in an important work, the origin of this figure: > "An artist of pre-eminent renown, a statuary who not long since shed so great a lustre on the giDrious country of Dante, and whose graceful fancy had been so often exalted by the masterpieces of antiquity, one day saw, for the first time, a woman, who seemed to him a living apparition of Beatrix. Full of that religious feeling which genius ever imparts, he immediately required the marble ever obedient to his chisel to express the sudden inspiration of that moment, and the Beatrix of Dante passed from ihe vague domain of poesy into the reality of art. The feeling which resides in this harmonious countenance is now become the new type of pure and virginal beauty, w bich, in its turn, gives inspiration to artists and poets." This woman is a French lady celebrated for the charms of her person and her noble character. It is some honour for France to have revealed to tht first statuary of Ita- ly the conception of that mysterious ideal beauty sung by her greatest poet. The calm enthusiasm of this admirable figure has often been reproduced, but mos-t fre- quently in a very imperfect manner. ^ In Cicognara's house there were also two gigantic busts : the first, of Cicognara, by he has put a crown of olive and inscribed with his own hand these verses of Dante :— Sovra candido vol cinta d'oliva Donna m'apparve The third is in England. Chap. XI.] VENICE. 465 Canova,and his latest work; the second, of Canova, by his clever pupil Rinaldo Rinaidi, after the original so admirably scHlptured by Canova himself.' CHAPTER XI. Grimani palace (at Sania Maria Formosa).— Cor- niani d'AIgarolti.- Spirit of Venetlau society.— Last Venetian lady. The family portraits of the Grimani palace (at Santa Maria Formosa) com- pose a fine gallery of paintings by Titian, Paolo Veronese, and other able masters. This palace is worthy of Rome or Naples for its multitude of antique statues, in- scriptions, and bronzes. The Venetian nobility, trading with Greece and the Levant, fiist began to make a display in antique collections. There are to be re- marked at the Grimani palace an infant Hercules, a most beautiful Grecian bust, the colossal statue of Marcus Agrippa, transferred by a singular fate from the vestibule of the Pantheon amid the waves of the Adriatic; an obscene group of So- crates and Alcibiades, in which the for- mer is not even the very equivocal friend of the young Alcibiades. A chamber decorated by Sansovino is mag- nificent. The Institution of the Ro- sary, a celebrated painting by Albert Durer, contains his portrait and his wife's. The Story of Psyche, on the octagonal ceiling, by Francesco Saiviati, was regarded by Vasari as the finest work in Venice, the exaggerated eulogium of a friend, though the painting certainly has some good points. A Cupid is by Guido; a Purification, by Gentile Rel- lini ; and the painting of the elegant cha- pel, Christ crowned with thorns, by the elder Palma. Canova's Flebe is at the house of Heinzelmann. This charming though somewhat elaborate figure is one of the most famous and most popular master- pieces of its author; he has repeated it with slight variations as many as four times;' it has been worthily sung by Cesarotti and Pindemonte, and the follow- ' The bust of Cicognaro, since his death, on the SIh of March 1834, h.is been laheu to Ferrara, his country, wliicli also claimed the body of the illus- trious deceased. The sale of the collection of en- gravings and nielles was announced for the month of February that year : the learned catalogue was ing pleasing verses of the latter are far superior to the sonnet of Cesarotti :— Canova Immortal, che indiclro lassi V italico scarpello, e 11 grcco arrivi : Sapea die i marmi luoi ton molli e vivl : Ma chi visto favea scolpirc I passi? The palace of Corniani d'Algarotti presents two curious collections, differ- ing in kind, but both bearing some ana- logy to the scientific and literary name recalled by its appellation : the first is coin posed of more than six thousand specimens ofstones and minerals of Lom- bardy and the ancient Venetian pro- vinces; the second is a dramatic library, comprising all the pieces played at Ve- nice from the establishment of the first theatre in 163G to our own times. The house of Goldoni, who flourished se- venty-one years after, was calle de' Non- boU. A few weeks' sojourn at Venice is sufficient to produce the conviction that thu real Italian comedy must have originated or rather been regenerated there (Mathiavel and Ariosto still main- tain the supremacy over the Italian dra- matists) ; for the spirit of society survives there amid the decay of all beside. This famous and longlived society is still wor- thily represented by the heroine of the Biondina, the countess Renzoni, dis- tinguished for the gracefulness, simpli- city, and piquancy of her wit ; it was this lady who, with the familiarity of the Venetiandialect, told Byroncerlainhome truths to vvhich he listened with delight, and perhaps never heard them save in that burlesque language : this lady, still so full of vivacity, so unaffected and cheerful, may be called the last of the Venetian dames. The Conlarini palace, replete with the ancient and glorious reminiscences of that family which became extinct at the biginning of this century, is decorated with frescos by J icpolo, and four admi- rable paintings of Luca Giordano, one of which is Eneas carrying his father Anchises. drawn up in French by (wo Venclians,SS. Alesson- dro Zaneli and Carlo Albrizzi. ^ Of the three olher Uibcs of Canova one (Jose- phine'.sl belongs to the emperor of Uus.Ma, anolber to Lord Cawdor, and the third to the marchioness Gulcciardini of Florence. 166 VENICE. [Book VI. CHAPTER XII. Aldus.— Prinling a manufacture— Present state of priming in Venice. I deeply regretted mt being able to find any certain trace of one dwelling, I mean thatof Aldus Maniitiiis,' in which he assembled that verilable l)pogra[)liic academy, composed of the most learned characters,' who spoke nothing butGreek when engaged in the examination and discussion of the classics. The press of Aldus Manutius and his son would now be a real monument; it was tiie ordy treasure that the former of ihcse great men left to the second, after devoting his fortune and profits to ihe discovery and purchase of old manuscripts in Greek and Latin, and occupying his whole life in deciphering, completing, correcliiig, and publishing them.^ It is easy to con- ceive with what almost poetical enthu- siasm the discovery of this all-powerful art must inspire a man so learned as the elder Aldus, and so passionately attach- ed to that reviving antiquity, which he thus saw rendered indestructible and universal. The rather strange inscrip- tion over the door of his chamber shows the extraordinary ardour of Ins applica- tion : Quisquis es, rogat te Aldus etiam atque etiam: ut, si quid est quod a se velis, perpaucis agtis, dcinde artiitum abeas , nisi tanquam Uercules, defesso ■ In (828 an honorary iuscriplion was put on an old house. No. 2013 in the Campu ile San Agost/iio ; granliiig that the tradition be iiol very positive, there can be no doubt that the residence of Aldus Mnnulius was thereabout : some letlers sent to the latter by Marco Musuro bear the adciress appiesso Saiicto Angu^tin dove se slaiiipa. ' Marco Mufuro,Bembo. Anyelo Gabriolli, Andrea lNava{;ero, Daniele llinieri, Marino Saiinlo, Rene- detlo llamberli, Battista Egnazio, Fra Giocondo the architect. ^ Wlien Paul Manulius scttod at Rome, in 156', he transported his printing-oflice lliilher; part of it was, however, left at Venice, under Ihe direction of his son Aldus; nor did it remain inactive, as may be inferred from the number of editions published every year during bis absence, among which are several of his own norks — Annalei tie t'Impiimerie aes Aides, by M. lienouard, vol. 111., p. 155. irj6, 100. 4 Sec Annibal Caro, Leit. Iiurlevtli ; lelt. xxxi., and on the ll'e and labours of Paul Manulius, a letter of Bonfadio's, quoted ante, book V. chap, xxiii. 5 The reader nil! recollect the excellent work of Count Daru, entitled, Notions slatist/ques shr la li- briiirie, pour servir a la discussion de la loi svr la presse en 1827, v\hich notions were founded on Ihe BiHiographie de la France. It results from this Allante, veneris suppositurus hu- meros. Semper enim erit quod et tu aijas, et quotquot hue attulerint pedes. — "Whosoever thou ait, Aldus en- treats thee again and again, if thou hast business with him, to conclude it briefly, and hasten thy departure ; unless, like iierculrs to Ihe weary Atlas, thou come to put thy shoulder to the work. Then will there ever he sufficient occupation for thee, and all others who may come." Paul aianulius appears to have been no less indefatigable than his illustrious fa- ther, as we may learn from the re- proaches of his friends.'! Printing at that period, instead of being meiely an honourable rnanuf;icture of great pro- duce, ' sold to curious and eager, rather than delicate consumers, was a liberal, an admirable ait, which was discovered late, '^ but seems to have had no in- fancy. The clearness of the impression, and the beauty of the ink" and paper of the first printers have not been surpassed. Printing-offices now are merely book facloi ies, and the same nicety and even- ness of working cannot be expected from the pressman who prints a thousand sheets a day. The editions of Nicolas Jenson, Vindeline of Spire, of the Aldi, and others, were moreover printed in smaller numbers. Some of Cicero's woiks, such as the Epistolce familiares, published by Paul Manutius, were re- printed almost every year. The elder useful document that the number of volumes print- ed in France, in the year 1825, was between thir- teen and fourtien millions (more than four hundred thousand issued from the presses of MM. Firniin Didot alone) which produced in trade a real value of 3;i,7u0,0tl0 fr. and alforded empIo>ment and sub- sistence to Ihirly-lhree thousarjd seven hundred and lifty persons. A slill more precise return of the productions of the French press has appeared in a valuable miscellany (lievue dcs Deux-Moiides, t. VI. p. 68) ; accoiding to this table the number of sheets printed in 1835 was one hundred and twenty- live millions. ^ When we consider the perfection attained by the ancients In the art of coining and their ac- quaintance with moveable characters, itis astonish- ing that printing ecuped their observalion. It was invented at the epoch of the emigration of Grecian learning into llaly, just at the time when most needed, and doubtless for that very reason. " The excellent ink of Nicholas Jenson and other Italian printers of theflfleenlh century was procured from Paris, as in these latter days that of Rodoni. This ink has a bright jet w hich our present ink has not: but it is prelcnded that age produces it, and that some centuries hence ours will be as fine. Chap. XIII.] VENICE. 467 Aldus st.ilps in the preface of his Euri- pides (1503) tiiat lie was coininonly ac- customed lo work a Ihousaini copies. This c'xlraordiiiaiy man, lor the beauty and usefulness of his editions, must be put in llie liist raiili of liiosc (iropagators of lhouf,'hl; he invented the octavo form, and i)rinted the first Viigil (in 1.501) with which one couki ramble in the groves. Aldus united to his talents and vast ac- quirements a most estimable character, very diileient from his contemporary Tomas Junle of Florence, who, according Varchi, "was only a dealer whose ava- rice was equal to his riches, and more .interested in the profit than the honour of his jirlnting ortice." Jf the glory of the olden days of Ve- netian printing be irrevocably past, the press, now chiefly devoted to religious works, translations of the classics, or li- terary publi(ations, is by no means un(iro- ductive. 1 iiave now before me the Elenco (catalogue) of the volumes printed and published in Venice and the Venetian provinces during the year 1826; the number amounts to eight hundred and twenty-one, of which six hundred and ninety -six thousand seven hundred and ten copies were printed. Two hundred and twenty-lour articles are marked gratis, equivalent to the »e ^e vend pas of the BibUo(jruphie, and they ainounl lo fifty-six thousand six hundred and fifty-four pieces and volumes. The co- pics given by the auihor are much more profusely distributed in Italy than in France, and this kind of presents is considered one of the ehief social obli- gations of a writer. The five hundred and ninety-seven volumes with their six hun- dred and forty thousand and fifty-six co- pies for sale, re pi esenl a value of 1,354,^70 Austrian livres ( 47, 135/. 10s.). The printing-office known by the name of AlvisopoU, at Venice,- under the ma- nagement of S. Hartolomeo Gamba, has re|»rinted the Universal Biography in Italian, at twelve hundred copies; and the work of that li'arned biblio^Maplier entitled Scrie dei testi di lingua italiana e di altri esemplari del bene scrivere, published in 1828, is very satisfactory as regards the typographical execution. ' This office derives its name from the linie vil- lage of Alvisopoli, ill «hi(b (lie senaior Alvisu (Ludovicol Moceiiigo, an eccentric cliaraclcr, liai) the fancy to eslabliL.li a priiiliiig-oflice about Ihii 1> years ago. Alvisopoli was a lief of liis illustrious CHAPTER XIII. Academy of Fine Arts. — Venetian scbool. — Titian's Asitimptinn.— raiiitiiigs. — Bronzes. — Models. — Vanity ol abrollier oftlie Confrateiuily of Cbarity. The Academy of Fine Arts is an ex- cellent institution, chiefly due to the zeal, information, and patriotism ofCicognara, who was named its president in 1808. This academy has become an inestimable asylum in the midst of the dispersion and decay of so many chefs-d'oeuvre. Jthas already collected many works from the oppressed churches and convents, and will doubtless be still serviceable in the advancing ruin of Venice. This rich collection of more than four hundred paintings consists almost entirely of works by the great masters of the Venetian school — a school, admirable rather for its adherence to nature and truth than the ideal, for brilliancy of colouring, bold- ness, and the picturesque rather than purity of dravving, which our young school imitates, just as the new school of poetry, tired of contemplating the models of antiquity, turns toShakspeare. These means of regenerating art appear very un- certain; talent would find in meditation a more productive and certain resource. Amid the decay of Venice, the disco- verj of Titian's masterpiece, ihe Assump- tion, whkhhc executed before the age of thirty, is a kind of compensation for so many losses. By some strange chance this blackened painting had been long thrust aside and almost hidden in the top of the church Dei Frari, when Cico- gnara had himself raised up to it, wash- ed one corner with spittle, and, being sure of its auihor, oflVred a newer paint- ing to the clergyman, who was delighted with the change. Ibis painting is per- haps the most extraordinary for eflecl : th(! mystery of the head of the Father, the brilliancy and softness of the gioup of the Virgin, and thirty little angels near; her ethereal, heavenly grace ; the marvellous contrast of light and shade, and the conception of the whole, are dif- ferent merits that cannot be described. Gentile Bellini's painting, representing the piazza of Saint i^lark about the end of the fifteenth century, at the moment family : t lie establishment was too expen>ivcin sucli a plact." to support iitelf more tb;in livo jears; Alviso Mocenlgovvas obligt'd lo transfer it lo Venice, but retained its primitive name, by which it is now c.illed. 168 VENICE. [Book VI. of a procession passing, is full of nature and life, and of great curiosity for the costumes of the lime and (he aspect of ancient Venice. The Supjyer at Em- maus, by Giovanni Bellini, of the na- tural size, with costumes of the lime and a Turkish ambassador, is superb. The celebrated Purification, Carpaccio's masterpiece, had it more colouring in the flesh and greater soilness of outline, would be worthy of the greatest masters for grace and pathos. The old Simeon figures between two priests in the cos- tume of cardinals ; the child in the centre tuning ils lute is divine. The St. Lorenzo Giustiniani sur- rounded by saints is a masterpiece of Pordenone : the figures of St. Augustine and St. John Baplislare admirable; the undrapcd parts of Ihe latter exhibit the greatest chastity of design, and St. Au- gustine's arm seems to protrude from Ihc canvas. The Rich Epulon, by Boni- fazio, is of extraordinary beauty. The Slave delivered by St. Mark, a masterpiece of Tintoretto, is one of the wonders of this grand Italian school. What life, what variety of expression in the physiognomy of those executioners who see the bonds break asunder from their captive extended on the ground ! The saint crosses the heavens Avilh his face turned towards the beholder, and he looks downwards to superintend his miracle; his immense beard allows only a small portion of his body to be seen, foreshortened, which seems really suspended in the air. The Marriage of Cana, a rich, ele- gant, animated painting in the style of Paolo Veronese, is I'adovanino's best work. The Virgin on a throne with the Infant Jesus, St. Joseph and other saints, by i'aolo Veronese, was, with many of its neighbours, thought worthy of a journey to Paris. The Ring of St. Mark, Paris Bordone's masterpiece, pre- sents an architecture and basso-relievos perfectly true in the colouring and very cleverly composed. Three other of Ti- tian's works are respectively admirable : the Presentation of the Infant Jesus, of his early youth, distinguished by the architectural richness of ihe temple front, and the marvellous perspective of the ■ Operedlscullura edi plaslicad'Anlonlo Canova descriite da Isabella Albrizzi Data Teotocbi; Fisa, 1842-4, i ?ols. 8vo, pi. edifices in the back-ground; the pro- digious St. John Baptist in the desert, so full of sublimity and inspiration, that one feels be lived on locusts, with the deep, gloomy, and rugged landscape, and the old woman's head, that is supposed to be Ihe portrait of his mother. He has also done some heads and emblematic figures, exquisite morceaux, which bor- der the cornice of the chief room for the sittings of the Academy. A basso-relievo of marble gilt, over the door, represents the Virgin, the Infant Jesus, and other figures. This astonishing work of 1345 is expressive, simple, and graceful, and bears witness to the antiquity and perfection of the art at Venice. A small tabernacle door in bronze, formerly at the church of the Servi, and believed to be by Donatello, is in the purest taste. The four basso- relievos attributed to Andrea Riccio are works full of fire, activity, and imagina- tion, particularly the basso-relievo re- presenting Constaiitine's battle near the Tiber, and his triumphant entry into Rome. There are many other bronzes not less precious; such are the elegant basso-relievos of the ancient mausoleums of the Barbarigo family, by an unknown author, and the superb basso-relievo of Briamonte's tomb, by the Venetian Vit- torio Camelio. The model of Theseus vanquishing the Minotaur, a work of Canova's youth, is remarkable as a return to the antique; this chef-d'oeuvre, so eloquently des- cribed by Signora Albrizzi,' and so well sung by Pindemonle," is to be seen at the Academy of Fine Arts. The statue, executed for a public square at Milan, at the expence of the Italian government, is now, by right of conquest, in the garden of the People ( Volksgarlen) at Vienna, where a splendid building is devoted to it. Pindemonte's poem be- gins with the following touching com- plaint on Italy being despoiled of the Theseus :— Ciuoque iu me ferma lo sguardo, e questa Molle creta spiranle, e quesle mira Degne dun sccnldeo forme leggiadie, Noil si complanga. se till forme in duro Marmo inlagliate, e lucide, e polite, Dato di vagheggiar non gli fe sull' Istro. ' Teseo che uccide il atntauro qual vedesl ncll' Academia di Belle Arti di Venezia ; fi-a, 1820. CiiAP. XIV. 1 VENICE. 169 Canova's chisel is exposed below the porphjry urn coiilainiiig his hand, and formerly his heart also, hut that is now deposited in the ehnrchf/e/ Frari.' Ve- nice seetns to niulliply the traces and reminiscences of (ianova, as if to supply that crowd of ifiimortal artists who were once her glory. The model rooms of this Academy, though not of more than thirty years' existence, are reckoned the finest in Eu- rope : there are preserved the models of the Parthenon and Egina marbles, the generous gifts ofCicognara, who received them from the kings of England and IJa- varia. 'Ihe Academy also possesses the famous collection of original drawings of Ihe old schools, formed by the (lav. Bossi, among which may be remarked seventy by Leonardo Vinci, several by Michael Angelo, and as many as a hun- dred by Uaphael. The Academy of Fine Arts is the old Confraternity of Charity. 1 he ceiling o( the grand h.ill is connected with a sin- gular anecdote. The brother Cherubino Oltale, who had engaged to gild it at his own expence, being unable to obtain permission of the brotherhood to have an inscription stating thai they were in- debted to liim for that magnificence, ordered a little at'g d with eight wings to be jdaced in the middle of every square, so that the name of Cherubino Oltale is repe;ited a thousand times in that way : a Frenchman could not have imagined a better expedient than this device of Venetian vanity. CHAPTER XIV. Churches.-Clerpy— S.iin! Zicliarlns.— Sainl George of llie Greeks.— Gieek !iur\iie.— S.iiiit FimiicIs oI tbe Miie. — Sainl Peter. -Sjiul Joliu in Bragora. The number of churches was consi- derable at Venice; the ecclesiastical po- pulation was in greater projiortion there than in the first catholic stales ;=' it is thence evident that, nolwiihslandmg the » This hand, accordiiig lo a legally execuled deed, is to be reiiiiiied to llie arcliprie.-t of llie leiiiple of Posagno and placel Hitli the ris. of C.ir.ova's re- mains, ill case tlie Vcoioe Academy of Fine Arts sbould be suppressed or Ir.msrerred to another cily. • According lo the relurns of llie ci/inmitiee named by the Veneiian guvernmenl in I7C8, for the purpose of repres.-.ing llie eioesiive «ealih of the clergy, which D.iru his carefully copied, tbe numberol cccltsi3.-.lics amounled to fortj-livc thou- j quarrels of the government and clergy with Ihe court of Rome, the devotion of the peo|ile was an insurmountable ob- stacle to a rupture. Ihe clergy were weiillhy and popular (the people elected the rectors), but exciuiled from the go- vernment and public olfices of the re- public; another proof of the beneficial efiVcts of mainiaining a sei)aration be- tween political and religious duties; and except in very few instances, the clergy always acted in unison with the civil power against the spiritual. The liberties of the Venetian church approach much nearer lo the Greek s( hism, which is ever submissive to au- thority, than to the seditions spirit of reform. It is very singular that divorce was one of these privileges; it was equally permitted in Poland, by means of precoiicei ted pretexts of nullity. I have been told that the princess C*", now re- tired into a convent at Rome, at her caughler's marriage went up to the allar before the cet emony, and in the presence of the whole congregation gave her daughter two slaps, which she received with the utmost indillereiice; some per- sons but little acquainted with these cus- toms ran up lo the princess greatly ex- cited, when she gave this simple expla- nation : "Those sla|is are proofs which may aid in procuring my daughter's di- vorce in case she be unhappy with her husband; she will be able lo say that I forced her." It is not easy lo figure lo one's self the countenance of the bride- groom (luring this strange scene of ma- ternal tenderness and foresight. The tolerance for which Venice has been coniniended, was doubtless owing to the exclusion of the clergy from the civil administration, but it seems to have diminished subsequently when ihe re- public was declining : the virtuous !\laf- fei was exiled for certain opinions in his book on usury, and the same penalty was infiicted on a patrician, who had visited Voliaire and Rousseau in his travels. sand seven hundred and scTenly-three, which gives one person of Ihe clergy for every lifly-four in- habitants, while in France tbe proporlion was one to a hundred and fifty, and in Spain one to seventy- tliree. Dy Ihe slaiisiical tables of tbe Venetian pro- >inccs publi-lied by S. Quadri in 1827, the clergy are now no mure tlian one to two hundred and iisleeii; and in Frame, there is now only one lo eight hundred and Ibirli-lhree. 15 \ENICE. [Book VI. The churches of Venice possess the tw olold iiilerest of glorious reminiscences of dislani periods, and wonders of art due to Ihe preal Venetian masters. The old church and monastery of Saint Zacharias date from the beginning of the iiintii century; Ihey were founded by the emperor Leon, but the zealous Vene- tians • pretend that, despite the imperial eagles he placed there, the Greeks never exercised authority over Venice. Saint Zacharias, until the latter dajs of the republic, was the spot of one of the oldest and most iiompous Venetian fetes. Pope Benedict lU , after visiting the church and convent in 855, granted them a great number of relics and indulgences, and every year at Easier the doge attended ihc services and the procession. The abbess Morosini and the nuns of that rich monaster), flattered at receiving the chief of the slate, made him a present of a kind of republican diadem, called corno ducale, of inestimable value; it was of gold surrounded with twer.tj-four large pearls ; on the top glittered a superb eight-faced diamond ; a brilliant ruby of enormous size was in front; Ihc cross, composed of precious stones and twenty- four emeralds, surpassed all the rest. It was decreed that such a costly present should be used ai the coronaiion of the doges; but that the nuns to whom they were indebted for it might not be deprived of the sight of these wonderful jewels, it was determined thai every year on the day of the procession to Saint Zacharias, it should be withdrawn from the public treasury, carried on a salver and shown to all the sisters of the convent by the doge himself. Some years after, in 868, a catastrophe contributed to render this ceremony still more majestic; it was decreed that the procession should go no more on foot to Saint Zacharias, but in gilded barks; for the doge Gradenlgo, ■who, amid the frenzy of parties, had re- commended moderation and thereby set every body against him, was attacked and murdered on leaving the church. The choir of the church of Saint Za- charias is rich, elegant, and magnificent. Nostra Siynora and some saints, St. Zacharias; the Virgin and some saints, a painting which has been retouched clumsily and too much; the demilunes ' See Count Tiepolo's first recliflcalion of llie History of Venice, p. ■40. representing the Martyrdom of St. Procul, the Descent into purgatory, and Christ washing the Apostles' feet; the Angel speaking to Zacharias; the four small p.iintings at the high-altar, are by Palma; the Birth of John Baptist is by Tiiitoretlo. In one chapel three altars of wood, ornamented with gilded carvings, have some valuable and scarce paintings by Giovanni and Antonio Mu- raiicsi, of the year 1U5: the Circumci- sion is by Giovanni Bellini; the Virgin, the Infant Jesus and four saints, by the same, a celebrated picture brought back from Paris, has been so renovated and spoiled, that it scarcely retains any original trails of Ihal illustrious founder of the colouring of Ihe Venetian school. The slatue of Saint John Baptist is by Villoria. He sculptured his own bust and monumenl : below, on Ihe jiavement, a black stone marks the burial place of Ihis chaste and [iroduclive statuary, the cleverest of Sansovino's pupils and the last great artist of the sixteenth century. The elegant church of Saint George of the Greeks is of Sansovino's architecture. The Greek service which I attended had a singularly mysterious character : the priests are concealed in the sanctuary, only appearing at intervals for certain prayers, when the curtains are undrawn. The eflcel of this poulilfless temple was extraordinary, there being only two young clerks singing monotonous hymns in the choir. VVomen are not admitted into the sanctuary ol the Greek churches, nor are animals suffered to enter, except cats, which are necessaiily tolerated for the purpose of destro\ing the mice. The high altar of S.iinl Laurence, de- corated with marble, bronze, statues, and superb columns of Porto Venere, is a magnificent work of Gampagna. The best [lainting is a Crucifixioti by Bal- thazar d'Anna, a painter of the close of the sixteenth century, praised for morbi- dezza and slrenglh of dare-obscure. The front of the Confraternity of Saint George of the Sclavonians is by Sanso- vino. An oratory has some good paint- ings by Carpaccio, representing certain incidents oi {he Life of Jesus Christ, of St. George, and St. Jerome, executed between 1502 and 151 L The three saints on a gilt ground, at the altar, arc older, and seem of the fourteenth century. Saint Francis of the Vine is a fine church, the architecture by Sansovino CuAP. XV.] VENICE. and the front by Pnlladio. Two great bronze sljtucs of Moses and Paul by Titian Aspelti, before the chareh, have been justly cen.^iured, and their vast pro- portions render the ih-feets still more striitins : in particular, the Hebrew legis- lator's two rajs of (ire, covered over with a kind ofhowl.areexiremely sinsiilar. On the holy-water vases, ihe St. John Baptist and St. Francis iV Assise ; on (he altar of a chapel, St. Anthony, St. Roch. and St. Sebastian, are by Viltoria; the Pa- rlour, the Virgin, and certain saints; the Virgin in an aureola, the Flagella- tion of Christ, by I'alma; the Virgin adoring the Infant Jesus, a sood paint- ing of the beginning of the fifteenth cen- tury, is by Fra Antonio of iNcgroponto ; the Virgin, the Infant Jesus, and some saints, by Giovanni Bellini; Ihc Saviour and the Eternal Father, by Geroninio Santa Croce, who flourished towards the close of the good century and adhered to its style; Nostra Signora in the midst of angels, and another very beautiful in the midst of saints, are by Paolo Vero- nese. A copy of his Last 5w/jper arbi- trarily given by therepiiblicto LouisXlV. (who had requested it of the Serviles but met with a refusal) has been well exe- cuted by Valentin Leievre. The Giusti- niani or Prophets' chapel, covered wiih marble sculptures, is one of the most bril- liant monuments of art ofihc fifteenth cen- tury, but its various auihorsare unknown. The altars of Saint Francis of the Vine were loaded with those dolls, common on the altars of Italy, which mask the view of so many chefs-d'oeuvre. The old spacious church of Saint Peter was the cathedral of Venice, from the flrst ages of the republic to the year 1807, when the patriarchal sec passed to the basilic of Saint .Maik. A very antique marble pulpit, in the form of a bench, is believed by the common peoide to have been used by Saint Peter in the church of .\ntioch; many learned persons are of opinion that it was once the seat of some .\frican chief; it bears an inscrip- tion in Arabic characters, which have been supposed two verses of the Koran. Saint Peter contains some fine and cu- rious paintings : the Plague of the Ser- pents, by Liberi; St. Lorenzo Giusti- nianidisributingalms. the masterpiece of Gregorio La/z.u mi ; Nostra Signora and the souls in purgatory, one of Luca Giordano's best works j a mosaic in the shape of a picture, a fine performance of Arminio Zuccato, from a design by Tintoretto ; St. Peter and St. Paul, by Paolo Veronese, and the Martyrdom of St.Johnthe Evangelist, Uy Padovanino, too freely retouched by .>Iichacl Schia- vone. The steeple, rebuillin the fifteenth century, is magnificent. The church of Saint Joseph has only a small number of paintings and monu- ments, but they are by the greatest mas- ters : the Archangel St. Michael and the senator Michael Bruno is by Tintoretto; a Nativity, by Paolo Vero- nese; the mausoleum of the senator Ge- ronimo Grimani, by Viiioria ; and the superb one of Doge Marino Grimani and his wife, the architecture by Scamozzi, is decorated with bronzes, statues, and other sculptures by Campagna. The church of Saint .Martin is sup- posed to have been built by Sansovino. The elegant tabernacle of the grand chapel is embellished with paintings by Palma; a little old painting in good style ' represents the Annunciation; the bap- tismal fonts are a very delicate work of Tullius Lombardo; a Last Supper, by Santa Croce. is of extraordinary merit. Saint John in Bragora has the Saint Veronica, the Christ washing the Apos- tles' feet, and the Christ before Pilate, by Palma ; Ihe Saviour, of Titian's school; the Virgin, St. Andrew, and St. John Baptist, on a gold ground ; a Resurrection of the year 1498, one of the best paintings of that era, by Barto- lommeo Vivarini; St. Andrew, St. Je- rome. St. Martin, perhaps the first attempts of Carpacrio ; a Last Supper, by Paris Bordone ; Constantine and St. Helene supporting the cross, by Cone- gliano, and hissuperb Baptism of Jesus Christ, which has sulTered from un- skilful retouching. The ceiling of the elegant church of Santa Maria della Pietd is an excellent work of Tiepolo. CHAPTER XV. Sjlnt George Major. — Domenico Mlchell. — Tt)e Sa/H/e.-lleviilulioDs of lasie. — Sausoviuo's mau- soleum. -Saiut Luke.— Aretino. Saint George Majorisoneof Palladio's miracles, which would have been fault- less had he lived to complete it. Beside the doorarethe four Fvangelistsin stucco by Vittoria. The chief paintings arc ; the 172 VENICE. [Book V[. Nativity, by Bassano; the Martyrdom of several saints, the Virgin crowned, a Last Supper, the Manna in the De- sert, the Resurrection. I he; Martyrdom of St. Stephen, by Tintorello; the Mar- tyrdom of St. Lucy, by Leandrn Bas- sano. Oneof the treasures of this church is a ■wooden crucilix given by <^osmo, the father of his country, when he fled for refuge to Venice; it is the work of iVIi- cheilozzo Micheiiozzi, his friend, and faithful companion in exile. He had employed this able arli>t to build him a library, which he filled with books, and left lo the Benedictines of Saint George; such was the dying gift of a Medici.' At the high altar, four bronze statues of the Evangelists, by C.ampagna, sup- port an enormous globe on whi(h the Redeemer stands, a beautiful harmo- nious composition, which nobly expresses the triumph of the Gospel — a master- piece of art compared to the Jupiter Olympus of Fhidias, and rightly placed over the pulpit of Saint Peter, by Ber- nini. On one of the pil.isters is an in- scription which seems to carry the doc- trine of indulgences to an indefinite extent, as it says that the absolute par- don of all his crimes is accorded to eve- ry personwho shallvisit that church; ■'■ this eloquent inscription is of the period of the Saint Bartholomew massacre, and breathes but too strongly the pontifical spirit of that day. Pius VII., whose election was little acceptable to Austria, saw himself refused the basilic of Saint Mark, and wascrowned at SaintGeorge's, where his portrait may be seen ; the reminiscences of this rising pontificate, mild, feeble, and persecuted, form a strong contrast with the vestiges of the formidable and violent papacy of the six- teenth century. Beside the church, in a small corridor but little wortliy of such ■ The first book in manuscript of llie History of Venice, begun in Latin by Paolo Paiula, .said" by Gingutne (i//s/. litt. d'ltalie, vili. 320) lo be slili lii the library of Saint George, is no longer tliere. Wben Ibc convent VTas suppressed, this library was almost given up to pillage : a part «eiit lo Padua, >\bere it was dispersed, and Ibe rest was sold by auction ; not a single work reached iho library of Saint Mark. * Quisquis criminibus expialls Slalas precans preces ad XII Kal. Aprllis j£des bases supplex a monument, is the tomb of Doge Dome- nico Micheli, both the Saint Bernard ^ and Godfrey of the Venetian crusades, the victor of Jaffa, the conqueror of Je- rusalem, Tyre, and Ascalon, who com- pelled the emperors of the t'ast to res- pect the flag of his country, transported from the Archipelago the two granite co- lumns of the Piazzetta, ravaged the coast of Dalinalia, and had these words for his epitaph — Terror Grcecorumjacet hie. The suinpluousness of the Salute, which is destitute of neither majesty nor grandeur, and the multitude of orna- ments with which this temple is over- loaded, announce ihe decline of Venetian archiieclure. The revolutions of taste are apparently the same in all the arts. San Micheli precedes Palladio, as Lucre- tius precedes Virgil; Corneille, Racine; Bouidaloiie, Massillon : energy comes before purity; bad taste, which deems itself good, succeeds, and produces Se- neca, Claudian. IMarini, Longhena, the architect of the Salute. This church, notwithstanding its richness, is especially interesting for the paintings by Titian at various periods of his life, an artist always productive, always new. These are : the eight small ovals of the choir, where are represented the Evangelists and the Doctors, one of whom is a por- trait of Titian; the Descent of the Holy Ghost, painted in his sixty-ronrth year ; in the sacristy, the little St. Mark in the midst of four saints, one of the scarce works of his jouth, remarkable for the softness of the light and the delicacy of the He>h of the St. Sebastian; and the Death of Abel, the Sacrifice of Abra- ham, David killing Goliath, the finest works in the Salute, admirable for the execution of the naked parts, and truly prodigious when we recoiled that the study of anatomy was not tolerated in Inviserit Is Veniiim scelerum .Maximam consequuturum Se stiat Gregorius XIII. Pool. Max. Sacro earn diplomale Tribuil. ' The speecb by wbicb be persuaded the Venetians to underlake another crusade has been pieserved by the historians and Is given by D.iru in his Uis- lory of Venice (.liv. ii. 40|. Chap. XVI. 1 VENICE. r, Italy at that epoch. The three Inst chefs- d'oeuvre are stowed away near the ceil- ing of the sacristy in a hail light, and so high as to be lo.-t. The Presentation, the Assumption, the Birth of the Vir- gin, are c>tin);ible works of Luca Gior- dano, who has not here given way to his fatal expedition. Nostra Signora delta Salute is by Padovanino ; the Mar- riage of Cana, new and varied, is by Tintoretto; a Samson, by Palma ; Ve- nice before St. Anthony, by Liberi. The bronze chandelier of (he bigh- altar, the work of Andrea d'Alessandro, more than six feet in height, is, after ihr.t of Padua,' the finest in the Venetian state; but it is far inHriorto the latter, notwithstanding the infinite grace of many portions, particularly of the upper part. The mausoleum of Sansovino, w ilh his bust by Vittoria, the most eminent of his pupils, was originally at the church of Saint Gcminian, but at the unhappy de- molition of the latter in 1807, it was first transferred to the church of Saint Mau- rice, and temporarily in 1822 into the chapel of the patriarchal seminary of the 5a/«iished work, ranked by Goethe among I he chefs-d'oeuvre of the modern drama, but in my opinion his Adelchi is before it. In the church, St. Peter receiving the keys, St. Peter in the midst of the apostles: at the high-altar, theCont'er- sion of St. Paul, are by Palma ; the bronze statues ot St. Anthony the abbot, and St. Paul, by Vittoria; the Assump- tion, the Last Supper, by Tintoietlo; and the Marriage of the Virgin, by Paolo Veronese. Saint Sylvester contains the Baptism of Jesus Christ, the Christ in the gar- den, by Tintoretto ; a grand Last Supper, by the ebler Palma ; the Adoration of the Magi, by Paolo Veronese, and a St. ' "Sculpture,'" remarks M. Qualremtrede Quincy, " was llien far from confining ilsclf (o Uie use of one eub^laace oul)'; it brouglit under contrlbuliou Thomas of Canterbury in the midst of several saints, a very fine work of Gero- nimo Santa Ooce. Saint John the Almoner is of Scarpa- gnino's architecture. The chief paint- ings are : Ihn Miracle of the manna, of (knona's early years; the Martyrdom of St. Catherine, Constantine carrying the cross, by Palma; St. Catherine and other saints, by Pordenone ; and Titian's celebrated iSt. John giving alms, a masterpiece lost in darkness, behind an enormous tabernacle, which only permits a glimpse of the saint's head. In this manner does Italy uselessly lavish and squander away her finest works without ever seeming impoverished. The church of Saint James of Rialto has some fine sculptures : a colossal St. Anthony abbot in bronze, by Campagna; St. James, by Vittoria. The Cornaro chapel, a remnant of the old church of (he Holy Apostles, is of rich, elegant architecture. Two mau- soleums of the Cornaro family are mag- nificent; the church has a Last Supper, a good work and the oidy one at Venice by Cesare of Concgliano ; the Miracle of the manna, by Paolo Veronese ; the Guardian angel, by Cappuccino. .Saint John Chrysoslom, by the archi- tect Tullius Lombardo, has some good works both in [tainting and sculpture : Si. Jerome, St. Charles, and St. Louis, by Giovaimi IJelliin; St. John Chrysos- tom and other saints, a superb painting by Sebastian del Piombo, that some have even thought by his master Giorgione, who probably assisted him in the inven- tion; St. JohnChrysostom; four small paintings, attributed to the Vivarini, and the Apostles in the Coenaculum, a very fine basso-relievo by Tullius Lom- bardo. The church of Saint Saviour encloses many noble tombs : such as the magni- ficent mausoleum of Andrea Dolfini and his wife, reputed to be by (Jiulio dal Moro, with two busts by Campagna; that of Doge I'lancesco Venieri, one of Saiisovino s chefs-d'oeuvre, and that of Queen Cornaro, whichhasa basso-relievo representing her in the act of oll'ering her crown to the Venetians, a vast, naked, inscriptionless mausoleum, that wood, marble, clay, bronze, and the dirfereni me- tals." Journal des Suvanit, Dec. tSlG, Chap. XVII.] VENICE. 479 seems lo speak of abdication. On one of Ihe allars erected by Vittoria. are two of his statues, St. Rock and St. Sebastian ; the last very natural and graceful. Ity- the-by, I have been often singularly struck on calling to mind the multitude of Saints Sebastian thai I saw in Italy, and with the merit and beauiy of the greater number. It is probable that the contrast of the immobility and sulTeiing of the body, w iih the ardour and sublime enthusiasm of the soul and its heavenly hope, is one of the most touching and poetical subjects that art can oiler lo the eye. Bernnd inmself could not escape its pathos, and his St. Sebastian, in the catacombs at Rome, is a very fine work. Despite its fatal retouching, the Annun- ciation shows the \ariety of Titian's ta- lent : the angel stooping, with his arms crossed on his breast, dilTers totally fiom the aerial and almost h;iughty angel of St. Roch ; the work of the artist's old age being regarded by his enen)ies as beneaih him and attributed to another, in his indignation he has written the word fecit twice over after his name. The Transfiguration, energetic and full of imagination, is also of Titian's old age ; he painted it rapidly, and it is evident thai only his sight was weakened. He executed the famous Last Supper o^Xhc Escurial between the age of eighty and eighi)-6e\en ; one would say his talent had neither slackness nor dccrepiiude. Sansovino was also an octogenarian \\hen he sculptured with his own liand the two beautiful statues placed one on each side of Francesco Venieri's monument. The great artists of Venice, like her first captains, Dandolo, who took Con- stantinople, and Carlo Zeno, w ho deliver- ed Cj pi us, both at eighty years of age, seem lo have vanquished time, and Saint Saviour is, as il were, the theatre of this prodigious triumph. The celebrated organ of this church is the first to which a chromatic Ongerboard was adopted, an important progress of modern music, due to Italy. On the Ironl of the church of Saint Julian, Ihe architecture of which is by t Sansovino and Vittoria, is a much es- ' Rangone bad composed, for Pope Julius III., a wbimbical treatise on lUc means of li» ing lo more tbao one liundied and tneiily Nears, from >\lii(l) circunibtaare it came to be leported tliat lie diod at ibat age. teemed bronze statue by Sansovino ; it re- presents the celebrated physician Thomas Ranguiia of Ravenna, surnamed the phi- lologue, for his erudition ; he settled at Venice, and rlied there when above eighty,' aiier de\oiiiig a part of his im- mense wealth to the judicious recon- struction of the church. The monu- ments of Venice, like those of Florence, are chiefly sacred to writers and military chiefs; il is evident thai Ihe glorious days of these republics were an era of war and literature: this jiopulalion of statues is composed of neither emperors nor kings, as at Rome or in the great slates of modern liiius; ihcy are all persons ennobled b> their own deeds, and made famous by their books or iheir battles. The life of literary men of that age, often unsettled and necessitous, is not without a s|iecies of honour, imporlaiice, and lustre, which they no longer possess amid the popularity, ease, and prosperity they now enjoy. Saint Julian has many paintings by Palma : the Assumption of the Virgin, St. John the Evangelist and other saints, Jesus Christ in the garden, {he Apotheosis of the saint; Jesus Christ strengthened by the angels, a Last Supper, are by Paolo Veronese; several statues, basso-relievos, and excellent or- naments by Viltoiia. Amaible group of the Dead Clirist supported by angels, by Campagna, lias a soft natural expres- sion, and is beautifully executed. The churches of Veiiite unite the ex- tremes of good and bail taste in architec- ture. The chiisteness of the Redentore is a most perfect contrast with the exces- sive reliiiement of the front of Saint iMoses. The paintings are : the Virgin tvith the Infaiit Jesus, and Christ wash- i7ig the apostles' feet, by Tinloretto; the Invention of the cross, by Liberi ; the Last Supper, by I'alma. .At the entrance of the church a sniall stone points out the place where Law is interred; his body was transported thither from Sainl Ge- minian, in 1808, by a bra\e and loyal French general, his gi eat nephew, born in India, who then commanded at Ve- nice, • a circumstance that seems to add • General Law de Lauriston, afterwards a peer, mini ter, and marsbal of Fiance. 180 VENICE. [ Book VI. to the adventurous destiny of the Scottish minister. Montesquieu met wiih Law at Venice. " He was," says he, " the same man; his mind always occupied wilh .schemes, and his head full of calculations and values real or representative. He played ofli'n, and tolerably high, though his fortune was very small." It is a pliy that we have no other guarantee for the following anerdotc and high eulogium it passes on our parliaments, than d'Alem- bert and his copiers. Montesquieu hav- ing asked Law why he did not aiiempl to corrupt the parliament of Paris, as the English minister had that of London : " That's a \ery different case," replied Law ; " the English senate m.;kes liberty consist in doing what it pleases; the French in doing its duty : interest may, therefore, induce the one to wish what it ought not to do; but it is seldom th.it it impels the other to do what it ought not to wish." One of the advantages of publicity and constitutional goxernment is that of rendering impossible the return of the system and the vast changes of fortune that it produced. The elegantand simple church of Saint Fantin is of the Loml)ardi school; the choir by Sansovino. The paintings are : the Dead Christ, by Falma; a Virgin with the Infant Jesus, by Gio\aniii Beliini ; the Crucifixion, reckoned one of Corona's best woiks. The ancient Confraternity of Saint Jerome is converted into the Venetian Alhensum, a literary society distinguish- ed by the science and laiiours of its members. Thisedifice, built by Vitloria, offers some beautiful and curious works: ApoUonius and Nicholas Massa, hu>ts by Vittnria ; on the first door, the ceiling in thirteen comuartnietits, painted by I'alma, as also the eight compartments of the coiling on the second lloor, repre- senting divers incidents in the life of Saint Jerome, beginning wilh his election as cardinal. St. Jerome receiving the of- ferings is by Tintoietlo; the Triumph of the Virgin, b\ Palmu; with the por- traits of the author, Titian, and other famous artists. The high altar of Saint Stephen, the chandeliers and statues that adoi nit, are magnificent; the small statue of Cliarity, over the holy-water vase, by Giovanni Maria Mosca, is of pxtr.iordinary ele- gance; the statues of 5(. Jerome and St. Paul are by Pietro Loiubardo; a bronze basso-relievo, the Virgin and Infant Jesus, and some figures, by an unknown auihor, is very fine; the mausoleum of the (dijsician Jacopo Luriani. a work of thesixteenthcenturj . isof( xcelient taste; the two small chandeliers of the grand chapel (especiiiliy that of the year 1577) are o( the best in Venice. But 1 was still more ^tru(k with the tomb of Moro- sini. a large stone placed in the centre of the church, embillished with simple bronze ornaments, presenting the ducal cap and the tro|ihies of his \ ictories over I he Oi tomans, w'Wh this inscription alone: Francisci Mauroceni Peloponesiaci Ve- netiarum Principis ossa, 1694-. Not- withstanding the victories of this great captain and his death from fatigue and exhaustion at >apo!i di Romania, like Lord Byron, I could not forget that he blew up the Parthenon, and my profane regret was for the Greek temple and the statue of Minerva. At the church of Saint Vidal, the Saint on horseback is a superb work by Carjiaccio. Santa Maria Zobenigo with its pre- po>teious front, another monumetit of that Venetian bad taste already alluded to, which came after the good, and, as usual, was worse than the bad taste pre- cedmg it; this churi h has a Visitation, by i'alma ; ihe busts of(iiu!io anag()sta, contains only his skin, which was purchased by his fa- mily of the vile pacha, his murderer rather than conqueror.' The end of Bragadino. like that of many other Ve- netian generals who fell into the power of the infidels, seems a kind of martyr- dom ; it is deeply moving to contemplate the niMrUal relic of the Venetian hero, and the inscription showing his horrible fate. Among many superb mausoleums col- lected in Saint John and Paul since the destruction of several churches, that of Doge Andrea Vendriimini, a work of the Lcopardi school, stands pre-eminent; it is the finest in Venice, and one of the most considerable structures of its kind. The eleciion of Andrea Vendramini to the dogeship was a species of revolution : Vendramini was a new man ; he w as the descendant of a banker elevated to the ' Tbe defence of Famagosla cost the Turks lifiy tbousand men (more iban seventy-Dve thousand, according to the abbC Mariti, In his Voyage to patriciate, after the war of Chiozza in 1381, as one of the thirty citizens who had shown the greatest devotion to Ihe republic when surrounded with dangers : as Daru rightly says, this is the purest source from which nobility can descend. The grand mausoleum of Valiero by Longhena, exhibits, by its tasteless splen- dour, a perfect contrast wiih the Ven- dramini mau.-oleum ; the doge's caps are Itrofijscly scattered about it, and oddly surmount the two escutcheons; this aris- tocratic cap {corno ducale) bears how- ever a pretty close resemblance to the cap of liberty on a man's head. Another remarkable mausoleum is that of .Alviso Micheli, a celebrated orator, who died in 1589 while address- ing the senate, as the inscription slates. The Austrian general Chasteler, who died in 1825, while governor of Venice, directed his remains to be interred in Saint John and Paul, as if to impose the yoke of conquest even on the illustrious dead, its occupunls. In 1827, a paltry monument was erected to him, on which his bust was placed ; and singularly did his vulgar features and powdered hair contrast with the great figures and equestrian statues of the heroes of Ve- nice ; nor was the character of the monu- ment much heightened by the general's pretended exploits against the French, engraved in Latin on all sides of its little pedestal. The painting at Saint John and Paul is not inferior to the statuary. The Vir- gin, the Infant Jesus and saints was one of the fine works of Giovanni Bel- lini, but it is spoiled, almost destroyed by Ihe restorers. The painting in nine compartments representing the Dead Christ, the Annunciation, St. Chris- topher, is a famous production of Lu- dovico or Barlolomrneo Vivarini ; the St. Augustin seated is a good painting »y the latter, and his best in oil. Jesus Christ on the Cross, the Magdalen and St. Thomas, is in Liberi's first style. St. John the Baptist, the Manna falling from heaven, are by Lazzarini ; one of the chapel ceilings in five compartments, the Virgin crowned in Paradise, very fine; the Crucifix and some saints; the Resurrection of Jesus Christ, by Palma ; Cyprus). See, in Daru's History of Venice, a rela- tion of Bragadino's sufferings, and the perfidy of Mustapha, booli xxvii. l-i. DAP. XVIII. 1 VEMCE. 183 the Saviour in the midst of the apostles, excellent, is by Roch Marconi. Tlie great Crucifixion, by Tintoretto, is su- perb ; his Virgin receiving the homage of Venetian senators, is nobly expres- sive. There are also of his another Cru- cifixion and the Virgin giving crowns to Sts. Vominirk and Catherine. A Holy Alliance of the princes of that epoch, by his nephew Doinenico, a beau- tiful composition, contains Pope Pins V., Philip II., Doge Aiviso Moccnigo, and behind, their respective generals Marc- antonio Coionna, John of Austria, and Sebastiano Venieri. The Holy Trinity, the Virgin and some saints, the Pope Honorius III. confirming the Domi- nican order, are distinguished woiiis by Leandro Hassano, who also painted the Virgin and St. Francis, the immense Exhumation ofacorpse, and an Annun- ciation. Vittorio Capello kneeling be- fore St. IJelen, esteemed, is by I)en- tone; St. Dominick calming a tempest, by Padovanlno. The sacristy ceiling by Marco Vcceliio is very remaikable, and a Nativity by Paolo Veronese. But the masterpiece surpassing all these paint- ings is Titian's Martyrdom of St. Peter the Dominican, a composition full of poetry, expression, and pathos; a scene of murder by a robber, in a lonely wood, but neither ghastly nor bloody; the trees have even a touch of ideal beauty. The contrast between the terror of Saint Peter's companion, and the heavenly hope which illumines the coun- tenance of the latter, is ad(nirable. In such a work there is a kind of intrinsic power which attains the object of the art without an eirort; that is not the kind of painting that may be learned, rattier cor- rect and regular than vigorous and grand ; Titian seems to create [laintings, while others make them. A decree of the se- nate forbade the Dominicaris of Saint John and Paul, under pain of death, to sell this marvellous painting ; its sur- passing excellence justifles and explains such an attack on the rights of property. This painting was among the works of art made booty of by our triumphant armies; at Paris it was transferred from the wood to canvas, and is the greatest operation of this clever new invention, ' See ante, cli. xvl. > list. titl. d llalie, t. III., t59. Tlie De Viris itlustnbus nas printed In Veiiice, in 15'i7, under which has In a manner restored its co- lour and life. Among the other pictures of Saint John and Paul, there is one by Giambaltista dal Moro, which represents St. Mark assist- ing at the maritime levy of Venice with the three inquisitors of state: the Vene- tians made a recruiting otTicer of Saint Mark, as the conscription law has since become an article of faith in the cate- chism of the Empire and that of Aus- tria. At the entrance of the sacristy are the busts of Titian, the elder Palma, and the younger, whose tomb is near. This Illtle bust, over a sacristy door, is the only monument erected to Titian; ' it is due to his pujiil the younger Palma, who had purposed consecrating amagniflcent mausoleum to his memory in Saint John and Paul; and is at least filly placed among the great men of Venice. The ch.ipel of the Rosary, notwith- standing its rich ornaments, shows the decline of taste; Voltaire's verses on the chapel of Versailles might very well be apiilied to its shoivy defects and their adn.iircrs. The four fine statues placed at the corners of the altar, Sts. Justine and Dominick, by Viltoria; Sts. Rose and Thomas, by Campagna, form a real contrast with the bad style of the sculp- ture of the succeeding age. There has been no library at Saint John and Paul since the suppression of the monastery ; whoever wishes to see the manuscript of the De Viris iUustri- bus by Gugllelmo Pastrengo, must go to Saint >lark, where it now is, as Gin- gucne informs us. 2 1 he author, a great jurisconsult, and a dear friend of Pe- trarch's, to whom he lent many a ma- nu-cri|)t out of his rich library, may be regarded as the father of those innume- rable biographies which have so prodi- gious!) multiplied since, and, as long as the world and the love of that nothing called fame shall endure, will not cease to appear with their everlasting inevit- able errors. The (^olleoni monument, on one side of Saint John and Paul, was erected with the money bequeathed for that purpose by that general. The ordering of his own statue docs not appear very noble ihe false lille of De originibiis rerum. TLis tiook is scarce. 184 VENICE. [Boor VI. on the part of such an able captain, who might have merited it by his taients and services.' The inscription however dis- sembles this origin, as it simply states that the statue was erected ob militare imperium optime gestum. The Corin- thian pedestal of this monument, the work of Leopardo, is the first in exis- tence for the elegance and good taste of the ornaments; the statues of princes arc inferior in this point to thit of this con- dottiere. It is the worli of Andrea da Verrocchio, a Florentine, one of the first artists of his time, a painter, sculptor, and architect, the master of I'erugino and Leonardo Vinci. The history of his statue, related by Vasari. portrays the passion, jealousy, and self-love, the independence and activity of the artists of that epoch : when Verrocchio had finished the horse, he learned that the ex- ecution of the figure was about to be conceded through favour to Vellano of Padua, who was patronised by certain patricians. In his indignation he broke the head and legs of the horse, and pri- vately fled to Florence. The Venetian senate immediately let him know, that if he ever dared to show himself tiiere again, it would be at the peril of his head; he replied that he would take good care of th.it, since the Signoria could not replace his head if once cut oil', so easily as he could repair that of the horse he had broken. This answer was favourably received, and Verrocchioob- taincd permission to return; he recom- menced his v\ork with such ardour that he was seized with an inflammation of the lungs, of which he died, andi.eopardo was charged with the clearing and cast- ing of the statue. The rich froiU of the Confraternity of Saint Mark is worth notice: the archi- tecture is by Pietro Lombanio ; two lions, divers incidents of the Saint's life, excellent basso relievos, are by Tullius; and the statues placed above the pedes- tals, the columns and the arch of the great door, by Maestro Bartolommco, the author of the Delia Carta door in the Ducal palace, are curious and expressive works of the fourteenth century. Over the door of the ancient confra- ternity of Mercy, an edifice de\oted to ' Lord Byron, in Ibe preface lo Faliero, spealis of the statue now in the square of Saint iohn and Caul as that of a forgotten warrior, without even giving bis name; Colleoul, oue of the founders of the military service, of which Sansovino is the reputed architect, is a grand and noble figure of the Virgin welcoming the faithful, who are praying at her feet, a chef-d'oeuvre of this same Maestro Bar- tolommco. The Jesuit's church is splendid. The piincipal paintings are : St. Fraticis Xavier preaching, hy Liberi ; ihe In- vention of the cross, the Virgin, in- fant Jes\is and some saints, (he ceiling, by Palma; the Circumcision, the As- sumption, by Tintoretto; the Martyr- dom of St. Laurence, hy Titian, returned from Paris, admirable for the triple ef- fect of the light; the mausoleum of Doge PascaleCicogna, by Camjtagna; and over the principal door, that of Giovanni, Priamo, and Andrea Lezze, which is magnificent, The old and oft-renovated church of Saint Catherine has some good and cu- rious paintings : the Angel and Tobias, pel haps by Titian, or his clever pupil Santo Zngo; the six paintings of the grand chapel by Tintoretto; the Espou- sals of St. Catherine, a charming work by Paolo Veronese ; the Virgin in childbed, in the first manner of the Ve- iielian st ln)ol ; the Miracle wrought by St. Antiiony on a miser; the Body of the saint being carried to heaven, the Saint before the Virgin, by Palma. In the church of the Abbazia are : a St. Christina croiDued, St. Peter and St. Paul, by Damiano Mazza, a great pupil of Titian's, who died in the flower of his age; his works are energetic and brilliant, but not very numerous; the Angel Baphael, Tobias, St. James. SC. ]\icholas, anexcellent painting by Cone- gliano. The spacious old church oi Santa Ma- riadeir Orto is now almost in ruins; the grass begins to grow on the' pavement, the damp has effaced the paintings, the ceiling is destroyed; to add lo all these disasters, in 1828, the steeple, an elegant construction of the fifteenth century in the Oriental stjle, wasstruik by light- ning, and broke down the roof in its fall. But what grandeur and magnificence survive amid these ravages ! Over the middle door is an enormous block of porphyry; in a corner of the church, the art of war in Europe, did not merit cither the poet's neglect or contempt. See book v. cb. i. aud above, cb. Jt. Cbap. XIX. ] VENICE, m there hangs against the wall, ■without a frame, the celebr.iled Prp.sentation of the Virgin, one of Tintoretto's prinrijial chi'fs-da'ii\re : two initnense pniiiliiiKs of his youth, the Prodigies that ivill precede the last Judgment, and the }\'orshipping of the golden calf, cover the siilewidls of the grand chapel, works distinguished by force. Gre, and daring, though the first has been severely criti- cised by Vasari for exaggeration and picturesque extravagances. Beside this jiowerful painting, the wings of the angels in 5^. Peter contemplating the cross are admirable for ligiitness and trans|tarcncy : and the St. Agnes rais- ing the son of Sempronius the Roman prefect, another excellent painting by the same great master, which has been taken from our Gallery of the Louvre to be reinstalled in these ruins. It is in the chapel of the ancient and Illustrious family of the Contarini, beside the busts of seveial of these noble personages; thus we find in this secluded church and almost under its wreck, signal ves- tiges of artistic glory and of the by-gone splendour of Venice. I regretted not finding at Santa Maria deirOrto any traces of the tombs of Tin- toretto and liis daughter and pupil Ma- rielta RobustI, whom lie had the misfor- tune to lose ai an early age. Marietta was a great portrait painter, and more- over remarkable for her personal attrac- tions and her accotnplisbments in music and singing, which she owed to the les- sons of the Neapolitan Giulio Zacchino, the Cimarosa of bis time. Marieita was invited to the courts of Philip II. the em- peror Maximilian, and the archduke Ferdinand, but her father could never consent to part M ith a daughter whom he idolized; he married her to a Venetian jeweller, a sensible disinterested man, who preferred his wife's painting the portraits of his follow-tradesmen and friends rather than of the rich and great. The death of Marietta was a public loss at Venice., and Tintoretto wished her to repose at Santa Maria dell' Orto amid his own chefs-d'oeuvre, which he seemed in a manner to consecrate to her memory. Beside the grand and beautiful works of Tintoretto, there are also many re- markable paintings : the Saint John Baptist and somr. saints, by Cone- gliano, which it is not easy to quit, in spile of some harshness, so much truth is there in the attitude of the heads, the colour- ing, and the pers|iective; St. Vincent, St. Helen and other saints, by the elder I'alma, very much damaged ; and the Virgin with the Infant Jesus, a va- luable painting by Giovanni Bellini. At the church of Saint Martial are: Ihc Saint tvithother saints h)T\nU)Tello; and Titian's celebrated painting of To- bias guided by the angel, the first work really worthy ofhim, whichhedid when about thirty ; for his talent, which was, as we have seen, to endure for .«o long a period, does not seem, like that of many great masters, to have been very preco- cious. Some writers fancied I he figure in the back ground praying in a wood to be John the Baptist, and they did not fail to anim idvert on the anachronism; the abb6 Moschini, like a zealous Vene- tian, defended his compatriot, and recog- nised therein young Tobias's father. The church of Saint Felix, in the style of the Lombard!, with gales elegantly adorned with marble ornaments, has the St. Demetrius, by Tinloretto; the 5a- viour, St. Felix, and some portraits, by I'assignano.and two allegorical statues of Giulio dal Moro. CHAPTER XIX. Arcliives.- Council of Ten. — laquisilors of State.— Autograpli coii'Ullaiions by Fra Paolo. — Statistics originated at VeLice.-Yilletard'scorrespomlence. A mid the partial destruction of Venice, asylums have been opened for its various monuments: such was the Academy of Fine Arts for a great number of its paint- ings, the archives, which are established in the old convent of the Frari and ap- parently confided to very good hands for classification, will also be a refuge for the deeds and documents of its history. These archives, consisting of eight mil- lions six hundred sixty-four thousand seven hundred and nine volumes or port- folios, distributed into two hundred and ninety-eight rooms and corridors, may be regarded as the most voluminous in the world, and are assuredly one of the most enormous piles of written paper which have been hitherto collected. A part of the archives of the Council of Ten was consumed in the fire of 1508; copies of the judgments exist, hut the depositions were joined to the originals 16. <8S VENICE. [Book VI. only. 1 remarked a sentence of 1419, pronounced against four Minorile monks who had run nuked through Venice, followed by ihe populace ; they were merely requested to be more modest for the future. The fragments of the ar- chives of the Inquisitors of stale are very few in number. One part was destroyed long since through state policy, another when the republic fell ; the rest nearly all disappeared in the confusion ; this section of the archives has now a nomiual rather than an actual existence. The duty on salt, a subject so warmly discussed by economists, was appro- priated at Venice to the payment of ar- tists. In this part of the archives might be found some curious particulars resjiect- ing the price of the chefs-d'oeuvre of the great Venetian masters. To prosecute this kind of research is not now very easy, and it is necessary to procure a previous permission from Vienna. The autograph registers of Fra Paolo's consultations as theologian of the com- nionweaUh, have but few erasures. This monk displays aa almost parliamentary tact in his discussions with the court of Rome. Rut Fra Paolo, notwithst-anding his information and piety, did not escape the spirit of the age in which he lived, and his policy sometimes too closely re- sembles that of Machiavel.' The science of statisticsappears to have originated in Venice, and at an early pe- riod. The speech of Doge Tomaso Moce- nigo on the situation of the republic, pronounced in 1420, during the war with the duke of Milan, is regarded as a model by a very able modern writer on statis- tics, S. Quadri, of Venice. The expo- sitions of the situation of the Empire under A'apoleon were a good custom which might be advantageously conti- nued. A passage of the historian Sanuto, quoted by Daru. proves that there existed at Venice from the year U25 a kind of ' In panicular, remarks Daru, when be says in his l)00li cmitled Opinioue in qual moilo deliba governarsi la repuhlica veneziaiia, "ibat poison ought to do Ihe haugtnau's duty." Uist. of Venice. XXIX. )4. " Sloria delta stalistica, e pmspetlo slalistico (telle Proviiicie Venele. Venice, 18:4-1826, two vol. i See Hie Histories of Daru and Botla, n here (his letter is inserted verbatim. Villelard, a cousin of the ancient senator of that name, has composed several tragedies since bis fatal mission, among nhicb is one cntilled Constantin el la primitive domesday-book, and that the invention could not be attributed to the Florentines, as Sismondi supjioscd, who placed it inli29. I saw in the archives a statis- tical account of the Venetian slate for the year 1780, it was extensive, and the ar- rangement good. It is probable that such works were not as well executed at that epoch in other countries. Ihe genius of statistics is noi extinct at Venice; the Statistics of the Venetian Provinces, and the seventy-two synoptical tables ac- companying it, by S. Quadri, are esteem- ed, and S. Adrian IJalbi. one of the learned Europeans who have followed this kind of research with most zeal and success, is a Venetian. I perused the correspondence of the French secretary of legation, named Vil- Ictard, who in 1797 was charged with effecting the change of government ; an ingenuous negociator and sincere friend of liberty, w ho hoped to serve her cause by his manoeuvres, the candid Villetard said, in one of his despatches to the mu- nicipality of Venice : "The genet al will never yield on Iha democratisation , " and it was to him that Uoniiparte soon after addressed that terrible letter, an unheard-of compound of egotism, con- tempt, banter, and fury, — the death- warrant of Venice. J CHAPTER XX. Arsenal.— Lions of Athens.— Bucentaur.-.Vrmour of Qenry IV. — Eino. The arsenal of Venice was one of its wonders ; 4 and its most glorious and useful monument; the fleets which it constructed, in combatting and repelling the continual invasions of the Turks, preserved the civilisation of Italy and the south of Europe. It is, at this day, only a magnificent testimony of the decline of Venice. How it differs in its solitude eglise, on le Fanalisme jiolHiqiie, a very scarce piece, of which, through caprice, only two copies are Siiid to have been printed, lie died at the age of fifty-Uve on the 7lh July, 182.j, al Charenton : during his whole life he had only passed from one kind of madness to anolbei-. ■* Begun in I30i. Andrea of Pisa was not Ihe sole architect, as is affirmed In Ihe Encyclopedie, I. I. p. 4't ; he at most but participated In il, as is proved by ihe learned authors Delle fabhricche p'i« cospiciie lii Yenezia. Chap. XX.] VENICE. 187 from that arsenal so admirably painted by Dante, who in his description has in- troduced the naval technicalities and rendered them harmonious, poetic, and iniilative; so great were the descriptive powers of this prodigious genius ! Quale nell' Arzanii de' Vcnezioni Bolle 1' inverno la (ciiace pcce A rimpalnnr li legni lor non sani Cbe iiaTir^r non ponno; e n quclla vece, Cbi fa suo legno nuovo, e rlii ristoppa Le coste a quel rlie piii vlaggi fcce; - Cl)i ribalte da pioila. c clii da poppa, Altri fa rami, ed altri volye sarte, Chi leizuruolo ed arlimou riutoppa. The population of the arsenal, which was once sixteen thousand workmen, did not amount in the seventeenth century, as appears from the voyage of the prince of Tuscany, af erwards Cosmo III., to more than three thousand ; and lowarns the end of the republic but two thousand five hundred, reinforced on extraordi- nary occasions by the artisans and fac- chini of the town ; under the French ad- ministration the number sometimes rose to three thousand five hundred ; it is now scarcely twehe hundred. At the entry are the two colossal marble lions, brought from .Athens by iMorosini; they are of Greek workmanship, praised by the learned, who cannot however de- termine their epoch. One of the lions is in a rampant posture, and has two serpen- tine inscriptions on his mane, ap|)arently Runic, which, according to the Cav. Mus- toxidi, were placed by the Yaranghi, a mixture of the northern tribes, who, about the tenth century, formed the guard of the Byzanlian emperors. The statue of St. Justina, by Cam- pagna, is over the su|icrb pate, a kind of triumphal arch ornamented with sculp- ture by some pupils of Sanso\ino. Above the interior gate of the vestibule is a small statue of the Vinjin by this great artist. Many different mementos of Venice are to be found in the arsenal : there is the pretended leaihern helmet of Attila, and the sort of clumsy harness for his horse ; the veritable helmets of Venetian crusaders, the companions of Dandolo; the arms, and flowing standards of bril- ' Neither of llie l«o swords of Henry IV. whicli are in the cabinet of nieJals of Ihe royal library can be lliis sword,- lliey «ere deposited tbere 8 floreal, year V (April 27,1797), and the entry of the French into Vecice was on (be IGlb of .May in liant colour, taken from the Turks at the battle of Lepanlo,- and some frightful in- struments of torture employed by the In- quisition. In one of the rooms was a small unHnlshed model of the Bucentaur, a kind of cabinet curiosity, exposed to the dust, or destined to be placed under glass, which was never intended to ride pompously on the sea covered with (lowers like a recent bride, amid the roar of cannon, the flourishing of music, and the hymeneal hymn of the Adriatic, an ancient Venetian song, which ended in being understood by no one, though its fantastical sounds were religiously pre- served. It is thus that the superstitious patriotism of Rome respected the verses of the Salians, which in tbe days of Ho- race had become unintelligible. In spite of its ornaments and gilding, the Bucen- taur was but an indid'erent vessel, since it had never witnessed a storm; and the commander of the arsenal, -who was by right of office its captain, swore that the waves should be calm during the cere- mony of which it was the inert and os- tentatious theatre. But there is one monument which to a Frenchman is worth all the monu- mentsof Venice, Ihearmourof Henry IV., given by him to the republic; the sword unhappily is wanting, that sword, said he in his letter to the senate, which he had carried at the battle of Ivry ; it disap- peared in 1797, at the fall of the republic, when the armour passed fiom the Ducal palace to the arsenal. Notwithstanding my [jcrseveriiig inquiries among persons the best acquainted with the contempo- rary history of Venice, it was impossible for me to discover any trace of this noble sword. ■ The plain and solid armour of Henry IV. forcibly recalls the beau- tiful verse of the Uenriadc upon the arms of his soldiers : Leur fer el leurs mousquels composaient leurs parures. Opposite the armour of Henry IV. is the cenotaph erected by the senate of Veniceto the high-admiral Angelo Emo, who died at alalia in 1792, one of the first and best executed works of Ca- ihe same year; they belonged to tlie ancient garde- meuble de ta courunne : Ibe lirst is a dress sword with cameos; the other, described as a battle sword, is perhaps iu reality but a bunling-knife. 188 VENICE [BooE VI. nova.' In the midslof the universal de- generacy of Venelian morals, Emo proved himself a citizen. It was he who, after the dispersion of his fleet by a tempest at Eieos, and the loss of two vessels, a dis- aster in which Emo, having fallen into the sea, narrowly escaped drowning, came to the senate and said, " Allow my pro- perly to be employed in repairmg the losses the republic has just experienced." This great man might probably have prevented the ignominy of the last mo- ments of his country ; courage and ho- nour, extinct in the councils of the re- public, still survived in the arsenal ; and, as if the element which first aflordcd re- fuge to the founders of Venice, was ever to animate, excite, and reinvigorate their descendants, the last of the Venetians was a sailor. CHAPTER XXI. Tliealres.— Saint Cenedicl.— La Fenice.-S. Pcruc- cliiui ; — Buratli. — Carniyal. The theatres of Venice are neither des- titute of charms nor splendour. I saw- represented, in 1828, at Itic old St. Be- nedict theatre, a national and very lively comedy of the advocate Sografi, leDonne avvocate. A young man paid his ad- dresses to three Italian girls, and pro- mised to marry them : in order to support their claims, they went before the judge ; the Venetian gained the cause, and es- poused her lover, after having pleaded with eloquence and in the Venetian dia- lect. The piece was played with spirit and to nature. La Fenice is one of the first theatres ofltaly and the largest; it holds about three thousand persons. By means of a ' Canova, always dl'inlerested wlien tliere Vfas question of patriotic moruimeiiis, put no price on bis worli. The senate deorce.i liini an annuity of one hundred ducals; besides which lie received a ROld tnedcit of the value of one hundred sequins, presenting the mausoleum of Emo, and on the re- verse an inscription very honourable to the ariist. The payment of the pension having experienced some Interruption iu I7;i7,al the fall of llie republic, Bonaparte, «ho was by chance informed of it, wrote to Canova expressing his interest for him and assuring bim of bis proleclion. After the cession of Venice to Auslria, the pension was re- stored to bim when at Vienna, but under tbestrange condition of chosing that city for his residence : lie nevertheless obtained a dis ciisalion from it, hav- ing offered to direct gratuitously, while at Rome, drawbridge thrown over an adjoining court, the scene can be considerably lengthened, and on certain occasions a jet d'eau shoots up, raising its crest to the ceiling. I have not been present at this kind of prodigy, which must be more fiinlastic than ellective. La Fenice, burnt down in 1836, is already tastefully rebuilt. Of Ihc four grand operas which are re- presented here during the theatrical sea- son ( from the 2(jlh of December to the 20th of March ), two are generally new and composed by the best masters. Ope- ras are occasionally |ierl'ormed in the spring and in autumn, and our most celebrated dancers have appeared upon this stage. It was at La Fenice that S. Locaielii made the first essays of his astro-lamp, and there this theatrical lu- minary arose (or the first time. The experiment tried since at our Grand Opera obtained some credit for the in- ventor, bul it is probable that this mode of lighling will never be practised there. The new system throws a brighter light upon the scenery and the decorations, but leaves the audience in comparative darkness : the worthy S. Localclli, ac- customed to the negligence, the freedom, the absence of vaniiy in Italian women, did not doubt in his own mind that the ladies of Paris would resign themselves to the obscurity into which he plunged their beauty and their attire. It is impossible to speak of the music of Venice without recalling to mind the Venetian airs of Perucchini, so lively, natural, and graceful, which accompany so well the poetry of Pietro Buratli, a popular Anacreon, author of more than seventy thousand verses, a poet admirable for fire and originality. These little pieces are truly chefs-d'oeuvre.* his favorite aboile, some of the imperial pupils. " Huratli, deceased Oct. 20, i&'J'i, aged somewhat less than sixty years, had also translated Juvenal into the Venetian dialect. This smart passage from one of his letters, cited by his biographer S. Para via, frankly explains the style that he had chosen : "Alleno delia cosl delta bella society per quelle noie mortall die non ne vaiino mai sconipagnate, loviveva con tali uomini die non davan luogo a' versi che fra i bicchleri, e li volevaa condiii dt sail corri pondenti all" ottuso loro palato. Bisognava dunque di necessilb rinforzir la dose per essere la- leso e gustato. Ecco it vero molivo del genere prescelio a quello che piii si confaceva alia tempra della mia anima, capacissima per inlervalli delle piii dolcl cmozionl. Che s" ella mi doraanda la spiegazlone dl qaesto fenomeuo, lo non saprel da Chap. XXIII.] VENICE. 4S9 The carnival of Venice, though still the longest in Italy (I he atnuse?nents commence the day after Christmas, and the masked liallsnn twelfth-day), is barely the shadow of what it was formerly : this kind of institution misses the ancient rigorous government of Venice, which it seemed to mitigate. At the present day this brilliant carnival is only composed of the people, the higher class scarcely joining in it, andlhcreare not six hundred masqueraders wandering in gondolas, or in the square of St. Mark and the P/as- zetta. CHAPTER XXII. The celebrated beauties, noticed by Montaigne and Rousseau, philosophers of the same sch(jol, which it is not sur- prising to And there, are one of the by- gone peculiarities of Venice. The French police had already extinguished the two lights that formerly shone at the windows of these courtesans, who were entirely suppressed by Austria in 1815, at the very momentof the restitution of the four famous bronze horses, and when they remounted their original [dace : so that the Venetians said, in a murmuring tone, Ihat the emperor, who gave them back their horses, might as well have left them their vacc/ie: an Italian jest, difficult to translate. Morals have gained nothing by this rigour ; the courtesan is replaced by the needy man's daughter, or by the citizen's wife inclined to indulge her pas- sions; and corruption, instead of (lowing in a separate ch.mnel, infects the bosom of families. The ancient courtesans of Venice formed an institui ion which really served the cause of liberty, either by detecting sometimes important secrets, or ruining men whose fortunes might have rendered them dangerous. Therefore, the senate, who towards the end of the last century had endeavoured to disper.se them, was obliged to recall them by a decree ; they described them in this docu- ment under the name ofnostre benemerite meretrici : they w ere inviolate and sacred, ultro ripeterlo die dall' iDfiiiita debolezza del mio earatlere c!ie prendeva in gioTeolu le at>iludiai di chl mi atlorniiva." ■ Funds were assigned Ihem; ever since the year two, llie courtesans have inliabited llie catle and had their indemnity and endow- ment. ' The senate, in order to divert the young men also from politics, and to maintain its power, took on itself the care of supjilying the houses of the cour- tesans with the most beautiful women, whom it recruited in Kpirus and the islands of the Archipelago. " At Ve- nice," says Montesquieu, " the laws force the nobles to be moderate. So accus- tomed are they to parsimony, that none but the courtesans can make them part with their money. Advantage is taken of this medium for the support of indus- try ; the most contemptible women ex- pend without danger, whilst their tribu- taries lead a life of the greatest obscurity," The most cunning Venetian courtesans would, I believe, have had some trouble to extract any thing from the new masters of Venice, who are much more niggardly than the ancient Venetian nobles. Per- haps the suppression of these creatures has been less a measure of morals than of finance, another kind of reduction al- together in the spirit of the economical government of Austria. CHAPTER XXIII. Environs.— Islands.—Isle of Murano.—Salnl Michael, — Exhumalion or Fra Paolo — The monk Eusebius. — Morelli. — Emiliana cliapi'l. — Saint Peter and Paul.— Dome. — Looking-glasses, crystal, and pearls of Venice. I visited, in September 1828, the church of St. Michael in vl/wrano, where I expected to find the body of Fra Paolo, which was to have been transferred there. It had been discovered in the month of July, in the demolition of an altar of the ancient church of the Servites. At the death of Fra Paolo, the senate, owing to the threats of Urban VIII., had not dared to erect the monument which had been decreed, on account of his immense popu- larity, to this extraordinary man, theo- logian, historian, mathematician, and anatomist,^ and the marble was with- drawn from the studio of the sculptor. Grosley, in 17(U, was struck with the nudity of this tomb, without epitaph or any kind of inscription; we see by this called Cd Rampana, from the neighbouring palace of the illustrious family of that name, from iv hence proceeds Ihe injurious denominaliou of carompoHa. ' See post, book vii, chap. ii. 190 VENICE. [ Book VI. how it came to be forgotten. The exist- ing monument was erected at the expense of the city, by no means a rare occur- rence.' The sort of resurrection of Fra Paolo may be likened to the exhumation of other celebrated dead of whom we have previously spoken : ^ in default of men, our age produces at least some illustrious remains. The inscription on the sepulchre of the monk Eusebius, by Aldus Jlanutius, encrusted on a slab of marble ornamented by pretty sculptures, is curious and cha- racteristic' Such is the merit of the arabesques and ornaments which deco- rate the front, the doors, the choir of Saint Michael in Murano and the grand chapel, that the Venice Drawing Aca- demy has not judged ihem less fit than the antique to form the taste of its pupils, and has consequently taken a great number of models. A simple stone, upon the pavement, in- dicates the spot where reposes Morelli, the late learned librarian of Saint Mark. The epitaph, composed by his pupil, bis friend and worthy successor, the abb6 Beltio, simply recapitulates the labours, the services, the renown, the dignities of this great i)ibliographer, and that readi- ness to oblige, the duty and first quality of men placed at the head of great lite- rary treasures. The Emiliana chapel adjoining the church, is a small temple of the com- mencement of the sixteenth century, abounding with taste and elegance. The church of Saint Peter and Paul offers some remarkable paintings : St. Blase seated, surrounded by saints, by Palma; a fine Annimciutiun, by Porde- none ; St. Jerome in the Desert, by Paolo Veronese; a Descent from the Cross, of a character at once grand, ex- pressive, and original, by Giuseppe Sal- viati; the Virgin upon her throne, with the infant Jesus and saints, a cu- rious work of the Vivariui; the Virgin, ' The body of Fra Paolo is now al Saint Michael in Murano; upon the slab of while marble bor- dered with harUiglio (sky-eolouri'd marble of Car- rara), is this inscription, by S. Emmanuel Cigogna : Ossa Pauli Sarpii Theol. Reip. venetae Ex seile Servorura buc translata A. MDCCCXXVIII. Decreto publico. two angels, and the doge Barbarigo kneeling, a large celebrated jiaintiiig by Giovanni Bellini ; St. Agatha in prison, visited by St. Peter, a correct and sub- lime composition, by Benedetto Caliari, the brother, the assistant and the friend of Paolo Veronese; the Martyrdom of St. Stephen, by Leandro Bassano; an Assumption, by Marco Basaiii, a bril- liant artist, of Greek origin, of the com- mencement of the sixteenth century ; the Virgin, some saints, and the senator Lorenzo Pasqualigo, by the elder Palma; and the Baptism of Jesus Christ, by Tintoretto. The ceiling of the church of the An- gels, by Pennachi, enjoys some reputa- tion : in the centre is the Crowning of the Virgin ; around, thirty-four corn- pa itinents present figures of apostles, prophets, and angels; the colouring of this ceiling is much better than the design. The church of Saint Donatus, called the Duomo of Murano, is of a Greco- Arabian archiiecluie of the twelfth cen- tury : the pavement of the temple is in- laid with elegant mosaic-woik of the same epoch, and ten columns of Greek marble support the nave. The pair-tings ate interesting: a demilune representing the Virgin with the infant Jesus, and some figures, is a good performance by Lazmo Sebastian!, of the year 1484 ; the ancon of carved wood painted, of 1310, representing Bishop St. Donatus, with the two small figures of the podesla Alemmo and his wife, is cuiious for the costumes. A mosaic of the Virgin a|)pears to be nearly as ancient as the temple. The Descent of the Holy Ghost in the Cenaculum, by Marco Vecellio, is fine. The island of Murano still contains the manufactures of looking-glass, crystal, and [)eails, for which Venetian industry was formerly renowned ; but the two first cannot, al the present day, compete ' See ante, book v. chap. xxi. '■ lector, paiuniper sisle, rem mirara leges, nic Eutebi lilspani moriachi corpus situm est, Vir uiidecurnque qui full dociissimus, Nostraeque vils exemplar adrairnbile. Morbo laboians sexdecim toios dies, Edens, bibeiis nil prorsus et usjue suos monens Deum adiit. Hoc sciris vokbam. Abi et vale. Ann. D. MDIX. feb. aetat. suae LI sacrae ruilitiae XVII. Chap. XXV. j VENICE. iH with the fabrics of France and England. The Venetians learnt the art of glass- making from theGreelis, wiio Averc very jealous of their secret, w iiich the) had pre- served from antique tradition. The sand of Tyre, which gave the transparency to the glass of the ancients, might also have been employed by the Venetians when they made the conquest of the same shores. The manufactories of large varnjjhed pearls, to the number of three, have closely preserved the secret of tins cheap and showy fabrication, which allows to the moderately rich the splen- dour and luxury of the wealthy. Kut this frivolous industry, like that of works of fashion, cannot prove a sure resource for a state, since it docs not provide for real and durable wants. The exporta- tions of these articles are trifling, and uncertain; nor has the trade been sufTi- cienl to prevent the ruin of Venetian commerce. CHAPTER XXIV. Isle of Torcello.— Siiint Fosca.— Lido. The charming isle of Torcello is still remarkable for its monuments. The Duomo bears the impress of the East and of the middle ages : the front, the roof, and thepavemcntare inlaid with precious mosaics representing symbols and cir- cumstances of sacred history ; marble columns support the nave; the holy ■water vaseappears to have been a healhin altar, and a marble pulpit rises behind the choir, in the midst of semi-circular steps. The magnificence of this temple, founded in the year 1008, by bi>hop Orso Orseolo, bears testimony to the an- cient wealth of Venice and the splendour of its monuments even before the achieve- ment of its superb old basilic. • The churches of Saiul Geruinian and of Saint John Ihe Almoner, by S;insovlno and Scarpagnino, were, according to the opinion of Cicognara, only iiuilations of the saial! temple of Sainl rosea. The t^seful and cuiious «orli published in 1825 by Mr. Robert, superintendent ol the Saiiil-Genevieve li- brary, under the title of Fables iiicdites des xii^, nil* et xiY" sietUs, el Fables de La foiUaine, rap- prochees de celles de tous les auleurs qui avateiit, avani lui, Iraite les tnenies atijeh, n ithoul diminisli- lug the glory of La Fontaine, Indicates tlie obscure models of the Fable $ chvisies^mises en vers, as he has himself entitled his immortal collection. Theprelly piece of Brueys is only a leeble imitation of the an- cient popular farce of Paielin, by Pierre Blancliel. The neighbouring small temple of Saint Fosca, a work of the ninth century, whose materials were taken from the ruins of Roman edifices, is one of those primitive monuments of barbarous titnes, imitated, renovated, and restored with elegance, like certain literary master- pieces of the epochs of civilisation.' At Saint Fosca is interred the skilful painter Cappuccino, who, having escaped from his convent, found an asylum at Venice against the pursuits of his order. The tomb has for inscription these words : Bernardus Strozzius, pictorum splen- dor, Liguriw decus, a flattering eulo- gium in the vicinity of the great Vene- tian masters. A writer of a lively imagination has given a poetical description of the Lido,* it would be hazardous to risk another descri|)tion after his, that all the world has read. It is. however, to be regretted that it contains notning on the castle of Saint Andrew, a masterpiece of military architecture, by San .Micheli, monument of a victory, which, in its desolation, breathes still the strength and ancient warlike magnificence of Venice. ^ It was upon the firm and solitary bank of the Lido, that Byron look his daily ride. Had he died at Venice, it was his wish to have reposed there near a certain stone, the limit of some field, not far from the little fort, so as to escape, by a wild caprice, his native land, too heavy for his bones, and the abhorred funeral obsequies of his relatives. CHAPTER XXV. The i.sle of Saint Lazaro.— Armenian Convent. — Mechitar. — liover. — Moonlight at Venice. The little island of St. Lazaro, the most graceful of those that rise out of ' M. Charles Nodier, Jean Sbogar. 3 The most remarkable monument of San MI- chelis science, says M. Qualremere de Quincy, is the fortress of Lido. It had been reckoned impos- sible fur him to give a Drra foundalion to such an enormous mass in a marshy soil, conlinually as- sailed by the waves of the sea and the ebb aod flow. Be effected his purpose, however, and with great success. In construcliiig it, he made use of the stone of Istria, so well adapted to resist the weather. The mass is so well tixed that it might be taken for a hewn rock. Ilistuire de la vie et de> ouvraijea des plus celebres arcliilectes, t. 1. 101. 192 VENICE. [Book VI. the bosom of the lagoon, is inhabited by the Armenian monks, an affable and la- borious sect, who publish, in the Arme- nian tongue, good editions of the most useful and esteemed books, and devote themselves to the education of their youthful compatriots.' With its convent, lyceum, and printing-office, this house might reclaim the most passionate enemy of monastic institutions. The abbot-ge- neral and archbishop, Piacidus Sukias Some!, of Constantinople, is an accom- plished prelate whose manners possess a kind of oriental dignity not destitute of grace or mildness. The library, to which has been added a cabinet of natural phi- losophy, counts about ten thousand vo- lumes and four hundred oriental manu- scripts, principally Armenian; like every thing else, it is in perfect order. Lord Byron, during the winter, went there for some hours every morning, in order to take Armenian lessons of Dom Pas- quale the librarian; Byron, dissatisDed, tired of the world, and satiated with most things of this life, sought to pene- trate the difficulties of an Eastern idiom ; he found no interest but in difficulties, and this impetuous poet studied a grave, cold, and historical literature of transla- tions and polemics.* The Armenian monks called Mechita- rists take this name from their founder, the abbot .Mechitarof Petro, born at Se- bastein Armenia, who, in ti:e year 1700, assembled at Constantinople several monks his compatriots, after which he established himself at Modon, whence he passed with bis congregation to Venice after the loss of the iMorea by the repub- lic, which generously accorded to him ■ Two first-rate editions of the Cbronicle of Eu- scbius Uave been given afler the Armenian manu- script in tbe library of tbe convent of tbe isle of Saint Lazaro; one at Milan, in 1818, a quarto vo- lume, by S. Mai, and P. Zolirab an Armenian wiio Ireacberously separated liiraseU from tbe otber monks : tbe edition printed tbe same year at tbe roQvent, two volumes folio, anrt publisbed by 1'. J. B. Aucber, is Inlinltely preferable; tbe monks bad sent one of their body as far as Constantinople, in order to compare afresb tbeir Eusebius with the manuscript of which it was a copy. The Ar- menian monks have also conceived lln- project of giving a complele collection and critical ediiions of tbe writers oi tbeir nation from tbe fourth cen- tury, the most brilliant etiocb and Augustan age of Armenian lllei alure. to the lifieenlb century. Since this time there appears to have been no oi igiiial productions. These monks have already prepared tor the press all (list remains of the authors who for ever the isle of St. Lazaro for a re- treat. In the sacristy is the tomb of Coun Stephen Aconz Kover, a noble Hunga- rian, archbishop of Siiniia, and the third abbot-general, who resided sixty-seven years at (he monastery and died in 1824, after h.iving enlarged and perfected the Armenian institution, at ibis day a tri- bunal of language. This illustrious abbot, poet, and scholar, author of a good universal geogra|)hy of which eleven vo- lumes have appeared, the two others having perished in a fire at Constanti- nople, taught his dialect to the French orientalist Lourdet, who died in 1785, w hilst on his return from Venice to Paris where Kover was also called, and where he would have professed but for the trou- bles of the revolution. It is through error that an esteemed historian and a celebrated traveller ' have regarded the Armenian monks as here- tics ; they have always been good catho- lics, and only deviated frotn the Roman church in a small number of riles. Des- pite its religious liberties and its com- mercial spirit, Venice never admitted to- leration, and Comines had already re- marked and praised, the reverencewhich tlie y^enetians bore to the service of the Church. The return to Venice at night, by moonlight, is one of the finest scenes of Italy. The silence cf the city and the oriental aspect of Saint Mark and the Ducal palace, have at this hour something enchanting and mvsienous, and the pale splendour reflected on the sea and the marble palaces contrast with the black gondola gliding solitarily over the have wrillen from tbe fourth century to tbe cora- Hiencemenl of ihe eleventh, liut sncb an under- taking still requires much time, labour, research, and outlay, which do not permit tbe hope that llie publication will soon take place. Three vo- lumes of a small purlable collediun of tbe selected works, executed with much care, appeared in t826, t827, and 1828, as if to give, remarked M. Saint- Martln [Journal ties Siviitls, July t829), a fore- taste of the grand collection. P. Ciakciak has re- cently pnblished a second edition of his Armenian anil Italian Dicliohury, which has been highly spoken of by oiientalisls. '■ For want, said he, of something flinty lo break bis thoughts against, be torluied himself with Ar- menian. Byron laboured at the Engli.--h part of an Inglish-Armenian grammar publisbed at the con- yent of Saint I.azara. Mem , vol. 111. chap, viil and IX, and vol. IV., chap. vii. i M. Daru, I.ady Morgan. CuAP. XXVI. ] VENICE. 193 waters. These palaces arc no longer brilliantly illumiiicil, as heretofore, in the days of (ileasure, sports, and dissipa- tions of this brilliant city, and the moon, called by artists the sun of ruins, is parli- tulurly suited to the grand ruiu of Ve- nice. CHAPTER XXVI. Isle of Saint Clement.— M.ilnmorco.— Republican hatreds.-Murazzi. — Chioggia. — Origin and end or Venice. It requires a day to see the Murazzi, situated about eighteen miles from Ve- nice. At the isle of St. Clement there was formerly a convent of Camaldules, whose small detached houses, with a garden, are yet to be seen. These pious men, surrounded by the waves, were doubly anchorets. A Madonna, with her lighted lamp, as in the cross-road of a town, was fixed upon one of the posts that marked the route across the canals, and her pious glimmering light almost touched the sea, in the midst of which it was thrown. We pass before the isle of RIalamocco, that illustrious shore which witnessed the heroic elTorts of the Vene- tians in the war ofChiozza, when, in one of those fits of hatred peculiar to repub- lics, more implacable and more violent than the enmity of kings, as being the mutual abhorrence of one people for an- other, Genoa thought it possible to anni- hilate her rival. Venice, like Rome when Hannibal was at its gates, displayed that aristocratic patriotism, the most constant and firmest of all, which will never suffer a country to be degraded by shameful treaties, and whose proud bear- ing is noble and glorious, as iiisdisplayed in the midst of dangers and sacrifices. The Murazzi are not a simple military causeway, like the jetty of Alexander or of Richelieu, much more celebrated, as are the works of conquerors or of despots ; they form the rampart of a great city, for centuries the seat of freedom. Neither is this marble bank the polders, of wood, fascines, and clay, of Holland, w hich must j rather resemble the palisade of beavers, I than the magnificent woik of the Vene- \ lians. The so much admired inscription I ausuromano, cereveneto, did not appear to me deserving its reputation; indepen- dently of the vicious mixture of the plain ■ and the figurative, this vain-glorious allu- sion to money, like that of theSimplon.'is not very noble. After all, the famous in- scription was perhaps only proposed, for it is impossible to discover it. The most ancient of the thirty-eight inscriptions in- dicating the epoch when the different parts were successively executed, though simple, is not the less imposing, since it proves the fourteen centuries of free ex- istence enjoyed by the republic : Vt sacra OBstuariaurbis etlibertatis sedes perpe- tuum conserventur colosseas moles ex solido marmore contra mare posuere curatores aquarum. An. Sal. MDCCLI. ab urbe con. MCCCXXX. The Mu- razzi, formed of enormous blocks and supported on piles, rise ten feel above high-water maik, for the length of 5,267 metres; the construction occupied thirty- nine years, and 1 he outlay was 6,9.j2, UO fr. In some places the marble, polished, worn, and wasted by the waves, becomes some- what spongy, and its brilliant whiteness gives it the appearance of petrified froth. Never was there an exauiple of restraint more striking for meditation : on this side of the Murazzi is a tranquil lake; on the other, is the sea, whose long rei- terated billows roll up and break them- selves against the foot of their steps. The Murazzi are only of the middle and end of the last century ; it is difficult to be- lieve that a State capable of such gigantic works could so soon be annihilated : it is easier to curb the fury of the waves than to arrest the machinations of the wicked. The smiling coast of Chioggia de- serves to be visited for the chaiacter of its lively, original, laborious, and nume- rous population, whence Titian derived his expressive but not too ideal heads ; Goldoni, the sallies of the w tangling and noisy personages of his Gare chiozzotte; and the unfortunate Leopold Robert, the melancholy scene of his Fishermen of the Adriatic. When I returned from the Murazzi to Venice, in the autumn of 1827, there was not a single vessel in quarantine at the lazaretto. This vast deserted enclo- sure, no longer animated by commerce or war as in the time of the republic, recalled the menaces of the prophets against Tyre: "How art thou destroyed that wast inhabited of sea-faring men, the renowned city, which was strong in See book i., chap. xxt. 17 m PADUA. [Book VII. the sea?.... The isles that are in the sea shall be troubled at thy departure."' Venice began with Altila and ended with Bonaparte ; this queen of the Adri- atic, whose empire flourished fourteen centuries, was born and expired in the midst of storms more violent than those of the sea which encompassed her, and the terror of the two conquerors respectively produced her origin and her fall. » BOOK THE SEVENTH. PADUA.-FERRARA. CHAPTER I. Caobs of the Brenta.— Foscari palace.— Padua.— Its exteusiOD. I will confess that the banks of the Brenta, before reaching Padua, seemed to me far from deserving the praise lavished on them. Near the viceroy's pa- lace they are disfigured by a long em- bankment or towing path supported by a great wall of brick; in other parts the gardens which border them, with their yoke -elm hedges, well-trimmed trees, and symmetrical alleys, are real parson- age gardens. It is true that many fine palaces have already disappeared, and the destruction now prevailing at Venice, began long since on the borders of the Brenta. In their actual slate, I think them altogether inferior to the banks of the Seine near Suresne, or on the Saint- Germain road. The Foscari palace, near the little in- salubrious village of Malconlenta, has hitherto escaped the ravages of time and man ; it is one of Palladio's most elegant chefs-d'oeuvre. Padua appeared to me a great, long, melancholy-looking town, although I arrived first there in June, during the celebration of a kind of Olympic games in honour of Saint Anthony, and even met the bronzed triumphal car of J.he victorious jockey, who was parading the streets amid the shouts of all the raga- ' Ezeliiel, cap. xxvi., n, (8. " Tbe free purl, decreed Ihe 20Hi of February, 1829. and opened ihe 1st of February, )830, bas somciyhat reanimated the languishing remains of Veueiian commerce, nhich atlaii;ed its greatest d.eTelopement in ibe fourleenlUand fifieentb ceu- mufTms that surrounded him. This town, however, is every day gaining what Ve- nice loses; the population amounts to forty-four thousand ; but, with the single exception of the Pedrocchi coffeehouse,* its prosperity is plain and without display. CHAPTER n. Dniversity.— Vertebra of Galileo.— Library.— Chapter library. — Botanical garden. — Academy of Sciences, Letters, and Arts.— Ladies of tbe Academy. The organisation of the university of Padua is the same as that of the univer- sity of Pavia (except that the latter has no faculty of theology ), and the profes- sorships are : theology for the use of parish priests {pastorale); ecclesiastical history; moral theology; biblical archeo- logy; introduction to the books of the Old Testament ; Hebrew exegesis and language, and oriental tongues ; biblical hermeneutics; introduction to the books of the New Testament ; Greek language ; exegesis of the New Testament ; doctrinal theology. This ancient university, which arose in the beginning of the thirteenth century, and had as many as six thousand students in the sixteenth and seventeenth, numbered no more than fourteen hun- dred and thirty-seven in 1832 ; it is still distinguished, however, by able profes- sors. For instance, Rachetti, professor of law ; Santini ( like Michael Angelo, born at Capresa, a village near Arezzo), turies, and began to decline with Ihe sevenleeDlh; this free port, without arresting Ihe destiny of Ve- nice, bas neverlheiess bad Ibe advantage of pre- serving to tbe people of Ihe lagoons their ancient maritime and manufacturing characier. 2 See post, chap. ui. CUAP. II.] PADUA. 193 professor of astronomy, and his very able depulyConli; Catullo, professor of na- tural history. Undcrlhe marble peristyle, now dreadfully damaged, are the armo- rial bearings of many professors and students ; this elegant peristyle has been included in Palladio's unpubliS'hed works, but incorrectly; it may more safely be attributed to Sansovino; to judge from the exterior, this university would appear the most aristocratic in the world. In the vestibule is a good marble statue of the celebrated Helena Lucrezia Cornaro- Piscopia, who died in lC8i aged thirty- eight; an illustrious lady learned in the Spanish, French, Latin, Greek, Hebrew, and Arabic languages, who sang her own verses with an accompaniment by herself, lectured on theology, astronomy, mathe- matics, and received the degree of doctor in philosophy from the university. He- lena Piscopia was very handsome ; she wore the habit of the Benedictine order, the severe rules of which she always followed, although her parents had, without her knowledge, procured a dis- pensation from a vow of virginity which she had rashly made at the age of eleven, and notwithstanding the oilers of mar- riage from several of the highest nobles. In the cabinet of natural history is a vertebra of Galileo enclosed in a mean- Jooking little pedes^tal of varnished wood, executed at the expense of the abb6 Sle- neghelli, under whose rectorship its installation took place; 'in the account published concerning it by the worthy rector, he ingenuously flatters himself with not having been able to find a better model for his pedestal, surmounted with the bust of the immortal astronomer, than that on which the divine Canova placed the lyre of Terpsichore. The ver- tebra is the fifth lumbar ; it was purloined by the Florentine physician Cocchi, who in 1737 was charged with the translation of Galileo's bones to the church of Santa Croce in Florence ; after becoming by inheritance the properly of Cocchis son, it belonged to the patrician Angelo Qui- ' Tlie leclors of llie university, chosen from among the professors, are only appointed for a 5ear. This rusiora Has esliblished during the re- public, and has never been interrupted. ' Ilist. of Venice, booli xi. Darn, who had ap- plied himself during the last year of his life to laborious researches respecting Galileo and hiscon- demnallnn, stales In a note to his poem entitled iUronomy (the 1 1th of canto i?.| that the Jesuits, rjni, the mathematician Vivorio of Vi^ cenza, and lastly to doctor Thiene. his physician, who presented it to the uni- versity of Padua. The finger of II di Giugno. Vivendo si fece 1' iufrascrilto epiiafiu : A Messere Spcione Speronl delii Alvarotll, filosofo et cavalier padovano, 11 quale, aniando con ogni euro, clie dopo se del suo nome fusse memorla, die ainnen nelli aniinl de' viclni, se non plii oltre, cor- tesemenle per aliun tempo si conservasse, In vul- gar uoslro Idioma con vailo slile slno all' cslremo parlo, el sciibse non vulgarmenle sueproprie cose, et era letto ed uditu. rabosco ; the large Cavalcade of a pope, attributed to Domenico Urusasorci ; a Group of Angels, by Liberi, and a very remarkable old portrait of Petrarch. The gill silver vase of the sacristy, used in the ceremony of confirmation, is co- vered with figures in rather profane atti- tudes; it has been explained by Lanzi, as also the Greek inscription, from which it appears to be one of the vases in which artists' colours were prepaied and kept. This sacristy possesses two antique ma- nuscripts very well preserved; one is a book of the Gospels of 1170, the other of ihe Epistles of! 259. The Missal on vellum paper, printed at Venice, in 1491, with rich miniatures, is also a very fine book. The little church under the choir has the tomb of St. Daniel, lemarkable for its beautiful bronze basso-relievos by Titian Aspetti. The baptistry, a structure of the twelfth century, near but not joining the cathe- dral, is much more curious and charac- teristic. It was built by Fina Ruzza- carina, wife of Francesco Carrara the elder, and contains some admirable paintings by Giotto's pupils, worthy of himself, and skilfully retouched ; they re- present various subjects out of the Old and New Testaments, with some histo- rical portraits, such as that of the pious founder praying to the Virgin, several of the Carrara family and of Petrarch. Near the door is an excellent bronze basso-relievo of the Beheading of John the Baptist, by Guido Lizzaro, a clever founder of the beginning of the sixteenth century. The old diptych of the altar, of the fourteenth century, representing several incidents of the saint's life, is a beautiful and curious monument of its kind. The episcopal palace, near the Duomo, Vivelle anni LXXXIIX, mesel, glorni XIII. Mori padre di una ligliola, die 11 rimase di !re che n' bebbe, et per lei avo di assal nepotl ; tna avo, proavo, et atlavo a descendcnli delle altre due, tutii nubili, et bene stanti femlne et mascbl, nelle lor patrle bonorate. The following inscription, formerly on the pave- ment of tbe churcb, is now on the base of ibe mo- nument : Al gran Sperone Speronl suo padre Giulia Sperona de' Conli WDLX.VXXVm. Chap. III.] PADUA. 499 is interesting with respect to art : the very elegant frescos of the old chapel are by Jaeopo Monlagnana, an excellent Paduan artist, supposed to have been a pupil of Giovanni Bellini; bis allar-piece in three coniiiartmenls is admirable. The prelate's aparlnjents evince the libe- rality of bis taste: bis library is rich ; there are many paintings by the great masters of various epochs. Over Ihe library door is a portrait of Pelrarch praying to Ihe Virgin, reckoned the most aulhenlic likeness of this great poet ; for if the various portraits of Danle resem- ble each olhcr, bis are all dill'ercnt. This portrait was painted on ihe wall of the poet's house at Padua, which was pulled down in 1581 when the cathedral was enlarged; the Cav. Giambatlista Selvalico, professor of canon law at the university, had it cut out of the wall and carried to his house, to insure its pre- servation; in 1816 it was put up in the archbishop's palace by the marquis Pietro Selvatico, under the advice of bis friend Giovanni de Lazara. This por- trait has been engraved and is prefixed to Marsand's edition of the Rime, which we have already mentioned several times. The Virgin on a throne, holding ihe infant Jesus by the hand, and two angels, by Grcgorio Schiavone, a good pupil of Squarcionc,' has been praised by Lanzi. The great painting of the Plague of 1631, a masterpiece of Luca of Keggio, which recalls the sweetness of his master Guido, is less animated and pathetic than the description of the authorofthePromess/5/Jos«. The Christ appearing to St. Margaret, by Da- mini, is touching. A good painting re- presents the young rs'ypolcone, cardinal Stefano's nephew, killed by falling off his horse and resuscitated by St. Domi- nick. A gold patine, on which is an engraving oi Christ in the midst of the Apostles, is an exquisite work by Va- lerio Belli, a very clever artist of Viceuza in the sixteenth century. At Saint N cholas, a small parochial church near the Uuomo, is the tomb of d'Hancarville. the author of the Recher- ches respecting the origin, spirit, and progress of the arts of Greece, and also respecting the Hamilton vases, a French- man of great parts and systematical eru- dition, whodied atPadua on the 9ih Oc- ' See post. tober 1805, and not at Rome in 1799 or 1800, as stated in several historical dic- tionaries. The epoch of his birth is pro- bably given with equal inaccuracy. The parish register of deaths, of the 10th Oc- tober 1805, imports that the baron d'Han- carville died on the previous day, of a fever, at one o'clock in the morning, after an illnessof two months, and having received all the sacraments, at the age of about [circa) eighty-six years; bis birth must consequently have occurred in 1719, instead of 1729 as the dictiona- ries assert. There are some persons of Padua, intimate friends of d'Hancarville, who afTirm that so far back did his me- mory extend that he must have attained that advanced age. Cicognara has given fragments of bis unpublished disserta- tions on Raphael's paintings at the end of chapter H., book vii. of bis History of Sculpture. The titles of several others of these same unpublished dissertations are enumerated in the notes of the Ita- lian translation already mentioned of Quatremere de Quincy's History of the life and works of Raphael, by Francesco Loiigbena. I cannot here pass over un- noticed a charming portrait of d'Hancar- ville by Signora Albrizzi in her Ritratti. Saint Anthony, il Santo, as from his popularity this thaumaturgus has been surnanied for six centuries, is the chief and most ancient wonder of Padua. The architecture, by Niccolo Pisano, has some- thing imposing. Over the principal door are, one on each side of the name of Jesus, the two flne and celebrated figures of St. Bernardin and St. Anthony, painted by iMantegna, as he himself informs us in an inscription.^ The guardianship of the interior of this temple has been for some years past somewhat singularly entrusted to some Dalmatian dogs, of the shepherd species, which have well fulfilled their charge against all but the despoilers of 1797. The two present guardians of the Santo, some years ago, surprised a domestic of the Sografi family who had remained at his devotions one night after tlie doors were closed ; they took up their positions one on each side, ready to seize him if he made the least movement, and kept him thus in custody till the morning. The chapel of the saint, one of the richest in the world, by the architects " Andreas Mantfgna optuaio faTenle nuruiiieiier- (edt. uccccLii. XI Kul. sextil. 200 PADUA [ Book VII. Jacopo Sansovino and Giovanni Maria Falconetlo, is ornamented witli pleasing arabesques by Matteo Aiiio and Gero- nimo Pironi, and with exquisite basso- relievos by Campagna, Tuilius and An- tonio Lombardo, and Sansovino. Among the last is a very fine one of a republican subject, which seems rather strangely placed on the tomb and among the divers incidents of Saint Anthony's life : it is Mulius Sca;vola haughtily burning his hand for having missed Porsenna." A different and less noble subject, but still better executed, is the miracle of the young girl who fell into a slough and was resuscitated by Saint Anthony, a basso- relievo by Sansovino. The stucco orna- ments of the ceiling are extremely ele- gant, by the clever artist, Titian Minio, of Padua, who was also the author of the Redeemer and the twelve Apostles; the majestic altar, the doors, the four angels holding the chandeliers, and the superb statues of St. Bonavenlure, St. Louis, and St. Anthony, are by Titian As- pelti, who must not be confounded with the preceding artist. One of the three lamps of massive gold melted down in 1797 to pay the war assessment, was a present from the Grand Turk to Saint Anthony. In the chapel of the Holy Sacrament, the basso-relievos and the four angels sculptured by Donatello are valuable works. A f rtici/jxi'on, of extraordinary beauty and in perfect keeping, is by Da- roini. The frescos of the chape! of Saint Felix, by Jacoiio Avanzi and Aldighieri, great painters of the fourteenth century, but almost unknown, and five antique statues of the altar, are very remarkable. The Martyrdom of St. Agatha, by Tiepolo, in one of the chapels, has been praised byAlgarolli for its fine spirited expression, although the drawing be not irreproachable. 1 he St. Louis giving alms, in another chapel, by Rotari, is harmonious and pleasing. I observed in the chapel of Saint Prosdocimus, the se- pulture of IheCapodilista family, a noble and pleasing chivalrous motto in French, Leal Desir. This ancient Paduan fa- mily derives lustre from Gabriele Capo- ' This acl of Mulius Scaevola seems toliavesuiled the tasle of Italian arlislsof the sixteentli rcr)lury : 11 may be seen on llie triuraplial arclj erected at Home on occasion of ibe coronation of Leo X. ; it is near tlie pope's arms and a sacritice offered l)y shciilierds. See Ibe Chronicte of tlie I'loreotine dilista, a pilgrim to the Holy Land in I i58, who also wrote his Itinerary, now a scarce book. The Beheading of John the Baptist, in his chapel, by Piazzetta.a bold imitator ofGuercino, extolled for the effect of light and shade, is horrible to behold, as also the Flaying of St. Bartholomew, at the next chapel, by Pittoni, one of the octogenarian painters of the Venetian school. 2 At the Orsato chapel is Liberi's St. Francis receiving the stigmata, the very expiessive head of which is said to have been done in one night. The antique chapel of the Ma- donna Mora is curious : the marble fi- gure is a Greek work, but its beauties cannot be perceived on account of the enormous vestments in which it is muf- fled. Some other paintings and sculp- tures of Saint Anthony are worthy of remark : the Descent from the Cross, by Luca of Reggio, is natural and of good colouring. The Redeemer, a fresco of Mantegiia's school, under a glass, is in pretty good condition. Another fresco of the Virgin and the infant Jesus, larger than nature, with St. Jerome and St. John Baptist, a work of the begin- ning of the fifteenth century, recalls Giotto's manner. The Virgin on a pe- destal, and helow Sts. Peter, Paul, Ber- nardin, and Anthony, is a fine composi- tion by Antonio Boselli, an able Berga- mcse painter of the sixteenth century. The Crucifix surrounded by prophets, and Sts. Sebastian, Gregory, Bona- venlure and Ursula, by Montagnana, is elegant and true. A saint in marble, over the holy-water vase, is by Pyrgo- telcs. The Burial of Christ, on a door of the chapel of Relics, by Donatello, a famous basso-relievo of clay gilt, which was worthy of being cast in bronze, not- withstanding its beauties, is somewhat exaggerated. The choir and the high-altar are an assemblage of chefs-d'oeuvre of the great- est masters. The great bronze chandelier, by Andrea Riccio, the Venetian Lysip- pus, is the most beautiful in the world. It cost the artist ten years' labour; and every part w ill bear a comijarison with theantique chandeliers, but the ensemble physician Giovanni Jacopo I'enni, quoted in Ihe ap- pendix to the Lite and Pontificate of Leo X., by Uoscoe, chap. vii. See pos(, another painling on Ihe same subject at Saiut Laurence of Cremona, book IX., chap. xxiv. ' See pod, booli vi., chap. xvil. CUAP. III.] PADUA. 201 is inferior ; the richness and multiplicity of so many elegant particulars are inju- rious to the real beauty of the work. The four statues of ihe protectors of Pa- dua, the Virgin and the infant Jesus, and the great bronze crucifix, are admi- rable works of Donatello, and the stone statues are by Campagna. II Santo contains some illustrious mausoleums of patricians, generals, dis- tinguished foreigners, and professors. The monument consecrated by the pa- trician Querini to Bembo is associated with the first names in letters and the arts. The bust of Danese Cataneo obtain- ed the elogium of Arctino ; it is pr«lend- edthat Titian and Sansovino contributed lo its perfection by favouring the artist with their counsels; the architecture of the monument, by San IMIcheli, has a noble simplicity ; the inscription is by Paolo Giovio. The marble mausoleum of Alessandro Contarini, procurator of Saint Mark, executed under the direction of San Micheli, is full of grandeur; the figures of the chained slaves, by Vittoriu, placed as cariatides and excellently dis- posed, are vigorous ; and the little wing- ed figure on the top of the monument, by the same great artist, extremely grace- ful. Another splendid tomb is that of the professor of elocution Oclavio Fer- rari, a copious and fluent rhetorician, whose digressions were said to be more esteemed than the subject of his lectures ; and such was the amenity ofhis manners and speech as to procure him the fine title ofpeace-maAer, We are informed by the inscription that this professor of Padua had a pension from Louis XIV., and was a knight of the equestrian order of Christina ; the more illustrious Cesa- rolti. who was pensioned and knighted by Napoleon, has for his monument only a small red stone with the half-effaced inscription -.—Ossa MclcMoris Cesarotti Patavini anno 1808. Notwithstanding the poetical talent of Cesarotti, his trans- lation pf the Iliad is inferior to Montis ' At last a monument was erected in (835 lo Gas- pardo Cozzi Ibiough the exertions of Professor Menegbelll ; the sculptor, S. Giuseppe Petrelli, has represented the genius of literature overwhelmed with sorrow, sealed before the bust of Gozzi, with tbis inscription benealh :— IIODori Gasparl. Goziii. Viri. Litteratlsslmi Cujus. Cineres. In. Hoc.Sacello and impregnated with the false taste and frivolity i)ecu!iar to the French and Vol- tairian imitation of the Italian authors of the last century; the simplicity and an- tique colouring are still farther departed from than in Pope's translation : for in- stance, he fancied he was making the girdle of Venus more agreeable and be- coming by transforming it into a neck- lace. The translation of Ossian, Cesa- rolti's best work, is very superior to his Iliad ; as a critic, Cesarotti has been justly praised ; but it is surprising that a lover of truth, like Sismondi, could proclaim him the first poet of his time. Another cele- brated Italian writer, philosopher, poet, and critic, Count Gaspardo Gozzi, eldest brother of the eccentric and merry Carlo Gozzi, is interred at Saint Anthony : neg- lected by the declining government of Venice, he died indigent, and has not even an inscription. It is dilTicult lo explain such literary indifference in a town like Padua, and beside the sumptuousness of some of its mausoleums.' The treasury of Saint Anthony, an immense heap of relics, was despoiled of a portion of its riches at the time of the French invasion in 1797. There are ex- hibited the saint's tongue still unchanged in colour, which, though less eloquent, has moved more men than that of the Roman orator ; and the collection of his sermons corrected by himself, written iu a legible and even elegant hand. (.asanova relates that at Padua it is believed that Anthony does thirty mira- cles a day : the number of his masses need not cause any surprise ; it is so great that there are neither sufficient altars nor priests to celebrate them, and there is a papal bull authorising the chapter to say, towards the close of the year, certain masses {messone in Venetian) which count for a thousand, as the only means to sweep off the arrear. The price of these masses shows the variations in the value of money. A lady, la Speronella, the richest and most capricious woman, Antonivs. Menegbelivs Yoli. Pvblici. loterpres M. P. Ann. MDCCCXXXV. Gozzi died In the bouse of Count Leopoldo Ferro, in the faubourg of the Viguali; S. Meneghelli ol>- tained permission from the present proprietor to place on the outside s\all another Inscription, allud- ing to the rcsideuceand end of Gozzi. 202 PADUA. [Book VII, it is said, in the ■s\hoIe district of Trevisa in the twelfth century, who had been six times a widow, left by will, in 1192, flfty livres, to have a thousand masses said for the repose of her soul. These halfpenny masses in 1292, exactly a century later, had already risen to a penny. The ceiling of the sacristy, represent- ing St. Anthony's entry into heaven, is a fine fresco by Libcri, unfortunately too distant; the wood work of the cup- hoards is by the brothers Cristoforo and Lorenzo Ca'nozzi ; the latter both painter and sculptor, a fellow disciple and rival of Mantegna, famous for this kind of work ; a Crucifix, and other ornaments in steel wrought with singular ingenuity by an artisan of Padua, were superin- tended by the painter Antonio Pellegrini. Among the numerous tombs of the cloister of Saint Anthony, I remarked that of a great nephew of Ariosto, a boy of thirteen years, illustrious, says the in- scription, by the name of his ancestor {Adolescentulo nomine avito claro) ; that of a Frenchman, Arminius d'Orbe- san, baron of La Bastide, a young war- rior deceased in 159.T, at the age of twenty : after a touching Latin inscrip- tion," comes this quatrain, which is des- titute of neither harmony nor poetry : N'arrose tie les pleurs ma si'pulii ale cendre, Puisque un jour ctcrnel d un plus r)eau ray me liiit, Mais benis le rercueil, oil lu as a destendre; Car il u'esl si beau jour qui ue mciue sa nuit. In the cloister of the Presidence is a great sarcophagus surmounted by the recumbent statue of a warrior, with a fine Latin inscription composed by Pe- trarch. = The Scnola del Santo (the confrater- nity of Saint Anthony), near the church, presents, on the first iloor, some fine and curious frescos by Titian, or of his school ; the subjects are taken from the history of the saint, and these are .esteemed the best preserved works of that great painter. Two, especially, are admirable; they equally remind us of the jealous violence of husbands at that period, and ' Callus cram, I'alavi morlor, spes una parenlura, Fleclere luilus, cquos, armaque cura full ; Nee quarto in lustrn milii praniu I'aica pepercil. Hie tumulus, sors bajc, pax sit ulrique : vale. ' Miles cram magnus faclis, ct nomine Mannus. Donates, quos fama vocal, celebratque vetusti Sanguinis auctores habui, manus inclyta bello Deiteriiasqueimmensa (uit, nee gratia daras Saint Anthony's singular compassion for their wives : one represents a woman poniarded by her husband and brought to life again by the saint; in the other, a wife very much suspected by her husband has her honour vindicated by the child to which she has just given birth recognis- ing its true father, who is greatly moved thereby, a miracle for which he returns thanksto Saint Anthony. Two frescos by an unknown author also exhibit him, the first, fearlessly remonstrating with the tyrant Eccelino, w ho falls at his feet, swears that he Mill retire, and imme- diately quits Padua, which he did not venture to revisit till after the saint's death : in the second he appears to the blessed Lucas Belludi, to whom he an- nounces the delivery of his country from the same Eccelino : as the protector of women and the redoubted enemy of a tyrant, Saint Anthony is set off to the best advantage in this Scuola. Some other paintings, many of which represent the saint's odd miracles, are to be remarked : the Saint setting the foot of a young man, by Titian ; Saint An- thony dead and recognised a saint by the joyful shouts of children ; the Mi- racle of the glass throicn on the pave- ment from a window without breaking, which converted the heretic Aleard; the Child thrown into a copper of boiling xcater and resuscitated by the saint; the Bashful child not daring to ask for cakes, of Titian's school ; the Opening of the saint's tomb, which offers near the body the portraits of Jacopo Carrara and bis wife Costanza, a good painting by Contarini ; St. Francis and St. Anthony in dare-obscure, one on each side the altar; the Child brought to life by the saint, very fine, by Domenico Campa- gnola. A painter of the last century, named Antonio Buttafogo, has not feared to represent the Death of the saint be- side such w orks ; the painting is of 1777 ; but the temerarious artist might have spared himself the trouble of dating it. In the small under-ground chapel, ihe Virgin, the Infant Jesus, St. Benedict, Defucrat formse, dubiique perilia Martis ; Dum pia j'uslilleB fervens amor induit arma. Ml meluens mullis late viclricia campis Signa tuli, muUos polui meruisse triumphos : Florenliua milii generosae stirpis nrigo, Cara domus Falavura, sedesque novissima busti Contlgil cxiguo fessum sub marmore corpus, Reddita mens coelo, nomen serrate sequentes. Chap. IV.] PADUA. 203 and St. Jerome, a work in Tilian's style, by Padovanino, has been clumsily re- toucher! and is lost through neglect. The fine bronze equeslMan statue, by Donatello, representing the Condottiere Gallameiata, in the square before the church of Saint Anthony, is the first founded in Italy and by the moderns. However able this general may have shown himself, the chief of a mercenary band of soldiers does not seem to deserve the honour of such a monument. With combatants of his description war loses a portion of its heroism, and is only another species of speculation and traffic. These Condottteri, in the pay of diirerent states, are well known to have taken care of themselves and prolonged Ihe hostilities ; their manoeuvres on the field of battle were very often only simple evolutions, and their campaigns grand parades. The fact related by Machiavel, respecting the battle of Anghieri, which was won by the bands in the Florentine service over those in the pay of Milan, ' although denied by Scipio Ammirato and other writers, does not destroy the reasoning of the Florentine publicist on the infe- riority of such troops and their inability to defend their country. The French soldiers, who knew nothing of this kind of exercise and arrangement, could easily outdo such enemies and conquer Italy col gesso.' Perhaps the origin of the phrase fnria francese ought to be as- cribed to the terrible surprise that Ihey excited among such prudent men? Is it not singular that these stormy republics, so jealous of their liberties, Athens, Car- thage, Venice, and Florence, ended by entrusting foreigners and barbarians to defend them! to such an extent is that sort of social egotism, produced by false civilisation and the craving after plea- sure, fatal to true patriotism ! So much are wealthy, commercial, reasoning na- tions less capable of great sacrifices than those which are poor and insulated, reli- gious, and of primitive manners. ' 1st. ftorent. lib. v. After four hours of close combat, there was onlj one man killed, and he lost bis life through falling from his horse and being trod underfoot by the horses of the pretended on- iagonists. CHAPTER IV. The Annunziata.— Hermits. — Servl. — Uuzzanle. — Saint Francis.— Squartione. — Saint nenedict. — The countess of Uosemberg. — Carmelites. — Stelllni. The church of Saint Gaetan, of noble and simple architecture, by Scaniozzi, injured by the alTectation of certain or- naments of the last century, has three paintings by Palma, the Annunciation, the Purification, the Resurrection of Christ, and an admirable figure of the Virgin addolorata, attributed to Titian, and worthily. The church of Saint Andrew contains the tomb of a learned scholar of the last century, Domenico Lazzarini da Murroj the Greek inscription is affecting : — "Here reposes Domenico da Murro. Alas! how far is he from Ancona, his country!" At the high-altar, the Virgin, the Infant Jesus, St. Andrew, St. Tho- mas de Villeneuve, and other figures, is by Posscnti, a clever Bolognese painter of the middle of the seventeenth century, a pupil of Ludovico Carracci, who died at Padua of a mu.»ket shot fired by a rival lover. In the sacristy are three remarkable paintings : the Holy Trinity, St. James, and St. Jerome, by Santa Croce; IhcVirgin, the Infant Jesus, and the Apostles, by Giuseppe Salviati, and a very good Resurrection of Christ, by an unknown author. The architecture of the church of Saint Lucy is simple and well-conceived, alto- gether freefiom the bad taste of the last century. A little painting of the Virgin, half-length, is a precious work by an unknown author; it is placed over a wooden crucifix, by Booazza, a Paduan artist of the last century, clever in that kind of work; in the sacristy, the 5^ Joseph holding the infant Jesus in his arms, who is turned with an aflectionate air towards St. Anthony of Padua and St. Francis d'Assise, is by Nicholas Re- nieri, a Flemish painter, of the earlier half of the sixteenth century, who settled at Venice; his style is at once soft and vigorous, and unites the manner of his country with that of Italy. a Willi dialler the words used by Alexander VI. to express the rapidity of the invasion of Charles VIII., wIjo seemed to have 6Dly to mark bis lodgings like a quartermaster. 204 PADUA. [Book VII. The little church of the Annunziata neir Arena,' of the beginning of the fourteenth century, is singularly charac- teristic. Beside it stood the oIiJ palace of the Foscari, which was demolished between my visit of the year 1827 and that of 1828, and a mean looking house was being built on its site. This so- litary spot consequently combined, on my first visit, the ruins of antiquity, the middle ages, and the revival. The wails of the Annunziata are covered with vast frescos, coTisisting of the strange figures of the Virtues and Vices by Giotto,' and particularly the celebrated Last Judgment, which is said to have been executed from the inspirations of Dante, his friend. ^ Though oppressed by five centuriL'S, this grand composition is perhaps the best preserved of his works, and the upper part has some details full oftaste, gracefulness, elegance, and truth. The paintings of the choir representing the Life of the Virgin, by Taddeo Bar- tolo, one of Giotto's pupils, much praised by Vasari, prove, notwitlistanding their inferiority, that he was not unworthy his illustrious master. The magnificent marble tomb of Enrico Scrovigno, founder of the Annunziata, with his statue recumbent, is behind the altar; his statue erect stands near the sacristy ; beneath is this inscription : Propria figura domini Henrici Scro- ' Notwtlhstanriing ttie jealous pretence of Maffei tbat Fadua hail not an ampliillieaire, it seems cer- tain thill It possessed one (and even two, if «« niay believe Count Slratico, the editor of Vitru>ius, who discovered another in the Pralo Uella valle) and thai its ruins are still visible in front of the An- nunziata. D'Hancarville had composed a Disser- tation on this subject, which remained unpublished, as also a considerable number of his researches now in the hands of an Englishman, Mr. Wolslen- holme Parr, who purposed publishing them in England, but who was still at I'adua in 1830. = D'llancarville had commenced a Dissertation on these figures which was left a mere sketch at his death; his ingenious explanation of the Pru- dence was unpublished until given by Cicognara, boob III., chap. vii. of his Uistori/ of Sculpture. 3 Benvenuto d' Imola, an early commentator of Dante, relates a witty reply made by Giotto to Dante, who was his guest at I'adua, very much like that of the Roman painter Malllus. told by Macrobius : Dante, when eiamining the frescos of tbe Annun- ziata, asked Giotto why his children, who closely resembled himself In being ill-favoured, were so liltle like his paintings, the latter being beautiful, the former ugly : Quia pingo de (tie, sed finqo de node, replied Giotto. The bad looks of Giotto are the subject of one of Boccaccio's novels (Giorn. vi.. vigni mUitis de ffarena. Scrovigno was a wealthy citizen of Padua who h.id been admitted into the Venetian nobi- lity in 1301, two years previous to his founding the ^«/u;ome great frescos by JMantegna or of his school, half de.s- troyed; a well preserved fresco, one of his masterpieces; his Martyrdom of St. Christopher, full of life and expression, in which he has painted himself and his master Francesco Squarcione, under the guise of two soldiers standing near the saint ; other singular frescos by Gua- riento, a celebrated painter of the four- teenth century, clumsily retouchedjwhich cover the choir, and arc said to repre- noi'.5),in which he ifthus raagnilicentlyeulugised: " Ebbu uno iiigegno di lanta eccellenzia, che niuna cosa dalla natuia, madre di tutle le cose, e opera- trice col conlinuo girar de' deli, fu che egli con lo stile, e con la penua. o col pennello non rtipignesse si simile a quella, che non simile, anzi plii tosto dessa paresse, in lanto, che molte volte uelle cose da lui fatle si iruova, che il visivo senso degli uomini vi press errore.' Ue moreover says that Giotto was a tine talker (bellisimo favellalore). The novels of Sachetti justify this lust qualiDcation; they contain several anecdotes and repartees of Giottc, which show his satirical, independent temper, and even the singular licence of his opi- nions. See Nov. lxiii. and lxxv. ^ It is inserted in Scardeone's work, De antiqui- late urbis Pataiit, Basil., 1500, folio, p. 282; but, instead ot cum foiet lioirendui lioslibus ille luis, there Is the egregious blunder of cum floret. 5 Such was Benavides' love for tbe arts and sciences and their professors, that on the reverse of a medal to his honour, which he had ordered the noted Cavino to engrave, he put the portrait ot the latter and that of .4lessandro Bassano, a cele- brated antiquarian, his accomplice in the fabrica- tion of antique medals, of such exact imitation, that they were long the despair of other antiquarians, and procured Cavino the title of Prince of forgers . Ca.vp. IV.j PADUA. 205 sent llic jjlanets, among which Mercury is seen dressed as a monk, and hoKJing a book in his hand, as the god of elo- quence ; St. Peter, St. Paul, Moses, and Joshua, in fresco, larger than iife, reck- oned the best works of the vigorous pencil of Slefano dell' Arzere; on the altar oflhe chapel palmed by Mantcgna, seven figures of burnt clay, full of grace, nature, and simplicity, surmounted by an elegant frieze, by Giovanni of Pisa, or perhaps his master and companion Donateilo; the Virgin on an elevated throne, with the infant Jesus iu her arms, and at her feet St. James, St. Au- gustine, St. Philip, and the doge Gritti holding the city of Padua in his hand, a grand composition, excellent in design and colouring, by Fiumicelli ; the St. John Baptist in the desert, by Guido, full of the noble expression peculiar to bim; Jesus Christ shoiving his wound to St- Thomas, one of Padovanino's chefs-d'oeuvre. In the sacristy, is one of Canova's funerary cippi, so much dis- tinguished for elegance and variety, that of Prince William George Frederick of Orange, remarkable for the pathos of the figure and the merit of the drapery. There is a small cemetery belonging to tbe church of the Hermits; it contains the marble tombs of a German lady, the baroness Louisa Deede, by Canova, and of another person of the reformed failb; these protestant tombs are perhaps nearer a church than any other, and the latter, through a laudable toleration, is built in the very wall of the Hermits, and I be- lieve has a front in the church. At Saint Canziano, the Miracle of the miser by St. Anthony, a work of Da- mini, contains the portraits oflhe famous anatomist Gcronimo Fabricius d'Acqua- pendente and that of the author. The Death of the Redeemer and the Marys weeping, excellent figures in clay, by Andrea Riccio, have most unluckily been coloured : one feels, on seeing them, to what an extent reality is inferior to the true. The church of the Servi of Santa Maria is as old as the fourteenth century ; it was founded by Fina Buzzacarina, wife of Francesco Carrara the Flder, on the site of the demolished house of the con- spirator Nicolao Carrara, who wanted to betray Padua to Can della Scala. Many of its paintings and mausoleums are re- markable ; the Virgin in the midst of angels, and at her feet St. Jerome, St. Christopher and other saints, is a natural and sublime composition oflhe fifteenth century, author unknown. It is uncer- tain on what grounds the miraculous statue of the Virgin has been attributed to Donateilo. In the sacristy, the paint- ing of the Virgin holding the dead Christ, is by Andrea Mantova, a noble and clever amateur, pupil of Luca of Heggio. The Virgin. St. Paul, St. Au- gustine, St. Mary Magdalen, St. Ca- therine, is a good work by Slefano dair Azzcrc ; the Virgin appearing to the founder of the Servi order; the Ardingo Bishop of Florence invest- ing him with the black gown, are by Luca of Reggio. The bronze basso- relievos of the mausoleum of Paolo of Castro and his son Angelo, jurisconsults and professors, are perhaps by Vellano, a pupil little worthy of Donateilo and much too highly spoken of by 'Vasari. In one place an angel is seen taking a book to these doctors, to whom the in- scription gives ihe ridiculously lofty title of monarchis sapientice. The tomb of Hcradius Campolongo, a celebrated physician in his day, who died in 1606, is at once grand and elegant. The small church of Saint Daniel is of the eleventh century, but it has been modernised. It is a matter or regret that no traces remain of the tomb and honorary inscription decreed to Angelo Ruzzante surnamed Beoico, from his taste for agriculture and the rearing of cattle. Beoico, celebrated for his come- dies in the rustic dialect of Padua, played ihem with such talent as to be compared to Roscius by Sperone Speroni. Not- withstanding his success, Beoico was poor when he died, in 15i2, at the age of forty, and was honoured with a mag- nificent funeral at Saint Daniel at which his admirer, the canon Scardeone, the historian of the illustrious Padnans, seems to have assisted. If the monument of the Paduan poet and actor still existed, it would do credit lo Italy, for having granted honours to Beoico and a buriak which were refused to Moliere's ashes in France more than two centuries after. The spacious church of Saint Francis is not destitute of interest with respect to art and literary' associations. The tomb oflhe illustrious Florentine scholar, orator, politician, and warrior, Barto- lomnieo Cavalcanti, who went into vo- 18 206 PADLA. [Book VII. lunlary exile after the loss of -his coun- try's liberty, and died at Padua in 1562, is in excellent taste, and the sarcophagus recalls the boldness of Michael Angelo. The mausoleum of Pietro Roccabonella, a celebrated Venetian professor and phy- sician, surmounted by a bronze statue of him writing, is by Vellano, completed by Andrea Riccio. Over the elegant altar of the chapel deZ/a Crociera, is the Ascension, by Paolo Veronese ; the apostles are by Damini, and were painted in 1625, those by Paolo Veronese having been cut out and stolen, as we are in- formed by an inscription commemorat- ing that strange robbery. An admirable St. Francis receiving the stigmata, is by Luca of Reggio. In the chapel of Saint Gregory, the Saint interceding for some souls in purgatory, a fine painting by Palma, is unfortunately con- cealed by an image of the Virgin, an object of popular veneration. The basso- relievos of the altar, erected at the ex- pense of the archpriest Bartolommeo Sanvilo, with his statue kneeling, are good works of the sixteenth century. The Virgin on a throne, with St. Peter and St. Francis beside her, a valuable basso-relievo in bronze, is a work of Vel- lano, finished by Riccio. The portico of Saint Francis was formerly famous for its paintings in dare-obscure representing ihe Life of the Saint, by Francesco Squar- cione; being faded, they were white- washed over in the last century , and Alga- rotti has even humorously pretended in one of his letters that this was subsequent to a chapter held on the subject by the monks. A lay-brother of the convent, of good education and a lover of the arts, discovered the continuation of these paintings in a small cloister adjoining, tlien used as a woodhouse. They are now nearly lost; but the compartment least injured, representing St. Francis kneeling before the pope on his throne, surrounded by a crowd of cardinals, still bears witness to the skill of the old Venetian master, chief of a celebrated school at Padua, which numbered as many as one hundred and Ihiity-seven pupils, among whom it had the honour of forming Mantegna; a strict master as to theprincipies,and who already treated the school of Giovanni Dellini as corrupt. Saint Clement has one of Luca of Reggio's best works : the pope of that name surrounded by angels. The Christ giving the keys to Petef in presence of the angels, by Damini, suggests the imi- tation of Padovanino. The grand church of Saint Benedict the Elder has some fine paintings: St. Benedict and some monks, by Damini ; the Christ in the air, St Peter dic~ fating the gospel to St. Mark, St. Je- rome, St. Dominick and St. Thecles, by Domenico Tintoretto; the grand paint- ing of Moses striking the rock ; the Blessed Giordano Forzate tracing the plan of the neighbouring monastery with his stick, by Padovanino ; Nostra Signora di Loretto, the Empress Helen and Ludovico Gonzaga, by Luca of Reg- gio. Saint Benedict contains the tomb of a literary Englishwoman of some cele- brity in the last century, Justine Wynne, countess of Ursins and of Rosenberg, a monumental tributeof affection from her brother Richard Wynne, who consecrated it to her on the 9th of September 1791, the year of her death. The countess of Rosenberg has written a description in French of the senator Angelo Quirini's villa of Allichiero, then rich in statues and anliquities,and the very scarce book enlilled les Morlaques, a picture in poetical prose of the almost unknown manners of those inhabitants of Dalmatia. The frivolous count Benincasa has been often mentioned as the teinturier of ihis erudite lady, an impossible partnership which M. INodier has very well refuted. The vast church of the Carmelites possesses a charming painting by Pado- vanino, the Mother of Sts. James and Joh7i praying to the Saviour; some good paintings by his father Darius Varotari, near the organ and high-altar ; St. Prosdocimus, St. Daniel and St. An- tliony of Padua, a Virgin in fresco by Stefano dall' Arzere; a little elegant picture by Bissoni, a Paduan painter of the seventeenth century ; the Virgin, the infant Jesus, and the blessed Si- meon Stoch, and another great and good [lainting, by the same, the Virgin pre- senting the Carmelite habit to the founder of the order. The Scuola del Carmine, near the church, has some frescos by Domenico Campagnola, the Adoration of the Shepherds, of the Magi, the Circumcision, which are of this artist's best ; an admirable St. Joseph visiting St. Anne, by Titian, and a small painting of the Virgin with the infant Jesus, by him or the elder Palma. CnAP. v.] PADUA. 207 Santa Croce has some estecmeJ paint- ings and two pretty good figures of angels, by Antonio Bon.izza, a tolerable sculptor of the last century ; this derives an especial interest from being the burial- place ofP. Jacopo Sicllini. a monk of im- mense informalion and cajiacity ; jioet, orator, geometrician, theologian, i^hy- sician, chemist, scholar, and especially philosopher, who, to use Algaroiti's ex- pression, could have underlaken to give instruction during the same day in all human sciences ; he was a kind of I'aduan Socrates, but his opinions are now nearly forgotten in Italy, a fact w hii h proves that the creations of thought and reason will always have a more limited existence than the woiks of art or poesy. The little church of the Dimesse, of elegant and harmonious architecture, is reputed to be from the plans of Alga- rotli. The Magdalen, St. Anthony, St. John Baptist and St. Prosdocimus, is a One painting in Liberi's Grst sljle. CHAPTER V. Saint Justine. — San Giovanni dl Vcrilara. — Buona- mico. — Professors of the sixteenth century.— Morgagnl.— Seminary. — Forcelliiii. Saint Justine, with its eight open-work cupolas, the highest of which is sur- mounted by the saint's statue, is a su- perb monument; though more than three centuries have passed since its erection, this church still appears quite new. 1 he architect was a IJenedicliiie, Geronimo of Brescia. In the principal chapel is an excellent painting by Paolo Veronese, the Martyrdom of St. Justine ; but Jesus Christ, the Virgin, St. John and the angels above have much less the appear- ance of descending from heaven than falling down heavily : a fault oltliis kind, so opposed to the aerial rrianner of that great painter, cannot certainly be attri- buted to him ; it must be thrown on the prior of the convent, who had the pre- sumption to correct the drawing ofl'aolo Veronese and teach him perspective.' The various chapels have also some ' Tbls prior of Saint Justine was 1'. Giuliano de Careni, of Placenlia ; Algnrolti. in liis Letters, gives a humorous imaginarv dialogue beiueen liini and the nrlist on the subject of lliis ciniccllun. Ii bjs however been since ascertained tliat tliecliange of the colours into a deeper stiade lias much increased the fault of perspective. fine paintings : tlie Conversion of St. Paul, the Martyrdom of James the Less, superb compositions by the heirs of Paolo Veronese; =" an agreeable and touching Ecstasy of St. Gertrude, by Liberi; a vigorous Martyrdom of St. Gherardo Lay redo, by Loth ; the Death of St. Scholastica, perha\)s too graceful ; the Martyrdom of St. Placidus, noble and elegant, by Luca Giordano ; St. Bene- dict receiving St. Placidus and St. Maur at the gale of his monastery, one of Palma's best works; the same saint showing his rules to several prin- ces and princesses, by Clandio RidolQ, highly spoken of, and with justice as regards its invention, grace, richness, and careful execution ; St. Cosmo and St. Damian ivithdrawn from the sea; their Martyrdom, good works by Ba- lestra ; a grand and pathetic painting of the Mission of the Apostles, by Bissoni ; the Miracle of the holy Innocents, very elegant, by Damini ; the Martyrdom of St. Daniel, by Antonio Zanchi, a con- temporary of the two last painters; it is one of his best performances, and re- markable for the composition, drawing, and truth of the ilesh. The statue of Rachel wilh one son in her arms and another dead at her feet, by Giuseppe Comino, is held in considerable estima- tion ; the figures, larger than life, of the Dead Christ, the Virgin, and St. John, by Filippo Parodi, notwithstanding their cleverness and pathos, announce the pupil of Bernini. The figures and sym- bols taken from the New Testament which adorn the stalls of the choir are the excellent work of a Frenchman of Rouen, Richard Taurigny, who also did the fine stalls of the choir in the Duomo of JWilan, an extraordinary character, whose life at Padua was a continued scene of strife and madness ; of the abb^ Euthichiust^ordes of Antwerp, oneof the fathers of the council of Trent, a theolo- gian and friend of the arts, who directed the labours of our fiery countryman; and of .Andrea Campagnola,a good sculp- tor, but little known, who has executed burnt clay models of these fine wood re- ' Many painting-; executed by his relations after bis death are signed the heirs nf Paolo Veronese; who Here his son Carlelto and bis brothers lieiic- delto and Gabriele. The whole family occasionally worked together at the same painting. 208 PADUA. [Book VII. iievos. At Saint Justine is the tomb of the learned Piscopia Cornaro, who has a statue at the University,' a bust at Saint Anthony, and appears like the muse of Padua. The celebrated old library of Saint Justine is no longer in existence; in 1810 it was sold and frittered away by the administration, and is now dispersed; the chief part of the more precious arti- cles has passed from the library of S. Meizi into England; its shining shelves of wood from Norway and India are at the University library, and the cloister is converted into a fine large hospital for invalids. Our writers of literary history must in consequence henceforth re- nounce their continual references to the manuscripts in the library of Saint Jus- tine. The church delle Grazie has a fine expressive painting by Damini. St. Do- minick bringing to life a drowned girl ; the Dominican convent, to which this church formerly belonged, is now aii asylum for orphans and mendicants. The church of Saint Sophia, which has been supposed the ancient cathedral, encloses various remains of antiquity : such as the fantastical figures painted on the great door, and especially (he apsis, anterior to 1000, constructed of materials proceeding from Roman edifices. The Christ put in the tomb is one of the best paintings of Stefano dall' Arzere ; a Ma- donna, in fresco, of the fourteenth cen- tury, is a curious work; the old seats which were formerly used by the priests during the service merit the attention of the learned. Saint Sophia contains the tomb of one distinguished man, IheCav. Mabil, a native of Paris, professor for nearly thirty years at the university of Padua, translator of Titus Livius, all Cicero's Letters, Scinio's Dream, the Life of Agricoia, Horace, Phaedrus, and of Quillet's strange poem of the Ca//(pe'(/«e, in blank verse, with learned notes. In conversation Mabil was excellent and full of wit; he was the friend of Foscolo and Cardinal Maury ; he held office under the French administration, and died more than octogenarian on the 25th f e- I See above, chap. ii. ' Petrus Aloy. MabU Eqv. Cor. Ferreae Orlglne Callus Sexennis Ilaliara I'arenlib. Deductus Ibiq. Sede .\pud Venelos Fauslis Ominib. Firmala Post \arios Rerum Casus Fate ModoDucente Modo Tra- bruary 1836; his epitaph, composed by himself, happily paints his active and agitated life." The Ognissanti church, of a naked ar- chitecture, has an ^sswjnpaon by Palma ; the ancon in three compartments at the entrance of the sacristy, representing the Virgin, the Infant Jesus, and beside him St. Sebastian and another saint, is a precious wreck of painting in Squarcione's style. 3 A painting full of life and expression, the most remarkable in the church, is the Virgin in a glory, with St. Maur and St. Agnes below : Morelli attributes it to Bassano, but it seems rather by his pupil Bonifazio. The following epitajth, a sort of political epigram on a tomb, probably by one of our refugee compatriots, is not void of ori- ginality : Cajetanus Molinus N. V. olim aristocraticus, nunc realista, unquam democraticus, civis semper optimus, obiit tertio Id. Dec. MDCCXCVU. Saint Thomas, or the Philippines, is re- markable for its paintings: the Virginin the midst of the Magi, in w hich the child leans gracefully towards St. Jose[)h, St. A nlhony of Padua and the little St. John ; St. Philip ofNeri and St. Charles Bor- romeo. in a demilune near the organ; the Visit of St. Elizabeth, the Birth of Jesus Christ, the Presentation at the Temple, Ihe Crowning ivith thorns, the Ascension, the Descent of the Holy Ghost, and the Assumption of tlie Vir- gin, are fine works by Luca of Reggio, rather difficult to discover on the ceiling. A Piety, by the priest Stroifi, bears a hafijiy resemblance to the manner of Cappuccino, his master. Saint Theresa, St. Justine, are by Francesco Minorelto, the ablest pupil of Luca of Reggio, and almost his rival; St. Prosdocimus, St. Daniel, St. Agnes, a Nun; the Virgin- appearing to St. Philip; ihe same saint carried to heaven by angels, in the re- fectory, by Liberi. In the adjoining oratory, the Virgin on a throne with the infant Jesus, is a good painting by an author unknown. San Giovanni di Verdara contains some tombs of artists and celebrated writers, with some fine paintings. The hsnte Tandem Sub Eslremo Vilaj liiniiie Non Per Ij^Daviam Transaclae Coudllurium Hocce Midi Mo- riiuro Paiandum Curavi Anno MDCCCSXXVI. .£talis Meac LXXXIV. ^ See the preceding chapter Chap. V. ] PADUA. 209 mausoleum of Andrea l\icrio, w ho made the famous chandelier of the Santo, was surmounted by his portrait in bronze, said to have been lifelike, but it was barbarously torn away : bronze, a metal which that artist had so cleverly wrought, was a fitting and sacred ornament on his tomb. Another great artist, Luca of Reggio, one of Guulo's best pupils, a noble, graceful, and expressive painter, who passed the greater part of his life at Padua, is interred in this church.' An elegant monument, though only an in- ferior imitation of Beinbo's mausoleum at the Santo, has been consecrated to Lazzaro Buonamico. one of those great professors of the sixteenth century, one of those renowned and influential men that were eagerly sought after and court- ed by princes and cities, whose life, widely differing from the peaceful exis- tence of their successors in France and Germany, vvas full of adventures and catastrophes,' and who by their lessons more than their works contributed so much to the glory of modern letters. The monument erected in 15ii to the professor of law Antonio Rossi is of ca- pricious taste; but the bust, by an un- known author, is a precious work. The paintings are : a very graceful Nativity, by Rotari; the Virgin, the Infant Jesus, St. Anthony and St. Bernardin; a great and noble Cruciflxion, by Stefuno dell' Arzere; the two former with St. John Baptist and St. Augustine in an agree- able landscape;in the sacristy aMadonna, very fine, in a smiling rural scene, with St. John Baptist and St. Anne, by Don Pietro Bagnara, a canon of Saint John de Latran, a feeble but graceful imitator of his master Raphael. On the last paint- ing the pious artist has inscribed these words, which are also found on several of his works : Orate Deum pro anima hujus pictoris. Saint Augustine giv- ing the book of his Constitutions to the monks of his order, is by Luca of Reggio. In the small church of Saint Maximus there are only three paintings, by Tiepolo, which are excellent; the recumbent statue of Giuseppe Pino, who died in the flower of his age, in 1560, is a work worthy of that epoch. Saint Maximus has one illustrious tomb, that of Morgagni, a pious and learned man, who, in an ecstasy of admiration for the author of nature, one day, while dissecting, threw down his knife and cried out : " Oh ! that I could but love God as I know him! " The small church of Saint Matthew is justly proud of two chefs-d'oeuvre of Padovanino : the Saint stabbed by a Gentile and an Annunciation. Saint Joseph has preserved some cu- rious frescos, executed in 1397, as we are informed by an inscription in Latin verse, by Jacopo of Verona, a great artist of the fourteenth century: the Ado- ration of the Magi presents the portraits of several princes of Carrara ; some men of greater fame in the present day are represented among the spectators of the Funeral of the Virgin, known by the namesof Dante, l'etrarch,and Boccaccio; there too is seen the celebrated physician, philosopher, and heretic, Pietro d'Abano, called in his time the Great Lombard, and perhaps the figure holding a cap in his hand may be the painter himself. In Saint P^ermo is the great and superb Crucifix of wood, by an unknown artist, highly spoken of by Padre della Valle, Vasari's commentator, us one of the finest things in Padua, but the violent agony of Christ as there represented seems rather the suffering of a man than a God. The picture of the Virgin with John the Evangelist, St. Francis d' Assise and Giovanni Bagnara, called the Long, who built the elegant altar where the painting is placed, is by Minorello, and worthy of his master Luca of Reggio. A small painting of St. Peter and St. John Baptist is curious from its anti- quity. The college of Padua, called the Se- minary, is justly celebrated for its print- ing-office, its Latin, and its library. The presses are eight in number and seem to have work enough. The library has about fifty-Gve thousand volumes, eight hundred manuscripts, and the valuable collection of prints, a legacy to the Seminary in 18-29 from general mar- quis Federico Manfredini, a man of ex- ' The inscriplion. \vliirh says thai he died in 1652 ' I!uonatnlco was at Rome when the troops of at the age of foity-iiine years, is erroneous; his I the constable of Bourbon sacked that cily ; he nar- will, lodged in the archives of Padua, was made at | I'owly escaped nilh his life, and lost all his books Borghoschiavino iu the presence of Francesco Mi- and manuscripts, norello, bis pupil, and is dated February s, <63'i. | 18. 2)0 lensive knowledge, formerly Ihe go- vernor of Leopold's sons, and a great friend of Morgben. This collection, im- properly classed by nations instead of epochs, is dilTicult of access, or rather almost buried, on account of some en- gravings of a licentious character. The library of the seminary contains some rare first editions of the Florence Homer, and the Venice Pliny ; a copy of the third edition of the same, on vellum paper (Ve- nice, 1472); another Pliny with marginal notes by an unknown person (Venice, Bernardino Benalio, 1497); Cicero's Letters, the first book printed at Venice; some fine manuscripts of Petrarch and Dante. An autograph Letter from Pe- trarch to his physician and friend Gio- vanni Dondi,' De quibusdam consiliis medicinw, is curious; ^ it is dated from Arqua, and may be regarded as a very sensible little treatise on hygiene ; Pe- trarch was seventy years old when he wrote it. After the common places on the necessity of yielding to time, as every thing in nature does, Petrarch consents to abandon the use of fish and salt meat; but he defends his regime of fruits and vegetables, the habit contracted in his boyhood of drinking nothing but pure water, and that only once a day, and of strictly fasting one day a week on bread and water. Dondi, on the contrary, wanted him to take wine, and spirits; to eat partridge and pheasant, and opposed his fasts, notwithstanding the example of the hermits of the Thebaid cited by Pe- trarch. ^ There is also in the library a copy of the Dialogues of Galileo, with notes by himself: the alterations were given in an edition of his works printed PADUA. [Book VU. at the Seminary (1744, in four volumes quarto). I could not contemplate without a feeling of respect the manuscript in ten folio volumes of Forcellini's great Latin Dictionary, a monument of the learning, perseverance, and modesty of that holy and erudite priest. ^ It is true that we can scarcely expect to find the senti- mental and pathetic prefatory to a folio Latin lexicon ; nevertheless I know no- thing more affecting than the words of Forcellini, addressed to the pupils of the Seminary at Padua, in w hich he reminds them, with great simplicity, of the time, application, and efforts that he devoted to his work for nearly forty years ; Ado- lescens manum admovi; senex, dum perficerem, factus sum, ut videtis.^ I asked to see the authors he had used in his researches; they were worn almost to destruction, so many times had he turned their leaves over and over again. The church of the Seminary, a good building of the early partof the sixteenth century, has some fine paintings: the celebrated painting by Bassano repre- senting Christ dead, and carried to the tomb by torchlight by Joseph and Nico- demus; the expression of grief in the Virgin and the other women is admi- rable ; the painter has made this master- piece almost a family picture : the old Jo- seph is himself, the Virgin his wife, one of the Marys his daughter; the Virgin on a throne ivith the infant Jesiis, and below the Sts. Peter, Paul, Johu the Baptist, Catherine, and two angels, one of Barlolommeo JMontagna's best works; the Adoration of the shepherds, by Francesco Bassano, or his brother Lean- ■ Son o( Jaoopo, a pbyskiaa and astronomer, and maker of ttie famous clock placed in ihe palace tower at I'adua, in 1314. Giovanni was also at the same lime an astronomer and physician. Ue in- vented and executed with his own hands another clock put up in the library of Giovanni Galeas Vis- conti at Pavia. Hence did the Dondi family derive the name of degli Orologi. * Jt WDS published In 1808 by the professors of the Seminary at I'adua, but a hundred copies only were printed. This Ittter, the tirst of book xii. of the aeiiiles, as printed in the different ediiions of Petrarch, is full of egregious errors, «hich are pointed out and corrected at the end of the volume in the Seminary edition. ' Petrarch was not less prejudiced against me- decine and its professors than Montaigne, Molifere, and Kousseau. See in the Senil. lib. xii. the Epistles 1 and 2, addressed to Giovanni of Padua, a celebrated physician. An inhabitant of that town offered to raise a statue to Petrarch at his own ex- pense in the I'rato delta falle (See the next chap- ter), but on the condition of inscribing thereon these words : Francisco Petrarchae Medicorum hosti infensissimo. This strange proposal was not accepted. 4 The third edition of Forcellini's Dictionary, begun in 1827 and Diiishi'd in 183^, was superin- tended by the abbci Giuseppe Furlanetio, of the Se- minary of Padua, whom 1 have had the honour of visiting, a gentleman every way worthy, from his learning and diligence, of. completing that impor- tant work. The new edition, in four large 4to vo- lumes, presents more than ten thousand correc- tions and about Hve thousand new words. ' Tulius latinilatis Lexicon, L I. XLVi. CnAP. VI.] PADUA. 211 dro, is excellent; the Virgin, the In- fant Jesus, St. Jerome, and olher saints, a painting unfinished, but very much esteemed ; the author was Lamberto Lombardo, a painter of Liege, for some time resident at Venice, who did several of the landscapes in the paintings of Ti- tian, his master and model, and likewise in those of Tintoretto; a great Cruci- fixion, which, despite the injuries of time, from its pathos and abridged in- scription, may possibly be by Paolo Ve- rooese. CHAPTER VI. Palace del Cap itanio. — Palace of Ibe Podesla.— Saloon.— iap/s tiiliipcr/i.— Prisoners for debt — Belzoni. — Italiaa travellers.- Prato delta vatle. -Gales. The architecture of the palace del Capitanio, by Falconetto, is majestic. Under the portal are somecolossal frescos by Sebastiano Florigerio, a clever painter of the beginning of the sixteenth century, and pupil of Miirtino of Udina. So noble and elegant are the staircase and its cu- polas, that it has been erroneously in- cluded among the unpublished works of Palladio; it appears to be by Vincenzo Dotlo, a good Paduan architect of the end of the sixteenth century, whose edi- flces sometimes recall the grace of that great master. Some parts of the exterior of the Po- desta palace have been thought worthy of Palladio. The statue of Justice hold- ing a naked sword, at the entrance, by Titian JMinio, is inferior to the elegant and aerial winged figures of the front, also attributed to him. The rooms ol the Podesla palace contain some good paintings of the Yenelian school, some of which relating to the history of Padua, are particularly flattering to municipal authority ; the Rector of the town, Ca- valli, accompanied by St. Mark, and the four Protectors of Padua, present- ing himself before the Saviour, a chef- d'oeuvre of Domenico Campagnola ; an- other great painting of the Virgin with St. Mark and St. Luke, by the same; the Rector Maximus Valieri giving up the keys of the town to his brother Sigis- mund, by Damini; the League concluded ' Cinguene has erroneously stated (article on Pieiro d'Abano, in the r,iograi>hie unweraellel that tlie figures of Pletro d'.\bnno, destroyed by the between Pius V., the king of Spain, and Doge Ludovico Mocenigo, by Darius Varotari ; a great painting of Jesus Christ between Justice and Plenty with Sts. Pros- docimus and Anthony, who lyesent to him the rectors Soranzo, by Palma; a small Flagellation of Jesus Christ, by Orbetto; a Bacchanal, by Francesco Cas- sano, a vigorous artist of the seventeenth century ; Two cocks fighting, by his son Agostino Cassano, who excelled in ani- mals ; Lot and his daughters, by Liberi ; an Adulterous woman, very fine, by Pa- dovanino ; his portrait by himself, the attitude of which combined with various objects there represented show that this charming painter was also a lover of letters and the sciences; a Last Supper, one of Piazzetta's best works. The bronze medallions of Fracastor and An- drea Navagero are highly finished per- formances of the clever and perfidious Cavino. The saloon, formerly the audience court of the palace of Justice ( pa- lazzo della Ragione), is only used when the lottery is drawn; it is certainly the most spacious temple that Fortune ever had, and it is far from being surpassed by the Bourse of Paris. IS'either West- minster nor the hall of the old palace at Florence are even so large as this im- mense room, the greatest construction of the kind in Europe ; its famous roof is another proof of the daring genius of Fra Giovanni, the architect of the church of the Hermits. The frescos of the upper part, divided into thirty-nine compartments offering many subjects taken from the life of the Virgin and Scripture history, with many astrological figures, were imagined by the famous Pietro d'Abano, and executed by Giotto, and perhaps by other painters still older ; ' they have been retouched se- veral times, in the last instance in 1762 by Francesco Zannoni, an incomparable artist for this kind of work, and capable of disarming the most inveterate enemies of restorations. A very well executed monument has been erected to Titus Li- vius; it contains his supposed coffin : on either side are the two small bronze sta- tues of Minerva and Eternity with the Tiber and Brenta under them , w bile the bones of the Latin historian are over a burning of the saloon in 4 120, were repainted by Giotto ; be died nearly a century before, in 1336. 212 PADUA. [ Book VII. door not far distant. There may be blended with love of country such a spirit of exaggeration and superstition that we are no longer touched thereby, because it closely approaches charlatanism and is at variance with both good sense and truth. The monument ofSperone Spe- roni, with his bust, is of 159i. There is another monument, which differs from these two literary ones; it is sacred to the memory of the marchioness Lucrezia Dondi dair Orologio, a lady worthy of her baptismal name, who because she would not yield to the passion of a lover, was assassinated in her chamber in the night of November 16, I6.5i. In the saloon is now kept the stone [lapis vituperii) seen by Addison at the town hall, by which any debtor was de- livered from the pursuits of his creditors, on swearing, after having been seated on It bare-breeched three times by the officers, before the assembled crowd, that he had not the value of five francs. It is a kind of stool of black granite, not in the least worn; this usage had not been followed for twenty-four years when Addison was there in 1700. From the intre- pidity with which certain debtors of our times show their faces, one might very well believe, that they would hardly blush to show the rest, and the stone would be much more in request. Such stones existed in the middle ages in se- veral Italian towns, such as Verona, Flo- rence, > Siena; the only difference was in the ceremonial.* The debtors' stone of Lyons was also often cited. This practice gave the French tongue a fami- liar expression, which continued in use even after the reign of Louis XIV., as may be seen by this phrase of Saint Simon on the decree of the council of state, which definitively diminished one half per annum the shares and bills of the Mississipi company : "Ce/a fit, ce qu'on appelle en matiere de finance et de ban- queroute, montrer le cul." IVolwith- I In the burlesque hell of his Malmantile LippI has introduced the Florenliue ladies who, by their extravagance in dress, bad brought their husbands to the debtors' stone : Donne, che feron gii per umbizione D' apparir gioiellate e luccicanli, Dere il cul al tiiarito in sul lastroae. Cant. VI, 73. ' At Siena, the^e debtors paraded round the Standing the oddity of this proceeding, it Avas not so very unreasonable, as it supplied a means of escaping those eternal prisoners for debt, one of the embarrassment of our civilisation and jurisprudence; and such an exposure to ridicule and shame was perhaps more beneGcial than some of our decrees for declaring people insolvent. Over two One Egyptian statues in gra- nite, with lions' heads, given by Belzoni to his native town, is the medallion in Carrara marble of this courageous but unfortunate traveller, by Rinaldo Ri- naldi. If the Italians, owing to the po- litical weakness produced by the division of their country, can no longer conquer the world, they discover it; the first navi- gators were Italians, Marco Polo, Colum- bus, Vespucio, Giovanni and Sebasliano Gabolto, Verazani, Pietro della Valle, GemelloCarreri; in our day, Belzoni as- cended the Niger, and Beltrami, going toward Hudson's Bay, discovered the sourcesof the Mississipi and the communi- cation between the Frozen Sea and the Gulf of Mexico. Italian genius, ever adventurous and intrepid, has only changed its element and direction. So vast are the dimensions of the saloon that a charming fete was given in it in December 1815, to the emperor Francis and his daughter Maria-Louisa, under the skilful superintendence of Japelli. architect, of Padua : the saloon was me- tamorphosed into a garden, with a ball room and a receiving room for their ma- jesties : the trees were planted in the ground and formed thick illuminated masses; a small opera was performed, and there were even undulations of sur- face in this within-doors garden. The Prato della valle, a cejebrated square and promenade, is a kind of Pan- theon in the open air, where are exposed the statues of the Paduan great, from that of Antenor the Trojan, reckoned its founder by Virgil, down to Canova.^ square for three mornings while the palace bell was ringing; ihey were attended by sbirri, and very nearly naked ; the last day, they struck the stone like the debtors of Padua, and pronounced the following formula required by law : "I have consumed and dissipated all my goods; and now 1 pay my creditors in the way you behold.'' ^ Canofa's statue was erected to him during his life, in 1796, by the procurator of Saint Mark, Antonio Capeilo To avoid an Infringement of the established rule, which did not Mlow the statues ClIAP. VII.] PADDA. There are two statues by this great ar- tist; one of Giovanni Poleni, the work of his youth: he began it when twenty- two, and retumeil expressly from Rome to finish it somewhat too hastily, so great was his longing to revisit that ca- pital of the arts which he had only caught a glimpse of, but enough for its masler- pieces to show him what true sculpture was; the other statue is that of Antonio Capello. It was originally intended to put statues of Paduans only in the Prato della Valle; but it was found necessary to have recourse to other illustrious Ita- lians, and even foreigners, as Padua, with all its merits, could not supply enough great men to furnish this vast enclosure; the trees therein are low and too few in number, and the canal round it seemed to me almost dry in summer. Two of the gates of Padua, those of Saint John and Savonarola, are by the great old architect Falconelto. The former, which proves the popularity that the celebrated Dominican of Florence en- joyed even at Padua, from which he ori- ginally sprung, has been justly praised by Vasari, Maffei, Temanza ; and the erudite commentator of Vilruvius, the marquis Poleni, who has given the plan of it, esteems it one of the most perfect models of city gates. The more orna- mented gate del Porttllo, attributed to Guglielmo Bergamasco, is almost a tri- umphal arch. CHAPTER VII. Pappafava bouse — Fall of angels. — Capodilista, GiustinlanI, aud Falconelto bouses.— L. Cornaro. — Lazzara and Venezze houses— Colossus of Ain- manalo. — Siatues.— I'edroccbi colfeebouse. The palaces of Padua, after Venice, appear but little curious or magni- ficent. The house of the honourable counts Trenlo Papafava, the finest in Padua, presents a horrible group of sixty demons interlaced together in the form of a pyramid. This fail of the angels, a work of the last century, by Agostino Fasolato, whimsically imagined and com- posed, is admirable for its mechanism and workmanship. A Last Supper, an of living men lo be placed in tbe Prato, Canova was represented in the act of making Ibe statue of anolber Antonio Capello, an able negorlator and , general of Ibe sixteenlb century, likovlse proeu- old fresco by Stefano dall' Arzcre, is remarkable for the beauty of some heads and their closeness to nature. The new frescos of mythological subjects which cover the walls of a room in the countess Alessandra's apartment, together with an Aspasia, are pleasing performances by Signor Demin, one of the best living painters of Italy, especially in fresco, who for a long time remained unknown at Padua, and was called to Rome by his fellow-countryman of Belloiia, Pope Gregory XVI. In the garden is the remnant of an antique column, proceed- ing from the ruins of a basilic discovered when the foundations of the Pedrocchi coffeehouse were laid. The Capodilista house possesses the huge fragments of a wooden horse by Donatello, the most stupendous in exis- tence, and which might be taken for the remains of that of Troy, brought thither perhaps by the Trojuii Antenor, whom we mentioned above as the founder of Padua. There were many of Dona- tello's works in this town; anil he was so much beloved that the inhabitants wished him to settle there and become their fellow-citizen ; but the artist, with rather more than ordinary prudence, feared the effect that such excessive par- tiality might have on his talent. The house of Giusliniani ai Santo is a celebrated edifice constructed in 152i, as the inscription informs us, by the Ve- ronese architect Giovanni Maria Falco- nelto, a great artist, formed by the study of V'itruvius and ancient monuments ; he was the first that introduced into this country a good architectural taste, pre- vious to the school of Sansovino and Palla- dio. Falconelto died ten years after in this very house, the guest of his patron Count Ludovico Cornaro, a distinguished writer, and author of the famon?- Discorsi della vita sobria, for whom he built it. The discourses of Cornaro, begun when mure than eighty, and finished in his ninety-fifth year, were practised by him from the age of forty-six; till then he had always been sickly, and his adhering to this system prolonged his existence to ninety-nine years. The severe ascetic regime he prescribes, is now nothing but ralor of Saint Mark, and ancestor of tbe one nho erected tlie statue; tbe inscription praises and adroitly designates Canova «ilbout naming bins. 2U PADUA. [Book VII. a kind of hygeian Utopia, but it had mail} followers solateas LouisXlV., and Saint-Simon states that it was followed by two worthy friends of Fenelon, the dukes of Che\ reuse and Beauvilliers; it had, however, killed many others, and among them the celebrated minister of state Lyonne. Such is the elegance and harmonious construction of Falconelto's work, and its beautiful loggia that, ac- cording to Maffei, it served as mode! to Palladio for the Capra casino. The ex- cellent stucco basso-relievos of the small saloon and other rooms, are probably by Falconetto, and there are some charming frescos painted from Raphael's cartoons, by Domenico Campagnola. A distinguished Paduan lawyer, Doctor Piazza, has thirteen precious bas.so-re- lievosby Canova in the rich collection he has formed, and which he patriotically intends leaving to the town : the Offering of the Trojan women, Socrates parting from his family, Socrates drinking the hemlock, Socrates dying. Justice, Good Works, the Good Mother, Death of Priam, Briseis delivered to the heralds by Patroclus, the Return of Telema- chus, the Dance of the sons of Aid- nous, Hope, and Charity ; sculptures very well described by the .-Vbbe Mene- ghelli, who has been equally successful in explaining their artistic merits and rendering their respective expression and effect. Some ingenious and original construc- tions by Japelli embellish the not very extensive garden of the Baron Treves, an opulent and magnificent Jew ; they con- sist of a summer-house, a pagoda on the top of a rock, a rich aviary, an alchemist's laboratory with all the emblems and im- plements of the cabalistic art, a superb hot-house in the form of a tent, and a gothic hall of a chapter of knights. The house of the late Count Giovanni de Lazara > (at San Francesco), a man of distinguished taste in letters and the arts, is almost a museum of painting, sculpture, and antiquities. It contains Etruscan and Roman inscriptions, dis- cussed by the learned ; a precious papyrus mentioned by Gaetano Marini ; the ar- morial bearings of Eccelino, the old tyrant of Padua, with a fine inscription byLanzi. The gallery presents paintings by Carlclto Caliari, Tintoretto, Padova- ' Died the (Itti of February, (833. nino, Marconi, the younger Palma ; some works of the ancient masters of the Ve- netian school ; an Angel, a small painting by Guarienlo, with a St. Jerome and Madonna by Squarcione. The collec- tion of Italian copperplate engravings of the fifteenth century and of the beginning of the sixteenth is very valuable. Four bronzed figures of burnt clay are models of busts of Giovanni Mazza, founded by the Albe: ghetti for general Schulemburg ; and a too much extolled sculptor of the last century, Francesco Bertozzi, has executed the two basso-relievos of the four elements. The Venezze house, built by the illus- trious professor Benavides and now oc- cupied by the prince of Aremberg, has some remnants of frescos by Gualtieri and Domenico Campagnola. There are two remarkable works by Ammanato : the immense colossus o( Hercules, com- posed of eight parts skilfully joined together, a naked and bold performance of his youth : and the superb garden gate, resembling a triumjihal arch, and decorated with statues of Jupiter and Apollo. Although I pay more attention to the monuments of the past than of the pre- sent moment, I cannot possibly pass over in silence a structure \n hich was in active progress the last time I was at Padua. This elegant and spacious ediQce, the work of Japelli, to whom the town is in- debted for its new slaughter-houses, an- other excellent building differing in kind, was executed for the owner of the Pe- drocchi coffeehouse, who purposed trans- ferlng his business thither. It is also interided to serve as an assembly-room and casino, and will certainly be one of the most magnificent in the world : all the columns, the walls, and pavement are marble ; there is not even a bit of stucco, and unless a person were ap- prised of the reality, such a building would appear to him much more like a palace or temple than a coffeehouse. The cost will be 6000 pounds sterling ; but a Parisian architect would not get through it with 40,000/. It is a fact that the works are singularly managed ; there is neither master-mason, contractor for joiners' or smiths' work, nor other powers; there are only the architect who gives orders in the morning, and the master who pays at night. This beau- tiful construction, with its capitals and CUAP. VIII. ] ARQUA. 215 every individual part executed and fi- nished off with the utmost nicely, will, 1 believe, be finished without leaving a single .iccount to settle, a prodigy which probably has not been seen since the time Cu'aux nccordsd'Aniphion les pierres se mouvaient, El sur les murs llitbaiiis en ordre s'lilevaient. An antique basilic was found while digging the foundations ; partof itsmarble was used in pa\ing this lemonade shop, so frequently may the vestiges of Italy's olden glory be found where least ex- pected." CHAPTER VIII. Calaio. — Euganean hills.— Arqui.—Pelrarcb's bouse and tuiub. Arqua, four leagues from Padua, is celebrated as the burial-place of Petrarch. On the road is a great picturesque manor- house called Catnio, formerly noted for the paintings of Zelotti and its museum of antiquities. The Cataio now belongs to the duke of Modena, to whom the last marquis Obizzi bequeathed it with his other property, a vainglorious legacy, which the marquis thought would m.ike him seem a relative of the house of Este. A rare book by Giuseppe Cotussi of Bas- sano, entitled : Ragionamento sopra il Calajo luogodelSiy. Gio Enea Obizzi; in I'adova, per Lorenzo Pasquati, 1573, in 8vo, was singularly mistaken by Len- glet-Dufrcsnoy, 'u\h\s Supplement' to the method of studying History, for a work on Cathay or China, and classed accord- ingly. The situation of Arqua amid the Eu- ganean hills, so often sung, but little known, is delicious. ^ Childe Harold and its notes contain a poetical and minute description ofthe site ; but, whiledescrib- ing the beauty of the orchards of Arqua, and of its little groves of mulberry-trees and willows, interlaced with fe.stoons of I Tbe Pediocchi coffeebouse was finisUed in 1831. S. Japelli niiide an Artesian well Ibere in 18:U, a discovery which, according lo the editor of the Udina Vitruvius |lS30-32), S. Qulrico Viviani, and the researches of M. Arogo, was well known to the ancients. M. de Lamarline was inclined lo think that the three famous Welli of Solomon in tbe plain of Tyre were of this description. ^ The Euganean hills, celebrated by all poels from Petrarch to Cesarolli, Foscolo, and Cesare vines, it would perhaps have been just to mention (in the notes at least ) its excel- lent figs, which enjoy a well merited reputation in that country. Petrarch's house is at the end of the village ; that house, in which he received the frequent and familiar visits of Fran- cesco Carrara, sovereign of Padua, is now inhabited by peasants and much da- maged : di pensier soavetnente mesli Solilario ricovero gioeondo; Di quai lagrime nmare II petto inondo, Nel veder ch oggi inouorata resli.' On the walls of the chambers are some coarse paintings relating to his love, taken from the first canzone; he is seen lying under a tree, and making a brook with his tears; the adventure of Laura, who, being surprised by Petrarch when bathing ill a founlain, splashed the water about with her hands to conctjal herself from his view, is so oddly represented that one would think she was, wilhout much re- gard to modesty, throwing water in his lace, though he continues to approach her with imperturbable gravity; he appears, too, almost metamorphosed into a stag; it is Acteon in archdeacon's robes. The little w hite cat loved and sung by Petrarch may be seen, stuffed, in a niche; but I do not believe it the real one; it looks quite new, and I have learned that, as sentimental strangers were always eager lo possess some portion of this illustrious cat, it was renewed every year, like the laurel at Virgil's tomb, when the season for travellers drew near. Some enthu- siastic admirers of Petrarch maintain the authenticity ofthe cat, and Tassoni, who so severely handled Petrarch in his com- mentaries, wrote the following pretty verses on Arqua and this animal : E '1 bel colle d' ArquS poco in disparte, Che quinci il nionle e quindi il pian yagheggia; Dove giace colui, nelle cui carte L' alma frouda del sol lieta verdeggia ; Ariici, abound with excellent hot springs, varyiDg in beat from twenty-four to eighty degries |R6au- mur). BathiiiK-bouses have been established at Abano and at the springs of Monte Orlone, San Pielro Monlaijnone, Munlegrotto,San Barlolonimeo, Santa Elena, near Battaglia. These bills are more- over a very interesting geological sindy. Count da lUo's mineralogical cabinet, at Padua, Is curious as far as concerns the Euganean hills. 3 Allieri, Son. LVIII. on Arqua. 216 ARQUA. E dove la sua gatia in secca spoglia Guarda dji topi anror la dolta soglla. A quesla Apollo giSi fe' piivllegi, Che rimaiiesse incontro ol tempo intalta, Eclie la fama sua con vaij fregi Eterna fosse in inille carnji fatta : Onde i sepolcii de' superbi regl Vince di gloria un' insepolta gatla. A register (codice) is kept in the house to receive the names of visitors, and their thoughts, if they happen to have any. This volume has even been printed; but I doubt whether the desire of creating enthusiasm ever prompted a less felicitous expedient. Ourgrenadiersand voltigeurs have also been to write their names in this book, but they are neither fools not ridiculous. Granting that they did nor exactly know what Petrarch was, it is evident that they were impelled by a kind of instinctive passion for glory, though their comprehension of it was not very complete : this sentiment is touching because it is true, and in it lies the secret of their victories. I confess, however, that I am no great partisan of those eternal inscriptions which so many travellers seem to think almost obligatory. It appears to me that the multitude of vulgar names, which crowd around the tomb of a great man, or on the walls of his dwelling, intrude on the culm of the grave and the silence of the retreat where he lived. It is, besides, a want of respect in mediocrity thus to assume familiarity with genius, and rush into its very sanctuary. Such homage is olTensive, almost sacrilegious; the worshipper at this shrine must not be too far below the divinity, nor make with it a too striking contrast. This inscribing vanity, like that of the world, has its selfishness and vandalism ; the lodges of Raphael, the frescos of Giulio Romano at Mantua, and of other great masters, already so much injured by age, are still farther spoiled and disfigured by the list of all these proper names. Petrarch's tomb, erected to his memory by his son-in-law Rrossano, is on the other side of Arqua facing the church. Petrarch is perhaps, with V^oltaire, the ' See his CaDzoni, 2 and i. Spirto genlll che quelle membra reggi. Italia mia, bencbe '1 parlur sia iudarno. • " Whenever I address your majesty on affairs partaking of the serious," be writes to Frederick, [Book VII greatest literary character of modern times; courted by kings and republics, popes and universities, a friend of the cardinals, great lords, and the sham chi- merical tribune of modern Rome, he held absolute sway over that empire of letters which he had in a manner founded, whilst Voltaire extended and renewed it. If Petrarch had already the vanities and weaknesses of a man of letters properly speaking, he raises himself by his attach- ment, his enthusiasm for his country, by the profound pity he felt for its misfor- tunes,' and his atTecling friendship for Boccaccio ; Voltaire, on the contrary, was the enemy of Jean-Jacques; he threw ridicule on his country as on every thing else, and made a jest of its reverses." Greatly resembling each other in their manner of life, both guests of a philoso- phical king (Petrarch of the good Robert of Naples, a somewhat freer liver than Frederick), beloved by illustrious women, tormented by the spleen of critics, hold- ing with their contemporaries, even the most eminent, an immense correspon- dence which makes their letters like annals of their day, transporting their widespread fume to a thousand different places, their death presents a singular contrast : Voltaire expires in the middle of Paris, overwhelmed with glory, sur- rounded by the homage of the Academy, amid the clamour of theatrical applause and the acclamations of the people ; Petrarch died peacefully in his asylum at Arqua, the gift of the Paduan tyrant, which he preferred to the tumultuous life of a citizen of Florence. Petrarch's real or metaphysical love for Laura is perhaps one of the most con- troverted and least explained questions in history. Professor Marsand, of Padua, editor of the best edition of Petrarch, and collector of a curious library of nine hundred volumes about that celebrated man (which in 1830 vvas added to the king's private library at the Louvre), after making the life of Petrarch his study for twenty years, has re-adopted the opinion of Lauras celibacy ; he pretends, not- withstanding the imposing authority of " I tremble like our regiments at Rosbach.'' And in another place : " They fled like the French be- fore your m-ijesty.". . . " I wanted," said he again to Frederick, "the king of Prussia for my master, and the English people for my fellovy-citizens," and many other such expicssions.— Correspond, of the Uingof I'russia. Let. i,ix,lxxxiii, cxiy,cxxii,C!ixix. Chap. IX.] ROVIGO. 2« Tiraboschi, Baldelli, Ginguen^, and the aulhorofihe remarkable article on Laura in the //(0.7/o/)/((ei(/u't'ersc//e, that no au- thentic proot'of'h.r marriage with Hugues de Sade can be adduced. I own thai I would willingly yield to an opinion so much in conformiiy with ihr spirit and li- terary manners ol" the time, and that I should rejoice to see such a poetical cha- racter delivered from those eleven chil- dren so indelicutely bestowed on her by the vanity of the abbd de Sade. Despite her high birth so much boasted by Pe- trarch, Laura may very well have been no extraordinary person ; he even tells us that she was so much occupied in houi^e- hold affairs as never to pay any attention to poetry or literature : E Don curb giammai rime ne versi. Petrarch, from his labours, discoveries, encouragements, and sacriQces, must be regarded as the real creator of letters in Europe. When I contemplated on the hill of Arqua the vast sepulchre of red marble, sui)porled by four columns, in which his ashes repose, I fancied it less the receptacle of mortal remains than a nionunienl erected to the intellectual powers, a trophy attesting the triumph of civilisation and learning over barbarism and ignorance. CHAPTER IX. Kovigo.— Rliodiginus. — Ponle di Lasoscuro.-Cus- (oni- bouse. -Cusioiu-ljouse ciilkiMn. Rovigo is a small and rather noisy town, with a great square in which stand several tall red masts. One of the first men of the revival, the celebrated Caiius Rhodiginus, whose Italian name was Ludovico Celio Hicherio, his Latin name being derived from that of his country {Rhodigium), is interred in the cloister of Saint Francis. Rhodiginus was called the Varro of his time by Julius Ciesar Scaiiger, Mhom he bad the honour of calling his disciple; his Antiquw lec- tiones. printed by Aldus (157G) first made him known throughout Europe : he was patronised by Francis L, and died of grief at the age of seventj-flve on learning his defeat and capture at Pavla. An Austrian ofTicer, perhaps some learned student of the German universities, on passing through Rovigo, was indignant at finding the tomb of so great a scholar without inscription, and drawing his sword, he traced with its point these admiring words : Hie jacet tantns vir ! This would have been still more natural in one of our countrymen, for Hhodiginus was always a very de- voted partisan of the French. I did not see the statue which it had been pro- posed to raise in his honour at Rovigo, and of which this laborious scholar was worthy. The library of the academy de' Con- forc/i of Rovigo, was augmented in t832 by the precious library of the abb^ Gnoc- chi, a donation from that erudite gentle- man, when he became librarian of the Concordi. This library, with the addi- tion of the fine pinacoteca of Count Casilini, presents a whole that would not disgrace a metropolis. The Po is the limit of the Papal states ; it is passed at Ponle di Lagoscuro, where there is only a simple ferry-boat (a trilling fact that may enable one to form an opi- nion of the accuracy of Italian designa- tions, as well as of the prosperity of the country). On the frontiers of the Papal states, the restrictions and annoyances respect- ing the entrance of books are extreme ; a prelate even did not escape when I underwent them a second time in 1827. One of the ofiicers with whon) I had to do was, however, very kind and polite, and felt thai species of embarrassment which a reasonable man must feel when engaged in a ridiculous business, ren- dered necessary by superior orders; for he was watched by other persons far inferior to himself. A very severe edict of the legale of Ferrara was placarded in the custom office, where the lamp of the lUadonna was burning a'nid weights, scales, punches, stamps, and all the im- plements of the trade; a singular and offensive mixture of devolionaf practices and fiscal proceedings. The literary '''iggag'-' Ihat I look with me, for my re- searches, was sealed, preparatory to an examination by the censors at Bologna. This custom-house criticism must after all be oflitlle service; it was not, indeed, very easy to explain to the officers what Horace, Virgil. Dante, Petrarch, and other great authors were; I found no- thing belter lo say of Ihetn than thai, 19 218 being compatriot treated accordingly.' FERRARA. they ought to be [Book VII. CHAPTER X. Ferrara.-CaslIe.-Palacede«]lfagvho died in 1733, the last painter of Fcrrara; the angels of this chapel and several other statues of an- gels, saints, and seraphim in the church are by Andrea Ferreri, a sculptor of the last century, elaborate, but occasionally graceful. In the choir, the Last Judg- ment, a fresco by Bastiunino, the best of the Last Judgments after that in the Six- tine chapel, of which it is an able and superb imitation, has been impaired by a late bungling restoration. The artist, like Dante and Michael Angelo, has put his friends in heaven and his enemies in hell; a young wornan is even to be seen there who had refused his band, while the one who consented to es[)oiise him, placed among the elect, is malignly gaz- ing at her. An Annunciation, a St. George, are by Cosme; as well as some admirable miniatures which embellish the twenty-three volumes of choir books, presented by the bishop Bartolommeo of Rovera ; large and brilliant \o!umes compared, and even pr<'ferred to those of Siena, an elogium sufTicient to give an idea of their magnificence. Near there is the sepulchral stone of Urban I!I , who occupied the throne of Saint I'eter but for a moment, and died of grief on learning the disasters of the second cru- sade.' The five bronze statues of an antique altar, the Christ on the cross, the Vir- gin, St. John, St. George, anidSt.HIaurc- lius, seemed the work of Bindelli, of Ve- rona, and of Maiescotii, a clever artist of the close of the fifteenth century, whoi^e works are very few in number, but highly esteemed; iMarescotli was a monk of the Gesuali order, founded in 1367 by Saint Giovanni Colombini of Siena, and suppressed in 1668 by Cle- ment IX. Donatello, when summoned from Venice lo estimate the value of the statues, found them very valuable, and fixed the price at 16il golden ducats. A I The news of the toliins of Jerusalem could not have caused the de.itli of Crbiin III., as .some bJive said : bis dealb took place on the 2uib of October, and Jerusalem surrendered lo Suludin on the Cilli only. There ran be no doubt that be died on learn- ing the loss of ibe battle «bich preceded that dos- ing ralastrophe. ^ The inscription is dated l.j.iiO, which explains the mistake of those who make Giraldi die tbit very year, \yhereas, according to De Thou, he did St. Catherine, at the fifth altar, is an- other of Bastianino's works. The inscription belonging to the tomb of Lilio Giraldi, the celebrated mytholo- gist, remains in the cathedral, though the monument has been transferred to the Campo Santo : this inscription, written by himself, alludes to his wretchedness : Nihif Opus ferente Apolliiie,'^ says he, in his pagan language, which seems rather strange in a church. Mon- taigne does himself honour by the feeling manner in which he speaks of Giraldi's end : " I hear, with great shame at our age, that two persons most eminent in learning have died before our eyes in a state of starvation, namely LiliusGrego- rius (jiraldus in Italy, and Sebaslianus Castalio in Germany; and Hhink there ore a thousand men w ho would have otfered them most advantageous conditions, or assisted them where they were, had their necessities been known. The world is not so generally corrupted, that I should not know a man who would most anxiously wish to employ the means that have fallen to his share, as long as fortune grants him their enjoyment, in putting beyond the reach of want rare and remarkable men, in any kind of excellence, whom fortune sometimes pushes to extremities."^ This page may be adduced in contradiction of Montai- gne's reputed selfishness ; and his implied regret at not having been able lo suc- cour merit is both noble and affecting. The celebrated echo of the church of Saint Francis repeats sounds as many as sixteen times, and from every part of the building. There are admired paintings by Garofolo ; the Appreltensionof Christ, very much injured ; the Virgin, the In- fant Jesus, St. John Baptist, and St. Jerome, di\ine in expression; a Holy Family in repose, natural and elegant; a superb Resurrection of Lazarus ; the not die till emansliip, but because they coniain divers Iflerary conversalions between per- sons travelling on horseback. Ciivp. XI. 1 FEP.RARA. of Chcmia ; on that occasion he was only parlially a|)|)laii(lccl, amJ so much did he lay the a(Troi»t to heart, ihat he could not survive it, but tooli poison. The two Nativities of ihe Virgin and of Christ arc good woriis by Mona. A Presentation of the Virgin at the temple, on ihe ceihng ; Christ appearing to St. Ger- trude, are by Croma, an able painter of Ferrara. The superb painting of Dosso Dossi, St. John the Evangelist conlem- plating the mysterious woman of the Apocalypse, hasbeen strangely disfigured by the application of long green drapery, enveloping the previousi; half-naked body of the saint, which, if we may judge by the beauty of the hands and feet, must ha\ e been singularly excellent in shape. The Christ visiting St. Elizabeth is by Panetli.the Ferrarese master of Garofolo, who in his turn profiled by the progress his pupil had made at Rome under Ra- phael. The Render to Ccesar that which is Cwsar's and that ichich is God's to God, iii the Varano chaiiel, is a talented performance by the elder Palma; opposite, the great painting representing Justice and Power, contains the famous Latin enigma of Alessandro Guarini. which many learned men since Cresciinbeni have sought in vain tounriddle. The Miracle by St. Anthony, which vindicates a wo- man's honour by the means of a child to which she has just given birth, is one of the most esteemed paintings of Carpi, a pupil of Garofolo. Santa Maria del Vado encloses Ihe tombs of some illustrious literati and artists : of Titus Vespasian Strozzi, cele- brated as a Latin poet, but abhorred as a minister; > of his son Ercole, a still better poet, who condescended so far as to write Italian verses, that he might be under- stood by his mistress, Barbara Torelli; he was ranked by Ariosto in his Orlando among the first poets, and periihed by the hand of a nocturnal assassin, a power- ful and unpunished rival, supposed lobe Duke Alfonso L A plain stone points out the grave of Garofolo; there also repose Ortolano, Dielai Bastianino, and Bonone, clever masters of the shining and prudent school of Ferrara, which seems to have drawn its inspiration from the poetic and literary taste of that city, ' Slrozzi was appointed presiJent of Itic pr.ind couucil of tnelve (Giti(//ce de" dodici Savj], by the duke of Ferrara; lo use llieexprcssiou of acoulem- and which, by his proximity to Venice, Parma, and Bologna, its short distance from Rome and Florence, gave its artists the opportunity of borrowing from the different schools whatever features and peculiarities ihey those. The vast church of Saint Andrew, in a low situation, is dilapidated, but still retains some chefs-d'oeuvre of art: the Virgin on a throne, by Dosso Dossi ; the Christ raised from the dead, attributed to Garofolo or Titian ; the Guardian angel, which seems to be descending from heaven, by Bonone; a St. Nicholas de Tolentino, a statue by Alfonso Lombardo. In the refectory, the Ceremonies of the Mosaic law and the Sacraments of the new, a grand composition by Garofolo, (hough decayed, is still remarkable. In the poor litlie church of the Capu~ chin nuns, lo my great surprise, I expe- rienced a very agreeable sensation. Instead of the cadaverous odour loo fre- quently found in the churches of Italy, the whole building was perfumed by the multitude of flower vases that covered the allars. The holy maidens grow part of the Dowers themselves; the rest are gifts ; these donations, a kind of volun- tary lithe, are affecting acts of piety. The paintings are not numerous, bul by the best masters : the Virgin on a throne and other saints ; the same wilh saints ond Capuchin nuns, by Scarsellino; St. Christopher and St. Anthony the abbot; St. Dominick and St. Francis, in the sacristy, by Bonone. The Conception is an excellent small statue by Ferreri. The church of the Thealines, richly de- corated, h isa Purification, by Guercino. a Resurrection of Christ, and a St. Gaetan by Chenda. The learned librarian of Ferrara, Ba- rolli, is interred st the Gesii. The Three Japanese Martyrs appear to be by Parolini; a fine Crucifix is by Bas- tianino; the ceiling of the church, by Dielai, a clever disciple and assistant of the Dossi, and of Bastaruolo, his worthy pupil, a painter that ought to be known bejond the limits of Ferrara, his native place: he perished while bathing in the Po, being at the time in a bad slate of health. In the choir is the splendid mausoleum and the bust of the duchess poi-ary historian, lie was detested pin del diavolo. Viario Ferrarese, published by iUuiatori, Script . rer. llalie., xxiv. 401 . 2-24 FERRARA. [Rook VII. Barbara of Austria, second wife of Al- fonso II., a princess eloquently eulogised by Tasso, both in prose and verse ; ' she did not deserve her redoutable Italian name of Barbara, as her compassion in- duced her to enlarge the hospital for Foundlings, in order to afford refuge to young girls who, from their personal attractions and poverty, were perico- lanti, as they say in Italy. There are still several convents at Rome of Donne pericolanti. Count Giraud, the Roman Dancourt, has related how his comic vocation was partially revealed to him on seeing a farsetta represented by the Donne pericolanti, who played men's parts with swords by their sides, coats, and cocked hats, but without quitting their petticoats. Pensions also are grant- ed to vedove pericolanti who are not in convents. Without giving credence to the scandalous chronicle of Rome on the favours lavished on some of these lovely pensioners, though they were not posi- tively in want and had perhaps some experience of the danger, this kind of assistance does not appear very reason- able, nor over moral even ; for if virtue once become like a service and a means of getting money, why should it not yield to a higher salary? The statement that the tomb of Lu- crezia Borgia was placed in ihe inner church of the nuns of Corpus Domini, is unfounded ; there are indeed some tombs supposed to belong to princes of the house of Este; that of the daughter of Alexander VI. is said to be among them, but there is neither evidence nor inscrip- tion to support the tradition. ■ See Orazione la morte di Barbara d'Austria, t. XI. of the works, and t. ti. ihe Caozoni : Cantar non posso e d' operar pavento, Alma real che al mlo sigoor diletta. Tliisarcbduchess might already very well have the Austrian lip, uhich would then be three ceuluries old. Tasso, when giving tlie portrait of the daughter-iii-luw ofa countess of Sala, says that she has un laObrotto quasi all' Austriaca. Let. ined., p. (8. ' Count Balth. Casliglione has written a brilliant panegyric of Cardinal Ippolilo In his book del Cur- tegiano (lib. i. p. 251, but he might be endowed with a courtier's qualities without being an iota CHAPTER XII. Library.— Arlosto.— Manuscript of the Gerusalemme. — Epic head of the Fcrrarese.— Verses of Tasso.— Cuarini. -Painting at Ferrara.— Arloslo's tomb. The library of Ferrara dates only from 1646, but such has been the importance and the choicencss of ihe collections with which it has been successively enriched, that it is hardly surpassed by the finest libraries for manuscripts and rarities, and it may be reckuiicd (he principal monument of the city. The number of volumes is about eighty thousand, and ofmanuscripls nine hundred. The rooms are beautiful and the volumes in perfect condition. In the first of the three large rooms are the portraits of Ferrarese car- dinals eighteen in number; among them may be remarked that oflppolito d'Este, said to be a good geometrician for his day, the unworthy Mecaeoas of Ariosto, who was better pleased to see the great poet occupied in his service ofgentleman, than in composing verses : S" io I' ho con laude ne" miel versl messo. Dice eh' io I' ho fatto a piacere e in ozio, Piii grato fora essergll slato appresso. Ariosto sacrificed the fifteen brightest years of his life to Cardinal Ippolito : Aggiungi che dal giogo Del cardinal da Esle oppresso fui, until the duke Alfonso, his brother, en- gaged him at the salary of 16 s. 8 d. a month. ' The cardinal's physiognomy and black beard by no means contradict the well known gibe he is said to have uttered when Ariosto presented his poem to him, a word, moreover, in strict con- less selDsh or yicious on that account. The com- pliments of the lord of Gonzago, one of the inter- locutors of the Corlegiann, scarcely prove more than the tapestry of the wedding pavilion of Drada- niante, which represents the acts of the same car- dinal. (Or/, cant. XLVi. St. 85 to 97.) The satires of Ariosto quoted above, notwithstanding their title, have a singularly veridical character; published after his decease, lilie modern Memoirs or Confes- sions, they present an ingenuous history of the puet's life and a faithful picture of the manners of the lime and of the lillle courts of Italy in the fif< teenth and sixteenth centuries. It is extraordinary that Ariosto, with all the gaiety ami «iMuess of fancy displayed in his poem, should be In his satires a practical moralist full of sense and reason I ClIAP. XII. ] FERRARA. 225 formily wilh Italian manners." The custode of Ihe lihrary informed me that Ariosto retorted Ihes'e imi»erlinenl words in answer to the cardinal — Aelgabinetto di Vostni Eminenza; but 1 must cau- tion travellers generally not to pay too much attention to custode and cicerone, as in this case, there is no man of educa- tion in Ferrara that credits the tradition respecting this repartee. A room more interesting than this gallery of cardinals is that of the Ferrarese authors, from the oldest down to Monti and Cicognara. It is amazing that so much wit, science, and poesy could arise and develope itself in the damp thick atmosphere of this land of mud : Ferrara is a sort of refutation of Montesquieu's theory of climates. The collection of writings, minor pieces, and papers of the Ferrarese authors is nearly complete. There are the manuscriitts, fragments of some cantos of the Furioso (as the Italians call Orlando), covered with corrections. Arioslo always re- vised and polished his poem, although he might have sought the advice of Bcnibo (who had advised him to write in Latin), Molza, Navagero, and other distin- guished wits of Italy ; he keiit the first edition of it in one of his apartments, that he might take the ahed, that would not totally disappear under the altaclis of criiicibin, if its author allowed every censor to take away the part that pleased liim least." CIj. i. Des ouvrages a esprit. paid great attention to bis cannon foundry and had the finest train then existing. Alfieri, bending reverentially before the manuscript, obtained permis- sion to inscribe the words Vittorio Al- fieri vide e venero, 18 giugno 1783. The custode, a singularly solemn and pathetic personage, expressing himself con la cantilena romana, shows even the trace of a tear shed by Alfieri, who has dropped but few save in his love sonnets. The manuscript of the Scolas- tica, one of Ariosto's comedies, is very little corrected, but this piece was in- complete when he died, and his brother Gabriele finished it. Ariosto's come- dies, an imitation of the Greek or Latin stage, and particularly of Plautus's pieces, must have cost him infinitely less labour than his brilliant and original epic. Al- though played before Duke Alfonso and by the lords of the court too, they are full of the sharpest satire on (he great, the magistrates, judges, lawyers, and monks of Ferrara : with such fn edom of opinion, it is not surprising that the author succeeded no better. The ma- nuscript of the satires is in good [ireser- vation,and curious for the different cor- rections in the poet's own hand. Ariosto's arm-chair and inkstand arc kept in the library ; the elegance of the latter, in bronze, strikingly contrasts with the homely simplicity of the walnut-tree chair; ' the inkstand, a present from Alfonso, and said to be cast from a drawing by Ariosto, is surmounted by a little Cupid with the forefinger of the right hand laid on his lips. Several of Ariosto's biographers pretend that this silent Cupid is an emblem of his discre- tion in his love intrigues.* Perhaps there is some exaggeration in attribut- ing to him a quality so estimable, and so rare, even among poets : Ariosto had two natural sons whom he publicly owned, one by a governess in his father's family, the other by a peasant girl of the ^ See booh v. chap, xviil. on Fracaslor's arm- chair. 1 See Barotti's life of Ariosto. The Spanish poet Scrano wrote the following pretty Laliu verses on the Cupid of Ariosto's inkstand : Non ego nudus amor, sed sum praeceptor amorls; Qui cupies felix esse in amore, sile : [arlem Hoc quuque, quo melius discas, quam tradimus Nuluimus lingua dicere, sed digito. 826 FERRARA. [ Book VII. village of Saint Vital del Migliarino, ■where he had a small estate ; this latter son, his dear Virginio, whom he sent to study at Padua with a recommendation to Bembo, is the author of the interest- ing Memoirs of his father. As to the mystery he made of his marriage with Alessandra, a young widow of Florence, whose talent in embroidery he has cele- brated,' though her mind was of no high order, it is very naturally explained by the fact of his enjoying certain ecclesias- tical benefices and rents which he would have lost by publishing it. There is another manuscript in the library of Ferrara noi less worthy than Ariosto's of AIGeri's de\out inscription ; it is the Gerusaleinme, corrected by Tasso'sown hand, during his captivity. The words Laus Deo are wrilten by the unfortunate poet at thceml of his almost sacred manuscript, which no one can touch without admiration and respect.' There are a great many suppressed pas- sages in it, and several successive pages are sometimes crossed out. .An edition of the Gerusaleinme with the variations of this manuscript would be inieresting. If amateurs still peruse the flrst scene of the third act of Britannicus, prudently retrenched by Racine, as advised by Boileau, because it retarded the action, it is very probable the more numerous various readings of the Gerusaleinme would present particulars not less pre- cious. Perhaps the worship of i'elrarch and Dante, renewed by the Italians of our day, has turned them too much from the attention that Tasso's glory deserved? Gibbon has remarked that, of the five eminent epic poets that shone on the world's wide stage in the space of three thousand years, it was an extraordinary pri\i!ege for so sm ill a state as Ferrara to count two, and at epochs so near together. This observation on the epic superiority of the Ferrarese, refused to great nations, is more strikingly appa- 1 Cosi talora iin bel puipureo nastro Hu vediito parlir lela d' argenlo Da quella biauca man piii cli' alabastro. Da cai partire il cor spesso mi senlo. (Or/, cam. xxiy,st.C6.) ATveolurosa man, bealo ingepiio, Beata seta, beatissim' oro. {Sonnet, xxvii.) ' The words Laut Deo. Deo gratia^. Amen, ter- minate many editions of the lifleenth and siileeuth ceDturies ; Deo gratia* is at tlie end of llie extreme- rent, when we contemplate the united manuscript of the bards of Orlando and Rinaldo. We must add that the blind man of Feriara who preceded them, the author of Mambriano, a kind of burlesque Homer of paladins and ne- cromancers, is one of the creators of the modern epic, and that the poem of Bo- jardo produced that of Ariosto. Among the other manuscripts of Tasso are nine letters, dated from the hospital of Saint Anne; I saw the following verses exhi- bited, written also from his prison to the duke Alfonso, the magnanimous A Ifonso ! Piaiigo il morlr, nfe pianpo il morir solo, Ma II modo, e la mia fe', che mal rimbomba, Che col noma ?eder scpolla parrai. ^e piramidi. o Mete, o di Mausolo, Mi sai ia di conforto aver la lomba, Ch' allremoli innalzar credea co" carmi. One must read these verses of Tasso in his own handwriting, at Ferrara, to feel the sorrow, desolation, and anguish that they express. It is very astonishing that Lord Byron did not imitate them in his Lament of Tasso : the tears of genius are assuredly more touching and poetic, than the kind of insensibility and ran- cour imagined by the English author : " I once was quiets in feeling— that is o'er ; — My scars are callous." The manuscript of Guarini's Pastor Fido seems subordinate and vulgar be- side those of Ariosto and Tasso. His poem, however, is not dcflcient in har- mony, elegance, or purity; but this pre- sumptuous imitator of Tasso,^ without invention or imagination, shows the dis- tance between talent and genius. Gua- rini also met with some untoward vicis- situdes in life, but his court disgrace or domestic troubles have not the interest or glory of Tasso's noble misfortunes. The manuscript of the Pastor Fido was ly rare folio edilion of the Decameron, without dale or imprint, but supposed to be of 1469 or MIO and printed at Florence ; il is called the Deo grattas Decameron, a very singular title for a collection of tales, in some instances licentious. ^ Especially In thechorus of the fourth act of the Pastor Fido, which answers to the lirst chorus of Aininta, and has a like number of strophes, the strophes have cuch as many line*, the verse is of the sHnie measure, and the rbymes are exactly the same as In the Aminta. Chap. XII. ] FERRARA. 227 sent b) Guarini to his protege Leonardo Salviati, president of the Academy dclla Crusca, the unlucky reviser of Boccaccio and Zoilus of Tasso, who made some few corrections on the manuscript, chiefly grammatical, to which Guarini did not in every instance accede. The Pastor Fido, notwithstanding certain very free passages therein, was played for the first time at Turin, as Tiraboschi informs us, and with almost royal magnificence, at the marriage of Duke Carlo Emanuele with Catherine of Austria ; another sin- gular instance of the licence of taeatrical performances in the sixteenth century." The jeering argumentation of Henrietta to her pedantic sister : Mais vons ne seriez pas ce dont vous vous vanlez. Si ma mere ncut eu que cle ccs beaux cOlt's ; El tiieii vous prend, ma socur, que son noble g6uie N'ait pas vuqui' toujours h la pbilosophie. And the comic simplicity of Theramenes combatting the scruples of his chaste pupil : Vous-meme, oil seriez-vous. Si loujours Antinpe a ses lois opposee D'une pudique ardeur u'eiit briile pour Thfiste? are drawn from the Pastor Fido. These last words, says Voltaire, are more suit- able for a shepherd that the governor of a prince, although the Greek Hippo- lylus is assuredly but little like a prince royal. Bellarmin however behaved very harshly to Guarini when he visited the Sacred College as dei)uty from Ferrara, for the purpose of coni|)linieuting Paul V. on his accession; he publicly reproached him with having done as much mischief to the Christian world by his poem as Luther and Calvin by their heresies. The answer of the poet is said lo have been very piquant. The prudent author of his Life, Alessandro Guarini, his great grandson, durst not repeat it; nor is there the slightest trace of it left in the dif- ferent historians of Bellarmin, to whom probably it did not appear flattering enough for the illustrious cardinal. ' Tiraboschi asserts |p. si. of Ihe Life of Guarini, pretixed lo the Pastor Fido) that this represenlalion really look place; Ginguene brings forward some pretty good reasons tu prove il was only projected \Uiat. tilt, d'llal, vi. 389) : the first edition of the Pastor Fido of 1590 at least shows that it was de- dicated lo the duke of Savoy on Ihe occasion of his marridge. " Among the beat or scarcest is the first, Fcirara, Lord Byron mentions, as existing at the library of Ferrara, a letter from Titian to Ariosto, which I deeply re- gretted not being able to find. Ariosto and Titian were friends; they often made the journey from Ferrara to Venice together, when they accompanied the duke Alfonso in his peotte; for the latter frequently visited Titian at home, and took him back with him to Ferrara. The same route is now less poetically but more rapidly traversed by the steamer Othello. The poet and artist must have mutually consulted each other respect- ing their works, and this letter might furnish some curious particulars of a union then so common between writers and artists, which doubtless contributed greatly to their glory. The letter, pre- tended to be Titian's, inserted in the G'lornale delle provincie Venete of the year 182.5, is only by his pupil and se- cretary, the Venetian Giovanni Maria Verdizzolti, a clever landscape painter; it is not addressed to Ariosto, but his nephew Orazio. It treats of the Geru- salemme Uberata, and is dated in the month of February 1.588, being more than fifty years posterior to Ariosto's death, and twelve after Titian's. The ancient clioir book of the Carthu- sians is now in the library ; it forms eighteen alias volumes, covered with brilliant miniatures, the work of Cosme's school. A Bible in one volume, appa- rently by the same artists, is equally large and magnificent. The library of Ferrara is rich in first editions of Ariosto, having as many as fifty-two.^ Bajle and other protestant writers ^ are wrong in accusing Leo X. of having almost at the same time ex- pre^sed his approbation of Ihe profane Furioso by a bull, and anathematised Luther and his books. The pope's bull affixed to the first edition is only a pri- vilege, a guarantee against piracy ; there is no question of excommunicating the critics of the poem, as some have pre- tended, but only those who might print Gio. Mazocco del Bondeno. A di 22 aprile 1516, in quarto, of n liich our Bibliothfeque possesses a copy that was sent to Francis 1. ' Bayle, Ilisl. Diet. art. LeoX.; Warlon's History of English poetry, vol. xv. p. 4H ; and M. Ch. Villers, who, in his Eisay on Ihe spirit and in- fluence of Luther's Reformation, has eiactly copied Bayle. FERRARA. t Boor VII. and sell it w illiout the author's consent ; it is the act of a prince, not of a pontili". The anathemas of Leo X., too, against Luliier were long subsequent to this first edition. An anecdote of its publication does singular honour to Arioslo : in the agreement concluded with the bookseller Jacopo dai Gigli, of Ferrara, by which he sells him a hundred copies at the price of librar. 60 march, an., about six pounds sterling (for Ariosto seems to have printed his work at his own expense), he stipulates that no copy shall be sold for more than soUdorum 16 march., about twenty pence. The price oflhe book and the bookseller's profit were therefore very reasonable, and this exam- ple of consideration for the public and economical amateurs might very pro- perly be recommended to some of our fashionable poets and publishers. The library of Ferrara offers a great number offine editions oflhe fifteenth and sixteenih centuries, and such rarities are well-placed there: Ferrara was one of the most illustrious towns that cherished printing in its infancy ; its first editions closely followed those of Rome and Ve- nice; it had even an advantage over the greaternumber of Italian towns to which the first printers were stranfjers ; its own, Andrea Gallo, who printed in ii71, and very correctly, the Commentaries of Ser\ius on Virgil, in folio, and the AchUUid of Statins, the existence of which has been erroneously disputed, was a native of Ferrara. The second printer of Ferrara, Agostino Carnerio, was also very probably of that town ; he first printed the Boccaccio's llieseid,' with the commentaries of Pietro Andrea de Bassi, another Ferrarese. Such a circumstance announces already a kind of liter;iry glory and prosperity at Fer- rara, though Bassi's commentary is too prolix, the edition inelegant, and this first attempt of ottava rima, said to be created by Boccaccio, was faulty and ungraceful, still far distant from the har- monious octaves of Ariosto and Tasso, which were composed on the same spot that saw the first printed. The follow- ing year 1476, a liebrew printing-olfice was established at Ferrara by Di;ke Er- cole 1. Some years after, the elder Aldus, before settling at Venice, had I 1473, a very scarce book ; a copy of it in good condition is preserved in tlje Bibliotbeque royale. attended the learned lessons of Giam- baltista Guarini at Ferrara ; he was in- debted to this clever master for his ability to publish in after days such ex- cellent Greek editions, and to compose his Greek Grammar, which is still es- teemed. According to the Ricerche bibliografiche suUe edtzioni Ferraresi del sec. XV, of S. Antonelli, under-li- brarian of Ferrara, published in 1830, more than a hundred editions were given during the first thirty yearsof the fifteenth century, by nine primers, a number much above the present. One of the chief rarities of the library of Ferrara is the Musculorum humani corporis pic- turata dissectio, by the great Ferrarese anatomist, phjsician, and surgeon of the sixteenth century, Giambattista Canani, who had some faint idea of the circula- tion of the blood, an undated edition, without imprint, but most likely of 15il, illustrated with plates engraved by the celebrated Geronimo Carpi ; only six copies of this are known to exist, and our I'ortal vainly endeavoured to procure one. This library, like most others in the Papal states, is behindhand; the annual sum of 200 crowns, about 43L, being insulTicient to purchase the most impor- tant works. In the second room of the library, which is devoted to readers, called Ihe hall of Ariosto, stands his tomb, trans- ferred thither with great solemnity from ihe church of Saint Benedict, by the French, on the 6lh of June, 1801, the anniversary of his death. The patri- monial house of the poet is in the neigh- bourhood ; " the building of the univer- sity, and the hall of Ihe library, are those in which he followed the lessons of Gre- gorio of Spoleto, his master. Thus is Ihe poet's tomb within Ihe very precincts where he passed his infancy and youth. The mausoleum, at Ihe end of the room against the wall, is of bad taste ; on each side is a daub of a large green curtain, with roses, doves, corbeilles, helmets, and plumes. The stone covering the bones of Tasso at Saint Onuphrius is preferable, with all its nakedness, to this theatrical (iecoration, unbecoming the grandeur of a sepulchral monument. The principal inscriptfon, by Guarini, begins by boast- ing Ariosto's talents as a minister and • See the following chapter. Chap. XIII.] FERRARA. 229 slatesmnn, claro in rebus puhlicis ad- miuistrandis. in regendis populis, etc. Thchi.stoiyoriiis lilV proves llial he might ha\e nieiMed this elogiutn; lie cerlninly had occasion for much coolness iYi his two missions to Pope Julius II., and especially in the second, when Julius, iirilated by Alfonso's alliance with the French, wanted to have his ambassador thrown into the sea. Andar piii a Uonia In posta non accade A placar la giand' ira di Secundo. It is not surprising to see diplomatic skill united with a talent for poetry ; the latter, when cnkivated with success, only occupies the short and far-between mo- ments of inspiration, and must there- fore leave time for business. I have seen as ministers in Italy, the two men who throw^ the greatest literary and poetical glory on our country,' and I doubt w hether they will ever be surpassed in ap- plication, ac4ivily, and regularity. That genius made to please, the first talent of negociators, as Voltaire remarks, may be still farther improved by the graceful language of poesy. The inscriptions on Ariosto's tomb have been given many times already; notwithstanding their lapidary merit, they are very inferior to AlOeri's sonnet, which I would rather have found there, beginning with these verses from the Furioso : Le donne, i cavalier, 1' arme, gli amorl, Le corlesie, I' iuiprcse, ove son ile? CHAPTER XIII. Houses of Ariosto and degli ii/osl/.— Theatrical performances at the court of Ferrara. — Mcolao Arloslo.— Ariosto's extensive and miuule inform- ation.— Parcelling houses.- Guarlnts house. The house of Ariosto is now one of the monuments of Ferrara. The elegant iuscription composed by himself, Parva sed apta mi hi, fed nulli obnoxia, sed non Sordida, parta meo sed tamen eere domus,^ ■which had long disappeared, has been replaced on the front ; above is the more ' MM. de Chateaubriand and de Lamarline. ' Ariostu tias expressed the same idea in his first satire : pompous inscription of his son Virginio, which is not cqyal to it : sic doinus haec nreosia Propitios habeat deos, olim ut pindarica. This resemblance to Pindar's house was partially realised during the late oft- repeated military occupation of Ferrara, when taken successively by the French, Auslrians. and Russians. All these Alexanders at twopence a day imitated the Macedonian hero, and the house of the Ferrarese Homer seems to have been no less respected than the Theban pod's. Ou the little covered terrace [loggetta) were written the verses printed with Ariosto's Latin poems, under the title de Paupertate. Ariostos garden was in existence be- fore his house ; 11 nimalt les jardins, etait pretre de Flore, II Ifilait de Pumoue encore. Ariosto made continual changes in his garden as in his poem : he did not leave a tree three months in a place, says Vir- ginio in his Memoirs; he attentively watched the developement of the seed sown ; and so restless was his curiosity that he ended by breaking the germ. Sometimes, in the delirium of his mania for agricultural experiments, he con- founded the various plants he had sown; so that on one occasion, alter visiting day by day certain caper-bushes (capperi) which charmed him by their Giie ap- pearance, his cherished plants iillimalely proved to be nothing but elders [sam- buchi). Ariosto put up an elegant inscription in his garden, ending with this graceful aspiration : et optat iNon minus hospitibus quara placilur§ sibi. The poet inhabited this house during the latter years of his life, but it is an error to suppose that he wrote the greater part of his works there; he could scarcely have done more than cor- rect the cantos added to the Furioso, and perhaps put in verse his two comedies of the Cassaria and the Suppositi, which Anco fa Che al citi levo ambe le rnaui, Che abito in c.i;a mia comodiimcnte Vogliu tra cittH'Jiiii,o tra villani. ' 20 230 FERRARA. [Book VII. he had wrilten in prose during his youlh. He displayed llje same flckie- ness in the arrangement of his house as in the planting of his garden; he seems also to have encountered as much disap- pointment : often did he regret thai al- terations were not so readily made there as in his poems ; and when some persons pretended surprise that one who had described so many palaces, had not a finer house, he gaily replied that the palaces he built in verse cost him no- thing. The traces of Ariosto's residence were shamefully underprized and effaced by the persons who succeeded him as pro- prietors of the house ; they sold the gar- dens which he had so whimsically culti- vated, and the grotto, the scene of his meditations, disappeared. When in 1811 the town council of Fcrrara, on the pro- position of the podesta, Count Geronimo Cicognara, the worthy brother of Count Leopoldo, determined to purchase the house of the illustrious poet, his chamber, which was recognised by the position of the windows, although the walls had been recently daubed with some miser- able paintings, done over others still worse, waswell cleaned and renovated in good taste, and in a manner calculated to heighten the impression of its|)oetical recollections. Opposite the door, below Ariosto's bust, is the following beauti- ful Italian inscription by S. Giordani, on a slab of Carrara marble : Ludovico Ariosto in questa camera scrisse e questa casa da lui edificata abitb, la quale CCCLXXX anni dopo la morte del divino poeta fu da conte Girolamo Cicognara podestd co' danari del co- mune ccmpra e ristaurata, perche alia venerazione delle genti durasse. The ancient house degliAriosti. where Ariosto was brought up, is still to be seen near the church of Santa Maria di Bocche. It was there that in his child- hood, with his four brothers and five sisters, he performed, when his parents were gone out, the fable of Thisbe and other comic scenes arranged by himself. The apartment, as may still be seen, was not ill adapted to this kind of represen- tations ; the bottom of the saloon has an open arcade resembling a stage; the chambers adjoining were the scenes and draperies; and whatever habiliments they could get served for costume. In- dependently of the precocious intellect these little compositions evince, we may look on them as an additional proof of the taste for theatrical representations at Ferrara under the dukes Ercole and Al- fonso d'Este. It is very probable that Ariosto's father, Mcolao, who, in 1486, was named captain of the town (or giu- dice de XII sarj), was invited to the court theatrical performances, and that he took his eldest son with him, then about eleven or twelve years old ; and perhaps (he latter sustained some cha- racter in the representation, as Duke Ercole himself was one of the actors, and that very year, he had played for the first lime the Menoechmi of Plautus in the largest apartment of the palace, there being then no theatre. This relish for plays never left Ariosto to his latest day ; he not only composed comedies, but di- rected the rehearsals : he presented the plan of a charming theatre, which Duke Alfonso some time after had erected, opposite the bishop's palace; the theatre was destroyed by fire, an event attri- buted by him to some enemy envious of his dramatic success; this disaster is said to have been a principal cause of his death. > A riosto lived in the house degli Ariosti, in order to complete his legal studies under the superintendence of his paternal uncles, when iNicolao Ariosto. his father, returning to Ferrara after a long absence, was extremely surprised to find his son independent, dissipated, and much more taken up with poeiry and romances than the pursuit of legal acquirements. He often reproached him sharply : one day when he burst forlh with greater vehe- mence, the resignation and silence of the culprit were remarked ; his brother Ga- Lriele asked the cause, and Ariosto con- fessed that he was occupied at that very moment with a scene for his Cassaria, which he was then composing, and that he intended to introduce the precise words used by his father. This scene, between Crisobolo (the lather) and Ero- filo (Ariosto), is the second in the fifth act; its truth is by no means surprising, as it is taken from nature and Terence. Several walled-up doors of the old pa- lace del Paradiso, now the University, near the house degli Ariosti, gave ad- mittance to Ariosto, who had only to ' " Fallo sta," says Baruffaldi, "che da quel gi >ruo egli non si riebbe, n^ si alzu piii di ietto.'' Vila di L. Ariosto, p. 237. CuAP. XIV.] FERRARA. 351 cross the street to attend the private lec- tures given hy Gregorio of Spoleto to Rinaldo d'Este. lie followed these les- sons from the age of twentj-two to twenty-five, when he at last devoted himself entirely to poetry; in after years, he pathetically lamented his master's exile, to whose return he looked forward with such simple, heartfelt joy, and poured forth his grateful acknowledg- ments in the verses addressed to his fellow-disciple, the prince Alberto Pio : 10, reditu, qui penilus rude Lignum dolcnit me, et ab inutlli Piaraque mole graiiorem 111 i-petiem lianc, I'ic, me redegit. lo, videbo qui Iribuil magis Ipso parenle, ul qui dedit optime Mihi esse, cuni tanlum dlter esse 111 populo dederil frequenli. VIrum, boni Di, rursus amabllem Ampleciar; an quid me ex^e beatius Potest beatum, mi beate Nunlie qui me bodie beasli.' Ariosto also attended the public lec- tures of Mario Pannizzato, a celebrated Ferrarese orator and poet, whom he has not furgollen either : Veggo it Mainaido, e veggo II Leoniceno, II Fauizzalo Ariosto, so brilliant, volatile, and playful as a poet, was an author of pro- found knowledge; besides his favourite poets whom he was ever reading, as Ca- tullus, Virgil, Horace, Tibullus,heknew the historians and philosophers, and had studied astronomy, navigation, and geo- graphy : Paris, with its views, bridges, and island, may still he recognised iti the description he has given ; Ginguenc* remarks that he carried his accuracy so t Carmin. lib. ii. Gregorio of Spolelo, Invited to Milan by Isabella of Arragoa, the widow of Gio- vanni Galeas Sforza, to be Ibe preceptor of her only sou Franresco. accompanied him when carried off by Louis XII. after the fall of Louis-I he-Moor. Iiis uncle, in Ii99; Gregoiio never returned lo Italy. Dotnilhstanding the ardent wishes of his pupils, but died at Lyons. Ariosto again feelingly recurs to the sorrows of his old master, in bis viitb satire : Mi fu Gregorio dalla sforlunata Duclie-sa loltn, e dato a quel Ogliuolo A chi avea il zio la signoria levata. Di che vendetta, ma con suo gran duolo Vid' ella tosto : aimfe perclie del fallo Quel che pecc6 non fu punito solo? Col zio il uipoie (e fu poco iatervallo) far as to give to a small town of Brittany (Tr(*guier) the name by which it is known in the language of that country ; Scot- land is not described with less fidelity in the episode of Ginevra than in one of Walter Scott's novels. On the death of his father, Ariosto quitted the house cle()li Ariosti, one fourth of which was his heritage accord- ing to Italian usage. This singular di- vision of property in a country where its excessive accumulation is often so fatal, must give rise to abundant lawsuits re- specting repairs between all these petty proprietors of floors, or even chambers. The house of Guarini recalls the names of illustrious scholars and the poet Giam- baltista, author of the Pastor Fido, who probably throws the former too much in the shade, and whose bust alone in marble stands on a pilastt^r at the foot of the stairs. It is still inhabited by the marquises Gualengo Guarini, ofthe same family. On the corner in the street is the ancient inscription : Flcrculis et mvr- sarum commercio — favete Unguis et unimis, an inscription, which is neither so elevated nor so natiiral as Ariosto's distich, parva sed apta '■.nihi, who, in- stead of thus posting bis dependence on the house of Este, on the contrary an- nounces that he had paid for his house : parta meo sed tarie.i cere domus. CHAPTER XIV. Tasso's Prison. On the walls of Tasso's prison are the names of Loid Byron, Casimir Dela- vigne, and Lamarline's verses on Tasso, written in pencil and dreadfully mangled by the English poet, « who must have Del regno, e dell' aver spogUali In tutto, Prii'ioni am'ar sotto il dominio Gallo. Gregcrlo, a prieghi d' Isabella indutio, Fu a segiiir il discepolo 14. dove Lasci6, morendo, i cari amici in lutto. ' I there transcribe them literatim : « La le Tasse brul d'un flame fatal « Expiant dans les fers sa gloire et son amur « Quaud il va recevoir la palm trionfal II Descaod au uoyr suyur. Byron was shut up in this prison of Tasso by the porter at his own request; he staid there two hours, making violent gestures, striding about, siriking his forehead, or with his bead sunb on bis FERRARA. [Book VII. been little capable of appreciating the harmony of the verses addri'sscd to him by our Grst Ijric poet. IS'otwilhsland- ing these poetical authorities, with the inscription Inyresso alia prigione di Torquato Tasso, at the entrance, an- other inside, and the repairs of this pre- tended prison in 1812 IJy the prefect of the department, it is impossible lo re- cognise the real prison of Tasso in the kind of hole that is shown as such. How can any one for a moment suppose that Tasso could live in such a place for seven years and two monlhs, revise his poem there, and compose his different philoso- phical dialogues in imitation of Plato? In the evening I had an opportunity of consulting several well-informed gentle- men of Ferrara on this subject, and I ascertained that not one of them believed this tradition, which is equiilly contra- dicted by historical fads and local ap- pearances. There was enough in Tas.^o's fate to excite our compassion, without the extreme sufferii'gs he must have experienced in this dungeon; Alfonso's ingratitude was sufficiently painful : a slight on the part of Louis XIV hastened thedeath ofRacine, and withsuch spirits, mental afflictions are much more keenly felt than bodily pains. Madame de Stael, who was ever inclined to com- miserate the misfortunes of genius, was not misled by the legend of the pri- son of Ferrara ; Goethe, according lo the statement of a sagacious traveller, ■ main- tains that the prison of Tasso is an idle tale, and that he had made extensive re- searches on the subject. The perusal of the different lives of Tasso and his cor- respondence, ( the best of them all ) has con> inced me that his confinement at the hospital of Saint Anne bears much greater resemblance to what is now called detention in a maison de sante, combined with vexatious annoyances of the police, than to imprisonment in a dungeon.^ chest and bis arms hanging down, according to the porter's story, who watched him; and when the latter went to arouse him from his reverie, Byron gave him his fee, saying : Ti riiigrazio, buoii uomo! i pensieri del Tasso staitno ora lulti nella miaiiienlee iiel mio ctwre. Shortly after his de- CHAPTER XV. Palace.— Piazza dl Arioslo.— Campo Santo.— Belri- guardo. The prison and the houses of poets at Ferrara cause the palaces to be neg- lected, though deficient in neither gran- deur, nor historical interest; such is the palace now belonging to the counts Scroffa and the marquis C;ilcagniiii, built by Louis-lhe-.Moor in the hope of finding shelter there, against the victorious h rench; but he lost at once his princedom and liberty, and died in Touraiiie in the castle of Loches. When in prison he bequeathed this unfinished palace to Antonio Coslabili, a noble of Ferrara, his late ambassador at the court of Ercolel., whom he had formerly charged with the superintendence of the building, and who came to visit him in his prison. The present of a betrayed and captive prince to a faithful courtier would have something affecting about it, if Sforza, though a patron of letters and the arts, had not been a cruel usurper, and if the voyage of Costabili, who at the time was almost proprietor of the palace, was not interested. The house of the counts Avventi, called Casa della Rosa, was as the petite maison of Uuke Alfonso I. fie established there the lady Laura Eustochia Dianti, by whom he had two sons, Alfonso and Alfonsino. The house of Avventi took its pleasing surname from the neight)ouring church of Santa Maria della Kosa, and not from the mistress who occupied it ; a mistake that might easily be made. A small palace, of excellent architecture, which an- nounces the epoch of the revival, belongs to the house of Conti Crespi ; it was built from the plans of Gcronimo da Carpi, architect and painter, a pupil of Ra- phael. The great square, which for some time bore the name of Napoleon, became in 181 i the Piazza di Aiiosto, a name which took immediately, as at Paris that of the Rue de la Paix : the renown of conque- rors cannot h Id out against the glory of letters or the public welfare. The de- parture from Ferrara he composed his Lament of Tasso, which sadly betrays some such inspiration. ' M. Ampere, in a letter written from Weimar, the 9th of May, t82T. ^ See Yarietes italiennes : Prison du Tasse. CuAP. XVI. ] FERRARA. 2-S magogucs of 1796 removed the statue of Pope Alexander VII. from this same square ; that of Napoleon was served the same: the new statue of the Homer of Ferrara, erected in 1833, will brave all such vicissitudes. The Campo Santo, as at Bologna and other towns, was formerly the Char- treuse. These cloisters where the living were formerly entombed are now become the abode of the deaii, and I scarcely knowwhether the statues, basso-relievos, and inscriptions which now abound there, do not render them less gloomy, more lively, than when they were peopled by the silent phantoms of their earlier days. The Chartreuse was founded by Borso, first duke of Ferrara, a magnificent, li- beral prince, who notwithstanding the austerity of such a foundation, was fa- mous through all Italy for the splendour of his fetes; his tomb, elegantly reno- vated in 1815, is close by the cella con- secrated to the house of Esle. The mau- soleum of the duke Venanziano Varano and his wiff, by Rinaldo Rinaldini, is very fine. Some other sepultures recall names illustrious in letters or the arts; such are the tombs of Giglio Giraldi,' Bernardino Barbulejo or IJarbojo, rector of the parish of Saint Peter, w ho, ac- cording to the abbe GeronimoBaruIlaldi.^ taught Ariosto the rudiments, a grave opinion, which Faustini seems to have refuted : such also is the alabaster mo- nument erected by Count Leopoldo Ci- cognara to his first wife. The church appertaining to the Campo Santo is of noble architecture and attri- buted to Sansovino, who at the most is only author of the brilliant sculptures of the interior. The twelve paintings of the twelve chapels, representing the diCferent Mysteries, by Roselli, a Ferra- rese painter of the sixteenth century, bespeak imitation of Garofolo and Ba- gnacavallo; a graceful Nativity is by l)ielai ; a Deposition from the Cross, ' See a)i(e, chap. xi. • Vita di L. inosto, p. 55. Barbojo was In great repute among tbe Itallcin literati of bis day. Giraldi dedicated to biin his treatise de Uistorin Dcorum; Caellus CalcagQiiii addressed sonje of his learned dissertatioas (o him; and among the Lecliones an- tiques of Rhodiginus. the eleventh book is dedicated to bim by Camiilo Ilichieri. 5 "Ipse,quanquam,''sa\s Muret, Cardinal d'Este's favourite, " doctrina meriiocri, magno lamen et ex- celso ingenio, et mirlOce dedito studiis nostris. the Descent of the Holy Ghost, are by Baslaruolo; the St. Bruno is by Scarsel- lino; a Last Supper, by Cignaroli; the Marriaffe of Cana, St. Bruno praying with other Carthusians, are by Carlo Bonoiie ; a St. Christopher, in the choir, is by Bastiinino ; the Beheading of John the Baptist, by Parolini. The delightful villa of Belriguardo. near Ferrara. is no more; this kind of Academia had for its Plato the cardinal Ludovico d'Estc. the brother of Al- fonso II., who, though not profoundly learned, was full of zeal for the advance- ment of science.' lis dilapidation com- menced at the end of ihe sixteenth cen- tury ; but what remains is sufficient to show its extent and ancient splendour. A portion is noAV occupied by peasants, and the rest by the proprietor of the great farm which lies around. CHAPTER XV!. Italian society. I passed some few days at Ferrara. If the character of a people, as Rousseau remarks, can be better ascertained in second rate towns, than capitals crowded with foreigners, my stay there would give me a very favourable idea of Italian society and character. The politeness and obliging good nature of the family in which I had the honour to be received are still fresh in my memory. Some persons regret, and with reason, the absence of elderly ladies in our society. In Italy there are some perfectly amia- ble, who are true models; and one of Iheni held the first rank in the fashion- able world of Ferrara. I confess that I found many chirms in the company that frequented her house; benignity, ease, and freedom reigned there : notwith- standing Italian vivacity, the ton was perfect ; nor w as there any appearance of vanity, outward or inward. In the box Itaque domus ipsius Academia quaedam videri po- terat. Hie amat quidem et ipse mlritice homines bonarum arlium scienlia excultos : sed sua ei co- mitas damno est. Dura enim omnes blamie excipit, cum omnibus humane colloquitur, facilem se at- que obvium omnibus praebet, excltat quidem ad- mirabiles amores sui : sed a tam multis gratiam ipsius ambienlibus perpetuo obsidetur, ut ei vix ad curandum corpus satis temporissupersit." £p(»t. lib. II. 23. 20. 234 CENTO. [Book VII. at the theatre (where the legate was the most assiduous spectator), a number of opera-glasses w ere at the disposition of the visitors; etiquette had no dominion there, the house being open, or nearly so, even to passing strangers ; and it was usual to attend the conversazione of the evening, or rather night, in a morn- ing dress.' CHAPTER XVII. Cento.— Guercino.—Pieve. Cento, the native place of Guercino, is a pretty little town, which the tra- veller will do well to turn aside and visit before he reaches Bologna. There is the artist's house, a real domestic museum, quite covered with his paintings. In the little chapel is an admirable jncture of Two pilgrims praying to the Vir- gin : the extreme destitution, no less than the fervour of these pilgrims, is painted with great minuteness of detail (even to the patches of the least noble part of their habiliments), without in any way weakening the general effect of this pathetic co?nposition. The ceiling of one room presents a scriesofhorses of various breeds ; there is one superb group of two horses; another horse at grass, nothing but skin and bone, is a living skeleton of ' This escellenl and dislingabbed nomaa was Signora Marietta Scutellari, a native of Zara, of Venetian extraction, deceased in 1832, aged eighty years; she nas the friend of Cunova, who slajed with her when be passed through Ferrara, of Monti, Cicognara, Lord Bjron, the two Pindemontes, and Foscolo. The town purposed erecting a monuaient to her. » (iuercino showed a great propensity for draw- ing as early as his sisth year; two years later, and before taking lessons from the p-iinter in distemper of Bastia, a village near Modeiia, he painled the Madonna of lleggio on the front of the house where he lived; when this house was demolished, in 1790, S. Leopoldo Tangerini, archpriest of Cento, caused the portion of the wall presenting the pre- cocious allcoipt ot Gueriino to be detached, and it is still preserved in his casino nuovo. At school, Instead of scribbling all over his copj boobs, Guer- cino drew oxen, horses, peasants, etc. See the Nolizie iella vita e (telle opere del caval/ere Gioan Francesco Baibieri dello il Guercino da Cento; Bologna, i808, in 4lo, a curious new work, com- piled from the original documents and manuscript memoirs of the Barbieri family, now in the library of Prince Filippo Hercolani. 3 The Notizie offer some interesting details re- spectlDg the life, qualities, and pious practices of this poor animal. A Venus suckling Cupid is less pleasing than the rest, des- pite its celebrity and the merit of the colouring ; Venus is indeed the mother of Cupid, but not his nurse; the imagi- nation will only admit into the arts the things which itself has received and be- come accustomed to. Guercino hud forCento that love of lo- cality, if we may so say, of which Italian painters and sculptors have in all ages offered numerous examples; he preferred residing in his native town to the titles and offices of Qrst painter to the kings of France and England ; he had his scuola there, and remained in the town till driven away by the war between Odoardo Farnese duke of Parma, and Pope Urban VIII., when TaddeoBarbe- rini, nephew of the latter, general of the Pontifical troops, determined on forti- fying Cento. The campaign and opera- tions of these two combatants seem but mean at the present day beside the glory of the fugitive Guercino. The house of Guercino, in its present state, attests a simple, modest, laborious life, which in- spires a kind of respect. This great artist, really born a painter,* the magician of painting, as he has been suriiarned, was also a pious, moderate, disinterested, and charitable man; ^ an excellent kinsman, whose comrade and first pupils were his brother and nephews; •> beloved by his Guercino; be would never receive an order that any one of his fellow artists might desire or ask for; he rose early, spent an hour In private prayer, :itiended mass, and then worked till dinner time ; to economise his time, he never went to table till the dinner was served ; and afterwards he resumed his labours till sunset; he then »ent to pray In some church near, and returned to draw till sup- per. Though in his later years he had renounced this meal, he was always present to keep bis family company. Guercino seems to have beeji very sub- ject to absence of iiiind : one night, w hen drawing with his hat on by mistake, he approached too near the lamp, and set fire to his hat before he was aware of it ; on another occasion, while me- ditating a small painting, he sat down on his pa- lette, and did not discover the inadvertance till on rising to execute his thought, the palette fell to the ground. Guercino was surprised and could not help laughing; but changing his dress, be had an- other palette prepared and quietly resumed his work. ■1 Paolo Antonio Barbieri, a Dower and frnit painter; Benedetto and Cesare Gennarl, his sister's sons. Paulo Antonio Barblerialso kept the register of his brother's orders (see post, book viii., ch. ix.) and managed the household affairs; his death was SO grea; an afllictiou to Guercino, that he wished Chap. I. BOLOGNA. master Gennari, praised and recom- mended by Ludovico Carracci, he seems to have escaped the enmity too frequent among such rivals. The house of Guer- cino is not however devoid of magnifl- cence; it is easy to conceive that he might there receive and regale, ad tino squisito banchetto, those two cardinals who had come to the fair, when his most distinguished pupils served at taiile, and in the evening performed una bella coin- media,^ an extemporised proverb, wilh which their eminences were enraptured. Christina also visited Guercino at Cen- to; and, afier admiring his works, that queen wished to touch the hand that had produced such chefs-d'oeuvre. The church of the Rosary is called at Cento the Galerie, a profane title, par- tially justified by its appe;irance and the arrangement of the paintings. Guercino isnotless resplendent there than at home. The church is full of his paintings : he is said to have given the design of ihe front and steeple, and to have worked at the wooden statue of the Virgin ; he is con- sequently visible there as a painter, sculptor, and architect, but especially as a Christian. A chapel founded by him bears his name; he bequeathed a legacy for the celebration of mass there, and left a gold chain of great value to the image of the Virgin of the Ilosary. This pious offering was stolen about the middle of last century by a custode of the church : Ladro alia sagreslla de' belli arredi,^ a double sacrilege in the town illustrated by this great painter, where his memory is still popular and venerated. At the high-altar of the church of Pieve, very near Cento, is an admirable Assumption, by Guido, full of life, va- riety, movement, and expression. This painting was to have been taken away in 1797, but it was prevented by the people, who began to rise when the in- tended abstraction was reported; the spoliators, to make their number com- plete, were forced to take another paint- ing by the same artist. Thus, in the suc- cessive oppression of Italy, when she yielded to new conquerors, her paintings were more powerful than her chiefs, and, belter than men, they still provoked resistance. BOOR THE EIGHTH. BOLOGNA. CHAPTER I. Bologna.— Its distinction. When I arrived at Bologna on my first visit to that city, it was in August, on the evening of the festival of Saint Donii- nick.althe moment the relic of that saint's head, enclosed in a rich silver shiine, was, being carried in procession through the streets; flags were flying from the windows, and every body was keeping to be buried near bim in the church of San SalTa- tore of Bologna. jYotizie, p. 37,44. ' Nolizie. p. 43. » Dante, Inf. xxiv. 138. 3 A letter of the learned professor Aulus Janus rarrbasius, of the year I50&, addressed to Trlssino, holyday ; but this fete had more of the religious sensualism of Italy than true piety, and was conducted without order or magnificence. I cannot forget that in the crowd I found myself thrust be- tween a monk and a ru/]^ano, a rencounter v.hich, like an inexperienced traveller, I little expected at the entrance of the Papal slates. The accent of the populace, though I was prepared for it, seemed to me rude and harsh; * the large, uniform houses, all whitewashed, were devoid of already mentions the rauciriam Bononensivm lo- t/uacilatem. See t. x. p. 106 of the Ualian transla- lion of llojcoes Life and ponlificalc of Leo X., by L. Bossi, the loiters published by the translator, which were communicated to him by the Trissino family. 236 BOLOGNA. Book VIII. character ; in short, such a bustling tur- moil of forges, spinning-mills, and fac- tories > could scarcely announce that learned Bologna, the aJma mater stu- diorum, as it was of yore surnarned, that Bologna which Salodetshowed to Beraldo as tutta involta nei travagli , " nor indeed that town so literary and intel- lectual, to use a modern phrase. This Grst impression produced by Ihe common-place appearance of the town was soon effaced. Bologna is still justly regarded as one of the most illustrious cities of Italy ; though it was never the residence of a court, and has long ceased to be a seat of government , ^ it is not surpassed in civilisation by the first ca- pitals : it has the dignity of science, and still exhibits, in manners, spirit, and opinions, something of its ancient device libertas, which it has retained. 4 Bologna is said to have been Ihe town preferred by Lord Byron to all others in Italy; without asserting this choice to be per- fectly correct, it is easy to conceive its cause. CHAPTER II. University. — Professors. — Female doctors. — Anti- ques. — Library. — Agrario garden. — Botauical The university of Bologna, well known to be the oldest in Italy, witnessed some of the finest discoveries achieved by the mind of man,' and was still honoured before the civil troubles of 1831 with celebrated masters : such were the signors Valerjani, professor of political eco- I Silli spinning-mills are numerous at Bologna in the quarier of Porla St:era : a tlolli faclory «as established in (823 by two Frenchmen in the spa- cious buildings of ihe ancient college of nobles de/ Porlo or Ihe Academy degli Ardenii, near the Na- viglio canal ; the new machines have been intro- duced there, and Ihe cloths are reputed of the best quality. ' II Corlegiano, lib. il. p. 194. 5 It was in 1506 that Bologna gave Itself a second time to Julius II. 4 The discourse of S. Giordani, delivered at the Casino of Bologna in the summer of I81.5, on ihe restoralion of the three legations to the Qoly See, is singularly remarkable for independence and dig- nity; it may be regarded as one of this writer's happiest efforts. 5 The first dissection of a human body in the fourteenth century; galvanism. '^ The professorship of polilical economy, which was not an obligatory study, was suppressed on Ihe death of S. Valeriani iu 1828. nomy ; ^ Tommasini, of the theory and practice of medicine ; Orioli, of natural philosophy ; Mezzofanti, of Greek and oriental languages; Schiassi, of archeo- logy. 7 Bologna possessed the five new Faculties, the professorhips of which were : for the faculty of divinity, the chairsof sacred theology, moral theology, the Holy Scriptures, ecclesiastical history, sacred eloquence; for the faculty of law, the chairs of canonical institutes, Roman and civil institutes, the law of nature and ofnaliiins, of criminal institutes, public ecclesiastical law, canonical texts, Roman and civil law ; for the faculty of medicine and surgery, the chairs of physiology, general pathology and semeiolics, theo- retic and practical medicine, politico- legal medicine, chemistry, botany, phar- macy, therapeutic, hygiene and materia medica, human anatomy, comparative anatomy atid veterinary medicine, theo- retical surgery, midwifery; forthefaculty of sciences (or philosophy), the chairs of logic and metaphysics, morals, algebra and geometry, introduction to the difTerenlial calculus, transcendent mathematics, phy- sics, mechanics and hydraulics, optics and astronomy ; fur the faculty of letters, (or philology), the chairs of rhetoric and poetry, of history, archeology, Greek lan- guage, Hebrew, Syriac-Chaldaic, and Arabic. * This statement shows the extent of the medical studies and their superiority over the other branches of instruction. The gastritis system was first propounded at Bologna, and S. Tommasini anticipated M. Broussais. His true that this system was much more ' S. Tommasini has returned to Parma as cli- nical professor ; S. Orioli, whose interesting lec- tures on antiquiiies have oltracled all the literali and flrst artists of Paris, is pro'essor of philosophy and physics at the university of Corfu ; S. Mezzo- fanti, summoned to Rome, has been made prefect of the Vatican and cardinal; S. Schiassi has ob- tained permission to retire. At the present time, Ihe marquis Angelleli, Signors Magistrinl, Medici, Mondini, Alessandrini, professors of Greek and history, transcendent mathematics, physiology, anatomy, comparative anatomy and veterinary medicine, are men of learning and very able pro- fessors. * By a decree of the 2nd of September 1833, the professorships of logic, metaphysics, morals, and the elements of algebra and geometry were sup- pressed in the universities of the Roman states. It appears that the ancient order of things is to be re- established; additions will be made to the univer- sity buildings, and Malvezzi palace has been bought for that purpose. Chap. II.] BOLOGNA. 257 rational there than with us, the situation oflJologna at the fool of the Apennines rendering inflamnuition of the luncs and acute nervous maladies of frequent oecur- renre. Ihe professors of the university of Bologna are much belter paid now than in Laiande's days, when they had only a hundred crowns a year, the city having granted them an addition to their salary ; but most of them would find more liberal treatment abroad : they preftr remaining in their n.itive city, and their teaching is an act of patriotism. The University of Bologna is embel- lished with that profusion of art common in Italy ; the front is by Pellegrini, and the fine spacious court by Bartolommeo Triachini, a Bolognese architect of the middle of the sixteenth century. The paintings in the cabinet of natural philo- sophy, by ^Mcolao deH'Abate, are grace- ful, and the fine frescos of Pellegrini in the Loggiato were thought worthy of imilalion by the Carracci. This learned university lias not, therefore, been foreign to the progress of painting. In the middle of the court, the Her- cules at rest is a singular work by Angelo Pica sculptor of the seventeenth century, whose works are numerous and of some repute, thanks to the small number of good productions at that e|)Och. Not- withstanding the merit of the professors to whom statues have been erected in this court and in the staircase, such as Gal- vani, Gaetano Monti, Cavazzoni Zanotti, and thetalenlsof f>auraBassiand Clotilda Tambroni, the first of whom held the professorship of philosophy, the second, of the Greek language (all these profes- sors arc of the last or present century), Bologna might have shown there some of its ancient masters. I should have been much better pleased to see the fea- tures of that Novella d'Andrea, daughter of a famous canoinst of the fourteenth century, so learned that she acted as her father's substitute, and so handsome, that in order not to distract the attention of the students, she had, according to Chris- tina de Pisan, a little curtain before her, ' The aultior or the Prospellu biogrufico it is just the contrary with the model of Benvenulo Cellini's Perseus, which I have since seen in the cabinet of bronzes at (he Florence gal- lery ; the difference is sufficiently ex- plained by the excessive refinement pe- culiar to the talent of the latter, who must have injured his work by too much labour. The cabinet of medals, we are informed by competent judges, is rich, chiefly in Greek pieces from Sicily and Roman coins. The university library has eighty thou- sand volumes and four thousand manu- scripts. The building it occupies is due to Benedict XIV., who not only left all his own books to the library ( part in his lifetime, the rest at his decease), but also requested Cardinal Filippo Monti, like himself a Bolognese, to follow his exam- ple : from any other pontiff this applica- tion might have borne the appearance of an order; it is likely enough that Monti acceded with greater readiness to the good-nature and patriotism of this excel- lent pope. It is one of the merits of most Italian libraries to have some illus- trious donor or benefactor : Lambertini still lives in the library of Bologna, as Bessarion at that of Saint Mark. Such recollections impart to these libraries a sort of character, [;hysiognomy, and in- terest which raises them ;ibove the many which have been founded or augmented by spoliations, conqui'St, or even by ho- nest purchases, benevolent subscriptions, or the compulsory deposit. Among the printed works may be remaiked: a Lac- tantius of Subiaco (,li65); a copy of the first edition (now scarce) ofHcnry VIII.'s famous book against Luther, dedicated to Leo X.,» with autograph signature Henricus rex, an energetic religious pamphlet in defence of Saint Thomas. ' See post, chap. viii. ' Assertioseptem sacramenlorum adversus Miirli- nttm Lnlhtrum. Land. ,111 wdibus Pynsoitiaitis. (512. A liiglily cmbeilislied copy of lliis wcrk liad been previously sent by Henry VIII. lo I.eo X.; it is pre- served in the Vatican. The signature Heuricus rex for which the royal divine obtained from the pope the title of Defender of the faith, strangely retained in the protocol of his heretical successors. The manu- scripts contain : the precious Lactantius, seen by Montfaucon at the convent of Saint Saviour, who thought it only of the sixth or seventh century, though ac- counted by an illustrious Italian scholar, monsignor Gaetano Marini, to be of the fifth; the Four Evangelists, an Arme- nian manuscript of the twelfth century, beautifully written, with charming mi- niatures, a small duodecimo volume found in the monastery of Saint Ephrem, near Edessa, proceeding from the library of Benedict XIV., to whom it was given by Abraham Neger, an .\rmenian ca- tholic ; a manuscript of the images of Philostrates, a memento of affecting mis- fortunes; it is in the handwriting of Mi- chael Apostolius, one of the Greek re- fugees from Constantinople, and bears this inscription common to many books transcribed by him : The king of the poor of this world lorote this book for his bread. It appears that Bessarion could not continue the assistance he at first accorded to his unfortunate country- man. This cardinal had been governor' of Bologna : at the era of the revival, (he court of Rome seems to have conferred the highest offices on men of learning, and, as in (^hina, the literati were at the head of affairs. Aldrovaudo's two hun- dred volumes of notes and materials have been returned to the university library ; there was something odious in despoiling a city like Bologna of the labours of a man who was an honour to it. This enormous scientific manuscript has not the glory of the poetical ones in the li- brary ol Ferraia ; there is a kind of in- feriority in science, inasmuch as the last comers kill their predecessors, and render their works nearly useless : Buf- fon, were it not for his style, would one day be no less forgotten than Aldro- vando. The librarian of the university of Bo- logna was the abb6 Mezzofanli, since prefect of the Vatican, famous through- out Europe for his vast acquirements in was autlienticaled by Simon Assemani, prefect of tills libiary, nho compared it with the wri,ii]g of his manuscript. This last was used for the Roman edition of the same book In \'i'ti; but, beside the Loudon edition, another was published at Ant- werp in 1522. CUAP. III.] BOLOGNA. 239 languages, of which, including dialects, he knows Ihirty-lwo— ten more than Mi- thridates spoke, to whom lliis meek un- presuming ecclesiastic has little resem- blance ill any other respect. Such ex- tensive learning is truly prodigious; Ihis philologist and distinguished orientalist is even conversant wiih several rustic brogues; he is truly an apostle for the gift of tongues as well as i)iety.' The Botanical Garden, the third in Italy, the twoflrst being those of Padua and Pisa, was begun in 1568, and has some fine hothouses ; the number of species is said to amount at present to more than Ave thousand. The Agrario garden, created by the French, was very suitably established in a town which, beside its old titles of learn- ed, mother of studies, already mentioned, had also the surname of fat, from the fertility of its territory. The ancient Palazzino della Viola, ersl the pavilion of Alessandro Benlivoglio and Ginevra Sforza, his w ife, is now the lecture room. It presents three admirable frescos by Innocente d'lmola, representing Diana and Emlymion; Acteon metamor- phosed into a stag ; Ularsyas, Apollo, and Cybele : ' it is certain that no other agricultural society has such graceful figures in its place of meeting. The agricultural lectures arc very little fol- lowed, but this branch of study is not made obligatory by the university regu- lations, although the country is chiefly agricullurai. ' In (lie " Detached Thoughts'" of Lord Byron, published at the end of his Memoirs, reflections so true, natural, and pathetic, are the following re- marks on tlie abbt Mezzofdntl : " 1 do not recol- lect a single foreign lilcrary character that I wished to see twice, except perhaps Mezznfunti, who is a prodigy of language, a Briareiis of the parts of speech, a walking library, who ought to have lived at the time of the tower of lihbel, as universal interpreter; a real miracle, and nilhout pretension too. 1 tried him in all the languages of which I knew only an oath or adjuration of the gods against postilion, savages, pir.ites, boatmen, sailors, pilots, gondoliers, muleteers, camel dri- vers, vetlurini, post-masters, horses, and houses, and every thing in post ! and, by heaveu ! he puz- zled me in my own idiom." ' Two frescos were nearly destroyed in 1767, during some alteratioas for the purpose of mating CHAPTER III. Gallery.— Carracci.—Domenichino.— Guido.— Saint Cecilia. The gallery of Bologna, consisting principally of chefs-d'ceuvre of the Bo- lognese school, is an admirable national monument. It is an especial glory for a town to have given birth to so many eminent scholars and brilliant artists. Cy a peculiarly h.ippy arrangement some of the most ancient paintings are placed at the entrance of the gallery, thus affording an excellent means of observing and following the progress of the art. As in liter.ilure, some fine works of the earlier times placed by themselves precede the real chefs-d'oeu- vre; the superiority of the latter is not thereby weakened but accounted for. The Virgins of Fraiicia, who founded the Bolognese school, are full of simplicity, but somewhat dry ; gracefulness and freedom of outline, like elegance and perfection in style, can only be attained by practice and study. The Holy Fa- mily, by Innocente dlmola, a pupil of I'fancia, is one of finest holy families extant, and already worthy of Raphael. A copy of it was taken in 1826 for the king of Prussia, who is said to have ex- pirienced profound emotion at the sight of this painting, so powerfully did the figure of the Virgin call to mind the fea- lurcs of his young and noble consort. The Carracci are like a tribe of pain- ters, ^ of w hich Ludovico is the worthy chief; his Transfiguration is in itnita- lion of Correggio and the Venetians, but lull of grandeur and inspiration, the only some addilional chambers in the Palazzino delta Yiola. The vicissitudes of that edifice and the paintings ol Innocente dlmola, are the theme of three discourses by S. Giordani, delivered at the Bo- logna Academy of Fine Arts In the summer of 1812: the Brst of them is very pleasing ; see t. yi. p. 5 of his Opere, where it may be found. ' There are many instances in Italy of a number of painters being of the same name or family, linloretto's daughter, Titian's nephew, Francla's .-■on, Manlegna's son, were pupils of their respec- iive relatives; Paolo Veronese had for pupils bis brother and two sons; Bassano, himself the son of an able painter, his own four sons; the grand- father, father, and two uncles of the Procaccini were also painters; lilisabelta Sirani, a distinguish- ed painter of the Bolognese school, was pupil of her father, and bad moreover two sisters painters. 240 BOLOGNA. [Book VIII. good ; in Ihe Conversion ofSt. Paul, on the contrary, he is himself, and not less admirable. Several of his jiainlings of sacred subjects show in the landscape a view of Bologna, a patriotic anachronism, which it would be rigorous to blame, as il is honourable to thearlist'ssentiments. The Communion of St. Jerome is the masterpiece of Agoslino, as Domeni- chino's on the same subject is also his chef-d'oeuvre; for there is no such thing as an exhausted subject in the arts any more than in letters; to him who knows how to handle a subject, it is ever new. The Virgin and infant Jesus in a glory, with saints below ; St. Catherine and St. Om>, AnnibaleCarracci's best pain- ting, is a perfect imitation of the great masters : the Virgin recalls Paolo Vero- nese; the infant Jesus and the little St. John, Correggio; St. John Evangelist, Titian; and the graceful Catherine, Par- megiano. The celebrated Martyrdom of St. Agnes, by Uomenichino. is a composi- tion altogether dramatic, exciting terror and pity in the bight st degree; every personage contributes to the action : the figure of the saint breathes heavenly hope; the executioner appears as impas- siveashissword; the praetor, confounded, hides his face with his robe ; he is a Felix of pitiful and degraded sentiments, which make him blush; • the soldier on duly is indifferent ; the idolatrous priest seems cruel, the woman terrified ; one would almost call them Mathan and Jo- sabelh. The Madonna of the rosary, with its shower of roses, and the sub- lime old man's head, is not inferior to that grand masterpiece, and in despite of the 5{. Jerome, some have reckoned il the best work of Domenichino ; its per- spective, and especially its colouring, vigour, interest, and purity, make il a fine poem of many cantos. The Mar- tyrdom of St. Peter the Dominican, is the same subject as Titian's painting at Saint John and Paul of Venice ; the com- position is somewhat similar, but the details, expression, and landscape are dif- ' Cornellle, Polyeucle. ' Inf., canto xxxiii., 49. The Massacre ot the Innocents is described in tlieGa The Infint Jesus appearing to St. Anthony, one of the many works of Elisabetta Sii.ini, a young artist, who | died in her tweiilv -sixth year, one of the good female painters of Uologna, has the taste and elegance of Guido, her master. = The Willimn, duke of Aqui- taine, kneeling before bishop St. Felix, by Guercino, has that kind of equal per- ' If sucli a discussion were nol ralher loo grave for a gallery and atijiit a painting. It luigbt be added that conlerapor.iry facts iupporl the gene- rous thouglit just ciied : ibe catbuilc populalioa Uas particularly Increased in countries that ecjoy fection which gains esteem, ralher than exciles jiraise or acquires renown. His St. Bruno is justly crlebrated for the expression of the s.iiiit's countenance, the execution of tlie dia|iery, the graceful- ness of the angels in the glory, and effect oflight and -hade. God the Father, done by Guercino in a single night, and put up in the morning lo the amazement of all pre>ent, is a superb impromptu painting. Among the bcauiiful productions of the Bologncse school are some master- pieces ol' other schotds; such is the im- mortal St. Cecilia. 1 here is a vast dif- ference between the pious enthusiasm, the mystical frenzy of ihi> patron of mu- sicians and the profane ch arms of the muse Euterpe. Music, like speech, seems really a gift of God, when it ap- pears under such an emblem. How shall I describe the perfections of such a painting? the ardour, the triumphant joy of the seraphim singing the sacred hymn in heaven, the purity and simpli- city of the saint's features, so well con- trasted with the frivolous and coquettish air of .Magters is a statue of Saint Petronius, regarded as his most ancient likeness, but so much altered by repeated restorations that his true phy- siognomy isscarcely distinguishable. The tFieridian of Saint Petronius, substituted by Cassini for that of P. ignazio Danti, aiid farlhercorrected in 1778 by Lustachio Zanotti, another illustrious Bolognese, is a scientific monument ihatconfers honour on Bologna, and contrasts with the recol- lections and splendour of its old basi- lic. The apartments called the Residenza della Rev. fabbrica deserve a visit. On tile inner door is the bust of Count Guide I'epoii, one of the earlier and best works of I'roperzia de' Rossi. The works of this unfortunate woman have still higher interest when viewed in conjunction with her touching history. This Bolognese Sappho, a painter, sculptor, musician, engraver, died of love at the very moment the pope, having heard of her fame, sent lor her to Rome, after the coronation of (.Iharles V. A basso-relievo, her chef- hi'^eliiissimo amore." Vasari, Vila di Pioperzia de' l:osii. Vatari relates the forcible reply made to tbe pjpe wlien, after tbe coronalion of Cbjrles V., be CiivP. IV. ] BOLOGNA. 2.'<3 (I'oeuvre, represents the Temptation of Joseph: it is evident liial llie artist in-- tended there to de|iifl her own misl'or- lunes; Poliphar's wife is charming biil melancholy, with something of Ariadne, and appears foi lorn rather than forward and w anton. These rooms also contain sixteen original drawings of plans pro- posed by the first arehileels in the worli] lor completing the church front, a pre- cious collection which it would be very interesting for the art to see published. There arc four dilTerent plans, all so perfect as to lie attributed to Palladia; under one of Ihem is w rilteii in his har.d : Laudo il presenle disegno, an inscription that forbids us to think the design his own, as all the works of tiiis great artist prove that no man was ever more modest and unassuming. One design is by Vi- gnol.i ; it received the approval of Giulio Romano and CrisloloroLombardo; under it is another by Jacopo Uanuecio, his rude rival in the works of Saint I'elro- nius, which proves Vignola's vast supe- riority. Otlier plans are by Domenico Tibaldo, Pellegrini's brother, Baltasarre Perruzzi, Giulio Romano, Cristoforo Lombardo, Geronimo Rainaldi. Vari- gnana, Andrea da Formigine, Alberto Alberti da Borgo San Scpolcro, and one by the good Boiognesc architect Francesco Terribilia. which was approved by the seu.Tle of Hologna in 1580, and has been pubiished l)y Cicognara. ' (Cardinal He- ronimo Gastaldi, legate of Bologna in 1678, offered to finish the front of Saint Petronius in his own manner, bearing all the expenses himself, but on the con- dition of apposing his coat of arms. The fabric deemed it their diitj to meet this proposition with a dignified lefusal. 'Jo gratify bis passion for building, the car- dinal then set about erecting the two churches still to be seen near the Porta delPopolo at Rome, a suflicienl specimen of the taste and architectural science of Ibis vain and ignorant amateur. The colossal statue of Julius II.' in bronze, by Rlichael Angclo, the earnest of his reconciliation with the pojie (they having been at viriance since the Moses), was before the portal of Saint Petronius. r, I wlslied to lalse Properzia willi him -.—Sla in cliiesa, I e gti si fa it fitnerale. The dealh of I'ropei zla de' Rose! is the subject of a Rnppresenlazioite trao'ca i la ttinl of prose l)i.stniical tragi-coiiifdjl by Pro- I fessor Paolo Cosia, played with success at Bologoa < In 1828. Julius wished to be represented in the act of reprimanding the Bolognese with his right hand, and bearing a sword in the left. ' The menacing statue, one of the chefs-d'oeuvre of which we must ever lament the loss, was broken up by the people of Bologna on the arrival of the Bellti^oglioand the French ; and it seems, considering the martial spirit of the pontiir, to ha\e been very naturally con- vetted into a |)iece of ordnance, by the didie of Ferrara, and baptised the Julian. The works of Michael Angelo have been in other instances singularly exposed in the midst of revolutions, in which they appear as actors, or rather victims; his David had the left arm broken in the assault made by the people on the palace of the Signoria at Florence, Xb^ll, ^ and his admirable cartoon of the War of Pisa, for a long period a model of diawing for all artists, which, as asserted by Benve- nuto Cellini, he could never surpass, perished in the broils of that same re- public. The antique cathedral of Bologna has been rebuilt several limes, and modern- ised ; but its new re-construction does not, as usual in such cases, leave room for regret. It is pleasing to find therein traces of the good Lanibeitini, its ancient bishop, unique as pope, who seems to the prieslhood, if 1 may venture the coni|iari>on, what Henry IV. was to rojaliy. The front is by him; some of liis|ircsentsare ofexlraordinary richness; the urn of the martyrSaintProculusisof gilt bronze, embellished with lapislazuli; and the tapestries, exhibited on Saint Petcr'sday,w'cresentby bimfsom Rome; they are executed after the designs of R.^phacl Mcngs. St. Peter consecrat- ing the bishop St. Apollinarius is a nolile composiiiou by Ercole Graziani the younger, a Bolognese painter of the seventeenth century, who also did the St. Ann showing the infant Virgin the Eternal Fatlier in his glory, and the Baptism of Christ : St. Peter appear- ing to Pope Cclestine, to order him to elect St. Petronius bishop of Bologna, is by Bigari, another Bolognese artist of the last century, who successfully fol- ' See PI. ui. of Uie plates of Ihe Uislory of Sculp- ture. ' When Michael Angolo aslied him « liettier he should put a book In his left hand h« replied, "No, give me a snord ; I am no booliman." ^ See post, book x. ch. iv. 241 BOLOGNA. [Boor VIII. lowed both sculptnro and architecture, and, from his ft.'(Uii(lil\ and the mulli- lude of paintings he scattered over Eu- rope, obtained the title of uidversal painter. Jnthe chapel of the Holy Sa- crament, the Virgin in the clouds with the infant Jesus, St. Ignatius and an- gels, tjy Creti, is esteemed. The cathe- dral of Bologna presents some new in- stances of that painting, the fruit of extreme old age, which seems the life of Italian artists, only ceasing with their existence : ■ the fresco of St. Petronius and St Pancras was executed by Fran- ceschini in his eightieth year. Ludovico Carraccio was also an octogenarian when h^ ii\A lYiQ Annunciation on the ceiling of the sixth chapel. Were it destitute of talent, a work in so elevated a posi- tion would piove at li-asl an extraordi- nary agility for that age. It was then common, however, lo -ee the most ce- lebrated painters to expose themselves to the daiiuer and fatigue of painting cupolas in fresco The loot of the angel bowing before the Virgin is twisted; the ardent, conscientious old man wanted to retouch it, offering to bear the expenses of re-erecting the scaffold, which was refused, and he died of chagrin in con- .sequence : to such an extend did these men combine the irritable sensitiveness and self-love of the artist, to the man- ners and practices of the artisan. In the sacristy, a fine painting by this same Carraccio represents St. Peter weeping with the Virgin over the death of Christ, but time lias darkened the colouring. The subterranean church, called il Con- fessio, has the Marys weeping over the dead Christ, the work of Alfonso Lom- bardo. CHAPTER V. Saint James. -Sainl Martin — Beroald. — Salicelli mauaoleutn.— Oratory.— Sao Salvatore. — Guerrl- ^o's monument.— Corpus Domini.—Saltn Paul. In the church of the Madonna di Gal- liera, on the ceiling of the chapel of the Crucifix, are frescos of the Murder of Abel and Abraham's sacrifice, which arc the last works of Angelo Michele Colonna, an artist much esteemed in this branch of painting, who died at the age of eighty-eight, towards the end of the seventeenth century. The Saint An- ' See ante, booli v. ch. xiv., and l)Qok vi. cli. xvii. thony of Padua is an able work of Ge- roninio Donnini, pupil of Del Sole and Cigiiani. In the principal chapel, the Angels adoring (he antique miraculous image of the Virgin are an excellent pro- duction of Giuseppe Mazza. a good sculp- tor of the last century, who began life as a paioter. The St. Thomas touched by the Saviour is by Tere-a Muratori Mo- neta, an excellent musician and painter, a pupil of Del Sole; she has given the an- gels in the sky of this picture with all the talent for which she wasso di.-tinguished in that particular. The Infant Jesus m the midst of his kindred, showing the Eternal Father the instrximents of the Passion he uas thereafter to suffer; the figures of Adam and Eve, in oil; the Cherubim, soiiu! fine frescos of the Vir- tues, an Assumption, in the saciisty, are by Albano. St. Philip of Neri in a trance between two angels and the Virgin, is by Guercino. In lhes.4cris[y, a St. Philip, two blessed Ghisilieri.'a Conception, are by Elisabetta Sirani; the Celestial love, and Queen St. Elisa- beth, by her father. The elegant orna- ments on the door of the adjoining oratory are by JIa. Polo, an artist of the earlier p.irt of the sixteenth century; the fresco of the Dead Christ shown to the people, by Ludovico Carraccio. At Saint Mary .Major, 5^ John the Evangelist telling St. Jerome what to write; St. Agatha, St. Apollonia, St. Anthony of Padua, are by Tiarini; the Litter is one of the latest works of this great painter, who died in his ninety- first year. A fig-tree crucifix is reputed to have been made prior to the year 1000. The church of Saint Bartholomew di Reno prtserves a venerable antique image of the Madonna della Pioggia. An admirable Nativity, by Ago^tillo Carraccio, shows the Virgin suckling, another instance opi)osed to the assertion of a learned judge, who, I believe, pre- tended that the Virgin had never been painted so. The Circumcision and Ado- ration of the Magi, by Ludovico, are still very beautiful. Opposite the stairs leadicg to the oratory, an excellent large landscape in oil on the wall is the only work in painting of ih.' clever engraver .Mattioli; and the St. Bartholomew, in the same oratory, is by Alfonso Lom- bardo. At the high altar of Saint Joseph, the Cn-iP. v.] BOLOGNA. Virgin with Ihe infant Jesus on hor knees, to whom the little St. John is ofl'eiing ;in apple, in the presence of Sts. Joseph. Anne, Uoih.and Sebastian, is l>y Fiamniingo. The ceiling of the oratory, by (lolonna and Milelli, a Holognese painter, elegant and correct as a de- signer, is very fine. An hospital for men above se>enly years old is a-tached to Saint Joseph, and takes its name; it contains two marble basso-relievos, by Toselli, a statuary of Bologna, who died in this hospital, the tokens of his grati- tude and misfortunes. At Saint Benedict, the Virgin on a throne and the infant Jesiis, with Sts. Catherine, Maur, Placid, John the Bap tist, and Jerome, is a graceful composi- tion by Lucio Massari, a pupil of the Carracci, whose lofty st\le he could never attain, but approached much nearer his intimate friend Albano, with whom he lived and worked. The Four Prophets ; St. A nthong the abbot beaten bg demons, and comforted bg Christ, a fine Charitg on the ceiling, and the Virtues of God the Fatlier, a St. An- thony, are by Jacopo Cavedone; St. Francis de Paule is by (iahriele dagli Occhiali, one of Guido's able m;isters. A Virgin seated, holding the crown of thorns, and conversing with Magdalen on her son's d<'aih, is a noble, afl'ecting picture; the Prophets, tlie Angels, a fresco of St. Charles and St. Albert, are by Tiarini. I'he sacristy contains the celebrated Crucifixion by Andrea Si- rani, retouched by his master Guido, in which death lUelf is biantiiul. At the Madonna del Soccorso, a cru- cifix, previously at the suppressed church of Saint Francis, is reputed to have spoki'n to P. Giovanni IH-ciani, in I2i.2, as stated in the records of the fabric. The Christ shown to the Jewish popu- lace is a famous work of Bartolommeo Passerotti, of Bologna, a pu|)il of Vignola, the head of an illa^lrious school, a rival and enemy of the (iarrarci, and. in Guido's opinion, the best portrait painter after Titian. In the oratory, is a Birth of the Virgin, copied from Ludoviro Carraccio; the frescos were done gr;itui- tously by Gioacchino Pizoli, a Bolognesc painter of the seventeenth century, a proficient in landscape, and llie com- panion of Colonna. The church ol Mascarella, of indiffe- rent architecture, built during the last 2ili century, preserves some traces of the miraculous life of Saint Dominick: the table on whicb, in answer to certain piayers, he and his companions, when without food, were served by two an- gels; in the sacristy, his cell, and the imageofthe Madonna wliich had spoken to him. An Assumption is l)y Tiburzio Passerotti, an excellent painter, and the cleverest of Bartolommeo's sons. A St. Dominick, an antique picture, is pre- cious from being so well preserved. The ceiling of the church and the grand chapel, painted by IMinozzi and Tesi, have been ably restored by a living artist of Bologna, S. Gaetano Caponeri. Samt Mary Magdalen contains the works of manv Bolognesc masters: the Virgin, St. Omiphre, St. Vital, St. Francis, St. James Intercis, by Ti- burzio Passerotti; a Noli me tangere, by his father; the Virgin. St. Sebas~ tian and St. Roch, by Bagnacavallo, and in the oratory, the cleverly re- stored altar-piece, by Ercole Procaccini, the old and but indifTerent chief of the brilliant chief of the Piocaccini; the Angel Gabriel, the Virgin, b^ Giuseppe Crespi. Saint Magdalen has the S^. Catherine, one of Bartolommeo Passerotti's best works ; a Christ betvailed bg the Marys ; the Virgin, St. Joseph, and St. John the Baptist, fine paintings: the former by Giuseppe Mazza; the second by Fran- cesco Monti, a prolific painter of the last ceiitury, and clever as a coiourist. At Saint Mary Incoronata, the Vir- gin, Ihe Infant Jesus, with St. Francis kissing his hand, St. Joseph, St. Gaetan, and a glory of angels, is a beautiful work of (irati, the worthy pupil and friend of Del Sole. The greater | art of the chefs-d'oeuvre, that were once tlie glory of the church dei Mendicanti, are no longer there: the Madonna della pictci. J)y Guido, the Si. MatUiew, by l.udovico Carraccio, the St. Eloi, St. Petronius, by Cavedone, are at the gallery, and Guido's Job, which accompanied them to France, for- tunately remains there. .At the Men- dicanti may still be seen, the St. Ursula of Bartolommeo Passerotti, a Flight into Egypt, with a fine landscape, by Mas- tellata, a Franciscan monk and an able pupil of the Carracci, said by Guido, with too great modesty, to have been born a greater painter than himself; 21. 346 BOLOGNA. [Book VIII. St. Anne adoring the Virgin in a vision: a Cruciflx, with the Virgin and St. John, by CeA, an exquisite painter of the middle of the i^iiteciith century, from whose works Guido, with his usual humility, pretended to have derived great advantage. Two indifferenl paintings by Cavedone represent two odd miracles of St. Eloi : in one the saint seizes the devil by the nose while in the guise of a woman; in the other, he brings back a horse's foot that he hiid carried to the forge to shoe it more conveniently. The church of Saint Leonard has an exquisite Annunciation by Tiarini, and two excellent paintings by Ludovico Carraccio; the Martyrdom of St. Ursula, in the Venetian style, shows the great versatility of this artist's talent; St. Ca- therine in prison : the saint is convert- ing the wife of Maximian and Porphy- rus; her expression is sweet, charming, it attracts and does not sermonise. The painting of Francesco Francia. which cove'rs the antique imoge of the Madonna della Nativitd at the church of Saint Vital and Agricola, is noble and graceful : beside it is a Nativity by Jacopo. his son and pupil, Avhich is not unworthy his glorious father. The old church of Saint James Major, now held b; the Augustine Jiermits, hasan immense vaulted roof of a bold structure and some fine paintings. The following deserve notice : Christ appearing to St, John, by Cavedone ; the Virgin on a throne surrounded by saints, by Barto- lommeo Passerotii, an imitation of ihe Carracci, and praised by them ; the Mar- riage of St. Catherine, a sinaU Nativity, by Innocenle dlniola, almost worihy of Raphael ; St. Roch smitten with the plague and comforted by an angel, by Ludovico Carracci ; the four Evangelists and the four Doctors of the Church, by Sabbattini. 1 he celebrated St. Michael, very much admired by Agostino Carrac- cio, who engraved it, is by his pupil Fiam- mingo, retouched by himself. In the Poggi chapel, constructed by Pellegrini, are two superb paintings of that artist, which were much studied by the Carracci and their school : John the Baptist bap- tising, and the Multi vocati, panci vero electi, the last espicially, of powerful expression and altogether in Michael Angelo's style. The sty le ofthe celebrated chipel of the Bentivoglio, the old lords and popular chiefs of Bologna, is very remarkable : &Virgin,infant Jesus , with angels and saints, a graceful composition by Francia, painter of Giovanni II. Ben- tivoglio, is much admired there. Fran- cia's painting, ofthe year 1490, is signed Franciscus Francia aurifex, as if to indicate that his then profession was that of a goMsmith, and not pointing as yet. This great artist had attained to manhood before he touched a pencil, and some few years were sufficient to develope his pro- digious talent. The Virgin, St. John the Baptist, St. Francis and St. Bene- dict, by Cesi, very pleasing, is said to have been contemplated for hours to- gether by Guido in his youth. The Mar- tyrdom of St. Catherine, by Tiburzio Passerolti, is completely in the style of hisfalherand master Bartoloinmeo. The Purification and other lateral figures, by Orazio Samacchmi, one of Ihe good painters ofthe sixteenth century, and an imitator of Correggio, are noble and pa- thetic, but perhups too elaborate. The famous Crucifix, the niiraculous history of which begins in the tenth century, is simply of wood ; there is no body, nor is it bedaubed or illumined like the crosses of Calvaries, which will never be so venerated At Saint Donatns, the church of the -Malvasia f.imily, an inscription and an image ofthe Virgin commemorates her appearing and the grace she accorded to certain Carmelites who were singing the Salve Regina : the words venerare et colito terminate the inscription, and are a proof of the active and imperative faith ofthe time. S;nnl Martin Major is not Mithout splendour. There may be seen the mo- nument and bust of Beroald the elder, an eminent Bolognese scholar, one of the most illustrious men ofthe re\ival : abo\e is an Ascension, the first inferior work that Cavedone executed ; this clever and unfortunate artist was plunged into such excessive aflliciion by the death of his soil, a most promising young painter, that he lost his talent, and, for want of orders, was reduced to beggary towards the end of his life, and died in a stable at the age of eighiy-seven. Some other paintings are remarkable : a graceful Madonna, to whom the Magi are offering presents, by Geionlmo da Carpi ; the Virgin ivith the infant Jesus, a Bishop, St. Lucy, St. Nicholas, by Ami Aspe,--- lini, pupil of Francia, snrnamcd dei due Chap. V.] BOLOGNA. 247 PenncUi, as lie held llicm at once in both hands, one lor lifi;hl tints, the olher for obscure; the Christ and St. Thomas, by Zanolti, who was born at Paris, a good painter of the Bolognese school, a prolific poei and writer, historian and secretary of the Glemeniine academy; a fine As- sumption, by Perugino ; the Virgin, her son, and several saints, by Francia; and a St. Jeromeimploring divine assistance in the explanation of the Scriptures. by Ludovico Carraccio.whohas preserved something of his Dalmatian air to this terrible saint; and, notwithstanding La- lande's wish to have him made rather less repulsive, he has done well in not giving him the meek, devout, resigned, peaceful countenance, common to so many other St. Jeromes. The Cruci- fixion, with St. Bartholomew, St. An- drew and the blessed Father Thomas, was one of those agreeable works of Ce>i, that the young Guido so much loved to contemplate. The chapel of the Holy Sa- crament was tastefully painted by Maur Tesi, the friend and faithful companion of Algarotli, who cherished him as a son; he died voung, of the same malady as his friend, the victim of his unceasing atten- tions to hin). The cloisiercontains many tombs, among them may be remarked the fine mausoleum of the two Salicetlio, a work of 1403, bearing the name of Andrea of Tiesole, an excellent artist, who must not be confounded with Andrea Ferucci. The ceiling and walls of the oratory, formerly the library, were painted by Dentone, and the Dispute of St. Cyril is a celebrated work of Lucio Massari- The Madonna di St. Colombano is remarkable for its frescos of the Carraccio school : under the portico, the Universal judgment and the Uell, by Pancotto, are whimsically imagined; the Infant Jesus playing loith the little St. John, in the midst of little angels, by Paolo Carraccio, was drawn by Ludovico. In the upper oratory are some other good frescos of the Passion of the same school. The St. Peter going out to weep, by Albano, is perfect. Saint George deserves a visit for the Piscina probatica and the Annuncia- tion, by Ludovico Carraccio, and two beautiful works by Camillo ProcaccinI, near the last-mentioned. The Saint Philip Benizio kneeling before the Vir- gin in the midst of angels, was begun by Simon of Pesaro and finished In the lower part by Albano. At Saint Gregory, the Baptism of Christ isoneof AnnibaleCanaccio's first oii-painlings; it already exhibits all that master's vigour, and it clearly proves how profoundly he had studied the Venetian style. The St. George delivering the queen from the dragon is by Ludovico, as also a superb God the Father. Saint IMaihias possesses an Annuncia- tion, by Tintoretto ; five small paintings by Irmocente d'Imola, and a Virgin ap- pearing to St. Hyacinth, a charming production of Guido's youth, done in his twenty-third year. The frescos of the chapel called the Oratory, at the church of Saint Roch, show the excessive zeal of the young IJoIognese painters of former days; these frescos, representing the different inci- dents of the saint's history, are the work of their ardent emulation and love of glory ; no one received a greater salary than two pistoles : it was like a tournament of painting ; Guercino distinguished himself among his rivals by his accurate but not very noble painting oi St. Boch taken on suspicion of being a spy, and driven to prison by a lusty application of kicks on a certain partof his person. Theeighteen compartments of the ceiling representing the four Protectors of the town, the four Doctors of the church, the four Evangelists, and the six Virtues, by the best Bolognese masters, are also very remarkable : St. Ambrose and St. Au- gustine, by Colonna, have been reckoned worthy of Uomenicliino. These frescos were cleverly engraved and published in 1831 by an artist of Bologna, S. Gaetano (;anuti, the inventor of an ingenious method ofexpressingpainted or sculptur- ed figures with precision. At the church of Charity, the celebrated Visitation, enthusiastically extolled by Count Malvasia. is a well composed painting by Galanino, a kinsman and distinguished pupiloflheCarracci, whom ill-fortune reduced to the necessity of turning portrait-painter and remaining so. The St. Elizabeth , queen of Hun- gary, in a swoon on Christ's appearing to her, is by Franceschini; the Virgin, Charity, St. Francis, at the high-altar, by Aretusi and Fiorini ; the Virgin, St. Joseph, and St. Anthony of Padua, by Felice Cignani, one of this painter's good works, and worthy of Carlo his father, "248 one of Ihe 6est masters of the seventeenth century; the St. Anne, by the elder Bibiena. Saint Nicholas and Saint Felix has a fine painting by Annibale Carraccio, Jesus crucifted,{he Virgin andSt. Petronius, St. Francis and St. Bernard. 'Ihe head over the church door is by Alfonso Lomhardo. The church of San Salvatore blends richness wilh beauty. The Image of the Virgin crowned, an old and >YeII pre- served painting, is said at Bologna to be of the year 1106, and anterior to Giotto. The other remarkable paintings are : a Resurrection of the Saviour, fine in the naked parts; Jwd/f/i going to mf-et the daughters of Israel wilh the head of Ho- lophernes, by Mastellata; ihe Miracle of the Crucifix of Bergte by J.icopo Coppi, a Florentine, and pupil of Michael An- gelo ; the Saviour bearing his cross, by Gessi.butit may be looked on as Guido », since he drew it, retouched it, and did the head; a Sf. Jerome, by Bonone; a superb Nativity, by Tiarini ; a fine Christ on the cross surrounded by saints, by Innoccnle d'lnioia; a graceful St. John kneeling before Zaccharias, by Garo- folo; and a large Marriage in Cana, by Gaelano Gandolfi, a Bolognese painter, wlio died in 1802. It is to be regretted Ih.'.t is neither stone nor inscription to the memory of Guercino at San Salva- toie, where he w ished to repose near his so much loved brother: ■ a monument to commemorate his glory and virtues would be at once just and aU'ecling. Thefinechurch called Corpus Domini, or Delia Santa, meaning St. Catherine of Bologna, a nun of (he Corpus Domini convent, offers another proof of the mai- vellous flexibility of Ludovico Carraccio's powers : the Christ appearing to the Virgin with the patriarchs is full of softness ; opposite, the Apostles burying the Virgin is full of force. A St. Francis is by Fiammingo; a Madonna, the Mysteries of the Rosary, two great angels, are good works of Giuseppe Mazza. The St. Catherine, in the sa- cristy, writing her little book on the Seven spiritual weapons to combat the enemies of God, printed about l'i.74, ai Ferrara or Bologna, was executed by Zanotti at the age of nineteen. The Death of St. Joseph, superb; and the ' See boot! vii. ch. xvli. BOLOGNA. [Book VIII. pleasing frescos on the ceiling of the same chapel are by Franceschini. Through a luthern in one of the chapels may be seen in a vault the entire body of the saint, a blackened corpse, pompously attired, with diamond rings, and a crown on his head. Saint Paul has some magnificence about it. Setting aside the Inferno, this church is like the Divina Commedia of Dante in painting : the admirable Paradise is by Ludovico Carraccio, and the Purga- tory, by Guercino. The Christ pre- sented at the temple is a good work of Aurclio Lomi,calledalso Aurelioof Pisa, a painter of the sixteenth century. The Epiphany and the Virgin in the stable, by Cavedone, which received the follow- ing high eulogium from .Albano, when he was asked if Bologna possessed any of Titian's paintings : "iNo," he replied; " but the two of Cavedone that we have at Saint Paul's may be regarded as such." At the high altar are the statues of St. Paul and the executioner, who is beheading him, a boasted work of Al- gardi's. At the Celestines, the Christ appear- ing to Magdalen, graceful, is of Lucius Masari's good works; and the be.iutiful painting of the high altar, the Virgin, St. John Baptist, St. Luke and St. Peter the Celestine is by Franceschini. On the principal door of Saint Pro- culus is the Virgin, the Infant Jesus and Sts. Sixtus and Benedict, a fine old painting by Lippo Dalmasio, a Bolo- gnese artist of the fourteenth century, surnamed the Madonna painter, so ex- traordinary was the gift ho had received, according to Guido, hisadmirer, of paint- ing them wilh grace and majesty. The picture o^ St. Proculus is in oil, as the most competent judges have decided, which proves that discovery to be much older than Vasari pretends. CHAPTER VL Saint Dominlcli.— Tomb of the Saint.— Nicolao Pi- sano. — Artists' emoluments.— Tombs of Taddeo Pepoli and King Enzius, of Guido and Eli>dbelta Sirani. — Tartagni mausoleum — Count Marsigli. — Cloisler. — lnqui^ilion of Ilologna. — Magnaui library.— Closing of libraries in Italy. The square before the church of Saint Dominick presents some singular monu- ments : the statue of the saint, of copper gilt; the handsome funereal monument CUAP. VI. ] BOLOGNA. 349 sacred lo the learned jurisconsult and excfllont writer Passnggieri Rolandino, a great personage of the Bologncse re- public in the thirleenlh century ; ' and the tomb of the ancient family of the Foscherari, now extinct, erected in 1289, by Egidio Foscherari, and ornamented with rude basso-relievos. The church is a temple resplendent with the wonders of art and illustrious tombs. At the tomb of Saint Dominuk, by Nicolao Pisano, an angel kneeling, full of grace, is by Michael Angelo in his youth, and diflereiit from the vigorous and awe-inspiring productions of his riper years: he was paid twelve ducats for this Dgure. For the small statue of St. Pelronius, on the top of the same mo- nument, of the same epoch and character, he was paid eighteen ducats. First rale sculpture seems to have been cheap in those days. When artists make enor- mous proflts, it is often a proof of the decline of art, as money is then the guerdon of those labours of which glory ought to form the chief recompense. The basso-relievos of Nicolao Pisano, representing divers of the saint's mira- cles, are among those primitive chefs- d'oeuvre, full of feeling, nature, and truihj such, particularly, is the story of the Thrown Cavalier, surrounded by his family bewailing his death, and brought to life by Saint Dominick. Ano- ther basso-reiievo, of a totally different character, is remarkable for the noble air of the flgures and the chastity of the details; it is St. Peter and St. Paul in heaven receiving a deputation of Do- minicans, and presenting the founder with the book of the constitutions and the baton ol command. Nicolao Pis;ino, the great artist of his age, was one of those extraordinary peerless geniuses that hold dominion o\er a whole epoch; in fact, whether we consider his works or his school, he must be regarded as the first precursor of the revival. Below this sculpture of 1200, are the elegant basso-relievos of Alfonso Lombardo. later by three centuries, conii)0>ed al the epoch of taste, but not eclipsing their old predecessors. The architecttire of the brilliant chapel of Saint Dominick is by Terribilia; the paintings are very Gne: • RolaudiQo liad l>een lown-clerii , lie was cboseu to write tlie answer lu.ide to the menacing letter of Ibe empeior Frederick II., who demaiidel his son, King Enzius, a prisoner of the Bolognese (see the Child brought to life, one of Tiari- ni's masterpieces, procured its author the congratulations of Ludovico Car- raccio. The fresco of Guido, the Recep- tion of the Saint's soul by Christ and llie Virgin, amid the melodies of heaven, is admirable for grace and poesy. The Tempest, the Thrown Cavalier, elegant flgures representing the saint's virtues, are by Masteilata. St. Dominick burn- ing the books of the heretics, is a beautiful work by Leonello Spada, and the best he has left at Bologna, his native place. In the several chapels will be found : a Madonna, surnamed del Velluto, by Lippo Dalmasio; a St. Antonitius, to whom the Saviour and the Virgin appear, an elegant but fantastical work by Fa- cini, a pupil and even rival of Annibale Carraccio, who, to characterise the fresh- ness of his undraped parts, said that he seemed to grind human flesh in bis co- lours; the Martyrdom of St. Andrew, which advanced the reputation of An- tonio Rossi, a Bolognese painter of the seventeenth century ; St. Thomas Aqui- nas writing on the Eucharist, by Guer- cino ; the St. Raymond crossing the sea on his mantle, an original chef-d'oeuvre of Ludovico Carraccio, and at the high altar, the Adoration of the Magi, very fine, by Bartolommeo Cesi. In the sacristy are two rude statues of the Virgin and the saint, larger than life, which, as we are informed by two indifferent Latin verses beneath, were carved out of a cypress that Dominick had planted. This gloomy and funereal tree was a very suitable one for the founder of the inquisition to plant, and he deserved a statue of it. The fine tomb of Taddeo Pepoli, by the Venetian Jacopo Lanfrani, erected about the middle of the fourteenth cen- tury, on which a natural piece of sculp- ture represents this popular chief, ren- dering justice to his fellow -citizens whom he governed ten years,— this republican tomb is backed against that of King En- zius. a natural son of the emperor Frede- rick II., deceased at Bologna in \:>.12, after a captivity of twenty-two years.* Italy alone can present such contrasts so near together. The arms of the Pepoli, post and rh. viil). He died at a very adyanced age after having been elected rector, consul, and per- petual elder, that is lo say, chief magislrate. " See post, chap. viii. 350 BOLOGNA. [Booa YHI. which are displayed on the tomb, -were a chess-board, a pretty just einhleiii of the skilful and rautious combinations nece5- sary for political characters in free states. The inscription on the tomb of Enzius is singular, and not a bad portraiture of the municipal pride and savage haughti- ness of the republics of the middle ages : Felsina Sardiniae regemsibi vincla minniitem, Viclrii caplivum lonsule o\anie lialiii ; Nee palris imperio teriit. ncc cupi ur auro; Sic cane noa tuagDo sa?pe leneiur aper. In the superb chapel of the Rosary are two tombs which produce a very diffe- rent impression from those containing the remains of Taddeo i*e|)rtli and King Enzius: they enclose the ashes of (iuido and his beloved pupil, Elisabetta Sirani. great as a painter, irreproachable as a woman, and worthy of her master for the gracefulness and powerofher talents: she died of poison in hiT tweiitj-sixlh year. This chapel is embellished with admirable paintings represejiting the fifteen mysteries of the Rosary : the Pre- sentational tlie Temple, b\ Fiammingo; the Holy Spirit descendinij on the apostles, by Cesi; the Manj visiting Elizabctlt; Ihe Flagellation of the 5a- rjour, by LudoNicii Carraccio. and Ihe Assumption, by Guido. The ceiling, by Michele Colonna and Agnsiino .Milelli, is one of (he finest works of these able artists, who were united more than twenty years by a frieiidshi|) honouralde to both. Near this chapel is the mau- soleum of the celebrated jurisconsult and professor Alessandro Tartngni, an ex- cellent w ork of the Florentine sculptor, Francesco di Simone. A monument has been erected in the church of Si. Dominick by the Clemen- tine academy of architecture to General Alarsigli, founder of the InsliUite of ISo- logna, a man renowned for his science, his patriotism, and the untoward vicissi- tudes of his romantic life, as a warrior, traveller, and captive. .Marsigli, not- withstanding the rich collections, Ijrought from abroad at great expei.se, which he had given to his country, was always' opposed, says his ingenious panegyrist, to his name appearing on a public mo- ifhment; he could not, however, escape the compliments of the speech delivered at the ioauguration of the Institute, in ' Fouleaelle, Elnge de Mxrsigli. 17U, by P. Ercole Corazzi, an Oli- vetan monk, and malhematician of the new company; Fontenelle remarks that " praises refused will return with greater force, and it is not. perhaps, less modest to let them have their course, taking them for what they are worth." The monu- ment in Saint Dominick is another of those homages spoken of by Fontenelle. to which Ihe manes of Count Jlarsigli must submit, although he wished to be interred without anj pomp in the church of the Capuchins. The inscription and bust consecrated to Ludovico Carraccio, in the chapel of Saint Ltominick, are no longer there ; Ibey have been removed to the Academy of Fine Arts, where a monument worthy of this great artist is to be erected to his memory. The cloister of Saint Dominick offers man} ancient tombs. Two are remaik- able : that of Giovanni AmireaCalderini, by Lanfrani, the able sculptor of Taddeo Pepoli's monument, and Dartolommeo Sal celti's. executed in 15.12 by Andrea of Fiesole. Some curious remains of painting show the Magdalen at the feet of Christ, the earliest work, according to Aialvasia, of Lii)po Dalmasio, Ihe graceful AJadonna painter already men- tioned. The convent of Saint Dominick, oc- cupied by Dominicans, is the seat of the inquisition; but this awful tribunal is now, at Bologna, very lenient and scarcely known to exist. The inqui- sitor, P. Medici, who died in 18:33, was a learned and very respectable Domi- nican, and he himself had addressed ob- servations to the pope, purporting that it was altogether unnecessary to re-esta- blish the inquisition. The Magnani library, now belonging to the tow n, occup'ies a part of the con- vent of Saint Dominick ; it was be- queathed by theexcellent Bologneseecclc- siaslic whose name it bears, a man of learning, who was desirous that his li- brary should be serviceable to his voung compatriots, and, in particular, that it should be accessible when the others were closed. Such a provision is singu- larly useful and advantageous during the everlasting vacations and innumer- able holjdays of most Italian libraries, especially in the Papal stales. The Va- tican is not open a hundred days a year. I remember with regret that on one oc- CUAP. VII.] BOLOGNA. 251 casion, as I parsed through Florence, I could not enter the Laurenlian, because, like the rest, it was shut under the pre- text of (he feast of Saint Catherine. J he apartment devoted to the IVIagnani li- brary is superb, consisting of three im- mense rooms, and others smaller; though recently founded, it has already eighty- three thousand volumes, and a jearly sum of three thousand franks is granted by the city for new purchases. The splen- dour of painting is conspicuous in every part of l?ologna, and this library con- tains a Deposition from the cross, by Barocci, unfinished, but of prodigious effect. The recent legacy of (he illus- trious Bolognese professor Valeriani will add to Ihe importance and utility of this library, which will be transferred to the Scuole Pie. The rest of the learned economist's fortune, which he left in to- tality to the parish, will be employed in completing the arcades which nniie the portico of Saint Luke to the Campo Santo. On coming out of the convent, under a portico on Ihe left, is a Virijin with the infant Jesus and St. John, by Ba- gnacavallo, a valuable work, esteemed by Guido, and exposed to the street. CII.\PTER Yll. Suint Lufy.-Mnniifcripl relic— Monks and nuns arli.'ts. — Servi.-Siin Giovanni in Monle— Saint Stephen. — San fiailoloniineo di porta Itavegnana. Santa Maria riella Mta.— Thy blessed Bionaparte. — [■ortrail of Louis XIV. on an altar.— Oratory.— I.ombardo's basso-ielievos. The church of Saint Lucy possess a letter of Saint Francis Xavier, written in Portuguese, which is always exposed on the festival of that saint, and this ma- nuscript relic has received more homage than the greatest chefs-d'oeuvre of lite- rature. One of the linest paintings is the Death of this saint, attended by angels, a work of Rambaldi, a Bolognese painter of the last ceniury, who was drowned in passing the Taro. In the sacristy is an Immaculate Conception, one of the Orsl works of Fiammingo, when he studied under the Sabattini. Over the noble porlico of the Ma- donna del Baracano is a Virgin, by Alfonso Lombardo. Some pleasing sculp- tures by Properzia de' Rossi adorn the high altar of this same church of the Ma- donna del Baracano, which odd surname seems little suitable to the Virgin or this noble and poetic artist. At Ihe church of the Trinity is a St. Roch, by (iuercmo; the Madonna in a gloiy, several s.iinis, and some little (hildren plajing with the cardinal's hat of St. Jerome, by J. B. Jcimari, is a work closely resembling the Procaccini. Many paintings in the church of Saint (Christine are the work of ihe ancient nuns of the convent to which this church belonged. Paintings by monks and nuns were formerly very common in Italy; the cloister counted some clever and briliianl artists J in ibis re.^pecl, the mo- naslic life has also degeneiated there. Even when these monks and nuns had not the lalent of painting, they seem to have had taste enough to encourage the art. The Ascension at the high altar of Saint Christine was ordi-red of Ludovico Carracclo by the reverend mother But- ti igari, and executed at her expense ; the liguies seem too large now, because it was [ilaced higher in the old church. Other nuns also ordered the six figures put belween the pilasters, among which are llie St. Peter and St. Paul by Guido, in his early joulh. ^ At the higli altar of the church of Saint Catherine di strada inayyiore, the Martyrdom of the Saint with the Lord in a glory, by Gessi, is elegant. ^ The majest.c portic of the Serci, by Fra Andrea Manfredi, general of the Servilcs, a great architect ol Ihe four- teenth century, has some beautiful fres- cos illustrating divers incidents in Ihe history of iheir founder .St. Philip Beni- zio : the Blind man at the Saint's tomb wasamaster[)iece by Cignani, destroyed by time, or by envy, as some suppose; the Saint carried to heaven by two angels, by Giovanni Viani, expresses in his features and even in his llight, the idea of celestial beatitude; the Converted harlots are by Giuseppe Alilelli, a gay, spirited painter, pu|iil of Albaiio. Guer- cino, and Simone of Pesaro. The church is remarkable for its paintings, its mo- numents, and almost its curiosities. The Virgin giving the habit to the seven founders of the order is one of Franceschini's last works, painted by ihai brilliant artist when near his eigh- tieth year, nor does his talent seem to have declined. Gnercino painted the Eternal Father; Guido executed in one 252 night, by the torchlight, and gratis, the Soul of St. Charles in heaven. The Annunciation, by Ir.nocenle dimoia; the St. Aitdrew, the Noli me tangere, by Albano, are admirable. A large and beautiful Paradise, by Fiiirnmiiigo, is a trifle too elaljorate. The Twelve thou- sand crucified, is by Elisabella Siraiii, and a Madonna by Lippo Dalmaslo. A vast Aativity, over the door, is a good fresco, and Tiariiii's last work. The monuments of the senator J. J. Grati, and the cardinal I'lisse Gozzadini, are imposing. In one of the chapels a mar- ble jug is shown as having been used at the marriage of Cana ; it was presented by a general oflhe Serviteswho had been sent to the sultan of Egypt in 1359. A cruciBx skilfully constructed of packs of cards, is the work of a domestic of the Grati family : such an application of cards is perhaps unique, and singularly honourable to the dependants of that house. In the cloister is a majestic staircase by Terribilia, and very fine perspective, by Dcntone, the cleverest man of his day in that kind of paint- ing. The church of the Presentation of the Virgin presents at the altar that very subject painted by Andrea Sirani, re- touched by Giiido. In the'sacristy are several drawings by Albert !)urer, and the Veronica, a small painting by An- nibale Cairaccio. The antique church of San Giovanni in Monte was completely modernised in 182i. A St. Francis, by Guercino. adoring the crucifix, is admirably effec- tive : the crucifix is on ihe ground : this downward worshipping is singularly new and profound. An old Madonna, a detached fresco, prior to the jear liiOO, as proved by several authentic docu- ments; another Madonna, by Lippo Dalmasio, are in strong contrast with the new repairs. The St. Vbald, bishop, by the elder Bologuini, is altogether in Guido's style. Saint Stephen, an extraordinary church, formed by the uniting of seven chapels, is one of the oldest and most characteristic in Italy : old madonnas, saints' images and tombs, travellers' ex voto offerings, miraculous wells, which were as the watering places of the ages of faith, Gothic inscriiitions : it exhibits on all sides the venerable traces ofbj-gone centuries. But this curious temple BOLOGNA. [ Book VIII. ought to be especially visited for its Greek frescos of the twelfth and thir- teenth centuries on the great ceiling of the third church, paintings full of na- ture, life, movei.nent. and expression. In the fii!.t chapel, a Father beseeching St. Benedict to intercede for the health of his dying son, is a work of good ef- fect, b} Teresa ;Sluratori and her master I>al Sole. In Ihe third is one of the good antique Crucifixions by Simone of Bologna, a painter of the fourteenth cen- tury, called also da Crocifissi, from the exceeding pathos with which he Irated Ihiit subject. The painting of the high altar oflhe church of Saint Michael de' Leprosetti, representing a Madonna crowned by the angels and Ihe archangel saint, who recommends to her protection the city of Bologna then ravaged by the plague, is one of Gessi's chefs-d'oeuvre. At Saint Barlholoinew di porta Rave- gnana. St. Charles kneeling at the tomb of Varallo, by Ludox ico Carraccio, pre- sents an angel full of grace. An An- nunciation, called the Aimuncialion of iheHeautifu! Angel, by .Albano. heavenly for expression, a masterpiece that time had almost destro\ed. was very skilfully reslorc'l to its primitive beauty by an artist of Bologna, S. Gulzzardi. A Vir- gin and infant Jesus, by Guido, was a legacy of the canon Sagaci. The frescos representing the Life of St. Gaetano are a fine and rapidly executed work of Cignam's pupils, done in less than two months, from the drawings of their master, who aI>o retouched them. At the entranceof the church of Santa Maria della Vita. 1 experienced a strange impression : in a brilliant chapel, great respect is paid to the bones of the blessed Buonaparte Ghisilieri. translerred ihilher in 1718 from the neighbouring church of Saint Ellgio, when its supi)ressiou took place. The painting representing St. Jerome and the said blessed Buona- parte, is an esteemed production of Mi- lan!. One may be allowed a little sur- prise at seeing this redoubtable name in such a place, a name that seems much rather to belong to the annals of ambi- tion and glory than the legend of saints. The inscription, a meek peace-breathing distich, adds to this contrast : Area Botiaparlis corpus tenet Isla beali : Moltos saoavil, sese sanctum esse probaut. Chap. VIII] BOLOGNA. 253 The relic of Ihe obscure and bless- ed BuoiiJiparle reposes on a rich altar, much ligliler for il th.iii ihe wave-beal- cn rock which hides the ashes of Napo- leon. At the high ailiir, and in the taber- nacle, it is singular to find a medallion of Louis XIV., set in diamonds, and painled by Petitot; it In even exposed on the fe.-itivals of the Holy Virgin, probably on account of its richness. With all my respect for the great king. I little ex- pected to lind his likeness in such a ve- nerated place. This medallion was a legacy of the canon count of Malvasia, who received it from Louis XIV., to whom he had dedicated his Felsina pit- trice. A first medallion was stolen from the courier, and replaced by this one, still more precious. Lebrun, who had received frotn the same .Malvasia his Guide to Bologna, maile him a present of Ihe collection of the battles of Alex- ander, which he bequeathed to Ihc li- brary, where it now is. Jt is easy to recognise in the smallest facts of this polite era, the feeling of propriety of which the master was the model, and which was not only imitated by the couit, but also by the lowest officers in his service. The name of Buonaparte and the por- trait of Louis XIV,, at Santa Alaiia della Vita, recall the limes of the power and conquests of France; but the con- quests of Louis were rational, natural, and durable; while of Napoleon's dis- tant expeditions, nothing remains but a never-dying fame. The oratory della Vita contains one of the first chef^-d'oeuvre of modern sculpture : the basso-relievos of Alfonso Lombardo, which represent the Funeral of the Virgin; the heads of the Apostles have more than once given inspiration to the painters of Bologna, an extra- ordinary honour for statuary, and a proof of their true and noble expres- sion. ' See oiile, chap. vl. A German, Mr. Ernest Muuch, publisbed In 1828 | Louisbiiig, In 8to | a separale biography of King Eiizius, appurenlly in- teresting from the facts and documents it contains, which consist chiefly of the emperor Frederick s correspondence «ith the liolounese, lo obtain his son's liberty, and the poems composed by the latter during his captivity, uis mistress was l.ui in Ven- dagoll; the Bemivoglio, according lo Mr. Munch, CHAPTER VIII. I'alace of the ancient comMiie.— Palace of the I'o- deslii.— Fountain.— Palace del Pubblico.— Ponti- Ccal military force.— Portico of Banchi. Some pieces of wall near Saint Petro- nius are the only remains of the ancient common hall of Bologna, the seat of a free stale, which, as early as the twelfth century, according to M. de Sismondi, had duly balanced the constitutional powers; had grown powerful, rich, rest- less, glorious; had resisted emperors, taken part in the crusades, subjected Mooena, Ravenna, and other towns of Romagna, and at last perished only by the mutual proscription of its citizens and the solicited interference of foreigners. The palace of the podesia was the pri- son of King Enzius : handsome, young, brave, and a poet, beloved in his cap- tivity by a gentle fair one of Bologna, who visited him under various disguises, Enzius, another unfortunate prince, like Conradin, of the heroic and romantic house of Suabia, is still popular at Bo- logna.' The great hall is still called sala d'Enzio ; its use has singularly changed : in 1410, the conclave was held there for the election of Pope John XXIL; it was converted into a theatre in the last century; in 1826, it was a fives' court, and when I saw it in 1838, it was a workshop for the scene-painters of the Opera. The tower called Torrazzo delV Aringo, built for the purpose of watching Lnzius, is, like the rest of Ihe palace, a bold structure, being built on arcades. Beside the hall of Enzius are the ar- chives of the town, remarkable for their numerous historical documents, some very scarce; the most important is the iiull dello Spirito santo, publi>hed at Florence on the Cthof July U39, by Pope Eugene IV., relating to the unsuccessful attempt to unite the Greek and Roman churches. The Giants' fountain presents the Nep- owe their origin to these mysterious intrigues. Enzius stands in the first rank of the old Italian [loeis. Iledi, in the notes to his dithyramb, Bacco III Toscano, quotes the lirst verses of one of En- zlus's camoni, which was among his manuscripts : Amor fa come 'i Gno accellatore, Ch° alii auselli sguardare SI mostra piii ingegnieri d' invescarc. Q } 2S4 BOLOGNA. [Boor VIll. tune, Syrenf?, and olher bronze figures, fclehralcd productions of Giovanni Bo- logna, ordered by Saint Charles Borro- nico when legate in this city. When one considers the burly naked form of IVeptune, the grace and voluptuousness of the Syrens, it seems strange that such a monument .should be ordered by so austere a saint, and erected in the centre of a public square, in the states of the Church. This fountain has too scanty a supply of water, and it ought, as formerly, to issue from the breasts of the Syrens. The palace del Pubblico is of the close of I he thirteenth century. Over the door is the statue of Gregory XIII., another great Bolognese pope, by Alessandro ftlenganti, an artist whom Agostino Car- raccio ingeniously designated as an un- known Michael Angela; it is perhaps also possib'c that some Bossuet or Cor- iieille might be discovered in the world of letters of whom fame has neverspoken. At the revolution of 1796, this bronze pope was metamorphosed into Saint Pe- tronius; a cross was placed in his hand ; his liara was changed for a mitre, and over the regenerated statue were written the words Divus Petronius protector et paler : Saint Petronius was thus made a democrat at Bologna as was Saint Ja- nuarius at Naples. The staircase a cor- doni of the palace dei Pubblico is a grand work by Bramante." In the great hall of Hercules is a colossal statue of that god, by Alfonso Lombardo, one of the best figures of this kind of the sixteenth century. The fine ceilingof the Farnese hall, painted by Cignani, Scaramuccia, Pasinelii, and the elder Bibiena, has unfortunately suffered more from the injuries of the air than of time. At the boMom of one of the courts is the beau- tiful cistern of Terribilia. The palacejdef Pubblico is the residence of the cardinal legate, of the senator, and della magistratura. I was forcibly struck on my first visit in 1826, by the martial air of the guard, very diiTerent from the German apiiearance of the other Ilaliangarrisons:they were really French soldiers of the Grand Army, and their military physiognomy and mnstachios formed a singular contrast with the tiara, ' The slairs acorilone are peculiar lo Italy, and ore exlremely convenienl for luouiilins; a sleep as- cent on liorscliack or even iu a caniage; lliey are formed of brick steps, bordered «itlj a narrow the word pax, and pontifical keys that adorned their caps. The pope has now a standing army of not less than eighteen thousand men, including two Swiss regi- ments of four thousand four hundred, a greater force than any of his pre- decessors ever had, which costs annually about two million crowns (430,000L), a quarter of the entire revenue of his states. Opposite is the portico de' Banchi, of fraud and ingenious architecture, by Vignola, who was excessively embar- ras.sed by the irregularity of the old building. CHAPTER IX. Fava and Magnani palaces.— On the reform by the- Carrac(i;-Benlivoglio palace.- Piella palace. — Oocchi.— Marescalchi,— Zambeccari,— Bevilacqua, — BMCCiocchi, — and Uercolani palaces. — Guer- cinos emolumenls. - Malvezzi-Boiilioli, — Sam- pieri, and Slracciuiuoli palaces. The ceilings of Fava palace are re- splendent with the glory of the biothers Carracci : Agostino and Annibale, on their return from Parma and Venice, when they were still friends, painted their first fresco, under the direction and with the assistance of their cousin Lu- dovico, the Expedition of Jason, in eighteen pictures, works that excited the clamours of the old masters of that de- clining period, of the artists then ex- lolled, titled, in credit, and regarded as Ihearbiters of taste. LudovicoGarraccio has represented the Voyage ofyEneas in twelve paintings; he hud two of them coloured by Aimibale, namely, the Po- lyphemus pursuing the Trojan fleet, and the Harpies. Another ceiling painted by Albano, likewise aided by Ihecounselsof the generous and indefatigable Ludovico Carraccio, exhibits sixteen subjects from the life of JLneas; other excellent pieces executed on his designs by his pupils, and the last by Cesi, present similar subjects and continue this kind ofJineid. The arabesques of a cabinet, four landscapes of Ih*; Rape ofEuropa, are by Annibale Carraccio, in Titian's style. The vast Aldrovandi palace, built in 1748 by Cardinal Aldrovandi, was still occupied in 1826 by the two brothers curb of granite, or hard stone, and several feet In width, but inclined. The most noted of these .vtaircafies, which are common at Rome and Naples, is that of the Capitol. Cbap. IX.] BOLOGNA. 2S3 Aldrovandi, of the family of that illus- Irious scholar, but they both died shortly after that time. The rich gnllery and extensive library formed by these dis- tinguished men, are now nearly dis- persed. At the extremity of the palate was an important manufactory of Eng- lish earthenware, established by Count Ulisse Aldrovandi, but it has been re- moved since and does not appear to have answered. The Fibbia palace, now the Pallavi- cini, presenis a fine apartment ably painted by Santi and Canuti, artists of Bologna. Twelve busts of illustrious Bolognese ladies are by Algardi, at least most of them; and Colonna painted the chape! with its vestibule. At the Tanara palace is the Kiss of Judas, by Ludovico Carraccio, infernal for expression; Diana bathing, by Agos- tino, is graceful, voluptuous, aerial. A Virgin suckling is an admirable chef- d'ceuvre of Guido. Notwithstanding his usual sweetness, Carlo Dolce has found means, in his One portrait of St. Charles Borromeo, to express the hard features of the saint. The Magnani palace, at present the Guidotti, is of imposing architecture, by Tibabii. The frescos of the Carracci, representing the history of Romulus and Remus, are worthy to be compared, for colour and elegance, to their celebrated frescos in the Farnese palace, and they are almost as wi-ll preserved. The ap- pearance of this wonderful painting de- cided the triumph of the eclectic icform of the Carracci. These able masters se- lected from other schools, and amalga- mated the ditferent manners into an admirable whole, and re-endowed the art with power and truth. Under the portico of the Leoni palace, now the Sedazzi, is a One Nativity, a work of Nicolao dell' Abate, and on the ceiling of the grand hall the History of jEneas, by the same graceful and elegant painter. The Bentivoglio palace is spacious and modern : there is no vestige of the old one remaining, a monument of most beautiful architecture which Julius II. instigated the po|iuiace to demolish, to revenge himself of .\nnib;ile Bentivoglio, as this .same mob, on the arrival of Ben- ' A diploma ofltie empeior Frederick III , of Ibe year 1462, slill preser>ed in lUe sacristy of the tivoglio and the French, afterwards broke the statue of Julius, a chef-d'oeuvre of aiichael Angelo. These Vandal-like in- consis-tint proceedings of the |)eople of Bologna reminded me, though in this case no miracles of art were concerned, of a reply made by one of the Parisian populace, an expression that gives no in- correct idea of ttie nature of popular opinions in all ages : w hen the new statue of Henry IV., as engraved in theChamps- Eljsees, was disengaged and drawn by the people, an enthusiastic lady compli- mented one of the good fillows, who was wiping his forehead : "Oh! as for thiil matter," replied he coolly, "it was quite another aflair when we had to pull down the statue of Louis XV." At the Grassi palace is a superb fresco by Ludovico Carraccio, representing Her- cules treading on the hydra, armed with a flambeau instead of a club, a happy em- blem intended to express the unfrequenl union of strength and knowledge. The same palace has a singular chef-d'oeuvre of Properzia de' Kossi, the illustrious lady of whom we have spoken above; it consists of some pretty cameos en- graved on peach stones representing the Passion of Christ, the Virgin, the Saints, the Apostles. The crowd of these little figures is spirited, elegant, and airy; this work seems a charming caprice of art, such as womau only could execute. The ancient Bocchi palace, now the Piella, was built by Vignola at the order of the noble and learned Bolognese .\chille Bocchi, who was imprudent enough to thrust his own ideas on the architect. Bocchi assembled in this pa- lace the useful academy which bore his name; he estalilished a printing-office there from which several good ediiions issued ; the text was expurgated by the academicians; the book of the Symbols, by Bocchi, is cited as curious, and the engravings of the second edition were retouched by Agostino Carraccio. Bocchi, when attached to the illustrious Alberto Pio, prince of Carpi, imperial orator at the court of Rome, obtained the title of knight and count palatine, with the right of dubbing knights, conferring the di- ploma of doctor, and the strange prero- gative of legilimaling bastards.' With Registro rhapel (lite former seat of tbe Noiari col- legel at Bologna, g'ves tlie same right to tlie cor- 256 BOLOGNA. [Book VIH. all his honours, he seems to have known what friendship was, if we may judge b> the amiable surname that he assumes, Phiieros (loving friend), and which he has prefixed to several of his works. The Bocchi palace presents some learned inscriptions, and among them this verse of the cxx. psalm : " Deliver my soul, Lord, from lying lips, from a de- ceitful tongue! " a prajer that doubtless escaped Bocchi amid the |iraclices of a life past at court, in public business, and in literature. The ceiling of the room on the ground floor is decorated with good frescos in compartments and ara- besques by Prospero Fontana, a pupil of Innocente d'lmola, and master of Lu- dovico and ail the Carracci. Not far from this literary palace, in the square behind the church of Saint Nicholas degli Albari, may still be seen the house in which Guercino lived, though it is not so interesting as the one at Cento. TheMarescalchi palace has been strip- ped of the principal chefs-d'oeuvre of its gallery, and retains nothing worthy of particular notice, except its front in Ti- baldi's style, its vestibule by Brizzio, and its painted chimney-pieces by the (Jar- racci and Guido; the most remarkable being by the latter artist. Both the gal- lery and the library were formed by Count Ferdinand, formerly minister of foreign affairs for the kingdom of Italy at Napoleon's court, an excellent man, simple hearted and facetious, who re- mained altogether Italian in the midst of that turopcan court. At the Mattioli house, now the Bo- nini, divers Divinities in several com- partments are a beautiful production of Colonna. The Albergati Capacelli palare, of the architecture of the illustrious Baltassare Peruzzi. contiiins some wainscots of the Carracci school, the ceilings of the ground-floor rooms by Gessi. The hill in its front presents a singularly agree- able coup d'oeil. The gallery of the vast palace of Zam- beccari da S. Paolo is rich in paintings by the Carracci : Abraham at table with the angels; Jacob's Ladder; No- rcctor of Ibe notaries, conDrmed in 1505 by Pope Julius II. Tbis privilege of legiliniating bastards, at tbat lime belonging to certain functionaries, and \Nbicb teems almost indispensable from tbe stra Signora degli Angeli. A Char- les v., by Titian, is admirably true ; six j mistresses of Charles II., hy Lesly, are charming : those portraits are Hamilton on canvas. In the remarkable and superb palace of Bevilacqua is slill the room, as an inscription proves, in which the council of Trent assembled, having been trans- ferred thither in 1547, by the order of the great physician Fracastor. This room is not so spacious as one might suppose from its having been the place of meet- ing for such an assembly. The street door by which the Fathers came and went is shut up and fastened with an iron bar. The fear of contagion, spoken of by all the historians, seems to have been only a pretext : misunderstandings had taken place between Paul III. and Charles V., and the pope sought to re- move the council to some town in Italy subject to the Holy See. "Were this indeed the case, Fracastor's science must have lowered itself to the papal policy, a weakness that may be excused by his dislike to strangers and his patriotism. The observatory erected by general count Marsigli, in the palace bearing his name, still exists, a material evidence of the scientific tastes, passion, and habits of that illustrious and unassuming man. One of the most magnificent palaces in Bologna is the Banuzzi, or, as now called, the Bacciocchi palace; its prin- cipal front is by Palladio. The superb gallery of the Hercolani palace is not less fallen than the Mares- calchi. The library, which contained some precious manuscripts and good books in Greek, Latin, and Italian, is now nearly all sold. I examined the manuscript of the register of Guercino's orders, kept by his brother ; it begins on the 4th of January l*ome resemblance; the form is octangular, and the actors are in- visible to a great number of places on both sides of the house. I attended the representation of Aifieri's Agamennone there, and it was very well played : the ' SeecMa Rapita, canto vii. 29. ' GiS mi fur doici inviti a empir le carte I luoghi ameiii, di die il Dostro Reggio, REGGIO. [Book IX. house was rather crowded, and the pit (at Ave pence) was fliled with persons of the lower orders; it seemed pretty much in accordance with the verse of the Mo- denese poet : quaute scorze di caslagoi incisi D' intorno coprirao tutta la terra.' Alfieri is now national in Italy, like Shakspcarcat London, and I mighteasily have taken my neighbours of the pit for the English mechanics or sailors drawn together at Covent Garden to enjoy the dramas of the sweet Swan of Avon. Aifieri's tragedies, though beautifully written and admirable to read, are too regular, formal, and dry when brought on the stage : his imitation of ancient simplicity is exaggerated and false; his four eternal personages, notwithstanding the pathos and even violence of their sentiments, are not suflicient to animate the scene ; so when one of his pieces is played, it is thought a public duty to go, but every body is sated and ^\ea^y before the performance is over. Besides, I do not think that this passion for Al- fieri, with its pretensions to patriotism, is of any use whatever now ; the patrio- tism of this great poet is haughty, hateful, outrageous, exclusive ; and is more likely to be injurious to the Italians, mislead- ing, instead of raising and ennobling them. CHAPTER IV. Reggio. — Falje tradition re.'^pecling Ariosto's boase. — Cathedral. - Clemenli.— Siiinl Prosper. — Ma- donna delta Ghiara. — Library. -Spallanzani mu- seum.— Theatre.— Canossa. Reggio is a charming town, of so gay and pleasing an aspect, that if Ariosto were not born there, he ought to have been; it is altogeth-r worth> of having been il natio nido of that graceful poet.^ Notwithstanding its inscription, ^ and the credulity of a celebrated traveller, I could not recognise the little rebuilt house in the Cathedral square, as the house in which Ariosto was born. That poet first saw the light in the castle of Reggio, of which his father was governor, and, as his best biographer, Baruffaldi, has II natio nido mio, n' ha la sua parte. (Sal. IT.) 5 See the nineteenth note to Canto it of Cliitde Uarold. Chap. IV.] REGGIO. 269 domonstmled, Ihe false trariilion which states his birth to have tiikcn place in camera media primi ordinis erga pla- teas, aroi'e ha If a century after his death; it originated in the vanity of a Mala- guzzi, one of his mother's relatives, or some friend of thai family, who wished to give celebrity to the house .«he inha- bited. The cathedral, although modernised and unfinished, deserves a visit for the works of Clementi, an architect and sculptor, of Reggio, a clever pupil of Mi- chael Angelo and first-rate artist, but little known, yet regarded by Algarolti as the Correggio of sculpture : on the front, from dementi's designs, are the superb figures of Adam and Eve, and of the saints Grisanti and Venerio, Daria and Gioconda ; iq the interior, the tombs of Orazio Malaguzzi, Vincenzio Fossa, and bishop Francesco Martelli, ofChc- rubini Sforzani, the statues of St. Cathe- rine, St. Maxime, and St. Prosper, the bronze tabernacle, representing the Triumph of the Saviour, and especially the mausoleum of bishop Ugo Rangone. Clementi is interred near his beautiful works : his portrait, in medallion, is placed over the tomb erected to his me- mory by Francesco Pacchioni, architect and sculptor, of Reggio, a pupil worthy of such a master. In the cathedral are also : a Piety, by the younger Palnia ; St. Peter, St. Jerome, an Assumption, the Visitation of the Virgin and the Martyrdom of Sts. John and Paul, by Guercino ; St. Catherine, by Tiarini ; and a large altar-front executed by Bernini. The basilic of Saint Prosper has one of the fine frescos peculiar to Northern Italy, the Last Judgment, by Camillo Procaccini, but it is much damaged. Another fresco, by the same, repre.sents Christ in a glory, with St. Prosper be- low ; opposite, St. Venerio, and the four virtues becoming a bishop : Prudence, Charity, Humility, Temperance. Si. Anne, and St. Anthony of Padua, arc by Tiarini; the Widow of Nain's son brought to life, and the Death of Jezebel, by Bernardino Campi; and the tomb of Ludovico Parisetli the younger and Giu- Jia Zoboli, by Clementi. 'The steeple, still unfinished, was built and ornamented by the three sons of Pacchioni, Leonardo. Alberto, and Roberto, as well as their father, pupils of Clementi. The finest church of Reggio is the Ma- donna della Ghiara, from the designs of the Ferrarese architect, Balbi, and chiefly terminated by Francesco Pacchioni. au- thor of the cupola ; with its dome in the centre, and the four others at the extre- mities, it presents a model of the basilic of Saint Peter in miniature, according to Michael Angelo's plan, before it was spoiled by Carlo Mnderne. who reduced it from the (ireek to the Latin cross, aad destroyed its admirable unity. It con- tains some majestic paintings of the ex- cellent artist of the town, Luca Ferrari, surnamed di Reggio : Adam and Eve, Abraham waiting on the angels, with Sarah in the door-way, smiling at the thought of her posterity ; Rebekah giving water to Abraham's servant ; Rachel at the Well; an Old woman spinning ; Jacob raising the stone from the well ; a Sliepherd playing the flute ; Jael slaying Sisera ; Moses, Miriam and other Israelitish women singing after the destruction of Pharaoh's army ; the figures of Purity, Virginity, Meekness, and Faith; an Angel holding a bunch of grapes, another a lily, and two a mirror, and several others with divers attributes; Abigail showing to the an- gry David the provisions she had brought for his army; a Judith ; Esther before Ahasuerus; a Madonna; an An- gel holding a palm ; another an olive- branch, two holding the ark of the covenant; a Virgin crowned, with di- shevelled hair, contemplating the hea- vens; an Assumption; and on the cupola, eight Angels with musical in- struments; and the eight figures, in clare-obscure, of Moses, Joshua, Gideon, Jephthah, Samson, David, Zorobabel, Judas Machabceus, are by Leonello Spada ; Deborah at the foot of a palm- tree ; Samuel consecrated by his mother to the service of the temple; Abisliag the Shunamite ministering to David ; an Angel holding an urn; another a ro.'!e-bush ; another a cup ; another an orange; David playing on the harp; Michael the archangel ; Solomon on his throne ; the Virgin and St. Francis ; an Annunciation; and the rich ceiling of the choir, by Tiarini. The Adoration of the Magi is by the younger Palnia ; St. George and St. Catherine, by Ludo- vico Carraccio; and the Christ crucified comforted by an Angel, and below the Virgin, Magdalen, St. John the Baptist. St. Prosper and a child, of which the 23. 270 REGGIO. [ Book IX. Christ and Angel only have escaped re- touching, by Guercino. I was conducted over every pan of the church of the Ma- donna delia Ghiara by some young and merry Franciscans, remarkably clean in their persons, polite in their manners, and very inquisitive with travellers; so sprightly and intelligent were these amiable young monks, that application to study might probably have made something of them. The public library numbers more than fifty thousand volumes; it has many an- cient and scarce Bibles, many fine edi- tions of the fifteenth and sixteenth centu- ries; an Aldine collection all but com- plete; the collection of the authors of Reggio, very well classified, and all the autograph manuscripts of the great na- turalist Spallanzani, born at Scandiano, a small town in the neighbourhood, who had studied and professed at Reggio. Without mentioning the Agricultural society, the Lyceum of Reggio unites three establishments sufficient to show the distinction of that little town. The rich cabinet of natural history, or the Spallanzani museum, purchased by the town in 1801, as well as its books and manuscripts, was formed with the learn- ing to be expected from such a master, aided by circumstances and position ; it has a small endowment, and its riches are gradually augmenting under the en- lightened superintendence of its ma- nager, professor Giuseppe Galliani, who gives lectures on natural history there. The theatre of chemistry and experi- mental physics is well provided, and has assisted in several of the dij.coveries of the celebrated natural philosopher of Modena, Signer Nobili. The academy of Fine Arts has some able pupils : it has some good paintings, and a fresco by Nicolaodeir Abate, formerly on the front of the Pratonieri house. The theatre, a great and solid edifice, was planned as if impromptu, after the destruction of the former one by fire in the carnival of 1746, by the architect of Reggio, Cugini, and it has served as a model for several others in Italy, and even that of Frankfort, which was also built by the clever Cugini. I only passed through Reggio; but I must aver that the town seemed to me singularly clean, gay, and agreeable, and the inhabitants courteous and full of animation ; I have since easily explained to my own satisfaction the careless cha- racter of that general of the Reggians portrajed by Tassoni, who was compos- ing a madrigal when the enemy came upon them, and, being compelled to arm, Era stizzalo Di ooa aver Quito il madrigale. The traveller curious in those histori- cal facts which are rather outrageous than great, ought to lepair to a spot twelve miles from Reggio, to visit the remains oft he castle of Canossa. the scene ofthe penance of the emperor Henry IV., at the feet of Gregory VII., in presence of the lady chalellain who acted as me- diatrix, the countess Matilda, Adelaide marchioness of Suse, Henry's mother- in-law, and her son Amedaeus; of the marquis Azzo. and a crowd of bishops and nobles. The spectacle of Canossa is described in numberless books, with considerable variations, and il has been depicted by an eloquent writer in a work that has remained too long unpublished." I can only give the aspect of the place and some particulaisof its recent history. This fortress, founded in the year 938, on a high rock, was surrounded with three walls, the first, at the foot, the second midway, and the third on the summit; it was at the gate of each wall that the imperial penitent, clothed in coarse raiment and barefoot, though in winter, stopped and fasted a whole day, three several limes. The water-courses seem to have contributed to the ruin of Canossa, as may be seen by the heaps of rubbish collected at the north and west; nothing is left entire, except two cisterns on the summit. When the senate of Reggio invited the township of Canossa to join the new republic in 1796, the in- habitants, notwithstanding the opposition of the judge ( giusdicente ) appointed by Count Valenlmi, lord of Canossa and minister of Duke Ercole HI , showed great readiness : the assembly chosen adopted the new political system unani- mously, and sent to the senate as an earnest of their adhesion, a small cannon with three epingares, and the tricnlour- ed flag was hoisted, amid the noise of dancing and rural music, in the square of Matilda's ancient lordship. The complete desertion of Canossa occurred ' M. VilleinalD, fl/'»(o(redeGrego(re f//. Cbap. v.] PARMA. •271 three years after, when the residence of the judge was Uansferied to Bianello; the caslle Mas then dreadfully devasta- ted ; the tiles, iron, timber, doors, palis- sades, and even the pavement, were carried off, leaving nothing but the walls. Under the great saloon and the chambers of the judge's dwelling, is a large room, which served, no long time since, as a stable, and vestibule to the three horrible prisons, where there are some traces of ancient paintings and two marble co- lumns. Canossa is still the property of the Valentini family : the eldest and the countess his wife, who went thither with some friends in the autumn of 1835, signified their intention of having some chambers fitted up, so highly were Ihey pleased with the situation and the pro- spect. CHAPTER V. Parma.— Library.— Infant dukes of Parma.— Mu- seum of Inscriplions.— Velleja. Notwithstanding the gloomy aspect of Parma, my sojourn there, thanks to the counsels, attentions, and information of my brother-librarian, S. Pezzana, proved exceedingly agreeable and instructive. The library, a very handsome edi- fice, has more than a hundred thousand books and four thousand manuscripts, and is embellished with two gigantic half-figures by Correggio. It was formed by the celebrated P. Paciaudi, under the infants Don Philip and Don Ferdinand, dukes of Parma, and opened in 1770. It is extraordinary that a library so re- cently founded should contain such a number of precious articles. How sin- gular that these dukes of Parma, though issued from the Uourbons of the Spanish branch and come from Spain, should have so zealously patronized learning, the sciences and arts ! Condillac w rote bis Coarse of Studies for the infant Don Ferdinand, and INIillot composed, for this foreign court, the best historical abridgements that we have even now, with our host of epitomes. The friend of Voltaire, M. d'Agenlal, was, as is ' " Prologus ad preeclarlsslmum Alcorani Codicem Bt'giae bibliothecae Parmeiisis. Parma ex regla t5pogfapliia,'' ill 8vo, ralher scarce. The copy Id tUe library of Parma is on blue paper; wlielber other like copies were primed is nol known. P. Paciaudi lias, however, fallen inio one error in his well known, minister of Parma at Paris. The library of Parma has been since in- creased by extensive libraries from sup- pressed convents, and in 1816 it received the celebrated one of Professor de' Rossi, for which a splendid apartment has been built ; this last library, regarded as the most valuable for oriental manuscripts (after that of Antwerp described by Mi- chaelis, and the more recent, but, it is said, still more considerable one of the duke of Sussex at Kensington), consi.sts of about three thousand four hundred volumes, of which above fourteen hun- dred are Hebrew manuscripts, including seven hundred unpublished biblical ma- nuscripts, and little less than two hun- dred in other languages, which it would be desirable to see pass into another and more frequented establishment, in some town of greater importance than Parma, where it is almost buried. There is one curious volume in this library, the Koran, the singular history of which is thus related by P. Paciaudi : ' After the raising of the siege of Vienna, the emperor Leopold entered the tent of the grand vizir Kara Mustapha, where this Koran was offered to him; and he sent it as a present, together with other objects found In the camp, to his consort Eleonora. The empress subsequently gave it to her confessor the Jesuit Carlo Costa of Placentia, who forwarded it as a family monument to his brother and nephews, inhabitants of that town. In 1767, when the ducal library was found- ed, Count Jacopo Costa, great-nephew of Carlo, made homage of it to Duke Ferdinand, for the new library. At the end of the Koran is a statement in Arabic, that it was written by Ramasan, son of Ismahil, in the year 1077 of the Hegira (l(i66). Before it came into the possession of Kara-Mustapha, it had belonged to Assan Aga ; there are also notes in different characters, at the end of the volume, indicating the birth-days of the five children of the latter person- age. Notwithstanding al! the admira- tion and gratitude that Sobieski's vic- tory must inspire, I could not touch the prayer book of this devout Musulman descrlptiou of this Koran : "Tenulssimis In mem- branis descriptus, aureis Uteris, flosculis, aliisque iibrarlls ornameiilis preeslans, el theca ej. serico villoso, opereque phrjgio decora inclusus ;" 11 is not on parchment, but Turkish paper, very line, sized on the written part of the page. 272 forsaken by Allah,' without a reeling of respect. The Alcoran of this Turk reminded me that books, in the vicis- situdes of fate, have often appeared on the baille-field; and have delighted the victors, or consoled the vanquished : this illustrious portion of their history appeared to me full of interest; Alexander never lost sight of Homer in his cam- paigns; Pluto and Poljbius were the last studies of Cato and Brutus, when be- sieged and defeated. The library of Parma possesses, if one may say so, two other books of de- votion, the Prayer Book of Henry H., and the Hebrew P.saltcr of Luther, which form a striking contrast with the Koran of Kara Mustapha, The Prayer Book presents a characteristic and not very edifying feature of manners : at the bot- tom of each page is a crescent, a symbol of Diana, the cipher of Henry's mistress, and his motto : Donee totum impleat orbem; he had this cipher engraved on all the monuments erected in his reign, and it is found on books bearing bis arms on the binding, but it seems going rather too far, to mix it up with his prayers. The Psalter, a Basil edition, 15J6, was part of the Uossi collection, and had previously belonged to the learned orien- talist Tychsen ; it has interlinear notes in Luther's handwriting : the volume is much worn; the two first leaves are nearly all torn off: one feels that it must have been exposed to the violence of the hot-headed reformer. Among the manuscripts may be re- marked: a very elegant Jerence of 1470, which, as staled in a curious note, was printed from a manuscript written throughout by Petrarch, of the year 1358, another evidence of the learned labours of this great poet; a Dante, printed fifty years after the author's death; a Pe- trarch, very fine, of the beginning of the sixteenth century, supposed, from three fleurs-de-lis in the middle, of a laurel crown, placed under the brilliant minia- tures of the first page, to have been taken from Francis I. at the battle of Pavia. A note in the library catalogue probably gave rise to this conjecture. Perhaps ' "Looh at llie Dnnamenl," said tlie Klian of ' Crimea to Kara Miistaplia at tlie moment or liis defeat, "and see wlieiber God be not ayainst us." Tlie sullan ordered Kara Muslaplia to be strangled : bis tiead and Ibe bow-string are preserved at tbe arEenai of the ciTic militia at Vienna. PARMA. [Book IX. when the catalogue was compiled this manuscript was confounded with another of Petrart h, which, in 1826, was in the possession of Count Ludovico Gallinara, a descendant of the famous jurisconsult Arborio Gatlinara, chancellor of Charles V. , and has these words on the first page : Este libro fue del rei Fran, de Francia, el qiial fue preso en la balalla de Pavia ; ahora es de don P. de Vargas, Gov. de Novara par su M''.» If the new mili- tary bibliography just mentioned could be completed, it is very probable that books on love and gallantry would oc- cupy more space than philosophical trea- tises. Francis I. had little reason to regret the loss of Petrarch in his capti- vity; he then stood in need of higher consolation, and the verse of the psalm he read on entering the church of the Chartreuse ' was more suitable for his situation (ban the sonnets and canzoni of the poet. The manuscripts of the Parmesan poet Basinio, spoken of by Ginguene, are at the library of Paima, as well as some other of his smaller works. It possesses also the rarissime edition of the collection devoted to the praise of the fair Isotta degli Atti, the mistress and ultimately the wife of Fan- dolfo Malatesta, lord of Rimini, a col- lection in which Basinio seems to have taken the chief part's But Ginguene, mislead by the first edition of Tirabosthi, erroneously fixes the birth of Basinio about 1421, instead of 1425, the true epoch; Tiraboschi, in accordance with a distich by Basinio, quoted by P. Affo, rectified this error, in his second edition, which contains many corrections and additions unknown to Ginguen6. Neither should the French writer have stated that Basinio's works were unpublished, as an edition of his principal poems ap- peared at Rimini in 1794. He has, too, been unmeritedly severe on the Par- mesans in accusing them of negligence for not printing the works of their poet : their publication has been several times on the tapis; Paciaudi, at the request of the minister Dutillot, made some re- searches relative to the family of Basinio, which are still preserved in the library ; ^ Memorie dell' Accad. realedi Torino, vol. xxn, p. 226, and Napione, Opusc. di lett., t. a (826, p. <6<. 5 See ante, book iv. ch. iv. 4 Trium poeiarum eleganllsslmorum, Porcelii, Basiuii et Trebanii Opuscula nunc primum edita. Paris, Cbrislopbe Prudbomme, 1549. CUAP. VI.] PARMA. 273 it is probable that the work would have appeared but for the disgrace of the mi- nister, and, with hini, the librarian. The museum ol" inscriptions has more than twenty thousand medals. The principal article is the celebrated Trajan's table, found at Velleja at difTerenl limes and in several places, now perfectly restored : this imperial rescrijit about maintaining the children of the poor, le- gitimate or not, is curious for the inform- ation it .-upiilies respecting the Roman administration. The fourth sheet of a senatus-consultum on the |)arlicular in- terests of Cisalpine Gaul shows what its splendor was already under the republic. It is a remarkable thing and a proof of the power and prosperity of ancient Italy, that this little town of Vellcja, barely known in history, has of itself furnished the lapidarian museum of Parma ; the excavations, begun in 1702 by the canon Costa and P. Paciaudi, resumed in 1804 under the French administralion,' were successfully followed up in 1821; and Veileja, obscurely buried under a de- tached fragment of a mountain, without either a Pliny or a Vesuvius connected with its catastrophe, has become the Pompeii of northern Italy. CHAPTER VI. Gallery.— Correggio.—Farnese Colossus. The new ducal gallery, though not ex- tensive, is select and judiciously arranged ; it is easy to perceive that much is due to the advice and direction of the clever Toschi, one of the first engravers in Europe, settled at Parma, who seems united to France by his fine copy of the Entry of Henry I V. St. Jerome, Correggio's masterpiece, has returned to the town which contains the greatest number of his works and the most important, add may be called the capital of his talent : the saint has really usurped the appellation of this picture, as it contains the Virgin, infant Jesus, Magdalen caressing him and kissing his • Nothing was discovered at that period but the rolnsoran unimportant ediflre to which they gave the name of Tbernice, whereas Ibe true TliermcB made part of the flr»l discoveries. Anlolioi, in his work on Veileja, merely calls this buililing the ;Uo- reauedifice, from the name of that worlhy Moreau Salnt-Atiry, formerly governor-general of the states of Parma, riaceutia, and Guastalla, aa honourable feet with the tenderest expression of re- spect. Saint Jerome is only one of the other figures, with two angels and his lion. The history of the painting, exe- cuted in 1524, shows that the social po- sition of artists was then very inferior : Briseis Cossa, widow of a gentleman of Parma, who ordeied it, notwithstanding the beauty of her Homeric name, only allowed Correggio 47 sequins (about 22 I.), and his board for the six months that he worked at it; she had, however, the munificence to add to these fees two loads of wood, some measures of wheat and a fat pig. There have since been olfered, by the king of Portugal, 40,000 sequins (more than 16,000 /.) for this very masterpiece, to the abbot of the convent of Saint Anthony of Parma, who was on the point of selling it, but the infant Don Philip, at the urgent intercession of the town, took it away and put it in the ca- thedral. It was afterwards transferred to the Academy of painting; and at the period of our illustres pillages » in 1798, the duke of Parma consented to [lay the conqueror a million to be allowed to re- tain the old painting of Dame Cossa : the military chest was empty, but the arguments of Monge and Bertholet pre- vailed, and this miracle was transported to Paris, to be brought back in 1815. The other paintings of Correggio are : a Repose in Egypt, known by the name of Madonna della Scodella, one of his finest works, styled divine by Vasari ; his Deposition from the Cross, fine for grief and simplicity, and a refutation, like a multitude of this great painter's other works, of the reproach of affecta- tion and quaintness which has been thrown on him; the Martyrdom of St. Placidus. and St. Flavia. alTecting from the calm and profound faith of the latter saint J Christ bearing his cross, accord- ing to Algarotti, exhibits Correggio's passing from his rather dry imitation of iviantegna to his own style : the figure of the Virgin in a swoon is pathetic; the Virgin with her son inker arms, called the Madonna della Scala, a fresco man, but of no great literary attainments, author of voluminous compilations on the colonies and a little book on dancing, dedicated to the Creoles, and printed at Parma, by Bodoui, in 180), in ICmo, and in t803, in t2mo. ' An expression of Paul-Louis Courier on the spoliation of Italy. 274 PARMA. [Book IX. brought from the oratory of that name, demolished in 1812, was originally paint- ed over the old Saint Michael's gate. Though injured by time, this fresco is still ranked with the first of Correggio's works, and this Madonna, larger than life, on the wall of a town gate, exposed to the veneration of artisans and pea- sants, is full of grace, sweetness, and ele- gance. The new Samt Michael's gate, now standing, is by San Micheli, and distinguished for the noble simplicity of its architecture. It was built by Pope Paul HI., whose name is inscribed on the frieze, as well as the dale 15i5. This gate of Saint Michael seems truly illus- trious, as it was first painted by Cor- reggio, and then rebuilt by San Mi- cheli. TheS'f. Jerome writing, by Guercino, has a certain severity of expression more in unison with his Dalmatian extraction and his literary character than the re- signed and quiet mien too frequently given him. Jesus when a child, full length, ready to dispute with the doctors, by Giovanni Bellini, beams with intelli- gence and divinity. The colossal Virgin crowned with stars was copied by Annibale Carraccio, from the original of Correggio, which is in the library. The Apostles carrying the corpse of the Virgin to the tomb ; the Apostles uncovering the same tomb, and amazed at finding il empty, are two paintings by Ludovico Carraccio, large and uncommon rather than fine. The Virgin suckling the infant Jesus, Sts. John, Margaret, Augustine, and Cecilia, a small painting by A{,'ostino, is of an expression ex- ceedingly mild, noble, true, and varied. The Virgin, looking towards heaven, the infant Jesus asleep on her bosom, by Vandyck, is an enchanting composition: the Virgin's eyes arc full of tenderness; the sleep of the child is charming Jo- seph of Arimatltea, St. John and the three Marys weeping, Jesus taken down from the cross and placed on his mother's knees, was said by Lanzi to be the best of Francia's paintings that he had seen ; such an eulogium will be enough to con- vey some idea of its marvellous beauty. The Virgin, the infant Jesus in her arms, St. Jerome, St. Bernardin of Feltre, painted by Parmegiano in his eighteenth year, is an able and brilliant imitation of Correggio. Christ entering Jerusalem, a sketch painted in oil on paper, formerly one of the finest orna- ments of the palace of Colorno, passes for one of the works of Parmegiano that contain the greatest number of figures. < The Virgin tcith the infant Jesus, St. Joseph, St. Barbara, and a little angel holdmg in his arms the lower in which that saint was imprisoned, a noble, elegant work ; the Virgin, in an aureola uiihi 1(1 by three angels, and Sis. Sebas- tian and Roch, are by Michelangelo Anselmi, a pupil and exact imitator of Correggio, a native of Lucca, but of an ancient family of Parma, whence civil broils had driven his father. St. Fran- cis receiving the stigmata, in the Car- racci style for the figures and landscape, is one of the best works of Badalocchio, an easy and piclurcfque painter of the Parma school. A Holy Family with St. Michael, and an angel playing on a mandoline, is a graceful work and among the most esteemed of Geronimo Mazzola, a worthy cousin of Francesco Parme- giano, his youthful companion and fellow- student, and likehim of precocious talent. The Virgin between St. Catherine and the little St. John, offering the breast to the infant Jesus, an elegant, pleasing composition, is by Samacchini. The Virgin and infant Jesus appearing to Sts. Aiigusline and Jerome, by Ron- dani, a Parmesan painter of the sixteenth century and a faithful disciple of Cor- reggio, is nearly equal to the works of his master, and is deemed one of the best paintings of Parma. Jesus Christ in a glory, the Virgin by his side and St. John below, St. Paul and St. Cathe- rine of .Alexandria kneeling, is a fine Raphael. The Christ buried and wept by his mother, St. John, .Magdalen, St. Peter, St. Paul, and St. Catherine, appears to be a copy made by Andrea del Sarto, or by another excellent artist, of the paint- ing given by Andrea to the nuns of the convent of Lugo in Mugello, where he had a daughter; the original is in the Florence gallery. The angel of the three Marys by Schidone, seated on the brink of the sepulchre and announcing to them the resurrection of the Saviour, is noble and majestic; the draperies of the women are very good. Schidone, though a pupil of the Carracci, was an ardent imitator of Correggio, who seems to have inspired all the chefs-d'oeuvre Chap. VII.] PARMA. 275 to be admired at Parraa. Schidone was painter to the court and cherished by the duke Ranuzio I., who gave him a house and lands (presents very superior to Dame Briseis Cossa's rustic donations to his great model ;) but. having a passion for gaming, he died of grief from having lostall in a single night. AcopyofTi- lian's Christ dragged along by an exe- cutioner, though done by this great master, did not seem to me to produce the effect of the model,' notwithstanding the beard and muslachios added to Ihe executioner, and the celestial expression of the Christ's countenance. The two colossal statues, Hercules and Bacchus, found in 1724 in the palace of the Caesars on Mount Palatine, and put out of sight for a century in a country house of far less historical fame, belonging to the dukes of Parma at Colorno, have been more properly located in the gal- lery. These statues, the largest dis- covered of Egyptian basalt, thoughGrajco- Roman, and said to be of the first times of the empire, do not appear very pure, and are suiricienlly opposed tolheni«fe- riam sperabat opus . A co\()isa\ Jupiter's head of Carrara- marble, detached from an antique bust or slatue, is very fisie, and was admired by Canova. The best of these diiFerent statues found at Villeja is a second Agrippina, a Roman work, though its drapery seems almost Greek. An excel lent statue, pcrhapsof a wrestler, has been unluckily restored as if it were a faun, though certainly there is nothing rustic about it. A miniature bronze statue of Hercules, squat, drunken, glut- tonous, vile, is curious, and of the good epoch of art. Among the five or six modern statues is a little St. John the Baptist, by Bernini, choice and pleasing. At the bottom of the gallery is the bust of her majesty the duchess of Parma, by Canova; it is singular enough, that this ornament, so proper for a museum of her creating, was ordered by the troops of her little state. ' See ante, booli vi. ch. ivll. > See Ihe laller's letter to tils cousin liidovlco from Parma, of tlie tSllj April, 1.S80 : " Mon polei stare di noii andar subilo a veileie la grao cupola, clie Toi lante voile miavele loraraenilalo, cd aiicora io rimatl stupefatlo, in vedcre una rosi gran m.ic- cblna, cosi tieo intesa ogiii cosa, cosi beu veduta di sotto In sii con si gran rigore, lua sempre con tanto ciudizio, e cou tanta grazia, cou ud colorlto, cbe ^ CHAPTER VII. Cathedral.— Italian Gothic— Cupola.— Baptistry.— Pagan emblems mixed >vitb Christian symbols. The cathedral and baptistry of Parma are in the first rank of Italian Gothic monuments ; but with the marble that decorates them may also be seen the inv- print of Italian taste, preoccupied by contemplating the wrecks of antiquity, and \\hich has not that daring ignorance, the source of the singular beauties and fantastic grandeur of the Gothic edifices of the North. The cupola, painted by Correggio, the first of cupolas, cannot be conveniently subjected to a close examination. Though much injured, it is impossible not to ad- mire those superb remnants of painting, not less finished when closely viewed than brilliant at a distance, and that Assumption, so lively, blissful, aod triumphant. These frescos, which de- lighted Annibale and LudovicoCarracci," thiee centuries after brought back to the true taste the future regenerator of the French school, and begun, as we may say, the great painters of our age. ^ The two pointings of the choir, representing a David and a St. Cecilia, by Cesare Pro- caccini, appear excellent though so near the cupola. In the gallery, the Christ in a glory, by Geionimo Mazzola, an esteemed fresco, but laboured ; the two frescos from the history of Moses in the grand chapel, to the right of the high-altar, by Orazio Jamacchini, do not bear this trying neighbourhood so well ; at the altar, the 4ssMJ«;;<(on wiih Sts. Thomas, Lucy. John, and Bernard, is a remarkable fresco by Tinti, a Parmesan painter of Ihe sixteenth century, a clever imitator of Correggio and Parmegiano. The St. Agnes appearing to her family, followed by holy virgins, by Michelangelo An- selnii, is of most powerful colouring, though it has been badly cleaned. The frescos of the nave representing the Life di vera carne." Raccolla di J.etlero sulla Pittura, Scullura ed Archittelura, 1. 1 , p. 86. ^ It Is btated in an article on David by M. P. A. Coupin, that before bis journey to Italy he. had not escaped Ibe bad tasle of the day, and that he was a partisan of Boucher : Soyons Franfais! was bis reply to those who boastPd the supeiiority of Ihe Italian school. He reached Parraa, and the frescos of the cupola began bis couversiou. I 276 PARMA. [Book IX. of Jesus Christ, by Gambara, are perhaps Ihe greatest and the most finished of his performances. A Crucifixion with Mag- dalen, St. Agatha, St. Bernard and an angel, by Sojaro, is remarkable for the composition and thickening of the co- lours. Under the high-altar is a basso-relievo of the eleventh century, the Apostles and the Evangelists, a monument of the infancy of art. A Deposition from the cross, another marble basso-relievo, in the wall to the left, of 1170, by Benedetto Anlelami, is a precious piece of primitive workmanship, but part of its curious details arc bidden by an unlucky confes- sional. The marble tomb of the canon Bar- tolommeo Montini, deceased in 1.507, by Da Grado, of Parma, is of extraordi- nary elegance. The mausoleum of the jurisconsult Bartolommeo Prati, at the extremity of which are seated two women overwhelmed with excessive grief, is a work full of nature and truth, by de- menti. A rich cenotaph has been erected to Petrarch in the chapel of Saint Agatha, he was archdeacon and canon of Parma cathedral, likewise canon of Lombez and Padua, ecclesiastical lilies and dignities forming a singular contrast with his fame as a poet and lover. ■ Petrarch directed his body to be buried in the cathedral, iu case he died at Parma, although, as he himself avows, he had resided there but very little, and was at best but a very indifferent archdeacon. " A plain stone points out the burial- place of Agostino Carraccio, who died in a slate ol suffering and wretchedness in the forty-third year of his age, at the convent of the Capuchins, whither he had retired ; an inscription states that the stone was placed there by two of his friends, Giambattista Magnani of Parma and Giuseppe Guidotti of Bologna. On the same pilaster is another inscription to the memory of Leonello Spada, also a ' Tlie abbe de Saiie ( Memoires pour la vie de Pelrarque, ii, 298) bas fallen inlo several errors respecting Petraiciis arclideaconsbip and canonry at Parma. It is not true tbal he obtained from the pope the title of canon that he naight bold a pre- bendary, nbicb be already enjoyed in his quality of archdeicon. Petrarch, lilie his predecessor the canon Pietio Marini, «lio died In I3i6, held the t«o titles and the tno prebendaries. P. kUt> has well explained these fads {Discono prelimhiare su la good Bolognese painter, who was interred close by. Near the altar of the Assump- tion is the tomb of the celebrated P. Turchi, of Parma, the first Italian preacher of his day, and tutor to the children of Duke Ferdinand I., whose Lent sermons when a monk were energe- tic, independent, popular, and were es- teemed superior to his episcopal homilies written in the French style. Turchi, after declaiming in these latter against the progress of our arms, died peaceably in his diocese in 1803, a subject of the republic. The finest half of his life is assuredly the earlier; for this capuchin, when speaking before the court, defended the sciences and the dissemination of knowledge, and advocated the abolition of the punishment of death before there was any question of it in political assem- blies or academics. A laudatory inscription is consecrated to the memory of Bodoni : the letters are pretty ingenious imitations of those on the frontispieces of his editions ; over it stands his bust taken from life by Pro- fessor Comolli, a Piedmonlese, his com- patriot. The superb baptistry, entirely of marble, is of the end of the twelfth cen- tury. It is ornamented outside with statues, and basso-relievos presenting incidents from the Old and New Testa- ments, and curious hieroglyphics. The interior is no less characteristic ; the ceiling is covered with Gothic and Greek frescos of the middle ages; Diana and Apollo are there |)laced in juxt3|)osition with the history of St. John and the figures of the prophets,evangelists, and apostles; I there read the Spiritus intus alit, of the sixth book of the iEneid, taken from Plato, so much was the profane, in those barbarousages, conjoined with thesacred, so much do the emblems of paganism still seem mixed with those of Christianity. These frescos, of the year 12fi0, are re- garded as some of the most curious rera- dimora di Petrarca »ii Parma, p. xxvili et seq. of Ihe second volume of the Hemorie degli Scrillori e Lelterati parmigiaiiii, and has even published Ibe text of Pope Cieratnt VI. s bull nominating Petrarch canon of Parma, an intere^tingdocumenl for n bicli he was Indebted to Gaetano Murinl. ' At si ParmsB moriar (poni volo| in ecclesla ma- jor!, ubi per multos annos arcbidiaconus fill, Inu- tilis et semper fere absens. See bis Will. Chap. VIII.] PARMA. 277 nanls of the ancient style in the north of Italy : the coiouring and gilding, after more than five centuries, aresliil wonder- fully brilliant, and prove that they were laid on wilh extraordinary skill. Other frescos, of purer taste, are of the four- teenth century, and show the progress of the art. Twelve figures by Benedetto Antelami, of Parma, the architect of the baptistry, represent the months of the year with their attributes : two other figures, a young girl crowned with flowers, a grave old man, clothed in a short tunic and holding in his hand a roll covered with astronomic signs, are em- blems, the one of the joyous period of life, the other of the sad. The insulated columns are all different as to height, form, and the marble composing them; the finest, near the high altar, is even of Oriental granite. In the centre is a huge octa- gonal marble basin formerly used for baptising by immersion ; within it is placed a smaller one also of marble, covered with fantastic arabesques. The larger one, of a single block, is dated on the brim, 1294, and both of them seem in harmony with the rest of this strange monument. Some time before I was at Parma, the learned orientalist Mr. de Hammer visited the baptistry, and he drew many inferences from its different emblems in support of his system of the worship of Mithra, or fire; but his conjectures, with all their ingenuity, appeared rather too speculative. The baptistry is not without some good paintings beside its old Gothic ornaments : the Christ baptised by John, between two legions of angels, by Filippo Mazzola delle Erbette, Parmegiano's father ; a God the Father, by an unknown author, but it appears to be by Hilarion or Mi- chele Mazzola, if not by the same Filippo, so much does it seem in the taste of this family; the Death of St. Octavius, by Giovanni Lanfranco, greatly damaged. The marble tomb of Cardinal Gherardo Bianchi, founder of the chapter of this baptistry, by Da Grado, is also an elegant work of the sixteenth century. ' The One copy of Correggio's Night, by Ihe same arlisl, placed in tins cliurcb, uhich Mengs judged a siifadent coiiipeiisation for the oiiginal now at CHAPTER VHI. SalDl John.— Cupola. -Saiat Francis.— Saint Sepul- chrii.— l'aciaudl.— Italian rectors— The Annun- ziata. — r. Afto — Librarians of Parma. — The Capuchins.— Asdcute de' Deull. The church and monastery of Saint John the Evangelist were restored in 1816 to the monks of Saint Benedict who devote themselves to the leachii'ig of youth. The exterior of the church is not free from whimsicalness and confu- sion. The tower, the highest in the town, is by another architect and of better taste. The architecture of the interior has a good effect and has been attributed, but erioneously, to Bramante ; authentic documents lodged in the convent prove it to be by Bernardino de' Zaccagni da Torchiera, called also Ludedera. The cupola is another of Correggio's miracles; he did it in his twenty-sixth year, and gave, as a prelude to the As- sumptiononUa duomo, this superb As- cension, ill-lighted, injured by damp, and blackened by the smoke of tapers! According to Correggio's receipt for this cupola, executed from 1520 to 152i he was paid 262 golden ducats, or about 1,000 crowns; as the custom then was, he received a small horse besides worth 8 ducats. The gigantic figures do not, as some have said, exhibit any intention of imitating Michael Angelo, but they simply prove the artists skill in calcula- ting iheir effect wilh ihe reflected light thrown on them. Some fine paintings may still be seen at Saint John : the Christ crowning the Virgin with stars, a clever copy, by Aretusi, of a like work by Correggio barbarously destroyed by the monks on enlarging the choir;, the arabesques on the ceiling of the nave, Christ bearinq his cross, by Michelangelo Anselmi ,• 5^/a??^esa^?/ie Virgin's feet, a Trans fi'- guralion at the high altar, the Virgin holding out her hand to St. Catherine by Geronimo Mazzola, and for grace-^ fulness, taste, and elegance, worthy of his cousin Francesco (Parmegiano) who painted the arches of the chapels of the Crucifix and Saint Gertrude. A small painting, the Virgin, her son, and two angels, by Francesco Francia, is simple Dresden, was sold some years ago, and has been replaced by another and very feeble copy. u 278 PARMA. t KooK IX. and natural ; this great artist seems however to have been surpassed at Sainl John by his son Jacopo, author of a Nativity, dated in ihe year 1519. Over the little door leading into the cloister is a St. John Evangelist about to write, another wonderful fresco by Correggio. The stalls of the choir, remarkable for the w orkmanship and taste of the orna- ments, are the works of excellent artists of the sixteenth century, Zucchi, Pascale, and Giovanni Francesco Testa. ' The cloister still retains some vestiges of its ancient magnificence : the marble decorations of the door were designed by Zucchi, and executed by Da Grado; in the entrance are some frescos by Michel- angelo Anselmi and the Parmesan To- nelli, Corrcggio's pupil ; the fresco per- spective of the summer refectory is a good work by Geroniino Mazzola ; the four superb statues of the dormitory, the Virgin, Sts. John, Benedict, and Fe- licity, are tiy Begarelli, and the pedestals of these statues are due to the able chisel of Da Grado. Begarelli's four statues are of burnt clay painted to imitate marble, because the artist knew not how to woik it. So great was Ihe enthusiasm with which tht- earthen figures of Bega- relli inspired Michael Angelo, that, on passing by Modena, the native place of this sculptor, Correggio's friend, he went so far as to say : 5e questa terra diven- tasse marmo, guai alle statue antiche ! The monastery library is not very con- siderable; it was nearly broken up in 1810 when the convent was sup- pressed. The moral and philosophical sentences in various languages, that P. Don Stefano Cattani, of INovara, has had inscribed there, are ingeniously selected. Of Sainl Francesco del Prato only the chapel remains, the church and convent are converted into a prison. But the frescos of its cupola, by Michelangelo Anselmi, are fine, elegant, and well pre- served ; he seems also to have executed about the same time, from 1532 to 1533, and conjointly with Rondani, the three other graceful frescos, the Virgin and infant Jesus, St. Anthony the abbot, and St. Francis d'Assise. In the sa- cristy, the Virgin on a throne with the 1 Zuccbi bad engaged lo execute llieui for (020 goldeo ducats; afier working nineteen years he (lied, leaving six stalls lo Diiish : Ibe great painter Domenicbino came from liologua lo esiluiate tbe infant Jesus, and St. Francis, St. Macariiis and angels, by an unknown author, although injured, breathes the taste and purity of the Correggio school. The church of Saint Anthony displays all the elaborateness of architecture pe- culiar to the last century. A Flight into Egypt, by Cigiiaroli, is touching, inge- nious, and true; a Christ on the cross, the Virgin, St. John and Magdalen, is a fine fresco by Peroni. The eight 5ea- titudes, clay statues, by the Parmesan Caliani, are almost of antique purity; the artist had not however seen Home when he made ihem, a phenomenon that greatly surprised Mengs and Canova. Under the vestibule is an inscription belonging to a tomb which formerly stood in the old church of Saint Anthony, and in which Pietro Rossi, deceased in 1438, directed himself to be interred, pom- pously attired in his gilded clothes, a monument of some curiosity for the history of art. Saint Sepulchre, a church of the six- teenth century, has a wooden roof very cleverly constructed, and some excellent paintings: St. Ubald performing amira- cle, a painting full of fire, by the Florentine Galeotti; a Virgin, very graceful, by Geronimo Mazzola; and 5^ Catherine, by Leonello Spada, unfinished, but one of his best works. The small church of the new Capuchin nuns, formerly Nostra Signora degli Angeli, is elegant. On the cupola, ihe Assumption, a fresco by Tinti, is very fine ; the four figures, Moses, David, Gideon, and a prophet, by the same artist, are the last great productions of the Parmesan school. The ceiling has some little medallions, in which are powerful and highly finished paintings of the History of the Virgin and of Christ, by Giovanni Maria Conti. Over each column are extended vast and energetic frescos, in Correggio's style, executed by IJernabci,i)resentiiig alternately a prophet and a sibyl. The high altar of the church of Saint Uldaric possesses a small Nativity with various figures ofshepherds, by Geronimo Mazzola, another masterpiece of this value of tbe stalls completed; be fixed Ibe price at 710 gjlden crowns, wLicb the monks paid to the guardian of tbe artist's daughters. CilAP. VIII.] PARMA. 279 charming painter, whom one must per- petually eulogise at Parma. The stalls of the choir, execuleiJ at the expense of the abbess Cabrina Carissimi by Heiiar- dino Canoccio da Lendinara. are another elegant work in the st\ le of those at Saint John's and of the same epoch. In one room of the monastery is a fresco full of expression, CItrist on the cross, by Ar- naldi, a Parmesan painter of the sixteenth century and pupil of Billini, good in the kind called modern antique : on one side the holy women supporting the Virgin in a swoon; on the other, St. Benedict, another saint and a nun kneeling, pro- bably the munificent abbess Cabrina. At Saint Christina, a simple inscription, painted on the wall, shows the place where P. Paciaudi is interred. The learned Theatine, creator of the literary splendour of Parma in the last century, founder of the library and museum of inscriptions, and reformer of the univer- sity, ought surely to have obtained more honourable burial from the monks of his order of the Saint Christina con\ ent, and it seems that a slab of sione could not have been too much. These monks had been protected by Paciaudi when in power, and were consequently ungrateful and even without decency. It seems certain that the flt of apoplexy of which Paciaudi died in the middle of the night, according to his biographers, was but an attack of dyspepsia ; the improviso fato abreptus of the inscription is a brilliant periphrase lo express that kind of death. The paintingsofSaint Christina, chiefly anonymous, though in the style of the Parmesan school, have nevertheless de- clined from its elegance and simplicity : a St. Gaetan, fantastically holding a silver pen, with St John Baptist in the sky, pointing with his hand to a passage in a book held by an angel, is fine in some parts. The tomb of the Toccoli family, of the twelfth century, is at once a national monument and a curious specimen of architecture. The great church of Saint Vital has two beautiful statues by Maggiani at the altar; the frescos of the choir, the sanc- tuary, and the ceiling, good paintings by Peroni, were unskilfully retouched in 1821; St. Felix and St. Philip ^'eri meeting at Rome, near Montecavallo, is by Caccioli, a painter of the Bolognese school, of re|)ute for his old men's heads. The stuccos of the chapel of the Virgin del Riscatto, arc a clever work of Luca Beti. At Saint Ambrose, the Christ em- bracing his cross is a work of noble simplicity by Tinti, and has his fine colouring. A very beautiful A'af/uiV?/, in the church ofSaint Thomas, has been thought worthy of Parmegiano ; a profde of the saint has uniuf'kily been since introduced among the other figures by some unskilful hand : this unhappy St. Thomas, which is per- haps due to the zeal of sonie parishioner, forms a disagreeable contrast with then). A pompous inscription in honour of the last rector Geronimo Faelli extols his erudition no less than his iiicty. When we remember that such men asMuratori and Moncelli were parish-priests, it is impossible to refuse one's assent lo the fact that the Italian priests, as well as the Anglican ministers, have a m.uch greater number of learned men among them than ours, and that the good An- quetil, rector of La Villette, seems a little vulgar beside such names. This inferiority is not jierhaps an evil : the works of charity ought to take prece- dence, with a priest, of the labour and inquisitiveness of study. The painting of the high altar at Saint Slarcellin presents a Virgin, the infant Jesus, angels, St. Jerome, and St. Marcellin, a fine composition by Gero- nimo Mazzola, disfigured by a fatal res- toration, as is too frequently the case at Parma. The Annunziata is a large and fine church. The Annunciation, a fresco by Correggio, formerly at the old convent of the Obscrvaniine Minorites outside the town, is now but a kind of ruin made by time and the blundering negligence of those who removed it, but connoisseurs can still follow the traces of its pristine beauty. An old painting bearing date 1518, by Zaganelli da Caiignola, repre- sents the Virgin and her son on a throne, and Sts. Bernard, John B.iptist, Francis d'Assise, an extraordinary painting, reckoned more compact, harmonious, and skilful than any other by the same author. There is an inscription at the Annun- ziata in honour of P. Irene Affo, a Franciscan, late librarian of Parma, a scholar, historian, and bibliograiiher, the worthy successor of Paciaudi and prede- cessor of Pezzana, the present librarian, who continues that succession of excellent 280 PARMA. [Book IX. lilirarians and laborious accurate writers hitherto charged with the management of the Parma library. Saint Hilarion contains the tomb of Cav. Rodolfo Tanzi, founder of the Foundling Hospital, formerly adjoining this church, and also of the great hospital. The charitable foundations of this warlike Vincent de Paul of the middle ages, are as ancient as the beginning of the thir- teenth century. The church of the Capuchin monks, stripped of the ducal tombs, w hich are now at the Steccala, ■ and the chefs- d'oeuvre of the Carracci and Guercino, and other able artists, now removed to the gallery, has nothing remarkable left except a Godthe Father, by an unknown author, but apparently of Guercino's school ; a Magdalen penitent, by Pittoni ; a St. Louis, and a St. Elizabeth, by Annibale Carraccio; and two miracles by St. Felix, in the choir, by Leonello Spada. The assembly-room of the Venerando Consorzio, a congregation of ninety-four priests who perform the service of the cathedral voluntarily without being de- pendant on it, presents a precious paint- ing by Temporello, the Virgin on a throne, the child Jesus hanging round her neck; on her right is St. Hilarion in bishop's robes ; on her left St. John Bap- tist; and in the upper part, the Eternal Father and a host of cherubim. The small church of the Holy Ghost has no interest with respect to art. An inscription put up by a rector pretends that Asdente de'Denli is interred there — that astrologer and cobbler of whom Dante speaks : Verii Asdente Cbe aver inteso al cuojo, ed alio spago Ora vorrebbe, ma tardi si penle." Saint Theresa is covered with good frescos by Galeotti, representing inci- dents of the saint's life. The architec- tural painting, by Natali, is fine; but the ornaments, by the same, seem rather inferior. Saint Bartholomew della Giara has the Ulartyrdomofthe saint, an esteemed work by the abb^ Penoiii, one of the last good painters of the school of Parma, brother of a rector of this parish, and ■ See tbe folloniog cbapter. = Inf., cant. XX, 118. himself an excellent parishioner ; his bones repose in the choir among those of the priests. .A painting, by an unknown author, in Correggio's style, represents St. Jerome in his grotto, in cardinal's robes, the Virgin, the infant Jesus, St. Bernardin of Feltre, an angel carrying lheregulalionsofthcMont-de-Pi6t(f, foun- ded III l{-88, by the latter saint, who first instituted those establishments in Italy, a Franciscan, a philanlhropic minister who seemed to fear no ill consequences from the welfare and improvement of the lower classes. Bernardino of Feltre, a famous orator of his time, frequently preached in divers towns of Italy for the founding of Monts-de-Piet6, in order to relieve the people from the ruinous usury of the Jews, which had produced much misery . The heart and bowels of Bodoni are deposited in a chapel of Saint Bar- tholomew, as staled in an inscription on a marble slab consecrated to his glory. ^ The churchofSaint Alexander, though not large, is of good architecture ; the whole ceiling is painted in fresco with wonderful skill by Colonna, aided by Dentone, who doubtless composed the graceful figures, as he did for others of Colonna's works. The cupola of the high altar and the sanctuary are covered with paintings by Tiarini, full of power, effect, and variety. The painting of the high altar is another of Geronimo Maz- zola's chefs-d'oeuvre, which are so nu- merous at Parma. CHAPTER IX. Steceata.— Parraegiano.-Alessandio Farnese. — So- vereigntj of Purtn'i.— Deslruclion of the ancient towns.— Correggio's cbamber. — Frugoni.— Ana- chrouisnas ordered. The Steccata, the finest church in Parma built since the revival, will bear comparison with the finest in Italy ; it has been attributed to Bramante and Bramantino, who were not born when it was erected, and it does not appear unworthy of those clever artists, though some exterior ornameiits were added i during the last century in the false taste I of that epoch. Over the principal door, is the Adoration of the Magi, a good fresco by Anselmi : on the sides, the | Descent of the Holy Ghost and a j J See post, rh. xi. Cn.\p. IX.] PARMA. asf Nativiljj, by Geronimo Mazzola, are fine, i'hi' gilllery behind Ihe high altar has the Crowning of the Virgin, in the midst of a host of saints, angels, and patriarchs, a fresco by Anselmi, frotn a watercolour drawing by Giiilio Romano ; on the ceiling is the famous Moses breaking the tables of the law, painted in dare-obscure, and Adam and Eve by Parmegiano. This great and capricious artist had not finished the Adam, though he had taken the money for It, when, being seized with a passion for alchemy, he left off working at this ceiling to prosecute his vain researches; according to the rude usages towards artists then prevailing, he was thrown into prison, 1 but he contrived to escape, and dird shortly after, a solitary wan- derer from one hiding-place to another, at the age of thirty-seven, like Raphael, whose steps he had faithfully followed. The cupola, re|)resenling the Virgin and Jesus Christ surrounded by angels and .saints, is one of Sojaro's fine works; the St. George on horseback, by Fran- ceschini, has the life and boldness of his master Cignani. At Ihe chapel of t^ainl Anthony cf Padua is the tomb of Ber- trand Rossi, son ofTroiio VIII., count of San Secundo, and of Bianca Riario, niece of Sixtus IV., a young man who died in his nineteenth year, in 1.527, at Vaimontone, when making his first cam- paign with the Prince of Orange ; the lomb is in good taste and was erected to him by his brother Giovanni Geronimo, the celebrated bisho|) of Pavia. In the chapel of Saint Jerome and Saint James is the marble tomb of Sforzino Sforza, na- tural son of Francesco II., duke of Milan, deceased in l,"r23; its basso-relievos and reclined statue are excellent works by Da Grado. A remarkable inscription commemorates the friendship of Duke Ranuccio I. to Antonio Molinelli, pro- fessor of medicine and anatomy, who is buried in the chapel of Saint Hilarion and St. John. In the choir, which has an imposing aspect, is a brilliant painting by Cigna- roli, the Holy Trinity, Sts. Nicholas, Basil, and Gregory. St. John the Baptist in the desert, the Flight into ' See ante, book vi. ch. vii. ' The tno last nionuraenls appear of much remoter aotiquity than Coustanliue : it is seen by an inscription on the last that farma, after haviug Egypt by the Fleming John Sons, are fresh and pleasing in the landscape. Two gigantic prophets are by Geronimo Maz- zola, and some groups of little angels have all his gracefulness and ease. The Christ bound to the pillar, a small bronze statue of Jesus risen from the dead, are good woiks by Spada, and Andrea Spinelli of Parma. A subterraneous chapel was made in 1823, in order to receive the tombs of the dukes of Parma, which till then were at the Capuchin convent. On the grand stone tomb of Alexander Farnese are his helmet and sword with the single word. Alexander. The body of this rival and conqueror of Henry IV. and Maurice of Nassau, of this great captain who, ac- cording to M. de Chateaubriand, fixed the modern art of war, was first de- posited in the cathedral of Arras, then, as he had desired, al the Capuchin con- vent, and finally at the Steccata : he does not appear to have been less wan- dering and agitated after his death than before. The sepulchres of the Steccata, filled with persons different in race and nation, have not the antique majesty of the sepultures of national princes of the same dynasty. One feels that sove- reignty at Parma is less an hereditary right than an indemnity, a variable po- litical compensation, a kind of annuity of men and subjects. The tomb of Ales- sandro Farnese touches the heart, be- cause it holds a hero; the other tombs, which have, if one may say so, neither ancestors nor posterity, leave one nearly indifferent. In the little square beside the Steccata are twornilliary columns which, despite their inscriptions, are said to have been erected by the Parmesans to Conslantine and Julian. These two rude pillars of white and red marble, with the sar- cophagus and denii-cippus on the steps of the Duomo,» are all that remains of a city once so flourishing : there we see the only wrecks of temples, palaces, fo- rums, basiiics, which must have covered the land and embellished this brilliant Roman colony. It is evident from tho example of Parma and many others that in proportion as the modern town became the title of Colonia Ciulia, took thit of Cotonia Au- gusta. The sarcophagus beloiigeil lo a Lucius Pe- tronius Sabinus, who is supposed, «lth some reason, lo have been a Parnaesau. 24. £82 PARMA. [Book IX. (oiisidcrable, the ancient town was des- troyed and disappeared ; even Rome is only indebted for the preservation of its noble forum to the extension of new Rome in the vast expanse of the Campus Martius. The church of Saint Louis became the ducal chapel in 1817. A painting re- presenting the great snint giving to St. Bartholomew of Braganza, a Domi- nican, a piece of the true cross and a thorn from Christ's crown, in presence of Queen Margaret and all her court, is a good work by Peroni. Near this church is the celebrated chamber of Correggio, in the old con- vent of Saint Paul. The paintings of this chamber, the first Correggio did at Parma, were ordered by his generous protectress, the abbess Giovanna, daugh- ter of Marco di Piacenza, a Parmesan noble, before the monastery was sub- jected to closure, and when the splendid and independent abbess, named for life, was, like most of them in her time, thrown into the midst of the affairs, pleasures, and vanities of the world. Over the fire-place is a fresco represent- ing Diana in the clouds in a golden car drawn by two white hinds. The ceiling is azure and covered with graceful genii wantoning amid ovals pierced through a vast treillage ; beneath, fi- gures painted in camaieu present, face- wise and perfectly naked, the Graces, Fortune, the Fates, Minerva, Adonis, Endymion, figures imitated from the antique and worthy of it, which prove how intensely the author had studied, notwithstanding the uncertainty of his abode in Rome : the three crescents. Giovanna's arms, the crosier, sign of her dignity, placed on the keystone of the vault and surrounded with a gold crown, surmount this voluptuous and pagan de- coration, mixed with profane inscrip- tions in Greek and Latin, > and which seem to belong rather to some house of Herculaneum or Pompeii than the ceil- ing of an abbess's closet. The ceiling of an adjoining room, bearing the date of ISli, five years prior to the paintings of the first, and the lofty ■ Some of the inscriptions are as follows, they relate to Giovanna resisting the attempls of tbe ecclesiastical authorities, who wanted to subject lier to the closure : Dii bene yortant ; device Gloria cuique sua est, is em- bellished with arabesques, by some attri- buted to Araldi, by others toTemperello, as well as some small paintings repre- senting sacred subjects, and escutcheons bearing the arms of the same abbess Giovanna, more suitably placed here than amid the loves and divinities of fable, painted by Correggio. At the bottom of the garden are two remarkable frescos, which are also attri- buted to either Araldi or Temperello, so great is the resemblance between these two painters of the Bellini school ; the first represents 5t. Catherine of Alexan- dria disputing at the age of eighteen, in presence and by order of the emperor Maximin surrounded by a numerous court, against fifty philosophers, whom she converted ; the subject of the other, which is cruelly injured, is the Visit of that same saint to St. Jerome in his grot. The old {vecchia) church of the Tri- nity, the name of which declares its an- tiquity, offers, near the sacristy, a fine fresco by Pordenone, which it is now impossible to recognise, owing to one of those unlucky Parma restorations. The Virgin adoring her son, St. John the Baptist, St. Francis, is a good painting attributed to Molosso. Here also is the tomb of Frugoni, a famous poet of the last century, whose genius was dissipated in court fetes and the applause of cote- ries; he wrote sonnets, operas, and epi- thalamiums, sung in turns the duke Francis Farnese and the infant don Philip, obtained greater celebrity than he merited in his lifetime, but now ap- pears too much neglected by the Italians. Although the versescomposed by Frugoni in honour of the Farnese family rendered him momentarily suspected to the in- fant, and caused his disgrace, he ulti- mately became as great a favorite at the court of the latter as he had ever been before, and his emoluments were by no means inferior. The changes of poets recall, under other manners, that Homer, their ancient and unfortunate model, and they seem also, by their songs, to ask hospitality of power. There would Omnia virtuli pervia; (he adoge of Pylbiigoras : Ignetn gladio ne fodias. Two obscure Greek proverbs seem also an ironical allusion to these quarrels. Chap. X. ] PARMA. 283 be little reason or justice in repulsing and condemning them, with all their ap- parent inconsistency, and it seems ihat indulgent antiquity foresaw this kind of weakness, when it excepted orators, lovers, and poets from the penaUies enacted against the violation of oaths. The exterior of the Trinity of Pilgrims surnamcd Rossi, scarcely answers to the interior. A Virgin, St. Catherine, St. Francis, St. Charles Borromeo, by Aminado, has almost the freedom of Correggio. Badalocchio has represented on the same canvas the Virgin with her son, Sts. Anne, Joseph, Joachim, and Philip ofNeri. This kind of anachron- ism, with which Italian painters are too often reproached, is rather the fault of the convents, confraternities, or corpo- rations, who ordered the works : go- vernments have since perhaps been less exacting, but it is doubtful whether their requirements have been as poetic as the saints and blessed spirits imposed on the Italian artists. CHAPTER X. Ducal palace.— tier majesty's toilet.— Cradle of the king of Home. — Theatre Farncse. — Fdtes of Parma.— Palazzo di Giardloo Battle of Parma. —other palaces.— Palace del Comitne. The Ducal palace is merely a vulgar- lookinggreat house ; the interior, recently filled up in the modern style, is void of character and consistsofapartments only. The toilet and cradle presented by the oily of Paris to her majesty Maria Louisa and her son are kept there.' The public exhibitionof this old fashioned corbeiUe now yellowed with age. of this futile wreck, the frivolous remnant of an em- pire that has left such a glorious and never-dying memory, excites neither interest nor pity. The richness of the materials, of mother-of-pearl, gilt silver, and lapis lazuli, forms a contrast with the gloomy palace that holds this magni- ficent gift, and one feels that it w as never intended for such a place. The theatre Farnese is now a kind of ruin; its pompous inscription, Theatrum These articles were offered for sale in 1816. The drawings and proposHls were made at Milan, and distributed, f\itb the valuation ; but no pur- chaser came forward, a SeeButtlgli, Notari, Tiraboschi, Frugoni, Na- orbis miraculum, has disappeared. It must however be acknowledged that the number of spectators it is capable of ac- commodating has been singularly exag- gerated ; it was stated as high as fourteen thousanti in the descriptions of the fes- tival at the marriage of Prince Edward, sonof Ranuccio II., with Isabella d'Este, an error that Tiraboschi has repeated. This number was jeduced to ten thou- sand in the narrative of Duke Edward's wedding; Pietro di Lama, author of a recent description of the theatre Far- nese, has still further reduced it, and it cannot be in reality more than about four thousand five hundred. The construction of this immense playhouse is a tolerably good characteristic of the old manners of Italy; it was built by Ranuccio I., in order to give a proper reception to the grand duke Cosmo II. of Medici, who was about to accomplish his vow to visit the tomb of Saint Charles Borromeo, and it was a bishop, the bishop of San Donnino, Pozzi, who designed the alle- gories. The architect was Giambattista Aleotti, of considerable skill in archi- tecture, military, civil, and hydraulic, and learned in Greek and Latin letters. The theatre Farnese witnessed the su- perb and famous spectacles celebrated at Parma for more than a century, of which some monstrous relations have been published.* It seems, in fact, that the history of the fetes of this duchy, always dependent, ceded, or conquered, are more important than its own history, and have found a greater number of his- torians. The old Ducal palace {palazzo di Giardino ) deserves a visit for the room containing the delicious frescos of Agos- tino Carraccio on the ceiling, withCigna- ni's on the walls, the only remains of a multitude of chefs-d'oeuvre that have been barbarously destroyed. Oneof the compartments of the ceiling, the fifth, left imperfect, offers an interesting cir- cumstance : as Agostino was prevented finishing it by death, the duke would not have it completed by another hand, and instead of figures, he had the artist's panegyric inscribed therein. The four poll Signorelli and others : some of these fStes were also given at the amphitheatre near the li- brary, now iu a rather bad condition, but it has since undergone some repairs. PARMA. [Book IX. finished comparlmentsrcpresenlthe throe kinds of love, Ileavenhj Love, Eailkly Love, Venal Love; ^Eneas going from Troy to Italy, and Venus, Mars and Venus, Cupid and two Nymphs; Thetis and Peleus. The steward of the chateau was a rather singular personage; undisturbed in his office for the last forty years, he had stoically looked oji while the various sovereignties of Parma passed away ; ever the partisan of the last comer, he spoke with extreme circumspection of the future prospects of ihe stale and its returning to the family of its ancient dukes; ■ his father, whom he succeeded, came from Spain in the train of the in- fant Don Philip, in 1749 : this family really seems a part of the furniture of the palace, and might very well be put in the inventory. The garden, in the French style, is extensive, dull, and lonely. At the foot of the terrace is the plain w here Marshal de Coigny beat the Austri.ins in 1733, Goldoni has given a very natural de- scription of Ihe terror of the Parma townspeople during the combat; he had obtained a close view of the battle, so far as the smoke of the cannon permits the contemplation of those hazardous spectacles, which are not always very well comprehended by their heroic ac- tors. How strange are the dealings of fate! the French, wilh all Iheir victories, were ten times driven from Italy ; the Austrians, though so often defeated, re- turn and remain. The palace of the ancient podesta of Parma, Marquis Filiippo della Rosa Prati, has two masterpieces of art, a marble balustrade by Da Grado, which was unfortunately mutilated at the ex- tremities when removed from the cathe- dral, and esi)ccially the painting by Geronimo Mazzola, the Virgin, infant Jesus, St. Catherine and some little an- gels, w hich adorned the high altar of the suppressed church of the Carmelite friars, a charming work and a happy inspiration from Correggio. ' At the death of Maria Louisa, the duchy of Parma reverts to the present duke of Lucca ; in case of bis tiaviiig no son, Hariua «ill be reunited to the possessions of the house of Austria, and Placenlla to the Sardinian states. ' In the Life of Bodoni, by De Lama, is a curious characteristic anecdote. When M. Pierre Didot presented blsediiion of Alfieri'sWorliS to Napoleon, The San Vitale palace is magnificent and commodious; it contains some good paintings by Parmegiano, books, pic- tures, and objects of art, proving the he- reditary liberal tastes of the noble fa- mily that inhabits it. The small Cusani palace, attributed to Vignola, has not suirered less from the injuries of time than its too frequent re- jtarations. In an apartment of the palace del Co- mune, a colossal Virgin crowned is a valuable wreck of an ancient fresco on the front of the governor's palace, exe- cuted in 1566, by Bertoja, a good Par- mesan painter. This palace has been improperly attributed to Vignola, whose death occurred fifty years before its re- construction by the architects Magnani and Rainaldi : its still unfinished vesti- bule, supported by lofty arcades, is used as a cornrnaiket, a very important re- quisite in the centre of a country so fer- tile as the state of Parma. CHAPTER XI. Theatre.— Bodoni's editions.— University.— College of nobles; — Lalatla college.— Hospital dclla Ma- ternliS. The new theatre of Parma, which was opened on the 16lhofMay 1829, is not very noble or pure in its architecture, but appears of solid construction and conveniently disposed. The house holds about fifteen hundred persons; on the first floor are a spacious saloon and apartments intended for assembly rooms. Bodoni's printing-office was continued by his widow ; and the numerous ma- trices that served to cast his letter may be seen there. If Bodoni's editions, extolled and encouraged by Napoleon and his family, in preference to those of our Didot, which were very superior for elegance and taste,' have not maintained their first price, and are every day falling in value, it is because they are incorrect, notwithstanding their splendour, and possess no literary interest or merit; the the taller, nilh whom Ihe Italian poet was no fa- voi ite, abruptly exclaimed ; " Why speafe to me of Allieri and your editions ? Look at Bodoni's Hard, and see bow tliey print in Italy I'" The Bard of the Black Forest is a poem in six cantos by Monti, dedicated to Napoleon, in which Ihe principal events of his life are celebrated, such as the taking of Ulm, the Egyptian expedilion, the uineteenlh Chap. XL] PARMA. 285 Homer, Virgil, and Horace, are offered even in the catalogue published at Parma, in 1823, at a reduction of ten per cent., and considerable discounts are allowed to the purchasers of the various editions, according to the quantity bought. It must, however, be acknowledged that the productions of Bodoni evince consi- derable skill ; his type, though heavy, is even and clear; his paper, which came from Augsburgh. is of exceeding white- ness; but this brilliant manufacture will always be far inferior to the great and usefuliaboursof the Aldi and Esliennes, learned publishers and commentators of the books issuing from their presses : the first is a kind of mechanic art and talent, which may be practiced with the aid of great capital, or the favour and encouragement of princes; the latter, in- dependent and alone, proceeded from the powers, culture, and ai)plication of the mind. The university of Parma, occupying a grand majestic edifice ornamented with good frescos, by Sebastiano Ricci, has about five hundred pupils. Some illus- trious professors have belonged to this university, such as Giovanni Bernardo de' Rossi, retired professor of oriental languages. SS. Rasoni ' and Tommasini, both Parmesans, and counted among the best physicians of Italy." The college of jN'obles, which became the Lycaeum under the French adminis- tration, was restored in 1816 to the Be- nedictines. The number of pupils is thirty-one; under the Farnese, it amount- ed to three hundred. Some celebra- ted men who have thrown a lustre on Italy, made their studies in this college; such as, Scipione Maflei, Cesare Bec- caria, Pietro and Carlo Verri, Giumbat- tistaGiovio. The chapel has some good paintings by Lanfranco, Leonello Spada, Francesco Stringa, Bibiena : in the great hall are some very fine frescos at- tributed to Giovanni of Troy, in the style of Guido, his master, which a bungling restoration has not perfectly succeeded in destroying. Bruinaire. etc. So greal was the favour that Bodoni enjoyed under the imperial government, that, wtien an Historical and Crllical .Notice of bis printing establishment appeared In March, 1813, on ISodoni's complaint to M.de Pommereul, director-general of the book-trade, the prefects of Taro and Genoa vrere ordered to confiscate all the copies. ' Died, April 12, 1837. ' S. Tommasini has since returned from Bologna The Lalatta college, founded by the canon of that name, is one of those noble institutions common in Italy, and dates as far back as the year 1563 ; but, from some strange delay, two centuries passed before the directions of the donor's will were complied with, and the college was not opened till 1753, under the infant Don Philip. It educates about fifty scholars from the middle class of society. The gallery leading to the theatre is orna- mented with some grand frescos attri- buted to Lattanzio Gambara. At the end of the gallery is a room painted in fresco on the ceiling and ornamented with elegant arabesques, by Bertoja. The hospital della Materniia is one of the benevolent foundations of her ma- jesty Maria Louisa, to whom Parma is indebted for a refuge for mendicants, a school of arts and trades, a hospital for the incurable, and a madhouse. "The art of i.ucina," says an historian of some particulars of her life, when speaking of the hospital della Materniia, "is there taught, for the purpose of relieving hu- man frailty and instructing rnidwives."5 The number of the latter thus instructed is eight, two of whom are supported by the duchess of Parma. The government of this princess is extremely mild ; she is personally loved, and every body was delighted by the affable manners of Ge- neral Neipperg, deceased in 1829, sur- named thelJayanl of the German troops by Madame de Stael, who knew him when Austrian ambassador in Sweden, and justice was rendered to his disinte- restedness as well as the nobleness of his character. The remark of that cari- cature of Polta, by Tassoni, was not therefore very exact : 11 Potta che sapea che i Parmigianl Eran nemici alia Tedescheria. The administration, though moderate, seems deficient in order and economy : the imposts are heavy, and the deficit is said to be twenty millions already ; and I have not forgotten being informed by to Parma. Dis opening discourse on his return, delivered the 7th of December, 1829, is touching and simple ; he principally treats therein of love of country and the importance of facts and observa- tion in medicine. 3 Mimoires auecdollquessur 1 inl^rieur du Palais et quelques tvinements de I'Empire, by M. de Bausset, t. IV. 84. 286 PARMA. [Book IX. the monks, when I crossed the Groat S;iint Bernard towards the close of 1828, that among the poor and beggars obliged to abandon their country, and to whom they had given refuge, a great number came from the. state of Parma. CHAPTER XII. Petrarch's bouse.— Pel rarch Building.— Blind en- tliusiasl.— Alrica. The houses of Petrarch are common in Italy ; they are still visited by the curious at Arezzo, Pavia, Linlerno, Arqua.' A tradition, apparently well founded, points out, as the place of his house and garden at Parma, the site of the Bergonzi house, near the church of Saint Stephen. "I have a country-house in the middle of the town," he writes to Barbato of Sulmone, " and a town in the middle of the flelds. When I am tired of being alone. 1 have only to go out, and I find society directly; when weary of the world, I return to my house, and am again in solitude. I here enjoy such re- pose that was never known by philoso- phers at Athens, poets on Parnassus, or anchorets in the silence of their hermit- age amid the deserts of Egypt. O for- tune, I beseech thee to leave in peace a man who conceals himself! Keep aloof from his humble threshold, and pass on to terrify with thy presence the proud gates of royally." = Petrarch at first only rented this little house; but he soon resolved to purchase and even to rebuild it, so much was he pleased with its situation. His epistle to Guglielmo Paslrengo of Verona naturally depicts his condition at th.'it time, and places him before us in the threefold character of Christian, jjhilosopher, and builder. This simjdi- city has somewhat touching in the poet who had just been crownei! at Home, in the friend, counsellor, and favourite of the four brothers of Correggio, the new sovereigns of Parma after over- throwing the tyranny of Mastino della Scala.3 "Are you desirous to know ' See booli iv. ch. 1. and vi. ; book vii. ch. viii. ; and book xvii. ch. x. The English annolnlor of Childe Harold nicnlions his house atSenicc, of wliich the Veneliiins and pensons best aci|Uaiiiled with Petrarch's life liave never heard a word. " Carm. lib. iii. ep. 18. 3 The Correggios themselves did not long retain what I am doing? I am a man, and I work ; what I am thinking of? repose ; what I least expect? repose; where I go? here and there; whither I tend? to death; in what stale of mind? without fearing it, and impatient to escape this gloomy prison; in what company? that of men; what is the end of my journey? the grave; and alter? heaven, or, if that be forbidden, hell ; and may the celestial powers avert from me that uiihappiness! where I am at present? at Parma ; what are my occupations there? I pass my lime at church or in my little garden, unless I take a ramble in the woods. Although fortune olTers me all her bless- ings, I have not changed my manner of life. I work at my Africa with ardour, without expecting any other return for my labour than a vain glory. True f;lory, I am well aware, is the reward of virtue. I am building a little house, such as suits my humble lot. But little marble will be seen therein; I should like to be nearer your fine quarries, or to have the Adige bathing our walls. The verses of Horace slacken my ardour for building, and set before me my tomb and final abode : I keep the stones for my sepulchre. If I see a trifling crack in the new walls, I scold the masons : they answer that all the art of man cannot render the earth firmer, that it is nowise surprising to see new founda- tions sink a little; that human hands can build nothing durable; in short, that my house will outlast me and my de- scendants. Convinced of the truth of what they said, I blushed and said to myself : Fool ! consider the foundations of thy body whiih threatens ruin! put yourself in surety while it is yet time! this body will fall before thy house; thou wilt soon vacate both of these dwellings. These reflections would make me give u|i my building, if I were not held back by shame. What would pas- sengers say on seeing those roofless walls? i hey would laugh at me. I hasten the work to its close, but I do not know my own mind, and am never in accord with myself. One while I am ihe sovereignty ol' Parma. It was to one of Ihera, Azzo, that Petrarch, «ilh his characteristic failh- rulnes In friendship, addressed the treatise De remediis ulriiisque furtnnce, u cold and feeble COQ- solalion for such misfortunes. See ante, book iv. chap. i. Chap. XII.] PARMA. 287 content w ith a small house like the garden ol'Curius or of Epicurus, or the Dcid of Virgils old man ; at another, the fancy seizes me of raising my house to the very clouds, of surpassing Rome and Babylon in my structures : my mind is lost in these boundless vagaries. A moment after, I am more moderate, and hale every thing tinctured with extravagance and pride. My soul floats in these ever- lasting doubts and changes, and knows not how to determine her choice. Wy only consolation is to see the vulgar sail- ing without a helm on an agitated sea, and making shipwreck. Afier \^ell weighing everything, I laugh at myself and all that is with me in this perishable world." ' Petrarch sojourned at Parma three se- veral times, inl3H,13i4,andl3i8; though his visitswerc but short, they must have left him some painful reminiscences, for they were marked by the loss of objects exceedingly dear to him ; such as the death of the bishop of Lombcz, of P. Dio- nigi, his master, confessor, and friend,' of Paganino, podesta of Parma, and, particularly, of Laura, who died of the terrible black plague, the cholera of the middle ages. It was at Parma that he received the letter from another friend, Socrates (Ludovico di Stefano), announ- cing to him this last death, which hap- pened on the Gth of April, the anniver- sary of his Qrst meeting with Laura, and the very morning of the day that she ap- peared to him in a dream ; it was there he wrote that touching and impassioned letter, inspired by such miraculous cir- cumstances, which may still be seen in the Virgil at the Ambrosian.' If mental sufferings could be alleviated by the enjoyments of self-love and the renown attendant on literary talents, perhaps Petrarch might have been less unhappy in calling to mind the visit he received at Parma from that blind old schoolmaster, who had travelled afoot from his home at Pontremoli as far as Naples, leaning on the shoulder of his ' Carm. lib. n. ep. (8. ' DIoDigi, a poet and scholar, seems, like most learned ineu of tiis lime, not to have escaped the illusions of judicial astrology, wliich neie not only avoided by Petrarch, but even ridiculed. (Senil. lib. i ep. ^i ) Dinnigi studied that science with King Robert of Naples, to «liom he was at- tached, as may be seen by the verses addressed to the latter, in which Petrarch deplores bis loss : Solamen vitae quoniam, Rex optime, perdis only son; not Gnding bim there, he re- turned home, and started from thence across the Apennines on his way to Parma. After announcing his arrival by some verses that were not bad {hand in- eplis aliquot versiculis), ^ he had him- self conducted to Petrarch's house, and there, this kind of Homer, a pedagogue and ugly, his countenance being copper- coloured, gave way in his presence to the liveliest transports; he was lifted up by his son and one of his pupils whom he had brought with him from Pontre- moli, that he might, as Petrarch^ with considerable self-complacency informs us, embrace the head which had thought such fine tilings {quw ilia cogitassem), and kiss the hand that had written them iquw ilia scripsissem). During the three days that he passed at Parma, the enthusiasm of this old man was inex- haustible and a source of much amuse- ment to the inhabitants. One day when apologising to Petrarch for his importu- nity, he said : " Vou ought to let me enjoy a happiness that 1 have bought by such a painful journey, for I can never have enough of seeing you." At the word seeing, every body laughed, and he turned sharply towards Petrarch and added : " I take you to w itness whether it be not true that I, blind as I am, see you, and better too than all those laughers with their two ejes." Petrarch composed, or rather compiled at Parma the greater part of his Africa, for he took the liberty of inserting there- in whole passages from the poem on the second Punic war, by .'ilius Italicus, of which he fancied himself to posse^s the unique copy, a plagiarism exposed by the discovery of other manuscripts. The Africa, though a long, tedious, languid poem, enchanted King Robert, to whom, at his request, Petrarch dedi- cated it, and w horn he really praises too highly, despite his good qualities, and the classic privilege of flattery accorded to epic poets from time immemorial ^ Non mediocre luae, quls tecum cousulet astra Falorum sccreta movens, aut ante notabit Successus belli dubius. mundique luraultus, Fortunasque Ducum varias? ( Curm. lib. I. ep. I3.| 3 See ante, book iii. ch. ix. 4 See Senit. lib. iv. 7. 5 See the opening of the Qrst book of the Africa : Tu qiioque Tnnacni, etc. S88 PARMA. [Book IX. CHAPTER XIII. Campo Santo.— Mazza.— Bridge over the Taro.— ColorDo. — Selva Plana. The Campo Santo, composed of nu- merous arcades {Logge), is a fine, useful creation ; it has a small church of an ar- chitecture at once noble and simple. Although its establishment took place so recenlh as 1817, it already contains some distinguished dead, and among them the celebrated Parmesan lyric poet, Angelo Mazza, nearly a hundred years old when he died in that same year 1817, author of some brilliant verses on harmony, friend of Gaspardo Gozzi, Stellini Cesarotti, Foscolo, Pindemonte, and the reverend fathers Paciaudi, Affo, and Turchi ; but so roughly handled by Monti before their chance reconciliation at the post-house The bridge over the Taro, five miles from Parma, terminated in 1821, is built of hewn-stone and bricks on pilewoik; notwithstanding its twenty arches and nnagnificent appearance, it does not seem a very well conceived monument : this bridge is rather menaced by the sand and gravel than the water; as it will fre- quently be necessary to clear away the soil brought down by the stream, and which has already encumbered seveial arches. The toll, to which even the simple foot-passenger and peasant are subjected, is al. CHAPTER XVI. Academy of Fine Arts. — Museum. — Library. — Bet- tinelli. — TipogiaCa Virgiliana. The Mantua .Academy of Fine Arts has some valuable paintings, as: Ihe Paradise and the St. Michael by Vianino, a pupil of the Campi ; St. Clair, drawn by Carraccio ; St. Francis, by Borgani, a Mantuan artist about the close of the seventeenth century, who deserves to be better known ; the Apostles, by Feti, court painter to Cardinal Ferdinand, afterwards duke of Mantua; Ihc Christ falling under the cross, a very pathetic picture, by Fra Geronimo Monsignori, a clever imiiatorof Leonardo Vinci ; nhe Christ bearing his cross, by Francesco Mosca, whcse name is signified by a fly placed by him on the hand of one of the figures, which is his own portrait. This I In 1827-29 a collection was publlsbcd at Mautua, eoiWled Monumeiili di Piltura e Scullura trascelli in Maiilora o net suo lemlorio. It Is to be regretted that tbe Appurtamenlo di Troja is not in his norli, nbicb only contains twenty-four lUo- tmmenls. '- 1 he best copy of the Cenaculum, according to Lanzi (Stor. pilt. del Italia, iv. 10), who has not masterpiece, dreadfully injured, recalls the manner of Domenichino, and might induce a belief that Mosca had been his pupil. The museum of statues, placed in a long gallery, serves as vestibule to the library. This almost unknown museum is one of the first in Italy, and counts about a hundred and sixty busts, fifty statues, more than eighty basso-relievos, vases, altars, funeral cippi, and other fragments of antiquities. The origin of this museum is not very pure : it dates from the booty acquired at the sack of Rome, (or the purpose of decorating their villas, by the Gonzagas who served in the army of Charles V., and especially that terrible Ludovico Gonzaga, called Rodomonte, colonel of a regiment of Italians, of whom we have alrea.iy spoken. Several Greek and Roman works in the museum are remarkable, as : a bust of Euripides, the finest and best authen- ticated of his portraits. One of the rare busts of Thales ; a tolerably fine head, supposed Aspasia's by M. Labus, who even thinks it by her protege I'hidias ; a head, said to be Virgil's, graceful, effe- minate, and totally free from that vulgar air (/aci'esrtisa'cana) conferred on him by Ihi' grammarians who have written his life, and which Visconti pretended to be one of those numerous Termini of Lares viales or of Genii of public ways ; it w as for a long time religiously considered at Mantua as a remnant of the statue erected to the poet while living by his fellow citizens, which the glorious Carlo Malatesta, a great patron of letters, was wrongfully accused of having thrown down and cast into the Po or Mincio; four busts of Augustus at ddl'erent ages, one of which, of Greek marble, was gilt all over; a precious bust of his daughter Julia, cruelty injured by time and res- torers; two busts of Tiberius; one of Caligula, a masterpirce of wondeiful preservation; oihi'rs of Domitian, A- drian, jEUus Verus, Antoninus Pius, Marcus Aurclius, Commodus, Septimus treated this painter quite (airly in all cases, is that of Fra Monsignuri, made for the great library of the Benedlciioes at Poliroiie. uearMinlua; on tbe suppression of the convent it «as suld for a louis- d'or to a Frenchman and coiiveved to Piiris. Mon- signori subsliiuted a vestloule «ith columns for the chamber in which Leonardo had placed (tie action. Chap. XVI.] MANTU.4. 295 Sevirus, Caracalla ; a medallion of Auijustus deified, rare; the basso-relievo of llie Uesecnt of Orpheus into hell, in which Cerherus glares at the trembling Eurydire with su( h a threatening air ; a graceful young Faun. Greek ; another fragment of a small Faun, charming; a Salijr reposing, given as one of the best coiiics and in best preservalion of the Periboetos of Praxiteles ; a Greek altar; a fragment of a statue of Diana, perhai)S unique for the nakedness of the goddess, who is not commonly represented in that state except when surprised bathing by Acteon; a statue of .Apollo ; the celebrated fine basso-relievoof Medea; the precious basso-relievo called the Supplication, of great antiquity, beautifully executed, very differently interpreted by antiqua- ries, being given by some as a sepulchral monument, by others for Jupiter making rain. The Cupid asleep with two snakes on his bosom is one of Michael Angelo's first attempts at sculpture. Theie is a report that it was buried by him, and afterwards dug up and sent to Rome, where it was sold as Greek to Cardinal Raphael Riario. In this museum there are some Ftruscan funeral vases, pro- ceeding from excavations made at Man- tua, which, according to Virgil and the historians, was an Etruscan colony four hundred years before the foundation of Rome : FalidicfD Manias et Tusci Alius amnis. Qui tnuros matrlsque dedit libi, Maalua, nomeo. The library has eighty thousand vo- lumes and a thousand manuscripts. A manuscript of Virgil, not very ancient, was taken away, as we are informed by an inscription, in the month of Vende- miaire in the seventh year of the repub- lic; it was really abominable to rob Mantua of a Virgil : there, it ought to have been sacred. A copy of the edi- tion printed at the expense of the Duchess of Devonshire (Rome, 1819), was pre- • This letter lias been publislied for the Drst lime in the iuslruciive work of S. Camillo Hgoiii, De/la Letleratura ilaliana nella secunda meld del secolo xviii. Brescia, 1821, I. ii.,iP- 9. seq. Some porlioiis of it are given in the ariicle of the 31elaiiges Ue lilleralure by M. Suard, entitled fottaire el Delti- nelli, I. I. 25 » Independently of the proposal made by Vol- taire to Stanislas of employ iug 500,000 fr. in the sented by her to this library, and a copy of Bodoni's edition was given by Ge- neral -Miollis in 1798, noble presents to the poet's country by the civilised and victorious descendants of nations that he called barbarians. The Mantua library possesses many manuscripts of P. Bettinelli, among which are several of Voltaire's letters with Bet- linelli's answers ; these letters of Voltaire arc not in Kehl's edition, or have been rewritten for the press. One of them, dated .>larch 2i,1760, in reply to Betti- nelli's remarks on some errors relative to Italy and its liteiature inh'is Essaisurles hl by S. Ant. Lombard!, t. in, 205. 25. 294 MANTUA. [Book IX. these poems never appeared, for the hero of the second is not too well treated in the first. Like his host at Ferney, and his two talented countrymen and contempora- ries, the philosopher Algarotti and the poet Frugoni, Uettineiii undervalued the Diviiia Commedia : this poem by a proscribed exile, so admiralJle for faith and enthusiasm, could hardly be felt in an age of peace, indifference, and mock- ery. But I doubt w hether the false judg- ments in the Lettere Virgiliane are so forcible as that of a French writer of the same period, who had thus deOncd Dante : "a tolerably good poet, but a very troublesome fellow." The chief printing-office at Mantua is called Tipografia Virgiliatia; notwith- standing this fine iippcllation, in 1827 no Virgil had yet been printed at Aiantua. Annibale Caro's translation has indeed been published there, but through some bibliographic fatality, the Latin text is not included. It is said that a Virgil with commentaries is at last to appear; but it is Virgil's Virgil alone that 1 would have there. The speculation, I believe, would not be unprofitable ; for there would be no traveller, colto intelligente, as the guide-books have it, who, instead of filling his pockets with mould or the doubtful pebbles of Pietola," would not prefer a Virgil, of a Mantuan edition. CHAPTER XVIL Cathedral. — Manlovano. — Saint Barbara. — Saint Andrew.— Maiilegiia — Foirponaccio. — Precious blood. — Saint Maurice.— frencli in Italy.— Saint Sebastian — Saint Cervase. — Saint Barnabas.- Tomh of Giulio Horaano. -Saint Apollonla.— Saint Egidio. — Bernardo lasso. The cathedral of Mantua may be ranked with the finest temples of Italy. The interior was rebuilt by Giulio Ro- mano, and the fine proportions of the columns of its naves, the pure and noble style of all its parts, recall the taste of antiquity. An Austrian military engi- neer, director of the fortifications of the place, was charged by the bishop in the last century (1776) with the execution of the front, a heavy mass, too clearly in- dicative of an architect of trenches and bastions. The statues of the Prophets and Sibijls in the principal nave are by ' Said to be Ihe ancient Andes. See post, chaf . XXIII. Primaticcio ; the ceiling and cupola are painted by Andreasi and Ghigi, Gmlio's pupils; in the choir may be noticed, a St. John the Evangelist, by Geronimo Mazzola; the Death of St. Joseph, by Cigiiaroli, and an Immaculate Virgin, by Baleslra. On tlie right in the first chapel is a St. Eloi, so fine, that it has been attributed to Guerciiio, and is cer- tainly by Possidenli, one of his best pu- pils. In the other chapels are a Guar- dian Angel, by Canuli, a St. Margaret, by DomiJiico Brusasorci, ^nd a. St. Mar- tin, by Farinati. in the oratory of the Incoronata is an admirable Madonna, by Mantegna, and some fine frescos on the ceiling, by Andreasi and Ghigi. Oq the altars of the sacristy , may be remarked a St. Thecla, by Geronimo'ilazzola; St. John the Evangelist, b\ FermoGuizoni, and a Magdalen weeping, by Battista d'.Agnolo del Moro, pupil of Giulio. The marble tomb of Alessandro .Andreasi, an illustrious Mantuan, orator and poet of the sixteenth century, without having the elegance of the monuments of that period, is of a noble simplicity. The bust, although of stone, well expresses the mental superiority of Andreasi. Battista Spagnoli, Mantovano, is in- terred in this cathedral. This Latin versifier, whose poetic baggage is much more bulky than Virgil's, \\ ill never have the same glory, though he was prodi- giously admired in his own time. One may still see at Mantua the kind of triumphal arch erected by the eccentric |)hysician and poet Battista Fier.i, be- tween bis house and the convent of Saint Francis; in the middle is placed the bust of Francesco Gonzaga, a great captain who fought the French at the battle of Val di Taro, and on each side of it are the busts of Virgiland Jlantovano; below is this fine, but hyperbolic verse, as it seems to put Mantovano on a level with Virgil : Argumentum ulrique iugens, si secia colsseut. Ginguen^ has erroneously stated that Mantovano abdicated the generalship of his order al'ti-r he had held it three years, because he found it absolutely im- possible to effect its reformation, a more difficult affair in his opinion than making verses, good or bad : he was named ge- neral of the Carmelites in 1513, and died in 1516; his biographer, P. Florido Chap. XVII. 1 MANTUA. 295 Ambrosi, clearly proves that he never gave up his office, and ihat Leo X. im- mediately appointed his successor. The question whether his birth was legitimate or not. once so sharidy contested, is now of little import : this monk unfortunately railed at the fair sex, and, what is still worse, composed licentious poems. The elegant church of Santa Barbara and its superb steeple were built by Ber- tani, a clever architect and painter, pupil of Giulio, who seems, setting aside the superiority of talents, to have been to J)uke Vincenzio Gonzaga what his master was to Duke Federlco. In this church adjoining the palace, the ofce- quies of the piinccs of the houce of Gonzaga were formerly celebrated. The most remarkable paintings are : a St. Silvester baptising Constantine, a St. Adrian scourged, drawn by Bertani, painted by Lorenzo Costa ; Jesus Christ giving the keys to St. Peter, by his bro- ther Ludovico ; a St. Margaret, by Gia- carollo, pupil of Giulio; the Martyrdom of St. Barbara, an excellent work of Domenico Briisasorci; a graceful Mag- dalen washing the Saviour's feet, by Andreasino : the Baptism of Jesus Christ, a fine painting by Aretusi, a Modenese painter and happy imitator of Correggio. The wars of Italy have stripped Santa Barbara of vases and sta- tues not less precious than its paintings; nothing is now left it but a pretty gold phial and a silver basin, groundlessly attributed to Benvenuto Cellini. The Greek chasing of the basin represents the joyous nuptials of Amphitrite, or some marine festival, in the midst of which a small figure of St. Barbara is strangely introduced. The church of Saint Andrew, one of the first and purest works of the revival, is by the great architect Leone Baltista Alberti, brought from Florence to Man- tua by Ludovico Gonzaga, a princely patron of letters and the arts, the Au- gustus of Mantua, but without a Virgil. By the side stands the old gothic steeple, contrasting its light architecture witli this classic model. It is deeply to be regretted that the church was not fi- nished during the artist's lifetime, and that clumsy cupola, erected in the last century and surcharged with ornaments, has destroyed its first majestic simpli- city. Time has nearly effaced the fine frescos of Mantegna and his best pupils, with which the front and vestibule of Saint Andrew's were covered. The border of foliage and birds decorating the principal door is an exquisite work due to the chisel of Antonio and Paolo Mola, celebrated Mantuan sculptors, who also executed the pulpit, which is in ex- cellent taste. The tombs are the noblest monuments of this temple. The mausoleum of the Marquis Geronimo Andreasi and his wife Ippolita Gonzaga, is attributed to Giulio Romano; it appears worthy of him from the majestic character of the whole and the good taste of the orna- ments, although its architecture is in- correct and the statue of Andreasi but indifferent. Mantegna is interred in the chapel bearing his name, though he consecrated it to Saint John the Baptist. He died in 1505; and not, as stated by Vasari and the author of the Life and Pontificate of Leo X., in 1517, the year in which his tomb was erected by his sons. The bronze bust of this creator of Italian painting, and inventor of en- graving, as some pretend, is a wonderful work, full of life, by the Mantuan Spe- randio, one of the able sculptors and founders of the sixteenth century. The two Holy Families, attributed to Man- tegna and his sons, artists w orthy of their father and buried near him, are admi- rable; a head o( St. Elizabeth is of the most touchidg expression ; it is truly the pregnante annosa of Manzoni's sacred h) nm, il nome di Maria. There is one remarkable and fantastic tomb erected in memory of Pietro Strozzi, w hose name, as well as that of the artist or artists that imagined it, is altogether unknown : nothing is known of this Slrozzi's history but a clause of his will, by which he be- queaths 400 golden crowns for his osten- tatious mausoleum. The style of the caryatides is an affected imitation of the antique; but the ornaments are of the purest taste, and very jtrobably by an- other hand. This monument has been erroneously supposed by Michael Angelo or of his school; it seems rather a capri- cious imitation of Giulio Romano's style. The mausoleum of bishop Giorgio An- dreasi, a scholar and diplomatist, is the chef-d'oeuvre of Clemcnti: the expres- sion of grief in the two lateral figures liiatare weeping is admirably touching. A chapel of illustrious Maniuans, less splendid with respect to art, is interesting 29« 3IANTUA. [Book IX. on account of the men whose tonribs it holds, and its elegant inscriptions : there repose the learned botanist Marcello Do- nato, the poet Cantelnii, the famous cento- writer Lclio Capilupi, the friend of our Joachim Du Belliiy, and the celebrated philosopher and professor Piclro I'ompo- naccio. The remains of the latter were at first deposited in the sepulture of the Gonzaga family at the church of Sainl Francis, now with its convent coinerled into an arsenal, where these remains and the .'tatue of Pompanaccio are still, ac- cording to some recent historians. Pom- ponaccio, like Cardin, may very pos- sibly have been wrongfully accused or praised as an atheist i[i the sixteenth and eighteenth centuries : the doctrines of his treatise De Immortalitate animce differ little from the speculative oiiinions of the other literati of that epoch, and his recantation, rather theological than philosophical, and his Christian death, prove the sincerity of his faith. It also betrayed a great excess of zeal for these gloomy notions to catch at this book of Pomponaccio, as when examined at Eome, it was absolved by the inquistion, and escaped the index. The c!e\er painters of Mantua seem to have rivalled each other in ('ecoralmg Saint Andrew with their finest woiks, such are : the Annunciation by An- dreasi; the iYaO'i/fy and the Adoration of the Mayi, vast frescos by Lorenzo Costa, nearly obliterated ; a Crucifixion, energetic in design and colouring, by Guisoni : in the chapel of Saint Longi- nus, the flne frescos drawn by Giulio Romano, and executed by Rinaldo, his best pupil, and regarded by Vasari as the first painter of Mantua ; other frescos of this same Rinaldo representing the Martyrdom of St. Sebastian ; four an- gels by the same artist on the ceiling of a small chapel, unfortunately in a bad light; an excellent painting of St. Anne and other saints, by Domenico Brusa- sorci; two great frescos, {he Nativity of the Virgin i\nd the Assumption, drawn by Giulio Romano, painted by his pupils. The chapel of Saint Longinus an- nounces some magnificent relics, those of Saint Gregory Nazianzenus [Gregorii Nazianzeni ossa hie servat lapis) : the inscription on the saints tomb, Longini ejus qui latus Christi percussit ossa, ' See his letter to Guicclardiui, of Ibe 15th March, is not less strange. The most venerated relic of this church and Mantua is the celebrated ^/oodofJesust^hrist contain- ed in a double phial of (ylindrical form, the workmanship of which is highly es- teemed and has been attributed to Ben- venuto Cellini ; this, however, appears very doubtful, as that artist, who was remarkably vain, mentioning and allud- ing to his smallest performatices, would not have forgotten that; in his Life he speaks of the reliquary only, and the quartan ague he caught while engaged on it : cursing both Mantua and its duke, who was pleased to be offended, the irrascibie artist took his departure abruptly. It is more probable that the work of the [ihials is by Messer Nicolas, then goldsmith to the court. The prin- cipal altar of the chapel of the most pre- cious Blood has been rebuilt in these latter jears; the two fine statues of Faith and Hope were executed at Rome by Caiiova's pupils under his direction. The church of Sainl Maurice has some magnificence, though its front is not in good taste, and its paintings are fine. An Annunciation, by Ludovico Car- raccio, is remarkable : the angel, how- ever, has a saucy and not loo decent air, which is astonishing in this great master. The Martyrdom of St. Mar- garet, by Ludovico or Annibale, is su- jierb : the countenance of the saint is sweet, firm, and resigned ; the execu- tioner, on the point of beheading her, is superior for design; the heads of the spectators touchingi) express grief in va- rious manners. Mastellata has repre- sented two other executions of the same .saint. The Martyrdom of St. Felicity and Iter seven sons is another excellent and tragic painting, by Garbieri, Ludo- vico's pupil. When the church of Saint Maurice be- came Saint Napoleon, a distinguished French general, M. Grenier, in 1807, nobly founded a military chapel contain- ing inscriptions and tombs of warriors killed in the Italian w ars and during the siege of Mantua. There may be still seen the inscription placed on the ceno- taph of Giovanni de' Medici, an intrepid chief, mortally wounded by a gun-shot in the leg, in his thirty-ninth year, in whom Machiavel foresaw the future li- berator of Italy ; ' the last passage is re- 1525. The corpse Of Giovanni de" Medici, a Tier re- Chap. XVII. ] MANTDA. 297 markable and justifies iliat hope : Ad Mincium tormento ictus Italiw fato potiusquam suo cecidit. This cliapcl is the niiiusolcum of the brave of divers nations. There are assembled the captains of Charles V., the ofiTicer of Louis XIV., the soldier of Napoleon ; the French are most numerous, and one feels that Italy has been too justly called the tomb of our nation. "Italy," wrote Pasquier, " theplajthingofourkingsand the tomb of our armies." Let us wisli well to Italy, and fltlingly assist in her deliverance, but let us not forget the prophetic verses of her poet : Chi poi succederi, comprenda Che, come ha d acquislar viltoiia e onore, Qualor d' lialla la dilesa preoda lucontra ogn' altro barbaro furore; Cosi, s' avvien ch' a danneggiaria scenda, Per porle il gingo e farsene signore, Comprenda, dico, e rendasi beu certo Ch' cure a quel mooti avr^ il sepolcro aperto.' The small church of Saint Sebastian is one of the monuments of excellent ar- chitecture left to Mantua by Leone Bat- tisla Alberti, who built it at the com- mand of Ludovico Gonzaga. The basso- relievos of the Loggia, representing genii supporting the arms of the Gonzaga fa- mily, prove that this great architect, endowed with such variety of gilts, " was also a clever sculptor. The Virgin, St. Sebastian, and other saints, a fresco by Mantegna, painted on the front, is se- riously injured. The irregularities of this front must not be laid to Alberli's charge; they are the fault of those who, after him, were entrusted with its com- pletion. The Martyrdom of St. Sebas- tian, at the middle altar, is one of Lo- renzo Costa's best works. The church of Saint Gervase has two fine paintings: a 5(. Anthony of Padua, by Canti, a painter of the seventeenth century, of rapid execution, and espe- cially a Descent from the cross, by Ip- polite Costa, a composition remarkable for expression, design, keeping, and vi- gorous colouring. . San Barnaba presents a considerable maiolng a hundred and flrty-nine years in the sa- cristy of the Dominican church at Mantua, was removed to Florence, in )C85. ' Ortand., cant, xxxiii, st. )2. » See posl, book xi. chip. vil. 5 He was Urt\-four years old, as staled by Vasari, and plainly demonstrated by M. Qualrcmire de number of esteemed paintings; such are: over the door, a great Miracle of the loaves and fishes, by the same Costa; the Dream of St. liomuald, by Bazzani, director of the ManUian Academy of Fine Arts, in the middle of last century; St. Philip, by Orrioli ; the Marriage ofCana. by Magaiiza; a St. Sebastian, by Pagni, one of Giulio's good pupils. In the saciisty, the Virgin and infant Jesus, a fresco by Geronimo Monsignori, is a very graceful work; and a fine statue of the Virgin addolorata was executed from Giulio's design by Giam- battista Mantovano, his pupil. Giulio Romano died in the prime of his powers and was interred at the old church of San Barnaba;' the marble slab that pointed out his burial-place was destroyed through a barbarous neg- ligence when the new church was built. Tradition has preserved the following epitaph , which was on this stone : Roraanus nioriens secum Ires Julius arles Abstulit; baud oiirum, quatuor, unus erat. The church of Saint Apollonia offers three remarkable paintings : St. Ber- nardin, St. Peter, and St. Paul, of Titian's school ; the Virgin and St. Stephen, by Ludovico Costa ; and, in the sacristy, the Virgin, infant Jesus, St. Martha and St. Magdalen, attri- buted to Bernardino Luini, but reckoned by better judges of Dosso Dossi's or Ga- rofolo's school, a work distinguished for its beautiful forms, chaste design, skilful composition, harmonious colouring, and charming landscape. A plain inscription on the pavement, in the church of Sant' Egidio, marks the grave of Bernardo Tasso, father of the author of Gerusalemme, himself a good poet, though his renown has almost dis- appeared in the glory of his son. The nakedness of this sepulture recalls the stone of Saint Onuphrius, and the here- ditary misfortunes of the poets of whom we have spoken seem to pursue them even to the tomb. 4 A marble mauso- leum was erected to Bernardo Tasso by Quincy (Bisl. de la Vie el des Ouvraqes des plus celeliiea Architecles, i. 220|, nolwilhstanding the opinion of the author of a Kotire on Giulio Ro- mano, included in a short Descriplion of ilie palace of Te, printed at Mantua in 1783, according to whom he was only forty-seven. 4 See post, book v. ch. ii. 298 Guglielmo Gonzaga, duke of Mantua, whose secretary he had been; but it was pulled down shortly after, the Council of Trent having ordered the demolition of all sepulchral monuments raised above the level of the earth, excepting only the tombs of saints. Tasso lamented the destruction of his father's sepulchre in the beautiful sonnet addressed to Cardinal Albano : Alban, r ossa palerDe anco non serra Tomba di peregrini, e blancbi luarml, etc' Though it be asserted by some histo- rians that Tasso had his father's remains transported to Ferrara, I could not find them in that town, nor was I able to learn any thing about them from men of great information whom I consulted there. I am inclined to think that they remained at Mantua, as stated by the inscription, which was made in 1696 by arectorof Sant' Egidio, and is in exceed- ingly bad style. What a singular as- sociation of the two great poets of ancient and modern Italy! The cradle of Tasso was opposite Virgil's tomb, and the grave of his father is near the spot of Virgil's birth. CHAPTER XVIII. Palace.— Gates.— Bridges.— Citadel— Towers detia Gabbia, — delta Zwccaro.— liberty of (he middle ages. — Arco paliice, — the Devil's, — Colloredo. The palace, gales, and bridges of Man- tua have an imposing aspect. A clever pupil of Giulio Romano erected the ves- tibule and porticos of the palace ; and in one room of the archives, some wrecks of frescos by Mantegna still present the portraits of the Gonzagas, and on the ceiling the twelve Caesars and some little genii, airy, joyous, and elegant. From the bridge of Saint George's gate, very well defended externally by a small scientific work ol the French, the view of the lake and the environs is pleasing; it extends to the verdant heights of Cipata, the country-of Merlin Coccajo, and to the fort of Pietola, like- ' Rime. part, ii, 127. ' The statue of Virgil is near the Piazza of Bro- lelto, under a Gothic pciriico attached to the old palace of the comune. Virgil is repre-enled siiliog, wilh bis hands on an open boolt pbiced on a kind or desk, on which is inscribed : Virgilius Mantua- 3«ANTUA. [Dock IX. wise built by the French on the site of the ancient Andes, where Virgil is said to have been born; it therefore presents at the horizon a strange poetical con- trast. The bridge dei HJulini, both a road and embankment, last rebuilt in 1752, was the work of a great hydraulic archi- tect of Mantua, Alberto Pitenlino, of the twelfth century, the inventor of flood- gates. It was constructed in conse- quence of the patriotic cession, by the nine rectors and three procurators of the town of Mantua, of the greater part of the land they possessed, in order to form the upper lake with the waters of the Mincio. An inscription of the same epoch, which records the fad, is curious : the inhabitants of Mantua are therein called the people of Virgil ipopulus Virgilianus), and the allu- sion to Paradise, in the conclusion, ac- cords with the spirit and manners of the time. Virgil was declared lord of Man- tua by the popular voice in 1227, under the ]iodestale of Lorenzo Martinengo; his portrait was put in the arras, on the flags, and coin of the town, and a rude statue, still existing, was erected to him. The gate of the bridge dei MuUni, of the Doric order, is a majestic structure, by Giulio Romano; it leads to the cita- del, a kind of second town, but it has not the imposing character, or the pictures- que and almost poetic beauties of fortifi- cations sealed among rocks or on uneven ground; it is nothing but a vast flat as- semblage of trenches, bastions, ditches, presenting to the eye only a dead combi- nation of geometrical lines. The cita- del of .Mantua, obstinately defended by Wurmser in 1797, heroically besieged and taken by Bonaparte, is as the last and most decisive conquest of the suc- cessive invaders of Italy The tower della Gabbia (of the cage) again encloses its terrible iron cage, the instrument of one of those cruel punish- ments inflicted in the middle ages that can no longer be disputed. This cage disappeared in 1796, and was strangely returned lo its place in 18U. The tower was built in 1302, by Guido Bonaccolsi, niis poetarum clarissimua : on the ba.se of the monuments the poets epitaph, Mantua me genuit, etc., is written in Gothic characters; and beneath it, are some less elegant contemporary verses re- lative to the erection of the portico. 3 See ante, lib. iv, chap. viii. CuAP. XVIII. ] MANTUA. 2&0 one of the ancient tyrants of Mantua. An elegant staircase, erected in 1811 by the Marquis Guerrieri, aflbrds an easy ascent to a fine and newly-embellished dining-room contrived on the platform; one may thus enjoy the contrast existing between the gentleness of modern man- ners and the barbarity of the limes when the cage was used. The view from the tower deUa Gabbia is the finest in Man- tua, and, aided by telescopes belonging to the attentive proprietor, extends as far as the Brescian and Veronese hills. The palace of the Marquis Guerrieri possessed a wonderful chef-d'oeuvre of Giulio Romano, mentioned by Vasari ; the subject is taken from an antique medal and represents Alexander, of the natural size, holding a figure of Victory in his hand. The tower dello Zuccaro, near the Gabbia, is still (dder. An inscription on the wall of the front states that Man- tua was almost entirely destroyed by fire in 1141, during a struggle between the Arioli (nobles,) and the Ruffi (people), and after a bloody conflict. In the vi- cinity of the Piazza of Saint Andrew, an old tower appertaining to a house once belonging to the Assandri family, now occupied by an apothecary, was levelled to the roof of the house by the people. The same mutilation befell the towers of other nobles, who, by means of these fortresses, endeavoured to practise their feudal tyranny, despite the authority of the magistrates chosen by the inhabi- tants; so violent, destructive, and nearly allied to anarchy was the liberty of the Italian republics in the middle ages. The elegance of the front, vestibule, and court of the fine palace of the counts of Arco, the work of Antonio (olonna, exhibits an happy and not servile imita- tion of Palladio. The palace of the Devil derived its strange name from the rapidity with which Paris Ceresara built it, and the vulgar opinion that this learned man was a magician; it is now partly devoted to shops, and the superb frieze on which Pordenone had painted some graceful genii, is obliterated by time. The same great artist had represented Ulysses in ' See ante, book v. cb. xvi. ; booli viit. ch. vi. • Garofolo iBenvenuto Tisio do) frequently used the island of Calypso on a small house in the neighbourhood, and Mazzola, a figure of Architecture; these works are scarcely visible now, but they confirm the remark already made respecting the ancient painting of streets in Italy,' The exterior of the Colloredo palace, although by Giulio Romano, is rather fantastic than beautiful, but within it is of better taste, and contains many paint- ings by this great artist and his school. The gallery of S. Gaetano Susanni, an opulent Jew, and, as well as his son, a patron of the arts, is deserving of a visit; it contains some of Mantegna's and Guido's paintings. A St. John the Bap- tist led by an angel receiving ihe blessing of the infant Jesus on the knees of the Virgin, is a fine Francia : the intention and loving piety of the little St. John, and the sweet, celestial gravity of the infant Jesus are admirable. A portrait of Countess Matilda, by Parmegiano, is graceful, elegant, and handsome. A distinguished author, S. Alessandro Nievo, possesses an Annunciation, a chef-d'ceuvre by Garofolo, formerly at the convent of the nun< of Saint Chris- topher, the brilliant colouring of which time has not weakened : the Virgin is moving for fervour and modesty ; the attitude of the angel, and the disposition of his vestments are very noble. Some particulars are rather whimsical : for in- stance, under the Virgin's desk a pink in a pot, which in Italian is called ga- rofano, indicates the painter's name and country ; 2 the architecture, and orna- ments of the porticos are in Bramante's style, and the freshness of the landscape is little in accordance with the nature and localities of Judea. The Biondi house presents a cameo painted by Giulio Romano : in the middle is a rock, on which a woman asleep might seem to be Ariadne, did not the calmness of the sea on one side the rock and its agitation on the other, as well as the two vessels on which are a number of sailors, either frightened or asleep, render the allegory rather confused. Giulio Ro- mano was a strong partisan of allegory, and this one exhibits the character and force of his great paintings. A Virgin, by the elder Palma, rc- Ihe pink as an emblem; and in bis two portrails, at different ages, palmed by himself, and now iu our museum, he holds that floner in his hand. 500 MANTUA. [ Book IX. markable for the efTect of the c!are-ob- scure ana the expression of the physi- ognomies, is oneofthe beautiful |)aintings belonging to Count Antonio BelTa. CHAPTER XIX. Houses of Antlmaco,— Giulio Uoniano,— Manlcgiia, — Bertani, — Casliglione.— Theatre. In the midst of a garrison town such as Mantua now is, and after the multi- plied disasters it has suffered, one is rather surprised to And so many traces and reminiscences of literature and art, and Pindaric houses seem pretty numerous there. On the small house of the cele- braled professor of Greek, Marcantonio Antimaco, deceased at the age of se- venty-nine, in 1552, may still be seen the pedantic inscription which he had no doubt put in practice among his scholars : Antimacimm ne longius queer as. The most remarkable of these famous houses is that of Giulio Romano, an ele- gant dwelling built by himself, in which he received at different epochs Benve- nijlo Cellini and Vasari, and where he died loaded with riches and honours by Duke Federico Gonzaga and his brother the cardinal. Notwithstanding his ge- nius, Gmlio Romano wis not ashamed of accumulating wealth ; he knew well how to obtain his price, and a great number of letters in his handwriting, preserved in the archives of Mantua, show the li- berty with which he decl.ired to duke Federico in plain terms, thatif the money were not forthcoming, he would not continue his labours. The front of this house was repaired in 1800; but the original style of his decoration is not changed, and over the door there still remains the little statue of Mercury that he brought from Rome, a Greek work as to the trunk and ihigh, repaired by himself and Primaticcio : the rich gro- tesque figures, the festoons and garlands adorning the rams' heads of the frieze are by the latter. When we consider the talents and thrifty turn of Giulio, the statue of the god of eloquence and money seems suitably placed in the front of his house. As staled by an inscription on the corner of the Lanzoni palace, Mantegnas house was opposite the church of Saint Sebastian, the front of which he had painted with such marvellous skill. The house of the celebrated architect and painter of the sixteenth century, Bertani, has an ornament well adapted for the residence of an architect ; it con- sists of a half column placed on each side the door. On one are traced the rules and measure of the Ionic column; the other, fluted, and embellished with an oak garland, presents the correct and graceful execution of these same rules. The house of Count Baltassnrc Casti- glione, author of the Cortegiano, was demolished some years ;>go, on the erection of the theatre della Socicta, a destination by no means unnatural for the dwelling of such a writer, the chro- nicler of games, festivals, and spectacles. I saw a miserable melodramc repre- sented and applauded in Virgd's native place. The Manluan performers stated in their advertisement, that they relied on the indulgence of the public and the enlightened taste of the Austrian gar- rison. The prompter, as at Parma and other towns of Italy, read the piece aloud and followed the actors. A person who has no acquaintance with such a custom, really cannot divine the nature of this third character, this kind of echo rising from the earth and issuing from the hollow of an enormous pair of bellows, for such is the form they have thought fit to give the prompter's hole. Facing the spectators, over the curtain, was, as in other places besides, a well regulated dial, for the purposing of enabling scru- pulous classics to ascertain at their ease that the play was within the rules, and not defective in that clockwork unity spoken of by Madame de Stael. CHAPTER XX. Piazza Virgiliana. — Customlioijse. — Marlset. — Slaugliterhouses.- Ghetto. The Piazza Virgiliana, formerly a kind of marsh, is now, thanks to the outlay made by the town of Mantua, and the enthusiasm of General Miollis for the prince of poets, an agreeable promenade planted with trees and supplied with numerous marble benches given by different inhabitants. The draining of this place greatly contributed to the healthiness of the town ; the Austrians have made additions to these works. The insalubrity that heretofore kept vi- siters from Mantua prevented that town Chap. XXI. ] M.\NTUA. SOI from becoming so much known as it deserves. The bust and column erected to Virgil in the centre of the I'iazza Vir- giliana, were at fir.-^t renioNcd by the Austrians to llie exlreniilj, in the hip- podrome, that they mifihl not interfere with the parades of the garrison : Slirpera Teucri nullo di.>-crimine sncruin Suslulerant, puro ul posseDl coiicui rure c;inipo.i A circus intended for daylight perfor- mances, and which was used (or eijui s- trian spertach's when I \i>ited Manliia, was afterwards budt on the same spot; the column was Ijingon the ground in an alley, and the hust at the ma\orally. The old monument in the centre of the Piazza might have been pre?erved or reinstated, as it h.id never incotnmoded the evolutions of the French troops, w Inch are certainly as quick in their move- ments as the German, jt is sad to St'e the monument of Virgil at .Mantua wan- dering and fugitive before serjeauts and horses. Such are the traces still of the ancient magnificence of the Gonzagas and the indefatigable genius of (iiulio Romano, that certain ediQces. elsewhere very vul- gar, eihihit the beauties of art at Man- tua. The fi.shmarket was built by him. as well as the shambles, which from their clever arrangement and the proximity of a branch of the Mmcioare perfect slaugh- terhouses too; at the customhouse, once the Carmelite con\ent, there is a door from the designs of Birtdui, and another has some elegant sculptures by the bro- thers Mola. The Ghetto, ornamented with rich and handsome shops , but little resembles the infected Ghetto of Rome. Although the number of Jews at Mantua dues not exceed two thousand, out of the thirty- four thousand irdiubiiants, they have founded a house of refuge and industry for about fdly persons ; an establishment very well conceived and prudently ma- naged, in which the poor, the aged, and infirm are relieved, and the children lodged, clothed, and fed, (except twelve day-scholars) also receive an excel- ■ ^n., xn. 770. a " It appears," says M. Quatretnere de Quiacy, " and sucli Is (be opinion of Ijistoi ians worlliy of credit, that the woid Te is ai) abbreviation, or, if you like, a mutilation of lojetlo or tejelto, »Licb means in Ibe dialect of tbe country a cutting or lent elementary education, such as they well know how to give in the Austrian st.ites, and afterwards learn a trade. Ibis house of industry, established in the beginning of 1825, was honoured by a >isit from the emperor in the month of .May of the same year, and the Jews' So- ciety of IMantua received an ofTicial document from Vienna, congratulating them on their zeal in well-doing. The services rendered the house of Austria by the firm of R**'*'"** have probably contnbuied to this kind of favour; hut it must be allowed that such toleration is infinitely wiser than the hardships and vi xations of which the Jews are else- where victims. CHAPTER XXI. Environs.- re palace. Notwithstanding the generally received opinion, the name of the Te palace can- not be derived from I he form of its ground plan, said to be that of the letter f. as the edifice itself contradicts the etymo- logy. > The Te palace is the most me- morable work of Giulio Romano as an architect. The regularity and ingenuity of its architecture contrast strikingly with the imagination, fire, and almost frenzy of some of the paintings within. Jt was both built and painted by the same great artist or his first pupils, and this old stable of the Gonzagas is become a marvellous and unique monument. 1 he superb Loggia (vestibule), open- ing on the garden, has its ceiling em- bellished with fise frescos in as many compartments, drawn by Giulio Romano, and executed by his pupils, representing the history of David ; the basso-relievos are by Primaticcio. In the adjoining room, this comrade of Giulio Romano and Giambattisla Mantovano have also [lalnted, on his drawings, the long suc- cession of winding figures, in imitation of the columns of Antoninus and Trajan, lepresenting the triumph of the emperor Sigismund when he created Francesco Gonzaga marquis. The costumes are antique, but the subject is indicated by passage made for Ibe draning off water, and that Itiis local appellation, applied to the ground on » bich tbe palace was afterwards built, lias been cut down by vulgar use into Ibe present name.' H si. de la Vie et des Ouvrages (lei plus ciU-'jies iiekilectes, t. i. 212. 20 502 MANTUA. TBooK IX. I he squire placed behind ibe emperor, ha\ iiig Ihe Austrian eagle on his buckler. Scipioreluruinghis captive, Alexander opening ihc precious casket in which he kept Ihe hoiks of Homer, Csesar in the midst of his liclors, burning the letters found in Pompey's baggage, are also by Primaliccio. The most celebrated room, and the feeblest, is the hall of the Giants. Once in this apartment, no issue is visible; you are environed by rocks falling on ihc giants, wounded, crushed, flying, or vainly defending themselves; the very ground is composed of wrecks, and the ceiling is the Olympus of Jupiter launch- ing his thunderbolts, Clari Ciganteo triuraplio. Tills terrible hall of tbp Giants, like Ihe poetical chambers of Psijche, Phaeton, and the elegant arabesques of the charm- ing casino of the Grotto (so called from its having one for bathing), shows in Giulio Romano the double inspiration of aiichuel Angelo and Raphael ; there are i;one abler or more brilliant, and such imitation is not less admirable than crea- tion. Unfoi Innately these paintings have been retouched, and no longer present more than the comiiosiiion and drawing of their immortal author. CHAPTER XXn. SuDta Maria Uelle Graiie.-Castiglione. Five miles from Mantua, on Ihe lake, is the gothic church of Santa Maria delle Grazie, a magnificent ex veto offering consecrated by Francesco Gonz;iga and the Mantuans in 1399. on the cessation of the plague vshich had ravaged Iheir town and nearly a!l Italy. This temple, which has some good paintings by Lo- renzo Costa, Laiianzio Gambara, Bor- gani, and Fra Monsignori, has a sin- gular aspect. It is completely covered with a multitude of votive pictures, commemorating the succour obtained by the intercession of the ISIadonna delle Grazie; and large wax figures, dressed, are suspended there, as at Westminster or in the show room of Curtius at Paris, but every one has in addition a rhyming triplet, so superabundant is poetry in Ituly. The figures represent certain of the 'illustrious pilgrims that have visiled the church, among whom there are even ambassadors from Japan, warriors, and persons rescued from danger by the Ma- donna. Amid the celebrated characters are the figures of Charles V. and his son, of the great pope Pius II., and the con- stable of Bourbon ; the last has for in- scription : H forte brarcio e la cervice altera, Ctie a niun voile piegar. Borbune invllfo Quivi ucQilia a Colci che in cielo impera. Except the three Mantuans, all the iron-clothed warriors with lance in rest, whose votive figures are at Santa Maria, formed part of the constable's terrible army. A Spanish soldier has the follow- ing verses for inscription : V alma volea fuRgir per doppia usclta, Cbe due colpi spielali in me g\h fero ; Ma tu accorresli a tratieuermi in vita. These verses have some resemblance to those of his countryman Lucan, whom this Spanish soldier very possibly had read, nor are they of better taste than those of his Pharsalia : Dum pugnat ab alta I'uppe Calus, Gralumque audax apluslre relentat, Terga simul pariler missis el pectora telis Transigitiir : medio concurrit peclore ferrum, Et sletil iacerlus flueret quo vulneie sanguis.' There are also some of the suspended whose cord has broken most oppor- tunely. The skin of a crocodile, said to have been killed by a Mantuan in a ditch of the territory of Curtatone, but little distant, is another odd ex voto hung to the roof. The manner of working wax in these large proportions was invented in 1521 by a Franciscan of Acqua Negra, who, having examined the mean little figures offered every day, broke them up, but preserved the impression and recast them of a laige size, after mixing there- with some unknown ingredients to give them solidity, whilst by means of another composition he fixed them very firmly on their bases. The expense of keeping the present figures in condition is consi- derable, and they require renovating about every ten years. The miraculous picture of Ihe Ma- donna, though attributed to Saint Luke, does not resemble the other figures pre- ' Pharsa!., lib. iii, 585. Chap. XXII. ] MANTUA. 5i}3 tencle({ to be by that apostle ; > it is painted on wood ami the head and shoul- ders are envcloiied wilh liie long veil, a sort of embroidered mantle, still used in Italy. 'I lie \eneration paid the Ma- donna dclle Grazie is extraordinary, and the number of pilgrims has some- times amounted, at the feast of the As- sumption, to eighty or a hundred thou- sand. The church delle Grazie contains the sepultures of several princes of the Gon- zaga family and of illustrious Slantuans. Such is the mausoleum creeled by Bar- bara Agnelli to her husband Bernardino Corradi. deceased at the age of thirty- five, July '23, li89, the worthy son of the celebrated Ludo\ico Corradi, lieu- tenant-general of the dukes of Savoy, to whom the emperors Frederick III and Maximilian I. gave permission to bear the title of Corradi of Austria, a great lord and politician of the fifieenth cen- tury, who nevertheless translated from Greek into Latin the Comriientaries of the physician I'bilotheos on the Apho- risms of Hippocrates. One monument is very interesting, the nuiusoleum of Count Baltassare Cas- tiglione, author of the Cortegiano, the friend and counsellor of .VJichael Angelo and Raphael, and connected with the most illustrious literati of the reNivai; the design, in the antique style, is by Giulio Romano; the epitaiih, by Bembo. The marble tomb is surmounted with the slatLie of Jesus Christ in stucco, stated in the Monumcnti iUustrid'Ualia to have been a heathen statue of Time. Though he died at Toledo, Castiglione wished to be buried at IN'ostra Signora delle Grazie, near his young consort who had so tenderly lamented his ab- ' See ante, booli v. ch. vi.; and pos(, hooli xi. clinp. ii. ' See Casliglione's elcgiinl epislle, entitled, fl/p- polytti, BullliusKri Casliijtiuni conjurji. Tliisepi>lle has given rise to an opinion llial llic countess Cas- tiglione cultivated Latin poe'ry. It Is probihle, remarlis lloscoe (Life ami Pontiftcale of Leo T. eh. XI.), that it contains the sentiments expressed In the countess's lelteis lo tier liusband. He bad left her bis portrait painted by Raphael : Sola luosvultus rcferens, Uapbaelis imago Picla manu, luras allevat usque meas. Huic ego delici.is (acio, arrideoqiie jocorque, Alluquor, et lanquara reddere verba queal, Assensu, nuluque milii saepe ilia videtur, Dieere yelle aliquid, el lua verba loqui. sencc, whose loss was so bitter an afllic- tion,' and lo whom he consecrated this touching inscription, which may still be read on the right of the tomb where they repose together : Non ego nunc vivo, conjox dntcissima : vltam Corpore naraque luo fata nieam absliilcrunt ; Sed vivam, tnraulo cum tecum condar in Isio, Jungenlurque luis osslbus ossa mea. nippohjtw Taurellce, quceinambiyuo reliquit, utrum pulchrior an castior fuerit. Primos juventcB annos vix. Baldassar Castilion insatiabiliter moe- rens posuit anno Dom. MDXX.^ To confer greater honour on the me- mory of Castiglione, his son went to Rome for the purpose of engaging the ablest artists, and he afterwards, in his old age, obtained a sonnet from Tasso in his father's praise.^ The inscription on Castiglione's tomb imports that it was erected to him by his mother, Luigia Gonzaga, who had the grief to survive him (contra volum superstes filio bene merito). The worthy son of Count Bal- tassare, Camillo, also desired to be in- terred in this noble chapel of the Casti- glione ; he lies near his wife ; his sons erected a tomb to his memory, and the inscri(ilion which enumerates his titles and offices, states that he had practiced his father's book. The celebrated work of Castiglione, instead of being limited to the use of courts, has been extended by the |)rogress of ci\iIisatioi! to the whole human sjiecies. The advice he gives respecting conduct, manners, and the necessity of speaking little of one's self, is applicable to all w ell-bred iiersons. The beauty and good fame of his court lady are advantages to which every woman in the world may Agno'Cil, balboque palrem puer ore satulat; Uoc solor longos, decipioque dies. See Carmina quinqiie Illuslr. Poelar. ed. Ven. 15 iS, p. 171, and tlie Appendix lo the Italian translation of lloscoe's Lei) X., vol. IX.. no. c^cvi. Ilapliael's line portiait of Count Casiiglione is now at the Museum of the Louvre. 3 This incriplion is not given in tlie lifenf Cas- ligliniie. by Serassi ; like llie authors of the £(. fl'.vl. of Ila/yam\ the ii/V aii'l I'oiUi/icale of Leo X., who have however spolien mucli of Casti^liiine, he has given Bembo s inscription only. ■* Laiirime,vo Casliglione, Is characlerislic and full of humour: the hve nunsof a convent that he direcied happened to be pregnant; as he was a scholar and a worthy man, his numerous trienils endeavouied to excuse him per la coiiimUld del /oco, per la Iragilild umana ; the incensed prelale would hear nothing : "What shall I answer to God,' cried be, '■ when he 6a\s to me on Ihe day of judgment; lieJile ruUonem villicationis liice?" Harrantonlo |tbe monk), nolhingdaunted, replied: •' My lord, jou will also answer in the words of the short, like DanteandiManzoni,CastigIione is of opinion that Italian writers ought to admit the words of the various dialects, provided they are harmonious and ex- pressive, and he repels the pretensions of thi' Tuscans to impose their idiom on the rest of Italy. Among the exterior inscriptions on Nostra >igiiora delle Grazie, is a very remaikable one of Marius Equicola, a gallant warrior and the best historian of Mantua, which commemorates the noble defence of Pavia by Federico Goiizaga, then only twenty-two years of age;* it is beside the French balls offered ex voto, placed in the church wall; these balls are small, not having at that time attained the calibre of the bolts of Austerlitz, Wagram, Algiers, and Antwerp. Gospel: Domine, quntque lalenia Iradtdisti imhi : eccealiit iimnqiie supetlucralus .imii." The bishop, molliticd could not repress a smile, and be mi- tigated the puuishmeni of Ihe criminal. ' The nnintelligible dissertations of tbe lord Magnilico on form, matter, elc, which were so exceedingly irksome to the lady Emilia, were pro- bibly not altogether unlike some elaborate disser- tation-, of the present day. Lib. in. 4 Sin through ignorance seems pretty clearly deGned in this passage : " Per6 la \ irlii si pu6 quasi dir una prudejza, id un saper eleygere il bene; e I vizio una imprudenza, ed ignoranza, che induce a giudicar falsamenle; perche non eleygono mai gli uomini il male con opinion che sia male, ma s'ingannano per una certa similitudiue di bene." Lib IV. 5 Lib. I. ^ Cella ferox, Venetus pendens, Elvetius atrox, Milite Ticinnm cinxerat innumero : Acre cavo ignlvoniis pila ftrrea concita bombis, Fulminisin morem, moenia diruerat. Defensor Federicus adest Gonzaga secundus; nic fossa, blc vallum, solus hie agger erat. Krgo servati tanlo duci lol ingeminainus, Et Maria; liosliles ponlmus hos globulos. Marii /Equicolae in obsidione I'apiae 1111 Idus aprilis MDX.MI volum. Marlus Equicola has also composed a small treatise in Lalin, translated into Fieiich under the title of Apologie de Maivs Equicolui giutillionime Ilalten coiitie lea mesdianlz de la iiatiuit (rancnise, by Michel Uul(^, official clerk to the celebrated Rente iif France, duchess of Ferrara (I'arls, Sertenas, 1550. in Vimo I. a scarce book, dedicated to Giovanni Lascari. Equicola's master. It contains a learned and warm eulogium of the soil of France and the character and courage of ils Inhabltauls. A copy of this translation, bound in parchment with ar.i- I besque^ in gold of the time, is preserved in the li- I brary recently created at Ihe palace of Versailles, I and it is not ill-placed beside the museum conse- crated lo all the glories of France. CuAP. XXIV.] CREMONA. 505 CHAPTER XXIII. Two miles from Ulantiia is Pietol.i, Vihkh a rather doublful iradition makes the Andes of anliquily, Virgil's country : Manlua musaruin domus, atque nil sidera canlu liTccla Aiidino, el Sniyrnsis xniula plcctris.' This tradition has, however, obtained generally; Dante has sung of Pietola E quell" ombia giTilll per cul si noma I'ielola pill die villa Mantovana ; and it was visited by Petrarch. Another circumst.i nee socmstoincrease the literary solemnity of this small village; it was at Fietola, in (he ancient palace of ihe dukes of Mantua, called also the VirgiUana, ihal Cardinal de' Medici, afterwards Leo X., found a secret asylum when he escaped from the French, who took him prisoner at the battle of Ravenna. During the campaign of It.ily, Virgil's name was not less ad\antageous to the inhabitants of Pietola than that of Catullus had been to those of Sermicne ; > they were indemni- fied for their losses, and excmi)ted from the war charges. A festival wascelebrated by General Mioliis; but there is no ves- tige now left of the pomi)Ous obelisk he erected and his fantastical temple of Apollo, with his figures of male and fe- male saints economically metamorphosed into mythological divinities : St. Chris- topher was converted into Charon ; Mag- dalen, into Venus; St. Lrsule, into Mi- nerva, etc. The building of the VirgiUana is much decayed, and the gardens have dwindled into .'omclliing like a neglected kitchen garden, which greatly needs the attentions of the old man ol the Galesus. Besides, I do not know whether the exact realisation of the garden Virgil makes this old man cultivate would not be the kind of monument best suited to Pietola ; instead of the ridiculous bower ' SiliusIlalicus.PiiiKc.lib. VIII. .593. Tbojealous natioiialllY of Maffei wanted to lis the place of Vir- gil's birtb at llie foot of the Veronese bills, bc- tvTeeo tbe VoUa and Cuuiiina; anulber cstiaiable anliquary, S VisO, \Xulitie sinriclie ilanl.) pretends Ibat none of MikH's verses could relate to eilber Pietola or Cauriana. ' See anle, book v. cli. viii. of Virgil, a teagarden summer-house, over which, by a singular ch.ince, t.'ic Gonzaga arms still remained, 1 should have preferred the shade of the |il mclree ministrantem... potantihus umbras. * The nature of the soil does not seem im- proper for this imitation, and the lowers of the citadel of Tarentum {OEbaliw lurribus arcis , forgotten by Delille, would be well replaced and even sur- passed by the redoubtable fort of Pietola and the fortifications of Mantua. CHAPTER XXIV. Cremona.— Tower.— Catbedral.— Zodiac. ■- Baptis- try. -(Miurches. — Ciimpi. — Vida.- Public palace. —Surprise of Cremona.— Saint Siglsmuud— Piz- zigbelloue. The road from Mantua to Cremona on the banks of the Mincio still retains Ihe Virgilian aspect of the Serraglio, Mantua vae mi^erae nimiuin vicina Crcmonae, and the same fields must have been shared among the soldiers ofOctavius. The tow er of Cremona, which is visible at a great distance, is one of the boldest and most noted among the Gothic towers of Italy. The cathedral, finished about 1319, has the grand and fantastical character of the time. On the front are some curious basso-relievos of the thii teemh century, representing the twelve signsof the zodiac reversed, and the labours of the field, regarded by the learned and precipitate M. de Hammer as emblematical of his worship of Mithra, and they have had the honour of figuring under that head among the eighty-six monuments of the same religion which he imagines he has discovered,'! but are only another proof of the mixture of pagan and chrisliHn ideas, so common on the churches of the middle ages. Over the great door are the figures of the prophets, Ihe work of Jacopo Porrata, of the year 127 '(..accord- ing to the inscription. 3 Georg. it. U6. Tbe property attribuled to tbe planetret by botanists, of purifying the air, " ould render it still more useful on tbis insalubrious plaiti. ■* See the atlas of liis Miinoire stir le culte de Mithra, seal to the Academy of liiscriptious and Bellcs-Leltres of tbe Institute of France. 26. m CREMONA. [Book IX. The inlerior presents some good paint- ings by Cremonese masters : the Pre- sentation in the temple, natural, by Bembo, an artist of the n)idtlle oftheflf- teenth century ; the Christ on the cross, surrounded with saints, by Malosso, in the best Venetian stj le ; the Christ before Annas the high priest, true, touching, majestic, by Oistoforo Moretti ; in the choir, a superb Christ, colossal, seated on a throne between four saints, and giving bis blessing ; a pleasing and noble Sposalizio; a Nativity of the Virgin, by Boccaccio Boccacino, the Raphael of Cremona. The first of these chefs- d'oeuvre so enraptured Garofolo, that he immediately attached himself to the author, and studied two years under him before going to Home. As to the two cavaliers, said to represent the dukes of Milan, and apparently forced on the artist, they are very fine, but somewhat oddly introduced in a Nativity. A Flight into Egypt, poetic, is not without some exaggeration and refinement, al- though by Altobello Melone and of the good epoch. A great and admirable Assumption, a Nativity, which recalls, lor its charming effect, the celebrated Night of Correggio, are by Sojaro, a woithy pupil and almost rival of such a master. The Virgin, St. Anthony the abbot, St. John Baptist contemplating the infant Jesus on the ground, of a sweetheavenly expression, and wonderful colouring, is by Aleni. A Crucifixion, a vast fresco by Poidenone, is extraor- dinary, the characters are in Spanish costume ; in front stands a knight w ilh his sword drawn, who must surpass all those whose heavy blows Froissarl and Madame de Sevigiieso nnich loved. The four frescos, larger than nature, by S. Diotti, especialh the last, finished in 1835, representing Christ giving the keys to St. Peter, pass for the best works of this master. The altar of Saint Nicholas is an es- teemed work of two Cremonese artists, Toinmaso Amici and MabilaF. di Mazo, of the year 1495-, as the inscription states. The white marble altar of Sis. Peter and Marcellimis.an unappreciated performance of a gie;it sculptor of (Cre- mona of the thirteenth century, Brj- mante Sacchi, is remarkable for the beauty and expression of the figures, the excellence of the perspective, and the elegance of the ornaments, which seem I worthy of the fifteenth century. The choir books, embellished with miniatures executed in I48i, by Antonio Cicognara, are superb. The baptistry, the third monument of Cremona, after the tower and the cathedral, is not less remarkable for its antiquity and construction. Saint Nazarius, where the brothers Campi are interred, clever artists of Cremona, offers some of their master- pieces; such are the two Virgins, one in the clouds, at the high altar, and the 01 her with her son, St. Jerome, and St. Joseph, by Giulio, the eldest, who is as the Ludovico of these Cremonese Car- racci. An excellent painting by their father, Galeazzo Campi, the Rosary of the Ma- donna, is at the church of Saint Domi- nick. A Nativity, regarded as an epi- tome of the perfections of painting, is reckoned the best work of Bernardino Campi, who appears to be of a different family from the other painters of that name. A Beheading of St. John, re- markable for variety in the figures, is by his brilliant jiupil, .Malosso, who in his turn became the chief of the first school of Cremona, one of the most renowned in Lombardy. The Death of the Virgin is by Cesare Procaccini. The cupola of Saint Abondio is the largest and one of the finest and clever- est works of Malosso , but it was design- ed by Giulio Campi. The stuccos of Barberini, representing (he Passion of Jesus Christ, at the church of Saint Augustine, are esteemed for their lifelike figures. A Virgin, by Perugino; a great Sf. Augustine, gwlug his rules to several religious orders, full of variety, the masterpiece of Massarotti, are excellent. Saint Peter al Pb is one of the first churches of Cremona, and is attributed to Palladio. The Divine Virtues are by Malosso. Saint Laurence has one of those paint- ings of Mulius Sraevola, which has al- ready struck us as a singular subject for a church : ■ the deed of the haughty Ro- man seems here, at least, to have some analogy with the martyrdomof the saint, a comparison made by Dante : Se fosse slato il lor volere intero, Come lenne Lorenzo in su la grada, E fece Muzio alia sua man severo.' ' See ante, book vii, cb. iii. •: farad, caiilo iv. 82. Chap. XXIV. 1 CREMONA. 507 The flrie elegant mausoleum of Gio- vanni Anionic Amadeo, a Pavian sculp- tor, is said to enclose the relics of Saint Marius and Saint Martha, deposited there by the abh(5 Antonio Mellio, juriscon- sult, who is interred below. In the parish church of Saint Victor, Jesus Christ giving the ring to St. Ca- therine, is one of Antonio Campi's good works. Saint Pelagia was painted almost throughout by Giulio Campi, at the soli- citation of Geronimo Vida, bishop of Alba on the Tanaro, and prior of Ihe monastery. Near the high altar are two inscriptions by this illustrious Cre- monese poet, whom Ariosto ranks among the great men that have thrown a lustre on Italy : II Vida Cremoncse, D' alta facondla Inesticcabil veua.' Vida, who was copied by Tasso, a com- pared by Pope to Virgil, and associated with Raphael : A Rapliael painted, and a Vida sung : ImmDi'tai Vida I on whose honoui'd brow The poet's bajs and critic's ivy grow : Cremona now siiall ever boast lliy name. As next in place to Mantua, next in fame I ^ whose Christiad was perhaps imitated by Milton, and his Ars Poetica is annexed, not without honour, to those of Arislntle, Horace, and Boileau.^ Vida composed a hymn in honour of Saint Pelagia, pa- troness of (his parish, but it is not one of his good works. The prison of Sainle- Pelagie at Paris, with its writers, poets, rich debtors, etc., would be a happier ' Orland. canlo xivi. st. 13. ' The scene of the assembly of demous at the beginuing of canto iv of the Genisalevime, and the speech that Tasso's puts iii Pluto's mouth, area literal translation of Vlda's CIntsttad. ' Essay on Crilicism, part iii. ■* If we were surprised at finding that Virgil had never been printed at Mantua, Cremona cannot be accused of the same negligence towards her poet. Vida's irj Poeticn not bting printed, the munici- pality obtained tlic manuscripl, Jealous lo give the first edition at Ihe public expense. Cremona had been honoured with a printiug-oflice nearly half a century; two Italian printers, Bern:irdino de Mi- siatis of l'a\ia and Cesare of Parma had issued there in 1 192 Ihe Libra ile Balafj/ie de Triilano e Lancelollo e Glialaso e delta raina hola. subject, and probably a better source of inspiralion. The public palace, in the great square, has a singular inscription indicative of its being a court of justice. = In the great hall is one of Malosso's best paintings; it represents the Virgin, her son, St. Omo- buono, the patron of Cremona, and the guardian angel of that town. Cremona has some picture galleries; the most important belongs to Count Ala di Ponzone, and contains several designs by Michael Angelo. The new market, the gates of Saint Luke and Saint Margaret, are good con- structions by S. Voghera, a distinguished architect of Cremona. The house where Marshal Villeroy was surprised by Prince Eugene still exists at Cremona. Then began the reverses of the latter days of Louis XIV , murmurs were heard even in the palace,^ and the army with all France amused themselves with songs on the favourite of the grand roiJ The church of Saint Sigismund, one mile from Cremona, is worth a visit. This ancientubbey was founded by Fran- cesco Sforza, and his politic marriage with Bianca Visconti, daughter of the duke of Milan, Filippo Maria, was ce- lebrated there. The frescos by Giulio Campi, which cover the entrances and the ceiling of the nave, are full of fancy. The Ascension of Jesus Christ, by So- jaro, so admirable in every point, seems also, by its colouring, worthy of his master, Correggio, whom he knew how lo imitate without copying. The orna- ments and arabesques between the co- lumns are exquisitely elegant. The Jona* thrown on shore by the whale, by Dome- nico of Bologna, is celebrated for its per- ^ nic locus odil, emat, punil, conservat, honorat, .N'equitiem, pneem, crimina, jura, probos. The regimen of each verb is placed beneath it. ^ Mcmones complets de Sainl-Simoii, ch. xxii. 7 Saint-Simon, who has sketched a sutiiical por- trait of Villcrov, adduces some tolerable arguments in justification of his surprise at Cremona " It is not for him," says he, "who arrived at Cremona on the eve of the surprise, to know that aque- duct and walled-up gate, nor whether imperial soldiers were already inlrodticed and hidden. . . . he could do nothing better than haste lo the great square, nor foresee his capture al the turning of a street on going thither." .\eilher was Villeroy sleep- ing insecurity al that moment, as a sei ted by Voltaire iSiecle de Louh XIV. ch. xix ), and olten repeated since : " that very morning, at dawn," Salnt-SImoii 308 PLACENTIA. [Book IX. spective. The cupola, a kind of 01) mpus of saints of the Old and New Testament, one of the first in Italy for variety, num- ber, effect, and keeping of the figures, was painted in seven months by Ber- nardino Campi. This rapid execution appeared so suspicious to the church- wardens, no great connoisseurs, that before iiaying the aitist they exacted from him a certificate by Sojaro and Giulio Campi. as a security for the merit of the work. At the high altar, the Virgin in the clouds holding her son, surrounded by a choir of angels, while below are St. Jerome and St. Chrysan- thus, presenting to him the duke and duchess of Milan kneeling, is a chef- d'oeuvre of Giulio (]ampi in Titian's style. 1 he countenance of Sforza is characteristic; Bianca's, timid; behind St. Jerome, is his cardinal's hat hung against the wall. The multitude of grand and excellent paintings at Saint Sigismund's is truly dazzling. Pizzighettone, a fortress on the Serio, a confluent of the Adda, was the first prison of Francis I., after his defeat at Pavia : its frowning aspect is still in unison with such a recollection. CHAPTER XXV. riacenlia.— statues.— Raiiucclo.— Public palace.— I'alace delta Citade'la.- Library. Placentia is extensive and deserted. This town has never recovered from its dreadful pillage by Francesco Sl'orza, in liiS. Then not only the houses were wasted, but the inhabitants were com- pelled by horrible tortures to deliver up their hidden treasures to the soldiers; women and maidens underwent the ex- tremity of outrage, and ten thousand citizens, reduced to slavery, were sold by auction. This terrible conqueror, whom we have just seen founding a splendid abbey near Cremona, rivalled the excesses of Ociavius at no great distance therefrom : many an obscure Meliboeus and Meris were then deprived of their heritage : the foreign soldier could also repeat to these sons of misfor- tune, as the veterans of Rome : . . . Haec mea sunt, yeleres migrate coloni. arOrms, "he was dressed and writing in bis cbamber."' [Ibid.) 1 Tbe cost was 'ti,)07 crowns, 8 pauls |8 810/). Literary fame seems, however, to have been useful at both these epochs, and the author of the Annals of Placentia, An- tonio of Rlpalia, who, like Virgil, had been reduced to slavery after the loss of all his substance, including bis books and manuscripts, was set at liberty by his master, the general of Sforza's galleys. Notwilhslanding the desolation still apparent in Placentia, it is not utterly destitute of splendour : the two great equestrian statues facing each other, be- fore the public palace, representing Alessandro and his son Ranuccio Far- nese. maintain that profusion of monu- ments which belongs to Italy alone. These statues, which the traditions and civic patriotism of the Placentians, who paid for them/ still exiol, do not appear of very pure taste; the horses' heads might be more noble : though not gallop- ing, their tails, their manes, and the gar- ments of the cavaliers are exceedingly agitated by the wind. The artist is Fran- cesco Slocchi, a Florentine, pupil of his father Horace, and not of Giovanni Bo- logna, as stated by Lalande and the tra- vellers who have copied him, in making a Bolognese of the great Flemish sculptor. Such has long been the admiration ex- cited by the horses of Placentia, skil- fully founded at all events, that in a work composed in 1769, by several poets of the town, for the marriage of Duke Ferdi- nand 1. with the archduchess Maria Ame- lia, Elisabetta Farnese, queen of Spain, appeared in the fifth canto, and made the following eulogium on the horses : II due destrier son questi : a me gli addita La torva Idea degli a\i miei sul dorso : Ve' come impazienii alia parlita Mo>on del pari il pi&, sdegnalo il morso, Fuoco glllan le nari, e la partita Cbioma sul rollo ondcggia lor nel corso : Bieca natura li rimira, e gode Sull' arte sol, perclie il nllrir uon ode. One of the two personages, Ranuccio, has been diversely judged by history : Muratori and his followers describe him as a gloomy, austere, avaricious, and cruel prince, but little deserving the principi optima of the inscription. It appears, on the authority of the best his- torians of Placentia,^ whose works were composed long after the Farnese family ' Pr.ggiali, Mem. ator. di Piacenz'i, t. X, 332; Afro, Zecca e Hon. Partnfg. 206. Chap. XXVI.] PLACENTIA. S03 became extinct, that Ranuccio is too severely treated by the illustrious au- thor ; he was skilled in war, understood the art of government. lo\ed learning, and was cherished bj the Parmesans. The famous conspiracy of IGll, which he was accused of planning, even Muratori has not denied; il is now admitted by all the historians of Parma, nnd well might Ra- nuccio suspect ihe faith of his nobles when he called to mind the fate of his great grandfather, whom they assassi- nated, and threw out of the window." The public palace, of the end of the thirleenlh century, is of Gothic architec- ture, majestic and piciuresque. The portico of the little square court is much esteemed, as are also the ornaments bordering the windows, in mattone (a kind of bricks), a handicraft of which the secret is apparently lost. The Farnese palace, called the palace della Citadella, unfinished, forsaken, di- lapidated, still bears witness to the genius of Vignola, and the part completed is sufScient to show what the magnificence of the whole would have been. The librarian of Placenlia was ill when I called to see the library, and his deputy had not the key ; consequently I could not obtain access. I was informed it contain- ed thirty thousand volumes, and possessed a palimpseslus of the ninth (eniury, its most precious article being the Psalte- num of the empress Engelberge, consort of Louis II., written with her own hand in the 847 or 57, which had been carried to Paris. CHAPTER XXVI. Cathedral.— Churches. -EDTirons. — Santa Maria di Campagaa. — Haliaa lapidariaa inscriptions.— Road. The cathedral, rebuilt at the begin- ning of the twelfth century, is a fine harmonious Gothic structure, unfortu- nately disfigured by the modern orna- ments of the choir and sanctuary. Its paintings have some celebrity : the Pro- ' A remarkable foct is related by S. A. Pezzana. (Lettera at conle Filippo Liiiatl, circa Ic cose delle dal sig. Milliu IniuiDo la viuk di Parma, ed. secouda, p. (0.| Duke Ferdinand, after more Hian a cenlurj and a hair, feeling some scruple at pos- sessing ttie properly of nhich Ihe conspirators' families had been stripped, charged a learned Juris- consult, Giambatlista Comaschl, also celebrated for a lender conscience, lo examine the documents phets, the Sibyls of the cupola, the four frescos of the roof, are chefs-d'oeuvre of Guercino ; the Circumcision, the Adora- tion of the Magi, St. Joseph sleeping, by Francesihini andQuaini.of Hologna, pupils of Guercino, are very fine; the four figures. Charity, Truth, Modesty, and Humility, by the former, though done at an advanced age, are elegant and graceful. In the sanctuary, the compartment of the high altar is one of Camillo Procaccini's good works, but it is outshone by the other three covered with energetic paintings by Ludovico Carraccio. In the choir, the Assump- tion is also by Procaccini ; the urchivolt, painted by Ludovico Carraccio, is an admirable imitation of the cupolas of the Duomo and Saint John's at Parma, by Correggio, and its angels, of colossal stature, are well preserved. Histwogreat paintings, the Translation, of the body of the Virgin, the Apostles opening her coffin, taken by the French as a war con- tribution in 1797. were not restored lo the cathedral in 1815, but were placed io the Parma gallery. An able artist of Pla- cenlia, the Cav. Gaspardo Landi, one of the best contemporary painters of Italy, has patriotically supplied their places with two paintings on the same subjects. The several chapels present a St. Martin, by Ludovico Carraccio; frescos by Fiarnminghino, the beauties of which are concealed by an obsture position ; a fine Resurrection, and a St. Francis, by Fiamminghini ; the Ten thousand crucified, an energetic and superb painting by Andrea Sirani, is perhaps by Elisabetta, his unforlunate daughter; 9 the Saviour, a small Ma- donna, a charming work of Tagliasacchi, a painter of the end of the seventeenth century, whose fortune seems to have been inferior to his merit. The lower of the cathedral still pre- serves, fixed in the wall, one of those iron cages of which we have before spoken. 5 The Placentian learned have abundantly discussed the subject of the relating lo the trial, and this posthumous judge did not doubt the reality of the plot. A like con- vicllon, adds S. Pezzana, has been fell by all who have perused the same papers, still lodged in Ihe archives of Ihe stale, and especially by a dis- tinguished magistrate, S. Francesco Melegari, pre- sident of one of the tribunals at Parmj. ■■' See ante, book vm. chap. vii. and xv. 3 See ante, book iv, ch. viii, and above, ch ivlii. 510 PLACENTIA. [BooE IX. cage, without coming to any clear un- derstanding; but it is, at least, another and indisputable proof of the reality of this punishment. Saint Francis-lhe-Great is of Gothic architecture, noble and bold. The re- markable paintings are : the Miracle of the loaves and fishes, by ^Marini. a clever itupil of Beriwirdino Campi; one of Malosso's Conceplions. which proves the variety of his talent in such compo- sitions ; a St. Francis de Paule curing a little child, by an unknown author, and a fine copy of the Martyrdom of St. Laurence, one of those astounding chefs- d'oeuvre of Titian's old age, buried in the Escurial. The church of Saint Anthony, for- merly a cathedral, rebuilt, retains a fine remnant of its old architecture , the northern Gothic vestibule, called the Pa- radise. On the ceiling of the samtuary, the Eternal Father in the midst of the angels; an Old man of the Apocalypse holding a fiery sword in his hand, are full of spirit, boldness, and iniagmalion. Guercino admired these paintings : the artist, Camillo Gavassetti, of i^Jodena, dccea.^ed at an early age, happily drew his inspiration from .Michael Angido and Raphael. The painting of the high allnr, and ethers in the sancluarj, represent- ing divers incidents in the life of St. Anthony of Placentia, are by Robert Lalonge, of Antwerp, called also Fiam- mingo. In the chapel of the Virgin addolorata, [heNativity by Giulio Pro- caccini, is a graceful composition. ISear the great door, an old painting on wood, of the Life and Martyrdom of St. An- thony, apparently in the Greek sl>le of the eleventh century, may be regarded as a curious monument oi'lhe infancy of art. Saint Augustine, a superb temple, which some have even erroneously sup- posed by Vignola. has been an hospital or military nuigazine for thirty years past, but some of the chief iidiabitants of Placentia, justly proud of such an edi- fice, have patriotically maintained it in good repair. The cloister of Saint John del Canale still retains some old and expressive wrecks of painting, of the close of the twelfth century, considered as precious monuments for the history of the art. In the church, a St. Hyacinth is by Malosso; in the choir, a small oval Circumcision, remarkable, by Gervasio Galli, Sojaro's nephew. The chapel of the Rosary is almost another temple : there are two large and esteemed paint- ings by two of the most eminent contem- porary painters of Italy, the Redeemer addressing the women of Jerusalem with Nolite flere super me, by Landi, and Jesus presented in the temple, by S. Ca- mucciui, w hich exhibits the skilful draw- ing of that artist, and contributed at the time to his rising reputation. In the chapel of Saint Catherine is the mauso- leum of Count Orazio Scotti, surmounted by his bust and some little genii, a good monument by Algardi, who has suc- ceeded better in busts and children than in his enormous Attila of Saint Peter's. Saint Sixtus.a rich and elegant church, with a double cupola, is the finest in Placentia. The little children of the frescos in the nave, by unknown au- thors, are graceful. In the sanctuary are the monuments of the empress Engelberge and Margaret of Austria, natural daughter of Charles V., mar- ried to Duke Ottavio Farnesc. and mo- ther of Alessandro, herself an heroic woman. The busts of these princesses, highly valued works, surmount their monuments. The mausoleum of Mar- garet is near; it is enormous, decorated with gigantic statues, and pretty much in conformity with the historical character of the princess, who was said to have a beard like a man. The high altar, inclosing the saints bones, is of extraor- dinary magnificence. In the choir, the Massacre of the Innocents passes for oiic of Camillo Procaccini's good works; the Martyrdom of St. Barbara is by the younger Palma. The Virgin, by Taddeo Zuccari, at the chapel of Piety, offers a marvellous expression of grief. The paintings in the chapel of the Vir- gin, by unknown authors, are remark- able : a Virgin with the infant Jesus in her arms, has a freshness of colouring in the flesh that reminds amateurs of Titian's Venus. At Saint Savinus, a large church, once Gothic, but rebuilt, is a Virgin dress- ing the infant Jesus, with St. Elisabeth, St. John, and angels : this painting is supposed by Bertoja, pupil of Parme- g;ano, and it is worthy of that graceful painter. At the chapel of the Holy Sa- crament are three paintings represent- ing favours obtained by the intercession of the Virgin, the work of Giuseppe, or Chap. XXVI.] PLACENTIA. 311 perhaps Pamfilio Nuvolone; Ihcy are at once lull of sweetness, vivacity, and harmony. The lower church, con- structed in the tenth century, is inler- esting : among its square colunms, or- namented with elegant capit.ils, is a very beautiful one of iilcibasler. On the pave- ment, a mosaic in w hite and black stones offers the signs of the zodiac, with Latin inscriptions in Roman characters, but by the archeologists and some learned mosaists, it is attributed to the Greek artists who came to Venice in the seventh century. I found in Saint Michael, a church not particularly remaikable, a great picture well painted by the duchess Antonia Bourbon, daughter of Duke Ferdinand, to the present moment a nun at Parma, in a convent of Ursulines; it represented St. Ferdinand, her grandfather, and was given by her to the church in 1797. The cathedral of Placentia also possesses a Virgin alia colonna, another painting by that august hand. The cultivation of the arts by a woman of such noble blood, amid the mislortunes of her family and her own, is rather affecting ; one loves so that union of saint, princess, and artist; and among the multitude of impressions caused in Italy by so many paintings, this is perhaps unique. The duchess Bourbon of Parma, on the proposition of the French consulta at Rome, was suc- coured by Napoleon, a fad honourable to him and the consulta. Santa Maria di Campagna, a church of the Franciscans, near Placentia, has an admirable cupola painted by Porde- none, as well as many other frescos by him, well preserved; they were cleverly finished by Sojaro, who was able to Imitate his predecessor's style so well, that they might be sujtposed by one hand. Among these numerous masterpieces is the fresco of St. Augu.itin, in which the child holding the doctor's book is so full of grace ; the St. George, deemed by Lanzi worthy of Giulio Romano; the Adoration of the Magi, the Birth of Mary. The chapel of Saint Caiherine appears the triumph of Pordenone, and ' A useful bridge « rs creeled across Ibp Trebbia in 1821 : Ibe insrriplini, by Uie learued P. Ramiro Tonani, a nenediciine of Parma, ivbo died on Ihe I2lh of November 1833, eslecmcd for bis lapidary composillons, prejentsanodd asseiiiblagcof names, ID il3 allusion lo Ibese dirr>renl engajjemenls : displays his double talent of oil and fresco painting; the Marriage of the Saint is a delightful work that Canova, it is said, was never tired of contemplating when he i>assed through Placeniia. Some other paintings are also due to clever artists, such are the Virgins of Israel meeting David after his victory over Goliath, by Lndovico Crespi; the Apparition of an angel, by Gavassctli ; a St. Francis, by Camillo Procaccini; a Salutation of the Virgin, in two parts, by Camillo Boccaccino. greatly esteemed. The Franciscans of Santa Maria di Campagna had a good library, recently given to their convent by her majesty Maria Louisa ; they did the honours of it very well, and several were studying there ; but it was not wiihoiit some sur- prise that, after the collection of the Fathers and other theological works, I remarked a copy of the Encyclopedic, which struck me as a singular present to Capuchins. At Pigazzano, on a hill not far from Placentia, is a villager's house, for which S. Giordani, a native of Placentia, has composed the following inscription: Buone penli Che abiterele quesia casa La fcce per voi Del 1824 Francesco del coiite Mcolao Sjprani Impiegaudovi la libcraliia usatagli In teslaraento Dalla contessa Alba zia palerna Poicir e' voile con fatlo durahile moslrare Clie gli agricollorl gli parvero uomini. This inscription proves, like most of those by this first of the many new lapi- darian writers in Italian, that the lan- guage, as Perliciiri pretended, is not, in dignity and precision, inferior to the Lalin lor the lapidary stjic. I went along the lively, charming road from Placentia to Pavia, which is asso- ciated with the reverses of the most war- like nations in history, the Romans and Ihe French, both defeated near the Trebbia,' the former by Hannibal, the latter by Suwarow, tw'o great captains of remote and barbarous countries. Trcbia Aiinibale Licbtensteinio SuwaruUo el Melas victorib. Magna. Ex. D. augusta; a. MDCCCXXI Uiililali populorum Ponte impo.-ilo Felix. 512 FLORENCE. [Book X. BOOR THE TENTH. FLORENCE. CHAPTER I. Road from Bologna to Florence.- Apennines.— PratoliDO — Aspect of Florence. The road from Bologna to Florence crosses the A|)ennines, which, on that side, have an appearance altogether dif- ferent from the grandeur of the Alps; they present neither the rude sky, nor the harsh green of the firs on the latter; they neither resound with the roar of torrents or cascades, nor the crashing of ihe avalanche; no majestic rivers or limpid streams originate there ; the vegetation is colourless and scrubby, while instead of the bold precipitous peaks of the Alps darting straight up- wards to the skies, the Apennines re- semble a pile of hills heaped on each other : one would almost say they had been built, and like those edifices that the weakness of man requires ages on ages to complete, they also seem to have been interrupted and resumed. A very fine storm that I witnessed in August among these gloomy, arid, naked mountains, gave them, however, some animation, and a dash of grandeur; the ellect of the rainbow and an Italian sun piercing through the clouds and pouring a flood of light into the valley, was mar- vellous. I Dianzi all' ombra di fama occulta e bruna, Quasi giacesti, Pralolino, as>coso ; Or la lua donna lanlo onor 1" apgiunge, Clie piega alia seconda alta forluna Gli anticbi gioglil 1" Apennin nevoso; Ed Allante, td Olinipo, ancor si lungo, Nfe conlin la tiia gloi ia asconde e serra ; Ma del luo picclol nome empi la terra. Rime, madiigali ^SCO. t. II. Two other madrigals (.359 and 361 1 arc inrerior to this : Qui la bassezza altrul divlen sublime, etc. rratoliii, re de' prali, e re de' cori, etc. See also Jlmie, part. I, 318, 319, 320, 32), 322, 323 and 32'i. = Montaigne named to go from Bologna to Rome This road presents some curious na- tural phenomena : near Pietra Mala, the frontier of Tuscany, is a spring of cold water, called Acqua buja, which takes fire on applying a light, and the little volcano, called Fuoco del legno, with its everburning flame of blue by day and red by night ; phenomena investigated by Volla, who attributes them to the disengagement of oxygen gas. Five miles from Florence, on the left, once stood the celebrated villa of Pra- tolino, built by Prince Francesco, son of Cosmo I., there to receive his mistress BiancaCapello. Thisvoluptuousasjium and the enchantress that dwelt therein were repeatedly sung by Tasso.' Mon- taigne visited Pratolino and its grotto containing a mechanical apparatus that made water start suddenly from every part, even from the seats when one sat down, excited his admiration somewhat unduly. » The curiosities of Italy seem to have attracted Montaigne's attention in a greater degree than her arts and literature, of w hich he has scarcely found time to speak in all his travels, so much was he taken up with his own infirmi- ties and the little dis;isters they pro- duced. The palace, by the great Flo- rentine architect, Bernardo Huontalenti, the friend, master and confident of Duke Francesco, was demolished some years Ihrougli the Marches of Ancona, hut being caution- ed by a Gerra{in nlio had been robbed by brigands near Spolelo, he took the Florence road. iMimtaigne has given a humorous account of the interested Zealand roguery of Ihe innlitepers \\liom be en- countered [Voyage, t. II. p. 39 et suiv.|. Arrived at Florence, Montaigne was admilled, as well as M. d EsliS'-ac, to the table of the grand dulie and Bianca. The most accurale portrait extant of the latter, is the one lie drew : " Cette duchesse," says his secretary who wrote llie narrative ol bis travels, 'est belle ^ 1 opinion itaiienne, un Nisage agreable el imperleux, le corsage gros, eide telius ^ leur sou- hail. Eile lui sembia bien avoir la suflisance d'avolr engeolt ce prince, et de le tenir h sa devotion long- temps... Le Grand-Due metoit ass6s d'eau ; elle quasi ponint." CUAP. II ] FLORENCE. oi: ago; « most of the whimsical hydraulic Monders of this Tuscan Marly have dis- appeared ; but the trees, still very fine, survive them. It seems that conlem- poraries of this kind are commonly loo much neglecled ; trees are even more in- teresting than ruins, since they lived and felt at the same lime as the characters Ihey recall to mind. Despile the arti- fices and ambition of the adventurous Venetian, the memory of her amours and unhappy end is fresher under the cool shades of the Pratolino than it could be amid the walls and magnificence of her ancient abode. Thesi- trees invite to meditation, and are infinitely prefer- able for the imagination to that squat- ting colossus of the Apcnnine, which would be more than fifty fathoms high if erect; this inelegant statue represents Jupiter making rain, and its author's name is unknown. The ostentatious vanities of Pratolino were severely cen- sured by the grand duke Ferdinand II., a learned and philanthropic prince, when he said that with the money wasted there he could have built'a hundred hos- pitals.* The approach to Florence, and its en- virons, display a n)ore forcible expression of Italy, the Italy of letters and arts; nature there appears brilliant and or- nate; the cultivation is perfect; every eminence is studded with charming villas, interspersed with clumps of olive- trees, and such is the abundance of the latter that it may still be said, as in Ariosio's day : ' Baldiaucci, quoted by t!ie Florentine Oliserver ( vol. vii. p. 27 et seq. ), relates a curious scene bc- tfveentliepoetaail Ibc arcliilecl of rrntolino, «hicb U not given in Seias-i s Life of Tasto. A few days nftcr tlie perfornianre of a piece by Tasso at Flo- rence I perbaps the Ammla) uitb scenery ( pro- spetlive) and mcclianism by l.'uonliilenll, as tbe latter was entering liis bouse, be savv a well mounted person, in IraTeliing costume, and of imposing air, allgbt betore bis dour ; bavlng stopped a mojnent, the stranger accosted bira h itii — ' Are you not tbat Bernardo Buontalenti, Ihe author of tbe raucb- vaunted wonderful inventions, cspeiially tlie out- of-the-way I ilupende) mncbincs contrived for Tasso's last comedy .> ' liuontalenli liaving modeslli answered that it was him.self, but tbat he did not merit so great praise, tbe unlinow n, stigbtly smiiing, threw hlmseU on bis neck, ki-sed bis forehead, and exclaimed : "You are Bernardo Buontalenti, and I am Torqnatn Tnsso; adieu, adieu, my friend, adieu I '.and wiili;iut giUng tbe lliunderstrucli ar- chitect time to answer, be remounted and galloped off; nor was anything more scsn of him, despite A vedcr plen di tante ville i colli, ler cbe' I terren vele geiniogli, come Vermunc germogliar suole, e ranipolll. Se deutro uii mur, sutto un medesmo nomc Fosser raccolti i tuoi palazzi sparsi, iNon tl .sarian da pareggiar due Home.' CHAPTER II. Fete of Saint Laurence — Florentines. — Fetes of Flo- rence. — Barberi. — Improvisatori. The morrow of the day I reached Flo- rence on my first visit was Saint Lau- rence, one of the national holydays of the Floreniines. JSotwithstandi'ngsome little occasional excesses, this culm or- derly people appeared to me but little like the obese Etrurian, the fat Tyrrhe- nian {obesus Etruscus, pinguis Tyrrhe- nus) of Catullus and Virgil, or Ihos*; drunken gluttons of musicians driven fioin Rome for their intemperance, and who only returned on the condition of eating their fill in the sacrifices where they played on the flute : Inflavit quum^pinguis ebur Tyrrhenus ad aras. Nor was it less different from that republi- can anil furious people, who ate Ihs bleeding bodies ofGuglielmo di Scesi and his son, given up by the tyrant duke of Athens. But if the people of Florence have no longer the seditious spirit and hatred of the nobles, the incon.stancy and political vices so frequently the subject of reproach from its successive poets and hi.storiaiis,^ it still retains the slei ling tbe most as iduous search made by order of ll)e grand dulie, whom Buontalenll had informed of the illuslrioiis poet s appearance. ' Tbe expense amounted to 782,000 crowOo. .Mi- lizia, Menioi ie deg.i Arcbitetti, t. 2. ' liiine, cap. xvi. ■1 See Dante. "II pipolodi Roma, 'rightly observes Macblavel, ■' godere i supremi onori insleme coi no- bi i desi lerava, quello di Firenze per e?sere solo oel guverno temn che i nobiii ne pTrticipassero com- batteva. E percbfe il deslderio del popolo romano era piu ragionevole, venivano ad essere le offese ai nobiii piii sopporlabiii; talcb^ quella no;ii:ta facil- raente e senza venire all' armi cedeva... Dall' altro canto il de-iderio del popolo riori'ntino era ingiu- roso ed ingiusto; talclie la nobilt^ con maggiori forze alle sue dlTese si preparava. e perci6 al sangue ed allftsilio si veniva de ciitadini." ilstor. fiorent. lib. in.) •■ La natura de Fiorenliui," says Varchi, " i d' csser rare volte d' accord) Ira di lorn." (Stor. Uor. lib. liv. ) Among other Instances of their revolu- tions, we m;iy mention, that, being unrible to agree in the choice of a gonijlorior, tliey eleited 3U (lualitics of the olden timrs.' I have frequenllv passed ihrough Florence, and once remained there six weeks, and ail thai I saw has tended to confirm the good opinion 1 bad formed of it ; 1 fancied a resemblance in more than one respect to the moral people of Geneva, such were the order, good sense, economy, taste, and commercial intelligence. 'Ibeficrj austere Savonarola, the catholic refor- mer of Florence, was a kind of Calvin. > The Florentine nobility, like the higher classes of Geneva, comprises some zea- lous advocates of social improvement and lhedi(Tu:>ion of knowledge, 5 and toil may be ascribed the tlouri-hing condition of the schools for mutual instruction and the establishment of saving banks. "i Some other features of less importance seem Jesus Christ, as tbc ilbenians, wben after abolish- ing royaity, thej rieclared Jupiler ibe only hliig of Athens, or the Poles, nho crcaleil tlie Virgiii queen of Polunrt. See al.so the satires of I'ilelfo, and the first scene of D. Garzia d'.^lfieri on i Icygeii abilalor di Flora. ' I'lie anonymous author of the Life of Leo X., given in the appendix to the last voluree of Roscoe's «orli, thus eulogises the Fiorenlines : Magis enim pecuuioi ac vil(e commodis quaiii iiianiOus liKJus- jtiodi officiis student. Danle, praisiug the old manners of bis country, calls it : Sobria e pudica... . E vidl quel di Neiil e quel del vecchio Esscr content! alia pelle scoverta, E le suedonnc al fuso ed al pennecchlo. {Parad. can. xv. ) Boccaccio, in bis fine leUer on exile to Pino di Rossi, stigmatises the economy of the Fiorenlines as abominable avarice: '• L'ahbominevole avarizia de' Fiorentini." It seems that the Florentines have always been parsimonious to a certain extent. It is said that the splendour and attendance exacted by the court of .Signora Elisa Dacciocclii from people so accustomed to frugality made the French govern- ment singularly galling to them. The Austrian economy must be more in conformity with Floren- tine habits. ^ See book i. cb. ii.; and hereafter eh. xi. on Savonarola. ^ Tbe Florentine Observer inserts, from Mauni's Sigilli, the characteristic will of that rich mer- chant of Florence who condemned to a thousand gold lloiins any of his sons who, from the age of sixteen to thirty-the, should pass a jear without dealing or practising some trade, 'per unum an- '•nura vagabundus sxstiteiit, elsi neque raercator, " neque ailifex fueril, neque aliquam artem licilam " et honestam leceiit realiier." T. iv. p. )80. < Despite some untoward circumstances, the saviug-b.ir.k of Florence exhibits a satisfactory re- sult, according to the report read to ihe bank committee, on the 5lb of -May, 1830, by itspre^ident, the marquis Cav. Ciitmo liidoiU, an cnllgliiened FLORENCE. [Book X. to continue the analogy : the guttural harshness of the Florentine accent re- minds one of the slow drawling lone of the Genevese, and the money of these two cities, badly coined and light, con- trasts disagreeably to the traveller with their distinguished civilisation. ^ Both of them attract and detain illustrious strangers in their bosom ; their progress is perceptible, and the population of Florence, which was only 82,739 in 1818, amounted to 97,648 in 1830. This feast of Saint Laurence, inferior, it is true, to that of Saint John the Baptist, the chief festival of Florence, was far removed from the joy and splen- dour of the ancient feasts of the nobles in the time of the republic, which made the old historian, Goro Dati, say, that it man, a learned experimental philosopher and che- mist, the benevolent founder of a ^illage school of eighteen scholars on one of bis estates. It is true thai the Florentine spirit must be singularly In- clined to adopt this kind of establishment, as it belonged to the ancient mannejs of the town. The number of deposits was 7138 in 1834, and 7801 in 1835. 5 TheZecca Veccbia (the old mint), on the bank of the Arno, Is now a silk-spinning mill. The cur- rency of Florence has been highly esteemed at various epochs. Villani, quoted by the Florentine Observer (vol. v. p. 2071, relates an anecdote of a dey of Tunis, who, beintJ struck with Ihe beauty of the new florins of Florence, inquired of certain Pi^an traders, then very numerous in his slate, what those Christians and Florentines were who had such florins : 'They are the Arabs of our country," was the answer. The dey, barbaiian as he was, did not want penetration, and replied : " But this is no Arab coin ; let us see yours ; " so that they knew not wiiat to say. Qe then ordered a Florentine trader to be brought before him, and demanded some account of these Florentines, who were the Arabs of ihe Pisans, and he learned that Pisa was not half so populous, rich, or powerful as Florence, and that it had no gold coin. The value of these florins seems to have changed, as may be seen by the bitter reproaches that Daute addressed to bis tickle countrymen : Quante volte del tempo chc rlmembre, Leggl, monete, olOcli e costume Uai tu mutato, e rinnovato membre? [Piirgat. can. vi. )45.) The money bearing the efOgy of Duke Alexander, engraved by Benveuulo Cellini, has been likened to the med.ils of the Augustan age. Its rcdoutablc legend. Bus nisi perilurus nithi adtmat nemo, was subsequently used on Cromwell's coin. In the seventeenth century, the piastre of Cosmo HI. must also have been very line, if we may judge by its pleasing legend, so different from the preced- ing : Ipsa sui custos forma decoris cril. Cdap. III. FLORENCE. seemed as if the earth was a paradise : che pare che quella terra sia il para- dise ; nor was il more like Ihe strange divertisements given by Pope Pitis II. in 1459, with the lournanieiil am) grand bail at which he assisted, and that anna in which were seen the rare gigmlic girafe, and as many as ten lions, the de- generate combatantsofthe Roman circus, w hose wrath it was impossible to arouse ; it was not even a shadow of that pom- pous and somewhat dull ceremony which Montaigne witnessed under the grand duke Francesco I. in 158 >. The prin- cipal pleasure of the fete was the Darberi horse race, a sight that entertained me as little as Montaigne, and which I found not very worthy of the excitement it caused. Though wiihout riders, the horses are not particularly fast, and it is most probable that they would be outrun at the races of IN'ew market or our Champ de Mars. The Florentine improvisator! did not shine much on this occasion ; they seem to have relinquished the barrel of former days, the titpod which thfy used to mount, and they only declaim now to amateurs in drawing-rooms : some poor devils only, a kind of mountebanks or strolling singers, delivered responsively, and accompanied by a guitar, certain moral common-places, such as to know whether it was better to have an ugly or pretty wife, etc., or some trivial stories not easily understood by a foreigner. The prince of contemporary improvisa- torj, Sgricci, was living at Florence, a pensioner of the grand duke. I had admired him at Paris, like every body else, as much at least as the breathless rapidity of his utterance permitted me ; I was surprised to find some heavy charges brought asainst him at Florence ; injustice was pushed to the extent of contesting the reality of his extemporary poems. It seems ihat it is with impro- visatori as w ith the prophet.*, the ancient sacred improvisator!, who were more successful aliroad than in their own country.' Notwithstanding Sgricci's ta- lents, extemporaneous composition must have declined at Florence from its palmy state in the sixteenih century, when there existed in that city a literary society ' Sgricci died at Florence in August, 1830. ' See ante, book v. cli. lix. i Tliere are nine escutcheons : the nnonogram of Cliiist elected gonUIouier la 1327, Is oddly charged by Leo X. to confer Ihe lille of poet on the ablest improvisalori and to crown them. Under Sixtus V., Fra Filipiio, an Augustine monk, was as the Homer of the improvisator! ; though almost blind from his infancy, he bicame an illustrious theologian, philosopher, orator, and poet. An ear-witness, the erudite Matteo Bosso. the correspondent of Hessarion and the prudent, scrunulous master of the great Isotta,' states lh.it he heard him extemporise in a marvellous manner at Verona, where he was preach- ing the Lent sermons at the time. One of the subjects that he treated in sing- ing, and accompanying him-elfon the guitar, was the panegjric of the three illustrious Lombards, as they were then called, Catullus, Cornelius iNepos, and Pliny the younger. On another occa- sion, he analysed, in a similar way, all the natural history of Pliny ihe elder; and it is asserted that he omitted nothing of importance contained in the thirty- six books extant. The decay of this art appeared to me a matter of indiflerence ; such feals, a kind of magiielism of the brain, which seems rather a shock of the senses and convulsion of the nerves than an inspiration of ihe mind, have little to do with the poetic honours of Italy. CHAPTER III. Palazzo Vecdiio.— Democracy of Florence. -Counf II chamhers.— Imprisonment of Cosmo. -Uall of audience. — Portraits. — Bandlnelli's Hercules; Michael Aiigelo's Daviil. — Piazza. — Loggia de' I.anzi.—Orgagna.— statues. Florence may be called the capital of the middle ages, and its frowning, solid, picturesque old palace, erected at the close of the thirteenth century, in the days of its prosperity, ornamented with the escutcheons of its dillerent governors painted in fresco under the battlements,^ and surmounted by its bold and lofty belfry, is singularly characteristic. The architect was Arnolfo di Lapo;^ the Palazzo Veccliio was skilfully rebuilt by Michelozzo, under the direction of Cosmo de' Medici, and again renovated within for the use of Cosmo II. by Va- sari, in such wise, says the latter, that placed between the implements of a wool-ciirder and the arms of Napoleon. •t See post, ch. li. 316 FLORENCE. [Boor X. if the original archilects revisited the world they woisld not recognise their own work. An incident connected with its first construction gives us an idea of the passions and influence of the Flo- rentine democracy at thai time : when the foundations were being laid, the people would not allow them to extend over the ground defiled by the house of the Uberti and other factious persons de- molished by the populace, who had also expelled the owners, detested as nobles and Ghibeiines, and the symmetry of this palace of the seigniory, who had ordered its erection, was sacrificed to such a desire. Immediately after crossing the thresh- old of this stern palace, one is struck with an agreeable contrast frequently met with in the interior of other Flo- rentine palaces : the portico is formed of columns of stucco with a gold ground, the ceilings are covered with arabesques of Ra[)ha(rs school, and a porphyry foun- tain of the most elegant architecture rises in the centre of the court. The immense council-chamber, exe- cuted by Cronaca, to whom it was ac- corded through the interest of his friend Savonarola, further reminds us of the republican manners and habits of this state, and its mode of government : a thousand citizens deliberated there on public affairs; they formed, as it were, a permanent council of state, while the first magistrate heldoflice for two months only. Such was the rapidity with which this spacious hall, then less lofty, was constructed, that Savonarola said the angels aided as masons. The arched roof, and two great walls are now cover- eil with easy and ordinary paintings by Vasari, representing the war with I'isa on one side, and that against Siena on the other. At the four corners are the under-mentioned paintings, the first and most interesting of them is allied with a fact singularly honourable to the ' The list of powers or princes of wliom these Florenlines «ere iDioislers, will probably appear no less singular tlian the fact itself; they were, France, Englhment for the place where these magistrates received the Florentine people. The paintings of Francesco Salviati, in this hall, representing the Battles and triumph ofCamillus, pass for the fii>est work of this loo highly extolled Floren- tine, which his native town contains; and it is particularly noted for the anti- quarian learning displayed in drawitig the arms, costumes, and ever) thing ap- pertaining to the usages of ancient Kome. On the ceding of one of the four rooms composing ttie apartment of the grand duchess Eleonora, w ife of Cosmo I., John Stradan, a painter of Bruges, established at Florence and employed by Vasari, has well represented in oil the virtuous and almost unknown action of the fairGual- ' In the Delizie de^li eruditi loscani of Dr. Lami, there Is an account of f.nsrao's eiileand return, composed by liimscif, and regarded by Giordan! (vol. X. of his work.'-) as a model of purity and ele- gance of style. An iiiedlted narrative of Ibe same events, copied froiu Giovanni CavaUantI s manu- script blslory of Florence, bas been published by drada. The emperor Otho IV., having come to Florence for the festival of Saint ■lohoj was struck with the exceeding beauty of the daughter of IMesser Bel- iincione Berti de' llavignani, seated in the circle of ladies, and asked lo whom she belonged ; Messer Bcllincione, who stood near the emperor, having answered before the courtiers that she was the daughter of a man who would permit the emperor lo kiss her, the young Florentine rose and indignantly replied : " Father, be less liberal in your promises respect- ing me, for I w ill never be kissed but by my lawful lord." Otho, charmed with this virtuous answer, immediately called oneofhisbarons,GuidoNovelloby name, made him a count, endowed him with Cascnlino and a part of Bomagna, and presented him as a husband to the daughter of the unscrupulous Messer Bcllincione. They began the line of the counts Guidi, one of whose descendants (their own valiant nephew Guido Guerra) Uanle has placed in hell for the crime of sodomy : Nepote fu della buona Gualdrada.» In the hall of the Elements, on the second floor, there is a singular and cha- racteristic painting. Envy is there de- picted swallowing a viper and scornfully throwing balls (paZ/e), the Medici arms, on the ground, which rebound, as a decisive proof that they are not pills, as pretended by Ihe enemies of the trading sovereignly of the Medici, who, from their name, classed them with the medi- cal profession. The inscription P\ith bolh, and, according to the editor, be followed Giovanni Cavakantl. = Inf. can. xvi. 37. 27. I FLORENCE. [Book X. most diversifieil forms : learned under the Medici, grand under Louis XIV., conquering under Napoleon, vain under the grandson of Charles IV. Al ihe entrance of the old palace are the Iw celebrated colossal statues : Her- cules slaying Cacus, by Baccio Bandl- nelli, and Michael Angelo's David. The Hercules, the most important of Bandineili's numerous works, has some- thing of the disdainful haughtiness of that artist, the bitter and envious depreciator of Michael Angelo and the enemy of Benvenuto Cellini.' Despite the ordi- nary exaggeration of Bandineili's talent, this group is grand : the joining of the neck and body in Ihe figure of Cacus is regarded as admirable ; and Michael Angelo even, to whom a mould of it had been sent to Rome, agreed that it was very fine, but that it was necessary to await the rest. This Hercules was placed beside the David by order of the vile and scandalous Alessandro de' Me- dici, duke of Florence, in a transport of rage at thedepailure of Michael Angelo. But the enslaved Florentines jeered at the statue as a means of avenging them- selves on the patron. Among the many jests at the Hercules, may be distin- guished the comparison of the body to a sack of pine-apples: and this triplet put into the mouth of Cacus : Ercole, non mi dar, tlie ludi vitelli Ti ren(ler6(on tulto il tiio besliame, Ma it buc r La nvuto Baccio Baii(!inelli. The David, which the chisel of Mi- chael Angelo drew out of the enormous block of Carrara marble, where it had Iain hid nearly a century, ' is the first specimen of his style, so lerrilily grand, l)Ut is not among those works due to the ' Benvenulo Cellini, In his memoirs, omits no opporlunily of abusing Bandinelli. The scene be- tween Ibem In Uie presence of the grand dulse is more violent than uny liteiary dispule. One day Benvenulo, in thre.iteninji his rival, invited him to make ready for another world, as he meant lodes- patch him from this. ''Provvediii, Baccio, d' un altro mondo, che di queslo 11 voglio civarc, io:" Bandinelli answers: " Fa che io lo sappia un diiu- nanzi, si ch' io mi eonfessi e facci.i testamenio, enon muoja come una besiia come tu sei." ( Vasari's Life of Cellini.) Benvenuto is more just towards Bandinelli in his Traltato sopra la scultiira, as he calls hiin eccellenthsimo artefice, worthy of a place beside Donalello and Michael Angelo. '■ Simone of Fiesola had attempted to give this blocli of marble the form of a giant, but failed. favour and influence of the Medici, they being in exile when il was done. Michael Angelo's patriotism induced him to leave the brilliant and lucrative works of the Vatican to undertake it. It is easily conceived that in such a position, and with the consciousness of his own superiority, the superb young artist be- haved with so little ceremony to the se- nator Pietro Soderini, then gonfalonier, who had found the nose too large : he feigned to retouch it, and with the other hand threw into the eyes of the first ma- gistiate of the republic a cloud of marble dust enough to blind him.^ The impe- tuosity with which Michael Angelo ex- ecuted his statues, even in his oM age, has been often remaiked ; he lopped off enormous quarters of marble with his chisel ; one might have said that, having discovered the figure he had imagined, he fiercely struggled against the block which resisted his efforts. Vasari and a crowd of writers after him have greatly exalted the beauties of the David, so far as to place it above every ancient or modern colo.-sus. These eulogies seem now greatly exaggerated ; it would per- haps be more correct lo consider this statue as a study of the author's jouth, a sublime attempt, a bold developement of the naked form and anatomical science. The Piazza of the Grand Duke, before the old palace, has not the great extent of some squares in great capitals, re- sembling fields or plains, with pavement, posts, and carriages ; but it is rich in wonders of art, and one requires some resolution to traver.«e it without stopping. Beside the Hercules and the David is the superb fountain of Ammanato, one of the grandest compositions of modern Some blemishes In the present statue, especially on one of Ihe shoulders, and Ihe want of ensemble in the limbs, seem lo have been produced by Ihe strokes ol Simorje's awkward chisel. ^ Ihis gonfalonier, the only permanent one Ihe Florentine republic ever had ( lor this kind of pre- sident was elected every two monihsi, seems to have been .'traugely exposed to the raillery of ge- nius. Machiavel, who bad been secretary of the republic under Soderinis administration, wrote the following impromptu verses uo bis death : I.a notte che mori Pier Soderini, V alma u' andd dell' inferno alia bocca. E Pluto la grido : Anima sciocca, Che inferno? va nel limbo de' bambini. CllAP. III.] FLORENCE. 319 sculpture, anil Ihc artist's best. The lightness of this colossal Neptune, drawn by four marine horses, is extreme. The equilibrium and movement of the arms has been justly criticised; the Trilons and other little .^ea deities in bronze arc exquisitely wroiisht. BcnvenutoCellini, Danti, Giovanni Bologna competed for this fountain, and the opinion of Florence had preferred Iheir plans to Ammanato's, which the imperious favour of Cosmo 1. ordered to be executed. The statue of Cosmo I. by Giovanni Bologna, the best of the four equestrian statues that a rare combination of circumstances enabled him to execute, is a noble and harmo- nious monument. The basso-relievos on the pedestal are excellent; one of the minor figures is a portrait of the dwarf at the court of Tuscany. The Loggia de' Lanzi d'Orgagna (for thus he wrote his name, and not Orca- gna, as he is commonly called), a prime monument for the history of the art, is the chief ornament of the Piazza of the Grand Duke, and may safely be called the finest portico in the world. The elegance and solidity of the construction, with the grandeur and good taste of the arcades, are much admired. Although the Corinthian pilasters evince the bar- barism of the time, such is the merit of the sculpture and cornices that they seem in perfect keeping. Cosmo I., afterwards wishing to complete the embellishment of the piazza, applied to Michael Angelo for a plan, and his answer was, that nothing belter could be done than con- tinuing Orgagna's work. Architect, sculptor, painter, poet, this great and prolific Tuscan artist of the fourteenth century seems himself a premature Mi- chael Angelo. Orgagna seems to ha\e prided himself on the variety of his ta- lents, and to have been anxious that posterity should not forget them. For this cause he never omitted inscribing on his paintings Orgagna sculptor, and on his sculptures Orgagna pictur. The demi-relievo figures of the Virtues in marble are not by Orgagna, as stated by Vasari; they were executed about 13G8 by Jacopo di Pietro, and there arc only six instead of seven. From the arcades of the Loggia, the ancient rostra of Flo- rence, the people, convoked by the old palace bell, were harangued; there the installation of (he gonfalonier took place ; the generals received the baton of com- mand, and citizens the knightly insignia; thence, too, the decrees of the govern- ment were promulgated : these noble arcades took the name they still retain when they were only the quarters of the lancers of Cosmo's guard. This Loggia is ornamented with superb statues. The Judith, by Donatello, despite the illustrious statuary's merit, is deficient in simplicity, nobleness, and ease : one would call it a novice sword in hand. Political events have contributed to the reputation of this statue. Formerly it was in the palace of Pietro de' Medici among the masterpieces of art and the litorary treasures collected by his fa- mily, and was taken therefrom on the flight of that cowardly stupid tyrant, when his palace was sacked, a few days before the entry of ourking Charles Vlll.; erected in the Loggia of the Seigniory palice, it became an allegory and a public monument of the deliverance of Florence, and the following impressive words were then inscribed and are still visible : Exemplum sahit. publ. cives posuere MCCCCXC V; a popular menace which never disturbed the paternal go- vernment of the grand dukes of Tuscany. The Perseus, a masterpiece of Benve- nulo Cellini, though somewhat elaborate, is a fine statue. When we recollect the circumstances attending its casting, the spirit with which the artist, exhausted with fatigue, parched up with fever, leaped from his bed to continue and hasten the melting of the bronze, into which lie threw all the pewter vessels of his household, his devout and fervent jirayer, his sudden cure, and his joyous repast with all his men, this statue be- comes a sort of action rcfiecling the manners of the time, and the character of the extraordinary man that executed it. On the pedestal are four excellent small figures in bronze. Below one of these four little chefs-d'oeuvre, the statue of Jupiter standing erect ready to launch his thunderbolts, are inscribed these words, Te, fill, si quis laiserit, tiltor ero, an inscription whii h seems as suit- able to the violent ariist as to the god. Cellini, like a true ariist, felt that mo- numents were made especially for the people, when he secretly fixed those fi- gures in their places, notwithstanding ihe immoderate desire of the duchess (voglia tanto smisurata) to keep them in her apartment, and by so doing re- 320 FLORENCE. [Book X. vived the former enmity of that princess. The bold group of the Rape of a Sa- bine, by Giovanni Bologna, is in reality little more than an ale-house scene — a husband knocked down, and a soldier running away with his wife. Such how- ever is the power of the beautiful, ever pure, grave, serious, be the subject what it may, that these great stark-naked fi- gures are neither indecent nor ludi- crous. The appearance of this group was hailed with rapturous acclamations throughout Italy, though not universally so, if we refer the question to the cu- rious gentleman, who, having travelled on horseback from Rome to Florence for the purpose of seeing it, approached the Loggia, and, without dismounting, turned his horse to go back, exclaiming: "Is that the thing they make so much noise about?" Questa dunque la cosa di cui si fa tanto chiassol It is pro- bable that this connoisseur could not see, from his horse, the superb bronze basso-relievo on the pedestal, the Rape of a Sabine. The lion of the Loggia, by Flaminius Vacca, a sculptor of the sixteenth cen- tury and a studious imitator of the an- cients, seems worthy of the Greek chisel ; it was the finest production of modern Italy until Cimova's celebrated lions. The lion with the lily composes the arms of Florence, and is not less ancient : ■ at the left angle of the old palace and on the steps of its front, there still stands a little old statue of a lion in stone, called Marzocco, a popular nickname for thick-headed persons. Among the six antique colossal statues of women inside the Loggia, represent- ing the priestesses of Romulus, there is one with her band raised lo her face, which has an admirable expression of sadness and melancholy. Two of the first monuments of the Piazza of the Grand Duke, the group of the Sabine and Cosmo's statue, are the works of a Flemish sculptor, the cle- verest of Michael Angelo's pupils. The Uguccioni palace, built on a superb de- sign by an unknown author, falsely at- tributed to Michael Angelo, appears de- cirledly by Rai)hael; for it is altogether in the style of other palaces at Rome recognised as his works. Florence, dis- tinguished by so many famous artists, ' See post, cli. li. has seen foreign masters from distant countries come and devote their talents to its service, and, in a manner, natura- lise themselves there, as if it were the metropolis of glory and genius. CHAPTER IV. UffizJ. — Gallery. — Wild-hoar.— Michael Angelo's Bacchus.— Copy of Ihe Laocoon.- Oi;ivanni Bo- logna's Mercury. — Fiuiguerra. — Horse's hear!. — Chimera. — Mobe. — Alexander d>iiig. — Michael Angelo's Biulus ; — his Salyr. — Porlrails ofpaiut- ers.-Casliet of Clement VU.-Tribuna —Venus. — Stiiues.-Paluliiigs. — Floreutine school.— Me- dals.— Cameos. The Vffizj, now the picture gallery, though at first intended for the magis- trates of Florence, who still occupy a part of the ground-floor, is an edifice of good architecture which does honour to the talents of its builders, Vasari and Buonlalenti. The three corridors and the twenty chambers of the gallery have not the imposing coup d'ccil of our galiery at Ihe Louvre. Placing statues, busts, and basso-relievos between the windows, does not seem a very happy arrangement, as one half is in a wrong light; the small locked-up rooms are more like cabinets of curiosities than the halls ofan imperial museum. The paint- ings of the three corridors are the least remarkable, though several are by great masters. The following may be dis- tinguished : the Adoration of the Magi, by Domenico Ghirlandajo; the infant Jesus standing; St. Joseph and an Angel, by Luca Signorelli ; a St. Lau- rence, a Magdalen, by Cigoli ; an Eternal Father, having just created Adam, by Fmpoli, an excellent Florentine painter of the sixteenth century, who died in the hospital; a Bust of a man in black, of the Venetian school ; a Deluge, by Francesco Bassano ; the Body of Christ attended by the Marys, lighted by a torch, by his father Jacopo; iVoa/t intro- ducing the animals into the ark, by Ja- copo and Francesco ; a Bust of a man with his hand on a skull, by Titian. Among Ihe statues are : the famous an- tique Wild-boar, in the second vesti- bule, admirable for its truth and style ; the Two Dogs, barking, that seem to guard the museum ; the most complete collection of emperors' busts; a volup- tuous Leda; the graceful group o{ Cupid and Psyche; the fine Ganymedes with ClIAP. IV.] FLORENCE. 321 the eagle; a Fenushalf naked ; a superb trunk of a Faun; Mkhaol An^elo's Baccltus intoxicated, wh'xch approaches nearerto Greek perloLtioii lhanan\ other of his works; the St. John the Baptist exhausted by fasting, one of Donalello's fine works; the celebrated copy of the Laocoon. by Bandinelli, alfected and for- mal, which the artist presumptuously vaunted as belter than the original, a boast which drew upon him Michael Angeio's sarcastic reply, so applicable to all kinds of imitators and translators : "That he who follows in another's steps cannot very well gel before him," {che chi andava dietro ad alcuno mai pas- sare innanzi non gli poteva) as well as Titian's caricature, executed in wood by Nicolao Boldrini, which exhibited a large monkey and two smaller ones em- braced in the coils ollwoserpents like the group. Pope Clement VII. however was so well pleased with Bandinelli's copy, that he kept it himself, instead of send- ing it to Francis I. as he had intended. The cabinet of modern brotizes is of peculiar beauty. Giovanni Bologna's wonderful Mercury seems in reality de- tached from the earth and launched into the air by Boreas; but its shape has too much of the faun and not enough of the god. The bust of Cosmo I., by Benve- nuto Cellini, which he speaks of in his life, is one of his best works. Theh Imet and shield attributed to Francis I. may have belonged to him, as the salamander is over the helmet, and they both closely resemble his well-authenticated armour preserved in the cabinet of medals at our great library. The shrine pre- sented to the church of the Angels at Florence, by Cosmo and Lorenzo de' Medici, to receive the relics of Saints Proius, Hyacinth, and Nemesiiis, a chef- d'oeuvre of Ghiberli, was barbarously broken up anri sold by the pound for old bronze ; the fragments have been nearly all collected : the two little angels are fullofgrace. The Sacrifice of Abraham, by the same, is of interest for the history of art ; it was present(d by him when a competitor for (he execution of the bap- tistry doors, which was accorded to him. Over it is the specimen of Brunei leschi, his generous rival.' The cabinet of bronzes of antiquity and the middle ages is reckoned the richest ' See post, ch. Ix. after that of Naples. A statue of 5e- rapis is admirable. A Roman eagle, which belonged to the XXI Vth legion, the heroic witness of ancient bravery, has now a glazed cabinet for its eyrie. A helmet found at Canna? has an in- scriiition in the unknown characters of some primitive people of Italy, allies of the Carthaginians. A manuscript on tablets of black wax, like one of the same kind in the Geneva library, contains the disbursements ofKingPhilip-lhe-Fairdu- ring a journev, extending from the 28lh of April to the 29lh of October, 1301. Accoiiling to some conjectures it is by Joinville's nephew . lliis manuscript is explained by Cocchi, in his critical letter to Pompcio Neri, of January 2i, 1746 : the abbe Lebeuf, in an essay on black wax maimscripts, esteems the one at Geneva as much the most instructive, and he even thinks that nothing can be made of the others. a The famous Crowning of the Virgin, the ancient Pax of the baptistry, by Masoriniguerra, the finest of the six nielli in the cabinet, is a monuinent for the history of the arts that throws a lustre on Italy, and proves Ihiit we are indebted to it for the first engraving on hollow metal plates, in- vented in li52, by the clever goldsmith of Florence, after these first essays. An antique horse's bead, being part of a bronze horse, is life itself. The noble and true statue of Metellus, called the Orator, is deemed one of the best Etruscan statues known. The grand Chimera, which its Etruscan inscription associates with the art of that nation, so expert in the working of bronze, is a model of the beautiful, simple and .severe, the character of the Tuscan stjle. It is exceedingly well preserved, and the tail only is modern. Among the smaller figures, a group, celebrated for its exe- cution and the learned interpretations to which it has given rise, has been justly designed under the name of the Birth of Venus ; the goddess, very small, is in the arms of Love, a grave and powerful genius unlike the wajward Cupid. The fine Bacchus, called the Idol, likewise Etruscan, placed on a modern base, one of the most elegant works of the fifteenth century, the masterpiece of Desiderioda Settignano, a young man of the greatest promise, who died at the age of tw enty- • mm. de I'Acad. des Insc., t. xx. S23 FLORENCE. TBooK X. eight, the pupil and happy imitator of Donalello. The earthen vases, if neither so grace- ful in design nor so biiiiianlly varnished as those of Noia, are of interest for the history of the art : those of Cbiusi, the collection of which is equally rich and unique, and comprises two of eiiraor- dinary size, arc entirely black, and or- namented with basso-relievos chiefly of subjeci's taken from the religious tradi- tions of the country : those of Arezzo, of very fine red earth, are more similar to the Roman vases found in the south of France. In the middle of the room containing the earthen vases, is an airecting melan- choly statue of the genius of Death, which has been ludicrously restored as a Cupid and armed with his bow . The earthenware of Urbino, Cagli and Caslel- Durante, the scat of the dukes of Ro- vera, was coloured after the designs of Raphael, the Carracci, and other mas- ters. That age seems to have had less of the mechanic and nioie of the artist; there was less comfort and more gran- deur; manufactures were less in quan- tity, but of belter execution. One would say that Dante had visited the hall of Niobe, created in the last cen- tury, when he exclaims at the sight of the finely sculptured figures that he found on the road to Purgatory : Niobe, cou clie orchi rlolenli VedeV io le segnala iu su la slrada Tra selle e seite luoi ligliuoli spenil! ' The ancients disserted much less on the passions than wo do, but there is pro- found and manifold truth in their manner of expressing them ; the pain of Niobe is not the same as in the Laocoon ; the horror-struck mother covers her daugh- ter, regardless of the sliafts that menace her; the priest of Apollo struggles to free himself as well as his sons; his racking pain has something of menace; « Purgat. Tii, 37. » " Plutarch reniarfes," says Bernardin de Sainl- Plcrrelt. iii. note 12 of liis Eludes de la Sature),lhal Alexander abandoned himself 'Mo ilie debauchery that disgraced the conclulon of Iiis august career, for no other reason than that he ihoutiht himself forsaken by the gods.. . 1 should not be surprised at this situation having insplrel some Greek ar- tist ' Afier quilling Addison's remarks on this bust, and two others of the saiue air aud attitude, Mobe's is tender, artless, and, despite her anguish, alwajs noble and ideal. Alter Niobe, the Dying Child is perhaps the most remarkable statue of this great, pathetic scene. The different attitudes of the statues seem singularly to favour the ingenious conjecture of the learned Knglish architect, Mr. Cockerell. who imagined that they had adorned the pc- ditnent of a temple of Apollo. The colossal head called Alexander dy- ing, inspired Alfieri with this fine sonnet : Quel gii si fero fiamraeggiante sguardo Del Macedone inviltn eroul di Marie, Pregno il veggio di morte; e vana ogni arte, Ogni rimedio al crudel moi bo e tardo. Or, se" lu quel, che 1" Indo. il Perso, il Mardo, E genii e genii hai domo, csllnte, o sparle? Quel, che ciedesti a onordivini alzane Pianlandoa Grecia in cor I' ultimo dardo? Tu sel quel desso; e la nalia ^,;randezza Morendo serhi, qual clii in tomba teco Porta di eterna gloria alia certezza. Gloria? Oh qual sei di regia insania cleco? Gloria a Persian tiranuo, ove all' altezza Naio era pur di ciitadioo Greco ? IVotwithstanding my little taste and ability for archeological discussions, I should rather incline with two painters of true genius, Plutarch and Bernardin de Saint-Pierre, to sec in this alTecling, but not very superior bust, Alexander abandoned by the gods.' A colossal bust of Jupiter is full of benignity and majesty. The great painting of Hetiry IV. at the battle of Ivry, by Rubens, is only a rough draught, but it has all the fire that the subject and its hero could impart. In the hall of Baroccio, the soldiers of a Christ apprehended, by Sodoma, a great and unequal painter of Siena, brought by his whims and vices to the hospital, are full of expression; the figure of the Saviour has little of the divinity. A j\Ian with a monkey on his shoulder, a painting full of gaiety and truth; a Monk in white, one of the finest pictures in the room, are by Annibale Carraccio. Ihe Duke of Nemours and Lorenzo which Addison supposed lo represent Ihe conqueror weeping for other worlds, or some similar circum- stances of his liisloiy, Dernardin de Saint-Pierre opines that these busts must relate lo that circum- stance of Alexander's history, in which he bemoans his fate as forsaken by the gods. " I have no doubt,'' he adds, " that this Incident would have detcroiiued the excellent judgment of Addison, if he had called to mind Plutarch's observation." CUAP. IV.] FLORENCE. 323 de' Medici, a copy from Raphael, passes for one of the best works of Ihe second Bronzino. The Woman dressed in blue is by Andrea del Sarto. A Virgin of renrtarkable elTcct in the clare-obscure, by Luca Canibiaso, a Genoese painter of the sixiecnlh century; a portrait of a man, another almost profile, another of a woman, by Holbein, are perfect. An Old man, half bust, is by Giovanni Bel- lini. A St. Mary Magdalen, the em- press Galla Placidia changing an idol for a crucifix on a pedestal (the em- press is the portrait of the emperor Leopold's second wife), are carefully finished works by Carlo Doici, a painter who, in the present day, is more esteemed by amateurs and ladies than by artists. A Virgin, full of charms, sweetness, and truth, is bySassoferralo. A portrait of a princess, having some resemblance to Mary Stuart, by Vandyck; Rubens' second wife; \m Bacchanal, are superb. A Woman's head is by Baroccio; a Young man holding a letter, hard, but true, by Francia ; an excellent painting of the sculptor Fraiicavilla, by Frobus; a Philip IV. on horseback, larger than life, by Velasquez. In the middle of this room called Baroccio is a celebrated oc- tagonal table of hard stones, the largest in existence, at which twenty-two artists worked wilhout interruption; it was begun in 1C23 on Ligozzi's design, and not finished till 16i9 : Poccctli drew the design of (he little medallion in the centre. In the cabinets of this same room is a collection of drawings, the richest in Europe ; they are twcnty- .seven thousand in number, and as far back as Giotto; there are more than two hundred by Michael Angelo, a hundred and fifty by Raphael, and some by most of the first Italian masters. The bust of Brutus, rough-hewn by Michael Angelo, well portrays the mur- derer of Caesar, ihc Roman so eloquently painted by the poet : Vlval, el ut Bruli proiuiubat vicliina, regnel.' Below is this dull distich : Don) Biull eriigiera sculptor rteniarmoreducil, In mentem sceleiis veoit, et absiinuit. An Englishman, the carl of Sandwich, ■ I'liarsal. vii. 597. provoked at reading this, replied im- promptu : Bi'utum effecisset sculptor, sed menle recursol Tanta virl virtus ; sislit et abstiauit. I do not believe that the genius of Mi- chael Angelo experienced these terrors : it is more likely that the natural in- constancy which made him begin and abandon so many works, left Brutus un- finished. This bust is one of the lew that Michael Angelo has executed; he has scarcely executed more portraits, which is surprising and to be regretted, when we remember the princes that sought his acquaintance, and the illus- trious men he counted among his friends. A Corsican statuary, Ceracchi, pupil of Canova, wished to continue the bust Michael Angelo had begun ; an ardent and taciturn friend of liberty, he perished on the scallold for a conspiracy against Bonaparte, when first consul, whose do- mination he foresaw ; his talents might have led him to glory, and he was more worthy of finishing Ihe Brutus than of at- tempting the deslruclion of the new Caisar, his fellow-countryman. The head of the Satyr that .Michael Angelo executed at the age of fourteen in the gardens of Lorenzo il Magnifico, out of a piece of marble given him by the work- men, introduced him to that great man, who, enchanted with such a rencounter and the precocity of the infant sculptor, would have him at his table, in his hou.se, and gave him a pension. He found fault with the Satyr for having all his teelh, though aged, a criticism that ihe prodigious intelligence of the author immediately felt and turned to advan- tage. Although living at the court of the master of Florence, and his friend, the artist in the end lost nothing of his in- dependence, pride, or solitary habits. The antique works particularly worthy of notice in this room are : a Sappho, graceful; a bust of Solon, restored by Visconti, and which, till his time, pasted for a portrait of a young Roman, the work of another Solon, an artist of the Augustan era; an Old man's head, of extraordinary preservation ; a Demos- thenes, expressive; a great head of Pompey, of porphyry; a Plato, au- thentic ; the fragment of a statue of Pa- rian marble, perhaps a Bacchus cr a Faun, admirable ; a bust of Scipio, fine and scarce. 324 FLORENCE. IBooK X. The collection of painters' portraits taken by ihemselves, the only one of the kind, is curious, although it includes many bad ones. New painters must also experience some hesitation at olTer- ing their portraits; as it is the custom when this species of Pantheon gets too crowded, to exile the weakest to some of the grand duke's villas. Raphael's portrait does not appear of his best days. Thesight of all these mute countenances of artists once celebrated causes a real emotion. Noble features are generally found to accompany superior genius, and there is some harmony between the respective talents and physio- gnomies of the painters. For instance : Titian, with his strong expression; Leonardo Vinci, the finest portrait of the whole, full of grandeur and ma- jesty ; Paolo Veronese, brilliant, mag- nificent; Michael Angelo, gloomy, harsh; Andrea del Sarto, chaste, easy, uninspired ; ■ the five portraits of the Carracci, rich, varied, among whom An- nibale has painted himself thrice dilfer- cntly ; Donienichino, holding a book partly opened in his hand, dreamy, suf- fering, like his character and destiny; Guido, his rival, the favourite of for- tune, animated, contented; Giorgione, superb; Tintoretto, wrinkled, rigid; Giulio Romano, with eyes and mouth that spe.ik; Cavedone. with features ex- pressing care and poverty;" Vasari, displaymg on his breast the collar of the equestrian order of Cosmo I., anemlilem ol be-nbboned mediocrity; Angelica Kauffman, voung, graceful. There are, however, some contrasts : the fine por- trait of Holbein is of a hard expression; the pathetic Cigoli has an air of buf- foonery ; Albano and Carlo Dolci have not the elegance oltheir productions. The portrait of Marietta Robusli, daughter of Tintoretto, standing against a harpsi- chord, and holding a music book, though imperfect, is interesting when we recollect the life and divers talents of this young woman. "• There is one « Vasari gives a singular nccouni of the origin of Ihis porlriiil, In con-.eqnenoe of s\ puinliiig ordered of tbe artist by the uioiilis of Vallombro-a : " E per- rli6 Onita I' opera avunzo de' colori e della calcina : Andrea preso un tegolo, cliiauiO la Luciezia sua donna e le disse : Vien qiiii, poiclie cl sono avanzall quesli colori. lo ti vogllo rllrarre, occiocclife si veggia in questa tua eta, come II sti ben conservala, checonoscii non. iine.io quanto bai uiulalo erfljiie, pleasing portrait, that of Sofonisba Anguisola, of Cremona, a very clever portrait painter of the sixteenth century, who fell blind in his latter days, and of whom Vandyek said that he had learned more of that blind old man than of any seeing one. The portrait of Currado, a good Florentine painter of the fifteenth century, was taken in his eighty-fourth year, and he died at ninety-one, lo the last woi king and tcachirg. The excel- lent portrait of Morto da Feltro is pro- bably a bad likeness; the skull towards whiih the figure points its finger has procured it the surname o{ Morto. The portrait of Giovanna Fratellini, a Flo- rentine of the seventeenth century, is singularly alTecting, from its expressing her love and sorrow as a mother and artist : she has painted herself in the act of making the portrait of her only son and pupil, who was cut olf in ihe flower of his age. The English painter, Sir Joshua Reynolds, has rejjrest'nted himself holding a roll of paper inscribed : Disegni dell' immortal Buonarotti, a murk of his admiration of that great man whom he so little imitated. The poi trail of Canova, by himself, is praised by his admirers. 4 In the centre of this apartment is the famous Medici vase, on which the sacrifice of Iphigenia is sculptured : Agamemnon has a veil over his head, but it docs not cover his face as those of Timanlhus and a basso-re- lievo in Grecian stylo, scuptuied on a puteal of ih'is same gallery. A herma- phrodite lying on a lion's skin is full of ardour and voluptuousness. The two rooms full of pictures by painters of the Venetian school present several chefs-d'oeuvre of its first masters. In the first are : the grand portrait of the coiidottiere Galtamelata, by Giorgione; St. Catherine; the Annunciation; the Martyrdom of St. Justine, unfinished, but full of giMiius and boldness; Esther before Ahasuerus, by Paolo Veronese; the two supt'ib portraits of Francesco della Rovera and his duchess, by Ti- sia per esser questo divcrso dai priini rilrattl. Ma non volendo la donna, e se forse avevn allra funta>la, star ferina, Andrea quasi indovlnaiulo esser vicino al suo fine, I. ilia una spera, rilrasse se niede^lmo in quel tegolo lanto bene, cbe par vivo e naturalis.-irao ' ' See anZe, book viii cli. 5. i See anle. book vi. icolao JN'iccoli, an arrant libel which happily for his memory has never been printed, does little honour to the literary manners of the time, as it shows to what vio- lence and invectives twoof the most cul- tivated minds of Florence could give way. Among the unpublished manuscripts of Marsilio Ficino may be remarked: Commentaries on Plato's Philebe, his Parmenides, Sophist, Titneus, Phoedo; treatises De divino furore, lie virlu- tibus moralibus, De quatuor sectis phi- losophorum; Questions on Mind; a translation of the Hymns of Orpheus, and Sayings of Zoroaster, the works of his earliest \ouih ; an Italian version of Dante's Monarchia, etc., difTerent works proving the ardent activity of the first literary men of the revival. Despite the rather common-place faci- lity ol the versification of the Paradisus, a poem by Ugolino Veririi, it derives some interest from the detail of Flo- rentine alTiiirs, and the author's sincere respect and affection for the Medici, whose arms adorn this brilliant manu- script, and many others beside at the Laurenlian. Ugolino was surpassed by his son Michelc Vcrini, a young (loet of great promise, deceased a't the age of seventeen, a martyr, as it is said, to his chastity, as if death could ensue from such a cause at thai age; he possessed Peirarch. p. 17, was not, as lie supposed, Liscovered by liiiu. I'be abbe Melius, llie creator of tlie li'.e- larv history of Florence, had lueiiliuned it to Dio- nisi, canon of Verona, who pubiisbed it (Acecdol. the friendship of Politian and Lorenzo de' Medici, who sometimes went to supper with this family, for the literary protec- tion of Lorenzo was plain, plebeian, familiar, and altogether unlike the dis- tant and ostentatious encouragements accorded by the munificence of princes. The two manuscripts of the /Termap/iro- dite, by Panormita, but too plainly prove the justice of the censure, with which the moral public, Poggio, Filello, and Lo- renzo S'illa, who wanted to have the author burnt with the book, had over- whelmed this obscene collection, dedi- cated to Cosmo I.; it was printed at Paris for the Drst time in 1791, doubt- less as an additional |)roof of the conquest obtained over prejudices at that epoch. The manuscript is prefaced by a letter from Guarino of Verona, which singu- larly attempts to defend all these infa- mies by quotations from Saint Jerome. The troubadour manuscripts of the Laurentian, tiiough some are acknow- ledged to be faulty, have been sagaciously em(»loved by Rajnouard, who has dis- covered therein some important varia- tions and a few pieces found nowhere else. One of these manuscripts of the fi.''tcenlh century, vvell written and In good prcser\ation, once belonged to Be- nedetto Varchi and Carlo Slrozzi, whose names it still bears. The manuscripts of Dante are very nu- merous, and at the end of one of the fourtrenlh and fifteenth centuries, are two short [lieces in his honour; the first speaks of his glory and his misfortunes; the second gi\es his physical portrait, which is in strict conformity with the portrait traced by Boccaccio in his life of the poet. Fu' I noslro Dante di mezza stalura, Vesli oneslo, s-econdo suo slato, MostrO un pd per I' ela ilcliiiiato, Fe manlalion of it, I. I. p. 335, of his CoiOJ de tilteralure fniiicarse for the year 1830. ' See post, ch. sii. COAP. V. ] FLORENCE. Vn in giuventii di Bfialrlce amanle ; Et ebbe vlrlii tanle, Che il corpo a morte nierilo corona Foelicba, e I' alma aud6 a vita bona. Giovanni Viilani's portrait of Dante is less flattering, and probably incorrect, as he honours him with un trattu suo scliifo e sdegnoso, e a guisa di filosofo non yrazioso cot laid, a description very dlHerent from the contemporary picture of the poet painted at the Duomo.' The little volume of poems on friend- ship shows the manners of the fifteenth century. The singular fact therein re- corded seems the first instance of acade- mical prizes Pietro de' Jledici, by the advice of the great architect Leone Bat- lista Alberli, issued a proclamation that he would decree a silver crown wrought in the form of a branch of laurel to the author of the best essay on true friend- ship in Italian verse : the competitors were to recite their poems in tin- church of Santa Maria del Fiore, and, as a mark of respect to Pope Eugene IV., who was then holding his council at Florence, it was projiosed to make the apostolic secretaries judges of the day. In Sunday, October 22, llil, the colle- giate ollicers, the judges, and the poets, with a splendid cortege, rejiaired to the church, which was magnificently deco- rated : the seigniory, the archbishop, the ambassador of Venice, a countless host of prelates were present at the ceremony ; the people of Florence filled the church. IJut when the prize was to be adjudged, the secretaries of the pope, under the pretext that several of the pieces were of nearly equal merit, and thai it was im- possible to decide, adjudged the crown to the cathedral, a stupid decision, still less rational than the sharing of prizes often adopted by the French Academy, and which excited the ulmo>t dissatisfac- tion, not only among the poets, but throughout the w hole city. The six can- didates [dicitori) were F'rancesco d'Alto- bianco degl' Allierti, Antonio degl' Agli, afterwards bi-hop of Ficsole, Marietta Davanzali, AnsclmotJalderoni, Frances- co Maiecarni, Benedetto de M., Michele d'Arezzo. The rapid cursory view of the difl'erent essays may not be unin- teresting. Degli Alberti asserts that Phocion, Pericles, the two Brutuses, and St'e post, cb. ii. (-amillus, who all delivered their country, with all their virtue, labours, and ge- nius, could never have accomplished their purpose and acquired eternal fame, if they had not found friends; he is somewhat pedantic, and continually quotes the ancients. DcgrAgii, whose discourse is perhaps the most remark- able, has imagination; he seems full of the Platonic notions then so general in Florence. The discourse of Davanzati is a cold dissertation only; that of the Florentine Maiecarni, entitled Trionfo di Amicizia, is curious; it has some poetry and allegories on friendship, to which he givesa car and retinue, followed by Arthur, Tristan, Isota, Lancelot, Ginevra. The piece of the last dicitore is not finished. The editions of Homer, Virgil, the Greek tragedians, and .\ristophanes, on w hich Alfieri stu-lied so earnestly towards the end of his life, were presented to the Laurentian by M. Fabre, who had re- ceived them from the countess of Albani, as well as his manuscripts. I examined the manuscript of the tragedies. Few authors have laboured their works so much as Alfieri; one volume contains the plot of the tragedy in prose; such was Racine's method; it contains sketches, half French half Italian, of the Filippo, and Polinice, and in Italian only of the Antigona, Agamennone, Oreste, Ros- munda, Maria Stuart, and D. Garzia; a second volume presents the tragedy versified, with remarks on feeble passages and those requiringcorrection ; the third volume is a fair ropy, with some further corrections in Alfieri's hand. The com- plete |iublication of those manuscripts and various readings not included in his iiosthunious works, would afford an interesting literary study, i perused the French sketch of a Charles I. written at Paris, which Alfieri began after the i'V//;);)o,andabandoned about the middle of the third act, at the trial scene, when, as he himself avowed, his heart and hand were so chilled that he could pro- ceed no further. Alfieri, in the strange dedication of his Agis to Charles I., ag.iin points out tlie failing of that subject. When Charles first appears in the second act, Alfieri designates him as un rot prisonnier, opprime, philo- sophe, peu coupable, qui a I'dme grande et le coeur ban; he is probably not very correct in ascribing philosophy to 332 FLORENCE. [ Book X. Charles I. An autograph note by Alfleri, dated Florence, 1798, on ihe title page of one volume, imports that five vo- lumes only of the manuscripts he left in France in 1792 had been returned to him : Ma non pero dal pubblico loro {Francesi), ma sottratte da un privato per restituirmele. This restitution, that Alfieri unjustly forgot at a subsequent day, was due to Ginguen(^, then ambas- sador at Turin, as may be seen by two of his letters and Alfieri's answers ; a correspondence that does honour to the memory of the French writer. The in- different translations of the iEneid and Georgics arc among these manuscripts : Alfleri had even begun to translate the Bucolics, though his stern genius seems little adapted for such an undertaking. The miniatures in a great number of manuscripts at the Laurenlian render them curious monuments of the different ages of painting. The twenty-six minia- tures of the precious Syriac Gospels are still, after more that twelve centuries, in wonderful preservation. The alfect- ing history of the adulterous woman is not in these Gospels, nor the interpre- tation of the words Lama Sabacthani. The manuscript was executed in 586, in the monastery of Saint John, at Zagba, a town of Mesopotamia, by Ihecailigrapher Rabula ; in the eleventh century it |)assed into the convent of Santa Maria of Maiphuk, then to that of Santa Maria of Kannubin, and in 1 'i-;{7 to the Laurentian. The Syrian scribes, like the Greek, Latin, and Arabic, were accustomed to put a note relative to themselves at the end of their works : Rabula piously entreats the reader to pray for him. The same request has been observed on many manuscripts of the Koran. The Bible, in a folio of 1029 pages, must be of about the middle of the sixth century, as its patient copyist, the benedicllne Cer- vandos, of the convent of San Salvador, on Mount Amiat beyond Siena, is men- tioned in the annals of the Benedictine order, by Mabillon, in the year 5il. One of the most elegant and most au- thentic portraits of Laura is on an ancient manuscript of the Canzoniere, which, if not taken from life, was perhaps copied from the contemporary portrait by Si- mone Memmi. The portrait ofPetrarch, with a laurel crown over bis cowl, is much less pleasing. A copy of the Gospels in gold letters, with long figures on a gold ground likewise, was formerly at the cathedral of Trcbisonda ; Bishop Alessio Celabene saved it when that town was sacked by the Turks, and presented it to Julius IL, as a memento, amid the pomps of Saint Peter's, of the misfortunes and dispersion of the Greek nation. One of the finest works of the fourteenth century is the Missal, which, with nineteen choir books of the old convent degli Angeli (eighteen of these have fallen victims to an act of barbarous cupidity), was so greatly admired by Leo X., when he came to Florence after his election, and who bad long wished to see it on account of the high eulogium he had heard of it from his father Lo- renzo the Magnificent. Certain Camal- dulite monks were the artists of these brilliant miniatures, small paintings ad- mirable for exiiression, truth, grace, and variety, in which the perspective and dra- peries even are so well drawn, as may be seen by a Procession through the streets of Florence. The volumes of the Lau- rentian may be ascribed to Dom. Lo- renzo, pupil ofTaddeoGaddi, the Raphael of this nice and delicate art, which the leisure, quietude, and patience of a clois- ter alone could cultivate. Galileo's finger is exposed to view in a glass bottle placed in the middle of the room; this finger, with which perhaps he had shown the satellites of Jupiter, this relic of science was purloined from the tomb of its martyr at Santa Croee, ' by Gori the antiquarian ; at the sale of his museum, Bandini bought it ; after having been mislaid for some time, it was found again and deposited at the Laurentian in 1803. The valuable collection of first editions of the Latin and Greek classics, formed by the Cav. Angelo d'Eici, of Siena, which he constantly carried with him and augmented during his various travels over Europe, w as bequeathed by him in 1818 to the Laurenlian, and will be a worthy complement to the manuscripts of that library. The EIci collection pos- sesses also the first editions of the biblical writers of the first century of printing ; nearly all the Aldine editions with the anchor ; the miscellany called Metnoriale of Pannartz. The finest book of the col- lection is perhaps one of the two vellum copies of the Floience Lucian, with a ' See pos', cb. xii. Chap. VI. ] FLORENCE. magnificent miniature of Lorenzo de' Medici. This volume came from the Riccardi library ; EIci obtained the use of it during his life from the grand duke, on the condition of leaving it with his books to the Laurenlian. A new room in the form of a rotunda is intinded for the reception ofthese bibliographic treasures; it will be as a monument consecrated to EIci, much more effectual in preserving his memory than his satires and epi- grams, or even his edition of Lucan and his elegant Latin poems. CUAPTER VI. Kiccardi library.-Pliny.— Aucient unlversalily of tbe Frenrh language.- Anecdote of Danle.— Pog- gio's manuscripts. — Con>tanzia Varano.— Sum- maries of the liidtory of Florence.— iic('oli. ' Polilian caused the treatise of Pelago- nius, de lie velerinaria. to be copied from an ancient manuscript, as a curious inscription by him testifies : Hunc H- brum de codtce sane quam vetuslo Angelus Politianus, Medicos domiis alumnus, et Laurenti cliens, curavit ' exscribendum. Vein ipse cum exem- plari contulit, et ccrta fide emendavit. Ita tamen ut ab illo mularet nihil, ut et qua depravata inveniret, relinqueret intacta, 7ieque suum ausus estimquam judicium interponere ; quod si priores institutum servassent, minus mtilto mendosos codices haberemus. Qui legis, boni consule, et vale. Florentice anno MCCCCLXXXV. Decembrimense. This manuscript is perhaps the only one extant of Pelagonius, a writer of the fourth century, cited by Vegeiius; it was printed at Florence in 1826 in 8vo., with an Ita- lian translation by Professor Sarchiani. The troubadour manuscripts are cu- rious : extracts have been made by Count de Caylus, and now form a part of the collection of M. dc Sainte-Palaye, lodged in the library of the Arsenal at Paris. The manuscript history of Venice, from its oiiginto 1275, translated from ancient Latin chronicles into French, presents a curious fact : the .iuthor, Martin do Canale, declares in his introduction that he chose that language " parce que la langue frangoise cort parmi le monde, et est la plus delitable a, lire et a oir que nulle autre." Brunetto Latini gave the same reasons when he composed in French, at the beginning of the thirteenth century, his enormous encyclopedian Tresor, which Napoleon once thought of printing with commentaries. It is hence evident that this superiority and universality of our language existed long before our literary chefs-d'a-uvre and the momentary ascendency of our arms. On the title-page of the manuscript of Dante's Treatise on the catholic faith, we are informed that it was composed by that illustrious and most famous doctor and poet of Florence, according ' See post, cb. xl. 334 FLORENCE. [Book X. as he had answered ihe inquisitor of Flo- rence, respecting his creed. This poet, now so much admired for his chrislianitj and faith, was then suspected of heresy, and a monk of Monte Oliveto, Matleo Ronli, underwent the humiliation of being reduced to the comliiionofa lay- man by his superior for having translated the Divina Commedia intol^atin verse. On a folio manuscript of the Rime, following a quatrain is the narralioii of a tolerably scandalous anecdote, charac- teristic of the manners of thai epoch, and exhibiting the poet under a new and dif- ferent aspect.' A Gne manuscript of the Commedia, of 1498, coniains some re- marks in verse, that show the temper and disposition of some of its former owners; one laments that by asking the return of the volumes he has lent, he loses both the volumes and the borrow- er's friendship; another more generous writes that the book is for himself and friends; another, moralising, complains of the poverty he sull'ered in his youth, and the inutility of riches now he is old. At the end of a manuscript of Pe- trarch's Triumphs, an inscription states that it was finished on the 22nd of June li02 at the Stinche, the prisons of Flo- rence. The same inscription is found on some other manuscripts, touching mementos of consolations drawn from study. The narrative, already printed several times, of the travels of Fra Oderigo Tri- goli, who started from his convent at I'adua in 1318 for Constantinople and ' Quesii qualiro versi fe Danle sendo In coiie d' uu signore, e usaiido spesso rdniigliarmeiite in casa, s" arcurse piii volte die un frale
  • imo di. e ia quella raedesima ora giunse, e falta poca diinoslranza col slgnnre. audi) a vibitare la madonna. Uanle, come il Trale fu parlito, veduto dove egll andava, s' accosli al signore, e dettegli questi quatlro versi, i quali fe- riono clie il detto signore onestamente delie moto, che d' allora innanzi il detto Ir.ite non and6 piii a vedere la moglie senza lui. E que' versi fece scri- vere In piii luogbi del suo palagio. E' versi sono quesii : the East, contains some strange adven- tures and singular observations.^ The numerous inedited Letters of Poggio, deposited at Riccardiana, have supplied the lawyer Tonelli, who trans- lated Shepherd's Life of Poggio from English into Italian, w ilh some new fads and the means of rectifying many errors. These curious letters present a piclure of Ihe hasty, impassioned, petulant man- ners of literary men at the revival ; their publication would be interesting, and would do honour lo the government of Tuscany, which is rich and has but few- expenses.* Among Poggio's unpublished letters are several from his most intimate and most constant friend, Nicolao Nic- coli, in which he gives an account of his discovering various fragments of the ancients at Mount Cassino, and the care he took in transcribing them. We there learn the high price of manuscripts at that epoch : a Lactanlius cost 12 flo- rins; the Letters of Saint Jerome, -45; a Bible, 40; some of Cicero's Discourses, 14, etc. A letter written from London explains the motives that induced him to quit the court of Rome for England; in another he declares his w ish lo revisit his country ; the portrait he gives of the English of the fifteenth century is not very flattering ; he represents them as more occupied with the enjoyments of the table {gola) and their pleasures than the pursuit of learning, and the few who cultivate letters as barbarians more skilled in sophisms and disputation than in true science ; some letters contain cu- Chl nclla pelle d' un monlon fasciasse Un lupo, e fralle pecore meltesse, Dimmi, ere" lu, percbe monlon paresse, Cb' egll per6 le pecore salvasse? ' Andal in Ermenia magglore, e pervenni ad Arzelone, dove presso a una diela 6 II Ijuuie del Paradise detto Eufrates. In questa terra semi' cbe una grande donna Iasci6 per siio testamcnto, che de' beni suol si facesse un miinistero di merclrid, che sempre fossero appareccbiale a servire agli uomini in ogni carnalitade, e queslo fece per 1' anima sua maladelta. Di quindi venni al monle dove e 1' area Noe, e volentieii sarei saliloalla clma del monle, avvegnacbe mai non si trov6 chi vl potesse salire, m& perche non volli aspeltare la carovana, non me ne volli provare. 3 A Qrsi volume of rogaio's Latin letters was ge- nerously published by S. T.melli in 1832. at bis own expense; the ediiion was live hundred In number. ClIAP. VII.] FLORENCE. 355 riou? relations of researtlies after anti- quities and excavations made at Aiatri, Tuscuiuiii, and Ostia. In a letter to the bisho]) of Winchester's secretary, Poggio, in his old age, speaks of his young wife with enlhusi.ism, and, later, he boasts to his friend Carlo Arelino, of her giving birth to his last son, the finest of all, notwithstanding his seventy jears. The manuscript containing the Latin discourses and letters of Costanza Va- rano, a contemiiorary and correspondent of the great Isota, • demonstrates that the learned ladies of the fifteenth cen- tury, who were accustomed to harangue popes and kings, had a kind of public character and a degree of power of which we can now scarcely form an idea. The first of these discourses, which are more distinguished for erudition than eloquence, is the celebrate speech i)ub- licly addressed to the people of Came- rino, w hen Costanza brought thither her brother Rodolfo, to whom that domain had been restored in consequence of an oration pronounced by her when only fourteen, before Bianca Maria Visconti, wife of Count Francesco Sforza. An autograph manuscript of Machiavel olTers the sunmiaries of his History of Florence, carefully written and well ar- ranged ; he appears to have made ihcni for his own use, ai!"ardi, which was not printed till after his death, and even then with suppressions ; the Canzoni and other Rime of Chia- brera, several of which are addressed to Kiccardo Riccardi; Galileo's Treatise on fortification and military architec- ture, preceded by letters to Christina, Don Renedetto Caslelli, monsignor Dini and others, and his discourse on the ebb and flow of the sea ; some inedited works of its worthy librarian Doctiir Lanii, and forty volumes of letters ad- dressed by the learned of his lime to that laborious scholar. CHAPTER VII. Marucelll library. — Mare tnaguiim. — Magllabec- cbiana library. — Catalogue. The Marucclli library was founded in the year 1751, and is the least ancient of the public libraries of Florence; it may be regarded as a branch of the Lau- renlian, being near it, and under the same management. Its founder, whose name it bears, was a learned and vir- tuous prelate, who, while living, had placed his books at the disposal of scholars of narrow means; and he appears lo Lave ' See post, boob si, cli. i. 33« FLORENCE. [Book X. been anxious to secure their use to the sunie clyss after his death; according to the touching inscription in the Marucel- liana : PubliccB et maximce pauperum utilitati. It is to be regretted, however, that ihis library is only open three days a week, without counting the numberless close days in all Italian libraries. It contains forty-Gve thousand volumes ; the manuscripts, few in number, are rather historical and diplomatic than li- terary. There are preserved the manu- scripts of the two Salvini, of the labo- rious antiquarian Gori, and of the se- nator Buoiiarotti. The most interesting manuscript is the Mare magnum, a kind of encyclopedian dictionary, or general Index in a hundred and twelve folio vo- lumes, composed by Marucclli, of all subjects treated of in the works he had read, a vast repertory, which might be useful in making researches. The Magliaboccbiana is the grand li- brary of Florence : it contains a hundred and fifty thousand volumes, twelve thousand manuscripts, and receives a copy of all works printed. Indepen- dently of the difl'erent libraries succes- sively added to it, as the Marmi, Gaddi, Biscioni, Palatine, Lami, that of the abbey de' Roccettini of Ficsole ; a part of the Jesuits', and those of Santa IMaria Rovella and Slrozzi, the Magliabec- chiana was increased by the libraries of convents suppressed under the Fiench administration. The founder iHaglia- becchi, librarian of the grand duke Cosmo III., was a goldsmith on the old bridge till his fortieth year, and he be- came one of the most active and zealous bibliographers that ever lived : he was so much occupied with his books, that he even took his meals and slept in the midst of them, among the fleas and spiders; but like many brothers of our order he had the fault of reading little more than the titles : Percbfe de' librl il rronlespizio ha letlo. Si crcde esser fra" dotli iintioverato." ' Menzlnl, sat. iii. " Catalogus corid. sa!C. xv. Impressorum bibliu- thecae Magliabecchinnae. Flor. (793, 94, 05, 3 pari. IQ fol. ^ See ante, boot{ vi. ch. xii. "4 Landino died there in ISU'i, ueaiiy eighty-one years old. His body has remained uncorrupled and is still shown tbeie; il may be rectioued llie best preserved in Europe. An inscription (if eight Italian verses commemorates bis lite and norks, and alludes to the phenomenon of bis corpse. A The catalogue compiled by Cocchi, first librarian of the Magliabecchiana, may be profound and methodical in its arrangement, but it is not very clear, and renders research diflicult enough; he has viewed all that the human mind can know under three aspects : words, things, and inoral or sacred fads , and has consequently laid down four great divisions, namely : belles-lettres, philo- sophy, and maihematics; profane and ecclesiastical history, each subdivided into ten parts; whence it results that his whimsical catalogue begins with the grammar and ends with the Bible. An excellent catalogue of the editions of the fifteenth century has been published by the librarian Ferdinando Fossi,^ aided by the present learned and obliging li- brarian, the abbe Folllni. The most remarkable are : two copies, one on vellum, of the Mayence B«t/e( 1462), one of the earliest and most splendid produc- tions of typograjihy, which confirms our remark on the |)rimitive beauty of that art; ^ the first Homer that Florence had the hon(;ur of printing before all other places (1488), a vellum copy olfered and dedicated lo Pietro de' Medici, adorned with his family arms executed in a superb frame, and with rich miniatures; twenty leaves however are wanting, and have been replaced by manuscript pretty closely imitating the ancient impression: the EpistolcB familiar es of Cicero (1469), vellum, the first hook printed at Venice ; the celebrated Dante, with the diffuse but still estoemeil commentary of Cris- loforo Landino (Florence, 1481), for which he received a palace, alia collina in Casentino,'' a brilliant copy, vellum paper thrnuglioul, embellished with nielle ■with the arms of the republic, and presented by Landino to the Flo- rentine senate; the Deo gratias Deca- meron : 5 a vsritlcn note on the copy of the Deputies' edition mentions their names ;^ the Florentine History, of Leonardo Aretino, translated into Ita- lian by Donate .Acciaioli (Venice, 1476), Bolognese, captain Gavignani, polled out two of his teelh in 1532, and look them anay as a relic. A priest mutilated the body in another way for decency's sake, when be learned that the princess Violante Beatrice of Bavaria was coming lo see it ; and the princess, struck with so strange an act, humorously said that its author ought to undergo the lex talionis. 5 See ante, book vii. ch. xii. ^ They were Francesco Caltani da Diacceto, An- Chap. VHI. FLORENCE. a very fine vellum copy of the first edi- tion, which ends with the words Laiis immortaJi Deo ; one of Ihe two copies on vellum paper of Ihc scarce edition of Ihe lyjuseum and the Gnoma monosthiccB (Florence, about 1500) ; the Anthologia of Lascaris (Florence, 149i), a magnifi- cent copy, with medalions painted at the corners imitating antique cameos, a pre- sent to Pietro dc' Medici ; one of the five splendid vellum copies of the Argo- nautica by Apollonius of Rhodes (Flo- rence, 1496), ornamented with rich mi- niatures and arabesques. A manuscript of 1342, by Petrarch's old master Con- venevole di Prato, who through poverty was tempted to pledge Cicero's treatise on Glory lent him by his pupil, which has never been found since ; this manu- script contains a long Latin poem ad- dressed to King Robert, written in the lime of Benedict XII., in which Italy personified prays the king for aid amid her overwhelming ills : Convenevole surpasses Petrarch in flattering Robert,- for he goes to the extent of comparing him to Jesus Christ, The materials of the Biblioteca degli scrittori Fiorentini e Toscani, by the irascible and impetuous physician and philologist Cinelli Calvoli, frienci of Ma- gliabecchi, have been reduced to twelve folio volumes by the canon Biscioni ; they prove the learning and indefa- tigable application of that writer, not- wilhslanding the troubles of his whole life. In Ihe manuscript-room, is a Nostra Signora, a fine work by Carlo Maratto. CHAPTER VIII. ScientiOc and literary cabinet of M. Vieusseux.— SclentiGc and lllerary cbaracttrs of Florence. Beside these old storehouses of erudi- tion, Florence possesses a modern esta- blishment of great interest, the cabinet of M. Vieusseux, which singularly in- creases the pleasure of one's stay in the town, and ought to receive one of the earliest visits of every enlightened tra- veller. Thfre may be found the prin- cipal journals, reviews, and remarkable lonio Benivleni, Ludovico Hartelil. Vlacenzo Bor- gliiiii, Baccio Valori, Agnolo Guicclardiiii, Jacopo Hilli, Basliano Anliiioil ami Baccio Baldiiii. ' See 'dile. book ix. cli. lii. ' Died August 13, 1832, and was not replaced in novelties, that appear in Europe. Such an establishment in the centre of Italy must ultimately advance the improve- ment and progress of the country. It must be acknowledged, that the Italians already appreciate the advantage of these means of instruction : while the old worthless academies of versifiers and pedants, the titles of which were in some instances no less ridiculous and fantastic than their labours, are decli- ning or qiiitting the stage, learned so- cieties are si)ringing up, devoted to the observation of facts and tending to the public good It is no rare thing to find, in the smallest towns, men occupied in the study of the exact and natural sciences, forming collections, and hold- ing their humble meetings, without as- suming the diploma and outward show of academicians. There was a meeting at M.Vieusseux's, one evening every week, of the most distinguished literary men of Florence : the abb6 Zannoni, antiquarian of the Gallery, secretary of the academy della Crusca, and a scholar of the first rank ; » S. Micali, historian of Italy before the Roman domination; the old abb6 Ses- tini, the Pyrrho or Bayle of numisma- tics; 3 S. Niccolini, an orator and bril- liant tragic poet, but too declamatory, whose pieces are more relished at Flo- rence than elsew here in Italy ; the inge- nious and elegant Giordan! ; S. Baldelli, biogra|iher of Boccaccio ; ^ professor Ciampi, hellenist;S.Tommaseo, an eager partisan of the new literary doctrines, and too irreverent towards the first Ita- lian masters; S. di Forti, an exact, severe logician ; S. Capei, a learned jurisconsult; S. Valeriani, a true poly- glot ; S. Libri, a great mathematician, now a Frenchman, professor at the College of France and the Institute ; S. Gazzeri, an excellent chemist and most lucid professor, a man whose sim- plicity and candour require a Fontenelle to paint them ; ihe canon Borghi, a ce- lebrated lyric poet and happy translator of Pindar; S. Pananti, an original writer and poet, whose recital of a short capti- vity at Algiers is full of interest, and who has seen his eloquent imprecations 1838: S. Migliarini, of Rome, a learned iiumis- tualist, bas lulely been charged nl'ib Ihe preserva- tion of the medals. i Diud in 18)3. 4 Died in April, 1831. 29 33S FLORENCE. [ Book X. for the rlcstruclion of that haunt of pirates heard by France; S. Raffaele Lamfruschiiii. an enlightened economist and zealous promoter of infant schools, now so numerous in Italy. CHAPTER IX. Duotno.- Arnolfo dl lapo.- Cupola.— BruneUaschi. — Pavement. — Tombs. — Slatucs. — I'aintings - Choir.- Michael Angelo's last worli.— Gnomon. — Sacristy. -Pazzi.— Campanile.— Zu^cone.-Sdint John — Doors.— Ghiberli. — Cossa.— Altar.— lii- gallo.— Dante's bench. Santa Maria del Fiore, the duomo of Florence, one of the most remarkable edifices in Europe, and the first great church built free from ihe Gothic taste, though not altogether in the ancient, is a work of Arnolfo di Lapo, the architect of the Palazzo Vecchio. On reflecting that at this very epoch the seigniory had the city encircled with a third wall, the baptistry covered with marble, and the granary called the Saint Michael's Tovjer erected, one is forcibly struck with the number and splendour of such undertakings. The grand and beautiful monuments of Florence date from the republic, and the Medici themselves constructed no building but the much less solid one of the Uffizi. The decree of the Florentine republic, which orders the reconstruction of this temple, is me- morable : asenatus-consullum of ancient Rome could not be more noble than this decree of the city of Florence in the thirteenth century, the text of which is still regarded as a model of purest Ita- lian : Atteso die la somrna prudenza di uii popolo d'oriqine grande, sia di procedere nclli ajjari suai di modo, die dalle operazioni esteriori si riconosca non mcno il savio, die magnanimo suo operare ; si ordina ad Arnolfo, capo maestro del noatro comune, che faccia il modello o disegno della rinnovazione di Santa-Reparata, con quella piu alta e soiituosa magnificenza, die invenlar non si possa, nemaggiore,ne pit'i bella dalV industria e poter degli uomini; secondodte da' piu sari di questa cittd e stato ditto e consigliato in pubblica e privcda adunanza, non doversi in- traprcndere le cose del comune, se il concetto non e, rf; farle correspondenti ad un cuore, che vien fatto grandis- simo, perche composlo dell' animo di piu cittadini uniti insieme in un sol volere. Arnolfo di Lapo, one of the great men of modern architecture, the creator of the Florence school of archi- tecture, was worthy the choice of his fellow-citizens. The substantial struc- ture of the Duomo is still admired, des- pite its nakedness. The opinion of the time attributed earthquakes to currents of subterranean water; therefore Ar- nolfo had deep wells dug within the building to counteract their effects. Ac- cording to a tradition existing at Flo- rence, the artist is stated to have thus proudly addressed his monument : "I have preserved thee from earthquakes ; may (iod preserve thee from lightning!" Though the work was never inter- rupted, Santa Maria del Fiore was a hundred and sixty years in building, and con.sequentIy exhibits the progress, improvement, and decline of the art. Arnolfo's successors were Giotto, Tad- deo Gaddi, Orgagna ( though it is not known what p.irls are his), Lorenzo Filippi, and lastly the illustrious Brunel- leschi, whose prodigious cupola, the model of Saint Peter's at Rome, and more solid, though spoiled by his in- competent successor Baccio d'Agnolo, is the masterpiece. The most glorious ho- mage this cupola has received is doubt- less that rendered by Michael Angelo, who marked out himself the place of his own tomb in the church of Santa Croce, in such manner that, when the doors were open, one could see from thence the daring monument which his lofty independent genius had imitated. If the mild temperature of Saint Peter's ex- cites admiration, Brunelleschi seems no less than Michael Angelo to have created the climate of his duomo : I cannot forget the delightful coolness that reigned there during the burning heats of July and .\ugust 1834. History has handed down Brunelleschis discourse which he deli- vered in one of the conferences that pre- ceded the construction of the cupola of the Duomo ; it would be difljcult to speak with greater modesty and address, to explain more clearly the difficulties of work, or to throw more embarrassments in the way of one's competitors. One feels that Brunelleschi, the architect, sculptor, painter, goldsmith, clockmaker, geometrician, was also an orator : ' nor ' Brunelleschi applied himself also lo the most Chap. IX. ] FLORENCE 539 did he exhibit greater tact in his haran- gue than in his retreat, and all his con- duct throughout the consultations at- tended by the most r;imoiis architects of Europe, whose presence had been solicited by the merchants of Flo- rence from the sovereigns of France, Eng- land, and Germany. At last, after un- heard of vexations and a rigorous capli- vity, he obtained the sole direction of the works. As a watchful captain disposes and encourages his soldiers, so did Bru- nelleschi in person direct every workman and examine the quality of the mate- rials; day after day he invented new machines and shorter expedients, and when the cupola was complete, except the exterior of the drum and lantern, he died on the scene of his exertions.' Though without a front, » Santa Maria del Fiore is of an extremely noble and harmonious aspect ; the marble of various colours with which the whole building is lined produces the most brilliant elTict. Over the side doors arc several remark- able basso-relievos : a Virgin with two angels, in marble, by Giovanni Pisano ; an Annunciation in mosaic, by Ghir- landajo, and the singular Assumption, called at Florence the Mandorla, because the Virgin is represented on a medalion in the shape of an almond (Mandorla) : it is the work of Nanni di Antonio di Banco, and one of the good sculptures of the fifteenthcentury. It may be observed that the angel in the upper part of the basso- relievo holds under his arm one of those rustic instruments (something like a abstruse questions of pliilosopliy; lie frequenled the conlerences nheie tliey were discussed, and was considered al Florence as one of tlie rudest antagonists in lliat liiiid oT argumentation. Dante was as his daily food, and be commonly supported his conclusions iviih some of lliat poel's verses. He moreover appears to have been facelious and fond of pleasure : he was a principal actor In [he pretty novel of Grasso legnajnolo. composed about <450 by an author now ujiknown. From ihe re- searches of Mazzuchelli and liandiiil. Bruuelleschi has been, conjointly Hitb Domenico da I'ralo, re- cognised Ibe author of llie ronianlif poem of Ceta e Birria, Imitated from Ibe Amphitryon of Plaulus. ' The colossal .'■lalues of Arnolfo di Lapo and Bru- nelleschi. well execuled by S. Ludovico I'ampaloiii. n young Florentine sculptor, have been very sui- l«bly placed facing the duomo by the Deputuzitmv deW opera (the fabric of Ihe church), in front of the Canonica, one of Ihe corners of the place, (he coolest, and best ventilali, which 1 recommend to travellers who may be at Florence during the great heals. hautboy) which are played at Rome in ad\ent by the joyous and devout moun- taineers called P»77eran', who come down from the Abruzzi and Calabria, and with which they accompany the airs or po- pular duets sung before the images of the Madonna. On entering the church one is struck \\ith the beauty and brilliancy of the pavement and the various-coloured mar- ble, a charming performance, by an uncertain author, which seems like a garden enamelled with flowers. Such a decoration is worthy the church del Fiore and the cathedral of Florence, one of the cities of Europe where the luxury of flowers is carried to the high- est pitch, and which retains the lily in its arms. This lily was at first while, afterwards red ; this change, the conse- quence of revolutions, is regretted by Dante : Che' 1 giglio INon era ad asta mai posto a ritroso, Nfe per division I'atlo vermiglio.' The lily is said to have always grown wild in the vale of Florence ; it still flourishes there, and sometimes may be seen shooting out of old walls like our gilliflowers. The duomo has some illustrious toml)s: such is Brunelleschi's; the sepulture of his family was at Saint Mark ; he has been most properly buried within the walls that so loudly proclaim his glory. The characteristic epitaph is by Marsup- pini,"! his portrait as a citizen of Florence » This Imperfection Is owing to Ihe successive pretensions of some of Us archliecis Glollo pulled down a part of Arnolfo's front that he mighl malic It more uniform with (hi! archilcclure of the steeple. The rest was deslroyed through (he ca- price of Ihe piovredilore Benedetto Uguccioni, » liom Bnonlalenti had persuaded to execulc a more eleg.inl front, but it was aflerwards found impos- sible (0 agree on the clioiie of a plan. A hundred 5ears later, (he front of Ihe duomo was painled in fresco by cerlain painlers of Bologna, for Ihe marriage of Prince Ferdinando, son of Co.smo 111., wllh Violante of Bavaria. The faiilaslic design, as far as can be now ascertained, for Ihe fresco is almost effaced, was by I'assignano. A'tliough It contrasts Hi(h the architecture of (he church and steeple, it is not deslliule of merit, 5 farad, cant. xvi. 153 4 D. S. Quantum Philippus architeclus arle doedaleo valueril, cum hujus celeberrimi (empli mira (es- ludo, turn plures aliae divino ingenio ab eo adlu- vtntae machinae docunnento esse possunt. Qua- 340 FLORENCE. [Book X. is by Bugiano, his pupil. The tomb of Giotlo, the restorer of painting, perfectly the same as Brunelleschi's, is beside it; the bust is by Benedetto da Majano. The inscripiioii, very fine, which might have been taken from the verses of Dante, Petrarch, or Boccaccio's prose, was composed by Polilian, at the com- mand of Lorenzo de' Medici.' The mausoleum of Marsilio Ficino, the first, the mo.'t intelligent interpreter of Plato, and chief ofthe Platonic Academy found- ed by Cosmo de' Medici in his palace, represents him holding a folio volume in his hands; this zealous disciple of the Greek philosophy was canon ofthe ca- thedral : his tomb was erected at the cost of the Stat' ; the bust is by the able sculptor Andrea Ferrucci of Fiesole. The three neighbouring monuments of Brunelleschi, Giotto, and Marsilio Ficino singularly honour Floreiice, setting it forth as the real cradle of the arts and philosophy, and showing how deeply we are indebted to that city. The tomb of Antonio d'Orso, bishop of Fiesole, and afterwards of Florence, is surmounted by his statue; he is seated with hands crossed, and his quiet atti- tude reminds one much more of the savio than tiie valoroso prelato vaunted by Boccaccio,' who when the emperor Henry VII. besieged Florence, appeared on the breach at the head of his armed clergy and people animated by surh an example, and put the hostile army to flight. The Tuscan poet, Francesco da Barberino, the fellow-disciple of Dante at the lectures of Brunetlo Lalini, who had been admitted doctor by Orso, erected this mausoleum to his memory ; it is re- markably elegant for the time, has no inscription, but an inexplicable basso- relievo which has hitherto been the des- pair of the learned. The monument of Pietro Farncse, ge- neral of the Florentines, by Jacopo Or- gagna, is very fine : he is represented in a basso-relievo sword in hand, fighting propter ob eiloiias sui aninii dotes singularesqae virtules, XV kal. Maias anno MCCCCXLIV, ejus B. M. corpus in bac biimo subposiia grata patria sepeliri jussit. Pbilippo Brmiellesco aniiquae arcbltcctura; Instauratori. S. P. Q. F. civi suo benemerentl. ' Ille ego sum, per quetn pictura extincta revisit, on a mule, his horse having been killed, and gaining the victory on his new and baseborn steed. The bronze shrine of Saint Zanobi of Florence, one of the first preachers of Christianity in Tuscany, bishop of Flo- rence, a contemporary of Saint Ambrose and descendant of Zenobia, queen of Palmyra, is ornamented with popular basso-relievos by Ghiberti, representing divers of the saint's miracles; it is im- possible to imagine anything more chaste or graceful than the six angels or Fames (as you chose) sustaining the crown of the upper part of this elegant and simple shrine. The great statues of St James Major, by Sansovino, St. Philip and St. James Minor, by Giovanni dell' Opera, are among the best in the church; the St. John Baptist, by Benedetto da Rovez- zano, despite a little confusion in the drapery, is not without nobleness. The St. Mark seated is the masterpiece of Nicolao d'.\rezzo, a great sculptor ofthe fourteenth century. St. Andretv, by Andrea Ferrucci, is a fine statue notwith- standing the exceeding fullness of the folds. The statue of Poggio, by Dona- tello, is now in the interiorof the duomo; it was formerly on the front among the group of apostles ; Poggio was then some- times taken for one of his neighbours, to whom the roll of paper in his hand might give him some resemblance, and vulgar devotees have burnt more than one taper before the image of this mocker at church- men, the licentious auihorof the Faceri\o off feel at the same time. This colossal work of Paolo Uccello, an artist of the fifteenth century, so called from his great predilection for birds w ith which he filled his house and his pictures, is perhaps the first instance of a great bold- ness in painting, and it certainly is not infelicitous. Such was Ilawkwood's re- putation for bravery, that his sovereign, Richard II. of England, asked and obtain- ed hisbones of the Florentines. Sachetti mentions a true condottiere's jest of his. Two lay brothers, who went to see him at his chateau of Montccchio near Cor- tona, gave him this pious salutation : Dio vi dia la pace, to which Hawkwood re- plied : Dio vi tolga la vostra elemosina. The monks were rather puzzled by this answer, and asked him its meaning : Non sapete che io vivo di guerra, said he, e che la pace mi farebbe morir di fame ? One circumstance shows his cold blooded cruelty. Having given up Faenza to be pillaged by his men, he found two officers fighting in a convent for a young and lovely nun, and to end the dispute, Hawkwood killed the un- fortunate girl. Thebustof the famous organist Antonio Squarcialupi, by Benedetto da Majano, and its elegant epitaph by his friend Lorenzo de' Medici,' attests the passion- ate enthusiasm of the Florentines for music, and the importance of that art in their city, then so famous for philosophy and literature. Against the wall, near a door in the side nave, is an old painting by an un- known author, apparently of the lime, representing Dante standing, in a red ' Multum profecio debet musica Antonio Squar- cialupi organlslae; is enim Hi arti grallam con- juDiit, lit quartan] sibi viderenlur cliarites musl- cani asciviss« sororem. Floreniina civitas grati gown, with a laurel crown over his cap, and holding an open book in his hand; the physiognomy is ex|)ressive of kindness and good nature ; on one side is a view of ancient Florence, on the other an allusion to the three parts of his poem, w ith a singular inscription by the poet and scholar Caluccio Salulati : Qui coelum cednil. mediumque, imunique tribunal, Luslravilque anirao cuncta poeta sun, Doclus adest Dautes, suii queni Florenlia saepe Sun.sit loiisiliis 42 FLORENCE. [Book X. searches were of great service to that navigator; in fact his grand discovery was indirectly due to Toscanelii, who had persuaded him to try the western passage to India. The bronze doors oflhe canons' sacristy, covered with glazed earthen basso-re- lievos, by Luea della Robbia, are of mar- vellous beauty. These doors were in- trepidly and opportunely dosed by I'olitian and the other friends of Lorenzo de' Medici, who ran to his assistance, after the murder of his brother Giuliano by Bandini and Francesco Pazzi, when wounded and defending himself sword in hand, the sacristy offered him an asylum. Politian, likemostliterary men and artists of that epoch, was a man of resolution whose courage equalled his talent. I regret that AlOeri has not in- troduced him in his fine tragedy of the Congiura de' Pazzi, even at the risk of deranging the succinct monotonous sym- metry of its characters. The piece of the Italian tragedian, inspired by his hatred, his childish dread of the Medici {del Mediceo giogo), could not escape an unhappy catastrophe, as its heroes, in spite of the noble sentiments he gives them during four acts, must according to history come to the gallows at last. The conspiracy of the Pazzi, the Brutus and Cassius Florentine merchants, like all republican conspiracies against popu- lar chiefs, strengthened the almost ab- solute power of the Medici, as such vain efforts have ever produced and hastened the loss of liberty. The Campanile of the duomo of Flo- rence, of German Gothic architecture, was erected by Giotto; after more than five centuries, this wonderful .structure, so highly adorned, so brilliant and light, the first of steeples and finest of towers, still stands firm and upright, a remark- able fact in a coimlry where more than one leaning tower shows the unstable nature of the soil, which clearly proves that this creator of modern paint- ing was no less skilled in the art of building. Charles V. so greatly ad- mired the Campanile, that he would have liked to put it under a glass cover that it might only be seen on certain days; and Politian has sung its praises in Greek and Latin verse : fine as the Campanile, is a favorite simile of the Florentines, who, like the inhabitants of ail other Italian cities, are proud of their monu- ments. The Campanile is ornamenled with excellent sculptures : there are six statues by Donatello; one in particular is perfect ; it represents Fra Barducclo Cherichini, instead of an apostle as often stated, and was called lo Zuccone (the bald) by its creator, a name it still re- tains ; seen from the elevated point of view for which it was made, one might take it for a Grecian statue, so fine is the expression of the drooping head, so ma- jestic are the outlines, so noble the dra- pery. The authors of the Memoirs of bonatello relate that in his transport at the completion of his Zuccone, which he reckoned his masterpiece, the artist, like another Pygmalion, said to his huge Galatea: favella, favella (speak, speak). The different basso-relievos of Andrea Pisano are worthy of the best days of sculpture : the Cavalier fleeing; the Boat rowed by two youths who pass an old man, arc primitive chefs-d'oeuvre full of nature and expression. On the side of the Campanile towards the ca- thedral, are two basso-relievos by Giotto, and five by Luca della Robbia. The church of Saint John, formerly a cathedral and afterwards a baptistry, was first founded in the sixth ceniury, by the great and amiable queen Theodo- linda,' when Tuscany was subject to the Lombards. Then vast quantities of antique ruins aHbrdcd builders stones readj-hewn, with wrecks of capitals and columns; these numerous fragments, difTcring from each other, are united in the baptistry, and one stone may be seen there bearing a fine Roman inscription in honour of Aurclius Verus. The tradi- tion of the antique style, a kind of remi- niscence of good taste then passed away, may be discovered in the plan, in the sim- plicity ofthe elevation and arrangement, and even in the covering of the monument. The doors and bronzes of Saint John are regarded by Cicognara as the finest works in the world. If Dante, who rails so violently against his countrymen, by whom he had been proscribed, so en- thusiastically celebrates the monuments of his country, what would he have said of this brilliant baptistry, he who so feelingly remembered the old one ! ... tib luaggloii Che quti ctie son net iiiio be) San Giovanni 1 9 ' See booli iv, cbap. iii. ' /"/. can. SIX. 17. See also ParaJ. xv. 131. Chap. IX.] FLORENCE. 343 The oldest of the three doors, to the south, executed between t330 and 1339, is by Andrea Pisano, the ablest pupil of Nicolao; though since eclipsed by ihelwo neighbouring doors, by Ghiberli, which are perhaps inniiatlons, it then appeared marvellous. The seigniory of Florence went in procession from their palace to visit it, accompanied by the ambassadors of Naples and Sicily, and the artist re- ceived the signal honour of the cittadi- nanza. The door by Andrea, pre- senting the history of Saint John and different Virtues in twenty compart- ments, is still worthy of admiration. The Visitation, the Presentation, are simple compositions in good taste : the women have an air of gracefulness, propriety, timid embarrassment full of charms. Among the Virtues, Hope, a winged fi- gure with extended arms, is full of ar- dour for the attainment of its desires ; the Prudence, on the contrary, calm and nioiionless, has a double face, one a young girl's, the other a man's of mature age ; in one hand she holds a serpent, and in the other a book. The naked parts and drapery of these two figures are per- fect. Michael Angelo declared that the middle door, by Ghiberli, was fit to be the gale of Paradise.' "Ghiberli," said he on other occasion to a friend, in justification of his celibacy, " left itn- mense properly and many heirs ; but who would now know that he ever existed, if he had not made the doors of the baptistry ? his wealth is dissipated, his children are dead ; yet his bronze doors arc still standing." These cele- brated doors, like the cupola of the duomo, the result of one of those Euro- pean competitions already mentioned, were confided to him when only twenty- three; and according lo Vasari, they oc- cupied him no less than forty. « Among the competitors was Brunelleschi, then I Benvenulo Cellioi makes Francis I. use nenrly the same language, respecting a door of bis making ( Vila di B. Celliiti, t. ii. p. )05), so closely were Chrisllan ferTOur and the lliouglits of saJTalion connected nilli the arts at that period. ' Vasari's assertion has been contradicted, but it is contirmed and explained in a learned memoir b\ S. Vincenzo Folliiii, librarian of the Maglia- becchiaoa. on some difticulties in the history of the baptistry doors, which was read at the academy (lella Crusca, on the 13 of January ^ hich Cossa died ; and Ihopriori are said to have answered quod scripsi, scripsi. Uonatello had no necessity to put reli- gious emblems on the statue of Hope, one of the three divine virtues of the mausoleum; the sprightly touching ex- pression of her features is enough to make her known. The Faith, by Mi- chelozzo, IS not ill placed beside Ihe two fine statues of his master, who perhaps made the model and directed the execu- tion. The statues of papier mache round the church, are by Ammanato. Apol- linius, a Greek painter, and Andrea Tafi, his pupil, who made the great fi- gure of Christ, began the mosaics ofthe cupola, which were completed by Jacopo da Turrita. Taddeo Gaddi, Alessio Hal- dovinetii, and xMichael Angelo's illus- trious master, Domenico Ghirlandajo. The altar front, of silver, enriched with enamel and lapislazuli, on which divers incidents in the life of Saint John are at Ihe preference of Ihe tatter, Ihev destroyed by means of lire and smolic, says Ser Giovanni, the Itind of tint that made them valuable. It Pecorone, Giorn. xit. nor. 2. Chap. X. 1 FLORENCE. S43 represented, the most classic piece of goldsmiths' work known, is a splendid and curious monument of the magnifi- cence of the Florentine republic; it was begun in 136G, but not finished till 1477; artists of the highest order were engaged on it, as Michelozzo di Burtolommco, Maso Finigucrra, Sandro Botticelli, An- tonio Salvi, and Antonio del Polliijolo, for boldness of design and anatomic skill, regarded as a forerunner of Mi- chael Angelo." Two small pictures in mosaic most delicately worked are part of this precious altar; they are allusions to the principal holydays of the year, and were deemed, by Gori the anti- quary, remarkable proofs of the sacred antiquity of the Florence baptistry. Beside Saint John, the Bigallo, an hospital for foundlings and orphans, has on the altar of its chapel a fine Madonna in excellent preservation, by Alberto Arnoldi, a Florentine sculptor of the fourteenth century, wrongly ascribed by Vasari and other writers to Andrea Pi- sano ; for grace and expression it is alto- gether worthy of him. In a side street, close to the houses, is a spot religiously preserved, where there formerly stood a bench on which Dante used to sit; the words Sasso di Dante are inscribed there; perhaps, there he mused over the factions and anarchy of Florence, and created his Inferno. CHAPTER X. Saint Laurence.— Chapels.— Cosmo the elder. — Old Sacristy.— Chapel of the Tombs ; of the Medici. — Pedestal.— San Ciovannino.—.^mmaiiato. — Laura Baltiferri.— Padre Inghirami.— Lo Scalzo.— An- drea del Sarto. The old church of Saint Laurence was rebuilt by Brunelleschi in 1425. If there are any inaccuracies, they may be attri- buted either to some fault in the first foundation, or the errors of those who completed it after the artist's death. The fine disposition of the architectural lines is greatly admired there. Previously columns had been employed, either as they were found ready made, or such as the locality obliged them to be made, without any attention to beauty of form or the due proportions of each order: here ■ Cicognara, Slor. dell. Scutt. lib. iv. cap. it. Pollajolo is reputed tbe tirst n bo seriously studied tbe structure of (be Iiuman body by the belp of for the first time, the Corinthian order reappeared with all the regularity of its proportions and the elegance of its capital. The twenty-four chapels ofSainl Lau- rence are ornamented with paintings by able Florentine artists ; such arc the Visitation, by '^eracini ; the Sposalizio, by Del Hosso, painter to Francis!., poi- soned in France ; a St. Laurence, by Lapi; a Christ on t/te Cross with Sts. Jerome, Francis, and Magdalen, by Ot- taviano Dandini ; a Nativity, by Cosmo Roselli; the Adoration of the Magi, by Macchietti ; St. Laurence, St. Ambrose, St. Zanobi, done in one night by Fran- cesco Conti, for the gratification of his protector the marquis Cosmo Riccardi; a St. Sebastian, by Empoli, who has portrayed the Florentine senator Leone Nerli in the person of the martyr; St. Arcadius on the cross a7id his compa- nions, a pleasing composition for the figures and landscape, by the natural and elegant Florentine painter of the sixteenth century, Sogliani, under which are some charming figures by Bacchiacca. The Infant Jesus and the marble sculp- tures of the chapel of the Holy Sacra- ment, by Desiderio da Settignano, are admirable for taste and truth. The marble crucifix at the high altar is not, as stated, the crucifix of Benve- nuto Cellini, now at the Escurial ; it is by Baccio da Montelupo. In the centre of the church a broad pavement of porphyry, serpentine, and other marble, covers the tomb of Cosmo the elder; on it are these words : " Here reposes Cosmo de' Medici, surnamed Father of his country by a public de- cree; he lived seventy-five years, three months, and twenty days." In the vault is an equally simple inscription stating that the tomb was erected to him by his son. Such moderation on the tomb of this great man is very affecting, when we remember that he was for thirty years the able chief, the absolute master of the government of Florence, and that he was destined to give his name to the most brilliant age of modern literature and art. Cosmo has been diversely judged : Machiavel, Sismondi, and Nic- colini especially in his Elogium of Al- berti, have treated him harshly ; Comines anatomy, and introduced that study in the leaching of drawing. »6 FLORENCE. [ Book X. pretends " that his authority was mild and amiable, such as was necessary in a free city." Rousseau said to Bernardin de Saint-Pierre : " I have been much in- clined to write the history of Cosmo de' Medici. He was a private individual who became the sovereign of his fellow- citizens by making ihem happier. His good deeds alone procured his elevation and maintained it." Such was the well- ordered liberality of Cosmo, that when he died almost every Florentine of note was his debtor for considerable sums. A circumslance less remarked shows that his riches likewise gave him political influence abroad equal to that of our most powerful bankers and capitalists : when the Venetians entered into a league with Alfonso of Aiagoii against the Flo- rentine republic, he withdrew his funds from Venice and Naples, and forced the allies to remain quiet. The old sacristy was erected from the design of Brunelleschi; it seems a little temple of itself. The medallions of the cupola, the evangelists in stucco, the small bronze doors, an ewer, a bust of St. Leonard, and especially the elegant tomb of Giovanni de' Medici, son of Averardo and his wife Piccarda, are by Donatello. This Giovanni, father of Cosmo the elder, may be regarded as the author of his family's fortune; bis immense wealth acquired by commerce and the generous use he made of it, pro- cured him a great political ascendency ; and after having been ambassador at Ve- nice, in Poland, and at Rome, be became gonfalonier of the republic. He founded this very church of Laurence, which en- closes the masterpieces of so many illus- trious artists. A flne inscription com- memorates his glory, his services, and his virtues especially." Two paintings areremark.ible : a Nativity, by Raffae- lino del Garbo, and a St. Laurence, by Perugino. I he porphyry mausoleum of Giovanni and Pietro de' Medici, the two sons of Cosmo the elder, a famous work si merita in patriam, si gloria, sanguis, et omnl Larga manus, nigra libera morle foreiit, VIverel lieu palria casla cum lonjujic fcclii Auxilium miseris, portus et aura suis. Omnia sed quando superantur morie, Johannes Hoc inausoleo, tuque Picarda jaces, Ergo senex tuwrel, Juvenis, puer, omuls et aetas. Orba pareoie suo patria mojsla gemil. See Varieles italiennes, ^ See bis flne ode to Philiberla of Savoy, Glu- of Andrea da Verracchio, is an admir- able monument of the magnificence of Lorenzo and his brother Giuliano ; the bronze ornaments are cast and chased with exquisite art, that has never been surpassed. The Martyrdom of St. Laurence, near the door of the cloister, is a fine fresco of the first Bronzino; four marble statues are by Donatello, and Poccetti, the Paolo Veronese of Florence, has painted a tabernacle at the extremity of the temple. The two bronze pulpits, from Dona- tello's designs, executed by his pupil Barloldo, are incomparable works. The Descent from the Cross, a basso-relievo on one of the pulpits, for the attitudes, forms, variety, and force of expression, recalls the basso-relievos of antiquity. The new sacristy, the first and one of best architectural performances of Mi- chael Angelo, which he did when about forty, already announces, by the ordon- nance of the pilasters of the second story, his independence and originality in this art as in all others. The soft still light w hich falls from the lantern on the statues of the tombs, leads to and increases the profound, melancholy impression they produce. These celebrated sepulchres of Giuliano de' Medici and Lorenzo duke of Urbino, the most extraordinary chefs- d'oeuvre of Michael Angelo's chisel, have done more honour to the author than to the princes they enclose, who were vulgar and obscure, although sculp- tured by this grand arti>t and sung by Arioslo, a fact which may possibly ex- plain and justify the no-meaning and uncertainty of the allegorical figures em- bellishing their mausoleum. Some nice judges can discover in these figures neither the character nor beauty of the atitique; but they can well bear their absence, like ihe characters of Shak- speaie, w ben they are true and pathetic. Virgil's expression, vivos ducent de marmore vultus, is perfectly applicable liano's widow : Anima etetta, che nel mondo folic. Giuliano seems however to have merited praise for the generosity and sincerity of his character and his patronage of Ictlcrs; he is also one of the collo- quists iu Berabos DiaiOfio delta lingua italiana, and Count Casliglione's Cortegiaiio. The duke of Urbino *\as much less deserving the verses of Ariusto : Nella staglon che '1 bel tempo rlmena, Dl mia man posi un ramuscel di lauro CUAP. X.] FLORENCE. 347 to this amazing sculpture. What a sin- gular eCfecl of Michael Angclo's talent! the most unfinished and least anini;iled figure, Night, is the most lifelike. Among the many verses, Latin and Ita- lian, composed for these statues, an eternal mania of poetising everything still common in Italy, may be cited the Strozzi's quatrain : La Notte Che tu vedi lo .'.i doici atti Dormir, (u da uo Angelo scolpila In questo sasso, e. perclie dorme, ha vita ; Deslala, se not credi, e parleratli." Michael Angelo's answer is a coura- geous opposition to the power that op- pressed Florence : Grato m' 6 il sonno, e piii 1' essor di sasso : Mentre che il danno e la veigogna dura, Non vedur, non senlir m'egrdii veiilura; Verb non uii dostar : deh ! parla basso. Charles V., in Ibe ecstacy that he felt from contemplating the figures of these two monuments, was surprised that he did not see them ri>e and speak. The head, the gesture of the statue of Lorenzo, the Thought {II Pensiero) of Michael Angelo, are terribly, menacing; they are well suited to the precocious tyrant, the worthy father of Catherine of Medicis and of that bastard Alexander who destroyed the liberties of Florence. Some persons make the genius of .Michael An- gelo a kind of science, or art, understood by a small number ofadeplsonly. There seems to me some strange mistake in such a notion. The ed'ecl of thi^i chapel is instantaneous, complete, irresistible ; and it produces profound emotion with- out any lengthened study. Adjoining the prodigy of the tombs, are some olijects that merit notice in the new sacristy. The altar and chandeliers were executed by Michael Angelo. The group of the Virgin and her son is also by him; there is indeed some singularity and confusion in the draperies, but the figure of the Virgin is simple and na- tural, and the brisk movement of the in- , fant Jesus perhaps justifies the extraor- dinary energy of his muscles, and his truly Herculean form. On each side of the Madonna are two statues by pupils • Vasari pretends that the author of this quatrain is unknown; ills, ho\veyer, generally ascribed lo GiambiUiila Strozji, a pottof thesixlcenlh century, of Michael Angelo, and of which, accord- ing to Vasari, he even made the models: St. Datnian is by Ilafiaelle da Monte- luppo ; St. Cosmo is the chef-d'oeuvre of Fra Moniorsoli, who assi.sted his illus- trious master in making the tombs. The chapel de' Medici, behind the choir in the church of Saint Laurence, was built from the designs of Don Giovanni de' Medici, brother of the grand duke Ferdinand I. The architecture of Mi- chael Angelo's chapel of the Tombs sin- gularly depreciates this princely per- formance : the octangular form of the cupola has been much ciiticised, and de- servedly. The grand duke Ferdinand is said lo have had the project of placing the Holy Sepulchre there, which the fa- mous emir Faccardin, governor of Druzes, and a self-styled descendant of Godefroi de Bouillon, when at Florence in 1C13, had promised carry off for him. The works of the Medici chapel have been in progress more than two centuries ; it is encrusted with jasper and granite, and presents the arms of all the Tuscan ci- ties in fine stones. The colossal frescos of the cupola, the finest and richest cu- pola that painting has ever embellished, were accorded to S. Benvenuto a cele- brated Florentine master, who completed them in 1836, after nine years' labour : the subjects, judiciously selected from the Scriptures, are in strict conformity with the sepulchral destination of the chapel. Two of the tombs in the Medici chapel are remarkable : that of Ferdinand L, resplendent with the finest marbles, but ofthe wretched architecture of the times ; the statue, by Giovanni Bologna, is an expressive and accurate liki'ness of that excellent prince, the patron of letters and the arts, who had the glory of fixing the Venus of xMedicis at Florence. The se- cond tomb, by Tacca, Giovanni Bo- logna's best pupil, and in his style, is that of Cosmo IL, Ferdinand's worthy son, deceased in his thirty-first year, the pro- lector of Galilee, who was invited by him from Padua, named first mathema- tician of the university of Pisa, without being obliged to profess or reside, and created his private mathematician and philosopher. noicd for some fugilive pieces extremely graceful and delicate. SIS FLORENCE. [Boor X. The tomb and statue which Paoio Giovio ordered for himself inhiswillmay be seen in the cloister of this church. The architecture of the monument, by Francesco San Gallo, is in tolerably good taste; the mean, satirical, unbishoplike physiognomy of ihe statue well accords with the character and writings of the person it represents.' In a corner of the Piazza of Saint Lau- rence is the pedestal ornamented with the celebrated basso-relievo of Baccio Bandinelli, and one of the best works of that epoch, despite some few imperfec- tions. This pedestal was intended for the statue of Giovanni de' Medici, called the Great Divil in his lifetime, and of the black bands alter his death, because his soldiers, the choicest of the Italian troops, wore mourning for him. The various excesses of military recklessness and rapine so energetically expressed in this basso-relievo are not unsuited to the monument of such a captain. The convent and beautiful church of Saint Giovanniuo were founded and built by the grand Florentine sculptor and architect Ammanato, who gave all his wealth to the Jesuits, and, feeling excessive religious scruples on account of the harndess nudity of certain statues he had made, consecrated his latter years to the erection of this church and works of piety . According to his desire, he reposes in the chapel of Saint Bar- tholomew, with Laura his wife, natural daughter of the legist Battiferri ; this lady was celebrated for the purity and elegance of her sacred poems, and her correspondence with most illustrious men of the day, such as Caro, Varchi, Bernardo iasso, Pietro Vcttori ; she was publicly acknowledged by her father, who secured bis whole fortune to her, and was unwilling that any but a man of superior talents should become her husband. The front of the church, re- gular, is esteemed. Among the good paintings of the chapels^ may be distin- guished, in that of Saint Bartholomew, Christ, the Apostles and the Canaan- itish woman, by the second Bronzino; the St. Bartholomew, leaning on a stick, is the jiorlrait of Ammanato, and the old woman behind the Canaanite, Laura Battiferri ; in the chapel of Saint Francis Xavier, the Saint preaching to the in- ' See ante, booli it. ch. viii. fidels, one of the best works of Currado, a Florentine painter of the sixteenth cen- tury. The convent is now occupied by the Scolopi, successors of the Jesuits, learn- ed and estimable monks who have in- troduced some useful reforms in the teaching of letters and the physical and mathematical sciences. The P. Gio- vanni Inghirami passes for one of the first astronomers in Europe, and his geometrical map of Tuscan is an excel- lent and unique work. The celebrated frescos in clare-obscure, by Andrea del Sarto, at the Compagnia dello Scalzo, executed at divers epochs, are like the history and epitome of his talent : the Baptism of Jesus Christ shows hisQrsl style; the Virgin visiting St. Elizabeth, his progress; the Birth of John the Baptist, his perfection. Ihey demonstrate that this artist, sur- named the faultless painter ( Andrea senza errori) is in reality more admir- able for nature, purity, grace, than power, originality, imagination. Two of these frescos, St. John receiving his father's blessing, and the same met by the infant Jesus on a journey, were ex- ecuted by Franciabigio, pupil of Andrea del Sarto, while his master was gone to France, and appear worthy of him. Time, clamii, restorers, and perhaps ill- will, have greatly impaired these paint- ings, but the progress of their decay seems to have been arrested since the Academy of Fine Arts has taken them under its care. CHAPTER XI. Saint Marli.— Pico delta Mirandola.— Polllian.— Convent. — Savonarola- Old library of SainI Mark. — Annuuzlala.- Cbapel.— The Villani.— Gallery. — Cloister. Saint Mark is remarkable for some masterpieces of art and the most illus- trioustombsof the revival. The interior architecture of the church is for the most pari by Giovanni Bologna, who also made a statue of S<. Zanobi, the chapel of Saint Antoninus and his statue; but Ihe cupola of the former and several fi- gures are by the second Bronzino. In the church, an admirable Transfigura- tion, which might be supposed by a greater master, is by Paggi, a Genoese painter, by birth a patrician, who, when Chap. XI. 1 FLORENCE. 0^9 forced to fly his country for murder, found ail asjlum for twenty years at Florence. The brilliant chapel of the Serragli lias six exrellent paintings : the Last Supper, the most icmaikable, is by Saiili Tili, pupil of IJronzino, the best Florentine painter of his time : the Christ and Judas form a superb contrast of divinity and crime; the Miracle of the manna, by Fassignano; Abraham's sa- crifice, by Empoli; the Miracle of the loaves and fishes, Ity Currado; and St. Paul raising a child from the dead, by Billbcrti. The great Crucifix, painted on wood with a gold ground, over the principal door, is by Giollo. The tomb of Pico della Mirandola is covered with a pompous and foolish in- scription, hyperboiically extolling his vast renown; ' though this prince died before completing his thirty-second year, his learning was prodigious; after |)ro- foundly studying the Egyptian, Hebrew, Chaldean, Greek, Latin, Arabian, and cabalistic creeds, he determined to go alone and b.irefool to preach Ihe gosp^'l ihioiighoul the world. The elegant and pure i'iatonic poet,Gerommo Benivieni, his friend, and a zealous partisan of Sa- vonarola, ^ deceased at the age of more than eight-nine years, wished to be laid nearthepriiice della Alirandola, asstated in his touching epitaph, so widely diffe- rent from the one preceding it.s The tomb of Polilian, who quilled life two months before Pico della .\Jirandola, the aid and dearest partner of his toils, has only a w retched faulty epiiaph (it makes him die in 1499 instead of li9i), un- worihy such a sepulture. This great scholar, this friend, this Virgil of the .Me- dici, had ex|)ressed a w ish to be interred in Saint Mark, dolhed in the habit of ' Joaunes jacet liic Mirandula: cetera noruni £t Tagus et Ganges ; forsaii ct antipodes. ' BcniTieni liad degraded bis talent so Tar as to compose relit'ious verses to dance tunes, a liiiid of spiritual rondos nLith were sung during carnival 00 llie piazza ol the convent of Suint Mjrk. ^ Uleronymus Benivenius, ne disjuiiclus post mortem locu> tuna leneret, quorum in \ila .mimos conjunxit amor, Ijac tiumo suppusita poiiendum cur. 4 De ten a memorial conlaining a relation of the circumstances attending Poliiian's last mo- ments. See Roscoe's Life of Lorenzo de' Medici, ch. \. and .No. Ixxviii in tbe appenciix. the Dominican order, a desire that was fulfilled by Roberto Ubaldini, a monk of the convent and perhaps the confident of the mysterious calamity that caused his diMlh".-* The convent of Saint Mark, from the designs of Michelozzo, presents some fine lunettes in iis two cloisters, ()uinled in fresco by Pocetti, Pietro Dandini, antery of the nuns of Saint Mary Magdalen de' Pazzi presents : its court, of the architecture of Antonio San Gallo. praised by Vasari, and, in the Neri Chapel, some excellent pictures by Poccetti. The church of Saint Michael Visdo- mini, built from Orgagna's plans, and reconstructed since, has a Virgin with divers saints, by Pontormo, a happy and free imitation of .\ndrca del Sarto his master, who sent him away, being jealous of his talents. The side door of the oratory of Jesus the Pilgrim or de' Pretoni. is from Mi- chael Angelo's designs. In the interior is the tomb of the celebrated burlesque priest Arlotto, vicar of Saint Cresci at Maciuoli, near Fiesole, deceased at the age of ninety-seven, an Italian Rabelais without genius, whose epitaph may be considered one of his faceticB : Questa sepolturail Pievano Arlotto la fece fare per se, e perchici vuolc entrare. Mori a' XXVII di febbraio del mcccclxxxiv. 1 he oratory of Saint Clement, a de- pendance of the old monastery, is curious for its frescos by Stradan, representing sundry particularsof the history of Christ, and for the portraits of Cosmo I., his consort, and the princes of that family, ever torn by dissensions, a misfortune tyrants sometimes experience. CniP. XII.] FLORENCE. ssx CHAPTER XII. riazza of Santa Croce.-Founlaiii. — Sanln Crocc. — Tombs of Michael Aiigelo, Machiavcl, Galileo. — Dante's nioiiument. — Olber tombs, — Altieii. — Lnnzi — Leonardo Aretino.- Chanctilors of (he Florentine republic— Mausoleum of Marsuppini. — Filicaja. — Taddeo GaddL—fulpit.- Cloisters.— Saint Ambrose.— La Badia. - Or-San-Michelc.— Dante professorships.- Gonnelli. The piazza of Sanla Croce -witnessed, abouUhe middle oflhe I hirleeiith century, the formation of the popular authority of Florence, when the richest citizens, weary of ari.-tocratic insolence and op- pression, assembled there, took arms, deposed the poilesta, and, after dividing themselves into twenty companies ac- cording to their respective quarters, each of which had a chief and a standard, replaced the podesta by a new judge with the tille of captain, formed his council of twelve anziani, and created, in the very heat of a riot, the constitution which during ten years was the source of so many honourable actions. This square is now the rendezvous of the masqucra- ders and follies of the carnival. The marble fount.iin in the piazza of Santa Croce, one of the few fountains in Florence, ill-supplied, furnishes almost the only potable water in the town, where everybody drinks the unwholesome tar- larous water of his own well, which produces the leaden hue and liver diseases of the inhabitants. Sanla Croce, built about the end of the thirteenth century, by the gi-eal ar- chitect of the Florentine republic Arnolfo di Lapo, has been restored on the designs of Vasari. This vast church, naked, gloomy, severe, lighted by superb Gothic windows of stained glaported the opinion, re- adopted in our days, that the Italian was as old as the Latin, that ihey were boih employed at the same time at Rome, and that, if the latter were the language of ■ the learned and the orators, the former ' was the dialect of the people. Bruni Aretino was chancellor for the second lime ^hen he died ; at the council of Florence, lie had harangued, in his offi- cial capacity, the emperor Paleologusand the Greek patriarch in their own lan- ' Tlie runeial oraiion nas delivered by Gianozzo Manelll, a creat scholar of llie revival, u bo Ibonglit proper to inlroducc, on Ihe subject of Lcoiurdo's crown, a long digression of live quarto pages in very small t>pe, on the eight liinrts of cronns kiionn 10 Ihe ancients. It Ha< no doubt to destroy the effect of this luckless panegyric, that Fiielfo, > I etino's loving friend, published another di-course noble, p;)lhelic, and hcM composed, a true conlrast Willi Gianozzo s, which proved so excessively irb- souie to his learned audience. guage; had he lived longer, be would have been gonfalonier." When we see literary pursuits lead to such honours, and the ofTice of chancellor, the second in the republic, successively confided to sueh learned men as Leonardo Aretino, Coluccio Sniutati, Carlo Marsuppini, Poggio, Benedetto Accoiti, Landino, Bartolommeo Scala, it is easy to account for Ihe ardour for study at that time, and it is impossible not to admire a state wise enough to employ such men. The tomb of Francesco da Barberino and his son has an inscription in Lalin verse attributed by tradition to Boc- caccio : Incllta plange luos lacrymis Florentia cives; Et palilbus tanlis fundas oibata dolorem. Diiiii rcdeunt dOiijini Francisci funera raente De Barberino tt nati : nam judicis oniue Gesserat ofticium,sua coida cavenda reatu Sed sails excedil natuin ; quia doctus ulroque Jure fuit genitor. sed solo Alius uno. Scilicet in causis qua; sunt safcularibus arte. UocsuDtsub lapideposili,quibus ultima clauso I'erlida mors oculos, paucis dilala diebus Strage sub a?quali. qua lolum lerruil otbeni Id bissenario quater aucto mille Irecentis. The author of the Decameron bor- rowed the subject of some of his novels from the Vior di novelle of Francesco da Barberino, like Dante, one of Bru- netlo Latini's pupils, a scholar, theolo- gian, and celebrated jurisconsult, author of a moral poem, entitled / Documenti d'amore. of the Reggimento delle donne, and a skilful miniature-painter. Barbe- rino died oflhe awful plague of Florence in 13i8, agod eighty-four years; his writings, rather curious than pleasing, have contributed to the formation of the Tuscan language, and procured him the honour of being placed by the Academy della Crusca in the rank oflhe classics. The tomb of Nardini, a celebrated violinist, the pupil and friend of Tartini, and Paganini's master, is near Ma- chiavel's; despite its pompous inserip- > Aretino seems also to have been an agreeable narrator. To dissipate the sadne s produced in a parly at Florence by hearing read lioicaccio's novel of Gbismonda, he reciied the historv of Stralonice and Antiochus, now cleverly adapted for our lyiic stage, and one of thechefs-d'ceuvrcof French music. See f^ovelle di vari milori, t. ii, p 80, la Novella i/i messer Lionario U'ArezzD. 556 FLORENCE. [ Bock X . tion and Nanlinis talent, it seems utterly frivolous amid these majestic sepulchres. The mausoleum of Count Joseph Skot- nicki, a Pole and lover of the arts, who died at thirty-three of a consumption, one of the best works of S. Ricci, is ad'ecling; it was raised by his young widow: a lyre and pencils, in allusion to Skoinicki's ta Jents, with a fine female figure represent- ing conjugal fidelity at the foot of a column surmounted by a funeral urn, form all the monument. The Pole it encloses, notwithstanding the quiet obscurity of his life, seems worthy to rest among the glorious dead of Santa Croce, since the immortal example of courage and sacri- fice his country has displayed. The elegant monument consecrated to the countess Albuni by S. Fabre, is the work of one of our first French archi- tects, the late M. Percier, not less distinguished by his talents than his unassuming simplicity ; the statues and ornaments by Santarelli and Giovanozzi da Settignaiio, Tuscan sculptors, are worthy of the monument. The tomb of Ubei lino de' Bardi, cap- lain of the Florentines, byGiollino, one of Giotto's grandsons, is, though somewhat dry, a work of sculpture and painting, singularly new, natural, poetical, and diversified. The tomb of Antonio Cocchi is inte- lesting when associated with the various works of that learned phjsician, philoso pher, antiquarian, man of letters, the friend and correspondent of Bocrhaave and Newton. The mausoleum of Carlo Marsuppini, the masterpiece of Desiderio da Setti- gnano, is full of grace, taste, softness, aud elegance. Marsuppini, a famous professor in his day, lias left nothing but a few poems and writings not above me- diocrity : he was Filelfo's enemy, and succeeded him in his professorship, after basely eiTecting his exile from Florence. When one reflects on the ordinary exe- cution of the tombs of Machiavel and Galileo, it is sad to see that unequal fate has devoted one of the wonders of art to Marsuppini. Doctor Lami merited, by his extensive knowledge, the tomb he has obtained at Santa Croce ; a great scholar, profound divine, laborious librarian, whose life was, however, full of quarrels and ad- ventures. The mausoleum of Pompeo Signorini, of Florence, Leopold's sagacious coun- sellor, on which is the statue of Philo- sophy weeping, is another esteemed work of S. Ricci. The mausoleum of the senator Filicaja deserved to be transferred from the church of Saint Peter to Santa Croce ; it is allied with nob'e recollections of virtue, reli- gion, genius, patriotism, and the loftiest song the love of Italy has inspired.' Santa Croce is also remarkable for its different chefs-d'oeuvre of painting and sculpture. Over the great door of the front, a bronze statue oiSt. Louis, not the great king, but an archbishop of Toulouse, is by Donatello, and little worthy of him. In the interior, over the principal door, Giotto has painted a Crucifix on a wooden cross. His Virgin crowned by the hand of Christ, a graceful artless picture, is one of the earliest monuments of the revival. In the Cavalcanti chapel, an Annunciation, full of nobleness and modesty, one of Donatello first works, fixed his reputation. The Christ en- tering Jerusalem, by Cigoli and Rili- berti, his best pupil, is regarded as the finest painting in the church. .\ Jn- nity, by the lormcr, is also highly prais- ed. The chapel of the .Medici, ordered by Cosmo, the father of jiis country, and executed by .Miehelozzo, offers a Ma- donna, a basso-relievo in burnt earth, by Luca della Robbia, and a picture by Filipjto I.ippi. In the sacristy, the fres- cos of Taddeo Gaddi, the pupil, the Giulio Romano of Giotto, are superb; it is absolutely impossible not to be struck with this beauty and primitive grandeur of the art. The astonishing cupola of the Mccolini chapel is the chef- d'oeuvre of Volterrano, who was patro- nised by that family; Ihedilferent statues of this chapel are among the best of Francavilla, a Frenchman brought up in * Italy, too often an unhappy imitafor of Michael Angelo. The wooden Crucifix by Donatello, though esteemed by some connaisseurs, seemed to me stiff, mean, and justly censured by Brunelleschi, who reproached him with having put a pea- sant on the cross; the rustic physiog- nomy contrasts, too, with the fine embroidered garment. The Supper at Emmaus, by Santi Titi, is fine in the colouring. Lastly, the marble puipit, ornamented with bronze, by Benedetto ' llalla, llalia,o lu cui feo la sorle, etc. Chap. XII. ] FLORENCE. da Majano, is superb : two basso-relievos. St. Francis offering to pass through the fire in presence of the sultan, aiiti his Death, arc singularly expressive and pathetic. Jii the first cloister of the convent of Santa Croce is the magnificent chapel of the I'azzi, built from Brunelleschi's de- signs and adorned with works by Luca della Robbia. The second cloister is also by Brunei leschi, and the Cenacu- lum, of the refectory, by Giotto. The church of Saint Joseph has a very fine Nativity, by Sanli Titi. Saint Ambrose, one of the oldest chur- ches of Florence, which existed in 1001, was rebuilt in 1716. There may be seen a superb tabernacle by Jlino di Ficsole ; the Miracle of the Holy Sacrament, by Cosmo Rosselli, the most known of his works, a fine fresco remarkable for the prodigious number of its characters, se- veral of which are portraits of eminent men of the fifteenth century, such as Politian, IMarsilio Ficino and Pico della Mirandola. The vast court of the church of Saint Magdalen de' Pazzi, by Giuliano San Gallo, was extolled by Vasari for the beauty of its Ionic columns and the ca- pitals, imitated from an antique marble capital found at Fiesole. In the chapter- room of the sujierb monastery are se- veral frescos of saints by Perugino. Saint Simon recalls a remarkable in- stance of religious dissimulation, in the person of a Portuguese Jew, Francis Giorgi, who feigned himself a Christian for several years, practiced law at Flo- rence, erected to his family the monu- ment still bearing his name, and took flight to return to Judaism. The prin- cipal painiings of Saint Simon are: the Martyrdom of St. Laurence, an excel- lent work of Giand)attista Vaniii, sur- named the "gentleman painter," but its only good point is the original reflection of the fire on the bystanders ; the St. Je- rome, by Marinari. a clever pui)il of Carlo Dolci; a fine St. Nicholas, by Francesco llontelatici, called from his quarrelsome temper Cecco bravo (Bully Frank); St. Francis in a swoon, sup- ported by two angels, by Vignali, pupil of Rosseili and imitator of Guercino. ' See the iaslructive work on Machiarei, hit ge- nius, and his errors, by M. Artaud. Paris, (8.33, UTO vols. JD 8vo, cli. I. The pyx of the high-altar, incrusted with precious stones, is by Cennini, The church of Saint Procul has some remarkable works : a llsitation, by Ghirlandajo, to which the Florentine painter Ferretli has so cleverly added a glory of angel.-:, that bis manner can hardly be distinguished from Ghirlan- dajo's; a Virgin, a St. Anthony the abbot, and St. Barbara, by Ponlormo; an Anniinriation, by Ernpoli; a Ma- donna, by Giotto. The celi'brated church and convent of Badia ofTer some of the first chefs- d'oeuvre of the art, by Mino di Fiesole, viz. : the renovated tomb of ['go, mar- quis of Tuscany, ancestor of Machiavel,' one of the founders of the convent, a just and pious man, called somewhat pom- pously the Great, who, in the hunting- season, visited the shepherds and pea- sants incognito to learn the public opinion of his government, and whose eulogium is regularly pronounced every year in each of the seven monasteries he founded : Ciascun ctie delta bella insegna porta Del gran barone il cui nome e '1 cui pregio Li ftsla di Tommao ricouforla ; " the splendid mausoleum of Bernardo Giugni, sent on an embassy with the great citizen of Florence IVeri Caponi, and after wards gonfalonier. A fine As- sumption is by Vasari ; an earthen basso- relievo, by Luca della Robbia. In the cloister, the St. Benedict throwing him- self naked among thorns, in one of the lunettes, is by the second Bronzino; a Crucifix, a good fresco of the refectory, by Sogliani. The small altar of one chapel presents more excellent sculptures by Mino di Fiesole. The vast church of Saint Firenzo has nothing particularly remarkable but the fine pniniing of the Crucifixion of the ten thousand Martyrs, by Stradan, retouched by Buonamici, a clever artist, but a dreadful man, whose crimes sent him to the gallies, where he became a very good marine-painter. The collegiate church of Or-San- iMichele (Saint Michael's garden) a de- tached gothic edifice, is one of the no- blest, most characteristic in Florence, ' Dante, Parad. can. ivl, (27. 358 FLORENCE. [Book X. and combines the masterpieces of her first artists. Erected after the celebrated plague described by Boccaccio, the ar- chitects were Giotto and his worthy pupil TaddeoGaddi. Among thebron/e and marble statues occupying the niches of each front, statues consecrated to the patron saints of the different corpora- tions of the trades, may be remarked 5f. Matthew, by Ghiberti, which manifests the study and successful imitation of the antique, whereas in the John Baptist of the adjoining front he merely sur- passed his contemporaries; three statues by Donatello, St. Peter, St. i}lark, ad- mired by Michael Angeio, who had addressed it with : "Mark, why do you not speak to me?" Marco, perche non miparli? the St. George, so youthful and spirited, the finest figure of Or-San- Michele, and perhaps evcTi of modern art; St. Luke, by Giovanni Bologna; St. Thomas, by Verrocchio, attributed also to his great disciple Leonardo Vinci, well composed, but rather dry in the draperies; and the St. John evangelist, oneof Baccioda Montelupo'sbcst \\orks. In (he interior is the fitie group of St. Anne, the Virgin and infant Jesus, by Francesco San Gallo. The superb tabernacle containing the nnraculous image of the Virgin, painted in the thir- teenih century by Ugoliiio di Siena, is one of Orgagna's most celebrated won- ders, and one of the monuments of that luxury of the arts to which Ihe thrifty spirit and republican government of Florence were no obstacle. The mag- nificence of the Medici has bern widely celebrated ; but it must be confessed that they only followed the usages of popular government, that this splendour was in the manners, and that these politic masters were compelled to employ it as a means of domination. Despite the ca- lamities of the limes, the tabernacle of Or-San-Michele cost the heavy sum of 80,000 gold florins. On Saint Anne's day, July 26, 1834., I saw Or-San-Michele decorated with the twenty-one ancient gonfalons of the major and minor crafts of Florence, white, blue, and red banners covered with armorial bearings, which floated on ' Borcactio began his course of lectures October 23, (37:J. Fllelfo aflerHards delivered Ibe sauie course at tbe Duomo. Wlieu «e recollect Danle's iDTeclires against tbe Ticcs of the clergy and tbe the outside of its old walls in the com- memoration of the attack, for which the afternoon prayer bell was the signal, and expulsion of that mean tyrant Gau- thier de Brienne, oddly called the duke of Athens, who had no defenders but his guard, the butchers, some few of the populace, and the four families of the people who had elected hinu At night the old edifice was full ; it glittered with the light of tapers illuminating Ihe airy pyramids of its brilliant tabernacle; it echoed with religious songs, and one might there have fancied himself in the halcyon days of the Florentine seigniory. The old church of Saint Stephen re- calls the early days of the literary glory of Florence. It was in this church that Boccaccio, afflicted, exhausted, over- whelmed by the death of his dear Pe- trarch, filled the first chair founded by the Florentine reiiublic for the interpre- tation of Dante. It was there that, amid democratic disorders, he boldly reproach- ed his fellow-citizens in public with their vices, their love of lucre, and ex- cited them to glory and virtue. The Dante professorships, afterwards multi- plied throughout Italy for more than four centuries," have ceased in our days through the Austrian influence : the last successor of Boccaccio at Florence, was professor Sarchiani, of the Academy della Crusca, who died in 1821 aged seventy-five, a clever Greek and Latin scholar, a man of strict principles and gentlemanly manners, who defended the truth of Christianity against the writings of the French philosophers, and com- posed some papers on political economy for the philanthropic minister Tavanti. Some works in the church of Saint Ste- phen are esteemed : the Conversion of St. Paul, by Morosini; St. Philip, and the Marriage of St. Catherine, by Francesco Bianchi; St. Nicholas, by MatteoRoseili ; the Virgin, St. Augustin and other saints, by Santi Titi or Ci- goli ; and the fine bronze basso-relievos of St. Stephen's Martyrdom, by Tacca. The statue of St. Stephen in a niche is by Gonnelli, a Tuscan sculptor of the seventeenth century, who fell blind at twenty, but continued to cultivate his excesses of the Roman court, it is difficult to con- ceive how, notuithstanding the usage, churches were then chosen for these meetiugs. Chap. XllI] FLORENCE. 339 art ; his busts Mere even noted for re- semblance, so far, says BabJinucci, an eye-witness of this prodigy, had the sense of feeling sii|ip!ied Ihe loss of sight. Gonnelli made from memory the portrait of a voting girl whom he had loved be- fore iiis blindness, and the likeness was perfcft. Cardinal Palolta put this pretty distich beneath his bust : Glovan, ch' fe cieco, e Lisabetia amft, La scolpi iicll' idea cbe amor foriii6. CHAPTER XIII. Santa Maria Novella.— Door. — Cimabue.— Gliirlan- dajo. — Di unellescUi's CiuciQx. — Tunibs. — Spa- niards' chapel.— Great rluister.— Greek paintings. —Apotbecaries. -Trade, letters, acd public em- ploy compalible at Florence.- Poler/ze.—Ogiiis- sanli.- H(jly Scpuiclire.—lrinilv.— Column.— Holy Apuslles. — Allovili mausoleum. -Lorenzo Loreu- zini.— .'^aiila Maria Mnggiore. — Sbort-slgliledness of tbe Florentines. It is at Santa Maria Novella that Boccaccio places the meeting of the seven riorentine damsels, alter the plague of 1348, who, to divert themselves, go into the country and recite the merry, touch- ing, satirical, and something more than voluptuous novels coiniiosing the Deca- meron : the name, and ornamental, smiling aspect of this church, which Mi- chael .Angelo in his admiration called his wife ( la sua sposa ), .'-ecm now to have some connection with the most agreeable and interesting of all tale books. The tirst architects of Santa Maria Nosella were the lay brothers da Ristoro Campi Siito, Florentines, and a third monk, Fra Jaeopo Zalenli da Nip- pozzano, great architects of the thir- teenth century, pupils of Arnolfo di Lapo, the last of whom is designatetf in the Neciology of the church, under the unassutning title of Magisler lapidum. The door, one of the finest ever seen, is by Alberli, who appears to have exe- cuted the front also." This front has two astronomical curiosities : the first, a marble dial intended to measure the celestial arc included iietween the tropics, the oldest meridian in Eiirope ; the se- cond, Ptolemy's armilla ; they were ' M. Quatremfere tliinks Ibat only Ihe gale Is by ' nion, and he Ihinks that Alberli conformed to the Albert!, and looks on him as allogether loreigo to I primitive style of this front. | liloge de L6on Bap- tbe denii-jjolhic arcliileclure of (be front. S. Mc- I tisle Alberli, pages 98, 99, and note 33 .) coliiii, according to I'ozzelli, is of the contrary opi- I placed there by the Dominican Ignazio Danti, mathematician and astronomer, cosmographer to (^osmo I. Santa Maria Novella is not less in- teresting for its paintings and sculptures than its noble architecture. St. Lau- rence, Ihe chef-d'oeuvre of Macchielti, a Florentine painter of the sixteenth cen- tury, has been much and deservedly praised : the soldier near the emperor is the artist's |)ortrait. A Deposition, a Purificaliou, by Maldini, of the same epoch, are good in design, perspective, and colouring. St. Raymond resuscitat- ing a child, by Ligozzi, is not without eflect. '] he soldiers in the Martyrdom of St. Catherine, by Bugiandini, were drawn by Michael Angelo, to expedite Ihe work, the author being a slow, hesi- tating painter and a ridiculous egotist, whom he made his laughing-stock. The celebialed Madonna, by Cimabue, the first monument of the revival of the art at Florence, excited prodigious enthu- siasm at its first appearance and was borne in triumph by the people, amid Ihe nourishing of trumpets, from the liaiiiler's studio to this church. Charles of.Atijou, brother of Saint Louis, on his way to Tuscany after being crowned king of Sicily by the pope, came with all his court to see this Madonna in Cimabue's studio, situated near Saint Peter's gate. Il is supposed at Florence that Ihe name o( Bongo allegri by which this tjuarter is still known, is derived from the joyous concourse of men and women attracted by the king's visit, and glorious triumph of the Madonna. The frescos of the apostles Philip and .John, by the younger Lippi, please more by their accompanitnents than the fi- gures, which are true likenesses, but common. The immense frescos of the choir, by Ghirlandajo, explain Michael .\ngelo, hispui)il,and the Sixtiiie chapel: it is even probable that .Michael Angelo assisted therein ; the men in the distance leaning against a terrace, in the com- partment of the Virgin, are attributed to him; this strange pupil, instead of paying his master, was paid by him; and from his fourteenth year he received ten florins annually for his assistance. The numerous figures in the frescos are near- 560 FLORENCE. [Book X. 1} all porlrails of learned men or dis- tinguished Florentines; but ihese arc elevated, ennobled. A group of four persons, in the comparlmeiit of ihe Life of St. John Baptist, represents Politian who is raising his hand; Marsilio Fi- cino, as a canon ; Gentile de' Becchi, bishop of Arezzo, who is turned towards the last, and Cristoloro Landino. In the compartment of the Virgin, the girl fol- lowed by two women is the celebrated Ginevra de' Benci, one of the beauties of her day. On the same side, the man in a blue coat w ith a red cloak, in the Joa- chim driven out of the temple, is Ghir- landajo. These frescos, ordered by the Florentine noble Giovanni Cornabuoni, who is also there with his wife Francesca di Lucca Pitti, cost only a thousand flo- rins, and were flnishcd in the year Lo- renzo the Magnificent died. The fol- lowing inscrijition, on the wall, well expresses the glory and prosperity of Florence : Anno 1490, quo pulcherrima civitas opibus, victoriis, artibus. wdi- ficiisque nobilis, copia, salubritate, pace perfruebatiir The wooden Crucifix of Brunclleschi. a heartrending expression of suffering, was a fine lesson given by him to iJona- tello, after his ignoble Crucifix of Santa Croce. The follow ing incident is a faith- ful picture of the almost rustic simplicity of artists' manners at the time. The two friends were going to dine together, and Donatello carried the eggs and other provisions for the repast in his apron ; when conducted unwillingly by Bruncl- leschi before the crucifix he had private- ly executed, Donatello could not help exclaiming with the frankness of real talent : " Vou have the gift of making Christs, and I peasants," and in the height of his admiration he let go his apron, and scattered his eggs and dinner on the floor. The vast frescos of the Strozzi chapel, representing //e// and Paradise, by An- drea Orgagna and his l)rolher Bernardo, an imitation of Dante, whom Andrea passionately loved, manifest the progress of the art; they have, especially the former, the warmth, fire, movement, and sublime (antasies of the poet. The man placed in the Hell with a paper on his cap, is the town baililT who had levied a distress on the artist. In the Paradise there are some pretty women's heads apparently portraits. The Woman of Samaria is a good picture by the second Brozino. The grand Crucifix over the entrance door is one of Giotto's best works. The tombs of Santa Maria Novella are remarkable for their historical associa- tions and as woiks of art. The fine monument of the blessed Villana dellc Botli, which has two such graceful little angels, according to Cicognara, ought to be restored to Bernardo Uossellini. Sa- chetli speaks familiarly of this blessed Villana, a \ery holy woman {mulieris sanctissimce), as the epitaph states : " She was my neighbour," says he ; " a young Florenlme who dressed" like her l^eilows; and we celebrate her festival already : " Fu mia vicina e fu giovane fiorentina, pur andava vestita come r altre, e fannone gid festa. The ele- gant inimitable mausoleum of the elder Filippo Strozzi, the enemy of the Medici and father of the Florentine Calo, is reckoned the masterpiece of Benedetto da Maiano. Over the tombs of cardinals Nicolao and Taddeo Gaddi, executed at Rome from Michael Angelo's designs, is a basso-relievo by Giovanni dall' Opera, perhaps the purest work of that declining epoch. The tomb of Antonio Strozzi, a learned jurisconsult, is of Andrea Fer- rucci's old age, assisted by two clever artists of Flesole, Silvio and Boscoli, who were likewise emplojed by Michael Angelo. Latin and Greek inscriptions indicate the burial-place of the Greek patriarch Joseph, who died suddenly at Florence after the council in which he was a zealous advocate of the union, and is said to have left his adhesion in his handwriting. Ghirlandajo seems fitly interred near his admirable paintings. There are several literary tombs of con- siderable fame : as those of the elegant old historian F'rancesco Giambullari, the Herodotus of Florence, who started the whimsical notion that the Tuscan was derived from the Hebrew", the Chaldean, or some other tongue spoken in Ihe king- dom of Aram; of Lippi, a painter and poet, true almost to vulgarity, the w ilty author of the Malmantile; and lastly, of the indefitigable librarian iMaglia- becchi. ■ In the Chiostro verde, several subjects from the life of Adam and Noah are fancifully painted in fresco by Paolo > See ante, cli. vii. Ciup. XUl.] FLORENCE. Uccello, who lias however succeeded in rendering ihe trees and animals with so miicii truth that he might he surnamed the Ha^s.)Ilo of the first age of the Flo- rentine school. The vast and elegant chapel of Ihe Sjianiards, hy Fra Jacopo Talenti da Nipiiozzano, offers some fine poetical frescos by Taddeo Gaddi and Simone Memrni, Ihe friend of Petrarch, who has addressed two sonnets to him : Quando giunse a Simon 1' alio concetto, fer mlrar I'oliclcto a piova Qso. For all Vasari and the vulgar opinion, the portrait of Laura under the semblance of Pleasure, and that of Petrarch by Menimi, cannot be authentic, as is clearly proved by the clever critiques of Lanzl and Cicogiiara. ' The pretended portrait of the poet represents him as less portly, less canon-like by far than his other portraits, and iis wanton air is utterly irrelevant to such a lover. On the ceiling, some suhj'-cts from the History of Jesus Christ; the Descent of the Flohj Ghost in the Cwnacithirti. hy Taddeo Gaddi, are the best works of the fourteenth century. The fifty lunettes of the great cloister representing the memorable actions of Si. Homimck, St. Peter Martyr. St. An- toninus, and St. Thomas Aquinas, are by Florentine artists of the Bronzino school : the women aie of singular beauty. The most remarkable of these paintings, after several retouchings, is perhaps SI. Catherine delivering a con- demned prisoner, by Paggi. Among the portraits of the most eminent Dominicans placed in this cloister, Savonarola's may be remarked near the lunette of the Birth of St. Dominick. hy Poccetti. The frescos of the Greek painters, Ci- mabue's masters, are nearly effaced; their subterranean chapel was used as a store- house for Ihe planks used for hustings at the barber; races, on the festivals of Saint John and Saint Laurence. These paintings may be interesting for the history of the Slor. pit. t. 11, p. 316, and Star. del. scult. t. iii, p. 322. Cicognara lias also inconiestably reruled Ihe anacbruriisni of those who ipgaid iliis ligure as being posfibly the portrait of Fiarameila, Boccac- cio's mistress, on accouol of the flames eiicircliug the neck. Boccaccio dljnot go to Naples, and there- fore could not have seen Fiammelta before bis twentj-elghlh year, in I3'H, as proved by tlie dedi- caiioii of his T'teseid, and Mem.lii bad Unishcd this chapel nine years before. art, but it must be confessed thai they are singularly stiff and cold, and Cima- bue's merit consists in his having adopted and established a more easy and natural style. The dispensary of the Dominicans of Santa Maria >'ovella enjoys some cele- briiy, and appears well managed. These brutal inquisitors, who in bygone days burned men alive, now distil simples. The profession of a[)othe(^ary is ancient and reputable at Florence. We may see by some of its apothecaries, who also practiced medicine, that in the best age of literature, trade formed no discordant union with the cultivation of letters and the exercise of the highest public offices : the famous burlesque poet Lasca, the founder of the Academy della Grusca, had been an apothecary, '■ as well as the great scholar, politician, and historian. Malteo Palmieri, who was several times ambassador, and even becamegonfalonier of the republic; and the learned philo- loger, academician, and excellent comic poet Gelli, was a hosier [calzaiuolo) all his life. Among the paintings by clever Flo- rentine masters in the church of Saint Paolino, may be distinguished : the Con- version of St. Paul, and his Martyrdom, fine frescos by Domenico Udina. The oratory of ihe confraternity of the Bacchettoni has some good paintings : the Assumption and St. Hippolytus in a tree preaching, by Giovanni di San Giovanni ; St. John Baptist, St John Evangelist and St. Philip de Neri, with angels, by Volterrano. Two busts over the room containing the relics are by Donatello. Saint Martin, an antique monument, is allied with the two greatest names of the priesthood and the empire : being founded by Charlemagne, and repaired by llildebrand. On the front of the church Saint Lucy sul Prato is the strange inscription, Imperator Ego vici prceliando lapi- ' Lasca alludes to his trade iu the followlns; verses from bis liime : Da Che son causati lanti mall, Se non da pescbe, ficbi. c simil frulle, Che mi fauno spacciare i serviziali ? Lasca's shop, nearly facing the baptislry, s'.ill esists, and bears Ibe same sign del iiuro. 31 562 FLORENCE. [Book X. dibus. Anno 15H; which records one of Ihose vile stoiie-ihrowing conquerors of the Powers {potenze), games or rather combats in which the populace of Flo- rence amused themselves in summer, under chiefs with the grotesque titles of duke, marquis, emperor, king. Grand Turk, and sometimes, under favour of the tumult, maltreated passengers and broke open shops. The Powers, insti- tuted by the duke of Athens, were re- vived by another tyrant, duke Alessandro de' Medici, imposed on the city by the arms of Charles V. and Clement VJI. The inscription of Saint Lucy doubly allesls the ancient and common alliance oT despots with the mob. 1 he Nativity, by Ghirlandajo, is one of this great master's best works. The church of the Ognissanli has some good paintings: the Virgin between St. Joachim and St. Anne, by Pietro Dan- (lini; a fresco of St. Jerome, by Ghir- landajo ; a Conception, by Vincenzo Dandini ; 5(. Diego d'Alcala, simple and agreeable, by Ligozzi; St. Anthony of Padua, by Veli;5<. Bonaventure re- ceiving the communion from an angel, St. Bernardin of Siena between two angels, by FabrizioBoschi ; St. Andrew, by Malteo Roselli. The excellent fres- cos of the first cloister represent the Life of St. Francis : fifteen of these lunettes are by Ligozzi, two by Guidoni, father and son, five by Giovanni di San Gio- vanni : the finest by Ligozzi, and his best fresco, is the Conference of St. Francis and St. Dominick : the artist isas ironically written the followmg words on the breast of one figure : A confusione degli amici, that is, of the envious, ac- cording to the melancholy but tolerably just inter|)relation of Lanzi, as if to re- proach the monks for having confided ^ome of the lunettes to his rival Giovanni di San Giovanni. The portraits of the most celebrated Franciscans painted on the pillars, by Francesco Boschi and his uncle Fabrizio, except Cardinal Cozza's. by Meucci, seem in truth, almost all living. The oratory of the Holy Sepulchre, formerly a chapel of Saint Pancraschurch, is a chef-d'oeuvre by Alberti. This mo- nument, atonce bold, elegant, and severe, contains an exact imitation of the Holy Sepulchre, ordered of the great architect ' Chateaubriand's Iinieianj. by Giovanni Ruccellai, a rich and pious Florentine merchant, who had sent to Jerusalem for the express purpose of taking the measure and model of the tomb " which alone will have nothing to give up at the end of lime."' The church of the Trinity, by Nicolao Pisano, is of a simplicity approaching nakedness, but still greatly admired by Michael Angelo. The front is by Buon- talenti. The steeple, an extraordinary structure of 1398, rests on the wall of the church. The 5(. John Baptist preach- ing was painted by Currado in his eigh- tieth year; an Annunciation is by the clever Camaldolite artist Lorenzo. The frescos representing divers subjects from the History of St. Francis are by Ghir- landajo. The ingenious pulpit of Buon- lalenti is highly esteemed ; the bronze basso-relievo of the Martyrdom of St. Laurence, by Titian Aspetti. and the wooden statue of St. Mary Magdalen, begun by Desiderio da Setlignano, and finished by Benedetto da Majano. On the square before the church is a fine granite column, surmounted with a colossal porphyry statue of Justice, inso- lently erected by Cosmo L in commemo- ration of his victory over Florentine liberty at Montemurlo. • The column was taken from the Thermae of Caracalla, and given lo Cosmo by Pope Pius IV. : the statue is by Tadda, to whom Cosmo himself is said to have communicated the secret of giving his tools a harder temjier. This statue at first appeared too slender, and was in consequence draped with a kind of bronze mantle falling from its shoulders, which gives the monument more richness and harmony. The small church of the Holy Apostles, very ancient, being of Charlemagne's time, is of such elegant proportions thai Brunelleschi studied it when he built the church ofthe Holy Ghost. A Conception has been reckoned the best work of Vasari; it has been partially injured by a miserable painter employed to bring Adam within the bounds of decency. The tomb of Addo Altoviti, a Florentine patrician, by Benedetto da Rovezzano, is one ofthe most remarkable monuments of the art for excellence of design, taste of ornament, and perfect execution. The front and all the clumsy magnifi- cence of Saint Gaetano, erected about ^ See poj/, book xix. cb. i. Chap. XIV.] FLORENCE. the middle of the sevcDteenlh century, announces the general decline of the arts in Italy. The Saint andSt. Andrew of AvelUno adoring the Trinity, is by Matteo Roselli, as well asa Nativity, his masterpiece, in which the shepherd hold- ing a dog is the portrait of Ihc Florentine painter Alfonso Bo.schi. A peasant sur- namcd the Giuggiola (the jujube), sup- plied the portrait of (he old king in the fine Adoration of the Magi, by Vannini. The Exaltation of the cross passes for one of Biliberli's best works. The Mar- tyrdom of St. Laurence is by Pietro di Cortona. One tomb is a memento of affecting misfortunes, that of Lorenzo Lorenzini, pupil of Viviani, a kind of Galileo, less conspicuous and more per- secuted, who, though innocent, was con- fined nine years in the fortress of Volterra; during his long seclusion, he composed, unaided, a remarkable work on conic sections, consisting of four large manu- script volumes in folio, still unpublished, now at the Magliabecchiana. The church of Santa Maria Maggiore has some good paintings, St. Albert as- sisting some Jews in datiger of drowning (as Saint Mark, not less tolerant, saved a Saracen from shipwreck'), by Cigoli; St. Francis stigmatised, by Pietro Dan- dini ; an Elijah, on the ceiling, by Vol- terrano, the foreshortening of which recalls, for illusion, the celebrated St. i?oc/t of Tintoretto. The tomb of Bru- netto Latini, author of the Tresor and Dante's master, was formerly in this church; the tomb of Guido Cavalcanii and Salvino degli Armali, the inventor of spectacles, who died in 1317. This dis- covery ought to have taken place at Florence : the shortsightedness of the Florentines has long been proverbial : Veccbia tama net mondo II cblama orbi. ' Barlolommeo Soccini of Siena remark- ing to Lorenzo de' Medici, who was shortsighted, that the air of Florence must hurt the eyes: " And that of Siena the brain," replied Lorenzo. At the election of Leo X., whose eyes were very bad also, the Roman satirists thus interpreted the inscription of Saint Peter, MCCCCXL : multi ccBci cardinales crcave- runt ccBcum decimum Leonem,. Two ■ See aiife, book ti. ch vii. » Dante, /n/. XV. G7. of the greatest Florentines, Michael An- gelo and Galileo, became blind at last. Menage seems to take up the opinion of Soccini, when he attributes this defec- tive vision to the keenness of the air, especially in winter : ^ it is caused more probably by the dazzling reflection of the sun on the large flagstones of the pavement. CHAPTER XIV. Holy Ghost.— Florentine mystery.— Choir.— Sacrisly. — I'ielro Vc'lloiii.— Cannine. — Masacclo.— Fru Am- brogino. — Saint Felix.— Don Basilio i^ardi —Mai marilale.— Saint Felicity. — Paleiins. — Angelica Paladini.— SacrLsty. — S. Barbieri. — Andrea del Castagno. The old church of the Holy Ghost was destroyed in 1471 by an accident cha- racteristic of the spirit and manners of an epoch. On the arrival of Galeas Sforza, duke of Milan, his consort, and all their court, three public spectacles, real mysteries with machinery and de- corations marvellously executed by Bru- nelleschi, were performed before them, and this very church was selected for the representation of the last, the Descent of the Holy Ghost on the Apostles, and the fire used therein consumed the edi- fice. The multitude, Machiavel tells us, were not backward in ascribing this untoward event to the wrath of heaven, incensed at the unbounded licentiousness of Florentine manners. The historian of Florence, in speaking of this corruption, which was aggravated by Sforza's cour- tiers, with truly catholic zeal exclaims against the general consumption of meat during Lent ; an infractionof ecclesiastical discipline never before seen in that town. The present church of the Holy Ghost, by Brunellcschi, for simple ingenious ar- chitecture, is the first in Florence, and one of Ihe most admirable chefs-d'oeuvie inspired by the antique at the era of the revival. This church was completed after the great architect's death, and Va- sari says, that but for the curse of those who alwajs spoil the best beginnings, it would have been the finest temple in the world. The choir and high altar are of extraordinary magnificence. The sacristy, a real temple, from Cronaca's designs, is not less remarkable : a Ma- '' Modi di dire ilaliani. 56 1 FLORENCE. [Book X. donna, very fine, is by Filippo Lippi; a Dead Christ, in bronze, by Giovanni Bologna. Tlie different chapels offer some good paintings and some curiosi- ties : a wooden statue of St. Nicholas, by Sansovino; Jesus expelling the tra- ders from the temple, a small painting by Stradan, which has a multitude of figures full of life and agitation; St. Stephen, a masterpiece of Passignano ; another fine Madonna, surrounded •with figures representing persons of the Capponi family, by Lippi ; a good Ma- donna della Cintola, of wood, by Dona- teilo, which is only seen in the first week of September; the Adoration of the Magi, by Lomi ; several Martyrs; a touching Adulterous woman covering her face with her gown, by the second Bronzino; the exquisite ornaments of the inner chapei of the Holy Sacrament, by the best artists of the fifteenth cen- tury, forming a striking contrast with the balustrade and external embellish- ments of the next century. The Mag- dalen in the garden, by the same Bron- zino, in the Cavalcanti chapel, is the portrait of a great Florentine lady, loved by Pictro Bonaventuri, the husband of Bianca Capello : being created master of the wardrobe and established at the court of the grand duke his wife's lover, this hero of romance sunk into infamy, became an intriguer, and perished by assassination, the victim of this lady's relations. Nobler recollections are at- tached to the celebrated orator, critic, professor, and excellent citizen of Flo- rence, Pictro Veltore, one of the great men of the rexival, interred in this same church. The organ is highly extolled for the power and effect of its harmony. In the cloister of the Holy Ghost, a private buri;d-place, a plain marble slab, sculptured by S. Bartolini, maiks the grave of Napuleon-Louis Bonaparte, who was born at Paris in 1805 and died at Forli in April 1831 ; the French inscrip- tion alluding to the qualities and talents of this noble youth, was composed by ■ The manti.sciipt al tlie Laurentian, as we have elsenhere staled, is the copy attributed lo Maneili. See ante. ch. v. ' Cellini asserts that lie learned from Torrigiaoi, afterwards burnt in Spain, that Michael Angelo and be went from their childhood {fanoutlelli ) to draw in the chapel del Carmine, where Michael Angelo was accustomed to laugh at the other >tu- dents, but that be (Torriglani) was less patient his father; it is pathetic, but too long and little fit for a monument. Below is an old stone of the Bonaparte family marking their place of sepulture when living in Tuscany, before passing into Corsica, and thence through war, glory, empire, and exile. It was to the convent of the Holy Ghost, the second cloister of which is by Ammaiiato, that Boccaccio bequeath- ed his library : the building intended to receive it had been erected by the ce- lebrated Florentine Nicolao Niccoli, an ardent propagatorof letters inhis country and a friend of Poggio. The manuscript of the Decameron, left by Boccaccio to Fra Maitino da Signa, and after him to the convent of the Holy (ihost, has dis- appeared; ' it is supposed to have pe- ri>hcd in the conflagration of 1471, or in some of the voluntary fires lighted by the fanatical eloquence of Savo- narola. Some few feet of wall painted in fresco will make the church del Carmine live for ever in the annals of art. This pri- mitive painting of Masolino da Panicule (who improved the dare-obscure), Ma- saccio and Filippo Lippi, is already per- fect; of these three able masters the two first died joung. The Nero on his throne, condemning Sts. Peter and Paul, who defend themselves nobly as apostles and Boraan citizens, is spirited, beau- tiful, impassioned ; it is Bonaparte or Talma; the mute praetor listening to the sentence may recall Tacitus. The Cru- cifixion of St. Peter is excellent for naked, drawing, and clearness; in the Baptism, the celebrated figure of the man without clothes who seems quaking with cold, makes one shiver to look at him ; the Deliverance of the saint is resplendent; the Adam and Eve were copied by Bapliael in his Loggia without alteration. This chapel of the Holy Sa- crament is as the source of the grand Italian painting; ii was there that Leo- nardo Vinci, Michael Angelo,' Andrea del Sarto, Perugino, Raphael, and Fra and gave him a blow on the face which left a ci- catrice to Ihe day of his dealti ( Vila, i. 31-2). An- nibale Caro composed these verses on Masaccio's frescos, and Michael Augelo's study of them : Pinsi, e la mia pillura al ver fu pari; L'aiteggiii. 1" av>ivai, le diedi il moto, Le diedi affetto : insegni il Huonarolo A tutii gll altri, e da me solo impari. Chap. XIV.] FLORENCE. Bartolommeo, studied and formed Iheir lasie; and Ihese admiruble arlis(s seem less surprising alter such a precursor as Masaccio. The choir del Carmine presents a classic and harmonious cenotaph by Be- nedetto da Kovezzano, consecrated to the gonfalonier Pielro Sodcrini : the ashes of that ridiculous and insignificant statesman,' who died at Rome, are not there, and the monument loses nothing by their absence. The rich CorsinI chapel attests the decline of taste, and the angels of the principal basso-relievo by FogginI, ^^ilh awkward wings and afifected mien, are far removed, notwithstanding the skilful workmanship and truth of the flesh, from the nobly beautiful angels of the Baptistry doors and the shrine of S. Zanobi, by Ghiberti. The first cloister of the convent del Carmine has some good lunettes by Ulivelli; the second an Elijah's sacri- fice, one of Foccetti's best works for grace and power of colouring. A monk del Carmine. Fra Ambrogino, after declaiming against the French ad- ministration, on the suppre.ssion of con- vents, has acquired, by dissembled hu- mility and pretended miracles, a certain reputation for sanctity; he cures the sick, assists ladies in childbed, and even dabbles in prophecy. This monk, a little hale old man, distinguished by no virtue or superior quality, has a peculiar tact in supporting his ridiculous impostures. Fra Ambrogino's credit has however diminished latterly, and his only dupes now are the very dregs of the Floren- tines, who escort him through the •■treets, or fall prostrate before him and kiss his band. The very ancientchurchof Saint Felix, now parochial, has a fine fresco by Gio- vanni di San Giovanni, St. Maximus, bishop of Nola, offering the saint a bunch of grapes, and Jesus saving Peter from drowning, by Sal vator Rosa. An old abbot of this church, Don Basilio Nardi di Casenlino, compared to Peter the Hermit of the Gerusalemme, was celebrated for his courage, and reputed one of the first captains of his day ; his exploits even procured him, when re- turning from Cosenlino, a kind of popular triumphal entry Having been excom- municated by the pope and deprived of ' Seeanle, cli. Ml. his abbey, Lol-cnzo de' Medici caused him to be reinstalled and obtained his al)Solution. Don Basilio, after command- ing the forces of the rei)ublic for thirty- nine years with the trilling pay ofG libri 13 soldi per day, died at Florence in 15i2, and was interred in the abbey of Saint Felix. I*art of the monastery of this martial Gamalduliteis nowanasyium for women unhappily married {mal marior-like, of his de- livery. Independently of an immense Italian audience, doubtless but little ac- quainted with this order of ideas, fo- reigners, men of dillerent conmiunions, attended and relished the discourses of this meek and philanthropic Savonarola, then the only subject of conversation.' The old pari.^b church of Saint Ni- cholas has some excellent paintings : Abraham's sacrifice, by the second Bronzino; the Virgin and several saints, one of Gentde da Fabnana's works, of whom Michael Angelo said that his name agreed with his t.ilent, an old Floren- tine master w ho had the glory of forming the Bellini, the creators of the Venetian school ; in the sacristy, the Virgin and St. Tliomas, a fresco by Ghirlandajo. The door of Saint Lucy dc' Magnoli is ornamented on the outside with divers figures, some of the first sculptures of Luca delta Uobbia. This church has some old paintings; the Virgin, St. Lucy, and oilier saints, one ol the few works of Andrea del Caslagiio, assassin and artist, a perfect Italian character of the fifteenth century : Caslagno had learned the secret of oil painting, till then unknown at Florence, of Domenico of Venice, whose heart he had won by his assiduities and (»^ote,^tations of friend- ship; anxious to be the sole possessor of such a secret, he waited till night and smote Domenico with his own hand, who, full of confidence, wisiied to be taken to the traitor whotn he thought ' Ttie sermons of tlie alibe B.irtjieri were printed ul Milan 111 IS3C-7, i vols, timo, and lliev stum] llie test of reading. Tlic most remarkable are tiic his friend, and died in his arms. Public opinion at the time was deceived as well as Castagno's victim, and his crime would have remained unknown but for his confession when dyilig, at the age of seventy-four. It was Castagno, who, after the archbishop of Pisa and other accomplices of the Pazzi had been stran- gled and hung by their feet to the win- do\\ s of the old palace, was charged by a decree of the vindictive seigniory to paint their punishment on the front, and on the very place w here they had suffered it, as if to prolong this too transitory pain. Such a subject suited the sangui- nary artist, and he treated it so cleverly as to obtain the surname of Andrea degl' Impiccati (of the Hanged). CHAPTER XV. Palace.— Florentine arclillecture.— Sale of wine.— Uiccardi paluce.— Luca Giordano. — Academy della Crusca.— Cliapel.— Lorenzino de' Medici.- Glie- rardesca palace. The architecture of the palaces of Florence seems singularly grand, solid, and gloomy : the masses of rocks thai abound in the country, and served for the colossal constructions of Ftruscan an- tiquity, were also used by the first Flo- rentine architects ; the public manners, the quarrels of powerful families, the continual riots, contributed likewise to the erecting these fortress-like edifices. Such is the long-existing spirit of order and the trading propensity of the people of Tuscany, that in these superb palaces there is commonly a small w icket lietween two windows on the ground- floor where the noble master's wine is sold : w hen a customer knocks the wicket opens, and he puts in his fiaschetti with the regular price, and immediately re- ceives it filled. This selling, which it would be silly to laugh at. is a vestige of old manners, at the time every Flo- rentine was a tradesman, and it ought to disiilease no one in a state where even since the establishment of the grand- dukedom, the princes have nominally made part of one of the XIV Arts. The same custom of retailing at one's town house the wine produced on the estate sermons on the Passion, tlie Trinity, the Euclurlsl, Confession, and Pra;er. S68 FLORENCE. [Book X. was common in antiquity, > and existed under Louis XIV. at Paris among the lawyers, wliose estates were always most prudently managed. In a pretty play by Dancourt, La Maison de cam- pagnc, a magistrate, M. Bernard, tired of 'regaling the visitors attracted to his house, feigns to metamorphose it into an hotel, and he answers his wife, a vain, extravagant woman, whom this ar- rangement annoys: "Is it not just as ■well to sell my wine in the country as to retail it by the pot at Paris, like most of my brethren? " Apartments also are let in the Florentine palaces, and the price is not over dear. Mr. Cooper, whose elevated poetical talent has con- descended to give a minute description of the hotels and the common affairs of Italian life, occupied a 6ne furnished apartment on the first floor in the front, composed of ten rooms beside kit- chens, etc. for 60 dollars {I'M.) a month. The Riccardi (formerly the Medici) palace, by Michelozzo, is one of the most imposing, characteristic edifices of Flo- rentine architecture. Erected by Cosmo the elder, it became the asylum of the refugee Greeksof Byzantium and Athens, and the cradle of science, letters, and modern civilisation : when 1 entered, my thoughts were occupied with the grandeur of such recollections, and I was somewhat disappointed on finding the offices and administration of (he land-tax installed there. The Riccardi palace, which was occupied by the des- cendants of Cosmo, and was the tempo- rary abode of Leo X., Charles VUl., and Charles V., had been sold to the govern- ment in I80i. The last day of Cosmo were full of sorrow : this father of his country, who had no doubt loved power, lost Giovanni, the son in whom his hopes chiefly centred ; and the ill-health of Pietro rendered him unfit for business. It was shortly before his death that he exclaimed with a sigh, when carried into the apartments of his splendid palace, "This house is too large for so small a family." The entablature of the Riccardi pa- lace, although rich, is rather massive ; in the court, the eight marble basso- relievos imitated from antique stonesand cameos, are an exquisite work by Dona- lello. The gallery is celebrated for its ' See poft, book xir. cli. y. ceiling in fresco, a masterpiece of Luca Giordano, surnamed the Proteus of painting, from his clever imitation of different masters; the greatest painter of the seventeenth century, but not free from the faults of that epoch. The work, a prodigy of ease, brilliancy, and imagination is a poetical allegory on the vicissitudes of human life, mixed with mythological stories, and oddly crowned with the Apotheosis of the Medici. In the gallery of the Riccardi palace are held annually the sittings of the Aca- demy della Crusca, the oldest of its kind, a grammatical tribunal that cen- sured Tasso, as the French Academy Corneille, and like the latter the object of eternal pleasantries, but nevertheless still justly honoured; this Academy has terminated and is constantly improving its useful Dictionary, the true model of all dictionaries ; it still counts among its members several men of merit and di- versified celebrity, such asSS. Niccolini, Bencini, Furia, Follini, Boni, academi- cians, and Giordani, Parenti, Gargallo, Manno, corresponding members. This academy has been often wrongfully ac- cused of a disposition to impose its deci- sions on Italy as rules of language ; it has no such pretension, but is simply devoted to the conservation of the Tus- can idiom in its purity. The chapel of the Riccardi palace of- fers three curious works of Benozzo Goz- zoli, a worthy pupil of Fra Angelico; a Glory, a Nativity, and an Epiphany : never, perhaps, has gold been so pro- fusely lavished on the lobes of persons painted in fresco ; the figures, costumes, furniture, harness of the horses, are of such truth, that the spectator is ready to imagine he is gazing on an apparition of the fifteenth century. On the site of the old stables was the house of Lorenzino de' Medici, in the street del Traditore, whither he one night enticed and assassinated his cousin Alexander, the first duke of Florence, who supposed he was going to an assig- nation with a lady he loved. The action of this strange conspirator, composing canzoni, sonnets, and antique dramas, dressed as a Greek, the vile confident of his enemy's libertinism, who instantly took flight like a coward and left his house to be pillaged and demolished by the people ; — this daring action was with- out result : as at Rome after CiEsar's Chap XVI. FLORENCE. 5C9 death (the duke Alexander had only his vices), "11 n'y eiit plus de tyrati, et ii n'y cut pas de liberie." ■ The causes which had destroyed it in Florence still existed, and Strozzi was in one of those illusions common to political exiles, w hen embracing Lorenzino on his arrival at Florence, he cried : "This is our Bru- tus and the deliverer of his country ! " The vast Capponi palace, of Fonlana's architecture, presents in the saloon sundry incidents from the history of the three Capponi, Florentines so devoted to the honour, power, and independence of their country. The present marquis Capponi, one of the most enlightened men in Italy, and one of the noblest cha- racters of our time, may fearlessly con- temi)late the actions of his ancestors; he is worthy to imitate them, and only wants their fortune. The Gherardesca palace, once the pro- perty of the celebrated gonfalonier and historian of Florence BartolommeoScala, recalls the name of one of the oldest fa- milies in Europe. Ugolino, whose fear- ful history is represented in a basso-re- lievo of the court, was a member of it. In the middle of the garden, the finest at Florence, an erect statue contrasts with the basso-relievo ; it was consecrated to his father by Count Gherardesca, himself an excellent father, philanthropist, and distinguished agriculturist, and liears this plain inscription -.AlconteCam. Gherar- desca il figlio riconoscenle : it may be seen by this touching domestic monument that the destiny of the present genera- tion of the Ugolini is happier and sweeter than the lot of the captives in the tower of Famine. Although, since Dantes sub- lime picture, the imagination allows sons only to Ugolino, he had a daughter, like her father a Guelf, to whom a Ghi- beline lady addressed this witty repartee, given by Sacchetti. Ugolino's daughter, walking one day in Marchnearthe casile ofPopiti with the daughter of IJonconte da IMontefellro, one of the old Ghi- beline chiefs w ho had been defeated there- abouts, said to her, as she pointed to the country : "See how luxuriant the corn is! I would wager thai the land still feels the benefit of thai defeat! " — " Very likely," answered the Ghibeline lady ; " but before these crops are ripe, we may all die of hunger." ' Crane/, el liecai. des Romaiits, cb^p. xii. CHAPTER XYI. LenzonI hou.se. — Ilalian lilerary society. The house of Signora Carlotta Len- zoni Medici, well worthy this last name and the neighbourhood of Sania Croce, presents a statue of Psijche by S. Tene- rani, a sculptor of Carrara, one of the most graceful and poetical perform- ances of modern sculpture in Italy, very pleasingly described by S. Giordani : la prima ajjl'izioned' un cuore innocents, ossia una Psiche. The amiable mis- tress has one of those Italian drawing- rooms that assemble every night the lilerary men of the town and well-edu- cated people of fashion, and become real academies, without pride, constraint, or pedantry. The imagination moreover is singularly charmed at hearing an- nounced in these saloons the immortal names of Buonarotli, Perruzzi, Alberli and others, borne by men of merit, who in the absence of glory have obtained es- teem, and whose family traditions are sometimes worth collecting. In these old and true Italian societies, there are sometimes literary readings totally un- expected, no previous announcement having been given, where one is allowed to be candid. The pastimes, songs, stories, all the intellectual diversions painted by Castiglione in his Cortegiano, and by Bargagli in his Verjghie sanest, are still kept up in these parties of hearty amusement and mirthful gaiety. These ladies, so natural and lively, are more- over capable of most gra\ely discussing questionsof ancient or modern literature, the fine arts, or the present interests of civilisation, and conversations on these subjects occasionally start up in the midst of these pastimes and are treated in a superior manner. Ihe deep learning and lilerary talents of the Italian ladies' ofthe sixteenth century may still be found among those of the present epoch. De- spite my numberless involuntary omis- sions, I have already had the pleasure of mentioning the names of some few , and 1 hope henceforth to do Ihem less wrong. Florence has produced and possesses some of the most distinguished. Signora Carniani .Malvezzi, married at Bologna, a good poetess and able Latinist, has translated some of the philosophical aud ' See aiile, book v. ch. xix. 370 FLORENCE. [Book X. political works of Cicero wiih great fe- licity, and her translation of the Repii- blica is even superior to that of Prince Odescalchi ; in a dilTerent kind, her trans- lation in verse of Pope's Rape of the Lock is esteemed for its elegance and harmony; this lady is still engaged in composing an epic poem on the expulsion oftheduke of Athens from Florence, and the cantos already published have made the public anxious for the rest. Signora Fantastici Snlgheri Marchesini.improvi- satrice of Florence, justly celebrated, has successfully translated parts of Rion and Anacreon. Independently of the Italian women noted for their writings, there is a multitude of other merely lovers of learning, who relish and duly appreciate good works, are conversant with modern and ancient languages, have even follow- ed scientific lectures, an the architecture of modern palaces, and has immortalised its author. Vasari has taken pleasure in boasting the perfection attained by the architect in preparing and binding to- gether the blocks that compose this vast coping, indtated from an antique ruin of Rome, but in l.irger proportions, as well as the care with which the works were conducted from beginning to end. So accurate, indeed, were all his measures. ' The expense at tbe Agno'.o «as Ihen M581 ) ^ reals (about Is M.) for a man and horse, and h reals for a inai} only. » K very well executed copy on porcelaioe is by M. Conslantiii, aEid may be seen in the ball of Flora at tbe FUti palace. 3 In English, llie Chronicle. Cronaca, whose real name was probably thai of his rela;ive, tbe cele- Ihal this grand whole does not seem an assemblage of stones, but as if cut out of a single block. Nearly three centu- ries have passed away since Vasari, and the eye cannot yet discover the slightest trace of disunion to contradict this eu- lugium. The solid structure is a daring defiance of time by man. This palace, erected by Filippo Strozzi the elder, seems as new as when first built; the name of the founder is not obliterated, and if no extraordinary causes of de- struction intervene, it will long answer his noble ambition to perpetuate his me- mory. The large iron rings for holding lamps (a privilege only accorded to the illustiiuus families of Florence) are the woik of a clever smith, INicolao Grosso, surnamed Caparra, from his custom of never undertaking any work without an advance of earnest money [caparra), and whose name and interested surname have seemed worthy of passing to after ages. The Orlandini del Beccuto palace, now one of the most magnificent of Florence, formerly belonged to the Chiarucci fa- mily, who there received the adventu- rous Bailassare Cossa;'i it was rebuilt about the close of the sixteenth century, after passing into the Gondi family, w hose arms are still visible. Our famousGondi, the coadjutor, although born in Brie, really possessed the turbulent and fac- tious genius of Florence, and he even seems, by his character, talents and the manners of the early part of his life, to have greatly resembled Cossa, who, like him, died a cardinal, and reformed. The tower de' Ramaglianti has be- come quite a museum through the exer- tions and taste of S. Sorlei, a goldsmith, who inhabits it, and most obligingly al- lows it to be seen on Sundays : beside gems, medals, bronzes, statues, basso- relievos there collected, ail Assumption, in basso-relievo, is reckoned one of J.,uca della Robia's chefs-d'oeuvre. braiL'd ,'culplor P.illajolo, owed tlie humorous surname by which be is known, to the habit he bad outracted of eternally talking about his journey lo Home and residence there. How like are we to Cronaca now-a-days, and certainly with- out being half so interesting as that great arlisl : 4 See ante, cli. is. CiiAP. XVIII.] FLORENCE. 375 CHAPTER XVllI. Plttl paliice.— Court. -Caiiova's Venus —Gallery. - Library. — (Julileo's manuscripts,— Boboll. — 111- vers, by Giovanni Bologna.— Casino of Leblajic. The Pitti palace, begun by Bruncl- leschi, was finished for the abode of Cosmo I. Compared with the imposing old republican palace of the Seigniory, built on a confined spot prescribed by the people,' this monnmenl seems a good expression of the political contrast of the two epochs, and the architecture of its lengthy front has all the stately gioom and oppressive uniformity of absolute power. The awe-striking aspect of the Pitti palace but little resembles the prin- ces who, for nearly a century, have go- verned Tuscany with so much sagacity, mildness, and wisdom, and who make that happy country the political oasis of Italy. The celebrated court of Ammanato, rich, majestic, is the masterpiece of its kind, though its style is not very pure, and proves that the epoch of decline had already begun. The court of our palace of the Luxembourg seems only a heavy monotonous imitation of it. The grotto, supporting a gushing fountain on its roof, is tastefully decorated, and is one of the most picturesque portions, and the best imagined, of this harmonious whole. The great hall on Ihe ground floor is curious for its frescos, the most important work of Giovanni di San Giovanni, a rapid, fantastic painter. On the ceiling are several allegories on the marriage of Ferdinand H. with the princessofUrbiiio, Vittoria della Kovera, and on the walls, several incidents from the life of Lorenzo de' Medici, as a patron of letters; some particulars are whimsical : a Satyress holding crowns in the air in token of victory ; Mahomet, sword in hand, is on Ihe point of exterminating the Virtues; beneath him a harpy holds the Koran in her hand ; philosophers and poets flying, several of whom stumble and fall, take refuge with Meilici; Homer, groping his way to the gate of Florence, is most naturally expressed ; at this gate are al>io Sappho bedrubbed by a Fury, and behind, Dante in a red robe, thrown headlong ■ See aiile, cb. iii. ' Canova s delicitc nioriesly would not permit bis statue lo be placed In ibe gallery on tlie old pe- destal of Ibc G'pek Vonu«, but by its aide, out of respect for the illustrious exile. from the stairs leading to Parnassus; in the group of philosophers sits Em[ie- doclcs, deploring the loss of his works. The walls of this hall were finished after Giovanni di San Giovanni's death, by Cecco Bravo, Vannini, and Turini. The first has represented Lorenzo de' Medici in the costume of gonfalonier of the re- l)ublic, welcoming Apollo and the Muses presented to him by Fame and Virtue; the second has placed him in his casino of Saint Mark with a number of joung artists and Michael Angelo, who is show- ing him his satyr's head; and the third in his villa of (]areggi, surrounded by the members of Ihe Platonic academy, among whom may be recognised Marsilio Ficino, Pico della Mirandola. and Politian. The gracefulness and truth of the four basso- relievos imitating marble which support the roof, are much admired; they were invented and executed by Giovanni di San Giovanni. In an adjoining apart- ment are also fourteen little frescos on tiles by the same artist. Canova's Venus, despite its renown, the honours it received, the enthusiasm it excited when brought to Florence to re[)lace the absent Venus of Medici, ' the surname of Italica conferied by the public voice, the numerous copies made of it by himself and others, ' ihe beauty of the marble, the excellence of the naked, struck me as vulgar in expression and mien; larger than the antique statue, it is less ideal and divine ; above all it has not the same voluptuous bashfulness: one might call it in plain terms a grisette wiping herself. Perhaps, too, the cur- tains, the dim light of the cabinet where it is placed, the glasses which reflect it on all sides, contribute still further to give it that air of a boudoir figure which speaks more to the senses than the soul, and make it appear still more terrestrial and modern. The Pitti gallery is one of the first, and perhaps the choicest galleries in Europe. The most eminent masters have contri- buted their different masterpieces to this wonderful selection, viz. : SalvatorRosa, several Marine views, his famous Cati- line's conspiracy, much too highly ex- tolled, there being nothing Roman or an- 5 Tbere are tbree repelitions of tbe Venus, pos- sessed by Ihe king of Bavuria, the marquis of I.ansdo«ne, and Mr. Thomas Hope. 32 574 FLORENCE. [Book X. Uquc about it; his celebrated view called ihc Philosophers' landscape -j—GavoUAo, St. Jerome; — Titian, his iVi«ser the age they lived in. was very extensive, and is not all published. A part of it is in the British .^luseum, proceeding either from the fine autograph collection formed by S. Salvi of Brescia, a learned bitiliogra- pher, or from the three xolumes bought at Florence by Lord Guilford, and sold by auction at London in 1830 by the heirs of that worthy nobleman. The manuscripts of Galileo, his corres- pondence, the works published against him with annotations in his hand. The manuscripts of Viviani, his pupil, of Toricelli and the academicians del Ci~ mento, put in perfect order and making more than three hundred \olumes, are the most remarkable manuscript collec- tion of the Pitti library. Among the manuscripts of Galileo are found his thoughts on Tasso : Galdeo was an ar- dent admirer of Ariosto; it is asserted that he knew his whole poem by rote ; he preferred him to all poets ancient and modern, and in his old age he wrote to Francesco Rinuccini, that he had read the flight of Angelica fifty times; he is therefore most unjustly prejudiced against Tasso. These Thoughts, written in his twenty-sixth year, when professor of mathematics at Pisa, unwisely brought to light two centuries after his death ^he having neglected to publish them), do not add an iota to his glory ; his critique is harsh and insolent, his quodlibets are college jests, and he even accuses Tasso ofincapaciiy in descriptive poetry. Ga- lileo was himselfa correct writer, and his examination of Tasso is too much confined to style and language; like Boileau, he is too much provoked by his tendency to false taste and tinselry, the character of Ihe Seicentisti, who so closely followed Tasso, and exaggerated his faults. The solemn Boboli, the garden of the Pilti palace, laid out by Tribolo and Buontalenti, with its majestic amphi- theatre, its statues and fountains, seems rather a creation of art than the work of nature. It has been imitated and sur- passed at Versailles. The undulating cd nn pajo di ormisino, donalemi dal sereni^simo signor prir.cipe col giiippone, bencho siano nuove e lutle adoruale, io credo che si slraccieranno in quindici giorni, e non avendo dcuari, uon so come mi fare. S76 surface scorns favourable to the irregular kind, and the French administralion made an ailempt to introduce it; but the trees when untrained became so mixed and interlaced as to injure each other, and fell into utter disorder. In 1814, the old system was reestablished, and the democracy of the English garden gave way for the aristocracy of the quin- cunx, high hedges, and straight alleys. About the end of Cosmo I.'s reign, these gardens, of so dull and stately an aspect, witnessed the nocturnal pleasures of his beloved daughter Isabella, her son Fran- cesco, the lover of Bianca Capello, of their courtiers and ladies : their present appearance seems to contrast with such recollections. Boboli afterwards assumed a kind of innocence, by the experimental cultivation practised there by the grand dukes of Tuscany : Francesco I. planted it with mulberry trees, to propagate them for distribution among the inh.ibilants ; and Ferdinand II. was the first to cul- tivate the potatoe there. The gilliflowers of Boboli are supposed the Qnest in Europe. The greater part of the many statues of Boboli speak but too plainly of the declining e[)och in which they were executed ; but there are some good works; such are : in the fantastical grotto con- structed by Buonlalenti, with the front by Vasari, an Apollo and a Ceres, by Baccio Bandinelli : the last begun for an Eve that was intended to be placed at the high altar of the cathedral ; four great statues of prisoners rough-hewn by Mi- chael Angelo, and intended for the tomb of Julius II. ; in the midst of the pool called the fountain of Neptune, the Triumph of the god, in bronze, by Lo- renzo Stoldi da Settignano ; at the lop of the gieat alley, a figure, by Giovanni Bologna, finished by Tacca and Salvini. another metamorphosed statue, which w asat first intended to represenlGiovanna of Austria, wife of the grand duke Fran- cesco I., and which was turned into Plenty, for the marriage feasts of Fer- dinand II. his successor; in the pine- apple garden, a Clemency, nearly naked, by Baccio Bandinelli, which must not be confounded with that lady in a court dress, decorated with the order of the Golden Fleece, and holding in one hand ' Alfierl, Son. xi. It musl, liowevcr, beoclinon- edged llial tlifreismuchcxiggeralionand Injusllce FLORENCE. [Book X. arrows, in the other flowers, a kind of allegory, the sense of which is lost, and seems scarcely worthy of regret; near the walls of the town, a large bust, per- haps of JuptYer, one of Giovanni Bologna's first works; a group of Adam and Eve after their fall, much admired, by Mi- chael Angelo Nacerino.a Florentine ;and, especially, at the fine fountain of Isoletto, the colossal group of the three rivers, a chef-d'oeuvre at once grand and elegant, by Giovanni Bologna. The heights of the Boboli garden are noted for their view of Florence. I confess that I infinitely prefer the view from the casino of a compatriot. M. Leblanc, a man of modest merit : that is the place to contemplate Florence and its charming environs. The aspect of this city, though not extensive, is singu- larly grand, historical, and poetic: what edifices can equal herDuomo, her Palazzo Vccchio, hir Santa Croce! This latter church, from its austere form and walls, seems truly, in the midst of so many noble fabrics, like the mausoleum of genius. The noise of the city is not the vulgar cry of the streets, but a kind of buzzing as of bees, which invites to re- verie. I have more than once saluted Florence from this smiling hill, and I loved to repeat there with him who sung her great men and her glory : Qui Michel Angiol uacque ? e qui it sublime Dolce testor degli amorobi detli ? Qui il gran poeta, che in si forli rime Scolpi d' inferno i pianti maladetli ? Qui il celeste inventor, ch" ebbedall'ime Valli nostre I planeli a noi soggetti ? E qui II sovrunu pensator, ch' esprime Si ben del Prence i dolorosi effelll ? Qui nacquer, quando non venia proscritto II dir. leggere, udir, scriver, pensare; Cose, cU" or tutle apponguusi a delilto. ' CHAPTER XIX. Houses of Cellini,— Zuccari,— Michael Angtio,— Gio- vanni Bologna, — Altjeri, — Viviani, — Galileo, — Macliiavel. Few cities olTer so many illustrious modern houses as Florence. The house where Cellini was born and acquired his in the three last verses, as they are applied to the mild and liberal governmenl uf Leopold. CUAP. XIX.] FLORENCE. '•c'il name of Benveniilo, ■ was in the street Chiara nel popolo diSan Lorenzo. His dwelling-house, a present from Cosmo I., in which the memorable founding of the Perseus look place, ' was in the street del Rosaio: inscriptions on marble slabs perpetuate the memory of these facts. The house of Fedcrico Zuccari was in the street del Mandorlo : the embossed architecture, invented by him, still bears witness to the caprice of his taste. In the street called Ghibellina, a name associated with the wars, discords, and proscriptions of Florence, in this town now so quiet, ^ is the house of Michael Angelo, the first of ihese celebrated abodes, still inhabited by a descendant of Michael Angelo, the Cav. Cosmo Huonarotti, a distinguished magistrate, president of the MagistraCo supremo of Florence, who did me the honours of it with the greatest courtesy. This house has become a noble monument of Mi- chael Angelo's glory. In the gallery formed, at an outlay of 12,000 crowns, by his nephew, an illustrious disciple of Galileo, author of the fanciful gramma- tical comedy of Fiera,'* a series of pic- tures represents divers incidents of his life. These paintings were executed by the most eminent artists of the time, but some of them are far from excellent : Michael Angelo presenting the plan of the Laurenlian library to Leo X., by Empoli, is, I believe, the best. During the three fourths of a century that this prodigious man, who undertook at once the Last Judgment, the Moses, and the cupola of Saint Peter's, held the sceptre of the arts, seven popes loaded him with wealth and honours ; he was solicited by Francis I., Charles Y., Alfonso d" Este, and the republic of Venice; Soliman even wanted him to unite Europe and ' CpIUni's falher and mothei' expected a daughler, Bliom Ihey had already named Santa Ueparata, because liis aiollier, after liaving been elgbteen years ru^iiled, aud aiiscariied ol two sons, liad a duugliter next, um! during tier pregnancy liad fancied she «as to liave a second. Qiovanni, Cel- lini's rather, seems to have been as gallant and ro- manllc as his son ; he had married the object of his love, and as Lisabelta s father and his own, like tree Florentines, quibbled about the dowcPi, Gio- vanni, who had been secretly listening, burst on them, exclaiming : " All mlo padre, quella fan- ciulla 6 desiderata e amata, e nnn i suoi d^naii: Irislo a coloro, che si vogllono rifare In sulla dote delta lor moglle -, e sicconie vul vi siete che io sia cosi sacceute, non pot! 6 Io dunque dare le spese alia Asia by a bridge over the Dardanelles; and he by himself was like another power, la this house may be seen his first performances in painting and sculp- ture. A sketch of the Virgin siicldin;/ the infant Jesus, is extraordinary for the vigour and avidity of the child ; an expressive Christ on the cross, in red chalk, is quite surprising for its fi- nished execution when we remember the impatient talent of the artist. I\Ii- chael Angelo painted with the kfl hand, like Holbein, and sculptured with the right. He adopted this habit from ne- cessity, the handling of marble having so far weakened his right hand, that he was obliged to colour with his left. The question as to which of the two arts he most excelled in is not easily decided : Cicognara and some other writers think him greatest in painting; M. Quatre- mere seems to think otherwise. An unscientific person can only speak of his impressions, and I confess that the cha- pel of the Tombs afiected me much more than Last Judgment, which, it is true, is much impaired by time. When, in addition to these, we call to mind the dome of Saint Peter's, and his poems, so passionate, religious, energetic, and, as his genius, so Dante-like, he really seems, as the poet has beautifully express- ed it, the four-souled man, uom di quattr alme.^ The precious autograph manuscript of Michael Angelo's poems, preserved in his house, is composed of pieces that he sent to the brothers del Riccio, his friends, to be corrected. This manuscript, but partially communicated and little known, is extremely curious, from the numerous reflections, by turns melancholy, gay, and familiar, with which it is interspersed, giving it al- most the interest of memoirs; from it moglie, e soddlsfaria ne' suoi bisognl con qualche sorama di danari, non manco che 11 voler vostro.^ Ora io vi fo intendere, che la donna ha da esser mlii, e la dole voglio che sia vostra.'' Vita di H. Cellini^ 1. 1, p. 7. ' See ante, ch iil. ^ This name comes from (be Ghibellina gate, erected by the order of Guido Novello, the new podesta, when after the battle of Monteaperll, gained by the Sienese over the Florentines, the Ghibellines obtained the sv^ay in Florence. 1 This piece has liveda\s divided into tnenly- Uve acts ; the choiaclers of the piolognes of each day are metaphysical entitles, sulIi as Industry, Commerce, Inlerest, etc. ^ rindemonte, II merito veto, termone. 32. FLORENCE. [Book X. we can gain a much more intimate and accurate acquaintance with Michael An- gelo than from his two apologetic Ita- lian biographers, Vasari and Condivi, and even his last dry history by M. Qua- tremere; sometimes he jests about the severity of his censors who make a real butchery {macello) of his verses. A bundle of Ricordi, likewise in Michael Angelo's hand, containing even the ex- penses of his journey to Venice in Sep- tember 1529, and the measure of the marble he had ordered at Carrara, proves that, with all the fire of his genius, he was methodical and careful, and ma- naged his affairs with great regularity. A fair copy of his poems, with correc- tions in his own hand, is another va- luable manuscript belonging to the Cav. Huonarolti. Among the papers in the bundle of Ricordi is a letter from Mi- chael Angelo's nephew, addressed to Cos- mo I., respecting the erection of the mau- soleum in Santa Croce, containing this singular wish : he desires that the figure of sculpture may have the first place, on account of the preeminence which he asserts his uncle to liave accorded to that art over pjiiiiting, an opinion in unison with his letter to Varchi, in which he pretends that sculpture is to painting what the sun is to the moon. He seems lo have prided himself more in his ta- lents as a sculptor, and among the difTe- rentmanuscripts of the Uuonarotli house I observed several letters signed Michel- Agnolo Buonarotti scuUore. This singular and unjust preference of Mi- chael Angelo's may however be explained by the character of his painting, which is anatomical, confused, agitated, terrible, and destitute of the touching philosophy of Kaphael and Poussin. If the poetical talent of Michael Angelo seems to have some analogy with the force of Dante, it has by times all the grace and delicacy of Petrarch : the following are the last verses of a madrigal (one can hardly fancy Michael Angelo making madrigals) extracted from the manuscript of his Rime and first published in 1833 by the author of Luisa Strozzi : Che deflii amanli c men felire stato Qiiello. ove il griin desir gran copla affrena, Che una miseria di speraiiza plena. ' Sec his Memoirs, respeding this nord. ' The Florentine senator Nelli, «ho died at the end of last century, pretended !o have certain The first marble sculptured by Michael Angelo, when eighteen years of age, not Hercules fighting the Centaurs, as stated by Vasari ( since that is only an unfinished part of a horse), but a fan- tastic youthful composition, presents already some admirable details : such are the figure pulling another by the hair, and the one behind striking with a club. In the choir of the Duomo of Flo- rence we saw the artist's last work ; it seems to me that it might be most fitly placed beside this; there would be some- thing pleasing in contemplating and comparing them in this house, another temple of which Michael Angelo is the deity. The Quaratesi house was the resi- dence of Giovanni IJologna, Michael An- gelo's most illustrious pupil ; he received it from the grand duke Francesco I., the lover of Bianca Capello, a mean degraded prince, whose bust is over the door. Near the old Gianfigliazzi palace, oc- cupied by the count of Saint Leu, and opposite the Casino of the nobility, is the small but more illustrious house of Al- fieri ; he dwelt there from 1793 to 1803, the epoch of his decease. The air, the prospect, the comforts of this house had restored to him, he writes in his living Memoirs, a great part of his inielleclual and creative faculties, excepting his dramatic powers {tramelogedie)' which his seventeen chefs-d'oeuvre had doubtless exhausted. Near the church of Santa Maria No- vella, in the street deW Amore, a grace- ful surname not easily traced to its ori- gin, » is the house of Vicenzo Viviani, the last, tht^ faithful pupil of Galileo. He rebuilt this house with the pension con- ferred by Louis XIV., and put thereon, with the bust and elogium of his master, In places contrived for that purpose, the felicitous inscription yEdes a Deo date, an ingenious monument of his gratitude towards a great man and n great king. The house of Galileo at Florence was not far distant from that since rebuilt by his loving pupil ; it was on the Costa, near the foitress of Belvedere. The small house occupied by Ma- chiavel, as stated by an inscription, is in the street de' Guicciardini, opposite the proofs that llie ailiou of Ihe Mamlragora passed In this slreel, from which the name is derived. Chap. XX. 1 FLORENCE. 579 vast black palace of the historian, his dear and constant friend, who, notwith- standing the dilference between their dwellings and dignities, appreciated the merit of his illustrious neighbour, and treated him precisely as his equal.- It was there that Machiavcl died, poor, in discredit wilh his party, on the 22nd of June 1527, aged fifty-eight, killed by ex- cessive doses of pills that he had admi- nistered himself, supposing them efTica- cious against his stomach complaints.^ CHAPTER XX. Academy of Fine Arls.— Great number of arlists. — Scagliola. -Society t/e" Georgo^/Z.-Fine stones.— Barlolino's studio. The Florence Academy of Fine Arts is one of the most splendid establish- ments of the kind in Italy. Perhaps it is an evil to stimulate that excess of cul- ture which generates mediocrity. ^ In- spiration is then less frequent, and art seems to sink into a trade; thus, at all epochs, and particularly at Rome under the last emperors, the great number of artists was a token of decline. The multitude of poets, the immensity of the armies, the great number of statesmen have not been more favourable to the genius of poesy, war, or government. The celebrated Raphael Morghen, de- ceased on the 8lh of April, 1833, at the age of seventy-two, was, to the end of his life, professor of copper-plate engraving to the Academy of Fine Arts. From his advanced age he was often unable to leave his house, and the pupils went to consult him there. He was worthily replaced by Garavaglia, whom an apo- plectic fit carried off in Ihe prime of his talent, on the 26th of April, 1835, at the age of forty-six. Under the ve.-tibule are four basso- relievos of glazed earthenware, by Luca della Hobbia. A Flight into Egypt, in fresco, by Giovanni di San Giovanni, formerly at the chapel della Crocetta, is one of the best of the time ; it was praised ' See a letterof Guicciarriinl.liiwliicb he je.stlng- ly reproaches Muchiavel for adding the word t'Uus- Irissimn to his addruiS, and tells him that he ex- poses himself to llie llile of Jiiaijniftcnln retalialion. ' These pills, according to the recipe wrillen by Machlavel at Ihe end of a letter to Guicdardini, to \\bum he recommended them, were chiefly com- posed of aloes ; taken in moderation, tUey would by the artist's master, Matteo Rosselli, notwithstanding the ingratitude of his pu- |)il, who had left him and executed this work withouthisknowledge. Ititheapart- ment of the statues are a great number of designs, and among them several by Fra Bdrtolommeo, Michael Angelo, Ra- phael, and Andrea del Sarto. In the gallery, the finest in Florence after the two great UlBzi and Pitli galleries, the paintings are arranged according to their epoch, so as to trace the history of the progiess and decline of painting. The following may be remarked : A Descent from the cross, the chef-d'oeuvre of Fra Angelico; a BaptismofChrist, by Andrea Verrocchio, with an angel, the first on the right, by his pupil, Leonardo Vinci, when a boy, whose precocious talent so much discouraged his master as to make him abandon painting for sculpture, to which alone he thenceforward applied ; a Na- tivity, one of Credi's best works; a superb Assumption, by Perugino ; his Dead Christ, which has such fine old men's heads and touching holy women, a pathetic composition that the artist despaired of ever equalling; the four great figures of St. Michael, St. John Baptist, St. Gualbert, the founder of Vallombrosa, and of St. Bernard, car- dinal, one of Andrea del Sarto's most delightful paintings; a Resurrection of Christ, by Ralfaellino del Garbo, and behind, a fresco in clare-obscure by An- drea del Sarto; a Christ dead extended on Ihe Virgin's knees, by Fra Barto- lommeo; the Virgin appearing to St. Bernard, his first work after embracing a conventual life, when he wished to re- nounce his art and only returned to it at the urgent request of his superior, having passed four years without touching a pencil ; a singular paintingof Jesw* Christ bewailed by the holy women, by Plan- tilla Nelli, a Dominican nun, who was prevented by the rigid regulations of her order from having men for models, and was obliged to take the nuns of her convent instead, so that the figures of the saints have female shapes and have been harmles? enough ; they seem to resemble the ante cibum pills of Franck, etc. See the ana- lysis of them minutely given by M. Artaud, t. ii, p. 200, 201, and 202 of his Muchiavel, Ins tjenius, and his errors. ^ The number of pupils in Ibis academy has ex- ceeded three bundrcd; fifty only were devoted lo paintiug. 580 FLORENCE. (Book X. physiognomies; a St. Francis by Ci- goli, wilh which is connected a story not very honourable to his feelings as a man, were it not explained by the pain- ter's passion for truth : while Cigoii was in some embarrassment about express- ing the languor of the saint's features, a pilgrim, worn out with hunger and fa- tigue, presented himself, asking alms; the artist, enchanted with this lucky chance, entreated him to sit a moment; the pilgrim consented, but almost im- mediately swooned ; Cigoii, instead of relieving him, took advantage of his condition to give the face of the saint the fainting expression so much admired. At the bottom of the new room in- tended for sculptures, a sublime 5(. Mat- theio, a sketch of a great marble statue by Michael Angelo, recently discovered in the Opera of the Duomo, seems still further to increase his immense glory. The busts and basso-relievos of the court are also by Luca della Robbia, his brothers, and nephews; and under the portico are the models of the two groups of ihp. Sabine and Virtue subduing Vice, by Giovanni Uologna. At the Academy of Fine Arts there is a school of Scagliola, modern mosaic regenerated and perfected in the last century by the celebrated V. Henry Ilug- ford, a monk of Vallombrosa, a hermit artist, brother to the painter.' With this new species of stucco, brilliant and unchanging paintings are there executed, representing flowers, animals, land- scapes, and buildings. The palace of the Academy of Fine Arts is the seat of the illustrious academy de'Georgofili, found in 175.^ byD. Ubaldo Monlelatici, an agricultural monk, who has long defended the sound doctrines of public economy in Tuscany ; the country is partly indebted to this body for its prosperity and improvement. This agricultural society has almost be- came an institution by independent di- gressions and superiority of some of the papers it publishes. I had the honour to be present, in I8;3i, at the sitting of the Grst Sunday in August, w hen two of the most distinguished members spoke, Professor Gazzeri and the marquis Cav. Cosmo Ridolfi. The discourse of the ' p. Etugford seems lo have been Instrucied in this work by a monk of la Badia dl Santa lleparata dl Mjrradl ; I'. BelloQl, another moujj of his order, latter, although strained, excited a deep interest, and seemed full of new and practical views. The manufacture of hard stones, a ce- lebrated and splendid branch of Floren- tine industry, which produced the fine tables of the Pitti palace, the large oc- togonal table of the gallery, the works of the Medici chapel, is still kept up by the grand duke on his own account, and is still worthy of its reputation. The studio of S. Barlolini, indepen- dently of the artist's talent, the first sculptor in Tuscany and one of the best in Italy, is curious for the quantity of historical statues and busts of living characters made by him : their number is said to be not less than six hundred dispersed over the old and new worlds; so that this studio iiresents a real contem- porary iconography. I admired there the flue Charity, destined for the Pitti gallery, a group somewhat larger than life, noble, natural, and touching. The gigantic statue of Napoleon seems with- out destination; the artist had offered it to thetownof Ajaccio, but the authorities preferred a bronze copy of the uiducky Dgure on the Column; this Gne poetical marble statue does not, it is true, present either the frock coat or the little hat, w hich would have presented great diffi- culties even to Bartolini's talent. By some singular freak of fortune, I remark- ed beside the heroic statue in imperial costume, the mausoleum consecrated by the archduchess Maria Louisa to Count Neipperg:' the princess, strangjely enough habited as an Amazon, is singing the ge- neral's exploits to a lyre ; a basso-relievo represents him wounded and losing an eye at the battle of Hohenlinden, a French victory that I found pleasure in contem- plating even on this foreign monument. The studio of S. Ricci presented some years ago the superb Greek group of Ajax raising the body of Patroclus, which he had been charged to repair. CHAPTER XXI. Egyptian museum. The Egyptian museum, collected in Egypt during the years 1828 and 1829, who died before htm. and Lnmberto Gorl, who had for successor Pielro Stoploiil, were also his pupils- ' See ante, boots ix. ch. xl. Cnvp. XXII] FLORENCE. 381 by S. Rosellini, the disciple, companion, and successor of our Champoliion, is not extensive but choice and curious. The mummy or one of those Greeks who settled in Egypt under the Ptolemys is in such wonderful preservation that the hands and thighs may still be traced under the very clean bandages covering them. We may also form an idea of the oddnefsof the Greek costume at that epoch by the full faced portrait of the deceased painted on the mummy. A Scythian war chariot, of beech, without iron or other metal, a rude trophy taken by an Egyptian, had been deposited in his tomb. The painting on one of the sleles or columns represents a woman seated before an altar, with her favorite monkey under her chair; a taste for these pets seems to have been common among the Egyptian ladies. Another basso-relievo on a funereal stele, sixteen hundred years anterior to the Christian era, represents the goddess who bore the two names of Justice and Truth, and presided at judgment of the after state ; it came from the tombs of the kings, who were the first subjected to this noble and terrible deity. One stele, of excellent workmanship, presents the scribe Amentiba and Dgioa bis wife, after their decease, silting and receiving fune- real homage from their three daughters. A stone stele shows a Ptolemy presenting two vases to Isis: although it suffers from the bad taste that prevailed under the Ptolemys. an epoch of decline in Egyp- tian art, it has the merit, perhap*, of being unique for its small proportions. A great painting offers one of those funereal banquets that the Egyptian gave to their relations and friends, after depositing the mummy in the tomb : the men are served by slaves, the women by maid-servants, and at the end of the room are a set of har- pers. Twelve paintings larger than life, with explanatory hieroglyphics, still re- taining a singular freshness of colouring, commemorate the exploits of Ramses I. over the Scythians, in the fifth year of his reign, 1565 years before our era. A large fragment of arenaria stone, found in Nubia near the second cataract, goes back almost to Abraham's days. There we see the Pharaoh Osortasen, to whom the god Mendu (the Egyptian Apollo) conducts, with their hands tied, various nations of Ethiopia, each of whom has the name of his natal place inscribed. This antique stele may be regarded as an important monument for both the history and ancient geography of Africa. CHAPTER XXII. Theatres of La Pergoia,— Cocomero,— Goldoni,— Alfleii. The different singers, both male and female, that 1 have successively en- countered at Florence, have always ap- peared to me but little removed from mediocrity, except Signora Pisaroni, SignoraGrisi, and Crivelli,who presents the phenomenon of an excellent singer at the age of sixty. The performances in 1826 at La Pergola, a large house built of brick and ill-sounding, were the opera II Nemico yeneroso, and the ballet I'Orfana della selva, which, ac- cording to an Italian usage, was mixed up with opera. The dancers of both sexes, equally bad, in order probably to be better understood, thought proper to make symmetrical jesis; all these arms thrown out at the same time and in the same manner, seemed as if moved by one wire, and gave one the idea of largepuppets. Perhapslhere wasamong these dancers, though they little suspected it, some vague tradition of the antique chorus which only made one character, whose sentiments were expressed by uniform gestures and words. In 1824 the tenor Reina, who has some merit, and Signora Giulia Grisi, since so justly appreciated at Paris, enraptured their audiences. At the extraordinary per- formance for (he latter's benefit, the first act o( Semiramide was played : the Florentine accent of the chorus-singers made German of this Italian, and the Italian proverb, to sing like a choir, was never more correct. The theatre of Cocomero is not so magnificently provided as the opera of La Pergola. I heard Zelmira sung pretty well there in 1826. The figu- rants were merely soldiers tricked out in jackets and antique helmets, but retain- ing below their large black German gaiters : Turplter alriim Deslnat Iq pisccm muller formosa superne. The Goldoni theatre, something like 383 FLORENCE. [Book X. our Vari^lds, was raised on the ruins of the illustrious Annalena's house, and of the convent which she founded after her husband's murder by the gonfalo- nier of Florence, and the death of her son," which convent was sold by the French administration. The kind of dramas performed there contrast strange- ly with the heroic memory of that un- fortunate woman. The French comedians maintained at the expense of M. DemidofF, a rich and beneficent Russian nobleman, many years resident at Florence, played vau- devilles. These actors were not very excellent; our flonflons seem horribly hoarse and screaming beside the pure and harmonious accents of the Italian tongue, except in the mouths of the choirs of La Pergola. The opening of the Alfieri theatre, the old Santa Maria theatre, which look place on the 25lh of November 1828, was a masked ball; there was no hearty mer- riment; affected gaiety, mincing gri- maces, undress costumes, made up the show, and this Italian masked ball, to which all Florence flocked, was but a bad parody of those at the Opera of Paris. CHAPTER XXIII. Tlie hospital of Santa Maria Nuova.— Conrraternlty of Mercy. -Brotherhood of Saint Martin. -Atne- rlco Vespucci.— Museum of physics and natural history.— Galileo's telescope. The hospital of Santa Maria Nuova, the oldest of the great hospitals of Italy, and one of the finest in Europe, was founded in 1287 by Folco Porlinari, a generous citizen of Florence, the father of the heavenly Beatrix of Dante, whom a daughter so poetical has rendered more celebrated than his charitable and useful foundation. The present archi- tecture of the front is by Huontalenliand Parigi, his |)upil. The Florentine me- dical school, honoured by Redi, and doctor Cocchi, the zealous propagator of his reform, appears worthy of such masters by the wisdom and simplicity of its doctrines. The Confraternity of Mercy, founded aboutthe middleof the thirteenth century, ■ SeeMachlavel, /«( ^or., lib. vi. " See ante, book v. ch. vli. ' Amerigo Vespuccio patiicio Florentine ob re- pertam Americam, sui et palrlte nomlols lllustra- when the plague ravaged Florence, is one of those institutions peculiar to Ca- tholicism, and which it alone can con- ceive and establish. The members com- posing it, among whom are the highest nobles, who can only be simple brothers and are excluded from the grades and dignities of the brotherhood, devote themselves to aid the wounded and carry them to the hospital, where they conti- nue to tend them. By times you see one of these brothers quit the most bril- liant circles, warned of some accident by the bell of the Duomo. At this summons of charity, he hastens to assume his re- ligious uniform, a black gown and hood, with a chaplet suspende See Menzint, sat. vlii. 5 Ossa equi Caroli Capelll Legali venetl insipid Menzini, a poet ofthe seventeenth century: Or rbl tra tre naattoni In Rubaconte iNacque, e pur vorra farsi a noi simile.' On the piazza de' Giudici is a singu- larly pathetic inscription, composed by the learned patrician of Venice, Carlo Cappello, ambassador at Florence, in memory of his horse killed in the siege of 1529, and interred there with his ca- parisons of velvet, a monument of his master's gratitude for the services of this Venetian Bucephalus, which seems as if it could hardly belong to such a town.^ The gate of Saint Nicholas, erected in 13:25, ornamented with a fresco by Ber- nardo Gaddi, is the only one in Flo- rence that retains its original height and old majesty. The patriotism of the middle ages had then decorated the other gates of the town with statues of illustrious Tuscans, and Petrarch's was at the gate of Saint Nicholas, which leads to Arezzo, his country. The old bridge was built by Taddeo Gaddi, in 1345. There seems to have been a bridge at the same place from the lime of the Romans. The shops on the old bridge, by a decree of the captains of the quarter in the year 159i, were reserved for the goldsmiths, who still oc- cupy them. But that trade, as now exist- ing in Florence and everywhere else, h;is not the least similarity to the Flo- rentine gold manufacture ofthe fifteenth and sixteenth centuries, when it was allied by the number, the grandeur, and style of its productions to all the arts of design ; when it was like an apitrentice- ship and school for sculpture; when such men as Brunellcschi, Donalello, Ghi- berti, proceeded from its workshops and warehouses; and when it was practised by a Cellini. Over the old bridge passes that long ugly corridor of nearly a half-mile in length which crosses Florence and forms a communication between the Pitti pa- lace and the Gallery ; the original pro- ject was to carry it as far as the An- nunziata. The work was executed for Non ingrains herus, sonipes memorandc, sepul- chrum Uoc tibi pro merilis, hsec monumenta, dedit Obsessa arbe MDXXXIII, Id. Mart!!. Chap. XXV.] FLORENCE. Cosmo I. by Vasari, who is somewhat vainglorious in his Life because he fi- nished this sad structure in less ihan five months. It was when visiting the works that the gloomy Cosmo met with the young Camilla Marlelli in a house about to be pulled down. The poverty of her father, and dread of such an a.spirant made her the mistress of Cosmo; she was at last married, through the imperious exhortations of Pope Pius V., who had accorded the title of grand duiie to Cosmo, and whom Camilla had secretly solicited to interfere; but she was never publicly recognised. The bright days of Camilla ended with Cosmo's life; a few moments after his death, she was driven from the palace by Francesco I., who, considering his connexion with Bianca Capello, might have been less cruel to such a mother-in-law ; she was confined in the rigid monastery of the Murate, where her ill-temper and the violence of her despair made her insupportable. The numerous novenoe of the nuns to the Virgin, to be delivered from (he demon that turned their convent upside down, were heard, and the reluctant nun, trans- ferred to San Monaca, where she had been brought up, only quitted it once for the marriage of her daughter Virginia with CjEsar d'Este, duke of Modena ; worn with regret and sorrow, she died there in a slate of imbecility. At the fool of the bridge, over a fountain which serves as i'.s base, is the fine group of Hercules and the Centaur, by Giovanni Bologna, discovered in 1600, an admirable conclusion for the list of good sculptures in the fifteenth century, a chef-d'oeuvre set in a narrow crossing among the pails of water-carriers, and respected by the people. The bold, light, and elegant bridge of the Trinity, the finest in Florence, has only three arches .md is by Ammanato; it presents the firsl model of the elliptic arch, which may be censured when need- lessly employed, but which Amnianalo thought he might employ here more happily as it was recommended by ne- cessity, to prevent the effects of the sudden swellings and inundations of the Arno, which had swept away the old bridge in 1557. The statues of the four Seasons, which are not deficient in boldness, are Winter, by Taddeo Lan- dino, Autumn and Summer, by Cac- cini, another Tuscan sculptor of no great excellence, and Spring, by Fran- cavilla. The bridge alia Carraja, the oldest public monument of the Florentine sei- gniory, dates nsfar back as the middle of the thirteenth century, and was finished at the expense of the celebrated manu- facturing convent of the f/mi7('a(i, monks who gave the woollen trade so great an impulse in Tuscany, and were then es- tablished at the neighbouring town of Ognissanti. This bridge, which seems to have derived its name from the fre- quent passing of cars, was also repaired by Ammanato, after the inundation of 1557, the ravages of which extended even to the town. The .\rno, the first river in Tuscany, with all the sweetness and almost poetry of its name, is but a tortuous devastating torrent : On Oumicel che nasce In Fatterona E cento oiiglia di corso nol sazia, says Dante describing its numerous wind- ings." The soil it washes down gives the stream a yellow hue, and the water is not drunk at Florence. The gate al Prato owes its name to the meadow where the young Florentines formerly amused then)selves with dilTe- renl games, and particularly the Calcio, said to be revived from the Greeks, a noble game al ball, to which only soldiers, gentlemen, lords, and princes were ad- mitted. It was at the gate al Prato that Benvenulo Cellini, charged with forti- fying it during the war against Siena, had that singular dispute with the Lom- bard captain guarding it, to whom he could not make his system of fortification understood. The defences of the other gates were confided to other artisls. Mi- chael Angelo had been named director- general of the furtificalions of Florence when it was besieged in 1529 by the im- perial and pontifical forces" Near this same gate al Prato is the fortress da Basso, built by Clement VIL to conlrol the Florentines, a monument of San Gallo's science. Other great artists of this epoch, most of them endowed with such diversified talent, were also engi- neers, and distinguished themselves by the same kind of works. • Purg. cant. xiv. a SeepoiJ booli xi cli. vi. 33 386 FLORENCE.-ARCETRI. [Book 51. BOOK THE ELEVENTH. ENVmONS.-PISA.-LEGHORN. CHAPTER I. Avenue of the Poggio imperiale. — Arcelri. — Tower uiid bouse of Galileo.— Montici.—GuicciardiDi. The avenue of the Poggio Imperiale, formed of yews, pines, cypresses, and old o;iks,lhe first, I believe, of palaceavenues, is a kind of natural monument, imposing, and even somewhat dull, which con- trasts with the charming variety of the Cascine or Royal Farms. This palace was formerly the Baroncelli villa. It is said thata member of that ancient family, Tommaso Baroncelli, most devotedly attached to Cosmo 1., having gone from his villa to meet his master returning from Rome, was so enraptured on learn- ing he had received the title of grand duke from the pope, that he died of joy, an instance of enthusiasm in servitude that must appear strange now-a-days! The Poggio afterwards passed into the Salviati family, and was pitilessly con- fiscated by Cosmo with tiie other pro- perty of the rebels and exiles ; he gave it to his daughter, the thoughtless and unfortunate Isabella, the victim, pro- bably, of her husband's too well founded jealousy. Among the solemnities com- mon to Poggio as well as other palaces of princes, it is stated tiiat the grand du- chesses, tutoresses of Ferdinand II., caused to be played, when Prince Sta- nislas, brother of the king of Poland, staid a short time there in 1625, a tra- gedy of Saint Ursula, which, though it has not reached us, could be nothing Tuore than a kind of mystery, that must have seemed an odd performance, as Italy had already possessed, for more than a century, the Sofonisba and Ros- mundu. This piece of Saint Ursula was followed by a ball, in which more Uian a hundred ladies took part, and a ' The womnn they loved, from what has since Liicn asceitaintd, was named Marietta RIcei, the vtife of Nicolao BeninleuJi ; Mailelli was the pre- ferred rival, nis friends enticatcd iMarietla to visit him after the serious wouuds he had received, aud superb halletto di cavalli, executed at night in the neighbouring meadow, transformed into an amphitheatre and illuminated. In this same meadow, half- way along the road leading to the con- vent of La Pace, look place, on the 12th of March 1530, during the siege of Flo- rence, the famous duel between Ludo- vico Martelli, the challenger, and Gio- vanni Randini, who seemed to fight for their country, while they were only rivals in love,' a duel presenting a per- fect picture of the manners and spirit of chivalry, so minutely detailed by Var- chi, a true historian of the descriptive or picturesque school. It was in this same meadow, too, that Redi fables Ariadne as conducted by Bacchus, who, goblet in hand, sings to her the elogium of Tuscan wines and men of letters, friends of the author, in the Bacco in Toscana, a fine and celebrated dithyramb, though some- what redundant, as such compositions always are : Deir Indico orlenfe Domator glorloso II dio del vino Fermato avea I' allegro suo soggiorno Al colli etruschl liUorno : E col4 dove imperial palagio I'augusta fronte in ver le nubl lunalza, In verdeggianle piato Cotla vaga Arlauna un di sedea, E beveiirio e cantando, Al beir idolo suo cosi dicea, etc. In the palace is a fine fresco by Matteo Roselli, representing the illustrious ac- tions of the Medici, which has been cleverly cut away from a demolished ceiling and preserved in another room. The new chapel of the Virgin, by S. Ca- ciali, has on its ceiling a vast fresco of the Assumption, by S.Nenci.one of the best living painters of Florence, and his most important work. she obtained permission of her husband, who had no suspicions whatever. This interview, instead iif comforting Martelli, as was hoped, caused bim such violent emotion as seems to have hastened his death. Chap. 1. 1 FLORENCE. -ARCETRI. 387 Above the Poggio is the pretty hill of Arcetri, sung by the poets for its deli- cious white wine : La verdea soavlssima d' Arctlri,' and immortalised by the residence, the prison,' and the dealh of Galileo. On the road is the lower called di Galileo, a peasant's house and rustic observatory, whence the view of Florence and the environs is very flne. The little house, now the Bonnjuti villa, in which that great man dwelt (en years, seemed to me agreeable and worthy the surname of giojello (jewel) which it formerly bore. Towards the end of his life, he received the youthful Milton there, then only a scholar and elegiac poet. There may be seen the chamber of the illustrious captive, hung with ordinary leather, and furnished with plain chairs, as well as the little terrace on which he used to pass hours together. It was perhaps there that he lost his sight at the age of se- venty-four, when, despite his old age and misfortunes, he continued, with unwearying courage, his tables of Ju- piter's satellites : VIcn quegli occbi a mirar che il del spiarao Tulto quanto, e lui visto, ebber dIsdegDO Veder olire la terra, e s' oscararno.* Galileo also composed at Arcetri, 7/ Trattato della meccanica, augmented and corrected, which appeared in 1634, and the Discorsi e dimostrazioni in- torno a due tiuove scienze attenenti alia meccanica, e i moviinenti locali con un' appendice del centro di grn- vita di alcuni solidi, the manuscript of which he entrusted in 1636, to the count de Noailles, then returning from his em- bassy at Rome, and he transmitted it to the Elzevirs, who printed it in quarto, in 1638. ■ Kedi, Bacco in Toscana. a Galileo dated all bis letters writlen at Arcetri directly after bis return from Rome aud bis con- deraQatlon, from his carceie di Arcelri ; a fact whicb pro*es, as well as tbe diflicultles opposed lo his making a hIII, tbiil, notvvltbsiamiiiig the nu- merous and distinguished vi-Hs be received, be remained all bis lite under the care of tbe inqulsi- lion. Ue liiied this hou^eal fifleen crowns a yeur of Esau Murtellini, Ills pupil. See the KiJa e cum- tnercio lellerario di Galileo Calilei, b\ G. B. Cle- mento de' lNcIII, Lausanne (Florence), (793 (ISiiOl, two volumes quarto. This compilation, curious Galileo, a lover of the country, who could read only in the book of nature, and regarded towns as prisons of the human mind.'i occupied this house from the end of December 1633 lo his latest day, Wednesday the Sili of January, 16«.2, the very year of Newton's birth : we have seen that he entered the world two days before Michael Angelo's dealh ;' so that it may be said that genius was destined to precede and to follow him. Not far from Galileo's house, on ano- ther agreeable hill, called Bellosguardo, at Montici, is the ancient villa of Count Bardi,ofMicheIozzo'sarchitecture, which was the abode of Guicciardini; he, too, ended his days there after having been an actor in the events of which he wrote the history. The table used by him when writing his history is religiously preserved; and we are told that he la- boured with such ardour as to pass whole days without eating or sleeping. Although in profound retirement, Guic- ciardini seems to have been poisoned : '- a new and fatal example that seems to make the destiny of historians of those times run parallel with that of their heroes. 7 Despite the fatigue caused by his long periods, the author of the His- tory of Italy, like all statesmen who have written history, has well explained and wisely judged the actions of which he writes. The loyalty and impartiality of his narratives are perhaps unique, for himself is no more spared than many of his culpable contemporaries. The lastact of Guicciardini'slifc was honourable and pure : although a partisan of republican government, he stood forth alone in the council, alter the murder of Duke Alex- ander, for the monarchical form, which he caused to be adopted when he saw that nothing el.se could guarantee his country against revolutions and civil war. enough, tboogh Interrupted and left Incomplete by tbe author's death, rectifies many inaccuracies oV Targionl Tozzeiti, on Galileo's residence at Arcetri. 3 Monti. i VIvianI, Vita del Galileo, p. C8. 5 See ante, book x. eh. ill. 5 See tbe auihority of ilie nise and veracious Florenline historian, Bernardo Segni, died by S. Ko'.sini, p. C7, of his Saggio suite azioni e suite opere di F. Guicciardini, prefixed to tbe fine Pisa edition, of )82J-2i. 8 ?ols. Ato. pi. 7 See ante, book v. cb. xii. 388 FIESOLE. [Boor XI- CHAPTER II. Cascine. — Villa del Boccaccio. — Alessandra Scala. — Badla.— r/pogpfl/Ja Fiesolana. — S. Inghirami.— Mozzi and Rlcasoli villas.— Fiesole. — Miiio. — Ca- pucbins. The agreeable promenade of the Ca- scine (Royal Farms) on the banks of the Arno, with its pines, holm-oaks, grass- plots, pheasants, and rustic palace, is far superior to the generality of those ordi- nary rendezvous of the vain idlers of great cities. The hour of this citizen promenade varies with the seasons; the equipages are numerous, and many of thi!m have chassPAirs : the vanished great- ness of thrones and theatres comes in contact there.' The circus of the Ca- scine with its carriages full of elegant women is charming to the eye; the com- mon people, too, who repair thither on Sundays, are remarkable for their bear- ing, good mien, becoming dress, and I think there is less difference nowhere between those who go on foot and the occupants of carriages. On the road to Fiesole, beside the Mu- gnone torrent, thePalmieri villa deTre- visi stands conspicuous, called also the villa del Boccaccio, the retreat, during the plague of Florence, of the company of women and young people who tell the stories of the Decameron. This villa, repaired and renovated, is at present only a large plain English house; it can- not be compared to the belUssimo e ricco palagio of Boccaccio, then decorated ■with all the art and magnificence that one would suppose to belong to a villa of the sixteenth century, and offering un hello e gran cortile nel 7nezzo, e con logge e con sale e con camere, tutte, ciascuna verso di se bellissima, e di liete dipinture ragguardevole eornata, con pratelli dattorno e con giardini maravigliosi. This villa lakes its name from the learned Matteo Palmieri, of whom we have already spoken." The philosophical or rather theological poem of Palmieri, although not printed, ac- quired some celebrity from its condem- nation by the inquisition : the author asserts therein that our souls are the I Some few years ago, Florence was intiabiled by most of Ibe princes of Napoleon's family, by the empress of naiti, Christopber's widow, and bis daughter, and by Signora Cataiani. angels that remained neuter when Satan rebelled. TheGuadagni villa, repaired, was the abode of Bartolommeo Scula, the illus- trious gonfalonier and historian of the republic, who obtained the title of privy counsellor and secretary of four princes, one of whom was our Louis XI. But the chief honour of Scala springs from his daughter, the celebrated Alessandra, pupil of John Lascaris and Demetrius Chalcondylas, a woman of great beauty, learning, and poetical talent, the Co- rinne of Florence, who triumphantly re- plied in Greek epigrams to the Greek epigrams of Politian, the rival lover of the young and unfortunate Byzantian poet MarulloTarcagnota, whom she had preferred. La Badia, a superb foundation by Cosmo the Elder, of Brunelleschi's archiiecture, is now occupied in part by the Poligrafta Fiesolana. The ma- nager and proprietor is S. Inghirami, brother of P. Inghirami, a man of high birth, who became an antiquary and primer of his own works. This philo- sopher, full of learning, humility, and resignation, received me in the midst of festoons of printed sheets drying on lines, and he did not appear to me de- generate from his noble stock. S. Inghi- rami, a designer, engraver, and litho- grapher, teaches his young workmen himself, and executes the plates of his learned publications. In the ancient re- fectory, a fresco by Giovanni di San Giovanni, a composition at once grave and grotesque, represents the Lord mi- nistered to by angels in the desert, in which the artist has introduced some fe- male angels; the demon whom the an- gels are endeavouring to keep off is the figure of the butler of La Badia, who had given the ariisl stale wine that he might not gel drunk while at his work. He has also foolishly muffled this demon monk in a capuchin's gown, to express his dislike of the good fathers for begging so often. The hotel delle tre Puzzelle was the residence of the irascible doctor Lami ; there, in the excitement of wine, he wrote his two Latin Satires and his Dia- loghi d'Aniceto Nemesio, another satire ' See ante, book x. ch. xiii. Chap. II. ] FIESOLE. 389 against the Jesuits, in which he consents to pass for a fool provided others were no better than himself. Opposite this house is a well-supplied fountain, by Baccio Bundinelli ; this beauiiful work was a present from the artist, whose pretty villa, now neglected, was in the vicinity. The fine Mozzi villa was erected by Giovanni de' Medici, son of Cosmo the elder, on the plan of Michelozzo. Lorenzo the Magnificent assembled there the literati of his lime ; it was there that Politian retired after the vexations and obstacles thrown in his way by maternal intermeddlings, as it happens sometimes, with the education of his protector's children. Freed from his embarrassing functions, he deliciously sung his new leisure and independence in these verses, which recall the subject and poetry of the Georgics: Banc, coelicolae magnl, concedite vilam ; sic milii delicias, sic blaiidimenla laboruin. Sic faciles dale semper opes; bac iiupioba suiKo Vota tenus ; Quiiqiiamiei le, aunquam ilia precabor, Splendeat ut rulilo Irons invidiosa galero, Tergemiuaque gravis surgal mibi milra corona. Talla Fffisuleo lenlus mediiabar in anlro Rure suburbano Medicuni, qua inons sacer ufbeui Meeoniam, loagique voluniua desplcil Arci; Qua bonus hospiliura fe!ix, placidamque quietem Indalget Laurens, Laurens baud uliima Fboebi Gloria, jactalis Laurens fida anchora mubis : Qui si certa inagis perniiseril olia nobis, AfDabor majore Deo, nee jam ardua (anium SilTa meas voces, monlanuque saxa loquenlur, Sed tu |si qua Odes) tu nostrum forsitan olim, roea blanda allrli, non aspernabere carmen, Quamvis magnorum genilrix Fiorcnlla vatum, Doclaque me Iriplki reeinet facundla lingua. i It was in this same villa that the con- spiracy of the Pazzi was to have broken forth during the festival that Lorenzo gave, on Sunday, April 26, 1478, to Cardinal Riario, nephew of Pope Sixtus IV., their accomplice, but they deferred the time, to prevent the escape of Lorenzo's brother Giuliano, who was kept away by indisposition. Although more than fifty were privy to the plot, it was not discovered till on the very point of execution, a fact, as Machiavel re- ' SyWa, Rusticus. " D/Jcort/, lib III. ch. tI. ' See ante, book x. cap. xlli. < The banished Danle eloquenlly alludes to this origin of his hardhearted fellow-ciliiieDS, in these lilies : marks, * quite miraculous in the history of conspiracies. The convent of Saint Jerome is now the Ricasoli villa. In the church, which has been repaired, are a St. Jerome by S. Sabalelli ; a painting by Fra Angelico, a Dominican, the honour of Fiesole ; a very ancient Nostra Signora, with the infant Jesus, signed by the Greek painter Andrea Rico of Candia. Tiie tomb of Francesco Ferrucci was designed by himself in 1576, and he also sculptured the porphyry medallion; the inscription cut by himself purports that he is the first who wrought that hard substance, ad ex- citandasuorummunicipumingenia, (or sculpture was then professed by most of the inhabitants of Fiesole. Ferrucci's pretensions, though with a strange degree ofvanity he has thought proper to mention in his will also, are very probably un- founded, and withoutspeaking of antique chefs-d'cEUvre, Tadda had previously executed the statue of Cosmo I. in por- phyry, on the column of the piazza della Trinitd, at Florence. 3 There are se- veral admirable basso-relievos by Andrea Ferrucci : the lion stopping short at the sight of St. Jerome, while the other brothers fly in terror, (he Miracle of the mule kneeling before the Holy Sacrament, expressive and elegant ; the two angels flying on each side of the cross might be supposed, for science, boldness of attitude and foreshortening, to be Michael An- gelo's. Fiesole, the cradle of Florence,'' has no interest now but in its literary associa- tions, its prospect, the sculptures of the cathedrals, and its little pile of stones mistaken by Niebuhr for the ruins of a colossal Etruscan edifice, and which is only the remains of a not very ancient Roman theatre. Erected on the ruins of the ancient and once powerful Fiesole. which Cicero attacked, in the senate, for its pomps, its banquets, and the villas built by its inhabitants, tanquam beati,^ the aspect is modern and void of cha- racter; the great square, the renovated seminary, the rebuilt churches, give it merely the appearance of an ordinary little Italian town. The population is Di queir ingrato popolo maligoo, Che discese de Fiesole ab aniiquo, E lien ancor del monie, e del macigno. Inf. can, xv, 65. ' Catil. II, 9. 33. tm FIESOLE. [ Book XI little more than two thousand souls. Boccaccio's Ninfale Fiesolano, which I had taken with me and attempted to peruse, I found exceedingly dull-reading, despite the beauty of its style : perhaps the personal allusions to the ladies then living at Fiesole, which are now totally unintelligible, rendered it moreagreeable at the time. It has been supposed an allegorical relation of some convent ad- venture. This insignificant poem has, however, some interest in a scientific point of view, as it is said to be the first in which fossiles are mentioned. The cathedral, a curious monument of the middle ages, was begun by Bishop Jacopo Bavaro in 102S and finished about the middle of the thirteenth century. The front, of the fourteenlh century, is due to the celebrated and holy bishop Andrea Corsini, whose pulpit is still preserved and venerated. The solid combination of the stones forming the architrave of the gales exhibits some skill in building. The patrons of the church are Sis. Peter and Romulus, a strange association of the names of the two dif- ferent founders of Rome. Althe entrance is a stone sacred to the memory of a peasant of Fiesole, Filippo Mangani, a hind of the canon VincenzoCapponi, who profited so well by the lessons of the famous physician, anatomist, and mathe- matician Benedetto Bresciani, of Flo- rence, during the latler's residence at his villa. The following anecdote, though unaulhenlicated and merely another proof of that allowable pride of the Italians, which strives to attach all glory to their land, is sufBcient as a specimen of Mangani's acquirements. It happened that a Mr. Henry Newton, author of a quarto volume of Latin epistlesand prayers, was English minister at the court of Tuscany, and his name being confounded with that of the great Isaac, one day when he visited Bresciani atFiesole,ourpeasantsoughlaninterview with him and made such prompt and accurate answers to certain geometrical questions and even some of Newton's theorems that the ambassador suspected a trick, and imagined that a learned professor was concealed under the rustic garb of Mangani ; being undeceived in this particular, he loudly expressed his delight and admiration of such wonder- ful knowledge. An old painting is of Giotto's time ; a St. Donatus, bishop of Fiesole, the Martyrdom of St. Thomas, are fine paintings by Volterrano. The little altar, tomb, and chapel of the bishop of Fiesole, Leonardo Salutati, sculptured by Mino di Fiesole, may be ranked with the chefs-d'oeuvre of art: the figures of the altar are full of grace, sweetness, and ease ; the bust of the bishop is admirable for life and truth. The church of Santa Maria Primerana, anterior to the tenth century, presents a Crucifixion, with Magdalen, the Virgin, and St. John Baptist, a very fine basso- relievo of glazed earthenware, by Luca della Robbia. The antique picture of the Madonna, on wood, is the work of the Greek painter Luca Sancio or Santio, who has been mistaken for St. Luke, a fact that may partially account for the numerous Virgins supposed to be painted by that Evangelist. The church of Saint Alexander, bishop of Fiesole and a martyr, built in the sixth century, with a noble portal, has been recently repaired. Were it not for the fifteen fine Ionic columns of cipoline marble, procured from some antique edifice iti the neighbourhood, it would be difficult to recognise the most ancient basilic of Tuscany, through the new brilliancy of its masonry and whitewash- ing. Outside the church is a fine wreck ofRoman antiquities : a pedestal in white Luni marble with an inscription in cha- racters of the best time, mutilated and illegible through the incrustation of some relic. The vast convent of the Franciscans which overlooks Fiesole, has the garden, prospect, and picturesque appearance of other Capuchin convents, and also some good frescos by Nicodeme Ferrucci, the favourite pupil and clever assistant of Passignano. These Franciscans can boast many virtuous and distinguished men ; and among them Nicolao da Uzzano, a Florentine noble who devoted part of his fortune to the relief of the poor, the founding of the Cappo hospital at Fiesole, and the erection of the palace della Sa- pienza, near the piazza of Saint Mark. Chap. Ill ] CAJANO. S9< CHAPTER III. laying a crown of flowers at his feet, which is meant to express that filial and popular gralitude attended his deathbed ; and among the four colossal statues placed on the basement of lapis-lazuli, as a pendant to the allegorical figures of Mercy and Encouragement of the arts are the Muse of feasting and the Mines of Siberia. The two basso-relievos are clearer and truer : the first shows De- midoff levying a regiment at his own expense to repel the invaders of the Rus- sian soil in 1812 ; the second expresses the pathetic scene of his last moments. The villa and domain of Cajano were sung by Politian, exactly as a descriptive poet of the last century would have done, at the end of the poem entitled Ambra, that he had composed in honour of Homer : Made opibus, made ingeiiio, mea gloria Laurens, Gloria musiirum, Laurens 1 montesque propiuquos Perfodis, el longo suspenses excipis arcu ; Pra?gell(Ias dudurus aquas, qui prata suplnum Lata videt Podium, riguls uberrima lympbis; Aggere lula novo piscosisque undique septa Limitibus, per quaj mullo servaute molosso Plena Tarentinissuccresounl ubera vaccis; Alque aliud nigris missum [ quis credat ? ) ab Indls Ruminat ignolas armeulum discolor herbas. At vltuli tepidis clausi foenilibus iulus Expectant tola sugeodas node parenles. Inlerea magnis lac densum bullit alienis, Bracbiaque exertus senior, lunicataque pubes Comprimit, et longa siccandum ponit in umbra. Cique pi« pascuntur oves, ita vastus obeso Corpore, sus calaber Cdvea stat clausus olenti, At(|uealiam ex alia poscil gruunilibus escam. Celtiber ecce sibi latebrosa cuniculus antra Perforat; innumerus net serica vellera bombyx. At vaga florlferos errant dispersa per borlos, MuUiforumque replent operosa examlna sober; Et genus omne avium caplivis instrepit alls. Dumque Anienorel volucris crislata Timavi Partmit, et custos Capiloll gramlna tondet, Multa lacu se mersat anas, subilaque volanles Nube diem fuscunt Veneris lutela columbae. The solid bridge of iron rods thrown over the Ombrone in 1833, the Artesian well, the first attempted in Tuscany, which, it is true, after five months' bor- ing, did not succeed, would, no doubt, with the other works of the Poggio, have been marvellously described in the in- genious Latiiiity of Polilian. Lorenzo de' Medici has also celebrated this villa, one of the first monuments of his mag- nificence, ' which he had rebuilt by Giuliano SanGallo. The ceiling of the great hall is reckoned by Vasari the ' See his pretty piece enlllled Ambra, from the Ombrone, a muddy little river that passes by name of an Islet subaierged by an irruption of the Cajauo. Demldoff villa.— Splnnlng-mills— Poggio dl Ca- jano.— Saloon. — Paintings. — Margaret of Orleans. —Unhappy niatrimonijl alliances of the Medici. The modern villa of Demldoff or San Donato, hastily constructed from 1828 to 1830, badly situated, wilhoutarchitocture, surmounted by a clumsy cope and ridi- culous as a villa, has become respectable from its recent appropriation to indus- trious and benevolent purposes. Those apartments and galleries that J had seen, since the death of Commander DemidolT, encumbered with the rich furniture for- merly exposed to the curiosity of strangers In his town house, have been transformed, under the sagacious management of his second son, into useful factories where the hand of indigence is occupied in spinning silk; the gardens in the Eng- lish style are planted with mulberry trees, and the mean casinos and little fabrics are now productive hot-houses where the strongest races of silkworms are propagated and reared. A powerful steam engine sets in motion the fifty mills of this vast manufactory, which is not lessremarkable for order than activity. An infant school and a school of mutual instruction, where the silk manufacture is taught as a recreation, are part of this foundation, by which M. Analole De- midolT seems to have perpetuated the abundant alms bestowed by his father on the poor of Florence, which procured him such affecting popularity. The day of his death, the multitude, apprised of the danger, repaired to the Demidoff palace and the church of Saint Nicholas close by ; there they demanded the ex- piosltion of the Holy Sacrament, which was instantly accorded, and the crowd joined in the services: Demidoff himself, being informed that a great number of persons unable to enter the church were kneeling on the pavement in the street, appeared at his balcony, and expired in the sight of the praying multitude. A well-merited mausoleum, the work of Bartolini, has been decreed to him at San Donato; but the composition is fan- tastic in some respects : the statue of the commander represents him leaning on the shoulder of his weeping son Anatolc, while on the other side a little girl is 592 CAREGGl. [Book XI. largest yet executed by the moderns. Leo X. had embellished it with superb paintings by the first Florentine masters. The subjects are antique, but all allude to the history of the Medici : Cicero's return from exile, by Frunciabigio, recalls Cosmo's triumphant entry into Florence ; the presents and rare animals sent from Egypt to Caesar, by Andrea del Sarto, the finest of these paintings, the Sultan's presents to Lorenzo ; the repast offered to Scipio by the king of the Numidians, Syphax, by Ponlormo, the reception given to Lorenzo by the king of Naples ; lastly, in the Titus Flaminius refuting, before the assembly of the Acheans, the ambas- sador oftheEloliansandKing Antiochus, and breaking the league, by the same Pontormo, we recognise Lorenzo arrest- ing the projects of the Venetians in the diet of Cremona. The Poggio of Cajano witnessed the tragical and mysterious end of Bianca Capello and her lover. This same villa was the refuge of the graceful, witty, and capricious princess Margaret of Orleans, when she resolved to leave for ever her sombre lord, the grand duke Cosmo IIL After having left Cajano for the monas- tery of Montmartre and the court of Louis XIV.,' Margaret died in Paris at •an advanced age, another instance of an unhappy and ill-sorted alliance between the Medici family and the house of France. The gardens of the Poggio, lately laid out in the English style, contrast dis- agreeably with the Italian and French reminiscences of the sixteenth and se- venteenth centuries attached to the villa. CHAPTER IV. Careggl.— Feast of Plato. — Death of Lorenzo the MagiiiDcent.— SalQtStefano-tra-l'Arcora.— (julele. — EleoDora dl Moutalvo. — Petraia.— Sclpione Ani- tniralo.-Topala.— B.Varchi.— Caslello.— Barloliiil Villa. — Porcelain manufactory. Careggi, two miles from Florence, ' Madame de Sevlgn6 seems to Insinuate that she had Intended to captivate him : " Jesuispersuadfie," she writes lo her daughter, ''quelle aimerait fort celte maison, qui nest point h louer." Let. of July 3, 1675. 9 Plato established his academy in an unhealthy locality, strangely imagining that the powers of the ralud were strengthened by bodily debility. ^ It Is stated by Marsilio FIcIno lEpisl. lib. ii. ad Jacob. Bracciol.) that liandinl presided in the ban- quet at Florence, Lorenzo de" Medici at Careggl. although for fifty years a private country house, and now the Orsi villa, still exists in its primitive state ; built by Cosmo the Elder, with Michelozzo for his architect, it has the aspect of a large square tower, with an elegant interior portico. This villa, one of the most renowned for his- torical associations, which, under Lo- renzo de' Medici, became one of those sanctuaries where ancient poetry and philosophy found such fervent adorers — this illustrious villa, in I83i, was let furnished, at 25 sequins a month [ill.), to two old English ladies, whose people unpityingly repulsed from the house, and even the gardens, all Platonic pilgrims. The image of Plato was erst inaugurated in these gardens, laid out like the groves of Academus, but in purer air,^ and every year, on the 7lh of November, the anniversary of his birth was celebrated there, and at Florence, by a sumptuous banquet, as the practice was at Athens twelve centuries before. ^ Careggi wit- nessed the pastimes and literary fami- liarity of Lorenzo and his friends Pico della Mirandola, Politian, and Marsilio Ficino, who ended his days there. In the gardens of Careggi, Lorenzo was perhaps the first to cultivate a collection of uncommon plants.'' In this place, so intimately connected with the Medici, Leo X. passed his infancy, and two of the most illustrious characters of that fa- mily, the Father of his Country and Lorenzo the Magnificent, are buried. There, too, the latter, attacked with a fierce and unknown disease ^ in the forty- third year of his age, w hen dying pressed the hands of Polilian, who turned away his eyes sullused with tears, and was leaving the apartment to give free vent to his grief; Lorenzo called him back and expressed his regret that Pico dclla Mirandola had not visiled him once during his illness; and when the hitter arrived, conversing with them on Looks and philosophy, he said gaily that dealh The accuracy of this date (November 7) as the an- niversary of Plato's birth and dealh has been con- tested, with some justice, by P. Odoardo Corsinl. 4 A detailed catalogue of this collection Is given In an elegy by Ale^sandro BraccI, addressed to Bernardo Bembo, and published by Roscoe In the appendli lo his Life of Lorenzo de' Medici, from a manuscript in the Laurentian. Several of these plants from Asia and Afiiea are not known to bo- tanists of the present day. 5 It has been quoted as a singular instance of Chap. IV.] CAREGGI. S9S ought to leave him some few days to complete the library he intended for them. A contemporary relates a very ditrerent scene,' that followed this pa- thetic parting; the haughty Savonarola, the implacable enemy of the usurpation of the Medici, entered, after a second summons by Lorenzo : " I would con- fess, but am withheld by three sins, which almost drive me to despair." — ••"What are they ? "— " The first is the sack of Vollorra, in which many maidens were violated and unbounded excesses committed; the second, the confiscation of the monte delle FanciuUe, which has caused a great many young women to remain unmarried for want of portions; the third, theaffair of the Pazzi, in which many innocent persons perished." — "Lorenzo, yield not to despair, for God is merciful, and he w ill grant you grace if you observe the three things I submit to you."— " What are they?" — "The first, that you have a strong and living faith that God can and will pardon you." — "My faith is great." — "It is further necessary that every thing you possess unjustly be restored to its rightful owner, as far as may be, only leaving to your sons what is necessary to private citizens of Florence. " After reflecting a mo- ment, Lorenzo rcjilied, "It shall be done." — "Lastly, Florence must be re- stored to liberty and popular government as under the republic (a uso di repub- blica)." Lorenzo turned away and an- swered not. And Savonarola departed without continuing the confession far- ther.* The antique church of Saint Stephen in Pane has taken the additional name of tra V arcora from some arcades, the remains of a large Roman aqueduct in the neighbourhood. The convent della Quiete deserves the name from its peaceful and solitary site. It was founded in 1650 by the celebrated Eleonora Ramirez di Montalvo, of Spa- fatality, that his physician, the celebrated Pietro leoni of Spolelo, n ho was also addicted to astro- logy, ill despair at the death of Lorenzo, threw himself, or «as thrown by Fietro de' Medici in a passion, intoa nell at Carcggi, which isslill point- ed out, an end wliicli accorded nilb tbe horoscope he had draw n of himself. ' Vita di Fadie Girolamo Savonarola scrilla da fra Pacilico Burl.imacchi Lucchese. ' This republican discourse of Savonarola, re- lated by the enibusia;lic auibor of his Life, Prince nish extraction, a lady illustrious for her charity and poetical talents : her little witty canzoni, her lives of the saints in ottava rima, with divers easy natural compositions, are still cited by the Ita- lians for elegance and purity of style. The ladies of this convent, w ho have the management of a seminary of young girls, do not make vows, but there is not a single instance of one leaving the order. Although the seminary della Quiete was originally intended for young ladies of condition, handiwork and house- wifery are expressly prescribed by the regulations of the foundress. I did not observe in this convent the exceeding frivolity and aflTectatlon of accomplish- ments found in certain fashionable con- vents and adopted as a means of de- stroying the prejudices of the world against a too strict education. The palace of La Petraja, purchased by Ferdinand I., embellished by Buon- talenti, which commands such an admi- rable view of Florence anti its environs, has some good paintings by Volterrano in its interior court, representing actions of the great dukes of Tuscany, and at the high altar of the chapel a fine Holy Family, by Andrea del Sarlo, in a bad light. The famous fountain of Tribolo was reckoned by Vasari the finest of fountains, for taste in the figures and richness of ornament. It was at La Pe- traja that the celebrated scholar Scipione Ammiralo, after a wandering romantic life, wrote, under the direction of Cosmo I . and his son Ferdinand, the history of Florence, the best of bis works, which procured him the surname of the New Livy from the Academy della Crusca. Amrnirato, however, had the grievous fault of envying Machiavel, whose ad- mirable Florentine History he attacked as inaccurate and tedious, a calumny censured with so much fury and exagge- ration by Alfieri on the margin of his copy of Amrnirato.* Giovanni Francesco Pico della Mirandola, nephew of the famous Pico, is contradicted by Roscoe (ch. I. of the I.i/e of Lorenzo de' Medici); but it has been again asserted as true by a recent Italian author, Pompilio Pozzelti, who has written two dissertations on the work of Roscoe, whom he has also erroneously made a doctor. ' This curious manuscript note has been copied and given by M. Artaud, t. ii, p. 173 of his Machia- vel: "Signor Ammiralo, quando si k prete, ita- llano, scbiavo, e Tigliacco, non si scrlve istorle.-... 394 VALLOMBROSA. [Book 51. Topaja, a small villa built by Cosmo I., now a storehouse and cellar dependant on the mansion of La Petraja. was the abode of Benedetto Varchi, an historian, orator, and poet, comic, lyric, and sati- rical; he there composed his indepen- dent history under the roof of that ab- solute master, who seemed charmed with it. The palace of Caslello, belonging to the IMedici before their elevation to the sovereignty, was considerably enlarged under Cosmo I., by Triholo, who also made another fine large fountain, which has a Hercules strangling Anteus, by Ammanato. The grotto is curious and presents the birds and animals sent by the sultan of Egypt to Lorenzo the Magnificent, sculp- tured in marble of various colours. Among them is a girafe, which had already began those European voyages in later years so common with that animal.' The Bartolini villa has a great number of good frescos by San Giovanni. The porcelain manufactory belonging to the marquis Leopoldo Ginori-Lisci, founded in 17iO by his grandfather the marquis Carlo, is the most important in Italy, occup;inga hundred and twenty workmen, and is well worth a visit. Truly it does not resemble the brilliant and royal factory of Sevres, with its vases, statues and pictures; but it is a good and lucrative private establi^hment, which, without pretending to any great luxury, produces very useful and pretty articles. This fabrication, also, appears most appropriate there, as a grand duke of Tuscany, Francesco L, the weak husband of Bianca Capello, but a clever chemist, was the first in Europe who succeeded in imitating the porcelain of China. e njoUo meno si taccia Mactiiavelli come fai a carta 90 di queslo volume 3, rii esser poco verace ; Til verme, osi tu uoii che parlare, pur rimirar lo leooel" ■ See, on the appearance of ibe first girafe in Europe, cb. il. of book s. * Vallnmbrosa ; I Cosi fu nomiuata ana badia Kicca e bella, ne men rellgiosa, CHAPTER V. Vallombrosa.— Feast.— Aspect.— Saint Gualberl.— Hugford.— Paradibioo. — Road. — Culture.— Pea- sant of tbe Val d'Arno. I was at Vallombrosa on the feast of the .Assumption; there was a grand dinner at the convent, attended by the priests and many Franciscan monks of the neighbourhood. That day, in pur- suance of a long-established and affect- ing custom, the monks had been allotting dowries to some poor girls Outside, for all but the dancing, it was the fair of Saint-Germain or Saint-Cloud ; there were improvisatori singing alternate couplets to the immense gratification of Iheir audience. Although this popular feast in the very bosom of solitude, this contrast of woods and rocks crowded with people, was not destitute of sweet- ness or charms, it seemed to me that I lost the severe aspect of Vallombrosa. Setting aside all effect produced by the festisily I witnessed in those places," I do not believe they ever can appear hor- rible. Vallombrosa has indeed some re- semblance to our Grande Chartreuse ; but it is a Chartreuse of the Apennines, less wild than that of the Alps, with an Italian sky and a view of the sea; the superb and gloomy firs that en- viron the abbey were planted in quin- cunx some centuries ago, and conse- quently have a regular and symmetrical rather than savage magnificence : the waters huve been ably directed, and the Vicano there is less a torrent than a fine cascade. Vallombrosa has been wonderfully sung by the three greatest poets who have visited it: Ariosto,^ Milton, 5 Lamartine.^ Ben\enuto Cellini says that he made a pilgrimage to Val- lombrosa to thank God for his .-uccess in the execution of certain figures. He started from Florence, guided by his workman Cesare, and chanting hymns and prayers : a strange pilgrim who E cortese a cbiunque vi Tenia.) Orl. cant, sxii, 36. 5 Thick as autumnal leaTes that strow the brooks In Vallombrosa, where th' Etrurian shaario via, nel vero non che cotniuendare ma scusaie non si puo dtgnamenle ; ma cbi saia tra' morlaii yiuslo giudiee a condennailo? Son io.'' ' A critic of ^ound and Impartial judgment, M. Avenel, has perfectly exp'aiiied this absence of elevation in Machlavel's character. The three .superior articles he has inserted in Ibe Revue en- cyclopedique (I. XLi. and xlii I form an excellent epitome of bis lile and nriliugs. and show blm painted by himself. .Notulibstanding the regret caused by this sad discord between the soul and the lalenls. M. Avenel's judgment, difierent from the common opinion, seems to us very true. * Boccaccio's father, a Florentine raeicbant {mer- calor aokvlisvmui), according to Domenlco Aie- tiuo, with all the cares of business, loun I leisure to fall iu love nllli a young Parisian; Boccaccio makes no allusion to his molher, whom he appears married, father of five children, without that kind of independence and social se- parateness which render such errors al- most indiiferent in the eyes of the world, we see him again at San Casciano, incon- stant, licentious,' trifling, and prodigal > 1 he twofold aspect under which Machia- vel has portraved himself at San Casciano seems to present the images of two men co-existing in him : of the moral man, and the liierary man; of his irrational, degraded, vulgar life, and of his noble and vigorous gen.us. CHAPTER IX. Oerlaklo. — Boccaccio's house and tomb. Certaldo, thirty-five miles from Flo- rence, is a pretty village on a charming bill, with a brook at its toot; this place is immortalised by the origin, residence, and death of Boccaccio, who assumed its name {il Certaldese). He was not born there, as supposed; this creator of Ita- lian prose, this first and most elegant of story-tellers,^ was brought into the world at Paris, the fruit of a lender attachment. There are two Certaldos : the old town, which, however, does not date so far back as ISoccaccio's time, was partly burnt by the Neapolitan army afier the defeat of the Florentines at Campo du Poggio in 1479; 4 it is on the hill, and never to have known ; perhapsshedied at his bi.tli, or In his childhood, and before his father had Ihe time to mai ry her ? Although taken to Florence in his early years, Boccaccio returned to I'arls with a Florentine merchant, with whom his falber bad placed bim, and there be passed several jears, cul- tivaling letters as nmch as he possiidy could. He frequently speaks of the .sciences then studied in that city : " Rlnierl, nobile uomo delta nostra clltS, aveiido lungamente studlato a I'aiigi, non per vender poi la sua sclenza a mlnuio, come moltl fiinno, ma per sapere la ragion delle cose, e la cigion d" ecse, il che oltimamenle sta in gentile iiiimo''lG'<"">!.viii. nov.vii). The rirllcnlous scholar jillcd by bis mistrebs In that novel bad studied there : " Hai veduto,'' says the latter to her maid, making sport of bim, " dove costui e venuto a per- (!ere 11 senno, che egli ci ha da Caiigi recato '' Tills Thomas Diafoirtis of Ihe thirteenth century thus begins bis declaration : " Madoima, egll e il vero, che ira I' allre cose, che io apparai a I'arigi, si fu nigromanzia." i Several houses of the aucient Certaldo are still standing; In particular the Prelorio palace, cu- lious fur its architecture and cuals of arms in clay delta Robbia, indicating Ihe lamilies that had .■"uppiied vicars, an oflice suppressed by Leopold, symethlDg resembling that of prefect in France; Chap. IX. CERTALDO. r.oo wilh ihe exception of some couiUry hou- ses, seems poor; the lower Certakio is n new village sprung up wilhin the last thirty years; it is well built, and several roads communicating wilh the chief towns in the environs pass ihroueh it; the in- habitants, dealers in wood and ch.ircoal as in Boccaccio's time, are still exactly like those he so humorously describes, agiati (at their ease): and the taste fur hearing and telling stories continues popular in the country.' 1 am not cer- tain (hat my memory was not too much occupied with the inimitable imitator of the Certaldese, but it seemed to me that, setting aside the sun, there was some re- semblance between the hill of the Tuscan village and the agreeable situation of Chateau-Thierry." Boccaccio's house, solidly built of brick, with a small tower, the monument of this village, is not, like the residence c^f his friend PetrarchalArqua, relinquished to peasants to be made an object of tradic. A distinguished lady of Florence, Si- gnora Carlolta Lanzoni Medici, whom we have already named, and who de- serves 3 place in the book of Illustrious Women,^ had it repaired in 182:5 ; she has reconstructed the staircase, deco- rated Boccaccio's chamber with his por- trait, a large fresco by Benvenuii, and a bookcase of his works. The small win- Ihc church in «hich Boccaccio was inlerrtd, and where his monument is seen (see posl), is a pari of lliat nhicb had »llnessed the intrepid and burlesque preaching of Fra Cipolla. [Giorn. vi. nov. X.) ' See the Italian inscription quoted at the end of this chapter. ^ " 1,'j Fonlaine, and other story-tellers after him," judiciously remarks Gingueni. "have only taken subjects of one sort from Biiccaccio, and theli- choice has been such as strict morality must blame; but besides ihat, Ihey have deprived them- selves of the greatest charm of Boccaccio s work, I mean his rich and inexhanstible varietv." {Uisl lilt, d'llal. III. )04-.5.| The pathetic novels of Boc- caccio would admit of most affecting imitations : what a depth of interest io sloriessucb asGli/siiioiiiin and Guiscaiilo iGlorn. iv. 1.), of Andrituola and Galir/ullo (Id. vi.l. of Griselidis, the last and must interesting novel of the Decameron. ' De clans inulieribiis, dedicated by Boccaccio to Audreana Acciajoli. countess of Allavilla. ■i In his letter on exile to Pino de' Rossi, a rich Florentine, who was unable to endure it. Boccaccio, after citing the esaraplus of Scipio Afriranns and Scipio Naslea who "ent into volunlary exile, to escape the envy of their fellow citizen';, adds : " E se 1 mio plcdolo nome e depresso merilasse des- ser tra gli eccellenli uomini detti di sopra, e tr.i dows are of the time. The furniture is the oldest that could be found at Cer- taldo, with some imitated from different pictures of that period. The lamp seems the most authentic article of the whole, as it was found in the house and the hardness of Ihe oil proved its antiquity. A well, a bath, and a terrace are shown, which, according to an o'd tradition, belonged to Boccaccio. The stone which covered his grave for more than four centuries, was religiously collected by Signora Lanzoni in 1826, and placed in this house with an inscription by S. Giordani. Boccaccio made two long visits to Cerlaldo. The first, from the year 1363 to 1365, when be Hed with horror from the revolutions and iniqui- tous government of Florence's There he led that sweet, rural, philosophical life he has so well described ; ^ there he composed his Latin works, which placed him at the head of mythologists and scholars for two centuries, but which, though unsuspected by him, will conduce him much less to immortality than his tales. Then Fiammetta's lover had for two years forsaken the libertine life of Naples, taken the clerical habit, and. if not prevented by Petrarch's wise re- monstrances, would have renounced his studies and thrown most of his works into the Gre, such was the ardour of his molt' altri, che fecero 11 simigliante, nomato, io direi, per quello medesimo avere Firenze lasriatu e dimoi are a Certaldo , aggiugnendovi. che dove la mia poveria Io pallsse, tamo lontano me n' andrei, che come la lorn iDi It was also in the eleventh century that silk was Qrst imported into Italy, having come from India by Constantinople. ' A contemporary Inscription in verse, preserved in Ihe church, states that ten young maidens raised, by means of machines he invented, weights that a thousand oxen could scarcely move, and which a raft had with great difficulty transported by sea : Quod vix mllle bourn posseni Juga juncta movere El quod vix potuit per maie ferre rails, Busketi nisu, quod erat nilrabile visu, Delia puellarum turba Icvabat onus. 3i. 'i02 PiSA. [ Book XI supposed to be Greek but not of the good epoch; this fabulous emblem was a strange ornament to place on the top of a church, though not unsulted to the general character of an edifice decorated with fragments brought from Greece by Pisan vessels, but not to the extent sup- posed, and with antiquities from Rome, of which Pisa was a colony. The hippo- griff was no longer there in 183i, and 1 regretted its absence; it has been moved to the Campo Santo under the pretence that it was injured by standing so high, or that it attracted the lightning. The interior receives the religious light suited to these old basilics from a hundred windows of stained glass. The chief works in sculpture are the small aliar of Saint Blase, extremely elegant, by Stag!, but the statue appears by Tribolo, his assistant and friend ; the tomb of the archbishop of Pisa, Pietro Ricci, over the sacristy door; three bronze statues, by Giovanni Rologna, in the choir; the basso-relievos of the old pulpit, lost through being placed loo high and inju- diciously adapted as a balustrade to the gallery; over the door of communication between the side galleries, precious works by Giovanni Pisano, son of the great Nicolao,' a faithful follower of his father whom he could never surpass as a sculp- tor; the new pulpit, which has one co- lumn of pieces of red porphyry joined, and the other of oriental brocatello; these, with the five statues by Giovanni Pisano, were part ol the old pul|)Jt which was broken when the Duomo was con- sumed by fire in 1.595. The paintings are in good number and seem remaik- able ; several arc by Andrea del Sarto : a Madonna with an angel, St. John Baptist, and below St. Francis, St. Bartholomew and St. Jerome, is one of his last and best works ; his,youni; figures o! St. Margaret and St. Catherine pass for the prettiest ladies he has drawn ; the Virgin has a physiognomy full of sere- nity and sweetness; his celebrated St. Agnes has been supposed Raphael's by Mengs. This admirable painting re- minded me of the ingenious passage of Massillon on this saint, which proves that the writers of the age of Louis XIV. were peculiar in the art of throwing ' Heeaiile, book viii. cli. xsiii. - "On voit limpudi'iice devenue un bon air; rindeti'Dce pouss^e h un point, quelle inspiie meme du degoOt ci ceux a qui elle s'eftorce dt into their gravest discourses ideas closely approaching the comic, without degrad- ing their style." A charming Madonna in the midst of saints ; Abel watching liis flocks, which has a landscape suffi- cient for an artist's reputation; i>^oa/i's Sacrifice, are excellent works by So- gliani. Abraham's Sacrifice, by Sod- dorna in his old age, shows skill in the naked parts and a vivid expression in the heads. The Clothing of St. Renier, by Li;li, the last painter of the Floren- tine school, is the most esteemed of the great paintings in this church. The Consecration of the basilic; Christ dis- puting with the doctors, by Sorri, a Sienese painler of the sixteenth century, recall the perspective and staleliness of Paolo Veronese. God speaking to Moses from the burning bush, by Matteo Ros- selli, is one of tfie fine paintings of the gallery. Moses raising the brazen serpent, by Riminaldi, is of the truest expression ; his cupola, as far as one can judge of any thing at such a distance, seems a noble and vigorous composition. The Angels of the altar of that name, by Ventura Salimbeni, a painter of the Sienese school in the sixteenth century, are full of grace : the angel Raphael is perfectly divine, whereas the Eternal Father is barely so. St. Tor/je, a Pisan, armed and bearing the banner of the town, by Salvator Rosa, has all his boldness. The baptistry of Pisa, of an elegant, majestic, original style, built in 115'i, under the consulate of Cocco Griffi, is another monument characteristic of the history of architecture : the author, ac- cording to the inscription, is bioil Salvi, of Pisa, perhaps originally of Siena. This baptistry, like that of Florence, is also a kiiid of museum of fragments and ornaments of antique sculpture, present- ing emblems of pagan divinities. Its construction, from the beginning, was distinguished by almost [irodigious cele- rity. The chronicles of ihe time, con- firmed by all subsequent authorities, agree in stating that the eight columns and four pilasters of the interior were erected and received the arcades that unite them in (he space of fifteen days (from the 1st to the 15lh of October, plaiic; el le noru de la pnJeur consacrt a celui de la Vierge illusire que nous honorons, deveuQ un nom de mep. is el de lisee." Par.iijyrfqne de Sic. ignci. Chap. XF. ] PISA. i03 1156). The funds were exhausted when the second ;md even the first exterior zones were hiirdly finished, but the re- ligious and patriotic zeal of the Pisans was not arrested by such an obstach; ; a voluntary contribution soon supplied the means of completing this noble edifice. The principal door and architrave are adorned with basso-relievos and sculp- tures representing the Martyrdom of St. John, and mysteries from the lAfe of Christ .•the delicacy of the execution already announces the dawn of the bright days of the IMsan school, which was at that eitoch the first in Italy. The pulpit is one of the most noted chefs-d'a'uvre of NIcolao Pisano ; it demonstrates the im- mense progress ellected in the art by this great man : such was the import- ance attached to it by the old Pisans, that on the Saturday before Easter, a day the basilic was much crowded, the podesta was accustomed to send one of his ollicers with a guard to prevent any injury to this inestimable pulpit. Tlie Campanile, or the celebrated leaning tower, built in 117i, one of the six best towers in Italy, is remarkable for its lightness, the beauty of the marble, its singular form, and the workmanship of its staircase. The architects were William of Inspruck and Bonanno of Pisa, who with Buono, the builder of Saint Mark's steeple, were reputed the best architects of their age. As to the oft-discussed prodigy of its inclination of eleven feet three inches, the most pro- bable opinion is that the soil gave way under the weight of the tower when raised to about half its height, and that the architects, after examining the na- ture of tiie ground, were assured that the stratum on whicli (heir edifice re- posed could not sink farther, and there- fore continued the structure on the same plan. '\\\,' prospect is wonderful from tlic contrasts presented by the as- pect of the rich surrounding fields, baths, aqueducts, the sea, Leghorn, and its port. The inclination of lliis tower was useful to Galileo, a native of Pisa, when he was professor of mathematics at the university, to find the measure of time and calculate the fall of heavy bodies. He there, in the presence of many spec- tators, made his first experiments, that excited such a lively enthusiasm; a hun- dred times, loaded with his instruments, had he mounted that very staircase up which I was guided by a little pufiing sexton, lame like his tower. Galileo's new theory on the fall of heavy bodies was not, as some have supposed, the cause of his disgrace and departure from Pisa : Don Giovanni de' Medici, brother of the grand duke Ferdinand I., who prided himself on civil and military ar- chitecture, having imagined a machine to em|)ty the dock of the port of Leg- horn, the governmint charged Galileo to examine it; he clearly jjroved, and experience has since confirmed his ar- guments, that it was insufficient and useless; which the prince could never forgive. When only eighteen or nine- teen years of age, the regular and period- ical motion of a lamp suspended from the roof of the cathedral revealed to him the measure of time by the pendulum, an idea which he realised fifty years afterwards by executing a clock for as- tronomical observations. These old mo- numents, of such curiosity and import- ance with respect to art, are also me- mentos of the grandest discoveries of science; they are thus a twofold honour to Italy. CHAPTER XL Campo Santo. — Giovanni I'isnno. — Paintings.— Benozzo Gozzoli. — Sculptures. — Mouumpnt of Beanix.— Tombs of Algarotii,— l'ignoUi,-Vacca. The Campo Santo, a funereal museum of all ages and nations, though its ranks are so little crowded and death occupies so little space therein, is an admirable monument of the science and genius of Giovanni Pisano, who was superior as an architect to his father Nicolao. This cemetery of the thirteenth century con- secrated to the great men of the Pisan republic, this solemn and religious edi- fice that confers such honour on the jieople that founded it, this magnificent representative of the middle ages, may still be regarded as the true model of na- tional sepultures. The most eminent artists have been successively engaged in its embellishment, and it now exists an historical monument of the painting of the fourteenth and fifteenth centuries. The most ancient of these primitive painters, Buffalmaco, had but slightly improved on the barbarism of the Byzan- tian masters: the group of women in his Crucifixion, who tend the fainting Vir- gin, is well composed ; but the heads, 404 PISA. [Book XI. especially the Virgin's, are deficient in nobleness. The great Orgagna ■ shines in the Cnmpo Santo : his Triumph of Death, though bad in perspedive, is full of variety, imagination, and poetry; this superb and fantastic painting has some satirical points : a nun grasping a purse hints that the vow of poverty was not always strictly observed. A number of miserable creatures invoke dealh in verses which Orgagna has inscribed be- neath Ihcm : Da che prosperilade ci ha lasciati ; mortc, medeclna d' ogui peoa, Deh ! vieni a darne ormji 1" uUiraa cena, and he strikes the rich, the happy, and lovers reposing in the shade of an orange grove listening to the sounds of musical instruments. Several figures are |ior- Iraits : the personage holding a falcon on his wrist represents the famous Cas- truccio, the tyrant of Lucca ; another with a long beard, holding a bow, the em- peror Louis of Bavaria. Several monks oppressed with years and respected by death, are excellent for expression and truth. The figure of Death, though well executed, does not appear sufficiently terrible when compared with his per- sonation by Dante, .Michael Angelo, and Milton. The Last Judgment, w ilh some fine parts, is reckoned Inferior to the Triumph of Death : the Virgin, the noble figure of Christ were perhaps imitated by Michael Angeio; the ecstatic super- natural bliss of the elect seems better expressed than the different torments of the reprobate. Solomon, issuing from his tomb, is doubtful on which side to place himself. An angel drags an in- trusive monk by the hair from among the elect, and ranges him with the damned, while another angel rescues a young and joyous layman from a group of damned, and conducts him to the elect. Orgagna merely designed the Hell; the feeble colouring is by his brother Bernardo. This work is not a representation of Dante's Inferno, as supposed; the only imitation is the gi- gantic figure of L" Imperador del doloroso regno. . . . Da ogrii bocca dironipea co" dcnli On peccalore a gulsa di niaciiilla, Si che tre ne facea cosi dolenli.' ' See ante, bt-ok \. ch. iii. The History and Life of the fathers in the desert, an artless, peaceful scene, contrasts with the Hell. This work by Laurati of Siena, an imitator of Giotto, is deemed the newest and richest idea of the Campo Santo. The group of four monks working is perfectly natural, as also the figure o( the monk fishing ; a woman disguised in the costume of these anchorets is very graceful. Over the princijial entrance, is a noble and airy Assumption, well preserved, by Simone Memmi, which seems to have escaped the fatal retouching inflicted on many pictures of the Campo Santo. Three of the compartments relating to the Life of St. Renier, pjtron of Pisa, are by the same artist. Three figures only of the 5(. Renier in the ivorld {at seco/o) remain untouched; the woman holding a child by the h.ind, another pulling the saint's robe, and the Re- deemer w ho appears to he. . The vessel on which St. Renier embarks to go to Jerusalem w here he assumed the hermit's dress, seems curious for the history of navigation. The best preserved com- partment represents (he Miracles of the saint, a scientific work for the time. Vasari, who speaks from memory, has put forth a multitude of errors respecting this and many others of these paintings. He is far less mistaken in regarding as the best of the old frescos of the Campo Santo, the three compartments by An- tonio Veneziano, which, unfortunately, have also suffered the greatest injury. The most esteemed is the Return of St. Renier; the four sailors managing the boat, which is already near the shore, present the most natural and diversified altitudes; the modern figure of a fisher- man is execrable. The group around the Dying Saint is noble, diversified, expressive. The tempest, in the com- partment of the Saint's posthumous mi- rarjes, is vivid and full of energy. Al- though the six compartments (three of which only remain) relative to the Life of St. Ephesus and St. Politus, executed in 1400 by Spinello d'Arezzo, were the feeblest paintings of the Campo Santo, though dry and harsh, they are not de- void of invention, ease, or warmth, and are esteemed his best work. It is im- possible too deeply to regret the loss of four of the six compartments by Giotto, " Inf. cau. xx\iT, 28-53. Chap. XI. PISA. /.o.-. executed in the very prime of his talent, which contributed so much to his renown that he was invited to Rome by the pope ; the remaining tw o may enable us to form an opinion of their beauty, grandeur, and noble simphcity. The demon in Job's misfortunes is conceived in Diinte's style; the first angel seems worthy of Raphael. The old plague of comforters is marvellously represented in Job's friends, a composition admirable for nature, and, if one may say so, for serenity and resignation. The Creation, the Death of Abel, the Deluge, by Buf- falmacco, equally manifest the infancy of art and the artist's mediocrity, although Cain's head is not deficient in physiog- nomy. Benozzo Gozzoli, pupil of Fra Angelico and imitator of Masaccio, the last master that has worked at the Campo Santo, may be regarded as the Raphael of these primitive times. This great, graceful, and productive painter is said tohave been only two years in completing the twenty-three subjects confided to him, three of which are lost, "a mot.t fearful work," says Vasari, "and enough to frighten a legion of painters : " Ter- ribilissima, e da metter paura a una legionc di pittori. The Drunkenness of Noali, or the Fergroi/nosa, is pleasing and natural : the elegant figure of the Vergognosa whence the painting takes its name, though seemingly covering her face with her hand so as not to see Noah's nakedness, is slily peeping be- tween her fingers, whence the proverb come la Vergognosa di Campo Santo. The Noah in the Curse of Ham has an animated expression : the landscape taken from the environs of Florence is charm- ing. The Tower of Babel is the best preserved of the compartments of Goz- zoli ; the colouring has all its forec ; among the Magi and the ministers who accompany IN'imrod are several portraits; Cosmo the Elder, his son Pielro, his ne- phews Lorenzo tiie Magnificent and Giuliano; perhaps the priest with a cap on his head is Polilian. This fresco is also interesting for the information it affords respecting the revolution of fa- shion; there we may observe the change from the gravity of the ancient Florentine costume to the short close dress of the fashionable knights of the filteenth cen- tury. Abraham and the worshippers of Bclus has a fine effect, and some of its draperies recall Masaccio's manner. Abraham and Lot in Egypt is some- what confused; Abraham on horseback is very noble ; the landscape and ani- mals, like all Gozzoli's, are true. The warriors, the dead and the wounded, in Abraham after his victory, are varied, and the features of the cai)tive Lot are of touching expression. The Departure of Agar is fine in design, and has some dig- nity. The grouj) of Lot and his daugh- ters, in the Burning of Sodom, is ac- tually walking; his wife changed into a statue seems imitated from the antique. Abraham's sacrifice is full of feeling. The Marriage of Isaac and Rebekah is light and stalely. The compartment of the Birth of Jacob and Esau, though but a wreck, was evidently one of the best : the magnificent arebitecture is partly the painter's invention, partly copied from edifices of Florence. The dancers in the Marriage of Jacob and Rachel are elegant and graceful, the draperies perfect. The fine figures of Jacob and Rachel in the Meeting of Jacob and Esau, seem almost Raphael's. The grief of Jacob recognising Joseph's bloody coat is tenderly pathetic. The unlucky retouching of the painter Ron- dinosi has not destroyed the stateliness of the figures, and the softness of the drapery in the different subjects from the History of Moses : the Magi are superb; the Miracle of the rod changed into a serpent is extraordinary for expression, truth, and terror. Aaron in the Passage of the Red Sea seems superior to Moses ; the women reposing with ehildrcn in the arms or hanging to the breast, are ad- mirably sweet and charming. The Fall of Jericho, the Death of Goliath are spiiited and energetic. Some paintings by Rondinosi extend to the door of the great chapel : they are not even worth looking at, and the ingenious interpreter of the Campo Santo, S. Rosini, does them too much honour in applying to them the terrible guarda e passa of Dante. Giovanni Pisano and Gozzoli, the great artists and heroes of the Campo Santo, were interred there by the grateful Pi- sans : it was impossible to give them a nobler or more worthy mausoleum. Among the different works of sculp- ture deposed in the Campo Santo, may be distinguished : an antique bust of Brutus, finely wrought; the pure and elegant basso-relievo of a Matron and 496 PISA. [Book XI. a woman holding a child, brought from Athens some years ago by a sick Turk, who rame to Pisa for medical aid, and left by him with his hosts, not being able to find a purchaser; the Greek vase of Parian marble on which there is a bearded Bacchus, copied by Nicolao Pisano in his pulpit at St. John's, and especially the admirable sarcophagus of Phedra and Hippolytus, which made this im- mortal man a sculptor; (his monument was ever the object of his studies and imitation, and may be regarded as the first cause of the revival. The cele- brated Matilda, the mistress of Gre- gory VII., determined to have it for the mausoleum of her mother, the countess Beatrix, who died in 1076, leaving a will now reckoned one of the oldest do- cuments written in Italian. This trans- formation of an antique sarcophagus into a Christian tomb is a new and re- markable proof that the religious scruples which had destroyed so many pagan mo- numents were then appeased. The bar- barous singer of Matilda, the monk Donizzon her contemporary, blamed her for this preference of Pisa, which he looked on as defiled by the multitude of Pagans, Turks, Africans, Lybians, and Chaldeans that resorted thither : Hxc urbs paganls, Turchis, Libicis quuqae Fartbis Sordida : Clialdei sua Instrant liitora tetri : Sordibus a cunciis sum niunda Canossa, etc. These wretched verses only prove the ancient commercial prosperity of Pisa, the first town in Europe that had a maritime code, and which sent to sea as many as three hundred vessels ; EJonizzon would now be disarmed by its solitude and gloom. Contrary to the general tone of epitaphs, the distich engraved on the tomb of Beatrix is not very laudatory ; she isevensomewhalbrutally and wrong- fully stigmatised as a sinner {peccatrix), an epithet which probably might have at that time the sense ol religious hu- mility. The mausoleum, of the fourteenth century, of the emperor Henry VII., the friend of the Pisans and enemy of the Florentines, so magnificently eulogised by Uante, ' has been transferred from the duomo to the Campo Santo, in order to complete the various epochs of the art which it presents. The monument of ' See ante, book vi. cb. v. Algarotti, from the design of his friend More Tesi and Bianconi, was erected to him by the great Frederick, as the in- scription states. This prince treated his chamberlain better than himself with respect to tombs; for it is well known that as a last mockery of hunsan nature, he wished to be buried near his dogs and their statues. One of the Italians who has most honoured his country by variety of talents, Pignotti. a poet, natural phi- losopher, man of letters, and antiquarian, reposes in the Campo Santo ; his mauso- leum, by S. Ricci, is beautifully simple. The Campo Santo received in 1830 a noble ornament, from the chisel of Thor- waldsen, the tomb of the illustrious sur- geon Andrea Vacca, erected by subscrip- tion. The earth which covers the Campo Santo was taken from the holy places of Jerusalem and brought to Pisa in 15228, in fifty gallies of the republic. Inde- pendently of the high value that religion gave this sacred soil, it had a physical vir- tue which approached the wonderful ; namely, the property ofconsuming bodies in twenty-four hours. At present it is said to require double the time ; the salts with which this earth was impregnated are partly lost, evaporated, like the en- thusiasm and faith which then filled the souls of men. CHAPTER XH. Salnl Slephen.— Flags.— Organ.— Saint .Mcliolas.— Sleeple— Saint Micbael. — Santa Maria deila Spina. — Nluus of Pisa. — Saint Paul. Several churches in Pisa, without having the importance and splendour of the Duomo and Saint John, are never- theless remarkable. The magnificent church of Saint Stephen, or of the kni};hts of that order, commemorates their valiant feats : old flags taken from the \lusul- mans are suspended from the roof, and speak more eloquently of the bravery of the knights than the Latin inscriptions or paintings ofthis same roof. These paint- ings are the Taking of Bona ; the Taking of IVicopoUs, by Ligozzi ; a Naval victory of 1602 ; the Marriage of Maria de' Medici with Henry IV., rather strangely placed among these various trophies won from the Infidels, by Empoli; another Naval victory of 1571, by Cigoli; Cosmo I. taking the Chap. XII. ] PISA. 407 habit of the order, by llic Ihirfl Bionzino. The high altar is of cxlraordinary rich- ness, but it belongs lo the epoch of decline. At the altars are : the Mar- tyrdom of the saint, by Vasari, dry and cold in colouring, but skilfully composed ; a Christ borne to the sepulchre by his disciples and the Marys, by Ganibara, touching and vigorous; a fine Nativity, by the third Hronzino ; the Madonna between St. Joseph and St. Stephen kneeling, pleasing, one of Lomi's best works. The great organ of this church is one of the first in Italy. The church of Saint Nicholas, the most remarkable in Pisa for the variety and richness of its marble, is full of minera- logical interest. The roof, very fine, dates from its restoration in 1572. Some paintings are valuable : the St. Charles Borromeo ; an Anmmciation, by Bili- berli; St. Faconda, by Pietro Dandini; the Madonna alia cintola, by Lomi, a celebrated palnlei of Pisa in the sixteenth century; St Catherine, one of Stefano Marucelli. The steeple of Saint Nicholas, forgotten by all travellers, is a novel, elegant, bold structure by Nicolao Pi- sano, which marks an epoch in the history of architectural progress, and has been imitated by other great artists. At the church of Saint Renicr, an aquarelle of the Saint, by Riminaldi, is remarkable for the elTect of the dare- obscure ; the St. Torpe, a fine figure, is one of Lomi's best woiks. Saint Fredian would perhaps be the richest church of Pisa for pamtings, after the Duumo, if they had been better pre- served. The Adoration of the Magi, of Lomi's old age, passes for his best; the artist seems lo have indulged in this opinion himself, as may be seen by ihe pious inscription under the Virgin : Et quid retribuam tibi, o bone Jesu, pro omnibus qu(s retribuisti mihi ? Non aurum, non thus, nee mirram, sed cor meum, et de thesauro cordis mei hoc opus manuum mearum. The St. Brid- get kneeling before the Cross, is by 'Jiarini, one of .^ndiea Orgagna's best \iu[>\\i; a Madonna; the Invention of the Cross; the Emperor Heraclius car- rying the cross to Calvary, are graceful and noble works of Ventura Salimbcni. The best painlmg of Saint Torpe and one of the best in Pisa, is the elegant and graceful Madonna, with St. Anne and the saint, by Francesco Vanni ; St. Charles Borromeo, by Stefano Marucelli. The Conversion of St. Gualbert, by Passignano or Biliberti, is very good. At Saint Anne, a Communion of St. Jerome, natural and of good ellecl, seems by Ottavio Vannini. The fine picture in the ornament over the side door, is by Ghirlandajo. The church of Saint Sixlus is of the Pisa school of architecture, founded by Buschetto. ■ St. John Baptist preach- ing in the wilderness, oilers the rare qua- lities of its author, Rutilius Manetti. A stately and graceful Madonna sur- rounded with saints, at the high altar of S.iint Thomas, appears by the Vanni of Siena, or by Paggi. The high altar of Saint Cecilia has the Martyrdom of the saint, picturesque, oneol Salimbeni's best works. The first Pisan painter, Orazio Riminaldi, a clever artist of the sixteenth century, is interred in (he church. The front of the church of Saint Ca- therine was perhaps by Nicolao Pisano and the Dominican Fra tiuglielmo, his worthy pupil. A Madonna, beautiful, bill in a bad light, is one of the last works of Fra Bartolommeo. The great St. Thomas, a curious work by Traini, though somewhat cold and exaggerated in the attitudes, is not destitute of ex- pression or imagination : the saint, an excellentlikeness, isoddly placed between Plato and Aristotle ; the former is showing him his Timeus, the latter his Ethics; at his feet lie overthrown Arian and other innovators, and above him is the Redeemer from whom he receives the rays of light which, from St. Thomas, diverge towards a crowd of doctors, bi- shops, and popes. A pulpit close by is reputed to be the one from which Saint i'homas explained his doctrines when he was lecturer at the old convent. St. Catherine receiving the stigmata, by Francesco Vanni, is touching. The two statues of the Annunciation, by Ninus of Pisa, are a monument of Pisan art in the fourteenth century ; the angel is far superior lo the Virgin. The piazza of St. Catherine is an agree- able promenade planted with plane- irees. In this square a colossal statue, a noble composition by S Pampaloni, has been erected to Leopold : it bears the simple inscription in Italian, "to the ' See ante, ch. x. PISA. [ Book XI. grand duke Leopold I., forty years after his death," an inscription which does honour both to Tuscany and the prince, when we call to mind his noble refusal of the statue which was voted to him near the end of his reign as grand duke. The front of Saint Michael in Borgo unites the first artistic names of the thirteenth century, as it appears that Nicolao Pisano, Fra Guglielnio and his illustrious fellow disciple Giovanni Pi- sano, worked thereat. A monument has been erected in this church to Dom Guido Grandi, a Cainaldulite, formerly abbot of Saint Michael, a celebrated geometrician, theologian, biographer, an- tiquary, and even poet, regarded in his day by Newton as one of the greatest continental mathematicians. The church of Saint Peter in Vincoli is one of the most ancient of Pisa; its last renovation was in 1100. An antique architrave, over the great door, seems of the good epoch of the art. The ceiling and the paintings by the brothers Melani, at the church of Saint Matthew, have some celebrity, and Co- chin regards the former "comme une/brf belle machine de composition." The best painting is Christ calling Matthew, by Francesco Romaneili. The Martyr- dom of the Saint is an esteemed work of the too-produclive Sebastiano Conca. The church of Saint Martin offers a St. Benedict in the midst of the thorns to whom the devil appears in a human form, a painting full o( life, by the younger Palma ; a noble and expressive j)/a(Zon«a and some saiols, by Pa.'-signano ; St. Bona, crow ned with roses at the moment of takmg the veil, by Iliminaldi; a Mag- dalen repentant and a Christ on the cross, pleasing and vigorous works as- cribed to Ligo/zi. The church of the Holy Sepulchre, formerly belonging to the Templars, of the architecture of Uioli Salvi, author of the Baptistry, has a sujjcrb Descent from the cross, by Sanli Till. At Saint Christina, the 5am? kneeling before the Redeemer, is a good picture by Passignano. The great church of Santa Maria del Carmine has some good paintings : an Annunciation, by Hoscoli, of 1593; a Crucifixion, with the Virgin and s^iints, by Macchietti ; St. Andrew Corsini, to whom the Virgin appears, by Curradi; the Ascension of Christ, by the second Bronzino, Ihebest painting in the church. The countenance of the Redeemer is rather ill-favoured ; hut his foot just leaving the earth is skilfully executed. The painter has inscribed in the throat of a little dog in this painting, the words : Si latrabis latrabo, a fantastic and im- pertinent warning for his critics. In the sacristy, a Virgin, on a throne, between St. John and St. Peter, a grand charac- teristic work, has been supposed by Masaccio or Filippo Lippi. The tomb of the illustrious Paduan sculptor, Titian Aspetti, who died at Pisa, is seen in the cloister of Santa Maria del Carmine ; the bust is by Felice Palma, his pupil. Santa Maria della Spina, a rich, airy, and pretty little church, on the bank of theArno, is extremely picturesque. This miniature Gothic passes for the first chef-d'oeuvre of its kind in Italy. Many of its sculptured works are famous; for instance, the many small statues on the architrave of the walled door, in part by Andrea Pisano in his youth, and by Giovanni; one of the two saints turned towards the east, the homage of the lat- ler's filial piety, represents his glorious father Nicolao ; in the interior, the two gveal Madonnas by JNinus of Pisa, one suckling, the other standing, so noble and natural; his statues of St. John and St. Peter: the latter is the portrait of Andrea his father. A Virgin, amidst a great number of saints, by Soddoma, is remarkable for beauty of form and soft- ness of outline. Saint Paul seems to have been formerly the cathedral of Pisa. The variety and aiiti(juity of the architectural details in the front deserve notice. Near the side door is an antique sarcophagus become the tomb of Giovanni Burgondio, a Pisan judge and jurisconsult, theologian, phy- sician, and translator of several works by theGreek fathers,a learned personage of the twelfth century, who proves the slate of learning at Pisa in his day. The frescos by the old masters that embellished this magnificent temple have nearly all pe- rished. The Virgin, on a throne, with several saints, is a curious work of Turino di Vaimi, a Pisan artist of the fourteenth century. A Martyrdom of St. Agatha is vigorous and expressive. In the sa- cristy, some Saints, wrecks of paintings by Lippo and Sinione Memmi, are still honourable to them after more than five centuries. HBjj The Getty foQfout/map not digitized Chap. XIV.] PISA. 409 CHAPTER XIII. Uoiversily. — Professors.— Lihrary.— Botanical garden. The university of Pisa, founded pro- bably about Ihe middle of the fourteenth century, was re-established by Cosmo I. Instead of the five faculties created by the French administration, the succeeding authorities unhappily returned to the confused division into three colleges, of divinity, law, and medicine. The pro- fessorships of the former are ecclesiastical history, Holy Scriptures, doctrinal theo- logy, moral Iheology, philology and oriental learning; — those of the second, Latin eloquence, institutes of canon law, interpretation of the holy canons, insti- tutes of civil law, the Pandects, institutes of criminal law, logic and metaphysics, Greek and Latin languages;— tho-e of the third college, divided into two sections, the first of which, called the medical and surgical section, has the professorships of medical pathological institutes, ana- tomy, phjsiology and legal medicine, practical medicine, medical clinics, sur- gical clinics by operations on dead bodies [per necrotomiam), surgical institutions and midwifery; the second section, ma- thematical physics, universal algebra, astronomy, geometry, arithmetic and trigonometry, theorclical physics, expe- rimental physics, chemistry and materia medica, botany, natural history, mecha- nics and hydraulics. The medical studies seem the most profound and are most followed. The professors of Pisa take the title of eccellentissimo on the pio- grara of the lectures, as well as other plain doctors in Italy : some of them deserve it, and are worthy of the old renown of this school ; we may name as such, SS. Rosellini, professor of Egyptian archeology, the friend and scientific fellow-traveller of Champollion; Rosini, of Italian eloquence; del Rosso, of the Pandects; Carmignanl, of criminal law; Bagnoli, of Greek and Latin literature; Regnoli, of surgery and medicine, pupil and no unworthy successor of Vacca; Gaetano Savi, of botany ; Paolo Savi, of natural history. Se\eral distinguished professors teach at Florence, as SS. Tar- i-'ioni Tozzetti, in botany ; Gazzeri and laddei, in chemistry ; Uccelli, in anatomy ' Sec Ibc precedirrg cliapler. and clinical surgery; S. Cianipi, and S. Nesti, guardian of the museum of physics and natural history at Florence, have the title of honorary professors of this uni- versity. The number of students rarely exceeds four hundred. The library has more than thirty thousand volumes; it has received the manuscripts of the illustrious matheiiia- lician Guido Grandi, ' a Camalduiite, collected by a brother of Ihe order, Am- brogio Soldani ; they form forty-four \olumes, and were previously deposited at the convent of Saint Michael, as well as lh3 library of that convent, formerly placed at the disposal of the public bv Grandi. The greatest pait of the books o"f Angelo Fabroni, the celebrated biogra- pher, historian and proveditor of the university, have also been added to this library. According to the pretensions of Pisa, the creation of its botanical garden, gene- rally supposed about 155:', took place in L544; it would thus be the first ktiown, and one year anterior to the garden of 'Padua.' When Cosmo I. reorganized the university in 15i.3, he added two profes- sorships, one for botany, the other for astrology, an odd combination, which characterises the epoch of transition from barbarous and superstitious science to the science of facts and observation. The garden of Pisa, which was honoured by having Andrea Cesalpino, the greatest botanist in Europe, for its first director, contains more than three thousand species. CHAPTER XIV. Ducal palare.— D. Garzia.— Lnnfranchi palace— Lord Byron -I.anfrcducci palace.— Alia Glornala. — To>\er of Famine. -Marble briilge.- Game.— Cbiuzica. The palace of the grand duke has neither grandeur nor magnificence, its pretended connet^tion with Alfieri's Don Garjj'a, a pathetic but exaggerated work, induced me to visit this palace, the scene of the tragic and mysterious death of that son of Cosmo 1. and his brother Gio- vanni, whom the poet has rather stran- gely metamorphosed into Diego ; but this abode of peace and virtue little re- sembled the palace of the tyrant of Florence, and certainly one could not ' See ante, book vii. cb. ii. 35 410 PISA. [Book XI. I here repeal with the republican hero of the Italian Sophocles : gU lutto Qui intorno iiitorno noorte mi risuoiia.' Lord Bvron and his menagerie occu- pied the "first floor of the Lanfranchi palace, » the architecture of which is attributed to Michael Angclo. Here the poet was near having an adventure very similar to that of Charles XII. at Bender, when he was besieged by the dragoons of the brigadiiTwho had insulted him and his friends, and who had been seriously wounded by an unknown band. Byron's enemies have most unjustly accused him of this accident in consequence of which he was obliged to leave Pisa. He seems to allude to this catastrophe in the second canto of Lara, when he feelingly defends the hero suspected of secret murder. On the front of the Lanfreducci palace are the words AUa giornata (day by day), under which hangs a captive's chain, no less difficult to understand than the inscription. These words and this chain on the front of a fine marble palace have always inspired me with a singular melancholy. One feels that such a com- bination has something of romance and poesy, and may perhaps hide the secret of some touching tale. The tradition of Ugolino's fearful death still exists at Pisa. It is truly a misfor- tune for this city to be cursed in one of the sublimesl and most celebrated pieces of Italian poetry. Dante's verses and the horrid sufferings of Ugolino, though according to history he was shut up alone without his sons, have attached a kind of interest to that abominable tyrant. His horrible repast is now un- animously contradicted by the critics, and even refuted by the verse : Poscia pia clie '1 dolor pot6 'I digluno. The Tower of Famine stood in the Piazza de' Cavalieri ; it has lately disappeared, and its remains converted into apartments now make part of a small house with green Persian blinds. Since the year 1808 the marble bridge ' Don Garzia, at. iv. sc. iii. ' See the beginning of Caplain Meduin"s Conver- sations, for an account of tlie monkey, dogs, cats, peacocks, and liens thU tie took nitb him. has not witnessed the ancient game de ponte, said to be of Greek origin, which dates from the Pisa of Olympic games, and which Alfieri has so poetically de- scribed. 3 In the quarter on the left of the Arno I sought for the statue that I supposed had been erected to the illustrious Chin- zica, an intrepid woman, whose courage saved the walls and city of Pisa when its warriors w ereabsent, and repulsed, about the year 1000, the nocturnal attack of the Saracens. Italy in the middle ages could boast a hundred Clelias more heroic than the Boman dame, though celebrated by no Titus Livius. The statue called Cliinzica's seems of an age long prior to her time. The Pisans of the eleventh century, like the Bomans under Con- stantine, were probably reduced to the necessity of erecting their monuments out of the spoils of older ones. This little mutilated statue is half incrusted in a wall, near a barber's shop, and might be easily mistaken for its sign. There ought to be a public monument erected to Cbinzica, in the centre of the quarter burnt by the Saracens, which has been rebuilt and, I believe, bears her name. It is a pity that this glorious name was given by Boccaccio to the old man of Pisa, much less energetic than Chinzica, ♦ whose infirmity and curious calendar are also the subject of a story by La Fontaine. CHAPTEB XV. The Chartreuse of Pisa seems a plea- sant retreat; it is situated at the foot of a mountain, surrounded by woods, with a view of the sea, in the valley of Caici, called la Grazioza, whence it has taken the name of Chartreuse della ralle Gra- zioza. Founded in 1367, and dedicated to the Virgin and the saints Polilus and Ephesus, whose brilliant fete we have ; seen at Cagliari,^ the church and mo- nastery were rebuilt at an immense outlay in 1770. The gew-gaws of the archi- tecture of that epoch, everywhere bad, arc much more offensive in the austere 5 Compifeoggi I'anno ch' io dell" Arno in rlva. Son. ctxiv. 4 Giorn n. nov. i. 5 See Travels in Corsica, Elba, and Sardinia, book iii.ch. xlvi. CuAP. XVII.] PISA. U\i solitude of a Chartreuse and beside the simple beauties of nature. St. Bruno, at the high altar, presenting the plan of the Chartreuse to the Virgin, is a very ele- gant painting by Voilerrano. This con- vent, reestablished in 1814., had fifteen inmates in 18-28, who received 500 francs each from the government. Notwith- standing the narrowness ofsuch resources, the house still preserves some traces of its former greatness. There are a dis- pensary, vast cellars, an oil-press, a forge, workshops, as in the abbeys of the middle ages, and the chapel and outside apartment for the ladies, who could not be admitted into the cloister. Among the many manuscripts may be distin- guished a diploma of the countess Ma- tilda, of 1112, proceeding from the monastery of the island of Gorgona, the monks of which, driven away by the frequent attacks of the Saracens, took refuge in the Chartreuse of Pisa ; and another diploma of Conrad II. CHAPTER XVI. Farm of San Rossore.— Camels. A sensible, accurate, and impartial traveller, M. de Chateauvleux, in his letters written from Italy to M. Charles Pictet, was the first to call attention to and describe the farm of San Rossore, founded by the Medici. Its approach is by a fine avenue of ash and poplar three miles long, with white marble seats at due intervals, and a small canal on each side, which fertilises the adjacent mea- dows by its waters : two marble statues are placed at the entrance ol the avenue ; two others, Diana and Endymion, stand- ing at the entrance of the farm, show that it is a hunting lodge. The bandita reale, as this immense establishment is called, draws its revenue from its woods and the luxuriance of its prairies. More than two thousand cows are kept there, and above fifteen hundred horses. These animals wander over immense pastures, sometimes singly, at others in herds, and free as at the creation. But the princijjal curiosity of the domain of San Rossore is the herd of camels, whose ancestors were brought to these shores during the cru- sades (the greatest houses in Europe date no further back) by a grand prior of Pisa ' see post, book xiy. ch. xv. of the order of Saint John. A score of these camels are employed in the work of the farm, and lodge in the stable : more than sixty stray through the pine forests or along the sands that border the sea. In the greatest heats of the day. the latter may be seen revellifig in the sunshine, sometimes standing, at others lying on the sand, and sedately rising at the sight of any one passing. These sands, wilhthesea, the camels, the purity and brightness of the sky, the solitude, and silence, give this picture something oriental, novel, and poetical, which pleases the fancy, and transports it to the desert. Near Monte Circello we shill find the pigs of the Odyssey, descended from the companions of Ulysses : ' here are the camels of the Gerusalemme ; Italy alone has these epic animals. I did not visit the islands near i^lount Gargano, on the coast of La Puglia ; but it is very probable that Ihecompanionsof Diomede, changed into birds,' are not without posterity. The noble camels of Pisa have not always a lot worthy of their origin ; they are sold for the moderate price of five or six pounds sterling to the charlatans of Europe, who lead them from town to town; or they people the various mu- seums of natural history with their bodies. Some persons think that camels might be usefully introduced into mountainous countries; their milk is agreeable, they produce a tolerablequantity ol hair which is used for making carpets. With proper training they would lo-e their savage wild propen>ilies, for it has been observed that the horses seem ill at ease with the camels of San Rossore. CHAPTER XVII. Balhs.— Montaigne's vanity.— Water of Pisa. The celebrated baths of Saint Julian at Pisa, less frequented of late years than the more pleasantly situated b.ilhs of Lucca , were ancient thermae, as is proved by some fragments of columns and in- scriptions. In the middle ages, they maintained their reputation, and were repaired by the countess Matilda, and the bith called della Begina seems to owe its name to this queen of the Ba- learic isles, a prisoner of the Pisans, who, at this epoch of their glory, had " .£«., XI. 270. m. 442 LEGHORN. [Book XI. conquered her states, and discovered the Canaries. This queen embraced Chris- tianity, as well as her son. who became a canon of the cathedral and was a most edifying priest : he was even named f.'o- vernor of Majorca, his native isle. The con(|uest of the Balearic islands is the subject of a contemporary poem by Deacon Lorenzo di Verona, an eye- witness attached to Pielro archbishop of Pisa, a poem in hexameter verse, es- teemed as something less barbarous than the other Latin productions of the same period. The present splendid building was erected about the middle of last century. Several scicntiGc men, among them Cocchi, the illustrious physician of Flo- rence, have analysed these waters. Mon- taigne had come for the purpose of ta- king them, w hen, on the 7lh of Siptem- ber, 1581, he received the news of his nomination to the place of mayor of Bordeaux, an ofTice in which he cannot have distinguished himself, since he speaks so little of it. I made no re- searches after his arms which he had em- blazoned, gilded, framed, and nailed in the chiimber he occupied, "on the con- dition that they were to be deemed as given to the chamber, not to Captain Paulino, although he was the master of the house, and as appertaining to that chamber, whatever might afterwards happen," because 1 have little taste for the monuments of a philosopher's vanity. But if the baths of Pisa have declined, the water drunk in thai tow n, not drawn from the Arno, is sweet, light, whole- some, and almost equal to that of Rome. CHAPTER XVIIL Legliorn.—Venezia.— Lazaretto.— Synagogue.— Jews. — Slaves of Tacca.— Oil waietiouse.— Corul nianu- faclorj. — Micall's warehouse.— English cemetery. — Ardenza.— Mouteaero. I have thrice visited Leghorn, and it has always seemed to me that, in this new town, la plus indocte de Vltalie,' in this vast bustling factory of divers nations, I found myself as if out of Italy, and felt that I no longer trod that land of poetry. Leghorn has been of late considerably and rapidly increased by ' Aberblad's answer (o Courier. November dig>'ata sub umbras" of the poet, presents the features of ma- dame Murat, whose daughter the Cav. R****'* had married ; an ingenious and touching allusion to a domestic cata- strophe. ' Villani says that be was burled a grande onore in ahtto di poela. " The iracl on Monarcliy was put in ths index by the council of Trent; but it was only put in Ihe second class, as if to indicate that lis political no- tions rather than religious doclrinej were censured. ^ Dante's words to Brunello Latini, when be CHAPTER IV. Dante's Tonnb.— Dante. The tomb of Dante is, for the imagi- nation, the first monument of Ravenna, and one of the most illustrious tombs in the world. But the paltry tasteless cu- pola in whi(h it was placed about the end of last century seems little worthy of such a sepulchre. The remains of ihe poet seem, like himself, to have had their cata- strophes. About two years after his death, Guidoda Polenta, who had offered him an asy lum and given him a pompous funeral,' being expelled from Ravenna, Dante's body narrowly escaped disinterment from thechurch of the Minorites of Saint Fran- cis, and his bones, like his book on Mo~ narchy,'' were menaced with the flames, by order of Cardinal Beltramo del Pog- getto : the Florentines persecuted even his memory, and the pope had excom- municated him. A hundred and sixty years had elapsed when the senator Ber- nardo Bernbo, podesta of Ravenna for the Venetian republic, and father of the cardinal, erected a mausoleum to liim from the design of the able architect and sculptor Pietro Lombardo, which was repaired in 1692 by the cardinal legate Corsi of Florence, and rebuilt as it now stands in 1780 at the expense of one of his successors, Cardinal Valenti Gon- zaga of Mantua. On the ceiling of the cupola are the four medallions of Virgil, Brunctto Latini, Dante's master, of whom he had so well learned come V uom s' eterna,^ and of bis proleclorst Can Grande and Guido. The aspect of Ibis funereal marble of Dante, before which Alfieri had prostrated himself,^ which Byron had visited somewhat thea- trically dressed in a superb military uni- form, and on which he had deposited a volume of his works, causes a multipli- city of emotions that defy description. The misfortunes of this great man, con- demned, stripped of his property, ba- nished twenty years from Florence, touch the heart as much as his sublime genius confounds the soul. The verses of Ho- meels him in hell, where his infamous propen- sities, and perhaps also his political opinions had induced the poet to put him. Inf. can. iv. 85. ^ Prostralo innanzl a" tuoi funerei marmi. See bis fine sonnet gran padre Alighier, etc. 420 RAVENNA. [Book XII. mcr arc those of an unhappy poet of a primitive age ; the poem of Dante is the production of a victim of proscri|ition, at an epoch of factions and faualicisni ; exile inspired his verses, and his Flo- rentine hell is the hell of parties, re- volutions, and civil war. Therefore Dante, forgotten, neglected for nearly two centuries, has been again and deeply fell since our own limes have experienced the same slorms.' His book is now as a symbol of liberty to the Italians; they love to take refuge thirein, and their admiration seems to them patriotism. I have sometimes had the fortune to read several cantos with young persans of education to whom I was recommended, and I well remember their raptures when reading those magniflcent passages OR the glory, grandeur, or servitude of Italy : this ardent enthusiastic commen- tary delighted me, utterly unlike the written commentaries that 1 had attempt- ed to peruse. Dante has but little nar- rative ; he makes his actors of the pas- sions, the opinions which agitated his age, and the entire creation is the scene of his poem : Al quale ba poslo mano e cielo e terra.^ Like Bossuet, Dante has a language to ' rrotn the curious returus of S. Gan>ba {Serie de' tesli di lingua ilaliana, no. 309), il is seen Uial there had appeared nineteen editions of the Divina Commedia, belween 1472 and 150U; forty, from )500 lo ietJO; only five in the seventeenih century; thirty-seven, from 1700 to tSOO; nnd more than Dfly in the Ursl twenty-live years of Ihe nineteenth century. The Dante, of the pretty pocliet edition of Ihe nalian poets, publislied at I'aris by Buttura, was the first exhausted. ' Varad. can. xxv. 2. * One of Dante's fine verses describes a tailor threading his needle, Come veccbio sartor fa nella cruna. Inf. can. xv. 21. Some familiar details resemble certain passages of the Sermons, the Elevations a Vieu and of the iliditalions sur I'Evamjili', by Bossuet ; for in- stance : tii da lingua che chiami mamma e babbo. ill/, can. XXXII. 9. Matio e chi spera che nostra raglone I'ossa trascorrer la ntiiiila via Che llene una sustanzia in Ire persone. State contcnii. umana genie, al quia, Che se polulo avesle veder tutto Meslier non era partorir Miiria. Purg. Can. m. 54. himself, which none spake before or after him ; and like our great orator he can give a marvellous interest to the most ordinary things.' Perhaps their inclination towards monarchy* and in- dependence of the court of Rome, their great faith, their fearless Christianity, the clearness of their divinity, ' are other analogies between them. It is impos- sible to have a [lerfect know ledge of Dante without visiting Italy; to comprehend him, it is necessary to have contemplated the beauties of nature he descrilJes or Ihe works of art he has inspired; the old paintings of Giotto, Orgagna, Luea Signoielli, the grandeur of iMichael An- gelo, are his truest and most eloquent ex|)Ositors. After a study of this kind, one would be temjjted to exclaim, like the young Marcus Auiclius, of I know not what harangue, which must doubt- less be far inferior to these verses ; O omnia! ^ This poet of the thirteenth century has gone over the whole range of thought and feeling. Let us not boast so highly of our progress and improve- ments : the arts of man, all that can be taught, may have advanced towards perfection, but intellect is not extended. Cui buon volere e giuslo amor cavalca. Can. xviii. 98. The mournful verse of the Purgatorio on the misery and blindness of the norld is Bossuet abso- lutely : Frate, Lo mondo 6 cieco, e lu vlen ben da lul. Can. XVI. 66. ''• The epitaph on Dante's tomb, attributed to him- self, is well known : Jura nionarcliice, etc., as well as hislract De monardiid, in which he allempls to demonstiale the eictlleute of thai mode of govern- ment, by Ibe exaraiile of a lamily which has its natural head, a system reproduced in our days by a publicist for a lime of some celebrity. 5 The follo^^lug verses of the Purgatorio are a precise definition of free-will : Lo cielo i voslri movimenti inizia, ISon dlco tutii; ma piislo ch' io 1 dica, Luiue v' e date a bene ed a malizia. Can. XVI. 73. Dante has thrown out a mullitude of fine verses on questions purely theological and doctrinal, ti Let. of rroulo to Marcus Aurelius, book u. 6. CiiAp. v.] RAVENNA. in CHAPTER V. Environs.— Walls.— Tlieodoric's mausoleum.— Cro- cetla — Alberooi.— S;iiiit Apollinaiius in Ctasse. — I'iucla. — FrcDcii coluaiD. — Bailie. -Coast to lli- miui. The environs of Ravenna, with their ruins, their reminiscences, their deso- late aspect, the vast marshes extending around, seem Uke another Campania of Rome inundated. The lour of the walls of these grand historical cities is one of my favourite walks : the walls of Rome are part of its most interesting monuments; at Ravenna, may still be seen the breaches made by the Rarbarians, whom no ramparts can arrest unless defended by the patriotism and courage of the in- habitants. These weak walls showed me the end and renewal of empires. The tomb of Theodoric. built by him- self, and from which this great prince, conqueror, legislator, patron of the arts and sciences, was ejected as an Arian, has become Santa !\]aria della Rolonda. The solid monument of this first of the Gothic kings in Italy is a tolerably good imitation of the mausoleums of Augustus and Adrian, perfectly Roman in its style ; it proves the ascendent that the conquer- ed always obtain when more civilised than their conquerors. The placing of the enormous cupola, 0/ a single stone, estimated by the architect Soufllot to weigh i?>0 tons, shows that there were engineers of extraordinary skill at that epoch. The tomb is buried to the top of the arcades, to such an extent has the soil been raised at Ravenna, as we shall hereafter sec. A quarter of a mile from the town, a plain Greek cross on a small fluted co- lumn, marks the spot where formf'rly stood the superb basilic of Saint Lau- rence in Cesarea, founded in 396 by Lauriiius, first chamberlain of the em- peror llonorius; it was destroyed in 1.553, and its thirty columns of precious marble were all, except two jdaced in the church of S;inta Maria in Porto, re- moved to Rome. Umpires are not far from their fall when the chamberlains of princes can erei t such splendid temples. An inscription on the Ponte luwvo slates that it was built while Alberoni ' See tbe esliniablc MOTk of Count Francesco Ginanni, \Nilb llie somen bat poiupous title of w as legate of Romagna ; one of the town gates has also received its name from this cardinal, a most insignificant puppet of fortune and intrigue beside the grand catastrophes of Ravenna. Saint Apollinarius in Classe, a vast superb basilic of the sixth century, in the Roman style, resembles, for taste, cha- racter, and richness, Saint Paul before its destruction. But if fire devoured the latter basilic, water seems likidy to ruin Saint Apollinarius: being situated in the midst of marshes, the foundations are sometimes under water, and 1 could not pass under the high altar to visit ihe an- cient tomb of the saint, because the rain water had penetrated there. Round the church are large marble tombs of the archbishops of Ravenna. In the gallery, beside the portrait of Saint Apollinarius, the first archbishop, isthu unbroken series of his successors. ThechurcholRavenna, which boasts itself the eldest daughter of the church of Rome, like her knows the names of her pastors from the estab- lishment of Christianity. In ihe middle of the nave, between two tombs, the name and title of the em[icr(ir Otho III , inscribed on the wall, call to mind the fervent penances of this prince, to ap- pease his remoise for the nmrder of bis enemy Crescentius and ihe prostitution of his widow to Ihe German soldiers, crimes that she avenged by poisoning him, after he had yielded lo her seduc- tions as woman or physician, and per- haps as both. The old town of Classe, destroyed in 728 by Luitprand, king of the Lombards, was, as its iianic purports, adjacent lo the sea, which is now four miles dist.mt, so much is the soil raised and consolidated on its borders by the earth thrown up by the Po and the rivers that empty themselves into this sea. The sombre pine-forest [Pineta) which covers Ravenna towards the sea is like a funeral pall thrown by nature over the wrecks of this fallen city. This cele- brated forest, one of the wonders of Italy, has its proper annals and histo- rian.' It is no virgin forest of America, without history or name, but an illus- trious forest : the predecessors of those pines served lo build the fleets of Au- gustus; transformed into Venetian ves- Sloria civile e nalurale delle pintle Ravennalt. Home, t7j4, quiirlo. 36 Hi sels, tliey carried the crusaders from Eu- rope to Asia; but their sad posterity, sold to the Davy contractors of iieigliiiouring slates, became Ihc Austrian brig thai pro- tected the Turlis or llie liitie pontifical vessel insulted and plundered by the corsairs of Barbary, before France had resuscilatcd Greece and conquered Al- giers. The Pinela is also interesting for its poetical associations: Uanle mentions il; ' that intrepid fowler most probably hunted there;' Boccaccio made it the scene of his extraordinary novel of Nas- tagio degli Onesti, the narrative of a tragic event which brought about the singular amorous conversion of the la- dies of Bavenna;3 and Byron, who al- ludes but feebly to the Pineta,^ composed there, at the request of his mistress, the Prophecy of Dante. Popular tradition informs us thai Dante frequently went to meditate in a solitary spot which slili retains the charming name of Vicolo de" poeti. The proprie- tors some years ago seemed disposed to dose this kind of lane; but the literary inhabitants of Ravenna interfered, and it continues public. Two miles from Ravenna, on the bank of the river Ronco, is a small pilaster of while marble, called ihe column of the French, a memorial of Ihe bailie gained bvlhe troops of I-ouis XII. over the army of Julius II. and the king of Spain, on ' Vurgal. cun. xx^iii. 20. ' DaDte has drawn maoy admirable comparisons from fOHling: Quasi falcone ch' esce di cappello', Muove la testa, o con 1' ale s" applaade, Voglia moslracilo e facendosi bdlo. Paiad. can. six, 34 ; viii, 103, and XVIII, 45. He seems lio«ever to censure its excessive indul- gence, ami accuses himself of tlial weakness in tbis verse of llie I'urgatorio : Come far suole Chi dielro all' uccellln sua vlla perde. Can. XXIII, 3. 5 Gi'orii. V, nov. \iii. " E non fu questa paura caglone solamenle di questo bene, anzi si tulte le Ravignane donne pauro;e lie divennero,cbesempre poi troppo piii arrendevull a" piaceri degli uoiuiui furoiio che prima stale non erano." Ibis novel, versified by S. Slrocclii. is one uf the most charm- ing of contemporary Italian poetry. ■) Don Juan, can. in, cv. cvi. 5 The column was erected iu 1557 by Ihepresideut of Uomugud, I'ietro Dona Cesi ; the inscription is : Hac. Pelra. Petrus. Donat. Donatus. Iberos. Gallotqu : Uic. casus. Ca;sius. Ilaec. memorar.s. RAVENNA. [Book XII. Easter Sunday, April 11, 1512, in which Gaston de Foix was slain, in the twenty- fourth year of his age. The monument of such a terrible engagement, which left twenty thousand men dead on the field, and made Bayard write from Ihe spot : " If the king has gained the battle, the poor gentlemen have truly lost il," — is litlle funereal or military ; it is orna- mented with elegant arabesques of vases, fruit, festoons, dolphins, and loaded with eight long tautological inscriptions, and one of them is a rather ridiculous jcm de mots. 5 The speech that Guicciardiui makes Gaston address to the soldiers on the banks of the Ronco, is one of the most lauded of those pieces, diffuse imi- tations of the harangues of ancient histo- rians. Besides the illustrious captains present at this battle, such as Pescario, Fabrizio Colomia, the marquis della Palude, the celebrated engineer Pedro iNavarra, taken prisoners by the French, and Anne de Montmorency, yet a youth, afterwards constable of France under four kings, w ho began his long disastrous military careeramid this triumph, several persons eminent in letters were there : Leo X., Ihen cardinal and papal legale to the Spaniards, was taken prisoner;^ (^asliglione and Arioslo were present. The bard of Orlando, who has alluded to the horrible carnage he witnessed there,? must have been powerfully impressed by *' fie redeemed the Turkish horse which he rode on Ihat day and used it in ihe ceremony of his pos- sesso (lalting possession of the tiara at Saint John In I.ateranol, celebrated April 11, 1513, the anni- versary of the liatlle. Leo X. had th)s horse care- fully tended till it died, and permitted no one to mount il. " Nuoteranno i destrier Bno alia pancia ^el sangue uinan per lulla la campagna; Ch' a seppellire il popol verra nianeo Tedeseo, Ispano, Greco, ilalo e Franco. Or/, cat;, in, st. it. Ouella villorla Iu piii di conforto Che d' alleprczza, percbe Iroppo pesa Conlra la gioia nostra il veder morto II capilan di Francia e dell Impresa ; Ma ne godcr possiam, nk fame fesia, Scntindo i gran rammariclii e 1 angosce Ch' in vesia bruria, e lacrimosa guancia Le vedovelle fan per lutla Francia. Can. xiT, St. VI, vii. In fcveral passagcsof his poem, .irioslo attributes the victory on Ihis occasion to the skill and courage of the duke of Fcrrara. It has been staled that Alfiinso, iu ri-piy lo an ob'Crvalion lliat pari of CiiAP. VI.] FORLI. it to paint his battles with so much fire The desire to pass the Rubicon, whicii, relying on Addison, 1 su(iposed to be the Pisatello, made me follow the coast as far as Rimini in 1827. I confess that I had some diiriculty lo recognise it near the sea; the aspect of the country made me think that the charuiels of the dif- ferent rivers I saw must have changed ; for they are merely torrents sjiread over the plain. I have since found the real Rubicon; ' but then, if I had not per- fectly recognised it, I was very sure that I had crossed it somewhere before reach- ing Rimini, and my conscience as a tra- veller was at ease. CHAPTER VI. Forli. — Calberine Sforza. — Cathedral. — Cignanl's cupola of la Vinjine del Fuucn. — Suint Jerome. — Ceseiia. — Malalesliaiia.- Saviguano. — Seualus- consullum.— Rubicon. Forli is a large new town, all white- washed ; toescapeitscommonappearance I sought the old ruined ramjiarts. I had been told that it was on these very walls, between the gates of Cesena and of Ravenna, that the duchess Catherine Sforza, natural daughter of Giovanni Galeas .Maria, who took refuge in the citadel after the murder of her husband, where the rebels besieged her threatening to kill her son left as a hostage in their hands, appeared, and there, nobly inde- licate and less a mother than a partisan, she declared and gave ocular demonstra- tion, that she was not past chiidbearing. Catherine afterwards became the prisoner of Ce.sare Borgia, having intrepidly re- sisted his army, \\hich the king ofiXaples and the duke of Milan had not ventured toawait. Machiavel celebrates her g/ory and magnanimous resolution, although unsuccessful ; and he, as secretary of the Florentine republic, had counselled the alliance with the detestable Borgia; such too often is the ddlerence between a man's real opinions and his political con- duct ! The palace del Comune of Fori! has an elegant bust by Desiderio da Settignano. The majestic door of the catheilral is ornamented with sculptures and basso- the French army «a.s as much exposed lo his ar- tillery as the army of Ihe allies, said lo his gun- ners in the heat of the conflict, " Fire away ! fear no mislafec ; lliey are all our enemies ! " relievos, in a good style, of the year 1465. Carlo Cignani was occupied twenty years in executing the cupola of la Virgine del fuoco, perhaps the most important painting of the eighteenth century, and it was necessary to begin taking down the scairolding to compel him to finish it. This colossal fresco has inspired the fol- lowing elegant sonnet by Giambattista Zappi, who has so felicitously sung the Moses of Michael Angelo : a Un glorno a miei pensler disse il cor mio : Ficli pensier rlii ml sa dir di voi Quant' e la gloria de' beali erol, E come slansi in ciel gli Aiigeli, e Dio ? iMa non polrele far pago il desio ; Slefano vide aperlo il ciel : ma poi Nulla ridisse : e fe rilorno a noi Paolo, e si tacque, oiide dispcro anch' io : Menire pur lisa era niia meiilc; in quelle Forme, a cui 1' uman senso iiidarno aspira, Tanio comprese men. quanio piii belle: Disse la fama : a che luo cor sospira Scorgere il riel, qual' e sovra le slelle.' Vanne sul Iloneo : enlra nel lempio : e mira I At Saint Mercurial, in the chapel de' Ferri, ornamented with exquisite sculp- tures of 1536, is a superb painting by Innocenzo d' Imola. At Saint Philip ofNeri are an Annun- ciation and a Christ by Guercino. The church of Saint Jerome offers a Conce/;il and imit.itor of Baroccio; and bis fourteen small paintings of the his- tory of St. Nicholas, in the sacristy, are vivid and held in great esteem. A Martyrdom of female saints, a well finished and affecting picture, is by tlie canon Lazzarini. a poet and ingenious scholar of the last century. The St. Francis d' Assise praying, by Roncalli, is not w ithout grandeur. At the Annunziata is a feeble copy of a painting by Titian, which was sold in 1800 to meet the necessities of the hos- pital adjoining the church, and is now in England; it represents the Virgin riding on a horse led by St. Joseph w ilh shep- herds following. On the eminence where an ancient temple of Veuus had stood, Anle (lomum Veneris, (juatn dorica suslinet Ancon.' is the cathedral, dedicated lo Saint Cyriac, an edifice of the ninth or tenth century, its front alone being by Marga- rilone, a painter, sculptor, and architect of Arezzo, at the close of the thirteenth century. This church, from which there is an admirable prospect, has some fine antique columns, an antique sarcopha- gus, and some paintings : St. Palatia, by Guercino, of remarkable effect; a Sposalizio, by Filippo Bellini, a distin- guished painter of Urbino, imitator of bis countryman Baroccio. The chapel of the Relics is of Vanvitelli's archi- tecture. lurbot uas caught on «blch Domitian made the senate deliberate. ua ANCONA. [Book XII. Saint Dominiik is a great church re- built in 1788, and but recently white- washed. I regretted not finding there the tomb of the illustrious Florentine Ri- naldo degli Albizzi, the eloquent and deadly rival of Cosmo de' Medici, a re- fugee at Ancona for the last Qfteen years of his life, after long imploring foreign aid and making a pilgrimage to the Holy Sepulchre; his epitaph at Saint Do- Diinlck was only his name and the date of his decease (1452). The Virgin in the clouds between St. Mary Magdalen and St. Catherine showing the portruil of St. Dominican to St. Raymond, in the Carracci stjle, is by Perozzini, a clever painter of Ancona; a Christ on the cross, by Titian. At Saint Francis in alto there are some remarkable paintings : a Virgin of an expression so natural and pure, ordered of Titian in 15-20 by Aloysa Gozzi of Ra- gusa ; an Annunciation, for w hich Guer- cino was paid something more than 61 crowns in 1662, by the abbot Fede- rico Troiio of Ancona ; a Christ on the cross, by Filippo Bellini. Santa Maria della Piazza has a Arc Nostra Signora when a child going to the temple; a work in Guido's manner by the unequ.il Roman painter Bene- fial ; and another Virgin on a throne, still better, by Lotto, a mixture of Giorgione's .■Jtyle and the elder Palma's. At the Holy Sacrament, a St. Charfes and other saints, by Cesare Dandini, a Florentine painter, pupil of Curradiand afterwards of Pas.-igiiano, passes for one of his best composed works: the imita- tion of his last master is perceptible in the lower part of this picture, ordered by the celebrated musician Sevcri. A Ccenaculum, agreeable, is by Francesco Coccianiga, a clever but little inspired painter of the last century. The fine fountain del Calamo, with its various ornaments of metal, is by Pellegrini. The Exchange dilTers in character from most buildings applied to similar purposes : its from is Gothic, and on the ceiling are the superb frescos of Pelle- grini, Hercules subduing the monsters, an able and judicious imitation of the terrible grandeur of ^Michael Angelo. Ancona possesses the marvellous chef- dceuvre of Ottaviano Jannelli, an artist of Ascoli ; his four small cameos on box, left for sale with S. de' Marchesi Agi, most distinctly representing, with grace, nature, and perspective, a Chase in a forest, a Love carrying a large sea- shell, and Juno descending from heaven in a car drawn by peacocks, a Christ before Pilate after being scourged, not larger than half a nut, and the last, the most extraordinary and richest in figures, is some arabesques in Raphael's style. These astonishing works may be com- pared to the diderent tours de force of the same kind peculiar to all epochs; the author, however, who died in 1660 at the age of twenty-five, was self taught; for Bernino, doubtless afraid of the sin- gular precocious genius of this young man, had ungenerously refused to assist him by his counsels'. Theatrical amusements are singularly cheap in Italy. I went to the play at Ancona for seven sous, in a charming theatre, with two well-painted curtains, one representing Trajan's arch, and the other the front of the theatre; the deco- rations were also in excellent order : it is true that the actors and the piece, imitated from some melodrama, were barely worth the price of admission. I made my arrangements w ith a vel- turino of Ancona to take me to Na- ples by the Abruzzi, a new road passable till the torrents overflow ; it is shorter than that through Rome, and ought to be made a post road. I cannot omit a slight account of my new^ travelling com- panion, Giovanni, a man of wonderful activity and intelligence. He had a smattering of science, having, I believe, as well as one of his brothers, studied medicine in his )outh. This brother, also a singular character, was a gallant fellow who had fought in the wars of the empire, and was decorated with the cross of the Iron Crown. On his return to Ancona in 18U, he opened a fencing and pistol gallery, noble exercises which exposed him to much annoyance from the ecclesiastical authority, although the new professor protested that, if he had served the other, he was none the less a fedele pontificio. A last adVonl decided the brave fellow {ma un poco bizarro, as his brother owned ) to quit his native town. He was ordered to cut oil his mustaches : " Vou are master of that," said the old soldier of the grande armee to the legate, pointing his finger to his neck, " but not of Ibis," added he sharply, laying his fingei on his mustaches; an ci!AP. xn.i LORETTO. 433 eloquent answer which the Italian lan- guage and physiognomy must have len- ilered most cnergciic. Though after all his campaigns he had iirobably forgotten part of his medical studies, Giovanni's brother had settled as an apothecary at Cairo, whence he had sent Giovanni a handsome |iipe with an amber mouth- piece, which, in our long conversations by the road, introduced the military and characteristic anecdote above related. CHAPTER XII. LoreUo. — Palarc. — Slaliie of Sixtiis V.— Doors.— Santa Casa.— Slatue of the Madonna. — Palace.— Pols.— Treasury.— Tasso at Lorelto. Lorelto and its church, which devo- tion, policy, and vanity have rivalised each other in decorating and enriching, presents a strange contrast : a popula- tion of half-naked beggars, and altars loaded with gold and diamonds; a great conmiercial street, full of shops, wilh nothing to sell but chaplets, Agni-Dei, crosses, and rosaries. The majestic palace of the governor is built from Bramante's designs. An- other Woman taken in Adultery, by Titian, coquettish, unlike the feeble and repentant woman of Brescia.' proves his variety and fecundity, 'i'he Nativity of the Virgin, by Annibale Carraccio, is fine in the colouring; the colours are laid on in such abundance, as usual in the w orks of these masters, that the projec- tion of the hands and feet is perceptible to the touch : some angels dancing in the upper part of the picture are perfectly aerial. The celebrated a[iolhecary's pots, three iiundred in number, ordered by Guidobaido, duke of Urbino, a patron of the arts, representing subjects from the Old and New Testaments, Roman history, Ovid"s Metamorphoses, etc., are not by Raphael, as commonly supposed; they are by a Raphael Ciarla, who was clever in copying the works of the great masters on earlhenware. When Chris- tina passed through this town, she was so charmed with them that she olTered an equal number of silver vases in ex- change. In the square stands a fine bronze statue of Sixtus V., which, as well as the ' See ante, boot! v. ch. vi. basso-relievos on the pedestal, is by Calcagni, a gentleman of Rccanati, a clever pupil of Geronimo Lombardo. The detestable front of the church erected by Sixtus, in 1587, shows that the decline of taste was at hand. The three superb bronze doors, divided into compartments, ro|)resentins sulyects from the Old Testament, are by the sons of Geronimo Lombardo, Bernardini, and Tiburzio Verzelli : over the bronze statue of the Virgin by Lombardo's sons, is a good imitation of the rude wooden statue preserved in the sanctuary and greatly venerated. The bronze statue of Car- dinal Nicolao (iaetani. kneeling, on his tomb, is by Calcagni. The dillerent chapels are ornamented with mosaics of paintings by the great masters. One of them has on its ceiling some frescos and works in stucco, by Minzocchi, which are true, humorous, and grotesque, in the Flemish taste, and rather ill-jjlaced in a church. The cupola was admirably strengthened at its base and almost re- built by Antotiio San Gallo; the frescos, not devoid of grandeur, are reckoned the chef-d'oeuvre of Roncalii, who was preferred to Caravaggio and Guido in the works at Lorelto through the favour of Cardinal Crescenzi. These two rivals revenged themselves on Roncalii in a very did'erent manner : the former bar- barously employed a Sicilian bravo to disfigure his face; and the latter oppos- ed him with better paintings than his own. But the wonder of this temple is the marble casing that envelopes the Santa Casa, a work of the best times of sculp- ture, at which the following arlist.s were successively em[)loyed : Andrea Contucci da Sansovino, his pupil Gero- nimo Lombardo, Bondiiielli, Guglielmo della Porta, Raphael da Montelnpo, Tri- bolo, Giovanni Bologna, and Francesco San Gallo. The Annunciation, by San- sovino, in which the angel Gabriel is accompanied by angels standing in the air, and a cloud full of other small an- gels, appeared divine to Vasari. jhe Jeremiah, of the prophets, by Lombardo, who really triumphs at Loretto, ex- presses a grief commensurate with its cause. The David was admired by Charles V. The figure of a peasant stopping his loaded horse by whistling, in the basso-relievo of one of the jour- nies of the Santa Casa, by Tribolo, is 37 iU LORETTO. [Book XII. peiTect. The same artist has executed, in aSposalizio, another excellent figure of a man passionately breaking o(T a withered branch. I did not participate in the philosophical indignation of some travellers on seeing this marble pave- ment worn by the knees of pilgrims : prayer, whatever be its form or expres- sion, always touches and attracts me, and the furrow it has traced around the Santa Casa inspired me with profound respect. Among the many lamps that burn every day before the Madonna, is one given in !8-2i- by the countess Feli- city Flaler of ^Yilna, a name associated with the glorious ellorts of Polish inde- pendence, a proof that heroism and de- votion may be closely combined. Ju- lius II., when he passed through Loretto, consecrated a cannon-ball from which he was preserved at the siege of Mirandola through the Virgin's intercession : after- wards he sent from Rome a large cross of silver gilt with the inscription, In hoc signo vinces, which, from that warlike pontiff, was equally applicable to the ball and the cross. It was a woman, Francesca Trivulzio, a bastard of the mar- shal, whointrepidly defended Mirandola, when besieged in the depth of winter by this old man of nearly seventy, a captain and soldier, this eager conqueror, who mounted the breach by a ladder sword in hand. The two sentinels, placed within the church at the door of the Santa Casa, to enforce the rule for depositing canes, umbrellas, and parcels, have a mo- dern air unsuited to such a place; and this travelling house, carried by angels through the air, seems a singular charge for two soldiers of the line. I he statue of the Madonna, besides its miraculous voyages, was brought prisoner to Paris in 1797, and was placed in the m.edai cabinet of our great library over a mummy ; and jet, in the very centre of this scientific and profane sanctuary, more than once poor women were seen stealthily touching it with linen and garmf'nts. Uona parte returned it to the pope in 1801 ; but the pontifical com- missioner singularly refused to have it envoiced, that there might not appear any derogation from the mystic and ae- rial mode of travelling peculiar to this statue. The great sacristy has some paintings: A Pious icoman teaching girls to seiv and spin, by Guide; a Christ at tlie column, by Tiarini ; a Madonna imi- tated from Raphael, by Sa.ssoferrato ; a Holy Family, by Schidone. The ceiling of the great hall of the treasury, representing divers subjects from the Virgin's history, byRoncalli, is not, though greatly praised, irreproach- able in its perspective. The donations and ex-voto olTerings composing this treasury are rich and fantastically di- versified. The vases and church orna- ments were presented bj the princes and princesses of the old and new dynasties. A large native pearl, on which the canon who guards the treasury pretends to discover and show the Virgin sitting in the clouds with her son in her arms, is said to have been sent by an Asiatic fish- erman. I regretted not finding the pen of Justus Lipsius, which he consecrated to Nostra Signora di Loretto; the pen with which he wrote to Montaigne and sur- named him the French Thales, a re- markable and perhaps unique apprecia- tion of the French philosopher by a scholar of the sixteenth century and a writer turned catholic and devout. The great Conde presented a silver model of the castle of Vincennes where he had been imprisoned by Mazarin, ■ and little did he then imagine that another Italian, glorious, powerful, and also master of France, would there destroy the last scion of his house. A chalice used by Pius VII. in celebrating mass on his return from France in 181i, isan atfecting earnest of bis gratitude for recovered liberty. The coat, waistcoat, and fiesh-coloured bree- ches left by the king of Saxony in July, 1828, are more like a theatrical costume than a pious homage. The depositing of these embroidered clothes is only a gro- tesque tradition of the ancient custom of suspending one's garments after ship- wreck. Tasso, amid all his sorrows, came to pay his vow at Loretto; this il- lustrious pilgrim could give nothing, as he had not money enough for his travel- lingexpenses; but theadmirable canzone which he composed in honour of the Madonna, Ecco fra le teinpeste, e i fieri venti, doubtless the finest hymn she ever inspired, is far, far superior to all the donations of the great, the rich, and the powerful in the world. MabillOD. Iter llalicwu, p. J2. Chap. XIII. ] ABRUZZI.-SULMONE -ISERM.\. 43j CHAPTER XIII. Fermo -OliTerolto.-Abnizzi— Ilandiiti — Iiiliiibi- tanls.— Hescai'o. — Popoli. — .Sulmonc. — Ovid. — Ca.slel di Sangro. — lsernia.— Aqueduct. — V'eiialro. — Liglit of Naples. At Fermo are slill shown Ihe ruins of the house of its tjrant Oiiverollo, one of Ihe model tyrants proposed bj Machiavel in his Prince at the chapter headed, Of those tvlto attain sovereignty by wicked- ness. Oiiverotto, an able captain, de- clared himself prince of Fermo after having massacred his uncle, wiio had brought him up, aiid the principal in- habitants of the town, at a banquet; his reign did not exceed a year, as he was waylaid and strangled at Senigallia, with Vitelloz/o, his tutor in crime and in war, a victim worthy of his more dexterous rival Cesare Borgia. The entrance into the kingdom of Naples by the village of Giulia Nova, along the Adriatic, has not the enchant- ing aspect of the coast of Terracina and Gaeta. The beach is arid and intersected by torrents; here and there are clusters of pines, but they are dwarfish and seem a very feeble imitation of thesupeibPi- neta of Ravenna. The vines are support- ed by small poles as in Buraiundy, an arrangement less elegant and poetic than the iilmisque adjunyere vites, although it makes the wine better. The inns and their beds on this road are execrable, and too little cannot be said of them. As in the public houses of Montaigne's time, the windows are " quite open, except a great wooden shutter, which keeps out the light if you wish to keep out the sun or wind." The road is tolerably good and well guarded. The inhabitants of llie villages one passes through, if compelled to relinquish their old habits, havesliil the same robberlike appearance. Some of them seem inclined 10 take up with thieving, as may be per- ceived by their scrutinizing looks at the trunks and parcels, and their eagerness to unload them at the various inns; but having been previously accustomed to robberies by main force, nocturnal ex- peditions, and wholesale plundering, cite fecero alle strode tanta giterra, ' they are not adepts at |)elty theft; and not being duly initiated in the art, they are 1 Danle, Inf. can. xii. 138. easily disconcerted by a wary person- especially such a man as Giovanni. The wandering, adventurous, and mai tial life of the Itp.'ian banditti has been called a bastard chivalry ; resulting from a dis- ordered social system, most frequently excited by the ostentation and vanity of strangers, it is not considered disrepu- table by the common people ; it is a recommendation in the ejes of a young girl, who is by no means displeased be- cause her future husband has passed some time in the mountains; their name even, 6an(Z/nt (banished), hasnothingdisgrace- ful, as it seems connected with the pro- scriptions practised in the civil wars; in fine, this mode of life preserves among the men devoted to it certain natural qualities, and a kind of dignity, mixed with the principles of the catholic faith. The banditti of the Cam[)agna of Rome spare a man who asserts himself in mortal sin ; the author of Fieramosca knew a person who saved his life by this subterfuge. » Were the history of Italian robbers to be written, we should find therein some singular acts of generosity, as well as brilliant feats; we cannot lorget the conduct of two of these heroes, Pacchionc and Sciarra, towards Ariosto and Tasso, on whom they conferred greater honour than these great poets had received, in return for their flatteries, from the princes of their day. At the sight of the frightful misery of the inhabitants of tlie Abruzzi, such as I had an opportunity of observing it for several days, — of that people of shepherds and hu>bandmen, living on a kind of polenta made of bad corn, — of those robust women, with such easy figures and beautiful eyes, carrjing wood or stones on their heads, I could hardly comprehend how all that was for their good, as it has been pretended ; the poor people nmst at last get tired of such beatitude ; and it seems that there would be no great harm in applying to them a little of that evil called instruction, with social coiTil'orts and improvements. The fortress of Pescara, at the mouth of the river so called, on the shore of the Adriatic, has a fine aspect ; its garrison consisted of three hundred men. It was in the river of Pescara, the ancient Aternum, thatthe celebrated condottiere of the fifteenth century, Sforza da Coti- ^ See E. Fieramosca, cap. ix. 436 ABRUZZI.-SLLMONE.-ISERMA. [Book XII. gnola, a captain of the scandalous Cossa, called John XXIIF.,' was drowned in at- tempting to save Ills page who had fallen into the water. The town, very ill-built, contains rather more than two thousand inhabitants. Its vulnerary prepaiation, composed of ?imples that grow on the neighbouring mountain of MiijeJla, is held in high estimation. An October sunset in the Abruzzi, then covered by a recent fall of dazzling snow, was very fine ; the airy summits of these mountains were admirably defined on the flaming sky. Popoli, a damp and dirty place between two fiigh mountains, with a river running through it, seems by its poverty, and the good-natured civilities of the inn, like a town of Savoy. On the ridge of the mountain was the manor of a duke of Popoli, the companion of Charles of Anjou: the castle, though degraded, stiil retains its air of conquest. The recol- lections of antiquity are more attractive in Italy than the ruins of the middle ages, which are not however without their grandeur; the study of that period, so much cultivated in our days in France, England, and Germany, would also be deeply interesting in this country. Sulmonc, Ovid's native place, is allied with very ditrerent reminiscences. Si- tuated in a bottom between barren moun- tains covered with snow as early as the middle of October, one might fancy that the poet's native place was to prepare him for the sad scenes of his exile. But it was not so, and in his bitter moanings he found Sulmone far away from the Scythian shores: Me niiserura.Scylhicoqiiam procul ilia solo csl." Ovid possessed fertile estates and rich domains in the country of the Peligni : Gens mea Peligni, regioque domestica Sulmo.^ The most graceful, worldly, and witty of the poets of antiquity had exiierienced the lifeofa countryman and mountaineer. Thi.s erst kind of life, frequent among these poets, and widely dillerent from the ■nay of attaining eminence adopted by modern men of letters, must have con- tributed to the superiority, to the close- ness to nature and true feeling which distinguished the former. The memory ■ See ante, book x. ch. is. ^ Fast. lib. iv. of Ovid was not less advantageous to Sul- mone than that of Catullus and Virgil to Sermione and Mantua,^ as it was thereby saved from Are and sword by the army of Alfonso of Aragon, the conqueror of the kingdom of Naples, against whom it had revolted, a prince more generous than Alexander, says Panormita. his historian, for the latter destroyed all Thebes except the house of Pindar. The only monument erected to Ovid is an old statue over the door of a building which was formerly the prison, but is now a barracks for the gendarmerie; with his square cap, gown, and book, he has more the air of Fra ilemigio Fiorentino, the translator of his epistles, than of him who sung the Art of Love and the poet of the Metamorphoses. The town revenue has not yel permitted this Gothic monument to be exchanged for one more suitable ; there are, however, nearly eight thousand inhabitants at Sulmone: the town has some manufactures ; its comflts, sausages, and strings for musical instruments have some reputation, and it is the chief town of the second district of the farther Abruzzi. IVot a vestige is left of the ancient city which suffered so much in the civil wars of Maiius and Sylla, and of Caesar and Pompoy, and became a Roman colony. Sulmone, subjected in turn to the princes of the houses of Anjou, Duras, and Ara- gon, was utterly overthrown by the two earthquakes of 1703 and 1706. The churches have some splendour. At the parish church of Saint Peter, the Saint is by Pietroda Cortona. La Badia con- tains the tomb of Jacopo Caldora, a fa- mous Neapolitan condoltiere of the fif- teenth century. At a short distance from the town is the superb monastery of San Spirito del Morrone, formerly a convent of Celes- tines, monks famous for their immense riches. Some stones, the only remains of a temple of Jupiter, may be seen, it is said, at San Quirini, two miles from Sulmone. A mjthological devotion seems faith- fully perpetuated in this part of the Abruzzi : the ancient Peligni adored the goddess Palina ; the mouniainecr of the present day venerates Saint Pelino. Near Valloscuro, between Sulmone d ^ Pont. lib. IV. ep. iv. •< See ante, booli v. ch. viii. ; aud bools u. cli. xis. ClIAl'. I.] NAPLES. 437 and Castel di Sangro, the road traverses a profound ravine, a vast wilderness of imi)osing aspect interspersed with wood, mountains, and rocks. The villages, halfway up the hills, >viih high roofs, few of them having either windo\\s or chim- neys, seem ralher little forts than rustic dwellings. It is impossible to imagine a finer situation for brigands. Castel di Sangro, where they manu- facture playing carinisUa 1' onda. Quinci I.lvorno e quinili V Eliia passa D' ampie vene di fcrro oiinor fei'onda. La distrulta Falerla in parte bassa Vede e riombino in su la manra spnnda, Dov' oggi il mare adombra il raonle e '1 piano L' aquila del gran ile del' Oceano. Vede r Uinbrone. o\e sbor{-anrlle and orange-trees, its circular trmiile of white marble, its admirable view, is perhaps the most delightful of public promenades. In 182G its first ornament ol art was the celebrat- ed group of the Toro Farnese, placed in the middle of a vast basin, according to Michael Angelo's project ; this anti- que masterpiece, being there too much exposed to the air and the humidity caused by the immediate neighbourhood of the waves, has been wisely removed to the Museo Borbonico. This garden is open to the common people, peasants, and servants in livery only one day a >ear, the 8lh of September, the holyday of Santa Maria di Pie di grotto. 1 was therein 1826 on that day; the aspect of the Villa reale was enchanting ; the girls of the environs, dressed in their national costumes, with siher pins in their hair, w rapped in elegant veils that fell over their bright coloured frocks fi- gured with gold, were there in crowds. Of such importance did they formerly reckon this feast, which however is only of the end of the sixteenth century, that they stipulated in marrying, as a clause of the contract, that their husbands should take them to it e\ery year. The red Phrygian cap, the swarthy faces of the men loaded with fruit lied up in garlands or suspended to long rods, were also very picturesque. The king went in grand procession to the church of the Madonna : the cortege was nearly the same as in France, except that each prince was in a separate carriage. The coachmen, and footmen too, were with- out hats, but wore full-bottomed pow- dered wigs like those our judges for- Chap. II. ] NAPLES. 441 merly used, and this grave head-dress contrasted comically with the physiog- nomies of the wearers. These out- of-the-way wigs are a remnant of Spa- nish etiqtu'ttc. I coukl not help think what iii lighter and jests would attend the appearance of such strange flgures in Paris. The military escort was partly composed of Austrian troops; it would not have been easy to find better sol- diers. The large quay of Chiaja, which runs along the Villa Rcale, is inhabited by tlie best society of Naples. I cannot recall without feelings of pleasure and repret the reception 1 met with in some of these charming abodes; at the palace of the prince of la T****** C'*'****, married to a French lady, a person of superior mind and character; at the noble and brave F****"***'s, prince of S*****'*, who was generously reared by France, and has done her honour. I frequently visited near there the former archbishop of Ta- renlo, Monsignore Capece Latro, the benevolent host of strangers attracted to Naples by love of the arts and of study, a venerable monument of science and taste, who, when eighty-six years of age, published in Latin some curious re- searches on the antiquity and history of his house, the origin of wliich dates from Ginello Capece, consul of Naples in lOOD. The fine collections of medals, engraved stones, and Greek vases formed by the archbishop of Tarento, are now nearly all dispersed : ' he seemed, said he to me feelingly, to be thus preparing him- self to leave all the rest; he died at the end of 1836, aged ninety-two years and forty days. His two last publications offer a singular contra.>;t : the first, in his eighty-eighth year, is the manuscript of his ancestor Scipione Capece, De Nati- vitate Domini ; tlie second, a translation of Guibert's [)anegyricof Frederick II., with notes. Notwithstanding the multiplicity of high-sounding titles in the society of Naples, it is distinguished by much good nature, simplicity, and familiarity. The titles in conversation seem mere exple- tives; they are even used between inti- mate acquaintances, and a lady will say to her friend: "Princess, will you?" The custom of making pic-nics in the I Tlie nierta!s are at Vienna, bronzes iu Deumarli . tlie vases and country, as in France during the last century, and even under Louis XIV., still exists at Naples, but without the same scandals. Italian manners, loo often judged from the common-places of travellers of sixty years past, are now neither better nor worse than those of other great capitals, and at Naples they may perhaps be better. The nobility is an example of the evils always attendant on too frequent political changes; within the last thirty years, they have been ruined three or four limes, and their wealth does not always answer to the grandeur of their recollections or family antiquity. Many members of this class are distinguished by their talents and learning. The marquis Gargallo, an ex- cellent writer, has composed a very fine and the best lran^lation in Italian of the complete works of Horace, with valuable critical notes. Signora Maria Raphale Caracciolo has translated some extracts from F(5nelon, and passages from the best F.nglish writers. The puie harmo- nious songs of Signora Giuseppa Guacci, a Neapolitan muse of great promise, al- ready honour the Italian Parnassus. Signora Folliero has i-'ublished some re- flections on the education of youth, which are elevated and liberal, but too much imbued w ith German religionism, or (he spirit of French sensualism. This classic ground of antiquity possesses some of its cleverest interpreters: SS. Arditi, a pro- lific writer.director of the Royal Museum; Carelli.secretary of the Uerculaneum aca- demy, the erudite po.ssessor of a rich col- lection of Sicilianand Italian medals ; ^ the laborious canon Jorio, who has describ- ed the tombs of Cu nue, exhumed at his expense; RaimondoGuarini, anarcheolo- gist of extraordinary sagacity ; Giannelli, keeper of the manuscripts in the library of the Slndj, a stern critic, but of great information, the independent disciple of the historical and philosophical doctrines of Vico; D. Angelo Scolti, librarian of the Sludj, one of the most distinguished members of the Uerculaneum Academy ; the Cav, Monticelli, secretary of the Academy of Sciences, the faithful histo- riographer of Vesuvius; Gaspardo Sel- vaggi, a good Grecian and an amiable man, who has long resided in Paris, as well as his countryman Galiani, but who ' Deceased at Naples, September 17, (832. 442 NAPLES. Book XII!. Is far removed from the vulgarity and excenlricilies which were kindly over- looked in the ai:ib^. A learned amateur, the advocate Santagelo, whose politeness I cannot forget, possesses a considerable number of paintings by the first masters, a fine collection of vases of la Puglia and la Basilicata, numerous medals, and, above all, an admirable little sketch in grey camaieu of Michael Angelo's Last Judgment, by his own hand, or painted under his immediate direction by his friend Marcello Venusti; it differs from the fresco in the Sixline, and may be esteemed one of the greatest curiosities in Italy. Law is aI>o successfully studied at iS'aplt'S even by the nobility and clergy, it being justly supposed a fit preparation for public life; the number of advocates and lawjers, slated by a traveller to be thirty thousand, was three thousand and ninety-six in 1835, and sufTiciently nu- merous even then. The Gravina palace, by Gabriele d'A- gnolo, is almost the only palace of Naples that can be cited for architectural taste. This majestic edifice would not be un- worthy (if Rome or Florence. The in- scription purports that the noble founder Ferdinand Orsini, duke of Gravina, erected it for himself, his family, and all his friends ; sibi, suisque et amicis omnibus. On the door of the stables at the Mad- daloni palace, is a basso-relievo of the Rape of the Sabines, by .Masuccio I., the earliest Neapolitan artist, of the thirteenth century, who has also done other works in the court and the cham- bers. This palace stands in the famous street of Toledo, a long noisy bazaar lined with hiph houses, crowded day and night with people and carriages ;' this, I believe, is the first of great streets, and de.serves the reputation it enjoys among amateurs of this kind of wonders. CHAPTER HI. Bourbon Museum —Stalues.— Balbus family.— Ve- nus of Capua.-Faine.se Flora. — Venus Callipvge. — Farne-se Hercules. - Arislide.*.- Bronzes.— Pa- pyri.— Furi)llure.—Clen!,ils.—t;al3bles. - Vases.- AnUque paintings.— Mosaics. The Bourbon Museum, called also the Studj, ranks with the first collections of antique chefs-d'oeuvre. In the middle of the grand staircase, of excellent design, a colossal statue, little worthy of Ca- nova, represents King Ferdinand as Mi- nerva ; the old monarch's features are truly grotesque under the casque and with the aegis of Pallas. The author had the good taste not to like this figure : one day, when showing it to me, says one of his most ingenious biographers, he threw his paper cap at its head : such was a specimen of Canova's anger. Tiie nine statues of the Balbus family, found at Herculaneum, are nobly simple; the two equestrian statues of Nonius, father and son, are reputed the truest and most aerial of antiquity ; the head of the son's statue, formerly at Portici, was broken in 1799 by a cannon ball, a more re- doubtable enemy than the fire of Vesu- vius ; the present head is a passable imi- tation of the original, copied from its remains. Jupiter and Juno, of burnt clay; a dying Gladiator, are perfectly natural. Diana, a slalue of coloured marble, despite the abundance of hair and the symmetry of the garments, not exactly suitable to the rude sports of the goddess, is a valuable work. The Venus of Capua, according to M. MilUngen. is by Alcamenes or Praxiteles, and the ori- ginal of our Venus of .Milo. '1 he little Bacclius astride on the shoulders of the Faun is full of jollity; the Apollo with the swan, very fine; Gan>mcdes ca- ressed by the eagle, artless ; the Ftruscan Minerva, superb. The colossal Fornese Flora appears elegant and aerial. The too highly extolled torso of a Venus or a Psyche also found at Capua is graceful, though apparently not original, nor of the best epoch, and awkwardly repaired in many places. - Four Greek basso- relievos are of the best era : Paris and Helen, with inscriptions; Orpheus find- ing Eurydice; a voluptuous scene of a Satyr and a Bacchante; Bacchus sur- rounded by a numerous and noisy train. It is ini|)ossible not (o be smitten with the power, the perseverance of the an- cient artists, on beholding the Apollo Citharceda, a semi-colos-'^al statue, of por|)hyry, the draperies of which, des- pite the hardness of the material; have wonderful softness and ease. Near the Apollo are other valuable stalues, in hard coloured stones : an Egyptian priest, of basall, superb, perhaps Osiris; Diana of Ephesus, of alabaster, with the head, hands, and feet of bronze; Me- Chap. Ill] NAPLES. iiZ leagcr, in rosso anlko. In Ihe middle of ihe flail of the Muses, the beautiful vase by the Alhenian sculptor Salpion represenls the Birth of Bacchus, whom Mercury confides to the Nymphs : this masterpiece, found at the ancient For- miJE, in the Gulf of Gaeta, was so little esteemed at first that the boatmen used to fasten their boats to it, and Ihe marks of the ropes are still visible. The her- maphrodite Bacchus is excellent. The Venus Cullipyfje slands preeminent in the crowd of Venuses around it ; a young and blooming Adonis seems not un- worthy to possess so many charms.' The Winged Love, seated on a dolphin, is a Roman work, at once excellent and whimsical. The Hercules presents the emblem of strength in calm repose. This colossus, by the Athenian sculptor Glycon, was first found without legs in the thernu-eofCaracalla : Michael Angelo was charged by Paul III. (Farnesej to replace them; but scarcely, despite his reluctance, had he finished the model when he broke it to pieces with his ham- mer, exclaiming that he neither would nor could ever make a finger to such a statue. Guglielmo della I'orla, the most renowned sculptor after him, was char- ged with Ihe work; the fore part which he did, is furrowed and clumsy, and con- trasts Avith the truth of the firm, soft, and stately back. The real legs having been found in a well, three miles from the spot where the body was discovered, they were restored to it, Prince Borghese having generously ceded Ihcm to the king of Naples. The son of Alcmenes is now only the left hand deficient. The group representing the fable of Dircc, called the Tore Farnese, placed opposite Ihe Hercules, is by no means inferior, though in great part restored. The Atlas is a magnificent statue, and his globe a curious astronomical monu- ment. With all the uncertainty of archeological science, one loves to re- cognise the just Aristides in (he statue bearing his name; this prodigious statue, the truest and most real peihaps of an- tique chefs-d'ceuvre, seems to be walk- ing, absolutely advancing, when the spectator places himself at the spot indi- cated by Canova, who was never tired of contemplating it, and every lime he ' III the everlasiiiig cbanges of the Sludj, the Venu.s Callipygc h^s been bince reaioved several liriips. visited the museum he always went there first. The Hall of the Emperors and Em- presses ofl'ers the Agrippina, whose wi- thered, age-stricken features, on a young body, can belong to none but the dis- consolate widow of Gormanicus; Au- gustus seated, one of ihe first statues ex- tracted from llerculimeum ; Tiberius, Claudius, thick and conmion, though superior in Ihe drapery; Nero, found at Telesa; Trajan, at Minturna;; the co- lossal bust of Ccesar, and the magni- ficent porphyry crater, smaller than the one at the Valican, but more orna- mented. The Stud} stand before all other mu- seums of bronzes. The principal are: Mercury seated, so young, and artless ; the colossal horse's head, a sublime work of the best times of Greece ; a recent inscription relates a ridiculous tale about Ihe destruction of (he statue; the single horse, which an em[)hatic Latin inscrip- tion pretends to be the only remains of a quadriga of Herculaneum, destroyed by Vesuvius; the bust, said lo be Plato, of severe beauty, with hair most artful- ly wrought ; Archijtas; the pretended Seneca; the head called Sappho; some actresses and dancers dressing for the stage; the two Satyrs, one sleeping, the other lying on his bottle, and snapping his fingers, the ideal of a drunkard. It is curious to see the ingenuity dis- played in searching out the antique thoughts concealed in the black rolls of Ibe papyri of Herculaneum. It is im- possible to regret loo deeply that so much care and such minute precautions are but too commonly recompensed w ith only useless or imperfect works. Among the papyri deciphered up to 1825, sixty- one were nearly entire; of a hundred and sixty-one only two thirds remained ; Ihe half, of three hundred and eight ; the third, of a hundred and ninetv ; a quarter, of a hundred and ninety-one; four hundred and seventy-four were cut all along the middle, through the inex- perience of the first workmen. The number of columns and fragments un- rolled amounted to two thousand three hundred and sixty-six. Beside this destruction of the writings of sages, certain groups in ihe Cabinet of reserved articles are scarcely in- jured, and the maxims of morality have 444 NAPLES. [Book XIH. not resisted the flames of Vesuvius so effectually as the images of vice. The collection of household goods, instruments, and utensils, called the Museum of small Bronzes, is singularly curious and unique; it brings us into immediate contact with the every-day life of the ancients. The bronze curule chairs, placed near the trophies of arms and bucklers, recall the civic and mi- litary glory which was then so often united in the same individuals. The tripods, altars, sacrificial tables, urns, cups, knives; all the instruments of po- 1} theism, although of excellent work- manship, inspire much less admiration. Loaded dice and the rouge of the Roman ladies show the same impostures in pleasure to have then existed : sjiindles, needles, thimbles seemed much more respectable. The jewels arc charming : one of them, very ancient, the last or- nament of the woman w ho wore it, was found in a Greek tomb. Several cakes of ashes made solid by water retain graceful impressions ; the breast of a woman ; an arm w ith its ornaments, a part of the shoulders and the waist; it is evident that this unfortunate one was young, tall, well-made ; but she was not flying en chemise, as president Dupaty supposed, for marks of cloths are vi- sible. The several kinds of food, a piece of antique pastry, are wonderfully well preserved. The instruments of surgery and midwifery, apothecaries' phials, mor- tars, pestles, are much like the modern : perhaps the art was in as great perfec- tion. The culinary utensils, though tastefully ornamented, differ little in reality from our own. A real English teapot is among these articles. The scales, also very elegant, were adjusted at the Capitol by the edile, as we learn from an inscription on one of them, exa- mined under the eighth consulateofVes- pasian and the sixth of Titus. The Hera- clean tables, discovered in 1732, are an important monument for the study of Greek paleography. The inkstand with seven faces has been made the subject of two ito volumes by the learned and eccentric Martorelli. This museum, whatever may have been said, is not deficient in instruments of music, and several are worthy of remark. A kind of clarionet without lateral holes, or bell, is surrounded with a great number of small metal tubes placed in the same direction as the prin- cipal one and communicating with the same mouth-piece. Horace, in his Ars Poetica, speaks of the improved flute of his time : Tibia non, ut nunc, orichalco vincta, tubaeque jE inula, which must be similar to this odd ins- trument, but it is difficult to imagine its efToct or the mode of playing it. The ahM Galiani supposes thai the little tubes were strung like the beads of a chaplet : the metal tube was thus covered with pieces of bone, which served lo flute the sound and render it very different from that of trumjiets. They were veritable sordines, like the cord wrapped round the tube of a trumpet lo soften the tone. The brass cymbals of different sizes give, though small, a shrill, clear, silvery, and precise sound, very superior lo the clatter of the Turkish cymbals used by Ihe mo- derns. The collection of glass comprises twelve hundred articles. We are there- fore certain that the ancients were not only acquainted with the use of glass for windows, but thai they likewise knew how to cut, w ork, and colour it. A great number of these articles came from Egypt, and Ihe Egyptians seem lo have been the glaziers of antiquity. The collection of vases contains about two thousand five hundred, among w hich the three precious vases of Nola hold the first rank ; they represent an Orgie of women around an idol of Bacchus ; the Burning of Troy, and the vase of Cas- sandra. The ibilovving nsay be also remarked : the musician Comus playing before Bacchus and Ariadne; Ihe ci- nerary vase of Charminos of Cos, found among the ruins of Caithage, unique of iis kind, the characters being engraved after burning, contrary to the usual custom ; the famous vase of Locri, in- tended lor perfumes, on which, accord- ing to the Cav. Ardili's opinion, is a representation of Virtuous pleasure per- sonified, or, according lo Villoisonand the abbe Zannoni, the prize of beauty, won by the woman's figure ; the curious vase of Poeslum, presenting Hercules at the Hesperides ; the Graeco-Iialian and Sicilian vases, the subjects of which are: the Victory of Hercules over King Eryx with the cestus ; a Combat between Chap. IV.] NAPLES. the Greeks and Trojans ; the Death of Theseus ; Electra and Orestes at the tomb of A(jamemnon,an(\ Clytemnestra and ui-Jgisthus ; a Battle between the Greeks and Amazons; Hercules killing the centaur Nessus, and a thousand other paintings which con»l»ine sinniili- city of design and exi)ression with the most carefully finished workmanship. The rich medal cabinet has the cele- brated cup of sardonyx, a foot in diameter, commented on by the most illustrious men of learning, and its group of seven figures represents, according to Visconli, the Nile, Orus, Isis, and the nymphs of the Nile. The antique paintings, more than flfteen hundred in number, despite their grace, ingenuity, expression, and extra- ordinary \ivldiiess of colour in some cases, are very far inferior to the amazing effect of the statues. Perhaps we are only acquainted \^ith Ihe works of painters of petty towns, in whith alone we have hitherto found them. The monochro- matic ■ painting of Theseus killing the centaur, imitated by Canova, ' is rec- koned the most perfect relic of antique painting. The celebrated Love bargain is a lively well-imagined composition. A Charity, Greek, and not Roman as commonly supposed; Hylas borne away by the nymplis; Agamemnon conduct- ing Chryscis to the ship to send her back to her father; Achilles delivering Briseis to Agamemnon's heralds ; Juno and Jupiter on Mount Ida ; the Sacri- fice of Iphigenia, though feeble in some parts; Medea about to kill her children who are playing, are works full of no- bleness, pathos, and poetry. With the exception of the snge Chiron, botanist, musician, astronomer, preceptor of A- chilles, the honour of his species, some Centaurs, and cextacresses especially, are all frolic and wantonness. Several comic scenes are extremely gay ; the lirincipal characters only are masked. Among the mosaics, some humorous scenes, two of which bear the name of the artist Dioscorides of Samos, jirove the high degree of perfection the Greeks had attained in that kind of work. ' of one colour. For painliiigsof Ibis descrip- tion, a red colour from India was ustd, known by l;ie name of cinabris indica. See tliuy (lib. xxiiii CHAPTER IV. Gallery. -Neapolilan school. — Scliedone.- Galleria de' Ciipi d' opera.— I'liilip II., by Tiliun. The gallery has a good number of paintings, some of them by the first masters; the most esteemed, except a small number of chefs-d'oeuvre, are not of the Neapolitan school, the later masters of which seem rather clever and expe- ditious workmen than true artists : one would say that the talent of these artists lay more in the arm Ihm the heart and head. The best paintings of this school are : the Prodigal son ; St. Nicholas of Bari in ecstasy, by Calabrese ; an As- sumption, by Andrea of Salerno; the 5^ Bruno kneeling before the infant Jesus, who is blessing him; St. Jerome in a grotto, by Spagnoietto ; a Dance of little angels, very graceful, by the Cav. d'.Arpino; the St. Jerome in a little chamber instead of a grot, taking a thorn out of a lion's paw, an old and celebrated painting altogether in the Flemish style, by the Neapolitan Colantonio del Fiore, who lived in the fourteenth and fif'.eenth centuries; the Virgin on a gold ground, by Giottino ; the St. Ignatius and St. Francis Xavier baptising the Indians, finished in four days by Luca Giordano. Among the works of the Florentine school, may be distinguished : a Descent from the cross, by Castagno; a Circum- cision by .Marco da Siena, a naturalised Neapolitan, and clever imitator of ftli- chael Angelo ; the Infant Jesus blessing St. John caressed by the Virgin; an Annunciation in a landscape; twoSaints near the Virgin on a throne with the infant Jesus, by Ghirlandajo; a Young man in black, by Bronzino; the Ascen- sion, by Sodoma. The French and Fle- mish schools have : a Marine view, bv Claude Lorrain ; an old Shepherd wrap- ped in hiscloak, by Rembrandt; ^portrait of a man seated and in black, by Van- d\ck; the Baptism of Christ in a rural scene, by Paul Biil ; the celebrated Monk of Alcantara clothed in white, a tour de force in colouring, by Rubens; a portrait of a Young man w ilh plumes on his hat, by Holbein. A collection of paintings in the Greek style of the Lower cap. 7, and lib. niv. cap. .il, cited by Mazois, p. I3;i of his Palace ol Scuta us. ' See ante, book vi. ch liii. 88 NAPLES. [Book XIII. empire, is very interesUng for the history of the art. The authenticity of the three cartoons said to be by Raphael and Mi- chael Angelo is disputed. The other remarkable paintings of the several schools are : St. Sebastian tended by women; the Virgin, infant Jesus. St. Joseph reading in a book held by an angel; St. John, St. Francis, St. Lau- rence; the S/ioe«ia/.er of Pope Paul yi. ; St. John holding a lamb; a Group of women and children, listening to a soldier -with emotion and surprise; an Old man leaning on a stick ; the Virgin caressed by the infant Jesus; St. Jerome tvith his hands clasped looking up- wards; the Cross supported by angels; St. Paul holding a sioord in one hand, a book in the other; a Composer of music ; Jesus Christ crowned with thorns andinsulted by the Jews, broadly executed works by Schedone, which he (lid for his generous and useless Maecenas, Kanuzio I., duke of Parma, ■ and which came to Naples with the other collections oftheFarnese family; iheVirgin holding the infant Jesus on her knees, by Leo- nardo Vinci : a Judith, Jesus Christ calling St. Matthew ; the Magdalen ; the Apostles at the Virgin's tomb; a Carrying of the cross ; St. Francis d' Assise ; the Descent of the Holy Spirit, by Caravaggio; the Virgin near Christ laid in the cross, by Ludovico Carraccio ; a Man in a pelisse, smiling ; the Virgin with the infant Jesus sleeping on her bosom, by Anuibale; St. Francis d' As- sise, by Murillo; a Holy Family and St. Catherine, by Bagnacavallo ; a sati- rical picture by one of the Carracci school against Caravaggio, whose rough head resembles a wild beast's; two Fi- (jures in profile adoring the Virgin in a rural scene, by Bernardino Luini; a portrait of a prince, aged thirty-three, by Parmegiano ; the Virgin tenderly pressing the infant Jesus in herarmsand against her forehead, by Correggio ; a portrait of a Cardinal ivith a beard and but little hair ; a Young man in black ; a charming portrait of Anna Boleyn, by Sebastiano del Piombo; a portrait of a Young girl, with rich head-dress and clothes, by IJassano ; the Magi ; St. Vrsula, by Garofoio ; St. Joseph and the Virgin, by Bonifazio; a portrait; the Virgin andinfant Jesus surrounded by ' See ante, book ix. cb. vi. cherubim; a Naked ynan whispering in Christ's ear, by Tintoretto; a Venetian doctor, by Morone ; a Young girl ; the portrait of Gonsalvo of Cordova; Eras- mus, in his old age, by Titian ; a very flne portrait of a Woman in black, of the Venetian school; a Young girl, by Paolo Veronese; the JEternal Father in the midst of four cherubim; the Virgin and ?n/hnk erected to the saint by the town, a rich monument, but in very bad taste, by Fanzaga. In the church of Donna Regina is the Marriage ofCana, the Saviour preach- ing, great paintings by Luca Giordano; his frescos in the great and little choirs; the St. Francis, by Solimene; and in the old church, called the Comunichino, the majestic tomb, by Rlasuccio II., of the queen Mary of Hungary, mother of King Robert, who died in 1323 at the convent. The fine church oi Santa Maria delle Grazie sopra /emwra, of the architecture of De' Sanctis, a disciple of Andrea Cic- cione, the best pupil of Masuccio II., has some good sculptures; a Descent from the cross, and a tomb of the Brancaccio, by Giovanni di Noli; the basso-relievo ' See 11)8 verses of the Asino d'oro : E son ben necetsarie 1' orazioui. Cbap. VII.] NAPLES. /(33 of St Thomas touching the Saviour's wounds, by Santa Croce, the contem- porary and rival of Giovanni di Nola. The Iresco of St. Anthony, the painting of St. Andrew, are the best works of Andrea of Salerno, a pupil and good imitator of Raphael, the best painter of the Neapolitan school. The church of Sant'Agnello a-capo- Napoli has some elegant sculptures by Giovanni of Nola: a statue of 5f. Jerome; a basso-relievo of the Virgin, probably by Santa Croce ; the statue of St. Dorothy, and many tombs of the Poderica family, pretended descendants of the Saint. The basso-relievos of the Virgin, the infant Jesus, the Souls in Purgatory, are by Auria. An image of the Virgin, in the chapel of Santa Maria intercede, painted in the Greek manner, is reckoned of Justinian's time. The St. Charles, by Caracciolo, is a happy miitation of Au- nibale Carrnccio. The small church of Saint John the Evangelist, founded by Pontanus, covered on the inside with Greek inscriptions, and outside with moral maxims, and executed from the designs of Ciccione, recalls the celebrated academy which assembled such men as Panormita, Fazio, Lorenzo Valla, Sannazzaro, Galateo, Parrasio, Allilio, at a time when Naples rivalled even Florence, in zeal, science, taste, and poetry. Pontanus did not display, towards the protectors of this Academy and his own benefactors, the kings of Aragon, the same noble fidelity as Sannazzaro; he harangued thepeoi)le in favour of the conquering army of Charles Vlll., and insulted the adversity of the exiled princes. He seems to con- gratulate himself, in the elegant epitaph he composed and had put on his tomb, on his tact in standing well with all the powers : Honestaverunt Regcs Domini. Another poet, an imitator of the elegance and licentiousness of aniifjuity, Pielro Compare, the friend of Pontanus and Sannazzaro, who often addressed the former as his companion in the service of Venus and Bacchus, received from him a mausoleum and an epitaph in his chapel; strange poets these, half-Chris- tian, half-Pagan, in their poems as in their lives, who founded churches and so shamefully braved decency in their Latin. The Pontoniana Academy still exists nominally at Naples; it encourages the sciences, letters, and arts ; it proposes prizes like the new academies, has an annual presidentand perpetual secretary, the Cav. Avellino, a man distinguished by his archeological learning and his talent as a writer. Before the door of Saint Paul are two antique columns, almost the only ones in Naples, which were procured from an an- cient temple of Castor and Pollux which once occupied the site of the church. The ceiling of the choir and the cross- aisle is the best work of Corenzio; the ceiling of the nave, which was in danger of falling, passes for one of the fine frescos ofStanzioni. The sacristy is the triumph of Solimene : the two great frescos of the Conversion of St. Paul and the FaH of Simon the Magician are regarded as the chefs-d'oeuvre of that easy painter, the chief ol a numerous school. Saint Laurence was founded by Char- les I. of Anjou as an ex voto for his victory over Manfred at Benevento. The old edifice served for the assemblies of the senate and peo[i!e of Naples, which the conqueror found it very convenient to close under so pious a pretext. The great stone arch of the window is a bold construction by Masuccio H. The five tombs of the house of Durazzo are inte- resting; two are by Masuccio : the tomb of Catherine of Austria, wife of the duke of Calabria called the Illustrious, and that of Mary, daughter of King Charles HI. ; behind the high altar is the tomb erected by Queen Margaret to her father Charles, who was strangled by Lewis, king of Hungary, the ruthless avenger of his brolher Andrew. Several paintings are remarkable : the St. Francis giving his rules, by Zingaro ; and in the chapels two fine paintings by the old Neapolitan master Simone, the contemporary and rival of Giotto : St. Anthony with some angels • St. Louis, bishop of Toulouse, son of Charles II., placing the crown on the head of his brother Robert, to which he had preferred the mitre, a paintingordered by Robert himself. The statues oflhe protectors of the Franciscan order, at the high altar, and their elegant basso-relievos, are by Giovanni di Nola. In the cloister, the basso-relievo on the tomb of Ludovico Altimoresca, executed in 1421 by the abbot Bambocci, though overcharged with figures, olTcrs some glimmerings of extraordinary talent. The marble front of Saint Philip of Neri, one of the first churches of Naples. 454 NAPLES. Book XII!. is in good taste. Several paintings by great masters are remarkable : Jesus driving the dealers out of the temple, a vast fresco highly extolled by Luca Giordano, with the archileclura! parts by 3Ioscatiello, a clever perspective jiainter ; a St. Francis, the Meeting of Jesus and John, a Flight into Egypt, by Gui'Joj the St. Jerome awestruck by the sound of the last Irump, by Gessi. The St. Philip in his glory, a cupola by Solimene, seems as finished as a minia- ture. Ihe celling of the fine sacristy is also by Luca Giordano. In the chapel of Si. Francis, of the church, is the tomb of Vico, the illustrious author of the Nuova Scienza, a German genius under a Nea- politan sun, unnoticed during life and long after death, whose system, compre- hended only by a small nunibor of adepts, has in our days been studied by learned and profound interpreters. ■ Galiani, an enthusiast for the glory of Naples, had duly appreciated Vico in this piquant pa.ssageof the (/i'a/ef^o Jio/)o/(fano ; Vico oso tentare il guado del bujo metafisico, e sebbene vi cadesse denlro, servi di ponte a piii felicepensatore sullo spirito delle leggi delle nazioni. Near this church is the Porta Capuana, the only gate of Naples of any magnifl- cencc; on it are the A ragonese escutcheon and some excellent marble basso-relievos by Kenedelto da aiajano. One of the two towers flanking it is called Onore, and bears its noble title inscribed. CHAPTER VIII. Cliapel della Pield de' Saiiiji"!. — Saint Angelo at Nilo. — Mausoleum of Cardinal Brancacrio. — Saint Domlnick Major.- liota.—Cbapcl of ihe Crucifix. — Auiello Flore — Paiidoue monument. — Sacristj". — Aragonese.— Obelisk. — Monaslery.— Saint Ttio- mas. — Scholaslica.— Saint Clair.— King llobert. — GioTanua of Naples. -Steeple. —Gesii. Thechapd of Santa Maria della Pieta de' Sangri. belonging to the family of the princes of San Severo, is celebrated for the profusion of its marbles and its allegorical statues, works of the Bernini school, much admired and commended by the travellers of last ccniury and the valets de place: Modesty, by Corradini, the portrait of Dom Raimundo di San- ' See Ihe "Prlucipes de la pliilo'opliie de I'histolre, tradulls de la Scienza ntiova deJ. B.Vico, precedes d'un Discours sur le syst^me et la vie de I'aulenr, gro's mother, notwithstanding the long veil covering her whole person, has by no means a bashful air; a Christ reclined, also veiled and as if covered with a sheet, by San Martino, is just as bad. But the masterpiece of this frightful sculpture is Vice undeceived (an allusion to the conversion of the same Sangros father), struggling to extricate himself from a great net in which he is entangled ; the meshes of the net in marble, perfect to nature, are among those beauties that do not escape certain connaisscurs, who never forget to mention them in the recital of their Italian travels. At the church of Saint .Angelo a Nilo, the mausoleum of Cardinal Rinaldo Brancaccio erected to him by Cosmo de' Medici, is one of Don itello's most supe- rior chefs-d'oeuvre : a marble basso- relievo of the Assumption, on the sar- cophagus, has the grace, fire, lightness and expression of the cleverest painting. A good St. Michael, by Marco of Siena, is at the high altar, and in the sacristy are St. Michael 3i\d St. Andrew, by the old Neapolitan master De'Stefani. On the cui'ola of the church della Pield de' Turchini, is a Christ embra- cing the cross and taking his flight to heaven, by Luca Giordano, of extraor- dinary effect. The Guardian angel, in one of the chapels, is by Stanzioni, and on the ceiling, a Nativity and an As- sumption by his clever and unfortunate pupil the young Anella di Rosa, who was assassinated by her husband in a Gt of jealousy. At the church of Saint Dominick Major we are quite in the middle ages. Not- withstanding all the changes it has undergone in the course of about six centuries, its architecture still bears the imprint of that Gothic grandeur and that character of strength and durablene.ss common to all the buildings of the Domi- nicans. The chapel of Saint Stephen pre- sents a fine cenotaph by S.inta (^roce, con- secrated to Cardinal Filippo Spineili, by his nephew ; the chapel of Saint Lucy, two tombs by3Iasuccio II., ihe tomb of Philip of Anjou, brother of King Robert, and that Beltrame de! Baizo, grand justiciary of the kingdom ; the chapel of Santa Maria della Aeve, three statues by Gio- par M. Mlchelet, 1827, "and lliepreracelo llie"f:ssais depalingenesiesociale, par.M. DalluDcbe, t. ii, 1829." Chap. VIII.] NAPLES. vanni of Nola, the Virgin, St. Malthew and St. John Baptist. The Baptism of Christ, in the chapel so called, is a good painting by Marco of Siena : the old figure of the Jordan was the model for the statue of the river Sebeto of the charming fountain of Saint Lucy. The sarcophagus of the Cav. Marini was erected by the marquis of Villa Manso, whom he had made his heir : the friend- ship of Tas^o, who was unable to leave him anylhinj;, the dialogue II Manso, the hospitality accorded to Slilton when travelling, will be more elTeclive in handing down this marquis to after ages than all the possessions of Marini, who was likewise a great poet, but his fame iseclipsed before suchglories. Thechape! of Saint John Baptist has two paintings, by Calabrese ; the statue of the Saint, by Giovanni of IVola, and the poetic and fanciful mausoleum, by Auria, of Ber- nardino Rota, author of delightful Italian eclogues of fishermen, his flrst literary title, of sonnets and canzoniinVHrarch's manner, in honour of his wife I'orzia Capeccio, on whose account he was com- plimented by AnnibaleCaro. This wile, whom he loved and sung so tenderly, is interred near him in a magnificent mau- soleum, by Giovanni of Nola. Ln the chapel of the Madonna of Zeandrea, the monumciu of the juiisconsull Franchis has the grave simplicity of his profession: the statue of the Madonna recalls a strange miracle; it belonged to Andrea d' Auria of San Severino, who died in the odour of sanctity in the year 1672; he had ordered it for one of his female pe- nitents, but as she did not find the figure handsome enough, he was obliged to keep it himself; and as the story goes, on the next morning the statue had changed features, and had the good mien it now displays. A Crucifixion, and divers mysteries of the Resurrection, at the chapel of Saint Andrew, are precious frescos by .\ngelo Franco, who, of all the old Neapolitan painters, has approached the nearest to Giotto's manner. Jhis creator of Italian painting did the fresco of the Saint on a gold ground in the little chapel of Saint Anthony the abbot. The grand chapel of the Holy Cru- cifix unites the most different monu- ments, pious, miraculous, and almost profane. The mausoleum of Cardinal Ectore Caralla, covered with mylhologi- 1 cal emblems, might betaken forlhe spoil of some pagan temple; it seems still more strange when we are informed that it was thus executed during the life and by the express order of the cardinal. Close by, at the high altar, is a crucifix entirely black and almost invisible, paint- ed by the unknown masterof Masuccio I., which miraculously exclaimed to Saint Thomas, when troubled lest he might be mistaken in his Sumrna, "Bene scripsisli de me, Thoma ; quam ergo mercedem recipies?" to which the saint, who had felt himself raised from the ground, immediately replied : "Non aliam nisi te, Domine." In the ab- sence of such holy approbation, the writer's conscience is another voice from heaven which counsels and reassures him. Two paintings of this altar are rem.irkable : a Descent from the cross, by Zingaro, in the Flemish style, which might be taken for Albert Durer's, pos- terior by a century to Zingaro ; a Carry- ing of the cross, by Giovanni Corso, a Neapolitan painter of the sixteenth cen- tury, reckoned by Solimene the best picture in the church. A fair judgment may be (ormed of the talents of Agnolo Aniello Fiore, son of the inflexible pain- ter and father (iolantonio del Fiore," the master of Giovanni of Nola, and of his imitation of the Tuscan artists, by the three following mausoleums : that of Car- dinal CaralTa of Ruvo, erected by his son Cardinal Oliviero, archbishop of Naples, terminated by Agnolo's clever pupil ; that of another Caraffa, on which is inscribed their obscure devise. Fine in tanto, the artist's masterpiece; and that of Count Bucchianico and his wife Catarineila Orsino. The chapel of Saint Thomas Aquinas does not completely answer one's expec- tations in a place so full of his memory. The painting of the Saint is by Luca Giordano ; the tomb of Giovanno d'A- (|uino, deceased in ISOO, by Masuccio II.: a great Madonna with the saint and souls in purgatory, above this last tomb, by Francesco di Rosa, a clever Neapo- litan painter of the sixteenth century : the tomb of the princess of Ferelotto Donna Vincenza d'Aquino, the last of this name, w ho died in December 1799, announces the end of this ancient family, made illustrious by a saint, and extinct in the iastdays of the eighteenth century, 1 See 0)1 (e, cli. Iv. 456 NAPLES. [Book Xill. which had also seen the rise of a power- ful philosophy, far dilferent from the A ngelicdoclor's, and like it almost passed away. The chapel of Saint Sebastian offers, painted on a gold ground in a remark- able manner, the Virgin, the Apostles, a Resurrection, by the brothers Pietro and Ippolito Donzeili, pupils of Zingaro. The monument of Galeasso Pamlone, whose head appears living, and the or- naments are exquisite, is one of the wonders of art due to Giovanni of Nola. A Circumcision, in the chapel so called, of the year 1574., is reckoned among the best works of Marco of Siena. The ma- jestic chapel of Saint Dominick has his contemporary portrait supposed a like- ness, and some excellent little pictures by the brothers Donzeili, representing the Miracles of his life. The sacristy of Saint Dominick is of itself one of the first monuments of Na- ples, much less on account of its gilded stuccos, its pavement of precious marble, its cupboards of roots, its long fresco on the ceiling, by So'imene, its beautiful Annunciation by Andrea of Salerno, than of its tombs, among which are the twelve sepulchres of the princes of Ara- gon. The government of this d} nasty, whose last king sought an asylum in France, was the glorious era of the his- tory of Naples, and of its literary splen- dour, w hich declined on the accession of the Spanish and Austrian dynasty. Over these tombs is a small figure of Death painted in clarcobscure, with the in- scription : Sceptra ligonibus cequat. A well-preserved corpse, in Spanish cos- tume and enclosed in a wooden chest, is erroneously stated to be the body of .\ntonello Petrucci, minister of Fer- dinand I., decapitated after the conspi- racy of the barons : the state of the neck proves that it cannot be the minister, but must be some obscure Petrucci interred at Saint Dominick in 1585. Over the tomb of Pescario hang his portrait, his torti banner, and a short plain steel sword, which, according to the affected inscription, is the one restored to him by Francis I. : Hscario Marll debt-lur Marlius ensis : Barbara adest, lutus medios poles ire per hosles. 1 he portrait of the noble captain who I See ante , book xiv. cb. ii. died of his wounds before attaining his thirty -sixth year and was so nobly mourned and sung by his illustrious widow Vittoria Colonna,' represents him in a Franciscan's dress; a gloomy and whimsical custom of Spanish devo- tion, imitated, though few suspect the fact, from the most frivolous people of antiquity, the Athenians, who, says Plu- tarch, wished to be interred in the cos- tume of the initiated or hierophants,* and with the same intention, too, of thus expiating the faults of their life. The effect of these tombs is singular; they are raised high, on a kind of narrow circular balustrade, and placed in large coffers covered with crimson velvet. At the extremity of this long row, I observed several chests exactly like the others in form, but much less faded in colour : although it was not very easy to obtain access, I approached them, and, not without astonishment, dis- covered that they contained the remains of madame A***, wife of the present ("ount de M*******, formerly minister of finance at Naples, and of three of his children : two French quatrains by the Count himself are inscribed on his con- sort's tomb. Notwithstanding the so- Iemnit5 of death and the touching in- terest that the tombs of a mother and her children must inspire, I could not repress my surprise at seeing an upstart and foreign family among the royal se- pulchres of the house of Aragon." The obelisk of Saini Dominick, erected by the Neapolilans, is, like that of Saint Januarius, a rich and execrable monu- ment begun by Fanzaga and Gnished by Lorenzo Vaccaro, another corrupt pupil of Bernini, of the second generation. The monastery of Saint Dominick was for many centuries one of those grand gymnasiums of the middle ages whose masters and doctrines had such vast em- pire. Saint Thomas Aquinas composed several of his works there, and taught theology fifteen months ; in later years King Alfonso I. of Aragon, the great man of his dynasty, often went thither to attend the lectures of the professors. Traces of Saint Thomas are found at every step in this superb edifice; his narrow cell, converted into a chapel, his lecture-room, and a fragment of his pulpit are still shown. The salary of ■i De Is. cap. iii. Chap. VIII. NAPLES. 457 this powerful professor at Saint Dominick, fixed by an order written by Charloi! of Anjou in 1272, now preserved in (he archives of Naples, was an ounce of gold monthly, C ducats (1/.) of the [)resenl currency. If men, as we conceive, are to be judged by the ascendant ihey exer- cise over their age, Saint Thomas Aqui- nas, who died at the age of forty-eighl, must be regarded as one of the greatest geniuses that the world has ever seen : "he was Descartes," says Fonlenelle,' "in another age and under other cir- cumstances." His political iiolionswouid not be disavowed by the warmest par- tisans of popular liberty, or the most inflexible logicians of the same opinions: "Cum nun est recursus ad superiorem per quern judicium de invasore possit fieri, tunc qui ad iiberationem pa- trice tyrannum occidit, laudatur et prcemium accipif... . Non putanda est multitudo infldeliter agere, tyrannum destituens, etiamsi eidemin perpetuum se subjecerat...; quia hoc ij)se meruit in multitudinis reyimine se non fide- liter gerens, ut cxigit regis offlcium, quod ei pactum a subditis non reser- vatur^ Dicendum quod regimen tyranniciim non est justum; et ideo perturbatio liujus regiminis non habet rationem seditionis; .... magis autern tyrannus seditiosus est qui in populo sibi subjecto discordias et seditiones nutrit." 4 It is surprising that such a violent usurper as Charles of Anjou to- lerated such jirinciplcs, but Dante, 1 be- lieve, makes him poison Saint Thomas : Ripinse al ciel Toiuraaso per ammenda.^ The religious thoughts of Saint Thomas are milder and saler : "God," says he somewhere, "is not the author of the evil which defiles, but of the evil which pu- rifies." It is difficult to define super- stition with greater nicety than this first writer of the schoolmen, who calls it a "vice opposed by excess to religion."'' Despite the opinion of some philosophers, the disputes of the schoolmen were pro- bably no hiuderance to the revival and ' Eloge de Marsigli. '■• Lib il. Sent Disl. '.4, q. 2, art. 2. * Opusc. 39, lib. i, cap. 6. 4 2. 2. q. 42, art. 2. ' Purgat. can. xi, G9. ^ Superstilio, vilium per excessum religloni op- potiluni. 12. 2. q. 92, art. 1.) 7 Kubert wiDt so lar as to swear thai letters were the progress of knowledge. These con- troversies imparted to the minds of men that force, shrewdness, and promptitude which they afterwards brought to bear on other subjects; in fine, this rude cxeicise may be said to have been the gymnasium of the human mind. The ceiling of Saint Peter a Majella is one of the best works of the fretful Calabrese, and also the numerous sub- jects taken from the Life of St. Cathe- rine, paintings which the defenders of the style encouraged in their day, vainly enoeavouring to oppo.^e them to the brilliant innovations of Luca Giordano. Saint Clair, perhaps the most elegant church in Naples, though overloaded with ornaments in the last century, had been skilfully restored by Masuccio II., the first real master of the art in that country. By the advice of Boccaccio, King Robert bad it covered with frescos by Giotto; but a Spanish magistrate, re- gent of the church, ordered them to be whitewashed when the church was under repair, to make it lighter. A Virgin in a small chapel near a door is the only picture that escaped this barbarous ex- pedient. Saint Clair is the burial-place of the reigning family; but the tombs of the house of Anjou were there be- fore : five of these mausoleums are cu- rious for the history of art. King Ro- bert's, which, while living, he ordered of iVIasuccio II., is the most remarkable. He is represented twice; in the first instance, seated and in royal robes; in the second, reclined and dressed as a Franciscan. Robert, a friend of the learned, himself an author and scholar,? flattered by Petrarch and the other lite- rati of the time,** seems not to have pleased Dante. In his bitter description of the common discordance between our nature and our condition, this great sa- tirist, when he pleases so to be, treats Robert as a royal w it and nothing more : E fate re di tal ch' fe da scrmoiie.9 The tomb of Giovanna of Naples is near the beautiful mausoleum of her raore grateful and much dearer to bim than bU throne : ''Ego juro ilulciores et niulio cariores uiihi lilteras e^se quam regiium." Petrarcli. Opera, tier, meinor. lib. ii. A monuaient in ibe garden of lis palace at Aii bore the iuscripiiun Oeo el Slusis. * See anle, book ix. ch. xli. , and book x. cb. vii. P Parad. can. viii. (47. 39 458 NAPLES. [ Boor Xill. father, the duke of Calabria, son ofKing Robert, called Charles the Illustrious, w ho died young, and never occupied the throne. This queen, whose memory, though stained with crime, continues po- pular at Naples, wears a long cloak besprinkled with fleurs-de-lis, and has a crown on her head. The husband of the famous Calanian, Giovanna's gover- ness, the chief agent in the murder of her husband, Raimondo Cabane, is in- terred at Saint Clair near Giotto's fresco. This Saracen slave became grand se- neschal oflhe kingdom, and was, like his guilty partner, another instance of the high fortune of subaltern persons at that epoch of pleasures, corruption, and barbarism. A little monument, of ex- traordinary elegance, is that of Antonia Gandino, by Giovanni of >ola. The gracefulness of this charming girl, who died at fourteen, is no less happily ex- pressed by the marble than the, grief of her parents by the pathetic epitaph, written by the Neapolitan poet Antonio Epicuro, of the Academy of Pontanus : Naia elieu miserum, misero mihi nala parenll, Culcus ut fieres, unica uala, dolor; Nam tibi dumque vlruoi, ia?das, ilialamumquepa- rabam. Funera et infeiias ami us ecce pare. Debuicnus tecum ponl, malerque paterque, L"t tribus ha3c ruiseris urna parata foret. At nos perpelul yeiuitus, tu nala sepulcrl Esto liaeres, ubi sic Irupia fala volunt. ADtonius filis clarjssirna;, elc. The chapel of San Felice, one of the best in the church, has a good Cruci- fixion, by Lanfranco, and an- antique tomb, ornamented with superb basso- relievos, in which reposes a duke of lihodes, Cesare San Felice. The best of Solimcne's pupils, Mura, having the de- fects but not all the good qualities of his master, executed the painting of the Holy Sacrament, at the high altar, and St. Clair putting the Saracens to flight, on the principal roof, the middle picture of • The ecclesiastical population seems however to diminish sensibly at Naples as evervw^here else. (See book vi. ch. xiv.1 la 1786 there were about too hundred convents, containing three thousand sis hundred and forty-foiir monks, and six thou- sand four hundred and sixteen nuns; there are now thirty -two convents for men, Iwenly-tno nunneries, and thirty-four conservalories; the number of moulis was, iu tS20, Dfleen hundred and two, and of nuns a thousand and thirteen : the yearljefore, the former were only seven hundred which, David playing the harp before the ark, is an esteemed work, by Conca. The steeple of Saint Clair, by Masuc- cio II., is of pure and beautiful gothic. On the third story may be remarked the happy innovation of the Ionic capital operated by Michael Angelo, with whom the Neapolitan ought to share the ho- nour. The death of King Robert left this noble monument unfinished. The church of Gesii nuovo, or Tri- nitd Maggiore, with its orchestra of painted boards, its candelabra placed between the columns and held by little angels, which might be easily mistaken for Loves, is really more like a ball-room than a temple. The dullness of the front, which Milizia, a better critic and theo- rist than practician, thought Gtter for a prison, still heightens the contrast. Of the old cupola destroyed by an earth- quake in 1G88, only the four fine evan- gelists of Lanfranco remain. In the chapel of Saint Anne is the first fresco due to the precocious talent of Solimene, which he did w hen eighteen. His Helio- (Jorus driven out of the temple, a vast fresco over the great door, is expressive, but too confused. The frescos of the ceiling and painting in the chapel of the Trinity, are by Guercino. This church and the college belonging to it were re- stored to the Jesuits in 181G; but their reestablishment did not meet with the same opposition as in France. The Je- suits are the same there as other priests, whose numbers are so great that some few more or less can make little diffe- rence.' CHAPTER IX. Monte Ollvelo. — Tasso's poem.— Santa Maria la >i)va. — Inscription on taulrec's tomb. — Pietro Navarro. — Saint James of the Spaniards. — Mau- soleum of I'ietro of Toledo.— Spanish domination. — Ediflce of Saint James. The chefs-d'oeuvre of sculpture as- and seventy-fnur, and the second eight hundred and cighty-tno. The number of priests, \>hich in 1780 was three thousand one hundred and forty- th;'ee, is now eight hundred. The kingdom of Mples (on this side the Fnro) contained. In January iSJJ, out of five millions seven hundred and clghty-- oae thousand and thirty-sis inhabitants, tnenly- tix thousand three hundred and four priests, eleven thousand Uvc hundred and five monks, and nine thousand two hundred and ninety-seven nuns. Chap. IX. ] NAPLES. 459 sembled in the church of Monte Oliveto give it the appearance of a real museum. The elegant works executed in the ch.ipcl of the duke of Amaifi by Antonio Ros- sellini, excited the emulation and deve- loped the talent of Giovanni of Nola. In the Liguori chapel, the basso-relievo of the Virgin and Infant Jesus, St. John and other saints, and below, Saint Francis de Paiile and the four Evange- lists, are admired works of his : the St. John Baptist of the Artaldo chapel was his first statue. In the chapel del Pezzo, the Virgin and her son, the ornaments, the basso-relievo of Jesus Christ calling St. Peter from the ship, by Santa Crocc, are excellent. The Mastrogiudici and Piccolomini chapels have some sculptures by two great Florentine masters : the first, an Annunciation, by Benedetto da Ma- jano; the second, a Nativity, by Dona- tello. In the Saint Sepulchre chapel, the earthen group of Piety, by Modanino, presents natural likenesses of several il- lustrious contemporaries: Nicodemus is Fontanus; Joseph of Arimathea, San- nazzaro; St. John and the next statue, King Alfonso II., and his son Ferran- dino. The noble monastery founded in 1411 by Gurrello Origlia, grand protonotary of the kingdom, the favorite of King La- dislas, and built by the architect Ciccione, is now occupied by the tribunals, the municipality, the board of comptrol and other adminislrations, and its garden is a market. Tasso, w hen labouring under sickness and misfortune, found an asylum in this convent; he worked assiduously at his Gerusalemme there, and his friend Manso states that he composed about two hundred stanzas of it in June 1588.' So great was his gratitude for the kind treat- ment of these monks, that he consented, at their prayer, to suspend that glorious work to sing their order, and he began, though very ill at the time, the poem on the Origine della congregazione di Monte 01 iueto;" this work, which he left unfinished, shows what interesting materials true poets can find in monastic writing and history. It is probable that the new destination of the monastery, ' Vita di Taiso, p. 196. » Lasclai dunque I' opere niie da parte, ed aucoia infermo e quasi disperalo della salute cominciai, come voUero (i I'ddri) a poetare .icciochfe la mia poesia fosse quasi uo ricoaoscimeoto della lor gra- zia e cariia. Lett, to cardinal Caraffa, rol. xlii. and the present noisiness of that quarter, would inspire him much less. Santa Maria la Nova has some fine paintings: an 4s«?tm;>ot real gladiatorial combats re- newed from the circus of the ancients, and performed in the presence of Queen Giovanna, King .Andrea, the court, the army, and the people, who enthusiasti- cally applauded these sanguinary pro- ceedings. 4 The vast and imposing mau- soleum of Ring Ladislas and his sister Giovanna II., the chef-d'oeuvre of Cic- cione, cannot produce all its ellecl in the confined space where it stands ; but it appears that the fashion of the time re- quired the.«e massive sepulchres for such persons. Die stalue of Ladislas, sword in hand, mounted on a charger, on the top of the monument, is a good expres- sion of the ardent young Italian con- queror who assumed the title of king runl....rep['nle quasi laelum aliquid accidisset plausus Inenarrabiiis ad icelum toiliiur. Clrcum- spitio, 6t erce formosissimus adoltscens rlgido mncrone transfossus anie pedes lueos corruit. Ob- stupui, et equo calcaribus adacto, letrum ac tar- tareum spcclaculum effugi. Episl. lib. v, 37. CuAP. XL] NAPLES. 463 of Home, and was seeking to extend his dominion over all the peninsula when he died from excessive indulgence in pleasures. Another very curious mau- soleum by Ciccione is that of ser Gianni Caracciolo, the lover and minister of the second queen Giovanna, a kind of INea- politan Earl of Essex. The catastrophes of these lovers, these minions of sove- reigns, excite but little commiseration; they seem much more the victims of am- bition than of love : we feel, that they obtained favour by obsequious subser- viency rather than personal attractions or real merit, and that they are but an- other sort of courtiers more confidential and a little more assiduous than the rest. Caracciolo, as well as his mistress, was sixty when assassinated ; his death, the consequence of his cupidity and resulting from a palace intrigue, cannot be attri- buted to the workings of a violent pas- sion. The grand frescos of this chapel are by Gennaro di Cola, a Neapolitan painter of the fourteenth century, and are fine for the time. The chapel of the Marquis Caracciolo di Vico, adjoining, has six statues of apostles by Giovanni of Nola, Santa Croce, Annibale Cacca- vello, the worthy pupil of Giovanni of Nola, and by the celebrated Spanish sculptor Pedro della Plata : the basso- relievo of the Epiphany, by the last- mentioned, is perfect. The Miroballi chapel, though not altogether irreproach- able, may be nevertheless regarded as one of the most regular and elegant that preceded the revival. The ancient library of Saint John Carbonara, founded by Cardinal Gero- nimo Seripandi, to whom Janus Parrha- sius bequeathed his Greek manuscripts and several unpublished manuscripts of his own — this celebrated library, so highly extolled by IMontfaucon and still often alluded to as being in its place, has ceased to exist more than a century. The chief part, including the manuscript of Tasso's Gerusalemme conquistata. which wants the first canto, was trans- ported to Vienna in 1729 and is there still; ' the rest was added to the Royal library at Naples. The circumstances attending the dispersion of this library are characteristic of Neapolitan and mo- nastic indolence : some German literati ■ J. I.ambecii Comment, de bibliolbera Caes. Vindob., vol. 1, col. 703 seq. ed. Kollarii. had been sent to the convent of Saint John Carbonara to lake copies of ma- nuscripts, make a return of their titles, and to seek for various readings ; after some resistance and false pretexts on the part of the monks, the chief of the Nea- politan senate ordered them to afford freer access to their library ; but they were so much afraid of this kind of ser- vice, that, to be left undisturbed, they preferred making a voluntary oderof the manuscripts to the emperor Charles VI. In the church della Pietatella, is a Pu- rification, by Curia, which has been cited as one of the best paintings in Naples, and Sp.ignoletto proposed it to his pupils as a model. The frescos of the brilliant church of the Holy Apostles have some celebrity : the roof, the angles of the cupola, the gallery of the choir, the choir, a fine Pool of Belhesda over the door, the perspective of which is by Viviani, are by Lanfranco ; the cupola is by Benasca. We are told that the Neapolitan masters, after frequently comparing the two St. Michaels of the two last painters, in this church, could not decide which ought to be preferred. The four pain- tings of the window recess, by Luca Giordano; the lunettes of the nave, by Solimene, are some of their esteemed works. In the Filomarino chapel is the celebrated Concert of Angels, a basso- relievo by Fiammingo, an artist of Brussels who settled at Rome, and who was indebted to the friendship and counsels of Poussin for his ability to surpass, perhaps, the other sculptors of his day. A great subterranean cemetery, in which the Cav. Marini reposes, apper- tains to this church. The sepulchral stone of the poet is very simple ; but the quatrain inscribed for epitaph is singu- larly laboured; if the panegyric were less extravagant, it might easily be supposed he had composed it himself. The ceme- tery of the Holy Apostles, when I vi- sited it on All Saints day, had become a sort of garden planted with boughs and shrubs ready for the funereal festival of the morrow. On that day, the coflins are opened, the corpses, the bones are dressed up, with long inscriptions com- memorative of what all these dead were once ; and the people walk about amongst them, recognising and contemplating them in transports of delight. The vene- m NAPLES. [ Book XIII. ration due to tombs is then degraded into an uproarious theatrical orgie. The church of Santa Maria del Car- mine, the most frequented and popular church of Naples, recalls one of the most tragical catastrophes in history, and the first example of regicide in Europe; the remains of young Conradin and his cousin Frederick are deposited there, obscurely concealed behind the high altar : the inscription cannot be read without a lamp, and this sort of mystery still increases the emotion. Conradin, when on the scaffold, only uttered the exclamation : "0 mother! how great will be your grief to hear such news of me!" This mother, the empress Mar- garet, hastened from the extremity of Germany to redeem his life ; she arrived too late, and therefore devoted the sum of the useless ransom to found the mo- nastery del Carmine, in which a sta'ue represents her with a purse in her hand. It is not known whether Margaret was receivedby Charlesof Anjou, orwhether she claimed her son's body ; if so, such an interview would surpass in pathos the scene of Priam at the feet of Achilles. A chapel, under the invocation of the Cross, was erected on the place of his execution, at the corner of the houses beside the church del Carmine, where a coffee-house stands at present. Op- posite, in the new church of Santa Croce al Mercato, may be seen the small porphyry column that was reared on the very spot of the murder : it lies prostrate, exposed to all the filth of a Neapolitan sacristy, and the following dreadful quodlibet in Lombard characters is still legible: Asltiris angue leo pullum rapieus aquilinum Hlc deplumavlt, aceplialumquc dedit." A fact but lillle noticed may how- ever be adduced to prove how sacred royally was then held : when the execu- tioner had cut off Conradin's head, another who stood by stabbed him with a poniard, so that, says the historian, the vile instrument who had shed the blood of a king, might not be left alive.' I Aituris means Giovanni Frangipani, lord of Astnra, who look CoiiradiD and basely delivered him up. The lion was formerly In the arms of France. Dante alludes to this emblem when he applies the word lion to Charles of Valols, who. in taking possession of Florence, was the cause of his exile. The church del Carmine, though rich in marble and stucco, has little beauty : an Eternal Father, with the Holy Ghost, is by Giordano; the Assumption and the frescos of the window, an Elijah and an Elisha, are by Solimene. In this church, the best attended in Naples, on the day after Christmas every year, the miraculous crucifix is exposed, which iu the siege of li39 stooped its head, to avoid a cannon ball; a crucifix exceed- ingly venerated by the Neapolitans, who on that day flock thither in crowds to adore it, and ihe magistrates go in a body to pay their homage. The spacious market-square was the scene of the insurrection of Masaniello, a real Neapolitan tribune, not a Roman, who preluded his insurrection by going with the other gamins of the time to show his backside under the viceroy's windows. The people of Naples, in spite of our new claims, must be consi- dered the best in the world for rioting : there is a book in Italian entitled, A Relation of the twenty-seventh revolt of the MOST FAiTiiFDL citi) of Naples. But these seditious, passionate men are neither cruel nor furious, and notwith- standing their vivacity and the burning heat of the climate, their history pre- sents none of those great popular mas- sacres of which there are too many in- stances in the colder and more civilised nations; the horrors of the revolution of 1799 sprung from Nelson and the court ; true Neapolitans would never have dis- missed Saint Januarius as a Jacobin and protector of Jacobins, to replace him, as was the case, by Saint Anthony. The domination of the different foreign powers that have occupied this country, suc- cessively Greek, Arabian, Norman, Spanish, Austrian, French, doubtless produced in the inhabitants the perpe- tual habit and facility of imitation. In their present manners there are many Spanish peculiarities, as exaggeration, boasting, love of ceremony, and for the last twenty years the soldier has aped the French, the English, and the Aus- trians, one after the other, ever taking, ' Accid vivo non rimanesse un vile minlstro che aveva versato il sangoe d" un re. Blancardl, le Vile de' rk dt Napoll; Vila di Carlo d'Angid, p. 134, quoted by GinguenA, Bisl. lilt, d'll., 1. 1, 356. Chap. XI.] NAPLES. as usual with such copyists, whatever is worst in Iheir models. If the ch.iracter of the Neapolitan has little elevation, his disposition is good, compassionate,' and though ignorant and untrained, he has imagination and an acute mind very susceptible of culture; his language is picturesque, figurative, occasionally elo- quent. When (he Archduchess Maria Louisa came to Naples in 182i, she was pointed out at a distance to a nuin of the lower orders, with the remark that she was la vedova di Napoleone ( Napo- leon's widow ).—Che la vedova? replied the Lazzarone, e il suo sepolcro (His widow! No; his tomb). The Neapo- litan dialect is sonorous, redoubled,^ musical, and the ingenious but partial Galiani applies thereto Horace's remark on his ancestors : Grails ingenium, Graiis dedit ore roluiido Musa loqui. Boccaccio was pleased to write in this dialect to Francesco di Messer Ales- sandro de' Bardi, his countryman, a merchant settled at Gacta; Sunnazzaro did not disdain to employ it in his Glio- mero, the oldest specimen of the opera buffa, and it was esteemed by Melastasio. The popular songs that I often heard in the streets at night had neither the buf- foonery nor licentiousness that I expected to find ; many couplets were a series of moral precepts on the conduct of life and the frailty of all sublunary things; they were like a paraphrase of Linquenda tellus et domus; the rhythm was serious ' II is no unusual thing to see poor people take charge of forsaken cliildieJi, and somelinies adopt them In the place of those they have lost. These children take the touching name of figti delta ma- donna I children of the Madonna), Naples, the third city in Europe for population, has re\ver foundlings by far tluin London and Paris, as nnay be seen from the folloiving comparison : at London, with one million two hundred thousand inhabi- tants and forty-four thousand births, there are twenty thousand inlants exposed; at Paris, with eight hundred thousand Inhabitants and twenty- nine thousand births, ten thousand infants exposed ; at Naples, with four hundred thousand inhabitants and orteen thousand births, two thousand infanls exposed. Hence we And that the infants exposed amount, at London, to nearly half the births; at Paris, to more than a third; and at Naples, less than one seventh. This last is also the proportion at Bologna; at Florence it is less than one fourth, it must, however, be observed that the necessaries of life are much less expensive at Naples than at and melancholy, and my Neapolitan companion, a man of sense and a prac- tised musician, remarked to me that this rhythm was Ro.ssini's model fur one of the choruses of his Mose. These popu- lar Neapolitan songs are changed from time to time, but the authors remain unknown. The prisoners for debt are said to compose a part of them. This is one of the stanzas which were then sung at Naples : Che bella cosa e de morlre accNo Nnanze a la porta de la nnamraorata, L" anema se ne saglie mparadiso, E lo cuorpo lo chiogne la scasata. How h;ippy is the lover's fate Who dies before his .sweetheart's gale, By an as.sassin's blow I For w hile his soul to heaven ascends, Dis widow'd mistress o'er him bends. Disconsolate and wo. There are a great many poems in the Neapolitan dialect.^ Capasso, a dis- tinguished jurisconsultand man of letters of the eighteenth century, has tianslated or rather humorously parodied in this dialect the seven first books of the Iliad; the ^neid has been well translated in ottava rima by Giancola Sitillo : the most esteemed of these translations of epics is that of the Gerusalemme, by the celebrated Neapolitan poet, Gabriels Fasano, printed at Naples in 1689 with all the magnificence of the epoch. On a public-house of Posilipo, some twenty years ago, one might have read the following pretty inscription, composed London and Paris. The proportion of suicides, another symptom of nearly the same kind, is no less in favour of Naples, lo i82.'i, at Paris, there were three bundled and seventy-one; in 1825, three hundred and ninety-.sis ; in 182G, live hundred and eleven; whilst at Naples, there were, in 1828, fourteen only, which was reckoned a great num- ber, being much less generally. It is a matter of regret that in t83^, there were twenty-nine, and thirty-one in 1835; but in 1837, only .sixteen. It is by no means uncomnion to find persons a hundred years old at Naples; in (835, they were fourteen in number ; two men and twelve women ; three had reached a hundred and live; in 1837 there were sixteen, two men and fourteen women. ' In pronouncing the word Napote, Ihey give the N a ringing sound, and some Neapolitan authors have doubled that teller. i The collection of poems In the Neapolitan ton- gue, published by Porcelli, from 1783 to 1789, forms twentj-eight volumes l2mo. 466 NAPLES. [Book XIII. by Nicolao Valletta, which has since been effaced as too Epicurean : Amicl, alliegre magnammo e bevimmo Fin ctie n' cl stace uoglio a la lucerna : Chi sa s' a 1" aulro niuiiuo n' ci Tedimmo ? Chi sa s' a 1' aulro ruunno n' c' e tayerua ? ' The Annunziata, of the architecture of Vanvitelii, one of the fine churches of Naples, has several good works by different Neapolitan masters : frescos, by Corenzio, on the roof of the sacristy and the treasury ; the Life of Jesus Christ, sculptured in wood on the cup- boards, by Giovanni of Nola ; the statue an the tomb of Alfonso Sancio, by Auria; a Descent from the cross, in demi- relievo, by Giovanni of Nola, or Santa Croce. Before the high altar is the humble tomb of the second queen Gio- vanna : some of the ornaments have been cut off her mantle of gold bro- cade. The repaired church of Saint Peter ad aram is reckoned the most ancient in Naples. A basso-relievo, representing a Descent from the cross, and a St. Michael, are by Giovanni of Nola. The small church of the Bank of the two Sicilies has an Assumption, the chef-d'oeuvre of Ippolito Borghese, a Neapolitan painter of the seventeenth century, which deserves notice. Saint Severin, a fine church by Mor- mandi, a clever Neapolitan architect of the sixteenth century, is remarkable for many of its paintings and its sculptures especially. The ceilings of the choir of the cross-aisle are some of the best works of the cruel Corenzio, who died in his eighty-fifth year, through falling from a scaffold when about to retouch them, a just but long-delayed chastisement for his misdeeds.' The Baptism of the Redeemer is by Perugino ; the fine paint- ing of the chapel of the Holy Family, by Joseph Marullo; the three tombs of the brothers Jacopo, Ascanio, and Sigis- mundo Sanseverino, poisoned by the wife of their uncle Geronimo, that she might possess their rich inheritance, con- tributed to extend the deserved renown ' "Friends, le( us joyously eat and drink while there is oil In the lamp; who knows that we shall meet in another world? Who knows that we shall find a tavern there?" Valletta, who died at Naples at the close of last century, is the author of a witty little work entitled Cicalala sul fascino, of Giovanni of Nola, and are the last good sculptures executed at Naples. There are also other works attributed to this artist of a talent so sweet and grace- ful, who touched on the period of de- cline, but remained unaffected thereby, and seems the Domenichino of sculp- ture— namely, the tombs of young Andrea Bonifazio and of Giambattisla Cicara, though the former appears by Pedro della Plata. In the cloister, is still ad- mired, after four centuries, the vast fresco of Zingaro, his most famous work, which represents with infinite variety the Life of St. Benedict. The refec- tory and the chapter offer other good frescos by Corenzio : a Miracle of the loaves and fishes, which contains as many as one hundred and seventeen personages, was finished in forty days. CHAPTER XII. Monastery of San Grcgorio Armeno.— Taking the veil. I had the honour to be invited in 1826 to witness the taking of the veil by Si- gnora Teresa b****"**% daughter of the prince of R***"*, which was to be per- formed at the convent of San Gregorio armeno. This ancient nunnery of Be- nedictines, which, it is pretended, dates from Saint Helena, Constantine's mo- ther, formerly exacted such proofs of nobility, that Queen Caroline of Austria, who visited it with one of her daughters, is reported to have told her jestingly that she could not obtain admission if she wished to do so. A strange insti- tution for a religion of which equality is the principle and spirit! The brilliant church, ornamented .with paintings by Spagnoletto and Giordano, assembled the highest society of Naples; ladies bedecked with diamonds, and many men in uniform or costume; the music consisted of airs from Rossini and the opera of the Last day of Pompeii. Here for the first time I heard the sonorous voice of a soprano, which, notwithstand- ing its melody, gave me disagreeable voliiavmente delta Jetlatura, in which he attempts to prove that the power of bewitching by words or a look, a general belief at .Naples, is a reality-, and known from the remotest antiquity. f See ante, cb. vii. CUAP. Xill.] NAPLES. sensations. The young nun was not yet in the place reserved for her in the choir : the three days previous to her taking the veil, she mixes with the world ; the family diamonds are lent to her, and that morning she was gone to bid adieu to the nuns of several convents where she had relations or friends. She arrived splendidly dressed during the celebration of mass; two ladies accom- panied her, and the band of a regiment of the guard, placed in the vestibule, announced her entrance by flourishes. Her behaviour was perfectly simple and natural; it was evident there was no victim there, and that the cruel expres- sion of Melanie : On ne meurt poiiil, ma Dlle, el Ton fail son devoir, had never been pronounced. After the mass she knelt before the archbishop, who officiated, and he uttered several prayers to which his clergy and the nun responded. She afterwards went out, holding a small cross in one hand and a taper in the other, and entered the con- vent, where the nuns were in attendance ; they received her at the door, and em- braced her, and she there changed her dress. In the mean time the persons left in the church had quitted their places, and gone into the choir, to approach the grate which led into the convent, and near to which the new nun was to re- turn to receive the veil from the hands of the archbishop through a kind of turning box. The two sides of this grating then presented a striking con- trast : there, the austerity, the solitude, and the silence of the cloister; here, the frivolity of people of the world, talking, looking, pressing each other impatiently, and the hubbub of persons walling for something; it was a real rout by the light of tapers, and on the stejis of the altar. The only collected person in the midst of this tumult, was a poor girl of A versa, who was to be chamber-maid to Signora li. in the convent, and for that purpose she was about to be obscure- ly made a nun. She had the pictu- resque costume of her country, natural ' Tasso has composed some very fine sonnets on rnom.cazioni lluliiug lUe habit). Rime, part iii, 4, 32, 60. Every body knows Monti's sonnet, Fiigrjm Licori al ehtoslro, nliich ends with this bold pas- sage : Sorrise acerbo ia donzella forie, flowers in her hair, long gilt chains, and several rows of large pearls around her neck and falling over her vest of ama- ranth silk sprigged with gold. When the nun a[)peared at the grating, the arch- bishop addressed her in a cold, formal speech, and put on the veil, inviting her to perseverance; for this proceeding was only preliminary, as there is a year's noviciate. The ceremony being concluded, we went to the convent gate, to which the nun came again, and re- mained a long time receiving the adieus, the felicitations, the embraces of Ler friends and kindred ; but there were no scenes on either side; on the contrary all was good-humour and gaiety. This Italian taking the habit was very diffe- rent from the description of Rene : there was no appearance of melancholy or ex- cited feelings, and refreshments, sweet- meats, and sonnets ■ were profusely dis- tributed among the persons invited. CHAPTER XIII. I'osillpo. — Crotto.— Virgil's tomb.— Mergellina.— Fishers.— Palace of Donn' Anna. The melancholy grotto of Posilipo, a gloomy, vaulted, ill-lighted road, seems placed there to render the vivid bril- liancy of the light at Naples more sen- sible. This celebrated and far too much admired grotto, for the mountain is of tufo, and not rock, is well described by Seneca, a peevish painter well suited for the picture, when he calls it a long prison, an obscure corridor, and disserts thereon respecting the involuntary force of our impressions. » Close by are the remains of a Colum- barium, called the tomb of Virgil, a tolerably picturesque ruin, mixed with verdure, and surmounted by a holm-oak, the roots of which descend into the ele- vated part of the rock adjoining. Despite the uncertainty attached to the monu- ment, it still appears venerable from the multitude of great men who have visited it ; it is like a perpetual testimony of the homage offered to the memory and name alone of the poet. Petrarch was con- Chiuse le sacre porte, e con disprezzo Ne coDsegn6 le cbiavi in mano a morte- ' Nihil illo carcere louglus, nihil iHts faucibuj obscurius. Epitt. S7. 46B NAPLES. [Book Xlll. dueled Ihilher by King Robert ; he planted there the celebrated laurel, renewed in our days by M. Casimir Delavigne; and it was at the sight of the same monument that Boccaccio fell the passion for letters predominate, and decided on renouncing commerce for ever. After descending the smiling hill of Posilipo, ' shaded and decorated by fes- toons of vines and the graceful, umbel- liferous pine, we reach the shore of the Mergellina, a charming spot, so happily sheltered that it only lo>es its foliage one month in the year; and which Sannazzaro, w ho dwelt there, has sung and regretted so feelingly : Mergilliiia, vale.noslri mtmor; et mea flenlis Serta cape, heu ! doraini muneia avara tui. Maternae salvele umbrce. falvete paterna; Accipile et veslris thurea dona focis. Neve nfg;i optalos, virgo sebethia.-., anines; Absentlque tuas det mibi sdmnus aquas, Del febso a^siivas umbras sopor, et levis aura Fluminaque Ipsa sue lene snneiit strepitu. Eiilium nam sponle sequor. Fors Ipsa favtbit : Forlibus hsc solila est saepe et ailesse \iris. Et mihi sunt comiles musae, sunt numina vatum ; Et mens laeta suis gaudet ab auspiciis, Blanditurque animo constaus senlenlia, quamvis Eiilii merilum sit satis ipsa fides. The fishermen of the Mergellina, re- markable for the beauty of their antique shapes, are also interesting on account of their laborious, peaceful life, their domestic existence, their well-gotten wealth : they seem the virtuous Troglo- dy tes of the Neapolitan people. It is not sur})risipg that they inspired Sannazzaro, who had them before his eyes, with his piscatorial Eglogues (piscatoriae), a new choice of characters blamed by Fontenelle as inferior totheancieiit shepherds" who were in possession of the eglogue." ^ His true that "the Norman Fontenelle, in the middle of Paris," could have but an imperfect idea of such fishermen and of the Mergellina. The ruins, the grotto of the palace of Donn' Anna, improperly called the palace of Queen Gio\auna, a vast edifice left unfinished, and not begun till the end of ihe sixteenth century — all these verdure- crowned wrecks washed by the waves are very picturesque. On the pleasant promontory ofPosilipo, may still be seen the famous cisterns and fishponds of the immense villa of Vadius ' n«v5(5 z%i ^jTiij, cessalion of sorrow. Pollio. in which the old muraenae were kept that used to be fed with the flesh of slaves condemned to death for negligent service. One day the master, w ishing to treat Augustus, his guest, with the sight of the execution of a man condemned to this punishment for breaking a glass, the empi ror ordered all the crislals of Ihe villa to be throw n into the water instead of the slave, a piebiMan act of clemency, a very faint lesson given to the barbarous sensuality of ibis Pollio, the son of a freed-man who had become eminent, who must not be confounded, as is some- limes the case, with the illustrious orator, poet, and consul, Asinius Pollio, who was the first to establish a public library at Rome, also a friend of Augustus, and immortalised by the admirable eglogue of Virgil bearing his name. CHAPTER XIV. Capo di Monle.— Bridge. — Palace.-Chlncse.— Obser- vatory. — Catacombs. — Seraglio.— Bolanical gar- den.— Instituto del .Miracolo. — French education of the Ualian females. — I'onti Rossi. Capo di Monte, although situated at the gale of Naples, and a royal residence, was formerly almost inaccessible ; the bridge built by the French which now connects the two hills is one of those great and useful works which honour their transient occupation, as the works of the Romans signalised their domi- nation. The same analogy exists between these two nations in this respecl, as in the glory of their arms. The palace of Capo di Monte, badly built at firstand left unfinished, has little magnificence, and since its superb mu- seum has been removed to the Studj, it has few attractions save the puiity of the air, the view, its woods, and the chase. The Chinese college of Capo di Monte, the only one in Europe, was founded in 1726 by D. Malleo Ripa, a Neapolitan missionary, on his return from China, where his talents as a painter had obtained him the favour of the emperor and the court. The funds are supplied in part by the establishment, the revenue of | which amounts to GOOO ducats, and partly I by the Propaganda of Rome. The pupils i are sent from China at the age of thirteen i or fourteen years, and they return as missionaries in their maturity. Forty have ' Diicours sur la nature de regtogue. CiiAP. xiv.i NAPLES. 469 already been educaled in this house; their portraits may be seen there, with in- scriptions giving their names, date of birth, their province, the time of their arrival at Naples, of their departure for China, and of their death, when the latter is known, as well as the persecutions or martyrdom that several have suffered. This interesting seminary might aid the study of a people and a literature suc- cessfully cultivated in our day, if the pupils were taken at a more advanced age, and were better educated before leaving Macao ; but it seems on the decline, there being only six Chinese at present. The little museum is composed of Chinese curiosities, such as porcelain, silk robes, paintings, etc., and a large map of the Celestial Empire. On the charming hill of Misadois, the highest point of Capo di Monle, stands the Observatory, an elegant and solid structure by S. Stefano Gasse. Astro- nomy has been studied at Naples for many centuries, from the monks of the eleventh and twelfthcenturies, PandoIfoandPietro Diacono, and Flavio Gioja, the invcnior of the compass, to Fontana, in the seventeenth century ; to Cassella, whose premature death occurred in 1808, in consequence of lallgue from watching the path of the comet of 1807 ; to Federico Zuccari, of the family of Ihe Iwo cele- brated painters, and to the illustrious P. Piazzi, who died a few years since, whiledireclor-general of the observatories of Ihe kingdom, having previously been director of the one at Palermo. We are indebted to (he P. Piazzi for the discovery of the planet Ceres. He had refused to be made a cardinal. Another instance of modesty and good taste heightens his glory still further : having been Informed that a gold medal was about to be struck in his honour, Piazzi requested that the value might be devoted to the purchase of instruments for his observatory. The catacombs of Saint Januarius, less famous than those of Rome, appeared to me very superior in their kind. The antique tondjs. the Greek inscriptions discovered there prove the ancient civi- lisation of that country ; but these palaces of death crumble away like the abodes of men, and the unencumbered space is already of far less extent than in the days ofMablllon. The Seraglio or Reale Albergo, a vast poor-house, founded by Charles III., was a grand conception; it is at once a school, a workshop, and a hospital. Perhaps the combination of these different estab- lishments is an obstacle to good manage- ment. Neilhir does the military disci- pline followed in the Seraglio to restrain its vagabond and numerous inmates, seem very likely to ollect, by its absolute re- gulations, their moral and intellectual improvement. The officers also appear too subaltern and too little above the people they are charged to superintend. A deaf and dumb school on the system of the abbe de I'Epee, is dependant on the Albergo. But the instructor must have less to do than in any other country : grimaces are the mother tongue of the Neapolitan, and with him, may very well aid or even supply the language of signs. If the vocabulary of these grimaces were published, every body would be surprised to see what they express, and with a rapidity, a precision, if one may so say, that speech cannot attain. A foreigner asked a man of the lower orders where he might find a casino situated on the top of Capo di Monte; the Neapolitan made no other answer than by raising hislower lip; he repeated this grimace, which was really very in- telligible, until the stranger, provoked at his silence, at last observed it. The Botanical garden, created in 1818 in an advantageous position, and confliled to the judicious management of S. Te- nore, offers an agreeable promenade : the number of species is already ten thousand, among which there are many that our northern gardens could not preserve. The Instituto del Miracolojoanded by Queen Caroline iMurat, in the old con- vent of that name, on the plan of the house of education at Saint Denis, has obtained the approbation of (he most severe and experienced judges. The French governess was justly maintaified in her office, and she has since been invited to Madrid by Queen Christina, a princess of Naples, who has placed her at the head of a similar establishment. The houses of this kind at Milan and Florence were also superintended by French women. The Salesian ladies of Venice are emigrant French nuns. Our influence in Italy, though interrupted by political measures, is still visible in the manners and customs. The grace and Judgment of French women engrafted 40 470 POZZUOLI. [Book XIV. on Kalian imagination amalgamate well, and have already produced more than one amiable model. Farther on is the Gne avenue leading to the old Champ dc Mars created by the French, which was a suitable adjunct lor a great and frequently agitated capital, but it has unfortunately been reduced, under the pretext of restoring the land to cultivation, as if that were scarce in such a country. On this side is the hill of Santa Maria del Pianto, called also the Mount of Lautrec, because that general once encamped there. Historians state that our army perished from privations, ex- cessive heat and the plague, without mentioning the exhalations of the soil, which perhaps contributed more to its destruction, if we may judge by a con- temporary fact. The French soldier who occupied the throne of Naples, a brave compatriot of Lautrec, and greatly re- sembling him, ■ after reviewing his troops on this side, was so charmed with the situation, that he determined to encamp there at night with his soldiers ; on the morrow he was very ill, and his men loo, many of whom died. The grotto of Lautrec is still shown, where he was obscurely interred in 1528, until the duke of Sessa, having discovered his corpse, erected to him the noble mausoleum ia the church of Santa Maria la Nova. ' Between the hills of Capo di Monte and Capo di Chino is a secluded valley, in which, on a rising ground and amidst pines, stands the picturesque convent of Santa Maria de' Monti, with its oriental dome. But the principal ornament of this vale is the wreck of the superb aqueduct reddened by time, and called from its colour Ponti rossi (red bridges), a work of Augustus, which carried the waters of the Lebeto to the port of Mi- .■^enum, a distance of thirty-five miles from Naples; though shattered by earth- quakes, crowded, overtopped, enveloped by vegetation, and its arcades are the resort of the goatherd and his flock, it still attests the power of the imperial people. BOOR THE FOURTEEINTH. ENVIRONS.-ROAD TO ROME. CHAPTER L Vomero.— Camaldulites.— talie d'Agnano.— Grotla del Cane.— Solfatara.— Pozzuoli.— Cathedral.— TenipleofSerapis.—Porl.--AiuphUbealre.— Tombs. — Ciceros Villa.— Lakes Lucrlnus and Avernus. — Temples of Venus, Mercury, Diana. — .Nero's Balhs. — Piscina Mirabile.— Cenlo Camerelle. — Cumae.- Baiae.— Bauli.-Agripiiina"s sepulchre —Coast of Ml.senum. — Grolta dcUa Dragonaria. The Vomero, over which the road to the Camaldulite convent passes, seems to be the crater of an ancient volcano in which arise several small hills covered with the strongest, most varied, and confu.sed vegetation, presenting a singular and enchanting aspect. The convent has one of the flnest views in the world, commanding the gulfs of Naples and Pozzuoli, with their islands, the extinct craters of the Solfatara and Astrumi, the lakeofAgnano, Cape Misenum, the castle of Baiae and the boundless sea. There is no place more suitable for a contem- plative life, and the monks, with their long beards, their gowns and hoods of white woollen, are themselves pictu- resque. It is true that ihey seem to have little suspicion of it, and the traveller, struck with what is poetical in their institution, is sometimes grievously dis- appointed on conversing with them. I'he church has a few good paintings, among them a Last Supper, by Stan- ' "Lautrec," says BraMiOme,"^toit brave, hardi, frapper comme sourd ; mais pour gouverner un TalUant, et excellent pour combaltre en guurrt- el tiat 11 n"y ^loit bon." » See ante, ch. is. Chap. 1. ] POZZUOLI. 471 zioni. Part of the estates belonging to this convent were purchase'!, under the French adminislralion, by S. Ricciardi, formerly minister of justice, a magistrate distinguished for his independence and great information. >^ ho has taken the title orCounldeTama/(/o?»,and has converted the property into a very pleasant villa, Mhich has been well sung by two good Italian poets ' of the present day. The lake of Agnano has nothing curious now, except its wild and gloomy site; for the phenomenon of its w ater boiling without heat, a pretty just image of some kinds of enthusiasm, has ceased to exist. Like every body else, I went to see the celebrated grotta del Cane : In travelling there are some things that must be seen, though little interesting. This grotto, much less curious than the neighbouring Vapour baths of San Germano, or the numerous and less spacious grottos of the same kind at Latera, in the Roman states, Is not open as formerly ; it is let to a peasant who keeps the key and is paid for showing it, being generally there with a dog intended for the experiment. The life of this poor animal is thus past in continual swoons, which, at least, are not pretended, an advantage they have over many in fashionable life. The Solfatara is a fine antique volcanic ruin. This plain of sulphur, white, hot, smoking, hollow, and sonorous, has an extraordinary aspect : one is almost tempted to pierce its thin and fragile crust, to fathom the fiery abyss it covers. Among the fetes celebrated at Naples by the magnificence of Alfonso, on the arri- val of the emperor Frederick III. in 1152, the most surprising was a hunt by torch- light in the enclosure of the Solfatara. where the arrangement of the lights in that natural circus, the number of ani- mals, the musicandthebrilliantcostumes of the hunters, seemed to realise the prodigies of magic. Pozzuoli, with its languishing popula- tion, is the only inhabited point on this coast, which was once covered with bril- liant villas, sumptuous edifices, and called by Cicero Puteolana et Cumana regna. • Then all Rome crowded to the waters of Puteoli, the Spa or Baden of « La villa di Camaldoll al Voraero, polimetro del cav. A M. Ricci, 1827. La villa di Camaldoli, sluiize, Naples, )833, by Slgnora Maria Giuseppa Guatci. » Epist. ad Alt. lib. xiv. (8. antiquity. This was one of those bril- liant companies of bathers, which so much confounded the vanity of theRoman orator on his return from Sicily, when, as he landed on the quay now called la Malva, he expected to receive the ho- nours of his countrymen, who were ignorant of his questorship, or supposed it at Syracuse instead of Lilybeum.^ Of all the splendour of Puteoli a few ruins alone remain. The ancient temple consecrated to Augustus by the Roman knight Cal- purnius, a monument of Roman opulence and degradation, of which only the in- scription and some few columns still subsist, is the cathedral dedicated to Saint Proculus, the companion of Saint Ja- nuarius. In the square, a fine pedestal of while marble, ornamented with fourteen figures representing towns of Asia Minor over- thrown by an earthquake and rebuilt by Tiberius, seems to have supported a statue of the emperor, which remains buried under the buildings of the modern town, 'i Another statue of a senator, still on its pedestal, retains its inscrip- tion. The port of Pozzuoli was one of the most magnificent in Italy, and its mer- chants, like those of London now, were reputed the richest in the world. The mole was repaired by Adrian and An- toninus Pius, but the epoch of its foun- dation is unknown J of its twenty-five arches, thirteen only are standing : the last, a prodigious construction, plunges sixty palms beneath the sea. The bridge, a stupid work of Caligula's, in imita- tion of the Via Appia, which served for his triumphal passage from Pozzuoli to Raise, rested on this superb mole. Its fine barracks and tower are the old palace of the viceroy, Pedro of Toledo, who was instrumental in repeopling Pozzuoli, when nearly deserted after the dreadful earthquake of 1538; he restored its lost waters, and executed other useful works. The temple of Jupiter Serapis, a magnificent wreck of Roman gran- deur, shows the splendour of the art in Adrian's reign. The roof was of while marble, and some parts of it are still in ^ See the amusing relalion of tbls scene, pro Plaitcio, XXVI. ■* 11 Is said 10 be now at tlie Stiidj. 472 POZZUOLI. I Book XIV. existence; the beautiful columns and the pavement are under water. This mixture of water and ruins is tolerably picturesque, but very unhealthy, and a great obstacle to artheological research. The shells incrusted on some of the still erect columns of cipoline marble, prove that the sea has risen twenty-two palms (often English inches each) above its present height ; it would thus have submerged the whole town and sur- rounding country, beyond the entrance of the gulf of Posilipo; which is little likely, and men of science have diffe- rently explained the phenomenon. The architect Niccolini, president of the Bor- bonica society of Naples, charged in 1828 with the draining of this little marsh, gives a reasonable explanation of the trace of water at that height : he supposes that during the earthquake of 1538, which fliled up part of lake Lu- crine, engulphed the great village of Tripergola, and produced in three days the hill of Montenuovo, ' a part of the water was driven out of the lake and remained some time on the site of the temple of Scrapis. This mystical and popular religion, which, after being ba- nished from Rome several times, was near usurping the honours of the (^apilol even in Cicero's days, a real pantheism, was the last of the antique religions that resisted Christianity. The amphitheatre called the Coliseum, though ruined by earthquakesandchoked with luxuriant and picturesque vegeta- tion, has not totally lost its ancient form ; it would hold forty thousand persons. Augustus attended the games celebrated in his honour there. The Labyrinth, a vast subterranean edifice, was probably the reservoir for the water of the nau- machia given in the theatre. To the north of Pozzuoli, on the su- perb Campanian road, are some antique tombs in good preservation, extending more than two miles. They were shown to me by wretches so miserable that one might take them for spectres, inhabi- tants of the tombs, who were shortly to return into them. The villa of Cicero, built on the plan of the Academy of Athens, which he praised in his letters, and called by the ■ It nppears tbat Mooteouovo is now gradually siQkiDg; it vruuld be curious to observe aud mioute tbis yarialiOD. name of Academia, was then by the seaside ; and the Roman orator could angle from his terrace while meditating his Academics. Adrian, who died at Raise, was buried in this house, and his successor, the pious Antoninus, deter- mined to convert his tomb into a temple. The lakes Lucrine and Avernus, which Augustus connected with the sea, were convulsed by the earthquake of 1538, which greatly changed the mythological and Virgilian aspect of these places; they still, however, retain their ancient names, but have fallen far beneath their fabulous destination; the El jsian Fields are now a good vineyard, and the Ava- rus Acheron, under the unmelodious name of Fusaro, is used for soaking hemp, and supplies excellent oysters. The .\vernus, the Styx, the Acheron, likewise existed in Egypt and (ireece : it seems that the ancients transported their poetical machinery with them, as well as their institutions and laws. To the west of lake Lucrine and the south of Avernus was Cicero's other villa called the Cumeau, in which he began his Republic; a villa differing from the one he possessed at Pozzuoli, and both so charming that he knew not which to prefer.^ The pretended grotto of the Sibyl is not a very agreeable place to visit ; it is necessary to |)rocure torches, and to des- cend on the back of a guide into a long, dark, and muddy cavern. The use of these caves seems uncertain, though they are found in most great edifices of anti- quity, and local examination does not throw much light on the subject. Per- haps these galleries of Roman architec- ture, ornamented with basso-relievos blackened by the torches of ciceroni, were used as places of retirement and baths in the great heats. The ruins of the three edifices called the temples of Venus Genilrix, Mer- cury, and Diana Lucifera, may be more reasouabiy supposed to belong to some of the thermffi, with which the magnifi- cence and voluptuousness of the Romans had covered these shores. The baths of Nero are more likely to be authentic. The.se baths have inspired M. Casimir Delavigne with some of his finest verses: ^ Efiisl. ail Alt; lib. xiv. «.■?. Chap. I.] POZZUOLI. in Ces temples du plaisir par la mort habitfe, Ces porliques, ct'S bains prolouges sous les ondes, Ont vu NCtod, cache dans leurs grottes protonile;-, Condarnncr Agiipplne au sein des voluptes. Au hruit des flols, rouhnl sur celle voQte liumide, Jl veilliiit, ngitii d'un e.spoir parricide; 11 Jetait ii Narcis'e uu regard salisfait, Quand, muel d'fipouvanie et iremblanl de colere, II apprit que ces flols, inslrumeiits du forfalt, Se soulevaot d'horreur, lui rejelaient sa mere. These burning grottos are still vapour baths of extraordinary effect. The cice- rone, perfectly unawares to me, rushed in naked, and shortly after came out burning hot, streaming with perspira- tion, and uttering a kind of moaning noise that quite disturbed me; happily he soon recovered all his sang-froid and claimed the reward of his custom- ary experiment. The colony of Cumse, led by Hippo- cles Cumaeus from Chalcis in the island of Eubea, was, according to Strabo, the oldest monument of the passage of the Greeks in Italy. Virgil gives it the same origin : geogr.iphy and history are here in unison with poetry. The last king of Rome, Tarquin, expelled by an aris- tocratic revolution, according to an in- genious Neapolitan writer,' ended his days at Cumse, after making or instiga- ting war against the Roman people for twenty years. The celebrated Sibjl, whose memory is predominant at Cumae, probably had her grotto in the tortuous picturesqueexcavation, encumbered with broken rocks and of difficult access. This sybil, who, after burning several copies of the book of Oracles, exacted of the same king a price equal to that she had asked for many, already anliciputcd the mania of book-hunters, amateurs of medals, etc.; and indeed she ought to have asked more. It was at Cumse that Petronius, when arrested, opened his veins, and disserted on pleasure with his friends to his lasl hour; and there, too, he placed the impure residence of his Trimalcion, in whom Voltaire, for very good reasons, cannot recognise a man of talent, of Nero's age and rank.« On the road from Cuma; to Misenum, alia Torre della Gaveta, are the re- mains of a sumptuous villa, in which the senator Serviiius Vatia had secluded himself towards the end of his days, to escape the eye of Sejanus and Tiberius, and to avoid complicity in the base pro- ceedings of their senate; a noble and wisecxile, a retirement wittily but wrong- fully blamed by Seneca : Nunquam aliter hanc villain Vatia vivo jircBleribam, quam ut diccrem : Vatia hie situs est,^ which, at each proscription, made people say of Vatia that he alone knew how to live : O Vatia, solus scis vivere. The Arco felice, almost entire, which, by its nobleness rather than proportions, attests the magniQcence of the Romans^ was the ancient gate of Cumae. This once famous, but now deserted city has nothing remark.ible save its numerous and shapeless fragments of antiquities, its broken walls, Greek, Roman, and of the middle ages, and the delightful view that expands around its volcanic heights. 1 he lake of Licola is a monument of Nero's prodigious works, called by Ta- citus cupitor incredibilium, who wanted to make a canal from Ostia to lake Avernus. The works could not be exe- cuted, and the waters rem;iined in the preparatory excavations, which are still called Nero's ditch. The unhealthy coast of Baiae and its melancholy-looking castle, a hospital for a few invalided gunners, would hardly be taken for that delightful shore which Horace celebrated as the most delicious in the universe : Kullus in orbe sinus Bajis praelueet araoenfs. Cicero thought his visit to Baiae re- quired an apology, and the house he bought in the environs injured him in the minds of some grave senators. Se- neca named Baiae the resort of all the vices, diversorium vitiorum; and Pro- pertius thought Cynthia compromised her reputation by sojourning there : Tu modo corruptas quaon primuui deserc Bajas. Marius, Pompey, and Caesar, had each a villa at Bai£e : in that of Caesar died the young Marcellus, whom Livia was sus- pected of poisoning. The beautiful villa of Calpurnius Piso was the focus of the great and unfortunate conspiracy against Nero, to which Lucan, who had basely flattered him, acceded more from the irritated self-love of a poet than from DelQco, Peiisieri su I' istorm, p. 171. French nrlters, art. Sodot, and the Pynhoniame * See, in theSiecle de £oiu«.Y/r.,the Catalogue of de I'liisiohe, ch. iiv. ^ £p,,(. lv. 40. 474 ISCHIA. [Book XIV. palriolism.' Nero's train, -when he went to the waters of Baiae, consisted of a thousand carriages and two thousand mules shod with silver. The most splendid of the ancient villas of Baiae seems to have been the one built by Alexander Severus for his mother the empress Julia Mammea, who, with all her virtues, was inclined to avarice, and would never have built such a costly place herself. Of all the epithets that the historians and poets of antiquity have lavished on these shores, they now deserve only one, that of tepidw (tepid). On the coast of Bauli stood the house of Hortensius, called the Fishery, famous for its murenae, which were extolled by Cicero, Varro, and Pliny the elder ; some of its remains are still visible near the beach. The ruin called the Tomb of Agrippina was perhaps a theatre, being in the form of one. It was along the road to Misenum, beside Caesar's villa, that the dependants of Agrippina, ac- cording to Tacitus, erected a small tomb (levem tumulum) to her memory, but not till after Nero's death. The Cento camerelle (the hundred little chambers), some of which seem to have served as reservoirs for rain water, are called Nero's prisons; for crime has given a sort of popularity to his name in this country. The villa of Caesar must have been near this point. The celebrated Piscina MirabiU, an ancient reservoir that supplied the fleet stationed at Misenum wiih water, is the finest monument of this district, and the only one in good preservation. This elegant and solid construction, whether it belonged to Luculius, Agrippa, or Claudius, equally exhibits the strength and grandeur of Roman fabrics. The port of Misenum, begun by Caesar and finished by Augustus, was the prin- cipal Roman station on the Mediter- ranean. Pliny the elder had the com- mand of a fleet there when he started on his fatal expedition to explore Ve- suvius, so much were science and the love of knowledge allied, at Rome, with the most important and the highest func- tions. This magnificent port, in part filled up, has taken the name of Mare morto, which well accords vNilh it now. ' lucanum propria; causae accendi'bani, quod fainam cartuinuin ejus premebat .Nero, probibue- lalque ostenlarc, Yanus adbiuiululione. An. x\, h9. Misenum was also the seat of pleasure : Nero had a house there, and the ruins are still visible of that of Luculius, in which the prefect of the pretorian band. Macro, smothered Tiberius, who had made him his favourite. Among the grottos and caverns which undermine this territory, the Grotta della Drago- naria is an object of curiosity ; it is an immense reservoir formed of five galle- ries of unequal length, with twelve pil- lars to support the roof, perhaps erected by Nero to bring the thermal waters of Baiae into his house. CHAPTER II. Ischia.— View. — Balhs.— VKtoria Colonua. My voyage to Ischia was only a day's passage in a steamboat; but I breathed the delicious air of that island, and contemplated its marvellous panorama, reckoned one of the finest in Italy, and even of all the coasts and isles of the Mediterranean. The tone of the inhabi- tants seemed to me still more sonorous than that of the Neapolitans. On the approach of the boats, they rushed into the water, took the travellers on their shoulders, in order to let them the asses, which they drove before them with in- credible shoutings and expedition. The superb Epomeus, an extinct volcano, said to be older than Vesuvius, looks like a peak of the Alps stricken with tiie rajs of a Neapolitan sun. Its base is mined by deep romantic ravines, shaded by lolty chesnuls; and on the lower hills which sink down to the sea, grow the vines which produce the excellent white wine of Ischia. The last eruption of Eporneus took place in 1302; but the lava seems as of yesterday, and its black and parched furrows contrast with the strength and brightness of the vegetation below. On the hill della SentineUa, one of the most enchanting points of view in the island, was a pretty house let to some foreign ladies, where I had the honour to dine in excellent company. This house belonged to the brother "of the head physician of the baths del Monte della Misericordia, an impor- tant thermal estalj!i>hment. The mi- neral waters of Ischia, which were known to the ancients, arc very salutary, par- ticularly for wounds, and a hot bath of Chap. III.] PORTICI. ferruginous sand is reputed efficacious against cutaneous diseases. The national costume of the peasants is rich and very elegant, the ladies even adhere to it; this ciress is different in every place, but the silk handkerchief of bright colours, rolled up like a turban, is nearly universal. We had passed by the isle of Procida, the girls of which now only wear their Greek dresses on Sundays and festivals, like the Scotch highlanders, their self- styled Roman costume. These girls ran down to the shore to see the steamer, an instrument of modern commerce and industry, which strongly contrasted with the poetical costumes of anliquily. The isle of ISisida, now the lazaretto of Naples, witnessed the parting of IJrutus and Porcia. Ischia, in modern times, became the retreat of another worthy Roman, Viltoria Coionna, marchioness of Pescario, the inconsolable widow of the conqueror of Pavia, to whom her contemporaries gave the tMc of divine, a woman illustrious for her virtues, her beauty, the superiority of her poetical talents, and who became the holy muse of Michael Angclo and the Beatrice of that Dante of the arts.' CHAPTER III. Portici.— n Gi'anatello.— La Favorita.— Pavement. — Hacliert. The lively, industrious, and crowded coast of Portici, a kind of noisy, dusty quay, lined with pretty casinos, and a royal residence, forms a true contrast with the deserted strand of Pozzuoli. The palace is admirably situated ; its celebrated museum has been removed to the Studj: but it possesses some works by good French painters of the modern school, portraits by Gerard, excellent Capuchins by Granet, and elegant paint- ings by M. de Forbin. J he antique mosaics, with which several rooms are floored, make the inspection of apart- ' Tlie comparison of Porcia and Viltoria Coionna lias been eleganlly expressed in tlie Laiin verses 'of Arioslo,vvlJO had already celebrated the marchlgness lu the Orlando (ran. xxxvu., st. xvi. scq.) : Non vlvam sine te, mi Brute, eiterrila dixit Portia, et ardenles sorbuit ore faces; Avale, te extincio, dixit Victoria, vlvam Perpetuo mo^^tas sic duliiura dies. ments less insipid than usual. The gardens are agreeable : some fine oaks of the English garden have taken root in the lava, and seem the image of two strong minds which, when they agree, are indestructible and inseparable. The little fort of the Granatello, al- most facing the palace, is worth a visit for its view of the sea and the aspects of Vesuvius from ihence. At Resinais the palace of La Favorita belonging to the prince of Salerno; its gardens with their large trellises, in my opinion, have been too much vaunted. Its real wonder is the floor of the oval room proceeding from the palace of Ti- berius at Caprea. We do not know whether the ideal of antiquity extends even over its vices; but the mosaic of Caprea, instead of causing disgust, oijjy inspires curiosity. Madame de Genlis has given a vivid description of the dis- agreeable feelings she experienced when, on entering the Palais Royal, she found herself a momentary occupant of the regent's small apartments, which still retained their mirrored alcove, and ail their old boudoir magnificence; the floor of Caprea is yet more defiled, neverthe- less, on seeing the diversely coloured marble of which it is composed, one can only admire the beauty of such a per- formance. The same kind of handi- craft, so splendid and so suitable for palaces, is still practiced in Italy ; at the hotel of the French embassy at Naples there is a clever and recent imitation of the floor of La Favorita. The apartments have several Views, from among the best of the celebrated landscape-painter Hackcrt, who died about ten years ago. He was painter to the king of Naples, who paid him six ducats for each square foot of his paint- ings : the selfish artist has consequently made the sky two or three times larger than it ought to be; and the same fault exists in all the works he executed on these strange conditions. It was of this artist that Alexis Orloff had ordered by Utruque romana est, sed in hoc Victoria major : Nulla dolere potest moriua, viva dolet. U is buown Ihat Michael Angelo made several drawings for Viltoria which were ciied by Vasarl ns admirable works; he corrcspoudid with her, and she inspired him with ten line sonnets and several madrigals full of sentiment and passion. 476 VESUVIUS. [Book XIV. Catherine's command, four painting re- i presenting the principal feats of the war | in the Morea, and particularly the burning ! of the Turkish fleet at Tchesme. Hackerl having declared that he did not know how to express a ship blown up, Orloir fired the finest of his fleet, at the risk of des- troying the numerous and richly laden vessels in the road of Leghorn. These four pictures are in the hall of audience of Petershofl'; they are said not to exceed mediocrity. CHAPTER IV. Vesuvius.— Uoad.—nermils.— Eruptions.- Benelils of Vesuvius. There are certain usages of travellers, which, though long- established, are none the more reasonable on that ac- count. For instance, it is considered Indispensable for every man who goes to Vesuvius to sacrifice his night's repose, set off at ten o' clock, and climb the mountain with torches, for the purpose of seeing the rising sun from the Hermi- tage. But Vesuvius is surrounded on the east by lofty mountains which greatly diminish the effect of this marvellous sunrise, as the sun cannot be seen till broad daylight. The setting, on the contrary, is incomparably gorgeous ; the majestic orb embraces the whole unbrok- en horizon, and plunges into the sea with all his fires. By the reflected light of this declining sun, the huge mass of Vesu- vius was tinted of a fine violet hue. The rising of the moon, which I enjoyed on my descent, completed this magnificent spectacle; fori had started right simply about the middle of a most genial day, and consequently lost the honours of the nocturnal expedition of fashionable travellers. The pretended hermits are not worthy of all the respect with which they inspire some pensive travellers : their hospitality is anjthing but gratuitous; they ne\er were priests, and are in fact nothing more than two interested peasants, with a boy, keeping a public house at the r/iree£/m5. Their dwelling, let like any other tene- ment, has even in times past been re- puted one of those gallant and secret ren- dezvous, in the vicinity of large towns. About fifty years since, one of these her- mits, who died at an advanced age, was an old footman of madame de Pompa- dour, by whom be had been discharged for a serious breach of duty. The des- tiny of this disgraced companion of ma- dame Duhausset, who has left no Me- moirs, was odd enough in its way ; after having assisted at the petits soupers of Louis XV., he prepared the frugal repast of the traveller, and he was recognised by the manners of Versailles which he retained. These hermits, like the pub- lican of Chamouny, have a book to re- ceive the stray thoughts of travellers ; but Vesuvius, like Mount Blanc, has pro- duced scarcely anything but trash. The aspect of even the grandest reality is most frequently sterile, if it be not com- pleted and embellished by imagination and memory, and it requires, ere it can yield inspiration, that sort of distance. Before the eru()tion of the year 63, which occurred sixteen years before the one consigned to everlasting remem- brance by the death of Pliny the eldi-r and the two letters of Pliny the younger to Tacitus, the eruptions of Vesuvius seem to have been less frequent and de- structive. Under Augustus, the least elevated summit was covered with trees and vines. The principal eruptions, since the last-mentioned, of which the Cav. Arditi, in a dissertation read to the Borbonica Society, pretends lo fix the hour, minute, and second, happened in 203, in 472, when the ashes were blown to Conslantinopk ; in 512, 685, 993, 1036, the first of the modern erup- tions accompanied with lava; in 10i9, 1138, 1306, 1500, and in 1631, the most violent since that of 79. Despite the disasters of these different eruptions and the terror this volcanic earth, furrowed with lightning like the heavens, must inspire, the outbreakings of Vesuvius have not the utterly destructive eff'ects of the inundations, avalanches, and other dreadful plagues of the North : the pave- ment of the city is supplied by the lava, the brilliant scorise of which, tinted with azure, ultramarine, yellow, and orange, are transformed into jewels and fancy articles that are sold abroad. The ashes it has vomited forth produce excellent fruit and the nice wine of Lacrijma Christi, so ingeniously sung by Chia- brera : Clii fu de' contadini il si Indlscreto, Cli" a sbigotiir la genie Diede nome doleute Al vin, Che sovra gU altrl il cuor fa ileto? Chap. V. ] Lacrlma diinqiie appelierassi uq riso, rarto di iiobllissiiua vendemraia l HERCULANEUM. 4:7 It was remarked, after the eruptions of l-9i. 1796. and 1822, that several spots previously barren had become ex- tremely fertile from this shower of ashes. A numerous population obtains the means of existence from Vesuvius; it may be likened to an immense furnace created by nature on the shores of sea, which is its moving power: la montagna, there- fore, as it is commonly called at Naples, is more loved than dreaded by the Nea- politan; he makes it his pride and glory; it is the most majestic decoration of his fine amphitheatre ; he would be grieved if it could disappear, and the inhabitants of Resina, Torre del Greco, and La Nunziala, have rebuilt their houses on the idenlical spot from which they were swept away. In fine, Vesuvius, even in the midst of its greatest fury, seems to have engulfed Pompeii only to pre.-^ervc it miraculously for the curiosity and ad- miration of posterity. CHAPTER V. Herculaneutn— Theatre. — Pompeii.— Eicavalions. — Villa of Dioniedes.— Road of the Tombs.— Walls. — streets.— Acleon's House.— Shops.— Tbe baker's, Pan.sa's, and the dramatic poet's house. — Thermae. — Fullonica. — House or the Faun. -Great mosaic. — Forum.— ru bile treasury. — I'r isons.— Basilic— Pantheon.— Square of the Tragic Ihealre.— Thea- tre. — Price of seals.— Amphithealre. Herculaneum, though on the road to Pompeii, should be visited last; as it can only be examined by torchlight, being buried more than sixty feet under a very hard lava, without this precaution, one would hardly be able to comprehend ei- ther the form of the galleries in its theatre, the least injured of antiquity, which must have held about ten thousand spec- tators, or the plan of its magniflcent villa. Without the prelude, the initiation of Pompeii,the black cavern of Herculaneum would appear but a kind of deserted mine, with no signs of living man. A prince of Elbeuf, Emmanuel de Lorraine, who married at Naples and settled at Porlici.. was the discoverer of Hercula- neum. We have seen that one of the finest palaces in Italy, at Verona, was built by a bishop of Bayeux; ■ these names ' See ante, book v. ch. xxv. from Normandy seem strangely allied with the splendid monuments of ancient and modern Italy. Herculaneum re- calls one of the most terrible examples of the abuse of erudition ; I allude to the case of the Roman prelate Bajardi, a fa- mous antiquarian, who pretended to be a descendant of Bayard : being called upon by the king of Naples to give a ca- talogue of the objects discovered and pre- served at Porlici, he obtained permission, while they were waiting for the engrav- ings, to put at ihe beginning of the great commentary a preface, the beginning of which he published in seven thick quarto volumes; and then, as the abbe Baithd- lemy informs us, he had not even entered on the subject. Antiquity, at Pompeii, ceases to be the vague, remote, uncertain antiquity of books, commentators, and antiquarians; it is real, living, antiquity in propria persona, if the expression be allowable: it may be felt, seen, and touched. The new and learned barbarism of the mu- seums is here more odensive and fatal than elsewhere : had the discovered objects been left inlheir places, and the simple precautions necessary for preserving them attended to, they would have formed the most wonderful museum on earth. It may be further stated that only a fifth part of the city is cleared, and it will be necessary, if all moveables continue to be taken away, to build another city to contain them. However, if the excava- tions proceed at the present rate, there is time ennugh on hand : from the most ac- curate calculations, it appears that the complete exhumation would require an outlay of 695-, 5S9 ducats (il5,76iZ.) ; and the total sum allowed every year for works and repairs is only 6000 ducats (1,000/.). Thus, if it has already re- quired a hundred and twenty years to elfect the discovery of the firih we pos- sess, four hundred and eighty years must elapse before the whole of Pompeii can be seen. When Sulpitius, seeking to console Cicero for the death of his daughter Tu/- lia by the example of human vicissitudes, speaks to him of those carcases of cities that he saw when returning from Asia, how little did he imagine thai his figu- rative expression would one day be as justly applicable to the town which was the delight of his friend, Tusculanum et Pompejanum valde me deleclant, 478 HERCULANEUiM.-POMPEII. [Book XIV. whose house, notwithstanding the good will of the abbe Ronianelli, has not yet been found— a magnificent house, for which he ran into debt, where he re- ceived Octavius, and which, of all the one and twenty villas discovered for him by the eccentric abb^ Chaupy, was one of the greatest favouriles. The villa of Dioniedes in the suburbs, the finest in Pompeii, shows the double life of the Romans, at once public and private. The public part is composed of the vestibule and the allium, which comprehended nearly alwajs in the same order the cavoedium (court), the tabli- num (audience chamber), the wings, the corridors {fauces). The private part con- tained the bed-rooms [cubicula), the dining-room {triclinium), the sitting- rooms (cpci), the picture gallery {pina- cotheca), the library, the baths, the exedra or parlour, the xystum, or gal- lery set out with flowers and shrubs; all these apartments were ranged round the peristyle. The public life is full of gran- deur; most of the small rooms for pri- vate use receive no light but through the door, have no fireplaces, and are far from being comfortable, notwithstanding the mosaics and brilliant paintings that de- corate them. It is evident from the in- convenience of these rooms that the life of the Romans was chiefly out-of-doors and public, and that except at night and their principal meal, which was towards evening, they passed nearly all their time at the Forum, or under the porticos. The atrium even of the house was a kind of inner Forum in which they re- ceived their guests, dependants, friends, and where they continued to live in the open air. The home of the English, or the coin du/ett of the French, was totally unknown to them, as to the Italians of the present day, who have no public life. The house of Diomedes had three stories, a rare thing; for most of the other houses had only two surmounted by a terrace ornamented with a kind of trellis. .As in the East, the women's apartment was towards the garden. The road of the Tombs {via Domilia- na), with causeways, lined on each side with high mausoleums occupied by whole families and their dependants, is a real street. In polytheism the dead seem ' Tlie biseltium was a kind of bciicli covered Willi friuged cusliions, on vvbich one person only hardly to quit the earth; they inhabit the most frequented places, beside the highways, and seem less to die than to remove from one house to another. Tiie most remarkable of these tombs are : the monument erected by Alleja Decimilla, priestess of Ceres, to her husband Mar- cus Allejus Lucius Libella, and to her son, on a piece of ground given by the people; that erected by Nevoleja Tyche to her husband Caius Munatius, herself, and their freedmen and women; she had sculptured thereon her own portrait, the bisellium, a seat of honour,' which the decurions and the people had decreed to Munatius, a funeral ceremony and a vessel entering port, perhaps the emblem of the repose of the tomb after the storms of life ; the cenotaph of C. Calvcn- tius Quietus, whose munificence pro- cured him also the honour of the bisel- lium. reckoned the most elegant and best preserved of the sepulchral monuments of antiquity ; the tomb of Scaurus, cu- rious for its stucco basso-relievos, repre- senting hunting scenes, gladiatorial con- tests, in which the combatants have helmets with the visors down, and are protected with cuissarts and arm-pieces like the old knights, and for its expla- natory inscriptions traced with a pencil. The ramparts of Pompeii, discovered from 1812 to 1814, which may now be followed all round, show the extent and plan of the town; these ramparts, in great measure built of enormous blocks of stone, had dared the fortune of Sy 11a, who subdued Pompeii without attackmg it. The streets of Pompeii are narrow and crooked; but as chariots had then only a four feet way (as may be seen from the marks of the wheels), a greater width was not necessary. The ancients more- over imagined that narrow and winding streets were more salubrious, as the sun had less power in them. Tiie public house of Julius Polybius has a vast subterranean cave, the best cellar in Pompeii. The house of the Fflsvith gold, chains, rings, earrings, and pins in their hair, some of them went barefoot. The wedding paraphernalia are a ruinous affair here for the young villager who enters the marriage state : he must supply all this finery, and the indispensable cashmire does not cause more inconvenience to a Parisian hus- band of moderate means. I find it im- possible, however, to join the indignant outcry of certain economical travellers and Lady Morgan against the glittering dresses of the Neapolitan fair. This luxury is in harmony, if one may say so, "Nvith the sparkling imagination, the mu- sical language, the animated physiog- nomies of the girls and women wearing them, with the sun, the nature, the poetry, and the religion of the country ; such brilliancy would be utterly out of place beneath a hazy sky and with pu- ritanical countenances. Variety is ne- cessary in the manners and customs of nations; it is no obstacle to the moral improvement of individuals; and the whole human race dressed out in the same colours and wearing the costume of a like civilisation would present an aspect of most dismal and wearisome uniformity. Statius has sung the magnificent villa his friend Pollius Felix possessed at Sorrento, and the temple of Hercules which he had enlarged; ' besides the ruins of the latter, this old town has se- veral remnants of antiquity ; such are ' Silv. irb. n. carfTi. ii. the temples of Neptune and Diana, with the vast reservoir repaired by Anto- ninus Pius, and still in use. The new inn of Giuseppe Siciliano, which had been recommended to me and may become a very good one, was not then provided w ilh the proper ac- cessories. This kind of privation, for which Parisian habits are a bad prepa- ration, is not however without its plea- sure after the first moinent of vexation. It seems that when you lie on the ground in the open air, you have a deeper feel- ing of independence and strength; the comforts of home and of great towns are a kind of oppression tiiat makes us the slaves of trifling conveniences, em- barrasses and disturbs us with its perpe- tual precautions; and the robust philo- sophy of the half-naked lazzarone, who takes things as they come, api)ears far preferable. CHAPTER IX. Capri. — Olives.— Falace and v^lne of Tiberius — Barracks.— Azure grotto.- Slairs.-Muunt Solaro. In the middle of these islands and shores, torn, calcined by volcanos, Capri exhibits no trace of their action ; it pre- sents some [iretty shells, a growth of olive-trees higher than those on the coast of Naples, a productive soil, a temperate atmosphere, and the most picturesque views; but the ruins of the palace of Tiberius supply the deficiency of an extinct volcano, and these IVagments of a man's abode recall calamities and furies not less disastrous than the most terrible scourges of nature. The palace of Ti- berius is so popular there, that one might fancy he still occupies it, and the excel- lent wine produced there is called after the tyrant {vino tiberiano). This pa- lace, which was not situated in the fine part of the island near its only fountain, supplied the marble steps of the choir in the parish church, and the fine marble columns that support the chapel dedi- cated lo Saint Conslanline, protector of Capri, as well as the brilliant stones embellishing the mitre of his silver bust kept in the sanctuary. Besides these shapeless ruins, there are the afiueducts, baths of Augustus, who, in his old age, lived four years at Capri in the villa del Sole, one of the twelve palaces de- dicated by Tibeiius lo the twelve su- 41. 489 CASTELLAMARE.-AMALFI. [Book XIV. jjerior gods, a part of the Forum, the Thermae, two temples, long grottoes, the arcades uniting the valleys, and the fine Chartreuse founded by Queen Giovanna, now converted into barracks. The isle is surmounted by a telegraph ; had it existed in the time of Tiberius, what a rapid instrument of tjranny it might have been for such a man ! At the foot of a huge rock, the spacious grotto discovered in 1832, and called the Azure Grotto, from the beautiful hue it receives from the reflection of the waves, deserves a visit. The proper moment for observing this mysterious wonder, worthy of the Arabian Nights, is ten o' clock. The softness of the light, the tepid and almost invariable temperature of the grotto, and some remains of a gallery, have induced a supposition that it was the scene of the voluptuous pleasures of Tiberius. The smiling aspect of Capri makes it a delightful residence, and perfectly accounts for the determination of an Englishman, who, having come with an intention of staving three days, made it his abode for thirty 5 ears. The pub- lican of Capri was the notary of the place, descended from a long line of no- taries; in his office are documents of many centuries past, and in his garden a palm-tree in thp open soil. This no- tary, a very worthy man, is in easy cir- cumstances, and has a library somewhat overdone with theology; his inn, where, indeed, the guest pays just what he likes, is, 1 believe, more profitable than his legal practice. Notwithstanding the good disposition and the poverty of these islanders, its two villages have long been fiercely op- posed to each other; the first, Capri, the capital, has above eighteen hundred inhabitants; the other, Anacapri, se- venteen hundred. One would hardly imagine that vanity could nestle there. I ascended the rude narrow stairs, of more than five hundred steps, cut in the rock, a Roman work, if not more an- cient, leading to the latter village and Mount Solaro, which the landscape painters havesincewisely visited. I made the ascent before daylight : the sun ris- ing in the midst of that immense horizon, presented one of the finest scenes of na- ture that 1 ever witnessed; my Caprinn guide even did not seem insensible to the glorious apparition of the sun, and when Tout ^cumaDt de fcux 11 jaillit dans les airs,' he exclaimed and repeated with trans- port : II sole! The capture of Capri by a handful of French and Neapolitan troops under the command of General Lamarque, who was made illustrious by this exploit, is one of the brilliant feats of the last wars ; the aspect of the place, especially of the heights of Mount Solaro, add still fur- ther to the impression of this prodigy of daring courage: the memory of that Italian and French glory delighted mc, and 1 found it no less splendid than the admirable spectacle before my eyes. CHAPTER X. Castellamarc— Amalfi — Alrsni. Castellamare, a pretty maritime town, with mineral waters, manufac- tories, and charming country houses, the resort of the best Neapolitan society, is near the ancient Stabiae, like Hercu- laneumand Pompeii the victim of Ve- suvius. The kings casino, nothing remarkable, called Quisisana {health restored here), proves the salubrity of the air. On the hill of Pozzano, a place noted for the statue of the miraculous Virgin drawn out of a well in the ele- venth century, stands a wooden cross with an altar" of Diana for its pedestal, the only remains of the temple replaced by the church of the Madonna. I went to Amalfi across the woods, mountains, and rocks that separate the two gulfs. It was the end of October : the variety of the autumnal leaves was striking and vivid under that beautiful light. One of the mountains of the peninsula, the Monte Sant'-Angelo, the loftiest in the environs of Naples, is the anciiiul Lactarius, a real Swiss moun- tain of antiquity, which still retains its aromatic herbage ; moreover, besides the excellence of their milk, the cows of this district are killed for eating, and the vitella di Sorrento, of which 1 ate some beefsteaks at Giuseppe Siciliano's, is very tender. On beholding the coast of AmalQ, I could not resist a deep feeling of admira- tion fur Italy : on those rocks the Pan- dects were found, the compass invented, Cbap. XI.] CASERTA. 487 and there was Masaniello born; thus, above this village appeared to hover the most potent causes oi' the civilisation and revolutions of modern times, laws, na- vigation, the sovereignty of the people : what city in the world has such associa- tions ? AmalD, the Athens of the middle ages, was once a powerful martial and trading republic : its merchants first obtained access to Mahometan countries; audits maritime laws, the celebrated Amalfian Table, now lost, were adopted through- out Europe for four centuries, according to all the historians, except M. Pard^ssus. This illustrious city is now nothing more than a picturesque village, famous for its macaroni, the best in the kingdom, and its paper. The steep coast of Amalfi, with its woods of olives and myrtles, its grottoes, ruins, precipices, and while houses, encircled with the golden bran- ches of the orange-tree, still merits Boc- caccio's elogiuin, which calls it the most delightful spot in Italy : Credesi che la marina da Reggio a Gaeta sia quasi la piu dilettevole parte d' Italia, nella quale assai presso a Salerno e una costa sopra I mare riguardante, la quale gli abitanti chiamano la costa d' Amalft, plena di picciole citta, di giardini, e di fonlane, e d' uomini ricchi, e procaccianti in atto di mer- catanzia.' The sea must have made considerable encroachments on its shores; the mountain and village reach almost to the water; the narrow beach presents nothing but a few fishing-boats, and there is no space now for the arsenal, the port, and other establishments of a navi- gating and warlike people. The only trace of the magnificence of the ancient Amalfi is in the cathedral, rebuilt, in- deed, but retaining its fine granite co- lumns, an antique vase of porphyry used for a baptistery, and Iw o antique sarco- phaguses. The little village of Atrani, Masa- niello's native place, once dependant on Amalfi, and sharing in its glory, has a very curious monument, uimoliced by the various historians of art; namely, the bronze bas.^o-relievos on the doors of the church of San Salvatore, with an inscription of the year 1087, when the republic of Amalfi was in its grandeur. These doors, ordered by Panlaleone, son ' Oiorn. II, nov. 't. of Pantaleone Viaretta, for the ransom of his soul [pro mercede animae suce), and consecrated to Saint Sebastian, are now the oldest of the numerous bronze doors in Italy, those of Saint Paul extra muros, which were founded in 1070 at Constan- tinople, having been destroyed in the recent conflagralion of that edifice. At Ravello, near Amalfi, the church retains, in miniature, like those of Saint Clement and Saint Laurence extra mu- ros at Rome,» the characteristic structure and the galleries of the basilics of anti- quity, another grand contrast throw n on this lovely shore. I had intended visiting, on my return, the poetic isles of the Syrens {Galli); but I was prevented by foul weather, and could only observe them from the heights of the little town of Positano, in which my sailors, soaked with torrents of rain, were compelled most reluctantly to take shelter. CHAPTER XI. Palace of Caserta.— Gardens.— San Leucio.— Aque- duct.-Cbarles 111. The palace of Caserta, built by Van- vitelli for Charles 111., the most grandly conceived palace in Europe, if it be not remarkable for taste, elegance, and har- mony, has the advantage of order, unity, fitness, and good distribution. The parts of this immense whole most worthy of notice are : the vestibule, decorated with columns of Sicilian marble, and pre- senting a majestic coup-d'oeil from the centre; the great staircase, all marble incrustations and columns; the chapel, with columns of Corinthian marble and the most precious linings; several of the saloons and galleries. Nevertheless, all this magnificence, which reminds one of Versailles, seems gloomy ; the palace stands at the foot of naked mountains, and one cannot conceive why, in a country abounding with admirable views, it w as built in such a corner. It appears that the pride of Charles III., who had been menaced in his palace at Naples by an English fleet, impelled him to se- lect this secluded spot shut in by the Apennines. As usual in great royal residences, three different gardens belong to this * See post, booli xv. cli. J\ii and xviii. ^83 MONTE CASINO. TBooK XIV. palace : the regular garden with its in- i dispensable cascade, which, in this in- stance, falls from a black rock and would be wild enough wilhoul the great stnlues of Diana, her nymphs, and Acteon half stag; the wood "of the ancient dukes of Caserta, an old feudal park, which still appears the king of the manor; and the English garden created in 1782 by Queen Caroline, with its grottoes, brooks, great magnolias, and holhouses. San Leucio, a flourishing silk factory, near Caserta, was eslablished by king Ferdinand, who drew up, in 1789, the Code of the industrious colony he had founded. The scandalous chronicle has not spared the origin of this establish- ment, and strange stories were current at the time aboui the young workwomen and their august benefactor. The pretty casino of BL-lvedere, which makes part of the domain of San Leucio, is worthy of its name. But there is a monument which in my opinion reflects greater honour on Charles ill. and Van\itelli than their sumptuous palace, which is the useful, imposing, and stable construction of the aqueduct of Caserta : although new , this structure seems able to dispense with time; it has the character and all the majesty of a Roman work, and the Avords of Plutarch on the monuments of Athens in the days of Pericles are very applicable to it : " That each of these, as soon as Onished, seemed already ancient in beauty." An inscription states that it was consecrated to public utility by Charles III., a prince worthy of memory, although full of whims and lollies, the only great king of the different branches of the house of Bourbon since Louis XIV. CHAPTER XIL Uonte Casino.- Saint Benecllci.—Didier.— Court.— Ctiurcli.— lugurlo — Organ.— Monastery.— llefec- tory.— Llbraiy. — Arcbive>. — Correspondence be- tween tlie popes and tlie Grand-Turk.— Lellcrs of MabilloD and Monllaucon— Gatlola. — Porlrails. — Cbair balnearia. — Tower ot Saint Benedict. — Monks.— On monastic life in tlie present day. Monte Casino, on which Saint Bene- dict laiii the foundations of his celebrated monastery in the year 529, after having Ihrown down the temple and statue of Apollo, this cradle of the religious or- ders of the West, is like the Sinai of the middle ages and monastic history; it re- calls the glory of its great lawgiver, the fugitive chief of a tribe of hermits who tilled the soil, and converted, civilised, and enfranchised nations. The monas- tery of Monte Casino still retains some- thing of the citadel in its exterior and at the bottom of the mountain, an aspect fully justified by the events of which it was the theatre in the first ages of its existence. Conventual life was not then uninterruptedly tranquil ; these refuges were sometimes besieged, and necessity compelled their fortification ; we know that Jionte Casino'was pillaged by the Lombards in 589, and burned by the Sa- racens in 88i.; besides the armed visits of the Crusaders, and the subsequent de- predations of the Normans. It conse- quently became a real fortress, and its abbots, v\ ho assumed the title of bishops, had the feudal title of first barons of the kingdom. After the Barbarians, earth- quakesassaulted the venerable monument of Saint Benedict, entirely destroying it in 13i9 and 1649. It was generously succoured and restored after these difife- rent disasters by several popes, among whom we may distinguish Urban V* (Guillaume dc Grimoard), a great French pope, Petrarch's friend and correspon- dent, harangued, in the name of the Flo- rentine republic, by Boccaccio, whom he appreciated more justly than the grand seneschal of Naples, who had sent him to eat in the servants' hall; this illus- trious pontiff, by his learning, piety, and taste for the arts, w as himself an honour to the order of Saint Benedict. Monte Casino is otherwise gloriously connected with the history of letters, sciences, and arts. It is well known that in the general wreck of civilisation, its monks saved, by their copies, the works of the great men of antiquity ; as early as the eleventh century, the il- lustrious abbot Didicr, afterwards Pope Victor IlL, set his monks to copy Ho- mer, Virgil, Horace, Terence, the Fasti of Ovid, the Idyls of Theocritus, and several Greek and Latin historians, in- vited Greek artists from Constantinople to decorate the monastery with mosaics, thus preparing from afar the epoch of the revival. The entrance to Monte Casino is by a long sombre grotto made of pebbles, in which, according to tradition. Saint Be- nedict used to li> e. The grand character of the court and staircase of the first par- Chap. XII.] WONTE CASINO. 489 vis seems still more imposing lo a person issuing from this kind of cavern. Had the palisading been erected opposite the front (a project frustrated by its expense), despite the beauty of the coup-d'wil, the effect would have been diminished. The apparition of the brilliant basilic and its double parvis at the summit of a mountain and in the savage solitudes of the Apennines, is truly marvellous; but the magnificence of this church and its rich chapels is in bad taste, the architec- ture being by the Cav. Fanzaga, and most of the paintings by the later mas- ters of the Neapolitan school. On each side of the staircase of the first parvis are the colossal statues of St. Benedict and his twin sister Saint Scholastica, and under the arcades of the second that of his mother Saint Abbondanzia . All those great monks of the middle ages whom Dante has poetically sung, and who are like the demi-gods, the heroes of the Christian Homer, have generally saints for mothers and sisters; these amiable sisters, the companions of their life, share in the veneration paid Ihem : Saint Scholastica w as not less dear to Saint Be- nedict than St. Marcelina lo Saint Am- brose; the gentle virtues of these wo- men shed a singularly tender charm over the austere and laborious history of the saints. The remarkable works of the church are : the middle door, ordered at Con- stantinople by Didier in 1066, on which are sculptured in silver letters the names of the estates, castles, and villages be- longing to the monastery ; in the chapel of Saint Gregory, the picUire of the saint, by Marco Mazzaroppi of San Germano, who died young about the beginning of the seventeenth century, and w hose prin- cipal works areat MonteCasino ; over the little door of the side nave, the Martyr- dom of St. Andrew, by the same; in the middle nave, the Consecration of the churchbyPope A lexander //., a vaunted fresco, by Giordano, who, from the por- trait there given of himself in Spanish costume, seems to have been a man of short stature; the cupola, by the malig- nant Corenzio ; the altar embellished with ' S. Benedetto, an epic poem by Ibe Cav. A. M. liicci (Pisa,<82i|, S. Ricci, whom we have already mentioned, a professor of eloquence under the French administration, is the author of another estimable epic poem, the llatiaii, of the two di- dactic poems la Georgica ilei fiori and te Con- marble, precious stones, alabaster, an- tique black and green, lapis-lazuli, and brocatello, over the subterranean church and the tombs of Saint Benedict and Saint Scholastica, supposed lo be from Michael Angelo's designs; the two mau- soleums, of Guidone Fieramosca, last prince of Mignano, and Pietro, son of Lo- renzo the Magnificent, who was drowned in our defeat of the Garigliano after an exile of nine years. The second mauso- leum, erected by Cosmo 1., has this in- scription : Petro Medici Magni Lau- rentiifilio, Leonis X, pont. max. fratri, Clementis VII patrueli ; qui cum Gal- lorum castra sequeretur, ex adverso pradio ad Liris ostium periit. Anno wtat. XXXI 1 1, and some fine basso-re- lievos by San Gallo. The subterranean church called il Tu- gxirio e il Succorpo, dedicated to Saint Benedict and his sister, whose bodies re- pose together there, and lo his compa- nions Maurus and Placidus, offered di- vers paintings by Marco of Siena now greatly injured by the damp. The pic- lure at the altar of the saint is by Maz- zaroppi. Tasso, when going to Rome where he was soon to die, went down into this chapel, to venerate the body of Saint Benedict, to whom he was parti- cularly devoted ; he passed some days at Monte Casino, a cloister and manor- house singularly adapted to poetical re- verie, ■Nvhich he w.is worthy to sing, as well as its illustrious founder, who has been made in our day, notwithstanding the indifference of the age, the hero of a valuable Italian epic,' and that Dante had also admirably celebrated: Quel monte, a cui Cassino e nella cosla, Fu frequeniato gla in su la cima Dalla genie iugannata e mal disposla. Ed io son quel die su vi portai prima Lo nome di colui die 'n terra addusse La verila che tanto ci subiinia ; E tanta grazia sovra me rilusse, Ch' lo rilrassi le vllle circostanii Dair empio colto che 'I mondo sedusse.' The boasted organ of the church of Monte Casino, with the rattling of its thunder and the flourishing of its irum- chiglie, of many Ijric poems, idyls, pathetic elegies on the death of his wife, some lillle anacreontic odes, and of some prose discourses which prove the eitensiveuess of liis lorormaliou and the variety of his talent. ^ Parad. can. xxii. 37. 490 MONTE CASINO. IBooK XIV. pets, seemed lo me in tolerable keeping -with the tinzelry of the architecture. The monastery of Monte Casino, a real religious and learned colony, com- prised wiihln its walls all the arts, trades, and professions commodiously lodged in separate buildings. The architecture of monasteries, as Fleury obseives,' is thai of the Roman houses. As among Ihe ancients, if the public part was grand, and the private little, so in the convent, the vestibule, the porticos, the hall of the chapter, the refectory, all intended for the community, are vast and magnifi- cent: the society only is reckoned, the individual disappears, and the cell of the abbey occupies no more space than the diamber of Pompeii. The monasteries alone perpetuated those venerable cus- toms of antiquity, so opposed to the man- ners and customs of some modern epochs, in which the wants and enjoyments of the individual have become extended and multiplied as the state and society have dwindled away. The vast refectory has a fine Miracle oftlie loaves and fishes, almost as wide as the room, begun by Francesco Bas- sano, and finished by his brother Lean- dro, and, above all, the sixteen original figures, by the C«v. d'Ar|)ino, which gerved for the mosaics of the cupola of Saint Peter, representing Christ, the Apostles, the Virgin, and John the Baptist, presented by him with some other paintings as a token of his religious feelings towards Monte Casino. The s[)acious apartments of the li- brary, well lighted, furnished with beau- lilul cupboards and busts of doctors of the Benedictine order, in nowise re- sembles the loft in which Boccaccio found it, and the learned librarian and archi- vist Dom Oltavio Fraja, a worthy suc- cessor of the ancient monks of Monte Casino, celebrated for their zeal in trans- cribing the manuscripts of antiquity, who found in one ol its manuscripts of Saint Augustine many inedited passages pub- lished at Rome, in-folio, in 1819— this enlightened monk bears no resemblance lo the ignorant (riar, the mutilater and huckster of manuscripts, whom the A'o- velliere encountered . '1 bis visit of Boc- caccio's lo Monte Casino is related by the commentator of Dante, Benvenuto da Imola {Parad., xii. 74). Despite its ' Moeurs dcs CUrelleus. bad Latin, I cannot resist the pleasure of quoting this interesting story, which seems to have been wriiten from the dic- tation of Boccaccio, who was Ben\e- niito's master. " Volo ad clariorem in- telUgentiam hujus litterce referre illud, quod narrabat niihi jocose venerabilis prceceptor meus Boccacius de Certahlo. Dicebat eniin, quod cum esset in Apu- lia, captus fama loci, accessit ad no- bile monasterium jVoniis-Casini, de quo dictum est. Et avidus videndi li- brariam, quam audiverat ibi esse no- bilissimam, pctivit ab uno monacho humiliter, velut Hie, qui suavissimus , erat, quod deberet ex gratia sibi aperire hibliothecam. At Hie rigide rcspondit, ostcndens sibi altam scalam : Ascende quia aperta est. Ille Icetus ascendens, invenit locum tanti thesauri, sine ostio, vet clavi, ingressusque vidit herbam natam per fenestras, et libros omnes cum bands coopcrtis pulvere alto. Et mirabundus cwpit aperire nunc istum librum,uunc ilium, invenitque ibi mul- ta et varia volumina antiquorum et pe- regrinorum librorum. Ex quorum ali- quibus erant detracti aliqui quinterni, ex aliis recisi margines chartarum, et sic multiplicitcr deformati. Tandem miseratus, labores et studia tot inchj- torum ingeniorum devenisse ad manus perditissimorum hominum, dolens et il- lacrymans recessit. Et occurrens in claustro, pelivit a monacJto obvio, quare libri illi pretios'issimi essent ita turpiter detruncati. Qui respondit, quod aliqui monachi volentes lucrari duos, vel quinque solidus, radebant unum quaternum, et faciebant psalte- riolos, quos vendebant pueris; et ita de marginibus faciebant brevia, quce vendebant inulieribus. Aunc ergo, o vir studiose, frangetibi caput pro faciendo libros." The library, though it contains eighteen thousand volumes and some extremely scarce editions of the fifteenth century, is very inferior to the celebrated archives, enriched w ith eight hundred original di- plomas, privileges, charters of emperors, kings, dukes, and various princes, and papal bulls; the first, dating as far back as the beginning of the ninth century ; the second, from the eleventh; monu- ments of the political, military, religious, and monastic history of those barbarous times. The most ancient diploma is that of Ajo, prince of Benevento, dated 884, I CUAP. XII.] MONTE CASINO. 491 in Lombard (haracters, and on parch- ment; it begins with these words : Ajo Dei providentia Longobardorum gen- tis princeps. A collectiot! of Lombard charters is curious : each diploma is headed by a miniature representing the prince crowned, sitting with a sce|)tre in his hand, or erect with a sword and shield, and surrounded by soldiers armed with lances and monks clad in robes of dilTerent colours. The oldest ancient manuscript is Ori- gen's Commentary on Saint Paul's epistle to the Romans, of the year 5G9, according to the singular inscription of the priest Donalo, dated from the castle ofLucullus, on the site of the present Cas- tello deli' Uovo, wliich slates that he had read it three times, although ill : Dona- tus gratia Dei presbyter, proprium codi- ceni Justine Augustotertiopostconsula- tum ejus in a'dibusB. Petri in Custello Lucullano infirmus legi, legi, legi. A manuscript of Virgil of the four- teenth century, copied from another ma- nuscript in Lonibjrd characters of the tenth century, h is some verses completed and others added which have not been printed. A manuscrit of Dante of the thirteenth century, in-ilo, has some various readings and unpublished notes. At the end of Boccaccio's book. De Claris miiUeribus, translated into Italian by IVlesser Donato of Casenlino, by order of the famosissima reina Giovanna di Puglia, are two extraordinary letters which are but little known ; the first from Mahomet II. to Pope Nicholas V.; the second, the pope's answer : these let- ters were translated from Arabic into Greek, from Greek into Latin, and from Latin into Italian. The sultan's letter has this protocol : " King of Kings, lord of lords, Ma* habeth(.\ialiornet), admiral, grand sultan Begri, son of the grand sul- tan Marath, servant of the seven Musa- phy.i worthily greets Nicholas, vicar of ' I am indebted to the liiudness nnd erudition of M. Rcinaud, assislanllieepei- of llie manusriipls of lln' Bibliollieiiue Kuyale,lor the follow ing interpre- tation of Maliorael's titles : Amiral spenis ei|ui^a- lent to tlie words khacan ulhahrayii, or monartli of llic two seas, namely, tlJe liladi sea and llie Mediterranean; sullan C^jri answers to the Arabic expression sultun Albarrayn or sultan of the two rontiiients, namely liurope nnd A^ia ; these two titles are mostly placed nl Ihe head of the acts of Ifie imperial cl)nncery and on the Ottoman coins; Maralli is for Mnurail or Amnral ; the seven Miisapliy signify ibe seveu sacred boolis, or rather Jesus Christ crucified by the Jews." The object of the letter was to prevent the preparation for war urged by the pope against the Turks, who had overrun a part of Austria, and threatened a descent on Italy. The sultan premises to be- come a Christian on reaching Rome with his army. Mahomet was more ambi- tious than fanatical; this was not the first time he had talked of embracing Christianity, and even at the taking of Constantinople, after having f;ivourably received the new patriarch, he asked him for an exposition of the Christian faith, saying that he was only desirous to be enlightened. In his letter he enume- rates his forces and those of his allies, and asserts that the war stirred up against him by the pope can have no other re- sult than the waste of Christian blood which as pastor he ought to spare, and for which he will have to render a strict account to God. The pontilFs an- swer begins thus : "Nicholas, servant of the servants of God, cordially greets Machabelh, seignior of the Turks and prince of the infidels." He declares that in defending the Christians and their ter- ritories, he is only fulfilling his duty. He gives a long detail of the cruellies committed by the Turkish army in its inarch, from Constantinople, and shows that he is not the dupe of the decepti\T3 promise of conversion and obedience. These communications between the pope and the Grand Turk were net unfre- qucnt in the fifteenth century. Another great pope. Pius II., wrote in a similar strain to Mahomet H., and every body knows the criminal correspondence of Alexander VI. with Bajazct II., who chafTered with him for the life of his brother Zizim, and even requested a car- dinal's hat for one of his creatures. An Office of the Virgin and the Holy Ghost has some charming miniatures executed in ti69by Bartolommeo Fabio Ihe seven persons to wliom God has successively made revelations. U is true thai Ihe Musulroans acknowledge eight persons llius privileged : Adam, Seth, F.iioch, Abraham, .Mo^es, David, Jesus, and Mahomet; but the same words are again found in two pieces of the saniC Mahomet II., existing as extracts in Ihe archives of the ministry of foreign affairs, in which Mahomet swears by the seven book'!, as well as in a manuscript of the I'ibliothe- fjue lioiale \ lands de Saml-Germahi, 778); ive must therefore read Mushaphy. This lelier must be of \'ihi or i'.55. 492 SAN GERMANO.-ARPINO. [Boor XIV. di Sandalio. A collection of flne minia- lures representing diCferent birds on parchment, with verses written with a pen, was executed, according to the in- scription, in 1686, by Giuseppe Soavi d'Ascoli. A considerable collection of letters of Mabillon, Monlfaucon, Ruinart, Mura- tori, Mazzoc have been in the is- land of the Fibreno, near Arpino, where MM. Didot have eslal)lished a Qne paper mill; the aspect of these places is still very similar to the description preceding the touching passage of the De legibus of this same house : Quid plura? Hanc vides villam, ut nunc quidem est, latius (Pdificatam patris nostri studio ; qui, quum esset infirma valetudine, hie fere wtatem egit in lilteris. Sed hoc ipso in loco, quum aviis viveret, et untiquo more parva esset villa, ut ilia Curiana inSabinis, me scito esse natum. Quare inest nescio quid, et latet in animo ac sensu meo, quo me plus hie locus for- tasse delectet : siquidem etiam ille sa- pientissimus vir, Ithacam ut videret^ immortalitatem scribitur repudiasse.' The house of Marius is popularly slated to have stood on the spot occupied by the fine palace of the Castello, now in ruins. Certain inscriptions record the exis- tence of several fullonica (workshops ' Epist. ad Attic, lib. v. 1. of fullers and dyers), a curious particular which proves that the ancient town had the same kind of industry as the new one, w here great quantities ofpeloncino, a kind of common shagged cloth, are manufactured; the limpid -waters of the Fibreno still favouring that kind of in- dustry. The various churches and private gal- leries of Arpino present paintings and drawings by Gioseppino, called the Cav. d' Arpino. The house in which he lived outside the Porta deW Arco. has, on a ceiling, a phaeton by this talented but taste-corrupting artist, who has been justly styled the Cav. Marini of painting. The inhabitants of Arpino are for the most part in easy circumstances; dilet- tanti are numerous there, and they are now performing on the new and pretty Tullio theatre works composed by these distinguished amateurs. Arpino is the native place of the learned and zealous missionary, P. San Germano, who resided in India from 178-2 to 1808, finished the church of Rangoon, the only port of the Birman empire, formerly open to Europeans, and managed the college which he had also completed, a flourishing and civi- lising institution, which supplies the country with priests, surgeons, ingineers and pilots. The services rendered by P. San Germano had so gained the esteem of the viceroy of Rangoon and his con- sort, that they visited the college and even the church during the ceremo- nies; the princess showed a great incli- nation to embrace the catholic faith. The map of the port, accurately drawn by P. San Germano for the East India Company, procured him a pension from England, of which Rangoon soon became one of the most important conquests. In 1808, P. San Germano came back to Italy, intending to return to the East, but was prevented by the war. He then settled at Arpino, and, being named di- rectoroftheBarnabite college, he was oc- cupied in arranging the documents that he had collected during his long resi- dence at Rangoon and in other parts of the Birman empire, when he died in 1819. it was at Rome, but at the ex- pense and under the auspices of the London .4siatic Society, that the publi- cation look place, in 1833, of the De- Lib. II. 42 scriplion of the Birman empire by the Roman catholic missionary, a picture reckoned the most exact, the most posi- tive th^al has yet appeared of the intel- lectual and mora! condition of that country, and of ^hich Mr. W. Fandy was the translator; this case presents an honourable and consoling example of that Christian and scientific fraternity whicii ought to unite generous and ele- vuied minds. Is it not wonderful? the missionary, the Barnabite, the fellow- countryman of Cicero, has, by the power of his doctiine alone, spoken to remote nations who never heard the name of the Roman orator : charily goes much further than eloquence and philosophy. CH.APTER XIV. Isola dl Sorra.— Valley of lake Fiicino.— Mount Ve- lino —Lake.— Emissirio — Alba.— Anliquilies.— Churdi of Saiut Celer. The valley oflake Fucino is now one of the points of Italy most worthy of a visit from enlightened travellers, and it is ranked with the valley of Tivoli, the hills of Albano and the shores of Pa;stum. The Isola di Sorra, on the road, pre- sents the most varied \iews, and a ma- jestic and noisy double cascade formed by the Liris. Lake Fucino is of a circular form, sixteen miles in diameter and forty in circuit, abounding with excellent fish, and is girded by an amphitheatre of hills covered with towns and villages, and crowned with a flourishing vegetation. Being sheltered by the mass of Mount Velino, the highest point of the Apen- nines, which rises two thousand three hundred and ninety-three metres above the level of the sea," the country enjoys a salubrious and temperate climate. The grand Emissario of Claudius falls into the Li:is after passing through Mount Salviano, a length of three thou- sand five hundred metres. This monu- ment of an imbecile emi)cror, the widest, deepest, and longest of ail known tun- nels, superior even to the Greek one of lake Copais in Boeotia, was excavated in eleven years by thirty thousand slaves, and it excites the highest admiration of engineers and anti(iuarians. In the valley oflake Fucino the power- ful colony of Alba was founded, in the country of the Mqa'i, now but a miser- CAPUA.-GAETA. [Book XIV. able village of a hundred and fifty inha- bitants. Charles of Anjou ransacked and plundered these ruins to build the superb monastery of the Templars which he erected near Scurgola in commemora- tion of his victory over the unfortunate Conradin, and its vast ruins may still be seen. Alba, an ancient fortified town, retains some fragments of its ram- larts, lowers, and outworks, Roman constructions of amazing solidity. The present population is grouped round the principal tower on the summilof one of the three hills of the old town. The temple on the hill of Saint Peter is also a very remarkable Roman work, but prior to the conquest of Greece and when all was Tuscan at Rome. Despite its metamorphosis into a Christian basi- lic, dedicated to Saint Peter, which has niutilaled it. the edifice is still interesting for art. The three naves are separated by eighleen marble Corinthian columns; an ambo of precious marbles is one of the works called Alexandrine, from the em- peror Alexander Severus, who invented or improved this kind of mosaic. The balustrade of the choir, ornamented with mosaics and elegant miniature columns, is the workmanship of the celebrated Cosmali, a family, who for more than three centuries, practiced and taught sculpture and mosaic at Rome with ho- nour. CHAPTER XV. Iload 10 Rome.— Aversfl. — Hospiial.— Wine. — Capua. — Arapliitlieatre. — Calbedral.— Ancient Miiilurnae. — \la Appiu. — Giiilgllano. — Gaeta. — Castellone. — Villa and lumb of Cicero.— Fonlana ArlacUla.— Itri.—Fondi. -Death of Esmeuaid. A versa was famous for its madhouse, which some foreigners have thought un- deserving its reputation. Its only merit was, perhaps, to have been the first, in Italy, to deli\er these unfortunates from the chains wilh which they were shack- led. Aversa was the ancient Atella, noted for its satirical farces, a kind of prelude to the Latin theatre, said to have been played in the Oscan tongue, the ancient vernacular language of Italy, which survived in some measure there, even after the Latian idiom became pre- dominant with the Roman power. The convent of Saint Peter, at Ma- jella, formerly the castle, was the place at which Andrea, the husband of Queen Chap. XV.] CAPIA.-GAETA. 495 Giovanna, was strangled and thrown from the window; there too Giovanna herself also perished, and Charles of Duras, her second husband, an accom- plice In the murder. The sparkling wine of Aversa, called asprino, is mentioned by Redi in his di- thyramb, and ii is given to inexperienced amateurs for Champagne. The magnificent amphitheatre of Ca- pua shows the wealth, the power, of this queen of the Campania, whose Etruscan civilisation long preceded that of Rome. It has been regarded as the oldest amphitheatre and the model of all others. The Campanians invented gladiatorial combats. Cicero pretends that the fertiliiy of the .^oil caused the ferocity of the inhabitants, an extraordi- nary effect, but explained by other ex- amples : how m;my times has blood flowed in the midst of banquets, flowers, and perfumes! The rei)ublic of Capua was treated by the Romans with an excess of barbarity unheard-of in history ; the people were reduced to slavery and sold by auction, and the senators beaten with rods and beheaded And yet Ci- cero, one of the mildest of men, shrunk not from approving such horrors, which he attributes rather to prudence than cruelty, noM crudelitate.... sedconsilio. The voluptuous and sanguinary Capuans first used the velarium (a silk curtain of many colours stretched over the amphi- theatre to keep off the sun) which |)ro- cured them from the Romans the re- proach of effeminacy, though they them- selves were not slow to adopt it. The amphitheatre of Capua is the only one existing that has .some constructions in the centre the use of which is not yet explained. Flovus wittily expresses the common error refuted by IMontesquieu on the protracted sojourn of Annibal at Capua, when he says that he was better pleased with enjoying than taking ad- vantage of his victory, cum victoria posset uti, frui maluit. Capua was re- built by Julius Caesar, who settled a co- lony there; it was burnt in 8i0 by the Saracens, and theamiihitheatre, built by Csesar's colony, repaired and embellished under Adrian, and dedicated to Anto- ninus Pius, became a citadel. Being besieged by Athanasius, bishop of Naples, the Saracens defended themselves, and then the statues perished, the columns were overthrown, and the walls and ar- cades fell. To apgravale this destnit- tion, the ruins furnished materials for the duomo, the steepK', and the tower of the princes of Conca. The modern Capua is a kind of forti- fied town which might be dismantled without much harm, as it is combined with no strategic operation, and could m;ike but a feeble resistance. It has a practical school for artillery and engi- neering. The Gothic cathedral has many co- lumns of antique granite. A Piety and Christ in the sepulchre, in the subter- ranean chapel, statues vaunted by La- lande and other travellers, as Bernini's, are neither good nor by him, but by his pupil Vaccaro. The fabulous and poetical Liris, after bearing a succession of names in anti- quity, took the b.irbarous name of Ga- rigliano about the ninth century. Its current is as dilatory and dull as in the days of Horace : Non rura, quae Liris quiela Mordet aqua, tacituinus aoinis. In 1832 a new iron suspension bridge was thrown over it by M. Girard, the Grst erected in Italy. These construc- tions of modern industry, very useful certainly and preferable to the old fer- ries and vacillating boat bridges, must nevertheless contrast with the rich ma- terials, the majesty, and the associations of antique monuments. The French army was defeated by Gonsalvo on the picturesque banks of the Garigliano, a formidable military position. Alachia- vel, in reporting the events of this war to his government which had an interest therein, said that "on the French side there was money and the best troops, and fortune on the Spanish side." Bran- tome, rather a courtier and selfish man than a Frenchman, who more than once regrets not having attached himself to some foreign court, evinces a more pa- triotic emotion on the subject of this reverse than usual, when he exclaims with a degree of feeling and imagina- tion : "Helas! j'qy veu ces Ueux-ld dcrniers.etmesmes le Garillan, et c'es- toit sur le tard, a soleil couchant, qu^ les ombres et les manes commcnccnt d se paroistre comme fantosmo ptustost quaux autres heures du jour, ou il me sembloit que ces dmes gene reuses de nos braves Frangois Id marts s'eslc- 496 CAPUA.-GAETA. [ Book XIV. voient sur la terre el nie parloient, et quasi me respondoient sur mes plain- tes que je leur faisois de leur combat et de leurmort." • Here begins the Via Appia, the oldest and grandest of ancient highways, siir- named the queen of the Itoman roads [regina viarum), which has given to immortality the name of the severe blind old censor Appius Claudius ; it was once lined with superb mausoleums, temples, triumphal arches, and other monuments, and extended to lienevenlo and Brindae; while its management and reparation have thrown glory on Cajsar, Augustus, Vespasian, Domitian, Nerva, Trajan, and Theodoric. Between the Garigllano and Mola are the ruins of an aqueduct, a theatre, and a flne amphitheatre, the remains of the ancient Minturnae, whose marshes and reeds concealed Marius. Gaeta, with its orange and lemon orchards on the seaside, has an enchant- ing aspect. The women are handsome, dressed in a picturesque manner, and wear pretty tresses of riband in their hair; which, instead of the glossy black of Italian females, is of a light chesnut, like Alcina's. » There arc some vestiges of a theatre, an amphitheatre, a temple of Neptune, and of the villas of Scaurus and Adrian. It was on these same shores that Lslius and Scipio made ducks and drakes, and returned to the games of infancy like many other celebrated men. In the baptistry of the cathedral of Gaeta, an antique monument, there is a fine basso-relievo. The steeple is remark- able, as also the celebrated column of twelve faces, with the indication of the winds in Greek and Latin. The citadel of Gaeta is famous for two fine defences ; the first in 1501, the second in 1806. It presents, on its highest point, the picturesque tower visible at a great distance, called the Tower of Or- lando, after the Italian practice of giving the name of Charlemagne's paladin to certain great old edifices. This monu- ment is antique, and the inscription proved it to have been the tomb of L. Mu- natius Plancus. Caslellone di Gaeta, delightfully si- tuated, is the ancient Formia; ; a part of ' Vie de Goozolve de Coidoue. » See ante, boob xt. ch. v. ^ Prince Caposele. See liis letter to madame Brun of Copeiiliagen, enlitlcd Antichitd Ciceroniane ed the walls and a door still exist. The celebrated villa of Cicero, the site of which now belongs to the estate of a man of erudition, ^ stood between Mola and Casteilone. It is said that when Al- fonso V. of Aragon, king of Naples, justly surnamed the Magnanimous, was besieging Gaeta, he refused to take stones from the house reputed to have been Cicero's, for the purpose of loading his great guns, declaring that he would rather leave his artillery inactive than profane and destroy the house of such a philosopher and orator. The lofty mo- nument in ruins called Torre di Cicerone, is not, as asserted, Cicero's tomb, nor yet the temple he had erected to Apollo, as the abb6 Chaupy pretended. The tomb erected to the great Roman orator by his freedmen, would be, according to other conjectures, the vast rectangular mauso- leum, the ruins of which are at the foot of .Mount Acerbara, opposite the tower, to the right of the Via Appia. 4 Marius, in his |)rison at Miniums, is respected by the Cimbrian ; Cicero dies by the hand of the tribune Popilius. whom he had defended : the barbarian with his savage instinct was more easily moved than the Roman, the agent of the trium- virs ; and the lather of his country was destined to die near the spot where the proscriber of Rome was saved. At the very place where Cicero pe- rished, the young Conradin was taken and betrayed by the lord of Astura ; this enchanted strand seems fatal to innocence and genius. Notwithstanding the ever suspicious prepossessions of every man in favour of his own, the fountain of Artachia, near which Ulysses met the daughter of Anti- phates, king of the Leslrigons, who was going thither for water, may possibly be in the above mentioned little town ren- dered famous by the ruins of Cicero's house. 5 Ilri was the urbs Mamurrarum of Horace, where he lodged at Murena's and supped at Capito's : Murena praebente domuin, Capitone culinatn. The soil is of a deep red, and the valley savage. iscrizioni esistenli nella villa Fonniana in Cartel- lone di Gaeta. Naples, 1827, 8vo. ■* See llie Antichitd, p. 17 et seq. 5 Id. p. 35 et seq. Chap. XVI. ] TERRACINA.-ALBANO. 497 Fondi, an ancient town, has now a most dismal aspect; it was again destroyed a second time and burnt by the famous cor- sair Barbarossa II., enraged at not being able to carry oil the beautiful and witty Giulia Gonzaga, widow of Vespasiano Co- lonna, and countess of Fondi, that he might |)resent hertoSoliman II. : Giulia, alarmed in the dead of night and seized naked in her bed by a gentleman whom her jealous and ungrateful modesty caused afterwards to be put to death, had only the time to leap from a window, jump 01) a horse and gain the mountain. The schoolroom where Saint Thomas taught theology at Fondi was under repair when I passed, and was, I believe, about to be converted into a chapel. His chamber is also shown, his well, and a partly withered oiange-tree, which he planted head downwards, a phenomenon now acknow lodged as very possible. This noble plant accorded with Saint Tho- mas, asthecypress with Sjjnt Uominick. • It was at one of the rapid descents of this road that the bard of Naviyation was thrown from his carriage amid the rocks, in consequence of which ht died six days after at Fondi, while his fellow- travelicr, ihe excellent Granet, was nowise injured. The academician, Es- menard's successor, ingeniously alludes to this catastrophe in the following pas- sage : " Projiitious muses, said Horace, ye ever watch over him who joins your choirs, w ho drinks the pure w aters of the sacred fountain : under your conduct he shall safely pass the precipitous paths of the country of the Sabines. — This sweet oracle of the prince of lyrics was then fated to be falsified almost on the very spot where it was inspired. " " CHAPTER XVI. Road (0 Romecoiilinued — Measures .igilnsl banditti. — Garbaroni. — Tfrrariiia.— I'aliice of Tliecdoric. —Port — Cotbedral — I'onliiie iiiarslics. — Monte Clrcello.— Walts, temples of Cora.— Vellelrl. — Cenzano.— Lanicla.— Chlgi pulare— Cliurcli.— Albano. - Tombs.— Gallery.— Caslel-Gandoifo.— Lalie. — Enilssario. — Palriolic superslitioii of Rome.— N\mpliea. — I'alace. — r.liurch.— Barberhsi villa.— \ lew of ibe Campagna of Rome. The measures taken against banditti on the road to Rome were really formi- dable in 1826. The military posts were ' See aiile, boots viii. cli 6. so near each other that the road had the appearance of a long camp. The capi- tulation of Garbaroni, the last of the Roman banditti, had contributed to the extinction or rat her suspension of robbery . Garbaroni was at first confined in the castle of Saint Aiigclo, but afterwards removed to Civila Vecchia, to seclude him from the curiosity of travellers, several of whom had even thought projier to make him presents. He jiretenued that he was slandered, having killed only thirty- five persons instead of the hundreds at- tributed to him. The moral education and material prosperity of the people, would be far preferable to all these violent external remedies, the cosmetics of brute force and police regulations, which keep down the evil but do not cure it. Terracina, the first town of the Roman states, is the ancient and opulent town of the Volscians, Anxur, the pillage of which enriched the Roman army of the military tribune Fabius Ambustus. Its steep hill still presents the bright aspect painted by Horace : Imposiluin saxis late canJenlibus Aoxur, The ruins of the palace of Theodoric, of the beginning of Ihe fifth century, whence there is an admirable view, as'e a curious monument of the construction of Roman edifices in the earlier days of the decline. Thercniainsof theancientand now wa- terless port of Terracina, eleven hundred and sixty metres in circumference, prove that it was built for an extensive and very active navigation ; one may see the marble modilliuns with holes through which the cables were passed in mooring vessels. The mole, or boundary wall, appears even now of amnziiig solidity. Nothing is known of the epoch or founder of this port, a monument of the civilisa- tion, power, and wealth of the ancient Terracina, but, fiom the kind of its reti- culated fabric, it must be regarded as among the first regularly Luilt ones in Italy. The cathedral has several fine fluted columns of white marble, procured from a temple of Apollo, and other antique pillars. A splendid palace, vast granaries, and ' Discours tie reception de M. Cli. lacrelelle. 42. i98 TERRACINA.-ALBANO. [Book XIV. other buildings erected by Pius VI., show the bold enterprise of this pope for draining the Pontine marshes, as well as the fertility of these insalubrious plains, unreasonably feared by travellers who only pass over them. The digging of numerous canals, the uniform manage- ment of the canal of the Linea Pia, some maritime establishments as in the days of the ancients, would be ihe best means of restoring prosperity to this boggy coast, in past times so populous and flourishing, which, as Pliny informs us, once counted twenty-three cities. ' Monte Circello, at the western extre- mity of the Pontine marshes, deserves a visit from the traveller, whether poet, antiquary, mineralogist, or botanist. This ancient cape of Circe, a calcareous perpendicular rock that every thing demonstrates to have been once washed by the waves, still retains the grotta della Maga, one of those vast caverns whence marble and alabaster are pro- cured. At the summit are some ruins and substructions which belonged appa- rently to an ancient temple of the Sun. It is worthy of remark that herds of wild hogs arc still pretty numerous on this coast. No mortal can boast a more ancient genealogy than these pigs, as they descend from the companions of Ulysses, and their ancestors were sung by Homer. In Hriltany they talk of the noble pigs of M.M. de Rohan; they are of a very insignificant family in compa- rison. Circe is the most ancient of bo- tanists, according to Bernardin de Saint- Pierre, who thinks that not a single plant known in her day is lost, as may be seen by her herbal, which Homer has partially handed down to us.^ These plants must more especially be found on Monte Circello, which has a great va- riety of them. An amiable young lady of Terracina, Signora Elizabetta Fiorini, is celebrated in Italy for her skill in bo- tany ; though not less learned than the daughter of the sun, her enchantments are less to be dreaded. Signora Fiorini, a pupil of the illustrious mineralogist Brocchi, has been zealously occupied on the Flora of the Pontine marshes, and I have heard that she has discovered and ingeniously classed a considerable num- ber of plants. ■ See Ibe Qne work of M. de Prony, Oes Murais Ponlins, Paris, Impr. Roy., (814, in 410. The small town ofCori, the ancient Coia, beside its antique walls which long resisted the Romans, has two superb temfiles of Hercules and Castor and Pollux; the first erected in the reign of Claudius, regarded for its lightness as the most perfect model of the Grecian Doric order, and wonderfully posed on a basement of perfectly insulated rock; of the other, only two Corinthian co- lumns and the inscription remain. Velletri, ill-built, is remarkable for the truly rare beauty of the women, their pretty costume, and magnificent marble stairs of Ihe ancient Lancellotti palace. The architect was .Marlino Longhi the elder, the cleverest of the three of that name, and superior to his son and grandson. In the church of Santa Maria dell' Oito, is a painting, cited as of good design and colouring, the Virgin, the infant Jesus, with angels in Roman dresses, the work of Rositi, a painter of Forli, of the sixteenth century. The Atti della Societd Volscea VeUiterra, published at Velletri and forming altogether two octavo volumes, contain some learned memoirs and the biographies of learned academicians. The pretty lake of Nemi, which from its form and the clearness of its waters was gracefully styled in the mythology the mirror of Diana {speculum Diance), is bordered with a smiling and luxuriant vegetation of flowers and trees. On one side of it is Genzano, of four thou- sand inhabitants, renowned for its air, wine, pears, and the charming mosaic of flowers with which the pavement of the approaches to its spacious church is co- vered on the octave of the festival of Corpus Domini : a brilliant decoration, indicative of some kind of taste and in- clination for art even in a litlle town. The modern Larricia, of a thousand souls, occupies the place of the fortress of the ancient Aricia, some ruins of which are visible lower down, and the remains of Ihe Via Appia, which was destroyed in 1791 to pave the new road. The severe Ghigi palace, and the church, are among the most distin- guished of Bernini's works. The cupola of the latter is ingenious, but the details are too profuse on the ceiling. In these ^ Eludes lie la Nature, I. i. p. 23'J. Chap. I.] ROME. 499 two edifices may be remarked the cha- racter of Bernini's talent, a superior architect for efl'ect and disposition, but bad in details. Albano is the most fashionable sum- mer residence in the environs of Rome. The population is about five thousand persons. On the door of the church of Santa Maria della Rolonda, are some magnificent marble ornaments sculp- tured in acanthus leaves, taken from some antique edifice. The two ruins, called the tomb of Ascanius, founder of Alba Long.i, and the tomb of the Horatii and Curiatii must have been magnificent mausoleums. The latter, very probably Etruscan, of Tarquin's time, has recently been given for the tomb of Aruns, son ofPorsenna, and by other archeologues for the cenotaph con- secrated to Pompey by Cornelia : the five cones it presents would then be allusions to the five victories of the Ro- man captain. The Gallery, a fine avenue "of ever green oaks, leads from Albano to Castel- Gandolfo. The lake which fills the nearly oval crater of an ancienf volcano, also olfers its superb emissario, a tunnel, of half a league in length, cut through the mountain, which, after 2230 years, attests the power of Rome in her earlier days, a monument of that patriotic su- perstition which contributed so much to her greatness.' ANymphea.calledbythe peasants grotta di Bergantino, and by the learned the bath of Diana, a reticu- lated construction in the form of a grotto, formerly intended for a cool retreat, and enveloped by a vigorous vegetation, is of a singularly picturesque aspect. The large village of Castel-Gandolfo dates only from the twelfth century. The plain palace is the only country house possessed by the pope. The cathe- dral, consecrated by Pope Alexander VII. to Saint Thomas of Villanova, and built by Bernini, has, at the high altar, a picture by Pietro of Cortona, and an Assumption, by Carlo Maratta, painters of the period of declining taste, like the architect of the palace Carlo Maderno. The vast gardens of the Barberini villa present considerable remains of the country house and Therms of Domitian, mixed with fine trees. Here we over- look the whole Campania of Rome, an uncultivated desert, sown with ruins, in which the pontifical city, with itsgilded domes, its marble columns, its granite obelisks, its immense palaces, looks like a majestic oasis of monuments. BOOK THE FIFTEENTH. ROME. CHAPTER I. Impression. — Saint Peler.— Piazza.— Colonnode. — Obeli>k.— Fountain.— Front.— Navicella.— Door. — Jubilee.— Interior.- Eipeudittire of the basilic. —Canopy.- Cupola. — I'ulpit.—Tonobs of Paul III. and L'lban VIII.— Basso-relievo of Allila.— Tombs of Alesandtr VII.,— Pius VII.,— Leo XI.— Tomb of Innocent VIII.— Monumenl of the Stuarts.- Mi- chael Aiiuelos P(c^v.— Chrblina and the countess Mmllda. — Kezzonico monument. -Mosaic of Salut Pelronilla.— Vatican grottoes. — Sacristy.- Upper part of Saint Peter's— Bali. The name alone of Rome is magical to the traveller who arrives within her walls: ' Every body rausl remember the prophesy of the old Etruscan augur which the senate had the to be at Rome seems a sort of honour, one of the important events, one of the grand reminiscences of our after life. Victorious by her arms or dominant by her faith, Rome, for more than twenty centuries, has reigned over the universe, and the imagination cannot conceive for her a farther and more exalted destiny. If Rome be the chief object of the traveller in Italy, Saint Peter's is the first wonder that he seeks to contem- plate. The famous colonnade, the chef-d'oeu- vre of Bernini's theatrical architecture, dexterity to get conDrmed by the oracle of Delpho."!. This prediction, whicli has much the appearance of 500 ROME. [Book XV. encloses the magniflcent oval piazza, and serves as a proscenium to the co- lossal peristyle of Saint Peter's. This double colonnade of travertine marble seems light and simple, from a certain point of the piazza; and I have heard that an Englishman, a conscientious traveller, who, not having been in- formed of it during his slay at Rome, returned post to this spot, alighted from his carriiige, and after viewing it a moment resumed his journey with sa- tisfaction. In the middle of the piazza rises the obelisk of red granite, perfect as ever, •which, being without hieroglyphs, can be only a Roman imitation of the Egyp- tian obelisks, brought over by Caligula. This monument, cleverly reared by Do- menico Fontana, has been, as well as the cross surmounting it, twice sung by Tasso.' The two majestic fountains, that throw up their waters on each side of the piazza, worthily complete its de- coration, whether seen in the day, when the rays of the sun form brilliant rain- bows, or at night, when the moonlight adds to the whiteness of their foaming streams, whose unceasing murniuis in- spire and cherish the soul's imaginings. The history of the construction of Saint Peter's is almost the history of the art. This first of basilics, begun by Rramante in 1503, erected on the basilic built by Conslantine, continued by Giuliano and being eoncerleJ, announced tliat tlie Romans would never lake Veil if the enlraoidinary rise of tbe lake, which had laken place nilhoul rain and in a dry season, did not Dnd an issue, olher«ise than into the sea. This latter part of Ihe oracle was a means employed by the government of Borne to prescribe with higher authority tbe irji- gjtlons so useful to agriculture. Cicero seems to have thought in this Hay when he said : "Ha agua albina deducia ad utllitalem agri suburban! non ad nrcem urbemque relinendam (De Divinil.)." This undeilaliing had also a military object, as it formed soldiers to the art of mining, as we see by the one they pushed right under the citadel of Veil, which decided Ihe fate of Ihe place. ' Taccia omai Roma, e taccia il grand' Egilto, Siguor, tanlo inn.ilzarsi a! ciel lo scerno. Rime, part, ii., son. (67, Wi. ' II appears that Raphael, had he lived longer, Intended lo devote himself more to archileclure than painting. We read in Bembo's Works (Venice edition, 17-J9, folio, t. iv. Iih. is. num. 13) the sin- gularly honourable letter written by the latter in the name of Leo X. naming him arthitect of Saint Anionic San Gallo, P. Giocondo the Dominican, Raphael, » Ballassare Pe- ruzzi, and Michael Angelo, was not fi- nished till the seventeenth century, by Carlo Maderno. The front, by this last architect, is more fit for a palace than a temple, and by a deplorable fatality, the worst of the projects was the one that prevailed. Under the rich portico, near Ihe staircase of the Vatican, the eques- trian statue of Constanline, by Bernini, is exaggerated and of very bad tasle ; that of Charlemagne by Cornacchini, is also inferior, and unworthy of such a place. A horse like that of the Con- slantine was sent by Bernini for Ihe statue of LouisXIV., but it did not please him ; the grand roi became a Curlius by the means of an antique helmet placed over his large peruke, and the disgraced statue is banished to the extremity of the piece d'eau des Suisses at Versailles. Opposite the principal door is the de- servedly celebrated mosaic called the boat [naviceUa] of Saint Peter, by Giotto and his pupil Pietro Cavallini, a further proof of the diversifii'd talents of this prodigious artist. The basso-relievos of the middle door, ordered by Pope Eu- gene IV., but adapted under Paul V. to the door of the new basilic, and exe- cuted by Filarela and Sinione, Uonatello's brother, very inferior lo the doors of the baptistry at Florence and to the good works of the same epoch, aie ncverlhe- Peler's after Bramante's death, with a salary of 300 golden crowns (about 86/.). Another Lalin letter {lib. i. num. ,51, p. 87| charges hira with the superintendence and purchase of all the aniiqullies dug up within ten miles of Rome, and imposes the penalty of from too to 300 gold crowns on per- sons who neglect lo make known Iheir discoveries to lilm within three days. It Is also foi bidden, under the like penally, lo saw or injure marbles or inscriptions, quwque seivari opera prelium essel ad cuUvm liUerarum Romainque setmonis elefianliam excolcndam, until Raphael had cxanila- ed them and given permission. It is however a matter of deep i egret that, during the last sis years of his too brief existence, Raphael was diverted from painting by his antiquarian and official oc- rup ritious. Ciinova has since held the same powers, and the ex.imple of I.eo X. and Raphael was cited in the letter writlen to him on the 2nd of August 1802, in the name of Pope I'ius Vll , by Cardinal Doria Pamfili, procamei lingo, naming him in- spector-general of One arts and antiquities at Rome and throughout the Roman stales, with a yearly pension of 400 siher Roman crowns, and also in the decree {cliirorirapliu) of Ihe 1st of October in the same year relative lo these funciions. ClIAP. I.l ROME. less distinguished by the grand and beautiful division of their compartments, which contain the figures of the Saviour, the Virgin, St. Peter, St. Paul, and the Martyrdom of the two saints, se- parated l)y small basso-relievos relating to the history of Eugene IV., chiefly to his conferences with the emperor Paleo- logus on the junction of the Latin and Greek churches, basso-relievos remark- able for extraordinary delicacy of exe- cution, and interesting for accuracy of costume. The frames, supposed antique, but of the decline, present divers subjects of mythology and Roman history, and many medallions : among the small mythological groups may be distinguished Jupiter and Leda, the Rape of Gany- mede, some nymphs and satyrs, with other very singular devices for the en- trance of the most imposing of Christian temples. The impression produced by the sight of the basilic inside is not adequate to one's preconceived ideas of its extent, and seems even less than it really is. This sense of disappointment however wears away after a few visits, when the study of the different parts has con\ inced you of its immensity. Then it becomes a real city through which one loves to wander: its light, though too brilliant to be religious, and its climate, if one may so say, are all softness; for it has been remarked that the temperature is nearly always the same, and that a kind of agreeable vapour is difTused throughout the air. The population, the n)anners of this city, moreover olfer a thousand conlrasls : poor peasants, loaded with ■ This door, as is well known, Is the one which the pope demolishes on ihe Christmas eve of each jubilee, to typify the beginning of the period at the end of which it Is closed. The table of Ihe Dumber of pilgrims attracted to Home during more tbao two ceuluries by this great solemnity, is an interesting document of religlaus statistics : TOIAl. f 90,8^8 men. 1 ^""^ \ 10,000 women. ] '"^'^^^ ICOO 32't,600 iflo- H60.269 men. ) „, ,„„ '«-* 1 22,W. women. \ SS'^'^CO ,„.„ (220,711 men. i "'■'° I 81,822 women. { 308-533 ,„,. (218.310 men. ) ^"'^ 1 a8,'.37 women. | 3"'^'" t700 300,000 1725 382,1 10 1750 I9i,832 their baggage, prostrate themselves on this pavement of marble, and before these altars resplendent with gold and precious stones; on entering they had kissed the holy door which profane and thoughtless travellers cover with their names; ' per- sons of the lower orders talk of their affairs before a confessional with their confessor, who is inside, a familiar con- ference which precedes the confession of each A penitentiary taps the faithful gently on the head with a long wand as they kneel before him, a species of public penance for venial sins. The peniten- tiaries of the various languages come to receive at their tribunal the ever differ- ing, but still substantially the same, ex- pression of our frailty and wretchedness; confraternities ranged in order, or other monks, take their stations at the altars, while in the distance resound the solemn chant i>f the priests performing the ser- vices in the chapel of the choir, with the pealing of the organ, or else the slow and harmonious chiming of the bells of Saint Peter's falls on the ear. ^ At limes the basilic is a vast and silent desert ; the pure rays of the setting sun penetrate the diaphanous recesses of the temple with iheirgoltlen fires, and fall on some brilliant mosaic, the imperishable copy of a masterpiece of painting; while some artist or some sage undeceived as to this world's things, such as can be found only at Rome, gives way to his musings in some retired corner, or some poor man, still more indifferent, sleeps profoundly stretched along a bench. The interior of Saint Peter's is rich, ornate, magnificent, rather than tasteful, ^ 177.5 1823 271,970 181.91'. men. ) 91,385 women, j •'■^■^•"' ' One of Ibese bells, founded under Pius VI., Is eleven palms (aine feet) In diameter and weighs fourteen tons. i According lo Fontana's extracts from the chan- cery registers, the money expended on the basilic of S.iiol Peter amounleil at the beginning of the last century to ^0,800,'498 silver crowns, about 8.800 OOU/. sterling, one lenlh of which at least had been employed under Bernini's direction : ihepiilpil alone cost above 107,000 crowns. The sale of in- dulgences 10 supply funds for these expenses is ge- nerally, but improperly, regarded as the cause of the reformalion. Lulher could easily have found another pretext ; the taxes levied for the war against the Turks excited the same resistance a short time after. 502 ROME. [Book XV. but the bad and exaggerated which abounds there, does not fail, in the whole, 10 contribute to the effect and to have a kind of grandeur. It must ever be a matter of regret for the elegance and majesty of the building, that the Greek cross of Michael Angelo was not preferred to the prolongation of the Latin cross adopted by Carlo Maderno. The bronze 5?. Peter, the foot of which is kissed with devotion, is not, as con- stantly asserted, an ancient Jupiter, but a real St. Peter of barbarous times, a Christian monument of the fiflh century. Statues worn away by the same kind of kisses were common among the ancients : Turn, porlas propter, aliena Signa raanus dexlras osiendunl attenuari Sacpe sulutaatum tactu, prxterque nieantum.' Cicero eloquently alludes to the Flercules of Agrigenlum tliat Verres had attempted to remove. = The divinities of poly- theism could not inspire such rer\our without all the warmth of imagination peculiar to these people of the south. Juvenal speaks of the bronze statue of a citizen, the hands of which were wore away by the reiterated kisses of the Roman people, an expression of respect far more moral and sensible. The baldachin placed over the bodies of Saints Feter and Paul, the work of Bernini, seems an enormous concetto of architecture ; but the caprice of this baldachin is not destitute of ingenuity, brilliancy, and grandeur. The head of an ass braying, on the base of the columns, was meant by Bernini for his rival Bur- romini, an artist more elaborate than himself, who certainly was not entitled to criticize the baldachin. The statue of Pius VI. kneeling on his tomb, by Canova, is simple, noble, expressive ; the extreme resemblance and the fitting of the pontifical costume is much admired. The pojie, from the place of his exile and captivity, had pre- scribed the position of the mausoleum which should one day receive him, as well as the attitude of the figure prajing near the tomb of the two apostles. The immortal cupola is said to have been projected by Bramante, but the genius of Michael Angelo could alone execute it; this rival of the great artists ' Lucretius, i. 3)7. of antiquity in painting and sculpture, has surpassed them in architecture. On beholding this sublime creation, one feels a noble pride in the power of man, and gratitude is mixed with admiration of him who raised it so high. The four colossal statues of St. Longinus, St. Helena, St. Veronica, and St. Andrew, by Bernini, Borghi, Monchi, and Fiam- mingo respectively, are horribly affected, as are most of the statues at Saint Peter's ; the last, however, is now reckoned the least bad of the four. The attitude and flying drapery of the Veronica gave occasion for the humorous answer made to Bernini when he found fault with the motion of these draperies in a close place, to the effect that their agitation was caused by the wind which entered at the crevices of the cupola through the weak- ening of the pillars by the niches and galleries of Bernini. The pulpit of Saint Peter's, the most considerable work in bronze after the baldachin, is also by Ber- nini, that inevitable artist, who was entrusted with the principal works under nine popes. The idea ol setting the four doctors of the Greek and Latin churches to uphold the apostle's pulpit is grand, but the execution is execrably elaborate, and the graces of these bronze colosses and fathers of the church are perfectly ridiculous. A monument might have been erected with the money this pulpit cost. Thecelebratcd mausoleum of Paul III., by Guglielmo della Porta, under the direction of Annibale Caro, the finest mausoleum at Saint Peter's, seems a reflection of Michael Angelo. The two admired statues of Prudence and Justice are however inferior to that of the pope, whose humpback is most adroitly con- cealed. The statue of Justice has been decently clothed by Bernini with a bronze tunic, painted to imitate marble, doubt- less to prevent a second attempt like that of the Spaniard, who, being in love with the statue, remained all night in Saint Peter's and renewed the obscene trans- ports excited in ancient times by the Venus of Praxiteles. 'J he tomb of Urban VIII. restored the once tottering reputation of Bernini : the two figures of Charity and Justice are truly Kubens in sculpture ; the marble of ' De Signis, xliii. CUAP. I.] ROME. 303 the heads has certain reddish stainswhich would make one suppose them coloured. At the altar of Saint Leo, the enor- mous basso-relievo of Atlila, by Algardi, the greatest, doubtless, that has ever been executed, long noted as a prodigy of art, is pitiful in style and drawing. In Attila's little page, however, we dis- cover the grace of this sculptor of chil- dren, as Algardi has been surnamed. The last pope of the name of Leo (della Genga), reposes at ibis altar, and the inscription on the plain slab that covers his remains was written by himself. The mausoleum of Alexander VII., over a door, although of Bernini's old age and his last w ork, has all the warmth, enthusiasm, and youth of his bad taste. The nudity of the figure of Truth having given olTence, it was draped by order of Innocent XI. The Clementine chapel has received the tomb of Pius V!I., the la-t mauso- leum admitted to Saint Peter's. This monument, erected at the cost of Car- dinal Consahi, is by Thorwaldsen, but little worthy of him, and is perh.ips the only one that Rome will preserve of the celebrated Danish sculptor who passed his life in her bosom. The same cbapel contains the heavy mausoleum, by Al- gardi, of Pope Leo XL, likewise of the Medici family, but obscured by his glo- rious predecessor, although he had been charged as legate to receive the abjura- tion of Henry IV., which is sculptured on the mausoleum; he only wore the tiara the first twenty-seven days of April 160.5, and his death was occasioned by his not finding a shirt to change himself on returning to the palace after the ceremony of the Possesso. A cir- cumstance not generally known proves that this pope w as w orthy of the name of Medici. Having been informed that Clement VIII. had determined on taking from Saint Agnes extra muros ihe lour unique columns of marble of porta santa and of pavonazetto,' for the purpose of decorating the ch.spel of his family at Santa Maria sopra Mi- nerva, the cardinal de' Medici, then commendatory of Saint Agnes, without complaining to the pope, procured at his own expense four columns for the ' See post, ch. xsii. ^ Diario SIss. di Marco Aulonio Valena, died by the abbe Caiicellieri in his Storia dei soleniii pos- sess! det soinnii pvitlefici, p. 158, n. I. chapel, and, attending a pontifical au- dience, he offered them to the pope. The latter, touched by such an action, embraced the cardinal, gave him the sapphire that he Avure on his finger, and thanked him for having prevented such a spoliation, the blame of which he threw on his ministers. The Italian historian (in manuscript) pretends that God re- compensed this respect for the antique columns by raising the cardinal to the see of Saint Peter, which, however, he was not long to occupy. = In the chapel of the choir, the simple and elegant tomb of Innocent VIII. , by Antonio Pollujolo, is the only ancient monument of art subsisting among the perpetual pmbellishing of Saint Peter's. In the orchestra of this chapel the body of the last pope is alwajs provisionally placed, as in the vestibule of his last abode. The monument of the Stuarts, though by Canova, and praised by Perticari, Quatremere, and Stendhal, is paltry in style, without invention, and perfectly unworthy of its author; the Genii are languid and ordinary, like the last scions of that race, whom Alfieri, with a lo- ver's rancour, has handled in so angry and unbecoming a manner : Obbrobriosi giorni Qui>i favola al mondo, onta del Irouo, ScherDO di lutli, onibllineDte vivi The paintings of the cupola in the chapel of the baptistry, imitating basso- relievos, are perfect in execution. The celebrated Piety of Michael An- gelo, in the chapel of that name, is ill- placed, and produces no cllect. Some parts of this group, the last work of Michael Angelo's gentle style, are ex- ceedingly beautiful, but it is not the ar- tist's best. Michael Angelo was in his twentj-fourth year when he made it for Cardinal Jean Viilicrs de la Grolaie, abbot of our Saint-Denis. He justified the Virgin's youthful appearance which seems in contradiction with her son's maturity, in a singular and not very con- clusive manner, by referring to the ordinary fresh healthy appearance of chaste women. 4 To avoid for the future ^ Maria Sluart, ,t(Io v. sc. i. 4 See ihe follow iug curious passage froin CODdivi, Michael Angelo s friend and biographer : "Nou sai lu che le donne catile mollo piii Ireiche &! nianlen- ROME. (Book XV. the mistake of these Milanese amateurs who had wounded his self-love by at- tributing the Piety to their countryman Gobbo, Michael Angelo suffered himself to be shut up in Saint Peter's one eve- ning, and during the night he engraved his name on the Virgin's girdle, the only one of his works that he ever signed. The splendid but formal tomb of Christina has inspired Alessandro Guidi with a fine poem : Bencbe lu spazi nel gran giorno cleino ; a basso-relievo by the French Tendon represents the Queen's abjuration at Inspruck; opposite is the judiciously composed tomb of the countess Matilda. These two women showed themselves dilTerently devoted to the Holy See, but the friend of Gregory VII, amid the agitations of the middle ages, was gene- rous, enthusiastic, powerful, respected; Christine, at an epoch of civilisation and intelligence, was egotistic, philosophical, indifferent, without consideration and real greatness. The countess Matilda was not laid in Saint Peter's till 1635, by Pope Urban VIII., who charged Ber- nini with the execution of the monu- ment; the design and the head of the statue are by him, the rest by his brother Ludovico ; Matilda had been interred at the monastery of Saint Benedict at Po- lizone : some jears before the transla- tion, the duke of Mantua had the cu- riosity to have the tomb opened, and the body, after nearly five centuries, was found in a wonderful state of preserva- tion. Among the rich ornaments that em- bellish the chapel of the Holy Sa( rament, may be remarked the magnificent cibe- rium oflapis-lazuli, in the form of a little temple, an imitation of the circular one at Saint Peter in Montorio, a master- pieceof Bramante's.' The tomb of Gre- gory XIII., who reformed the calendar, gono che lenon cosle? Quanto niaggiormente una vergine nella quale noil cadde raai pur iin niinimo lasclvo desiderii) Che aliera.^se quel corpo! Anzi li to' dir di piii, che lal fre>chezza e Core di gioventii, ollre the per tale natural via in kl si manlenne, e anche crediliile che per divin' opera In let fosse ajutato a comprovare al luondo la vergiiilli e pu- lili perpelua della raadre. 11 che non fu necessario nel ligliuolo, anzi piutloslo il contrario, perche Tolendo naosirare clie il ligliuol di Dio prendesse. cuiue prese veramcutc, corpo umano, e soltoposlo by Camillo Rusconi, is even inferior to that execrable artist of the beginning of the eighteenth century, a great man in his day, who was then reckoned to unite the accuracy and majesty of the an- cients with the expression and charm of the moderns ; a judgment which is now perfectly ridiculous, and proves the fragility of all circumstantial reputa- tions in arts as well as letters. The chapel della Madonna, still called Greyoriana, from its founder Pope Gre- gory XIII., is from Michael Angelo's designs. Under the altar is the re\erend body of the immortal saint Gregory of Nazianze. The mosaics of the cupola, by Muziani, have been highly extolled. Close by is the ordinary tomb of the ex- cellent Benedict XIV. ' The beautiful, noble, and severe mo- nument of Rezzonico, stamped ihe repu- tation of Canova. It was uncovered on the Wednesday before EastiT 1795, under the glare of the great cross of fire, \^hich illuminated Saint Peter's on that day. The artist, then thirty-eight years of age, whom it had cost eight years' la- bour, mixed with the crowd in the cos- tume of an abli^ to learn the various opinions, and the impression produced by this novel sculpture. The figure of the pope, a plain old man at prayer, is admirable; the two lions are the finest executed by the moderns : the lion sleep- ing is such as Dante would have given ; A gulsa di leoa, quando si posa. The lion roaring, as an allusion to the pontiff's strength of mind in refusing the destruction of the Jesuits to the Spanish ministers, is not very natural. The stiffly draped fignre of Reliy ion is the feeblest : the funereal Genius, de- spile the merit of the trunk, seems listless rather than afflicted. The mosaic of Saint Petronilla, after Guercino, is the best executed in Saint Peter's. a lutto quel che un ordinario uomosoggiace.eccetto che a pectato, uon bisopn6 col divino lenere in- dielro I' uniauo, ma lasciarlo nel corso ed ordine (■uo, bicche quel tempo nioslra.^seclieavevaappunto. I'ertanto non ti hai da nieravigll.ire se per tal ri- spello io feci la Suntlssima Vergine ujadre di DIo a comparazione del Dgliuolo assai piu giovane dl quel che queir ela ordinarianienle ricerca, e II C- gliuolo lasciai nell' elk sua.'' ' See post, cb. xxvlii. Chap. I.] ROME. 505 The grottoes of the Vatican, the sub- terranean rhurch of Saint Peter, with the exception of some mosaics and old monuments, do not altogether cor- respond with the idea one forms of the ancient Christian catacombs; they are narrow, confused, and tortuous. Here are the tombs of Charlotte, queen of Jerusalem and Cyprus; of the emperor Otho II., Popes Adrian IV., Boni- face Vlil., >'ichoIas V., Urban VI., and Paul II. The monument of Boni- face VIII., of 1301, is with all its naked- ness curious as a work of art. Though Vasari and Baldinucci attribute it to Arnolfo, it is not by him, but probably by Giovanni Cosmate, a Roman sculptor of the fourteenth century. This sculp- ture reminds one of Dante's satirical verses on Boniface, w hen he makes Saint Peter say in a sublime speech, that his cemetery is become a common sewer of blood and filthiness : Fatto ha del (imiierio mio cloaca Del saugue e delta piizza ■ Some persons have pretended, but er- roneously, that the erection of the rich sacristy, of such indifferent taste, led to the demolition of an antique temple of Venus, in the last century. The oldest and most correct plans of Saint Peter's indicate no trace of such a building. Jesus Christ giving tliekeys to St. Peter, by Muziani, is feeble. The statue of Pius VI., who founded the sacristy, by the Roman sculptor Penna, is deficieiit in expression and nobleness. At the bottom of the corridor is the copy, as ancient as the emperor Ileliogabalus, of the celebrated inscription of the rural brethren {fratrcs arvales). priests insti- tuted by Romulus, some of the verses of which, with the remains of the Salian songs, are the oldest monument of the Latin tongue ; though hardly intelligible, they seem to be a prayer to the gods of the country for an abundant harvest. One must ascend to the cupola to judge truly of the extent of Saint Peter's, and to admire Michael Angelo as he deserves; he was eighty-seven years old when he finished this cupola. It is ihere that we see him entire, and his beautiful conception is not impaired. Esteem for the man heightens still further our en- ' Parad. ixvii. 25. The expcQdlturc vfas 17, ICO/., accordiog to the thusiasm for the artist. Michael Angelo, accustomed to work for glory or his friends, refused the salary of 600 Ro- man crowns accorded him by Pope Paul III., and for seventeen years he gratuitously directed an undertaking which had enriched most of the first ar- chitects. This expedition to the cupola is a kind of journey. A population of workmen, always occupied in repairs, inhabits the summit of the temple, which seems like a public place in the air. An ever flowing fountain exists at this height and adds to the illusion. The stairs lead to the interior entablature near the glorious promise made to the first apostle, inscribed in letters six feel high: Tu es Petrus. et super hane petram cpdificabo ecclesiam meam, et tibi dabo claves rcgni calorum. From the fa- mous bronze ball, which is large enough to hold sixteen persons seated, the aspect of the city, the Campania of Rome, the Apennines, and the sea, is most magni- ficent. CHAPTER II. Vatican.— Pope's expenditure.— Stairs.— Sala rcgia. — Sixtlne.— Last Judgment.— Ceiling.— Service. — Music— I'aullne chapel. The Vatican represents the new reli- gious grandeur of modern Rome, as the Capitol did the martial and trium- phant greatness of ancient Rome. But Ibis palace, once noted for its eleven thousand rooms, this pontifical court, long so pompous, is now all simplicity and moderation, the pope's expenditure barely surpassing the income of a pre- sident." The Vatican no longer thun- ders; in our days it is nothing more than the most extensive of museums, and a curious monument of the architectural talents of Bramante, Raphael, San Gallo, Pirro Ligorio, Fontana, Carlo Maderno and Bernini. The grand staircase (the Vatican has eight principal and about two hundred small staircases) is one of Bernini's cle- verest and most magical constructions. Among the great frescos of the Sala regia, representing glorious actions taken from the history of the popes, may be seen Charles IX. confirming the sen- tence of Coligny in Parliament, Co- ligmj's body thrown from the window, returns made by the French adminislrallon. See Tournon's Eludes statistiques sur Rome,{. ii, p. 65. 43 ROME. [Book XV jmil ilie Massacre of St. Bartholomew, which, if not planned at Rome, as now iippears probable, produced the intoxica- tion of a victory there, and was ap- proved of, in full consistory, by Gre- gory XIII., a learned and virtuous pope, the three best frescos of the Sala regia are : Gregory VII. absolving the em- peror Henry I V. from his excommuni- cation in presence of the countess Matilda, begun by Taddeo Zuccari, and finished by his brother Federico ; its pendant, the Attack of Tunis in 1535, by the same ; and Alexander III. on his throne in the great square of Venice blessing Federico Barbarossa, by Giu- seppe Salviali. The Sixtine chapel was ordered by Sixlus IV., a pontiff little acquainted with painting, but who felt and loved the glory that the arts can give. The Last Judgment was a subject singularly suited to the vast and daring genius of Michael Angelo, his skill in drawing, and his cleverness in foreshortening. It appears that he spontaneously turned his attention to this subject, and Pope Paul III., having heard of the studies he had made, visited him attended by ten cardinals to advise him to treat that .subject, and almost to entreat him : an honour which stands alone in the annals of painting, and manifests the great im- portance and consideration of the artist! IJut besides the grandeur of the style and the inspiration of Dante, the spectator feels that this awful fresco, begun after the sack of Rome, is impressed with the desolation of the time and the sombre melancholy of the painter. The elect appear therein almost as furious as the damned. The sublime fresco of the Sixtine, which has suffered from age, humidity, neglect, and the explosion of the powder magazine of Saint Angelo in 1797, narrowly escaped destruction under Paul IV. on account of the nudi- ties inseparable from the subject, and Michael Angelo has represented, under the semblance of Midas with ass's ears, IVIesser Biagio, master of the ceremonies to the pope, who had slui;idly denoun- ced them. Michael Angelo's answer to ihe person who informed him of the pope's Vandal determination was severe: "Tell the pope that is but a trifle, and may be easily remedied ; let him correct the world, and I will instantly correct my picture : " Dite at papa, che questa e piccola faccenda, e che facilmente si pud acconciare, che acconci egli il mondo, che le pitture si acconciano presto. Daniel of Volterra, Michael A ngelo's greatest pupil, undertook to veil the damned, a ridiculous operation that procured him the surname of Srac/ief- ?one (breeches-maker) and drew down on him the piquant verses of Salvator Rosa : E pur era un error si bruUo, e graode, Cbe Diiniele di poi fece da sarlo, lu quel Giudizio a lavorar mutande. ' This extraordinary fresco, finished by Michael Angelo in his sixty-seventh year, after nearly nine year's labour, has pro- duced, like other great masterpieces, a multitude of wretched imitators, and more than once its immortal author has been heard to say of the persons he found drawing in the Sixtine chapel : "How many persons will my work prove to be bunglers! " quanti quest' opera mia ne vuole ingoffire! Raphael however contrived to escape this danger and to profit by the beauties of Michael Angelo's execution, when, being clandestinely in- troduced into the chapel by Bramante, he had an opportunity of observing them before they were uncovered. In the space of twenty months, from the year 1507, Michael Angelo had exe- cuted, without assistance, at the com- mand of Julius II., the compartments of the immense roof of the Sixtine, paintings as highly finished as the Last Judgment, representing divers subjects from the Old Testament with a host of prophets, sib) Is, patriarchs, and other academic figures. The Eternal Father, in the Creation of the world, has been revived with marvellous originality : there is nothing to be seen but his immense head and his hands in a little space, as if to show that God is all intellect and power. The Eve has that native grace which could belong to none but the first woman, and which contrasts with the force and terror of the other paintings, and the grotesque figures of the compartments. The prophets and sibyls, the finest in the world, seem inspired : the Isaiah called to by an angel is turning slowly towards him, so profound is his medita- tion. The grandeur of the paintings on the 1 Sjt. 111. la f.llvra. Cbap. III.] ROME. roof completely annihilates the twelve other frescos of this chapel, by Luca Si- gnorelli, Alessaiidro Filippi, Cosmo Kos- selli, Perugino, and other masters; many of them are nevertheless remarkable : the Adoration of the Golden Calf, by Cosmo Uosselli; the Baptism of Christ, by Perugino J Jesus Christ calling St. Peter and St. Andrew to be apostles, by Ghirlandajo. I attended the services of the Sixtine chapel, a sight rendered imposing by the presence of the pope and cardinals, who are, however, somewhat negligently dressed. The aspect of this christian se- nate which had not the honour of receiv- ing Francis de Sales, Bossuet, and Fene- lon, shows the power, majesty, and inde- pendence of the Church, an imperishable society w hich subdued the ancient world, civilised the modern, and would fall short of its destiny in opposing the en- lightenment and improvement of the human race. On All Saints day, a pupil of the German college,' Count Charles Augustus de R*******, delivered, with a sonorous but unmeaning accent, an ineflective Latin discourse, which re- minded me of what Cardinal Maury said of these school-boy orations: "That for the most part they are neither the word of God nor their ow n." = The music of the Sixtine chapel, which was formerly the admiration of artists, seems, like that of Saint Peter's, to be near its end. It is not merely the so- prani that are deDcient in the pontifical chapel, but tenors as well : in 1828, out of the thirty-two singers, there were seven places vacant of these two voices. All the musical power of the Sixtine chapel is now included in Allegri's fa- mous Miserere, executed by two choirs without an instrument during Passion week, which it was formerly forbidden lo copy under pain of excommunication, but of w hich Mozart made himself com- pletely master, by hearing it twice. In the Pauline chapel, the two frescos of the Crucifixion of St. Peter and the Conversion of St. Paul, finished by Michael Angelo in his seventy-fifth year, were his last work in painting ; they are very inferior to the frescos of the Sixtine, and almost obscured by the smoke of the ■ The German college, eslablbhed by Saint Igna- tius for 50ung Germjns and tlungariaus, was com- prised in tbe suppression and revival of the Jesuits. tapers burnt round the Holy Sepulchre during Passion week. CHAPTER HI. Raphael's Loggia.—BorgU apartment -Aldobrnii- diiii Marriage.— Corridor of Inscriplious.- Ra- phael's Sfa/i:e. — Burning of Borgo.— Doors.— Dispute of the Holy Sacrament.— Scliool of .4tbens. -Ueliodorus.- Miracle of Bolsena. — Prison of Saint Peter.— Battle of Constanline.— On excessiie encouragement of art. — Chapel of .Mcholas V. Raphael's Loggia, if not entirely by his hand, must have been executed by his pupils under his guidance. This prince of the Roman School never went to the Vatican without a train of fifty painters, the vassals of his genius, attracted and bound to him by the charm of his cha- racter. This feudalism in the arts, so favourable to great works, was a conse- quence of other manners that cannot rise again. The pretensions, the inde- pendence of present artists, and academic dignity, are opposed to the obedience and subortiination which produced the vast and beautiful works we now contemplate with surprise. What must have been the effect, in their primitive freshness, of the brilliant stuccos and arabesques of Giovanni d'Udina, that skilful painter of flowers, fruits, and ornaments of every kind, is proved by ihe incideitl of the pope's groom, who, running lo fetch a carpet for his master's use, was deceived by the imitation, and snatched at one of the little carpels of the Loggia. The ara- besques of the Seasons, the Ages of life, figured by the Fates, are real pictures full of poetry. The most admirable of the frescos, ideal paintings inspired by the genius of the Scriptures, and known by the appellation of Raphael's Bible, is God dividing the light from the dark- ness, done by Raphael himself as a mo- del for his discipli^s. This great artist has executed four figures of the Eternal Father, each did'ering from the others, but all sublime. The Creation of the sun and moon is also of rare beauty. The Deluge, by Giulio Romano, is most powerful and pathetic in expression. The Three Angels appearing to Abraham in the likeness of young men, have a It is In Ihe house of these Fatheis at llie Gesii, and follows the lectures of the Roman college. ' Essai swr I'Eloqtieuce de la oliaire, cb. livii. 508 ROME [Book XV. kind of Oriental elegance unlike the Greek forms. The composilion of ihe group of Lot and his daughters flying from Sodom is perfect. Jacob smitten with Rachel, whom he meets near the well, by Peliegriiio of iMoiiena, a fresco full of grace and simplicity, has a land- scape treated with great finesse. The four subjects from the History of Jo- seph are distinguished by rich and inge- nious composition and vigorous colour- ing. The Moses rescued from the water, by its freshness of tone, the gradation of lints and truth of colour in the waters of the Nile, is like the creation of land- scape, which, before Raphael, Wiis merely draw n and not painted in the background, or if painted, it was done without har- mony or perspective. The Judgment of Solomon is not surpassed by Poussin for distinctness, precision, and eloquence in the pantomime of the two mothers. In the last division a Last supper, in good colour and more scientifically executed than its neighbours, seems also by Ra- phael. He seems to have superintended the frescos of the Loggia after his clan- destine inspection of Michael Angelo's frescos in the Sixline. Most of the fres- cos of the Loggia, especially those by his own hand, have an air of grandeur which proves that some peculiar and important circumstance must have determined this revolution in his talent. The Borgia apartment owes its name to the infamous Alexander YL whom a blasphemous, but well-turned and cu- riously servile distich places higher than Caesar and compares with God : CiBsare magna full, nuuc noma est maxima : Regiiat Alexander; ille vir, isle Deus. [Sexlus The stuccos and paintings of Giovanni d'Udina and Perino del Vaga, which adorn the ceiling of the great hall, are decorations superior in style. Among the valuable wrecks of antiquity pre- served in the Ave rooms of this apart- ment, may be distinguished fragments of the frieze of the Ulpia basilic, the Gius- tiniani basso-relievo of the Education of Bacchus, a marble tripod, and the fa- mous Aldobrandini .Marriage, an antique painting supposed to represent the union of Thetis and Peleus, but which the paintings since discovered at Pompeii have stripped of its glory. The long lapidarian gallery has the Pagan inscriptions on the right hand, and the Christian on the left, a species of stone manuscripts which are the de- light of the learned. Some monuments are interesting for mere lovers of curio- sities. Such, for instance, is the grand cippus of Lucius Atimetus, which has two basso-relievos, one representing a shop and the other a cutler's workroom. The pagan inscriptions are placed ac- cording to rank and condition from di- vinities down to slaves; excepting some consular inscriptions, the same hierarchy does not prevail among the Christian in- scriptions. The Stanze (chambers) of Raphael are the triumph of painting, and never has this art elsewhere appeared so grand, so varied, or so powerful. These cham- bers were already painted in part when Raphael, in his twenty-fifth year, was summoned from Florence to Rome by Julius H., to work at them with Pietro del Borgo, Braniante of Milan, Pietro delta Francesca, Luca Signorelli, and Perugino. But on beholding the Dis- pute on the Holy Sacrament, his first essay, the pope, enraptured with the pu- rity and expression of the heads, sus- pended the painting of the other frescos and destroyed those already done, with the exception of a ceiling, the work of Perugino, protected by his great and ge- nerous pupil. The fresco of the Fire of Borgo Vec- chio, at Rome, which surpasses all Ra- phael's other works in the number of naked figures, rivalling those of Michael Angelo in beauty and expression without equalling tlicm in muscular science, pre- cision of outline, and freedom of action, is rather a sublime and poetical inspira- tion of the second book of the iEneid than a representation of the miracle of Saint Leo and the spectacle of a fire. The fire, flames, smoke, and all the phy- sical ravages of the disaster are Ihe least prominent parts of the painting ; but the moral picture of the terrors it produces is extremely moving : such is the young manescajiing over a wall; and especially the mother who is about to drop her infant child from the top of the same wall into its father's arms, who is stand- ing on tiptoe to catch it. The fine group which might be taken for an ^Eneas saving his father Anchises on his shoulders and followed by his wife Creusa, is by Giulio Romano. The women carrying Chap. III. ROME. 369 •water are superb. Opposite, the ma- jestic Coronation of Charlemagne by Leo HI. in the Vatican basilic, is sup- posed to have been only coloured by an- other hand on Il;ii)hael's cartoon. Over the window, Leo HI., justifying himself before Charlemagne, presents the like- ness of Leo X. and Francis I. in the fi- gures of the pope and emperor. In this chamber is the ceiling by Perugino which was spared by Julius II. The graceful carvings in wood on the doors are by the clever Florentine Giovanni Barile, whose labours in the Vatican were directed by Raphael ; Louis XIII. ordered Poussin to lake drawings of them, that similar ones might be executed for the Louvre. The scrupulously minute designs of Poussin formed two large volumes, preserved in Colbert's library till 1728, when they were purchased by Mariette; what be- came of them when his rich cabinet was dispersed is unknow n. The two grand paintings of the Dis- pute on the Holy Sacrament or Theo- logy and the School of Athens are una- nimously regarded as Raphael's most sublime productions; in no instance has he surpassed them in grace, purity, and elegance of design. In the Dispute, an ideal poetic picture of the council of Pla- centia, where the controversies on the sa- crament of the Lord's Supper were ter- minated, Dante is placed, according the opinion of the time, among the theolo- gians; ' Raphael has there given his own portrait and Perugino's under the figures of mitred personages. It is thought that Ariosto was consulted on the hisiorical composition of the School of Athens. The head of Homer, although the an- tique bust of the poet was not then dis- covered, is perhaps the most asionishing of these fifly-two figures and breathes the highest inspiration; beside him are Virgil and Dante. The Aspasia, young and beautiful, covered with a helmet like another Minerva, is pensive. The different groups have a natural connec- tion with the principal action. Several figures are portraits: the Archinn-des is Bramante; the young man with one knee on the ground, Frederick II. duke of aiantua ; the two figures to the left of Zoroaster with a crown on his head, are ' The quality of eximio iheologo is joined to dial of poet in ilie title of Dante's Credo, printed at Rome about 1 1'8. Perugino and Raphael. The architec- ture, traced by Bramante, presents the perspective of the primitive plan of SaiHl Peter's The Parnassus, an able and graceful imitation of the antique style, is never- theless inferior to the two frescos above- mentioned, as a whole, and some figures are rather cold in the colouring. Apollo is playing a violin, and, strange to say, Raphael had at first given him a lyre! Some persons have pretended that he was weak enough to suppress it to flatter a musician in favour at court, who ac- companied the songs of the poets at thi- suppers of Leo X.; which must be an error, as the Parnassus was painted in 1511, two yea IS before the pontificate of Leo. This violin was not, however, so strange as it now appears, as all the che- rubim have played on the same instrument from the revival of painting. According to another conjecture, Raphael meant to do honour to Leonardo Vinci, then about sixty years old, and a great violin player, in representing the god in this manner. Among the illustrious poets may be re- marked Homer between Virgil and Dante, Sappho, Pindar, CalJimachus, Ovid, Horace, Petrarch, and Laura un- der the semblance of Corinna, Boccaccio, and Sannazzaro. The fresco called Jurisprudence is noble, grand, ideal. On the ceiling, the fourfigures of J/teo- logy. Philosophy, Jurisprudence, and Poetry, have the taste and gracefulness of antiquity. Heliodorus, the richest, most copious, and most animated of Raphael's compo- sitions, is an allusion to the history of Julius II., who drove the enemies of the church from the patrimony of Saint Pe- ter, and Raphael has given his portrait therein. The superior nature of the two angels over Heliodorus armed is mar- vellously expressed. The groups of the pope borne on the Sella gestatoria, o( the women, and of the angel vanquishing Heliodorus, are perfect. The figures in black and while on the ceiling have a beautiful and grand character. St. Leo arresting Attila at the gates o/'Jf?ome is the portrait of Leo X., a great literary pope, but scarcely strong enough for such an action. The cross-bearei, near him, is another portrait of Raphael, always accompanied by his master Pe- rugino. The tranquil majesty of the pa- 4:3. 510 ROME. [Book XV. pal corlege forms an admirable contrast with the disordered, infuriate army of the barbarians issuing from a defde in the mountains to pour dow n on the plain of Rome. The upper part of the Miracle ofBol- sena, namely the priest, the pope (a por- trait of Julius II.), the altar and the desk, is worthy to be compared, for co- louring, to the finest productions of Ti- tian. The various groups of this dra- matic fresco admirably express the most diversified contrasts: the passions of fear and agitated curiosity in one portion of the spectators, the emotion of the women on seeing the miracle, the rude indiffe- rence of the pontifical grooms kneeling at the bottom of the steps, and the saint- like gravity, the calm and confident faith of the pontiff and cardinals. The extraordinary effect of the three different lights in the Prison of St. Pe- ter proves that no part of the art was unknown or impossible to Raphael's ge- nius. This fresco is another allusion to the life of Julius II , who had borne the title of cardinal of Saint Peter in Vin- culis, hereditary in his family. The ar- tist, according to the ingenious dTIan- carville, has composed the countenance of the apostle by blending together his own features and those of Julius, like Apelles. who, in a portrait made for the temple of Ephesus, made Alexander and Jupiter both recognisable, without im- pairing the youthful appearance of the former or the majesty of the latter. The four subjects in black and white on the ceiling, greatly injured, are treated with exquisite taste. The Battle ofConstantine, the largest historical painting known and one of the best composed battle scenes, though executed by Giulio Romano, shows the order, the sagacity, the method, of Ra- phael in his greatest and most vivid compositions. This picture wants no- thing but a richer and more picturesque colour. Poiisfin, however, was of opi- nion that the rough lints of Giulio Romano were suited to the fury of such a struggle. The enthusiasm and warmth of execution admired in this painting are so great that, according to an able Italian critic, ' the artist seems to be carried away by the action he depicts, to parti- cipate in the ardour of the warriors, and ' [iollori, Descrizione ilelle Piltiire, p. (16. to fight, if the expression be allowable, with his pencil. One of the most touch- ing episodes is theyoung standard-bearer, whose dead body is raised by an old soldier. The two fine lateral figures of Justice and Benignity are entirely by Raphael. The former, remarkable for her stately and graceful attitude and the full majestic adjustment of the draperies, lays one hand on the long neck of an ostrich somewhat strangely placed beside her. The sheep at the feet of Renignily is a much more natural attribute of that figure, likewise distinguished by its quiet and ingenuous air. The Cross appearing to Constantine, by Giulio Romano, displays all his power and boldness. The background contains some of the principal monuments of Rome; the dwarf attempting with both hands to put a helmet on his head is a whimsical episode, unworthy of such a composition. Raphael is visible in the fine invention of the Baptism of Constantine. Some parts of Constantinc's baptistry, a small octagonal church near Saint John in Laterano, arc still in nearly the same state. The personage in black with a velvet cap is Giovanni Francesco Fenni, called II Fattore because he managed the money matters of Raphael his master; this painting was feebly terminated by him. The dare-obscures of the base- ment, by Polidoro di Caravaggio, are excellent. The ceiling, by Lauretti, all but the lernple, the perspective of which is wonderful, presents gigantic and clumsy figures of vulgar forms and harsh- ly coloured. The history of this ceiling is pretty good proof of the bad effects of excessive encouragement. The artist was lodged in the palace, and had ob- tained from Gregory XIII. such favours and a kind of princely state, that, becom- ing used to this pleasant life and wish- ing to prolong it, he had made little haste, and had not finished at the pope's death. Sixtus V., being less patient, insisted on his scaffold being taken down without delay : thus compelled to expe- dition, Lauretti finished the ceiling some way or other in less than a year: it had not the least success, and the merciless Sixtus not only refused to pay him, but compelled liim to disburse the expenses of his splendid livinf?, and even the keep of a horse he had purchased, by which he was ruined. Chap. IV.] ROME. 51 « The little chapel built and decorated by Pope Nicholas V. ought not to be forgotten. This pope had it painted by ■ FraAngelico, whose charmingly natural frescos represent difTcrent incidents of the life of Saints Stephen and Laurence, and although partially injured, are worthy of the excellent Florentine master of the fifteenth century. Such was the pious simplicity of Fra Angelico, that the pope, touched at the condition to which he was reduced by incessant labour and the austerity of his fasts, commanded him to eat meal: " I have not the prior's per- mission," innocently answered the reli- gious artist. CHAPTER IV. Vatican library.— Nicholas V.— Excommanlcation. —Vlrpil.— Terence.— Petrarcb.— Dante.— Bible of the dukes of llrbino. — Breviary of Mathias Cor- viiius. — .Manuscript of the monk of the GolJen Isles.— Letters of Uenry Ylll.— Sketch of the lirst cantos of the Geiumlemme. — Other autographs of Tasso.— Printed books. The first beginning of the Vatican, the oldest library in Europe, was under Pope Saint Hilary, who collected some manu- scripts in his palace of Saint John in Laterano in 4(55. This illustrious library was transferred to the Vatican by Ni- cholas v., who must be regarded as the actual founder, an admirable pope, and worthy precursor of Leo X., and not less serviceable than he to letters and the arts, though less renowned. One of his successors, Sixtus IV., also enriched it considerably, as we learn from these verses of Ariosto : Di libri aotiqui anche ml puol proporre II numer grandc, che per publico uso Sislo da tuttu il nioudo fe raccorre.' Sixtus had appointed Platina librarian, and receives from him the same elogium > Sat. Tir. (.19. ' This library, taken at Heidelberg by TIlii, was presented to Pope Gregory XV. by Miiximilian, duke of Bavaria. It is singular enough that one of the most precious portions of the Vatican is the pro- ceeds of pillage. The manuscripts, thirty-eight in number, ulilch had been brought to Paris, were restored to the university of Ilehlelberg In 1815, as well as the eight hundred and forty-seven German manuscripts remaining at Rome, the celebrated Teutonic manusci ipl of the Parapliraseii transla- tion of the Cojpe', by Otfrld, and four Lailn ma- ^ nuscrlpts concerning llie history of the university. in these verses, less elegant than he usually wrote : Templa, domum exposilis, vices, foro, moeula, pontes Virgineam Trivii quod repararit aquam Prisca licet naulis slatuas dare comiuoda porlus, Et Valicanum cingere, Xlsle, jugum; Plus tamen urbs debet, nam quce squallore latebat Cernllur in celebri bibliotbeca loco. The present spacious edifice appro- priated to the library, of Fontana's ar- chitecture, was ordered by Sixtus V., who, by reiterated menaces, succeeded in getting it built inone year, and painted in the next; but he seems to have paid more attention to the decoration of the building than thi- increase of the books. It is not improbable that the erection and external embellishments of this library cost more than its manuscripts and books. Leo X., in employing persons to seek for manuscripts in distant parts and copy them, was as zealous as his two succes- sors Adrian VI. and Clement VII. were indifferent, as may be seen by these two opposite and indifferent epigrams by the zealous librarian Sabeus, the first ad- dressed to Leo, the second to his cousin Clement, whowas indeed truly unworthy of the name of Medici: Ipse tall pro te discrimina, damna, labores, Et varies casus harbarie In media, Carcere ut eriperem, et vinclls et funere libros Qui tc conspicerenl et patrlam reduce. Dicere non possum, quod sim tua, visere quam non Uactenus ipse veils, Seplime, nee paterls. nine gemo et illacrymor, quod sim libi vilior alga, SorJidior coeno, Tisiphone horridlor. Besides the different purchases made by the popes, the Vatican has successively augmented by the libraries of the elector palatine, > of the dukes of Urbino, ^ of Christina, 'i of the marquis Capponi, and This university of Heidelberg, so fallen in our days through the unruly conduct of the students, counted among its pupils Sand, the fan:iticjl assassin of Koizebue, who had prolited but Utile from the res- titution of the manuscript Gospel. * The library o( Urbiuo was founded about the end of fifteenth century by Duke Federico of .Mou- tcfeltro, a great book-hunter, who, at the taking of Volterra, in 1472, claimed no booty hut a Hebrew Bible. ■t Part of Christina's books, like those of the old library of lh& elector palatine, were obtained by conquest, having been taken at Wurtzburg. Pra- 812 ROME. [Book XV. of the Oltoboni family. It now contains a hundred thousand volumes and twenty- four thousand manuscripts, namely : five thousand in Greek, sixteen thousand in Latin and Italian; the last few in num- ber ; and three thousand in different oriental languages. Such is the mystery of its bookcases that no one would suspect what literary treasures it contains, and that the traveller who goes over it is not really struck with anything but the paint- ings, the Etruscan and Sevres vases, the beautiful column of oriental alabaster, and the two statues of the sophist Aris- tidesand the bishop St. Hippolytus; the latter is a work of the fourth century, and on the seat is sculptured the cele- brated paschal calendar, composed by the saint in the year 223, to combat the error of those heretics who celebrated Easter on the same day as the Jews. Among the objects exposed in the dif- ferent rooms, may be remarked a small fresco of the eighth century representing Charlemagne, and the iron armour of the constable of Bourbon, except the sword, in which he perished during the sack of Rome, a great catastrophe both for letters and the arts, which amid the bright days of the revival, was like a day of the barbarian invasion." On amarble tablein the reading-room, nearly always deserted, is the decree of Sixtus v., excommunicating any man, even the librarian or his assistants, who should take a single volume out of the gae, and Bremen, by her father Gustavus Adolphus, who carried the libraries of the Jesuits and Capu- chins into Sweden. ' The population of Rome, which under Leo X. bad risen from forty tiiousand to ninety thouband, was reduced to thirty-two thousand, iieslde the ravage of the Vatican, a long catalogue might be made of the works and learned labours that were lost in this pillage. It was the subject of an in- teresting treatise by Valeiianoon the misforlunes of men of tellers (de Lillerutorum infelicilale). Ua- pbael's school w as dispersed by the ill-treatment of the soldiery. See an eloquent ans«er by Count Castiglione to the dialogue of the secretary Valdes on this event, and the book, by an unknown author, entitled : " Ragguaglio istorico di tutlo I' occorso, giornopcr glorno,uei sacco di Roma dell' anno ).5'i7, scrltto da Jacopo Buonaparte, genliluomo Sammi- nlatese, cbe vi si trovo presente, trascrllto dell' oulografodi esso.'' So great was the terror inspired by the sack of Rome that the name of Bourbon (Borbone) continues to be an object of fear and hatred at Rome, and, changed into ISnrhune, It !s still used as a bugbear to frighten children. The corpse of the constable was long preserved in the library without an autograph permission from the pope, a regulation breathing the Roman pontifical spirit, and utterly opposed to the literary habits of France. The fifty miniatures of the Virgil are a curious monument of painting in Italy in the fourth and fifth centuries. The portrait of Virgil seems the least uncertain image of his features. Some details of the miniatures, bytheirsimplicity.nature, brightness, and even a kind of dignity, recall older and belter times. Most of these compositions, though incorrect and without either clare-obscure or perspec- tive, render the different subjects with great nicety. The Terence, of the end of the eighth century or beginning of the ninth, seems a copy ofan original of earlier date. The figures are animated and expressive, but still more barbarous than those of the Virgil. These two ornaments of the Vatican made part of Bembo's library, from which they passed into that of the dukes of Urbino. The first had pre- viously belonged to the celebrated Pon- tano ; the second, to the Neapolitan poet Porcello Pandonio, who had ceded it to Rernardo Bembo, the cardinal's father. This manuscript is extremely curious for its information respecting the habits of the time and some ancient usages, several of which have continued to our days, such as the use of the neckerchief {suda- rium\ still worn at Rome by servants and other labouring men. citadel of Gaela,and there existed a singular cuslom of changing its costume three times a year. There is a tradition that the soldiur who was charged with the duty of dressing this mummy, had said : "Questo B grida la nolle come un diavolo, se nou si veste a suo tempo."' If we may judge by Courier's Lettres inediles (t. i p. 30), the Vatican was pillaned with no less fury, ignorance, and cu- pidity in )"9i than in the sack of 1527. By the ar- ticle VIII. of the suspension of aims, concluded at Bologna June 23, IT96, it was stipulated that Pius VI. should cede live huodred of (he Vatican manu- scripts, to be choseu by the commissioners of the republic, and the treaty of Tolentino (art. XIII.) mentions this clause. The eomraissiooers named were Monge, Bartli6lemy, a palnler, Moilte, a sculptor, and Tlnet, who had but little eiperlence in paleography, and received their directions frotn I'aris, taken from Montfaucons Dibliolheca bibtio- lliecarum. I'rinled books, vases, and medals, were also taken against the text of the treaty. See the work entitled : " Recensio manuscriptorum codicum qui ex universa bibliotheca Valicana selccll... pro- ciiratoribus Gallorum tradili fuere." Lipsiae, C10I3CCC1II. 8. CaAP. IV.] ROME, 513 A manuscript palimpseslus of the Va- tican, whitli, like those of the Ambrosian at Milan, came from the convent of Saint Colomban di Boi)bio, has supplied to Cicero's Republica some new fragments, hidden for eij;hl or nine centuries under the text of Saint Augustine's Commen- tary on the Psalms. I The precious autograph manuscript i of Petrarch's Rime shows to what extent I he laboured his poems : Da indi in qua colante carte aspergo Di peu.sitTi, di lagiime e d' incbioatro, ' Tanto ne squarcio, ii' appareccliio, e vergo." Petrarch throws some familiar details of his life among his verses : in this manner he writes that he is called to supper {sed vocor ad cwnam), and other remarks not less prosaic. A fine manusci ipl of Dante in Boccac- cio's writing, was sent by him to Pe- trarch, who, as some say, has annoted it. This manuscript, the most precious of the Divina Commedia in existence, is connected with and represents the three great creators of Italian literature, but it does little honour to Petrarch, as it proves how little eager he was to procure the Divina Commedia, and shows us by the singular answer to which this present gave occasion, that he concealed his envy of Dante's verses under a show of contempt. The magnificent Latin Bible of the dukes of Urbino, two large folio vo- lumes, illustrated with figures, arabes- ques, landscapes, is a monument of art which has been reckoned worthy of Perugino or the best painters his con- temporaries. The mutilated scroll, thirty-two feet long, of fine parchment covered with miniatures, representing a part of the History of Joshua, which ornan-.ents a Greek manuscript of the seventh or eighth century, is one of the greatest curiosities of the Vatican. The menologus, or Greek Calendar, ' Trionfi. These Rime, wilh the note at tbe Ambiosiiin and Ibe letter to Donril {see booli vii. ch. v.|, aie tbe principal autographs of I'elrarcb now extant. There is a story stating that in bis solitary walks at Vaucluse and Arqiiii, lie had written a great number of verses on bis pelisse; but that this garment was burnt at Florence tn the sixteenth century, during a plague, as suspected of contagion. See the Preface to the edition of the ordered by the emperor Basil, embel- lished with four hundred rich and bril- liant miniatures representing martyr- doms of saints of the Greek church, with views of churches, monasteries, and basilics, is a curious and complete mo- nument of the cold, pompous, mono- tonous painting of the Byzantian school at the end of the tenth century. The Breviary of Mathias Corvinus is admired for the composition and richness of its miniatures and ornaments. This great king of Hungary had collected at Bude a library of more than fifty thou- sand volumes and manuscripts, confided to two Italians, Galeotti and Ugoletti, the finest of its time; and its pillage by the Turks in 1,")27, the year in which Rome was sacked by the troops of Charles v., may be regarded as one of the great bibliographic catastroithes of modern times, and one of the chief events of his reign and of tbe history of his country. Corvinus purchased annually to the amount of 30,000 ducats, a prodi- gious sum, equal to 72,600L of our present money. This Breviary, of the end of the fifteenth century, seems to have been executed at Florence by one of the clever calligraphers that he main- tained in Italy, of whom he had no less than thirty. A Life of Federico, duke of Urbino, presents some fine miniatures by Dom Clovio, a good painter of such portraits, pupil of Giulio Romano and friend of Annibale Caro.a The curious Mexican calendar unfolds and stretches to a prodigious length. It is not on human skin like the two horrible Mexican manuscripts of the Dresden and Vienna libraries; the ma- nuscript in the first of these libraries is also a calendar, and both of them have been represented by Humboldt. A Plutarch, from Christina's library, has manuscript notes by Grotius. The imperfect miniatures of the twelfth century on the manuscript of Donizon's Latin poem present the full- R/me with various readings, followed by the treallse on the Moral Virtues of King Uoberl, who therein takes only the title of king of Jerusalem so as to be more like Solomon ; of the Tesurello, by Brunelto Latiui, and ol four Canzoni, by Bindo BonlcchI, of Siena, Rome, 164:!, in folio. " See a charming letter written in bis name by the latter to a young German lady, also a vignette painter, t. vi. p. 505 et seq. 5U ROME. [ Book XV. length portrait of the heroical countess Matilda, holding a grenade : her cos- tume is rich and picturesque ; she is covered with a gold cap of a conical form, ornamented with precious stones in the lower part; a rose-coloured veil is thrown over this cap; the chlamys is lack colour, with a gold band also set with stones ; the gown is sky blue. Some scenes are characteristic: one miniature represents the emperor Henry IV. pros- trated before Matilda, and Hugo, abbot of Cluny, with his crosier and mitre ; the inscription is : The king implores the abbot and Matilda also. He was in reality indebted to their intercession for the absolution which the pope had refused him ; but a powerful emperor at the feet of an abbot and a woman shows the spirit of the age. The manuscript of the Lives and poems of Provencal poets, by Le Monge, of the Golden Isles, as he was surnamcd, of the isles of Hyeres where this monk, who died in Ii08, had his hermitage; this brilliant manuscript had belonged to Petrarch and Bembo, and bears some notes by them. If it be not the original and one of the best manuscripts of the troubadours, it must still be esteemed the most curious monument of the an- cient poetry of Provence that the Vatican possesses. The manuscript copy of the Treatise on the Seven Sacraments, the work of Henry VUI., sent and dedicated by him to Leo X., and which procured its author the title of Angelic, despite the coarse abuse it lavishes on Luther his adver- sary, is laboriously written. At the bottom of the last page is this distich in the king's hand : ADgloruin rex Henricus, Leo Decime, mitllt Hoc opub', el Udel tesle et amicitie." The letters of Henry VIII. to Anne Boleyn, his mistress, the title by which he addresses her, are seventeen in num- ber : nine in French and eight in English. They were at our great library for eighteen years. Love-letters might have been left in France, where they would ' See anle, book viii. cb. II. « Lih. ;/., Eleg. ultim. v. 65. 3 Tbis number of four tbousand eight hundred lb taken from ttie catalogue printed at I'lsa in 1821 ; have been more naturally placed than in the Vatican. A sketch of the three first cantos of the Gerusalemme, written by Tasso in his nineteenth year, when living at Bologna under the protection of the duke of Urbino, to whom he dedicates them, is singularly interesting. Of the one hundred and sixteen octaves in this manuscript, several are retained in the poem. It was on reading these fine fragments that the Bolognese senator Bolognetti, likewise a poet, rapturously repeated the verses of Propertius on the yEneid : Cedile. Romani scriptores, cedite Graii. iNescioquid majus nascilur Iliade.' The other autographs of Tasso consist of several of his treatises and dialogues: viz. : Riposta a Plutarco sulla fortuna de' Romani, e delta virtu d' Alessandro; il Porzio, Dialogo della Virtii ; il Min- turno, Dialogo della Bellezza ; il Ca- taneo, Dialogo delle Conclusioni amo- rose ; il Ficino, Dialogo dell' Arti ; il HJalpiglio, secondo Dialogo del Fiigir la Moltitudine ; e il Constantino, Dia- logo della Clemenza. Some printed works at the Vatican, on vellum, are in the first rank of the masterpieces and rarities of typography; we may enumerate as such : one of the thr e copies of the Treatise on the Seven Sacraments (London, 1501), sent by Henry VIM. to Leo X. ; one of the four copies of the famous edition of the Bible in four languages, called the Polyglot of Cardinal Ximenes (1514-17) ; the magni- ficent Arabic Bible (Rome, 1671); the fine Greek *i6/e of Aldus (1518); one of the three copies of the Epistles of St. Jerome (Rome, 1468); one of the three copies of the first and rare edition of Auius Gellius (Rome, 1469). The li- brary of works on art formed by Cico- gnara, containing more than four thou- sand eight hundred articles, was sold by him for 4,000?. and given to the Vatican by Leo XII.* It must be esteemed one of its most important additions. Ibe library was farther augmented by Cicognar.i, and a considerable number of volumes of the VatI- I can Uaye since been added thereto. I Chap. V.] ROME. 515 CHAPTER V. Museum.— ChiaramontI museum. -Medica Minerva. — Nile. — I'io-Cleraenlino museum. -Torso. — Me- ■ leager — Canoia's Ceiseus, Wresllers.— Mercury. — Lnocoon. — The Apollo.— Ilall of animals — Ariadne —Jupiter.— Visit by torcblight.— Grego- riano museum. — Geographical maps. — Arazzi. The museum of the Vatican, the finest and richest in the v/orld, was brgun about fifty years ago in a court and a garden. Orie hardly knows which to admire most, the zeal of the lateponiifTs, or the singular fecundity of a soil which has produced so many chefs-d'oeuvre in so little time. Pliny states th.Tt in his day there were more statues at Rome than inhabitants. The abbe Uarlhelemy calculated that, notwithstanding the ra- vages of centuries and the mutilations of the barbarians, the number of statues exhumed at Rome up to the present century exceeded seventy thousand. If we likewise consider the great number of its columns, did'ering in size and workmanship, without including those destroyed or transported to other coun- tries, how numerous must the edifices have been, how glorious the splendour of the eternal city, when peopled with this multitude of figures, uninjured or new, placed in these same sumptuous edifices! A bishop of Tours, the vene- rable ilildebert, who died in 1139, ce- lebrated the antique statues then dis- covered at Rome in verses remarkably elegant for the time, and w ith a kind of profane reverence extraordinary in a bishop of the twelfth century : Neclamen annorum series, nee flamma, nee ensis Ad plenum potuil tile abolere derus, flic .'■uperum formas superl mirantur el ipti Et cupiuiil lictis TUltibus esse pares. Nee potuil N.itura Dcos hoc ore creare Quo miranda Deuni signa creavil homo. Cultus adest bis numinibus, poiiusque coluulur Arlilicis studio, quam deiialesua. It is impossible to contemplate un- moved this great number of personages known and unknown, of these names, stones, and inscriptions, which are like an apparition, a resurrection of anti- quity. The physiognomies of many of these personages differ much from their fame : the features of Nero, of a noble expression, are not disfigured by crime ; Marcus Aurelius has not a very fine face; Claudius might be supposed a wit. The vast ChiaramontI museum was created by Pius Vil. and classed by Ca- nova. The following articles may be distinguished : a fine fragment ofa basso- relievo of Apollo seated; a statue of a woman with the attributes of Autumn; the hermes, called Plato, Sleep, or the bearded Bacchus, but which seems to be a portrait of a person unknown ; the curious little hermes presenting the dou- ble emblem of Bacchus, young and old ; a statue of Domitian ; a Discobulus in a niche of Braccio Nuovo; a head of Apollo near it; the Lucius Verus naked, as a hero, cleverly re.^tored by Bacetti, the head and trunk only being antique; the bust of Commodus; the beautifully elegant Minerva, erroneously called Medica, in perfect preservation, the best of all statues of Minerva, surnamed by Canova, the Apollo of draped figures; the colossal Nile, noble and poetic, with the sixteen little figures, emblems of the sixteen cubits necessary to inundate Egypt; a pretty little Anadyomene Ve- nus; an unknown Greek philosopher resembling a Homer in the head ; the superb statue of Fortune; Antonia, mother of Claudius; the Juno, called Clemency ; the bust of Caracalla when young; an Euripides, full of character; a graceful Ganymedes ; a Demosthenes, whose stuttering is seen and heard by the motion of the lips ; a Nerva supe- riorly draped ; Antinous under the form of Vertumnus; two heads, one of which passes for Sappho, the other for Niobe; a bust of Adrian; a head of Venus of admirable oullnie; Sabina, Adrian's wife, as Venus; the bust supposed to be Trajan's father; a fine head of Cicero. The PioClement'tno museum takes its name from the popes Clement Xlll., . Clement XIV., and Pius VI., who began and augmented it ; the latter bought more than two thousand statues. The sarcophagus of peperino and the noble and simple inscriptions taken from the tomb of the Scipios, seem to have been torn away by a real profanation; and they would be of far more touching cITect in that solitary place, ■ than exposed amid a promiscuous crowd of statues in a museum; the inscription of the sarco- Iihagus, stating it to be that of Cornelius Lucius Scipio Barbatus, the conqueror ' See post ch xliv. 5t6 ROME. [ Boor XV. of the Sainniites and of Lucania, is not, as long supposed, the oldest in Latin, though among the most ancient. The sublime torso of Apollonius, per- haps the best piece of sculpture in the Vatican, is apparently one of the latest masterpieces of art among the Greeks before the loss of liberty. No other figure has the Qesh so true. Winckelmnn, whose science is very superior to his taste, falls into a singular exaggeration in his Pindaric description of the Torso, both in comparing the back to a chain of pleasant hills of muscles, and in pre- tending that the body is above human wants, that it has no veins, and that it is made to enjoy life and not to cat : this stomach, with all its ideal, is that of a man of excellent digestion. Michael Angelo used to say that he was the pupil of the Torso : he was indebted to it for his grandeur, as may be seen by the naked of the figures in the chapel of the Tombs, and hehasalmostcopieditin the Sl.Uar- Iholomcw of the Sixtine. The Iradilion that he when aged and blind often felt the Torso with his J^iands, despite its un- certainty, is characteristic of the spirit of the time and the iiassion for antiquity that prevailed among the artists of that epoch. The legs and drapery of the fine Me- leager, one of the best preserved antique statues, are hard and formal : the boar's head is perfect, and i)rovos the care with which the ancients executed animals and treated the dillcrent accessories. The Perseus, by Canova in his youth, and not one of his good works, was his first heroic statue. Notwithstanding the artist's opposition, it was set on the pe- destal of the absent Apollo, and obtained the surname of the Consolatrice. With all the merit of the muscles and inge- nuity of contrast, the Vamoxenes and Creugas have the air of pugilists; it is difiiculi, to imagine a more ignoble con- queror than the first of these wrestlers : it is the triumph of brute force in its most abject state. The Mercury, long erroneously called the Antinous oftUe Vatican, is perfect in grace, vigour, and softness. 'Ihe Laocoon seems to be of the times of the first emperors. The three artists of this immortal chef-d'a-uvre, so finely Mending strength, expression, and pain, which Fliny and Diderot reckon the sub- limesl performance known, were Age- sander and his two sons, Polydorus and Athenodorus, of Rhodes. Sadolet cele- brated the discovery of the Laocoon in an eloquent poem, his best work. A lucra- tive recompense was accorded by Ju-*' lius n. to Felice de' Fredis, whohad found it in his vineyard ; he and his sons re- ceived a portion of the gabel dues at the gate of Saint John in Laterano, and when Leo X. restored this revenue to the basilic, he gave them in compensa- tion the oflice then called officiiim scrip- toricB apostolica',\\h\ch\i now abolished. A curious letter from Cesare Trivulzio to his brother Poraponio, written from Rome on the 1st of June 1506, gives an account of the festival then celebrated by the Roman Poets. Laocoon and his sons, though sacrificing at the altar in the temple of Minerva, are quite naked, and yet on beholding this isolated ideal re- presentation of sullering humanity, of this spectacle of terror and pity excited by the anguish of the father and his children, the eye does not miss the cos- tume of the high priest, or the fillets of Laocoon, so n)uch is truth superior to reality, so com|)letely docs the imagina- tion pass over the latter to contemplate the former. Of the multitude of pro- ductions inspired by the Laocoon, per- haps the happiest is by Canova, who has imitated the head of Laocoon in the dying Centaur of his Theseus. On an enormous granite tomb is a fine basso-relievo representing Augustus about to ofler a sacrifice. The Apollo was discovered near Ostia, in Nero's baths, and madame de Stael shrewdly expressed her surprise that he could look at this noble figure without a generous emotion. The convulsive group of the Laocoon was found in the hot-baths ofTitus : the two chefs-d'oeuvre might have been displaced. Winckel- man, in his celebrated and emphatic description of the Apollo, deems it the sublimcst of antique statues; his country- man, Mengs, with sldl more exaggera- tion, wUI have it the only complete example of the sublime. All ihisstudied enthusiasm seems to have caused a reac- tion in opinions concerning the Apollo. M. de Chateaubriand thinks it trap vante; (Canova and Visconti are inclined to suppose it an improved imilationof a statue of bronze of much greater anti- quity, that of Calamis, which the Athe- nians placed in the Ceramicus when Chap. V.] ROME. 317 ihey were dolivcred from the plague. The shuddering anger of the conqueror of Python, Ihough raihcr theatrical, does not impair his i; the famous Sibyl Persica, by Guercino, a fine head, well- painted, adjusted rather picturesquely, but it has neither the expression, eleva- tion of style, nor costume which should characterise a sibjl; a Virgin, by XI- bano; a Magdalen penitent, by Tinto- retto ; Christ before the doctors, by Va- lentin; the Sibyl ofCumce, by Domeni- chino, inferior to that of the Borghese palace ; • the Triumph of Flora, by Poussin, a copy or repetition of the paint- ' See pos(, cb. xxxv. ing in our Museum ; Cupid and Psyche, by Luti, elegant and in good taste; Ro- mulusand Remus, by Rubens, in which the wolf is exceedingly well painted; St. Nicholas of Bari, by Giovanni Bel- lini. The best paintings in the second room are : another and superb Adulterous Woman, by Titian, who seems to have had a passion for this subject; his Bap- tism of Christ, containing a profile of himself; a portrait of Annibale Carrac- cio; the Battle of Arbcles, one of the most esteemed works of Pietro da Cor- tona ; the Presentation of Christ in the Temple, ascribed to Fra Bartolommeo, and worthy of him ; the Virgin, Infant Jesus, and St. John, by Garofoio; Cleo- patra before Augustus, by Guercino, and above all, his capital work, the ad- mirable St. Petronilla, Ihe first painting in the gallery of the Capitol ; the portrait of a Spanish priest, by Giovanni Bellini, which has all the native truth of that old Venetian master; St. Sebastian, by Ludovico Carraccio; //inoccnce with a dove, by Romanelli ; the celebrated St. Sebastian of Guido; St. Barbara, a half-length, worthy of either Annibale Carraccio orDomeiiichino;2Vf?/wsc/tam- ed to his rock, in the Venetian style; Bathsheba, well coloured, by the elder Palma ; the Graces, by the younger; the Rape of Europa, by Paolo Veronese, a repetition of the chef-d'oeuvre in the Ducal palace at Venice. The portrait of Jlichael Angelo, said to be his own and praised as such, is very possibly not by him, for it has not the slightest trace of his breadth of style. The fine Vanity of Titian, and the celebrated Fortune of Guido, have been removed from the gallery on account of their naked figures. A similar scruple caused the withdrawal of the three Graces, small antique statues, not very extraordinary and by no means indecent. This punctiliousness does not seem over sensible : Titian's Vanity, the far too highly praised For^wne of Guido, and the three Graces would have been scarcely noticed among the other paintings and statues. As this zeal does not go to the extent of destroy ing them, a much greater inconvenience arises, namely, the im- moral and scandalous creation of the secret cabinet, which one is almost com- pelled to enter with lascivious ideas ; a reserved cabinet, it is true, which the 45 550 ROME. [ Book SV. public does not see, ihough it is shown to every body. CHAPTER XIV. Porta,— Piazza del Popolo.— Obelisk.— Santa Maria del Popolo.— Mausoleums of Cardiuals Sforza and liecanati. — Ghigi ctiapel. — Jonas. -Saint Charles. Count Al. Verri.— Saint Liiurcnce in Luctna.— VoMSbixi's moQument. The Porta del Popolo, a kind of ti iumi»hal arch, is of a good st> le of ar- chitecture on the outside, and this part has been allributed to Rlichael Angeio and Vigno'a. The interior, hastily G- nished by Bernini for the entry of Queen Christine, has something petty and af- fected like the heroine. The Piazza and its pitiful statues are little better ihan the interior of the gate. Despite its recent regularity, this Piazza, of a confined architectural taste, seems but a [loor entrance to Rome, far infe- rior to the gloomy, desolate, ruined as- pect presented by the Coliseum as we approach by the road from >"ap!es. The four modern sphinxes of the obelisk have the air of calves but little enigmatical. 1 his superb obelisk of a single ttone co- vered with hieroglyphics was raised at Ileliopolis by Ring Ramses !. to decorate the temple of the Sun: it was brought 10 Rome by Augustus and placed at the Spina of the Grand Circus : its Greek inscription proves that the Egyptians knew the Trinity. It was drawn from the ruins by Sixtus V. and erected by Fontana. According to a popular tradition as old as the close of the eleventh century, a large tree once stood near the gate del Popolo, on w hich a raven used constantly to perch. The earth was dug up at the foot of this tree, and an urn w as found with an inscription stating it to contain the ashes of Nero. They were scattered to the w inds, and Pope Pascal II. found- ed, on the spot where the urn was dis- covered, the church of Santa Maria del Popolo. Rebuilt by Sixtus IV. on the designs of BaccioPintelli, and embellish- ed by Julius II. and Alexander VII., it has become very interesting as a work of art. In the chapel of the Virgin, the paintings by Pinturicchio are finished and aerial. The splendid Cibo chapel has a Conception by Carlo Maratta. The third chapel, dedicated to the Virgin and several saints, presents some re- markable paintings by Pinturicchio, re- .stored by S. Camuccini. On the altar of the fourth chapel, the basso-relievo of St. Catherine between St. Anthony of Padua and St. Vincent the martyr is an elegant work of the fifteenth cen- tury. The ceiling of the choir, superb, is by Pinturicchio; behind the high altar are the beautiful painted windows of the French glass-stainers Claude and Guillaunie, in\itcd by Diamante, the only painted windows at Rome, and which after more than three centuries have all their pristine brilliancy. The two celebrated tombs erected by Ju- lius II. to the Cardinals Ascauio Sforza and Recanati present the exquisite sta- tues and ornaments of Conlucci da San- savino. Several tombs of the middle ages are also of a grand style of their kind. In the next chapel is a fine As- sumption, by Annibale Carraccio; the Crucifixion of St. Peter, and the Con- version of St. Paul, by Michelangelo di Caravaggio, beautifully executed, are so badly placed that it is difficult to see them well. The Ghigi chapel, one of the most re- nowned in Rome, is from Raphael's de- signs; he is even said to have executed the cat toons of the four mosaics of the graceful cupola, of the paintings on the frieze, and of the altar-piece, which were finished by Sebastiano del Piombo, Francesco Sahiati, and Vanni. The Daniel Ax\(\ the pro[ihet Habakkuk ythom an augel is carrjiiig by the hair of his head, are by Bernini; the EUas, the elegant Jonah sitting on the whale, are by Loienzetto : the Jonas, an imitation of the Antinous, justly enjoys great ce- lebrity ; it has even been pretended that Raphael modelled it, but the greater probability is that he only gave the de- sign to his fasourite pupil Lorenzetto. The sumptuous tomb of the princess Odescalchi Ghigi, designed by Posi and sculptured by Penna, appears at once graceful and fantastical ; a lion is well executed. Among the sepulchral stones of this church is one of a man whose death en- sued from the bite of a cat on his finger, as may be seen by the epitaph, which contains a useful moral : Ilospes, disce novum mortis genus; Improba fclis Hum iratiilur, digiium mordet, et intereo. Chap. XV. ] ROME. 551 The tomb of a Roman noble, who died in ti85 of the venerea! disease, as the inscription slates, ' proves an important medical fact, curious and but lillic no- ticed, since this shameful death occurred seven years before the discovery of Ame- rica. The church ofSaint Charles is splendid, but of bad taste. The architects were Oaorio Lunghi, his son Martin, and Pietro daCortona, who finished it. The heavy front, disfigured by the enormous size of its columns and their dispropor- tion to the confined space where they are set, is by the priest Menicucci and the Capuchin Jlario da Canepina. In the richest chapel of the church are the formal statues of David with his harp, by Pacilli, and Judith, by Lebrun. The St. Charles presented to Jesus Christ by the Virgin, at the high altar, is the largest and one of the most esteemed paintings of Carlo ftlaratta. In this church repo.'^es Count Alessandro Verri, author of the Roman Nights, a gene- rous writer, full uf the spirit of antiquity, though his exaggerated, turgid, redun- dant, monotonous style, as well as his pure and honourable life, are not unlike an Italian 1 homas. Verri has left an inediled history of the French revolution to the Consulate; it would be interesting to know in what light such a man has considered and judged it. Theancicntchurchof Saint Laurence, which retains the Pagan surname of Lu- cina. |»resenlsa Crucifix, a fine painting by Guido. Poussin is interred here. I sought the tomb of the great and poetic French painter with singular emotion, ^ and I found ordy the funereal inscriptions of cardinals, of an engraver and anAulic counsellor. M. de Chateaubriand, when ambassador, has since remedied this cul- pable neglect; a late mausoleum, con- fideil to French artists, of which Lemoine supplied the design and the bust, has been erected to Poussin : on it is sculp- tured, at the suggestion of M. dc Cha- teaubriand, the melancholy landscape of the Arcadia, which its simple disposi- tion renders very suitable for sculpture. ■ Marco Anlonii pqullis Romani filio ex Dobili Alburtoiiuru faniilia corpore aiiimoque insigni qui annura •agcos XXX peste iuguinaria liilerilt an. salulis cbrislian* M.CCCCLXSXV, die XXIII Julii heredes b. m. p. CHAPTER XV. Saiutlgnnlius. — RomanCollege.— Jesuits.— Library. — Clii istiiias Doles. — liirclicr museum.— Saint Mji-cellus —Pierre Gilles.— Cardinal Coiisalvi — Gesii.- Bellarmin. The grandeur, the richness, the orna- ments of Saint Ignatius are olTensivt* from their bad taste. The faulty front, by Algardi, is nevertheless imposing; the paintings on the roof of the gallery are the most considerable work of the famous Jesuit Pozzi, who, with all his vagaries, there exhibits imagination and clever effects of perspective. The tomb of Pope Gregory XV., by our compatriot Legros, is highly spoken of, as well as the basso-relievo of St. Ludovico of Gonzaga, of good mechanical execution, and remarkable for the noble and modest expression of the principal figure. The Roman college, of Ammanato's architecture, one of the greatest and most solid masses of building known, adjoins Saint Ignatius. The court is one of the finest in Rome : if the whole has no essential faults, it is still deficient, despite its enormous proportions, in cha- racter and grandeur. The Roman col- lege, directed by the Jesuits, has some monks distinguished for learning and piety; such as P. Pianciani.a great ex- perimental i)hilosopher and chemist ; P. Secchi, a good Grecian and archeologist; and P. Grassi. Several of the students belonged to the highest class of European society ; such as M. Ch. de £"**'*"**"^ nephew of the author of the Genie du Christianisme ; Count C***"***'**, a Pole formerly distinguished for his accom- plishments, and some others, sincere men, priests worthy of all respect, who from conviction have relinquished the most brilliant scenes of worldly greatness for the humble life and condition of simple moidis. The Jesuits, though in the very heart of their empire, had nu- merous enemies, and a well-informed observer ex|)ressed his conviction that they could not maintain their ground. The library of the Roman college, which is considerable in number, but greatly behindhand, and has lately expe- ' M. d'Aginconrt, to put donn the pretensions of tlie Italians, wbo claimed roussin on account of his long residence in Italy, had bis bust executed at his OHD expense, and placed it in the PuiUbeoti «ilh the inscription, ?iic.?oussin PicloiiCallo. 532 ROME. I Book XV. rienced losses to the amount of about eleven thousand volumes, did not seem 10 me very well arranged, and nolwith- Btanding the kindness of the guardians, it was not in reality very easy of access. A Quintus Curtius is annoted in Chris- tina's hand; and she treats Alexanders conduct very shrewdly : He reasoned badly in this case, says bhe in one place; and in another : / should have done just the contrary; I should have pardoned; and further on : / should have shoivn clemency. The clemency of Christina may seem singular after the murder of Monaldeschi. It appears that it was not the queen, but the woman, the mistress, who took vengeance of the traitor. Christina had a taste for mar- ginal notes. To induce a belief in her strength of mind, she had written on a Seneca, Elzevir : Adversus virtutem possunt calamitates. damna et injurice, quod adversus solem nebula possunt. At page lit of vol. 1 of the copy of the Bibliotheca Hispana (Rome, 1672, 2 vols, fol.), in the library of Santa Croce in Gerusalemme, is the following curious note relating to the work of I). Fran- cesco della Carlera, entitled Conversion de la Reina de Svecia in Roma, 1656, which was there alluded to : Chi I' ha scritta, non lo sa ; chi lo sa, non V ha mat scritta. The books and manuscripts of Muret, which he bequeathed to his disciple and friend P. Benci, were added to the library of the Roman college, but only a small part remains there, the greater number being at the Vatican. The compilation of various readings and materials collected by P. Lagomar- sini for a complete edition of Cicero, which has not appeared and which it was reserved for a learned Frenchman to publish fnsi,' formed thirty large folio volumes; some leaves have been cut out and two volumes lo;t, one of which contained the explanations of the referential signs, so thai it is almost im- possible to make any use of this long labour. His first v\ork in twelve thick folio volumes had been suppressed on account of some inaccuracies, by this laborious and persevering admirer of Cicero, who had examined for the Mi- Ionian oration alone eighty-four ma- • M. J. V. le Clerc, professor of I.alin cloqnence and president of tlje Faculty of Lcllers in tlie Aca- dtmy of I'aris. nuscripts and thirteen editions. Sixty Chinese volumes on the mathematics and astronomy, collected by Jesuit missiona- ries, would perhaps afford some in- teresting discoveries. The museum of the learned, laborious, but very chimerical P. Kircher, the creator of hieroglyphic erudition, is cu- rious, though badly arranged, for its fl- gurines, inscriptions, earthen lamps, medals, cameos, glass, and other minor antiquities. It has been very consider- aldy augmented by another learned Je- suit, P. Contucci, whose shop of paintings from Pompeii was, however, discovered by the abb6 Rarth(5lcmy to be the fabri- cation of some clever counterfeiter. Among the simple curiosities of this museum, I observed a fine cameo of Sa- vonarola, w ilh an inscription giving him the title of martyr, ordered by the fa- naticism of his partisans, which seemed lo have been worn round the neck ; and the unfaithful sword of the constable of Bourbon, whose iron armour is at the Vatican. Theconstable's name is written on the blade, as well as those, of two Italian generals to whom it had pre- viously belonged ; the sword has also some .Malabar characters, which prove thut it came from India, and not Da- mascus. The church of Saint Marcellus, with a front by Carlo Fontana in detestable taste, has some good jiaintings in the chapel of the Cru<:ifix : the Creation of Eve, by Perino del Vaga, which recalls the Florentine style and has two little angels thai are lifelike; the St. Mark, nearly all the St. John, by the same, and the rest of the chapel, completed on his designs by Daniello da Volterra, as- sisted by Pellegrino of Modena. At Saint Marcellus was interred the ancient French naturalist and traveller, Pierre Gilles, who died in 1555, the author of a superficial catalogue of the fish of the Mediterranean, whom Rabelais has Pan- tagruellically described : " Ung urinal en main, considerant en profonde con- templation I'urine de ccs beaulx pois- sons." A more serious and contempo- rary tomb is that of Cardinal Consalvi in the chapel of ihe Crucifix, in which his last will directed his body lo be united to his beloved brother's. The mauso- leum of this accomplished seductive dip- lomatist, Ibis moderate and dexterous reformer of the Roman courl, is a much CuAP. XVI.] ROME. esteemed work of S. Rinaldo Rinaldi. Santa Maria in via lata, gilded and modernised, is said to occupy I he spot where Saint Paul and Saint Peter lived. The spring in the subterranean church served to baptise those whom the rude eloquence of the latter apostle converted. The portal, by Piclro da Cortona, was reckoned by him as his masterpiece of architecture. The antique church of Saint Mark, several times renovated, has some good works : the Battles, by P. Cosimo, a Jesuit ; the Christ risen, by the >ounger Palma ; the Adoration of the Magi, by Carlo Maratta; St. Mark the pope and St. Mark ihe evangelist, by Perugino; the latter saint, and some lateral cha- pels, by Bonrguignon: and Ihe tomb of Leonardo Pesaro, a Venetian, by Ca- nova . The church of the Gesii, the professed house of the Jesuits, is of the architec- ture of Vignola and his pupil Jacopo della Porta, who has not in every instance very scrupulously followed his master's design, especially in the construction of the portal in travertine and too ornate decoration of the roof, which is not in keeping with its simple, pure, and ele- gant disposition. There is nearly al- ways a strong breeze near the Gesu, owing to the elevation of Mount Capilo- line and the direction of the streets. The Roman populace say that the Devil was one day walking with the Wind, and when he reached this church he said to his companion : "I have something to do in here; wait for me a moment." The Devil never came out, and the "Wind is still waiting for him at the door. This splendid church prcsyils good works and a great number of very bad ones. The St. Francis Xavier, by Carlo Maratta, in the false and easy style of Sacchi, and the Circumcision, pleas- ing, by Muziano, have been praised. The frescos of the roof of the gallery and of the great cupola pass for the best of Baciccio, a painter of the Roman school, the friend of Bernini, who aided him with his advice. The sumptuous chapel of Saint Ignatius, from the design of P. Pozzi, seems singularly formal : the globe of lapis lazuli, held by the Eternal Father, is the largest in existence. Two of our compatriots, Theodon and Legros, seem there to dispute the mastery in re- finement and exaggeration : the first in his group of the Japanese embraciny Christianity ; the second, in that of Faith overthrowing Heresy, which, not- withstanding the defects of the period, has some well executed parts. Under the altar, the richest altar in the world, the tomb of the Siiint, of gilt bronze, con- trasts w ith his life spent in poverty, toil, and sufferings; he reposes on a shroud adorned with precious stones, and his tall statue is of massive silver, partly gilded, and further ornamented with gems. The two little angels over a side door of this chapel are probably the least ridiculous sculptures of Rusconi, and of the eighteenth century. The Gest'i holds the tomb of Cardinal Bellarmin, the illustrious controversi- alist, who blended the principles of the sovereignty of the people and the pope, revived in our days : his invectives against the temporal powers, and per- haps the naive vanity displayed in the Memoirs of his life, have prevented his canonisation. The design is by Rai- naldi; the two figures of Religion and Wisdom are by Bernini. CHAPTER XVI. Araccpll.— Pietro delta Valle.— Column of tlie aparl- inent oft lie Emperors. — Mausoleum of tbeSavelli. — Epilapli of De" Fiedis. — Tomb of Fra Matleo. — Saiilisbimo liambiiio.— Mameiline prisou.— Saiul Luke. — Academy of Saint Luke.— Virgin.— False scull of Uaphael. — Alvarez. The church of Aracoeli probably oc- cupies the site of the temple of Ju- f)iter Capitolinus; but its twenty-two columns of Egyptian granite cannot have formed part of it, as, according to Plutarch, the columns of that tem- ple were Pcntclic marble; differing in size and workmanship, they have been taken where they could be found : the third, on entering, has this inscription in ill-shaped antique letters : A cubi- culo Augustorum ( from the bed-cham- ber of the Cajsars on Mount Palatine). What a strange destiny for this column, to have passed from the apartment of the emperors into a church of Fran- ciscans! The frescos of the Life of St. Bernardin, the best being the Death of the Saint, are good works by Pinturic- chio; having been restored by S. Ca- muccini, they present true attitudes, a simple and well-conceived expression, S34 ROME. (Book XV. though somewhat stiff and dry in the drawing and execution. The famous Roman traveller and pil- grim, Pielro della Valle, cited also as an elegant writer, is interred near his be- loved wife, Sitti Maani Giarida, a young Assyrian Christian, whom he married at Bagdad ; the companion of his travels and his combats in Persia against the Turks, she died near the gulf of Ormuz, and in this same church of Aracoeli he celebrated her funeral with great pomp and delivered a funeral oration. This sensible traveller, an acute observer, according to Gibbon, who had little reason to censure his vanity and pro- lixity, found the system of mutual in- struction practiced by the Hindoos at the beginning of the seventeenth century. The celebrated mausoleum of the an- cient Roman family of the Savelli, of the thirteenth century, presents an an- tique sarcophagus at its base, adorned with Bacchic emblems, which forms a singular contrast with the Gothic archi- tecture of the mausuleum, the work of Agoslino and Angelo di Siena, though Vasari says the design was given them by Giotto. The tomb, of another Giam- battista Savelli, who died a cardinal in 14.98,isofexcellentsculpture,and has been thought worthy of Sansovino's school. The epitaph of De' Fredis, who found the Laocoon in his vineyard, shows the honour which then attended such dis- coveries, considered as public events, as really noble actions worthy of immorta- lity : ....Quiob proprias virtutes, et re- pertum Laocoontis divinum, quod in Vaticano cernis, fere respirans simu- lachrum, immortalitalem meruit anno Domini XDXXVUL' The remarkable tomb of Fra Matteo Acquasparta, general of the order, who died a cardinal in 1302, has no inscrip- tion, a singular fact which did not escape Dante's ardent and minute investigation into the things of Italy, when he op|)osed the liberality and moderation of Fra Matteo d'Acquasparta to ihe absolute principles and rigour of Ubertino di Casal, anotherchief of the order of Saint Francis : Ma lion da da Casal nt iV Acqiiasparla, La oncle vegnon tali alia srrilliira Cli' uno la fugge c raltro la coarta.' ' See ante, ch. v. ^ "By Bcrcules! ' farad, can. xii. 12;. exclaimed (be African cliief The paintings of the chapel of Saint Margaret are among the best of the unequal Benefial. The roofof the chapel of Saint Anthony of Padua, by Nicolao Pesaro, is esteemed. A Transfigura- tion, by Sermoneta, evinces a happy imitator of Raphael. At the church of Aracoeli is preserved {hereyercdiwraculous Santissimo Bam- bino, which is carried to djing persons, a small wooden figure which, according to the legend, was made out ofa tree of the Garden of Olives by a pilgrim of the order of Saint Francis, and coloured and varnished by Saint Luke, while the sculjitor was asleep after a three days' fast. The pompous procession of the Bambino takes place every year after vespers, at the feast of Epiphany. This infant Jesus, with its swaddling-clothes covered, perhaps, with millions worth of pearls and precious sloncs, is taken from the crib where it had lain exposed in theatrical stale between Augustus and the sibyl from Christmas; three limes it is shown to Ihe people from the lop of the majestic stairs of Aracoeli, made of marble taken from the temple of Ro- mulus, and covered with Ihe prostrate and excited muUitude. The little church of Saint Joseph, which has a Nalivitij, Carlo Maralla's best work, stands over the ancient and terrible Mamcrline |)rison. This Roman dungeon, formed of enormous volcanic stones joined together wiliiout cement, a kind of Cyclopean construction of an aspect still fearful, is now a chapel con- secrated to Saint Peter and Saint Paul, who are said by a tradition to have been imprisoned there ; and the spring still seen there is lakcn for the miraculous fountain (hat they made to pour forth water for the baptism of saints Procelsus and Martinian, with forty martyrs their companions. In the succession of mo- numents at Rome Ihete is a kind of mo- rality that paints her history : (he oldest monument of the kings is a prison, w hile the tomb of Ihe Sciiiius, the oldest mo- nument of the republic, represents the glory and virtues of Ihatepoch. It was in the Mamerline prison that Jugurlha died of shame and hunger, after entering it with a jest; 3 there, too, Syphax, king of Numidia, and Perseus, the last king when tlirown almost naked Into bis pii?OD, " llicr- ma; are cold at Rome I " Chap. XVII. 1 ROME. 535 of Maccdon, Mere confined ; and after- wards the aoromplices of Catiline, who could hear the voice of Cicero accusing Ihem in the leinpie of Concord, were here strangled without a trial; dilTerent vic- tims that all contributed to the grandeur of Rome. The church of Snint Luke was rebuilt by Pietro da Cortona, w ho was so pleas- ed with its architecture, though in- ferior, that he called it his daughter. The front is so lofty that it masks the cupola, which is in tolerably good st>le. The rich subterranean chapel in which the body of Saint Martina reposes, the ancient patroness of the church, was erected by the same artist at his own cost, and he left his fortune to Saint Luke, amounting to 100,000 crowns. The Assumption, by Sebastiano Conca, though highly extolled, is ordinary, like the other paintings of the church. The Academy of Saint Luke, the in- signe pontificia accadcmia romana di belle arti di San Luca, a veritable Ro- man Academy of fine arts, created in the year 1588 by Sixtus V., adjoins the church. Its apartments present many works by the great Italian masters and living professors. The patron of pain- ters and of the Academy making the portrait of the Virgin with the infant Jesus, by Raphael, who has painted himself therein, has all his admirable qualities. The skull, so long shown as Raphael's, near which was written Bembo's celebrated and elaborated dis- tich, Ille hie est Raphael, timuit quo sospile vinci Rerum magna parens, et nioriente mori,' which young artists used formerly to touch, in great ceremony, once a year with their pencils, this relic of painting, since the discovery of the body of the immortal artist," has sunk into that of the canon don Desiderio de" Adjulori, the obscure founder of the society of the Virtuosi of the Pantheon, — a narrow skull, unworthy of the honours it re- ceived and the pious veneration it so long inspired. The siatue of Canova, who had been named perpetual president of the aca- demy, commemorates one of the bene- ' This dislicb has been happily translated iulo Italian : Questi e quel Uaffael, cut vivo, vinta volcnt deeds of that excellent man. It is by the clever Spanish sculptor Alva- rez, who, being without resources during the French occupation of Madrid, had offered to sell some of his works to the viceroy of Italy. Canova, being privately consulted as to their merit, answered : "The sculptures of Alvarez remain on sale in his stuiHo bec.iuse they are not in mine." Alvarez, afterwards informed of this generous conduct and worthy to feel it, obtained permission of the Academy of Saint Luke to execute gratuitously the statue it had decreed to Canova. CHAPTER XVn. Saint Theodore.— Saint Gregory.- Frescos of Dome- nichlno and Guido. — Imperii!. — Navirella — Saint Stephen il Rolondo. — Saint Clement. The church of Saint Theodore is reared on the site of the ancient temple of Ro- mulus, on the very spot where he was suckled by the wolf. The first Chris- tians, who had great tact in turning po- pular traditions and prejudices to ad- vantage, consecrated the temple to Saint Iheodorc, like Romulus, a warrior; with this view they also fiequenlly changed the temples of the mother of the gods into churches dedicated to the Madonna. The people of Rome, who are apt to mix their antique reminis- cences with their Christian creed, have corrupted Saint Theodore into 5an Toto; and mothers present their sick children at his altar, that they may be cured, and perhaps one day have the vigour of the first founder of their city. The antique church of Santa Fran- cesca Romana, repaired in bad taste in 1615, has the rich tomb of the saint, by Bernini, and that of the French pope, Gregory XI. (Pierre Roger), erected in 138i by the senate and people of Rome : the esteemed basso-relie>o of Olivieri, a Roman sculptor and architect of the last century, though not free from the de- fects of the time, represents the Return of the Holy See to Rome in 1377. We there see the desolation and ruin of the eternal city, then reduced to seventeen thousand inhabitants, and more de- graded, more fallen through the absence Esser (emea nature, e niorto, cstioto. ' See po>J, cU. xsiii. 536 ROME. I Book XV. or the popes than the inroad of ihe bar- barians. Under the vestibule is the mausoleum, in tolerably good style, of Antonio Rido of Padua, governor of the castle of Saint Angelo, deceased in 1475, on which he is represented on horse- back and in arms. The solitary church of Saint Gregory sul monte Celio, built on the site of the monastery founded by this lloman patri- cian, who became a great pope and a singing-master, is served by the Carnal- dulite monlis. The front and double portico are elegant, airy works by Soria, an architect of the seventeenth century, who resisted the progress of bad taste for a considerable period. This church is principally indebted for its celebrity to the rival frescos of Domenichino and Guido in the chapel of Saint Andrew. The Scourging of the saint, by the for- mer, is a chef-d'oeuvre for ele\ation. force of design and expression, and beauty of composition ; the flogger, with his back towards the beholder, is admi- rably drawn. The fresco of Guido, St. Andrew adoring the cross before his martyrdom, richer and more vigorous in colouring than Domenichino's, is after all inferior. At the bottom of the cha- pel is a statue of St. Gregory sitting, which was rough-hewn with genius by Michael Angelo, and finished by his pupil, the sculptor I.orrain Cordier, called Franciosino. The Concert of Angels, by Guido, on the roof of the gallery of the chapel of Saint Silvia, mother of Saint Gregory, though much praised, is not one of his best works. The view of the ruins of the Caesars' pa- lace is wonderfully picturesque from this chapel. The chapel of the Saint has a painting by Annibale Carraccio, superb- ly coloured, representing him. Jt must be confessed that if Saint Gregory, frem religious zeal, was as much the enemy of Xhe fine arts as is falsely pretended, he did not deserve to be so magnificently treated by them : but the anonymous accusation of having destroyed ancient monuments and thrown statues into the Tiber, is an undoubted calumny, as no contemporary writer relates this action, which Saint Gregory had no right to eiecute, and which would have made so much noise at Rome, (Constantinople, and throughout the Roman empire. ' see po)t, cti. isiii. It was at Saint Gregory that the cele- brated Roman courtesan Imperia, the Aspasia of the age of Leo X,, the friend of Beroald, Sadolet, Campani, and Co- locci, obtained the honour of a public monument and strange epitaph: Imperia cortisana Romana, quce digna tanto nomine, rarce inter homines formes specimen dedit; vixil annos xxvi dies XII, obiit 151 1 die 15 augusti. Both mo- nument and inscription were destroyed in the last century, not tor scruple or decency, but by inadvertence during cer- tain repairs. The existence of Im[)eria, and the kind of dignity of a Roman courtesan, are features characteristic of the pagan manners, if we may say so, of the literati at the revival." Imperia was sung by her learned friends in Latin and Italian verse. Bandello rebates that such was the luxury of her apartments, that the ambassador of Spain repeated there the insolence of Diogenes, by spit- ting into the face of a servant, saying he could find no olher place for it."' Im- peria seems also to have been very eru- dite, as we see in Bandcllo's description, that beside her music books, her lute, and other instruments, there lay several richly ornamented MOiks in Latin and the vernacular tongue : Parecchi libretti volgari e latini riccamente adornati. In the fifth chapter of Paolo Giovio's trea- tise de Romanis piscibus [BaisW, 1531), there is a very amusing story of an old Roman parasite, Titus Tamisius, who sent his valet to the market to ascertain where the best fish went to. Being in- formed that the head of an umbra was sent to one of the Conservators (according to an old usage that allowed these offi- cials the head of fishes of extraordinary size), then presented to two cardinals, and to the banker Ghigi, he followed it with much fatigue and anxiety until it last went to Imperia, to w hom Ghigi sent it crowned with flowers in a gold dish, and with whom the impudent Tamisius suc- ceeded in dining. The daughter of Im- peria, married at Siena, was a model of chastity; being entrapped, like Clarissa, into a house of ill fame, by Cardinal Pe- trucci, rather than yield she took poison and fell dead at the feet of her infamous ravisher. Geronimo Negro thus speaks of her unhappy fate in a letter to Marcanto- nio Micheli of GroltaFerrata, of Decem- ' Pari. III^), nov. 42. Cbap, XVIII.l ROME. 537 ber 19, 1 522 : Queslo caso tanto ph'i e de- gno di esser celnbrato, e quasi preposto al fatto diLucrezia, quanto, chc questa donna fit figlia di ttna pubbJica e fa- mosa meretrice, die fu V Imperia, cor- tigiana nobile in Roma, come sapete.' The ancient church Santa Maria iti Dominica, called delta Navicella, from a litlie vessel put in front by LeoX., w.is cleverly renovated on Raphael's designs. The portico is by Michael Angelo, and the frieze painted in clare-obscure, by Giulio Romano and Perino del Vaga. Saint Stephen il Rotondo, which is only open early on Sunday mornings, is an instance of an antique ediflce (perhaps a temple dedicated to Claudius) con- verted into a church about the tifth or sixth century : its successive repairs show the reirogression of art. The numerous paintings of Pomarancio and Tempesta, representing difVerent Martyrdoms of Saints, bad enough, are the most hideous and complete collection of executions that can be imagined. The antique church of Saint Clement presents the best preserved model of the disposition of the first basilics. How grand and popular does Christianity ap- pear al its birth from this solemn ar- rangement, presenting a double pulpit for the public reading of the Epistle and the Gospel! We feel it a moral, posi- tive, instructive religion, whose precepts are binding on ail mankind w ithoul dis^ tinclion. Some traces of this primitive religious equality seem perpetuated at Rome in the practices of the public ser- vices: every body kneels on the bare pavement of the temples, and we see no- thing of the devotional comforts of our parish churches to mark a distinction of rank. The dilferenl compartments of the aisles also show itie various grades, the holy hierarchy of the catechumens; the Church was then a militant body which had its degrees of advancement, and vir- tue alone produced the distance. It is no unreasonable supposition that in the centre of the atrium formerly stood the fountain in which the pagans purified themselves, probably the origin of the Christian holy-water vase. The foun- dation of the church of Saint Clement, with all its antiquity, is not so old as the filth century, as some persons have stated, who confound il with another basilic of ' Letlere de' Principi. Venice, I5G2, t. I, p. 8t. the same name, which fell to ruin and was demolished by Pope Adrian I., about the close of the eighth century. The present church is of the ninth century, and it manifests the extent to which most of the traditions and practices employed in Roman buildings were perpetuated in the west, especially in Italy. The grace- ful frescos of the chapel of Saint Cathe- rine, of Masaccio's youth, though badly retouched, still prove, after little less than four centuries, the talent of that great painter. The most remarkable tomb is cardinal Roverella's, an elegant work of the fifteenth century. CHAPTER XVIII. Sairil John In laterano,— Piazza — Obelisk.- Baptis- Iry. — Scala Santa.— Sancta Sanclorum.— Fronl.— Apostles. -Corsiiii chapel. — Agiippas urn. — Mar- tin V. — Heads of Saints I'eter and Paul.— .Mosaics. —Painting of Grotto. — Abbe Caniellierl.- Ou^ the cultivation ofiettcrs iu Italy, — Door.— Santa Croie in Gerusalemme. — Convent library.— Porta Mag- piore.— Basilic of Saint Laurence — Saint Bibiaua. — liernini s statue. — Saint iiusebius. The piazza of Saint John in Laterano presents the most colossal and finest of known obelisks, erected al Thebes by the illustrious Thoutmosis II., the same as King Mocris, the enterprising creator of the lake; this obelisk, respected by Cambyses, who mutilated and threw down all besides, was carried olT by Con- stantine, and exhumed in a broken state from the ruins of the Circus Major by Sixtus v., under the direction of Fon- tana, who re-erected it. This superb obelisk, a single block of red granite, ninety-ninefeet high wit bout the pedestal, covered with hieroglyphics most perfectly sculptured, has been sung by Tasso : L'obelisco di note impresso intorno,* so much was the poet's imagination in- spired by the apparition of these old and mv Stic monuments. All history is found at Rome, from that of Egypt to the latest times, from the Ph;iraohs down to the kings and princes of Nai)oleon's family. This admirable city assembles the mys- terious monuments of Egypt, the poetic chefs-d'oeuvre of the Greeks, and her own grand monuments. The Raptistry of Constantine, the ' Rime. Part. II. 315. See ante, th. i. 558 ROME. [Book XV. founder of Saint John in Lalerano, who erected about 324 this first, this mother of Christian basilics {Sacrosanta Latera- nensis ecclesia, omnium urbis et orbis ecclesiarum mater et caput, as it is called), was reared on the supposed place of his doubtful baptism by Pope Silvester. It has been renovated several limes, but still preserves the circular form it had in the ninth century. The eight great paintings of the Life of St. John the Baptist, by Andrea Sacchi, though boasted, are, like the other paintings of this sumptuous edifice, in bad taste and without remarkable qualities. The Scala Santa, a beautiful portico, of Fonlana's architecture, built under Sixtus v., preserves, according to a pious tradition, the twenty-eight steps of Pi- late's house, which were ascended and descended by Jesus Christ during his passion. These steps were so worn by the faithful, who ascend them on their knees, that it was found necessary to co- ver them with thick planks, which have been worn away and renewed several times. At the top of the Scala Santa is a chapel, which is rarely open and acces- sible to few but the pope, cardinals, and clergy; it contains the venerated an- tique image of Christ, seven palms in height (about six feet and a half). Be- hind this chapel is the famous Sancta sanctorum, a walled-up chamber, an obscure sanctuary, the subject of innu- merable popular tales, which must have been more than once opened in secret, and the priestly mystery of which seems little worthy of Christianity in the pre- sent day. The theatrical front of Saint John in Laterano, erected by the Florentine ar- chitect Galilei, for Clement XII., is one of the most imposing masses of architec- ture of its kind. In the ves-tibule is an antique marble statue of Constanline, found in his Thermae on the Quirinal Mount. Under the lateral portico is a great, but inditferenl, bronze statue of Henry IV., by Cordier; it has little me- rit except ill the casting, and was erected to him by the chapter, as a benefactor to the basilic, and his descendants pre- served the singular title of first canons. Every year, on the 13th of December, Henry IV. 's birthday, a chapel was held at Saint John in Laterano: the ambas- sador of France there represented the most Christian King on an estrade placed in the choir. The bronze gate in the centre, of superior workmanship, be- longed to the Emilian basilic of the Forum ; it is the only model of the an- cient gates called quadri fores. The principal nave, covered by one of the most splendid ceilings ever beheld, though of the elaborate architecture of Borromini, is not deficient in grandeur. The twelve colossal statues of the Apostles, fifteen feet six inches in height, was a noble undertaking in sculpture, but it was badly executed. The figures, ac- cording to the usage of th.it period, are draped but not dressed, and the person- ages could not take a step without losing their habiliments. The folds of 5^. Phi- lip's robe look like splinters of rock, and the artist Mazzuola, Bernini's pupil, has surpassed his master in disorder of dra- pery. The composition of the Si. James the Less, Angelo Rossi's best work, is the best of these bad performances. The Prophets painted, despite the elogiums heretofore lavished on Conca's Jonas and Andrea Procaccini's Daniel, are neither less heavy nor le.^s formal than the Apostles. The rich, agreeable, and smiling Cor- sini chapel, the most beautiful in Home, is Galilei's masterpiece, and is distin- guished for the good stjie of its orna- ments and judicious disposition. The celebrated porphyry urn of the magni- ficent tomb of Clement XII. was under the portico of the Pantheon, which pro- cured it the false surname of the urn of Agrippa, who was interred in the mau- soleum of Augustus. The bronze tomb of the great Martin V. (Colonna), who died in li30, by Si- mone of Florence, Uonatello's brother, is remarkable. With this illustrious pope, who replaced Cossa,' begins in some manner the individual history of Rome, a city ever conquered and pil- laged, never possessed, and which has never been subject a moment, except to France. The Gothic tabernacle of the high al- tar, a monument curious for the history of art in the fourteenth century, is due to the munificence of the celebrated French pope Urban V. (Grimoard), whose arms it bears, as well as those of the king of France, Charles V., who as- ' See ante, book x. cli. Ii, Chap. XVIII. ] ROME. sisled him; among many otlier relics it contains the heads of Saint Peter and Saint Paul, found by Urban, at the be- ginning of the year 1368, among the ruins of the old basilic -which had been destroyed by fire. Ihis pope, whose lively faith was equal to his learning and charily, after passing all one night with the cardinals in Saint John in Laterano, opened the doors in the morning to the in)patient crowd, and showed them the precious heads, a miraculous discovery, which procured each of these Romans, who were transported with joy and, as Baluze says, thought themselves once more masters of the world, a hundred years and a hundred quaranlains of in- dulgences, and it was regarded through- out Europe as one of the most brilliant events of Urban's glorious pontificate. The splendid altar of the Holy Sacra- ment, from Oiivieri's designs, has four antique columns of gilt bronze supposed to proceed from the temple of Jupiter Capitolinus, and to have been made by Augu>tus, of the bronze from the rostra of Egyptian vessels taken at Ac- tium; another tradition says they were brought from Judea to Rome by Vespa- sian. An Ascension is by the Cav. d'Arpino, interred in this church as well as -Andrea Sacchi, his contemporary and rival in facility and false taste. The altar of the Saviour, erected by ^'ichoias IV., still preserves its curious mosaics exe- cuted in 1291 by Jacopo da Turrila, a monk of the Minorite order, and his companion Jacopo di Camerino. The two fluted columns of antique yellow supporting the organ are esteemed the finest of that precious marble.' One of the first nionuments of art in the basilic is the [)aintiiig attributed toGiolto, which represents Roniface VIM. between two cardinals, publishing the famous jubilee of 1300. Among the new tombs of Saint John in Laterano, may be observed that of the abM Cancellieri, near the monument which he consecrated to his protector, Cardinal Leone Antonelli, and who has obtained the honour, reserved to cardi- nals alone, of being buried in this basi- lic. The extensive, easy, indefatigable and almost encyclopedian erudition of ' Tliis marble, wliich the ancients drew from Macedonia, must not be coufounded Rilli tlie Co- rin(hlun yellow. the abb6 Cancellieri is celebrated among the learned. I was fortunate enough to know this true model of Roman urba- nity, who received me most kindly in 182G, some weeks before his death. I yet remember his pretty house al mas- clierone di Farnese, with a Latin in- scription and a view of the Tiber, in which this amiable and afl'ectionatc old man gave his Sunday morning recep- tions. 'Jhere, on a long sofa occupying all one side of the saloon, and a long seat parallel to it, sat in two close rows car- dinals, prelates with short cloaks, chiefs of ort!ers with their ample garments, foreigners attracted to Rome by the love of learning, professors, etc., all met to enjoy literary conversation. The dis- covery of a column, a temple, an in- scription, a medal, or a manuscript, be- came there an important event to be discussed with gravity, sometimes with enthusiasm; it was the same to this learned society as our amendments, ad- dress, and majority are to us. The spirit of investigation, our political and philo- sophic eclecticism, in Italy are occupied with the ruins and monuments of the past. Though ecclesiastics were the most numerous, there was not the least question of theological disputes: the Ro- man clergy have that kind of moderation and security which power imparts, and do not experience the same difficulties as an aspiring and suffering clergy. All these literati cultivated learning and study for the pleasures they afforded; for literature in Italy is not a source of emolument; a man must be rich to write; there is in reality no literary pro- perty, and, most frequently, authors think themselves particularly favoured when the bookseller will bear the ex- pense of printing. Milan, Venice, and Florence are the only towns where ma- nuscripts are occasionally paid for; their |trice is rarely 40 franks a sheet, which, for a volume of 500 pages, brings the author about 1200 franks. The noblest minds in Italy do not raise by their la- bours the splendid tributes of eminent writers in France and England : the translation of the Iliad procured Monti no more than 4,000 francs; Parini was rather high in his demands when lie exacted 150 sequins (nearly 72/. sterling) of a Venetian bookseller for a reprint of his pretty poems II Mattino and II Mezzogiorno, to which he had added 5*0 HOME. [Book XV. la Sera; the first edition of Manzoni's fine tragedy of Adelchi did not clear its expenses, "and his popular Promessi Sposi have returned him but very little. To all these miseries add the obligation, much more rigorous in Italy than in France, of preseiiling one's book to all sorts of friends, even those who detest you, a compulsory homage ridiculed by the abb6 Galiani, when he published his Reflections on the Neapolitan dialed without the author's name, and .said that he knew no better means of preserving both his books and his friends. The curious Gothic cloister of Saint John in Laterano, of the thirteenth cen- tury, presents some singular monuments of the middle ages. The gate of Saint John, the ancient Porta Asinaria, was rebuilt under Gregory Xlll. by Jacopo della Porta. It was on this side that Totila penetrated into Rome, through the treason of the Isaurian soldiers. The basilic of Santa Croce in Geru- salemme, founded by Saint Helena on the ruins of the gardens of the infamous Heliogabalus and the remains of the Castrense amjibilheatre, ' one of the Roman churches that arc visited lor obtaining indulgences, is served by the Rernardine monks of the congregation of Lombardy. Its name is derived from the largest of the too numerous pieces of the true cross, preserved among its relics. The Invenlion of the Cross, by Pintu- ricchio, on the ceiling of the gallery, has several good figures of warriors. The mosaics of the ch;i pel of Saint Helena are by Rallassare Peruzzi. The convent library is now very limited. Under the French adminislralicn it was removed to the Vatican, and when restored to the convent in 1815, it was put in a provi- sional apartment where a great number of the manuscripts were stolen; several have been found at Petrucci's, a book- seller of Rome, who had been previously prosecuted fur purchasing articles of this kind. It has a fine copy of Cicero's (/e Senectute, transcribed by the princess Ippolita SI'orza. daughter of Duke Fran- cesco, and consort of the king of Najjles Alfonso II., with a great number of thoughts collected by her, a monument of the enthusiasm and ardour for study ' See post. ch. xliii. ' See ante, book v. ch xii. which animated the greatest ladies of the |( fifteenth century. ' ThePortaMaggiore, built by Claudius, is a majestic wreck of those aqueducts which, according to M. de Chateaubriand, brought water to the imperial people on triumphal arches. The basilic of Saint Laurence extra • muros, like Saint Clement's, charade- | ristic for its pulpits, real si/^j/esfa called . ambos, and its disposition, ' is said to be i as old as Constantiiie. This church, in j which Pope Honorius HI. crowned a Frenchman, Pierre de Courtenay, count j of Auxerre, emperor of Constantinople, is now chiefly frequented by the country people who come to Rome to sell their produce, and the service is performed before sunrise. Among the frescos of the portico, painted in the beginning of the thirteenth century, and of the Grseco- Italian school, representing the Martyr- dom of the saint, the Coronation of Courtenay, and other subjects from the history of Honorius, w ho built the portico, may be remarked the demons contend- ing for the soul of Sainl lAJichael and weighing his actions, as in the Iliad Jupiter put the fate of the Greeks and Trojans in a balance. A lizard and a frog sculptured on the volutes on two capitals of the twenty-two Ionic columns of granite, were sculptured by Scaurus and Batrachus, artists of Sparta, working at Rome, who, not being allowed to inscribe their names, contrived to make themselves known by representing the two reptiles their homonyms. Kear the door, is a Roman marriage in basso- relievo on a fine sarcophagus, the tomb of Cardinal Guglielmo Fieschi, nephew of Innocent IV. The twelve precious antique columns almost buried since Pope Honorius raised the pa\emcnt of the church, present richly ornamented Corinthian capitals. The modern paint- ings are all infeiior. The church of Saint Ribiana, loo often shut, contains the simplest, most graceful, and best work of Bernini in sculpture, and one of his first, the statue of the saint, one of the most pleasing produc- tions of modern art : when Rernini executed this, he had not taken such pains to corrupt his style : the present front of this church is also by him. ' Sec the rest chapter. Chap. XIX. ] ROME. 5H The roof of Saint Eusebius, painted by Mcngs, was one of his youthful perform- ances, and, as with most men of elabo- rate and systematic talent, it is perhaps the. warmest and truest of his works. CHAPTER XIX. Santa Murla Maggiore. — Clinpcl of SUIus V. — Mosaics. — Borghese chapel. — Obelisk. — Saint Praicde. — Saiut Marliu. — Laudscapes. — Saint Pudenziaoa. The front of Santa Maria Maggioic, rebuilt under Benedict XIV. by Ferdi- nando Fuga, one of the last celebrated architects of Italy in the eighleenih cen- tury, is of inferior architecture. The interior renovation of the basilic, orna- mented with a superb ceiling of gilt panels, the Gnest church ceiling known, and a baldachin supported by four Co- rinthian columns of porphyry, is infinitely superior and passes forFuga's best work. This decoration, as well as the whole aspect of the splendid ediQce, has some- thing gay, showy, worldly, and almost profane." The thirty-six Ionic columns of white marble in the grand nave seem to have belonged to a temple of Juno. The baptistry, formed of a magnificent, richly-ornamented porphyry vase for- merly in the museum of the Vatican, was given by Leo XII. The chapel del Presepio, by Fontana, admired for its form and symmetry, was ordered by Sixtus V. when only Cardinal Montalto; Gregory XIII., supposing from such an expenditure that he was very rich, sup- pressed his pension (pi'a^o); and the en- terprise would have remained unflnishcd, if the archiiect, no less devoted to the cardinal than anxious to execute his own designs, had not advanced the sum of 1,000 Roman crowns, the fruit of his .savings. The noble disinterestedness of Fontana was the source of his fortune and procured him the friendship of Sixtus V. : shortly after the Shepherd of Montalto became pope; the chnpel was finished, and sung by Tasso. ■ In it is the tomb of the ambitious pontiff, the approver of regicide, the founder of the ecclesiastical government of the Roman states, a deranged machine which he I Rime. Part, llla, la Cauz. IV. Mira devotanwite alma peiilita. ' The quarries of auliijue red Tfere situated be- himself would now doubtless reform in some parts, but retain ilsspiril of equality and plebeian constitution, its first, most ancient, and wisc.'^t principle. The mosaics of the choir, by FraJacopo da Turrita, though really ofthe thirteenth century and ordered by Nicholas IV., another shejiherd and mountaineer ofthe Marches, who attained the papal throne before Sixtus V., do not appear of so barbarous an epoch. The mosaics over the arch and columns ofthe middle nave, representing diflercnt subjects from the Old Testament, date from the fifth century and were ordered by Sixtus HI., the friend ofSaint Augustine, a simple pastor of Rome, who, notwithstanding his evan- gelical poverty, anticipated the encou- ragements that were one day to be la- vished on the arts by so many powerful pontifll's, bis magnificent successors. The Rorghese chapel, prodigiously rich, makes one regret that its accessories are not as pure as its character is grand. Rernini ami his school executed the tombs ofClement VIII. and Paul V., the founder of the chapel. The paintings are inferior to those in the chapel of Sixtus V., the best in the basilic. Here, too, are the tombs of the popes NicholasIV.,ClementIX., the sepulchral stone of Piatina and the mausoleum of a cardinal Consalvi of the thirteenth cen- tury, by Giovanni Cosmate, who bears the noble title of civis Romanus in the inscription. The brilliant chapel of the Madonna, which has four angels by theCav. Arpino on its cupola, is especially remarkable for the graceful, living frescos of Guido. In the square behind the basilic, is the obelisk which was brought to Rome, placed before the mausoleumof Augustus with that on Monte Cavallo, and reared again under Sixtus V. by Fontana. At Rome only is it possible to find simplicity and extreme magnificence combined, in the same edifice, to such a degree. For instance, in the little and ancient church of Saint Praxede the ascent to the high-altar, supported by four porphyry columns, is by a double flight of steps of antique red, regarded as the most considerable block of that pre- cious marble. = In the chapel of the tiveen the Nile and the Red sea; Ihls marble has become rare because they have never been worked since the ancients. id 5i2 marljrs Saint Zenon and Saint Valenti- nian, a large fragment of a column of oriental jasper, brought from Jerusalem in 1223 by Cardina! Giovanni Colonna, passes, as do some other fragments at Saint Anthony of Padua, for a part of that to which the Saviour was fastened when scourged. The fine mausoleum of a Breton cardinal of the family ofTaille- boiirg, bishop of Sabina, who died in ii~4, is an interesting monument in respect to art. The Ascension, on the ceiling, is in the first and better stjle of theCav. d'Arpino. Some figures painted in fresco by Guercino are not without merit. In the sacristy is the celebrated and superb Flagellation, by Giulio Ro- mano. The antique church of Saint Martin de' Monti, with its subterranean oratory, its catacombs, its old Madonna, and its modern embellishments, seems a poem with progress and action. Though in- jured by time, its collection of landscapes painted in fresco hy Guaspre Poussin is admirable and unique in churches ; the figures are by Nicolas, Guaspre's illlus- trious brother-in-law, a formidable name- sake who has too much eclipsed him. The church of Saint Pudenziana, re- paired in 1598, has in its gallery a mosaic of the eighth century, ordered by Pope Adrian 1., in astonishing preservation, and reckoned by Poussin one of the best in the old style. In the middle of nu- merous figures and a varied landscape, the Saviour is represented w ilh a book in his hand, on which iswritlen : Dominus conservator ecclesice Pudentiance. CHAPTER XX. Sainl Peler in Vincoli. — Michael Angelo's Moses Santa Mnria of loretto. — Resloralions. — Holy Apostles. — Mausoleum of Clement XIV. The acclivity leading to Saint Peter in Vincoli recalls one of the most horrible Clii 6 costui che in si gran pietra scolto Siede gigante e le piii illiistii e conte Opre deir arte avanza,e ha vlve c pronle I.e labbra si clie le parole ascolto ? Quest! e Mose, ben mel diranslra il folio Onor del menio, c il doppio ragglo in fronic; Quesli e Mose quando scendea dal moute, G gran parte del Numc avea net volto. Tal era allor che le sonanii e vaste ROME. I Book XV. crimes of ancient Rome, as it is pretended to be the place of the street called Scele- rata, because the ambitious and infa- mous Tullia had there driven her car over the corpse of the king her father. The church of Saint Peter in Vincoli was built by the empress Eudoxia, wife of Valentinian III., under the pontifi- cate of Saint Leo the Great, to receive the chain which had bound the apostle in the prison of Jerusalem. This vene- rated chain is still shown to the people, and kissed by them on the festival of Saint Peter. The majestic church of Saint Pe- ter in Vincoli, rebuilt by Adrian I., re- paired under Julius II., was put in its present state in 1705 by Francesco Fon- tana, a descendant of Domenico ; the nave has twenty columns remarkable for their Grecian character, which resem- bles divers fragments of the architec- ture of Adrian's villa. The tomb of Julius II., though unfi- nished and far short of the immense proportions it ought to have, is the most important created by modern art. It does not, however, contain his corpse, which lies neglected in the Vatican. It must be confessed that there existed an analogy such as is seldom seen between the genius of Michael Angelo and the character of Julius II., who had actively employed him. The bold menacing ex- pression and proud attitude of the co- lossal Moses belong no less to the haughty pontitrihan the Hebrew legislator. This famous Moses has inspired two superb sonnets and a multitude of other verses : the first sonnet is by an indifferent poet, GiambattJsta Zappi; the second, by Al- fieri, is however inferior to the first.' The adjustment of the figure, though treated broadly, is open to censure; the head has been thouglu too little, the beard enormous ; the body seems to wear a flannel waistcoat, and the kind of pan- taloons with gaiters which cover the thighs and long legs are scarcely in cha- Acque ei sospese a se d' inloruo, e tale Quando II mur chiuse, e ne fe' tomba altrui E voi, sue lurbe, un rio vitello alzaste ? Alzato aveste imago a quesla eguale, Ch' era men fallo i' adorar costui. Oh I Chi so' tu, che maestoso tanto Marmoreo siedi ; ed hai scolpito in vollo Chap. XX.] ROME. 543 racier for a Moses. But the arms, hanvhich might be taken for one of Lesueur's figures sculji- tured, is an honour to modern art and the French chisel. " It would speak," said Pope Clement XIV., " if the rule of its order did not prescribe silence." In going to the church of Saint Agnes, I passed by the Porta Pia, a work of Michael Angelo's old age, and I was reminded ofOtho, Agesilas, and Attila. " It was by the Porta Pia," rightly, but somewhat affectedly, says M. Quatre- mcre, "that all the capricious fantasies, disinterred in after times to destroy ar- chitecture, entered and were introduced." Saint Agnes has preserved the form of the ancient Roman basilics better than any other church. This ancient edifice, one of the most celebrated establishments of Christianity, was erected by Constan- tine, at the entreaty of his daughter Constantia, on the very spot where the body of the chaste heroine had been found. Her statue is formed of an an- tique torso of oriental alabaster, with head, hands, and feet of gilded bronze, modern. In one of the three aisles, four superb colunms, two of marble ofporta santa and two of pavonazzetto, which have as many as a hundred and forty flutes, are unique for that singularity. 'The four columns of the baldachin over the tomb are of the finest porphyry. In the chapel of the Madonna is an antique can- delabra, and on the altar a tolerably fine head of Christ, attributed to Michael Angelo, but one halfof the skull deficient. A pastoral and poetic ceremony takes place on the saint's festival : two lambs receive the papal benediction and are sent by the pope to a house of nuns chargi'd to lend them and keep the wool, which is blessed on the eve of Sts. Peter and Paul and kept in a gill urn under the high altar of Saint Peter's; and is used liy none but the holy father, the archbishops, and the bishop of Oslia, who has the exclusive right of consecrating the pope, if he be not a bishop. The round church of Saint Constantia never was a temple of Bacchus as some ' See ante, cli. i. have supposed, because the mosaics of the roof presented vine leaves and bunches of grapes, which, despite the difference of religion, were also the emblems of the first Christians. The church seems to have been built by Constantine. at the same epoch as Saint Agnes, and it became the mausoleum of the two Constantias, his sister and daughter. The circular ruins, fronting the church, seem to be of the seventh century, and were proba- bly a boundary wall to unite Saint Agnes and Saint Constantia. The plain church of the Capuchins, called SanUiMdriSi delta Concezione, has some paintings. The St. Michael, on silk, by Guido, fur too much extolled as one of his chefs-d'oeuvre, as the design is weak and affected, the attitude con- strained, the adjustment in the worst taste, bears little resemblance to Ra- phael's Saint Michael, a real archangel, of which Guido's Saint Michael is but an awkward copy. The painter, to revenge certain criticisms of Cardinal Pamfili, afterwards Innocent X., represented him under the hideous features of Lucifer. In his justification, Guido said that the resemblance was the effect of chance, and that it was not his fault that the cardinal was so ugly. He wrote to Car- dinal Francesco Harberini, who had or- dered the painting : Vorrei aver avuto pennello angelico, e forme di paradiso per formare I' Arcangelo, e vederlo in cielo. Ma io non ho potuto salir tanto alto, e in vano V ho ricercato in terra. Sicche ho riguardato in quella forma, che nelV idea mi sono stabilito. The St. Francis in ecstasy was a present from Domenichino to the Capuchins: Camassei, a clever pupil of this great master, did the Piety. The St. Paul healed by Ananias, is one of the least incorrect works of Pietro da Cortona. A plain stone on the ground with this humble inscription : nic jacet pulvis, cisiis et nilill, marks the grave of Cardinal Francesco Barberini, brother of Pope Urban VIII., once a Capuchin, who built the church and monastery. The little cemetery, formed of four vaulted rooms, is curious for its skeletons standing erect in Capu- chin's robes and the artistical arrange- ment of the bones. The paintings of the brilliant church M9 ROME. [Book XV. of Saint Isidore belong to the first masters of the epoch of the decline, very little esteemed by artists of the present day. These paintings are : two chapels and a Conception, by Carlo Maratta.and the Saint, at the high altar, a boasted work of Andrea Sacchi's. The front of Saint Andrew delle frale owes its completion, like several others at Rome, to the sale of diplomatic snuff- boxes bequeathed by Cardinal Consalvi; the other half was devoted to the erec- tion of the mausoleum of Pope Pius VII., his benefactor, at Saint Peter s. The most splendid was the snuff-box of the Concordat of 1801, which cost 30,000 fr. This front, of the judicious architecture of S. Valadieri, contrasts with the cupola of Borromini and his extravagant steeple, which oscillates wiih the motion of ihe bells. The rich chapel of Saint Francis de Paule has two angels by Bernini. The Death of St. Anne is a One statue by Pacetti. Among many other tombs may be distinguished those of Angelica Kauffmann, the learned Dane Zeoga, and the elegant Prussian sculptor Ro- dolph Schudow, northern tombs that prove the invincible attractions of Rome and Italy for all the lovers of the arts and of antiquity. The noble stair of the Trinita de' Monti, though not very pure, was con- structed in the last century by a legacy of Elienne GuefTier, formerly secretary of the French embassy at Rome, who afterwards settled there. The obelisk proceeding from the circus in Sallust's garden shows the magnifi- cence of Pius VI., who had it removed from the square of Saint John in Late- rano, where it lay neglected, to erect it in this fine position . The church, found- ed by Charles VIII. at the entreaty of Saint Francis de Paule, was consecrated by Sixtus V., and ornamented with paintings executed at the cost of the car- dinal de Lorraine. Abandonned in 1798, it owes its restoration to the munifi- cence of Louis XVIII. and the talents of Mazois. The fresco of the Assumption, by Daniello of Volterra, has suffered much; nothing is left of the Apostles, and it is barely possible to form an opi- nion of the ensemble of the composition ; on the right may be distinguished the portrait of Michael Angelo, the author's ' see an(e, cb. i. and Varietii Italiennes. master; the circle of little angels around the Virgin is of an elegant, poetic effect. The Massacre of the Innocents has some fine parts well preserved; the cartoon only of this painting is by Daniello of Volterra; it was coloured by his pupil the Florentine Michelangelo Albert!. The celebrated Descent from the Cross, by the same Daniello, was cited by Pous- sin as one of the three best paintings of Rome ; despite the sad alterations it has undergone, enough of it is still left to de- monstrate that Poussin had accurately classed it. It is much admired for the expression, the pantomime of tbe group of the Virgin and the holy women, the sublimily, ihe drawing of the figure of the Christ, who really falls come cor po morto cade,^ and the man on a ladder with his back towards the spectator, so full of vigour, so wonderfully drawn. A Procession of penitents during a plague by Saint Gregory the Great under the likeness of Leo X., with the archangel Michael appearing over Adrian's mole, is curious, and shows the form and con- dition of the mausoleum under the latter pope. The church has been ornamented with paintings by pupils of the French Academy, w ho have since become clever masters. The following are remarkable : St. Louis depositing on the altar the crown of thorns brought from the Holy Land, by M. Thevenin, composed with judgment, but feebly executed; a Repose in Egypt, by M. Schnetz ; a Flagella- tion, of extraordinary facility, by L^on Palliere, a young man of great promise, who died t^^o j ears after his return from Rome ; the Christ giving the keys to St. Peter, one of the works ofM. Ingres, excellent lor the character of the heads. CHAPTER XXIII. Panlbeon. — Minerva. — Obelisk. — Inscriplion.— Cbrist, by Michael Angelo.— Tombs of Leo X. and Bembo.— Pagaij manners of the revival — Tombs of Fra Angelico aud faulns Maoulius.— Casana- lense library.— Index. — Poutlfical.— Prints. The piazza of the Pantheon is a market, with a |)relty fountain surmounted by a little obelisk of Egyptian granite covered with hieroglyphics. The Pantheon of Agrippa, the most elegaat edifice of ancient Rome, and the a Dante, f/iA,can. v. Ii2. Chap. XXIII] ROME. best preserved of its antique monuments, is lo the present moineril the finest mo- nument of modern Rome. The simple and noble portico with ilssiiperbcolunms of Egyptian ni;irble, the chef-d'oeuvre of Greek and Roman arcliileclure, which displays a prodigious knowledge of sta- tics, presents festoons, candelabra, pa- terae, and other sacred basso-relievos of perfect execution. The two little spires that Pope Urban VIII. obliged Rernini to add thereto, have been compared to two ass's ears, and are singularly absurd over such a pediment. The great bronze door is antique, as well as the palisades placed over it. In the niches on each side stood the colossal statues of Agrippa and Augustus; for the latter was un- willing lo be put in the interior of the temple, and as he refused to have it de- dicated to himself, it was consecrated by his friend, minister, and son-in-law, to Jupiter the Avenger. The majestic in- terior, which retains most of its antique lining of precious marble, being disposed with far more skill than Saint Peter's, seems much more extensive than it really is. The pavement of granite and porphyry, the finest of temple pavements and the only one that is left us, would be sufTicient lo give an idea of Roman magnificence, and of the beauty, the so- lidity of the materials then used. This admirable monument of eighteen centu- ries has not been conquered by time; it has only suffered from men, w ho have torn away from the roof its brilliant or- naments of silver and gill bronze, which the ancients always adopted. It is inte- resting lo ascend to the exterior opening of the cupola, to form a complete idea of its aspect. We read in a manuscript narrative of the sack of Rome preserved at Ihe Vatican, that Charles V., when he visited this city in 1536, wished to be conducted to the opening of the cu- pola. A young Roman gentleman, Crescenzi, who had been ordered lo ac- company him. confessed to his father that he was almost tempted to push him into the interior lo revenge his country for the sack of Rome in 1527, and the old Italian said : "My son, such things as that should be done and not talked about." Except the beautiful statue of the Madonna del Sasso, by Lorenzello, placed in the chapel where his immortal friend Raphael is interred, and where his bones were found untouched three cen- turies after on the Uth of September 1833, the Pantheon has no superior work ofart, but itself is an all-sufficient wonder. At this same altar of the Madonna is the but little noticed tomb of an illustrious master, Annibale Carraccio. The plain cenotaph enclosing the entrails of Cardi- nal (]onsaIvi, cardinal-deacon of Santa Maria della Rolonda, is by Thorwald- sen ; the portrait has the merit of resem- blance. The effect of the moon's rays through the lantern of the cupola, and of Ihe fleecy clouds which float through the sky and pass over the silvery disc of the planet, iscurious and worthobserving. Behind Ihe Pantheon are the remains of Agrippa's splendid thermae, the first established at Rome, and which, as well as his gardens, he bequeathed at his death lo Ihe Roman people. In the piazza della Minerva is the smallest obelisk in Rome, which, by a singular coincidence, was dedicated to the goddess Neith, the tlgyptian Minerva. It formerly stood near the adjacent tem- ples of Isis and Serapis ; like the one in the piazza of the Pantheon, it has been fantastically placed like a tower, by Ber- nini, on the back of an elephant, the work of his pupil Ferrata. The moral and rather subtile inscription partakes of Ihe affected taste of this school : Sa~ pientis Egypti insculptas obelisco fi- guras, ab elephanlo, belhiannn fortis- sima gestari quisquis hie vides, docu- mentum inteUige, robustce mentis esse solidam sapientiam sustinere. The subject was taken from the strange ro- mance of Francesco Colonna, a monk of the flfteenlh century, under the title of Hypnerotomachia, or the Dream of Po- lypliihis.' The church della Minerva takes its name from an ancient temple of that goddess erected by Pompey after his victories. Although coded more than four centuries ago lo the Dominicans, who have rebuilt it, by the Benedictine nuns of the Campus Martins, refugees from Greece (an alliance of words only lo be found at Rome), this Gothic church, auslere and simple, is still worthy of its poetical name from its monuments of art and literary recollections. Michael Angelo's Christ, full length, and as if armed with his cross, has an angry air, such as no other artist would ■ Cap. Ill, lib. i. !S50 ROME. [Book XV. ever have conceived. This figure, one of his most scientific and most finished works, is nevertheless destitute of the expression, majesty, and divinity which belong to the Saviour. The Last Supper, in one of the first chapels, is Baroccio's latest \york. A Crucifix, in a little chapel, is ascribed to Giotto. The great chapel of the CiiralTa of Naples, dedicated to Saint Thomas Aquinas, has the Saint's life, by the young Lippi, in which the Dispute is the most ably treated; the ceiling, by his pupil Uairaellino, called del Garbo, who has surpassed him and seems there ab- solutely worthy of his graceful surname; the excellent painting at the altar by Fra Angelico; the tomb of Paul IV. (Caraffa), by the illustrious Pirro Ligu- rio. In the next chapel may be remarked the tomb, ornamented with sculptures and mosaics by the Gosmali, of Guillaume Durand, a Frenchman, who preferred his savage bishopric of Mende to the archbishopric of Ravenna, and whose fine Rationale (of 14.59) was, according to some bibliographers, the first book printed in movable cast characters, with date and printer's name. "The ceiling of the chapel of the Rosary, by Venusti, a happy imitator of Michael Angelo, is esteemed : the Madonna of the altar is by Fra Angelico. The inscription on the tomb of the illustrious scholar Latinus Juvenalis IManetto proudly records thai, being named by Pope Paul HI. as guide and antiquarian to Charles V. when he came to view its monuments, he had ad- monished him of the grandeur of Rome : Carolum V. Aug. Romam venienteni excipiens, veterum monumenta stis- picientem, romance virtulis admonuit. Behind the high-altar are the tombs of Leo X. and his cousin Clement Vll., by IJaccio Bandinelli. The statue of the former pope has his usual common- place appearance, which seems surpris- ing in the restorer of learning, a person distinguished for elegant taste. His pi- tiful funeral oration was delivered by an obscure cameriere, and what Bernbo, Sadolel, Giovio, Giraldi. and many other eloquent, flowery orators were then doing, is quite a mystery. At the foot of Leo X.'s mausoleum, on the pave- ment, is the tomb of Cardinal Bembo, which was consecrated to him by his ' Seea»'e,ch. xvii. natural son Torquato Bembo, whom he had of La Morisina : the inscription states that he was admitted into the Sa- cred College ob singulares ejus virtutes. Illegitimacy of birth was not then a re- proach. These tombs of Leo X. and Bembo, with the life of Imperia, ■ ex- hibit, in the manners of the literati of the revival, a reflection of Paganism produced by the new studies, a sort of antique incredulity and corruption which Ariosto, Bembo's friend, forcibly de- picts in the satire he addressed to him respecting the difficulties and even the perils attending the education ofVir- ginio, the most beloved of his two na- tural chddren.a Near the door are the three great mausoleums of the cardinals Alessan- drino, Pimentelli, and Benelli, by Jacopo della Porta, Bernini, and Raiiialdi. A plain stone is sacred to a more illustrious man, the Dominican monk, Fra Ange- lico, who deserved his sweet surname by the holiness of his life and paintings, so much do his lovely, grave, and pure figures seem copied from heaven. The inscription happily expresses his talents and his virtues : Non niihi sit laudi quod eram velut aUer Apelles, Sed f|uod lucra tuis omuia, Christe, dabam. Altera uam teriis opera extant, altera coelo Urbs me Joanuem llos tuiit litrurlae. me wuiiiij sun ui ^luus the elder. The four words of the inscription, which record bis origin, appear suffit;icnt and very beautiful : Paulo Manulio Aldi Dlio. Obiit cioiouxiv. This inscription seems to have escaped the learned researches of M. Renouard, who says, in bis Annates de I'lmprime- rie des Aides, that Paulus Manutius was buried at the Minerva without any se- pulchral inscription. The library of the Minerva, called Casanatense, from the name of the Nea- politan cardinal librarian of the Vatican, so well judged and appreciated by Saint- Simon, who chiefly augmented it and ' See Sat. VI. and ante, book vii.,ch. xii and siii. Chap. XXIV.] ROME. 55J endowed it in 1700, with an income of 400 piastres, now contains a hundred and twenty thousand volumes exclusive of the detached papers, and four tliou- sand five hundred manuscripts. It is the most considerable in Rome for print- ed books, and may be regarded as its first public library. Access to the books is readily accorded with courtesy by the Dominicans, and I experienced every politeness from the R. P. Magno, who has i)een librarian for thirty years. I even obtained admission into the over- stored cabinet of books prohibited by the papal authorities. The catalogue of these books up to the year 182t) contained works that I was surprised to find there still, such as the Meditations and nearly all the works of Descartes, Fleury's Ca- techisme historique, several ofMalebran- che's letters and treatises, and one of the finest and most powerful works in favour of religion, Abbadie's Traite de la Ve- rite de la Religion chretienne. It is evident that these condemnatory decrees are irrevocable, as most of those excellent writings are now esteemed the best apo- logies of Christianity. The works of Descartes and the Catechisme were marked with the formula donee corri- gatur, as well as the Decameron and certain licentious works, on which it appears much more reasonable. The most ancient manuscript of the Casanatense is a Roman Pontifical of the ninth century, on fine parchment, with curious miniatures representing the different sorts of ordinations; it formerly belonged to Landolfo, bishop of Capua. There is a very rare edition of the Pen- tateuch in Hebrew characters, printed, according to some authorities, at Sora in the kingdom of Naples, according to others at Soria in Spain, and in S. Rossi's O!)inion, atSoura in I'orliigal. A large bible on parchment, executed by hand with wooden characters, shows the tran- sition from manuscripts to printing. The collection of prints, the plates of which are preserved in theCalcograDacamerale, is superb and amounts to several thou- sands. In the great hall, the statue of Cardinal Casanata, by Lcgros, is distin- guished by the expression of the physiog- nomy and its sui)erior drapery. Two theologians, charged to refute the errors or resolve the dilDculties in reli- gious matters that may be submitted to them, are attached to the Casanatense. They form a gratuitous tribunal, which, as I was informed, is not often consulted. Nevertheless it is only just to do homage to the enlightened and tolerant spirit of the present theologians, the R. P. Magno, and the R. P. Degola, also librarian of the Casanatense, an excellent ecclesiastic, a man of great erudition, full of candour and charity, the ideal of the Christian scholar. CHAPTER XXIV. Churcli of Saint Louis of the French.— Frescos of Doiuenicliino.—D'Ossat.— Tombs.— Saint Augus- tine.— Isaiali, by Kaphael. — Goiltz.— Angelica library. The fine church of Saint Louis of the French was founded by Catherine of Medicis, as ihe Trinita de' Monti by the cardinal de Lorraine; which shows that the catholic fanaticism of France at that epoch, if it unduly imitated Italian frenzy and perfidy, was, like Italian Catholicism, magnificent and friendly to the arts. The church was dedicated in 1589 to the Vir- gin. Dionysius the Areopagite, and Saint Louis king of France. Its paintings and tombs make it very interesting. A good copy of Raphael's St. Cecilia is by Guido. The frescos of Domenichino re- presenting the history of the same saint, are a brilliant decoration. The Death of St. Cecilia is a masterpiece of draw- ing and pathos. The most remarkable of the frescos is that of the Saint distri- buting her effects to the poor, admirable for truth of expression and the panto- mime of those who arc receiving or sell- ing what they have received; one Jew is life-like. The great Assumption of the rich high-altar is one of Francesco Bassano's best works. The Martyrdom of St. Matthew, by Michelangelo di Ca- ravaggio, seems inferior to the Calling of the same Saint, which has some heads of amazing truth, and is one of the author's good productions for delicacy and eleg.mce of execution, and the beauty, the force of the colouring. In the sacristy, a small painting of the Vir- gin passes for a work of Correggio. The French tombs of Saint Louis ha\ that of d'Agin- courl attests a pure and philosophic life, passed in the bosom of Rome, in devo- tion to the arts and to antiquity ; the sarcophagus of Cardinal de La Grange d'Arquien, father-in-law of the great Sobieski, who died at the age of a hun- dred and five years and eleven days, the oldest cardinal know n, w ould have some- thing patriarchal about it, were it not for the indecent revelations of Saint-Si- mon respecting the unbecoming life of this prelate : " Homme d'esprit, de bonne compagnie, fait cardinal a qiiatre-vingt-deux ans, gaillard. qui eut des demoiselles fort au deld de cet age, qui ne dit jamais son breviaire, et qui s'en vantait ; " the mausoleum con- taining the heart and entrails of Cardinal de Bernis commemorates dignity and taste after a youth of frivolity et de petits vers; opposite, the coffin conse- crated by M. de Chateaubriand to Pau- line de Montmorin, whose misfortunes are her only titles and compose nearly all her epitaph, is deeply alfecting; and the recent tomb of the meek and unpre- suming Guerin, whose soul was not less pure than his talent, represents the re- surrection and the bright days of our school. The church of Saint Augustine was built in 1483 by an ambassador of France, Cardinal d'Estouteville. The anhitec- ture has the cbaiacter of that good epoch of the art; the front, covered w ilh traver- tine said to have been taken from the Coliseum, is elegantly simple. The in- terior was renovated in the last century by Vanvitelli, who built the fine sacristy and I he mnjestic convent adjoining the church. The ingenious cupola, by Bac- cio Pintelli, aFlorentine architect, makes an era in the history of cupolas, as it was the first erected at Rome. The ce- lebrated Isaiah, by Raphael, painted by him as an answer to those who found his stj le too slender, w as composed after his examination of Michael Angelo's Prophets ; but this figure, though admi- rably correct in the drawing, has not their grandeur and spirit. The fifty ' Ossal's style appears more raodern than his time, and he seems lo belong to an epoch when the language was much more perfect. It is singular thai we find among Ihe travellers in Italy three of the writers who have had the greatest influence OQ our language : Rabelais, Montaigne, dOssat. crowns asked by Raphael for his fresco were deetned too high a price, and he was not employed on the other paintings of the church. It was restored by Da- niello of Volterra, the sacristan, under Paul IV., having impaired and spoiled it in an attempt to clean it. The St. Augustine, by Guercino, is excellent. The Nostra Signora of Loretto, by Mi- chelangelo di Caravaggio, is inferior to his paintings at Saint Louis. The group of Ihe Virgin, St. Anne and the infant Jesus, simple, tender, is one of the w orks that has most honoured the chisel of Conlucci da Sansavino, despite some imperfection in the design. It was or- dered, as well as the chai)el. by the rich German Goritz, member of the Roman Academy under Leo X., the Mecaenas of modern Latin poets, who assembled them in his chapel whose dedication they bad celebrated,' and there regaled them with abundant and baccbic suppers, during which they were further occupied with verse and literature. The Angelica library, at the convent of the Hermits of Saint Augustine, ad- joining the church and of Vanvitelli's architecture, comprises about eighty-five thousand volumes, sixty thousand nine hundred and sixty documents, and two thousand nine hundred and forty-five manuscripts ; it may be ranked the third in Rome. It was founded in 1605 by P. Angelo Rocca, an .Augustine monk, afterwards cardinal, whence its name is derived, and has been augmented with a portion of the books of the learned Luca Ilolstenius, bequeathed by him to his protector Cardinal Barberini, and. about Ihe close of the last century, with the rich library of Cardinal Passionei, which he had so carefully purged of Je- suitical works. The following may be remarked: a Syriac translation of the GospeZ. of the year 616; three Platos, of the fifteenth and sixteenth centuries; three copies of Boetius's Consolations, of the fifteenth century, and his Com- mentaries on Logic, much older; three Dantes, one w ilh miniatures, of the four- teenth and fifteenth centuries; a manu- script volume, in folio, of the learned. The two first, with all their licence, handle tbe court of Rome with considerable delicacy, and are infinitely more circumspect than Ihe Italian au- thors. =" See the collection entitled Coryciana, Rome, 152-i. Chap. XXV.] ROME. 553 virtuous, and warlike Cardinal Noris, who entered the order of St. Augustine tbrougli his cnlhusiasm for that saint, with the title : Index miscellaneus auc- toritatum et opinionum SS. I'alrum et Scholasticorum, and divers inedlted Cophtic and Chinese manuscripts of P. Bonjour, a French missionary of great zeal and erudition. An edition of Wal- ton's polyglot Bible contains the passage of the preface relative to the encourage- ment afforded hy the Serenissimus Pro- tector {Cromwell) to that undertaking, a passage which was suppressed and re- placed under Charles 11., to whom the work was afterwards dedicated, nor is this change of preface by any means a solitary example. CHAPTER XXV. Santa Maria in Vallifclla. -Saint Philip of Neri.— Library. — Santa Maria Uella Pate.— Sibjis, by Raphael.— Sauta Maria drll' Aniiiia— ?aiiit Agnes. — Saint Andrew dellaVaile.— Cupola. -Santa Maria in Campitelll.— inscription. The splendid church oi Santa Maria in Vallicella, called also Chiesa Nuova, is interesting for certain of its paintings. The Crucifix, by Scipione (laetani, sur- named the Roman Vandyck, is of exqui- site taste. At the high-altar, the three paintings of Rubens' youth are curious : it is there seen to what an extent he endeavoured to force his talent, which lay wholly in colour and expression, by the ill-directed study of Michael .Angelo; these paintings have neither his vigour nor the brilliancy of his pallet. Hut his genius as a colourist soon returned after he left Rome. The Presentation of the Virgin in the temple, by Baroccio, is praised for its giaccfuliiess. This church has the tombs of three cardinals respec- tively eminent for their science, fortune, and genius : the learned Baronins, the father of ecclesiastical annals, Taruggi, esteemed by d'Ossat, and the eloquent Maury, whom the clemency of Pius VII. ordered to be placed between the two first. I visited the lodgings of Saint Philip of Neri, in which are preserved certain articles of furniture used by him. The ceiling is adorned with an easy painting by Pietro da Cortona, and the picture in the small chapel where he used to say mass in private, so profound was the emotion that then swelled his bosom and suffused his face with tears, is by Guido. St. Philip of Neri seems almost an Italian Vincent de Paule; like him, he consecrated his charitable zeal to the poor, to infants, and the foundation of vast hospitals. But Italian genius was blended with his apostolical virtues; he extemporised from piety, and he invented the Oratorios, which are still executed in his church, in order to give a religious diiection by means of these sacred interludes, composed by the first masters, and executed by the best singers, to the immoderate passion of the Romans for theatrical representa- tions. Like Vincent, he had also com- pleted a private education, that of a young Florentine gentleman, which pro- bably turned out better than the educa- tion of Cardinal Relz. Saint Philip of Neri has had great influence on the Roman clergy relative to the principles which regulate confession. He therein showed himself extremely indulgent and full of commiseration for our frailties. His maxims are still practised by some of the secular clergy of Rome, much more indulgent and conformable to the times than generally imagined. The vast convent of Saint Philip of Neri passes for one of the best works of Borromini. It has a pretty good Descent from the Cross, the only painting of this prolific and fantastical architect. The library has a singularly clever roof, possesses a great number of historical and ecclesiastical manuscripts, among which are many autographs of Baronius. It is a pity that this library is not more easy of access. P. Conca.the librarian, was at his confessional whenl visited it ; though this holy and excellent man was most obliging, he could only hastily show me a few articles, and the young piiest he left with me was very inexpe- rienced. The oldest manuscript is the Explanation of the Psalms by Saint Augustine [Enarrationes in Psalmos), folio, on parchment, llO pages, of the sixth or seventh century, which Mabillon has not mentioned. A Latin Bible of the eighth century, attributed, according to the inscription, to Alcuinus, is perhaps more deserving of that honour than the copy oirered for sale with so much ado at Paris some years ago. I als'o saw a number of papers on the history of France during the reigns of Henry 111., 47 Sat ROME. [Book XV. Henry IV., and Louis XIV., precious documents, which are buried there. The {our Sibyls, by Raphael, ordered by his protector and friend, the banker Agostino Ghigi, are the giory of the church of Sania Maria rfe//a Pace : the old Stbyl to the right and the one seated with her head turned to the left, are admirable, and sufTicient to give an idea of the beauty of the work, despite ull the injuries and retouchings that have been inflicted on it. It is said that Ghigi, having paid Raphael five hundred crowns on account, for these sibyls and prophets, before pajing the rest, con- sulted ."Michael Angelo as to what price tliepaintercould justly claim ; to which, though he might have been jealous of such a bold imitation, Michael Angelo generou'^ly answered that every head was of itself worth a hundred crowns. Raphael supidied the design of the Gesi fhapel close by. The four paintings of the elegant cupola are esteemed. The Death of the Virgin, varied, and of good cITect, is the masterpiece of Mo- randi; the Grst of these paintings is the Presentation of the Virgin, by Raltas- sare Peruzzi, who has also executed some excellent paintings taken from the Old Testament and some great figures towards the top of the last chapel. The graceful frescos on the ceiling of the high-altar are by Albano. Among the tombs of the Ponzctti family in their fhapel may be remarked, for Us good taste and the bereavement it consecrates, that of two little girls of six and eight years of age, Beatrice and Lavinia, car- ried olTon the same day by the plague in l.iO,i. The very elegant cloister is by IJramante. On the simple and tasteful front of the church of Santa Maria deW Anima, of the architecture of Giuliano San G.allo, is this just inscription : Speciosa facta est. The noble and harmonious interior has some good paintings in the third chapel, by Scrmoneta; a poor copy in marble of Michael Angelo's Piety, by ISanni di Baccio Bigio, and the cele- brated Madonna of Giulio Romano, da- maged by an inund.ilion of the Tiber and the restorers. The majestic mauso- leum of Pope Adrian VI., who did not merit such a piece of sculpture after his ridiculous mlsappreciation of the Laocoon,' was designed by Baltassare I See ante, book v. ch. viii. Peruzz! and sculptured by Michelan- gelo Senese and Tribolo; two tombs by Fiammingo and the sepulchral stone of Luca Holstenius, the celebrated prefect of the Vatican, are remarkable. Holste- nius, who had abjured protestantism, was succeeded by Leo Allatius, originally of the island of Chios, and the latter by Evode Assemani, of Mount Libanus : which gave occasion for the humorous distich : Praefuit haerelicus ; posl bunc schismalicus ; at none Turca pracesl : Petri blbllolbeca, vale. The front, the two steeples of the rich church of Saint Agnes, arc the least fan- tastical of Borromini's works, though the steeples seem loo high for the width of the frontispiece. All the basso-relievos of the church are in the very worst taste, including even that of the subterranean room, so highly extolled by Algardi. This vault is said lo have been the place of debauch in which the saint was ex- [tosed, when the sudden growth of her hair saved her chastity from the attempts of the inmates. This subject, which is capable of great effect, is treated pru- dishly by Algardi, and the naked parts are but feebly expressed. The vast church of Saint Andrew della Valle, begun by Olivieri, notwithstand- ing the faults of the lime, Is magnificent, and very remarkable for its paintings. The choir is one of Lanfiancu's good works: the four pendenlives of Dome- nichino, of broad, easy, and pure execu- tion, arc in that master's loftiest style. The St. John is admirable for grace, vigour, and colouring. The Slrozzi chapel, of Michael Angelo's architec- ture, has his Piety in bronze, in which the Virgin was ludicrously bedecked with a large silver heart suspended from her neck by a coral necklace. One of the most elegant w riters of Italy, and of the sixteenth century, (iiovanni della Casa, the celebrated author of the Ga- latea, is interred in this church. The new mausoleum of the Countess Pras- sede Tomati-Robilant, a Piedmonlese, by the Cav. Fabris, is noble. Two por- phyry basso-relievos, representing the parents of Pope Urban Vlll., are cle\er works of Guglielmo della Porta. The tomb of Cardinal Gozzadino, of Bologna, nephew of Gregory XV., recalls his sin- gular destinv. An astrologer had fore- Chap. XXVI.] ROME. 555 told that he would die in prison or from the effects of imprisonmetil, and the car- dinal, who was loaded with debts, had put some confidence in the horoscope ; but he boasted that all his fears on that head were dissipated when his uncle became pope. Ilowever, at Gregory's decease the conclave being assembled, the cardinal left it with a malady under which he succumbed, though only fifty- one years of age, and he agreed that the astrologer had prophesied truly, as the conclave had been for him (the cardinal) a real prison, and the worst of all ; se- veral other cardinals also died, the vic- tims of the same confinement. Saint (Catherine de' Funari takes its name from the ropemakers, who used to work on the spot it now occupies. The architecture, by Jacopo della Porta, is distinguished for the purity of the pro- Gles and the fine execution of the side front. It has some works : an Assump- tion, by Scipione Gaetani ; a fine copy of the St Margaret, of Annibale Car- raccio, by his pupil Massari, which he retouched; the dragon is repainted. The church of Santa IVlaria in Cam- pitelli, erected in 1G58 by the people of Rome, to receive (he miraculous image of the Madonna, is magnificently orna- mented with twenty-two fluted Corin- thian columns of marble, and has several paintings by masters of the decline, such as Conca, Luca Giordano, and Baciccio. On the tomb of a noble Roman lady is the word Umbra in golden letters ; the inscription Nihil on the tomb of her va- liant husband, is another and more for- cible expression of the nothingness of human grandeur, which is so strikingly conspicuous at Rome. CHAPTER XXVF. Saint Nereus and Achilles.— Sainl Sebasihin. — Cala- combes. — Sainl Paul extra niuios;-ils itbcillding. — Saint Paul alle Ire Fuiitane.— Sainl Viricenl and Saint Anaslasius.— Santa Maria Scala Dei. — Saint Sabiaa.— Bocca della Veriti.-Crescimbeni. The ancient church of Saint George in Velabro, which existed in Ihe lime of Gregory the Great, which was in the middle ages called by corruption atZt'e/wm I The air of Saint Paul was formerly very salu- brious; ibe popes even went Ibcje to pass tbe sum- mer. It appears that tbe culling do«n of a wood, auri, which several popes and c.irdinals repaired and embellished, whose gallery has i)aiiitings by Giotto,, but ruined by the restorers— this venerable mo- nument would have perished in our days had it not been for the piety of the Congregation of Santa Maria del Pianlo, to \vhich it was accorded by Pope Pius VII. The little and ancient church of the Saints Nereus and Achilles, Homeric names, was rebuilt by Cardinal Oaronius its titulary, in its original shape, which, in an inscription on a marble slab, he entreats his successors not to change. The church is indebted to this wise and touching precaution fur keeping its two primitive ambos and the marble pulpit from which Saint Gregory delivered one ofhis finest homelies, the iwenty-eijihlh, which is partly engraved there, A Coun- cil painted in fresco in the gallery is a woik of great talent; several heads are perfect. The illustrious basilic of Saint Sebas- tian was rebuilt in 1611 by Cardinal Scipione Borghese. Its celebrated Cata- combs, in the quarries of pozzolana dug by the Romans to cement their vast constructions, extend about six miles, and are said to pass under the Tiber. Ecclesiastical authors relate lh;.t fourteen popes and a hundred and seventy-four thousand martyrs were buried in these tortuous and dangerous galleries, (he caverns of the faith. At the entrance stands the saint, a Que work by Bernini. When I saw the works in full activity for the rebuilding of Saint Paul, I regretted the enormous outlay, in the midst of an in- lecled desert,' which, with all its magni- ficence, will produce but an imperfect substitute for the venerable basilic found- ed by Con.^lantine, rebuilt by Valenti- nian II. and Tlieodosius, and conijileled under Honorius. With respect to art and picturesque effect, I do not think such rebuilding desirable. It seems that this forest of columns ravaged, calcined by fire, — that this marble pavement des- troyed, which might be taken for the ruins of an antique way,— that thi.^ crumbling vault, these vast gaping walls, —that all this, invested with the garb which lime and nature add to ruins, had under Pius VI., because it barbouicd brigands, lins contributed to Ihe present mal' aria. SS6 ROME. [Book XV. become an object to be admired. Not- Milhstandiiig its pretensions to reesta- blish every thing, the present restora- tion will deslroy the air of antiquity the monument still preserved, and I have seen some portions demolished that were not included in the new plan. Among the portion* that escaped the conflagration of 1823, may be remarked : the front with its damaged mosaic of 1280; the indilTerent antique basso- relievos of a tomb under the portico, presenting the Apotheoyis of a poet, the Punishment of Marsyas, and some little Genii on a ship entering port, an em- blem of another life : in the twelfth cen- tury the tomb became ihe sepulture of Pier Leone, a petty despot of Rome, in the time of its seditions ; some remains of the great bronze gate, executed in 1070 at Constantinople, at the expense of the Koman consul of that period, Pan- taleone, the contemporary of Hildcbrand; the forty columns of the two little side aisles, the superb mosaic of HO, made by Saint Leo, representing Christ and the twenty-four elders of the Apoca- lypse ; St Peter and St. Paul, the high-altar of 1281, where one half the bodies of these two apostles reposes. The cloister of Saint Paul, Oiiished about 121.5, is very remarkable. Several hun- dreds of small columns of different shapes ornamented with mosaics, as well as the exterior entablature, support the por- tico. Under this last are some antique sepulchral marbles, and many inscrip- tions sacred and profane. Saint Paul alle tre Fontane, rebuilt at the end of the sixteenth century by Cardinal Aldobiandini, has a good front, of the archileclurc of Jacopo della Poria. The interior is naked ; there we see the three fountains that sprung forth at the place where Ihe apostle's head bounded three several times from the earth, \^hen beheaded in quality of a Roman citizen, and Ihe column to" which he is said to have been fastened. The black porphyry colujnns of the altar of this saint are unique for size and beauty. Saint Vincent and Saint Anastasius, of the middle of the sevenlh century, a plain regular church, has the Twelve Apostles on its pilasters, damaged frescos of Raphael. The last of the three churches near Saint Paul, founded on the site called by the ancients ad Aquas Salvias, is Santa Maria Scala Dei. of the simple and airy architecture of Vignola. The mosaic of the gallery, by the Florentine Francesco Lucca, is reckoned the flrst modern work of that kind in good teste, Santa Maria of Moimt Aventine, over- loaded with ornaments in the last cen- tury, by Giambatiisia Piranesi, has an antique sarcophagus, used for the tomb of a bishop Spinelli, which has a pro- fane basso-relievo of Minerva and the Muses. Saint Sabina, a monastery of Domini- cans, in a square form and ornamented with a hundred and three antique co- lumns, is most delightfully situated. An inscription in mosaic on the door of the church states that it was founded in 425 by an lllyrian priest named Peler, on the site of the saint's abode near the temple of Diana and Juno. The cele- brated Rosary, by Sasso Ferrato, passes for one of his most elegant works. The tomb of a Spanish Dominican, of 1300, a mosaic composed of small black and white stones, on a white marble ground, is remarkable for the composition of the monk's figure. Saint Sabina is the ge- neral rendezvous for explanations after Carnival ; the intrigues begun in the Corso are cli'ared up in Ibis church, not far from the ancient temple of the chaste Diana and the august Juno. The basilic of Santa Maria in Cos- mcdin, called the Bocca della Verita, built on the still visible ruins of an an- tique temple, to whom dedicated is un- known, which supplied elegant columns, takes its beautiful surname from the large marble ma^k placed under the portico. Children are told that a liar cannot withdraw his hand from the mouth of this mask. Its concave form indicates that it has probably served as a moulh to some antique cloaca. The ambos recall the disposition of the pri- mitive churches, and, in the gallery, a curious Confessione (jiontifical chair) has something of the antique. 1 he ve- nerated .Madonna is one of the [laiulings exported from the East during the per- secution of the Iconoclasts, and is in the best Greek stjie. Here, too, may be remarked the fdain tomb of a man who threw some lustre on Italy by the pre- cocity and variety of his talents, Mario Crescembeni. an .Academician at fifteen, and doctor of laws at sixteen, the author Chap. XXVII.] ROME. 5.->7 or the Istoria della volgar poesia and Commentaries, llie historian an(J [loel of the celebrated Arcadian academy (the mother of many others oflhc same name), of which he was a most active member and the principal founder; al his death he was archpricsl of the basilic of Sania Maria in Cosmedin, on which this pious, moderate, and airectionate scholar, has written two quarto volumes. CHAPTER XXVII. Saliil Cecilia. -Saint's Slatiie.- Saint Maria in Tras- iei-era.— TraiisleviMiiii's.— .Monaslerj of Saiiil Ca- lixlus. — Bible of Saint Paul. In the court of Saint Cecilia stands an antique marble vase, of a large size and beautiful shape. The reclined statue of the saint, .slightly clothed, by Stefano Maderno, though somewhat tainted w ith the affectation of the epoch, is admirably expressive in its attitude. This figure attracts and speaks to the soul in a sin- gular manner. Some persons have sup- posed it Bernini's, and one would be templed to attribute it to him : so happy an inspiration could proceed from a man of genius only. The charming church of Santa Maria dell' Orto was begun by Michael Angelo. The design is by diulio Romano, and well worthy of him, though the front is by the young Martino Lunghi, who is, however, innocent of the little i)innacles and pyramids, justly censured by Milizia, with which it is bedizened. Saint Francis has the graceful and lively Madonna of Haciccio, one of his best works. Below, the statue of the B. Luisa Albertoni dying, by Bernini, is of fine character in the head, but the hands are worthless, and the draperies exces- sively elaborate. The rich and beautiful church of Santa Maria «n Trastevere contrasts w ith the solitude and kind of savagcness of the inhabitants of this part of Rome. The mosaics oflhc exterior front, representing the Virgin, the Infant Jesus, and the ten wise Virgins, of the twcll'th century, were restored in the fourleenlh century by Pietro Cavallini. The Ionic granite columns of the nave must have formed part of a temple of Isis or Serapis, as they present the figures of the two Egyp- tian divinities and Ilarpocralcs. The Assumption, by Domcnichino, may be regarded as one of the first frescos in Rome for colour and perspective. He was likewise to have painted the chapel of Santa Maria of Strada Cupa, w hich he built, but be executed only Ihe excel- lent little figure over the altar. Near the sacristy is the mausoleum of Cardinal I'hilip d'Alenfon, brother of Philip the Fair, of the end of iho fourteenth cen- tury, a curious monunieiit of ihe archi- tecture, sculpture, and painting of that epoch : Ihe author appears to be the Roman sculptor Paolo, who also executed the mausoleum of Cardinal Stefaneschi close by. Among the tomb>toncs, may be observed those of the painiers Lan- franco and Ciro Fcrri, and the learned Bottari, (irefect of Ihe Vatican, who died in his eighty-sixth year. I remember seeing exposed, at Santa Maria in Trastevere, the corpse of a young girl who had just expired, with the face uncovered, as customary in Italy; she had been placed there the day before and was to remain the whole day : they were celebrating masses al the different altars. This lingering in the last se- paration, this publicity of death, had something touching, ultcrly unlike the hasty and barbarous secrecy of our inter- ments. The body was dressed as a nun, and somewhat showily, for the veil was bordered with gold. It is true that this publicity becomes profane enough among the great and wealthy. I met the fuueral procession of a Spanish ambassador, who had a hat with plumes on his head. The body of the old 'J'orlonia, in the same costume, with a long sword by his side, was laid out on the floor of the bail-room in his palace, and almost trodden on by the crowds collected to see it. The haughty Transteverines, of whom so much has been said, still retain, under their devotion and i:ew fanaticism, some vestiges of the energy and spirit of their ancestors. As in ancient times, the lieople of Rome are easily excited by spectacles. Us noisy carnival is only a repetition of the Saturnalia. On one occasion, a Swiss of the Pope's guard having repeatedly put back one of these men who was desirous to obtain a too close view of the Pope praying to Saint Peter, at last the Transleveriiie, drawing back, thus scornfully addressed the hal- berdier : Barbaro, son di sangue ro- mano, anche trojano. Castiglione cites the anecdote of a peasant, who, when com- 47. 558 ROME. [Book XV. plaining to the podesta of the loss of his as.s which had heen stolen, wound up his statement and the elogium of his ass by saying, that w hen he had his panel on, he was quite a Cicero. ■ This medley of imagination and ancient traditions is found even in the language of women of the lower orders ; and a young Roman girl on seeing a handsome lad pass by w ould say that he was Console di beltd. The country people repeat familiarly the words via Appia, via Flaminia, w hen .showing us the road. In no part of the world is the recommendation of a hand- some face so efficient as at Rome, and hunchbacks and deformed people are hardly deemed men there. Cardinal Odescalchi, who had a pleasing counte- nance, used occasionally to preach before he became cardinal ; the Roman gossips then met un(ier the pulpit, and made quite a scene in expressing their admira- tion of his face. A cardinal Lante re- ceived the surnameof the Carmacardinal (charming), and he was commonly called by that title in society. Near the church of Santa Maria in Trastevere is the vast convent of Bene- dictine monks of Saint Calixlus, which looks like a palace ; but its garden, not- withstanding its orange trees, is little more than an ill-nianaged kitchen garden. I occasionally had the pleasure of visiting at this convent theR. P. Bini, procurator general of the Benedictines, ex-professor of the university of Perugia, of which be has begun to write an excellent history, and a man of real merit. Saint Calixlus possesses the superb Latin Bible of Saint Paul, a manuscr!|)t of (he end of the eighth century or the beginning of the ninth, which has even been supposed a present from Charlemagne, a celebrated manuscri|)t, remarkable for its richness, preservation, the beauty of the characters, the extraordinary size of i(s capitals, the multitude, variety, and elegance of its ornaments; the drawing of its miniatures, which are in some instances ingenious, is horribly incorrect, trivial, and false. The enormous frontispiece represents, on one side, the emperor with two squires, and on the other, the empress with one of her ladies : it is not positively known whether the emperor is Charle- magne or his insigniflcant grandson ' •' Clie quando ,ivcv,-i i| suo basto addosso, parea piopriuiiienlL' un Tullio." Corlcgiaiio, lib. ii. Charles the Bald, though the bare fore- head and vulgarity of feature would make it the latter ; the empress, in that case, must be his second wife, the imperious Richilda, towards whom he had carried conjugal condescension so far as to accede to her fantasy of presiding a council. CHAPTER XXVIII. Saint Clirvsogonus.-Cortican tombs.- Saint Peter in Montorlo.— Lillle temple of liraiuanle.— Saint Onuplirius.-Tassos tomb.— Guidi. -Gate of San Spirilo.— Trinity of Pilgiim«.-Suint Charles a" Ca(mai i.-Pendentives of Domeniclilno.— Anol- bale Caro.— Saint JoUn of tlie Florentines.— Za- baglia. The antique church of Saint Chryso- gonus was rebuilt with magnificence by Cardinal Scijiione Boighese, under the direction of Soria. The Saint borne to heaven is only a copy of the vigorous painting of Guercino's second manner, now in Knglaiid. The Madonna, by the Cav. d'Arpino, is recommended by less feeble colouring Ihan usual with him. This church has many sepulchral inscrip- tions consecrated to Corsicans, the quar- ter of that nation having been in the neighbourhood during the sixteenth and seventeenth centuries. One of these in- scriptions recalls double and affecting misfortunes; it is that of Anton Padovan, second son of Vannina and Sampiero, assassinated at Rome by some French gentlemen. Another in.scription concerns the ancient and now historical family of Pozzo di Borgo. The Montorio hill, the most elevated point of the Janiculum, where it is pre- tended that Saint Peter sutTered martyr- dom under Nero, takes its name from the golden colour of the sand composing it. The church, said to be of Constanline's time, was rebuilt at the close of the fif- teenth century by Baccio Pinlelli. The Borgherini chapel, the first to the right, slowly painted in six years by Sebastiano del Piombo after the vigorous drawings of Michael Angelo, is the result of a league between the latter ami Sebastiano, his favorite pupil, against Raphael, who had been ranked above Michael Angelo for invention and colouring : on the ceiling is a Transfiguration ; the Christ in the Flagellation is not so good as the execu- tioners. At the high altar of Saint Peter in Hlonlorio, the Transfiguration was CUAP. XXVIII. ] ROME. 559 admired lor more than two centuries; il is now replaced by the picture of the Madonna, called dcUalettera, more ve- nerated, more popular than Raphael's prodigy. In the chapel of Saint Paul, the Con- version of the saint is by Vasari, who has painted himselfiiiit; hefurnished the drawings of the statues of Religion and Justice, and of the other flgures and ornaments on the tombs of the Monte family, sculptured by Ammanato. In the chapel of Saint John, the Saint be- longs to Danit'lio da Volterra; Leonardo of Milan, his pupil, exeruled the other paintings: the superb balustrade of an- tique yellow is composed of columns proceeding from the gardens of Sallust. The paintings of the next chapel are at- tributed, withautdue reason, to Vandyck, who came to Rome with the intent of making a long stay, but was obliged to quit abruptly through the enmity of the numerous Flemish jiainters, his compa- triots, who could not forgive his dislike to their tavern meetings and his determi- nation to live more respectably than them- selves. Whoever may be the author of these greatly damaged paintings, repre- senting the Dead Christ and divers subjects of the Passion, they recall the spirited execution of Michelangelo di Caravaggio, but the drawing is worse than his. The little circular temple of Bramantc, in the middle of the cloister, despite some critics, is t floor, always very high, one sees in the amechamber a lofty canopy covered with the master's arms, a privilege peculiar to the princes and the four Human marquises, who are called, on that account, canopied mar- quises, and on the balustrade of this monument of vanity hang the meanest household instruments. But arnid all these abominations, the ceiling is often a vast picture, the work of some great mas- ter. The servants, many in number, are dirty and dilatory: the cwsfode, a self-im- portant domestic, whose ollice is to explain the paintings, in which he sometimes suc- ceeds very well, so natural is a taste for the arts to Italians, leads you into the other apartments where the same con- trasts are repeated : the floor, if not mo- saic, is of badly jointed bricks; the door posts are marble, and in the saloon, be- side the most admirable paintings, co- lumns of vert antique or Lpis lazuli, the furniture is paltry, a little old timepiece, huge armchairs that secni as if flxed iu their places and not to have been moved for centuries, and a little narrow and hard sofa. Such is not the social saloon of France, with its simple, elegant, con- venient furniture, arranged for conver- sation, with its piano, harp, books, flowers, and album, and which one need but cross to fee! the charms of the life led there. This saloon never has a flower, and the sight of a rose in the apartments would make all the Roman ladies fall into hysterics. A fine ane- mone was one day shown to one of them, » "It is all the finer for not stinliiug." Tbis nasty word puzzare Is generally used to designate the perfume ol flouers. ll seems tiiat the taste of this lady for unsceuted llouers has not been con- tagious at Home, for among the unsuccesslul spe- culations of an active and estimable Roman manu- facturer, S. Vincenzo Nelli, such as the maoufacture of saltpetre, cristals, paper-haogings, was an expe- and she exclaimed with delight : E tanto pill bella die non puzza niente.' In- stead of the merry blazing chimney fire, there is nothing to be seen but the dull and unhealthy brazier. In fine, this majestic abode, the monument of va- nished glory, pretty much in keeping, however, with the gravity of the ponti- fical government, seems as if made to be visited rather than inhabited; there one neither feels the sweetness of a home nor the splendour and pleasures of the world, and the transeitntibus may be applied to it, in a different sense, as well as to the Chartreuse. The eternal Corso, lined with palaces and shops, a street long famous though little deserving to be so, comprises the minor trades of Rome, and the ennui and vanities of her great, who go there every day to show them in their car- riages at different hours according to the season. The old foot-pavements, rais- ed and uneven, instead of a protection, were, especially at night, really crippling, and the authorities have done wisely in levelling them. The Corso is favourable to the opinion which esteems population a means of salubrity. The air of this trading street passes for the purest in the town, while the beautiful and solitary villas are infected. The effects of the maV aria seem how- ever to have been greatly exaggerated : besides the scientific experiments of the celebrated Lancisi, [;hvsicianof the popes Innocent XI., Innocent XII., and Cle- ment XI., the illustrious Brocchi dis- covered no vicious principle in the air of Rome, and he analysed it in 1818, a year noted for the prevalence of agues, and at one of the worst points, the valley near the basilic of Saint Laurence extra muros. The flitting changeableness of the climate causes most of ihe evil; it is easy to counteract that by hygieine and the use of flannel, as the ancient Ro- mans wrapped themselves in wool. It has been further remarked that this air is good for old men, as the advanced age of a great many who have breathed it, riraenl on the cullivallon of ranunculuses. The antipathy of modern Romans for odours is surpris- ing when we remember the frequent use made of them by the ancients in the sacrifices, hanquets, baths, funerals, and a host of oiher circumstances. Tlie nervous system must be weakened by tlie vo- luptuousness and indolence of later generations. 562 RO.ME. [Book XV. both natives and foreigners, fully proves. Prudent travellers, ineasj circumstaiires, therefore, run no risk in coming to Rome at any season, in selllitig there, and re- posing themselves after the agitated years of life in that noble retreat. In the midst of her decline Rome pre- serves some traces of splendour which belong to her alone. The pavement of the streets is still of basalt, a noble pave- ment, but none the smoother or more convenient on that account, and the horses especially must have very little relish for its antique majesty. It is true that the lava is not, as heretofore, cut into polygonal slabs, but into little squares of about four inches, except in the kennel. The stone posts are formed of ancient columns of temples and por- ticos, and retain their name of colo- nette. The Ruspolipalaie, of A mmanato's ar- chitecture, is of judicious, pure, and w ell- conceived ordinance. The celebrated staircase, by the younger ^JartinoLunfjhi, with its hundred and twenty steps of white marble each of a single block, passes for the finest in Rome. An extensive coffee- house, the first in the city, occupies all the ground floor. The rooms, rather neglected, were painted by two French artists, 5JM. Leandre and Francois, names of no great celebrity. In each of the window recesses is a distinct croc- chio (circle), one for the lawyers, an- other for the merchants, etc. The most interesting is that of the Arcadian Jour- nal, the literary review of Rome, ma- naged by prince Don Pietro Odescalchi and edited by professor Retti, a distin- guished writer, secretary of the Academy of Saint Luke; the Marquis Bondi, a man of erudition and the elegant trans- lator of Tibullus ; the Cav. Rorghesi, the Cav. Visconti, S. Cardinal!, etc." I had the pleasure of meeting some of these talented writers there, and the aged and eccentric Amati, a great Hellenist, since deceased, who humorously pretended that poor Italy was as if cut into slices of bread and butter, and the driest was the Pope's. The coffee-houses of Rome, under an absolute government, are al- ' Tlie ircadian Journal is tlie vetiement and sometimes Tiolent champion of llje classical doc- trines, as ibe grave Anthology of Florence, sup- pressed iu )833, endeavoured to propagme ibe new doctrines. The Italian Library of Milan Meeps a liind of neutrality ; but this paper, thougli several most, as the vent-holes and safety-valves of opinion, the same as our journals and opposition : w hat is printed at Paris, is spoken there; the ner\ous and rude sar- casm of the frequenters, their violent censures of the Roman court and the acts of the government, sometimes even on the part of its agents, may give a to- lerable idea of what the unrestricted li- berty of the press would be among such a people. Every coiree-house has its distinctive character and, as we say of a journal, its colour. The Greco coffee- house, or the Rarcaccia, is the rendezvous of artists, French, Italian, and German, w here they smoke, and speak aloud, with freedom and candour, of the new works and the dilTerent reputations. The cof- fee-house of Hlonte-Cilorio, called de' Bahbioni,^ is frequented by professors and men of learning. I knew several men of extraordinary merit there, and there is a president of the crocchio. The coffee-house of the Trevi fountain was the seat of the abbe Fea ; this is the an- tiquarians" resort, and not the least known, peasants even often bringing medals or pieces of brick which they have discovered in the fields. In these various companies the scandal of the day is warmly discussed, for the Romans of to-day are neither less curious nor less eager after news than their predecessors in the days of Horace and Juvenal. CHAPTER XXX. Ghigi palace. — Library —Ancient French mubic — Roman Antiquarian — Piazza Culonna — Colonna A nionina.- Ohe'isk, and palace of Moule Cllorlo.— Lottery. -Customhouse. The Ghigi palace, whose owner, Prince Don Agostino Ghigi, was distin- guished for his good qualities, his learn- ing, and literary talents, was begun by Jacopo della Porta; the court and vesti- bule are magnificent, the shajie and de- coration of the windows in bad taste. The 5Au// and Sleeping chihl, by Ber- nini, emblems of life and death, laid on two cushions, though elaborate, are cle- verly executed. A Venus, an Apollo, men of learning nrlle for II, liasfallen far below its position in the times of Monti, Perlicari, Gior- dan!, and even their succeiisor Acerbl. ^ Old papas, old quidnuncs : Rnbhioni is perhaps an augmentative of Habbio, which means a crabbed countenance. Chap. XXX.] ROME. areanlique;lhelaUerappcarsorAdrian's time. Among the paintings may be distinguished : St. John Baptist drink- ing at a spring, by IMiihelangelo di Caravuggio ; the Ascension, Gaiofolo's chef-d'ceuvre; the Guardian angel, by PietroofCortona; a su[)eTb Flagellation, by Guercino ; a Christ dead, loreshort- cncd, by Agoslino Carraccio ; a Poet sitting before a Satgr, by Salvator Rosa, probably an allusion to his satires, as the head of the poet is his portrait ; a Magdalen, by Spagnoletto. .TheGhigi library, rich in manuscripts and fine editions, was founded by Pope Alexander VII., a man of meagre cha- racter, described in the manner of Pascal and Moiiere by Cardinal de Retz,' but an elegant poet, a passionate lover of an- tiquity, = and deserving high eloglums for his patronage of letters. " Now the tastes of the pope are known," wrote a contemporary, "all the prelates rivaiise each other in discovering manuscripts." ^ One of these manuscripts, perhaps sought after with a view to personal advance- ment, is the Daniel of the Septuagint, unique. A Diongsius of IlaUcarnas- sus seems of the ninth century. The Chronicles of St. Benedict and St. An drew; a collection o^ \.h& Capitularies, an ineditcd Chronicle of Mount Soracle, are other important historical manu- scripts. A Missal, of 1450, has some large miniatures representing divers sub- jects of Sacred History, in excellent taste. A fine folio parchment volume, orna- mented with fanciful figures dated liOO, and containing masses and moleili com- posed in France by French and Dutch musicians , would be interesting for the history of music. A note at the be- ginning, in the handwriting of Alex- ander VII., then Cardinal Ghigi, cer- tifies that this music, intended for .Spain, is very good : Stimata molto biiona. French music, on the decline from Henry IV., crushed under the sarcasms of Rousseau, had great celebrity through- « See in book V. of his Memoirs the comic re- lation of Ills conference willi iliis pope. ' Biing informed, on his liis! journey to C.islel CandoKo, lljat a poasiinl hail defaced an anliqne temple, and iis line mosaics, wtilcli he had clianced to discover, and lliat on the advice of a moiiii of Sainl Augustine who tohl him that those things were the woilis of the devil, he sent the peasant to ttie gillies, not linovvlng how lo punish the frale, who was nevertheless the true culprit. out Europe In the fifteenth and first years of the .sixteenth century. Our romances and songs [le canzonette alia francese) were imitated and even copied by the Italians. It is really curious now lo see that Italy then borrowed from our music all that was piii molle, piii delicato.'i in its own. Hut it appears by the col- lection in the Ghigl library, that not only were sentimental and elegant airs im- ported from France, but even grave and perhaps scientific music, more than fifty years prior to the compositions of Pales- trino. pupil of a Flemish master and chief of the Italian school, from which period modern music seems to date. A remarkable letter from Henry VIII. to the Count Palatine requests him to show Luther no mercy. A great number of German and Latin letters byMelancthon have not all been published. Some sketches of sonnets by Tasso are as full of corrections as his other manuscripts. An ineditcd treaiiseon Ihe Primacy of Saint Peter, by Francis de Sales, canonised by Alexander VII., seemed to me, on a cursory perusal, an ingenious and elo- quent production. An autograi>Ij draw- ing of Bernini's relates to the embellish- ment of Saint Peter's. Twenty volumes of original documents respecting the peace of Westjjhalia might be advanta- geously made use of in remodelling some portions of P. Bougeanl's History. In short, the Ghigi Library is one of those historical treasures so frequently met with in Italy, and especially at Rome, which, if diligently studied, would be of great service in the rcclification of facts and the discovery of truth. Among the printed books, there is a Rationale of Durand. A Polyglot of Paris recalls a singular typographical forgery : some Dutch printers came to Rome in 1666, and changing the frontispiece and dedi- cation of the book, which bears the above date, they oll'ered it to Alex- ander VII., as if issued from their press; but the trick was soon discovered. ' " Ora Che il genio del papa e fallo pubbliro, tutti i prelati fanno alle pugna qua per buscar ma- noscritli." Let. from Otta«io Falconlerl to Magalolti. ICGj. Leilere W uom. ill. t. I, p. IJ3. 4 See this passage of the discourse of Ludovico Zoicolo sulle raijioni del munero del verso ita- liano : " La rausica piii molle, piii delicala, che non soleva costumarsi fra noi Ilaliani, fece gli anni ad- dietro passaggio da Francia ia Italia."' 564 ROME. [Book XV. The Ghigiana was shown to me by its worthy librarian, llie celebrated advo- cate Fea, the ideal of an antiquary, whose whole soul was occupied for more than hair a century in the excavations and topography of ancient Rome.' The Ro- man antiquary has not the slightest re- semblance to the independent and scoff- ing philosopher described by Walter Scott J on the contrary, there is no man more serious, ardent, or enlhuslaslic; his scicnliOc- cupidity is extreme, and the gentle Barth(^Iemy, in his impreca- tions against brokers, goes so far as to call a dealer in antiquities a tiger, be- cause his prices were too high. I still remember the interior of the learned antiquary's cabinet. Heaps of frag- ments of brick, cornices, inscriptions, lay pell-mell on the floor, beside piles of books, maps, and scrolls covered wilh dust, the instruments of this kind of al- chymy. I went away deeply affected by the courtesy and zeal of this excellent and respectable man, but loaded wilh pamphlets, plans, and dissertations.^ The antiquarian, properly so called, brimful of his systems, is not always the best or most agreeable of guides through Rome and its environs. When the grand duchess Helena visited Ostia, she was only conducted by her learned cicerone to an arid jdain, near a saline marsh, which must have been the port, and she heard not a word of the charming wood of Castelfusano,^ on the seaside, till she reached home, after her dull expedition, in which she had seen nothing to give her the least idea of the magniflcence of the ancient Romans, if we except the splendid dinner ordered at Fiumicino, a new little town at one of the mouths of the Tiber. The Piazza Colonna seems to preserve its antique form. The Antonina co- lumn, creeled by the senate and Roman people to Marcus Aurelius, retraces on ils basso-relievos, inferior imitations of those on Trajan's column, the victory won in 174 over the Surmates, the Quades, and Marcomans. This victory was principally due to the Fulminant legion, composed in part of Christians, ' He di€il at Uome in Maicli 1830, aged eighty- four. ' Fea's pampblels alone, froin 1790 to 1833, form four large octavo volumes, llirie on Uome and the other on the environs. Such was his ardour for what he thought the truth, and his dlsiiUerested- whose prayers obtained a timely shower, attributed in a basso-relievo to Jupiter making rain, who is there represented with water falling from his outstretched arms and his face. The column, whose present base is by Fontana, has been struck by lightning several limes, being attracted, it is said, by the point of Saint Paul's sword, who surmounts it, an in- convenience to which the keys of Saint Peter do not expose Trajan's column. The elegant obelisk of red granite in the piazza of Monte Citorio, erected at HeliopolisbyKingPsanmiilichusI.,whois fantastically represented thereon in the form of a sphinx, wilh a human head and arms, making an offering to the god Phre, was brought to Rome by Augustus for the gnomon of the meridian in the Campus iMartius; it was dug up under Benedict XIV. by the clever Zabaglia, and reared under Pius VI. by the archi- tect Aniinori, a proof of his talents as an engineer. Ihe Latin inscription, executed in 1782, combines a strange diversity of names and epochs; Sesoslris, to whom Pliny wrongly attributed the obelisk, .Augustus, Benedict XIV., and Pius VI. The great palace of Monte Citorio is reckoned one of Bernini's wisest edifices. In the balcony of this palace the drawing of the lottery takes place twice every month, under the presidence of a prelate, in sight of an immense and agitated crowd of Romans, in whose expiessive features may be traced the workings of hope, fear, joy, or despair. The exis- tence of lotteries, general in Italy, may be deemed one of the causes of popular misery and vice. At Rome this passion is excessive : the poor will even beg professedly to put in the lottery ; the steps of Aracoeli are ascended wfth de- votion lo obtain good numbers, which are likewise asked in all confidence of the madmen in the Palazzina. who throw them through the bars of their windows. The custom-house, by one of those chances that belong to Italy alone, is an ancient temple, perhaps the one decreed by the senate and the people to Anto- ness, that part of these pamphlets were printed at bis onn expense, and he dislilbuled them so libe- rally that he sometimes had not a copy left for himself. i See post, book xvi. ch. ?l. Chap. XXXI. J ROME 565 ninus Pius, and has a front of eleven majestic fluted columns of white marble, cue of the finest remnants of antiquity. CHAPTER XXXI. Sciarra palace. — Door.— Leonardo Vinci's Modesty oud Vanity. — Doria palace. — Gallery. — Torlonia palace.- Group of nercules and Lychas, by Canova. — Ball.— Society.— Palace of Venice.— Mallei villa. The Sciarra palace, by Flaminio Pon- zlo, a clover tombard architect, whose famous Doric door of marble, one of the bestofthe kind, has been thought worthy of Vignola, contains a ravishing selec- tion of paintings, of which the most ad- mired are : two large and vigorous works by Valentin, the Beheading of St. John, well composed, but painled on canvas so black that the parts in the shade arc perfectly indistinguishable; and Rome triumphant, remarkable for the trunk and head of the Tiber; the Vestal Claudia drawing the vessel which had the sacred image of Pessi- nunte on board ; Circe metamorphosing the companions of Ulysses, by Garo- fulo; Cleopatra, by Lanfranco; the Young Musician, called il suonatore di VioUno, by Rajjhael ; the celebrated Gamesters, by Michelangelo di Cara- vaggio ; Modesty and Vanity, by Leo- nardo Vinci, a simple, ingenious, and witty composition ; two Magdalens, by Guitjo ; a Woman's portrait, by the se- cond Bronzino; the Family, by Titian, and a portrait close by ; a Landscape, by Guaspre Poussin. The immense Doria palace, in part designed by Rorromini, when he was perhaps still retained by Bernini and Piclro of Cortona, whom he afterwards so far surpassed in bad taste, has his name inscribed on the strange profiles of the front. Nearly all the paintings are excellent ; the following may be distinguished : several Landscapes, in distemper and oil, by Guaspre Poussin. among them the Bridge of Lucano, on the Tivoli road; Abraham's sacrifice, the Mistress, Jansenius, and several portraits, by Titian ; his Hypocrisy, unfinished; a Descent from the cross, by Paolo Veronese; the portrait of Machiavel, by Andrea delSarto; the Death of Abel, b) SalvatorRosa, praised, but alTected in composition and colour- ing ; the classical portraits of Bariolo and Baldo ; a Holy Family, by Raphael ; a graceful figure, by Perino del Vaga ; a Piety, six semicircular lunettes, land- scapes taken from scripture subjects, by Aniiibale Carraccio; Agar and Ishmael , by Caravaggio or Guercino, in which Ishmael, d>ing, is a masler|iiece of ex- [iression ; Diana and Endymion, by Rubens, his Wife, a Franciscan, his confessor; a Woman's portrait by Van- dyck; Holbein's ivife, and biinseiV hold- ing a purse and a pink; Christ disputing with the Doctors, by Dossi Dosso; a good Visit at ion, one of the largest works atRome.byGarofoIo; Iwo Madonnas, by Sasso Ferralo ; the two finest landscapes of Claude Lorrain, one of which is the famous scene of the iMill ; a Flight into Egypt, by Poussin ; two landscapes, by Torregiani, a pupil of Sahator Rosa, who died young ; St. Agnes, by Guer- cino ; a Virgin, by Guido ; the celebrated Misers, by Albert Durer; a rich Land- scape, by Domenictiino; a little Christ on the cross, by .Michael Angelo; the Country wedding, by Teniers; the beau- tiful portrait of the second queen Gio- vanna of Naples, by Leonardo Vinci. The rich palace of the banker Torlo- nia, duke of Bracciano, which has some antique scul|)lures, is indebted for its principal embellishments to the labours of contemporary Italian artists. SS. Ca- muccini. Landi, and Palagi. The Ban- quet of the gods, a grand ceiling by S. Camucciiii, in the room adjoining the gallery, passes for one of his best paint- ings. Notwithstanding some learned siiirragcs, the colossal group o( Hercules and Lychas, by Canova, seems an un- successful attempt at vigour by that graceful sculptor ; his Hercules, which has been humorously likened to a quilted mattress, is rather bloated than strong. The group stands in too confined a space, though made expressly for it, and cannot be seen on all sides, nor has the spectator sulTicient room to draw back. The young Lychas is the part best com- posed, the truest, and most picturesque. The house of S. Torlonia, the rendez- vous of the colony of travellers, was fa- mous for its balls, which, with the recep- tions of the corps diplomatique, formed all the pleasures of Rome. The native society, but little given to hospitality, was next to nothing. If the ancient Romans created history, the dames of modern Rome, with their adventures, 48 .•*6 ROME [Book XV. passions, and violences, seemed to have undertaken romance : at Uie present day history and romance are equally past, und some few old dowagers alone kept up, williout much honour, the scandal of the old Italian manners. The immense palace of Venice, of Giuliano da Majano's architecture, has heen the summer residence of several popes, of the proud duke of Ferrara, i?orso d'Esle, with a suite of five hundred gentlemen clothed in gold and silver hrocade, silk, and velvet, and, for one month, of the young and chivalrous king of France Charles VIII., who, when going to Naples, seems almost to have reigned there and governed the eternal city. Thiskind of battlemented fortress, :-;mpIe, solid, and severe in iis architec- ture, builtwilh the stones and materials of the Coliseum, with a fine church and :\n elegant interior portico, is by moon- light of a superb, majestic effect. The republic of Venice received this palace from Pope Pius IV., because thai power was the first to admit the council of Trent. Long abandoned and left to decay, it was carefully repaired in part by Count A*****, Austrian ambassador, who for several years displayed the no- blest and most cordial hospitality there. Countess A***'* added an infinite charm to the brilliancy of these fetes, and ihe politeness, attractions, and virluesof that accomplished lady are one of the remi- niscences of Rome. The Mattel villa, on Mount Coelius, the property of the prince of the Peace, has some paintings of the Spanish school. Two great pedestals, covered with in- scriptions by the fifih cohort of the 17- <7(7e«, prove that the barracks of these firemen of Rome was near. A hernies has supplied authentic busts of Socrates and Seneca, sages widely different, wiio ought not to be thus associated : the former, true, sublime ; the latter, inge- nious and false, and who is indebted to this recent discovery for his delivery from the mean countenance attributed to him on the authority of the celebrated apo- cryphal bronze in the museum of Naples. The long-neglected gardens have been replanted, but in a petty style. The view of the Aveniine, ever the same, is admirable. CHAPTER XXXII. Colonna palace— Gallery.— Piozza of Monle Cavallo. — Colosses.— Quirinal and Ilosplgliosi palaces — Guide's Aurora.— Founlain de" Tei mini.— Lions. — LudoTlsl villa.- Cuereiao's Aurora. The vast and naked Colonna palace dales from the illustrious Martin V. 'Colonna). The gallery is one of the first in Rome. The following arc re- markable: the superb portraits of 7,it//ier and Calviy^, by Titian ; f» Portrait, by Paolo Veronese, wonderfully true in co- louring; four Portraits united, by Gior- gione, no less admirable; Shepherds sleeping, of a delicacy not always found in Poussin's paintings; a good Holy Family, by Andrea del Sarlo. In the garden, the two fine fragments of a well- executed antique frontispiece are said, with equal improbability, to proceed from a temple of the Sun or a temple of Health. What powerful n)echanical means must not the ancients have pos- sessed to raise and fix such an entabla- ture ! The piazza of Monte Cavallo, on the Quirinal, agreeably situated, ornamented with handsome edifices, and a charming fountain, is more particularly embellish- ed by its superb colosses of Castor and Pollux, according to the most likely conjecture, chefs-d'oeuvre of the Greek chisel in the golden age of antique sta- tuary, but, despite the Latin inscription, neither by Phidias nor Praxiteles. Ca- nova, who from his first arrival at Rome had made an especial study of these co- losses and was never weary of admiring their noble simplicity, artless grandeur, and anatomical precision, shrewdly re- marked the vicious restoration of the two groups : the horse and esquire muj^t have been originally placed almost facing and on the same line, in order to pro- duce unity of disposition. The pontifical palace, begun in 1571 by Gregory XIII. and not completed till tlie last century, is now appropriated to the conclaves. It appears to have no painting of the first order. The pretty chapel, painted in fresco by Guido, has an Annunciation at the high altar, also by him, and highly extolled. The stuccos of a wainscot, representing Alexander at Babylon, are by Thorvvaldsen : the clever sculptor of Carrara, Tinelli, had represented, under the French adminis- Ciup. XXXII ] ROME. 567 tralion, the Triumph of Trajan, since dianged into that of Constantine. In the garden, the iillle casino has a View of the piazza of Santa Maria May- glore and another of the Piazza of Monte Cavallo, by Paunini, executed with great talent. The great palace of the Consulta, by Fuga, is disposed with extreme inge- nuity. The vast Rospigliosi palace, begun by Cardinal Scipione Borghese, on ttie de- signs of Fiaminio Ponzio, and erected on the Thermae of Constantine, was purchased of the Henlivoglio family by Mazarin, to be made the palace of France; it remained so until 1701, and the ob- scure fattier of the cardinal, Pietro, died there in th6, year 165i, at the age of sevenly-ei^ht. Saint-Simon mentions the malicious wit ofHhe Roman journalists, who inserted the following announce- ment : " We learn from our Parisian CQrr^&pondence that the Signor Pietro IVIazafiiili,' father of the cardinal of that name, died in this city of Rome, on, etc." With the exception of the beautiful Aurora, Guido's most celebrated work, perhaps imitated from an antique basso- relievo in a cloister of Saint Paul's, but apparently not superior to his chapel of Saint Daminick at Bologna, which is spoken of much less, the Rospigliosi pa- lace has no remarkable painting ; several pictures even, most of the Rubens,' for instance, and a Holy Family, attributed to Raphael, are only copies. Tho great painting of -^rfam and Eve in Paradise ismoslcertainly in Uomenichino's earlier style. The Albani palace, of Domenico Fon- tana's architecture, presents little but the wrecks of its rich library and gallery. The latter has scarcely anything but a Christ by Rubens, and designs by Giulio Romano. The fountain de' Termini, of Dome- nico Fontana's architecture, one of the four principal fountains in Rome, but without effect or picturesque, has in- spired Tasso with some tine octaves.^ Before Sixtus V., water drawn from wells, and put in casks, was carried to Rome on beasts of burden, and sold. The tribune Rienzi was son of one of these water-sellers. Sixtus V. employed ' See ante, book viir. cb. vi. ' "Acque, clie por caiuin cliluso e profundo." the ancient aqueducts to convey the water, called from his name Acqua Felice, which is the same as the Alex- andrine, brought to Rome by Alexander Scverus. Amid ibe ruins or resurrec- tion of the eternal city, the water alone remains perfectly antique. The ridi- culous colossal Moses of the fountain, by a sculptor in earthenware of the seven- teenth century, Prospero of Brescia, given by some simpleton travellers for the Moses of Michael Angelo, has the air of a Silenus standing erect, in cos- tume, and able to walk straight. The author, urged on by the impetuous Sixtus v., had sculptured his marble on the spot, without making a model ; he died of grief at the mockery and contempt showered on his work. The two lions, of black basalt and beautiful Egyptian workmanship, were obtained from the Pantheon; they arc an allusion to the arms of Sixtus, and would be worthy of a better place ; their hieroglyphics, cu- rious in an historical point of view, mark the epoch of Ring Nectanebusand the middle of the fourth century before the Christian era. The Salaria gate, substituted by Ho- norius for the Colline gate, by which the. Gauls had entered Home, seems a fatal entry, which has in all ages been the weak side of Rome : Annibal intended, but was prevented by hurricanes, to attack it on this side, where Alaric and his Goths afterwards made their irruption. I obtained the favour of visiting the impenetrable Ludovisi villa, consisting of three fine casinos thrown picturesque- ly into the midst of a large garden laid out by Lenotre. Some few of the sculptures are in the first rank of antique chefs-d'oeuvre; namely: the statue of Apollo, exceedingly well preserved; the superb head of Juno, the finest Juno known; the famous Mars in repose, restored by Bernini ; a pretended Ayrip- pina, perfect in drapery; the group said to be the young Papirius discovering the secret of the senate to his mother, but which is more probably Orestes recognising Electra, a Greek work by Menelaus, son of Stephanus, according to the inscription ; the celebrated group of Arria and Pwtus, which is supposed. from the nudity of the persons unusual Rime. Port. Ila. " A'.Ie acque felici condoltc in Uoma da SS. Sisto v." 56S ROME. [Book XV. •\vilh Roman statuaries, to represent Hemon stabbing himself and support- ing Antigone killed by Creon. The Pluto carrying off Proserpine is a good ■work by Bernini. The ceiling of the Aurora, by Guereino, is considered his chef-d'ceuvre : Guido's fresco has pos- sibly more majesty, but this is superior for movement, picturesque, and colour, though the principal figure appears too big and too strong for an Aurora. Ano- ther ceiling by Guereino, Fame, is ad- mirable. The calcareous concretion of alabaster, bearing the impression of the bones of a man crushed under a rock, is an interesting natural curiosity, pre- sented to the learned and virtuous Pope Gregory XV. (Ludovisi.) CHAPTER XXXIII. Fount.iin of Trilon.— Barberini palace.— library .— Thorn aldsens studio.— Cliri>t and l!ie apostles.— Trevi fountain. — Water ot Home. The Barberini palace occupies the site of the Circus of Flora, noted for the abo- mination of the feasts celebrated there at night by torchlight in honour of that deified courtesan, who had bequeathed the wealth acquired by her debaucheries to the Roman people, then unworthy of such an heritage. 'J'he rigid Cato, un- willing to interrupt the public pleasures, thought proper to retire from these games, which they dare not, out of respect for his virtue, begin in his presence ; and the w ags of Rome wittily asserted that he came for the sole purpose of going away. The fountain of the Triton, one of the best of its kind, is a poetic and clever composition by Bernini, as he had but a scanty supply of water (o dispose of. This fountain forms an object equally pleasing to the eye, whether the rays of the sun fcrm a rainbow in its streams, or the frost ornaments it w ith its cristals. The Bnrberini palace is for the most part of Bernini's architecture, who fi- nished it and executed the magnificent front. The idea of iis fine winding stair is not less ingenious than the ensemble is majestic. Some few of its sculptures ' " You bind my body lo destroy it. but you loosen my soul for imraortalily." The prison of I.a Cenci is still slionu In the ancient Tor e In Job : Contra folium, quod venlo rapilur, oslenJis poleutiam Ittain, et slipiitam siccam persequeris. » See poil, book xvi. cli. iii. S Oa the 5lh of October )C5'i, as Olimpia was pre- pRrlng to receive a visit from tier uncle, she dis- covered tbat a considerable portion of ber pearls, gold, and jewels bad been stolen. Not lonjj after sbe received a letter from tbe thief, who told her the clrcumtlaaces of tbe case, pretended that she " Savoit parler nulls langue que la " sienne, etquipetisoit queVeniseestoit " de la dition du pape. " ^ The Braschi palace, of a good style, though erected at the close of last cen- tury, is, with its rich marbles and pom- pous staircase, a monument of the ne- potism that ceased long ago at Rome and has not been revived. Despite the beauty of its colossal Antinous, these huge forms seem incompatible with the young and ef- feminate favorite of Adrian. Among the paintings may be remarked : the cele- brated Marriage in Cana, by Garofolo: another Adulterous Woman, by Titian; Lucretia, by Paolo Veronese, and the Marriage of St. Catherine, by Fra Rar- tolommeo. The celebrated mutilated torso called Pasquino, one of the most vigorous and finished Greek works, representing Me- nelas defending the body of Patroclus, a kind of sciilplured fragment of the Iliad, owes its name to the facetious tailor of Rome, near whose shop it was found. The genius of satire is peculiar to the Romans. Pasquino ami his satellite Marforio are the opposition of the coun- try, an opposition in which every body dabbles, which is not prosecuted by the government, but is occasionally its mouth- piece to divert public opinion, which no longer, as heretofore, placards the foot of the statue, but still exercises the same violence on individuals, and retains but too much of the pleasantries of Pas- quino and his workmen, its first orators. The profession of a tailor must, more- over, have been very distinguished in Italy, if we may judge by the following title of a work in quarto by Giovanni Pennachino: Nobiltd ed antichitd de' Sartori cavata da molti autori appro- vati (Venice, 1650). The Massiiii palace, whose masters pretended to be descended from the Fa- bii of ancient Rome, built by Baltassare ouglil to be much obliged to him for not taking the whole, and advised her to lake greater care of what remained ; the letter was accompanied by a sum of 2000 crowns. The pope, to console his niece a little, had the weakness to grant her 30,000 crowns in addition. "i M. d Italluski was a native of Kief, and died on the 27th of June 1827 ; he bequeathed his library to the emperor of Russia, who remitted to bis heirs the sum of '15,000 rubles, as the amount of Its worth. 5 Voyage, t. U, p. 1^3. Chap. XXXVI. ] RO.ME. Peruzzi, in a narrow irregular space, passes for the artist's masterpiece and was his last work; it is considered in the first ranii of modern palaces. With its court and pretty fountain, it still gives an idea of llie habitations of ancient Rome. The superb Greek Discobolus. one of the finest and best preserved sta- tues in Rome, seems a copy of the cele- brated bronze statue of Mjron. The paintings in dare-obscure of the front towards the piazza Navona are by Da- nieilo da Vollerra. It was in the house near the Massini palace, smaller and rebuilt in good style, by Ballass.irc Peruzzi, that the second printing-oflice in Italy was estaiilished in 1467 {in domo Petri de Maximis), when the German jirinters Sweynheim and Pannartz, not agreeing, as it ap- jMjars, w ith their countrymen the monks of Subiaco, came to settle at Rome, and printed theic Cicero's Orator, without date, and the City of God, in the same year 1467, which were even then very well executed." Printing at Rome seems very limited now, and olan inferiorkind; it was honoured by some good editions there in the sixteenth century, such as the Homer of Eustathius, by Bladus (1512-50), the Latin Bible by Aldus Ma- liUtius 'J590), then manager of the Va- tican printing-office, now ilused for want of funds; and even in the seventeenth century, the epoch of typographic de- cline, by the establishment of the cele- brated printing-office of the Propaganda, by Pope Urban VIII., which is rich in oriental characters. The Vidoni palace, unfinished, is the best authenticated and most considerable work of Raphael, as an architect, al Rome. The front and basement serving for ground floor are of superior effect, and combine \ariety, harmony, and strength. The attic superadded is not by Raphael, and impairs the simplicity of his plan. In this palace are preserved the frag- ments of the calendar of Verrius Flac- cus. found at Preneste, in the last cen- turv, and ingeniously supplied by M. Kibby. The vast Mattei palace, a noble and pure work of Carlo Maderno, who afler- ' Tiraboschi and those nho have followed lilm are mistaken in tupposiug that the Vonaivs pro pnerul'S, not a cnpy of which is eilant, had been printed at Sublaro, on the failh of the request presented to Siilus IV. in ) i7i, uhich doesnol m«n- wards began the decline of the art (a sin- gularity which the history of letters afso presents), is ornamented with fine sta- tues, antique basso-relievos, and paint- ings by good masters. On the stairs, seats, a kind of antique stools, are atten- li\ely placed. A basso-relievo represents a Consul having a criminal punished; a head of Alexander is remarkable; a ceiling has been painted by Domeni- chino. On the piazza, the fountain delle Tar- tarughe, from the design of Jacopo della Porta, has four young figures in bronze, very elegant, by TaddeoLandino, a Flo- rentine sculptor of the end of the last century. The ceilings of the Costaguti palace are justly celebrated: Time discovering Truth, by Domenichino, is worthy of that grand master; there is strong ex- pression in the Armida on a car draum by two dragons, in Guercino's first style. The gallery has some works which de- serve notice, a grand painting by Pous- sin, two Heads by Domenichino. CHAPTER XXXVI. Monte Testaccio. -Fete.— People of Koroe.— Mluenli. —View. Ihe month of October is the most agreeable time at Rome. The soil, re- freshed by the September rains, is ver- dant and flowery; merry troops, clothed in sfiowy colours, wearing hats bedecked with flowers, plumes, and ribands, dan- cing the tender, graceful, lively Salte- rello to the tabor and mandoline, singing the popular ballad Viva ottobre che spasso ci da. ramble over the fields; light carrettelle, hackney calcches, carrv the populace to Monte Testaccio. while the equipages of the citizens and nobility defile by the Porta Pia. The carrettelle are loaded with two stages of men, and especially women and girls, called Mi- nenti {(or eminenti), who all retain their popular costume, instead of sporti|]g the lady or gentleman. Some of these girls are a species of Roman grisettes. but robust, energetic, impassioned griselles, who will drink to intoxication, and are lion it; it was more probably printed at Borne about inCS. See p. Ai of tlie Letter from the abbe de Rozan to the librarian of Aaplet, already died, booli XIV. eh. vi. &16 ROME. [Book XV. oven capable of the colteUata. The Os- lerie (inns and wineshops) of Testaccio tire filled with people; all these physiog- immies and costumes are characteristic, picturesque: if the Roman people have passed away, we still have the people of Home. Monte Testaccio, where the cel- l.irs arc noted for extraordinary coolness (the thermometer sometimes reaches as high as 28 degrees (H^aumur) outside, Lul falls to 8 or 9 there), is composed, as c>ery one is aware, of the wrecks of an- cient jars (testa) which were deposited there. When we consider the population of Rome, it appears surprising that so many fragments have not produced a larger mass : the shape of these pots ex- |)Osed them to frequent breakage, and, as Courier remarks,' we must also under- standby the Latin our barrels which were unknown to the ancients, and the cele- brated tub of Diogenes was perhaps a large earthen jar. We may add that the use of these was very general ; that be- sides wine, they were used to hold water, oil, the ashes of the dead, and for a multi- tude of other usages. The barrels and bottles of a Swiss or German town would, I believe, form a higher mound than the Monte Testaccio in a little time. This hill, too, seems no bad emblem of mo- dern Rome, if we consider all the fallen great that lake refuge there ; and itself is but a kind of Testaccio, where all the broken pots of the universe are thrown into a heap. From this height, the view of the set- ting sun was admirable. Poussin is said to have frequently drawn inspiration there, and it was impossible, in contem- I)iating it, not to experience the dreamy charms of his paintings. C!1APTER XXXVII. Glu'tto.-ririflpe of iheQuattro Capi.— Tiber.— Fon- laiia I'aolina.— Conlra^t. The Ghetto, the Jews' quarter, the most wretched and vilest of those re- ceptacles, presents a paria-like multi- tude in shops crowded one on the other. The number of inhabitants, which the fear of the cholera induced the authori- ties to ascertain for the first time, is three thousand five hundred, and it has been calculated that if the rest of Rome was ' Conespondaacr, t. I. p. il7. peopled in proportion, there would not be less that five hundred thousand souls instead of a hundred and fifty-one thou- sand nine hundred and fifty-seven, its po- pulation in 18.>2. Such, however, is the effect of popuiousness as a means of salubrity, that this filthy, confined, in- fected quarter, near the Tiber, is not in the least unhealthy, while the maV aria prevails in the desert parts of Rome and in the bosom of the finest villas. Tlve barbarous exclusion of the Jews, so op- posed to the charitable spirit of Chris- tianity, has not even the specious merit of antiquity, for it began in the pontifi- cate of Paul IV., about the middle of the sixteenth century. He also com- pelled them to wear a yellow badge in front, called lo Sciamanno, which still dislinguisiies them in the Roman states. At his death a Jew covered the head of the broken statue of that pope with the same Sciamanno. The Ghetto forms a kind of commo- nally, called Universitd, whose rectors take the title of cacani; a sum of 7,000 crowns, an expense borne by the nine hundred trading families in more easy circumstances, is devoted to the maintenance of public worship, schools, physicians, and chiefly to relieve the poor, in obedience to the precept of Deuteronomy, which forbids mendicity; et mendicus non erit inter vos. The bridge of the Quattro Capi, so called from its four hermes of Janus, which leads to the island ofTiberina, was built by L. Fabricius, surveyor of the highways, in the year of Rome 690, and it is now the oldest bridge in the city. The Tiber, lined with palaces, and covered with vessels in ancient times, is now without even a quay; it runs ob- scurely through a corner of Rome, and nothing of its olden aspect survives ex- cept its yellow hue {flavus Tiberinus). A miserable steamboat, which, without its engine, might not be unlike the ship of jEiieas, na\igates the stream as far as Fiumicino; and so much has the river declined that the modern machine can hardly find water enough to make this voyage in five hours, and would often be in danger of remaining aground without the help of oxen lo tow it along. The Tiber, the sacred river of ancient Rome, which a magistrate instituted by Augustus was charged lo preserve from Chap. XXXVIU.] ROME. 577 all impurilies, is the common sewer of new Rome, and receives all the filth of the city. Cleiia and her companions, who passed it at the port oiRipa grande, would now require more courage for a repetition of their noble feat, if they had a taste for cleanliness. Its water, which is not used as a beverage except in some few religious houses in the quarter, long pre- served its reputation of beijig sweet and wholesome ; Paul III. had a quantity of it carried with him in his longest jour- neys; Clement VII., by his physician's order, look a supply of it to Marseilles when he went to marry his niece, Ca- therine of Medicis, to the Dauphin's brother, afterwards Henry II.; and Gre- gory XIII., who lived to the age of eighty-four, constantly drank this water, now so dirty and decried. Ariosto ce- lebrates it in verse ; but it was then customary to let it settle for some days, as among the articles that the poet re- commends his brother to prepare for his arrival at Rome, be says : Fa ch' io trovi dell' acqua, e non dl fonte Di fiuine si, cbe giii sci di veduto IS'oa obbla Sisto, oe alcua altro ponte.' It appears, according to the analysis in July 1830 by S. Chimenti, professor of chemistry at the Sapienza, of two quan- tities of water each weighing a hundred pounds, the first taken at Ponte Molle ahove the city, the second below the port of Ripa grande, that the water of the Tiber is not only potable, but of a belter quality than that of the Seine and the Thames. In summer the mineral vir- tues and warm temperature of the river made it an excellent bath, which satisfied Ihe Romans of the republic The tem- perature rises from eighteen to twenty- four degrees (Reaumur), and rarely differs more than from two to six degrees from the temperature of the air. The project of excavating the Tiber to obtain the antique statues and pretended trea- sures concealed in its bed, riches spoken of by Moutfaucon, who has in some in- stances clothed ihe tales of the ciceroni with his grave Latin, — this had been pre- viously conceived by Cardinal de Poli- gnac. The experiment made in 1823 has proved how chimerical it was. As to the other scheme of turning the Tiber, for the same object, without mnch con- sidering where it might pass, it is still more ridiculous. The Fontana Paolina, on mount Ja- nlculum, in a superior situation, the most abundant in Rome, appears in the distance like a triumphal arch with water jets. The noise of its five mouths is quite deafening. But the water, which is brought by an aqueduct constructed under Trajan and restored by Paul V., is tartareous and of little use but as a moving power for the manufac- tories and mills situated on its course to the Tiber. It was made of the marble taken from a temple of Pallas, built by Nerva and demolished by Paul V., ano- ther deplorable instance of the destruc- tion of antique monuments at an epoch of civilisation. On the summit of the Janiculum one is most struck with the discrepancy be- tween the monuments of Roman grandeur and the most admired modern edifices : the former are less distinguished for their ruins than their majesty; and be- side the gigantic masses of the temple of Peace, the Coliseum, and the dome of the Pantheon, the Barberini and Far- nese palaces, and even Saint Peter's look diminutive. CHAPTER XXX VHI. Corsinl palace.— Chrislina.—Guercino'sEcce Homo. — Library.— The Farnesiua.— History of Psyche- Galatea. — Uead, by Michael Augelo.—Lante Villa. The Corsini palace, formerly belong- ing to the Riario family, was inhabited by Christina, and the chamber where she died is still shown. There are some curious details respecting her death in a letter by Menzini, an eye-witness and friend of Christina, to Redi, published at the end of the Lettere di Lorenzo il Magnifico e d' altri iUustri Toscani (Florence, 1830, in 8vo). These histo- rical details might have supplied the French author of the trilogy ofChristine with some new effects. The reading of her will immediately after the scene of despair caused by the queen's last mo- ments, and the disappointment of her dependants, is depicted with a degree of truth scarcely to be expected from a courtier poet such as Menzini : Dopo => See post, ch. xliii. 49 578 ROME. (Book XV. un'oraincircapassammodaUa camera, ore giaceva, in altra stanza contigua, dove si aperse e si lesse il di lei testa- tnento. Qui io non posso dirle tutte le particolaritd di esso Lo aver la- sciato particolarmente la sua povera famiglia senza rerun conforto, con non farle niente di piii di quel che qui in Roma costumi di fare ogni altro benche mediocre signore, ha fatto cre- dere che questo non sia stato il pure sentimento di cosi alta regina, ma che vi si sia adoprata manifatlura di per- sone, che per vestire se stesse hanno volentieri e barbaramente fatto che luttigU altri restino ignudi.. . Micreda, che questo ha seccato le lagrime sugli occhi di molti, edha fatto si che la re- gina non sia pianta, dove che con ogni piccola dmorevole recognizione saria stata pianta eternamente. Christina had founded in the Corsini palace her famous Academy composed of the first literati of the time. With all its defects, the present palace, rebuilt by Fuga, is one of the most commendable in Rome for its skilful disposition, the magnifi- cence of the staircase, and the distribu- tion of the interior. The gallery has some remarkable w orks : the Ecce Homo, by Guercino, admirable for its expres- sion of the divine sorrows ; a Virgin, by Caravaggio, very good ; a Holy Family, by Fra Bartolorameo, perhaps the most graceful he ever produced ; the portrait of Julius n.,hy Raphael, nowise infe- rior to that of the Tribuna; another Adulterous Wo'tnan, by Titian, and his Philip II., which may be a copy; a Babbit, perfect, by Albert Durer; the Life of a Soldier, by Callot. in twelve little paintings, of feeble execution and without colour, to ^^ bich the engravings are far preferable; an Anriunciation, by Michael Angelo ; ihe celebrated He- rodias with the head of John the Bap- tist on a charger, by Guide, graceful, though the adjustment is affected, in bad taste, and the head of ilerodias has not the character becoming her ; a Tiger hunt, by Rubens, finely coloured, but not universally allowed to be authentic; a Landscape, of Guaspre Poussin's best; a Virgin, by Murillo, soft in execution, extremely fresh in colouring, and one of the largest paintings of the Spanish school at Rome. The Corsini library, created by Bene- dict XIII., is rich in manuscripts and editions of the fifteenth century ; its fa- mous collection of prints must be placed in the first rank for choiceness and number. But these treasures seem never to have been communicated very freely, and the prints are only shown with the autograph permission of the prince. This library has also some of Christina's letters. A charming villa is dependant on the palace, and extends over the steep de- clivity of the Janicuium. The view of Rome from the casino is complete. The Farnesina, a dilapidated monu- ment of the splendour of art in the six- teenth century, ornamented with paint- ings by Raphael and his school, ofthe ar- chitecture of Ballassare Peruzzi, was built by the Roman banker Agostino Ghigi, who wished to receive LeoX. there and perpetuate his own reputation as a man of taste. Ghigi had already employed Calliergi in his own house in printing the beautiful Pindar, a small quarto, of 1515, the first Greek book printed at Rome : this banker must be regarded as one of the most magnificent Maece- nases of modern times. Il has been pre- tended that at the banquet given by Ghigi to the pope, fourteen cardinals, and all the ambassadors of Christendom, on Friday, the 30th of April 1518, the gold dishes when taken from the table were thrown into the Tiber ; but the his- torian of this famous banquet, Tizio, a friend of the Amphitryon, who states that the price of three fish amounted to 250 crowns, does not mention this ex- travagance, most probably a fabrication suggested by Antonj's banquet lo Cleo- patra at Tarsus. The fresh and vigorous triangle ofthe three Graces of the Fable of Psyche passes for a work of Raphael. Ghigi, on being informed that he often interrupted his labours to pay a hasty visit to Forna- rina, paid him the attention of inviting her to his house, to save the artist's time. The flying Mercury, seen facewise, is lifelike, aerial ; the group of the Apo- theosis of Psyche, full of grace, and the Jupiter embracing the son of Venus, presents a mixture of majesty, at once naive, familiar, and sublime. 'The Coun- cil, the Banquet ofthe gods, are mag- nificent inspirations from Homer. Not- withstanding the elogiums lavished on the retouching, by Carlo Maratta, of this rich decoration, it is probable that the Chap. XXXIX.] ROME. 579 general effeci has ralhcr lost than gained thereby, anil the present ground appears of too deep a blue. 'I'he poetical fresco ofGalatca, so roughly handled by time, which one would ihink inspired by the genius of anlitjuity, is by Raphael. This curious passage of a letter to Castiglione, on the subject of the Galatea, is a mo- dest explanation of some of Raphael's proceedings in the research and choice of the beautiful : Delia Galatea mi terrei un gran maestro, se vi fossero la mcta delle tante cose che V. S. mi scrive : ma nelle sue parole riconosco V amore che mi porta, e le dico che per dipingere una bella mi bisogneria vederpiu belle, con questa condizione che V. S. si tro- vasse meco a fare scelta del meglio. Ma essendo carestia e de' buoni giudici e di belle donne, io mi servo di certa idea che miviene alia mente. Se questa ha in se alcuna eccellenza di arte, non so, ben m' affatico rf' averla. The paintings of the ceiling, representing Diana on a car and the History of Medusa, by Danielloda Volterra, Sebas- tiano del Piombo, and Baltassare Pe- ruzzi ( the latter was also a great painter and inventor of theatrical decorations), produce such an illusion thatTitian him- self took them for ornaments in relievo, and wished to have a ladder brought that he might touch them; a wonderful effect which these paintings still display. The superb colossal head drawn with char- coal by Michael Angclo, and supposed an Alexander, is not, as pretended, a lesson given by him to Raphael on the small proportions of his heads; but he did it while wailing for his pupil Da- niello, and to advise him of his arrival : it was his visiting card. It would be best, if practicable, to begin the visit of the Faniesina by the two rooms of the flrst floor, as their frescos, of Raphael's school, with some excellent parts, lose too much if seen after the chefs-d'oeuvre of the ground floor. The academy of Naples, instituted by Charles III. in imitation of the French academy, is lodged at the Farnesina. The pupils, under the direction of S. Camuccini, are six in number : two painters, two sculptors, two architects. It is impossible to study more admirable models, and the taste of this school ought to profit by them. The Lante villa, a pretty casino on the Janiculum, one of the spots affording the finest view of Rome, is a miracle of Giulio Romano's talent in painting and architecture. The eight women's heads in fresco, of the bathing-room, are re- puted portraits of Raphael's mistresses; these faces are ingenuous, graceful, ex- pressive, Italian, such as we find in his different chefs-d'oeuvre, and apparently the source of his inspiration. They, as well as the villa, were ordered of Giulio Romano by Raltassare Turini, datary of Leo X. and Clement VII., the inti- mate friend and testamentary executor of Raphael, a voluptuous prelate, who sought by these sweet images to recover the trace and memory of the man he mourned. CHAPTER XXXIX. chancery palace. — Farnese palace.— Court— Gallery. -Spada palace.— Basso-relievos. -Falconleri and Saccheltipalaces.— Bridge ofSainlAiigelo.— Castle. — Glrandola.- Palace rfe'CoHi'er/e)i£i(.— Real cause of llaphael's death. The Chancery palace, one of the lar- gest structures in Rome, the chef-d'oeuvre of Bramanle, to which he first applied the result of his researches on antique monuments, still presents some traces of the previous meagre taste. It was built w ith ihe travertine of the Coliseum, and the marble of the arch supposed to be Gordian's. The elegant portal to- wards Saint Laurence in damaso, by Vignola, despite its merit, is not in har- mony with the style of the flrst architect, a culpable instance of independence, if one may say so, followed with less right by Domenico Fontana, author of Iho grand portal. Vasari, who painted the History of the life of Paul III., in the saloon, confesses that being obliged to finish promptly, he employed appren- tices, who did not always do exactly as he wished, but the frescos were com- pleted in a hundred days. The Chancery palace was formerly the scene of the fetes, prodigalities, and almost princely magnificence of Cardinal Pietro Otto- boni, a Venetian, nephew of Pope Alexan- der VIll., a gallant prelate, a lover of poetry books, and music, author of dra- matic pieces, poems, and oratorios, who had several times executed in this pa- lace, amid the universal applause of the auditory, the Paraphrase of the Psalms by Benedetto Marcello, w ilh words by the Arcadian Francesco Lorcnzini, and who, 580 ROME. [Booa XV. though loaded with riches by his uncle, (lied insolvent. The delicate generosity of Ottoboni is evinced by the following in- cident. At Castel-Gaudolfo, in order to make the duchess Bernardina Albani ac- cept a walking-stick mounted with dia- monds, which had been manufactured by his order at Venice, he concealed her own; for it appears that then (in 1700) ladies used them. He returned it, but would not take bat k the one he had offered her, saying that he was unworthy to possess it, and that since it had passed into such hands, it had acquired loo high a value. The Fariiese palace {il dado Farnese, the Farnese die, though its form is an oblong square) with its piazza laid out lor it and adorned with two well-sup- plied fountains, having the largest gra- nite basins known, with regular rows of houses along its sides, is the finest pa- lace in Rome, and the true type of Ro- man architecture, differing in its pure and lofty taste from the rudeness of the Florentine, and the showy architecture of the palaces of Naples and Genoa. Three archileclsof the first order worked at this chef-d'oeuvre : Antonio San Gallo laid down the plan and erected the ex- terior fronts; the first floor of the court is by Vigiiola, and Michael Angelo crowned the edifice with its majestic entablature. The travertine of the court consists of stones fallen from the Coli- seum, which was not demolished by Paul III., as some have unjustly pre- tended, to build the palace, as this pon- tiff always showed great zeal in pre- serving ancient monuments, and one of his first acts was to create the learned Latinus Juvenal Mannelto commissary- general of the antiquities of Rome with very extensive powers. The choice and workmanship of this travertine, the pre- cision and excellence of its fittings, have never been surpassed in any building. Since the works of the Romans, there has been nothing constructed in greater per- fection than thiscourt, and itniay evenbe put in competition with the first monu- ments of the imperial people. Under the portico is the great marble sarcophagus of Cecilia Mclella, an illustrious Roman lady, the wile of Crassus, whose tomb, though neglected, seems in keeping with the architecture. A vast staircase leads to the gallery painted by Annibale Car- raccio, aided by Agostino, his brother, and several of his pupils, the model of all galleries executed in the same style, a magnificent decoration, perhaps sur- charged with ornaments, in accordance with the taste of the age, which cost the artist eight years of toil, and only pro- cured him 500 gold crowns (120?.). The most remarkable of these poetical paint- ings, so sparingly paid, are: the TrjMWjj/t of Bacchus, in which Silenus on horse- back is perfect; the Galatea, ascribed to Guido ; Aurora and Cephalus in a cha- riot, and the Andromeda. One room, though painted by Salviati, Taddeo Zuc- cari, and Vasari, is deserving of notice : there we see the Peace concluded be- tween Francis I. and Charles V. ', Luther disputing with the nuncio Caje- tano, and some incidents from the his- tory of the Farnese family. The colossal group of Alexander Farnese, crowned by Victory, the Scheldt chained at his feet and Flanders kneeling, is the work of the Tuscan sculptor Moschino, and cut out of the marble of one of the co- lumns that supported the roof of the temple of Peace. The Spada palace was restored and bedizened by Borromini, who has erected , in a little garden, a colonnade forming a perspective imitated by Bernini in the staircase of the Vatican, a kind of illu- sion that appears a perfect absurdity amid the brilliant realities of such a country. The gallery, without being of the first rank, has some remarkable paintings : the David with Goliath's head, by Guercino, adjusted in a very picturesque manner; a portrait, by Ti- tian; a Roman Charity, by Annibale Carraccio, original in composition, vi- gorous in execution; the Market of Naples and Masaniello haranguing the army of Lazzaroni, one of the good works of Michelangelo de' Bambocci ; a mother teaching her child to work, called St. Anne and the Virgin, by Mi- chelangelo di Caravaggio, vulgar and true; Dido, by Guercino, the best paint- ing in the gallery; the portrait of Car- dinal Spada, by Guido, one of the fine portraits of Rome. The rooms below contain celebrated antique sculptures : a statue of a philosopher seated in me- ditation, called Arislides, but is more probably an Aristotle : virtue does not need so much cogitation ; the eight basso- relievos proceeding from the stairs of Saint Agnes extra muros, where they formed so many steps with the sculptured CHkP. XXXIX.] ROME. 584 side downward, the finest basso-relievos, and perhaps the best preserved that we possessor Roman antiquity. The colossal naked statue, said to hi" Pompey's, at the foot of which CiEsar fell, and which was transported by the republicans in 1798 to the Coliseum where Voltaire's drama was played, has recently, by another act of folly, been purchased for i-,0001. by an Englishman. This famous statue is only the statue of an emperor on which a head of Pompey has been stuck, a head without either genius or goodness: the imperial fillets still hang on the col- lar, and this Pompey has the Adam's apple of each statue.' The Falconieri palace was repaired by Borromini, who added the front. The numerous gallery, (he richest in paint- ings of the Flemish, Dutch, German, and French schools, has been collected with zeal and discernment by Cardinal Fesch. The most distinguished are : a Crucifix with angels, the Virgin, and Saints, in Raphael's first style ; a Hell, one of the fine works of Fra Angelico; a good Holy family ivith St. Francis adoring the Infant Jesus, by Rubens; a St. Jerome, lull of expression, by Spa- gnoletto; two Battles, by Bourguignon; a Last Supper, by Albano ; a St. Cecilia, by Guercino; a Council, by Titian, ad- mirable for colouring and the simplicity of the means used to obtain such effect ; some fragments of frescos, by Sebastiano del Piombo, in the most elevated, most majestic style ; a Teniers, and a St. John preaching, by Rembrandt, chefs-d'ceuvre of those masters. Some inferior paintings of this gallery have been sent as presents by the cardinal ; I found several of them in an oratory of Corsican sailors of Ajac- clo ; * others are gone to decorate catholic altars in America, where they peacefully perpetuate the memory of Napoleon, of whom the other parts of the world re- tain such glorious or terrible traces. The beautiful Sacchetli palace was erected by the great architect Antonio San Gallo, for his ow n use. Though the windows of the ground floor have bor- ders overloaded with profiles, and their consoles are heavy and too prominent, the general ordinance and disposition of the ' See ante, book iv. cb. il, llie opinion of Cico- gnara on another prelenried colossal statue of Pompey, wbicli is only a Tiberius. ' See Voyages en Corse, a file d'Elbe et en Sar- daigne, llv, i., cb. i. front are in a judicions and regular style, and have the solid character peculiar to the author's works. The Sacchetti pa- lace bears the arms of Pope Paul 111. (Fariiese), who had remarked the genius of San Gallo (a carpenter when he came to Rome), and made his fortune, as the inscription happily expresses : Tu mihi quodcumque hoc rerum est. The Pons .^lius, now the bridge of Saint .4ngelo and the finest in Rome, except the parapets and some slight re- parations, is antique. The embellish- meni of the ten colossal figures of angels holding the instruments of the Passion, was executed by Bernini and his pupils. It is ditricult to imagine anything more ridiculous than the effect of the wind in the vestments of the angels and the con- formation of the wings. The angel bear- ing the cross is by Bernini's own hand, and passes for one of his most affected works. With all their defects, these fi- gures have at least the important merit of being in proportion and analogy with the ensemble of the bridge. The mausoleum of Adrian, a monu- ment of the talents of the Caesar archi- tect, was built for him and his succes- sors, when he abandoned the tomb which Augustus had erected for himself and the emperors that might come after him. There is something noble in this emula- tion of the masters of the world to pro- vide for death : such tombs have tended no less to the immortality of the two emperors than their palaces. The mau- soleums of Augustus and Adrian have since experienced a sad destiny : the tomb of Augustus is an arena for bull- fights, a circus for horsemanship, and a theatre for fireworks; 3 and the mole of Adrian is a bagne and a prison. Not- withstanding the authority of Procopius and the common opinion, the Greco- Roman army of Belisarius perhaps did not hurl the beautiful antique statues that adorned this latter mausoleum at the heads of the Goths, and the Barbe- rini Faun, found in the ditches of Saint Angelo, probably fell there in some other revolution or by accident. There could scarcely remain any statues on the mole of Adrian when Belisarius took posses- ^ The bull and buffalo lights were suppressed by Pope Pius VIII., but they still exbiblt the pretty fmchetli, and the burning of a great balloon full of Qreworks, In this amphitheatre, wblcb nill contain several thousand spectators. 49. 583 ROME. [ Book XV. sion of Rome : the barbarians had held the city for sixty years, and more than two centuries before, Constantine had employed the columns of the mausoleum in building Saint Paul's; one may there- fore believe that he also took away the statues placed on those columns. It is a singular thing that the fortifications of the castle of Saint Angelo were begun by Boniface IX., with the money that he received of the Romans to return to Rome and celebrate the jubilee ; this people, ever passionately addicted to sliows, sacrificed to this folly the last remnants of their liberty. A long co- vered corridor, the massy masonry of w hich has a fine effect through the co- lumns of the piazza of Saint Peter, reaches from the Vatican to the castle, that the latter, in cascofinsurrection, may afford an asylum to the masters of Rome; a monument of fear and menace founded by Alexander VI., and unworthy the peaceful sway of the father of the faith- ful. I obtained permission to visit the castle of Saint Angelo, and went over every part of it. My descent, by torch- light, into the subterranean vaults, with soldiers and gaolers, after having passed through the population of prisoners and galley-slaves that throng the castle, gave our expedition an air of romance. All these galley-slaves are not, however, either brigands or criminals, for the pu- nishment of the galleys is applied at Rome to misdemeanors, such as quar- rels, assaults, and even to hissing or making a disturbance at the theatre. The excavations which were then in progress have led to the ancient door of the tomb, w hich was precisely opposite the bridge, and to the winding passage paved in mosaic on a white ground which com- municated with the different sepulchral chambers. The castle of Saint Angelo is the place where, at Easter and the feast of Saint Peter and Paul, the cele- brated girandola is let off, a double bouquet of four thousand five hundred rockets, imagined by Michael Angelo and improved by Bernini. On the plat- form, the bronze angel sheathing his sword, a work of the Flemish Wensche- feld, commemorates the angel that ap- ' See, in the second edilion of tlie nisloire tie la vie et des ouvrages de Raphael, by M. Quatiemere, tUe nole of page 365, n Uere llie passage of tlie lia- peared to Saint Gregory In the same at- titude and on the same spot during a procession for the arrest of the plague in 593, and which announced the ce.s- sation of the scourge. From this plat- form, which it is indispensably neces- sary to ascend, the view is very agree- able. The elegant Giraud, now Torlonia, palace, converted into a magazine for ancient and modern objects of art, is from Bramanle's designs, excepting the door. The vast and beautiful palace de' Con- vertendi (of the converted), is associated with three of the greatest names in the history of the arts : Brainante and Bal- tassare Peruzzi, its architects, and Ra- phael, whose death took place there in tlie midst of his beloved and worthy pu- pils, a death full of glory, which snatched him from the admiration of Italy ; an apotheosis which has thrown far more glory on this palace than the death of the queen of Cyprus, Charlotte, whom Innocent VIII. had lodged there. Not- withstanding the common opinion, Ra- phael did not die from excessive de- bauchery; it seems certain, from a con- temporary authority recently indicated, that being obliged to hasten suddenly from the Farnesina to the Vatican, he reached it quite breathless, and stopped in the great hall to discuss the works of Saint Peter's, and he there caught cold ; soon after his return home, he was at- tacked by a fever, and died from no other cause than this sudden chill. > CHAPTER XL. University. — Professors.— Elementary instruction. The university of Rome, founded about the end of the thirteenth century, takes its title of Sapienza from the inscrip- tion over the entrance : Initium sapien- tios timor Domini. The building, begun under Leo X. by Michael Angelo, was only finished under Gregory XIII. by Jacopo dclla Porta, who did the interior of the court, remarkable for the simpli- city of its ordinance, perfectly suited to the studious and peaceful ai)propriaiion of the edifice. The church and its spiral liantest of this document is inserted, from llie Milan translation. Chap. XL. ] ROME. 585 cupola are cited as tho most fantasUcal works of ISorroniini. The actual orga- nisation of the Sapienza, due to LeoXII., who augmented the salaries of the pro- fessors, is composed of a cardinal arch- chancellor, a rector, and five colleges, namely : the colleges of theology, law, medicine, philosophy, and philology, which answer to our five faculties. The theological college has five chairs : Holy scriptures, doctrinal theology, scholastic theology, sacred eloquence, sacred phy- sics. The college of law has seven chairs : the institutes of the law of nature and of nations, the institutes of public ecclesias- tical law, the canonical institutes, the canonical text, civil institutes, the civil text, criminal institutes. The college of medicine has thirteen chairs : anatomy, physiology, chemistry, botany, pathology and semeiosis, hygieine, medicine theore- tical and practical, clmical medicine, na- tural history, surgery, midwifery, clini- cal surgery, pharmaceutics. The college of philosophy has eleven chairs : logic and metaphysics, ethics, algebra and geo- metry, physics, arithmetic, sublime ma- thematics, mechanics and hydraulics, optics and astronomy, statical and hy- draulic architecture, descriptive geome- try, mineralogy ; the philological college, six chairs : archeology, eloquence, the Greek, Hebrew, Arabic, and Syria- Chaldaic languages. The Sapienza numbers fifty professors, some of whom are very eminent : S. Morichini, pro- fessor of chemistry, perhaps the first phy- sician of Rome;' S. Trasmondi, the least unskilful surgeon, professor of theoretical surgery ; S. Matteis, of cli- nics; Doctor Folchi, of materia medica ; the excentric and book mad Bomba, who was wont at times to mix a little divinity in his lectures on physiology, in which science he is somewhat behindhand ; S. Carpi, professor of mineralogy ; S Metaxa, of zoology and anatomy, com- parative and veterinary, whose ingenious lectures have scarcely the order and continuity of a real course; S. Nibby, of archeology, whose lectures I had no opportunity of hearing except the first introductory one, which appeared to me remarkable lor its order, precision, and solidity ; S. Sarti, of Hebrew ; S. Lanci, ' Died at Home on ihe 2olh of November, (830, aged sixty-lliree. a Died at Uorae in May, (836. celcbraled for the independence of his biblical criticism, of Arabic; S. Scarpel- lini, of sacred physics; S. Pieri, a ma- thematician who has the faith of a Pas- cal, of sublime mathematics. The courses of the Sapienza seem to be at- tended punctually and conscientiously, and the lectures on chemistry, physics, medicine, and law, were very nume- rously attended. Elementary instruction is in a flou- rishing condition at Rome: the catholic spirit of equality has felt that this in- struction was necessary for all; on the catholic soil of Spain, the lower orders are also able to read; but the teaching of the higher branches of learning is a mania, a kind of privilege that this spirit of equality has not admitted. The number of schools amounts to three hun- dred and seventy-two, and of pupils to fourteen thousand and ninety-nine. The price of the district {regionarie) schools, which are managed by laymen, and many of them leave much to be desired as it regards order and cleanliness, is from 5 to 10 paoli (from 4 to 8 shillings). No master is allowed to have more than sixty scholars without taking an assistant teacher. The use of the whip, but with- out knots and on the fingers only, is still tolerated; but some masters have altogether abandoned it, and their schools seem all the better for it. By a regula- tion purely Italian, deformed persons cannot be schoolmasters, as the scholars would hold them in less respect. ' The elements of drawing and architecture are part of the course of instruction in the three parochial schools of the Igno- rantine friars, a name they little deserve. The school of Saint Nicholas, a strada Giulia, is another excellent model of a popular school : there, in the evening, after their work, eighty tradesmen's children find a number of zealous priests who give them lessons gratis in reading, writing, arithmetic, nor forgetting reli- gion, and supply them with ink and paper. Charitable donations supply the annual distribution of prizes : itierc are neither oak nor ivy crowns, nor gilded books, but these prizes arc good useful clothes. ^ Nullo in prelio disc'iiuti habiluri sinl Til i, art. 7. SSi ROME. [Book XV. CHAPTER XLI. Tbealres.— Burattini. The interior of the Valle theatre, one of the principal theatres in Rome (the Argentina and the theatre of Apolio are used for grand operas),' though renovat- ed, appeared little more than a series of stalls, badly painted and furnished with faded hangings ; it is wretchedlj enclosed, and so ill warmed as to be almost as cold as the street. With all these im- perfections and its excessive height, it has, like most of the Italian theatres, the first of good qualities— the music is heard very well m every part. The orchestra is composed of a kind of amateurs, who work at their trades in the day (the bass was a chairmender), and are paid 3 paoli (sixteen pence) a night. The actors are in general badly dressed. The Osiris, of the Mose, had white dimity panta- loons, and on his head a turban, little like any ever seen in Egypt, ornamented with a bird of paradise feather; Pha- roah was in Greek costume ; Moses wore a long brown peruke, falling over his shoulders, when seen from a distance not unlike a counsellor's wig, and his nether garments were little better than in Michael Angelo's statue." What a distance between these disguises and the faithful and classic, perhaps too classic, costumes of the Motse of our grand Opera ! Most of the actors and pieces that 1 saw at the Valle theatre have since appeared on our stage or been added to its reper- tory, except Cosselli, a good counter- tenor, and the opera of Pacini the Arabs in Gaul. The dramatical censorship of the Li- bretto is very severe : in Semiramide, the fine opening passage is suppressed, Eccomi alfin in Babilonia, doubtless on account of Petrarch's sonnets on Rome, and especially the famous Avara Babilonia ha cohno 'I sacco ; and in Ihe Barbiere di Siviglia, Figaro is forbidden, out of respect for the mon- signors, to give the monsignor to Alma- viva ; he is only signor conte. The doc- teurs moines, the master of the sacred palace and his companion, personnes cardinalables who left Montaigne the ' See ante, ch. xxiill. ^ See ante, eb. ii. liberty to retain almost whatever he chose in his Essays, were much less rigorous. The Buratlini and the Fantoccini of Rome, ^ are very diverting popular spectacles. One of the most laborious scholars and theologians of the seven- teenth century, Leo Allatius, librarian of the Vatican, one of those learned fo- reigners who experienced the munifi- cence of Louis XIV., is said to have attended them nearly every night, as Bayle went to the puppet-show, and I was conducted thither in the evening by one of the most learned frequenters of the Ruspoli coffeehouse which is close by. It was in October; the scenes of Monte Testaccio were represented there with much gaiety, 4 and the mechanism of the personages and the carretella that carried them was perfect. The prin- cipal character of these pieces, Cassan- drino, resembles neither the coarse Girolamo of Milan nor the doctor of Bo- logna; he is a little bustling coxcombical old man, sometimes a maestro di ca- pella and a good singer, speaking in a shrill voice, and his impertinences are satirical allusions to the objects of vulgar ridicule. The Burattini also represent serious plays, inferior, it is true, to their pretty and witty representations of popular manners, but neither deficient in inte- rest nor pathos. CHAPTER XLIL Hospitals.— nospllal of Consolation. — Coltellate.— Hospital of tlie Uoly Ghosi.—Lancisiana. -Altar by Palladio.— Uouse of tbe Termini. -Mendicity at Home.— Hospital of Saint Jobn in Laterano.-^ Gray sisters in Italy.— Penitents.— San Gallicano's bospital.—Benfralelli.— Saint Micbaels bospital. —Palazzina.— Number of mad persons in Italy. Rome, ever so rich in religious monu- ments where the soul finds relief, was scarcely less profuse in providing for the infirmities of the body. This multitude of antique, spacious, and superb hospitals shows to what extent the catholic religion, instead of being inapplicable, unsuited to present manners, can be social and friendly to humanity. Dififerent nations, states, and ages have their hospitals great or small, and the latter are not always ' See ante, liv. in. cb. xviil. * See ante, cb. xsivi. Chap. XLII.] ROME. 585 the less useful. Phil.inlhropy has im- proved some exterior delails, but charily had built the edifice. The hospital orConsolation, established in the year lOia, will receive ninety ()alients, and the average number is fifty. This house receives the victims of the famous coUellate (stabs with a knife) which, given in open day, used formerly to excite the popular admiration and such singular compassion for the flying mur- derer, always supposed an unfortunate rival or an outraged husband. The col- tellate, though less frequent, have not entirely ceased ; on holidays and in the wineshops they are as freely administered as fistyculls elsewhere, but they seem proportioned to the nature and vigorous race of these men, for they heal rapidly. The sight of blood does not produce among the Romans the same frenzy as among new nations, whom this sight, if continually occurring, would render ferocious and impel to reckless massacre. These incidental bursts of passion are a kind of remnant of antiquity, a tradition of the circus, and morals are not mate- rially affected thereby. The hospital of the Holy Ghost, the most extensive in Rome, composed of constructions of different epochs, presents an imposing piass. It is chiefly devoted to the treatment of fevers; the number of beds is sixteen hundred, and the ave- rage of the patients between five and six hundred. It possesses the rich medical library bequeathed by the celebrated doctor Lancisi, in which there are many works and some of the most magnificent too, that the grandeur of Louis XIV. sent as presents to distinguished foreigners. The monks of the Holy Ghost, an order founded at the beginning of the thirteenth century by Guy de Montpellier, its first commander, attend the hospital. It is under the management of a prelate who bears the honourable title of commander of the Holy Ghost, and this hospital office leads to the cardinalship. As art insi- nuates itself every where in Italy, in the ' I cannot omit Inserting here an anecdote tliat 1 learned from the Clievalier Arlaud, formerly French cbargi d'affaires at Home, as it presents a Oneelogiura on French Romen. One day on visli- ing Pope Pius VII , he found liim surrounded willi a multitude of letters in different languages. The pope, as soon as he saw our compatriot, burst out Into a magnilicent panegyric of our nation ; then be fveut on to say, that wishing to introduce the hall of Innocent VIII. there is an altar of most elegant architecture by Palladio ; he executed it when became to Rome to draw such happy inspiration from anti- quity, and it is the only work he left there. The immense mendicity asylum de' Termini, founded by Pius VII., and converted into a house of industry under Leo Xn., appears to be a very well ordered establishment. The different arts and trades were taught there to more than a thousand children, and practised by men far advanced in years. Drawing, music, printing, engraving, were in the course of instruction. Five hundred men were occupied in manufacturing common cotton goods, blankets, and carpets; the children plaited baskets and made those pretty straw-chairs called volantes, des- tined for the most elegant saloons. An equal number of women were engaged in similar employment in other work- rooms. The expenditure, over and above the proceeds of the articles manufactured, was 35,000 Roman crowns (TiOOL) for a thousand individuals ; and when this number was surpassed, the government edded sixpence a day per head. The house de' Termini and the relief com- mittee appointed by the pope at the end of 1826, seemed to answer the end in view, for the number of beggars is not very considerable at Rome. The two great hospitals for women afflicted with fevers and consumption, in the piazza of Saint John in Lalerano, are carefully and charitably conducted, and their regimen has recently undergone important ameliorations. The beds have curtains and there are little stoves at intervals of ten beds for warming the medicines. This hospital, which has four hundred beds and an average of two hundred and fifty patients, is the semi- nary of the Gray Sisters established at Rome by Leo XII., an institution of which the good Pius VII. had an idea when he returned from Paris, but he durst not attempt it. ' Roman princesses, Gray Sisters into Italy, Germany, and Ireland, he had solicited numerous reports from the three countries, and that the answeis he had received proved the scheme impracticable : the Italian woman had not suflicient courage and moral powers to stand against so much fatigue; the German was too easy ( briccona | ; the English woman was deli- clent in neither humanity nor enlhiiilasm, but she was too sosleiiufa (a word diflicull to render, but 586 ROME. [Bvjth a bronze statue of Saint Peter, placed there by Sixtus V. with the face towards the Vatican. The pedestal, of exquisite workmanship and ornamented with trophies, eagles, oak garlands, is the finest extant : the uniforms sculp- tured on the pedestal of the Place Ven- (!6me are but little like it; for if the French exploits be greater, that copy of the Roman monument is very inferior to the original. Recent observations of northern travellers and artists tend to prove that the column of Trajan was painted with gold, azure, and other co- lours. This motley colouring of a lofty sculptured column of marble would be a poor discovery, as it would derogate from the noble simplicity of the antique monu- ment. "We may easily conceive that higher spirits, men who have likewise drawn and studied it, dispute and deny the pretended, and, we must say, very tardy discovery. The Praetorian Camp [Castra Preto- ria), built by Sejanus and destroyed by Constantine, because that formidable militia had declared for Maxentius, still presents some remains, which serve for walls to the city and for barracks to the pacific soldiers of the pontiff. The Mons Sacer, a pretty, fertile hill bathed by the Anio, recalls the two ce- lebrated peaceful retreats of the Roman people, and their admirable good sense in the establishment of their liberty. One mile distant, at the picturesque Serpentara, are the ruins of the villa of IN'ero's freed man, Phaon, where he fled to conceal and kill himself uttering the famous phrase qualis artifex pereo, which seemed madness in this monster, but would be touching and sublime, in the mouth of an artist of genius. The ponte Solario, over the Anio, destroyed by Totila, was rebuilt in the sixth century by Narses, after his victory over the Golhs. It witnessed the com- bat of Manlius and the Gallic soldier w ho had insolently defied him. On the left bank was the town of the Anlemnatos, one of the most ancient in Lalium, whose inhabitants attended the games an- nounced by Romulus, and it became his first conquest through attempting to re- venge the rape of its maidens. These picturesque borders of the Anio as far as Fidense were the scene of the continual wars of rising Rome with its neigh- bours, and attest Livy's topographical accuracy. The Latin historian is still a good guide, who satisfies our reason and charms the imagination with his admira- ble narrative. Whatever the learned Mebuhr may pretend, it will alwajs appear impossible to admit that modern criticism is bettered versed in Roman history than Livy and his enlightened, lettered, and learned age. The spirit of a people, the succession of its actions, despite certain marvellous facts mixed up with its origin, the aspect of the places and the monuments are more certain evidence than the dubious fragments of some few palimpsesti. These early events are in conformity with the genius and the whole history of the Roman people; they therefore present a suflicient degree of certainty, and appear more worthy of confidence than the German prejudices, those haughty and fantastical conjec- tures, so little in accord with themselves, which have transported the clans and manners of Scotland to Italy, and meta- morphosed the dissimilar and heroic times of primitive Rome into cold phi- losophical emblems. The gardens of Sallust, immense cul- tivated fens, were created by the Latin historian after returning from his IS'u- midian proconsulate, where he had re- trieved his fortune dissipated in plea- sures, and amassed insmense riches by his peculations. It was in this superb and voluptuous retreat, which afterwards made part of the imperial domains, and was inhabited by Nero, Vespasian, Nerva, Anrelian, that he so eloquently wrote against luxury, and extolled the simpli- city of the old republican manners. These gardens were burnt by Alaric when he entered Rome. The form of a circus, the ruins of Sallust's house, and a temple supposed to have been dedicated to Venus, may still be traced, and even the famous field of Crime ( Campus Sceleratus), where the vestal virgins who had broken their vows were buried alive. 50 590 ROME. [Book XV. CHAPTER XLIV. forlico of Oclavla.— Theatre of Marcellus.— Vela- brum.— Arches of Janusaad Seplimius Severus.— Cloaca Maiima.— Great Circus.— Valley of Egeria. —Temple del Dio Iledicolo.— Thermae of Caracalla. — Tomb of the Scipios.— Arch of Drusus.— Temple. Circus of Romulus.— Tomb of Cecilia Metella.— Temple of Bacchus.— Pyramid of Cestius, — Pro- testant cemetery.— Ponte .Sublicio.— ATentine.— Volcanic soil of Rome —TempleofVesla. -Temple of Fortuna Virilis. — House of Rienzi. —Ponte ilotto. The portico of Octavia, erected by Augustus to his unfortunate sister, a < hef-d'oeuvre of the Spartan artists Sau- rus and Batrachus, already mentioned,' v\hich comprised within its wails two temples, the ruins of which are still vi- sible; — this portico, once decorated with ihe most beautiful statues (the Venus of Medicis was found in its ruins), now stands in a filthy square and is occupied by fishmongers, for the Parisian mon- ster called a Poissarde does not exist at Home. ]n the miserable buildings of the Slrada pescaria I have seen superb fragments of cipollino marble incrusted, in which we recognise the wrecks of the ancient grandeur of this people through its actual degradation. The theatre of Marcellus, which might contain thirty thousand spectators, was consecrated by Augustus to the young son of Octavia, ten years after his death, consigned to immortal fame by the ho- roscope of the poet and the deeply pa- thetic passage he inspired. So happy was the distribution of the theatre that the senators, the knights, or the people, whose places were separate, could enter and leave it without meeting. Its ele- gant columns served as models for the Doric and Ionic orders, and the skilful disposition of the two orders placed one over the other is siill imitated. After being in the middle ages the fortress of the Pierleoni and the Savelli, it was con- verted into an habitation for the Massimi family by Baltassare Peruzzi, who, as his pupil Serlio confessed, profited consi- derably from the study of the substruc- tions discovered during the works; it afterwards passed to the Orsini family, and this superb Roman monument, which had shops under its porticos, is also the palace of a modern Roman ' See ante, ch. xviil. prince. A long ascent leading to the court is composed of the ruins of the theatre. The valley of the Velabrum, a marsh drained by the kings by means of the Cloaca maxima and the pulchrum lit- tus, a veritable quay to contain the Ti- ber, preserves some great subterranean vaults, a further proof that the Rome of that epoch was already the capital of a powerful state. The arch of Janus quadrifrons, ma- jestic, but of the age of decline, seems to have been dedicated by Septiinius Se- verus to the bankers and tradesmen of the quarter, or by the latter to flatter him. The small marble arch of Septimius Severus, remarkable for the richness of its sculpture and the form of its flat- square opening, was dedicated to him, according to the inscription, as well as to Julia, his wife, and to Caracalla and Geta his sons, by the silversmiths {ar- gentarii) and the cattle salesmen. The name and figure of Geta have disap- peared, as elsewhere, through his bro- ther's hatred. The forum boarium (cattle-market) also took its name from the famous bronze cow of Miro which stood there. On this spot Romulus began to trace with his plough the boundary line of the eternal city. The Cloaca maxima, only half re- maining, a quarter of a mile in length, through which, according to Pliny and Sirabo, a cart loaded with hay {perhaps not so high as ours) might pass — l his finest of all common sewers is further evidence of the grandeur of Rome under Tarquin and the kings, when it was more power- ful, civilised, and magnificent than in the first ages of the republic. These superb works, imposed on the Roman people, were one of the grievances ener- getically alleged by Brutus against Tar- quin, although he had also employed Etruscan labourers.' If this king had committed no other excesses, he would merit admiration rather than hatred ; for it is impossible to imagine a more noble monument of public utility, than this structure formed of huge blocks of peperino without cement, which after more than twenty-three centuries, is still serviceable. A pretty brook of pure " Tit. LiV. , Ub. I. 55, 59. Chap. XLIV. ] ROME. 591 and wholesome water, which the people go to drink in summer mornings, as a specific against certain maladies, falls into the Cloaca. It has been taken for the celebrated and sacred fountain of Juturna near the Forum. The great circus commanded by the Palatine, still retaining the stand from which the emperor gave the signal for the games, the first and most magnifi- cent circus of Rome, was constructed by Tarquinius Priscus in the very valley where Romulus had celebrated his per- fidious games, a brutal interview which ended in the compulsory and happy marriage of the Sabines. It was in this circus, which now covers the bottom of a marsh with its straggling and shape- less ruins, that the famous chariot races took place. Enlarged by Julius Caesar, embellished by Augustus, repaired and further enlarged by Vespasian, it was capable, under this last emperor, of holding two hundred and sixty thousand spectators. The site of the vale of Egeria seems authentic ; but if the name be sweet and the mysterious tradition touching, the place is ugly enough. A mutilated sta- tue of a young man reclined like a river may be seen at the extremity of the ancient Nymphea, which some per- sons have been disposed to put in the place of the sacred fountain, though only a construction of Vespasian's time. The marble statue recalls the verse of Ju- venal, who regretted that the fountain of Egeria was no longer in its natural state : Nee iagenuum violaretit marmora topbum. The elegant little temple of the god Redicolo [Campus Rediculi) was erected on the spot whence Annibal decamped, a diis injecto metu recessit, says the grammarian Festus Pompeius. Despite some contradictions, 1 have faith in this god who made Annibal retire. It seems that such a monument is in perfect keep- ing with the manners and religion of the Romans, who made their country their first divinity. The thermae of Caracalla, a vast chaos of shattered wnlls interspersed with weeds and wildflowers, through which we catch some marvellous views, gives a high idea of Roman magnificence and the luxury of these constructions. Three thousand persons could bath there at once, and the number of rooms orna- mented with marble and porphyry was sixteen hundred. The superficies of these ruined baths is one third larger than the premises of the Hotel of Inva- lides at Paris. Notwithstanding the im- portant labours and persevering resto- rations of our countryman M. Blouet, the use of many of the rooms is very uncertain; but the architecture is not unlike that of the later thermae of Dio- cletian, and the stjle is not free from the corruption of the epoch. The tomb of the Scipios, the oldest and one of the most glorious mauso- leums of republican Rome, was on the Via Appia. What a lasting moral les- son must such monuments exposed by the wayside have afforded ! What emu- lation must have been excited by this perpetual heroic example of the sacri- fices of a single family in the country's service ! The discovery of the tombs of the Scipios, in 1780, was an event in archeological history; but the illustrious monument seems not to have been un- known to the literati of the revival, as one of the inscriptions found thereon was copied a hundred and fifty years be- fore in a manuscript of the liarberin.i palace, and published half a century be- fore in Doni's miscellany. It is not easy to explain how it could havedisappeareil after that epoch. The modest Ennius. the client, bard, and companion in arms of Scipio Africanus, whose stone has not been found, was interred in this Roman hypogcum, the noble patronage of Ro- man families extending even beyond the tomb. The arch of Drusus, father of the em- peror Claudius, was erected to him, after his decease, by the senate and people for his victories in Germany. It is of travertine, with two columns of African marble, which were added to it when repaired by Caracalla, a man unworthy to touch such a monument. The con- duit made by the latter over the arch is still visible, as well as a part of the aque- duct intended for his baths. Nothing but the vault remains of the temple of Romulus, the son of Maxen- tius. Behind the wall, towards the cir- cus of that obscure Romulus, is an ele- gant tomb, in the form of a Greek cross, surrounded v/ith a circular corridor. The circus, the best preserved in ex- 592 ROME. [ Book XV. istence, was attributed to Caracalla till the excavations execiiled at the expense of S. Torlonia in 1825. Each of the many stages would accommodate eigh- teen thousand spectators, and traces of the pedestals of the beautiful statues that decorated the spi)ia are still visible. The tomb of Cecilia Metella, a mas- terpiece of elegance, solidity, and gran- deur, the Onest known tomb erected to a lady, which served as model for the mausoleums of emperors, was erected to her memory by Crassus, her husband, as the inscription stales. It would be good evidence against his reputed ava- rice. A basso relievo represents a tro- phy and part of a figure of Victory writing on a buckler the exploits of Me- tellus, the conqueror of Crete, father of Cecilia Melella, and the less brilliant deeds of Crassus. The ornament of the frieze, consisting of festoons and ox- heads, gave the monument the rude name of Capo cli bove : it was used as a fortress by Hope Boniface VIII., whose arms are still visible thereon, and a castle destroyed by Sixtus V. as the haunt of banditti, was added to it. A part of the half Gothic church, built by the Neapolitan architect Massuccioll., is still erect. The ruins of the tomb of Marcus Ser- vilius, also on Ihe Via Appia, were dis- covered in 1808 by Canova, who gene- rously left them untouched. Two miles further, S. Torlonia pos- sess a vast domain called Roma Vec- chia, which still exhibits the immense ground plan of an imperial palace, and has procured its owner the somewhat whimsical name of Marquis della Vec- chia Roma. The doubtful temple of Bacchus, in a good situation, well preserved and very ancient, has some ornaments on its roof and a basso-relievo of the best time. It became a church in the middle ages : its paintings of 1011 are interesting for the history of the art. The view is one of the finest in the Campagna of Rome, and the effect of the broken arcades of the aqueducts is singularly picturesque. The obscure Caius Sextius, whose re- putation is wholly deri\ed from his beau- tiful pyramid, was one of those Epu- lones whose number was augmented from three to seven under Augustus. This strange dignity consisted in doing the honours of the banquet {lectister- nium) offered to the gods to render them propitious in limes of calamity, or to thank them for victories accorded to the arms of the republic. The Epuloncs prepared in Ihe temples, around a table sumptuously served, seats and couches covered with carpets and cushions, on which the statues of the gods and god- desses invited were laid. Valerius Maxi- mus asserts that they were very willing to accede to human usages, and that in this ceremony Jupiter lay on a couch while Juno and Minerva sat on stools: The pyramid of Sextius, so well pre- served, was erected in three hundred and thirty days, according to the in- scription, as directed by the will of this kind of house-steward of Olympus, an instrument of the patriotic superstition of Rome. The old protestant cemetery, covered with brilliant mausoleums of marble, was so crowded that it was necessary to extend it considerably. The publicity of this burial-place is honourable to the tolerance of the pontifical administra- tion. Among the tombs is one erected to the poet Shelley, who died from ship- wreck on the coast of Spezia in the thir- tieth year of his age, and whose body was burnt in the pagan manner by Lord Byron, his admirer and friend, aided by Captain Mcdwin and some others. The heart of Shelley would not burn. By- ron, as one of his biographers remarks, does not show in his letters any very acute grief at Shelley's premature end, and he seems to have been more struck with the wild and poetic spectacle of this funeral pile his own hands had lighted. The words on Shelley's stone, cor cor- dium, rather insipid and assuming, in- scribed by his wife, Godwin's daughter, prove that this man, a radical and atheist, as he had signed himself on the album of Monlanvers, had a soul no less gentle than bis genius, despite the harshness and violence of his doctrines. The Pons Sublicius, the first bridge built by the Romans, witnessed the ex- ploit of Horatius Codes, which is how- ever rather dubious, as are all the stories of bridges defended by a single man, imagined by the ancients and the mo- derns to console the self-pride of retreat- ing armies. Livy does not appear to credit the fact when he shrewdly re- marks that the hero rem ausus, plus famce habituram apud posteros, quara Chap. XLIV.] ROME. 59i fidei, an observation applicable to se- veral other primitive trails of his history, and a proof that he was not so credulous as modern critics suppose. The Pons Sublicius has been swept away more than once by the Tiber, under Augustus, and in the pontificate of Adrian I. In 1454, its ruins were demolished down to the water to serve as cannon-balls, se- veral of which may still be seen at the castle of Saint Angelo. Loaded with fishermen's huts, it is now once more of wood as under the king of Rome Ancus Martius, when it derived its name of Sublicius from the beams of which it was composed. The Aventinemount, the least elevated of the seven hills, famous for the wise retreat of the Roman people, formerly ornamented with temples and palaces, is now deserted, and has only a few re- ligious edifices. The Aventine was suc- cessfully planted with cotton under the French administration. The five roads by which it is approached are in the same direction, and perhaps the very same as those of old. Its poor and scattered po- pulation, with the hermit so admirably painted by M. Schnetz, are singularly picturesque. On the slope of the Aventine towards the Tiber, was the cavern of Cacus, the first and most illustrious ancestor of the Roman banditti. The gusts of flame and smoke vomited forth by the son of Vulcan indicate the existence of very active volcanos, to which no epoch can be assigned, though their traces are still distinctly seen : fable is better informed on this point than history. Virgil re- lates that according to the belief of old ages, the founder of Praeneste had a fire- place for his cradle, which caused him to be supposed the son of Vulcan : Volcano genlliim InTeatamque focis omnis quern credldit CDtas. It is astonishing that the ancients were not smitten with the aspect of the soil, which seems in a state of ebullition : dull observers, these powerful Romans, not to have suspected that force of na- ture, older and more terrible than their own passions. The temple of Vesta, a model of ele- gance and taste, so Greek-like in work- manship and arrangement, became, by one of those analogies frequent among antique temples and churches, the Ma- donna del sole, which liile it retains, as well as the other odd designation of Saint Stephen of theCoaches. This celebrated little temple, so elegantly girt with twenty Corinthian columns of Parian marble, the most exquisite in Rome, seems to have been rebuilt about the end of the second century under the Antonini. The temple of Fortuna Virilis, one of the most ancient in Rome, was conse- crated to the fickle goddess by Servius Tullius, whom she had delivered from the bonds of slavery for the chains of royalty. It was repaired under the re- public, and dedicated to the Madonna about the end of the ninth century. The Ionic order which decorates it, is the best of the two only specimens of that order existing at Rome. The house said to have been Pilate's and Rienzi's very probably harboured neither of those famous guests. It has the appearance of a little fort, and is covered externally with a confused coal- ing of Inscriptions and antique fragments for which Rienzi had a peculiar liking, and they seem not unsuited to the elo- quence and eccentric character of that personage. The following verse is as- cribed to his friend Petrarch : Adsura Romanis grandis bonor populls. The tribuneship of Rienzi was contem- porary with the democratical conspiracy of the Venetian doge Marino Faiiero and the massacres of the Jacquerie in France. The same fourteenth century had seen the great riot of the Ciompi at Florence, the insurrection of William Tell, the revolt of Artevelle in Flanders, and of Wat Tyler and Jack Cade in England. It was one of those epochs of popular eruptions caused by inequality and op- pression. The PonsPalatinus, now Ponfe Rotto, was the first stone bridge built in Rome. It was finished in the censorship of Scipio Africanus and L. Mummius. Rebuilt by the popes Honorius III., Ju- lius III., and Gregory XIII., it fell a third time, and has not been repaired. The aspect of this quarter and its poor inhabitants, the view of the Aventine, the Janiculum, and the Tiber, especially from the bridge, are very picturesque, and seem a real apparition of primitive Rome. 50. 594 ENVIRONS OF R03IE. iBooK XVI. BOOK THE SIXTEENTH. ENVIRONS OF ROME.' CHAPTER I. villas.— PamQIi villa.— Piues.—Stuccos.— Mount Sla- rio. — Madania villa. — Loggia. — Casiao of Pope Julius. — Borghese villa. — .New museum. — Casluo of Raphael.— Albaai villa.— AQlinous. The villas, those abodes of splendour, are the link that unites, if one may say so, Ihe ancient Romans and the modern. The present palaces of Rome difler from those of antiquity ; the villas of our days are a close approximation to the antique, and in their principal parts they almost resemble their majestic disposition. The national taste for the same magnificence is perpetuated notwithstanding the con- trast between the two states of society. These houses of pleasure are generally turned towards Rome, a superb horizon, in harmony with the pomp of their ar- chitecture, and the marble, statues, co- lumns, vases, and fountains that embel- lish them. The gardens, planted with a noble regularity, so far superior to the zigzags of the English style, do not dis- play the capricious pretention to create sites which are found without already made by nature, but they are destined for the promenade of powerful friends of art who seek, in their repose, to con- template its chefs-d'oeuvre. Though too frequently deserted and suffered to decay, the Roman villas have not lost their ori- ginal character, and their gloom even seems to increase their grandeur. ThePamQIi-Doria villa, or Belrespiro (one of those poetical Italian surnames, like that of the numerous belvederes), with its wood of umbrella-shaped pines, charming trees, that harmonise so well with the sky of the country, as they af- ford a shade and leave the light; its view extending to the sea, its verdant turf enamelled with anemonies, its • See ante, book siv. ch. xvi. * Le Ndlre was little known before 1050, when he laid out the gardens of Vaui for Fouquet ; be riiil not go to Rome till )GT8, and Algardi had begun the raiuaii villa about l(M. See the excellent ami cb. ill. grottos, basins, cascades, and antique fragments, is the most diversified, exten- sive, and delightful of Roman villas. The plan is not by Le Notre, as supposed, but by Algardi; > nature seems to have compelled the elaborate talent of this author to be simple, grand, and true. Several ceilings of the casino are orna- mented with stuccos executed by Al- gardi's own hand, of extreme elegance, and still in all their freshness. He also made the bust of the too celebrated Olimpia Maidalchini Pamfili, whose ill- gotten wealth contributed to the crea- tion of this wondrous place. ^ For some years since, successful exca- vations have been made at the Pamfili villa ; they have produced the discovery of several well preserved columbaria, a great number of curious inscriptions, which are interesting for the history of the funeral usages and monuments of the ancients, and form a little antique cemetery very picturesquely disposed in the middle of a wood. ftlounl Mario, at ihe extremity of the Janiculum, planted with a pretty grove of cypress, is one of the most pleasing spots in the environs of Rome, which is seen thence in its most imposing aspect. The antique name of Mount Mario is unknown, its present appellation being derived from a Mario Mellini who built a fine villa on its summit. The vast quantities of marine shells, a proof of the long inundation, at some very re- mote period, of this point at an elevation of four hundred and forty feet above the level of the sea, are a geological fact of some interest. On the declivity of the hill is the Madama villa, so called from having been the residence of Mar- garet of Austria, natural daughter of Charles V., widow of Alessandro de' Medici, and afterwards married to Ot- beauliful work of JIM. Percier and Fontaine, Choix del plus celebres maisons de plaisance de Rome ct de aes environs, second edition, 1824, folio, p. 13. 3 See ante, book xv. ch. iixv, and book xvi. CUAP. I.] •ENVIRONS OF ROME. 595 tavio Farnese, duke of Parma. This ce- lebrated casino, begun for Cardinal Giuiio de' Medici, on Raphael's designs, and completed by Giuiio Romano, has be- come, in its actual dilapidated condi- tion, a kind of modern antiquity unceas- ingly studied and admired by artists. The superb Loggia, the wainscot of one room and a ceiling, are the work of Giuiio Romano and Giovanni d'Udina, small, graceful, and exquisite paintings placed beside the Loggia of the Vatican, and of the same school. The villa or casino of Pope Julius IIL, of excellent architecture and most con- veniently disposed, but now in bad con- dition, of which Vasari boasts having given the first designs, seems principally due to Michael Angelo. Vignola, on his return from France, was charged with several embellishments, and wc recognise this great architect in the ele- gance of the disposition, and purity of the profifes in the Palazzino. The fine Nymphea, ornamented with the most costly marbles ; and the fountains, arc by Ammanato, and Taddeo Zuccari has painted the frescos of the circular gal- lery. A maestro of the sacred palace at that time, Pietrantonio Aliatti, the pope's favorite, had been the torment of the clever men who worked successively at the villa, by his intermeddling, pre- tended science, and caprice, which pro- cured him from the irreverent Michael Angelo the ironical nickname of Monsi- gnore tante cose. This delightful villa, with which the pope who created it was so charmed, that he went thither from the Vatican, going up the Tiber in a brilliant vessel; where the cardinals who came for the first time to Rome staid as well as the ambassadors before making Iheir entry, and whence the cortege set forth ; — this monument of art and pon- tifical magnificence became a good ve- terinary school under Leo XIL, which was suppressed by his successor, and somewhat strangely transferred to the university of the Sapienza. The Borghese villa, one of the places dear to the Roman people, attests the hereditary magnificence of that family. First founded at the beginning of the seventeenth century, by Cardinal Sci- pione, on the designs of Giovanni Van- sanzio, called II Fiammingo, it was considerably enlarged towards the end of last century by Prince Marcantonio, and has been very much embellished by the last prince Camillo. Us lake, tem- ple, hippodrome, a fine model of a mo- dern hippodrome, and its laurel bowers, are known and admired. The celebrated Museum purchased under the empire for our Museum, at the price of thirteen millions and not fourleen as Napoleon told Canova," has since been almost re- placed in three years, so inexhaustible is Italy in chefs-d'oeuvre. Under the portico, a half-colossal torso of Apollo bending a bow is exquisite, and another torso of an emperor's statue seated, very natural. The basso-relievo of Romulus and Remus suckled by the wolf, found near the Tiber by Faustulus and Lau- rentia, an elegant work and among the best Roman productions, is curious as a monument of the origin of Rome. The important basso-relievo of Orvius or Corvius Nasica preceded by lictors and accompanied by a divinity that appears to be public Faith, belongs to the latter times of the republic. The immense and magnificent saloon has : a good head of Vespasian, in the style of his own time ; the colossal, excellent head of Isis, with the lotus-flower, the pendant of which is a colossal head of Diana exquisitely wrought ; the celebrated basso-relievo of a Horseman precipitating himself, restored for a Curtius, despite the vul- garity of both horse and rider ; a Pries- tess, well -draped, over a sepulchral altar, which bears a singular Greek epitaph transmitting us the name of the Roman singer Musa ; two superb colossal heads of Adrian and Antoninus, per- fectly preserved ; a statue of Diana. la the hall of Ceres are: a statue of that goddess, of natural size, the finest, no- blest, and best draped of all known statues of Ceres ; a iiermes of Apollo ; another ot Mercury, Greek, which ap- pears new ; a portrait of Alcibiades, larger than nature; a statue oi Lceda; the famous basso-relievo of the education of Telephus, a work of Adrian's time, which for delicacy of execution seems a large cameo; a torso of a young man naked holding a vase, perhaps a Gany- medes, remarkable for the choiceness of the marble and the morbidezza of the flesh. The fine statue of Hercules, in the hall of that name, is adjusted like the Farnese Hercules : over a sarcophagus ' Misslrini's Delia Vita di .1. Ca'ioia, p. 245. 596 ETSVIRONS OF ROME. [Book XVL ornamentPd with Tritons and Nereids, is an admirable fragment of architecture. The bail of Apollo and Daphne, which has two living pictures of animals by the clever Peters, is composed of mo- dern works. The group by Bernini in his eighteenth year, astonishing both for mechanism of art and elaborateness, is full of charm in the ensemble and the details : the Apollo seems rather the jeune dieu, toujours beau, toiijours frats, of Fonteneiie, than the learned Apollo of the Metamorphoses. On one side of the pedestal are Ovid's verses, and on the other this singular moral distich of Cardinal MafTeo Barberini, afterwards Urban VIII : Qulsquis ntnans sequitur fugitivae gaudia rormis Froude manus Implet, baccas sea carpit amaras. The group oi Mneas and Anchises was executed by Bernini at the age of fifteen years, unless it be his father's, Pielro Bernini ; it is altogether ignoble in com- position, form, and expression. The David killing Goliath, another work of Bernini's youth, represenls him in the person of the hero, whom he resembled in shortness of stature ; this David, which is not in truth particularly noble, has not the exaggeration of his manner, and may be regarded as one of his most na- tural productions. The rich gallery decorated with basso-relievos of living sculptors and an unique collection of works in porphyry, leads to the cabinet of the Hermaphrodite; the statue is not so well preserved as ours, but superior in the quality of the material, which is Parian marble ; it has no less grace and truth, and has been restored more judi- ciously and without the ridiculous quilted mattress that Bernini put to the other in his youth. A fearful head of Tiberius, a draped bust of the Genius of the Ro- man people, of a remarkable nicety of execution and lifelike, a fine female head said to be Sappho's, are other antique chefs-d'oeuvre of this cabinet. The hall of Apollo has the statue of the god, Greek, important for the history of the art, no- ble, graceful, but cold in expression and rather stiffly draped. In the Egyptian ' This green rock, very much sought after by the ancients. Is so called from being speckled like a serpent (oyis)- H has been generally believed till now that this marble was procured from llie mountains that border the tied Sea in Egypt, but hall, the richest after the gallery, are : an Isis, which has the stateliness and elegance that the Greeks and Romans attributed to the goddess of Egypt when they admitted her worship; a group of a Faun astride on a dolphin, which pro- bably gave Bernini the idea of his Triton in the Piazza Navona, called the moor by the common people; a superb hermes of Bacchus crowned with ivy, and an unique vase of ophite marble.' The hall of Bacchus is so called from the Greek group of that god and Proserpine, a precious monument of antique iheogony. The great and curious coloured mosaic, called the Borghese, found near Torre Nuova in 1834, and entrusted to the clever D. Ruspi for restoration, repre- sents a combat of gladiators against wild beasts; from certain Greek letters, it is attributed to Greek artists, and was executed probably about the middle of the empire ; it is in the first rank of mo- saics for size. The little and very plain Nelli villa, near the Borghese villa, was possessed by Raphael. Some frescos of exquisite taste, but much impaired by time, com- pose its decorations : the Marriage of Alexander and Roxana, the best pre- served, was executed by the ancient master of the house, from the graceful description of the picture of the Greek artist iEtion, crowned at the Olympic games and given by Lucian, the text of which may still help to explain the charming fresco of Raphael.* TheAlbanivilla,amagnificentcreation of Cardinal Alessandro, a passionate lover of the fine arts and antiquity, somewhat pompously styled the Adrian of his time, was laid out by himself and his architects in the manner of antique habitations. The decorations of the fronts and the details are not however very pure. Winckelmann, a friend of the cardinal, and the cleverest interpreters of figured antiquity have successively illustrated this true museum, the third of Rome, only surpassed by the Vatican and the Capitol. A pretended Brutus, for some time supposed a Harmodius and after- wards an actor, seems now to be only a slave. The first chefs-d'oeuvre are : the the labours of our scieiilific commission In the Morea have proved thai it was obtained In Pelopo- nesus : the Taygele is In great part composed of it. » See Lucian. Herodotus live Mtion. Chap. II. ] ENVIRONS OF ROME. 567 SonsofNiobe shot with arrows ; Apollo Sauroctonos (killer of lizards), in bronze, one of ihe three remaining repetitions of the work of Praxiteles; the basso-relievo of the Bepose of Hercules, with Greek inscriptions in very small character; the delicious basso-relievo of Antinous crowned with a light garland (the crow n he holds is modern), the most admirable of the sculptures at the villa, and the only one that escaped the sale made by Prince Albani of the objects retaken fromFrance in 1815; the statue of Pa//as; the curious hermes of Mercury, with inscriptions in Greek and Latin ; the Faustina seated ; the sarcoph.igus of the Marriage of The- tis and Peleus ; the basso-relievo of Diogenes in his pretended tub before Alexander; ' the other basso-relie\o in antique red, of Dedalus making his wings; the fine Caryatides or Cane- phorus of the Athenian sculptors Crilo and Nicholaus; a Cupid, copied from Praxiteles ; the basso-relievo of the Combat of Achilles and Memnon ; the Candelabrum, which has some dancing- girls on the base that are among the most exquisite remains of Greek sculpture ; the basso-relievo of.Bere/!!"ce offering her hair for tlie return of her husband Pto- lemceus Evergetes ; the Bacclius, so remarkable for the workmanship of the head. The Parnassus of the gallery ceiling, by Raphael Mengs, formerly boasted as superior to the Parnassus of Raphael, is now, like the other works of Mengs, put in its proper rank : there are some muses in graceful attitudes and a good style of adju;tment; butlhe Apollo, a kind of statue, is badly postured, ill- drawn, and the execution, though stiff and painstaking, is deficient in power. CHAPTER II. HoadtoTivoIi.— PonleMammolo.— lakede'Tartari. —Tomb ol the I'laulla family. — .idriaoa villa.— Floner.— Tbeatre. — rceciie. — Library. — Palace. — Quarter of the Pretorians.— Tbertnae. — Canope. — Tivoli— Girls.— Temple of Vesta , — of Ibe Sibyl.— Cascalelle. — Grotto of .Neptune; — of the syrens — Hoase of Horace.— Villa of .Mecaenas. — Temple della Tosse.— Villa d'Este.— Fouiana delP Ovato. The road to Tivoli in some parts follow s the ancient Via Tiburtina. After the tenth mile, we again find the large poly- gonal stones of volcanic basalt, and the ' See ante, book xv. eh. sxxvl. Stepping-stones with which it was bord- ered. At the fourth mile we pass the Anio, commonly called the Tcverone, by the Ponte Mammolo, perhaps the oldest bridge in the environs of Rome, appa- rently taking its name from Julia Mara- mea, mother of Alexander Severus: hav- ing been destroyed by Totila. Narses re- built it w ilh the same materials. The green foliage of the beaches on the bank forms an agreeable coup-d'oeil. I'he w alers of the little lake de' Tar?an, impregnated with calcareous matter, cover the bran- ches and roots they touch with brilliant, crystals. The canal and lake of the Sol- fatara exhale a strong odour of sulphur : the foam of the latter lake, mixed with dust, leaves, and branches.forms a surface of light agglomerations which have pro- cured it the too poetical name of the lake o/'f/ie Floating isles. Near there are the ruins of the magnificent baths of Agrippa, which had benefiited Augustus. Nothing remains of the antique bridge of Lucano, destroyed by Totila, but the foundations in the bedof the river. This point of view is the original of one of Guaspre Poussin's finest landscapes.* The noble mausoleum of the Plautia fa- mily, which has two antique inscription.^, is remarkable for its brilliant cornice and its solidity. In the middle ages, it was used as a fortress, like the sepulchral tower of Cecilia Melella, which it re- sembles in elegance and grandeur. Notwithstanding the general admira- tion, perhaps the emperor Adrian's idea of filling his villa with copies of the mo- numents of art or wonders of nature that he had seen in his travels, was not par- ticularly happy. All these different repe- titions, which nevertheless retain an exterior appearance of Roman taste, must have injured each other and made the villa a kind of antique English garden, unworthy of the artistic genius of Adrian, who had moreover the failing of misap- preciating Hotner. The Adriana villa is said to have been des[ioiled of its prin- cipal masterpieces by Caracalla, who took them to embellish his Therma; ; probably it was sacked by Totila. The duke of Braschi is the present proprietor, and it is now only a species of unhealthy but productive marsh, ravaged by culti- vation; while a strong vegetation of cypresses, fig-trees, holm-oaks, ivy, and 2 See anle, book xv. ch. xisi. S98 ENVIRONS OF ROME. t Rook XVI. clematis, smothers and destroys its ruins. An odoriferous flower, a kind of syringa, planted there by Adrian, is said to grow in no other place. How singular are the powers of nature ! the foreign monu- ments of the master of Rome disappear, strewing the earth with their vast ruins : this simple exotic flower survives them and continues to shed its perfume. Though great numbers of chefs-d'oeuvre have been exhumed in this villa, the soil does not appear exhausted, and new excavations under more judicious ma- nagement might still be successful. The Greek theatre preserves its an- tique form, its seats, and some parts of the stage. The house of a peasant has some superb stuccos which decorated the roof of an ancient Nymphea out of which it was built. The Pa-cile, an imi- tation of the glorious portico of Athens, Is but a long and lofty wall. A kind of circus, which antiquarians make a swimming bath, is ridiculously called a marine theatre, from the nymphs and sea monsters represented in mosaic on the pavement. The library, divided into Greek and Latin, formed a single edifice, and part of its substructions may still be seen. The Latin library, like the Greek, preceded by a room for the readers, is the least injured. The imperial pa- lace was on the heights. Among its mag- niflcent ruins, in the lower part, some remains of an antique painting in excel- lent taste are still visible. The barracks of the Praetorians called Cento Came- relle, in astonishing preservation, are authentic, despite the opinion of the abb^ Chaupy, who thinks them only substruc- tions. The communication between the chambers is modern. The crumbled mass of the Therms is not so shapeless as to render the different parts indis- tinguishable; it is difficult, however, to ascertain the respective divisions for the two sexes, although we learn from Spar- lian, Adrian's historian, that the disso- lute emperor who made a god of Anti- nous, thought it important that they should bath in separate apartments. The valley called that of Canopus presents a ' Horat. Od. VI., lib. ii. ' See post. Most enthusiastic travellers, misled by guide-books and the ciceionl of Tivoli, place tbe "Pilla of Marcus Brulus at Tibur; tbe Brutus wbose villa presents considerable substructions was not Caesar's murderer, but bis ancestor, an opulent aud copy of an Egyptian temple, which gives an idea of its extraordinary character; the chambers of the crafty priests of Se- rapis may still be seen, as well as tbe arabesques of a corridor through which the conduits passed that carried water to ihe exterior front, to fall into the fa- mous canal, the scene of the joyous dances and licentiousness of the Cano- pian feasts. The remains of a temple of Canopus seem the best preserved in the villa, and are sufficient (o give an idea of the sumptuousness of the edifice. On the southern hill of the valley, are some extensive ruins that belonged to the Academy and Odeon. Near the latter, are four long corridors leading to the Infernal Regions, and the Elysian Fields were not far distant. Tivoli, the ancient, the poetical Tibur, of Greek origin, existed 462 years be- fore the foundation of Rome : Tibur Argaeo posltnm colono.' Tibur joined the Gauls twice, when they made an irruption into Italy : perhaps the inhabitants thought that our ances- tors would contribute to their freedom, but they were reduced by the Romans, and Tibur continued to be a Roman mu- nicipality. Honoured by the residence of Horace, Catullus, Propertius, Au- gustus, Mecaeiias,* and the captive Ze- nobia, who dwelt there in obscurity, it was destroyed by Totila, and three years after re-established by him as a military post; it lost its ancient name, assumed that of Tivoli about the eighth century, and sulTered the different vicissitudes of Italy during ihc middle ages, among which the most important was its alliance with Rienzi, when tribune of the Romaa people a second time. The present Ti- voli is a town of about seven thousand souls, in a good situation, but dirty, irre- gularly built, and still damp like the tidum Tibur of the poet ; it has a bishop, two locande ( the Regina and the Si- billa ), with travellers, artists, numerous manufactories of leather, iron, paper, and oil and powder mills. Notwiih- peaceable jurisconsult, upon wbom tbere was no room to expatiate. His son tbe orator, an acute and vehement accuser, in dicendo vehementi et cattido, as Cicero says, sold Ihe property when it fell to him by Inheritance. (Pro Cluenlio, S ii.) CllAP. II. J ENVIRONS OF ROME. 599 Standing its modern trading aspect, it is impossible not to be struck with the strong and noble beauty, the carnage and mien of the girls of the lower orders. The temple of Hercules, the Greek patron of Tibur, was the principal in the town; it is replaced by the cathedral of Saint Laurence, which has a remnant of the Cella behind the choir. It w as under the portico of this temple famous for its rich treasury, that Augustus, when he visited Mecaenas at Tibur, familiarly rendered justice, a reminiscence which, despite the magnificence of the edifice, will always be inferior to our oakof Vin- cennes. The temple, said to be that of the Sibyl, and afterwards of Vesta, on the point of a rock, above the fall of the Anio, which is precipitated into the valley with much more noise than in Horace's days {praceps Anio), presents at once a most exquisite wreck of art and one of the finest scenes in nature. The brilliancy of the ten fluted Corin- thian columns (there were eighteen for- merly) and of the foaming waters be- comes still more resplendent by moon- light. The temple of the Tiburtine Sibyl appears, like that of Vesta, of the last century of the republic. The Cas- catelle, interspersed and variegated with a luxurious vegetation, w hich seem al- most as if formed and arranged by art,' shine in the sun, and produce beautiful rainbows. The best point of view to observe them is in a vineyard, at the bottom of the valley. The impression of these famous sites, painted, described, and sung thousands of times, must vary according to the disposition of indivi- duals ; their roaring noise, accompanied with the thumping of hammers and the clanking of machines, will not be very agreeable to the lovers of silence. The grotto of Neptune and that of the Syrens are the most picturesque of those antres into which the Anio falls, the horror of the latter grotto, a real inundated ca- vern, and its frightful clatter, strikingly contrast with its pleasing name. The straggling arcades of the villa of Manlius Vopiscus, celebrated by Statins. ' The strong wall that contained the Anio and forined tlie Great Cascalella having been thrown down in November iSie, the Cascalelle were left (try for a lime. Consldirable works, and llie cut- ting a tunnel through Mount Catillo. of two hun- dred and niuety-four metres loog by twenty-flve ia give a most imperfect idea of its magni- ficence; but the description of the bor- ders of the Anio and the kind of natural bridge it has hollowed out is still very faithful : Ipse Anien, miranda Odes I infraque, superqoe Saieus ; hie tumldam rablem spumosague ponlt Murmura, ceu placidi veritus lurbare Vopisci Pieriosque dies et habenles carmina somuos; Liltus utrumque domi ; nee te miiissimus amnts Dividit, alternas servant praetoria ripas, iXoa externa sibi, fluvlumve obstare queruntur.* The pretended site of the house of Catullus, near the old convent of Saint Angelo in Piavola, is by no means au- thentic, as it must have been near Rome. Despite the pertinacious contradictions of the abb6 Chaupy, who will not allow Horace more than one house : Sails beatus dnicis sabinis, the Nymphea of the poet's house in the convent of Saint Anthony seems authen- tic. The estates which made him inde- pendent will still be on the banks of the Digenlia, in the country of the Sabines : Nihil supra Ueos lacesso, nee potenlem aiuicum, Largiora flagito, and the villa of Tibur his pleasure house. Some remains of the splendid villa of Quinctilius Varus still subsist; they are near the church of the Madonna of Quintilioli, which has taken its surname from the general of Augustus whom Ar- minius defeated. The grand villa called that of Mecae- nas, now an iron foundery moved by an arm of the Anio, was probably a public edifice; it has a corridor with an extra- ordinary ceiling, some porticos, and vast galleries. The temple delta Tosse, picturesquely situated amid trees and vines, is impos- ing, though of the decline; according to different learned antiquarians, it was either a temple of the sun, or a tomb of the Tossia family. But its hexagonal form and remains of paintings seem to indicate a Christian edifice. Its vulgar width at the opening, an enterprising work of the Cav. Clemeute Folchi, a clever hydraulic engineer, liave since nearly repaired the damage, and seem likely to prevent a recurrence of the disaster. eeo ENVIRONS OF ROME. [ Book XVI. designation, according to the tradition of the place, was given it from the strange manner in wliicli the Virgin opens her mouth, a venerated Madonna, to whom the good women of Tivoii offer a candle to be delivered from Iheir colds, as they have recourse to another old Madonna railed della febbre to cure the fever. The worship of these Madonne della febbre seems to have succeeded that of the goddess of Fever, who had herallars and sacrifices in Greece and at Rome. The villa d'Este, founded by Cardinal Ippolito, second son of Alfonso, duke of Ferrara, named governor of Tivoii by I'ope Julius HI., and who is not the Cardinal Ippolito I., the exacting Me- caenas of Arlosto,' cost him more than H million Roman crowns; it was fur- ther embellished by Cardinal Ludovico dEstc.' whom Ginguen^ mistakes for its founder. It is the only monument of modern magnificenceat Tivoii. Sealed on a hill, at the extremity of a long ave- nue of patriarchal pines and cypresses, it still, though degraded, retains its pri- mitive character; its vast gardens, ter- races, and arcades of clipped trees, are a kind of architecture, and its parterres, of mosaic. Nature, there unchanging, seems fashioned like marble and stone. It required the court and royal state of the cardinals of the house of Este to ani- mate this superb abode, w hich its founder thought worthy of a great prince : Al- bergo degno di qualunque gran prin- cipe. The plan is by Pirro Ligorio, and the waterworks by a clever hydraulic engineer of Tivoii, Orazio Olivieri, one of whose descendants, an honourable and distinguished man, was colonel of ca- valry in the French armies during the wars of the Empire. The two principal fountains are as fine as any that can be cited, and Michael Angelo surnamed that dell' Ovato (of the Oval), the queen of fountains. Among the numerous constructions of these gardens, it mustbe confessed that there are some open to censure, in which taste has been occa- sionally sacrificed to whimsical and ca- pricious inventions. The little model of Rome in mastic in a bower, and its noble monuments in miniature, are per- ' See aiile, book vii. ch. lil. This error of Vasi is repented by all travellers: Arioslo could not pus- bibly have lived wltb Cardinal Ippolito I. at the villa d'Esie, crealed in i;'i5l, eighteen years after his oealb. 11 lb more pi obable ihut 1 assu reslcleii there fectly ridiculous. The too highly ex- tolled frescos and stuccos of the palace, by Taddeo and Federico Zuccari, are but an abortive imitation of Raphael ; a portrait of Federico as Mercury, painted by himself, is perhaps the best part of them ; the frescos of the Sibyls and Prophets in the chapei, by Muziano, are very superior to the Zuccari's. In the secretary's room, a St. Bernardtn of Siena, attributed to Giotto, seems at least of his school. The view from the terrace is immense, and admirable. CHAPTER HI. Torre PIgnatara ;— Nuova — Colonna.— lalse Regll- lus.— Palestrina.— Walls.— Temple of Fortune.— Mosaic.— La llocca.— View. On the road to Palestrjna, at Torre Pignatara, thus called from its clay vases {Pignatte), are various ruins, and among them the tomb erected by Con- stantine to his mother Saint Helena, whose body was afterwards transported to Constantinople, a mausoleirm from which the fine porphyry sarcophagus in Pio-Clementino museum was taken. A rustic chapel replaced the superb ba- silic consecrated by the first Christian emperor to Saint Marcellinus and Saint Peter the exorcist, whose burial place is shown in the catacombs. Torre Nuova, one of the rich domains of the Borghese family, formerly a de- lightful villa, seems, w ilh the multitude of its pines, less perishable than its palace, a fresh Italian oasis in the middle of this wilderness. Colonna, a village in ruins, for nearly eight centuries a fief of the illustrious family of that name, occupies the top of a high hill, the site of the ancient Labi- cum, mentioned by Virgil as allied with Turnus : Et picti scuta Labici. Near there is the source of the Acque felice, taken to Rome by Sixtus V.^ A little marsh full of reeds passes for the lake Regillus, celebrated for the vic- tory of the dictator Aulus Posthumius at the court of Cardinal Ippolito II., and it Is pre- tended Ibat its magical disposition gave bim Ibe idea of the palace of Armida. " See ante, book vii. ch. xv. 3 See ante, book xv. cb. xxiil. Chap. IV.] ENVIRONS OF ROME. 601 over the Latins, \>hich lerminates the supposed fabulous history of the earlier limes of Rome, and destroyed the last hopes of the Tarquins, a victory followed by a treaty which is regarded as one of the prmcipal foundations of the Roman power. The origin of Paleslrina, some centu- ries more remote than that of Rome, is veiled in obscurity. This town was, and still appears on its mountain, a kind of stronghold. Its cyclopean walls of calcareous rock, upheld without cement, rendered it formidable, even in the four- teenth century, when it became the cita- del of (he Colonne and was destroyCti by the lieutenants ofpopes Boniface VIII. and Eugene IV. The inhabitants ultimately returned from the surrounding country, and settled on the spot where the cele- brated temple of Fortune had stood. The magniOcent temple, the most interesting of the ruins ofPalestrina, which made the incredulous Athenian philosopher Car- iieades, when ambassador to the senate, say that he had never seen a fortune more fortunate than that, aneu Tibur supinurn, Seu liquidae placuere Baiie. ' AJinat. lib. xt. cap. ixil. He reperused the whole of Homer there : Trojaiii belli srriptorem, maxima I.olli. Dum lu declamas Roma;, Praeuesle relegl. The ancient citadel stood above the town. On the road enormous polygonal fragments of the walls of Praeneste prior to the Roman sway, still exist, as well as the wall, repaired at diflercnt epochs, which separated the citadel from the place. The present fortress, called the Rocca, contains a few houses and some edifices. The feudal eastle is in ruins. 1 he ba- ronial church, the burial-place of the Barberini, has a Piety, a grand but un- finished group, ascribed to Michael An- gelo. 1 he antique church of Saint Peter, which has given its name to the mountain, presents Ihe Pasce ovesmeas, at the high altar, by Pietro of Cortona, one of his esteemed works, but injured by the damp. The view from the Rocca, one of the most remarkable in the en- virons of Rome, embraces the heroic theatre of her first exploits, of her wars, so vigorously prosecuted, so wisely ter- minated, which early announced the fu- ture masters of the world. CHAPTER IV. Subiaeo. — Nero's villa. — Landscape. — Cliurcli.— MoDasterj.— I'riuting-cfDce.— Sail Speco. Beyond Palestrina, at Subiaeo, so called from its lake {Sublaqueum), Nero had a splendid villa. While he was di- ning there, the lightning struck the palace, overthrew his table, says Tacitus, > and even, according to Philostralus, per- forated the cup from which he was about to drink. » It must be regretted, as a providential lesson, ihat it did not touch him : Nero slain by the vengeance of heaven would have been a grand and good example in history. Some unim- portant remains of the baths dependent on this villa still exist on the height beyond the Anio. Thus the solitary and godly retreat illustrated by Saint Benedict had seentheorgiesofthe Roman tyrant. Subiaeo is now principally visited by landscape painters, as its charming site, its woods, its lake, its grotlos, rocks, cascades, and ruined castle, render it exceedingly picturesque. • Life of Apollonius Tyaneus, lib. iv. ch. illii. 51 602 ENVIRONS OF ROME. [ Book XVI, The rich church built by Pius VI. at the foot of the hill, wiihout being very pure in its architecture, has a degree of grandeur; the lower church, also mo- dern, is well lighted, in fad too well. The abbot's palace, on the height, pre- sents an extensive view of mountains and the valley of the Anio. The monastery of Saint Scholastica, ravaged at the beginning of the seventh century, was rebuilt in 705 by the abbot Stefano. ItsdifTerentbuildings announce the introduction of the Gothic style into Italy, and make an epoch in the history of the decline of art. In the first cloister, modern, the well has an antique sar- cophagus representing three bacchic sub- jects. Two fine columns, one of yellow antique and the other of jwrphyry, were procured from Nero's villa. The oldest cloister, of the tenth century, has its ar- cades in ogive, and the principal one, of marble and ornamented with basso- relievos, is surmounted by the statue of the Virgin seated on a throne between two lions. Under the portico are two curious monuments. The first, of 981, records the foundation of the church of Saint Scholastica, and the epoch of its dedication by Pope Benedict VII. ; the inscription is on the belly of a roebuck, drinking out of the same cup with a stag and beaten by a cock. The other mo- nument registers the domains of the mo- nastery in 1052, and also mentions that year as the time when the steeple was built by the abbot Humbert. The third cloister resembles, in architecture. Saint Paul extra muros, and may be regarded as of the thirteenth century. A picture of the Virgin is of the fifteenth. The church, modern, has some very inferior paintings. In the sacristy, of the year 1578, is a Virgin of Carlo Maratla's school. The monastery of Saint Scho- lastica, where some German monks es- tablished the first printing-office in Italy, ■ retains no trace of this glorious fact, which seems to have very little interest for the present monks, who are more inclined to the pious practices of Saint Benedict than to the learned labours of their predecessors. One mile from Saint .'^cholastica, and three from Subiaco, the Sacro Speco, a monastery of Saint Benedict, cut in the rock, presents various ornaments : some ' See ante, book xv. ch. luv. paintings of the fifteenth century, by an unknown artist: some slabs of marble serving as pavement for the vestibule, taken from Neros villa ; a statue, by Bernini, of the young Saint Benedict in the holy cavern converted into a chapel, where he lived as an hermit from his sixteenth year; and several good modern paintings in the sacristy, among them a Virgin, Infant Jesus and St. Joseph, attributed to Correggio, but perhaps by the Carracci. In a garden, a small parterre of roses was the field of thorns on which Saint Benedict rolled himself, as Saint Francis after him, to appease the ardour of bis passions. The ever- greens of a pretty wood, low and entangled, which were wont to bow to him, according to a monk's story, have remained unmoved ever since his death. Here nature speaks as loudly of Saint Benedict as the monuments of art, and both attest, by a succession of miracles, the power, the virtue of this great legis- lator of the mouaslic orders of the west. CHAPTER V. Frascali. — Villas of Aldobrandini; — Taverns; — Mondragone; — RuUria;— Bracciano;— lluCuella. —Tiisculam.— House and Aradeiuia of Cicero. — Tliealre. — Walls. —Citadel. — Grolta-Feriata. — Cbapelof Saint Nilus.-Marioo— Valley of Feren- tina. Frascati has risen near, but below, the ruins of the antique Tusculum, which was destroyed, utterly destroyed at the end of the twelfth century by the Romans of the middle ages, as ruthless as the citizens of ancient Rome. Then the un- fortunate inhabitanls of Tusculum were compelled to live under huts made of branches ( frasche), whence it then de- rived its barbarous Latin name oi Fras- catum, now Frascati. The situation of Frascati is pleasant, and the air excel- lent. The population amounts to five thousand souls; the spacious square and the cathedral are rather imposing, and the various villas, so harmoniously dis- posed around the town, are mngnificent. The Marconi casino, new and in good taste, has several monuments of anti- quity in good condition, and a silting statue of Canova, by Ceccarini. The Aldobrandini villa, on the de- clivity of the mountain, the most noted of the villas, takes its other name of Ciup. v.] ENVIRONS OF ROME. 603 Belvedere from its double horizon of sea and mountains. It was founded by Cardinal Aidobrandini, nephew of Cle- ment VIII., and was begun by Jacopo della Porta," whom an almost sudden death prevented from finishing it, and completed by Domenichino. This su- perb seat was unfortunately uninhabit- ed and negleeied. Its gardens, in the form of an amphitheatre, its vases, statues, columns, fountains, cascades falling over marble, the murmur and music of its waters, in imitation of those water organs of the ancients that pro- duced such ravishing sounds, must have made it a delightful abode formerly. The contrivance and wonderful elTects of its waters are by Giovanni Fontana and Orazio Olivieri. Some rooms of the ca- sino are painted by the Cav. d'Arpino, and are among his best w orks : a Judith quitting the camp of Holophernes sword in hand, perhaps the finest of the Ju- diths, is admirable for boldness and in- spiration. The frescos of Domenichino in the still fresh hall of Apollo, orna- mented with mosaics, are pleasing but feeble compositions. The artist did them after his return from Naples, in 1631, when he found a refuge in the Aidobran- dini villa, an hospitable retreat in which he merrily forgot his enemies and the envious.* The Taverna villa, also "belonging to the Borghese family, of Rainaldi's archi- tecture, and not Vignolas, to whom it has been attributed, owes its origin to Car- dinal Scipione, the worthy nefihew of Paul V. It was inhabited by that pope, a great patron of the arts, who found two advantages in building : the first weis the embellishment of Rome, the second the employing of the workmen, and he declared that it was better to find work than to give alms.' The Taverna villa is less magnificent than the Aidobran- dini, but a more convenient dwelling. The immense Mondragone villa, with its three hundred and seventy-four win- dows, ihe most extensive in the environs of Rome, long falling to decay, owes its foundation to one of the courtier alten- ' Jacopo delta Porta, when returuing from llie villa with llie cardinal, was seized «llh a violent colic, which heenile;ivoured to keep secret; having fainted a«ay, he was left at the gate of Saint John, where be died a tew minutes after. ^ See ante, book xiii. cli. vii. aud VariiUs Ita- liennes. lions that paint the ancient magnificence of the Roman court. When Pope Gre- gory XIII., accompanied by (Cardinal Altemps, was passing over those heights, struck with the beauty of the view, he exclaimed : " What a fine position for a villa!" The cardinal had this sump- tuous palace built immediately, and the first time they went into the country {villeggiare), he managed to pass that way with the pope, who was surprised, nay, amazed at the sudden elevation of the edifice. The grand Loggia of the garden is by VHgnola, its superb portico by Flaminio Ponzio, and the ingenious waterworks, especially the fountain of the Girandola, by Giovanni Fontana. The Falconieri villa, called the Ru- fina, of Bernini's architecture, has a large ceiling by Carlo Maratta, repre- senting the Birth of Venus, a brilliant fresco, esteemed, but much less curious than the pretty portraits painted in ca- ricature by Pier Leone Ghezzi, of per- sonages of the Falconieri family. At the Bracciano, formerly the Mon- talto villa, of good architecture, are some remarkable frescos ; among thema ceiling presents the Course of the sun, a work vigorously executed, in a good style, and altogether worthy of the school of Do- menichino. The Rufinella, a delightful villa, in the midst of woods, on the summit of a mountain with an admirable view of Rome and the sea, is in excellent air, like all the old houses of the Jesuits. A pretty anecdote well told by P. Robert! in his letter sul prendere V aria e il sole, proves the reputation of those fathers on this head. A lord of Bologna had ordered of the Cav. Giuseppe Crispi a painting representing his country casino, in which he required the salubrity of the air to be indicated. Crispi made an azure cloudless sky, a limpid brook, cool- ing waters; he painted verdant sward, an abundant vegetation, the vines loaded w ilh the golden grape (uva Paradisa) which ripens at Bologna, is kept and eat- en at the carnival suppers, can even be sent abroad, and of which the Bolognese ' Th. Amidemo, " Dicebat tBdifJc^ndo se duo bona facere; ununi, arbem aediriciis augusliorem red- dere; nitcrum, plures alere mercenarios, qui alias vagarentuf. Unde existimabat, stipem laborum, eleemosluae loco cedcre. 604 ENVIRONS OF ROME. [Book XVI. senate made a present to the emperor Charles VI. every year. Despite the smiling aspect of the landscape, the gentleman found that the wholesome- iiess of the air of his casino was not precisely indicated, as most of the de- tails painted might be attributed to the goodness of the soil. Crispi then re- solved to place before the door, in a green meadow, just after sunset, two bald Jesuits without caps reading a book : "See now," said he, "whether the air is good or not?" vedete se qui e bon aria? and the exacting master found the argument unanswerable. The pa- lace of Rufinella, by Vanvitelli, is ex- tensive, of good architecture, and has a fine saloon; once possessed by Lucien Bonaparte, and now by the king of Sar- dinia, it has divers monuments of anti- quity under the portico, that proceeded from excavations made at Tusculum by these two proprietors. The house of Cicero, previously Syl- la's, was on this mountain, which seems still to have an air of antiquity, and of- fers deep, solitary, and philosophic shades, like those that inspired the Tus- culana. Some superb ruins are reputed to have belonged to Cicero's Academia. The theatre, wonderfully preserved, still retains its pedestals, and its seats of Tusculum stone. Some traces of an- other theatre in the neighbourhood, sup- posed an Odeon, or hall for rehearsals, shows what the splendour of this town must have been, where Catoand LucuUus had villas also. Near, but lower down, are some mu- ral ruins. An aqueduct that ends there is curious, as its last arcade is perfectly Gothic, not the only instance of the kind among ihe moimments of antiquity, for the Greeks and Romans well knew how to employ it when essential to solidity. The citadel, isolated on a hill in the midst of rocks, still shows, though razed, the antique form it had, when the Equi surprised it by night, an event, says Livy, that grieved the Rom.in army, as much as the loss of the Caiulol ■ This citadel, which, from its natural strength, re- quired few men to garrison it, after- wards resisted Annibal ; in the middle ages it was occupied by the counts of ' Lib. III. xxiii. ' See liis It'lier wri(fen from Venice in (420 to Gnarini of Veroaa : "Ad dexiram lempli ceila, et Tusculum, and was one of their formi- dable means of oppression. Grotta-Ferrata, an abbey of Greek monks of the order of Saint Basil, dating from the year 1000, has the aspect of a fortress of the fifteenth century. The monks always perform the service in their liturgy, and the French Con- sulta at Rome protected them on ac- count of their chant transmitted by tra- dition. Bcssarion was thf first abbot in commendam of Grotta-Ferrata. and he frequently gave admission to his learned and unfortunate compatriots. It pos- sessed a lake, and enjoyed the privilege of having two fishing-boats on the lake of Fogliano. The library of the mo- nastery has many Greek manuscripts, bettered disposed of than in the time of Francesco Barharo, ambas./aZa/ede (which has vainly attempted to take the name of Buonafede), we pass an antique bridge built of square stones, and now called della Refolta. The whole of this district, the theatre of the poetical history of Rome and of the six last books of the .^Eneid, is gloomy and unpicturesque ; and the wood of Ostia, immortalised by the death of Euryalus and his friend, is but a piece of copsewood, with some limekilns, not unlike the wood of Boulogne near Paris, and many a fine remnant of antiquity must have disappeared there. Poggio, in themanuscript narrative of his journey to Ostia with Cosmode'Medici, addressed to Florentine Niccoli, says that they found people engaged in reducing a whole temple of marble to lime. We may judge of the rage for demolishing anti- quities by the following passage of the admirable letter written to Leo X. in Raphael's name and under his direction by the Count Castiglione : Ma perche ci doleremo noi, de' Goti, Vandali e d' altri tali perfidi nemici, se quelU, li quali come padri e tutori dovevano difendere queste povere reliquie di Roma, essi medesimi hanno lungamente atteso adistruggerle? QuantiPontefici, Padre santissimo, li quali avevano il medcsimo officio, cheha VostraSantitd. ma non gia il medesimo sapere, ne il medesimovalore, e grandezzad' animo, ne quella clemenza, che la fa simile a Dio : quanti, dico, Pontefici hanno atteso a ruinare tempi antichi, statue, archi, e altri edifizj gloriosi ! Quanti hanno comportato, che solamente per pigliar terra pozzolona si sieno scavali 51. 608 ENVIRONS OF ROME. [Book XVi. dei fondamenti, onde in poco tempo poi gli edificj sono venuti a terra! Quanta calce si e fatta di statue, ed altri ornamenti antichi! die ardirei dire, die tutta questa Roma nuova die ora si vede, quanta grande di' Ma si sia, quanta bella, quanta ornata di palagi, diiese. ed altri edificj die la scopriamo, tutta h fabbricata di calce di marmi antichi. These Gelds, now desolate and pestilential, which excite such regret in pensive minds and the lovers of antiquity, have another merit for less meditative persons, for they are a good sporting country ; woodcocks and ducks are numerous there; the wildboar is very common on the side towards Oslia, and there are no farmers to prosecute for trespass. I ren)ember that when I visited these ruins, the rustic cicerone who offered to conduct me had a gun on his shoulder, which he thought proper lo lay aside during our walk, lie was a man of good understanding, and interspersed his antiquarian information with singular sporting exclamations when game sprung up before us, which he re- gretted his inability to kill ; he valued every bird as if he could not possibly have missed one of them, that I might not forget the sacrifices he was then making to science. The decay, desertion, and ruin of Ostia are not very ancient; it was po- pulous and powerful in the middle ages. Raphael, by his fresco at the Vatican, has immortalised the victory gained there over the Saracens by the Neapoli- tans encouraged by Pope Saint Leo, a great man, in whom, according to Vol- taire, the courage of the first ages of the republic was revived, the only Roman conqueror on this shore, where the corsairs of Cilicia took and sunk the fleet commanded by a consul, which Cicero lamented with so much shame for the honour of his country ; ' where Leo X., in the height of his glory, nar- rowly escaped slavery, and was almost surprised by other barbarians, and where the pontifical navy experienced more than one affront from the pirates of Algiers. In the fourteenth century, Ostia had resumed its primitive destina- tion as the port of Rome. It was con- quered by the fiery king of Naples La- dislas. The queen of Cyprus, Charlotte, ' Oral, pro lege ilanitia, xir. when driven from her island by re- volutions, landed there. The French, who had occupied it, were exjielled by Julius II., then cardinal and bishop of Ostia. Since that period its excavations have made its only history, and its new personages are the admirable statues discovered there. There are now ten persons at Ostia in summer anda hundred in winter when the bad air has passed away. This ghost of a bishopric is nevertheless the first of the suburbicary bishoprics of Rome; it belongs to the senior cardinal of the Sacred College, who has the exclusive right of consecrating the pope when not a bishop. In the square is a sarcophagus used as a fountain. The small episcopal palace has an antique inscription in fine characters. The little cathedral Santa Aurea is in the good taste of works of the fifteenth century ; the arms of La Ro- vera are still t3 be seen and the trophies of the cardinal to consecrate his victory over our army. The abandoned tower of the same epoch is also a good con- struction. The ruins of the antique, agreeable, and flourishing Ostia, lie about a quarter of a mile from the new town. The theatre still exhibits some walls, pilasiers, and seats. It may be seen that the an- cient town extended in a semicircular form round the little bay formed by the Tiber. The remains of the magnificent temple called Jupiter's, though its deity is unknown, are an excellent constiuc- tion of brick wretchedly degraded. A roundsubterraneanchamber,with niches, improperly named Area di Mercurio, doubtless from Area, a name of J^lcr- cury, which was given to it by the first antiquarians, has some paintings in good preservation, though exposed to the air. Four pedestals, but little injured, have each an inscription. The eastern and natural mouth of the Tiber, the only one until the second called Fiumicino was dug by Claudius, is picturesque. The river, ere it falls into the sea, resumes a little of its an- tique majesty; its light colour is no longer tarnished by the filth of modern Rome ; the Isola Sacra divides and widens it. The waters were agitated when I saw it, and in all but the wood, of which its denuded banks show not the slightest trace, it was not altogether unworthy of Virgil's verses : COAP. VI.] ENVIRONS OF ROME. 607 Alque liic ytlneas iagentem ex squore lurum Prospk'il. Uunc inter (luvio Tibeiiniis aiuoeuo, Yorlicll/us rapirtis, et niulla fluvus aren4 In iiiai'u pi'ui'uinpit. The ancient port of Ostia, the Ports- mouth of Rome, seems to have been on the new luwn siile, a little bejond Tor Bovacciaiia. lis road must have occu- pied the semicircular spot now a sand- bank, for the corsairs of Cilicia. who audaciously braved the majesty of the Roman people, would haraly have ad- vanced very near the houses. The pre- tended port nmst have taken its name from the wrecks found there. Castel Fusano, the palace or casino of Prince (Jhigi, is pleasantly situated, in the middle of a forest of lofty pines, planted at the bej^inning of the last cen- tury. Spring is the most healthy season for living there. Opposite the palace, a long avenue, always green and flowery, paved with large fragments of basaltine lava, procured IVom the ancient Via Se- veriana, reaches down to the sea. The palace, in the interior, is no bad repre- senlation of the splendour and incon- venience of Roman dwellings. It is covered with paintings, and the staircase is a real mill ladder ascended by means of ropes. I was informed that it was built in this manner as a provision against a descent of the pirates of Bar- bary, so fiiat it might be easily blocked up with a piece of furniture and defended till succour arrived. The banditti, the pirates, and the plague, must have sin- gularly diminished the pleasures of coun- try life in Italy. The celebrated villa of the younger Pliny at Laurentum was situated within the limits of the modern villa of Prince Ghigi, an Academic spirit and literary prince. In thi- mstance we do not find the whimsical contrast occasionally seen in the succession of proprietors. Only a very few fragments of the ancient villa are now recognisable, near the present dove-house ; but the rosemary, as in ' Tlie reslilulion of an antique moniimeot lias always been obligatory on the pupils of the French Academy at Rome ; the fourth aiid last year but ulo Pliny's lime, grows in p;reat abundance on this coast, now frequented only by shepherds and fishermen, then of so gay an aspect and decorated with so many brilliant abodes. The restitution of this villa by Scamozzi has perhaps helped to encourage that kind of architectural translations, to which we are indebteil for finding so many monuments in their primitise state,' and which is so service- able even to scholars in explaining an- tique terms of art. The house of Pliny seems the perfect model of Uonian and literary comfort. The ideaofihe library appears to me peculiarly happy ; it was not composed of that multitude of books that are read only once, but of those that we read over and over again without satiety: Quod (armarium) non le- gendos libros, sed lectitandos capit. The Isola Sacra, on which the pom- pous festivals of Castor and Pollux were formerly celebrated in presence of the prefect of Rome and a consul, is now de- solate, defiled, and profaned by filthy herds of buff.iloes. This animal was never know II to the ancients, as Ruflon at first supposed. The discovery of a pretended antique buffalo's head for a while de- ceived the illustrious writer, but the error was proved by the abb6 Fea in his notes on Wmckelmann. The ruins of the port begun by Clau- dius, enlarged by Trajan, and destroyed by Totila, which had succeeded to that of Oslia choked up with sand, now form a fresh-water pool, the communication with the sea, which has drawn back three miles, being intercepted. Although the hexagonal form of the inner port, the work of the last emperor, may be distinguished, with its walls, magazines, and the well-built brick aqueduct of the outer port that supplied the town with water, it is difficult to judge by these irregular remains of the grandeur of the works, which were placed in the first rank of the monuments of Roman niag- nificcoce. of their residence at Borne belog devoted to that lasli. G08 VEIL I Book XVII. BOOR THE SEVENTEENTH. FIRST ROAD TO FLORENCE -VITERBO.-ORVIETO.-SIENA.-VOLTERRA. CHAPTER I. Saint Andrew. — Ponle Molle. — View. — Pousslu's Walk.— Nero's tomb.— Site of Veil. — Cataract — Baccano. The road from Rome to Siena lies through a country in general dull and uncultivated ; but a short distance on one side of it are the villa of Pope Ju- lius, the magniflcenl palace of Caprarola, and the duomo of Orvieto.' In this part of Italy, art seems superior to nature. The church of Saint Andrew, pure and elegant, by Vignola, erected by Julius III., in memory of his deliverance from the imperial soldiers in the sack of 1527, on Saint Andrew's day, was built on this spot because the head of the apostle had been left there some time when it was brought from Peloponesus to Rome. The Ponte Molle, formerly Pons Mil- vius, one of the spots most famous in history, which witnessed the arrest by Cicero's order of the Allobroges' envoys, Catiline's accomplices, the nocturnal orgies of Nero, and above all, the reli- gious and social victory of Constantine over Maxentius, retains nothing antique, but some of its piles. The old tower was cut into the form of a triumphal arch in 1805, and the statues were put up at the same time. The setting sun, from the centre of this bridge, is one of the Gnest scenes in the Campagna of Rome. The gilded mounts of La Sabina, the course of the Tiber, the long files of shattered aqueducts, form one of those sights full of grandeur and melancholy nowhere else to be found. A small foot-palh which runs along the river side from the town to Ponte Molle, was one of the favourite walks of Poussin, who selected from this majestic and poetical horizon the skies ■ See ante, book xvi. ch. 1.; and post, ch. 11. wid v. and backgrounds of his landscapes. Des|)ite its inscription and the sculp- ture, of the period of decline, the sar- cophagus of Piiblius Vibius Marianus and his wife Reginia Maxima is always called Nero's tomb by the postilions, his crimes and great public works having created him a kind of popularity in Italy. F F J Half a league east of the Storta post- house, an acclivity separated from the plain by two brooks, which by their union form the Cremera, was really the site of Veil, as the excavations of 1811 fully demonstrated, by the discovery of a tomb and several fine fragments of statues. The site had till that time been erroneously supposed at Civita Castel- lane. The citadel and one of the extre- mities of the town occupied the Isoia Farnese, a fortress in the middle ages, and now a farm house. The softness of the rock explains the digging of the famous mine which decided' tlie fate of the place, after the conventional ten years' siege of this Roman Troy, which has some details no less fabulous than the siege of the Greek Troy. Beyond the ruins of the rival of Rome, is a very picturesque cataract, near a mill. From Raccano, Rome rises gradually to view, and the ball of Saint Peter's is visible there. It was from this little marshy town that Alfleri, who had no doubt slept ill, fulminated his terrible sonnet against Rome : Vuota insalubre region, clie stnto Ti vai noinando, nridi campi Incolti; SquallidI oppressi estenuali volll Di popol rio codardo e Insangulnato : Prepotente, e non libero senate Di vili astuti in lucid' oslro Involtl; Riccbi patrizj, e piii cUe riccbl, stoltl , Preiice, cul fa scioccliezza ailrui beato : Cilt^, noQ cittadini ; au)^iisti tempj, Ueliglun non gia -, leggi, cbe in^iuste Ogni luslro cangiar vede, ma in pegglo : Cblavi. che corapre un di scliindeono agll eicpj Del del' ie porle, or per el4 velusle : Ob I se' tu Roma, o d' ogni vizio il segglo? i Chap. K. ] SLTRI. 609 CHAPTER II. Sulri. — Araphilheatre. ^ Cnprarola. — Slaircase — Paintings of Itie Zuccarl. — On the lilerary protec- llon of Ibe Halian courts in tlie (ifteen and iix- leenUi ceuluries.— Palazzuolo. — Soracle. After le;i\ingRonciglione, the traveller must turn to the left to visit the antique Sutrium, remarkable for its tombs dug in a vokanique rock, and especially for its admirable and unique amphitheatre, also cut in the rock, without any building, an Etruscan work of about a thousand paces in circumference, and with all its corridors ami six rows of its stages still preserved. Travellers owe their thanks to the owner of the villa on which this amphitheatre depends, the Marquis Sa- vorelli, who has generously cleared away the sand, bushes, and trees with which it was smothered. A road through woods, rocks, and pre- cipices, leads lo the castle of Caprarola, built by Cardinal Alessandro Farnese, nephew of Pope Paul III., the chef- d'ojuvrc of Vignola and one of the first specimens of modern architecture. The external aspect of the castle, charmingly situated on Mount Cimino, of a character at once majestic, elegant, and solid, seems lo blend the palace and the for- tress. One of the many remaikable portions of this palace' is the winding staircase, so remarkable for boldness and eflect. The dilFerent rooms, each conse- crated either to some historical trait of the Farnese family, or an allegorical subject, are covered with very good paintings by the Zucc.iri, which justly pass for their best works; the celebrated ' Two clever French arcliitecls, MM. Debret and Lebas, have published a description of Caprarola, esteemed foi' its fidelity, arrangemeiit, and know- ledge of Vignola's ^t5le; it heads their line edition of the OEuL'ies completes de Vifinole | Paris, )8lj), which unforlunalely remain incoraplete. " See Letter lxx>iiio( the Ltll. poetiche ed erudite. In my opinion the protection accorded to poets and scholars by the Italian com ts of the hfteeiith and siiteenth centuries has been exaggerated and over- estimaied : these men of science or genius were miserable enough there. We have seen the depen- dence of Ariosio C See ante, booli vii. eh. xii ) ; llie misfortune of Tasso Is universally know n ; Aniii- bale Cam, despite his title of roriimanrier, was not treated luuch better: he thus speaks of his condi- tion to Varchi, his friend, and there are many similar passages: "Sono al servigio del cardinal Farnese, efinoa era le fatichesono assai, la speranza mediocre, e ii proGtio magrlssimo. Stenlo volou- and poetical chamber of Aurora, by Taddeo, almost destroyed, is the subject of a very pleasing letter addressed to the artist by Annibale Caro, secretary of Pieiro Ludovico, and afterwards of Cardinal Ranuccio Farnese.* Notwith- standing the exquisite taste of the writer, we may be allowed to doubt the efficacy of this sort of literary direction and or- dering, as well as of that of Fra^icesco Moiza. another poet and author of Novels, in the service of Cardinal Far- nese, who likewise propose but the brook is no longer frequented by courtesans, being only applied to the honest purpose of soaking hemp, which it elTects in twenty-four hours. The town of (-anino, eight leagues from Vitcrbo, has acquired a lasting fame from the excavations made there by I.ucien Bonaparte, the brothers Feoli, and the Candelori society. The disco- very of the statues and especially the vases has made a revolution in archeo- logy which throws a vivid light upon the history of the religion, manners, ci- vilisation, arts, festivals, and games of the ancient nations of Eiruria, and their direct and intimate relations with Greece, whose noble idiom they appear to have known and perhaps spoken with their vernacular tongue, as most of the in- scriptions are in Greek. The appear- ance of these treasures buried for more than twenty centuries has caused, it is true, the despair of more than one ama- teur, by rendering certain articles com- mon and vulgar w hich be thought unique and inestimable. CHAPTER IV. Via Cassia.-Navijo.— Montefiascone.- Cathedral.— Saint Flaviau.— Fuger. Half way from Vitcrbo to Montefias- cone. towards the Fontanile (watering- places Jor cattle), a hundred paces from the road on the left, is a long piece, pretty well preserved, of the ancient Via Cassia, with some curious remains of ■ Inf. can. iiv., 79. ' See ch. X ot book v. of bis Dillamondo, a kiud of descriptive poem of the fourteenlh ceuliiry, pub- lished at Milan ia (826, niih various readings aod corrections by Peiticarl and Fr. del Turia, who the thermoB of Mummius Niger Valerius Vigellus, who had been consul. A little beyond is the dull Naviso, which several antiquarians suppose the sacred lake Vadimon of the Etruscans, celebrated for the battle they lost there against the Romans, whose twofir.hed from the designs of the bro- thers Agostino and Angelo of Siena, sculptors of the beginniiig of the four- teenth century, disciples of the Pisan school, and the former was employed in the works of the cathedral from the age of fifteen years. One of the bells in the form of a barrel is dated 1U8. The interior of the basilic, incrusled with black and white marble, with its bold and lofty roof of azure studded with golden stars, and its hexagonal cupola, is singularly religious and venerable. 1 he two majestic columns of the door- way, sculptured in U83, support an ele- g.mt gallery with four basso-relievos re- presenting the Visilalion, a Sposalizio, t/ie Removal of the Virgin's body, her Assumption, excellent woiks, but hardly visible. The painted glass of the cir- cular window, executed in 15i9 by the clever Sicnese artist Pastorino di Gio- vanni Michel), on the designs of Perino del Vaga, is of extreme richness. Among the numerous series of popes on the frieze, the bust of Pope Zaccharias is an ancient head of Pope .loan thus metamorphosed in 1600 by order of the grand duke, at the request of Clement VIII. and the archbishop. Cardinal Tarugi. Mabillon endeavoured to find this bust of Pope Joan, but was unsuccessful : Montfaucon is wrong in saying that it was changed into the prophet Zacharias. The pavement, now unique, compa- rable to the most precious mosaics of Greece and Rome, but of Italian inven- tion and Sienese execution, a vast niello in marble in the best style of composi- tion, ought to be seen from above. It must ever be considered an error on the part of the Sienese artists to have placed figures in clare-obscure on the ground, which cannot be trod upon without in- jury, and are consequently obliged to be covered. I saw this brilliant pavement cleared of its ignoble planks for the fes- tival of the Assimijition : it was a plea- sure to kneel there, though the view of such fine works rather interfered with one's devotions. The ten superb Sibyls are of the end of the fifteenth century. The Seven ages of man. Faith, Hope, Charity, Religion, by Antonio Fede- righi. are not inferior to his Erythrean Sibyl; he designed the vigorous compo- sition of the Battle of Jephthah, sculp- tured by IJastiano ili Francesco. The Absalom hanging by his hair is of 1 424. The Samson, the Judas Machabeus, the Moses, the Five kings of the Amort tes, taken in the cave of MaLkedah, after Joshua's victory, the vast Deliverance of BethuUa, by the old Sienese master Duccio della IJuoninsegna, of the four- teenth century , of that school from which, says a contemporary historian, as many good painters proceeded as warriors from the Trojan horse [ex cujus officina veluti cxequo Trojano pictores egregii prodierunt), are the most ancient mo- saics. The most perfect, among which is a charming Eve after the fall, and an Abel, are by Heccafunii, who from a shepherd became one of the greatest ar- tists of the sixteenth century, and who ?nade this pavement the pastime of his whole life. The fine Moses on Mount Sinai, executed in 1531 for the sum of 8(^0 crowns, was his last work. Other compartments represent Mercury Tris- megistus offering the Pimander (a book of mystical philosophy by a Chris- tiau Platouist, attriljulcd to Hermes CnAP. VII. ] SIENA. Trismegistus, but of more than doublful aulhenlicilj) to a Gentile and a Chris- : tian ; the arms of Siena, in the midst of those of the cities its allies; Virtue on ! a steep rock which Socrates and Crates are climbing, whilst Fortune and other figures stand below; the wheel of For- tune with four philosophers in the corners. The sumptuous chapel del Voto was erected by Pope Alexander VII. in ho- nour of the image of the Advocata,\ihich has been venerated for centuries at Siena. The St. Jerome, the group of angels in bronze, a well executed but incorrect Magdalen, are by Bernini ; the St. Ca- therine and St. Bernardin, by his pupils Raggi and Ercole Ferrata. A Visita- tion, by Carlo Maratla, a St. Bernardin, by CaJabrese, are reckoned some of their best works. Bernini furnished the mo- del of the indilTerent statue of Alexan- der Vll., sculptured by Ferrata. The painting, coated with gold and ultra- marine, by Duccio delta Duoninsegna, of 1310, is a work of high importance for the history of the art. The superb carvings in wood of the choir, stalls, desk, and .seats of the hebdomadary, be- long to dilTerent epochs : the oldest, of 1387, were sculptured by Francesco Ton- ghi and his son, and ornamented in 1503 vilh clever works by Fra Giovanni of Verona ; ' the most modern are of 1569, from the designs of Maestro Riccio. and executed by Teseo Barlolino of Siena and Benedetti of Muntepulciano. The Trinity, in the midst of anjiels, restored in 1813, is of the old age of Beccafumi, as well as the two frescos placed beneath. The high-altar, simple and pure, is cited as one of the chefs-d'teuvre of Baltassare Peruzzi, called also Baitassarc of Siena. The bronze tabernacle of exquisite work- manship, finished in 1472, e.-capcd Ci- cognara's observation ; it cost the Sienese sculptor and painter, Lorenzo di Pietro del Vecchietla, nine years' labour. The eight angels in bronze, on elegant con- soles likewise of bronze, were the last woiks of Beccatumi. The bronze basso- relievo on the ground, covering the grave of Giovanni Pecci, bishop of Grosscto, de- ceased in li26, is by Donatello. The circular chapel of Saint John the ' See ante, book v cli. xiv. ' S. Targioni Tozzeltl, piofessor of cheinislry, and S. Beiireiiuli, direclor of llie Academy of Fine Kris at Fioieuce, seem of tbls opinioQ in Itieir 619 Baptist, of Baltassare Peruzzi's architec- ture, is decorated externally with excel- lent basso-relievos and ornaments in marble of Giovanni di Stefano, Lorenzo di Mariano Fucci, Crescenzio di Mario, Calisto di Paolo, artists of Siena, and by the Florentines Raffaello and Filippoda Setlignano; internally with elegant gilded basso-relievos of l.'jOB; divers subjects from the History of Adam and Eve, sculptured on the altar by Jacopo della Querela, and the statue of the saint by Donatello, over ihe place where the relic of his arm is preserved, which was ob- tained by Pius II. of Thomas Paleologus, the despot of the Morea. At the entrance of the nave is a charm- ing marble decoration composed of pi- lasters and wainscot sculptured by the brothers Anlonloio and Bernardino Ja- como Marzini, and a little altar with a St. John Evangelist in basso-relievo, of 1i51, by Urbano and Bartolommeo of Cortona, and a Dead Christ, a work in burnt earth, by Mazzuola, of 1717, very inferior, as may be imagined, to all the rest. The room called the Library, where the huge old choir-books are preserved, is, with the pavement of the cathedral, the finest of all. The ten frescos repre- senting the most memorable actions of the life of Pius II [^'Enea'i Sylvius Pic- colomini), and the eleventh, outside, the Coronation of Pius III., his nephew, who ordered this library to be built, were executed on the sketches and de- signs of Raphael, then in his twentieth >ear, by Pinturicchio, who. despite his fifty years and his established fame, had the good sense to become almost his pupil. These paintings, already worthy of Raphael, have not, however, the high degree of grace and power which he de- veloped in the chambers of the Vatican, and the dry llmld manner of Pinturic- chio predominates. But the frescos of the Vatican are extremely impaired, whilst the preservation of these and mo-t of the other frescos of Siena, is extraor- dinary, and it has recently been attri- buted, with some foundation, to the qua- lity of the colouringearthsofthe country. => The history of the great, learned, and talented Pope Pius II., a man of letters, wriUen approval of S. Miirzocrhi'» mode ol his mail- ing colours, wbicb «ere used by S. Cenvcnull for ilie frescos of tbe cupola ol Saint Laurence. 6S0 SIENA. [Book XVII, a traveller, story teller, and moralist, is interesting : he was crowned poet by the emperor Frederick III., to whom he had been sent by the antipope Felix, and who made him his secretary. The roof of the kind of sacristy adjoining the ca- thedral is covered with mythological subjects, and the Greek group of the three Graces, in the middle, which Ca- nova imitated, comprises the most \o- luptuous forms, which would be much more appropriately placed in the In>ti- lute of Fine Arts.' It was found in the foundations of the church, in which edi- flce it even remained for a considerable time. This group of the three Graces stands between two tombs of brilliant white marble : the Grst, by S. Ricci, is Mascagni's, an illustrious Sienese surgeon and anatomist ofSiena; the second Giu- lio Bianchi's, governor of the town, and is a very elegant work by S. Tenerani. 'J'he superb choir-books, ornamented with rich miniatures by Fra Benedetto da Malera, a monk of Mount Casino, and Fra Gabrieile Slatei, a Servite of Siena, were formerly more numerous; some of them were taken away by Car- dinal Burgos and carried to Spain ; others have passed to the public library. A monument sacred to the memory of Bandino Baiidini present a pleasing liule statue of Christ risen from the dead, a Seraph, and two Angels, of .Mi- chael Angelo's flercely youih. He also executed at Florence, by order of Car- dinal Francesco I'iccolomini, afterwards Pius III., two of the statues of the ma- jestic altar erected by that cardinal, in li85, on the designs of the clever Lom- bard sculptor Andrea Fusina. A beau- tiful Epiphany, by Sorri, has been judi- ciously restored by S. Monti, a Sienese artist. The holy-water vases are two chefs- d'oeuvre differing in kind : one of them, an antique candelabrum, presents some ornamenis and mjlhological details of exquisite workmanship; the other, mounted on a pedestal by Jacopo della Querela, maintains the parallel. Against two pilasters of the unique and elegant hexagonal cupola, are two high masts of the Carroccio ' taken from the Florentines by the Sienese in the battle of Monteaperti, on the 4th of Sep- tember 12G0, a day of carnage alluded ' See ante, book t. cli. iv. to by Dante, the bard of all the places and all the feats of Italy in his day : Oud' io a lui : Lo slrazio e 'I graode scempio Clie fece I" Arbia coloraia i:i rosso. Idle orazion fa fai- uel no.-.tio tempio,' which shows to what a pitch the ancient Italian valour was maintained in the civil wars of the middle ages, among these citizen soldiers, and before the in- troduction of the mercenary arms of the condottieri. They did not then think, as was shortly afterwards pretended by the cautious Florentine historian Matteo Vdlani, that the military service of ci- tizens was useless and often fatal. This Carroccio was bravely defended by an old man of seventy, the Cav. Giovanni Tornaquinci, senior member of the Guelph party, who seeing the Florentines routed, encouraged his sons and other companions to imitate him, rushed head- long amid the enemy, resolved not to survive the ruin of his country, and was slain fighting. I contemplated the great black wooden crucifix which the people of Siena carried to the battle ; it is placed over the altar, on an inferior white stucio basso-relievo of the last century, which renders it very conspicuous. This crucifix of Monteaperti, as it is called, reminded me of the traitorous and in- consistent exile Farinata, put in hell by Dante, w ho had combalted the Florentine army, but refused openly to destroy Flo- rence, his country. Alter the victory, the Sienese gave their town the title of City of the Virgin {Civitas Virginis), added on their coins to the words Sena y^etus ; pompous feasts were celebrated on the occasion, and the captive Carroc- cio figured there, drawn backwards. The admirable pulpit, by NicolaoPi- sano, which he executed in less than two years for the magnificent sum of 8 sols per day (the sol of that lime was equal to the present livre) for himself, 4 sols for his son Giovanni, and 6 for his pupils (ihe whole expence was 05 livres); this splendid monument, of a sculpture so noble, natural, poetic, and so terrible in the compartment of the damned of the Last Judgment .aacm the progress of the art and of the great artist too. The ornaments of gilt cristal, the works ofPastorino di Giovanni Micheli, costs 98 livres 8 sols. The elegant stair, =■ Inf. I. 85. Chap. Vlli.] SIENA. 621 worthy of comparison with ihc antique master-pieces, seems taken from some design of the illustrious Peruzzi. CHAPTER VIII. Hospital (Jella Scala.— Frescos of tbe Inflrmary.— — Saint John Baptist.— CarraiQc. -Saint Auj-'us- llue. — Steeple.— Tolomei college. — Innominiiti.— SaiQt l*eler.— .Saint Jlarlin — Conceplion. — Tri- nity.— Educatorio of the nobles. The hospital of Santa Maria deUa Scala, one of the most ancient hospitals known, dales fiom the year 832 ; it was founded by Fra Sorore, who instituted the congiegation of lay brothers of the order of Saint Augustine, and is, like the other hospit.iliers, a monument of that religious civilisation which preceiled the various kinds of civilisation in Eu- rope. The splendid church was rebuilt in liC6, on the designs of Guidoccio Cozzarelli. At the high-altar the fine bronze statue of Christ risen is by Vcc- chietta, and a Christ dead, extended, a basso-relievo by Mazzuola, is tolerably effective. The great Pool of Bcthesda of the gallery, for which some sick per- sons of the hospital sat, is regarded as the best painting of Sebasliano Conca. The five frescos of the infirmary of Pel- legranajo, painted in liiO by Domenico di Bartolo, represent the attentions of Christian charity towards the sick, the Marriage of young girls, the Indul- gence accorded to the hospital by Ce- lestine III., an incident from the Life of the Blessed Agoslino Novella, divers Saints, Patriarchs, and Prophets; they are of great interest for artists, and Ra- phael and Pinturlcchio have imitated the national costumes and the noble ac- tion of the horses. But Mhatever the merit and originality of these |)aititings may be, it is difficult coolly to contem- plate them, when immediately beneath are dying or diseased human beings, whose real and living pains, sunken ejes. and languishing countenances snatch you from the sweet impressions produced by the efforts of art. The hospital of La Scala contains more than three hundred beds and is excellently managed. It has recently acquired a'lustre by the la- bours and discoveries of Mascagni, the founder of pathological anatomy, who is a native of a village near Siena. ' See aii Herod's banquet is by Pietro Poilajolo; the Calling of St. Joachim, by Uona- tello; the Birth of the Forerunner, Iha Preaching in the desert, some few of the little statues are by Jacopo della Querela, and the elegant basso relievos of the tabernacle arc ascribed to Yec- chietta. The cloister del Carmine and the light steeple of the church ate by Pe- ruzzi. The remarkable paintings of the latter are : a Nativity, begun by Riccio and finished by Arcnngelo Salimbeni; St. Michael, by Beccafumi; the Mar- tyrdom of St. Bartholomew, pathetic and varied, thechel-d'oeuvreof (>asolani, reckoned a true painter by Guido, who said of him, on passing through Siena, that painting had taken refuge in Caso- lani. In the court of the convent is a narrow and very deep well, still called Pozzo di Di'ana, which lor a long time made the Sienese believe that the fiibulous river of Diana flowed under their town, a pretension derided by Dante : Tu li vedrai tra qiiclla gente vana Che spera in Talanioae, e peideragll I'iii di speranza, cli'u trovar la Diana.' I confess that in looking down the well of Diana, the tradition of the middle ages did not appear so foolish to me as to the poet, since the reseaiches of M. Arago respecting the circulation of many sub- a Purgat. xiil., ^J^• G22 SIENA. [Book XVII. terranean rivers and the existence of im- mense sheets of water in stratified ground, an accident to which the soil of Siena may very lilicly be inclined. The oratory of Sunt Ansano in Castel Vecchio, rebuilt in 11-53. has on its door an animated fresco by Ruslichino, who also did a noble and simple picture of the saint, the Eternal Father, and an Annunciation, near the altar. The church of San Quirico and Saint Juliet, which is supposed to have been a temple to Quirinus (a surname of Ro- mulus), was rebuilt in the Tuscan order, in 1598, by one of its rectors, Oltavio Preziani, who adorned it with good painlings. The following may be dis- tinguished : a Dead Christ, expressive, by Casolani; some lillle Angels, elegant. in the choir, by Salimbeni; another angel, very fine, on the Tomb of Jesus Christ, by the same, his last work; and two of the best painlings of Francesco Vanni, the Meeting of Christ and the Virgin, touching, true, and a Flight into Egypt, in the stjie of the Bolognese school, imperfectly imitated by Albano. At Saint Paul, the Ascension, of the high altar, is a beautiful and correct work of Brescianino. the pupil and successful imitator of Sotldoma. Thcchurchofthe confraternity of Saint Lucy presents another masterpiece of Francesco Vanni, Ihe Death of the Saint, whose head is sublime. The ancient church of Saint Augustine, repaired and completed by Vanviielli, is rich, and remarkable for its paintings : the Communion of St. Jerome, perhaps a compulsory imitation of the Carracci, is by Petrazzi ; an admirable Epiphany, altogether in Leonardo Vinci's style, is by Soddoma; a Bearing of the Cross, full of expression, by V^entura Salimbeni; a St. Jerome, by Spagnoletto; the Saint icriting his treatise on a Happy Life, by Sorri ; the Baptism of Constantine, a spirited composition, by Francesco Vanni. The ancient and long celebrated Tolo- mei college, confided to the regular friars of the Pious Schools, has occupied the convent of the Augustines since 1820. This fine college, who tnight receive a hundred pupils, but has now only thirty or thereabouts, was once exclusively devoted to the education of the nobility, and the P. Ricca, then a brilliant pro- fessor (but when I saw him an infirm old man), having taken advantage of the French administration to propose the admission of plebeian youth, the grand duchess refused her assent, and upheld the aristocratic privilege of the college. Latterly this regulation has been adhered to less rigidly; the principles of equality professed by a great part of the nobility, gradually insinuate themselves into the very heart of the absolute slates of Italy, and the Tuloinci college now receives the children of the enlightened and in- depcnilent classes of society. The de- crease in the number of pupils does not imply a decline in the studies, for it is probable they never were better : several professors are men of great merit, such as P. Linari, professor of physics, Pendola, of philosophy, both professors at the uni- versity. This decrease seems principally to arise from families in the north of Italy being prohibited from sending their children to study out of the country. The convent of the Augustines is also the place for the sittings of the academy degV Innominati, which has greatly fallen from its olden fame, like most of the academies of this kind, and is now perfectly worthy of its modest title. The elegant oratory of Saint Joseph, the original design of which was by Peruzzi, has a Virgin, of the sweetest expression, of the year 150i, and by Bartalini, the favourite pupil of Vanni. At the ancient parish church of Saint Peter in Castel Vecchio, repaired at various epochs, are : a fin:' Assumption, by Rustichino ; a Repose of the Holy Fa- mily, in (luercino's best style, the mas- terpiece of Rutilius Manetti, buried by its side. The church of Saint James is a monu- ment of the victory won in the 25th of July 1526, at the Camellia gate, by the Sienese over the Florentines, the allies of Clement VII., from whom they took fourteen pieces of cannon, their Qigs, and baggage. Lorenzo Liiii, the first of the old masters of the revival of good painting at Siena, who was at the battle, was charged by the town with the exe- cution of the little painting of the Virgin, St. John Baptist, St. Christopher and St. James. The Martyrdom of the saint, a fine work by Rutilius Maiielli, appears in the style of Gherardo didle iNotti. In the sacristy, a Bearing o^ the Cross obtained the encomiums of soddoma. The majestic church of Saiut Marliu Chap. IX ] SIENA. 623 was creeled in 1537 on (he designs of Giambutlisia di Pasquinodel I'eloro; Ihe from, of 1013, is by Giovanni Fonlana, of Cosmo. The Battle gained by the Siencse at the Camollia gate, in 1526, is a curious painting by Lorenzo Cini; he received for his salary, and that of hisassislanlVinccnzodi Mo. Pietro, eight some of wine, ' 22 measures {staja) of corn (about 15 gallons), 6 measures of salt, and 6 florins. The Circumcision by (iuido cost 1.500 crowns. A Martyr- dom of St. Bartholomew, by Gucrcino, now horribly black and spoiled, produced him800dwca ipso quod ' See the sonnets csxv, cxci, cxcii, cxciii, where be thus speahs of Gaudellini : Alte viiiudi, ed umil fama E scrilto in tIso : lo son d' alia oatura. [Book XVII. Vanitatum omnium vera con lempior Inclarescere noluit. Praematura niorte suis ereptus Nemini gravioiem lurtum reliquit Quani Virtorio Alferio Aslensi Qui virluiis ejus sibi penilus cognit® yEslimator non emplus Breve hoc illi posuit monunientum -^unquam perilurae amiciliae. Vixil aiinos XLVI mensem I dies XXVII Obiit die teilio seplembris Ann. Dni MDCCLXXXIV. The collegiate church of Santa Maria di Provensano, begun in 159i and fi- nished in 1611, of a light and noble architecture, by Fra Schifardini. a Car- thusian of Siena, and Flaminiodi Turco has an Annunciation, by Rustichino, of whom Lanzi said, that if he pleased in his other works, he was ravishing in this; the Holy Family, given by La- lande as one of Andrea del Sarto's best things, is not by him, and the real author is unknown. The vast church of Saint Francis erected by the people of Siena, on the designs of the brothers Angelo and Agos- tino, presents sundry precious olijeclsof art saved from the fire of the 23rd of August, 1655, which consumed the roof, part of the front, and several excellent paintings. The portal, so noble and simple, constructed in 1517 by Luca of Montepulciano, is like the antique door of Saint Cosmo in the Campo Vaccino. The four enormous pictures at the altars in the nave, by Nasini, highly praised by Cochin, and thought admirable by La- lande. appear below mediocrity. At the first altar, the Limbo of the holy Fathers is a justly celebrated painting by Becca- fumi. Annibale Carraccio found few pictures equal to the Deposition, by Soddoma, who also did Ihe Christ at the column, a superb fresco in the first cloister, the finest work of the author, which some have even preferred to Mi- chael Angelo's frescos, nor is it inferior to them. The lower part of this Christ has been destroyed by the humidity pro- ceeding from the well of the convent kitchen; the upper part bears the marks of musket shots fired by the dilTerenl troops that have been lodged in the con- And the beginning of Ihe last sonnet : Deh I torna spesso entro a miei togni, o solo Vero amico cb' io avessl al mondo raai. Ciup. IX.] SIENA. 625 vent : these balls, on beholding such a chef-d'oeuvre, seem for a moment al- most as sacrilegious as the outrages on the Sa\iour. The oratory of Saint Bernardin, com- posed of two little rooms one over the other, is an adinirahle monument of Sienese art, so resplendent is it with works of its first masters. The Virgin, the Saint, and St. Catherine, is by Fran- cesco Vanni, then only si.\leen years old ; the graceful Tobia Tolomei dying; a Dying Woman and three Angels are by Rutilius Jlanetti ; ihvec Angels, pleasing, the lunettes of the Child gored by a Bull, and the Drowned person, by Ven- tura Salimbini; the Assumption, in Leonardo's stjle; th 'excellent fresco of the Visitation ; the Presentation of the Virgin at the Temple, very noble, and the finest painting in the oratory ; a St. Louis, defaced, which was praised by Aretino, by Soddoma; the Death of the Virgin, so vaunted by Vasari ; a Sposa- lizio, remarkable for the architecture, by Beccafumi; the Annunciation, the Nativity of the Virgin, perfectly com- posed, by I'acchiarotto. In the sacristy, a graceful basso-relievo of the Virgin with John the IJaptist and two angels, is by Giovanni of Siena, the worthy son of Agostino, one of the authors of the ce- lebrated sculptures on the front of the duomo of Orvielo." Saint Peter a Ovile possesses the Death of St. Joseph, the best work of Simondio di Venluta Salimbeni, and a Holy Fa- mily, one of the least mannerised works of I'"olli, a Sienese artist of the beginning of the seventeenth century. At Saint Chiisto|;her, a little church that was modernised in 1800, is the very fine Virgin with St. Paul, and the blessed Bernard, by Pacchiarotto. The house of Saint Catherine of Siena, in the Straila dell' Oca. the djer'sshop, and the i-'j/Z/on/ca, of her father, have been converted, by a decree of the grand council of the republic and the town, into pious oratories magniGcently orna- mented. The paintings represent divers sui}jecls from the inar\ellous history of that saint, that mystic, who was con- nected with the events and politics of her times, and was eloquent and a purist without knowing how to write.' In the bouse may be distinguished : ' See aiile, ch. v. the Demoniac delivered by St. Cathe- rine, grand, and in Paolo's style, by Sorri ; the Christ taking the saint's heart ; her Canonisation, the two crowns that were offered her, by Francesco Vanni; the roof is among the most vaunted works of Nasini, and the mira- culous image of Jesus Christ crucified, which stigmatised the saint, the work of the celebrated Giunta of Pisa, who flou- rished at the beginning of the thirteenth century and is esteemed the first propa- gator of the art in Tuscany. In the oratory of the ancient Fullonica are : the Stigmata of the saint, by Soddoma ; two elegant loggie by Jacopo Cozzarelli ; the ideal and rich Visit of St. Catherine to Saint Agnes of Monlepulciano when dead, by Pacchiarotto; the Saint pur- sued by the Florentines, by Ventura Salimbeni. The ancient and spacious church of Saint Dominick, successively embellished and enlarged by the decrees of the re- public of Siena, being begun in 1220and not finished till liGS, attests the magni- ficence of this state. The pointed arch which boldly sustains the cross-aisle merits and attracts the notice of archi- tects. We may distinguish : an expres- sive iV^a?tDile, and am- bassador to the pope, whom Laiizi sur- named the Rubens of his age, and to whom Saint (Catherine addressed a letter on the art of good government ; a Cru- cifix, ascribed to Giotto ; the clever and precise Martyrdom of St. Peter, by Arcangelo Salimbeni; the elegant and pure Demoniac, by Francesco Vanni; the Ecstasy, a Miracle, the St. Cathe- rine fainting away and aided by two sisters, a chef-d'oeuvre of Soddoma : the latter is affecting, Raphael-like, and reckoned by the enraptured Peruzzi as the most perfect imitation of a swoon ; a dramatic Miracle of the loaves and fishes, by Ludovico Dondo of Mantua ; the B. Ambrose, in Beccafumi's taste, by Rustichino; at the high altar, the marble Tabernacle and two Angels, at- ' See post, cb. xlT. 53 r.2h SIENA. [Book XV!I. iributed to Michael Angelo; Ihe cele- brated Madonna, of 1221, by Guido di (Jhozzo, of Siena, llio most ancieiil Ita- lian painter, prior to Ciraahiie, >vhose Virgin and graceful infant Jesus have already lost the squinting and stiff ex- pression of the Byzantian works; a noble Crucifix, one of Ventura Salimbcni's best paintings; a 5(. Hyacinth, by Vanni, picturesque. In the cloister, which has a vault re- markable for its ancient construction, are several tombs of professors. One of these tombs, that of the Bolognese pro- fessor Guglielmo Tolomei, proves the old reputation of the university of Siena and the courageous compassion of this master for youthful frailties. On his tomb we read the fidiowing anecdote of 1321 : in that year the students of Bo- logna, led by Tolomei, came to settle at Siena, because the life of one of their comrades, Jaeopo of Valencia, condemn- ed to death for an attempt to carry olT a girl, had been refused to the united prayers of them and their masters. At Saint Sebastian, FoUi has distin- guished himself by his graceful frescos in clare-obscure on the roof, and his oiher fresco of the Saint before Diocletian. The l\\ Martyrdoms of the same Saint, by Sorri, recall Tintoretto's st\le. The present church of the convent of Saint Jerome was built in 1681 by a le- gacy of the sister Innocenza Guelfi, in- creased by a large donation fi om 1). Agos- lino Ghigi, who does not appear very disinterested, as he had seven daughters in the convent. The inner church has some frescos of Vasari's school, and the cloister a Crowning of the Virgin, by Perugino. The church of Fonte Guibta was built in commemoration of the battle won in 1482 by the Sienese over the Florcn- lines. A Visitation, drawn by Uiccio, was coloured by his iiupil and relative Anselmi, then very young, who left this work only at Siena, and afterwards attained celebrity at Parma.' The mar- ble altar, sculptured in 1517 by the bro- thers Mazzini, is an exquisite work. The famous Sibyl announcing to Augustus the advent of Jesus Christ, by I'eruzzi, so divinely inspired, but greatly da- maged, is not surpassed by the Sibyls of Raphael, not to mention those ot Do- ' See ante, book ix. cL. vii. viii. ynd ix. menichino, Guido, and Guercino. This admirable figure is indeed the only one, i for Augustus and his favourite Mecaenas appear \ery vulgar. Among the ex voto of the church of Fonte Giusta there is one really illustrious, namely, the im- mense whalebone, the small wooden buckler encircled with iron, and the sword, consecrated by Christopher Co- lumbus on his return from the new world, as a memorial, according to an antique tradition, of the veneralion he had enter- tained from his youth for the Madonna of Fonte Giusta, when he studied at the university of Siena, and of the interces- sion he had obtained from her in saving him from shipwreck. Had it not been built in commemoration of a victory, the immortal names of the unfortunate Co- lumbus and Peruzzi would suffice for the glory of this little church. CHAPTER X. Piazza del Campo.— Porllco. — Subterranean aque- ducts — Fonte Goja. — Palace del Pulibllco.— Tower del Mnngia.— Chapel of the Piazza. — Hall dellc Baleslre.- Lorenzctli.— Hall of the Consistory. — Archives. — Theatre. — Musical taste of the Sienese. The piazza del Campo, a fine structure in the form of a shell, composed of ar- tificial soil supported by strong walls, a real republican and democratic forum, with its gallery, and eleven streets ter- minating therein, is cited by Daule : Qiiando vivea piii glorloso, disse, I.iberaraente nel campo dl Siena, Ogni vergogna deposta, s' afUsse." The piazza del Campo was at first called della Signoria; but Dante having given it a new name, the official title disap- |!eared before the poetical designation. Our poets woulil have great difficulty to invent a name and make it popular for 'hat large paved and bilumenised square, which was at first called after its royal and worthless creator, afterwards took the fit and bloody name of Place de la Revolution, and has since received the moral name of Concord. The piazza del Campo, the scene o( popular tumults in the middle ages, is now merely the theatre of the feast of the famous Palio, on the 15th of August, a horse race in which the prize is contended for by the a Purg, xl. 133. ClIAP. X.] SIENA. 627 difTerent qiiarlers (contrade) of the town, which retain Uuir ancient names and limits ulinosl unaltered.' The portico of the Corso, now the ca- sino of the nobles, was erected in 1417 by decrees of the consuls of the mer- chants, the town of Slona contributing 600 florins a ye;ir towards it. It became the seat of tlie tribunal of commerce, whose laws and decisions were the rule and guidance of the other Iialian repub- lics. The St. Peter and St. Paul are by Vecchietta ; St. Ansan, so admired by Michael Aiigilo; St. F/c?or, by Ja- copo delta Querela; the paintings on the roof, by Matteino and the brothers Rus- tici. The beautiful marble seat is said to have been designed by Peruzzi. The subterr.inean aqueducts, fifteen miles in length, bringing an abundant supply of water to Fonte Gaja, twelve other fountains and three hundred and eighty cisterns, works now in bad repair, which occupied two centuries in their construction, arc a singular honour to the Sicnese r'^public. Charles V , after inspecting them, thought Siena more admirable below than above-ground, and they seemed worthy of the Romans to Cosmo III. 1 his republic was in this instance much more prudent than Flo- rence, where for want of aqueducts which might bring water from Fiesole, Ihey are obliged to drink unwholesome wellwater.' 'J he arrival of the water at the fountain of the piazza del Campo on the 1st of June 13i3, the feast of Pente- cost, was celebrated by great rejoicings: for eight consecutive days every com- pany repaired thither in costume, dan- cing and singing till evening, returning at night after traversing the whole city by torchlight with dance and song. " I have seen," sajs the chronicler of the time, Agnolo di Tura, "more than five thousand torches burning there at once, without including innumerable small ones." The basso-relievos of the foun- tain, the most important woik of Jacopo della Querela, unhappily damaged, pro- cured that great artist his celebrated surname of Jacopo delta Fonte. The palace del Pubblico. begun in 1295 and Guished in 1308, the architecture ' See Var/elet ilalienna. • See aii(e, book x. rti. xii. ^ Tbis trit)uniil, wliicli was Instituted under the republic, bad aulbority o>er Ibe laics, coniisca- by the brothers Angelo and Agostino, breathes the liberty of the middle age, and perhaps its traces have been nowhere preser\ed more religiously. That was the epoch of great constructions and po- pular and anarchical go\ernments in Tuscany. Such was the antipathy against the nobles at that day, that a despotic law had been enacted in con- cert by the dilLirent states, to the effect that none should be admitted to public oflkes without renouncing their nobi- lity, an example followed at Bologna, Padua, Modena, and other towns of Italy. The tower del Manqia, begun in 1325 and terminated in IMU, takes its name from the mechanic who made the wooden statue, coated with iron plates, which struck the hours. Leonardo Vincicame to examine this tower in 1502, and he admired its boldness. 'I he chapel in the piazza before the palace, built to commemorate the cessa- tion of the plague of 135-8, the most ter- rible of the six plagues that have wasted Siena, which, in the space of four months, carried off more than e iuhty thousand in- habitants, was not finished till 1376. It had been demolished four several times by seditious and bigolted artisans of that democracy, to whom it was offen- sive The apartments of the ancient tribunal di Bicchcrna * offer some good paint- ings. The following may be remarked: the Two thousand Sienese sent to the crusade of 1098. by Domenico Rutilius .Manelti. Over the door of the chancery, a Holy family with the saints Ansari andGalgan, by Soddoma, isperfei t. The Crowning of the Virgin, a vast fresco in this chancery, of the year 14i-5, by Sano di Pietro Lorenzetti, a harmonious composition, full of variety, and already remarkable for the draperies, was re- novated by Ventura Salimbeni; beneath it, among some verses addressed by the first painter to the Virgin, are these pious lines : Slell raccommandata La lua ilriUa e fedel ciltii di Siena. On the ceiling, the Coronation of lions, neiglits and measures, civil regislrv, public exhibilion, olc. : it was abolished al tlie proiiiui- gallon of Leopold's regulations. 628 SIENA. [Book XVII. Pius IT.; St. Ansan, St. Savinus, St. Crescentius ; the Donation of Radico- fani by Pius 11. ; the Privileges ac~ corded to Siena by that pope, are by Aslolfo Pelrazzi; and the St. Victor and St, Joseph, graceful, by Tornioli, a good pupil of Ruliiius Manelii. At the archives della Comrminitd, a Christ risen, a fresco by Soddonia, almost in- visible from ihe darkness of the corner where it is placed, presents several difli- cult foreshorlenings treated in a supe- rior manner. The hall delle Balestre (of the Crossbows), covered with allego- rical patriotic paintings, a really na- tional monument, shows the spirit of the times as well as ofthe republican govern- ment of Siena, and might make one think that Montaigne judged it loo se- verely when he said : "Que la ville est de tout temps en partialite, et seyouverne plus follement que ville d'ltalie." In this hall are pictures of the Virtues ne- cessary to the prosperity of a state, and of the Vices tending to its destruction, naive frescos, executed in 1338 by Ani- brosio Lorenzetli, restored in U91 by Pietro di Francesco degli Oriuoli.in which artists may cull a rich booty. In the hall ofthe council, 5^ Ayisan, St. Victor and St. Bernard, other chefs-d'oeuvre of Soddoma, the great Sienese master, were done for 272 livres. Above, the fresco in clare-obscure representing the ge- neral of the Sienese, Guido Ricci da Foliano di Regyio at the assault of Monte Massi, is the only work extant of Simone di Martino, whom Petrarch celebrated : the madriers and warlike engines are curious; they were made by Lando di Pietro, the public military en- gineer of Siena. The immense fresco of the Virgin and infant Jesus, on a throne in the midst of angels under a baldachin, the poles of which are held by ihe apostles and the patrons of the town, of 1287, and extraordinary at that epoch for grandeur and invention, was ascertained in 1809 to be the work of Sermino di Simone, retouched in 1321 by Simone di IMarlino. The chapel and room adjoining, executed in UIG, by Taddeo Bartolo, the best painter of the time, are still characteristic. The cha- pel has several subjects from the History of the Virgiri ; and at the altar, the Holy Family and St. Calixtus, resem- ' See ante, book viii. ch. If. biing Raphael, by Soddoma. The fine position of the organ speaks Peruzzi's taste. The room adjoining has a gal- lery of illustrious republicans of old, in Sienese costumes, and uttering sentences in Latin and Italian for the instruction of the citizens of Siena. The roof in the hall of the Consistory, by Reccufumi, despite some alfectatlon in the design and attitudes of the figures, is wonder- fully brilliant, fresh, and transparent, and procured him from Lanzi the sur- name of the Correggio of Lower Italy : his Justice, so clever in the light and foreshortening, was regarded by Vasarias the best of JHs<(ces. A \\\c\y Assumption is by Raphael Vanni; a Nativity, in the Carracci style, by Mei, a Sienese painter of the seventeenth century; St. Ansan justified before the pope by geese, by Pe- trazzi. There may also be remarked, as a proof of Sienese intelligence, the por- traits of eight popes and thirty-nine car- dinals natives of the town. As to writers, their number amounts to more than two thousand. The adjoining room has a pleasing Procession, by Marcucci. The lunettes of the great room upstairs are by Francesco Vanni and his school. The archives de//e Reformagioni con- tain the records of the deliberations of the slate councils during the republic, government papers, the correspondence and proceedings of Ihe Balia and the Biccherna, a great number of ancient contracts collected in the volumes ofthe KalefTi and Leoni, which are moreover interesting as works of art, as they have elegant miniatures (one of which, of 133i, is by Aicolao di Sozzo), and two excellent drawings with the pen by Giu- liano Periccioli. The-e archives, most interesting for the history of the middle ages, were removed to Paris under the empire, whence, as the keeper acknow- ledges, they returned in belter order than they went. The antique grand council chamber of the republic is converted into an elegant theatre, one of Bibiena's best.' 1 at- tended several satisfactory performances of Bellini's Norma : the choruses even were executed wilh an ensemble not usual in Italy ; » they displayed the in- nate musical taste of the Sienese, and did not surprise me when I remembered the melodious and tasteful popular cho- ' See ante, boot i. ch. xsli. .Chap. XI.] SIENA. 629 ruses I had heard sung in good time by the young people in the streets, on Ihe preceding nights. CHAPTER XI. Palace del MagnlDco. — Saracini palace. — Wolf.— ficrolomini liellanli place. — Beccafuruis house. — Roraau (jaie.- .San Vicne. — Fonte Folloiila.— Loggia.— riccolomiiil and Gbitii palaces. — Beauty or tbe Slenese ladies.— Fonte .Nuova,— Branda. — Lizza. The palace del Magnifico, erected in I50i by the niagnificent Pandolfo Pc- trucci, tyrant ol" Siena, one of whose descendants w;is destined to throw the body of Coligny out of window,' still preserves on its front some fine rings and branches in bronze, excellent works, loo little noticed, cast by Antoniolo Marzini and Jacopo di Benedetto Cozzarelii. The use of these bronze ornaments is doubt- ful ; some pretend that Ihey were in- tended to receive tapers ; it is more likely they served to fasten the horses of the nobles of Siena and their attendants when visiting each other, before the use of carriages. Tbe immense and pictu- resque Saracini palace, which possesses several chefs-d'oeuvre of the Sienese painters, presents in its chapel a Cal- vary, in Raphael's style, by Soddoma. The ceilings of the two great halls of the Piccolomini palace are painted by Bernard Van Orlay of Brussels, one of Raphael's pupils, who was entrusted by hira to superintend the execution of his cartoons for the celebrated tapestries of the Vatican ; he died in 1550 painter to Charles V. The wolf on a column of the piazza di Postieria (of the little door) was sculptured by Jacopo della Querela. Siena, like most Italian towns, has paintings in its streets,' and by its first masters. On the front of itie Bambaciiii house, near the piazza del Carmine, the Virgin and the dead Christ \i a work of Soddoma, very much praised, and re- garded as very remarkable by Vasari. Near the arcade of the two doors is a beautiful Madonna and St. John Bap- tist, by Peruzzi. The new palace of the Cav. Piccolo- mini Bellanti, a lover of the arts and of antiquity, presents a rich gallery and di- vers rarities which he has assembled ' See post, ch. XT. there : the fresco of Scipio restoring a Spanish chieftain's wife to her hus- band, by Peruzzi; two graceful Virgins, by Pacchiarotlo and Beccafumi; a pale and living Sa\onarola preaching, by his sectarian Fra Barlolommeo, with the saints' aureola and gill flames on the hood, in token of his martyrdom: the portrait of Laura in Provengal costume, engraved and embellished by Morghen for Marsand's edition of Petrarch; Ci- cognara, though he has since changed his opinion, had supposed this one of the contemporary portraits by Simone Memmi, Pelrareh's friend, but it must still be of nearly the same epoch. The Pollini i)alace is reputed to be from the designs of Peruzzi or Riccio. The frescos of Susanna and Scipio are ascribed to Beccafumi, and also an an- cient Judgment of Paris with the Burn- ing of Troy in the background, ridicu- lously metamorphosed into a Lot, whose two daughters were Juno and Pallas, and the wife changed into a pillar of salt, Venus; the burning of Troy is meant for Sodom, although the great wooden horse is left. In the street called dei Maestri, from its being the residence of the artists in the best times of painting at Siena, is the house built for his own habitation by Beccafumi. In this little brick-built house of three stories, plain and in good taste, he passed his life in tranquillity, scarcely ever leaving Siena. At the Bandinelli Bi;inchi palace, the ceiling of the hall of Aurora, by Mei, was thought Guercino's by Joseph Vernet. The front of the Pannilini palace, towards the jiiazza of Saint .Augustine, is reputed to be by Peruzzi, who has painted divers mythological subjects in a little room. A Lot is in Beccafumi's manner. The great and old Buonsignori palace is of a fine Gothic. Further on, in the street del Casato, a dead Christ, on the front of the Mensini house, was painted by Folli; and the Labours of Hercules, on the front of the Nastasi house, are a clever work in clare-obscuie by Giam- ballista di Jacomo del Capanna. The majestic Roman gate, of the ar- chitecture of the brothers Angelo and Agoslino, was built in 1327, and not about 1391, as staled by M. d'Agincourl. * See anU, book v. ch. ivi. 53. 630 SIENA. [Book XVII. A Crowning of the Virgin, a fine fresco of 1422, by Sano Lorenzetti. who re- ceived 1,200 livres for it, slill allesls. though defaced, ihe precocious ^progress of painting at Siena. The fine gate ofSanViene, formerly of Pispini, of 1326, by the architect Maestro Moccio, paints the faith and pious ar- dour of the Sienese. It was by this gate that the body of Saint Ansan, found by a shepherdess near the Arbia, made its solemn entry, headed by bishop Gual- fred, amid the joyous acclamations of the people, who cried : II santo viene, -whence the name of the gate. It offers a superb Nativity, by Soddoma ; the foreshortening of the angel is admired. The grand Fonte di FoUonica, a re- stored edifice, of 1249, was presented in 1489 to the town of Siena by its clever architect the celebrated Francesco di Giorgio. He executed near this foun- tain the elegant Plccolomini Loggia, ordered by Pius II., where the lottery is now drawn, as well as the majestic Plc- colomini (now the Government) palace, the finest in Siena, so remarkable for the entablature of lis front. The Ghigi palace has been magnifi- cently decorated by its possessor the marquis Angelo Ghigi, of Siena, a gentle- man distinguished for his amenity and goodness : this nobleman, now governor of Siena, instead of pompously installing himself at the Government palace, has the good sense to remain at his own house. The Ghigi palace is al.so a kind of exhibition of the products of Sienese industry, for its brilliant furniture is of home manufacture. The grand land- scapes of the gallery are by Pianpia- nino, and S. Nenci has painted a little poetical fresco of Hope on the ceiling of a little saloon. A very splendid ball was given at this palace by the marquis Ghigi during the fetes in August 1834 to the grand duke and his family. I had then an opportunity of remarking the charms, the gracefulness of the Sienese ladies, long famous in Italy. The fountain, still called Fonte Nuova, of the year 1259, notwithstanding the inaccurate inscription which makes it only of 1298, is a masterly construction. The Fonte Branda, made in 1193 by ■ Inf. XXX. 78. s See tlie teller wrillen on Ihe tst of Morcli »832 by S. A. Benci to Professor L. de Aiigelis of Sleno, who bas replied Ibereto. the sculptor Bellamln at the command of the consuls of Siena, as the end of the inscription still stales : ita Bellaminus jussu fecit eorum, is not, perhaps, des- pite the general belief, the Fonte Branda sung by Dante : Ha s' to vedessi qui I' aiilnia trisla Di Guido o d' Alessaiidro o dl lor frate, Fer fODle Brauda noii darei la visla,' which for very specious reasons must have been in the Casenlino and near Borgo alia collina.' This fountain may be consoled with other verses by Al- Deri, who speaks of it lovingly, as well as of Siena : Fonle-Branda mi Irae mcglio la sete, Purmi, Che ogoi acqua di cilli lallua.J The upper part, one of the ancient monuments of Sienese art, fell in 1802, and when I saw the fountain it was used by tanners. The pleasant and cool promenade of the Lizza : E in su la LIzza il fresco venlolino,^ ornamented with statues, occupies the site of a rampart, designed by Peruzzi, and of a fortress erected in 1551 by Charles V., which the people of Siena, excited by France, demolished the year following with such eagerness, that they were on the point of throwing down the very walls of the town. Opposite the old edifice intended for drying cloth, stands a house, the habita- tion of a joyous band of Sienese Epi- cureans of the middle ages, whom Uaule so satirically ridicules : Tranrie lo Strlcca Che seppe far le lemperale spcse, 15 Mccoloche la cosluma ricca Del garofano prima discoperse Neir orto dove lal seme s' appicea, E traniie la brigala in cbc disperse Caccia dAsciano la \lgna c la fronda E 1' Abbaglialo suo senno proferse.' Over the Camollia gale is this inscrip- tion, said to have been made in 1604 for the grand duke Ferdinand, but it now speaks to the traveller only, and is borne 3 See Sonnets cxi. and cxii. 4 AlQeri.Son. cxir. 5 Inf. XXIX. 125. Chap. XIII.] SIENA. 631 out by the polite hospitality of the Sie- nese : Cor magls libi Sena paudil. Id the dusty avenue of the CamoUia gate : A Camollia ml godo il polveione,' a column erected in U52 marks the spot where the emperor Fredericli met his consort Eleonora of Portugal, on the 23rd of February, conducted by the amiable jEncas Sjivius and accompa- nied by four hundred Sienese ladies, a cortege of honour that may give some idea of the then splendour and riches of Siena, which has so prodigiously fallen since the loss of its ancient liberty. CHAPTER XII. Universily.— Mausoleum of Arringhieri. The university of Siena, which dates from the year 1203, is now organized the same as that of Pisa; " but it has rarely more than three hundred students, and the professors' appointments are in- ferior. The mausoleum of Nicolao Arringhieri, jirofcssor of law, formerly in the cloister of Saint Doniinick, is curious as a work of art. It cannot be, as pretended on Cicognara's authority, by Goro di Gre- gorio di Sanese, as his celebrated basso- relievos on the tomb of Saint Cerbonius at Massa delta Maremma are of lii23 and this lombis of 1374 ; it is more probably by the Sienese master Gano. The basso- relievo representing Arringhieri's lec- ture room is perfectly simple, natural, and true. It is impossible not to be struck by the importance, the considera- tion attached to instruction on beholding such a monument consecrated to a pro- fessor; the most illustrious of our limes are assuredly treated much less magnifi- cently than this legist of the fourteenth century. CHAPTER XIII. )ns(ilute of Fine Arts. — Sienese school. — Painlii)g, Ihe expression of society.— I'ainleis, a civil body aud functionaries.— Old painlings. The antique school of Siena, the rival of the Florentine, and perhaps not less ' AlQeri, son. cxii. numerous, offers a free, gay, easy, and poetical style, in perfect uniformity with the character of the inhabitants, and painting seems in this case the true ex- pression of society. The painters in this democracy were not a simple confrater- nity, nor a vainacademy, but they formed a civil corps, from which the first magis- trates were sometimes chosen, and their statutes received Iheapprobation in 1355, not of the bishop, but of the government. Most of the schools are proud when they can cite two or three masters of the thirteenth century; the school of Siena has a considerable number of them, and some few of a remoter period. The in- stitute of Fine Arts has secured several of their old and glorious works, formerly dispersed in the churches, viz. : a St. Peter, and a St. John on a throne, though he is more frequently represented in the desert, of 1100, by Pierrolino or Pietro di Lino; a C/imf,of 1215, by Guiduccio; a Virgin, of 1249, by Gilio di Pietro ; a Crucf'^x, of 1305, by Massareilo; an An- nunciation, St. Paul, St. Romuald, a painting in four compartments, extraor- dinary for its time, the finest work of Segna di Buonventura, a Sienese painter of the beginning of the fourteenth cen- tury ; a Crucifix, of 13 i 4, and a St. Paul, by his son Nicuiao; St. Michael, by Simone di Martino; the Assumption, by Pielri di Giovanni ; the Crucifix, by Ste- fano di Giovanni; the St. Sebastian, by Andrea di Yanni. The more recent chefs-d'oeuvre are : a I\'ativity, in Manlcgna's manner, by Francesco tJi Giorgio, likewise a sculptor and famous architect of Siena in the fifteenth century ; a St Nicholas preach- ing, of 1440, by Giovanni di Paolo of Siena, who has given the saint a Jupiter's head ; several saints, by Rrescianino; a Virgin and a lyativity, by Perugino ; the Virgin visiting St. Elizabeth,aiidbe\o\\, an Annunciation full of grace and na- ture, by Pacchiarotto ; the two little figures of the JIagdalen and Saint Reina, by Fra Bartolommeo ; the 5^ Michael, the Trinity, the Birth of the Virgin, and parliculiirlj the St. Catherine stig- matised, by Beccafumi; this last paint- ing is regarded as one of his best works, and in his first manner, before he had strained his talent by an impotent imi- tation of Michael Angelo's energy ; a ' see aaU, book xi, cli. xiil. 632 SIENA. [Book XVII. Paradise, by Riccio ; a Purgatory, a Descent of the Holy Ghost, by Sorri ; St. EM, by Manetli; a 5^ Charles Bor- romeo, by Rustichino; a Nativity, ad- mirably true, by Soddoma, in which there is a graceful angel, the reputed portrait of the author in his youth. CHAPTER XIV. Library. — Intronati.— Gospels. — Letters or Siilnl Catherine of Sieua and of Socinus.— Miniatures. — Portfolios of Giorgio S^inese, I'eruzzI, and Giu- llano San Gallo.— Letters of Metastasio. The library ofSiena, consistingofabout fifty thousand volumes and five or six thousand manuscripts, is located in the ancient great hall of the celebrated Aca- demy of the Intronati (Simpletons), which passes for the oldest in Italy, but its glory, like that of most other poetical academies ofthe same kind, is now netirly extinct. In the vestibule are the busts of the archdeacon Bandini (a writer on political economy, the author of a re- markable work on the Maremme, in which he anticipated, as early as 1737, the opinions of the French economists), whose books laid the foundation ofthe library in 1758, and of P. Giuseppe Az- zoni, an Augustine, professor at the university, who had considerably aug- mented that of Saint Augustine now added to this; and several antique sculji- tures. In the library itself are the busts of the satiriciil and learned Gigll, pub- lisher of Saint Catherine of Siena, and of the great Sienese improvisalore Perfelli, crowned in 1725 at the Capitol with the laurel of Petrarch and Tasso, but his triumph doubtless escaped the strange accidents to which the Canzoniere was exposed." The oldest manuscript is a copy of the Gospels in Greek, of the eighth or ninth century, spoken of by Monlfaucon, though he did not see it. The charactersare One, the figures rather aukward, but well co- ' Petrarch Informs us in tiis Latin letters that the laurel of the Capilol {laurea CapitoUna) rendered him obnoxious to many envious persons; and tliat, on the day he nas crowned, instead ofthe scented water usually sprinkled on such solemnilies, he re- ceived on Ills head a quaniiiy of corrosive water which made hira bald for the rest of his life. His historian, Dolce, fuither relates that an old woman emptied on him a vessel full of stale urine, per- | loured and gilded : a magnificent binding ornamented with nielle covers this pre- cious volume, which belonged to the imperial chapel of Constantinople, was sold at Venice on the fall ofthe Greek empire, and bought by the agents of the great hospital of Siena, whence it passed to the library. The manuscript of the remarkable prose tran.slalion of the iEneid, of the thirteenth century, by Ciampolo de Mco de' Ugaruggieri, a Sienese, explained by the late diligent librarian P. Ludovico de Angelis, deceased in 1832, proves the ancient fitness of the Italian language for that kind of work, in which it has been since honoured by the chefs- dceuvre of Annibale Caro, » Davanzati, Cesarotti, Monti. The inaiiuscript ohhc Letters of Saint Catherine of Siena, who could not write, is by one of her secretaries, and seems to contradict, by the correciness and purity of st)le, IJulTon's remark that persons who write as they speak, though they speak well, write badly. Three autograi)h letters of Fauslus Socinus, who sjjpung from an opulent family of Siena,' only recently extinct, are addressed to Belisario Bulgarini, an Italian author of the sixteenth century, who wrote against Dante; the two first of ihese letters, all in a good band, are dated from Lyons, on the 28th of July and the 27th of September 1561 ; the third is dated from Bude on the 30lh of Oc- tober 1577. It is a singular coincidence that such a saint as Catherine and such hcresiarchs as the Socinians should he born in the same town; their respective manuscripts preserved at the library of Siena show the transports and almost the delirium of faith beside its absence and its hatred. Several manuscripts with miniatures are curious with respect to art; namely, the Ordo ofjlciorum Sencnsis ecclesice, executed drily, but in 1213, by the canon of Siena, Oderico, bordered with animals and little figures ; the Gradual of Lec- haps kept seven weeks for that very purpose ( ser- vala in aabbala teplem ). ' Two other translations of the /Eneid, published since Annibal Cam's, though of much less note, are not deemed inferior; these translations are by Augelucci and the P. Beverlni. ^ The Malavoiti palace, recently built, occupies the site of their houses. Chap. XV. ] SIENA. 633 celo, of 1490, by the blessed Antonio Cerretani. The autographs of Francesco di Gior- gio on civil and military architecture, illustrated with drawings by him, gave even then directions for mining and other underground works, which this great artist had taught the celebrated general of engineers Fietro Navarra. to whom the invention is too often attributed, though he was only the first to put It in prac- tice. The portfolios of the two great artists of the fifteenth century, Baltassare Fe- ruzzi and Giuliano San Gallo, are ex- tremely curious. The portfoliooflhe latter is a small octavo, in which he has traced on parchment ornaments of exquisite taste, inscriptions, and even machines. The portfolioof Feruzzi, a quarto volume, is a precious collection of sketches of things that had pleased him or of his invention. There is, in particular, a sketch of the Sibyl, different from the fresco in the drapery and head-dress. The latter is more simple in the sketch, for the hair of the Sibyl is not surmounted by that kind oflillle yellow bonnet which Peruzzi afterwards added. A plan of fortification for the gate of Saint Mark of Sien.i, some unfinished works of which are still visible, proves thatPeruzzi may be. ranked with the great military engi- neers, like most able artists of that epoch. Divers autograph letters of Metastasio, of but little interest and published in part, are addressed : twenty-five to P. Azzoni, from 1764 to 1782 ; sixty to abbe Pasquini, a Sienese man of letters, from 1744 to 1768; one, of the 1st of April 1773, is ^yritten to Maria Forluna, a poetess of some celebrity ; and another, of the 12th of November 1738, to the architect Bibiena. These autographs are in a handwriting at once neat and ele- gant like his talent. Several display that complaisance and that weakness common to men of great renown of praising and seeming to admire all the books and verses presented to them. CHAPTER XV. Environs. — X-'Osservanja. — Pondolfo I'etracct. — Belcaro.— Judgment of Paris. — Loggia. — Cliapel. Canoon-balls.— Cataletto. The environs of Siena, though not studded -with villas like those of Flo- rence, are pleasant and worth seeing. L' Osservanza, one mile from Siena, is a vast convent of Franciscans, well si- tuated on the hill della Capriola, with a fine wood of evergreen oaks and limpid springs in the valley. The church has great basso-relievos of the Crowning of the Fjrjfm, in burnt earth, by the brothers Luca della Hobbia, and a pathetic Cal" vary, by Riccio, horribly defaced, and well deserving to be repaired. The ce- lebrated tyrant of Siena, Pandolfo Pe- trucci, called the Magnificent, the friend and correspondent of Machiavel, whose policy he cleverly pi-aclised, and the ally of Cesare Borgia, is interred in a vault of the convent, w hich had been enlarged by him. Pandolfo, when above seventy and infirm, died of an asthma in 1512, after oppressing his country for twenty- five years, from the day he was the first ta scale its ramjiarts. The sons of the Magnificent were expelled and spoiled; his somewhat plain tomb, of travertine, was executed by one of Pe- ruzzi's assistants, and it is easy to recog- nise the taste of that grand master in the disposition and ornaments. Three miles from Siena is the castle of Belcaro, celebrated for various historical events, and curious for its immense view. In the tenth century, when it was a feudal manor, Catherine induced the government of the republic to sanction the legacy which made it hers, and in- stalled herself there with some young nuns; but the ardent founder of this convent could not rest quiet in such a solitude, and accordingly left it to run over France and Italy, to reconcile the dilTerences between the pope and the Romans, between the people of Florence and the signiory, and if death had not intervened, between the pope and the Neapolitan court. The holiness and abilities of Catherine had then made her a real mediating power. In the fifteenth century, Belcaro became once more a castle, and in the sixteenth it was the villa of the banker Crescentius Turamini, a lover of the arts, who employed Pe- ruzzi to embellish it. On the ceiling of the vestibule is the great Judgment of Paris, cited by Lanzi as the masterpiece of the illustrious artist. Paris is seated with the goddess in front and three wo- men behind, the waiting-maids of the former, who were not before known to have been in attendance; in the back- 63* SIENA. [ Book XVII. ground, on the same side as the goddesses, are two rivers. A conjecture of cer- tain competent judges is a sufTicie')! elo- gium for (his fresco, which is noi known enough : it appears that it was executed from a design hy Raphael, of whom Pe- ruzzi had taken lessons at Rome; this design is now lost, though it was used by Marcanlonio Raimondi, for the cngraviog he made from it, in 1539, oi & Judgment of Paris, like the fresco. The Loggia of three arcades, at the end of tlie terrace, once presented orna- ments, medallions, and little myihoio- gical figures in perfect taste; but this charming decoration, a happ) imitation of the Loggia at the Vatican, was greatly injured by the rain and the whitewash which a mother's scruples had caused to be smeared over the most voluptuous figures about the end of last centur) ; it will be indebted for its regeneration to the talent of S. IMonii, of Siena, a very skilful retoucher, who has already de- livered them from a part of iheir rude veils, at the same time removing certain indecencies, and to the zeal of S. Cuma- jori, whose f.imily purchased Rilcaroof the last Turamini m 1721, who found this villa almost in ruins, and, a worthy rival of his predecessor, the magnificent Crescentius, became its liberal and in- telligent restorer. Like Palladio at Maser,' Peruzzi, on his return from Rome, al.-o risked his little Pantheon in the construction of the elegant chapel of Bclcaro with its painted cupola. One feels, in the two villdS which I have been the first of French travellers to describe, the admiration that the antique monument had excited in these two men of genius. This cha- pel is a condensation of Peruzzi's archi- tectural talent. He has covered the quadrilateral and elliptical roof with exquisite figures and ornaments : small genii or angels support the escutcheon of the Turamini, whilst others show and scatter flowers and crowns; at the cor- ners, are tour angels bearing golden candelabra ; they huve no wings, which the situation and their functions would hardly permit, but they (io not seem less aerial or celestial on tliut account. The great Madonna in the midst of saints, most of whom are sufficiently cold and ' See ante, bool< v. ch. xxi. ' See ante, cli. U. formal, though correctly drawn, was not reg^irded as Peruzzi's by Wicar; but he may be recognised by the Virgin so full of nobleness and modesty, and he must have left the work unfinished. This at- tention to the principal figure and indiffe- rence about the rest of the composition was commiin with him, and we have seen that in the Sibjl, she alone is worthy of his pencil.' Part of the ancient fortifications, a kind of long bastions, dependent on the villa, now form a very pleasant prome- nade, wonderfully airy. There may be seen incrusted six balls shot by the ar- tillery of Charles V., anally ofCosmo L, when he besieged Siena in 1554. These w recks reminded me of the courage and endurance of the citizens, and the fide- lily of the peasants handed by the ene- my's general, the merciless marquis de iMiirignan, incensed because their rustic daring braved his cannon, and who soon fixed his head-quarters at Relcaro. A small wood of holnioaks borders on the \illa. On a stone the following ap- posite verse of Petrarch is engraved : E I' ombra folta, e I' iiu:e duici esiive. The clergyman was my cicerone at Belcaro, and he did not fail to point out at the church a Madonna of the Rosary, curious for its antiquity. This active and obliging guiiie boasted during our walk of haxiiig withdrawn from a damp place a Calalelto.* an excellent copy of another Calalctlo, painted by Pacchia- rotto, and now in England. I was anxious to see it, though in the hen-house. This wreck of painting excited in me but little less regret than the ruins of Pe- ruzzi's frescos in the Loggia. It was imi)ossible not to be struck with the ex|)ression of a head of St. Francis stigmatised, the nobleness of a 37a- donna, the beauty of a great St. Ber- nardin and the gracefulness of ihe orna- ments. Such is the power, the poetry of Italian art! these figures ou a kind of bier, barely visible betiind the fowls that were roosting tiiere, and in a musty place hot enough to stifle one, caused me the same emotions as the chefs-d ceuvre ex- posed in the most brilliant galleries. ^ See ante, cli. Hi. •■ Chap. XVII. ] COLLE. 635 CHAPTER XVI. The draining of the maremma of Siena, begun in 1828, is nearly terminuled. Industry and cultivation will confer sa- lubrity on these vast plains, which, when inundated, were a focus of disease and contagion. The population of the town of Grosscto. which in 1833 was two thousand three hundred and twenty-one, was more than quadrupled in 1836. The marshes of Albarese and Giuncola, the lakes of Bernardo and fMgacc>olo,l[ie districts of Scarlino, Compiglia, Pioni- bino, are dry, and likewise the marsh of Casliglioiic'lhe most astonishing under- taking of the whole. Certain new and expeditious means of draining, which the work now priming at Florence on the sut)joct of recovering the maremma will doubtless make known, have been employed there. The plans ofahe learn- ed and venerable Count Fossombroni, the grand duke's prime minister, were ably executed by the engineer Manetti and Professor Pianigiani of Sien.i. Such results are honourable to the thrifty go- vernmeni of Tuscany, and to the prince whose solicitude has powerfully contri- buted thereto, and they must be placed in the foremost rank of these useful and difficult works. CHAPTER XVII. Colle.— Invenlion of paper.— Calhcdral.— Saint Augusline. — Tower of Ainolfo. Colle, an ancient and industrious town of five thousand four hundred inhabi- tants, is divided itdo an upper and lower town, the latter called Spufjna, from the calcareous mutter covering the soil. The waters of the FJsa have the property ofincrusting with stalaclitesand harden- ing any substance thrown into them, a peculiar quality remniked by Dante, for the Homer of the middle ages, like him of antiquity, is still an authority for the natural sciences; these abundant waters work the celebr.ited paperrnills, which are said to date from the invenlion of paper. It is surprising that the epoch of such a discovery, one of the most im- portant of modern times, should be so uncertain. Monlfaucon indicates the end of the eleventh century as the pe- riod; Muratori thinks it much older; Francesco Stelluti, academician of the Lined, in his notes on the satires of Persius, pretends that it was 990, and that the honour of it is due to Fabriano, his native place, whence it passed to Colle. Paper seems to have been in- vented by the Arabs ; it was out of use from the seventh lo the tenth century, which doubtless contributed to the igno- rance and barbarity of those times. The papermills of Colle were in a flourishing condition about the f nd of the fourteenth century ; and their number, now reduced to eleven, was then twenty-two. The establishment of a prinling-ofrice ranked with the first in Italy followed a century after the introduction of painting, and its founder was Lorenzo Lippi, a great Hellenist, and a native of Colle. The town was shown to me by one of those learned, obliging, and excellent men, such as may be found in every corner of Italy, the canon C*****, the owner of a select library and a very cu- rious collection of autograph letters.' The fine cathedral was enlarged in the sixteenth century by the first bishop Usimbardo Usimbardi of Colle, who also built the episcopal palace. A Christ \a bronze, by Giovaimi Bologna, is one of his good works. The great and noble church of Saint Augusline, of the fourteenth century, has a Deposilion from the cross, attri- buted to Donienico Ghirlandajo or Sod- doma, and worthy of those masters, though it is really by Agoslino della Porta, who, as well as this painting, is entirely overlooked by Lanzi. Another Deposition with St. Jerome, St. Fran- cis, St. Catherine, by Cigoli, the finest painting in the town, remarkable for the sunken appearance of Christ's body, is da- maged, but well deserving of restoration. The tower of Arnolfo di Lapo, con- structed byhim.wasuritil lately inhabited by the family of ihatgreat architect, now nearly extinct, as none but females are left. This lower had just been aban- doned on account of its insalubrious site. Arnolfo, though of German origin, was born at Colle, which town has produced, beside its beneficent bishop Usimbardi and its learned printer Lippi, the painter of ihe fifteenth century, Cennino Cen- niid, praised by Vasari, and perhaps the 1 See rarietis ilaliennes. 636 VOLTERRA. [Book XVII. first who wrote on the nature of colours and ihe manner of employing them ; Bartolommeo Srala, the illustrious se- cretary and historian of the Florentine republic ; the Dominican Giovanni Maria, a geographer and poet, qualities that are but rarely combined ; the Florentine diplomatist Paolo di Ser Giovanni ; Fra Giovanni Tolosani, an astronomer of the sixteenlh century; and in the last cen- tury, the clever engineer Fernando Mo- rozzo, who left unpublished some va- luable papers on history and hydraulics. CHAPTER XVIII. Volterra.— Walls.— Porta dell" Arco.— Calliedral.— Oratory of Saint Cbarlps -Saliil John.— Mauso- leum of Vollerrano. — Sho Daimazio. — Saint Francis.— Confraternity of tUe Cross. The enormous and extensive walls of Vollerra, laid and held together without lime or cement, and its gales, one of which, called deW Arco, formerly d'Er- cole, from the temple near it, is in such wonderful preservation, bear testimony to its ancient magnificence, and make it appear like the capital of that moun- tainous and arid part of Elruria. The gate deir Arco, the chief monument of Volterra, covered with weeds and ve- getation, costs nothing in repairs and keeps itself in good condilion. The an- tiquarians pretend that the three great heads on the side towards the country represent rural divinities, the tutelary gods of the town, or more simply three lions as on the gales of Mycen* and sacred edifices; but these heads are so changed and worn by time that it is impossible to determine what they arc. According to the custom of the Etrus- cans, the outer front of the arch was more embellished than the inner. In no part of Italy are the Etruscan structures so imposing, so characteristic, and Mallei affirms that he who has not been at Vol- lerra can form no conjecture of Etruscan antiquity from description. The modern town, though greatly fallen from the rank it held at the begin- ning of the thirteenth century, the period of its consuls and jiopular government, seems now to recover a little, and the population, which was only eight thou- sand six hundred and eighty-ihrce in 18U, was nine thousand eight hundred aDd eighty-three in 1832. Some of the edifices are very remark- able, and the churches contain some ex- cellent paintings and scul()turcs. At the church of Saint Peter in Selci the Immaculate Conception is a good work by Brini, a painter of the seven- teenth century, whose country and school are unknown. Saint Augustine has, in the choir, an esteemed Crucifix, by Currado; a Pu- rification, a feeble work by Volterrano, then only nineteen years of age, and re- turned home during the plague that ra- vaged Florence in 1630; a fine and mi- raculous Crucifixion of the beginning of the fifteenth century, and, in the sa- cristy, a curious painting in distemper of the year 1408. The oratory of Saint Anthony has a Virgin, St. Anthony the abbot, and St. Bartholomew, by Ghirlandajo, which does not seem altogether worthy of that great master, and in the sacristy are se- veral Saints executed in 1418 by the Sienese Taddeo Bartolo, The church of Saint IMichael, depen- dent on the college of the Pious Schools, has the Saint and the Virgin carrying the infant Jesus, a distinguished work of Carlo Maralla, and the Saint the founder of the Order, a copy by Zocchi, and superior to the original by Antonio Franchi. This college of the friars of the Pious Scliools, formerly celebrated, is still rather flourishing, and I cannot forget the worth and courtesy of the young professor of rhetoric, P. Fernando Baffo, who was kind enough to be al- most my cicerone at Vollerra. The grand cathedral appears by Nico- lao Pisano; its restoration and embel- lishment in 1574 were ordered by bishop Guido Serguidi, and executed on Ihe de- signs of Leonardo Ricciarelli, a nephew of the great painter Daniello of Volterra. 1 he traveller may distinguish : at the entrance of the choir, on two spiral co- lumns of good workmanship, two charm- ing angels, and the marble tabernacle of the high altar, by .Mino di Fiesole ; the Virgin, St. Francis, and St. John, Vol- terrano's chef-doeuvre, so remarkable for the beauty of the evangelists head; the elegant tomb of Saint Octavian, whose intercession delivered Vollerra from the plague of 1522, which tomb was ordered by the people of Raphael, called Giovanni Cioli di Settignano; the rich cbapel of the Holy Sacrament, from Chap. XVIII.] VOLTERRA. 657 Vasari's designs; a Restirrection of La- zarus, very true, by Sanli Tili, better in colouring than usual with him; St. Sebastian, scientific in the naked parts, by Piclro Cungi da Borgo San Sepolcro; anAnnundation,\\\lha pretty landscape in the background, of U97, without au- thor's name, worthy of Ghiriandajo; the basso-relievos of the pulpit, probably of the thirteenth century ; the bust of Pope Saint Linus, by Lucca della Robbiu, and the united fragments of the ancient and majestic paliotto of the high altar, by Mine di Fiesole. in the canons' cloister; the stuccos of Giovanni di San Giovanni in the chapel of Saint Paul, so varied, so rich in marbles from the quarries of Volterra, and ornamented with a flne Conversion of the Saint by Domeni- chino, insolently retouched by the Flo- rentine Vcraciniand Franchinid'Arezzo; his Martyrdom, not over graceful, by Currado or Guercino, and the Saint re- ceiving his despatches ordering him to imprison the Christians of Damascus, by MattcoRosselli ; in the sacristy are a silver reliquary of excellent workman- ship, and four small paintings in a good style; one of them, a Deposition from the cross, has been attributed to Sod- doma. The oratory of Saint Charles, adjoining the cathedral, seems a perfect museum. A Magdalen in ecstasy might be sup- posed by Guido, had he not himself written to Captain Francesco Inconlri that the author was one of his pupils, named Camillo, probably of that ancient family of Volterra, and ihat he had only made the design, retouched the head and some other parts; a Virgin, by Leonardo of Pistoja, has two little an- gels singularly graceful ; an Annuncia- tion, by Luca Signorclli, is very natural. The other good works of this brilliant oratory are : a Nativity, by Benvcnuto of Siena, dated liTO, barbarously blacken- ed by the smoke of tapers; the Depo- sition from the cross, by Rosso; the Presentation at the temple, flne in the colouring, one of Naldini's best com- posed paintings; the Nativity of theVir- gin, of an admirable colour, by Currado. The tomb of the bishop of Cavaillon, Mario Maffei, of Volterra, a learned prelate, who enjoyed the confidence of Julius II., whose nuncio he was in France, of Leo X., Clement VII., and a friend of Paul III. in his infancy, a magnificent mausoleum that must belong to one of the clever artists proceeding from the workshops and quarries of the Tuscan town of Sottignano; the St. Jo- seph, of Volterrano's youth; the Holy name of Jesus, given to the town of Volterra by its author Saint Bernardin of Siena, when he introduced that devo- tion there in the year 1'(.24; and, in the chapel of the Virgin, the frescos of Be- nozzo Gozzoli. Saint John, Gothic, in an octangular form and covered w ith marble of various colours, may be as old as the ninth cen- tury. The inside has been renovated. An expressive Ascension passes for the chef-d'oeuvre of Pomarancio, who has signed it under the title of Volterrano. The figures of the ancient baptistry are an exquisite work by Andrea di San Sa- viiio. The monastery of the nuns of Saint Linus was founded by Raphael MalTei, called II Volterrano, the feeble trans- lator of the Odyssey, the OEconomicon of Xenophon, the Discourses of St. Ba- sil, but the learned author of Commen- tarii Urbani, which procured him Poli- tian's esteem and the encomiums of Ariosto : doUa compagnia, c'le seco mena Fedia, Cappella, Porzio, il Bolojinese, Fllippo, il Vollwraiio, il Maddalena. He founded the academy of the Se- polti of Volterra, still existing, which has for its arms a silkworm's shell with the pretty motto, Operantur sepulti. Volterrano, after having been appointed by Sixtus V. secretary of legation to the cardinal of Aragon in Hungary and at Ferrara, on returning to his country, lived almost like a hermit, lodging in a boarded cell, sleeping on straw, and tak- ing no food but bread and water. He renounced all profane erudition, and composed nothing afterwards but lives of saints. His remarkable mausoleum, erected by his brother the bishop of Ca- vaillon, Marius Maffei, was begun by the able sculptor Silvio of Fiesole and fi- nished by Fra Montorsoli and Stagi of Pietra Santa. The inscriptions are not free from exaggeration, and the sic itur ad astra put between the hands of Vol- terrano scarcely comports with works like his. A Virgin and St. Linus, dated 1597, is an excellent painting by Currado. 638 VCLTERRA. [Book XVII. The convent of San Dalmazio is of Am- inanato's architecture. In the church, a Deposition from the Cross, with a great number of figures, by Rosselti, a pupil of Daniello of Volterra, has that mas- ter's vijzoiir. The church and convent of Saint Fran- cis were erected by the comune and pnople of Volterra, in the year 1251 : the arms of the comune may be seen on the front of the church, and those of the people in the court of the convent. The celebrated and venerated reliquary con- tains a piece of the loaves multiplied by the Saviour; it is of barley, and seems still soft. A fine sepulchral marble stone, in good preservation, curious for the cos- tumes and armour of the persons sculp- tured thereon, covers the remains of Mi- chele di Pigio dei Buonaguidi of Volterra, who rose in arms against his country, negociated with the ambassadors sent to him on the 26lh of January 1370, and ob- tained an amnesty for himself and his partisans, the enjoyment of his property, and the possession of the castle of Monte- verdi, receiving an indemnity of 300 golden florins for the fortifications he had erected there. The painting at the altar of the Crucifix passes for the best worli of Daddi, a good Florentine painter and master of the able Vollerrano An animated and graceful Nativity, dated 1591, is by Balducci ; a good Conception, by Naldiiii ; a Virgin and divers saints, ordered of Luca Signorelli by a monk of the convent. The tomb of the illustrious prelate Guarnacci, spoken of hereafter, was ordered by him in his lifetime. The confraternity of the Cross del Giorno, built in 1315, adjoins the church of Saint Francis. The richness of the painting in this Gothic chapel, with its azure vault studded with stars of gold, is truly extraordinary. Our witty and pathetic painter Delaroche was struck with it and liked the style. Beside the four Evangelists on the ceiling, dated lilO, ascriljed to Jacopo of Florence, and the Massacre of the Innocents, the In- vention of the Cross, with other sacred subjects, painted at the same epoch on the walls, by Cenni di Francesco di Ser Cenni, the Crucifix of the aitar, by Sod- doma, is excellent. CHAPTER XIX. Tower de! Mastio.— Theatre.— Palace del Pobbllco. — Library.— .Museum. —Pretoria. — Reservoir. — House of Daniello of Volterra ; — his Elijah.— Water of San Felice. On a rock in the highest part of the town stands the tow er del Mastio, built in 13i7 by the duke of Athens, then ab- solute master of Florence. Occupied for ten years by a Florentine garrison, it was the instrument of that new ty- ranny which forced a Florentine on the town as captain of the people. When converted into a slate prison, it received the unfortunate disciple of Viviani, Lo- renzo l.orenzini, unjustly suspected by Cosmo III. of aiding the correspondence of his wife, the princess Margaret of Or- leans, with Prince Ferdinand. Lorenzini employed the eleven years of his capti- vity in composing the work on conic sections, the un|)ublished manuscript of which, in four thitk folio volumes, is pre- served in the Magliabecchiana library. I visited the frightful dungeon said to have been Lorenzini's place of confine- ment, where he could never see the sun, and the trace of his steps is still shown on the brick floor; when Leopold saw it, he was horror-struck, and ordered it ne- ver to be used again. There was then, in 1834, another state prisoner at the Mastio ; but he, a merchant of Leghorn, was smoking a cigar at his ease on the terrace near the centinel ; his chamber had a large glazed window, and his din- ner was supplied him from the Locanda. If I lamented the loss of his liberty, I could not avoid being struck with the contrast. The old Guarnacci house with its three lowers, one of them as old as the year 1200, has a superb Greek Hercules and several other statues. The abundant, wholesome, and never failing Docciola fountain is a good con- struction of the year 1245. On the front of the Ducci house is a funeral inscription in memory of a young Roman of Persius's family, which fa- vours the opinion that the precise and obscure Latin satirist was born at Vol- terra. The theatre of Volterra, built in 1819, is one of the finest in Tuscany ; it is pret- tily painted by S. Conteslabili, and the curtain represents Persius led by the CnAP. XX. ] VOLTERRA. 659 Muse to Parnassus, where Apollo shows him the temple of (ilory. The palace del Pubblico, formerly the residotice of Ihe fust iiiagistralc of Vol- terra, was fiiiislie.l, as the iiiscriplion stales, in 1217, and though of the infancy of art, it produces a fineelTect from the great square. It is now occupied by the library and museum of Eiruscan anti- quities. The library, eslaldished in the hall where public altairs used to be dis- cussed, was bequeathed to the town by a zealous citizen, Consignor Guarnacci. It is endowed with a yearly income for its maintenance and augmentation by this learned prelate, who died at the close of the last century, the creator of the Etruscan sjstem, since adopted with such ardour. This library of twelve thousand volumes possesses several edi- tions of the fifteenth century of the Greek and Latin classics, of wo: ks on antiquity , sacred and profane, with several nianu- scripts ; an ivory crosier of the fifieenih century is of excellent workmanship. The museum, begun in 1731 by dona- lions from antiquarians of the town, has been enriched with the fine collection formed by Monsignor Guarnacci, and generously bequeathed by him. Not- withstanding tlicobscurity and confusion of the nine little rooms of the nmseum, it is impossible not to be forcibly struck with the antiquity and splendour of Etruscan civilisation on beholding these numerous monuments of stone or ala- baster covered with emblems, divinities, the din'erent scenes and accidents of human life, such as sacrifices, banquets, hunting, war, dancing, games, marriages, abductions, cnchanlnients, navigation; these statues, basso-relievos, mosaics, coins, vases, utensils, paterae, mirrors, lamps, candelabra, bracelets, and other precious wrecks, and the wonderful re- semblance of thisci\ilisation to the man- ners and arts of Greece.' A stone statue of a woman with an inscription at bot- tom, seems to be the goddess Nortia, the Fortune of the Etruscans. The basso-relievo in tufo, of the bearded soldier, is perhaps the oldest of so many old monuments. In the great square, the Prctorio pa- lace, now a prison, though of uncertain date, must, from its construction, be at least of the tenth century. Daniello of ' See ante, ch. lii. Volterra, in his youth, painted a Justice on the ceiling of the saloon, which is now almost invisible through the repairs of the edifice. The ceiling of a small room, by this great artist, in the Masselli house, is worth notice. At the point called Castello, the re- servoir supported by six columns, with its pavement of cement {signinum opus) and its walls of mortar, is a solid and noble Etruscan monument. The house of Daniello of Volterra still exists, and his family, one of the most distinguished of the town, inhabits it. This house is in bad condition, but it is embellished by a superb Elijah which recalls the artist's glory. The fountain of ^an Felice was or- dered in 1319 by the counsel of the twelve defenders of the pcojile of Vol- terra, in order to receive the waste water; this water possesses some of the properties of .sea-water, acd is still effi- cacious in maladies of the skin, obstruc- tions, and other complaints. The thermae of Volterra, composed of several small rooms and two baths, were discovered by Monsignor Guar- nacci during his unsuccessful search after the amphitheatre; they prove that the Etruscan thermae must have preceded the Roman. CHAPTER XX. Environs.— B;ilzs—Badla of San Salvadore —Salt- springs. The environs of Volterra present a de- solate aspect ; the mountain is intersected with deep ravines, black or giay, pro- duced by the rain, which has undermined and washed away the soil. The most fearful of these ab\ssesand of all in Tus- cany, called Balzc. are those of San Giusto, six hundred fathoms long, four hundred broail, and two hundred deep, near the church of the same name erected in place of the old one, which v\as en- gulled in 1627 by the Baize. The near approach of one of these quicksands ne- cessitated the demolition of another small church of San Giusto in 1651. It has been vainly attempted several limes, and last in 1830, to collect the waters that filter through into another channel, but it appears that the nature of the soil will not admit of it. In this case the inhabi- PIOMBINO. [Book XVII. tanl is not menaced by Ihe glaring deaih of Herculaneum or Pompeii, but by a subterranean deluge of mud. The Badia of San Salvadore is one of those unfrequented monuments that ought to hold Ihe first rank wilh artists. This monastery of Camaldulites, in a good situation, with a majestic columned cloister, possessed the Sts. Romuald, Benedict, Atliniaand Greciniana, wilh other saints, perhaps the best preserved of GhlrIand,)jo's paintings. \ charming figure of 7nnocence, dated 15.52, which supports the holy-water vase, is worthy of the epoch. Several pleasing works are by a monk of the Mascagni convent, ciillecl Fra Arsenio : the Nativity of the Virgin; a Marriage ofCana in the re- fectory, and, in the abbot's apartment, Job with his friends and his wife, the latter elegantly dressed as a Tuscan vil- lager. A fine Deposition from the Cross, by Rossetli, is also remarkable for boldness and the skilful foreshortening of the Magdalen kissing the Saviour's feet. An Elijah on the ceiling of the strangers' apartment (forestaria) is a superb fresco by Volterrano. In the room next the Job, are Ave curious and highly-Qnished paintings, representing subjects in the history of Voltcrra, as- cribed to Ghirlandajo. An Etruscan hypogeum, recently dis- covered, seemed to me something like thoNoraghe of Sardinia, but not so well preserved, as the base only was left. The salt springs of Volterra are real manufactories, and, with the marble and alabaster quarries, form its richest produce. In several marshes of salt water on the banks of the river Cecina deep wells have been sunk; the water drawn from them is put into caldrons of iron or lead and boiled for about five hours in summer and rather longer in winter. A hundred pounds of water give at least twenty-six pounds of white salt, Ihe finest in Italy, and the well of San Giosto has yielded thirty-six in jum- mer. The number of workmen is two hundred, half of whom are engaged in bringing fuel, repairing roads and build- ings. The works are curried on by the government, which grants the town an indemnity of 18,611 livres. The pro- duce amounts to nineteen or twenty million pounds of salt, and the Moja (factory) of Saint Leopold, founded by the beneficent grand duke of Tuscany, but since enlarged, is a magniflcenl mo- nument of industry. The young Byzantine poet Marallo Tarcagnota, when going on horseback towards Fiombino, where he meant to take ship, after a long sojourn at Vol- terra with his learned friend Volterrano, was drowned in attemi)ting, contrary to his guide's advice, to cross the Cecina, then swelled, and since famous by his death. The tomb of this refugee poet, who had both cultivated letters and fol- lowed the career of arms, stands in the church of the old and large town of the Pomaranci, which has some pictures by the celebrated and inferior painters of the place; it was erected by Volterrano, but the inscription he put has disap- peared. The death of JIarullo drew a Latin elegy from Ariosto, in which we And these two verses on the dependent condition of Italy at that epoch : Quid nostra an Gallo legl, an servile Latino, Si bit ideiu liiuc, aique Uiac, uon leve servitium ? Generous sentiments, but very far from the ardent, enduring, inexhaustible pa- triotism of Dante and Petrarch in the first days of Italian poetry. CHAPTER XXL piombino. — Saint Anlirao.— Appiani. — Ass, device, —stone of Tra Palazzi.-Fountaiii.— Port.— Popu- lonia.— Via Emilia. Piombino, a little Tuscan town, is perhaps more closely associated with the memory of the French empire and the family of Napoleon than any other place. One would say that on this secluded, in- salubrious coast, Piombino has been put under glass as a specimen. The arms of the princess Eiisa Baciocchi, profusely lavished on the church of Saint An- timo when she had it restored, remain untouched ; in the centre of the ceiling a bad painting represents Saint IS'apoleon distributing crowns, and Saint Elisa and Pope Saint Felix kneeling before him, an allusion to the princess and prince Felix her husband. This respect of the past is not void of justice : Signora Ba- ciocchi founded the fine existing hos- pital of seventy beds, paved the town, repaired the citadel, and created the roads, arsenals, and a bagno. This church of Saint Antimo, of the fourteenth century, so strangely moder- Chap. XXI. ] PIOMBINO. C^H iiised, has two ancient monuments very superior to the impiTial fresco on its roof. Some charming sculptures of the best times ornainenl the l)a[)tistrj . lie- hind the choir is the Goihic tomb, rather elegant, but ridiculou>!y whitewashed, of Gherardo, son of Jacopo I., head of the Appiani family, sovereigns of Fium- bino, from 1393 to 1603. This tomb has an odd emblem : an ass is seated on the arms, alluding to the origin of the authority of that liouse. Jacopo Vanni d'A[ipiano, afterwards Jacopo I., having been called an ass l)y Pietro Gamba- corta, who governed the republic of Pisa, of which Piombino was a depen- dency, with the title of protector of the people and captain of arms, excited an insurrection. As Gambacorta was mounting his horse to appease it, he assassinated him, forgetful of all the confidence and benefits he had received at his hands; almost immediately after he strangled Gambacorta's son, and on the third day, the 'il>t of October 1393, he reigned. J his usurping muriierer took the ass for device, with the ludicrous disiich that the v\hitewashing of the church has concealed : Un asino sono, e con il mlo sapere, Gli allri stan rilll ud io sto a sedere. In the street of Tra Palazzi, a round stone with a cross marks the place where Alessandro I., Appiani, natural son of Jacopo VI., a detested prince, was as- sassinated, on the evening of September 28, 1590, when leaving the house of his mistress. The conspirators, five in number, armed with guns, swords, and halberds, had been stimulated by his wife Donna Isabela Jlendoza, countess of Binasco, and her lover Don Felix of Aragon, bastard of Philip II., com- mander of the Spanish garrison, who intended to marry and govern together. Their ambition was disappointed ; a Spanish detachment arrived from Naples three months afterwards and restored the authority to Jacopo VII., (he legiti- mate heir, under the guardianship of his mother, who they pretended to believe had no share in the n\urder; Don Felix was recalled to Jhrdrid, was tried, and never afterwards hoard of. The assas- sins, arrested on the feast of Epiphany in the middle of a ball given for that express purpose, were sent to Orbitello to be tried; they were condemned to death and brought back to Piombino, where they were conducted in a car drawn by two oxen, after being torn with pincers on the road, to the very spots of Alessandro's murder, and there hung and quartered. The stone bears these nearly elTaced letters : 1. P. 51. D. {Ingrati Plumbinenses Mortem Dede- runl), a declamatory inscription which the victim did not merit. The abundant fountain of the Cinque Canali, from the number of its mouths, is one of those useful monuments of Pisan domination whose civilising elfects I had to admire in Corsica and Sardinia. The port of Piombino, the ancient port of Trajan, might, if cleared, be made one of the fiiiCAt and safest in the Mediterranean. I was anxious to visit the remains of the ancient Pojiulonia, a powerful city of the Etruscans, perhaps the only maritime town Ihey occupied, for they settled in the inland districts alone. It is reputed to have been built by the inhabitants of Volterraon a liltle mountain command- ing the sea, in order to make it their port. The commander of the fort of Baratti, formerly the port of Populonia, to whom I was addressed, is a decore of our army, a brave and intelligent soldier who possesses in his ruinous tower a real museum of Etruscan antiquities found in the vicinity. Populonia, fallen in the latter days of the Roman republic, is now only a large farm, with a high battlemented tower and demilune, be- longing toSignora D***"'*,a great land- owner in that country. The Etruscan walls are interspersed and adorned with the light clematis, which shoots up be- tween and girds their enormous blocks. The walls, at the place called I Mass?', near a few other ruins which are only Roman, show the talent of the Etrus- cans in fortification, and we see in them the hand of free and intelligent citizens. One of my ciceroni at Populonia was a cannoneer of the Baratti fort, who acknowledged that his cannon would be ineffective against such ramparts, and in the lower part of the demilune some Etruscan blocks are left, as if to brave the thunder of the moderns. The road leading from Piombino to Leghorn is excellent. At the to.wer of San Vincenzo begins the Via Emilia, 642 NARNI.-TERM. (Book XVIII. which disappears and is again visible at intervals; the most considerable piece is at San Vincenzo, and a milliary column between that sorry post-town and the village of Castagnetta, still bears Its an- tique inscription Via Emilia. BOOK THE EIGHTEENTH. SECOND ROAD TO FLORENCE.-PERUGIA.-CORTONA.-AREZZO. CHAPTER I. Nepi.— Civita Caslellana.— French exploit.- Olricoli. — iN'arni —Bridge of Augustus. -Terni.— Cascade. —Papigno.— Valley of Ibo iNera.— Fuga.— Grolto. —Lake Pie dl Luce— Echo. Nepi, a little and poor town, men- tioned by Livy as one of the two gates of Rome on the side of Elruria, and a fortress in the middle ages, oilers some antique inscriptions on the outside of lis old public palace, and the arcades of an aqueduct encumbered with vegeialion. Civita Caslcliana has a cathedral, and a citadel built by Julius II., now a stale prison. The bridge over a torrent roll- ing through a deep bed bordered with rocks, is very picturesque. This mo- nument, one of the finest of the ponliflcal power, has something antique, like many other modern works of Italy ; ■ it resem- bles the bridge of the Card. It was ill this plain, near Borghetto, an insalubrious and ugly place, consit^t- ing of little more than the post-house and some old walls, that Macdonald, with less than eight thousand French- men, beat, on the ith of December 1798, forty thousand Neapolitans, who could not hinder him from passing the Tiber, whose waves had never received such heroic warriors since the Romans. On the ascent, bcfoic arri\ing at Otricoli, are several remarkable ruins of the ancient and brilliant Ocriculum. Narni, a strong position, has a little old citadel. Half a mile from the road are the superb remains of the bridge of ' See ante, book xiv. ch. si. ' This surname is der ived from the iiicruslations resembling marble that the waters of the cascade leave on the different objects they touch. The sla- Augustus, the ancient passage of the Via Flaminia over the Nera. At the con- vent of the Zoccolanti is one of the rare woiks of Spagna, next to Raphael the best pupil of Perugino, whom he re- sembled in colouring, and to whom this grand picture was attributed until the recent discovery of documents which have restored it to Spagna. It repre- sents an Episcopal ceremony, and is distinguished by the fine disposition of the numerous figures, as well as the no- bleness and purity of the design. The road as far as Terni, through a country planted with olives, and with the double view of the green plains of Umbria, and the woody summits of the A Pennine, both studded with conspi- cuous white mansions, becomes more and more captivating and magnificent. Terni, a charming town, which has vainly claimed the honour of giving birth to Tacitus, and preserves the remains of a theatre and some curious inscriptions in its cathedral and public palace, is more especially celebrated for its cas- cade, one of the wonders of Italy, but an artificial one, and the work of the Ro- mans. This adtnirable cascade, formed by the fall of the Velino into the Nera, the name of which even {della Marmore) seems that of a monument of art,' does not roll nor bound like a savage cataract through step and barren rocks, but falls into a smiling and fertile valley planted with oiangc-trees; it showers around its impetuous dew over the flowers and herbage, and is in perfect keeping with the sky, the sun, and the lactifes and stalagmites have also a kind of cele- brity from the fantastical forms of trees, columns, bunches of grapes that they present. Chap. If.] SPOLETO. 643 horizon of Italy. Though contrary to custom, the cascade ought to be seen from below. The road passes through the little village of Papigno, famous (or the size and tiavour of its peaches, the Montreuil of that country, where the roaringof the cascade, though three miles distant, is already audible. After pass- ing the rapid waters of the Velino and Nera united, the traveller reaches the delightful villa of Graziani, which was once occupied by the princess of Wales, and then descends into a valley through a succession of woods and enchanting spots which make this valley one of the finest districts in the world. On the other side of the river are the remains of a very ancient bridge, ascertained to be older than the cascade. The cascade is generally viewed from a kind of balcony on a rock. Visitors also ascend to the Fuga, immediately over the fall, and also go down into the grotto to see the difTerent elTects of the stalactites. But it would be very in- teresting in the fine season to go about two miles farther to the little lake of Pie di Luco, of a character totally diffe- rent from the lakes we have hitherto seen, being covered with the large flowers of the water-lily, which unfold their superb cups on the surface, and extend their green and floating foliage over this watery plain. From daybreak, young and robust females in picturesque costumes are seen rowing about the lake, when they carry their meals to their husbands at work in the neighbouring fields. In the middle of the lake, surrounded by rocks bristling with old towers, the snowy tops of which are frightful, confused, fantastical, ad- vances the charming hill of Caperno, looking like an island, and surmounted with a little church, whence the moun- tain echoes will repeat with the utmost distinctness every syllable of the most majestic hexameter or pompous alexan- drine. CHAPTER II. Somma.— Aqueduct.— Monle Luco.— Uerrailages.— Oak.— Spolelo.— Giile oT Amiibal.— Calheilral — Lippi.— Malernal lieioism. — rcinple of Clitum- Dus.-Fi)ligijo.-Earlliqualie.— Spullo.- Oilaudo. —College. The mountain of La Somma presents the majestic beauties of savage nature, and the oxen of the Clituinnus, which help the weary horses of the vetturino to draw you over it, were formerly grand and sacred victims, that conducted the triumphers of Rome to the temples of the gods : nine albl, Clllumne, gregcs, et maxuma taurus Victima, sa;pe Uio pei fusi flumlne sacro Uouaanos ad templa Deilui duxere Iriumplios. After La Somma, the country assumes a sweeter aspect, and we descend to Spoleto through little woods of ever- greens. The aqueduct, remarkable for the height of its arches, over which a long and narrow bridge passes, has been attributed to the Romans, and, with greater reason, to the not less warlike Lombard dukes of Spolelo. Monte Luco is worth visiting for its view, its tower at the monastery of Saint Julian, a construction of the tenth century, and its hermitages. The most considerable, that of the Madonna delle Grazie, has a pretty church. Such are the charms of this religious solitude, from which freedom and comfort are not entirely banished, that men belonging to the first classes of society (among whom we may mention a Count Potocki ) have ended their days there. A Latin poet but little known, of the close of the fifteenth century, originally of Spoleto, Pier Francesco Giustolo. has melodiously sung the hermitages of Monte Luco in verses that also describe the political tribulations of the limes : fortunatum nimium, cut ducere Tltam, Delitiis oibis spreiis, opibusque relictis, Mlarumque sill, vaiii et cerlamine honoris nisce datum lucis, alque oci.i carpere dia Anguslls casulis, celsive crepidiue saxi, Unde nolet nulla mole impediente, serenis Noctihus eoo surgenlia cardiac signa. El septera obliquo gradienlia sidera limbo. Qunc neque cura gravis, Yeucris neque dira cupirio Sulliciiat, non damns movent, non irislla lorqueiit Funera nalorum, slerilis non territal annus, Non grave Saturiii jiincium cum Pleiade sidus ; Non furor ardeutis phriseo e vellere Marlis, Regibus aut trepidis intenlans fata comeles : Non extreme horret crudelis tempora morlis, Turcarum bic, Rbenive minas, ut gallica oesta Arce Padi saavuin modo quae pepulere tyrannuni Sfortiadein, I.atiamque parant avcrlere gentem. Cuncla sed Intrepldus, veluii qui fluclibus allis Intactas tulo cernit de liltore puppes, Despicit, iustabilis rjdcns ludlbria sorlis. Monte Luco is crowned with a kind of sacred wood of patriarchal holmoaks, 644 SPOLETO. [Book XVIII. which the ancient municipal laws forbid to be cut down, and among which cattle cannot be pastured. One of these oaks, near the convent of Saint Anthony, is seventeen yards in girth and about thirty- five in height : this rival of ihc famous chesnui of Sicily, said to be the largest oak in Italy, is one of those mighlj trees that stand forth the living monu- ments of nature, and attest her strength and duration. The citadel of Spoleto, on a hill, has some remains of Cyclopean walls. The gate called Annibal's, a Roman work of Theodoric's time, bears witness to the resistance opi)osed by this ancient town to the Carthaginian captain, and proves its fidelity to the Kom;ins; it further shows how powerful the towns of Italy must have been to brave such a conqueror and arrest his progress. The cathedral, an interesting monu- ment of the first times of the revival, with an elegant portico in Bramante's style, is ornamented with great and beautiful frescos by the elder Filippo Lippi. It contains the tomb of that ad- venturous artist, a fugitive from the cloister, a slave in Barbary, but freed and honoured for his talent; he died in 1469 at Spoleto, his naiive place, aged more than sixty, from theelTocts of poison administered to him by the relatives of a great lady whose alTections he had won. Lippi, in his youth and when a monk, had carried off a boarder from a convent of I'rato, Lucrezia Buti, by whom he had a son who bore his name and was also a painter, but inferior to his father. Lorenzo de' Slediei, w hen passing through Spoleto, entreated the magislrates to let him transport the ashes of the elder Lippi to Florence, where he intended to deposit them at Santa Maria Novella ; but the inhabitants were unwillitig, and he could only erect this tomb to his memory, a monument of the honours then accorded to talent. The epitaph was written by Polilian : Condilus hic ego sum picturae fama Plillippus; Nulli igDOta inea; est gratia mira muiiils. Artifices potui digllis animaie colores, SperalSque aninios failtie voce riiii. Ipsa meis stupuit naluni expiessa liguris,- Meqiie suis fassa est arlibusesse patera. Marmoteo lumiilo Medites Laurenlius lilc me Condldil ; aule liuuiili puivere leclus etam. The Virgin, by Annibale Carracio, is almost destroyed by a restoration. The chapel of the Relics is charming. The church of Saint Dominick has a superb copy of the Transfiguration, of which the Spoletans are justly proud, and they ascribe it to Giulio Romano. A fine fresco by Spagna, formerly on an interior wall of the fortress, has been placed in the public palace under the superintendence of S. Fontana, ex-gon- falonier, a clever natural philosopher, and an amateur of the arts and antiquity. In the piazza della Porta Nuova, a small Madonno with a blue veil, by the national painter Crevelli, dated 1502, in wonderful preservation, is another mo- nument of the street painting so often found in Italy. The inhabitants of Spoleto, cited by a living Italian writer for their finesse and cunning, ■ carried political fanaticism to the extreme verge of ferocity in the civil wars of the Guelphs and Ghibelines. In one of their ehionielcs I found the fol- lowing horrid tale, which might supply our pointers and poets with a pathetic suliject. When the Ghibelines were setting fire to the houses of their adver- saries, a wom.in married to a Guelph, seeing her Ghibeline brother directing her house to be set on fire, went to the top of the tower with her two children in her arms, and asked him to pity them and herself. The ruthless Ghibeline told her to throw the two embryo Guelphs into the flames, and he would save her; but a mother's love was strongest, and the woman was burnt with her two children. The valley of Spoleto is magnificent, and the town of Trevi, which rises like an amphitheatre on the slope of the mountain, is very picturesque. At the gate of the post town de//e Vene rises the Clitumnus, a river once sacred, sung by Virgd, and ingeniously described by Pliny, who seems to have supplied the name of the place : Uunc sutler fons exit, et exprimilur pluribus venis. The Clitumnus, now a mere brook, is no longer navigable to its source as in Pliny's days. The enchanting site, and the pretty antique chapel of the early limes of Christianity, w ere, I believe, the ori- ginal of Poussin's landscape of Phocion, ' S. Rosiiii. " La scaltfezza d' uii Luccliese, clie avfebbe fatto la salsa agli Spolelini- ' la Monaca di Uoma. Cap. xiv. Chap. Ill] ASSISI. (U5 and it is surprising that they only in- spired Byron with a piece so frigid. Foligno, of twelve thousand souls, is rich, industrious, wcli-buill, and the roads from Rome, Tuscany, and the Marches meet there. The majestic ca- thedral, uninjured by the dreadful earth- quake of January 18:^2, has a baldachin imitated from Saint Peter's, and a good Sposalizio, by Ventura Sulimbeni. Spello, a little town one league from Foligno, is full of antiquities. On the north side, the remains of a Roman gate, called the gate of Venus, are imposing. In 1722 some persons pretended to have discovered the tomb of Propertius, under a house still known as the poet's hou-e and giving that name to the street used as a public promenade. Dy the side of an antique gate in the wall that runs along the road to Rome is a large phallus of stone, sculi)tured wi'.h a singular distich immodestly commemorating the fabulous glory and exploits of Orlando : Orlandi hie Carol! Magiii metire nepo'.is lugeiUes arlus : cajtera facia duceut. Under these verses, travellers are shown the immense pretended measure of the giant, and the supposed mark of the knee, which is very high. The po- pular traditions and Itiilian imaginations really make Orlando the Hercules of the middle ages; they have multiplied his traces, his stories, his labours, not unlike those of the antique hero, and Ariosto only brilliantly embodied these difTerenl traditions handed down in songs and tales for more than six centuries.' Spello possesses the best paintings of Pinturicchio, namely, in the duomo, an Annunciation, a Nativity, the Dispute with the Doctors, his nia.^terpiece, and, at the Franciscans, a St. Laurence, in which a little St John has been thought Raphael's. But Spello is chiefly indebted for re- putation now to the excellent college, reformed and almost founded by Pro- fessor Rosi, one of the best regulated establishments in Italy with ri-sjiect to the teaching, moral principles, personal comforts, and gynmasllc exercises intro- duced by S. Rosi. ' Seeaiite, book xiv. ch. xv. (he (ower of Orlando. The Rout of lloncesvalles, » poem, is one of these palbelic or burlesque songs diffused among the fioman peasants, giveu in part and analysed by CHAPTER III. Santa Maria degli Angeli.— V/sioii of St. FradciJ, by M. Overbeck. — Assist. — Minerva. — Antiquities. — Catheilral. -Saint Clair.— Chiea Nuova.— Convent. — Rapid execution of religious monuments in the middle ages — Under-giound church. — Mauso- leum of Hecuba of Luslgnan. — Giotto's frescos.— On the real epoch of the revival.— Sibyls and I'rophels, by Ingegno.— Portrait o( Saint Francis. — Upper church. -Fresco of Ciraabue. — Tomb of Saint Francis. -Saint Francis.— Frati.— Convent. —Saint Damian.— Carceri. The church of Santa Maria degli An- geli, called also the Portioncula from the ground ceded to Saint Francis by the Benedictines to found his order there, — this majestic church, executed by Galeaso Alessi and Giulio Oanti on Vignola's designs, was greatly damaged by the earthquake of 1832. The roof opened and shut to again, the cupola and lower clashed in falling, and eight columns were broken. In the middle of the church there stood, as at Loretto, a small house converted into a chapel; rude walls. In which Saint Francis had given his rules, and resolved to practice evangelical poverty to the letter. The Vision of St. Francis d'Assisi, a remarkable fresco, by M. Overbeck, is the chef- d'oeuvre of that German and catholic painting, which goes back too systema- tically to the ancient Italian manner and almost to the infancy of the art, but which nevertheless has some naive and graceful details. Dante, like Homer, exact in his des- criptions, gives a picturesque sketch of the situation of Assisi : Fertile costa d' alto raontc pende." This town, dull, deserted, monastic, and full of Saint Francis, commanded by a high citadel now forsaken, and sur- rounded with battlemenled walls and towers, was the birth-place of two ele- gant poets, Propertius and Melastasio. In the piazza, the ancient temple of Minerva, of uncertain epoch and now converted into the church of Santa Maria della Minerva, presents a superb por- tico of fluted columns, under which Mary Graham in the sequel to her TItiee }lontht' Residence in the .fountains near Home. " Parad. xi. i5. 646 ASSISI. [ Book XVIII. sundry antique fragments arc colleclcd forming a small and interesting mu- seum : aqueducts, tombs, a theatre, now a stable and encumbered with buildings of Ihe middle ages, a superb wall (the foundation of the church of Saint Paul ) are other wrecks attesting the impor- tance of the ancient Assisium. Saint RuQnus was modernised by the clever architect of the sixteenth century, Galcaso Aiessi. A fine sarcophagus forms the high allar. The church and monastery of Saint Clare were built by Fra Filippo da Cam- pello, pupil of Jacopo of Lapo, about the middle of the thirteenlh century, not long after the death of the saint, one of those young, handsome, and rich vir- gins, who had followed the example of Saint Francis, and whose hair he cut olT with his own hand. The body of the illustrious and first abbess of the Clarists is tinder the high altar. Near the cross- aisle arc some frescos by Giotto, who painted all the chunh, which have es- caped the mason's barbarous brush. The little church, calleil the Chiesa Niiova, begun in 161-2, occupies the site of the house where Saint Francis was born. The traveller may there see the prison in which he was confined, bound like a madman, by his father, a rich tradesman, who was exceedingly pro- voked at the pious dissipation of his alms, and whence his more compassionate mo- ther delivered him. The convent, on a rock, looks like a fortress at a distance; and though in this respect it resembles Slount Casino, it differs in character.' One is a poor, beg- ging, unlettered, plcbi'ian convent; the other rich, pompous, learned, and aris- tocratic. This immense pile of build- ings, formerly animated with thousands of monks, and in which a dozen are in a manner lost now, was erected in two years, from 1228 to 1230. We have already noticed one example of quick building in the middle ages : > at that time popular devotion, excited by the indulgences preached by the monks, was more liberal and |)ronipt than our budget voles or the i)leasure of princes. Ihe architect, selected from a great number of competitors, was .lacopu of Lajio or il Tedesco, father of the illustrious Ar- nolfo, whom Fra Elia, general of As- ' See ante, book xiv. ch. xii. sise, a great personage in his day, and seemingly too soon forgetful of Saint Francis's precepts of humility and po- verty, had obtained of the emperor Fre- derick II. Saint Konaventure fiercely defended this magnificence ; but we see by Ihe reproaches to which he replied how many enemies the mendicant or- ders had already raised. Item qucero. Cum sancti patres laudentur. incasellis et in vilibtts habitacuUs habitasse, quid est quod vos altas et maynas domos eriyitis, etoratoria suinptuosa, et areas latas magno pretio comparatis, cum sitis pauperes et mendici, et contemp- tores mundanorum esse debeatis ? The under-ground church, gloomy and austere, breaths penitence and grief. On a tomb supposed to be that of Ki- colao Specchi of Assise, chief physician of Pope Nicholas V., is a superb vase of porphyry, according to some antiqua- rians, a present from the Queen of Cy- prus, Hecuba de Lusignan, very obscure despite the beauty of her two names, which recall the heroic expeditions of the firstnations, ancient and modern, the siege of Troy and the crusades. The vast mausoleum of that queen, of 12i0, is by the Florentine Fuccio : the two angels holding the drapery of Hecuba's bed are graceful ; her statue, sitting, has one leg in the air, thrown over the knee of the other, a very singular posture for a woman, a queen, and a church statue, and the roaring lion, over the bed, seems horribly shocked at the sight. Two old paintings are by the brothers Brasca, dukes of Spoleto. Some incidents from the Life of St. Martin, in his chapel, are by Simoiie Mcmmi, the friend of Pe- trarch and painter of Laura. A Cru- cifix and the Virgin weeping, an ex- celicnt fresco by Giovanni Taddeo, a pupil of Giotto, was discovered in 1798. The four poetical compartments of the ceiling of the cross-aisle representing the principal virtues practised by Saint Francis, such as Poverty. Chastity, Obedience, and also his Glorification, Giotto's finest frescos, admirable for shape, attitude, and expression, prove how much he had surpassed his master Cimabue, whose remarkable paintings we shall see in the upper church. Dante, who is said to have given his friend Giotto the idea of these pictures, doubt- » Sse ante, book xi cl). i. Cbap. III.] ASSISI. 647 less alludes to this triumph of Giolto at Assisi in ihe celebrated verses : Credelte Ciiuiibue nella plutura Teller lo cainpu; ed ora ha Giolto il grido, Si cbe la fama di colui s' oscura.' Paintings like iheseshow that the de- signation of epoch of the revival is in- correctly applied to the fifteenth and sixteenth centuries, and that it really belongs to Giolto and the beginning of the fourteenth; those Iwo brilliant cen- turies were the apogee of the art, which shortly after began lo decline. The im- mense Crucifixion, the best Mork of Pietro Cavallini, a Roman mosaist and painter, pupil of Giotto, a work prized by Michael Angelo for its grandeur, presents a number of angels weeping in the sky, and below a crowd of people and soldiers full of variety in expression and costume. A Deposition from the Cross, a skilful group; the Tomb of Jesus Christ, and several passages from his life on the ceiling of this side, are by Puccio Capanna, a Florentine artist, one of Giotto's pupils, who died young. The Stigmata of St. Francis are another masterpiece of this great and jirimilive master. A Massacre of the Innocents, by Jacopo Gaddi, was approved by Ra- jiiiael. The most perfect paintings of this basilic are: the groups of the 5i6y/s and the Prophets, by Andrea of Assisi, a pupil ofPeruginoand a rival of Raphael, who wassurnamed II Ingegno (the Wit) from his marvellous dispositions; he fell blind in the flower of his age, and his iiiisforlune excites our regret and pity iin less Ihiin his talent our admiration. The sacristy h;is some good frescos by Giorgetti, a pupil of Lanfranco, but without his negligence, and little known except at Assisi his native place. In the second sacristy, over a door, is a curious portrait of Saint Francis, by his con- temporary Giunta of Pisa, the oldest Italian mas'ter, withGuido of Siena. The upper church is brilliant and lu- minous, forming an ingenious contrast ' Pxirga'. Ii. 9'i. s Tbe people believed that Saint Francis was concealed in a vault of tbe cliurcb till then inac- cessible, where be was always pra>ing or in ecstasy and would routinui! so to ihe end of the world. This pious search seemed to some persons a liind of profanation aud sacrilege. ^ Kov. 207. with the lower church. The frescos of Cimabue, the best of that Ennius of painting, as Lanzi surnames him, are astonishing for their epoch; Giotto's are still admirable. The body of Saint Francis, discovered in December 1818, and withdrawn from the kind of subterranean sancta sanc- torum where it lay buried, ^ has been placed in a pretty mausoleum of stucco and marble, surrounded by a light pa- lisade, a modern and shop-like refine- ment, which is offensive on such a tomb, regarded by Sacchetti as the first in the world after tbe Huly Sepulchre.^ Saint Francis, sung in sacred strains by Dante and Tasso,^ whose order, founded by him in his twenty-fifth year, has existed more than six centuries without the aid of force or physical means, was one of those powerful men produced by the spirit and necessities of the limes. He had, therefore, for his first disciples and companions men of distinction, young enthusiasts, rich and beautiful maidens, ladies of fashion, and one of the greatest poets then living, Friar Placidus, who had been crowned poet by tbe emperor Frederick II. As to the lower orders, they found in such an institution a kind of emancipation and security, and es- caped serfdom by becoming monks. It is not surprising that the manners and discipline of such a multitude were soon changed for the worse. We have al- ready mentioned the accusations brought against two of them even in Saint Bo- naventure's days, not fifty years after their foundation. The great writers of the sixteenth century are unanimous in exclaiming against the vices of the Frati. Machiavel, who had approved of their institution so far as to say that it had revived Christianity then languishing, and still kept it from perishing by the bad examples of the prelates and clergy, who even approved of the doctrine of Saint Francis as evangelical,' drew the Infamous Friar Timoleo of his Mandra- gora. Arioslo and Castiglione seem unjust and extravagant w hen they accuse < See canto xi. of tbe Paradiso, and tbe sonnets Jiil. and .xx. of Tasso, in the Illd part of the Rime. One of the oldest and most accredited commen- tators of Dante, in speaKingof Danle's youthful re- solution to become a monk, asserts that he wore the habit of Saint Francis for a short lime. 5 Ditcorsi, lib. iii. cap. i. 648 PERUGIA. [Book XVIII. the Frati of cruelty and the most enor- mous crimes." It is demonstrated by facts thai these monks, with all their scandals, had no share in any of the great catastrophes, persecutions, or massacres recorded in history. Tasso pretends that charily, like silence, does not exist in the convents of the Frati, except on paper and the walls.' Perhaps the truest and most ingenious salire on the Frateria is to be found in a letter from Anuibale Caro to his friend Ber- nardo Spina, a somewhat dissolute no- bleman, w ho was inclined to become a frate ; in this letter, a chef-d'oeuvre of taste, reasoning, and eloquence, we read : Non potete voi esser solitario senza esser frate ? Soggiunrete : Che? volete cli io sia romito? j\e ro- mito, ne frate voglio che siate; ma uomo, e uomo da bene, amico di Dio ; ritirato prima in voi stesso, che sard il piu hello eremo che possiate trovare : di poi per appartarvi dagli uomini, ridotto in qualche villa con U vostri libri, con i vostri passatempi onesti, cV esercizj, di cacce, di pescagioni, di agricoUura ; inun' oz,io condignitd, in una religione senza ipocrisia ; tolto dal volgo, non dagli amici ; dalle pompe, non dalle commoditd ; dalle brighe, non dalle azioni virtuose. A questo modo penso io die voi possiate esser consolato,e buono esanto : e non sarete frate. In the present state of ci- vilisation and in the midst of our stirring, elegant, industrious, and improved so- ciety, the Capuchin, with his stick, his beard, his naked feet, his gown, and his wallet, is only a species of modern cjnic, in disaccord with our poetic or purita- nical Christianity, who is derogatory to religion by his hideous aspect, and whose begging, idle, unproductive monathihm impoverishes a country. The two cloisters of Assisi correspond with the magnificence of the church. The Heads of Franciscans, by Adone Doni, the best painter of Assisi, in the sixleenlh century, are of wonderful truth. The refectory, the largest and most superb of its kind, has a great Last Supper by Soliniene, one of his most pleasing and rapid works. • " Ingorda e si crudel canaglia." Sal. V of Ario- slo;Cortegiano, lib. iii. » Let. t. IV. p. 313. ^ Ttiey were constructed in tbe beginning of Ibe fixleentli cenlury under I'aul 111,, nho demolibbed Saint Damian is the monastery of Saint Clare and Clarists; the relics of the saint are kept there, and among them a ring which was given to her by Pope Innocent IV. when he went to dine at Saint Damian ; on the same occasion, having entreated her to bless the table, the loaves were found marked with mi- raculous crosses. At the bottom of the dormitory, is a walled up door, where Saint Clare, armed with the holy Sacra- ment, is said to have repulsed the Sara- cens, after they had taken Assisi and were already scaling the convent. The hermitage of Santa Maria delle Carceri, in the middle of woods and rocks, was the retreat of Saint Francis and his companions, who went to medi- tate there in rustic cells. The church, which is of doubtful origin, and has even been supposed built by Saint Francis, has on its walls one of those speaking crucifixes of the middle ages. In the chapel of the Virgin, a Madonna, an- other antique fresco, is anterior to the saint. The grotto or bed of Saint Fran- cis, the oratory where he almost lost his sight by his tears, are other monu- ments of the labours and holy sorrows of his penitence. In the oratory is the crucifix which he used in his travels and during his powerful sermons. It is re- lated that Cardinal l*eretti, nephew of Sixtus v., had obtained possession of this crucifix and placed it on a rich altar, but that it disappeared by night, and returned to the extremity of his pious grotto, where il still remains. CHAPTER IV. Perugia.— FortiQcalions.- Cliurches.— Saint Peter. — Carved «orli In the clioii-. — Calliedral. — Baroc- cio's Depohiiion fiotn the cross.— Chapel of the convent ofSan Sever.— Siiiiil Augelo— Saint Fran- cis. —Go ii fa lone.— Braccio Forttbracci. Perugia, on a mountain, with its ci- tadel formerly inhabited by the popes, and its fortifications by Antonio San Gallo,' the ditches of which are filled up and converted into a public promenade, with a fine amphitheatre for the game of pallone, to which the Italian are much one of llie Dnest quarters of the town for the pur- pose. The foUoning tlirealening inscription was long legible In the court : Aii coercendam Perusi- norvm audaciam Paulus III (edi/icavil. Ciup. IV.] PERUGIA. 6'.9 addicted, is picluresque, and its rude aspect still accords very well with the reputed ferocity ofils ancient inhabilants, doubtless greatly softened now.' This fine town now appears rather deserted; its population has declined from forty thousand to fourteen thousand ; but it is interesting with respect to art, antiqui- ties, and literature. There are no less than a hundred and three churches at Perugia, without counting thirty regular monasteries and nunneries. The convent of the Benedictines of Saint Peter, one of the most extensive and richest ecclesiastical establishments in the Roman states, was formerly used for the diet of the order. The church, which has some of Vasari's best paint- ings, is more particularly remarkable for the fine wood carvings of the choir, exe- cuted from Raphael's designs. At the church of Saint Dominick, w hich retains notiiing Gothic but a large window of coloured glass at the bottom of the choir, of a religious effect, is the mausoleum of Benedict XL, who died at Perugia in 1304, and not in 1301, a work esteemed for the closeness to na- ture of the pontiff's reclining Qgure, and the grace of the two angels that hold up the drapery. The oratory of Saint Peter the Martyr has a very elegant Madonna by Peru- gino, which has even been attributed to Raphael. The cathedral of Saint Laurence, of a bold Goltiic, has the celebrated Deposi- tion /"rom^/ie Cross by Baroccio, executed while suffering from poison administered to him by certain envious artists in a repast to which they had Invited him. This painting, very well composed, is in a chapel of great curiosity for its coloured windows, the work of P. Francesco di Barone Brunacci, a monk of Mount Ca- sino, and ofCostantino di Rosato, as well as for its ornaments in stucco and wood. A good Sposalizio, by Wicar, replaces the former one hy Perugino, which offered the same beautiful perspective as that of his Saint Peter in the Sixline, a plagia- rism often committed by Perugino, and ■which he defended by saying that he never robbed any but himself; and, in- ' The poison of Perugia, called acquella, was dreaded. Tbis disllcb was nrilten against a pre- late vibo governed in a tiarassing manner: deed, it seems quite allowable for artists as well as writers. This chef-d'oeuvre disappeared at the epoch of the first levy of paintings that followed the treaty of Tolentino, and nothing is known of it. The library of the chapter has several rare manuscripts, among them a Gospel, perhaps of the eighth century, and a Breviary of the ninth. In the church of Santa Maria del Po- polo is a fine picture by GhcrardI, a good Florentine painter, a pupil of Ra- phael, for the upper part, which is grace- ful; and for the lower part, which is spirited and vigorous, by Laitanzio della Marca, a clever artist of the sixteenth century, who quilted the pencil to be- come bargello (chief of sbirri) of Pe- rugia, probably a more important office then than since. At the convent of Camaldulitcs of Saint Severus is a chapel painted in fresco by Raphael, greatly damaged by the carelessness of the monks, but in- debted for its preservation to the atten- tions of the municipal magistrates. The great architect Galeaso Alessi, whose talents were an honour to Pe- rugia, his country, was interred with great pomp in 1572 in the church of San Fiorenzo; but he obtained neither epi- taph nor monument, though his family was rich and in the first rank of society at Perugia : perhaps this family had the weakness to blush for its artist, as if Michael Angelo was not of a house good enough? The curious church of Saint Angelo was built on an antique temple conse- crated to Vulcan, with its materials and those of another temple situated at Ci- vitella d'Arno not far distant; it seems to have retained its ancient cucular form, which is equally appropriate to the re- quirement of christian worship. The oratory of La Gmstizia, with a front ornamented with basso-relievos by the brothers della Robbia, has a fine Virgin by Perugino. The church of Saint Francis has lost most of the chefs-d'oeuvre of painting with which it was formerly adorned. A tolerably good copy of Christ being laid in the sepulchre was substituted for Ra- phael's original chef-d'oeuvre by Paul V., Montlgnor, non lanfa frelta ; Clje a rcrugla c' 6 I'acyueUa. hb 630 PERUGIA. [Book XVIIL who sent llie Cav. d'Arpino to Pe- rugia to execute it. This copy presents certain pieces of clare-obscure which are not in the original, now in the Bor- ghese gallery. ]t is said that the guar- dian of the Franciscans, just before he was despoiled of the Deposilion, cut o(\ those parts and kept Ihein in the sacristy until 1799, when they passed to the mu- seum of the Louvre, and in 1815 to ihc gallery of Ihe Vatican. The chapel of the Gonfalone preserves the religious standard venerated at Perugia, a talis- man invoked by the people when suf- fering under natural scourges ; its solemn procession is not accorded by the bishop but at the urgent request of the muni- cipal magistrates and with the most rigid forinalilies. In the sacristy, several sub- jects taken from the History of St. Ber- nardin, miniature paintings, but the colouring is harsh and tiic figures too long and too dry, are attributed to Pisanello. This sacristy contains the bones of the illustrious Braccio Forle- bracci, an able Italian captain and tac- tician of the flfleenth century, lord of Perugia, the great man of that town and one of the ephemera! conquerors of Rome. But it is impossible to suppress one's in- dignation at the manner in which these glorious remains are shown; the sacris- tan takes them out of a miserable cup- board and throws them on the table for travellers to examine as a kind of curio- sity. It is high time that the patriotism of the Perugians had put an end to this indecent profanation, and consecrated to Braccio the mausoleum he deserves. CHAPTER V. Corso.—Subslruclions.— Public palace.-Luxiiry in dress ismong ladies of llie fourleenlh ceiilury.— Cambiu.— Fountain. -Slatue of Julius 111.— Arch of Augustus. The fine Corso and the piazza del So- prammuro, w hich is parallel thereto, are further remarkable for their immense substructions, that fill the space between the two hills on which the duomo and fortress stand. A part of thefn, executed in the time of Hraccio Fortebracci's so- \ereignty, still bear the name of Muri di Braccio. The \ast public palace, of a fine Go- thic, the residence of the delegate and the magistratura (the municipality), contains the archives of the town. Some twenty years ago, they discovered there a walled chamber, a kind of secret ar- chives, containing precious manuscripts of the time when Perugia was opulent and free. These documents were pro- bably concealed in this manner when the republic was abolished, to prevent their removal to Rome, and the conse- quent loss of the title-deeds of ancient privileges. It is presumed that these ar- chives supplied the article on the sump- tuary laws of Perugia in the fourteenth century, published by S. Vermiglioli, a document valuable as a specimen of the Perugian dialect, and remarkable for (he severity of the measures it contains, which are chiefly directed against the extravagant dresses of the ladies. It seems that the taste for dress was then excessive in Italy , as similar edicts existed at Florence and in the other states, and Dante, an admirable painter of manners, wrote vehemently against it : Non area calenella. non corona, N'uD donneconligiate, non cinlara Che fosse a veder (ilii che la persona.' The hall del Camhio, the Exchange of Perugia in the fifteenth century, is de- corated with frescos by Perugino, who was aided in this work by his pupil II inijegno, as Vasari and his copier Lanzi pretend. These admirable frescos re- present the portraits of illustrious men of antiquity, and in the chapel adjoining divers subjects from the Old and New Testaments, with Perugino's portrait, and they have been ably celebrated by a poet of our own days, S. Mezzanotle, professor at the university. The fountain of the piazza is one of the first and best works of Giovanni Pi- sano, who also sculptured the basso-re- lievos of the first conch. The piazza del Papa has at last re- ceived the bronze statue of Julius III.; this persecuted monument, a martyr of the revolutions of Italy, had remained for some time suspended in the ropes that were used to remove it from the great piazza, and was successively lodged in the palace of the inquisition, in the fortress, and in a dark cellar of the Mo- naldi palace. This statue, of Danli's youth, as the inscription purports : Vin- centius Dante, Perusinus, adhuc puber ■ Parad. sv, (00. CflAP. VI. PERUGIA. 651 fac'iebat, is already of marvellous work- manship, for fuciliiy, nobleness, vigour, and. like many first works of artists and writers, il is free from those defects Ibat sometimes arise from habit, routine, or overweening confidence of talent. The piazza Grirnara ()resenls the finest remains of the Etruscan circuit of the town. The majestic gate flanked with two towers, called the Arch of Augustus, lakes that name onlj from the inscription Augusta Perusia, subsequently added by the Romans. CHAPTER VI. Universlly.— Professors.— Caliinel of anhpology.— Etruscan inscriptions. — Qiiadrigii.— Cahitiet of medals. — Latin inscriplioiis. -Academy of Fine Arts. — Gallery. — Pio college.— Library. — Mad- house.— Headlng-roora. The university of Perugia, the best in the I'apal states after those of Rome and Bologna, is one of the most distinguished in Italy. Founded in 1320, it received numerous privileges from popes and em- perors, and is indebted to the French administration for its magnificent edi- fice, the old convent of the Olivetans, The number of students was from three to four hundred. Some of its professors are men of extraordinary merit; such are : S. Vermiglioli, a celebrated anti- quarian, a clever and indefatigable inter- preter of the monuments of his country, professor of archeology; S. IMezzanotte, a poet imbued with the ancients, an ex- cellent translator and commentator of Pindar, of Greek; the amiable marquis Antinori, an elegant and graceful poet, of Italian literature; Doctor Bruschi, a botanist and good physician, of materia medica ; S. Martini, a learned experi- mental philosopher, of physics. Tb€ French administration likewise extended the course of instruction at this univer- sity. A member of the Consulta of Rome, M. de G^rando, who had contri- buted to this amelioration, received two years after a touching and disinterested token of gratitude from the inhabitants of Perugia ; they sent him a fine painting by Perugino, now at Paris. While the monuments seized by victory were taken from our squares and palaces, this pic- ' See ttie learned description Ihal he has s;iveii of It, which, in accordance with a singular and not unfrequeut Italian cubtom, was published at ture, the prize of an honourable action and the memorial of an enlightened con- quest, reached unnoticed the abode of a man of worth, where it was destined to remain in security from all such violent vicissitudes. The botanical garden counts about two thousand species. The caliinet of mineralogy was presented by S. Canali, ex-professor of physics and now rector of the university. The archeological cabinet, created by the generous donations of dilTcreiil in- habitants of Perugia, and proceeding from excavations made in its territory, is rich in Etruscan inscriptions, of which there are now more than eighty; the longest consists of forty-five lines. The rich ornaments and carved figures of the Etruscan quadriga, a votive offering, according to the authoritative opinions of SS. Vermiglioli and Micali, found in 1810 by a peasant of Castel San Maria- no, make us regret the absence of the other dispersed fragments of this wooden car, and especially its superb basso- relievo of gilt silver restored by M.Mil- lingen, which is now in the British Mu- seum. The figures of the fine yellow and red vase with a black bottom repre- sent a Bacchanal on one side, Admetes and Alceslcs on the other, offering an expiatory sacrifice to Diana, according to S. Vermiglioli,' hul Atalanta and j\Ie- leager, according to the more probable opinion of the abbe Zannoni. The cabinet of medals is select rather than numerous. The walls of the corridors of the Uni- versity, particularly on the second floor, are incrusted with a fine series of Latin inscriptions. The Academy of Fine Arts, in tin; same building as the University, has some good paintings by masters of Pe- rugia arranged chronologically, chiefly proceeding from suppressed churches. One of Perugino's receipts lor the price of a painting is there exposed in a glazed frame. Among the private galleries we may distinguish that of Baron della Penna, which has a masterpiece of Perugino; the gallery of the marquis Monaldi, con- taining a great Neptune on a marine car, ordered of Guido by Cardinal Mo- Perugia in 1831, on the marriage of the marqui.s Ghino Bracceschl «ilh the countess Aurelia .Me- nicoiil. 652 PERUGIA. [ Book XVIII, naldl, le^nle at Bologna, and a sketch of the same pniiiting by the artist; the gal- lery of the Staffa palace, proud of its admirable and most authentic Virgin by Raphael, for the original treaty be- tween the artist and a Count Slaffa long existed in the archives of that family, but is now lost; lastly the Oddi museum, formerly celebrated, but at present great- ly reduced, which boasls no longer its famous Deposition from the Cross, now at Rome; this ivory group, with its nu- merous figures, is a noble, expressive, and natural work, in fact, among the best of that kind ; but there is not the slightest reason to ascribe it to Michael Angelo, any more than a nniliitude of other sculptures in ivory, which, had he exe- cuted them all, would have left him no leisure for anything else. The Pio college, which takes its name from the protection accorded to it by Pope Pius'VII., is managed in a new and superior manner by the worthy professor Colizzi, who is equally distinguished as a professor of public law, a mathema- tician, and a chemist. S. Colizzi makes the study of the ancient languages, which hehassimpliQed, proceed simultaneously Avilh th.U of the sciences; and his flue establishment, which has sixty pupils, would h.ivc more, if the place permitted. The library of Perugia, confided to the enlightened management of S. Ca- iiali, has about thirty thousand volumes; it possesses a fine collection of the fif- teenth century and some curious manu- scripts. The most remarkable of the latter is the Stephen of Byzantium, reckoned one of the best of this Greek grammarian of the end of the fifth cen- tury. The miniatures ofa St. Augustine of the tbirleenth century, representing the Redeemer with several saints and the Beginning of Genesis, resemble the Greek style in their angular and thick folds, and prove Ihiit it was already prac- tised in Urnhria. The Opinions of Be- nedetto Capra, a Perugian jurisconsult, oJ'the year 1 '1.76, without printer's name, was the first book printed at Perugia. The Funeral oration of the young Gri- fone Baglione, assassinated when 22 years old in 14T7, with what motive does not appear, by the lieutenant of the lord of Sasso Ferrato, a discourse by the Pe- rugian scholar Jlaturanzio. who delivered it over the joung victim's grave, is of the same year as his death. The Itine- rary of the Holy Land and Mount Sinai, in Italian, by Gabriele Capodi- lista, of an ancient family of Padua, whose chivalrous French motto {Leal desir) > we have already quoted, though without date or imprint, must a|)pa- rently be one of the good editions of Pe- rugia in the fifteenth century. Besides all the various establishments peculiar to Italy, such as its music school, its two philo-dramatic academies, its two theatres, its society de' filedoni (a society of amateurs of the arts that holds public sittings), and even its new and well-con- ducted madhouse, Perugia possesses a reading-room which receives the different foreign Reviews, and bears testimony to the liberal spirit of the principal inhabi- tants. CHAPTER VII. Tower of Sau Manno. -Borders of Ibe lake.— Emls- saiio. — Island.— PieTt'.— I'alacf. — Frescos of Peru- gino.-Montccoroiia.— Todi. At the hamlet of San Manno, one mile from Perugia, is the celebrated Etruscan tomb, called the temple of San Manno, which was used as a cellar until cleared out by direction of Professor Co- lizzi, a monument remarkable for its arched roof composed of huge square stones. The inscription of three large lines, surnamed by MalTei the queen of inscriptions, and which perhaps was so in his day, is still one of the finest and longest of known Tuscan inscriptions. The aspect of the country bordering on the lake of Perugia, the ancient Trasi- menus, perfectly explains the battle de- scribed by Polybius and Livy, "an action," proudly remarks the latter his- torian, " that Mas one of the few defeats of the Roman people ; " Hcec est nobilis ad Trasimenum pugna, atque inter paucas memoruta populi Romani elu- des. It is easily seen that the consul Flarainius had a confined and bad re- treat along the lake, and one almost expects to see the Numidian cavalry rush from the mountains to intercept him. The superstitious recollection of this disaster produced, to parody the Latin historian, one of the frequent discomfi- tures of the pope's soldiers, who were beaten on that very spot by the army of Lorenzo de' Medici. ' Sec ante, book vii. cb. lU. Cdap. VIIL] CORTONA 655 The emissario that traverses the moun- tain del Lago and maintains the level of the lake, is a repaired Etruscan structure, and one of the most magniflcenl works of Braceio's reign. The waters of the lake of Perugia are azure and limpid. On the Isola Maggiore, one of the pretty isles in the lake, is a convent of Observantines, whence the prospect is superb. At the cittd della Pieve, a small town twenty miles from Perugia, near the lake, is the almost royal palace built by Galeaso Ales.si for the duke della Corgna. The cittd della Pieve, Perugino's birth-place, is also remarkable for its chapel called the Chiesarella, which contains the fresco of the Nativity, one of his most delicious works. The house in w hich the artist was born still existed in 1828, opposite this chapel, but it was barbarously pulled down by S. T****'*, in the following year, to make some ad- dition to his habitation. On the road, at a nunnery in the village of Panicale, are some other less remarkable frescos by Perugino. He seems to have covered the country with his paintings, which are too often misprized and disfigured by clownish ignorance. The Camaldulite convent of Monte- corona, twelve miles north of Perugia, seated on the summit of the mount most justly called Belvedere, and surrounded by a superb forest of firs planted by those laborious solitaries in the savage desert which they have brought into cultivation,— this splendid monastery is at the same time one of the most reli- gious and holy. These reformed Ca- malduiites of the order of Saint Romuald, are both cenobites and hermits : each has a little bouse to himself and a garden which he cultivates, and they do not as- semble or eat together in the refectory more than once or twice a year, besides on the festival of their founder. These compassionate monks succour the moun- taineers their neighbours, and give a cordial welcome to travellers in their house at the foot of the mountain. One is sometimes startled on finding, under the great white robe and the humble con- dition of these anchorets, the bearing, language, and manners of high life; for among them are men who were once of importance in the world, and even a Prussian general of great ability. Such conversions do not surprise those who have contemprated the rocality, and especially the calm, pure, and pious souls that inhabit it. Todi, a little town near the Tiber, founded by the Etruscans, ever menaced and injured by the falling of the hill on which it stands, was formerly powerful, martial, and rich, as the numerous coins still remaining prove. Though out of the way and not easily approached, es- pecially in wet weather, it deserves a visit for its strong antique walls of long square stones, with phalli; for the ruins of its singular edifice, the subject of so much archeological disputation, sup- posed by some persons part of a forum and temple of Mars, or rather of a ba- silic of the earlier emperors, and also for the good architecture of most of its churches. The principal one, the fine church of the Madonna, an assemblage of cupolas cleverly grouped, is one of Bra- mante's chefs-d'oeuvre. CHAPTER VIII. Cortona. — Walls. — Prctorlo palace. — Etruscau Aca- demy.— I.ibiary.— Museum. — Grotlo of [ylha- goras.-Callit'dral. — Saicoph.iguE of Flamiiiius.— Last grand-masler of Malta — Geiii.— Saint Mar- giiret. — Conventuals. — Saint Doiiiinick. — Saint Augustine. —Sania Maiia Ueijli Grazie. — Cbiutl.— Collection.s. — CatlR'dral, — Circus. Cortona, one of the most ancient cities in Italy, on a high mountain, like the other Etruscan towns, is admirably si- tuated. The population is a little above five thousand. Its gigantic Cyclopean walls, of oblong and square stones, hold together without mortar, like all similar constructions. The circuit of the present town is exiictly the same as the ancient, and the modern gates seem to stand in the ancient places. The Pretorio palace is the seat of the Etruscan academy, founded in 1726 by the illustrious antiquarian, Ridolfino Venuli, of Cortona. Its president, called Lucumo, the ancient title of the elective and absolute chief of the peoples of Etruria, whom the Latin historians ho- nour with the title of kin^', may be chosen among foreigners; but he must have a representative at Cortona, called vice-lucumo. This academy has not gone further than its ten quarto vo- lumes of Memoirs, and it does not seem to have participated in the impulse given 634 CORTONA. [Book XVIII. in our days lo the study of Tuscan an- liquilies. The rich library, conDdcd to the ma- nagement of S. Ponbucci, possesses the mutilated manuscript of the ISotH Co- ritane, in twelve folio volumes, a pre- cious collection of conversations on archeology by the learned lords of Cor- tona. A manuscript of Danle is re- markable for the beauty of its characters and miniatures. The small museum is principally re- markable for its Ktruscan antiquities. The figure of most importance for my- thology and the history of art is the bronze" reckoned by some a Victory, by others a Venus, and also the Moon. An antique tomb or Etruscan build- ii.'g, remarkable for the construction of its roof and the large stones joined without cement, has been strangely named the Giotto of Pijthagoras, the iiihaLitanIs of Cortona having from va- nity transposed the 11 of their town, notwithstanding the crime of the Cro- toniates, who burnt alive the most humane philosopher of antiquity, bc- cau.se he advised them to be tolerant. The cathedral, of the tenth or eleventh century, was restored internally at the beginning of the last century by the Florentine architect Galilei. The Gne basso-relievo of the pretended sarco- phagus of Flaminius, representing the Combat of tlie Centaurs and the La- pithoB, or a Triumph of Bacchus, seems to belong to the lioman period of anti- que art, perhaps the times of the Anto- nini. The best paintings are by Luca Sig- norclli, a naliye of Cortona, which town possesses pictures in his three manners; his works are : a Deposition from the Cross and a graceful Communion of the Apostles, in which the figure of Christ seems worthy of the Carracci for colour- ing. This cathedral contains the tomb of the last grand-rnasler of Malta, Giam- battista Tommasi, named by Pius VII. in 1803 and deceased in 1805, an obs- cure successor of lisle-Adam and La Va- lette. The Gesu has a delightful Annuncia- tion by Fra Angelico; a Nativity, a Conception, an Eternal Father, by Luca Signorelli : this last painting is in a triangular form, and of his first manner. The Virgin on a throne with St. Roch and St. Ubald, is by Jacone, thechief of those coarse Epicurean Florentines de- scribed by Vasari ; it is unfinished, doubt- less owing to his relish for jollity and frolic. The majestic church of Saint Mar- garet and its monastery surrounded with cypress occupy the summit of the moun- tain of Cortona. The view is enchant- ing. On the road are some wrecks of Roman thermae frequently given for a temple of Bacchus. The church is by Ni- colaoand Giovanni Pisano, whose names are on the steeple. An old fresco, full of expression, represents the tender Mar- garet, a simple villager of the environs of Cortona, discovering under a heap of stones the body of a man whom she loved. The tomb of this amiable saint, whose penitence was afterwards so aus- tere, is of the thirteenth century. A crown of gold ornamented with precious stones and the silver front of the tomb were gi^'en by Pielro of Cortona, when he received letters of nobility from his country, and ihelatterissaid to have been sculptured from his designs. The St. Catherine is by Barocclo; the Virgin, St. Blase, St. John Baptist, St. Eliza- beth of Hungary, by Empoli ; a Con- ception with St. Louis of Toulouse, St. Francis, St. Dominick, St. Mar- garet, by the elder Vanni. The convent of the Minor Conventuals of Saint Francis, of the close of the thir- teenth century, has the best painting of Cortona, Cigoli's i>/(rac/e of St. Antho- ny's mule, which converted a heretic. The convent of Saint Dominick is an- terior to 1258. A graceful Assumption is attributed to Pietro da Panicale, of Perugia. Fra Angelico is the reputed pain- ter of the picture in the antique style in the choir, with an inscription ofliiO, purporting that it was given by Cosmo and Lorenzo de' Medici to the friars of Saint Dominick, to pray for their souls and those of their fathers. A Virgin surrounded with Saints, much da- maged, is by this exquisite painter; the Assumption with St. Hyacinth, by the younger Palnia. The convent of Auguslines is one of the oldest in the town. In the church are: the Virgin. St. John Baptist, St. James, St. Stephen, and St. Francis, a work in Titian's style, one of the most extolled and mostexiraordinary of Pietro of Cortona ; the Virgin, St. John Bap- tist and St. Anthony the Abbot, by Empoli. Chap. IX. CHIANA.-AREZZO. In a valley to the south, not far distant from the town, is the elogant Santa Maria delle Grazie, called del Calcinajo (of the Lime), from an antique picture painted on the corner of an exterior wall Ola tan-yard, a venerated image, ere now the witness of divers miracles, and parti- cularly of that of the oxen, w hich while ploughing kneeled every lime ihey passed before it. The architecture is not by Antonio SanGallo, as supposed, but by Francesco di Giorgio, of Siena. A Con- ception, an Annunciation, and an Ado- ration of the Magi, works unknown to Lanzi, are by Papacello, a clever artist of Cortona and a pupil of Giulio Romano. Chiusi, pleasantly situated on a hill, deserves a vi^it from the archeological traveller for ils rich museum and various Etruscan ruins, although no vestige is left of the famous labyrinth and mauso- leum of Porsenna in his ancient capital. This monument, with ils three piles of buildings superposed, as given by Pliny and Varro, would be absolutely impos- sible, and is now regarded by men of science as fabulous, symbolical, and imaginary. Some curious collections have been formed by certain learned inhabitants of Chiusi, chiefly by SS. Casuccini and Paolozzi, antiquarian landowners, who seem less to cultivate than ransack their fields and gardens. The Casuccini mu- seum has more than forty sepulchral monuments of marble much injured, and about a hundred in burnt earth, which comprise some elegant figures of men and women that attest the plastic skill of the Etruscans ; forty tombs of traverline, interesting for their forms and Ggures, and, above all, sotne large elegant black vases, independently of bronzes, gold or- naments, etc. The greater part of these monuments have inscriptions which may promote the study of the Etruscan tongue, andare indisputable proofs of civilisation. On one of the flue black vases may be remarked an assortment of children's playthings, which in all ages and coun- tries seem nearly the same. The col- lection of S. Paolozzi, rich in vases orna- mented with paintings, with Etruscan urns, bronze medals, and graven stones, has a stone basso-relievo of a remarkable style. ' See tlio Uisloiiial Iiydraulic Memoirs on tlie Tole CbiQiia, publislied iu i;S9 by tbc Cav. Fus- The old cathedral of the modern Chiusi may be looked on as another Etruscan museum ; and the first christians of that town, now unhealthy and tradcless, with only two thousand two hundred and twenty-six inhabitants, like the christians of Rome, despoiled their ancient temples and ediGces to rear theirchurches. The tomb containing the relics of Saint Musliola is made of an antique column of Numidian marble. The eighteen unequal columns of different marble which support the arches of the three naves, are doubtless part of some ancient monument. The bishop's chamber has a One head of Augustus with the sacer- dotal veil, supposed of Adrian's lime, and in his garden are a number of tombs and capitals, of various orders, in bad condition. The cippus of the church of Saint Francis indicates the existence of a temple of Diana. The lofty column of Ethiopian marble, exquisitely wrought, ofthe Con- fraternity of Death, must have been procured from a basilic. In the prome- nade of Ihe circus, the trees and stone benches are placed alternately with pe- destals supporting Etruscan or Roman fragments, taken from the grottos of Chiusi, the necropolis of Tuscany. CHAPTER IX. Vale of Cliiana.—Casliglione.-Olrao.— Santa Maria deyli fiiui'e.— Arezzo. — Air.— Illustrious men.— Amphitheatre. The vale of Chiana is one of the most splendid monumenlsof cultivated nature, one of those conquests that display the benevolent empire of man and make his true glory. The wonderful fecundity of ils fields is chiefly due to the works of Leo- pold. It appears, however, according to accurate research, that from the tenth to the fourteenth century the course of the Chiana had been skilfully directed, ' and that Italy, which preceded the other na- tions of Europe in most of the arts, was also their mistress in hydraulic science. Casiiglione, a little ancient town, pleasant and well situated, counts Ave thousand three hundred and seventeen inhabitants, enriched by husbandry. The fine parish church (Pieve), of the sombronl, now counsellor and prime minister of the grand-duke of Tuscany. 656 AREZZO. I Book XVUI. close of the fourteenth century, has not lost its character, though it has undergone several restorations. A Nostra Signora and St. Julian, patron of the church, and a St. Michael, by Barlolommeo delta Gatta.a Camaldulile monk of the fifteenth century, an excellent painter of minia- tures, musician, and architect, are works highly extolled by Vasari, but the figures in them are too long. At Saint Francis, the Virgin, St. Anne, St. Silvester, and the Saint, by Vasari, is remarkable In design but feeble in colouring. Haifa mile from Arezzo, is Olmo, so called from an antique gigantic elm. Popular tradition makes it as old as An- nibal's time; its vigorous roots injured some houses near, and it was, on that account, mutilated and destroyed by the French administration. .\t present it is only a black shapeless post, about ten feet high, very dilTerent from the ancient majesty of that proud tree, which ten men could hardly embrace, and which filled a hundred carts with its huge boughs and fragments. The delightful semi-golhic portico of Santa Maria degli Grazie is something like, though of another character, the admirable Loggia of the Lanzi at Flo- rence. Arezzo, an ancient and historical city, one of the three principal Etruscan cities, according to Livy, rises in form of an amphitheatre on lovely hills. The population is ten thousand four hundred souls. When we consider the great number of illustrious or famous men that Arezzo has produced, from Petrarch to Redi, the historian Giovanni Viilani's remark on the influence of its climate appears just, ■ and one might be tempted to take for truth the jest of Michael A ngelo, a native of Caprese, a village of two hundred inhabitants near Arezzo, when he told Vasari that he (Michael Angelo) was indebted to the air of his country for whatever was good in his mind : Giorgio, se io ho nulla di buono nelV ingegno, egli e venuto dal nascere nella sottilitd dell' aria del vostro paese di Arezzo. Perhaps also this vivacity of the air which inspired the genius of su- perior men excited in the common people that crabbed parly spirit with which ' It sito e Carta di Arezzo genera solliliiiimi uomini, 1st. lib. I. cap. xlvil. ' Purgat. xiT. 16. Dante reproaches the inhabitants of Arezzo : Botoll troTa pol venendo giuso RiogUiosi piu die doq cbiede lor possa.'' Divers inscriptions mark the abodes of some of the illustrious Arelines, and make the streets of this little town an absolute Pantheon. Besides Petrarch, Redi, and Vasari, we may further distinguish among the historical Areline : the infa- mous Pietro, the scourge of princes ; Bruni, chancellor of Florence ; 3 Fra Guitlone of Arezzo, a Benedictine monk of the eleventh century, abbot of the monastery of Fonte Avellana.a proficient, for his time, in Greek, Hebrew, Arabic, Chaldaic, Latin, and, above all, inventor of the solfege and restorer of music in Italy ; the poet of thii thirteenth century, Guittone of Arezzo, sometimes confound- ed with the monk, who brought the sonnet to perfection, put in Purgatory by Dante, doubtless for having composed verses without inspiration, and sung rather coldly by Petrarch in his Trionfi : Ecco Gin da Pistoja, Guilloii d"Arezzo ; Guglielmo degli Ubertini, a martial bi- shop and head of the Ghibeline party in Tuscany ; Margaritone, a painter, sculp- tor, architect, and machinist, of the thir- teenth century, an able imitator of Ni- colao Pisano and Arnolfo di Lapo; Spinello, an expressive painter of the fourteenth century ; Albergotti, a great jurisconsult of the same epoch; the lord and bishop of Arezzo, Guido Tarlati, of whom we shall speak here after ; the jurisconsult and professor Marsuppini, the enemy of Filelfo;^ the family of the Accolti, who seem a tribe of literati, two ofwhom, Bernardo, surnamed the unjgue from his marvellous facility as an impro- visatore, and his nephew the Cardinal Benedetto, were celebrated by Ariosto; ^ Cardinal Bibiena, author of the Calan- dria ; Giovanni Torlelii, cameriere of honour to the great pope Nicholas V., librarian of the infant Vatican; Antonio Roselli, an orator and jurisconsult of the fifteenth century, called the monarch of science; Andrea Ccsalpin, the creator of botany, who had a glimpse of the cir- ^ See ante, book x. ch. ill. i See ante, ibiU. 5 OrlanJ. cant. xtvi. St. l, ii. CUAP. X. ] AREZZO. 637 culalion of the blood berore Harvey ; Vezzosi, his pupil, Ihe ladies' physician, a poet and philosopher, Tasso's friend ; Colonel Ouaviani, a good soldier, de- ceased in 1609, who had fought all over Europe, and bore the name of Meceenas, whose descendant he pretended to be, for the friend of Augustus and Horace was also of Arezzo; Marshal d'Ancre, who was killed on the bridge of the Louvre, disinterred, lorn to pieces, and his heart cooked and eaten by the populace of Paris ; Francesco Rossi, pr2elor at Cor- tona, Prato, and Volterra, auditor del Magistrato supremo under Leopold, and a great antiquarian ; Francesco de' Giudici, a critic and scholar of the last century ; Geronimo Perelli, of the same family, the annalist of the literati of Arezzo, of whom he enumerates above five hundred and fli'ty, from Fra Guitlonc to the end of the eighteenth century, and the ingenious Pignotti.' In the garden of the monastery occu- pied by the monks of Saint Bernard, the ruins supposed to be an amphitheatre, though when built and for w hat purpose appear doubtful, are an antique wreck of Roman construction, admirable for its extent and solidity. -''Tlic church delta Picve, the most an- cient of the town, rebuilt in 1216, accord- ing to the inscription on the principal door, presents some wrecks of an ancient temple supposed to have been conse- crated to Bacchus. The fantastic capi- tals, columns, and caryatides, by Mar- chione, an artist of Arezzo in the thirteenth century, exhibit great facility, and might belong to a more advanced epoch. Vasari says that he was charged to repair the interior, to which he applied himself con amore, as this church was associated with his boyish recollections and was the sepulture of his fathers; he wished to be interred there, in the chapel opposite the high altar, belonging to his family, which has recently become ex- tinct. He boasted of having brought the church to life, but it must ever be regretted that the paintings of the old masters of Giotto's school perished in these repairs: the paintings by Vasari, and even his St. George, behind the high altar, though very good, are no compensation for such a loss. The institute of the Fraternitd, ap- ' See ante, l)ools xi. cli. li. proved by bishopGuillemin degli Uberlini in the year 1262, which undertakes to relieve the poor, to protect widows and wards, to rear and provide for orphans, and even to propagate scientific and lite- rary knowledge, is one of those charita- ble institutions arising from the spirit of association which has long existed in Ita- ly, ' and is usually combined with intel- lectual progress. Vasari was one of the benefactors of this institute. In this ve- nerable palace of the Fraternitd, built in the fourteenth century by Nicolao of Arezzo and remarkable for the majesty of its old front, is the museum of anti- quities and natural history, contiguous to the public library of above ten thousand volumes. In the grand Piazza, probably the ancient forum of Arezzo, the porticos of the merchants (Zo/y^/fe), by Vasari, are a very elegant architectural work and the artist's chef-d'oeuvre. The marble statue of the grand-duke Ferdinand III. is by S. Ricci. CHAPTER X. Pefrarcti's bouse.— Well of Tofano, in Boccaccio's novel. Among the illustrious houses of Arezzo, the first is that where Petrarch was born, on Monday, July 20, 1301, in the Borgo dell' Orto, a small street near the cathe- dral, as we are informed by a lengthy inscription put on the outside of the house in 1810. The poet's father, Ser Petracco, Pietro (for it appears that he had not yet a name, which was not un- common among plebeians ), notary of the reformations of Florence, or archivist of the deliberations of the Signiory, had been banished in 1302 with Dante, as belonging to the White party ; and his mother Electa de'Canigiani, a coura- geous woman, shared the exile and troubles of her husband's life. On the very night of Petrarch's birth, Ser Pe- tracco, assisted by other Whiles, had attempted a nocturnal attack, which was unsuccessful, in order to regain his coun- try ; and on returning he found his wife just delivered of a son at the imminent peril of her life. But Ser Petracco did not suffer the long exile of Uante, for he was recalled five years after. Petrarch, ' S>.e ante, book v. cb. y\i. 658 AREZZO. [DooK XVIIl. on his road from Rome, was so well re- ceived at Arezzo, th.il he asserted that town had done more for him, a stranger, than Florence for his fellow-citizen. One of the marks of attention that flattered him most was his being unexpectedly conducted by the magistrates to this house, where he was informed that the proprietor having wished to make se- veral alterations, the town had always been opposed thereto, and had ordained that the place consecrated by his birth should be always kept in the same state. The room on the ground floor that was shown to me as the scene of Petrarch's birth was an ordinary apartment, with- out any vestige of antiquity. Opposite this house is the well near which Boccaccio has placed the scene of the poor Tofano and Monna Ghita his wife, who being shut out at night, like the Angelica of George Dandin, feigned to jump in, but merely threw down a large stone, which stratagem was equally successful in both cases; an admirable comic scene, in which Tofano seems in- ferior to George Dandin, confounded by theSolenvilles; but Monna Ghita crying from the window Allacroce diDio, etc., is very superior to Angelica, who is always speaking like a fine lady. CHAPTER XI. Cathedral.— Painted glass —Allar, by Giovanni Pi- Miio.— Mausoleums of Guide Zarlatl, by Agoslino and Angeloof Slena;— of Gregory X., by Morga rltone.— Chiipel of llie Virgio—Redl.— Archives. —Statue of Ferdinand 1. The majestic Gothic cathedral, of the thirteenth century, is singularly vene- rable. It seems as if its sombre vaults still resound with the words of the archdeacon Hildebrand, afterwards Gre- goiy VII., when he pronounced from the pulpit the chastisement of the spoilers of the church, and perhaps gave Dante the idea, the inspiration of some of the torments of his Inferno. Over one of the lateral doors are suspended some enormous elephant's tusks, probably fos- silc, which the local patriotism of the Aretines will have proceed from the ele- phants of Annibal, that glorious captain, whose traces are found at every step on this road. Four of the compartments of the nave ceiling, ornamented with stars of gold on an azure ground, dale from the year 1341, and are by the painters Andrea and Balduccio. The compart- ments of the middle nave were executed in 1500 and 1520 by the Florentine Nofclli and Guillaume de Marseilles, a French painter and Dominican, after- wards a secular priestand priorof Arezzo, a clever imitator of the great figures of the Sixtine; he also did the brilliant painted windows, one of which, the Calling of St. Matthew, excited Vasari's unbounded enthusiasm. We there find, says he, i tempj di prospettiva, le scale e le figure talmente composte, e i paesi si propri fatti, che mai non si penserd die siano vetri, ma cosa piovuta dal cielo a consolazione degli uomini. The Crucifix of the old painter of Arezzo, Spinello, is an expressive composition, despite the singularity of the liltle angels holding cups lo calch the blood trickling from the Saviour's wounds. In the cha- pel of Saint Matthew, marvellously paint- ed by Fianciabiagio, a German seems living. A skilful St. Ulary Magdalen is by Pietro della Francesca, a great Florentine artist of the fifteenth century, who lost his sight at the age of thirty- four; the St. Ignatius, the Madonna welcoming the people of Arezzo, re- commended by their protectors, are by two good painters of the country : the first an abbot; the second a gentleman, his pupil. The basso-relievos and small statues of the altar, by Giovanni Pisano, notwithstanding the ordinary monotony and the unhappy choice of his forms, may be regarded as one of the best works of the time and of the artist. The middle compartment represents the j)/at/onna with St. Gregory, the portrait of Pope Honorius IV., on one side, and St. Donatus, the protector of Arezzo, on the other. The basso-relievo of the Death of the Virgin is very touching; but the St. John blowing into a censer a|)pc'ars, in so sorrowful a scene, engaged in a very vulgar occupation, which also swells his cheeks and deprives his coun- tenance of the expression of grief which it ought to have. The mausoleum of Guido Tarlati, lord and bishop of Arezzo, erected, from l;{20 to 1330, by Angelo and Agostino ofSiena, was perhaps the most remarkable that had then been erected since the first days of the revival, and many a year elapsed before there was anything to approach it. Giotto, the friend and admirer of i Chap. XII. ] AREZZO. 659 these two ailisls, who probably aided them with his advice, though he does not seetn to have made the design, as some have supposed, since the age and reputation or A ngelo and Agoslino would hardly allow them to execute the plan of another, had recommended them to Pietro Saccone di Pietra Mala, Guido's brother. It must be confessed, too, that the history of the ambitious and warlike prelate, a prince and chief of the Ghibe- lines, interdicted and excommunicated by the pope, one of the great men of Italy, was singularly diversified and dra- matic. The dilTerent subjects of this history, such as the Crowning of the emperor Louis of Bavaria at Milan, the taking of towns and castles, are seen in sixteen compartments: their little G- gures, distinct, natural, and elegant, are worthy of the best times, and several, those for instance in the compartment entitled Morte di Messere, are noble and very pathetic. The tomb of Gregory X., executed about 1277 by Margaritone, is remark- able for the simplicity of the ensemble and the taste oflhe draperies. This pope Gregory, though not formally canonized, is honoured as a saint at Arezzo. He died there, after being obliged by the overflowing of the Arno to pass over a bridge at Florence ; and as he had some time before laid that city under an in- terdict, he thought proper to give it a provisional blessing, lest it should be said that a pope had gone through an accursed city, but he interdicted it again when he got out of it. The old baptistry presents, on the wall, a fresco of St. Jerome in the desert, expressive l)ut dry, attributed either to Giotto or Spinello, and in good preservation. At an altar near, is the Martyrdom of St. Donatus, an energetic composition, with a well rendered triple effect of light; it is in Guido's manner, and began the reputation of S. Benve- nuli, a native of Arezzo. A new chapel, consecrated to the mi- raculous image of the Virgin, constructed by the Florentine architect del Rosso, is decorated with recent paintings, among which are a great Judith, by S. Benve- nuti, and opposite, Abigail going to meet David, by S. Sabatelli, a rival performance, which is not inferior in design, and excels in colouring. The elegant mausoleum of Redi, for- merly at the church of the Conventual Minorites, was, when that was sup- pressed, removed to the cathedral. Redi, a natural philosopher of acute observa- tion, a reforming physician, and a good poet, is, with the Arabians, Fracastor and Haller, an additional example of the singular relations existing between the art of poetry and the science of medi- cine.' The archives of the cathedral, which Mabillon was refused a sight of, on the pretext of the Holy Week, but really be- cause they were not then presentable, have been since put in order and ar- ranged according to date. They con- tain about two thousand documents, among which are diplomas from almost all the emperors, from Charlemagne to Frederick II., in favour of the church and bishop of Arezzo, valuable monu- ments of diplomacy. In the piazza of the Duomo, the marble statue of the grand duke Ferdinand I. is by Giovanni Bologna, and one of his best pupils, the Frenchman Francheville or Francavilla. CHAPTER XII. Poblic palace.— Vasari's house. -Badi8.—B8cci museum. The public palace, built in 1332, ori- ginally Gothic, but barbarously moder- nised during the last century, was an- terior to the Palazzo Vecchio of Flo- rence, where public meetings were still held in the churches. It presents some paintings by artists of Arezzo, the best of which is the Gonfalone of St. Roch (banner of that confraternity), represent- ing divers incidents of that saint's life. The house of Vasari {StradaS. Vito), now belonging to the counts of Mon- tauti, has undergone little change, and presents several of his best ornamental paintings. The elegant church of the Badia of Santa Flora offers one of those cupolas of architectural painting, extraordinary for perspective, by the famous P. Pozzi, In the ancient refectory of the cloister, the Banquet of Ahasuerus, a vast com- position by Vasari, given by him to h\& natal town, and containing his own por- trait under the guise of an old man with a long beard, is one of the few works that would have immortalised the artist's ' See aii(e, book v. cb. ivlil. 660 CAMPI.-PRATO. [Book XIX. name, had he been wise enough to paint less. The hall of the Ahasuerus is the place where are held the sittings of the Arezzo Academy of sciences, letters, and arts, which has taken the title of Pe- trarca. The museum of the Cav. Bacci, who also possesses the rich Rossi collection, is justly celebrated among antiquaries. The most important are : a great Etrus- can vase found near Arezzo, and repre- senting the combat of the Amazons ; a collection of red vases, of which there seems to have been a manufactory at Arezzo, moulds having been found there ; a secespita, or sacrificial knife, and a large Etruscan coin weighing more than two pounds. S. Bacci, one of whose ancestors, Ludovico Bacci, is supposed to have been ihe natural father of Pietro Aretino, is descended from that Guallero de' Bacci, an intimate friend of Leo X. and captain of his guards, an employ that Ariosto coveted, which he upbraided his relative Annibaie Malaguzzo for not having procured, and which he seemed really worthy to fill under such a pope: Cugin, con quest" escmpio vo' che spacci Qiici Che cieJon die 1' papa porre innanfl Mi debba a .Neri, a Vanui, a Lolli, e a Bacci. At one mile from Florence stands the antique monastery of San Salvi, which has in the refectory a Cenaculum, an admirable fresco, a chef-d'oeuvre of An- drea del Sarto. It was here, in 1312, that the emperor Henry VII., the hero and ally of Uante, encamped, when, ex- cited by that emigrant of genius, he be- sieged the poet's native town, which, without compassion or clemency, was to banish him for ever from its bosom. BOOK THE JNINETEENTH. ROAD FRO.M FLORENCE TO GENOA.— PRATO.-PISTOJA.-LUCCA.-MASSA. SAUZANA. CHAPTER L Campl. — Statistical ptienomenon.— Prato.— Callie- dial. -Pulpit by Donalello. — Paiiilings by Lippi. — Mausoleum of Carlo de' Medici.— Carceri.—Pre- lorio palace.— Cieognini College. — Monlemuilo. Six miles from Florence, Campi, a large town washed by the Bisenzio, of- fers a picturesque caslle which was fre- quently taken and ravaged in the wars of the middle ages, and a church, a pious foundation ofthe same period, but stripped of every thing characteristic by repealed renovations. This town owes its pre- sent fame and the easy circumstances of its inhabitants to the sale of straw hats. Such is the prosperity of the territory of Campi, that it presents the statistical phenomenon of nine hundred and ten persons per square mile. The small town of Prato is remarkable for its cleanliness, the developement of i its industry, and the works of art in some of its monuments. The cathedral and its elegant tower, of Ihc fifteenth century, are ^till Gothic. The basso-relievo of Uie Virgin, between St. Stephen and St. Laurence, over the principal door, is by Luca dclla Robbia. The little children dancing that decorate the pulpit on the piazza where the mi- raculous cintola (girdle ofthe Virgin) is shown to the people, are reckoned the most charming of Oonatello's ever grace- ful children. The bronze Crucifix of Tacca is extolled. The paintings of the choir, by Filippo Lippi the elder, per- haps his best work, have been deservedly praised for design, colour, draperies, and expression ; in Uerod's feast, the author has given his own portrait among the spectators, in the person of a prelate in black clothes ; and in the Life of Stephen, he has painted his favourite pupil, Fra Diamante, among those who arc bu- Chap. I. ] CAMPI. 661 ryinglhesainland sopalhetically mourn- ing his death. We may further distin- guish in the different chapels a St. Laurence, by Balassi, whicli doubtless escaped the fatal changes thai this Flo- rentine artist of the seventeenth century had themania of operating on his earlier works in his old a^e; the Virgin giving her girdle to St. Thomas, by Rodolfo Ghirlatidajo; the Guardian Angel, hy Carlo Doici, and especially the St. Ber- nard in his cofiin surrounded by his dis- consolate monks, another of Lippi's line productions. The balustrade of the chapel of the Madonna della Cintola is a rather elepanl work of Simone, Dona- tello's brother. The marble pulpit, with basso-relievos representing subjects taken from the history of the Virgin, by Mino of Fiesole, is so perfectly wrought that it ceems of one piece. The Virgin, on the mausoleum of Carlo de' Medici, by Vincenzo Danti, though of broad style and fine forms, is somewhat cold ; the infant Jesus is esteemed for his ingenuous air, and the deep feeling of the execu- tion. This Carlo de' Medici, a bastard, the fruit of the youthful errors of the Father of his country, though a canon of Florence, and archpriest (proposlo) of Pralo, lived in retirement at Rome, occu- pied wiih art and literature. Cosmo and his brothers commissioned him to pur- chase medals and manuscripts, and thereby he again appeared worthy of the Medici blood. The elegant church of the Madonna delle Carceri (thus called from the mi- raculous image placed over a window of the ancient prisons) is of Giuliano San Gallo's architecture. His brother An- tonio, one of the four great archilects of that family, has executed the rich high- altar. A God the Father crowning the Virgin by the hands of angels, several of w horn are playing on different instru- ments, is by the Florentine Soggi, an ac- curate and careful painter, but without genius, preferred for this work to Andrea del Sarto by the canon of Prato, Baldo Magini, a friend of Leo X., who had or- dered it. The personage kneeling be- fore the bishop, St. Ubald, represents Baldo. The Pretoria palace, now a court of justice, the old residence or fortress of the Guazzaliotri, a Guelpb family of ' See ante, booli x. cli. \1. Prato, which, after aspiring to the sove- reignty, was at last driven into exile and had all its property confiscated, is allied with reminiscences of the stormy liberty of that little republic, too often subservient to Florence. The college generously founded by a citizen of Fralo, Francesco Cicognini, and at first confided to the Jesuits, is a hand- some building, which contains a superb theatre and lodges the grand duke when he comes to Prato : though occasionally a palace, a court, and a theatre, 1 have not heard that this kind of frivolity has affected the regime of the establishment or the solidity of the studies. Saint Uominick was probably erected at the impulse of the celebrated cardinal Nicolao di Pralo, one of the great men in education and polilicsof the thirteenth century, who had attended the lectures of Saint Thomas at Paris, was papal le- gate in Tuscany, Romagna, the province ofTrevisa,and whose jurisdicllonextcnd- ed over the state of Genoa and the islands of Corsica and Sardinia. On passing through Florence, Nicolao had attempted to conciliate the differences between the nobles and the people, but being equally suspected by Blacks and Whites, he was* forced to leave the city, which he anathe- matised. At his death he left a consi- derable sum to enlarge the convent and church of Saint Doniinick, monuments remarkable for the history of the art, though modernised in some parts, and by Giovanni Pisano. Two paintings full of nature are by the elder Lippi. On the road from Prato to Pistoja, and five miles from the latter place, is the castle of Montcmurlo, an unfavourable position at the foot of the Apennines, \^ here the Florentine emigrants, the last and impotent avengers of their country's liberty, were defeated and taken on the 1st of August la'.i'. The chamber is still shown in which was confined the illustrious Filippo Strozzi, the Cato of Florence," the prisoner of Alessandro Vitelli, less a warrior than a brigand, till now regarded as the only conqueror of that field, whereas he ought to share the sad honour with Bomb;iglino of Arezzo, a less famous chief, whom Cosmo I., as tyrants are wont to do, at last deprived of his liberty oa slight pretexts.* - See Ikc details on Ibe Rolta di Montemiirta, 56 PISTOJA. [ Book XIX. CHAPTER II. I'isloja.- Accenl.—Duumo.—AIIar.— Mausoleums of Cardinal Foilcguerri ; — of Cliio.— Baptistry. — Sleeple.— Saint John.- Holy Ghost Organ.— Holy Sacrament. -Saint Peter.— Virgin, by R. Gliirlan- dajo.— Santa Marl] del Letto.— Carmine. Pisloja, with straight wide streets and fine edifices, seems deserted; its popu- lation does not exceed ten thousand souls. Its accent is deemed, w ith that of Siena, the purest in Tuscany. The antique cathedral of Pisloja abounds in oi)jects of art of the great- est magnificence and highest interest. Founded in the beginning of the twelfth century by the countess Matilda, It was restored in after times by Nicolao Pi- sano. Over the piincipal entrance, the basso-relievo of the Virgin, angels, and seraphim, as also the flowers and fruits of the upper window, are by Luca and .\gostinodella Robbia. An antique urn, in the ward-robe, with a basso-relievo of the best style, contained for more than seven centuries the bones of Saint Felix, priest of Pisloja. The tomb of the bi- shop Leone Strozzi was ordered by him and executed at Carrara in his lifetime. In the chapel of Saint James, the silver altar, arivalofihe rich and brilliant altar in the bafitislry of Florence, a cuiious monument of silversmith's art and sculp- ture of all the fourteenth century, co- vered w ith subjects taken from the saint's life, or Rible history, is by the cleverest artists and workmen of the epoch, such as Leonardo di Ser Giovanni (who is not the sole author, as Vasari and other writers have said). Pier, a Florentine goldsmilh, Andrea Jacojjo Ognabene, a goldsmith of Pistoja, Peler Henry,' a German settled in the same town. Two of the Prophets, at the extremities, are by the great Brunelleschi and worthy of him. A /?e.5Mrrecf?on in the gallery, the largest pninling by the third Bronzino, is unfinished owing to the indolence and caprice of the artist, who was also to have executed the Ascension and the Descent of the Uohj Ghost, confided to Florentine painters Veli and Pagani Two small paintings by Vasari, formerly near the tabernacle, are very good. The extracted from the inedlted manuscripts of the marquis Ludovico Tempi, published t. xliii. p. |0j, of the Aiilolog/a. Eternal Father in the midst of angels, and the other frescos of the ceiling, are' by Passignano, and were done before his visit to Rome. In the chapel of the Holy Sacrament, the Virgin, the infant Je- sus and two Saints, a justly celebrated painting, by Credi, has been attributed lo Leonardo Vinci, whose style the au- Ihor successfully imitated. 'I he marble portrait of the bishop Donato Medici, an elegant basso-relievo by an unknown author, is perhaps by Rernardo Rossel- lini. The altar of the Madonna delle porrine or pustule, preserves the vene- rated antique picture which formerly healed that cutaneous malady — a fresco prior by about a century and a half to ihe revival of painting at Florence. The painting of the Saints Balontus and Didier, at the Buonfanti altar, is by Ca- labrese. The St. Bartholomew, poor in design, on the altar of the Sapienza, was painled by Bonecchi, a Florentine artist of the last century, when eighty years old. The tomb of Kicolao Forteguerri (Carteromaco), an illustrious prelate of the fifleenlh century, ancestor of the merry author of Ricciardetto, also of Pistoja, was begun in 147i by Verroc- chio, and terminated by Lorenzetto. The Faith, the Hope, the God the Father in the midst of angels, are also by Vcr- rocchio, but unfinished, on account of his departure for Venice, where he had orders to erect the Colleoni monument, which his irritable self-love was destined to render so fatal 'to him.» The mausoleum of Cino da Pistoja is not, as often stated, by Andrea Pisano; but an uncertain Sienese artist, perhaps Gore di Gregorio. Cino, the honour of Pistoja, a great jurisconsult, professor of Roman law, and a graceful poet, was the master of both Bartolo and Petrarch, who so tenderly lamented him,» and the friend of Dante, like himself a Ghibeline, and of Boccaccio. The two basso-re- lievos represent him gravely seated in his chair, which he had nobly preferred lo the dignity of gonfalonier of Pistoja. In each of these basso-relievos may be observed a woman standing, doubtless Cino's Selvaggia, the object of his poe- tical flame : Che viva e moria II dovea lor pace, ' Seeajife, book VI ch. iviii. * See the fine sonnet: riangete, donne, e con vol piaoga Amorc. Chap. II. ] PISTOJA. 663 and Ihe less illustrious companion of Laura and Beatrix. The elegant Bap- tistry and its flne sculptures are by An- drea Ferrucci of Fiesolc. The steeple, an antique tower, perhaps the abode of the podestates of the people, w hose arms are still visible, owes its present form to Giovanni Pisano. Saint John Rotondo, octagonal and surmounted with a pyramidal leaden roof, appears of the beginning of the fourteenth century. It is incrusted ex- ternally with black and while marble, and would be, according to Professor Ciampi's conjecture, like all similar build- ings, a monument of the reconciliation of the Whites and Blacks, factions which sprung up at Pistoja.' The small sta- tues and basso-relievos over the door are by INino and Tommaso Pisano, the sons and pupils of Andrea, if they are not older. The church of the Holy Ghost seems the culpable performance of a coalition of the flrst masters of the decline : the plan is by the Jesuit Ramignani,a worthy pupil of the P. Pozzi ; the head of St. Xavier among the infidels is by the lat- ter, who may possibly have done the w hole picture ; several altars are by Bor- romini ; llie ricli iisgri-altar is by Ber- nini, and Our Lord appearing to St. Ignatius, by Pielro of Coitona. The four beautiful columns of vert antique at the high altar came from the villa of Pope Julius HI., and were torn from Vignola's chefs-d'oeuvre to be thrown amidst all these horrors. The organ, built by the Flemish Jesuit Joseph Her- mann, who also made the famous organ of Trent, is boasted for its sweetness, variety, and harmony, as one of the won- ders of Pisloja. The roof of the churcfi of the Holy Sacrament is painted by Moro Tesi. A Resurrection, a picture by Lanfranco, passes for the best in the low n. The antique church of Saint Peter Major, of the eighth century, formerly appertaining to the nuns of Saint Bene- dict, whose abbess, in the middle ages, solemnly espoused the bishop, when he took possession of his see, now belongs to the Franciscan nuns. It was rebuilt in the thirteenth century, and the archi- trave over the grand portal, with the Christ, the Virgin, and Apostles in dif- . » Vita di Cino, Car. (54. ferent niches, of nearly the same epoch, are admirable works for composition and drapery. The present heavy architec-, ture is by P. Ramignani. A good Vir- gin with St. Peter and St. Paul, of 1509, is by Gerini Gerino, of Pisloja, and has not been removed to the Florence gallery, as Lanzi supposed. A Virgin oti a throne with St. Sebastian, St. Gre- gory and two other saints, by Rodolfo Ghirlandajo, in Raphael's style, is the Gnest painting at Pisloja. The new or- gan is reckoned the best yet executed by S. Tronci, a clever organ-builder of Pis- loja, which town is noted for these in- struments. The suppressed church of Saint Didier still presents the elegant and majestic fresco of the Martyrdom of the ten thousand crucified, by Sebastiano Vini, a Teronese painter of the sixteenth cen- tury, who settled at Pisloja. The pre- servation of this fresco is due to the pa- triotic amateur, the Cav. Giulio Amali, the purchaser of the properly, and wor- thy of his ancestor Donieuico, by whose order it was painted. The Annunziala has some good pic- tures : the Presentation at the temple, Vini's masterpiece: the painting of the choir, by tlie i/ominican r ra i'aoiino uei Signoraccio, the pupil, friend, and heir of Fra Barlolommeo, or by the second Leonardo INIalatesta, another good pain- ter of Pistoja ; a IS'ativity of the Virgin, by Cigoli, a work of the highest order for strength of colouring, boldness of pencil, and skilful manat^ement of the light; the six lunettes and five portraits of cardinals, in the cloister, by Poccetti. The antique church of Saint Bartholo- mew in Pantano has some old monu- ments of art and several paintings : Ihc sculpture of the architrave, Christ send- ing furththe Apostles to preach, of 1167, by an unknown author; a pulpit, of 1250. resting on three columns, with the Na- tivity of Christ, by Guido da Conio, ono of the first imitators of Nicolao Pisano ; a Crucifix of wood with Greek letters, anterior to 1187; the Virgin, St. Bene- dict and other saints, by Bulteri; St. Sebastian, by Malleo Rosselli; the 5(. Peter Igneus receiving the cardinal's hat. one of the few works of Cipriani, a painter of Pistoja and pupil of Hug- ford ; he died at London in 1790, and the engravings ofBartolozzi will give perpe- tuity to his drawings; in the sacristy St. 664 PISTOJA. [Book XIX. John the Baptist, St. James, St. Sebas- tian, by Rosscrmini, a reputed pupil of Perugino. Saint Laurence has a Deposition from the cross, by Fontebuoni, of Pistoja, who died young, and a Repose in Egypt, by Veracini. At Santa Maria del letto, so called from a bed of the old hospital, preserved there, as a memorial of the cure of a sick person by the Virgin's intercession, are : the Martyrdom of St. Catherine, by Naldini; the Virgin with St. Cathe- rine, St. Jerome, and other saints, by Fra Paolino del Signoracclo; a Crowning of the Virgin, y,h\ch was long counted among the finest works of Daniello of Volierra, but is now ascertained to be his clever pupil's, Benedetto Orsi; the Virgin on a throne and several saints, by Credi, ranked by Vasari among the best paint- ings of Pistoja ; a Virgin in the midst of saints, by Vini, feeble in colouring, good in the design and draperies, con- taining several contemporary portraits : it is pretended that the female counten- ance given to Satan is the likeness of a noble lady of Pistoja, called la Bella Cecchina, who had jilted the painter; Christ, with the Virgin, St. James, and other saints, a piiintir.g badly retouched, by Popjii, a pupil and imitator of Vasari. The hospital called the Ceppo has seven compartments on its outside representing difi'erent acts of charily, excellent and expressive works, by the brothers Gio- vanni Luca and Geronimo della Robbia : the figures in white gowns with a black scapulary are in the costume of the friars who then tended the patients. The pretty church del Carmine has a Virgin on a throne, St. Nicholas, and other saints, by the second Leonardo Malalesla, and the Fall of the manna in the desert, a fine painting by Cigoii, which he presented to the canon Baldi- notli, who had rescued him from the hos- pital, and in which the too grateful artist is said to have given Moses the likeness of the canon. CHAPTER III. Saint Plillip. — Fabroniana lihrary. — L'Umilit,''.— Sainl Jobn Ibe Evangelist.— I'lilpil. — Saint Donai- nick.— Mausoleums of Lazzaii srid Rossellini — Saiut John tlie Baptist.— liisUops palace. — lUcei. — Saiut Fraucls.-Carradori.— Saint Andrew, The cupola of Saint Philip of Neri, by Ferrelti, a spirited and picturesque pain- ter of the seventeenth century, is es- teemed, and reckoned the best of his frescos. A fine Flagellation is by Lan- franco. The venerated portrait of the Saint, by an artist unknown, was, it is said, executed clandestinely by one of his disciples, a painter. The ancienllibrary of the Philippines, a present from Cardinal Carlo Agostino Fabroni, and chiefly composed of eccle- siastical books and manuscripts, is now superintended by the canons of the ca- thedral. The building is superb. Some of the sculptures are by masters of the decline : Cornacchini, who was a native of Pistoja, made two groups of the ves- tibule, and Algardi a bronze Crucifix. The magnificent temple of Santa Ma- ria dell' Vmilild, which has one of the finest cupolas in Ruly, and only wants a front to be complete, honours the talents of an architect of Pistoja, Ventura Vi- toni, a distinguished pupil of Diamante, disparaged by Vasari, who, being en- gaged to carry on his beautiful and ori- ginal work, spoiled it by superadding bulis'-eyes and a lantern. Several paint- ings are remarkable : a St. James, in the antique style, is ascribed to Gerino; a Itepose in tlgypt is among the best works of Lazzaro BahJi, a distinguished pupil of Pielro of Cortona: an Adoration of the Magi, by Francesco Vanni, and one of his best works, but injured by re- touching; an Assumption, by Poppi ; a good Annunciation, by Fci. a pupil of G hirlandajo. On one of the altars, among a number of ex-volo offerings in silver, may be seen the laurel crown awarded at the Capitol to the celebrated Madda- lena Moreili Fernandez, a simple pea- sant of the environs of Pistoja, well known under the Arcadian name of Go- rilla Olimpica, and which she piously con- secrated to the image of the Madonna. The architrave ofSaint John the Evan- gelist has this Gothic distich under a Last Supper : Cenans discipulis Ohi istus dot verba salutis ; Cena novaiu tribuit legem, veleieui qiioque Quit. The pulpit of this church, of about the end of the thirteenth century, adorned with several heads full of life and energy, appears the work of one of the best pupils and imitators of Nicolao Pisano. The basso-relievo of the Visitation is by the Chap. III.] PISTOJA. 663 brothers della Robbia; the Vision of St. John, by Conca; the Annunciation, by Vini, one of his good works; the fine group of the Divine Virtues, which supportstbeholy-watervase, by Giovanni Pisano. The door of the church of Saint Paul is perhaps by Giovanni Pisano, as well as the little statue set on the triangular summit of the front. The Christ in a glory and St. Gaetan is a boasted work of the Neapolitan painter De' JMatleis. fra Paolino del Signoraccio has imitated some heads from his illustrious master Fra Bartolommeo, in his Virgin on a throne in the midst of saints, among whom he is said to have placed the por- trait of their famous brother Dominican Savonarola. The church of Saint Dominick has some few works by the first masters in painting and sculpture. The Virgin with the infant Jesus in her arms, a fresco by Fra Bartolommeo; St. Charles Borromco raising a cltild from the dead, by Empoli, containing portraits of the Piospigliosi family ; the tombs of the parents of Clement IX., by Bernini; a Crucifixion with the Virgin, St. John and St. Thomas Aquinas, who is em- bracing the cross with enthusiasm ; the Adoration of the Magi, by Fra Paolino, who has painted himself in the latter picture ; 5^ Dominick receiving the rosary from the Virgin, by the third Bronzino, who is seen in the background violently disputing about the price of the painting with the sacristan of the convent, who appears utterly unmoved ; the ele- gant tomb of the professoroflaw Lazzari, by Bernardo Rossellini, which has an expressive and well composed basso- relievo representing his ciassj an As- sumption, by IMalteoRosselli; a St. Mi- chael, by Francesco Romanelli; in the sacristy, the Virgin, St. Catherine of Siena, Magdalen, and St. Dominick, by Fra Paolino; St. Sebastian, St. Jerome andabishop of the order of the Gesuati, • by Ghirlandajo. The church of Saint John the Baptist is another fine structure by the great architect of Pistoja, Vitoni. Among the paintings may be remarked : a Virgin on a throne, by Fra Paolino, to which a sorry painter of Pistoja of the last cen- ' An order founded in HOT by Saint John Colom- bini of Sieua, and suppressed in ICCSby Clemcnl IX. tury, Luca Gucrci, has unluckily added a St. Anthony; a Visitation and He- rodias dancing, by IMelissi, a good Florentine painter of the seventeenth century. The bishop's palace, sumptuous and convenient, built in 1787 by the famous Scipione Ricci, would hardly besupposed the abode of a reformer, and its magni- ficence contrasts in a singular manner with the se\ere doctrines of Port Royal, which Ricci had attempted to transplant beyond the Alps. The seminary, of a much more bumble aspect, was also built by Ricci. An an- cient church, from Vitoni's designs, is made its chapel. At the high altar of Santa Maria degV Angeli is an Annunciation, by Luti, an excellent work unnoticed by Lanzi, and for some time attributed to Guido. The grand arch of Saint Francis, by a German architect, although of 1291, is not in ogive. Saint Francis contains the tomb of the learned physician, naturalist, and agricultural writer Carradoii, by Pralo, one of the most zealous propaga- tors, in Italy, of vaccination, which he had essayed on his own son. This church and the convent offer some good and curious paintings : Vae. Annunciation, by Baldi, in which the erudite painter has drawn the Virgin standing, the Hebrew mode of praying ; a Nativity, by an unknown author, for grace and sweetness worthy of Andrea del Sarto; a Purifi- cation, by Poppi, ideasing in expression and colouring; in the antique chapel of Saint Louis, in the sacristy, the amazingly preserved frescos of Puccio Capanna, pupil of Giotto, nearly all whose paint- ings have perished ; a St. Francis on gold, by Lippo Memmi, from Simone's designs; the Resurrection of Lazarus, by the second Bronzino, who has repre- sented the donor Sozzifanli under the features of the Frate ; the Marriage of Cana, by Pagani, finished by his pupil Matteo Rosselii; a Ffri/m, after Guido, by his beloved and unfortunate pupd ElisabettaSirani,' a beautiful copy which has been struck by lightning and seems in conformity with the artist's destiny ; the frescos of the monks' chapter room, in the first cloister, executed in ISSii, by Capanna. 2 See an(e, booh viii. cli. tl. 5G. 6G6 PiSTOJA. IBooK XIX. The antique church of Saint Andrew, rebuilt inside in 1619, though the front is ofllG6, has on the architrave, over the principal door, a curious monument of the same epoch, the Adoration of the Magi, a basso-relievo by Gruamonte; below, another sculptor, Enrico of Pistoja, a pupil of Giovanni IMsano, has repre- sented the Visitation and an Annun- ciation : the Virgin in the latter has an embryo on her breast, to express the sudden and positive ellectof the miracle. AbuslappearstheportraitofGruumonte; the small statue of 67. Andrew, on the outside, is by Giovanni Pisano. His celebrated pulpit is but an inferior imita- tion of the one at Saint John the Evan- gelist. The St. Francis de Paule, by the third Bronzino, is a youthful per- formance. CHAPTER iV. Prelorio palace. — Palace della Coraraiinili.— Forte- guerii. — Libraiy.— Academy. — Uouses. The Pretorio palace, now a court of justice, was built in 1368 on the houses of the Taviani and Bracciolani. Its ex- terior is picturesque, and the antique staircase is of remarkable architecture. The palace rfe?/aCo??n?iwnif«, formerly degli Anziani, is of the close of the thir- teenth century. The black marble head near the middle window, is that of a traitor to his country, Eilippo Tcdici, the tyrant of Pistoja, who married Diulta, the daughter of Castruccio Castracani. Several similar heads without busts exist elsewhere as marks of ignominy, and that of the glorious Grandunio, one of the captains who aided the Pisans in the conquest of the Balearic isles, has been wrongly confounded with them. The iron mace is reputed to have belonged to this valorous Pistojan, whose gigantic form, painted in dare-obscure, is in one of the rooms, with a barbarous quatrain in his honour. On the lop of stairs is an old portrait in clurc-obscure, by Cino. The palace della Communila, therefore, combines the political, warlike, and poetic reminiscences of Pistoja. The Sapienza includes the public schools. This college lakes its name of Forteguerri from Cardinal Nicolao the elder, who, in li73, devoti d a conside- rable sum to the inslruclion of youlh. The library, rather superior, possesses the manuscripts of the famous canon of Pistoja Sozomene, the companion of Bruni Aretino and Poggio in the learned researches of the monastery of Saint Gall, where he exhumed and transcribed the Commentary of Asconius Pedianus on some of Cicero's orations ; which copy is among the manuscripts. The first edition of the Ci'oce racquistata, by the poet of Pistoja, Francesco Bracciolini, exhibits his autograph corrections, which served for the second. An apartment of the Pistoja Academy of Sciences, Letters, and Arts, has a fine painting by Beccafumi, the Virgin on a throne with divers saints, and a re- markab!e.4nnMncia(ion, in twopicturcs, by Santi Titi. Several of the houses of Pistoja, the dwellings of distinguished men, perpe- tuate literary names and recollections, and oiler good collections of paintings and books. Baron Bracciolini has received by inhe- ritance a duplicate of Poussin's Death of Germanicus, ' really by the hand of that illustrious painter, and sent by him from Rome as a present to a Puccini, who had uticnded him when he fell ill on passing through Pisloja. Jn the cha|iel of the palace of Prince Giuseppe Rospigliosi, the fresco of the History of St. Catherine, good in co- louring, by Giovanni di San Giovanni, comprises the portraits of all that family. The Bracciolini house contains the fine Annunciation, by Eilippo Lippi the elder, praised by Vasari, and ordered of the artist by Messcr Jacopo Bellucci, whom be has very naturally painted there in the person of the ecclesiastic reading behind the angel. Ihc Gothic house of the Canccllieri, an historical Ilalian family now extinct, has a [)ig in relievo, on the exterior, from the graceful chisel of Donatello. The Tolomei house, once a convent of nuns of Saint Michael, has a gallery painted in distemper by our clever and venerable Boguct, one of those French artists that Rome and Italy, where he has resided more than fifty years, have so well inspired, and five great frescos by Desmarais, another Frenchman, who died a few years since, president of the Lucca Academy of Fine Arts, gifted for invention and disposition, but feeble in I See ante, booli xv. cli. xvsiii. CnAP. v.] LUCCA. 6^ execution. A library of ancient and modern books, very select, is duly sup- plied with modern works by the Cav. Tolomei, the accurate annotator of his- country's monuments of art. The house of the Cav. Bracciolini dall' A pi takes this latter appellative from the permission lo add the bees of the Barberini to his arms, which was obtained as a reward for the poem in twenty- three cantos composed by Francesco Bracciolini in honour of the Election of J7r6a«r///., which poem was afterwards commented on by another pope, Cle- ment JX. This house, called Castello Traetto, has in its garden a fine bust by Algardi, representing Bracciolini, in his poems of the Croce racquistata and the Scherno degli Dei, a kind of distant rival of Tasso and Tassoni. The Forteguerri house, which has a few paintings, was the cradle of the two men who have thrown most lustre on Pistoja, Cardinal Nicolao the elder, and the author o( Ricciardetto, himself the son of a Jacopo Forteguerri, an elegant painter and excellent citizea of Pistoja. CHAPTER V. Monte Calini.— Peseta.— I.ucca.—Cnllieiiial. — Mau- soleum of I'ietroda Noceto, by Civilali.— Arcliives. — Siiiiit Alexander. — Saint Romanus.— Sainl Mi- cliel.— Clerlis of llie Mother of God.— Saint Fredian. — Saint Francis. — Castruccio Castracani. — Cas- trurcio liuonamtci. The ancient baths of Monte Catini, recommended by Cesalpine in his day, enjoy a deserved reputation. The build- ing with arcades, an elegant and cor- rect structure, is by Paolelti, the restorer, the Vien of architecture in Tuscany under Leopold ; but it is little suited to this kind of baths. It is particularly to be regretted that the different springs and their conduits are not covered lo preserve the warmth of the water which rises to twenty-six degrees (Reaumur). Redi was of opinion that the baths of Monte Catini were principally efficacious in dysenteries, and he thought that it was rare for any person to die at Florence of that disease. Pescia, an industrious town, in a pic- turesque situation, has five thousand in- habitants. The elegant cathedral built in 1693 by the Florentine architect Ferri, has some remarkable paintings and sculptures. The St. John, over the holy-water vase, is by Luca della Rob- bia. The mausoleum of Baltassare Tu- rin!, the elegant creator of the Lnnte villa,' passes for the best work of Ra- phael da Monte Lupo, who successfully imitated the stjle of his master Michael Angelo. An excellent Deposition from the cross, by Passignano, has been in- judiciously varnished. The great .4s- sumption of the choir, noble, well draped, is the masterpiece of Gazzi, a painter of Pistoja. The majestic high altar in marble, from the design of Vacca, a sculptor of Carrara, was erected by the musician Grossi of Pescia, oddly called Syphux. Lucca is as the chief town of that kind of prefecture given by Europe to a grand- son of Louis XIV. Its situation in a plain almost enclosed by mountains, near the banks of the Serchio and the canal of Ozzori, is charming. Several of its churches and palaces are very in- teresting as works of art. The vast cathedral of Saint Martin dates from the year 1060, and the exte- rior front of three stories, by the sculptor Guidetto, is of l-IOl. A lunette, over the little door, has a Deposition from the cross, by IVicoiao Pisano, expressive and well composed; and the architrave an esteemed Adoration of the Magi, by his son Giovanni. The interior of the church is i)rincipally ornamented with the chefs-d'oeuvre of the great Lucchese sculptor, Matteo Civitali, whose works are nearly all confined to Lucca and Genoa, and who seems like the transi- tion from the true art of the fourteenth century to the ideal of the fifteenth. The following are by him : the pulpit, remarkable lor the taste of its orna- ments ; the noble and elegant mausoleum of Pietro da N'oceto, of Lucca, secretary to Pope Ps'icholas V., the Beinbo of that premature Leo X.; the portrait in marble of his Mecaenas and I'l lend Count Dome- nico IJerlini, a little exquisite work; two graceful and pious angels kneeling be- fore the tabernacle in the chapel of the Uoly Sacrament; the basso-relievos of the altar of St. Regulus, bishop of Lucca, who is there seen in pontifical robes sit- ting between two angels each holding an open volume for him ; a small octa- gonal temple, seventeen years anterior ' See ante, book xv. cli. sxxvlil. 668 LCCCA. [Book XIX. to Bramanle's at Saint Peter in Mon- torio; and lastly, the ideal statue of St. Sebastian, imitated by Perugino and regarded as the masterpiece ofCivilali. The tomb of Jllaria del Caretlo, wife of Paolo Guinigi, by Jacopo dclla Quer- ela, is a comi)o«ilion at once simple and elegant. A marble sarcophagus of Greek workmanship represents Bacchus on a car drawn by Centaurs, conducted by Cupid, and escorted by Fauns and Bac- chantes. The altar of /./beefy was con- secrated to Christ in 1369 by the Luc- chese, whom the emperor Charles IV., stimulated only by their gold, had de- livered from the Pisan yoke ; the grand statues, larger than nature, of Christ raised from the dead, with Peter and Paul, by Giovanni of Bologna, are not free from affectation both in ihe attitudes and draperies. Among the paintings may be remarked : a Last Supper, by Tintoretto, which, notwithstanding some defect in perspective, has some angels in Ihe upper part perfect ; a Crucifixion, by Passignano; St. Peter and St. Paul, in the sacristy, by Ghirlandajo; the Virgin, St. Stephen and St. John, and a delight- ful little Angel placing on a lute, an ex- cellent composition for design, expres- sion, and colouring, by Fra Bartolom- meo ; a tender Visitation, by IJgozzi; the Presentation in the temple, by the second Bronzino, and the fresco of the Volto Santo, an antique picture greatly venerated at Lucca, by Cosmo Rosselli. The chapter archives and the arch- bishop's hold the first rank among the historical treasures that Italy can boast. The former contain more than four thou- sand parchment diplomas, the oldest of which dales from the year 111 ; the li- brary, bequeathed in 1503 by the bishop Felino Sandei, has some precious manu- scripts and scarce editions of the fifteenth century. The archbishop's archives com- prise about ten thousand diplomas, of which three hundred belong to the eighth century, and two to the seventh, one of CS6,"the other of 685 ; the latter is per- haps the oldest in Italy. Saint John and its \ast baptistry ap- pear of the epoch of the Lombards; the Virgin and the twelve Apostles, of the architrave, over the grand portal, a sculpture of the end of the twelfth century, though still rude, shows by the relief that the revival had in some measure begun : the Latin inscription of this architrave seems perfectly unin- telligible. A Christ on the cross and the Virgin at its foot, with St. Francis •and a nun, is a good painting by Fran- cesco Vanni. Saint Alexander is remarkable for the simplicity ol its Lombard front; the in- terior of the church has some antique capitals and columns that must have be- longed to a Roman edifice. Saint Romanus, an old church of the Dominicans, rebuilt in the seventeenth century, has two inaster(iieccs by Fra Bartolommeo, admirable for design and colouring, for grandeur, grace and har- mony : the Virgin imploring Christ for the people of Lucca, so niisapprc- ciatcd by Vasari, who states the Virgin to be scaled; and the Eternal Father, St. Mary Magdalen and St. Catherine of Siena, the two raised from the ground as if in ecstasy. The church of the Holy Crucifix de' bianchi, so called fro'u Ihe sacred image left in this church in 1377 by the While Penitents who came from Spain, has an energetic Assumption, by Spagnolello, and a St. Bartholomew, by Batoni, the head of which is pretty good, but the attitude rather constrained. The church dedicated to Saint Pauli- nus, the first bishop of Lucca, who suf- fered martyrdom under Nero, is from the designs of Baccio da Montelupo, a clever Florentine artist of the sixteenth century, long established in this town. A Virgin and several saints, is by Vanni; a Martyrdom of St. Theodore, expressive, by Testa, surnamed Jaic- chesino, the friend of Poussin, a disdain- ful and unfortunate artist, who, from ac- cident or despair, perished in the Tiber. An old painting, in the sacristy, the Crowning of the Virgin ivilh divers saints, the town of Lucca in the middle, and in front a bishop kneeling and a warrior with an orange at his feet, is perhaps the one ordered of Giotto by Castruccio Caslracani, although the de- tails do not precisely agree with the des- cription given by Vasari, who, indeed, is not always a very close observer. The piazza of Saint Michael, though a market, is rather imposing. The church is remarkable for its inte- rior, still untouched, ofthe bastard Roman architecture of the Lombards, that nation having the warlike archangel for their patron. The front, with a quadruple CiiAP. v.] LUCCA. 669 colonnade, is however very inferior. Four Ogures, by the younger Lippi, at the chapel of the Crucifix, are natural and graceful. On the architrave of the side door of the old church of Saint Saviour is a Mi- racle of St. Nicholas the Priest, still rude, but displaying a kind of progress in the forms and the relief : it is by Bi- duino, one of those Lombard artists that flourished a short time before Nicolao Pisano. The Ascension, by the elder Zacchia, a good painter of Lucca in the sixteenth century, is not of his best works, tlie artist having aimed at a broader style than natural to him. Santa Maria in corte Landini has : a Nativity of the Virgin, by Vanni; the Birth of John the Baptist, by Pictro Paolini, of Lucca, a happy imitator of Paolo Veronese; a Christ on the cross with two saints below, by Guido, which combines his two manners; his graceful Madonna delta neve; an Assumption, by Luca Giordano. The church and convent belong to the regular clerks of the Mother of God, an educational con- gregation instituted about the close of the sixteenlh century, by Giovanni Leonardi, of Diecimo, a village in the Lucchese ter- ritory, whicii iias produced some learned men, and excellent Latinists, such as the celebrated P. Barlolommeo Bcverini, the Livy of Lucca, one of the able Italian translators of the iEneid, ■ a precocious scholar, who as early as his fifteenth year had written comments on the principal authorsofthe Augustan age. This con- gregation was spared in the general sup- pression of convents by the French ad- ministration. It possesses a library of about twenty thousand volumes, be- queathed in part by the learned P. Gio- vanni Domenico Mansi, afterwards arch- bishop of Lucca ; the ajjarlment is de- corated with his portrait, a good work by Batoni, who was also of Lucca. The present architecture of Saint Au- gustine is of 135ii. 'Ihe Virgin with divers saints, by I'aolini, is a new and able imitation of Paolo Veronese. The Annunciation, by the elder Zacchia, has some little figures in clare-obscure worthy of Polidoro di Caravaggio. The Epiphany, by Gessi, is graceful and well drawn. Saint Fredianus, an old basilic of the ' S<;eaH(e,booliivn.ch.xiv. Lombards, is one of the most characte- ristic monuments in Italy, as the interior, still in the simple, bastard Roman style in use among that people, has not been altered as in the churches of Monza and Pavia. The front, of nmch later date, being only of the twelfth century, has a Christ in a glory, worshipped by two angels, a fine mosaic of the same epoch, and below the twelve Apostles, but far from being of so large a style. The eleven columns of the middle nave, an- tique, as well as their pedestals and ca- pitals, some of which are even Greek, must have belonged to a Uoman edifice: they are singularly slender, and it is quite a prodigy that they should have supported a wall and arches so lofty for more than eleven centuries. The mar- ble basin which was usod for baptism by immersion, on which arc sculptured divers subjects of the old Testament, is a curious work of the end of the twelfth century. The elegant baptistry, by Ni- colao Civitali, bespeaks him a worthy nephew of .Matteo. The Virgin crowned by the Eternal Father, with four saints below, by Francesco Francia, is remark- able for the heads, the colouring, and drapery. The figures in demi-relievo by Jacopo della (Juercia, in the chapel of the Holy Sacrament, though he some- limes had a broader style, are neverthe- less beautiful; the sculpture of his two sepulchral stones of the Trenta family is very good. One cannot help regretting the degraded slate ofthe excellent frescos in the chapel of Saint Augustine, by Ami Asperlini, a compatriot and clever pupil of Francia.* The elegant front ofthe antique church of Saint Peter Somaldi is of 1203, and the basso-relievo of the architrave pro- bably by Guidetto. Two paintings are remarkable, St. Anthony the abbot and other saints, by the elder Palma, vigo- rous in expression and colouring ; and an Assumption, by the elder Zaccliia. Two tombs in the church of Saint Francis bear witness to the poetic and martial glory of Lucca. The first is that of Giovanni Guidiccioni, his best poet, the friend of Annibale Caro, a harmo- nious imitator of Petrarch, and who, with the platonic love then in vogue, could like him give vent to noble songs on the ills and oppression of Italy. The ' See ante, buok \iii. ch. v. 670 LUCCA. [Book XIX. other tomb, too plainly marked by a brief inscription on the wall, is that of the great Castruccio Castrarani degli Antelminelli, sovereign of Lucca and Pisa, deceased in his forly-sevcnlh year, the wonder and terror of Italy in the fourteenth century, one of the strongest moral characters that ever existed, after whom the existence of his country, for a moment so brilliant, seems to disappear, and of whom Machiavel, in his romantic and incomplete history of him. says that he would have surpassed Philip in Ma- cedonia and Scipio at Rome. The Trinity has two chefs-d'oeuvre of Lucchese artists : the Vinjin suckling the infant Jesus, sculptured by Alalteo Civitali, and the painting of the high- altar, by Paolini, which |.>roves, desjjlte Baldinucci, that this artist is not desti- tute of grace. The beautiful old church of Santa Maria foris portam, rebuilt about 1515, retains its front of the thirteenth cen- tury. Two paintings are by Guercino : St. Lucy and the Virgin; St. Francis and St. Alexander. The death of the Virgin is by a clever Lucchese painter of the fourteenth century, Angelo Puc- cinelli, and i.s dated 138G. Santa Maria de' Servi has three good paintings by Matteo Rosseili : a pleasing Presentation in the temple, the Ma- donna ofSorroivs, greatly damaged, and a Nativity. At the principal altar of Saint Vincent and Saint Anaslasius is a Circumcision, by Ligozzi, which in colouring and com- position resembles Puolo Veronese and Titian. An illustrious Lucchese is buried in this church. Count Castruccio Buona- mici, aulhorof the books De Bello Italico and the commentary De Rebus ad Veli- tras Gestis, a pure, grave, and eloquent historian, who only wanted a grander subject. The Carmine has a Conception, by Vasari, which is meant to imitate Mi- chael Angelo ; and in the choir, a good picture by Perugino roughly handled by a retoucher. The front of Saint Christopher is im- portant for the history of art, as it exem- plifies the transition from the first Gothic style to the second, as may be seen by the door and round window in the middle, which are ingenious and fan- tastic works, and by the sculptures of the little arcades. The great Maltco Civi- tali, interred in this church, deserves a more noble monument than the marble slab that covers his bones. CHAPTER VI. Ducal palace. -Painlings. -Library.— Pretorio pa- lace. —Roman tbeatre. — LyceDQi. — Royal Aca- demy.— PaiuliDg by AnnibaleCariaccio. — College. — Public Library.— Ampliiilieatre. — Public ar- chives. -Ramparts —Aqueducts.— Culture.— Po- pulation.— Lucchese. The piazza of the palace, which ought to have been laid out on the other side, was the cause of one of those unlucky demolitions common in our time, and occasioned thf destruction of the fint' church of the Madonna grande, by the Lucchese architect Gherardo Penetesi, of the sixteenth century. The palace, begun by Ammanato, is, though only half finished, one of the most extensive royal palaces even in Italy. The grand and regal staircase of Carrara marble was constructed by S. Notlolini, a Lucchese architect, who directed the different works of the palace. The rich furniture is of home manufacture ; and it proves that the impetus given to in- dustry by the French administration has been continued ana encouraged. The t\\o rooms devoted to the gallery pre- sent chefs-d'oeuvre by the first masters, viz. : by Raphael, his celebrated Madonna de' Candelabri, in his grand style; by Francia, a Virgin, St. Anne, two saints and tiie little St. John, in his beslstjie, with these modest words : Francia, aurifex Boloniensis p. (painted by F'raiiria, goldsmith, of Bologna) a Christ dead with the Virgin and two angels, superior to the former, and almost equal to Raphael; by Leonardo Vinci, a little Virgin and infant Jesus; by Correggio, a St. John with his lamb, a majestic little half figure; by Michael Angelo, a Christ on the cross, with the Virgin and St. John, an expressive little paint- ing ; by Guido, a St. Cecilia, a half fi- gure in his powerful manner; the Mar- tyrdom of St. Appollina, in his gentle st)le; by Poussin, the .Wassac re o/" the Innocents, remarkable for composition, drawing, and expression; by Sasso Fer- rato, a little head of the Virgin, one of his most graceful Virgins; by Domeni- chino, three Saints below, and a good Glory in which the Santa Casa of Lo- retlo is transported ; by Baroccio, a Noli Chap. VI.] LUCCA. 67i metangere, well coloured; by Gherardo delle Molle, a Christ before Pilate, which has a wonderful effect of light and is one of the most remarkable paintings of this kind; of the three Carracci, a Christ restoring sight to a blindman, by Lu- dovico, in which the blindman is per- fect; Christ raising the widow's son, a work full of soul, and one of Agostino's most sublime; Christ and the Cunaani- tish woman, by Annibale, valuable for facility of design and boldness of pencil. The library, modern, has already twenty-five thousand volumes and some rarities, the duke being an amateur of books. A Greek copy of the Gospels, apparently of the tenth century, has some miniatures of a good style, aston- ishing for the epoch. A barbarous Latin version of the Psalms, from the Hebrew text, by an unknown translator, is of the twelfth century. An autograph manu- script of Tasso contains some Latin verses addressed to persons of his day. The Libro di Locuzioni, another autograph manuscript, inedited, of the learned Vin- cenzo Borghini, of the sixteenth century, one of the Roman deputies and censors who corrected the Decameroii, ' is es- teemed a valuable work on grammar. Two editions of the fifieenth century are curious : the Trionfi. by Petrarch, a little volume, the first book printed at Lucca, and by a Lucchese ( Bartolorameo Givitali, 1477), and a Latin Grammar by Giovanni Pietro da Tavenza, a school- master of Lucca, who is indebted for his reputation to the learned author of ihe Literary History of Lucca, the mar- quis Cesare Lucchesini.' The stern old Pretorio palace, now a tribunal, of the end of the fifteenth cen- tury and the beginning of the next, is a mixture of the Gothic and the style of the revival. Some remains of a Roman theatre an- nounce an edifice of no great extent, but of the best period; this theatre is still called 4rt»5fo and Par/ascjo, from which it may be inferred that the citizens of Lucca met there in the middle ages for the purpose of conversation also. ihe Ljceum, organised in 1819, com- bines the dillerent branches of public instruction, and has twenty-six profes- sorships. S. Pacini, a clever professor, has co0ipo«ed an estimable work on ' See ante, book x. cb. v. Italian surgery. The royal academy, formerly called degV Oscuri, composed of thirty-six members, with the duke for perpetual president, holds its sittings there every month, when every mem- ber in his turn reads some piece of his own composition. This academy has been publishing Transactions (J[«i) since 1817, of which seven octavo volumes have already appeared. In an apart- ment of the Lyceum is an admirable paint- ing by Annibale Carraccio, which would alone repay a journey to Lucca. It was formerly at San Giovannetto, and is said to have been carried away and con- cealed by a nun when the convent was suppressed : the city purchased it for 200?., not one tenth of its value. The college Carlo Lodovico, another good foundation begun in 1807 and finished in 1819, can accommodate eighty students. The establishment is half ec- clesiastical and half laic, as the professors, the rector, and vice-rector, are priests, and the director, their superior, a la j man. The public library occupies a spacious building. The librarian, S. Papi, de- ceased at the end of 183i, preceptor of Prince Ferdinand Charles, wasan enlight- ened man, who had served as soldier and general in the Rajah of Travancore's army, had visited Egypt and Greece on his return; he also wrote the curious Letters on the East Indies, translated ih^ Manual of Epictetus, Paradise Lost, Armstrong's Art of Health, and com- posed a great History of the French Revolution, for which his Eastern travels and residence at Lucca would scarcely seem to have prepared him. At the library may now be seen the remains of Paolini's immense painting of 5f. Gregory giving a dinner to poor pilgrims, with Christ amongst them, a rich harmonious composition, with the variety of Paolo Veronese, which heretofore excited the enthusiasm of a multitude of poets, and would be sufficient for the glory of that artist, the best painter of Lucca. The grand amphitheatre, encumbered within, but pretty well preserved on the outside, seems of the times of the first Ccsars. Like the theatre, it must have been used for political meetings, as il was also called il Parlascio. The palace of the marquises Bernar- dini, in the piazza of Saint Benedict, not 2 Deceased al Ibc age of 75, Ma; JG, 1832. 672 CARRARA. (Book XIX. far from the spot where Castruccio's lower and palace stood, is of the plain and solid architecture of Malleo Civilali. The old palace of the Guidiccioni is by his nephew Nicolao, likewise celebrated as a military architect. This palace, ap- propriated in 1822 to the public archives, is one of the most remarkable in Lucca, and displays little of the bad taste (hat prevailed at the epoch of its conslruction. The ramparts of Lucca, ancient forti- fications which cost that petty state the sum of 953,162 crowns (220,4221 ). for- I merly supplied with handsome and harm- | less cannon, never fired except for salules, and taken away by the French in 1799— these ramparts form a long and charming promenade, well planted and Gt for car- riages, infinitely preferable to most of the dull corsi of Italy, and from it the mountains that surround Lucca present a fresh and pleasing amphitheatre. The aqueduct decreed by the French administration and finished in 1823, of great utility to Lucca, which till then had only unwholesome well water, is a grand construction of four hundred and fifty-nine arcades with semicircular arches, an honour to Ihc talents of S. Notlolini. The traveller passing through the duchy of Lucca must be struck with the pleasing variety of the sites, the richness of the hills covered with vines, olives, and chesnnts, and must in particular admire the laborious intelligence of the Lucchese, an acute and subtle people, good farmers, who may be called the Normans of Italy. 'I his astonishing agricultural prosperity, this population which, in proportion vvith the superficies of the soil, is one of the most numerous on the earth, ■ proves the advantage of small estates, for nearly all even the mountaineers are landowners ; every year, during the winter months when the labours of husbandry are suspended, the hundred and fiftieth part of this population emigrates, and finds employ in the hard but lucrative labours of the maremme of Tuscany or the islands of Corsica and Sardinia, whence it brings back additional capital to increase the public weal. A certain social and phi- ' M. Adrien Baibi, in his Balance politique du Globe for 1828, places before Lucca for populalion only Hamburg, Bremen, Frankfort, l.ubeck, in «tiich cases llie lerrilory conslsls of lillle but Ibe lonn. the populalion of Lucca amounts lo four losophical improvement seems lo have prevailed for a long time in this little state, which never had any Jesuits. The Encyclopedia was reprinted there in twenty-eight folio volumes (1758-71); philanthropical institutions, such as the mad houses and mendicity asylums, though small, are numerous and well managed ; and Lucca, which was the first town in Italy that had the glory of founding an hospital, as early as Itie year 718, " WHS also the first in southern Italy to introduce vaccination as a public mea- sure. CHAPTER YII. Pictra Sanla. — Massa.— Carrara.- Luni.—Sar zana. - Sarzanello.— View. Pietra Santa, a fine town, has one church, Saint IMartin, that might pass for a cathedral. The architecture, of the middle of the fourteenth century, is in good taste, and the front is decorated with several tolerable sculptures of sub- jects taken from the saints history . Four columns of the naves, halfofpeachbloom- coloured breccio, are of extraordinary beauty ; the ancient octagonal baptistry, of white marble, is ornamented with elegant basso-relievos. IMassa, near the sea, encircled with mountains, seemed to me of a charming effect. The public square, in particular, I cannot forget ; il is planted with orange trees in quincunx, which were then loaded witii their golden fruit. In the square is the marble statue of the last sovereign of Massa, Maria Bea- trice d'Este, married to the archduke Ferdinand of Austria, union that appears to have been rather singularly foretold by Tasso, when he represents Godefroi, duke of Lorrain, as being apprised in a dream of the alliance of his house with that of Rinaldo: Sar^ il fuo sangue al suo coniaii-^ki , e dove rrogcnie uscire gloriosa e cbiara. I went to the famous quarries of Car- rara in the mountain ; the marble that we are accustomed to find in the midst of the wonders of art or of nature cul- tivated and adorned is here to be seen in hundred and fifly-slx persons lo each square mile. ' It was established near the church of Saint Sllve.ster; a second was created in 721, near Saint Michael, and two olliers in 757 aud 790. Ciup. VII.] CARRARA. C73 the bosom of savage nature. Limpid streams ripple along or form cascades among these blocks of dazzling whiteness ; for the noble mineral, like some cha- racters, has all its brightness in the mine, and does not require, as gold does, to be purified and polished ere it shine. It seems as if all these waste fragments that strew and embarrass the road might be ground and made into stucco no less solid or elegant than the marble itself. The view of this mountain of marble, which bears the fine name of Monte Sacro, and which the shining moon rendered still more resplendent, made a singular impression. I called to mind all the busts and statues of emperors in the museums and palaces of Rome ; I felt that art had shown bat little dignity in thus indifferently perpetuating the like- ness of so many monsters. In contem- plating the enormous block that lay before me, I preferred its rough and primitive innocence to the splendid pro- stitution of the statuary, and I wished it might ever remain as it was, than be used to perpetuate the features and memory of the wicked. This romantic nocturnal ramble lo Carrara scarcely permitted me to visit its Academy, a perpetual popular school of sculpture, where children are instructed gratuitously from the most tender age, ■ nor to observe certain very curious geo- logical phenomena in the quarries, such as that first noticed in 1819, of a kind of soft and transparent jelly which on exposure to the air suddenly becomes opaque, hard, and like chalcedony or fine porcelain. I especially regret that I was unable to penetrate to the sub- terranean labyrinth of the grotto del Tanone, so well described by Spallan- zani, which is more than a mile in length, and even surpasses in extent and magni- ficence the grotto of Antiparos; or to that of Salla Mattana, less known and less accessible, but said to be still more extensive and interesting. In announcing the working of the while ' It is not surprising tliat Carrara has produced so great a number of sculptors, among whom we may nolice Baratla, who disliriguished bimselfat Rome, Giuliano Finelli at Naples, Pietro and Fer- nando Tjcca at Florence, Daoese Catlaneoal Venice. One of the best living sculptors of Italy, S. Teoerani, is of Carrara. The nobiiily even and the clergy practised sculpture there ; the house of Count Gio- vanni Baratla was, at the close of last century, a se- marble quarries of Corsica, it was wrongly pretended that they would advanta- geously replace those of Carrara and Tuscany, then less productive. An un- dertaking begun by Michael Angelo at Carrara, and completed in 1827, had just then opened a new quarry; marble was never more abundant ; the yearly exports amount to 70,000 cubic palms (nearly 16,000 yards), and artists now require nothing but genius and great men. When Michael Angelo drew from Car- rara the marble intended for the vast mausoleum of Julius II., he conceived the idea of cutting a colossus out of the peak of these mountains that advanceil farthest into the sea for a kind of land- mark for mariners. It is a matter of regret that one of the peripetia of the funeral tragedy, as Michael Angelo call- ed it, prevented the execution of this project. Such a monument would now be very curious, and form a savage con- trast with the cupola of Saint Peter's, a chef-d'oeuvre of art and antique imi- tation. Nothing remains of the celebrated Lu- ni but the ruins of two towers, of a vast amphitheatre, and traces of a church said to have been dedicated to Saint Peter. There are dilFerent opinions as to the destruction of this ancient capital of Lu- nigiana; by some historians it is attri- buted lo Alaric, who thereby avenged a rape committed on a young girl of his nation by one of the chief inhabitants of Luni. Dante, who in his exile had twice taken refuge in the environs of Luni, pretends that it perished through civil discord;" it is more probable, as Villani supposes, that it was abandoned as unhealthy. Sarzana, a clean, pretty little town, has a fine cathedral, which has the Sts. Eutychianus, Philip, and Genesius, by Soliniene, and two good lunettes in Gui- do's stjie by its excellent painter Fia- sella, called Sarzana. Sarzana, the native place of the wise, learned, and great pope Nicholas V., minary of arllsts ; and several slalues aod groups by the Canon Primicerius Cibey, are cited at Car- rara and in the environs. " Parad. can. XVI. 73 it was during Dante's re- sidence wilb the Marquis Morello Malespina, lord of that country, that the long-lost seven Urst cantos of the In/erno were found and restored lo him, wliicb gave bim courage to coniinue his poem. 57 C7i LA SPEZIA. [Book XIX. long called Nicholas of Sarzana, was at the beginning of the seventeenth century the residence of Louis-Marie-Fortun6 Buonaparte, the head of Napoleon's fa- mily, who went over to Corsica in 1G12, during the war against the Genoese, and settled at Ajaccio. He himself asserted his Italian and Florentine origin,' honoured by two literary compositions of a very diirercnt kind, the narrative of the sack of Rome in 1527, by Jacopo Buonaparte, and the pleasing comedy of La Vedova, by Nicolao.' Above Sarzana, the old castle called Sarzanello, erected in 1321 by Caslruccio Castracani when he attacked the place, and now the quarters of the veterans, presents an immense and varied view, which embraces at once hills and valleys, the course of the Magra, the ruins of Luni, the fort of Lavenza, the beach of Viarcggio, the city of Pisa, the port of Leghorn, and the islands of Capraja and Gorgona. The new road from Sarzana to Genoa, so sweetly varied and picturesque, recalls at every stop the remark of Plutarch, a moralist who loved to select his images from navigation, that the most agreeable journeys by land were those along the seaside, and when we embark at Lerici, that the pleasantest sea voyages were those made along the coast. The world is indebted to the tardy ar- rival of the felucca from Lerici for one of Alfieri's finest and most Roman tra- gedies, his Virginia, with which the ac- cidental perusal of a Livy, belonging to a priest, brother to the post-master of Sarzana, inspired him, and with such fervour that, but for his impatience at the delay of the cursed felucca, he would have completed the piece at once, e I'a- vrei slesa iV un fiato. CHAPTER Vm. T,a Spezia— Gulf.-Founlain.-Sestil.— Gulf of Ra- pallo.—Chiavari.— Bridge.— Rapallo.— Nostra Sl- gDora of Monte Allegro.— Uecco.—Nervi.—S. Cor- vette. La Spezia, the native place of the ele- gant scholar and historian of the fifteenth ' Misslrlrai. Delia Vila di Ant. Canova, p. 236. See also ante, book x. cli. xii. " See loyages en Corse, a I'ile d'Elbe et en Sar- daigne, book i. cb. \\\%. 3 See the eicellent lilllc Memoire sur le golie de century, Bartolommeo Fazio, of the Nea- politan academy, is a flourishing and po- pulous town. Its admirable gulf, one of the most extensive and safest in Eu- rope, was called under the French ad- ministration to a high destiny. But the vast military and naval establishment of this Antwerp of the Mediterranean pro- jected by Napoleon could not be created at Spezia itself, the depth of water on its shore having been greatly diminished by sandbanks. The height that com- mands the creeks of Caslagno, Porto Ve- nerc.Varignano, and de(//JGra5«e, would be a superb position. 3 On the coast of Jlarsola, sixty-five feet from the land, is a submarine fountain of fresh water, which bubbles up to the surface ; it seemed to me salt, but it is light and fresh if drunk from nearer the bottom by means of a tube — an unknown Areihusa, because discovered by science, and not alluded to by the poets. Sestri di Levaiite, a charming place, noted for its wax, pastes, and shells, has in its parish church the recent tomb of Maria BrignoleBaIbi, with an expressive basso-relievo of Friendship, weeping over her ashes, by S. Gaggini, a good Genoese sculptor, and a touching in- scription by the clever Ragusan Latinist Gagliuffi, who died in February 1834. Sestri is perhaps the spot whence the gulf of Rapallo, interspersed with rocks, formed by the mountain of Portofino, that juts out into the sea, and bordered with pines, olives, cypresses, and ches- nuts, apjjcars the most magnificent. This superb gulf of Rapallo seems to its neighbour the gulf of Genoa what that of Salerno is to the gulf of Naples, that is to say, superior, but less famous, be- cause it has no great city to give it im- portance. Chiavari, of eight thousand inhabi- tants, situated in a fertile plain and crowned with hills covered with vines and olives, is a well-built, industrious, and trading town. Its cloths meet with extensive sale, andils solid elegant vo- lante chairs reach the saloons of Paris and are exported to America. This pretty town seems to have a touch of Tuscan civilisation; it has public schools, a li- la Spezi ■, by Count de Cbabrol, t. ii, p. 478, of the Slatistique de I'ancien dcparlcmenl de Monlenoile. I be flrsl project, wbicli woulo' bave cost nearly a million sterling, was reduced to one fourth of that amount. Cqap. VIII.] LA SPEZIA. 675 brary of six thousand five hundred vo- lumes, a house of industry for the poor, an hospital for female orphans; its so- ciety for the encouragement of manu- factures, founded in 1791 by ihc marquis Stefano llivaroia, is a beneficial and well ordered institution, and the high po[dars of its promenade on the banks of the EntcJla, a river sung by Dante : Intra Slestri e Chlavarl s' adlma Una liumaiia bella, are something like the Cascines. The church of Saint John the Baptist, a kind of cathedral, built in the first half of the seventeenth century, is a rather scientific structure, considering the small- ness of the ground-plot. The artist may remark : the frescos of the choir, the two great paintings of the Preacldng of the Saint and Herodias dancing, by G. B. Carlone ; aline Assumption, by Domenico Fiola, who died young, the last scion of a family of Genoese pain- ters distinguished fur their talents nearly two centuries, and some figures in wood by Maraggiano, the popular Phidias of Ihc coast of Genoa. The Madonna deW Orto is the largest and richest church of Chiavari. If the marble front, begun in 1837, were fi- nished, it would be one of the first churches of Italy. The group of the Temptations of St. Anthony is a cu- rious work by Maraggiano. The church of Saint Francis, though a modernised Gothic, is of good propor- tions. The Saint performing a miracle, by the Genoese painter Vassalio, has been attributed to Velasquez, and it had the honour of being carried to Paris. Tlie door of the Garibaldi house, or- namented with sculptures of the year lii2, is magnificent, and some statues of the interior are worth notice. The wooden bridge, built in 1810 by the French engineer Lefebvre, was so clever a constructioa that it has been ' " Vellem Guidonein sollem mcum Januensem archiepiscopuiu, tl in illo pariler ine vidisses, qui siimiiia concoruia voluntatum rerumque omnium ab Infaniia secutn (cum illo) vixi, vidisses, niilii rrcde, liominem corpore Heel iavalldum animo sic valeatem, ut vivacius nil vidis&e le dicere?, given as a model to the Polytechnic school. The picturesque town of Rapallo, with its torrent, bridge, and gardens, is si- tuated on the sleep declivity of a triple- headed mountain. Between the second and third head is the sanctuary of Nostra Signora q( Monte Allegro, which is the scene of a merry popular feast every year on the 2nd of July and two following days, when the mountain is illuminated from its summit down to the sea. The monastery of Cervara, founded in 136'i. by Guido, archbishop of Genoa, the boyish friend of Petrarch, who has drawn a charming portrait of him in a letter to Boccaccio,' was the prison of Francis I. when he embarked for Spain ; a few persecuted Trappisls, oliscure suc- cessors of the illustrious vanquished one of Pavia, were sent there under the Em- pire; since then it has been abandoned, although the world has not wanted other and great victims of fortune's vicissitudes. Ruta presents an admirable view of Genoa, of its lighthouse and hills. The church has a Christ between tivo thieves with the Virgin and Magdalen at his feet, a painting full of expression and truth, of which the inhabitants are justly proud, but it is an error to sup- pose it by Vandyck. I he church of the town of Recco pos- sesses one of the best paintings of Va- lerio Castelli, a very able painter of the Genoese school. Nervi has a fine church. It con- tains the tomb of S. Coivetto; a long and elegant inscription by Gagliufii gives a minute poitrait and records the ho- nourable career of that Genoese advo- cate, who became a minister of France, a shrewd, ingenious, witty man, whose talents were discerned by Napoleon, and appreciated by Louis XVIII., who, des- pite the difficulty of the limes, was of service to our country, and again deve- lopped the old financial genius of the Italians. inqiie fragili et caduca domo maj^num hospllem habilare posse falereris. Quid muliis agum? vidis- scs quern qnajrinius, virum bonum nulla, ni tai- lor, crebium, sed nulla iBtale bonum rariusquam Doslra." Sen. lib. v., ep. 1. GENOA. [Book XX. BOOR THE TWENTIETH. GENOA.-ROAD TO NICE. CHAPTER I. Aspect. — Port.— Sailors. — I'orto Franco. — Berga- mese. — Custumhouse. — SaiDt George's Bank. — Bronze table. — Fieschi.— Old Mole.— Loggia de' Banclii.-Arsenal.-Bos/runi. The aspect of Genoa, with its port, its palaces, its terraces, its balconies of white marble planted with orange-trees, a realisation of hanging gardens, the ramparts that crown its vast amphi- theatre, is truly superb. This city has only three streets, and it is one of the finest In the world. It is indeed la reale, la nobil cittd, so poetically sung by Tasso, satirically by Alfieri,' and said by Ma- dame de Slael to have been built for a congress of kings. The port of Genoa seems always busy, and whilst Venice is losing her popula- tion and falling to decay, her old rival, the residence of the court some months of the year, appears flourishing. New houses were built, and the population, which was a hundred and twenty-four thousand souls in 1812, is now nearly a hundred and thirty thousand. Ihe di- ligence, skill, and courage of the sailors of the gulf of Genoa, assuetumque malo Ligurem, who are about thirty thousand in number, are extraordinary ; their tar- tans, small craft about the size of a room, on which they sail, reach even the ports of the Ocean; and in the month of Oc- tober 1822, a Genoese vessel had arrived from Peru after a passage of 93 days This enterprising and laborious race of men, interesting for their manners, fru- gality, and thrift, strikingly contrasts "With the inhabitants of most other coun- tries in Italy, and they seem to have preserved something of the navigating instinct peculiar to Italians of the fif- teenth century. a See Tasso's Sonnet : Real cittd, cli' appoggi it nobit leigo. Rime, part. 11a, 08, and sonnet lxxvi of Alfieri : Nobil cittd, cite lielie Liguri onde, wbich ends tlius : Tue riccliezze non spese, eppur corrolte, Fau d' Iguoraaza un denso velo agll uni, The service of Porto Franco, a kind of small sea town, was always exclusively reserved to Bergamese porters, all others being rigorously excluded. A strange hereditary aristociacy that one would hardly expect to find there! These Ber- gamese are recruited from the towns of Piazza and Zugno in the valley of Bremban.i, so called from the torrent of the Brembana, to the west of Bergamo, and in the hamlets dependent thereon ; they, therefore, derive the name of Ber- gamese from the province and not the town of Bergamo. The company of Bergamese poiters, known under the Arabic name of ca7-aDana, dates from the year 13i0, and was instituted by Saint George's Bank ; it then consisted of only a dozen : the number has been greatly augmented since ; it has been as high as two hundred and twenty, but was re- duced to two hundred by a regulation of the 20th of May 1832; previous to the prohibition by royal letters patent of the lOlh of November 1823, the carava- nas sold their places to their compatriots at very high prices. The Bergamese seem, however, worthy of their privi- lege, as they have a reputation for dex- terity and uprightness which has endured nearly five centuries. The great hall of Saint George, over the customhouse, of happy proportions and with a fir-tree roof as usual in that country, is ornamented with the dusty and neglected statues of its founders. Several of the inscriptions record the patriotism of the Genoese patricians; I read beneath the statue of a J. Grillo, that he had bequeathed a legacy to re- lieve the people of half the duty on wheat. SaintGeoige's Bank, a political, fiscal, and commercial institution, which owned the island of Corsica, Sarzana, Superstlzlon lien gli allri ; a lulli k notte, energetic verses which very Utile resemble (Ihough tliey express nearly the same ideas ) Monlesquieu's Adietix de Genes, the vagary of a man of genius, such as niight be expected from Colin. • See ante, book vii. ch. vi. CUAP. I.] GEISOA. 677 and some other towns of the eastern and western coast, was like the India Com- pany of the middle ages; it was under the management of the principal citizens, and, as Montesquieu remaiUs, was an indirect means of raising them from their abject slate. Tiie history of tliis famous bank, one of the flrst created in Europe, dating from the year 133i, and finally suppressed in 1815, scemsalmost the his- tory of Genoa. An ancient marblegroup shows the proud power of the Getiocse ; it represents a grillin holding in its claws an eagle, the emblem of the emperor Frederic, and a fox, the Pisan arms, with this inscription: Cryphus ut has anglt. Sic hosles Genua frangit. In one room of the customhouse is a great picture of (he Virgin, S(. John Bap- tist, andSt. George, by DomenicoPiola. Over the principal door of the cusiom- house, are suspended some links of an iron chain which was used to close the port of Pisa, but was borne off in triumph by the Genoese in 1290. Over the door, at the old palace of the Padii del Cornune, now the tribunal of commerce, is the bronze table, with a very legible inscription of forty-six lines, found in 150G by a peasant of Pol- cevera, near Genoa, sold by him to a brazier, and fortunately purchased by the senate. The inscription relates to a sentence pronounced, in the year 637 from the foundation of Rome, by two Roman jurisconsults, respecting some dispute between the inhabitants of Genoa and tiiose of Langasco, Voltaggio, and Polcevera; it proves the ancient supre- macy of the Genoese over the adjacent countries. This monument, one of the best preserved in Italy, learnedly illus- trated by S. Geronimo Serra, would be more suitably placed in a cabinet of medals than in the inconvenient position where it is difficult to examine it. A to- pographical plan of Genoa in llCi- shows the walls and towers occupied by the Guelphs and Ghibelines in the civil and domestic broils of the middle ages. The enclosure now drained and used as a bagno for about seven hundred gal- ' Nov. Part. lla. iixviii. » The narrative of ilie couspiracy of Ficscbi, ley-sJaves, was the ancient arsenal of the republic, whence the famous galleys were launched that made its glory. Close by is the basin, in which perished, sunk by the weight of his armour, the brilliant Fieschi, ingeniously justified and praised almost without reserve by Bandello,' and whose adventurous enterprise must have charmed the youthful fancy of Retz, who has related it with the same genius that he might have employed in conduct- ing it. When we read the Conjuration de Fiesque, by Cardinal de Retz (a won- derful work if we consider that he was only seventeen when he wrote it), the rival of the hero is more prominent than the historian.' The gate of the Old Mole, an imposing and solid fortification by Galeaso Alessi, who has enriched Genoa with his best works, has on the side towards the sea the following fine inscription by Ronfadio : Aucla ex S. C. Mole Extruclaq. porta Propugiiaculo niunila Urbcni cinpebanl mceiiibiis Quacumq. allaifur mari Auuo MULllI. The Loggia de' Banchi is a skilful and economical structure by Galeaso Alessi, which for the boldness of the roof, con- sisting simply of ship masts, the Genoese call iin bel azzardo, as if such hazards did not commonly befall men of genius. The old convent of the Holy Ghost, converted into a vast arsenal, preserve? an antique prow [rostrum]. 1 he pilo- tage of the ancients is too inferior to the naval glory of the moderns for this frag- ment to be of much interest; it would be worthy of respect, however, if the tradition be true that it belongecl to one of those Ligurian vessels that opposed Mago, Anmbal's brother,^ and failed in protecting their country. A cannon of leather and wood taken from the Vene- tians at the siege of Chiozza in 1379, when Genoa, with a republican hatred more implacable than that of kings, rashly thought herself capable of anni- hilating her rival, is cited as the first fa- bricated after the invention of powder. The uncertainty attending the first use of cannon may render this tradition booli IV of Ihe Annals of Genoa, bv DoDfadlo, is also a very fine historical sketch. 5 TU. liv. lib. xxvai, slvl. GEMOA. [BooE XX. very suspicious : but this cannon is at all evenls of great antiquity, for the first used were in this form and bound with iron.' I saw only one of the thirty-two women's cuirasses worn in 1301 by noble ladies of Genoa who joined the crusade; the others were sold in the street for old iron by the English in 1815. The only cuirass that escaped this shameful auc- tion did not appear to oCfer the outline of a very tender form. CHAPTER 11. Ducal and Royal palaces.— Mi'gdalen, by Paolo Ve- ronese. — Bust of Vitellius — B.ilbi ( Povera ) ;— Fillppo Durazzf) ; — Brignole I Rosso ) ; — Tur-si Doria ; — Seira palaces. — Saloon.— Spiiiola ( Ferrii- nandl j-Carega ;— Lercari ;— Calaneo. — Negroni ; — Spinola (Mas^imiliano) |ialaces.— .Marquis di Ne- gro. — Pallavii.ini ;— Spinola ( Giambatlisla ) pa- laces. The Ducal Palace, the most consider- able in Genoa, formerly the residence of the Doges, now occupied by the town senate and government ofTiccs, is on a grand plan, and its clever reconstruction in 1778 shows the talent of the Genoese architect Canlone, who had received orders, through an excessive fear of a second confl.igralion, to employ no tim- ber. The construction of the vaulted roof is no less ingenious than in the Log- gia de' Banchi : the first is a model of solidity, the second of lightness. The statues of the immense hall consecrated to the men who had deserved well of the republic, the last of which was the one erected by the senate to the duke of Riche- lieu, and so pleasingly celebrated by Vol- taire : Je la verrai celleslalue Que Gene eleve jnsteracnt Au lieros qui I'a d^feudue; — these patriotic statues were broken by the demagogues of 1797; they have been replaced by provisional statues represent- ing the Sciences and the Virtues, statues of straw covered with calico, got up for the ball offered by the city to Napoleon, during the pompous rejoicing that at- tended the loss of Genoese liberty. It was a pity that on this occasion the Ita- lians did not revive their custom of mak- ' See the Uisloire du corps du Genie, par M. Al- ien!, Remarques (-6 et 2-7; and bis Precis des In- stitutions militaires en France. TUe i'.av. Venturi Storia dell' Oiigine e de' primi progressi delle ing living persons supply the place of statues, as was the case in the ceremonies of the coronation of Leo X., when a nymph delivered a piece in his honour from her niche. It was also customary at that epoch to place such figures in churches instead of statues, on certain solemnities, and particularly on the ca- nonisation of saints. These figures must have been something like the living ta- bleaux, introduced from Germany, w hich were in vogue one winter at Paris some years ago, and were executed by the most handsome ladies. The great pic- tures of this hall and the one adjoining, though boasted at Genoa, are indiirercnt, without celebrity, and justly so. The magnificent Marcel Durazzo pa- lace, now the King's, which has two grand while marble staircases to the right and left of the vestibule, by Carlo Fontana, is the only one in Genoa in which carriages can enter and turn with facility, for sedan-chairs only were used in this capital in former times. The fir>t masterpieces of the pictorial art de- corate this and other palaces in Genoa, a rich and mercantile city, a formidable place of war which is not perhaps duly appreciated for its works of art. In the Roval palace may be observed, by Pao'o Veronese : the OUnda and Sophronia, brilliant in colouring, full of movement and interest; the admirable Magda- len at Christ's feet, perhaps this master's chef-d'oeuvre; by Vandyck : a portrait in a Spanish costume, of a One colour; a good portrait of Ca/fej-ma Durazzo; a Holy Family; by Cappuccino : a bi- shop's portrait, a half figure, remarkable for the head and hands; by Domenico Parodi, a clever Genoese painter of the seventeenth century : the dare-obscure paintings and gildings of the gallery, in imitation of l)asso-relievos, a philosophi- cal composition explained by a Latin quatrain, representing the fall of the great empires of antiquity, the Assyrian, Persian. Greek, and Roman, with por- traits of Darius, Sardanapalus, Ptolemy, and Augustulus, supported by Syrens; by AlbertDurer: ^he Confirmation given before the king of France, a fine paint- ing; by Holbein : an excellent portrait of Anne Boleyn, thin and red-haired, moderne artiglierie. Milan, 4816) says Ihat cannon were used in (330, and Pelrarcli speaks of Ibcin as common in bis treatise De remediia lUriusqne for- tuna. Chap. II.] GENOA. 679 but wonderfully costumed ; by Michel- angelo di Caraviiggio : 5;. Peter deny- ing Christ; Christ dead, very vigorous in effect and execution ; by Carlo Uoici : a head of the Virgin, another of the Saviour, works of an extraordinary fi- nish, by this Italian Van der Werf, but very ordinary in tlie drawing; by An- geloRossi,.a facetious Genoese painter, pupil of Domenico Parodi : a Satyr sucking a bunch of grapes; by Ru- bens : Juno attaching the eyes of Argus to the tails of her peacocks, an excellent work; by Titian : a One Nativity; and in the chape! a Christ bearing the Cross ; by the elder Palma : the Virgin, St. John Baptist and Magdalen, a charming painting for colour and simplicity. The antique bust of Vitellius, in granite, is, after the Magdalen, the second wonder of this palace, and Giulio Romano was unable to find a belter model than this emperor's head to paint the Satyr of his Bacchanal. The Ua\b\ (Povera) palace is remark- able for the proportion of its porticos, the richness of its nympheum, which termi- nates in a garden of large oranges planted in the soil, of an enchanting effect. The monumental Filippo Durazzo pa- lace, from the designs of Bartolommeo Bianco, a Lombard, was enlarged by the Genoese architect Tagliafico, who con- structed the rich, but badly placed, stair- case of white marble. The most re- markable paintings are : a Magdalen, by Titian, said to be the original of that in the Barbarigo palace, which however it would not be easy to prove ; ' a Roman Charity; St. Eustace; a graceful Cleo- patra, yery skilfully painted; a Child sleeping, an o\ii\ painting, full of charms, though the subject would have borne more simplicity, by Guido; Ilagar, Ish- mael, and the Angel, by Grcchctto, a Genoese painter of ihe seventeenth cen- tury, who acquired his elegant surname from the propriety and charms of his colouring; the Marriage of St. Cathe- rine, by Paolo Veronese ; a portrait of Ippolito Durazzo, elegantly thickened and perfect, by Higaud; the Parnassus, a good fresco on the ceiling, by Gero- nimo Piola ; Christ appearing to the Virgin; the Death of Adonis, a paint- ing with little figures, of excellent com- position; a St. Sebastian, by Domeni- ' See ante, booli ti. cb. ii. chino ; the young Tobias ; a Childdressed in white ; Two Boys and a Girl, por- traits of the Durazzo family, in Spanish costumes, of a fine execution and great delicacy of tone, by Vandjck; a very fine and lifelike portrait of Philip IV., king of Spain, by Rubens; a Philoso- pher weeping, true, but without eleva- tion and ordinary in design; Ueraclitus and Democritus, in Caravaggio's style, by Spagnok'tlo. The Brignole {Rosso) palace has some great porticos of fine proportions. The gallery is one of the first in Genoa. The following may be distinguished ; by Ti- tian : a half figure of a Man with a white beard and furred sleeves ; by Paris Bordoue : a half-figure of a Man with a black beard and red sleeves; a Bust holding a paper in hand, of great delicacy of tone ; the Virgin, St. Joseph, St. Jerome, St. Catherine and several angels, of a very fine colour; a portrait of a young Man in a pelisse ; a half- figure of a Man with a white beard and pelisse ; a Woman with embroidered garments ; by Vandyck : two half- figures, Father and Son ; the great Equestrian portrait of the Marquis Antonio Giulio Brignole, son of a doge, ambassador to Philip IV., afterwards a priest, a satirical and cornic writer, Je- suit, and preacher; the Give to Coesar that which is Ccesar's and to God that which is God's, in which the face of Christ shows a mixture of dignity and irouy that seems to condemn the future abuses of the sacerdotal power ; the por- trait of Signora Sale Brignole ; a por- trait of a Man standing, iti Spanish cos- tume; by Albert Durer : a Head with an inscription, very well drawn; by Guer- cino : Christ driving the buyers and sellers out of the temple ; Cato killing himself, without nobleness ; the Virgin on a throne and St. John Baptist, St. John, and St. Bartholomew ; by Michelangelo di Caravaggio : the Resur- rection of Lazarus, of fine effect ; by Guido : » St. Sebastian, a half figure; by Cappuccino : a St. Thomas, whose colouring, natural, vigorous, and har- monious, disparages, says Lanzi, the co- louring, though good, of the other paint- ings in the room ; by Ludovico Carraccio : the Annunciation ; by the elder Palma : an Adoration of the Magi, full of grace and simplicity ; by Paolo Veronese : the Judith, which has an expression of mo- 680 desty and flrmness that makes one over- look the Venetian costume, a painting of remarkably powerful effect lor that master; a Woman, called Vandyclc's nurse, sitting in a chair, at her length, and holding, as if with effort, a nosegay, a very natural and gay figure; by Spagno- lelto : a Philosopher holding a paper in his hand; by Pellegro I'iola, a Ge- noese painter of great promise, who was waylaid and assassinated in his twenty- third year by his rivals, jealous of the popularity of his Madonna still exposed in Goldsmiths' street, another victim of those violent professional enmities al- ready mentioned : " St. Ursula; a grace- ful Holy Familij; by Holbein : a ^Voman holding a flower; by Leonardo Vinci : an oval half figure of John the Baptist; by Rubens : the Portrait of a man, in black; his own and wife's poi trait, a very fine painting; by Domenichino : St Roch praying for the cessation of the plague, true, pathetic, well composed; hy Cor- reggio: the Assumption; by Carlo Doici: Christ in the Garden of Olives, which has the usual qualities and defects of its author. Several pleasing portraits are by Rigaud and Largilliere. but they are eclipsed beside the portraits of Titian, Paolo Veronese, Rubens, Vandyck, and Paris Bordone, which enrich this admi- rable gallery. The Tursi Doria palace, now added to the royal domains, the finest ornament of the Strada Nuova, presents a remarkable disposition, a rare character of solidity, and must be regarded as one of the grandestand best seated edifices in Italy; but one might desire, as in most of the Genoese palaces, greater purity in the details. The Serra palace, indifferent with respect to art and badly built, is noted for its saloon on the first floor, w hich was highly praised during the last century, and surnamed the Palace of the Sun by the President Dupaty ; but its decoration, in which there is truly an excess of mirrors, is rather distinguished by rich- ness than taste. It is said that a mil- lion franks were expended upon this toy, a monument of ostentation and luxury rather than true magnificence. The ancient Grimaldi palace, now be- longing to Fernando Spinolo one of the fine palaces in the Strada Nuova, which ' See ante, book xiii. cli. vil. GENOA. I Book tt. was built almost throughout by Galeaso Alessi, resembles the best palates of Rome by the simple grandeur of its ar- chitecture. R has a vast vestibule; and the gallery leading to the court, the magnificent staircase, the nympheum which termin.ites the court, and the court of the first floor, are of the finest effect, The gallery has some good paintings : an Equestrian portrait, A Head, by Van- dyck; a Venus, believed to be Titian's; a Virgin with the infant Jesus, very pretty, by Giovanni Bellini; Three chil- dren, in Parmegiano's style. The Carega palace, from the designs of Galeaso Alessi, built in a confined spacC; yields to none in Genoa for rich- ness or beauty. The frescos on the roof of the vestibule, by Castello il Ber- gamesco, are a brilliant decoration. Two chefs-d'oeu\re, the Adoration of the Magi, by Paolo Veronese; a half figure of Herodias carrying the head of Jolin the Baptist, a horrible mixture of grace- fulness and crime, by Titian, have all the merits of those gieat masters. The Lercari Imperiale palace passes for one of the most harmonious and pic- turesque works of Galeaso Alessi. The original and severe basement forms an agreeable contrast with the elegant gallery of Ionic columns on the first floor. The ceiling of the staircase is adorned with some charming arabesques which were executed under the superintendence of Galeaso Alessi by Taddeo Carlone, an excellent Genoese fresco painter, of the seventeenth century. The Grillo Cataneo palace has a con- siderable number of paintings by the best masters : a portrait of a Woman sitting, a half figure, by Rubens ; a great painting of Christ driving the sellers out of the Temple, much boasted, one of those masterpieces of Salvator Rosa everlastingly met with in Ualian galle- ries, which are generally, as in this in- stance, but very ordinary performances ; a St. Agnes, by Andrea del Sarlo ; a portrait of a Slavonian, by Giovanni Bel- lini ; St. Joseph and the little St. John adoring the Saviour, ascribed to Ra- phael ; Luther and his mistress, by Paris Bordone, of a fine colour and sin- gular expression : Dorothea has a gold necklace, rings, and all the cumber- some dress of the epoch ; Luther has hold of one hand and lays his other hand on her shoulder; looking at her with a Ciup. III.] GENOA. 681 serious ralher than an impassioned glance, \Nbich seems less a lover's than a theologian's. The Negroni palace, well-planned, and ■with a nympheum of a charming effect at the bottom of the court, has a room, which is perhaps the best painted in Ge- noa, a poetical composition, consecrated to the virtues and glory of the Negroni family, and the best work of Domenico Parodi. The Spinola (.Maximilian) palace is distinguished by the happy proportion of the porticos in the court, the originality of its cloister-arched roofs, and the room on the first floor, painted at eighteen years of age by Luca Cambiaso, a clever and precocious Genoese artist in the sixteenth ccnlury, of a bold and prolific genius, who worked with two pencils at once, but whose good period only lasted a dozen years. I visited the charming picturesque retreat of the Marquis Giovanni Carlo di Negro, a perfect model of that cour- tesy and Italian good feeling towards strangers, w hich can never be sufiiciently praised. The garden, visited by Ihe pope, the emperor of Austria, the kings of Sardinia and Naples, was worthy of those honours less from its wonderful si- tuation, ilslibrary, its exotic plants, than the tulents and character of its amiable possessor, a passionate lover of the fine arts, a distinguished improvisatore, and author of a much esteemed Quaresimale in lerzines. Among the numerous paintings in the gallery of the rich palace Pallavicini, may be remarked : a great Mutius Scce- vola, by Guercino; a Coriolanus, by Vandyck, rich in colouring, but in a style unsuited to the subject ; the Virgin alia colonna, by Raphael, which is not, as stated, and imitation of his Madonna della Grotta. for all the Virgins heads by Raphael have for the close observer a peculiar physiognomy, which most fre- quently depends on a very delicate shade. The Spinola (Giambattista) palace presents among many works by cele- brated painters : a Woman suckling a child, another reclined, lying down, and two men, by Annibiile Carraccio, and one of those fine but monotonous St. ' "Divino muaere Andreas Doria Cevae F. S. R. ecclesiae, Caroii imperatoris catholicl maximl el Imiaclissimi, Francisci primt Francorum regis, et Sebastians of Guido, quite a fashionable subject in his time, for there is scarcely a gallery of importance that cannot boast the possession of its St. Sebastian. CHAPTER III. Palace of Andrea Doria.— Paintings of Perino del Vaga. - Trellis. —RcEdan.—Grolto.— lighthouse.— Scoglietlo. — Pallaviclal ( delle Pescbierel and Sauii palaces. The royal palace of Andrea Doria, of the architecture of Fra Montorsoli, who was summoned from Rome to build it, has a long characteristic inscription of a single line under the entablature of the windows, which states that its illustrious founder had been admiral of the pope, of Charles V., Francis I., and of his own country," an extraordinary man, whose alliance was sought by the greatest princes, who had deleated the Moors and Turks with his own galleys, and was himself almost a power. The poor statue of the old admiral as Neptune stands in the middle of the gardens near the shore ; but his romantic mustachio of the fifteenth century contrasts strange- ly with the nakedness and classical attributes of the marine deity. The door is from the designs of Perino del Vaga, a pupil of Raphael, who, having escaped the sack of Rome with the loss of his all, was generously welcomed by Doria, and decorated the palace with his finest works. Such are the stuccos and gro- tesques of the vestibule, resembling the Loggia of the Vatican, at which Pe- rino del Vaga had worked ; some little Cliildren, Horatius Codes, Mutius SccEvola, and three other subjects of Roman history, worthy of Ra[;hael for invention and composition, and the ceiling of the War of the Giants, almost equalling the frescos of the Farnesina, The trellis, opposite and above the pa- lace, must have once formed the most charming and magnificent of Italian ter- races. It is now neglected like the rest of this superb abode. The mausoleum of Roedan, the dog given by Charles V. to Andrea Doria, is almost buried. It was placed at the foot of the colossal statue of Jupiter, that the great Roedan, as the patriae classls Iriremium llll. Praefectusul maximo labore jam fesso corpore lioneslo otio qniesceret JEdes sibi et successoribus instauravlt MDXXYIIII.' 682 GENOA. [Book XX. whimsical epitaph stated, might not cease to guard a prince, even after his death. Doria again returned in triumph to his country, and his dog, so magni- ficently interred, cannot have the merit of that of Ulysses which a French poet, despite the etiquette of our stage, has happily painted in four words : Ai-je encor des amis On seul m'fetalt rest6, nos parmi les hcmaiss. Not far from Jupiter is the Grotto, from the designs of Galeaso Alessi, a brilliant construction of white marble, forming a terrace, which so admirably finishestheg.irden and overlooks the sea. The Scoglietto, a villa of ordinary ar- chitecture, is singularly agreeable with its terraces, grottos, cascades, its orange, le- mon, and pomegranate groves, its pine wood, and especially its site above ihesea. At the top of the garden, in a small pavi- lion, I found a framed collection of en- graved portraits of the members of the Constituent Assembly, an odd decoration for this quiet and cheerful retreat. It is interesting to ascend to the lighthouse, called the Lantern at Genoa, a picturesque structure reared on a lofty rock, which serves for its base ; the ho- rizon thence discovered is magnificent. The Paliavicini palace, surnamed dclle Peschiere, from ihe number of its foun- tains, is of a judicious and elegant ar- chitecture, by Galeaso Alessi; and its position, the charming grotto of the garden, make it one of the most re- markable of Genoa. It is pretended that Cromwell once inhabited it, but nothing can be moie uncertain than this tradition. The Sauli palace, a chef-d'oeuvre of Galeaso Alessi, formerly one of the no- blest and richest, not only in Genoa, but throughout Italy, with its white marble columns of a single block, is now aban- doned and almost in ruins. CHAPTER IV. Alliaro. — Giustinijni villa. — Imperiale palace. — Paradiso.— Promenades.— Uijiuparts. — Aqueduct. The smiling hill of Albaro is covered with superb villas. The Giustiniani villa, by Galeaso Alessi, does not ap- pear from Michael Angelo's designs, as some have pretended. The anie-room in the style of a loggia passes for the most exquisite production of Alessi. This villa has a few antiquities, among them a very scarce statue of Isis in oriental granite. The Imperiale palace presents the Rape of the Salines, a noble and spi- rited composition, one of Luca Cam- biaso's best. A member of this family, Michele Imperiale, attracted conside- rable notice by the mad excentricily of his conduct and opinions. For instance, after combatting the damnation of Judas by theological arguments, he left a sum of money by his will to have masses said for the salvation of his soul. The Saluzzi palace, called Paradiso, has some good frescos by Tavarone, a Genoese painter of the .sixteenth century, the travelling companion and fellow- labourer of Luca Cambiaso, whose man- ner he almost acquired. This palace was inhabited by Lord Byron; he de- parted hence for Greece, but returned a moment when becalmed a whole day within sight of Genoa, and he there had a presentiment of his approaching glorious end. Having expressed a wi.^h to see his palace once more, he went thither accompanied by Count Gamba alone. " His conversation," says the latter, " took a melancholy turn ; he spoke much of his past life and the uncertainty of the future. 'Where shall we be,' said he, ' a V ear hence?' It was like a gloomy prophecy," adds his friend; "for, the year after, on the same day of the same monih, he was laid in the tomb of his ancestors." Jf the two or three public promenades of Genoa, such as the Acqua verde and the Acqua sola, are not very good, the circuit of the great fortifications is one of the finest promenades in all Italy. This superbcoast of Genoa has not, indeed, the poetical and literary associations of the gulf of Naples, but it is interesting for the French exploits that it recalls : Houf- flers, Richelieu, Mass(^na, appeared there as the representatives of the old and new military glory of France. Among the various objects that one encounters is a long piece of the aqueduct tli;)t brings the water from a distance of six leagues into the different parts of the city, and even to the upper stories of every house ; one of those astonishing and useful works of the middle ages, begun in 1278 and finished in 1335. Cbap. VI. ] GENOA. C83 CHAPTER V. University.— Library.— Berlo library. The palace of the University, with ils porticos, columns, and marble staircases of dazzling whiteness, has rather the air of an oriental palace than a college. It is impossible not to be struck w ith the happy repartition and vividness of the light. The rooms of the different courts are or- namented with paintings, several of which belong to the great Genoese masters. In the great hall, painted in fresco by Andrea Carlone, is a Circumcision, by Sarzana ; the statues of Faith, Hope, Charity, Justice, and two other Virtues, are by Giovanni of Bologna. The studies of the university, which were excellent in the olden times, and had resumed their ancient lustre under the French admi- nistration, were unfortunately reorga- nised in 181G, and seemed but little in accord with so much luxury, despite the merit of some professors — the prin- cipal of whom were : S. Viviani, pro- fessor of botany, celebrated in Europe for his works, and particularly for his Flora of Libya and Cyrennica, and the professor of chemistry, S. Giusepjie Mo- jon, whose modesty is equal to his talents, and who first discovered electro-magne- tism, a science since completed by the researches of MM. Ampere, Arago, Biot, Davy, Savary, Faraday, and Nobili. The number of students is only about four hundred, an inconsiderable number for so populous a town as Genoa. The library contains forty-five thou- sand volumes; it is composed of the old libraries of the Jesuits and Carmelites, in which theology is rather too predo- minant. Among the few manuscripts is a Quintus Curtius of the Gfteenth cen- tury, translated into French by the " honnourable et noble homme Vasque de Lucene, portugallois," a fine but not scarce manuscript, dedicated to Charles theBold, duke of Burgundy, with minia- tures representing the actions of Alex- ander. There are also some Chinese manuscripts and others in African and Arabic characters. The Berio library, presented to the town by a private individual, consists of fifteen thousand volumes and fifteen hundred manuscripts; most of the latter relate to the history of Genoa. A City of God, in Italian, of U'2, is a fine copy by a sister Veronica, of the convent of the Holy Ghost at Verona. A History of Venice, not printed, of 1480, is men- tioned by Tirnboschi. A Missal of Cardinal de' Medici, of 1533, has an inscription in his hand. The librarian, P. Valentino iManfredi, a barefooted Carmelite, late a missionary on the Ma- labar coast, seems to live in his library, which is open on winter evenings, and seemed to me pretty well frequented. CHAPTER VI. Ttieatre del Falcone.— Saint Augustine aud 6arh> Felice theatres. Among other pieces, I witnessed the performance at the theatre del Falcone, which depends on the Royal palace and is constantly attended by his majesty Charles Felix, of one of Goldoni's Hir- cana, well played by Signora Polvaro Carlotta. Notwithstanding the success of this trilogy at one time and all Gol- doni's boasting of it in his Memoirs, it appeared to me false, cold, and dull, like most dramas on Persian subjects. At the theatre of Saint Augustine, they were playing that antique and terrible tragedy of A Ifieri's, Poiynice. The ac- tors, though but tolerable, were much applauded, and they not appeared less moved by public favour than in other Italian theatres. > It was ludicrous enough for those hostile brothers to be opportunely pacified to make their bows of acknowledgment, and, after having just left the stage in a fury, to reappear suddenly with a calm and solemn air, to make their respectful salutations to the pit. All this gratitude and polite- ness seems still more ridiculous in the absence of singing and music. It occa- sionally happens that actors are thus called for several times in succession: in ^S3i, at Leghorn, I saw Cosselii, Duprez and signora Ungheri, who sung the Parisinaot Donizetti, called on five con- secutive times. It is true that this frenzy was a kind of reaction against the Matri- monio secrelo and Lablache, who had displeased the public the previous even- ing. The delicious chef-d'oeuvre of Ci- niarosa had so far made fiasco on that day, that they durst not show it again, so played the Barbiere di Seviglia in its stead. ' See ante, book iti. cIi. ivll. 684 GENOA. [Book XX. The theatre Carlo Felice, erected from 1826 to 1828, is the largest theatre in Italy, after La Scala and San Carlo. The columns and principal staircases are of white Carrara marble. Despite the vast proportions of the plan and the richness of the materials, the architecture does not appear either very noble or pure, and it has not the kind of lightness and elegance that are suitable to an opera- house. CHAPTER VII. Saint Laurence.— Sacro Calluo.—Bonfadlo.— Saint Syrus.— Annunziala— Saint Ambrose.— The As- sumption of CariRnano. — Statues, by Puset. — Bridge. — Tomb of Andrea Doria. — On Guidos Virgins.— Saii/a iUaria delta consolazione. The church of Saint Laurence, one of the flne cathedrals of Italy, remarkable for the Gothic architecture of its front, was judiciously restored by Galeaso Alessi, >\ho rebuilt the choir, the hemi- cycle. and the cupola. The frescos of the choir ceiling, and particularly the Martyrdom of the Saint, pass for the best public work of Tavarone. The rich chapel of Saint John the Baptist has six statues by Matteo Civitali, one of which, the Abraham, is remarkable for the vesture and a kind of grandeur; the Virgin and the Holy Precursor are by Contucci da Sansavino; the altar, begun by Jacopo della Porta, was admirably terminated by his clever nephew Gu- glielmo. The famous Sacro Catino is restored to the cathedral. It was sent to an ar- tizan to be mended when I saw it, for it had been broken and a bit was lost in its ' The Sacro Catino was formerly kept in an iron safe in the sacristy, of which the deau alone had a key; it nas only exposed to the public once a year, and then it was set on an elevated place, with a prelate holding It by a cord ; the knights Clavi- geri. to whom lis custody was confided, were ranged around. A law of 1^76 punished even with dealh In certain cases whomsoever should touch the Sacro Calinn v. ith gold, silver, stones, coral, or any other sulu liiUte : " In order, said the law. to deter the CO/'-;,';!' .Mid incredulous from examining the CaliSii,, j^sJiytKieh proceeding it might beinjured or even bpor. . whitii would be an irreparable loss for the r*>>. lif jrf Genoa." M. de La Condamine, Impelled by his natural curiosity (well known to be rather Indiscreei), and bis curiosily as a man of science, had concealed a diamond in his coat sleeve when he examined the Sacro Catino, for the purpose of making a scratch to prove its hardness ; but the monk who was showing it to him per- passage from Turin to Genoa. Though deprived of its honours, its guards, and its mystery, ■ the Sacro Catino inspired me with respect, and I found the philosophic lazzi very dull that were thrown at it by Lady Morgan. Of what consequence is it, if instead of being an emerald, the Sacro Catino be only coloured glass? if it were not given to Solomon by the queen of Sheba, or if it were not used by the Saviour at the Last Supper? This glass dish is no less a memorial of the faith and bravery of those Genoese, the conquerors of Caesarea, who captured it — of those Christian republicans of the middle ages, who, after receiving the communion, scaled the ramparts of the town with no other machines that the ladders of their galleys. I fancied that I heard that bishop of Pisa, Daimbert, a warrior and a prophet, haranguing the crusaders on the eve of tlie battle, and promising them victory in the name of Jesus Christ; I pictured to myself that Genoese consul who first mounted the breach and defended him.self single- handed like another Alexander. These reminiscences of glory, religion, liberty, were sufBcienl for me, and I desired no more. Bonfadio,whose condemnation, whether just or not. seems still a mystery,' wished to be interred at Saint Laurence, as may be seen by the short, poetical, and touch- ing letter addressed just before his dealh to one of his powerless protectors, which letter seems a more certain proof of his innocence than all the dissertations there- on. Mi pesa il morir, perche non mi pare di meritar tanto : epur m' acqueto del voler d' Iddio ; e m,i pesa ancora, ceived it in time, and raised the Sacro Catino, hap- pily for himself, as he would have got into diffl- cullies, and for M. de La Condamine, w bo had pro- bably forgotten the law of l«6. it appears how- ever that, not"itlistanding the observations of M. de La Condamine, who had observed little bub- bles in the Sacro Catino, such as are found in melted glass, it retained its reputation asan emerald for a long time, us the Jews advanced, I was told, several millions on this pledge during the last siege ; a si.'igular loan which was uo doubt paid after the fashion of the Republic. 3 Ginguene, in the article Bonfadio of the B'ojra- phie, does not hesitate, on Tiraboschi's authority, to regard him as guilty of the vice for which he was burned, after being beheaded as a favour, while he brings lorward good arguments against Tira- boschi's opinion in the Uistoire litierane d'ltalie, t. viir, p 328 et teq. CiiiP. VII. ] GENOA. 685 perche moro ingrato, non potendo render segno a tanti onorati gen- tiluomini, eke per me hanno sudato, ed angustiato, e massimamente V. S. del grato aniino mw... Seppelliranno il corpo mio in S. Lorenzo ; e se da quel mondo di Id, sipotrd darqualche amico segno senza spavento, lo faro. Restate tutti felici. The ancient church of Saint Syrus, the primitive cathedral, and the richest in Genoa for marble, presents a fine en- semble. The height of the nave is not, however, in proportion to its width. The ceilings are decorated with sluccos and paintings by the clever Taddeo Carlone. The high altar has some fi- gures of angels and children, by Puget, an artist too little appreciated in our country while living, who has left more works at Genoa than in all France; the St. Andrew of Avellino, and an As- sumption, are by Sarzana. The Annunziata, from the designs of Scorticone and Jacopo Porta, the largest church in Genoa after the cathedral, re- markable for its ordinance, the proportion of its ten columns of white marble in- crusted with red, and the brilliancy, variety, and harmony of the paintings on Us ceilings by the brothers Cartoni, owes all its magnificence to one family of Genoa, the Lomellini, sovereigns of the island of Tabarca in the Mediterranean until about the middle of the seventeenth century. A vigorous Last Supper is by Procaccini; a Martyrdom of St. Cle- ment, horrible, by GiambatlistaCatlone; an aCecting Virgin at the foot of the cross, by Scotti. In the chapel of Saint Louis, the Saint adoring the cross was first ordered of Bernardo Carbone, but as his performance was not approved of. two others were ordered at Paris, and succeeded each other at the altar, on which the first painting was at last justly replaced. Its two Parisian rivals are hung beside it, as if to bear witness to the triumph of the Genoe.se artist, who was also a very clever portrait painter, and his works have been frequently taken for Vandyck's. I regretted that I did not find in this chapel a celebrated French tomb, the one erected by the senate to the duke of Bculllers, who died in lUl, while governor of Genoa, which he had so valiantly defended. The Annunziata. as well as the chuich del Redentore at Venice, is served by Capuchins ; the gorgeoushess of these temples contrasts strangely with the poverty of the men- dicant monks that possess them. The vast church of Saint Ambrose has several paintings by celebrated masters, but it is true that they are not all chefs- d'oeuvre; especially a Circwmcts/on by Rubens : his Jesuit saint resuscitating a demoniac is belter. A great and ce- lebrated Assumption is one of the most carefully finished works of Guide; a fine Christ on the cross, by our Vouet. The Assumption of Carignano, by Ga- leaso Alessi, presents the plan of Saint Peter's in miniature, according to Mi- chael Angelo's project. Its front is of a pleasing proportion, but the exces- sive height of the steeples is injurious to the effect of the cupola. This church, though not one of the largest, is a most complete and finished specimen of ar- chitecture, and its unity is perfect in every way. The Saint Sebastian and the B. Alexander Sauli. chefs-d'oeuvre by Puget, are less esteemed than they deserve ; if the former statue excel the latter, it is because the subject was better suited lo the artist's talent, for he was less clever in executing drapery than the naked parts, which he has here expressed with such animated, acute, and painful reality. A St. Francis receiving the stigmata, by Guercirio, is not among his best works. It is easy to discover the imitation of this master in the St. Peter and St. John curing a man sick of the palsij, by Domenico Piola; a good Virgin with St. Dominick and St. Igna- tius, by the lust painter's son.Geronimo, shows his usual imitation of the Carracci. The other paintings of the different Ge- noese artists are nowise remarkable. The painting of northern Italy is some- thing like the language : the nearer we approach the Alps, the ruder and har- sher is the accent. From the cupola, which is noted for ils solidity, and may be easily visited in every part, the tra- veller will enjoy a marvellous panorama, extending in fine weather lo the island of Corsica. The bridge of Carignano, a bold con- struction joining the twohills, with houses seven stories high benealh il, was built by the Sauli family, so devoted were ihe ancient patricians of Genoa to the public welfare and convenience. At Saint Stephen's, the Martyrdom of the saint, a celebrated painting given 58 6S6 GENOA. [Book XX. to ihis cliunh by Leo X. and the Car- dinal Giulio de' Sledici, is one of the finest and most remarkable chefs-d'oeuvre of Italy. 1 be lower part, by Giulio Ro- mano, may be regarded as his best work ill oil ; the upper part is by Raphael, and the saint's head was repainted at Paris by Girodet, and not by David, as often stated. The St. Benedict raising a dead man, by Saltarello, a Genoese painter, who died young, is expressive and judicious ; the St. Frances making a dumb woman speak, by Capi>eIlino, natural, and agreeably coloured. The St. Sebastian of the church of that name is a good painting by Giam- batlista Castello, remarkable for its rich and careful composition; Puget made it Ihe model of his statue. The Martyr- dom of St. Clement and St. Agatagnolo is deficient neither in grace nor accuracy ; it is by Bernardo Castello, a Genoese painter, the friend and correspondent of the Cav. Marini, sung by him and most of the poets of his time, as Leonardo Spinola, Angelo Grille, Ceva, Chiabrera, and e\en Tasso, for whom he made the r'.rawings of the Gerusalemme, which were engraved in part by Agostino Car- raccio. At Saint Luke, the fine Nativity, by (ircchetto, is one of the most famous painiings of the town. The church of Saint Matthew, small but noble and majestic, was restored in- side and ornamented by the clever Fra RIontorsoli. He also made the statues of the Evangelistsm the choir, and those of the Virgin, St. John the Baptist, St. Andrew, David, and Jeremiah, which are ranked with his best works. 'J'he St. Anne, by Bernardino Castello, ought to be signalised among the numerous productions with which he has crowded Genoa. In a subterranean chapel is the tomb of Andrea Doria; the inscription, stupidly erased by the demagogues of 1797, had not been restored. It is said that the sword sent by Pope Paul ill. to Doria is preserved in the sacristy ; this glorious weapon would be better on the tomb. The church of Santa Maria of the Pious Schools has recovered its nine basso-relievos of fine marble, by the Genoese Francesco SchialTiiio, [uipil of Bernini, and Cacciatore, [iiipil of Scbiaf- fino, basso-relievos which had been re- moved to Paris, and were more worthy of the journey from the material than the workmanship. A head of the Virgin by Guido. instead of being, like Ra- phael's Virgins, the pure, noble, and art- less representation of a model created by the artist's imagination, seems, as do most of Guide's other Virgins, the por- trait of an actress or pretty womaa dressed as a Virgin. The small church of Saint George has the Martyrdom of the saint, which, for the beauty of the principal parsonages, the expression of the beholders, the va- riety of the composition, and the force of the dare obscure, passes for Luca Cambiaso's best work. At Santa Maria of Castello are : an Annunciation, and divers Saints, by firca, a painter of Nice at the end of the fifteenth century, the heads of which, though rather drily drawn, have an air of beauty and a remarkable vivacity of co- louring ; the Virgin with St. Catherine and St. Magdalen, by Grechetto; and in the obscurity of the sacristy, a St. Se- bastian, by Titian. Saint Silvester has an esteemed Con- ception by the Neapolitan painter De Matteis, in which there are some grace- ful little angels. The church of Saint Donatus presents another example of the barbarous white- washing common in Italy : four columns of oriental granite, the finest in Genoa, were long concealed beneath its whiting and size, and were restored to their pristine glory only a few years ago. The great and majestic church of Santa Maria della Consolazione has some painiings anJ sculptures : Si. Thomas of Villanova, by Saizana; the statue of iV. S. of the Rosary, by Santa Croce ; a Saint receiving the infant Jesus from the hands of the Virgin, by Domenico Piola. CHAPTER VIII. Albtrgo.— nospilal de' Pammalone — Slone of tlie iii-iirreciion ofn^G.— Conservaiory de' Fieschine : —lie' Brignole.— Deat and dumb inslilullon.- P. Assarotii. The Albergo de' poveri, one of the most extensive hospitals in Italy, was founded by a society of beneficent Ge- noese about the middle of the seven- teenth century. It has accommodations for two thousand two hundred inmates; but, like roost houses of such extent, it Gbap. IX. ] GENOA. C87 perhaps has the defect of not being suf- ficietilly devoted to any one object, and of combining eslablishtnenls that would be belter separated. 1 he luxury of the ails has been introduced into these asy- lums of wretchedness and toil, imparl- ing to them a iiind of dignity. The sta- tues of the diirerenl benefatlors represent them seated or standing, according tothe amount of their donations. The church has two excellent pieces of sculpture : a basso-relievo by Michael Aiigelo, the Virgin embracing the dead body of Christ, anil a grand, spirited Assump- tion, by Puget, ai the high-altar, which, though in a dangerous approximation, nobly sustains the honour of the French chisel. The superb staircase and the porticos of the court of the hospital de' Pamma- tone, which contains about seven hun- dred i)atienls, are built with marble of a dazzling whiteness : never had bodily pain a more magnificent abode, and moral suffering is not belter lodged in palaces. As at the Albergo, charily has its ceremonial and etiquette : the donors of a l.OOOi. have an inscription, those of 2,000/. a bust; 4,000/. are required for a statue. Near this asylum for the afllictions of the people exists a monument of its cou- rage. A marble slab with an inscrip- tion marks ihe spot where, on the 5lh of December 1746, ihe Anslrians atlempled to compel the peojile of Genoa by blows to raise one of their mortars, which had broken through into a drain as it was passing along the street. A stone thrown by a child eight years of age, the son of a shoemaker, who was incensed at seeing his fiither beaten, was the signal lor that noble insuireclion, which soon became general. Overwhelmed by the stones with which they were assailed, the German soldiers were driven from the town, and their generals consented to negociaie. The doge, the senate, and the nobility, who had at first essayed to suppress the insurrection, then came to the aid of the victorious people, who had made themselves masters of the arsenals and ramparts; troops and money were sent from France; and the republic of Genoa, honourably included in the ' He died on the 29lh of Janu-iry, tSJO. 1'. Assa- rolti, who left all he possessed to ibe deaf and dumb, lias a worthy successor In tlie abb6 Boselli, treaty of Aix-la-Chapelle, recovered its ancient limits. The conservatory of the Fieschine, a convent and house of industry founded in 1760 by one Domcnico Fieschi, cele- brated for its artificial (lowers, which are sold in all parts of Europe, presents a piquant contrast : poor and holy maidens bedeck with their garlands the world they have quilted, and these bril- liant, but very dear flowers are olTered you for sale through the double grating of a parlour by a Flora in whimple and biggin. The conservatory of the Brignole is also a manufactory and convent ; like the Fieschine, it exhibits a singular alliance of the industry, devotion, and aristo- cratic spirit of the ancient Genoese. The deaf and dumb inslilulion, then managed by the illustrious and vene- rable Assarotti,' was one of the most re- markable in existence. This ecclesiastic, ex-professor of the Pious Schools, created his method about 1801, and first tried it, out of charily and in the pious obscu- rity of his cell, on single individuals ; this method is inferior to none, and greatly resembles that practised at Paris, except that its communicaiions are more rapid. The house of Genoa contains twenty- four young men, fourteen girls and twen- ty-five day-scholars. The variety and extent of the course of instruction seem truly extraordinary, as the pupils are taught Latin, Italian, French, German, English, Spanish, universal history an- cient and modern, the mathematics, the elements of astronomy, metaphysics, some portions of rational philosophy, religion, drawing, engraving, and even dancing and pantomime. CHAPTER IX. Road to Nice.-San Pier d'Arena.— Villa Imperiile -Cornigllano.— H0ly|)use.s.- Seslri.— Hegll.-Si- gnora Clelia Griinaldi.- Vollri.- Cogoletu.- Co- lumbus.— Savona.—Lalio-ltalian inscripllon.— Palace of Julius II.— Aparlment of Cius VII. At San Pier d'Arena, perhaps the most magnificent of all suburlts. the beautiful Vdla Imperialc, by Galeaso Alessi, now belongs to a learned Ge- a young ecclesiaslic, whose talents and services procured liira the decoralion of Saint Maurice In 1831. 688 GENOA. [Book XX. noese physician Scassi, is remarkable for its scientific plan, its well propor- tioned elevations, and its extensive gar- dens ornamented with grottos, ramps, sheets of water, and charming fountains. The richness of the villas in the environs of Genoa is not surprising, as they were formerly the theatre of the splendid fetes that Ibe severe sumptuary laws of the republic did not suffer in the town ; it Mas in the country then that diamonds were worn. The bridge of Cornigliano is the spot v/here, after sixty days' resistance, after doing all that the moral or physical powers of man could achieve, Massena signed his honourable capitulation, which he glo- riously intitled a convention, wilh IJaron d'Olt and Admiral Kcilh. I was told that not long ago some old broken French bayonets were to be seen in the chapel on the bridge ; and I regretlL-d not finding them there still. This chapel had quite another aspect; on each side of the Madonna were a fowling piece and a stiletto, which were doubtless touching ex-voto offerings, but less heroic than the warlike wrecks that I would have contemplated there. At Cornigliano, in the delightful v.-illey of Polcevcra, is the great palace of S. Ja- co[io Filip[io Diirazzo, which is of a de- testable style of architecture, but famous for the museum of natural history that oc- cupies the principal apartments. There is something noble in this magnificent hospitality accorded to the productions of natuie, and this novel luxury is sin- gularly honourable. The collection of polypuses is the richest known. ThcSpinola villa, nl Seilri di Ponente, with its vases, terraces, trellises, basins, and fountains, presents a magnificent ensemble. The church of this populous town is remarkable for the width of the nave, and especially the construction of its roof, skilfully and economically sup- ported by simple arches of bricks rising perpendiciiluriy from the pilasters, the space between which is filled up with light masonry and the intervals of the arches over the windows with canes or reeds nailed on wooden frames and co- vered wilh plaster. A St. Charles is by Camilio Procaccini. Pegli, a charming place, has three delightful villas : the Lomellini villa, with large evergreens, cascades, groves, a lake, u theatre, and a Chinese hermi- tage ; the Grimaldi villa, which has some fine paintings, and especially a rich bo- tanical garden created by Signora Glelia Grimaldi Durazzo, who is held in esti- mation among the most eminent bota- nists for her proficiency in that science, and is the worthy inheritor of her noble family's taste for the natural sciences; the Doria villa, where orangetrces in- terspersed with rose-bushes in flower, presented a captivating sight in the month of December. The small island in the middle of the lake at this last villa, the work of Galeaso Alessi, and de- scribed by Vasari, has no longer all the splendour of its m aterworks. Voltri is famous for its paper-mills, which produce its wealth. In the church of Santa Maria degli .\ngeli, a Baptism of Christ is by Tintoretto. Cogoleto will not give up the honour of having given birth to Columbus. Not- withstanding the multitude of researches and dissertations, it is now pretty cer- tain that Columbus was a native of Genoa, according to the following sublime and affecting passage from the will of this great man : Que siendo yo nacido en, Genova... como natural de ella, por- que de ella 1/ en cUa tiaci, a declaration that ought to be conclusive. The |)iclensions of Cogoleto appeared for a time well founded, from the fact that two admirals named Colombo and natives of that place, sailed wilh Co- lumbus. They even pretend to know his house, a kind of hut on the seashore, which I found very fitly occupied by a coastguard ; on it may be read, after a number of miserable inscriptions, this line verse, an impromptu by GagliuQi : Unus er.it mundus : duo siiit, ait iste ; fa^re. In the tow n house is an antique por- trait of Columbus; but it can hardly be a likeness, or this intrepid, eloquent, enlightened, and inspired man had a very ordinary appearance. Savona, a very ancient town, agreeably situated but rather desert, has the finest fort on this coast, which stands on a rock close by the sea. At the tower of its little port is a Ma- donna fifteen palms in height (about twelve feet and a half), by Parodi, and below it are inscribed, in characters in proportion with the statue, two Sapphic verses, at ouce Latin and Italian, com- CUAP. X] ALBENGA. 689 posed by Chiabrcra, the prince of Italian lyric poets, who was a native of Sa- vona : In mare irato. in stibita prucella, loToco Te, nostra benigna slella. These pretty verses show the genius and analogy of the two languages, the last of which can only be well known to those who are conversant with the for- mer. The palace of Julius II., who was a native of Albizzola, near Savona, was begun by Antonio SanGallo, but it does not appear equal to the reputation of that artist; nothing remains of it now but the front of the back part, the other portion having been rebuilt. The stair leading from the vestibule to the court has a fine effect. In the church are a basso-relievo of a Visitation, one of Bernini's good works, and a painting of the Presentation of the Virgin in the temple, which has been ascribed, though without much reason, to Donienichino. I was received in 1827 by the bishop of Savona, S. Airenti, a kind and learned prelate, ex-librarian of the university of Genoa, who died in 18:U, when arch- bishop of that great city. The apart- ment occupied by Pius VI. in the bishop's palace is religiously preserved exactly in the state he left it. I will confess that I was less struck in con- templating the colossal bronze pulpit of Saint Peter's, suspended at the extremity of the brilliant basilic; I was less moved at the aspect of the pon- tifical throne, surrounded with genu- flexions, incense, and all the pomps of the Sixtine chapel, than at the sight of this seat of the apostle, of this wandering and persecuted throne, when it was seen much more than in Dante's time : Nel vicaiio suo Crislo esser catto.' CHAPTER X. Hoad 10 Nice conlinueii. — Leggina. — Cliiabrera. — Noli. - f iiule. - Albenga. - Little temple. — Alassio — Oneglia. — S^n liemo.-Palniirees. — Viiilimiglli. —Mouaco. -Tower of La Tuibia. Leggina was the residence of Chia- brera ; on the door of his solitary casino he inscribed the words : ' Punjal XX. 87. Musarum 0|e esgare bors de la droicle senle lla eombien ce seroit a dire cbose dure He teste forest tant aspre forte et sauvage On en y pensani ma paour renouvelle ct me dure, The university library also possesses some Chinese books of poetry and me- dicine, and a very ancient Game of Taroc. A F/ora of Piedmont, begun in 1732, and comprising nearly five thousand ' Chap. xiT, lie piirlie. " Were 1 not fearful of insisting too much on the merit of these Savoyard wrilcrs, 1 might odii that ihe Inhabilants of Savoy have no disagreeable ac- cent, like most Inhabitants of our pro\inces. ' Lyon, Chez Giiillaurae Leroy, U7.3, small 4io. ^ee the Dissertation of S. Cazzera, t. jsxviii. p. 3>2, coloured drawings, the work of several generations of the Ballione family, has been successfully continued by Signora Angelica Baltione, afterwards Signora Rossi. Among the printed books, the follow- ing may be distinguished : the Ratio- nale, by Guillaume Durand ; a very scarce book, the first printed at Lyons, accord- ing to the Abb«5Gazzera, the learned sub- librarian of this library, with the strange title of Scelestissimi Sathana litiga- tionis contra genus humanum liber i^ Ptolemy's Geography, put into Italian verse by Francesco Berlinghieri, a noble Florentine poet, the pupil of Landino and Marsilio Ficino, one of the first works with maps engraved on metal. The magnificent Turin copy reveals a singular bibliographic anecdote which explains the mutilation of several copies. This cosmography was originally dedi- cated to Duke Federico d'Urbino, and in 1484, after his death (which occurred two years before, while the work was in the press), to the adventurous and un- fortunate Zizim, second son of Ma- homet IL, brother of Bajazd: the au- tograph letter of Berlinghieri to the Ottoman prince, whom he addresses as Gemma Sultan, and whom he does not despair of seeing again established nel 5uoreyno,this incorrect and badly spelled letter, written on the back of the title page of the very copy he had addressed to him, and which is ornamented with the crescent and the principal monu- ments of Constantinople, is another in- stance of the faithlessness of dedications. CHAPTER IV. Museum of antiquities. -Cupid asleep.— Minerva.— Isiac table. — Cabinet of medals. The museum of antiquities, from the obscurity and nakedness of its rooms, seemed rather a dungeon of statues than a museum. Though founded but little more than sixty yearsago,it has some re- markable objects : Cupid asleep on a nf Ihe Memoirs of the Turin Boyal Academy of Sciences | )82'i ) ; according to two erudite I.yoncse bibliographers, M B"**" de L""* and M. I'erl- caud. the city librarian, the DrsI booh printed there « ith a dale is the Compendium Lolharii, of Ihe same year 1473. See the Epiiemeiides li/onnaiaes, Sep- tember, p. to. Chap. Vi.] TURIN, 69 a lion's skin, Greek, is charmingly na- tural ; two heads, one of Seneca, the other of a Cyclop ; a marble bust of the emperor Julian, which has the morose expression of his physiognomy; a Ves- pasian, his neighbour, which forms a most striking conlrast, having a gay and satirical air ; ahead o( Antinous ; the vast mosaic of Or/j/tcus, found near Ca- gliari, comparable to the finest in Rome for the perfection of the figures and ani- mals, wild and domestic, chiefly of Sardi- nia ; the bronze statile of Minerva, one of the most remarkable known for deli- cacy of execution. The famous Isiac table, once the sub- ject of great controversy, has lost its prestige of antiquity, and (Jinmpollion's discoveries sanction the opinion that it was made at Rome under Adrian. The medal cabinet, one of the richest in Europe, ranking immediately aftei' those of Paris, London, and Vienna, con- tains no less than thirty thousand pieces. It has a quinary of Pertinax; a rare gold medal of Magnia Urbica, the wife of Carious or the emperor Cams, his father, a princess known only by medals; and the collection of I'arthian and Syrian medals. I felt interested in contem- plating an Athenian gold coin, the only one of this little module. The venality of the political orators of Greece invo- luntarily presented itself to my mind; perhaps this gold had helped Pericles to establish the almost monarchical power which, according to Thucydides and Plutarch, he exercised during forty years over the people of Athens, or indeed to buy some proud Lacedemonian ; for it is known that he expended ten talents annually in corrupting the Spartans. CHAPTER V. Rojal A'-aderay of Sciences.— Mililoi'y Acadeinj.— Academy of I'iue Arts. The Royal Academy of Sciences, found- ed in 1759, by the Count of Saluzzo, and made illustrious from its very origin by the labours of Lagrange, had for its last president the late Count Prosper Balbo, minister of stale, formerly inspector of the university of France, a man of ex- tensive acquirements, and a gre;it pro- moter of public instruction in his country. The Academy is divided into two classes: Ihe first of rnathematiciil and physical sciences, the second of moral, historical, and philological sciences. The number of academicians is fi)rly, exclusive of foreign and corresponding members. The Royal military Academy is in- debted for its present universally ap- proved organisation to ils commandaiii. the Cav. Csesare Saluzzo, preceptor of ih^- king's children, a man of great informc- tion, remarkable for his extraordinary educational powers, and the possessor of a rich military library. The Academy of Fine .Arts, of whitti the high-chamberlain is the hereditary president, a singular provision that dates from (]ount Alfieri, the able ar- chitect, and has been maintained without any valid reason, does not seem to attain its purpose or produce ellects commen- surate wiih the encouragements it re- ceives. 'Ihe Piedmonlese are more expert in the sciences, warfare, and handicraft than in the arts; and despite the contemporary names of iMigliara, llosio, and Desgotli, they appear below the other Italians in the latter. There are not more than two or three amateur galleries at Turin. The varied aspect of the country iscalculated however to pro- dace landscape painters. CHAPTER VL Egyptian museum. This rich collection, the first in Europe, was temporarily located in apartments which had not then been put in order, and consequently had more the appear- ance of a warehouse full of antiquities than of a museum. In the court was Ihe stone statue of Osymandias, fifteen feet in height, and weighing eighteen thousand seven hundred and fifty pounds; the old colossus of Thebes was wrajipeil up in straw mats like a young shrub in the Flower-market. It was on the sa- cred library of the tomb of Osymandias that the inscription Treasure of remedies for tlie soul was formerly written ; I regretted to see the magnificent statue of the most ancient amateur of books amidst such confusion. The kings of Egypt seem to rank almost with the gods. Some other of their statues are admirable; particularly the contemporary statue of the great prince Thoulmosis II., ■ and the ' Si'e anle, l)ooli xv. cli. svlii 700 TURIN. [Book XXI. wilfully mutil.ilcd one of AmenophisII., the same wilh Memnon, a king whose fame is less dirived from his conquest of Ethiopia liian from his harmonious co- lossus. Hut the Apollo of the musoum and of Egy()tian art is the statue (about seven feet high) of Ramses VI. (the great Sesostris) in black basalt spotted wilh white ; " he is seated on a throne in mi- litary costume, and holds a crook-like sceptre in his hand. The physiognomy is mild and spirited; the hands are per- fect, the forms pure, and the feet, which are commonly neglected in Egyptian statues, are in just proportion. The beauty of Egyptian statuary, which ex- cludes movement and variety of altitude, consists in solidity and strength, for il even becomes archileclure in some vast edifices, of which it forms the front, the peristyle, or propyleums. The figures (if queens and goddcssesinmany instances have a vulture on their heads, because they were regarded as the mothers and nurses of the people : this savage bird of prey seems a strange emblem to express such a sentiment, and I regret the pintado or Afraavis for which this vulture was for a long time wrongfully taken. The collection of steles or pictures sciilpUirod and painted on stone, which arc still remarkably bright in colouring, is the most complete in existence. A basso-relievo of rose-coloured granite represents the god Amonra between the goddess Neith and the god Phtha, that is to say, the one God between the creating and preserving powers. All these pictures and basso-relievos present scenes of worshipping the divinity, of honours rendered to the dead, of judgment on the soul, etc. ; it is pleasing to find at so remote an age the sentiments of piety and alTection that honour human nature. The articles used in the various bu- siness of life are numerous and most interesting. Among the implements of a lady's toilet arc two little ivory dogs, one of which still retains the thread that was wound on it more than two thousand years ago; and this weak flaxen wreck employed in female labours was destined to outlive such a succession of powerful empires. I did not much like, however, the Egjptian shoes of pasted cloth with ' The basolt of ligypt is a kind of porphyry, and totally difreicnl from Uie Iliad of volcanic sloiie improperly called basalt by Ibe muderus. figures on the sole; this manner of tread- ing underfoot one's enemies or tyrants seems little worthy of so wise and grave a nation. These figures in general re- present the Pastor kings, who, despite their gentle name, were the oppressors of Egypt more than two hundred years. The domination of the Pastors, a people from the North, was to the Egyptian em- pire what the barbarian invasion was to the Roman. Notwithstanding the harsh judgment pronounced on the Pastor kings by the new Egypfian historical science, one would wish to except King Sabbacon. of whom Diodorus relates the admirable story quoted by Montesquieu : the god of Thebes appeared to him in a vision and ordered him to kill all the priests in Egypt; he inferred that the gods were no longer pleased that he should reign, as they commanded him to do things so contrary to their ordinary will, and he retired into Ethiopia. In the Egyjitian museum we also find agricultural implements and arms; se- veral models of ploughs ;a yoke for oxen, arrows, a helmet, and a fine scimitar of bronze. The occupations of husbandry and of war. when found one without the other, announce the weakness or barba- rism of a people; but on the other hand, if combined, they distinguish the best kind of civilisation. When we observe the immense quantities of mummies, it seems that the instinct of preservation was never carried so far, for it extends even to beasts, and we also see carefully embalmed ibises, jackals, cynocephali, hawks, fishes, crocodiles, and young bulls marked on the forehead with the cha- racteristic sign of the ox Apis ; cats have little wooden sarcophagi to themselves, ornamented with paintings which re- present them playing. Rut the manu- scripts, on papyrus or rolls of cloth, taken from the catacombs of Thebes, must be the most instructive and important part of this museum : ihc caco'e'tltes scribendi seems never to have raged more widely than among this primitive people, who in that respect may challenge the most advanced nations. There we find the immense funereal ritual, a superbly written papyrus more than sixty feel long » — a pompous and minute ceremonial of ' There are two of nearly Ihe same leaglli iu (tie Louvre. Chap. VII. ] TURIN. 701 death, the most complete that we possess of the people who paid the grim tyrant the most fervent and assiduous worship ; acts of Pharaoh Amenophis Memnon, ordinances of Sesostris, contracts made in the time of the Ptolemeys, the plan of Ramses Melamoun's calacomb, a kind of subterranean pulace more extensive than the royal residencesof other princes, and fragments of a chronological table of above a hundred kings. As I contem- plated all these dusty and mutilated wrecks of the oldest civilised nation of our globe piled up at the foot of the Alps, I said to myself : Perhaps the day will come when our own remains, all our monuments of marble and bronze, all the magniQcent evidences of our power and glory, will be shown in the museum of some now savage people, in a desert yet unknown, near a lake of which we have never heard, in the bosom of im- penetrable and gloomy forests or of lofty mountains hardly discovered. TheSacys, Akerblads, Youngs, Champollions, Salts, SeyfTarths, and PfalTs of another world will in their turn write dissertations, and obstinately defend their dilTerent systems. Louis XIV., vilh his brilliant age and immense works, will be as the great Ramses or Sesostris of those distant days ; and our recent conquests, so rapid and traosieul, will be like fable after history. CHAPTER VII. Opera. — Carignaao Iliealre.—Gianduja.— Dialect of FiedmuDt. The resemblance of the French is very perceptible in Piedmont, but more par- ticularly in the drama. Within the last century this country has produced the only great tragic poet of Italy, and most of its best comic authors, as Federici, Cesare Olivero, Noia, Marchisio, the latter living at Turin, book-keeper and partner in the firm of Riccardi and Co., drapers. > There are no performances at the grand Opera except during carnival and on extraordinary occasions. I was present at a rehearsal of a ballet of Ines di Castro I Tbe comedies of S. Marcliisio have been printed seTeral times nllboiit his consent, and from very Incorrect uianuscrlpls, al Venice and Legliorn , the only edition he acknowledg^'s is the one published at Milan by liatelli and Faurani, under tbe title ol I (another tragic balFel) ; • the stage was covered with dancing-girls en neglige, and a host of little blackguards carrying sticks, who executed a children's dance; all this was not greatly calcululcd to pro- duce much illusion by daylight, but I did not the less admire the extent, richness, and excellent plan of the house, one of the most noted in Italy and the chef-d'oeuvre of Count Alfieri. The Carigtiano theatre, tastefully re- novated, is also from Count Alfieri's designs; and the tragedies of his illus- trious nephew were there represented for the first time. When I visited this house in 1826 and 1828, there was no dramatical performance on account of Christmas week; and tumblers and rope dancersoccupied this cradle of the Italian stage. In 1827 I went there to see la Cene- rentola and a ballet of the Spaniards in Mexico, composed by a dancer of the theatre, Monticini. The prima donna was a rich English laily, of a fine figure, but possessed of little talent, who w;fs said to be of high birth ; she played to gratify her own taste, w ilhout the intoxi- cation of success. This amateur artist seemed to relish applause highly, but hud nut nmch of it, and she was eager to come forward after the opera, though the fuori were not very inviting; one young lady, Signora Rainaldi, was a very pleasing and aerial dancer. The ballet w as a poor imitation of the ballets of Vigano; a!l these Jlexicans, who were erroneously made to adore the sun as in Peru, wei e very ridiculously furnished with beards in the fashion of Jupiter Olympius. The fantoccini seemed to me not so good as those of ftlilan, Bologna, and Rome; and, as far as a foreigner can judge of these pleasantries, Gianduja, the bulloon ofTurin, was only a defective Girolamo. ' The dialect of Piedmont, hirsh, screaming, and rude, distinctly separating those who speak it from other Italians, is a kind of historical monu- ment, as it retains some few words of the most ancient tongues, such as the Celtic, Etruscan, Gaulish, Provencal, Spanish, German, and all the barbarian warriors that have successively traversed Opeie leatrali di Staiiistao Murcliisio, i vols. 8vo . consisting of sii comedies and two tragedies. ^ See ante, book iii. ch. xtli. 5 See ante, bouU in. cb. i\\i\. 5J. 702 TURIN. [Book X.XI the Alps. It is not deficient in origi- nality, character, or spirit, if we may judge of It by the poetry of P. Isler and Doctor Caivo. CHAPTER VIII. C.ilbrdral. - Chuicli of llie San Sudario. —Saint I'liillp of Neii.— Saiila Maria «ie/ Curmine.— Cor- pus Domini.- Consolala.- nuly Gliost.— Calbo- liclsui of llousseau.— Trinily.— Copuclilns. The cathedral of Saini John, notwith- slanding some dryness, might be supposed of Bramante's time by its profiles; but it has noi (ho pure and elevated laste of that master, and it is doubtless a mistake to attribute it to him. St. Christina, and especially St. Theresa, are highly esteemed statues, by Lcgros. A Glory of Angels, graceful, by Guidobono, might be supposed of Guido's school. The Virgin and infant Jesus, ivith St. Crispin and St. Crispinian, is by Albert Durcr. Near the sacristy is an inscrip- tion that points out the grave of the il- lustrious Seyssel and enumerates his titles and offices. Th.:! rich and picturesque church of the San Sudario, adjoining the cathedral and the Pioyal iialace, is of the contorted archileclure of I'. Guarini, and presents his ordinary mathematical triangles. In its rotunda is preserved, in a silver shrine ornamented wilh gold and diamonds and put under glass, the sacred winding- sheet that enveloped the body of Christ, a famous relic brought from the East in the time of the Crusades by a French- man, Geolfroy de Cliarni, a knight of Champagne, like Thibaut and Joinville. Fiancis I. invoked it before the battle of Marignan, and on his return he went on foot from Ljons lo Chamliery where the San Sudai io then was, for the pur- pose of worshipping it. This relic, which, indeed, is not the only one that claims the same honour," is for us at least a naiionni ai:d glorious memorial. The thurth of Saint Philip of iNeii, like most of those dedicated to ilii;. poetic saint, is magnificent, and perhaps reckoned the finest in the city. Il has been recently repaired and improved by the Cav. Talucchi, according to an old plan by Juvara. Some few paintings ' There Is a similar relic in llie bisilic of Sainl Peter's at Rome, iinci two more bes-ldc, one at lie tun^oir, tlie olbcr at Cadouiri in Perigord. are by the masters of the decline, and the most praised of Iheir works: St. Philip in ecstasy be fore the Virgin, by Solimene; a5f. Laurence, byTrevisano; the Virgin, St. Catherine of Siena, St. Eusebius, St. John Baptist and the blessed Amadeus IX., by Carlo Maratta. The ancon of the altar of the blessed Valfre of Turin, by the Cav. Cavelleri, a Piedmontese painter, which he executed at Rome, has been praised. A fine St. Eusebius and his acolyte, by Guer- cino, is buried in the sacristy. Saint Theresa has : the Saint in ecstasy, supported by two angels, in the presence of the Virgin and' St.. Jo- seph, who are looking with satisfaction at the dart thrown at her by the infant Jesus, a graceful and well -coloured composition, by Aloncalvo ; and the great chapel of Saint Joseph, from Juvara's designs. The unfinished church of Santa Maria delCarmine.\)asies for one of the same ar- chitect's most remarkable constiuclions, though there are some slight deviations from his [tian. The least feeble painling is an Elias, by Giaquinto, pupil of Soli- mene. A Holy Family, by the abb^ Aliberti, would be tolerable but for the greenish hue ( fashionable in the eighteenth century ) with which the artist has besmeared it. In the church of San Dalmazio are a good Martyrdom of the Saint, by Bramhiila, an artist of the last century, of a firmsljleanda good colourist; and the Christ put in the tomb, the best work of Slolinari, an esteemed painter of Piedmont, who died in 1793. The sumptuous interior decorations of (he church of Corpus Domini are by Count Alfieri. At the high altar may be remarked, the Miracle, by Caravo- glia, a judicious but languid pupil of Guercino, and in the sacristy ihe history of the same miracle, by Olivieri, paint- ings that have some dash of the burles- que, notwithstanding the sanctity of the subject. 'J he church ofSaint Charles Borromeo, is rich, but of indilTerent archileclure. The St. Joseph holding the infant Jesus who wounds the heart of St. Augus- tine with an arrow, by the Cav. Dau- phin, is picturesque, and not devoid of fire. This church contains the mauso- leum of Francesco di Broglio, head of that branch of the Broglio family which tUAP. IX.] TURIN. 705 settled in France, who was killed in the wars of Italy in 16.)G. He was origi- nally of Quicrs, as were the Crillons. It is curious enough to see two of the most brilliant names of our military history proceed from a vill.igc in Fied- mont, both of which have since been equally honoured by generous senti- ments and the love of a sage liberty.- The triple church della Consolata, the finest of convent churches, has a Cru- cifix and Magdalen, one of the good works of Moncalvo, and in the chapel of the Virgin of the Santuario a venerat- ed picture painted in oil on very fine canvas, attributed by Lanzi to one of Giotto's pupils. At Saint Dominick, a Virgin and infant Jesus giving the rosary to the Saint, with St. Catherine of Siena be- low, by Guercino, is more correct and belter composed than usual with him. The church of Saint Christina, found- ed by Madame Christina of France, and decorated with a majestic portal by Juvara, presents some remarkable ar- chitectural details. The ensemble of the church of Santa Croce, from Juvara's designs, with a new front by the Cav. Mosca, is impos- ing. A Descent from the cross is by the Cav. Beaumont, and perhaps the best thing he ever diil; a vigorous St. Peter in the pontifical chair, by Mon- calvo. Of Bianseri's three paintings in the church of Saint Pelagius, the St. Louis fainting in the arms of an angel is the most esteemed, and the artist seems su- perior therein for the effect of the clare- obscurc to his master the Cav. Beau- mont. The new church of the Holy GhosI, in the shape of a Greek cross, is not without grandeur. The hospital of the Cate- chumens, founded in 1610 by the con- fraternity of the Holy Ghost, adjoins the church. It was in this house, then an infamous and filthy den, that Rousseau was received, or rather confined, on the I2th of April 1728, when Madame de SVarens sent him thither to be converted ; and after a month's discussion he so- lemnly adjured Calvinism in his sixteenth year. Notwithstanding the impure ori- gin of this Catholicism which Rousseau ' The dulie de Crillon, peer of France, decenscd In ISiO, and the duke de Bioglie. retained till his fortieth year, perhaps he was indebted to it for his escape from the stiiTness and dryness of the reformed taste, as he is the only protestanl writer of imagination. The Trinity, one of the finest chur- ches in Turin, was decorated inside by Juvara. The high-altar is by Seyter, first painter to the kings Victor Ama- deus II. and Charles Emmanuel III., a good colourist, who is buried in this church. The great church of the Capuchins, on the heights near Turin, is picturesque from its situation and view, like all the Capuchins' churches; it has an Assump- tion, by Morazzone, and a Martyrdom of St. Maurice, by Moncalvo. CHAPTER IX. nospltals of Suint John and Saint Louis.— Manicomio. The hospitals of Turin arc interesting on account of their regimen and the improvements that have been intro- duced. The great and well-managed hospital of Saint John, which has five hundred beds, and to which the revo- lutions have left an income of only 6,000/., is abundantly aided by public charity. At the extremity of the apart- ments is the brilliant contrast of the magnificent chapel built by Castelli, adorned with ionic columns of Susa marble, which has almost the splendour of vert antique. The Sisters of Charity serve the hos[)ital ; but these, introduced into i'iedinont in the year 1781, em- ployed at the military hospital, at the orphans' asylum, and keeping schools in their own house, but little resemble the new infirmary nurses of Rome, and for attention, piety, courage, and meek gravity, they are still French.' The hospital of Saint Louis, founded in 179i by the holy priest Barucchi, rector of the citadel, and SS. Molineri and Orsetti, though intended to receive, as it were, the refuse of the other hos- pitals, is perhaps one of the cleanest in Europe. The rooms, without being either too large or too high, exhale no odour, so cleverly have the ventilators been arranged under the beds and in the ceiling. Operations are not performed ' See ante, book iv. ch. ilii. 701 TURIN. [Book XXI. in the rooms, but in a corridor on one side into which the beds are drawn. In case of death the patients near know nothing of it, as the curtains are kept closed. I was told that the ingenious plan of this hospital, one of the finest buildings in Turin, had been solicited by England and America, but the cle- ver architect, the Cav. Talucchi, would only consent to give it on the truly pa- triotic condition that they should inscribe on all hospitals built from his model : "On the plan of the hospital of Turin." A dislinguished French Lady, the marchioness de B"*"*, devoted herself with the most active compassion to the relief of the poor, the sick, and priso- ners. This lady has founded a Mag- dalen hospital for a hundred inmates, whose labour helps to maintain the esta- blishment. Madame de B***" intro- duced infant schools at Turin, and has one of these sweet and gladsome asy- lums for childhood in her own house. The vast Manicomio. which will ac- commodate six hundred lunatics, is ano- ther clever building of the Cav. Ta- lucchi's philanthropic architecture. The skulls of most of the madmen are pre- served, forming a collection that may be useful forscientiQc obser\ation. Among the moral means employed in the treat- ment of insanity, music is not neglected. An enlightened economist, S. Defen- dente Sacchi of Milan, when visiting the house saw at the piano an idiot whose understanding was perfectly gone, though he executed without halting all his favourite sonatas. A like [)heno- menon had struck him at the hospital of A versa, where an insane person who could not connect two ideas detected the false notes of those he accompanied. The deaf and dumb school, which has not many pupils, also prepares masters to Instruct the unfortunate of this kind. It is desirable to see it extended to a larger scale, as in the diocese of Turin the number of deaf and dumb amounts to six hundred, and in the whole Sardi- nian stales to four thousand. CHAPTER X. Ttinple della gran Madre di O/o— Bridge over (tie Doria. The expedition with which public works were carried on at Turin was rather remarkable. The temple, a copy of the Pantheon, dedicated to the Virgin, alia gran Madre di Dio, by the corpo- ration of Decurions of Turin, to comme- morate the return of Victor Emmanuel, will be magnificent ; it is from the designs of S. Bonsignore, government architect. This temple and the finished arch of the Simplon will be, at the entrance of Italy, monuments worthy of its antique trium- phal glory, and of its modern religious splendour. It seems, however, that a square with trees would have been pre- ferable to the new piazza with its lofty buildings crowding round the edifice. The stone bridge of a single arch thrown over the Doria. a little river with steep banksand a rapid stream— this bridge, so light and bold, one of the finest modern monuments of the kind, an improved imitation of the fine bridge built by the French over the Po. was erected by S. Mosca, inspector of the corps of civil engineers, an old pupil of our Polytechnic school. The superb cornice with consoles recalls the walls enclosing the temple of Mars Victor. It is evident that this skilful engineer com- bines the science of his profession with the taste of the artist. CHAPTER XI. Slupinilz.— nil! of Turin. -Superga. Slupinitz, a hunting palace, the roof of which is picturesquely surmounted by a great bronze slag, may be regarded as the most splendid edifice of its kind in Europe, and it is one of Juvara's prin- cipal works. The oval saloon presents a singular and well combined invention; it corresponds with four apartments disposed in the form of a cross, for the princes, with lateral buildings for the lords in waiting, the officers, and hunt- men. Four long avenues proceed from the four glazed windows of this saloon and have a majestic effect. The hill of Turin, which I went over at the close of autumn, must be charm- ing in summer; it is variegated with woods, vineyards, gardens, beautiful palaces, and handsome houses; there are not, indeed, many good roads, but a multitude of shady and retired footpaths. I saw the rising sun from these heights, and the effect was superb, though the CiiAi'. XH ] PIGNEROL. 703 horizon was dimmed by vapours : Mount Viso and the whole chain of the Alps were tinted of a rosy hue by his first rays, and appeared in the distance like im- mense brilliant pyramids. The Superga temple, which is said to be so called from its position on the ridge of these mountains, super lerya mon- tium, crowns Ihis beauteous hill. It was built in 170G, by King Victor Ama- deus I., in pursuance of a vow he had made to the Virgin, if the attack he con- certed on that very spot with Prince Eugene should compel the French to raise the siege of Turin. This church and its monastery, of a fine architectural disposition, despite its impurities, pass for the best and most ingenious of Juvara's constructions. The Superga church is the burial i)lace of the sove- reigns of Piedmont, but the modern vaults of Ihis Savoyard Saint Di'nis, all lined with white, yellow, and green marble, and light as day, seemed to me devoid of majesty and sadness; the fantastic ornaments of the architecture, notwith- standing the richness of its materials, are unsuitcd to the tombs of kings, and the stone arches, the caverns blackened by ages of the old basilics, are far more fitting for the sanctuaries of death. In a separate vault are the remains of the children and princes of the royal family that never ascended the throne : ihe first lived but a few days in innocence; the second may have been honoured as be- nefactors ; both seemed to me happy in having escaped the throne. This little throne of Savoy is, moreover, the one that numbers most abdications. ■ One would say that these kings of the Alps, the sovereigns of ice and rock, whose dc- minions are nearest the heavens, take disgust at the earth more easily than others. In the apartment intended for the king is a complete collection of por- traits of the popes, two hundred and fifty-three in number, from Saint Peter to the present possessor of his chair. When we reflect on the fact that the first thirty of these pontiffs were all martyrs, it is impossible not to admire and respect this new courage, unique in history, and this same and intrepid sa- crifice to the same truth. If while con- ' Amadous VIII. in \'iVt\ Victor Amadous in n:!0; Cbnrles I3tnmanuel IV. in 1802; Viclor Em- manuvl in IS::!.. templating the portraits of the succeed- ing popes, I sometimes fell on unworthy portions of this great history, the general impiession was not destroyed, and in- stead of all the phantoms of human power, the exhibition of material and physical strength that pursues you in the other galleries, I loved to contem- plate all these laborious helmsmen of Saint Peter's bark, the eternal represen- tatives of the greatest moral power that ever acted on the world. CHAPTER XII. rigiierol.— For(re-s — Iron Mask. Fouqtict, Lauzun. — VaiidtiC. — Susa. — .Mount Cenis. The duties of an old friendship led me toPignerol, a little, agreeable, busy, gar- rison town, six miles from Turin, the retreat of a lady distinguished by her birth, her successes, and her misfortunes. A pile of stones on a high mountain is the only remaining vestige of the castle that was the prison of Ihe Iron Mask, Fouquel, and Lauzun, the first an anony- mous victim of policy; the other two, illustrious coxcombs : Lauzun, of the court; Fouquet, of the bar and finance. Though the histories of prisoners are in general most attractive, the memory of Ihe two last confined in Pigncrol did not inspire me with the profound pity that belongs to captives w ho have sullered for some grand conviction of thought or conscience. Pei haps also the \ain and pedantic passion of Lauzuu and Made- moiselle disposed me but little to the melting mood; and when we see this princess console herself for her spoiled teeth, because they would remind her lover that she was cousin to the king, it is impossible to sui)press a laugh at such egregious coquetry. As I passed over these rugged mountains, I remembered the not inapposite answer of Lauzun, which proves that misfortune may also have its vanity, and that, after a great catastrophe, little troubles seem un- worthy of our notice. Being invited to alight from the carriage at a dangerous pass, he refused, saying, "Those mis- haps are not made for me. " At the sight of the ruins of this ancient fortress of France, I regretted that the author of the Lepreux and of Prascorie had declined publishing his novel of iht Pri~ 708 VAUD. [ Book XXL sonniere de Ptgnerol ; ' I fancied that his narrative would supply the pathos that seemed to be wanting to the well- known adventures of the prisoners re- corded in history. The adjacent valleys, near the river Pelis, were inhabited by the Waldenses, or Vaudese, celebrated for the persecu- tions theysuffered.and for the antiquity of their purified chiislianily, which existed four hundred years before the Reforma- tion. It is said that the commissioners of Louis XII., who were charged to visit them when he passed through ihe Alps, declared that these mountaineers were better Christians than themselves, though the king's confessor was one of them. The illustrious .Sadolel was also favour- able to theWaldenses, and when bishop of Carpenlras he offered an asylum to some of iheir fugitives who had been con- demned to the stake by the Provencal parliament, which also ordered the de- struction of their houses and woods, and he humanely pleaded their caui-e. These hordes form a population of about twenty thousand persons; the superficies of the valleys is a hundred and thirty thousand hectares, of which not less than ten thou- sand five hundred are cultivated; ten thousand covered with woods ; and the rest unproductive. The Vaudese have thirteen temples and as many moderators (ministers), called also barbes, whence their name of barbels, who have each a salary of 500 francs. One of these mo- derators, INI. Appia, was charged, from 1815 to 1828, to visit Germany, France, and England; the pecuniary assistance he obtained amounted to above 20,000/., and the greater part was invested in England, which gave rise to the belief that the English paid the moderators. The schools, seventy-five in number, are only open in winter: the principal is that of La Tour, where Greek and Latin are taught. The Vaudese are chiefly hus- bandmen and shepherds. At Villar- Bobbio and La Tour, there are a hun- ■ See a nole in tbe ExvedHion nocturne autour de ma Chambre, by Count X de Moislre. dred and fifty men engaged in manufac- turing cloth. There are twelve furnaces and several foundries in the valleys, which produce about five hundred tons of iron a year. The law that forbade the Vaudese to possess property out of their valleys, and the impossibility of obtaining military rank, are unjust ine- qualities that have now nearly ceased, the present king having raised several of them to the rank of ofiicers. Susa, a little pleasant town, is noted for its marble triumphal arch consecrated to Augustus, remarkable for the basso- relievos of \t< frieze representing a triple sacrifice, — a monument which recalls the antique arches of Rome, and seemed to me a noble entrance to Italy. I have tw ice crossed Mount Cenis in December when returning to France; the first time, the wrather was mild and foggy ; the paved road was dirty and dull, without physiognomy or character. I passed it on the second occasion in a sledge drawn along the snow, during a hard frost. Mount (]enis was loaded with rime and presented a superb spec- tacle ; its torrents were frozen and mo- tionless : nature alone can cnchnnt the devastators she sends, and their festoons of crislal, hanging from the rocks, were like dazzling lustres which beautifully reflected the light and the solar rays. The deep precipices, the black and roar- ing abysses were all silent and gloriously white. If in my journeNS through Italy, I often appealed to Dante for descriptions of the sites and monuments of his coun- try, he still offered me, at the summit of the Alps, his harmonious and picturesque language to express the llakes of snow falling lightly on the mountain top : Come di neve in AIpe senza veiito.' I love to close this long and laborious work, inspired by the aspect or recol- lections of Italy, with a passage taken from her greatest poet. » ;«/■. XIV. 30. THE END. PaiSTED BY O.VSIMin, (2, lU E DE LA VILILLE-MO.N.N AIE. INDEX. Abano, Pietro, physician, pl)ilosopher,heretic: his portrait, 209, 2H. Abate, Kicholas dell", painter of the Mode- nese school (16lli ccnlury\ 257, 235, 270. Abbadie : his treatise on liie truth of the Cliristian religion still in the Index-, 331. Alibaziu, cluirch at Venice, 184. Ahliiati, Filippo, painter of tlie Milanese scIkjoI (17(h century), 4'. Abbuiidio, St., his bust at the Lyceum of Cosmo, 81. Abundio, St., church at Cremona, 306. Abrnzzi, the, 433. Academy, house of Cicero, 472. — , Aldine, ai Venice, formed for the exami- nation of tlic classics; Greeli only spoiien, 166. — of Cortona, 653. — of France at Rome, .Wl. — of Naples at Rome, 579. — Arcadian, at Home, 328, 537. — of l^'ine Arts, at Florence, 379. — of Fine Arts, at Mantua, 292. — of Fine Arts, at Perugia, 63). — of Fine Arts, at Ueggio, 270. — of Fine Arts, at Turin, 699. — of Fine Arts at Venice, 167, 185. — of St. Luke, at liome, 535. — of the Innoniinati, at Orvielo, C32. — of ihe Intronali, at Siena, 632. — , elementary, of Fine Arts at Ravenna, 419. — of Sciences, Letters, and Arts, at Padua ; its memoirs; one of its meetings, 197. — of Sciences, Letters, and Arts, at Arezzo, 660. — of Sciences, Letters, and Arts, at Pisloja, 6G8. — , Olympic, at Vicenza; its dramatic perform- ances, 128. — , Philharmonic, at Rome, 373. — , Plalonic, at Florence, 371. —, Pontauiana, at Naples, 433. — , royal, formerly degl' Oscuri, at Lucca, 671 . — , royal, of Sciences, at 'lurin, 699. — , royal military, at Turin, 699. Academies, poetical an'J literary, of Italy, advantageouly replaced by scientific so- cieties, 537. Accaramboni, Virginia : her elegy on the death of her murdered husband, 54. Acciajoli, ancient palace, at Florence, now an hotel, 371. Acciajnoli, Nicolao, seneschal of the kingdom of Naples, founder of the Chartreuse at Florence, 396 ; his body found entire, 396 ; sends Boccaccio to diue in the servants' h3ll, 397. Accius, L , Latin tragic author, 429. Accoiti (Cardinal Benedetto) of Arezzo, 335, 656. — , Bernard, the unique, of Arezzo, 636. Accrbara, mountain, 496. Acerbi, Austrian consul in Egypt, 193. Acheron, river, 472. .4cong-Kover, Stephen, archbishop of Sinnia ; his loud), 192. Acqua-Buja, fountain, 312. Accjuapendente, town, 616. Aequa-Sola, promenade at Genoa. 682. Acquasparta, Fra Matteo, cardinal : his tomb, 334. Acqua-Verde, promenade at Genoa, 682. Actpia-Vergine, water of Rome, 570. Acquila, Serafino dell', improvisatore of l!ie lolh century, 429. Acquisti, S., sculptor, 69. .4cteon, house of, at Pompeii, 479. Actors, comic, of Italy : their merit, 63. Their imperfections, 81. Adila, Count Francesco, Milanese amateur painter (IBtli century), 48. — , river, (ig^i. Addison, 39 )i.,2I2. Adjulori, the canon Don Desiderio de' : his skull shown as Raphael's, at the Academy of St. Luke, 533. Adonis, house of, at Pompeii, 481. Adrian, emperor, 472, 323. His mausoleum, 58L His villa, 597. — VI., pope, supposed by some Italian writers to t)e Lndovico Rampini, born at Renzano, near Salo, 103, 3H, 334. — IV., his tomh, 503. — , St., church at Pavia, 78. /Edes JovicB, at Cosmo, 81. yEtion, Greek painter: his Marriage of Ale.x- amler and Roxana,imitated hy Raphael, 59G. Affo, P. Ireneo, librarian of Parma : his J/c- morie dcqti Scrillori e Leileiriti panni- (jiuni, 276 tl., 279, 287, 288. 292, 308 n. Afra. St., church at Bi'escia, 97. Agatha, St., church al Ravenna, 418. Agesander, sculptor, 316. Agigulphus, duke of Turin : his marriage with Queen Tlie.idolinda, 72. Agincourt, d" : opinion of the his cluircli of 708 INDEX. SI. Michael at Pavia contrariictcd by Saii- yiiinliii'), 79 n.; 551 n. ; liis lom!», 332, 614, 629. Agli, Antoaio degli, a competitor for the prize-poem upon True Friendship, adjudged to the cathedral of Florence, S.'it. Aglictli, Dr. Francesco, celebrated physician of Venice, editor of Algarotti's works, 161. Agnano, lake of, 470. Agnelli, Barbara, creeled a mausoleum to her husband, 303. Agiielloa capo mtpoli, St., church at Naples, 453. Agnes, St., church at I'ome, 334. — extra muros, church near Home, 303, 547, 580. Agnese, female mathematician of Milan: her ^medallion, 62. Agnesiaoa, library of Vercelli, 33. Agnolo, Bacciod", architect, 338, 344. — , Gabriele, architect, 442. — di Tura, chronicler, 627. Agoslini, brothers Santi, painters, 50. Agoslino, Agostino San, painter, 43. — of Siena, sculptor ( Ulh century), 534, 614,618,624,627,629,638. Agrario, public garden at Bologna, 239. Agrate, Marco, sculptor (15ih century) : liis St. Bartholomew, 38. Agricola, Cav. tilippo, painler, 419. Agucchi, Giambaltista, learned prelate, 604. Afgle, valley of, 13. Airenti, Filippo, bisliop of Savona, 689. Akerblad : his letter to Courier, 212 n. Ala, town, 104 Alassio, town, 680. Alba, town of the .T^ijui, now a vill.ige, 494. Albani, countess of, friend of Allieii, 325, 531; her tomb, 336. Albani, villa, 396. — palace at Kome, 567. — , cardinal, 429. Albano, Francesco, painter of (lie Bolognese school (16th century), 60, 241 , 244, 243, 248, 231, 2o2, 234, 264, 324, 419, 439, 529, 534, 581 , 622, 694. Albarese, marshes of, near Siena, 633. Albaro, lull at Genoa, 682. Albcnga, town, 689. Albergati Gapacelli, palace al Bologna, 256. Alberglielti, Alfonso, Ferrarese sculptor (16lh century) : his statue of the Virgin detla Scarpa, 147,214. Albergo de" Poveri, hospital at Genoa, 686. Albergotii d' Arezzo, 636. Alberoni, legate of Rumagna, 421, 426. Alberti, Francesco Allobiaaco degl", one of the competitors for the prize-poem upon True Friendship, adjudged to Ihe callicdral of Florence, 551. — da Borgo San Sepolcro, Alberto, architect (16th century), 243. — , Leoue Batlista, great Florentine archi- tect (I6lh century), 291, 293, 297, 331; his gallery and cupola of the Annunziata, at Florence, 532, 339, 362. 366, 571; his church of St. Francis at Rimini, 4-23, .570. Alberli, Michelangelo, painter of the Floren- tine school (16th century), 548. Albertinclli, Mariotto, Florentine painter (16tli centuryl, 352. Albertolli, professor Giocondo, 49. Alblzzi, P.inaldodesli, enemy of Cosmo de' Medici. 316,570; died at Ancona. 432. Albizzola, town, birth-place of Julius ll.,C89. Albrizzi, Lsabella-Tciiiochi : licr house, her portrait, her Ritratti, 161, 168, 199. Alcamenes, Greek sculptor, 442. Alciati, Francesco: his tomb, 316. Aldigliieri, or Altichiero da Zevio, of Verona , painler (Mth century), 200. Aldini, Giovanni, prolessor at Bologna, 260. AldobrandinJ, cardinal, 336. — villa, 602. Aldobrandini Marriage, antique painting, 90S. Aldrovaiuli, palace, at Bologna, 234. Aldrovando, Uli.sse: hisscieiiiific manuscripts reiurued to the library of the Bologna uni- versity, 238. Aldus the elder, 166 ; his application (o work, 228 ; books with his manuscript noles, at the Barberini, 469. — the youngiT, his intention of becpieathing the library of his ancestors to Venice, 133 «. Alencon, Philip d", cardinal : his tomb, 357. Alenf, Tommaso, painter of Ihe Cremonese school (16lh Ci'nlury),306. Aleotii, Giambattisla, architect, 283. Alessi, Galeaso, of Piriigia, architect (16l!i century), 37, 41, 48, 643. 646, 649,633, 677, 680, 682, 684, 6S5, 687, 688. Ales2, 490, 493, 520, 528, 539, 341, 538, 5G0, 603. 6)1,630. Arquk, near Padua : Petrarch's house and tomb at, 112, 193, 213, 286. Arringhieri, Nicolao.jirofessorof law at Siena: his mausoleum, 631. Arsenal of Genoa, 677— Venice, 186. Arsenio, Fra, painter and monk (I6!h cen- tury), 640. Artachia, fountain of, 496. Artand : his work on Machiavel, 537 «., 379 )!., 393 n.. 357 n. 583 n. Artists : their great number, 397; more irri- table than literary men, 432 ; their rude condition in ihe 16th century, 138. A runs son of Porsenna: his supposed tomb. 499. 712 INDEl. Arvales, brothers : Iheir inscription, 505. Arzere, Stefano dell', of Padua, painter of the Venetian school ( 16lJi century), 496, 205,206, 208, 209, 213. Ascanius, tomb of, at Albano, i99. Asdentede'Denti, astrological cobL)ler,spokcn of by Dante : Iiis tomb, 280. Asiago, capital of liie Selte comiini, I'D. Asinelli tower, at Bologna, 261. Asolo, town, 133. Aspertini, Ami, painter of tlie Bolognese sciiool (loth century), 246, 669. Aspetti. Titian, of Padua, sculp'or {16IIi cen- tury), 171, t98 ; his tomb, 408. Assarotti, director of the Deaf and Dumb Institution of Genoa, 687. AsseraanI, .Simone, preltct of the Vatican, 238 «., 328. — , academiciin ofPadua, 197 n. Assisi, town, 643. Assumption of Carignano, tbe, church at Genoa, 683. Astella, noted for satirical farces in the Oscan tongue, 494. Asti, town, 693. Astrumi, extinguished volcano, 470. Astura, lord of, betrays young Conradin, 496. Athenodorus, of Rhodes, sculptor, 316. Atrani, village near Amalh ; the bronze gales of its church the most ancient in Italy, 487. Attavante, Florentine miniature palnter,raain- tained by Matthias Corvin, 115, 363. Altila : his supposed armour at the arsenal of Venice, 187. Aublgn6, Agrippa d', his epitaph in the tem- ple of St. Peter; his castle, 4. Augustine, St., his supposed tomb at the ca- thedral of Pavia, 79 ; remarkable work- manship, ibid.— St. i church of, at Ancona, 431 — at Colle, 635— at Cremona, 306 — at Lucca, 669 — at Modena, 268 — at Padua, 141 «.— at Placealia, 310— at Rome, 532— at Siena, 622— at Trevisa, 141— at Volterra, 636— St., theatre at Genoa, 683. Augustine convent at Siena, 622 — Cortona 634. Augustus : his mausoleum, 381, 398. Aurea, Santa, cathedral of Ostia, 606. Auria, Domenico, Neapi)litan, sculptor of the Fontana Medina (16th century), 439, 440, 453, 435, 466. — , of San Severino. Andrea d", 455. Avalos, Inigo d', marquis of Ischia, celebrat- ed by Ariosto, 134. Avanzi, Jacopo, painter of the Bolognese school (I'db century), 200. Avelllno, the Cav. M., secretary of tlie Aca- demy Pontaniana of Naples. 453. Avenel, M. : his remark on Machiavcl,398n. .Aventine, mount, 257, 366, 593. Avernus, lake, 472. Aversa, town, 494, 704. Averulino, Florentine architect and sculptor (15ih century) ; his treatise on architeciue .57 ; built pan of the Great Hospital of Mi- lan, 68. Avogadro, Brigitta, repulses, at the Iiead of the Broscian women, the assault of Picci- nino, 93, 99. Avogadro, Count Ludovico, calumniated in the Gaston et Bayard of Du Belloy, 93. — , pietro. of Brescia, painter of the Venetian school (18th century), 99. Avogaio, Count Azzoni Rambaldo, anti- quary, 142. Avvenii, house, called Casa delta Rosa, at Ferrara, 232. Azzano, near Verona, abode of the areat Isoita, 122. Azzo, ofCorreggio, sovereign of Parma, 70, 286 n. Azzoni, Giuseppe, Augustine monk, 632, 633. B. Baccano, hamlet near Rome, 608. Bacchetoni, confraternity at Florence, 361. Bacchiaca, surname of Francesco Ubertini, painter of the Florentine school (16tli cen- tnry). 3/.3. Bacci, Cav., of Arezzo : his museum, 660. Baccio da Montelupo, Florentine sculptor (13th century), 176, 338, 668. Bacciocchi, palace at Bologna, 256. — , Elisa, Napoleon's sister, 640. Baciccio, surname of Gianibaitista Gaulli, painter of the Roman school (17th cen- tury), 533, 343, 544, 333, 357, 539. Badia, La, church at Arezzo, 639 — cliurch and convent at Florence, 337 — neir Flo- rence, 388 — church at Sulmona, 436 — of San-Salvadore, monastery of Camaldulites, near Volterra, 650. Badolorchi, Sisto Rosa, painter of the Par- mesan school (I7lh century), 274, 283. Ball'o, Fernando, professor at Volterra, 636. Bagetti, Cav., painter and writer on art 693. Baggiolini, archivist of Vercclli, 33. Bagnacavallo, surname of Barlolorameo Ra- menghi, painter of the Bolognese school (16lh centm-y), 244, 251, 260, 446. Bagnaja, village near Vitcrbo, 612. Ba;!., 392 «., 429, 300 )!., 514 ; his distich on Ilaphael's pretended skull, 335; his tomb, 550 ; his manuscripts at the Barbarini, 369 ; 570. — painter of the Cremona school (13th cen- tury), 506. — , Bernardo, Venetian senator, podcsia of Ravenna, 419, 512. Benasca, painter, 463. Benavides, Marco, celebrated professor of taw, has his tomb erected during his life, 204; his house, 214. Benci, S. A., 630 n. Beiicini, of the Academy delta Crusca, 368. Beuedcllo da Matera, monk of mount Ca- sino, miniature painter, 620. — da Montepulciauo , sculptor (16ih cen- tury), 619. Benedict, St., foimder of tiie religious orders of the West, 488 ; his tomb at Monte Ca- sino, 489, 492, 602. Benedict, St., church at Bologna, 243— ch urcli and monastery at Ferrara, 221, 228. — , the elder, St., church at Padua, 206. — XI., pope, 141 : bis mausoleum, 649. — Xll., pope, 616. — XIV., bequeaths Ills books to the library of Bologna, 238 ; his tomb, 504, 522,, 541, 564. — , St., theatre of, at Venice, 88. Bencfial, Marco, painter of the Roman school (17tli century), 432, 534, 611. Benelli, cardinal; his toud), 530 Bcnincampj, Signora Teresa, Roman sculp- tor, 603. Benintendi, Nicolao, husband of Marietta Ricci, 386 »i. Benivieni, Antonio, one of the deputies ap- pointed to examine the Decameron, 336 «. — , Geronimo, Pico delta MIrandola's friend, partisan of Savonarola ; his tomb, 349. Bentham. Jeremy, 9 n. Benlivoglio, abbe, subdirector of the Ambro- sian Library, 32. — , Francesca , murders her husband ; (he room, 413. — , Giii, cardinal : his tomb, 544. — palace at Bologna, 235. Benvenuti, Pietro, Florentine painter, 347, 399. Benvenulo d" Imola, surname of Benvenuto de' Rambaldi, pupil of Boccaccio, commen- tator of Dante, 204 n. 265, 330, 490. — of Siena, painter (13th century), 637. Benvoglienlj, Uberto : his note on the poi- soning of the emperor Henry VII., 617 n. Benzoni, countess, of Venice, 165. Beoico, surname of Angelo Ruzzante, dra- matic author, 205. Beretta, professor of law at the university of Pavia, 76. Bergamasco, Guglielmo, architect, 149. Bergamese porters of Porlo Franco, at Genoa, 676. Bergamo, town, 86 ; its fair, ibid, Bergonze hills, 130. Bergonzi, house at Parma, 286. Bericu, mount, near Vicenza, 130. Berlinghieri, Francesco, noble Florentine poet, 698. Bernabel, Antonio, surnaraed delta Casa, painter of the Parmesan school (16lh cen- tury), 278. Bernard, Great St., road for tiie invaders of Italy, 26; convent, ihid.; tomb of general Desaix, 27; dogs, ibid.; ruins, 28; meetingof tbe Swiss society of the y^wis des Sciences nature tics Ai tlie hospital, iiirf.; the monks, 17, 26;lheir charity, 27. Bernardin de St. Pierre, 322, 346. Bernardini, sculptor (16tli century), 453 — palace, at Lnca, 671. Bernardino , St. , of Feltre, a Franciscan, founder of Monls-de-Pi^t6, 280. — , St., oratory at Siena, 625 — church at Siena, 637— at Verona, 1 12. Bernardo, lake near Siena, 635. Beruardoni, St., 375 «. Berni, celebrated poet : his portrait, 331. Bernini, Cav. Giovanni-Lorenzo, 44, 80, 716 INDEX. <79, 269,273, 452, iU 498, 499, 500, 501 n , 502, 503, 304, o03, 530, 553: Ins statue of St. Bibiana, 340, 541. 544 ; his sroiip of St. Theresa, 543, 548, 349, 530, 333. 537, 362, 563, 364, 367, 368, 570, 373, 380, 38i, 582, 596, 602. 603, 6)9 663, 663, 689. Bernini, Pietro, sculptor, falher of Bernini, 586. — ,Lu(lovico, sculptor. hroiher of Bernini. ."04 Bernis, cardinal de, 482: his mausoleum, 532. Beroald, tlie elder, 236; his monument in ihe church of St. Marlin-Major of Bologna, 246. Bertani, Giambattista, architect and painter of the Mantuan school (t6ih century}, 293; his house at .Manlua, 300, 501. Berti, Giorgio, Floreuiiae paialer, 566. Bertini, Giovanni, giass-stainer, 38. Bertoja, J^copo.ParraLsan pauiter (I6ih cen- tury), 284, 285. 310. Bertolo, count Giovanni, jurisconsult, 427. Bertoluccio, clever Florentine goldsmith, 343. Bertozzi, Francesco, sculptor (1 8lh century) , 214. Berzezzi, hamlet: its grotto, 689. Besozzi, Ambrosio, painier of the Milanese school fl7lh century), 47. Bessarion, cardinal, 37 n.; visits the great Isottd, 125; hequealhs his manuscripts to the library of St. Mark, 133. 238 ; had been governor ol Bologna, 238 ; his tomb, 344 ; superi >r of the monastery of Grotta-Fer- rata, 604. Betti, secretary of the Academy of St. Luke, 562. Beltinelli, abb^, dedicates his poem on paint- ing to the painter Tiepolo, 47; his opinion on the origin of the inhabitants of ihe Setti Comuni, 130; his manuscripts at the library of .Mantua, 293. Bcltio, abl)^, pupil and successor of Slorelii as librai'iau of St. Mark, 191. Bevcriiii, P., of Lucca, 652 n,, 669. Bevilacqua, Ambrosio, painter of the .Mila- nese school '1 jth century), 41. — palace at Bologna, 256. — palace at Verona, 1 17. Bex: its salt-springs, 13. Beyle, M. H., or de Stendhal : his letter !o Mnie. Belloc on Lord Byron, 60 n. ; 70 n. Biagi palace at Bologna, 257. Biagio, MessiT ; his portrait in the Last Judg- ment by Michael Angtlo, 506. Biaucardi, historian, 464 ii. Bianchi, .\ndrea, painter. See Vespiao. — palace at Bologna, 237, — , Francesco, pain'er of the Milanese school (l8lh century). 43, 338. — , Federico, painter of the Milanese school (18th century), 40, 41, 43, 44. — , Gherardo, caidinal : his tomb, 277. — , Isodoro, painter of the .Milanese school (I7lh century), 47, 73. — , Giulio, governor of Siena ; his tomb, 620. Bianchini, Francesco, of A'erona, 93 ; rc- £;arded as the first man of letters (if ihe 18th century ; bis monument, 110, g46. Bianco, Bartolomraeo, Lombard architect, 679. Bi inconi, sculptor, 406. Bihbicna, cardinal, of Arezzo, 636. Bibiana, St., church at Rome, 540. Biliieiia, Antonio, architect {18th century), 239, 628, 653. — , the elder, Giovanni Mariano Galli, painter of Ihe Bologne.se school Cl7lh century), 443, 248, 234,263, 283. Bible, Latin, of the dukes of Urbino at the Vatican, 313; of St. Paul at St. Calixtus, 538. Bicchieri, Cardinal Guala de", "2. Bid.ne, professor at the University of Turin, 696. Biduino, Lombard sculptor (13th century), 669. Biffi, Andrea, Milanese sculptor [I7lh cent.) 39. Bigallo, foundling hospital, at Florence, 343. Big;iri, Vittorio, Bologne.«ep;iinler, arcbitec!, and ,i!cu!ptor (IStb century), 243. Biglia,li( use, 71. Biliberti, Giovanni, painter of the Florentine school (16th century), 349. Bindelli, Ippolito, Veronese sculptor (13lh century), 220. Bini, the"R. P., procurator-general of the Be- netlictines, 338. Blonli house, at .Mantua, 229. Biondo, Flavin, unpublished manuscript of his General HiUory, 263. Birago (Ii Borgaro, palace, at Turin, 695. — , Daniel, bishop ; his tomb, 40. BiiCioni : his catalogue of the oriental manu- scripts of the Laurcntian Library, at Flo- rence, 328, 337. Bisentina, islf in ihe lake of Bolsena, 616. Bisenzio, river, 660. Bisolo, Francesco, painter of the Venetian school (46lh ceulury\ 140. B'ssoni, Giambattista of Padua, painter of Ihe Venetian school ('47th century) 206, 207. Blandford, marquis of, 349 n. Blanceri, Victor, Piedraoatese painter (48th century), 703. Bla'o, 77; his tower, 78; his diptych, 93 n. Bosuet, DidiiT, French painter, 666. Bnileau-Desprt^aux, 429. Boj;irdo, man of learning, doctor in philo- sophy and law, 66. Boldrini, Nicolao, carves in wood Titian's caricature of Bandinelli's copy of the Lao- coon, 321. Bolosna, impression: distinction of that city, 233. —, Giovanni di, Flemish senlplor (16th cen- tury), 238 ; his Giant's Fountain at Bologna, 254, 308, 5)6; his statue of Cosmo 1.. at Florence, 519; his Rape of a .'iabine, 320 ; his Merciiiy, 321, 325, 347, 548. 3.5i. 5.38, 372 : his house .it Florence, 378, 380, 385, 401, 433, 615, 63.3, 059, 688, 683. Bolosneti, Bolo.gnese senator and poet, 514 Bolognini, Gianibaltisla, painter of the Bolo- gnese school {17tli century), 252. Bulsena, town, 615. Belzec, Calvin's adversary, exiled, 3 n. Boinba, Roman physician, professor at the Sapienza, 383. Bombaglino, of Arezzo, 661. Bonibasio, Tommaso, of Ferrara, Petrarch's friend, who beque.ithed hitn the iuic on which he accompanied his verses, 107 n. Bon, M., dramatic author and actor, 66. — , Signcra Luigia, actress, 66. Bonaccolsi, sovereign family of Mantua, 291. — ,Guido, tyrant of Mantua, 298. Bonajusti, villa, 387, Bonanuo, of Pisa, architect, sculptor, and founder (12th century), 405. Bonaparte: his autograph letter to M. Barde, bookseller of Geneva, 7; his literature, 9; his abhorrence of Geneva, ib. ; en- graves the word battaglia upon a laurel of Isola Bella, 24; thrown by his mule at the pa.ssage of the Great St. Bernard, 26; promised to com[)ose Desaixs epitaph, 27; letter to Villelard, 186; one of his uncles a country priest in Tuscany, 334 n. ; dislike of Alfieri, curious anecdote, 284 n.; suc- cours the duchess of Bourbon at Parma, 311; his idea of printing Brunello Lalini's Teioio with commentaries, 333; restores to the pope the statue of the Madoua of the church of Lorettd, 434; 595, 674. — , Napoleon-Louis, dies at Forli : his tomb, 364. Bonaventure, St., his defence of the magni- ficence of the Franciscans, 646. Bonaventurl, Pielro, Bianca Capello's hus- band, 364. Bonazza, Antonio, of Padua, sculptor {18th ceiilury), 203, 207. Boncchi, Malteo, painter of the Florentine school (tSlh century), 662. Bonfadio : his exaggerated description of lake Garda, 103; his house al Colognola, 125; 166 n. 677 ; his letter before his death, 684. Boni, acadeiTiician of della Crnsca, 568. Bonichi, Bindo, of Siena, 313 n. Bciniface Vill.; bronze statue of 237, 316; his tomb, 503, 5U, 592. Bonifazio, of Verona, painter of the Venetian school (16ih century), 142, 151, 168, 176, 208, 446. — , Andrea ; his tomb, 466. Bonington, Knglish painter : his Views of Venice, 143. Bonini house at Bologna, 256. BonJDur, the P., French missionary: his ma- nuscripts at the Angelica library at Rome, 533. Bjnnivard, Francois de, founder of the li- brary of Geneva. 6; the real prisoner of Chillun, ib. ; his dun,:',eon, 16. Bonone, Cirlo, painter of the Ferrarese school (16tli century), 221, 222; his tomb, 223, 233, 248. Bonsignore, architect of the Sardinian court, 704. Bonstetlen, Charles-Victor de, 9; partisan of the Cimbrian origin of the Selte Comuni, 130 n. Book-trade, Milanese, flourishing, 38 — Nea- politan, languishing, 448. Bnrbonica society of Nafiles, 472. Bordone, Paris, painter of the Venetian school (16lh century), 42, 140. 141, 139; his Ring ofSt. Mark, 168, 171,173,196,325, 679,680. Bordoni, Antonio, professor at the University of Pavia, 76. Borgani, Francesco, painter of the Manluan school (17lhcenlury), 292, 302. Borghese, Ippolito, Neapolitan painter (17tli century), 466. — palace at Florence : its balls, 370. — palace at Rome, 572. — , Prince, 445. — , Scipio, cardinal, 513, 353,358. 367. — villa, 393 ; its new museum, ibid. Borghesi, Bartolommeo, learned Il.iiian, 423 n., 427, 430, 328, 362. Borghetio, borough, 642. Borghi, scidpt(jr (17th century), 302. — , canon Giuseppe, lyric poet, translator of Pindar, 357. Borghini, Vincenzo, one of the deputies ap- pointed to examine the Decameron, 336 n., 332. Borgia, Cesare, 425, 431, 433. — , Lucrezia: her letters and a lock of herhair addressed to Bembo, preserved in the Am- brosian library, 34; her tomb incorrectly stated to beat the church of Corpus Do- mini, at Ferrara, 224. Borgnis, professor at the University of Pavia, 76. Borgo-Foite, village on the Po, 289. Borgogne, Anibrosio, painter of the Milane.ie school and architect (16th centurvi, 40 44, 47, 49, 74. 7t8 INDEX. Borromean Isles, description of, 2i. Borromeo, St. Charles: liis colossus at Arona, 23; his loini), 39; the family originally from Tuscany, ib. n.; crncifix carried by St. Charles during the plague of 1376, 39 ; dramatic critic, 33 ; orders the Giant's Fountain at Bologna, 2.1^ ; his reflexions on tiie palace of Caprarola, and the reply made to him, 009. — , count Vitaliano, erects the palace of Isola Bella, 24. — , cardinal Fedcrico : not less \Yorthy of remembrance th.m the saint, 39; his tomb, it). ; conlides the preservation of Ihe Cvena- cidum to Vespino, 48 n. ; founder of the Ambrosian, 33; fo bids a caialogue, ib. Borromini, France.'co, archilect (I7ih cen- tury), TjOi, 338; his church of St. Charles alle ipiatro Fontane, 34'», 548, 533, 554, .565, 575, 580,, 581, 383, 063. Borso, village near B.issano, 133. -»-, first duke of Ferrar/i, founder of the Char- treuse, 233, 203, 566. Borson, late professor at the University of Turin, 696. Boschi, Fabrizio, painter of the Florentine scho )1 (16th century), 3G2. — , Francesco, idem, 362. — Alfonso, Florentine painter ; his portrait, 263. — , Casino de", 288. Boseo, abbey of the Dominicans del, 692. Boscoli, Andrea, painter of the Florentine school (leth century), 408. — , of Fiesole, sculptor \,\~A\\ century), 560. Boscovich, the P., learned astronomer, 36. Boselli, Antiinio, painter of the Venetian school (16th century), 200. — , the abbe, director of the deaf and dumb institution of Genoa, 687 n. Bossey, village near Geneva, Rousseau's abode in infancy, 12 : his celebrated walnut- tree cut down and sold, ibid. Bossi, ancient house of, at Milan, 37. — , Giuseppe, painter and writer ; his oil copy of theCtcnaeulum, 48; his monument, S3; his opinion on the colossal statue of Poru- pey atCasteilazza, 71; his collection of ori- ginal drawings of the old schools, 169. — , Count Ludovico, Milanese, translitor of lloscoc's Life of Leo X., 219 n. 23S n. Bosso, Matteo, 313. Bossons, glacier of, 13. Bossuet : house in which ha was horn, at Dijon, 1; his eulogy of St. Ihomas of Can- terbury, 114. 162, 420, 093. Bolta, Carlo : his history of Italy, 63. Bottari, prefect of the Vatican : his tomb 557. Botticelli, Sandro, goldsmith (1 5th century), 545. Boucheron, Carlo, professor at the uniyersity of Turin, 696. Bourbon, the Con.stableof : his armour at the Vatican, 512 and note ; his swoid at the museinn of P. Kircher, 532. — , Duchess Antoniaof, Ursuline nun, painter at Parma, 511. Bourdin, Dom, native of Franclie-CoinlC-, not of iVormnndy : his answer to the Spanish governor of Domo d'Ossola, 25. Bouiguignon, painter of (he Roman school (17th centurv'i, 374, 335, 381. Bourrienne, M. de : his Memoirs, 8 n., 26 n. Bouvard, French naturalist, 28 n. Bracceschi, .Marquis Guino, his wedding with the countess Aurelia Meniconi, G31 n. Bracchi, Alessandro. Florentine poet, 392. Bracciani>, villa, formerly Montalto, at Fras- cati, 603. Braccini, of Ajaccio, possessor of several of Napoleon's letters, 7 n. Braccio l"^orle, monument at Bavenna, 418. Braccio-Fiirtehraeei, seigneur of Perugi.i ; indecent exiiibilion of his bones in the sa- cristy of the church of St. Francis, 630, 633. Br.icciolini, Francesco, poet of Pistoja, 666 ; his poem in twenty-three cantos on the election of Urban vil!., 667. — d(tl Api, house at Pistoja, 667. Bragailino, Venetian g.'^neral flayed alive by the Turks : inausoleuiu of his skin, 183. — palace at Asolo, 13i. Brainanle, architect (151h century). 37, 41, 42. 43 48, 60, 61, 08, 70, 79, 80. 86, 234, 277, JSO, 299, 424, 433, 500, 302, .304, 503, 508, 308, 309, 321, 350, 331, 539, SHO, 379, 582, 612, 614.633,701. Bramaniino, Milanese architect (13th cen- tury), 43. — , surname of Bartolonuneo Suardi, painter of the Milanese school and architL'Ct (16lh centiry), 43, 49, 60, 87, 88, 280. Branibilla, Fr,mce,«co, .Milanese sculptor (16tii century 1, 38,39,75. — , Giarnbattisfa, Piedmontese painter (ISlh century), 702. Brancaccio, Francesco, cardinal, founder of the Brancacciana, at Naples, 448. — , Rinaldo, cardinal ; his tomb, 454. Brandi, Hyacinth, painter of the Roman school (17th century), 33, 43. Brautome, 73, 4o0, 493. Brasca, the brothers, dukes of Spoleto : their tomb, 646. Braschi, duke of, 397. — palace at Rome, .574. Brea, Ludovico, painter of the Genoese school (15th century), 686. Brembina, valley of ; supplies Porto Franco. at Genoa, wuh porters, 076. Brenia, its banks too much prosed, 194. Brentana, Simone, painter of the Venetian school (171h century\ 98, 113. Brenzoni mausoleiun. 113. Brera. palace (if, al Milan, 37, 48, 56, 60, 2.37. — , Ludovico, academician of Padua, 197 n. Bresca, family of : origin of its privilege to snpiily the Roman churches withpahns, on Palm Sundays, 680. Brescello, village. 289. Brescia, town, 83 n., 91; ancient symptoms of heresy at Brescia, 94. Bresciaid, Benedetto, physician and mathe- matician, 390. Brescianino, Andrea del, painter of tlie Sienese school (16th century), 622, 631. INDEX. 719 Brescianino, surname of r.ioviteBresciano,or Brescia, painter (16tii century), 99. Briamonte, liis tomb, 168. Biitise, old, at Fforeace, 384. — , of St. lieorge's gate, at Mantua; view, 298. — , dci Mulin', at Mantua, 298. — , new, over the Tare, near Parma, 288. — , over the Ticino, at Pavia, 80. — , at Himini, .424. — , now, ov'.r the Doria, at Turin, TO^J. Bridget, St., eliurch at Naples, 461. Brieg, small town. 22. Brienne, Gautliier de, duke of Athens : his expulsion, 339. — , Loradnie de, his Jlemoirs, 2. Bri^^henli, Mauriz'o, distinguished architect and engineer of the legation of Forli, 423 n. Brignole, conseivatory Ue', at Genoa, 687. — (Koss.)) palace, at Genoa, 679. Bril, Paul, painter of the Dutch school (16lh century, 443. Briiii, Francesco, painter of the <7th cen- tury, 656. Briolcito, Veronese sculptor (Mth century) : liis Wheel of Fortune, 109. Brizzio, Francesco, painti r of the Bolognesc school (47th centu'^y), 242, 236, 237. Brocclii, learned geologist, io'j, 36{. Broglio, Francesco di ;'his niausoleiun, 702. Broictto, Piazza of, at Matitua, 298 n. Brongniart, M. Ales., 127 n. Bronzes of the Museum at Naples, 443. Bronzino, Angelo Allori, the tirst, painter of the Fiorentine school {16lh century), 326, 32", 346, 331, 352, 374. — , Alessandro Allori, the second, painter of the Florentine school (16!h cenlury), 89, 325, 331, 333, 537. 348, 349, 360, 364, 366, 567, 408, 415, 563, 663. 668. — , Cristoforo, Allori, the third, painter of the Florentine school (16th cenlury), 97, 532, 574, 662, 665, 666, 669. Brossano, Petrarch's son-inlaw,78, 216. Brougliton, Andrew, his tomb at the caliie- dral of Vevcy, 17. Brugnatelli, professor at the University of Pavia, 76. Brugno/i, Bernardo, architect, San Micheli's nephew, 113. Bnmacci, P. Francesco di Baror.e, painter, 649. Bnmelleschi, Filippo, great Fiorentine ar- chitect and sculptor (loth cenlury), 521; his cupola of the cathedral of Florence, 338, 339, 343, 345, 346, 337 ; his Crucifix, 360, 362, 363, 375, 384, 388. Briini, Leonardo, of Arezzo ; his libel against his friend Nicolao Mccoli, 330; his tomb, 333. Brusasorei, surname of Domenico Riccio, pamler of the Venetian school (16ih cen- tury), 112, 113,114, 115, 116; his Ca- valcade of Clement VIJ. and Charles V., 118, 198, 294.295,296. — , surname of Felice Hiccio, of Verona, painter of the Venetian scliool (16Ui cen- tury;, 89, 411. Bruschi, Doctor Domenico, professor at the nniversily of Perugia, 631. BruyCre, La : his disapprobation of literary consultation, 225. Bucchianico, Count : his mausoleum, 433. Uuccntaiu- ; hymeneal hymn of the Adi-ialic unin'clligible, 187. Buch, baron dc, German geologist, 28 n. Bucket of Modena, 267. hw\i, scholar ot the revival, 57 n. 328. Bud^ de Boiy, proprietor of the chateau of Ferney, 10 ji. Bulfalra.'.cco, Buonaraico di Cristofano, pain- tor of the Florentine school (.16lh century), 403. 403. Buffalora. small town ; its fine bridge, 33. Button, 27, 238: his error concerning the bulfalo, 607, 632. Biigiano, sculptor (loth century), 340. Bugiardini, sculptor (17lh century) : his death, 366. — . Giuliano, painter of the Florentine school (16th cenlury), 539. Bulicamc, little lake near Viierbo, 613. Bulgarlni. Bolisario, writer of the 16th cen- tury, 632. Bnonaui^ci, surname of .4gostino Tassi, pain- ter of the Koman school (16lh cenlury), 337. — , Castrnccio, of Lucca, good historian : his tomb, 670. — , Lazzaro, professor at Padua ; his monu- ment, 209. Buonaparti', Louis-Marie-Fortun^, ancestor of iNapoleou's family, establislied iu Cor- sica, in 1612. 674. — , Ghisiliori, the blessed : his bones in a chapel at Bologna, 232. BuonaroUi, Michelangelo, the younger, au- thor of the Fiera, forms a picture gallery in the house of his uncle, 577. — , Cav. Cosmo: slill occupies Michael Au- gelo's house, 377. — , the senator, antiquary ; his manuscripts at ihe Marucelli library of Florence, 356; his tomb, 333. Buonc'invento, castle of, 617. Buono, Maestro: several artists of the name: at Venice and Pistuja, 177, 403. Buonsignori palace at Siena, 629. Buontalenti, Bernardo, Florentine architect, (Ifilh century), 312, 513 n., 320, 339 «., 562, 373, 382, 393, Buratii, the late Pietro, Venetian satirical poet, 188. Buraliini, puppet-show at Rome, 385. Burgondio, Giovanni, Pi^an judge, a learned man : his tomb, 408. Burlington, Lord, architect, admirer and imi- tator of Palladio, 129. Busca, Antonio, painter of the Milanese school (17th century), 49, 73, Busciielto, architect of the duomo of Pisa, Italian and not Greek (11th century i, 401, 407. Biisfola, D?nis, sculptor, 75. Bu tin one, Bernardo, painter of the Milanese school vISth century), 41. Buttafogo, Antonio, painter, 202. 720 INDEX. Bulterij'Giovanni-M.iria, painter of tlie Flo- rentine school (16ih century), 663. Buttrisari, ihe reverend moilier : orders an Jscension of Liulovico Carraccio, 231. Buttura, poet : his verses on Male^ina, his country, (04, 420 n. Buzzacarina, Fina, wife of Francesco Carrara the Elder ; erects the baptistry of Padua, 199 ; and ilie cliurch of the Servi of Santa Maria, al Padua, 203. Byron, Lord: his inadvertence as to the real prisoner of Chillon, 7 «., 16; verses on Clarens, 17; his admiration of Guercino's Asar, 60; his impressions on viewing Crcs- pi's Damned, 70; his residence at Venice, 161, ^65, 184 n.; his wish to be buried near ihe Liilo, 19l;liis study of Armenian, 492; his name on the walls of Tassos pri- son, 251; liis preference of Bologna, 21)6; his remarkson the abbe Mezzofanti, 239 «.; visits Dante's tomb in military uniform and deposits there a volume of his works, 419; composes bis Piwplieni of Dante at Ihe Pineta, 422 ; his residence at Genoa and de- parture for Greece, 682. C. Cabinet, archeological, of Perugia, 631. Cabinets of reserved arlicles. at Naples, 443. Caccavello, Annibale, Neapolitan sculptor (16lh century), 463. Cacciatore, Carlo, sculptor (17lh centurv), 686. Cacciatori, sculptor, 62. Caccini, indifferent Tuscan sculptor, 383. Caccioli, Giambatiisia, da Budrio, painter of the Bologne^c school (17lh century), 279. Caciali, Giuseppe, architect, 386. Cadenabbia, on the lake of Cosmo, 84. Caffarelli, Neapolitan musician, 238. Cages, iron, proved to hive been used as a punishment, 81, 2t)8, 309. iCagliostro, famous charlatan, 426. Cagnola, marquis Ludovico, Milanese ar- chitect, 47, 69 n. Cagnoli, Jacopino, professor : bis tomb, 267. Cairo, Cav. del, painter of the Milanese school '17th century;, 48. Cnjano, villa near Florence, 391. Galabrese, surname of Maltpo Pretl, painter of the Neapolitan school (17lh ceutury), 443, 435, 437, 619. Calamo, fountain of, at Ancona, 432. Calcagui, Antonio, sculptor (16th century): his statue of Sixtus V. at Loretto, 433. Calcagnini, Coeho, learned astmnomer of the (IBtli century) : bis tomb in the library of the convent of St. Dominick, at Ferrara, to which he bequeathed his books and in- struments, 221. Calceolari, Francesco, botanist; his tomb, 122 Caliiani, Leopoldo, academician of Padua, 197 n. Calderari, Otho, a good architect of Vicenza, of the last century, restorer of the art, 128. Caldcrini, Giovanni-Andrea: his tomb, 250. Qdderoni, .\nseluio, one of the competitors for the prize-poem upon True Friendship, adjudged to Ihe cathedral of Florence, 531 . Cakliero, rock of, retreat of the deacon Arial- dus, 23. Calendar, paschal, at Ravenna, 416. Calendano. Filippo, architect of the ducal palace of Venice; hung as an accorapUce of Faliero(l6lh century), 149. Calepino : plundered from the dictionary of Fra Nestor Denis, 34 ; clear copy of his dictionary, 57. Calcpio, vale of, 20; castle of, ibid. Caliari, Benedetto, painter, brother of Paolo ^'eI■onese, 190. — , Carlctto, son of Paolo Veronese, 150, 159, 214. Caligarino, surname of Gabriele Cipellini, painter of the Ferrarese school (16th sch(jol), 87. Calislo di Paolo, Sienese sculptor, 619. Calixtus, St., convent of Benedictines, at Uome, 358. Callani, Gaetano, Parmesan sculptor, 278. Calle, streets, thoroughfares of Venice; their munbcr, 144 n., 189 n. Callimachus, celebrated sculptor of antiquity, 327. Callistheiies, historiographer of Alexander, .55. Callot, painter and engraver (17th century), 523, 578. Caluso, learned orientalist, 696. Calvart, Denis, of Antwerp, surnamed Fiam- mingo, painter of the Bolognese school (16(h ceuiury), 213, 245, 230, 251, 232, 260. Calvin ; hall where he assembled his first dis- ciples, 5; one of his doctor's bills, 7; co- lumn in commemoration of his flight from the city of Aosta, 28; found an asylum wiih the duchess Keii^e, at Ferrara, 218. Calvo, Doctor, Piedmontese poet, 701. Camajori, Giuse|ipe, 634. Camaldulites, convent near Florence, 393. — , convent near Najdrs, 470. — ,of StSeverus, conventof, atPerngia, 649. — , of Montecorona, convent of. 633. Camassei, Andrea, painter of Ihe Roman school (17lh century), 547. Cambiaso, Luca, painter of the Genoese school (16th century^ 525, 681, 682, 686. Cambio, old exchange of Perugia : its pictures 630. Cambray Digny, Count, architect, 142. Camelio, Viltorio, Venetian sculptor and founder, counterfeiter of anticiue medals (16th century), 137, 168. Camillo, painter (17lh century), 637. Campagna, Geronimo, of Verona, sculptor ((61h century, 111, 118, 130,(31,170, 171, 172, 174, 178, 179, 182, 183, 184, 187, 200, 201, 242. Campagnolo, Andrea, of Padua, good sculp- tor, little known, 207. — , Domenico, painter of the Veiielian school (IGth century), 196, 198, 202, 206, 211, 214, 323. Campanile of the duomo of Florence, 342. — , or leaning tower of Ptsa, 405. — of St. Mark at Venice, 148. INDEX. 721 Campello, Fra Filippo da, architect ( Mlh cenliiry"i, fi46. Campesc, town, 152. Canijii, Antonio, (laintcr of llift Cremonese scliool (16lli cenliiry), 41, 42, 4,>, 49. — , BernarUiuo, idem, 43, 50, 73, 79, 269, 306, 308. — , Galeazzo, idem, 506. — , Giulii), idem, 42, 94, 306, 307, 308. — , brolliers, idem, 40, 306. — , Fra ila Ri'stoio, Florentine architect (13lh ceiiluryi, 339. — , town ; statistical phenomenon of its popu- lation, 660. Cainpo, piazza del, at Siena, 626. Canipoiotigo, Heraclius, celebrated physician: his toinl), 203. Canipo Santo of Bologna, 263 — Brescia, iOi — Ceseua, 424— Ferrara, 233 — Parma, 288 —Pisa, 403— Veiona, H9. Campo Vacciuo, ancient Fovum, at Rome, 522. Camuccini, ])aron Vincenzo, Roman pain- ter, 310, 416, 320, 530, .533, 363, 379. Caniolli;!, gite, at Siena, 630. Canal Naviglio, at Milan, 68. — , Grand, at Venice, <3D. Canaletio, Giambaitista. painter, 141; his views of Venice, 443. Canali, professor, rector of the university of Perugia. 63t. Caiinni, Gianibatlista, anatomist of Ferrara ()6lli century) : h id some idea of the circu- lation of the blood, 228. Cancellieri, the abbe, 503 n. ; his tomb, 339; his Sunday receptions, ibid. -, liouse ol'tbe, at Pisloja, 666. Candolle, M. de, of Geneva, 9. Canepina, Mario da, Cauucliin and architect, 531. Canero, coast of, upon the Lago Maggiore, 23. Can Grande dellaScaia, sovereign of Verona ; welcomes lo his court proscrilied poets and writers, 103. Cani, dei, mines; traces of the Romans, 24. Canino; importance of its new excavations, 613. Cauneri, Anselrao, of Verona, painter of tiie Venetian school (16lh ceniury), 114. Cannetti, Pietro, Creuinna ; founder of tlie library of Ravenua, 418. Cannon, very ancient, at the arsenal of Genoa, 677. Canoccio da Lendinara, Bernardino, 279. Canonica,arciiitect, author of tlie Arena, at Milan, 68. Canonica-Fachini, Mme. Ginevra, of Ferrara ; her JProspctto hiografico delle donnc ilaliane rinomate in lilterntura, 123 n. Canossa, Ludovico, bishop of Bayeux, diplo- matist: his palace, <17, 221. — , fortress ; its remains, 270. Cauova, Antonio, sculptor, 53 n., 134; his Palamedes, 84; hisceiiot.iph in the church of Lovera, 90, 100, 129; his church and tomb at Possasno, 133, 136, 138, 140, 145, 462, 163; his Hebe, 163, 168 ; his hand, bis chisel, 169; his monument, at the Frari, 177; 187. 203. 212, 214, 238, 275, 278, 296, 311, 320. 32'(, 534; his Venus, 291; 418, 427,4.39,442, 443, 480, 500 m., 302, 503; his muiiument of Rezz ituco, 301, 313; his Pi'rseus, 516 ; his wresllers, ibid.: 528, 533, 533; his niausoleu(n of Clement \1\'., 543; bis group of ftercnles and Lyclias, 363; 366, 592, 393, 614, 620. Gauozzi, Lorenzo, of Lendinara, painter, sculptor (15ih century), 202. — , Crisloforo, of Lendinara, inlaid worker, 202. Canielmi, Manluan poet : his tomb, 296. Canli, Giovanni, painler of the Mantuan school (,17;h century), 297. Canlone, Simone, Genoese architect (18th century), 678. Cantii, professor at the university of Turin, 696. Canuti, Domenico, painter nf the Bolognese school (17th century), 235, 263, 294. — , Gaetano, Bolognese, inventor of a new method of engraving, 247. Canziano, St., church of Padua, 203. Capanna, Puccio, painter of the Roman school (14lh century), 647, 663. — , Giambattista di Jaconio del, painter, 629. Capirra, surname of Nicolao Grosso. clever smith of Ferrara, 372. Cipasso, translator into the Neapolitan dialect of the seven first books of the Iliad, 465. Capece-Lairo, late archbishop of Tarento, 441. Capei, learned jurisconsult, 537. Ca)iello, Bianca : her asylum at Pratolino sung by Tasso, 312 ; her portrait by Montai- gne, ibidn.; her first husband, 364; her death, 392. ^, Carlo, Venetian ambassador at Florence: his horse's epitaph, 384. Cappruo, hill ; its echo, 643. Capilupi, Leiio, of Mantua, cento-writer : his tomb, 296. f;.ipitol. 234 n., 303, 524; its tower. 523. CaiMj d'Acqua, celebrated rivulet of anti- (luity, 605. Capodilista, family of Padua : its pretty Frencb motto, 200; Gab. Capodilista 's Itineraire, ibid.; house at Padua, 213; 652. Capo di Monte, near Naples : its palace, 468. Cajioneri, S. Gaetano, of Bologua, painter, 245. Caposelo, Prince; his letter to Madame Brun, upon the Ciceronian antiquities of his villa, 496. Cappellino, Giovanni Domenico, painter of the Genoese school (13th century), 686. Capponi, marquis, 369. —palace, at Florence, 369. Cappuccino, surname of Bernardo Strozzi, painter of lbs Genoese scliool (I'lli cen- tury), 22,96, 174. 176. 191. Capra casino, near \'icenza, 129, 214. Caprarola, castle, 609. Caprese. village near Arezzo, 636. Capri, island, 409, 483. 61 INDEX. Capriola, hill near Siena, 633. Caprioli, Francesco, painter of the Motlenese school (16th century), -143. Capua, town, 493. Capuana, gate at Naples, 454. — , the, deserted villa, 83. Capuchin of Sion: etfecl of Iiis rencontre, 22. Capuchins : the author's contradiction with respect to then). 22; 427. — , church of, at Casena, 424. — , convent of, near Faenza, 413. — of Fiesole, 390. — church at Painia. 2S0. — , church of the, at Rome, 34". — , church of the, near Turin, 703. Capuchin nuns, little church of the, at Fer- rara, perfumed wilh flowers, 223. — new), church at Parma, 278. — (reformed), convent of the, at Rome, 543. Caraccioli, Marino, cardinal: his magnilicent mausoleum, 39. — , Giambattista, snrnamed Batistiello, Neapo- litan painter 17lh century;, 433. — , Signora Maria Raphale, translator of Fe- nelon and of several English authors, 441 . Caradosso, Foppa, Milanese sculptor and en- graver (leth century), 39, 43, 43. Caraffa, cardinal ; inscription upon his tomb at Palermo, 483. — , Cardinal Ectore : his pagan mausoleum, 433. Carampana : origin of this injurious Venetian designation, 189 n. Caravaggino, surname of Giambattista Sec- chi, painter of the Milanese school ^17lh century), 49. Caravaggio, Amerighi, snrnamed .Michelan- gelo di, painter of the Roman school , 16lh century), 326, 459, 446, 3-20. 329, 330, 331, 539, 563, 363, 368, 378, 580, 679. — , Polidoro Caldara, or Polidoro di, painter of the Roman school (16lli century ,49,310. Caravoglio, Bartolommeo, Piedmoutese pain- ter (17th century), 702. Carbone, Bernardo, painter of the Genoese school 17ih century), 683. Carburi, Marco, academician of Padua, 197 72. Cardan : foretells the premature blindness of the Milanese painter Lomazzo, 40; his Confessions; narrowly escapes shipwreck on lakeGarda, 105, 296. Carega palace, at Genoa, 680. Caregi, villa near Florence, 392. Carelli,ancientsecretary ofthe Herculaneum academy, 441. Careni, Gmliano de, prior of SI. Justine, at 207 n. Cariani, Giovanni, of Bergamo, painter of the Venetian school (16th century), 87. Carignano palace, at Turin, 693. — , bridge of, at Genoa, 683. —theatre, at Turin, 701. Carletti, the abbe : his poem in Roman patois, entitled incendio di Tor di Nona, 368 n. — , Lorenzo, painter, 366. Carletto. son of Paul Veronese, painter, 207 n. Carlini, Cav., Milanese astronomer, 696. — , LudoYico, jun., artist of Rimini, 423 n. Cirlino, theatre San, at Naples, 430. Carlo-Felice, theatre at Genoa. C84. Cirlone, Andrea, painter of the Genoese school 17lh century), 083. — . Giambattista, idem, 675, 683. — , Taildeo, idem, 680, 683. Carloni, brothers, idem, 43, 683. Carmagnola, Count, monument relating to his conspiracy, subject of a tragedy by Manzoni, 178. Carmelites, church of the, at Padua, 20.'!. Cartnignani, professor at the university of Pisa, 409. Cirtiiine, church at Brescia, 98— at Florence, 363- at Lucca, 670— at Pavia, 79— at Pis- toja, 664— at Siena, 621. Carneades, Athenian philosopher, 601. Carnevalone of Milan, 63. Cariiiani Malvezzi, signora, of Florence, poetess, translator of Cicero and Pope, 369. Carnival of Venice, 189 Caro, Annibale, 262, 348; liis verses on the frescos of Masaccio at the Carmine, 364 n. ; 414 n., 429, 433; 502; his tomb, 560; his condition with Cardinal Farnese, 609 «. ; 632; his satire on the Fniteiia, 648. Carolto, Giovanni-Francesco, of Verona, painter of the Venetian school (13th cen- tury). Ill, 112,115, 114, 115. Cirpaccio, Vitlorio, painter of the Venetian school (16th century I ; his Purification, 168, 170, 333, 373. Carpi, painter of the Ferrarese school (161h centuiy), 223. — , S , professor at the Sapienza, 583. — . Geronimo, architect and painter of the Bologncse school (16th century), 228, 232, 240. Cupioni, Giulio, painter of the Venetian school (17th century), 127, 129. Carracci, Annibale, [jamler of the Bolognese school il61h cpntury\ 43, 60, 71, 88. 239, 2'<1, 247, 249, 232, 234, 2o6. 260. 264, 274, 273, 280, 296, 522, 324 433, 446, 447, 529, .330. 556, oS9. 535. 363 ; his Farnese gallery, 380; 604, 603, 624, 644, 671, 681 . — , Agostmo, (lainter ofthe Bologiiese school lieth crnlury, 60, 88, 163, 218, 240,244, 246, 234. 233, 274 ; his tomb, 276; 283, 524, 447, 329,363,380,671, 086. — , Ludovico. painter of the Unlngnese school lOlh century , 60,239, 244, 245, 247, 248, 249, 230, 231, 232. 254, 233, 262, 263, 264, 274, 273, 296, 309, 324, 419, 446, 329, 671, 679. — , Paolo, painter of the Bologncse school lOlh century), 24?, 262, 324. Carradori. Gioaciiirao, learned physician : his tomb, 663. Carraja, bridge at Florence, 385. Carrara, Count Jacopo, of Beri;amo, founder of the school of archileclure and painting which bears his natue, 88. — . its marble quarries, 672. Carrati. Vincenzo, founder of the academy de" Filarmonici, 238 n. Carretto, Alfonso, marquis of Finale (16th century), 689. INDEX. 723 Carroccio, sacred car, ark of alliance of ihe llaliaii republics in ihe mitldle ages, 620. Casa, Giovanni della : liis tomb, 55''( ; liis ma- nnscripts al Ibc Barberiiii, 509. Casanova, prisoner of ihe Piomlii : the win- dow by which he escaped, 13/. Casnrini, Ludovico : his plan for joining Ve- nice to Ihe conlineni, 144. Cascade of Terni, 6'(3. Cascades of Tivoli, o99. Casciano, San, town near Florence, 397. Cascine, promenade near Florence, 397. Casella, Danle"s friend and music-master, ^06n. Caserta palace, gardens, aqueducts, 487. Casimir, Mnie., singer, 6'*. Casino, literary, at Cosmo, 81. Casolaui, Alessandro, painter of Ihe Sienese school (16th century), 75, C2J, 623, C25. Cassana, Giovanni-Francesco, painter of Ihe Genoese school (I7lh century), 211. — , Agoslino, son of the above, painter of ani- mals, 211- Cassandrino, principal personage of the Bu- rallini of Rome, 5S4. Cassi, Count, translator of tlie first books of thePJiarsalia, 428. Cassian, St., church at Pesaro, 429. Cassini, substituted at Bologna the meridian of St. Petronius for that of Ignazio Danti, 242. Caslagnetta, village of Tuscany, 642. Castagno, Andrea del, assassin, painter of the Florentine school (13lh century), 367, 145. Castei-d'Asso, valley of, 612. Castel-diSangro, town, 437. Castel-Durante, abode of the dukes of Ro- vera; its earthenware, 322. Castel-Franco, town, 138. Castel-Fusano, 364, 607. Caslel-Gandolfo, buroiigh, 85 n., 499. Castellaccio, or Casleld'Asso, valley of, near Vitcrbo; its Etruscan tombs, 612. Castellainare, town, 486. Castellazzo, castle near Milan; its basso-relie- vos by Bambaja, 71 ; its statue of Ponipey , ib. Castelli, architect, 703. — , Benedetto: his manuscripts at the Barbe- riiii, 369. — , Francesco, sculptor, 130. — , Valerio, painter of the Genoese school (17th century), 673. Castello, Bernardo, idem f 10th century), 680. — , Giambattista, il Hcrgamrsco, paiiiier ut the Genoese school (loth century), 88, 680, 686. —palace near Florence, 39'«. Caslello deir L'ovo. at Naples, 440, 491. Castellone di Gaeta, town, 49o. Caslello-Traetto, house at Fistoja, 667. Castel-Nuovo, at iNaples, 440. Castiglione, Cunnt Baltassare, aiitlior of the Coitegiano, 224 «., 291 ; his house at Mantua, 500; his mausoleuni and that of ids wife, 503; on the CovUqiano, 303, 5'(G «., 369, 428, 312 «., 517, 603, 647 ; bis in edited letters in the archives of Turin, 696 n. — , Caniillo, son of the preceding : his tomb. Castiglione, town, 633. Castiglioni, Count Carlo-Ottavio, learned phi- lologer, (30 u. Castor and Pollux, colossal statues of the place Montecavallo, at Rome, 566. Castrcnse amphitheatre, at Rome, 587. Caitro, vill.ige; curious abyss, 90. Castruccio Buonamico, Count, historian : liis tomb, 670. — Castracani, soverrijn of Lucca, 404, 666, 668 ; his tomb, 670 ; 672, 074. Casuccini, S., ot Chiusi : bis museum, 653. Catacombs of St. Jaituarius, ai Naples, 469. — of St. Sebastian, at Rome. 533. Calaio, castle near Padua, 213. Catechumens, hospital of the, at Turin, 703. Cathedrals of — Ainalfi, 487 — Ancnna, 431 — Aosia, 28— Arezzo, 638 — Asolo, 134 — Asti, 693 — Bologna, 2'i3— Capua, 493 — Cbiii.si, 633— Colic, 635— Cosmo, 80— Cortona, 634 — Cremona, 305— Faenza, 413— Fano, 330 — Ferrara, 219— Fiesole, 390— Finale, 689— Florence; prize poem adjudged to it, 331; description, 338— Foligno, 643— Forii, 423 —Gaeta, 496 — Genoa, 684— Imola, 413— Ivrea, 31 — Lausanne, 18— Lucca, 667 — Mantua, 294— Modena, 267— Montefiaseone, 615— Naiiles, '(30 — Orvietto, 614 — Padua, 197— Parma, 273; its baptistry, 276— Pavia, 80— Perugia, 649— Pesaro, 429— Pcscia, 667 — Pisloja, 662 — Placenlia, 309— Pozzuoli, ancient temple, 471- Prato, 660— Ravenna, 415 — Reggio, 268 — Sarzana, 673— Siena, 618— Sion. 22— Spoleto, 644— Terracina 497— Tivoli, .399— Tortona, 692— Turin, 701 — Verona, 109— Ventimiglia, 691 — Vicenza, 128- Viterbo,611— Vol terra, 656. Catherine, St.: house of her father, 623 ; ma- nuscript other letters at the library, 652; 633— chapel at Milan, 43— church at Pisa, 407 — Venice, 184. — de' Finari, St.,atRome, 533— of Siena, St., if/cm, 344— f/i Strada magrjioic, St.. church at Bologna, 231. Catholicism, Italian, 80 ; curious documents on the altempis fur (be re-e»taltlisbment of Caiholicism in England, at the Barberini, 369. Cattaneo, S. Gaetano, conservator of the ca- binet of medals oftlie library of Brera, 56. — Daneso, of Carrara, sculptor and post (lOlh century). 111, 139, 201,673 n. Caltaui, I)(jii Stetano, of Novara : his philoso- (ibical and moral maxims at the ancient library of the monastery of St. John, 278. Cattolica, village, 428. Calullo, professor al the university of Padua, 195. Catullus: supposed ruins of his house, 101, 102, 303, 598. Cava, La, near Naples, 482. Cavagno, Giovanni Paolo, of Bergamo, painter of the Venetian school (17th cent.;, 86, 87, 88. Cavalcanti, Bartolommeo, Florentine, scho- lar, orator, warrior, polilician, voluntary exile after the fall ol bis country : his tomb, 203. — , Giovanni, author of a history of Florence, 317 ?i. 724 IXDEX. Cavalleri, Cav., Piedmonfese painler, 702. Cavallini, Pieiro, Roman painter and mosaist HHh century), 500, 537, 6-47. Cavarozzi, Bartolommco, siirnamed Cre- scenzi, painter of the Roman school (I7lh century), 61 1. Cavazzola, Paolo, painter of the Venetian school, siirnamed the Second Paolo Vero- nese (46th century,, 112. Cavedone, Jacopo, pamler of the Bolognese school 'Itilh century), 241, 243,246. Cav no, fomuler and ensraver of Padua, sur- named the Pketches of his life there, 233 ; 257. Cento Camerelle, 474, 598. Ceppo, hospital at Pistoja, 664. Ceracchi.Corslcan sculptor: wished lo finish Michael An;ielo's Brutus ; beheaded for conspiring against Bonaparte, 523. Cerani, sculptor, 58. Cerano, surname of Gi.imbatiista Crespi, painter of the Milanese .school ( 16tli cen- tury), 34, 39, 40, 42, 43, *9, 50. Ceresa, Carlo, of Bergamo, painter of the Venetian school ( 17th century ), 86. Ceresara. Paris, learned Mauluan, 299. Cerretaui, B. Antonio, C33. Certaldo, Boccaccio's residence, 598; taste for novels popular in the country. 399. Cerva. Giamhaiti-ti delta, painter of the Mi- lanese school (16th century , 45. Ccrvandoz, Benedictine, copyist of the Bible of the 6lh century, in the Laurentian, 332. Cervara, monastery. 675. Ces ilpiuo, Andrea, of Arezzo, celebrated bo- tanist, 409, 636, 667. Cesari, P. .Antonio, visited by the author, 63. Cesarotii, poet, academician of Padua, 101 n., 165, 197 Ji.; his tomb, 201. Cesena, town, 423. Cesenatico, small but good port. 430. Cesi, Barlolommeo. painter of the Bolognese .school (16th century, 246, 247, 249,250, 254. 260, 263. — , Pietro Donato ; erects the column of the French, at Ravenna, 422 n. Cevas, poet, 686. Chabrol, Count : his .Memoir on the gulf of La Spezia,674 n. Chalcimdylas, Demeirius, Greek refugee : his tomb and epitaph. 40 ; 388. Challant, illu.strioas family of the valley of Aosta, 28. Chambers, English architect, imitator of Palladio- 4 29. Chamouny, valley of : its discovery erro- neously attributed to Pocock and Wynd- ham,14. Champollion. jun., 698. 701 . Chancery palace, at Rome, 579. Chaponi^re, Genevese sculptor, 6. Charily : its establishments and philanthropic institutions. 99. — , church of, at Bologna, 247. Charles of Anjou; called lo the kingdom of Naples, 359; his tomb, 430 ; his statue at the Capitol, 523; excites an insurrectinn lo cause Marlin IV. to be elected pope, 614. — Vin. : rapidity of his invasion of Italy, 203 n.; 368; govtrns Rome, 366. — , St.. church at Novara, 34— Rome, 531 — theatre at Naples. 449 — oratory at Siena, 637 — [jjazza of, at Turin, 693 — a Catinari, St.,cliur(-hat Rome, 560— alletpiattre Fon- lane, St., church at Borne, 344 — Borromeo, St., church at Turin, 702. Charles v.: his medallion, 95; his admiration of the Campanile, 342 ; of the fi:;uri'S of the new sacristy of St. Laurence. 347 ; 377, 549 ; of the aqueducts of Siena, 627. Cliarni, Geoffroy de, knight of Champagne, 702. Chartreuse of Florence, 396— of Pavia, 74; expenses of its repairs, ib.; impressions produced by it, 75; project of a new des- linalion, ib.—oi Pisa, 410— St. Martin, at Naphs, 61.— of Rome. 54, 46. Chasteler. .Au-triaii general, interred at the ciiurch of St. John and Paul, at Venice, 482. Chateaubriand: the author meets him at Ge- neva ; his popular fame. 7; his articles against mountains, 13 ; likes the cartoon of the St hool uf JIhens 3^ \yi'\\ a^ the picture, 55; 455 «., 229 )(., 204, 281, 516; erects a mausoleum to Poussin, 531; 540, 552. INDEX. 723 Chaleaiivleux, M. de, aiillior of T.cUres noxt- vellcs stir I'ltalic, and of Lellrcs etc St. James, 9, 411. Chatelard. clialean of, 16. Chaiipy, uhM, 478, 496, 598, 599. Cbenda, surname of Alfonso Uivarola, painter of the Ferrarese school (<7th century), 223. Cherbuliez, M.. bookseller at Geneva, 7. Cheruchini, Baniuccio, banker and magis- trate of Florence, 342; his tomb, 36G. Chiabrera, Gabriele ; antogra|)li manuscript of his canzoni and of his Rimr, at the Ric- cardiana, Florence, 335, 47G ; bis forty autograph discourses on tlie passion, at the Barberini, 569; 617, 686; bis Latin- Italian inscri|)tion, 689. Chiaja, quay at Naples, 441. Chiana, vale of, in Tuscany, 6"5. Chiappa, S. Giuseppe del, professor at the university of Pavia, 16. Chiaravalle, church and monastery of, near Milan, 71. Chiavari, town, 674. Chiericato, palace at Vicenza, 128. Chiesa-nuova, at Assisi, 640. Children of the Madonna, at Naples, 463. Cbillon, castle, 16. Chimenli, S., professor at llie Sapirnza, 577. Chinese college of Capodi Monte, 468. Chinsica, lady of Pisa : repulses the noc- turnal descent of the Saracens, 410. Chioggia, coast of, 193. Chiozza, war of, between Venice and Genoa, 193, Chiusa : probably the ruin mentioned by Dante, 104. Chiusi, town, 522, 65,). Choron, professor of music, 64. Christina, (|uten of Sweden ; bequeatlis her library to the Vatic.in, 6 ; her visit lo Gwer- cino, at Cento, 235 ; 433 ; her tomb, 50'<; marginal notes on dillerent works, 532; the reading of her will, 577, 578. Christine, St., church at- Bologna, 331— Par- ma, 279— Pisa, 408— Turin, 703. Christopher, St., church at Luca, 670— Siena, 623— Vercelli, 32. Chrysogonus, St., church at Rome, Sj8. Church, reformed: ils services, 3; its appear- ance amidst the old hasilics, 18. Cianipi, professor, hellenlst, 337, 409, 6C3. Ciarla, Rafaello, painter on porcelain ( IGlh century ), 433. Cibey, the canon priraicerius, sculptor, 673 n. Cicciaporci palace, at Rome, 573. Ciccione, Andrea, Neapolitan scnl()tor and architect (15lh century), 433, 439; bis mausoleum of King Ladislas, 463. Cicero : Ids villa, 472; site of his bouse at Arpino, 493; bis house, his loiob near Gaela, 490, 500 »., 502, 313, 327, 328; bis bouse at Tusculum, 604, 606. Cicogna, Pascale, doge of Venice: his mau- soleum, 184. Cicdgnara, Antonio, clever miniature-painter (131h century), 306. Cicognara, Count Geronimo, podesta of Ferrara; buys and repairs the bouse of Ariosto, 230. — , Count Leopoldo, author of the Slorin dcUaScullurn, 71, 112 7i., H8»i., 144, 1.'.7 «., 148 n., 161, 164 n., 167, 169. 204 n., 233, 243, 3.'r2. 343 n., 344, 545, 360, 361, 425 n.; his library of works on art given to the Vatican, 314; 581 n., 0U«., 629, 631. Cicognini, Francesco, of Prato, founder of the college in thai town, 661. Cignani, Carlo, painter of the Bolognese school (17th century), 247,231,232,254, 283. 596, 418, 423. — , Felice, son of the preceding, 247. Cignaroli, of Verona, painter of the Venetian school (18th century), 86, 87, 110, 221, 223,278, 281, 294. Cigogna, Emanuele-Antonio ; his collection of Venetian inscriptions, 144, 190 n. Cigoli. surname of Ludovico Carii, painter of the Florentine school (Ifilh century,, 316, 324, 327, 356, 338, 365, 375, 579, 400, 633, 663, 664. Cimabue, Giovanni-Gualtieri, founder of the Florentine school (13;h century ), 113, 164; his Madonna, 126; 128, 626; his fres- cos of St. Francis of Assisi, 647. Cimino, mountain, 609. Cinelli Calvoli. physician and philologist : materials of liis Biblioteca degti Scriltori fiorenlini e toscani at the Magliabec- chiana, 337. Cini, Lorenzo, painter (16lh century), 622. Cino da Pistoja, pott, jurisconsult, 398 «., 662, 666. Cinciue-Canali, fountain of Piombino, 641. Cioli, Valerlo, Tuscan sculptor (161h cen- tury ). 333. — , di Seltignano, Rafaello, called Giovanni, sculptor, 636. Cipala, village near Mantua. 298. Cippus of Lucius Atimetus, 308. Cipriani, painter of Pistoja (18th century), 663. Circus, the great, at Rome, 391. Citadel of Alexandria, 693— Gaeta, 496— Mantua, 298— Spoleto, 644. Citiadella, palace at Placentia, 309. — , small town, 132. Civerchio, or Verchio, the elder, of Cremera, painter of the Milanese school ( 16th cen- tury ), 41, 94. Civita-Castellana, town, 642. Civitalj, Malteo, clever sculptor and archi- tect of Lucca (Uth century), 667, 668; his tomb, 670, 672, 684. — , Nicolao, Lucchese sculptor, nephew of the preceding, 669. Civilella d' Arno, village near Perugia, 649. Clair, St., church and convent of Assisi, 646 — at Naples, 457. Clarac, Count, author of lUe ilfus^e de smlp- tiiie ; his explanations of the basso-relievos in the Turriani mausoleum, 112 n. Clarcns, village, 16. Ciasse, ancient town near Ravenna, 421. 01. 726 INDEX. Claiule, French glass-staincr (16lh century), 530. Claiiilius 540. Clement, St., rhiirch at Brescia, 99— oratory at Florence, 33-2— church at Padua, 206 — Rome, 557— island near Venice, 195. dementi, Prospero, sculptor, of Ueggio(16th century}, 2C9, 276 ; his turn!) of the bishop Giorgio Anilreasi, at iMantua, 293. Cleomenes, Greek sculptor : his Venus, 320. Clergy, Italian, iheir propriety and good sense, 73 : diminution of, at Venice, 169 ; at Naples, 438 n. Clerks of the Mother of God. an education.'d congregatiou at Lucca, 669. Clitumuus, river : temple of Cliturana, 6'i3, 644. Cloaca Maxima, at Rome, ,^90. Closing of the churches in Italy ; its incon- veniences, 50. Clotilde, queen of the Frank"; ancient gale of her palace at Geneva, 5. Clovio, Don Ginlio, miniature painter of the Florentine school (46th century), 113, 5t3. Coccaglio, mountain, 90. Coccajo. Teofilo Folengo, surnamed Merlin, first of the macaronic poets ; his mauso- leum, 132; 298. Coccapani, painter, 370. — , Camillo, celebrated professor of belles- lettres, 268. — , Lndovico, governor of Modena, 268. Cocchi, Antonio, celebrated physician and antiquary, 193; liis tomb, 356,'382, 412. — , first librarian of the Magliabecchiana : his systematic catalogue, 330. Cuccianiga. Francesco, painter of the Flo- rentine school !l8ih century), 432. Cockerell, Engli.«h arcliitect : liis conjeclnre on the destination of the group of JNiob6, 322. Cocomero, theatre at Florence, 581. Coffee-houses of Rome, 362. Cogoleto, village, pretended birthplace of Columbus, 688. Coindet, doctor, possessor of the MS. of Emile, 7. Cola, Geniiaro di, painter of the Neapolitan sctiool t14th century), 403. Colanloni del Fiore, Neapolitan painters (15lh century), 445, 447, 433, 462. Coliseum of San Germ.ienza, at Pisloja, 0(6— German, at Rome, .307— Lalalta, at Parma, 385— Military, at Milan, 39— of the iNobles, at Parma, 583— of Padua, called the Seminary ; its printing- oflice and library, 209 — Pio, at Perugia, 632— Roman, 531— Spanish, at Bologna, 260 — Tolomei, at Siena, 622. — Vcnturoli, at Bologna, 260. Cohenuccio, Pandolfo, historian and dra- matic poet strangled in his prison as an agent of Borgia : his manuscripts at the library of Pesaro, 429. Colleone, Geronimo, of Bergamo, painter, of trie Venetian sclmol (16lli century), 87. Colleoni, one of the founders of The art of war in Europe: liis chapel and mausoleum at Bergamo, 87; bis Colonnade of the piazza of St. Peter's, 499; statue at Venice, 183. Colloredo, palace at Mantua, 299. Colognola, ntar Verona, abode of Bonfadio, 123. Culombini, St. John, founder of the order of the Gesuali, 220, 663 n. Ctdonia, rn the lake of Cosmo: its Greek origin, 82. Golonna, Antonio, architect, 299. — , Michele, pamter of the Bolognese school (,17tli century;, 24i, 243, 247, 230, 236, 280. — , Fra Francesco, author ol the romance of Uypnerotomachifi, .349. — , Cardinal Giovaimi ; his spirited and hii- mnrous expression to Pope Benedict Xll. on the superiority of Italy, 616 n. — , village near Palestrina, 600. — , Vittoria, 456, 479. — palace, at I\ome, .306. Coiorno, pal.ice near Parma, 274, 275, 288. Columbus, Chrisiophei', native of the city of Genoa, 342, 626, 688. Colunm of Antoninus, at Rome, .^64- of ihc French, near Ravenna, 422— of Phocas, 5i5 — Trajan's, 364. Columns of tlie temple of Jupiter Stater, 5-23. Comaschi, Giambattista, learned juriscon- sult, 309 n. Comelli, Mmc., singer, 64. Comines, Philippe de: no parlizan of con- gresses, 119; admires the Venetian govern- ment, 192; praises Cosmo de' Medici, 54">. Comino, Giuseppe, of Trevisa, scu.lplor (17lli century), 140, 207. Communita, palace della, at Pistoja, 666. Couio. Guido da,scul|itoi'(131h century). 665. Comolli, professor, Piedmontese sculptor, 83, 276. Compare, Pietro, friend of Pontanus : his mansolemn, 453. Conca, Jacojio, painter, 34. — , P., librarian of the convent of St. PIu- lip of Neri, at Rome, 553. — , Sebastiano, painter of ihe Roman school l17lh century), 408. 438, 338, 535, 621.663. Conception, the, church at Siena, 625. Conches, near Geneva, 2. Condamine, M. de la : endeavours to make a scratch on the Sacro Caiino, 684. Cond^, the great, at tiie siege of Dole, 2. CouUd^ac, 271. Condivi, biographer of Michael Angelo, 378, 505 11. Condottieri : their collusive campaigns, 203, 417; Iheir fatal influence on Italian cou- rage. 620. Conegliano, small town, 139. — , surname of Giambattista Cima, painter of the Venetian .•school (16th century), 61, 127, 139, 171,178,184, 183. INDEX. 727 Coiifigliacchi, professor at the university of Paviii, 16. Cotifraternitios of Venice : llieir splendid palaces, 177. Conradiu ; his tomb, iM ; column erected on liie |)lace of his execution, ibid.; 496. Consalvi, cardinal : his tomb, 532, 349. Conservators of Rome, 527 n. Conseryatory at >aple-i. 449. Consolata, church at Turin, 702. Consolation, hospital of, at Rome, 584. Conspiracies, republican, against popular chiefs, fatal to liberty, 342. Constantia, St., church at l\uine, 347. Constanliu, RI., painter on porcelain, 572 n. (;onsulta, palace, at Uoir.e, 567. Contahilita, palace at .Milan, 37. Contarini, Alessaiidro, procuratoroiSt. Mark, his niansoleum, 201. — , Cav. Giovanni, Venetian painter, 150, 202, 365. — palace at Venice, 165. — , ancient Venetian family : elyiiiolngy of Iheir name, 161 n. ; their chapel, 185. Conlavalli, theatre at Bologna, 239. Conteslabili, S., painter o! \oltcrra, 638. ContI, Fr.incesco, painter of iho Floreuline school v18ih century), 343. — , Giovanni Maria, painter of the Parmesan school (17th century), 278. — , deputy-professor at the university of Padua. 195. Conti-Crespi, palace at Ferrara, 232. Gontucci, P., augmented the museum of P. Kircher, 532. — da Sansavino, Andrea. Florentine sculptor (15th century), 344, 433, .'wO, 552. 684. Convenevole da Pralo, grammarian, Pe- trarch's first master ; compires King Robert to Jesus Christ, 337. Convents of women, at Rome, 345. Conventuals, .Minor, of St. Francis, their convent at Cortona, 654. Con^erleudi, palace du', at Rome, 582. Cooper, the American Waller Scott, 484 Coppa, Cav. An'iOnio-Giarola, of Veron.i, painteroftheVeue.iaa5cl:oulil7lb century >, 114. Copper, 2 ; its chateau, H. Coppi, Jacopo, painter of the Florentine school (16th centuryi, 248. Corazzi, P. Ercole, oiivetan monk, mathe- malician, 230. Cordellina, palace at Vicenza, 128. Cordes, Euihichius, of Antwerp, one of the fathers of the Council of Trent, friend of the arts, 207. Cordier,Nicolao,surnamedFrancios!no,sculp- tor of Lorrain ,16ili ceiiluiy , 556. Corenno, on the lake of Cosmo ; its Greek origin, 82. Corenzio, Belisario, Greek, painter of the Keaiwiitan school (17th century), 431, 453, 459, 462, 466. Cori, the ancient Cora : its temple, 498. Gorilla Olimpica, surname of Maddalena Morelli Fernandez, improvisatrice : her laurel consecrated to the image of the 'Madonna, 664. Cori Palfnni, Mme., singer, 64. Cornacchini, Agostino, sculptor of Pistoja (I7(h century), 300, 664. Cornara, Carlo, painter of the Milanese school (17th century) ; his daughter, 47. Coniario Piscopia, Helena Lucrezia, learned lady, Benedictine, doctor in philosophy of the university of Padua, 193; her touib,208. Cornaro, queen of Cyprus, remains of her ancient residence, 134; curious painting of her, 155. — chapel at Venice, 178 ; mausoleums of the fandly, ibid. — , Count Ludovico, author of the f^ila so- ir/rt, friend of the great architect Falco- neto. practises his book and lives to the age of ninety-nine, 213. Corner delta Cagrande, palace at Venice, 163. — Regiua, it/(')«, 163. Cornigliano, bridge of, near Genoa, 688. Corona, Leonardo, of Murano, painter of the Venetian school (16th century), 173, 178, 180. — , Santa, church at Viceuza, 128. Corpus Domini, or La Santa, church at Bologna, 248— Ferrara, 224— Turin, 702. Corradi, Bernardino, general, politician and great scholar ; his lomb, 303. Corradini, Venetian sculptor (18lh century), 434. Correggio, surname of Antonio Allegri, pain- ter of (he Parmesan school ( (6lh century), 42, 241, 271,273, 274; his As.sumplion of the cupola at Parma, 277, 278, 279; his frescos of the ancient convent of St. Paul, 282; 2K4, 326, 419, 446, 447, 520, 551, 372, 602, 670, 680. Corridor across Florence, 584. Corsmi, palace at Florence, 572— Rome, 577. Corso, of Perugia, 630— Rome. .^61.—, por- tico of (he, at Siena, 627— theatre, at Bo- logna, 259. — , Giovanni Vincenzo, painter of the Neapo- litan school ( 16th century ', 433. Corte imperiale, ancient ducal palace of Mantua, 291. Cortona, town, 653. Corvetto. minist( r : his tomb at Nervi, 673. Cofvi, Domenico, painter of the Roman school (tStli century ), 431. Corvin, Matthias, 57, 263, 513. Cosinio, P., Jesuil, paiiiter, 533. Cosmate, Giovanni, Rouiau sculptor (14th century), 503, 541,550. Cosuie, .^urnauieil Cosmo Tura, painter of the Ferrartse school (I3ih century ), 2t8, 220, 227. Cosmo, duke of Tuscany, snrnamed the father of his country: his imprisonment, 316 ; his tomb, 343. — , town of, 80. Cossa, Baliassare, pirate, general, poet, and pope under the name of John X.XII.; Ins lomb in the baptistry of Florence, 344, 372, 436. — , B: iseis, widow of a Parmesan gentleman, 273. Cossale, or Corzale, of Brescia, painter of •218 INDEX. llie Venetian school (17lh ccnlury), 96, 98. 99. Co-sair, Pietro, academician of Padua, J97h. Cosselil, singer, 259, 584, C83. Costa, Giovanni, modern Laliu poet, of Aeiago, 134. — . Giambattista, painter ( 17lh century), 54. — , Professor Paolo, ol Bologna, 243 n. — , Ippolito, painter of the Mantuan school ( 16ih century ), 297. — , Lorenzo, painter of Ihe Mantuan scliool ( 16th century ;, 242, 293. 296,297, 302. — , Ludovico, idem, 29."), 297. Costagnti, palace at Rome, 573. Colignola, Francesco Marcliesi, or Zaganelii da, painter of the Bolognese scliool (I6lli ci-ninry ), 279, 418. — . Bernardino, painler, 79. — , Geronimo Marchesi da, painter of tlic Bologiiese school ( 16lh ccnlury ), 429. Council of Ten, their hall at Venice, 131 ; their archives nearly destroyed, 185. Coupin, M. P. A. : his anecdote of David, 273 )i.; editor of the posthumous works of Girodet, 571 n. Courayer, P. Le, French translator of Fra Paolo's History of the Council of Trent, 136. Courier, Paul-Loiiis: his blot of ink on the Longus of the Laurentian, 529, 576, 6H. Courtesans of Venice, 189— Roman, 336. Cousin, Profe.«sor V., 33 n., 134 n. Cowper, Lord Nassau Glavering, at the head of the subscription for Machiavel's tomb, 533. Cozzarelli, Benedetto, sculptor and founder, 629. — , Guidoccio, architect (ISth century \ 621. — , Jacopo, sculptor and painler ol Llie school of Siena (15th century), 625. Cradle of the King of Rome, at Parma, 283. Ci'6billon; house where born, at Dl)on, J. Credi, Lorenzo, painter of the Floreuliue school ( )3th century), 540, 379, 662. Creniera, river, 608. Cremona, town, 305. Creinonesi, surname of Giuseppe Caietti, painter of the Fcrrarese school \\TW\ cen- tury), 221. Creraoni, I'ietro, Milanese architect (18th century ), 624. Crescentini, (irofessor at the conservatory of Naples, 430. Crescenzi, painter. See Cavarozzi. Crescenzio di Mario, Sienese sculptor, 619. Crescimbeni, Mario, historian, 536. Crespi, Daniele, painter of the Milanese schoohl7ih cent(n-y), 54, 40, 41,44, 48, 73, 80; his frescos at the Charterhouse of Gangnano, 70. — , Cjv. Giuseppe, called Spagnnolo, painler of the Bolognese school (17lh century), 87. 243. — , Ludovico, painter of the Bolognese school ( 18th centiny), 311. Crest, castle inhabiled by Agrippad'Aubigne, 4. Creti, Cav. Donato, painter of llie Bolognese school ( 17th century), 244. Crevola, its bridge, 27. Cricoji, villa Tressino, near Vicenza, (29. Crillon, dukede, peer of France, 702. Crispi, Cav. Giuseppe, painter, 603. Cristina, St., church at Bolsena, 613. Cristoforis, gallery at Milan, 37. Cristoforo Romano, sculptor : finished the mausoleum of the duke Giovanni Galeaso Vi-conti, 73. Crito, Athenian sculptor, 597. Crivelli, house of, 71. — , Taddeo, miniature painter, 263. — , painter of Spoleto (16lh century), 644. — , Signora, 381. Croce, Baltassare, piinterofthe Bolognese school (16th century), 611. — Giulio Cesare, poet o( the 16lh centurv, 237. — , alia, gate, at Florence, 384. — , Santa, church at Florence, 193, 332, 338, 343, 333— at Padua, 207 — iurm, 703— Vi- cenza, 129— al Mercato, at Naples, 467— in Gerusalemme, at Rome, 540. Croma, surname of Giulio Cromeri, pain'cr of the Ferrarese school (16lh century), 223. Cronaca. Giambattista, Venetian painter (ISlli century), 516, 363 ; his entablature of the Strozzi palace, 372, 396. Crosato, Giambattista, Venetian painter (18th century), 693. Cross of Malta, inn at Milan, possessing some rare fre>cos ol Bernardino Luini, 43 n. Crown, the iron, real curiosity of Monza, 73. Crucifix de' Biauchi, Holy, church at Lucca, 668. — , speaking, 246. — carried by the Sienese at the battle ot Monte-Aperto, 620. Crusaders, Genoese : iheir cuirasses sold, 678. Crusca, Academy della, 368. Cugini, N., architect of Reggio (18th cen- tury), 270. Cumae, 473. Cung! da Borgo S. Scpolcro, Pietro, painter 037. Curia, Francesco, painler of Ihe Neapolitan school (16th century). 431, 463. Currado, Francesco, painler of the Floren- tine school ( 16ih century), 324, 338, 549, 362, 408, 636, 637. Curtatone, near Mantua. 502. Curtius, L^ncinus, poet, pupil of Giorgio Merula ; erects his master's tomb and wriits his epitaph, 44. Curtoni, Donienico, architect, nephew of San MIcheli, 117. Cusani, house of, at Milan, 37. — palace, at Parma, 284. Custode : clever in explaining pictures, 561. Custom-house of Bologna, old church of the Minorite Friars of St. Francis, 260— of Genoa, 676— of Mantua, once a Carmelite convent, 301— of Rome, formerly a temple, 564— Verona, 118. Cuvier, Baron, his liccheichcs sur les osse- ments fossiles, 127 n. INDEX. 7-29 Cypresses, bping numerous, lose llieir fune- real character in llie Verunese, as in Greece, 126. D. Dalmasio, Lippo, snrnamed ofihe Madonna, painter, Bolognese scliool (Ulli century), 249, -250, 252, 262. Dalmazio, San, church at Turin, 702— con- vent at Volterra, 658. Darnian, St., church at Assisi, 648. Damini, Pietro, of Castelfianco, painter of the Venetian school ( I7lh century), 134, 139, 199, 200, 203, 206,211. Danilini, Cesare, painter of the Florentine school (t7lh century ), 432. — , Ottaviano, idem ( IStli cenlnry), 343. — , Pietro, idem (17th century), 549,351, 562, 363, 407. — , Vinceiizo, idem (17th century), ."Si, 570. Dandolo, Enrico, dogn of Venice, ccncjmror of Constantinople, 179. — , Andrea, doge, historian, friend of Pe- trarch : his tomb, 146. Daniel, St., his tomb, 108. — , church at Padua, 205. Danle Alighieri, 34,69, lOi, 103, 106, 107; incidents with a blacksmith and a mule- teer who niutilale 1 bis verses in singing them, 107; his poems accompanied wiili mnsicanddancJng, ii/d.; his ihe.sis on land and water, mainiained in a church, HI; liis residence at Gargagnago, 120 ; 124, 133, 187,20'« ».,2IO,240;his/)ui/m Commedia, 2'(8; quoted, 261 ; 265, 280, 294, 304, 306, 515 )i., 314 »i., 317, 522; his letter, refusing to return to Florence, 329 ; superior to his time, 330 ; his portrait, ibid.; his answer to the inipiisitor of Florrnce, 334; quatrain and anecdote, ibid. ; 540, 542 ; stone bench used by him at Florcnci , 345 ; his new ce- notaph at Santa Croce, 3.53; 337 «., 338, 363, 369, 389 »., 406, 410, 418; his tomb at llavenna, 419; editions uf his works dur- ing thi' four last centuries, 420 n., 422, 429, 435,448, 449, 457 30i, 505, 309; manu- script of the Divina Cummcdia in Boccac- cio's haiidwntina, 513; 334, 616,617, 620, 621, 626, 630, 652, 635, 640, 645, 646, 647, 630, 634, 656, 660, 673, 673 ; the Inferno translated into I'rcnch verse iu the 15th century, 698 ; 706. Danti, P. l.^naiius, Dominican, mathemati- cian and astnnonier, 242, 339; his geogra- phical map-;, 318. — , Vincenzo, scidp.'or of Perugia (16th cen- tury), 319, 544, 630, 661. — , Giulio, archiiecl ( 16th century ), 645. Dario palace, at Veiiici', 161. Uaru, P., author of the History of Venice, 152,161 ».; hts Actions statistic/ues iur In libnnrie. 166 ?i.;169 n.; 172 n.; 182 n.; 186, 192, 195 n. Dali, Goro, historian, 514. Dauphin, Cav. Charles, French painter ( 17ih century), 702. Dayanzati, Mariolta, one of the coniiietitors for the prize offered for a poem on True Friendship, 331, 652. David, French painter: impression made on him by the frescos of the cupola at Parma, 275; his paintings at the church of St. Andrew of the Jesuits' Noviciate, at Rome, S43. David, father and son, singers, 89. Davlla, historian and warrior, murdered, 124 ; his tomb discovered, ib. Deani, Marco-Antonio, Franciscan ; his tomb, 101. Death, confraternity of, at Chiusi, 633. — , church of, at Viterbo, 611. Debret, M., French architect, editor of the works ol Vignola, 609 n. Deede, Baroness Louisa ; her tomb by Ca- nova, 203. Delf.ind, .Marchioness, letters of, 11 n. De Gerando, M., rerrives a inarkof aoknow- ledguient from the city of Perugia, for having contributed to extend the course of instruction at the university, 631. Degola, the R. P, one of the librarians of the Ca.sanatense, 531. Dei, English painter, 571. Delarive, professor at Geneva : gives gra- tuitous lectures on chemistry as applicable to manufactures, shortly after having been first syndic, 2. Delaroche, painter of the French school, 638. Delaunay, Mile., Duverncy's eulogium of, 237. Delavigne, M. Casimir, 231, 468, 472. Uelecluse, translator ol Luigi da Porto's novel of Romeo and Juliet, 106. Delfico, .Melchiure : his Memorie storirhe delta Rcpubblica di San Marino, 426 n.; 473 n., Delillf, Jacques, 12, 462. Demariui, good comedian. 66. Demidoff, M., Russian : his actors at F;o- rence, 582 ; his modern villa, nuw a silk factory, 391. Dcnn'n, .M. Joseph, fresco painter, 137,139, 213. Denis, Fra Nestor, first author of a diclio- nary, 33. — , the P., Petrarch's master, confessor, and friend : believed in judicial astrology, 287. Denii, A.;(lente de', aslrulogical cobbler, 280. Denlone, Antonio, painter of tiie Bolcgnese sch>H)l ( 17ih century ), 183, 217, 252. 280. Desaix, general : his tomb at the church of Itie Great St. Bernard, 27, 692. Descartes : his Meditations, and nearly all his works, still in the Index, 551. Dcschamps, .M. Emile; his translation of Shakspeare's Romeo and Juliet, 106. Desgotlj, painter, 699. Desiderio da Setlignano, Tuscan sculptor (15th century), 521, 543; erected the tomb of MarsuppiiM, 536; 362. Desmarais, the late, French painter, died in Italy. 666. Desmoulins, Gujart, French writer of the 13th century, translator of Peter Comes- tor's Scholastiea Hisloria, 569. Devil, palace of the, at Mantua, 299. INDEX. Devonshire, duchess of : presnnts a copy of her yiigil to the library of ManUia, 293. Diderot : gives Ilousseau a good hiat fur ills Essay, 3J6. Didier, ahbot of Monte Casino, afterwards Pope Victor HI., 488. — , St., ancient church at Pistoja, 663. Diecimo, village in the duchy of Lucca, 669. Dielai, surname of Giovanni Francesco, painter of the Fcrrarese .school (I6lh cen- tury) ; his lomh, 223, 233. Dijon, distinguished for its learning, 1 ; pro- gram of its Academy on the effects of the revival of arts and sciences, ib. Dimes.se, church of Padua, 207. Dino di Tura, burlesque poet, 383. DionisI, canon of Verona, 116 n. ; 330 n. Dioscorides of Samos, mosaist of antiquity, Dioti Salvi, architect of the baptistry of Pisa (12lh century,, 402, 408. Diotti, Giuseppe, paintrr, 61, 100. 306. Diplovatazio, Thomas, Greek jurisconsult : his manuscripts at the library of Pesaro, 429. Docciola fountain, at Volterra, 638. Dolce, historian, 632 n. Doici, Carlo, painter of the Florentine school (17lh century , 253, 323; his poetry, 372 ; 374, 661, 679, 680. Dole, military anecdote of its capture, 3. Dolfini, Andrea, tomb of, 178. — palace, at Trevisa, 143. Domaco, near the lake of Cosmo : the women of the adjoining mountain dressed like Capuchins, and called (rate, 83- Domenici, Domenico, bishop of Brescia: his tomb, 96. Domenico, of Bologna, painter of the Bo- lognese school ,16lh century), 307. Dominican nuns of Rome, 544. Dominiconi. actor, C6. Dominick, St., church at Ancona, 432— Bo- logna, 248— Brescia, 97— convent at Cor- tona, 654— church at Cremona, 306— at Ferrara, 221— ^Major, St.), at Naples, 434— at Perugia, 649— at Pistoja, 663— at Pralo, 661— at Ravenna, 417— at Siena, 623— at Spoleto, 644— at Turin. 703— at Viceiiza, 129-obclisk of, at Naples, 456— and St. Sixtus, church at Rome, 544. Dominici, Francesco, of Trevi.sa, painter of the Venetian school (16lh century), 140. Domenichiuo. painter of the Bolognese. school (16th century), 60; hi.s Martyrdom of Si. Agnes ; Ins Sladoiina of the Rosary, 240 ; 278 «., 524, 374, 419, 430, 447. 43) ; Ins communion of SI. Jerome, 519; 529, 536, 543, 514, 346, 547, 551, 534, 537, 539, 560, 565, 567, .372, 575, 603 ; his chapel of St. MIus. at Grotta Ferrata, 604; 603, 637, 670, 679, 680, 689. Domo d'Assola, 23. Donasso, village, 28 n. Donalello, Florentine sculptor ^'t 3th cenlury\ 57, 168, 200, 201 ; his Galtamelata, 203, 203,213,220; his Judith, 319; 340 ; his Znccone, 3'(2, 344. 346, 336 ; his St. George, 538; 360, 361, 364, 370, 371. 3S4, 397 ; his mausoleum of Cardinal Brancaccio, 439 ; 6(5, 619, 621,660,666. Donato, Marcello, Manluan botanist : his tomb, 296. — , San, villa near Florence, 391. Donatus, St., church at Bologna, 246— at Ge- noa, 686— called tiie Duomo of Murano, church near Venice, 191. Doiidi dair Orologio, Lucrezia , assassinated in the night, victim of her virtue, 212. Dondo of .Mantua, Ludovico, painter (16lh century), 623. Dotii, Adona, painter of the Roman school ^18lh century), b48. Doui, Giambattista, scholar of the 1"lh cen- tury, 609k. Donizzon, monk, author of the poem on the countess Matilda, 406. Donna Regina, church at Naples, 452. Doniiini, Geronimo. painter of the Bolognese school (17th century), 24 'i. Donzclli. Pietro and Ippoiiio, painters of the Neapolitan school (13ih cenlnry), 436. Doppet, a physician, afterwards a general, 8 n. Doria, Andrea : his palace at Genoa, 681 ; his tomb, 686 ; 600. — palace, at Rome. 365. — villa, at Pegli, 688. — , river, 28, 704. Diirigny, Louis, Parisian painter (17lh cen- tury), Venetian school, 143. Dosio, sculptor, 560. Dos>i, Giambattista, his tomb, 222. Dossi Dosso, painter of the Ferrare.se scliool (1 6th ceuturyj, 87,218, 221, 223,264, 297, 329, 565. Dotto, Vincenzo, of Padua, architect (16th cenlnry , 211. Dulcinj,'Fra, chief of the seel of the Gazzari, 34 Duiiiont, of Geneva, 9. Duom,), an old church at Bergamo, 86— the new and old, at Brescia, 96— of Guastalla, 289— of Milan, its description, 39; view from its summit, 40 — of Nnova, 33 — of Pa- dua, 197— of Pisa, 401— of Salerno, 483— of Trevisa, 140— ot Vercelli, 32. Dnpaty, ihe president, 680. Diiprez, M , singer, 64. 683. Uurand, Guillauine : his Rationale, 198 ; his tomb, 530 ; 698. Duras, duchess of, 692. Uurazzo, S. Jacopo Filippo, palace of, at Cornigliano, 688. — palace (Marcel), at Genoa, 678. — palace (Fdippo), ai Genoa, 679. Uurer, Albert, painter of the Dutch school (loth centuryi, 88, 159, 163, 252, 325; his Misers, 563 ; 378, 611, 678, 679, 702. Durini palace at Milan, 37. Duval, Valentin JaniLTv', 384. l»uverney : his euloginm of .Mile. Delaunay, 237. Dow, Gerard, painter of the Dutch school (17lh ccnluryj, 693. Dragonaria, Grotta deila, 474. INDEX. Duca, Jacopo del, Sicilian architect, 327. Ducal palace, at Genoa, 678. Diicci house, at Voltcrra, 638. Uuccio dulla Biioninsegtia, painter of Ihe Sienese scliool C14lh century), CIS, 6t9. — , Giovanni, archbishop of Coiou ; his toinb at Brescia, liis native place, 9o. Duchiiio, surname of Camilio Landriani. painter of the Bolognese school (,17tli cen- tury), 47. Dnkes of Burgundy, John Fearnought and Pliilip Uie Bold ; iheir tombs at ihe mu- seum of Uijon, i. Earthenware manufactory at Faenza, 415. Eckel, learned anliquary, 327. Edesia, Andrino d', of Pavia, painter of the Milanese school (Uth century), 79. Education, French, of women iu Italy, 409. Egeria, valley of, 391. Fgidio, Saul", church of Manlna, 297. Egnazio, Baltista, oftheAldiue Academy,166 It. Emelli, clever sculptor of Carrara, 366. Elba, isle of, 437. Elci, Cav. Aiigelod"; his collection of the first editions of the Greek and Latin clas- sics bequeathed lo the Laurentian, 332. Elementary instruction al lUime, 383. Emblems, pagan, mixed with Chrislian sym- bols, 277. Emile, Rousseau's: its condemnation, 3; Ihe manuscript in the possession of Dr.Coindel, of Geneva, 7. Emo, Ange:o, Veneli.in admiral ; his mauso- leum, 187; his character, 488. Empoli, Jacopo dementi da, painter of the Florentine school (I6ih century), 320, 327, 345. 549. 331, 337, 377, 406, 634, 663. Encyclopedic, the, in a convent of Fran- ciscans, 3U; reprinted at Lucca, 672. Engelberge, emiiress; her autograph rsaUe- rium at the library of Placentia, 509; her monument at the church of St. Sixtus, 310. England, present royal family of, descended from the house of Este, 221. English in Italy, 29. Enrico of Pistoja, sculptor (15th century), 666. Eiilella, river, 673. Enzius, king, natural son of Frederick II.; his tomb, 250 ; his lomh, 253. Epicuro, Aniouio, of lhe>eapolitanacademy, 438. Epitaph, political, of a French emigrant, 208. Epomeus, extinct volcano in the isle of Ischia, 474. Equicola. Marins, historian of Mantua: his inscription, 504. Erasmus : his s.ngular interview in England with Ludovico Canossa, <<7 m. ; his inge- nious passage on literary labour, with res- pect to Iho proverb Hercidei Uibores, 289. Erasmus, St., church at Bergamo, 87. Erba Odcscalcfii, palace at jMilan, 37. Escalade, nocturnal, attempted by the Duke of Savoy against Geneva, 3; monument to the Genevese who perished, ibid. E^nenard : his death near Fondi, 497. Ewphline, mouni, at Rome, 587. Esti', Alfonso d', Uuke of Ferrara; his ar- tillery, 223. — , Borso d', first Duke of Ferrara. celebrated for his splendour, tounderoftheCharlreuse, 2G3, 566. — , Cardinal Ippolito d', the elder; his por- trait, 224 ; his remark to Ariosto, 224. — , Cardinal lp|iolito d", the vounger, tounder of the villa d' Este, at Tivoli. 600. — , Cardinal Ludovic.j d'; degradation of his ancient villa of Belrignardo, 253 ; 600. — , house of : descent o! the present royal fa- mily of England from, 221. — , villa d", on the lake of Cosmo, 86; at Tivoli, 600. Estouleville, Cardinal d' : builds the church of St. Augustin, at Rome, 552. Esir^es, Gabrielle d'; her verses on a ma- nuscript at the Tr.vulzio library, Milan, 57. Eiiganean hills, 215. Eii|ihemia, St., church of, at Brescia, 97— at Milan, 42 — at Novara, 34— at Verona, IU. Eiisebius, llrst bishop of ^■ercelli, 52. — , St., church at Rome, 541. Eustorge, St., church at Milan, 44. Kxchange at .4ncona, 432. Exhibition of the products of Venetian in- dustry in 1827. t.39. — of prize-works al the museum of Brcra in 1827 and 1828, 61. Fabre, M., French painter, 523,331; erects the countess d'Albani's tomb, 356. Faliriano, Dante's native place, 653. — , Gentile da, painter of Ihe Roman school 13th century), 367, 614. Faliricius, I,., surveyor of Ihe highways of ancient Rome, 576. F.ibris, Cav., sculptor, 334. F.ibroni, Angelo, biographer and historian ; his manuscripts in the university library, at Pisa, 409. r.icciolali, scholar, 237. Facini, Pietro, painter nf the Bolognese school (16th century), 249. Faelli, Geronimo, parish priest, 279. Faenza, town, 414. Faerno, Gahnele, Latin poet of the 16lli cen- tury, 527. Fagnani, S. ; his library at Milan, 36. Fair ofBeig.uno, 86— ot Senigallia, 431. Fairs, reflexions on, 86 ; human life compared by Tasso lo the confusion of a fair, 89. Falcone, theatre del, at Genoa, 683. Falconet, French sculptor t18lh century), 323. Fcilconetto, Giovanni Maria, of Verona, be- came a great painter and architect from chagrin (15lh century). H4, 200, 2H. 213; his house of Giustiniani al Santo, 213. Fa'conieri palace, at Rome, 581. — , Ottavio; his letter on the laste of Pope Alexander VIL for nianuscripls, 563 n. — villa, al Frascali, 603. INDEX. Falieri, Venetian senator, Canova's first pa- tron, 343. — palace near Asolo, \ZH. Faliero, Marino, doge, bciieadeil, M9, 432. Famine, tower of, at Pisa, HO. Faucelli, sculptor (17lh c-'iitury}, 373. — , Pielro, of Bologna, 239. Fano, town, 450. Fantastiti Siilglier Marchesini, Signora, of Florence, ini|irovisatrice and translator of Bion and Anacreon, 370. Fantin, St., church at Venice, 480. Fantoccini, puppet-show, at Milan, 67. Fanzaga, Cosmo, sculplor (47lh century), 439, 432, 436, 489. Fanzago, Francsco, professor at the univer- sity of Padua, 4 97 n. Farinassi, Pro.'ipero, famous jurisconsult, 544. Farinati, Paolo, painter of the Venetian school, surnamed the Tliird Paolo Vero- nese ;47th century , 442, 413,414,294. Farnese, Alessandro : h.s equestrian statue, 308 ; his tomb at Parma, -28) ; 609, 612. — , Pietro, Florenline general; hi.s monu- ment, 340. — , Ranuccio, son of the above; his eques- trian statue, 308; differently judged by historians, ibid. Farnese palace at Pbcenlia, 509. — theatre at Parma, 283. — palace, the finest at Home, 380. Farnesina palace at Home, 378. Farsetti paiace at Venice, 463. Fasano, Gabriele, Neapolitan poet, translator of the Gcrusalcmmc, U6j. Fasolaio, Agostuio, sculptor of Padua (tSth century : his extraordinary group, 245. Fasolo, Giovanni Antonio, of Vicenza, pain- ter of the Venetian school (I6lh century), 444. Faun, house of the, at Pompeii. 480. FaiKlin and Giovile, Sts., church at Brescia, 99. Fava, palace at Bologna, 234. Favorite, La, jialace at Itesina, 473. Fazio, Bartolonmieo, of the .Neapolitan .Aca- demy, 433. — degli Uberti, poet : bis unintelligible Dit- tamotido, 613. Fe, Cav. Xicolao, of Brescia, possessor of the diptych of Boetius, 93 n. Fea, the abbe Don Carlo, great archeologis!, .362, 564, 607. Fedele, San, church at Cosmo, 84. Federici, Piednumtese dramatic author, 70t. Federighi, Anionio, painter of the Sienese school (4jih century), 6*8. Fei, Aless.mdro. painter of the Florentine .school (46th century , 664. Felice, Sau, fountain of Volterra, 639. Felicity, St., cluircli at Florence, 563. Felix, uf Aragon, Don, bastard of Philip II., 64(. — , St., church at Florence. 363— Venice, 483. Feltro, Moi to da, painter of the Roman school (46ih century), 324. Fenaro.i, palace at Tavernola, 91. Fenice, theatre at Venice, 488. Feoli, the broihcrs, at Cauino, 643. Ferentina, valley, C03. Ferrao, town, 435. — , St., chnrcli at Padua, 209,— Verona, 442. Ferney, 2 ; description, tO ; old gardener, io.; anecdote of the poacher, 4( «. Ferracino, Barlolommeo, sawyer and clever engineer (I8th century), 431; his tomb, 432; «33, 360. Ferrauiola, Fioravente, of Brescia, painter of the Venetian school 46lh century), 98, 99. Ferrara, 29, 165 «.; its decline exaggerated, 2t8 n.; epic superiority ot the Ferrarese, 226; one ot the most illustrious towns for the encouragement of priming, 228; thea- trical representations at Ferrara, 230. Ferrari, Gaiidenzio, painter of the Milanese school (13lh cinlury), 32, 33, 33, 40, 42, 43, 47, 48, 60, 70, 79. 80. — , Luca, painter ofR'ggio, 269. —, Oltavio, professor of elocution at Padua, 201. — , Maestro, of Ferrara, troubadour : his Col- lection of Provencal Poetry, 263. Ferrata, Creole, sculptor (.17lh ceuturv;, 349, 619. Fcrreri, Andrea, Bolognese sculjitor (48th century), 220, 221, 223. Ferretti, Giovanni Domenico, painter of the Florentine scliool (47th cenlurv , 357, 664. Ferri, Antonio, Florentine architect (47th century), 667. — , Giro, painter of the Roman school (47th century), 87, 374 ; his tomb, 537. Ferii, Bolognese scene painter, 239. Ferrucci, Andrea, of Fiesole, sculptor (13th century ,247. 340, 360. 389,663. — , Francesco, sculptor (43;!i centurv), his tomb, 389. — . Nicodemo,painterof the Florenline school il7ih century), 390. Fescli, Cardinal, titulary of the church of Santa Maria della Vittoria, 543; hisgallerv, 581. Festa, Piedmontese sculplor (19th century), 591. Festus, Pompeius, grammarian, 448. Fete of Santa Maria di Pie di Grotto, at Na- ples, 440. — , -National, of St. Maria at Venice, 481. Fetes of Parma of greater lame and impor- tance than its history, 283. Feti, Domenico, painter of the Mantuan school (17ih century , 292. Fiammetta, Boccaccio s mistress: error con- cerning her suj^posed portrait, 501 n. Fiamminghini, surname of Giuvaimi .Moro Rovera, orRossetti, painter of llie Milanese school ■,47th century), 309. — , the brothers, painters of the .Milanese school ^17lh century :, 71. Fianmiingo, surname of Francois de Quesnoy, of Brussels, sculptor J 7th* centurv), 463, 502, 543. — , called also Robert La Longe, of .Antwerp, painter of the Cremonese school (17th oentuiy\ 310. Fibbia palace, at Bologna, 253. INDEX. ;ss Ficino, Marsllio, director of the Platonic Academy of Florence ; liis mannscripts al the Lameiitian, 330 ; liis lomb, 340 ; 592, 569. Fidelis, St., chiircli of Milan, 49. Fiera, Baltista, Mantuan poet and physician : his triiitnphal arch to Virgil and Manto- vano, 29i. Fieraniosca,Gtiidona, last prince of Mignano: his tond), 489. Fieschi, defended by Bandcllo, 677. Fieschine, conservatory de', at Genoa : manu- factory of artificial flowers, 687. Fiesole, near Florence, 389. Figini, Anibrosio, painter of the Milanese school, 40, 43. 48. — , Giovanni Pietro, Milanese carver, 58. Filangieri, author of la Science de la Legis- lation, 48-2. Fdarela, Antonio, or Averulino, Florentine architect and sculptor (I3lh century): manuscript of his treatise on architecture, 57 ; his Great Hospital of Milan, 68 ; 500. Filarmonici, academy of, at Bologna, 238. Filelfo, 294,314 n., 530, 336. Filic.ija, the senator : his lonib, 356. Filippi, Alessandro, painter, 307. — , Lorenzo, architect, 338. Filippo da Seltignano, scidptor, 619. Filoglotti, academy of Castelfrauco, 139. Finale, town, 689. Finelli, Carlo, of Carrara, sculptor, 673 «. — , Giuliauo, of Carrara, sculptor, 673 n. Finiguerra, Masso (for Tonimaso), clever Florentine f;()ldsmilh and sculptor (loth century), 321, 343. Fiore, Agnolo Aniello, Neapolitan sculptor (fStli century), 433. — , Colaniouiodel, painter of the Neapolitan school (<3th century), 4^<3, 447, 462. Fiorengo, St., church of Perugia, 649. Fiorentino, surnameof Orazio Vajano, painter of the Mdanese school (.17th ceniury), 42. Fiorini. Siguora Elisahela, anilior of the Flora of the Pontine marshes, 498. — , Giambattista, painter of the Bolognese school C16th ceniury), 247. Fioroni, Ado, engraver, obt.iins the gold medal at the exliibilion of ihe academy of fine arts at Milan in 1829, 41 n. Firenzo, St., church at Florence, 357. Firinian, count, illustrious governor of Lom- bardy : Ids tomb, 49 ; founder of the uni- versity library at Pavia, 77. Fishery, the, country house of Hortensia, 474. Fiunie lalte, torrent, 83. Fiumicelli, Ludovico, of Trevisa. painter of the Venetian school and architect (t6th century ), 205. Fiumicino, small town on the Tiber, 564. Flavian, St., church near Moutetiascona, 613. Fleury, 490. Florence, 312; its ancient government. 316 ; activity and grandeur of the public works at the time of the seigniory, 358 ; its mo- numents connected with religious or pa - Iriotic motives, 343; its Euglish popula- tion, 370. Florentines, 313 ; subject to myopy, 263. — , Iheaire of the, at Naples, 430. .Florentio, priest: his treatise on music, S7. Florian, coffee-house at Venice, 145. _ Floridiana, villa near Naples, 462. Florigerio, or Florigorio, Sebastiano, of Udina, painter of the Venetian school (16lh century), 211. Florus, 495. Foggiui, Giambattista, Tuscan sculptor (17th century ), 328, 533. Fogolino, Mareello, of Vicenza, painter, 127. Foix, Gaslon de : dispersion of his mauso- leum, 71. Folchi, Cav. Clemente, hydraulic engineer : his great tunnel Ihrough Mount Catilio 599 n. — , Doctor, professor al the Sapienza, 583. Folco, called Franceschini, palace of Vi- cenza, 128. Foligno, town, 643. Folli, Sebastiano, painter of the Sienese school ( t7th century), 623, 626, 629. Folliero, Signora, author of an Essay on the improvement of youth, 441. Follini, tie abbe, librarian of the Magliabec- chiana, 336, 343 n., 368. Follonica, foute di, 630. Fondi, town, 397. Fondo, theatre del, at Naples, 450. Fontaine, French architect; his restoration of the Louvre and of the Palais Royal 46 n., 594 n. Fontana, Annibale, Milanese sculptor ( 16th century), 41, 42. — , Carlo, architect, 332, 678. — , Domenico, architect ( I6t!i century ), 439 447, 450, 300, 501 W., 303, 511, 521, 33o' 557, 341, 567, 579, 690. — , Francesco, architect (18lh century ), 542. — , Francesco, Neapolitan astronomer, 469. — , Giovanni, of Cosmo, architect ( 17ih cen- tury ), 623. — , Giovanni, hydraulic engineer (IGth cen- to ly ), 603. — , Prospero, painterof the Bolognese school ( 16lh ceniury), 236. — , Signor, ex-gonfalonier of Spoleto, 644. — Grande, fountain al Viterbo, 610. Fonlanini, historian, 429 n. Fonte, parish-church of Bassano, 135. Fonte-Branda, fountain at Siena, 650. Fonlebuoni, An;ista,«io, painter of ihe Flo- reuliue sehool ( 17lh century ). 664 F'onte-Giusta, church at Siena, 620. Fonle-Nuova, fountain at Siena, 630. Fontenelle ; his remark on praise, 230: 396, 437, 468. Foppa, vincenzo, of Brescia, painler of the Venetian school (ISlh century), 88,94. Forabosco, or Ferabosco, Giroiauio, painter of the Venetian school (,17ih century), 198. F" irbin, M. de, 473. Forcellini : manuscript of his Latin dic- tionary, 210. Forestiere (foreigner), 29; foreigners at Home, 570. Forii, town, 423. Formiae ; its remains, 443, 496. 62 754 INDEX. Forraigine, Andrea da, architect and sculptor ( (6lh ceniury ), 243. Forteguerri, liotise of, at Pistoja, 6t>7. — , Cardinal Nicolao : his maiisuleiim, 662. Forti, S. di, literary Florenliiie, 537. Fortunato, Dom, steward of the Chartreuse at Florence, 597. Forum at Pompeii, 480— Boariiim, 590— Roman, description of, 322— of Nerva, 488 —of Trajan, 388 Fosca, St., small temple near Venice, \9\. Foscari nalace, at Padua, demolished in 1827, 2b/(. — palace, on the banks of the Brenta, a chef-d'oeuvre ofPalladio, i9i. — , ancient palace of, at Venice, 161. Fuscarini, Jacopo, general: his tomb, t73. Foscherari : family of, tomb at Bologna, 249. Foscolo, Ugo : his Essays on Petrarch, 34 ; intended to write a life of Gen. Theuli^, 39; 288, 329 /?., 334. Fossani, S. Giuseppe, Milanese; his gift of the statue of St. Ambrose, 40. Fossano, Ambrosio, painter of the Milanese school and architect (13th ceniury \ 73. Fossali, painter of the Venetian school, 141. Fossi Ferdinando, librarian of the Magliabec- chiana ; his catalogue of the editions of the loth century, 356. Fossombroni, Count Victor de, 635: his Memoirs on the vale of Chiani, 033 n. Fountain, house of the, at Pompeii, 480. Fra Bartolommeo {delln Porta, or il frale), painter of the Florentine school (13tli cen- tury). See Bartolommeo, Fra. Fracaslor, Aventiuo, Geronimo's ancestor, physician of Can Grande 1.; his tomb, 112, 639. — , Geronimo, poet, physician, 120 : serves the views of Paul III. in causing the Council of Trent to be transferred to Bo- logna under pretext of cuntagion, 236. Praia, Don Ottavio, librarian-archivist of Monte Casino, 490. Fra Mauro, Camaldulite monk: his map of the world, 137. Francavilla, or Franchevillc, Pierre, French sculptor (,16lh century), 536, 583, 401, 639. Francesca, Pietro della, painter of the Flo- rentine schciol (15lh century), 308. 638. — Romana, Santa, church at Rome, 333. — di Rimini, 418 ; conjectures on the site of her house, 423. Franceschini, Marcantonio, painter of the Bolognese school ( 17th century ), 247, 248, 231, 281, 418. Franclii, Antonio, of Lucca, painter of the Florentine school ( t7lh century), 656. — , Giuseppe, of Carrara, sculptor, 37, 49. Franchini, INicolao, paiuier ofvthe Sienese school (18th ceniury ), 625, 637'. Fianchis, jurisconsult : liis monument, 453. Francia, surname of Francesco Raibolini, fotmder of (he Bolognc.«e school (13ih cen- tury ), 61, 239, 246, 247, 238, 262, 264, 274, 277, 299, 325, 424, 669, 670. — , Jacopo, son of the preceding, Bolognese [laiiiter, 278. Franciabigio, painleroflhe Florentine school (16lh century I, 348, 331, 371, 638. Francis I : taken in the Charterhouse park at Pavia, 73; desires to be conducted to church, v6.; his celebrated expression a fic- tion, ib. n.\ his Petrarch supposed to be at Parma, 272 ; France appeared barbarous to Italy till his day, 503 «.; 329, 67.3, 697. — , St., his character, his influence, 647 ; his tomb discovered, ibid. — de Paule, St., new church at Naples, 439. -• de Sales, St., at the Glaciers, 14; oppo.ses the violence of a regiment sent to convert the Inhabitants of I hoiion, 21 ; autograph letter of, 32; 363, 698. Francis in Alio, St., church at Ancona, 432. — , St., church and convent of Assisi, 643— church at Brescia, 98— at Cistiglione, 6S0 — at Cliiavari.673— at Chiusi, 653— convent at C^irtona, 654— church at Ferrara ; its echo, 220— at Lucca, 609— ancient church at Mantua, 296— church at Padua, 205— del Praio, St., church at Parma, 278— St., church at Pavia, 79— at Perugia, 649— at Pesaro, 429— at Pisloja, 663— ihe Great, St., church at Placentia, 310— St., church at Ravenna, If 8— at Rimini, 423— at Rome, 537— at Siena, 624— uf Ihe Vine, St.. church at Venice, 471— St., church at Viterbo, 612— church and convent at Volterra, 638. Franciosino, sculptor. See Cordicr. Franco, Angelo, painter of the Neapolitan school (15th century, 435. Francois, French pointer, 562. Fraiigipani, Giovanni : delivers up Conradln to Charles of Anjou. 463 n. Frari, Dei, church at Venice, 167, 176. Frascati, town, 602. Fratellini, Giovanna, Florentine painter (17th ceniury), 324. Fraternita, inslilute of the, at Arezzo, 637. Frati : their vices produce enemies, 647. Frederick the Great; his original letters to Algarutii, at Venice, 161. — Barbarossa. emperor : remains of his pa- lace at Moiiza, 74. Fredianus, St., church at Lucca, 359- at Pisa, 407. Fredis, Felix de' : discovered the Laocoun, 354. Free port of Venice, 194. Fregose, Janus, Genoese, general in the ser- vice of Venice: his hoiel. 111. French : causes of the antipathy which the Italians formerly bore to llirm, 66. Frisi, canon; his enthusiasm for the papy- rus olMiiiza, 73. — , Paolo, B.irnabite, great mathnnatician and natural philoso[iher : his tomb, 44 ; his medallion, 62 n. Friso, Alviao dal, painter of Ihe Venetian school 1,16th century), 173. Frjzzi, Dr. Antonio, learned guide of Fer- rara, 218. Fronto : his letters to Marcus Aurelius, 34. Frugoni, poet of the last century : his tomb, 282, 285 «., 294. Fuccio, Florentine sculptor (15th century), 646. INDEX. 795 Fucino, lake, 491. Fuga, Fernando, architect (lifth ccntuiy\ S4«, 567, 578. Fiiger, German bishop : explanation of Iiis e|illaph, 613. Fullonica, at I'ompeii, 480. Fumagaili, Milanese scholar : his medallion, 62 ». Futiiiani, Giovanni Antonio, painter of the Venetian school (17lh century i, 175. Fungai, Bernardino, painter of the Sienese school (letli century 1, 625. Fnochelti, fireworks at Rome, 581 n. Fuocco del Legno, small volcano of Tus- cany, 312. Furia^ Fr. del, 613 )i. — , librarian of Ihe Laiu-entian, 528, .'08. Furlanelto, abbe Giuseppe, ediior of a new edition of Forcellini's Dictionary, 210 n. Fusaro, the ancient Acheron, river, 472. Fusina. Andrea, Milanese sculptor (tolhcen- tury\ 39; his maiisoliuui of the bishop Daniel Birago, 40; 620. Gabbia, tower of, at Mantua, 299. Gabrielli, Angelo, of Ihe Aldme Academy, 466 n. Gaddi, Bernardo, Florentine painter (14th century), 584. — , Jacopo, painter, 647. — , Taddeo, Florentine painter and architect (14th century), 339, 344, 536, 5o8 ; his frescos at the chapel ol the Spaniards, 361 ; 384. Gaeta, town, 496. Gaetani, Scipione, p;.inter, .544, 3.=i3, 553 Gaelano, St., church at Florence, 302 — at Padua, 203— at Trevisa, 142. Gaggini, S, Genoese sculptor, 674. GagliuFh, Professur Fauslino, naiive of Ra- gusa, l^atin iniprovisatore, 674, 688. Gagna, p :inter (19th ceritury\ 48. Gaius, jurisconsull: his Institutes discovered at Verona, 116. Galateo, of the Neapolitan Academy, 453. Galeoiti, Sebastiano, painter of Ihe Genoese school (17th century , 278. — , one of the conservators of the libraiy of Mathias Corvinu<, .513. Galiana, the fair Helen of Vilerbo, 61 1. Gallani, llie abb^, 441, 44'<, 434, 510. Galen, celebrated physician of anliqiiily, 483. Galileo ; his vertebra in Ihe cabinet of natural history at the nuiversiiy of Padua, 195 ; copy of his Dialogues with his nott-s, 210; his finger at the Laureutian. 332 ; auio- graph manuscript of hi^ Treatise on For- ti/icalion\n the lUccardiana, 333 ; his niau- soleum at Santa Croce, 3-^3 ; his manu- scripts at the Pilti library, 373 ; his house at Florence, 578 ; his telescope and eye-slass, 383; his house at Arcelri, 387; 523; his manuscripts al ihe Barberini, 569, 371. Galizia, Foi, female painter of the Milanese school) 17lh century,', 43. Galliry, avenue of holms so called, leading from Albano lo Cistel-Gandolfo, 85 «., 499— of Bologna, 239; beauty of the figures of women in this gallery, 242— of the Ca- - pitol, 329— of Florence, 320— of >"aples, 445— of Pitii, 373— of ihe Vatican, 549. Gallia, iiouse of, formerly the nuiseum of Paolo Giovio at Cosuio, 85. Galliani, Giuseppe, professer of natural his- tory at Ilcggio, 270. Galllcano, St., h.spiial at Rome, 586. Gallluaria, Me ol, 680. Gallini, Stefano, professor at Ihe Academy of Pjdua, 197 n. G dio, Andrea, Ferrarese printer, 228. — , Tommaso, abbot, his curious mau.soleuni in Ihe church of St. Andrew at Vercel.l, 32. Galzoa casino, of Verona, 119. Gamha, Baitulommeo, of Bassano, biblitj- grapher, :ini.hoT o\ Serei dsi tesli cii lingua iloliana, 1:6, 167, 420ii. Ganibacorta, Pietro, Pisan chief, 641. Gambara, Lattdnzio, of Brescia, painter ol the Venetian (I6lh century), 98, 99, lO'i ; his house embelii.slied by himself, ib. ; 276, 283, 302, 407. — , Cav. Francesco, author of Gesie cle' Hrcsciani. and of historical notices of Breccia, 93. — , Veronica, lier perpetual mourning for iier liiisbaud, 123 n. Gambasi, Giovanni di, a blind man, makes a portrait in earthenware of Pope Ur- baii VIM., 369. Gamhera, Francesco, cardinal, bishop of Vilerbo, 612. Gamberelii, Crescenzio, painter (.17th cen- tury), 623. Gandini, Antonio, of Brescia, painter o! the Venetian school (171h century), 96, 97. Gandiiio, Antonio, his tomb, 438. Gandolli, Gaetano, painter of the Bologne^e school (.ISlh century), 248. Gano, Sienese sculptor .',14lli century),. 631. Gausigno, Bodoa'do di, his petition lo the bishop Grazioso, 55. Garavaslia, Giovite, Pavian engraver, 71 , 374, 579. Gnrharoni, Roman brigand, 497. Garhieri, Lori'nzo, painter of the Bolognesc school (17ih century), 296. Garbo, Ualfaflinn del, painter of the Floren- tine school 16th century,, 546, 579, 330. Garden, charmin;;, at Lausatme, 19. — , Agrario, at Bologna, 239— bolanica', at Bologna, 239— at iNaples, 469— at Padua, 196- at Perugia, 651— at Pisa, 409. Gardens of the Vatican, 521. Gargagnago, near Verona, residence of Dante, 120. Gargallo, marquis, academician of La Crusca, translator of Horace, 568, 441. Garibaldi house, at Chiav.iri, 675. Garigliano, river (ancieut Lu'is) : its suspen- sion bridge, 493. Ganguano, near Milan, 69; its Charter- house, 70. Garisenda, tower at Bologna, 202. 756 INDEX. Garofolo, Benvemito Tisio da, H4,248, 220 221, 222 ; his tomb, 223, 248, 264, 297, 299, 306, 326, 37/4, 446, 447, 319, 3.;9; his As- cension, 363 ; 563, 572, 574. Gasse, MM., arciiitecls, of Naples, 461, 469. Gastaldi, Cardinal Geronimo, legale of Bo- logna: instance of Iiis vanity aud bad taste in architecture, 243. Gatta, Barlolomnieo della, Camaldulite. mi- niatiire-painler, architect, 636. Gatti, Gervasio, painter of the Cremonese school (I6lh century), 310. Gattinara palace, al Vercelli, 52. Gatlola, D. Erasnio, restorer of llie archives of Monte Casino, 492. Gaudenzio, St., church at Novara, 35. Gavasetti, Camillo, painter of the Modenese school (I7lh century), 310, 311. Gavazzi, Giovanni Jacopo, painter, 87. Gaza no, town, 103 n. Gazzari, seel of the 14ili century, 34. Gazzera, the, abbf^, sublibrarian of the uni- versity library at Turin, 698. Gazzeri, chemist, professor at the univer- sity of Pisa, 537, 380, 409. Gazzi, Ludovico, paiiiierof the Roman school (17lh century), 667. Geminian, St., ancient church of Venice, 442, 173, 179, 191 n. Geneva, 2; its merit and distinction, 2 and 3; taste ol the Genevesc for rcadin:?, 6; society, 9 ; contrast on the road to Italy, 10. Genga, Bartolommeo, of Urbin, architect, 429. — , Gcronimn, p linter of the Roman school l16tli ccnlury), 544. Genlis, Mme. de, 438, 473, 680 n. Grnnari, Benedeito, painter of the Bologuese school, Gucrcino's nephew, 234 n. — , Cesarc, painter of the Bologncse school, Guercino's nephew, 87, 234 n. Genoa, 676. Gentilis, Valenlino, condemned to death, and after his recantation to make the amende honorable, 3 n. Genzano, town, 498. George, St., Bank of, at Genoa, 676. — , St., church at Bologna, 247; at Brescia, 99 ; al Genoa, 68j— gate at Mantua, 298— al Palazzo. St., church at Milan, 4.i— in Vc- labro, St , al Rome, .333-St., al Siena, 624 —of the Greeks, St., at Venice, 170— of the Sclavonians, St., contralernilv al Venice, 170— Major, St., Hne church at Venice, 171 —Major, St., cluirdi at Verona, 115— St., hall of, over llie custom-house at Genoa, 676. Georgofili, academy de', at Florence, 380. Gerard, French painter (19lh century), 238, 439, 475. Gerbert, pope under the name of Silvester II., 78 m. Gtrdil, cardinal : his tomb, SCO. Gerini Gerino, painter ot Pistoja 16lh cen- tury), 663, 664. Geronimo, ihi- P., of Brescia, Beacdictinc, architect (16lh century), 207. — Vecchio, painter of the Venetian school (15lli century), 140. Gervase, St., church at Mantua, 297. — and Protase, Sis., church at Venice, 174. GessI, Giovanni Francesco, painter of the Bolognese school (16lh century), surnamed the Second Guido, 248, 251, 252, 256, 262, 4,32, 454, 669. Gesii, church at Cortona, 654 — at Ferrara. 223— at Rome, 333— nnovo, or Trinii^ Maggiore, church at Naples, 458, Gherardesca, palace at Florence, 369. Gherardi, Crlsioforo, painter of the Florentine school (16th century), 649. Gherardini, Alessandro, the elder, painter of the Florentine school (17ih centm-y), 349. Gherardo Appiani, of Pionibino : his curious tomb, 941 . Gherardo dalle Notii, painter of the Roman school (I7lh century), 366, 568, 671. Ghetto of Mantua, 39, 301— of Rome, 567. Ghezzi, Pier Leone, painter of the Roman school (18th century), 603 Ghiberti, Lorenzo, Florentine sculptor f13th century), n21 ; his shrine of St. Zanobi, at the calhedral of Florence, 540; his doors of the Baptistry at Florence, 343 ; 338, 384, 423, 621. Ghisi, Marquis Angcio, governor of Siena, 630. — , Agostino, banker, S.34, 562, 578. — , Prince Don Agostino, 362, 607. — palace, at Larricia, 498. — palace, at Rome, 362. — palace, at Siena, 630. — , Teotloro, painter of the Manluan school (16ih cenlnryl, 294. GlifUini palace, al Ale.vandrla, 693. Gbirland.ijo, Uoiuenico, painter of the Flo- rentine school (15lh century), 520, 327, 339, 344, 357 ; his frescos of Santa Maria Novella, 359 ; his tomb, 360; 362, 368, 371, 384, 407, 443, 307, 653, 636, 640, 663, 668. — , Rodolfn, son of Domenico, Florentine painter, 327, 661,663. Gnisolfi, Giovanni, painter of the Milanese school, 45. Ghiti, Pompeo, of Bresria, painter of the Florentine school (17lh century), 97. Giacomeiti, Paolo, sculptor and founder of Recanatii16lh century), 4|3. Giacomo ui Vilerbo, Lorenzo di, painter of the Roman school (15th century), 612. Giacomone, or Jacomone, painter of the Roman school (16ih century), 114. — da Builrio, surname of Jacopo I.ippi, painter of the Bolognese school (17th cen- tury), 262. Giadr.d, architect of Lorrain, 384. Giaudiallisia, of Verona, sculptor, 113. Giainliullari, historian, the Herodotus of Florence : his tomb, 360. Giandnja, buffoon of Turin, 701 . Gianelli, keeper of the manuscripts in the library of the Studj, 441. Gianfigliazzi, palace at Florence, 578. Gianfillppi, man of letters: his library, 117. Giannolll, Silvestro, of Lucca, sculptor (17lh century), 244. Giaquinio, Corrado, painter of the Roman school (18lh ccnlury), 702. INDEX. 757 Gibbon, Ihehistorian ; his house al Lausanne, 48, 226. Gibbs, James, English architect, imitator of Pallailio, <29. Gigli, Geroninio, publisher of St. Catherine of Siena, 632. Gilardini, Pietro, painter of the Milanese school il7lh century , 53. Gille.«, Pierre, ancient French naturalist in- terred at Home, 332. Ginguene, author of the Uistoire lilteraire d'nalie, \9i n., t03, to3, 472 n., 183, 2H, 247, 219 II., 223 n., 231, 233, 237, 272, 29i ; causes Allicri's manuscripts to be returned, 332; 597 Ji., 429 n., 431, 464 n. Ginori, marquis, his porcelain manufactory, ns, 594. Giobert, professor at the university of Turin, 696. Giocondo, Fra, Dominican, learned anti- quary and architect i,46ih cenlury), 118, 166. Gioffredo: his History of the maritime Jlps, in the Archives of Tuiin. 696 n. Gioja, composer of ballets, 63, 239. — , Flavio, inventor of the mariner's com- pass, 469. Giolfmo, Nicolao, Veronese, painter of Ihe Venetian school (13th cenlury), HI, 412, 114,413. Giordani, Pietro, 230, 236 n., 5M, 357, 568, 569 599. Giordano, Luca, psinler of the Neapolitan schooK17lli century), 87, 437,463, 471, 473, 476, 207, 566, 568, 574, i'(3, 432, 434, 433, 459, 461, 465, 464, 466, 489, 333, 669. Giorgetti, Jacopo, painter ol llie Roman school (17lli cenlury), 647. Giorgi, Francesco, a remarkable instance of dissimulation, 537. — , Malteo, physician, 680. Giorgio, Francesco di, of Siena, sculptor, ar- cliilect (13th century), acquaints ihe cele- brated engineer I'ielro Navarro with the use of the mine, 460; his I'iccolomini Loggia, 650 ; 651 ; his autographs on civil and military architecture, in tlie library of Sieaa, 655; 633. Giorgione, surname of Giorgio Barbarelli, painter of the Venetian school, 60, 88, 158, 459; his Dead Christ, 14.}, 139, 165, 178, 524, 523, 549, 432, 566, 372. Gioruo, confraternity of tiie Cross del, at Volterra, 658. Gioltino, called ToraraasodiStefano, Giotto's grandson, painter and sculptor (^I4ih cen- tury), 443. Giotto di Bondone di Vespignano, painter of tlie Florentine school (44lh century), 103, 461,198,200, 204,211, 262,263, 525, 558, 359 n.; his tomb, 540, 542, 518, 536, 538, 360, 590,417, 420,437, 460; his mosaic of the Navicclla, at St. Peter s, 300; 354, 559, 530, 333, 600, 623; his frescos of St. Francis, at Assist, 646 ; 647, 638, 659, 668. Giovanna, first queen of Naples : htr tomb, 437, 460, 493. — IL, of Naples, her tomb, 462, Giovanelli, count, 130 n. Giovanni, natural son of Petrarch, 52. — del Batlesimo, San, church at 'frcvisa, 142— del Tempio, San, id., ibid. — di Nola, Neapolitan sculptor (I6II1 cen- tury), 440, 431, 432, 435, 433, 438, 439 ; h:s mausoleum of Don Pedro of Toledo, 460 ; 466. — Pisano, scul|itor (13th century), 203, 559, 402, 405; interred at the Campo Saulo, 403, 408, 614, 620, 640, 630, 634, 638, 661, 665, 663, 666. — of Siena, sculptor (14th century), 623. — d'Udina, painter of flowers, 5u7, 508, 318. — , Fra, Olivetan, of Verona, clever inlaid- \V(irker^l6lh century), 443; his portrait, ib.. 619. — , Fra, a monk of the Hermits of Padua, architect and engineer (I5tli century) 204. 211. — , vetturino, of Ancona, ioi. — di Stefano, Siencse scidptor, 619. — , Stefano di, painter of the Sienese school," 651. — , Matteo di, painler (13th cenlury), 625. — Fiorentino, Ser, 177 n.: his account ol the porphyry columns of the baptistry o; Florence, 544 n., 656. — , iMaria, Dominican, geographer and poet. 656. — in Monte, San, church at Bologna, 252. — , of Fiesoie, painter. See Angelico. — , Pietro di, painter of the Sienese schoo', 651. Giovannino, St., church at Florence, 348. — in Paniaiieto, St., church at Siena, 624. Giovaunozzi da Settignano, Italian sculptor, 536. Giovio, Cassandra, great-niece of Paolo Gio- vio ; ber verses on her wedding day, 83 n. — , Paolo, bishop of Nocera, venal "writer, 83 «., his History, Panegyrics, Museum at the Gallia. 83. 201 ; tomb and stalue whicti he ordered forhiniself, 548 ;his inscriptions on the tombs of Lautrec and Pietro Na- vario, 439, 460; 356. — , G;ambattista, author of the Lcttcre La- riane, not the last of his family, 81, 283. Giraldl, Giglio, mylhologist : his epitai h wrillen by liimsell, 220. Gir.ird, M.. engineer, 493. Giraud, count, the Roman Dancourt : how his comic powers were revealed to hini. 224. — palace, at Rome, 582. Girodel ; his probable imitation of Tassoui's verses on Eudymion, 267 ; 571 ; repainted llie head of Giiiiio Romano's St. Stephen, 686. Giudici, Francesco de', man of letters, of .\rezzo, 637. Giugni, Bernardo, gonfalonier of Florence -• his mausoleum, 537. Giulia, Nova, village, 453. Giullo Pippi Romano, painter of the Rom;n school (leih century), 110, 118, 245, 260, 291, 292, 293; his louib and epitaph, 297, 299 i his house at Mantua, 500, 501; his Te C2. 738 INDEX. p tiace, 301, 302, 303, 511, 327,370, 375, 447, 507,508,510, 519,524,528, 557,542, 554, 567, 572, 573, 573, 395, 644, 679 ; his part of the Martyidoin of St. Slephuii, 686. Giulini, count Giorgio, Milanese liistorian, 25 )!., his medallion, 62. Giuncola marsiies, 635. Gianta, of Pisa, painter of liie Florentine school (I3tli ceulury), 623 ; his portrait of St. Franclj, 647. Giusti, palace at Verona, 418. Giiisliani villa, at Genoa, 682. — al Santo, house of, at Padua, 213. — palace (at the Zaltere) at Venice, 16i. — Lolin palace, at Venice, 161. Ginsiizia, oratory ol La, at Perugia, 639. Giiislolo, Pielro Francesco, poet : his verses on tlie liermitjses of Monte Luco, 645. Glaciers, 15. Gladiator, stalue at the museum of the Ca- pitol, 527. Glycon, Athenian sculptor, 445. Gnecclii, Pielro, painter of the Miiauese school i^ieih century), 48. Gnecco, com[>oscr, 94. Gnomon of the cathedral at Florence, 341. Gobbo, s\irname ofCristoforo Solari, sculptor and architect, 39, 40, 42, 74. Goeschen, one of the editors of the commen- taries on the Instiiules of Gains, 116. Goethe: his adventure at Malesina, 104; dis- believes tlie sl..ry about Tasso's prison, 252. Goldoni : his comedy of the Pettegolczzi delle Domic, 6G ; 284 685. — theatre at Florence, 381. Goldsmiths' tr,ide al Florence in the 13th and 16lh centuries, 384. Goiidi, cardinal of lUtz, born in Brie, 572. Gondo, the valley which gives its name to the most considerable of the galleries of the S!mplon,23. Gonfalon, standard venerated at Perugia, 650. Gonnelli, Giovanni, Tuscan sculpior ( 17th century), 358. Gouzaga, Francesco ; marcyais of Mantua : his magnificence, 291. 294. — , Giulia, countess of Foiidi, 497. Gonzagds, sovereigns oi Mantua, 291. Gori, antiquary, 327, 352; his maiiuscripts at the Marucelli, 556; his tomb, 530. — , Gandelliui, friend of AUierl : his epitaph, 624. Gorilz, German, itk nibnr of the Roman aca- demy under Leo X.; his chapel, 532. Gorlago, Village, 90. Guro di Gre?jorio, Si ncse sculptor ( 141h century \ 614, 631, 6G2. Govoni, Giulio, doctor of medicine. 450. Gozzadini, Belisia, docior of laws at tlie uni- versity of Bologna, 237. — palace, at Bologna, 257. Gozzadino, cardinal : his tomb, 334. Gozzi, Gaspardo, poet, critic, and philoso- pher, interred at St. Anthony's, Padua : his tomb, house, 20), 288. — , Marco, landscape painter, 61. Gozzoli, Bcnozzo, painlerofthc FJorentine school ( 13th century ), 368 ; his frescos of the Campo Santo at Pisa, 404; interred in the Campo Sanio, 404; 613. Gradenigo, doge of Venice, killed in a tu- mult, 170. Gradi, convent of Dominicans at Viterbo, 610. Grado, Francesco da, Parmesan sculptor ( 16th century), 276, 278. 281, 284. Graham, Mary, an authoress, 645 ii. Granatello, htlle fort nearPortici, 473. Grand Duke, piazza of the, at Florence, 418. Gran Guardia, palace delta, at Verona, 117. Grand\, dom Guido, Camaldulite, great ma- thematician : his monument, 408 ; his ma- nuscripts in the universily library at Pisa, 409. Grandonio, warrior, of Pisa : his iron mace, 666. Granet, M., French painter, 100, 475, 497. Grange d'Arquien, Cardinal de la, died at the age of 105 : his sarcophagus, 332. Grassi palace, at Bologna, 253. — , the P., Jesuit, 331. Oral, St., chapel ornamented with fine fres- cos, 28. Grata, Santa, church at Bergamo, 88. Grati, Giand)allisia, [lainter of Ihe Bolognese school ( I7lh ceniiiry ), 243. Gravedona, on the lake of Cosrao : i!s palace. 83, 84. Gravina palace, at Xaples, 442. Graziani, painter of the Roman school (17ih century ;, 346. — , Ercole, the younger, painter of the Bolo- gnese scliool (17th century), 243. — villa, near Terni, 643. Grazie (alle), bridge at Florence, 384. — ( delle ), church at Padua, 208. Grechelto, surname of tiiovanni Benedetto Castigliiine, painter of the Genoese school ( 17th century ), 679, 683, 686. Greco, near Monza, 72. — coffee hou'e, at Itomc, 562. Gre^oi io Arnieno, San, monastery at Naples. 466. — of Spoleto, Ariosto's master : died in exile, Arioslo's Latin and Italian verses to him, 228, 251. Gregory, St., church at Bologna, 247 — (sul monte Cello), at Rome, 536— Tievisa, 142. — Nazianzius, St , his tomb at .Mantna, 296; his body at SI. Peter's, at Rome, 504. — lb; Greaf, St., did not destroy the ancient monuments, 356; iiis pu'pil, 335. — vii. : his death and buna! at Salerno, 485; 564, 658. — X : his tomb, C39. — X!II.; inscription in vvhicli he accords absolution to all who visit St. (ieorge's church at Venice, 172; lus tomb, 304; his chapel in St. Peter's at Rome, ii^/.; 306, 310, 541, 577, 593, 603. Greuier, general ; founder of a military col- lege at M.mtua, 296. Gretry : well advised by the P. Martini. 258 n. Grillo, Angelo, poet, 686. — Cataueo palace, at Genoa, 680. INDEX. 739 Grimaldi, the P., Tlieatine monk and archi- tect (17th century ), 451. — palace, at Genoa, 680. — Durazzo, Signora Clelia : Iier botanical acquirements, 688. — villa, at Pegli, 688. Grimaiia, piazza, at Perugia, 651 . Grlmani, Geronimo, Venelian senator : his torn I), 171. — palace ( SI. Luke ;), Venice, 262. — palace ' Sania Maria Formosa), at Venice, 165. Grisi, signora, 581. Grismondi Suardi, of Bergamo, poetess, 16 n. Grilti, maestro Andrea : Ins remark on French courage and eulogy of Bayard, 95. Grosley, 109 n. Grosseio, town, 635. Grossi, poet, lOI »i. — , Giovanni Francesco, of Pescia, musician, 667. Grosso Caparra, Nicolao, clever Florcniinc smith, 372. Grotius : his manuscript notes on a Plutarch, 551 . Groto, Lndovico, blind dramatic anllior; performed the characlcr ot ffidipus al tlie Olym|)ic (heatre of Vicenza, 128. Grotta Fcrrata, abbey of, 60/*. — del Cane, 471. Grolto, Azure, at the isle of Capri, 486— of Neptune, at Tivoli, 599— of Pythagoras, at Cortona, 651- of the Sybil,' 472— of the Syrens, at Tivoli, 599. Grottos of the Vatican, 505. Gruamonte, sculptor (12th century ), 666. Gruel, Jacques, Calvin's adversary, bi;headed, an. Guacci, Signora Maria Ginseppa, di?lingulsh- ed poetess, of i\ai)!es, 441, 471 v. Guad igni, villa, near Florence, 588. Gualbert, S. Giovanni, of the abbey of Val- lumbrosa, 595. Gualla, Jacopo, historian of the 15tli century, 78. Gnaltieri of Padua, painter of the Venetian school (16lh cenlury), 196, 214. Guarana, pninlerof the Venelian school, 141. GnarientD of I'adn.f, painter of Ihe \'en(li;;n school (14lh cenlury), 204. Guirini; autograph manuscript of his Pastor firio in the library of St. Mark, 156; his likeness presented under the figure of St. Gnirini, 222; anolhei' manuscript of his Pastor I'ldo, 226, 228 ; his house at Fcrrara, 23i. — , Alessandro; hisincompreheniible enigma, 223. — , Raymondo, archcologist, 441. — , the P., architect (17lh century), 695, 702. Guarino, of Verona, 330. Guarnacci house, at Volterra, 638. — , Monsignor Marl", founder of the museum library of Volterra, 638, 639. Guastalla, voluminous history of, 289. Guasta-Verza palace, at Verona, 117. Guazzaliotri, a Gnelph family of Prato, 601. Gucflier, litienne, ancient secretary of the French embassy at Rome, erects the stairs of the Trinila de" Monti, 348. Guelplis and Ghibelines : their wars, mater- n.il lieroisni of a Guelph, 644. Guerci, Luca, painter of Pistoja(18th cen- tury), 601 Guercino, surname of Gianfiancesco Bar- bieii, painter of theBolognese school (,17lh century): his Agar disnnssed by Abraham, 60; his Annunciation at the Great Hospital of Milan, 68 ; bis Visitation, 73 ; his Virgin, 7c>; his Martyrdom of tlie saints Gusmeus and Mallhew, 84; his St. John, 87 ; 414, 218, 221, 223; his house and paintings at Cento, bis native place, 254; 241, 244, 247.248. 249, 231, 252; bis house at Bo- logna, 236 ; register of bis orders, 256 ; 237, 264, 269, 274, 294, 509, 310, 326, 418, 419, 423, 424, 429, 450, 431 , 432, 439, 458, 504, 520; his St. Pttronilla, 329 ; 342, 543. 546, 532, 558, 363, 563 ; bis Aurora al the Ludo- visi villa, .568; 573, 578, 580, 581, 603, 622, 629, 670, 679, 681, 685, 702, 703. Gut'rin, painter of the French sctiool ( 19th century) ; iiis tomb, 532. Giienieri, marquis, of Manlua, 299. Guglielmo, Neapolitan moidi, sculi)tor and f(juniler (I3lb century), 440. — of Bergamo, architect and sculptor (16th century), 213. — , Fra, of Pisa, Domeniean, architect and sculptor (13lh cenlury), 408. Guicciaidini, Agnolo, one of the deputies apooiuted to examine the Decameron, 336 *(. — , Francesco, historian, 366, 378; bis bouse al xMontici, 387 ; 422, 400. Guicbard, bishop of Sion ; killed by order of bis nephew, the h.irou of Thurn, 21. Guides, mountain, 13. Guidello, sculptor ( 15lh cenliTy ), 667, 669. Gnidi, Alessandro, Isric popt, 304; his tomb, 5,59 ; his bibliographic death, ihid. — , Guido, clever Floren!ine physician, 529. Gindiecioni, palace, at Lucca, 672. — , Giovanni, Lnccbese poet : bis tomb, 669. Guido Rcni, painter of the Bolognese school (17ih cr-nturyl, 60, 64, 164,165, 205,25.3, 241, 245, 243, 247, 24S; bis Itcceplion of St. Dominick's Soul, 249: his tomb, 250; 231, 252, 253, 257, 260, 263, 261, 299, 415, 416, 419,425, 430,431, 459, 431, 4.')4, 462, 520, 529, 531, 336, 341, .346, 547, 531, 553, 560, 365, 566: Ids Aurora at the Rospigliosi pal.lC(",.367; 568, 369.580, 603. 6-2«, 625, 637, 631, 6';3, 669, 670, 679, 681, 685, 686. — , archbishop of Genoa, Petrarch's boyitli friind, 673. — da Conio, sculptor (13tli century), 663. — di Ghezzo, painter of tlie Sienese school (I3:h centuiyi:bis Madonna, the oldest Italian painting, 626. Giiiilobonn, Domenico, p.iinler of the Genoese school 171h century), 702. Giiidoccio, painter of the Sienese school :t3th cenlury), 631. Guidoni, father and son, painters, 362. Guidotti palace at Bologna, 235. 740 INDEX. Guillaume de Marseille, French painler and Dominican (16th ceiituiy\ 658. — , French glass-slainer (15th ceiilury\ 350. Guillelmiiia, female heretic; loumhid an apostleship of womrn, 72. Giiiscard, Roherl, Norman chief, 483, 484. Guisoni, or Gliisoni, Ferino, painter of the Mantuan school (16th century), 294, 296. Guiltone, of Arczzo, Fra, inventor of the solfege, 656. — of Arezzo, poet of the 13th century : sung rather coldly by Petrarch, 656. Guiz/.ardi, Giuseppe, Bolognese painter, 252. Gurrello Origlia, grand protouotary of Na- ples, 439. H. Hackert, Filippo, landscape painler to the king of Naples, 475. Hahn, Nicholas, German, 265. Haller, baililf of Aigle, 16. Hammer, M. de, visits the baptistry of Parma, inferences which he drew from ils emblems in support of his system of tlie worsliip of fire, 277 ; also from the zodiac of the cathedral of Cremona, 503. Ilancarville, d', French scholar; true epoch of his birth and death, 199 ; 204. Hangings of the churches in Italy on holi- days, oO. Harleijuin, his Elrnscan genealogy, 89. Hawkwood, Sir John, hngWiU^condotliprc, his tomb at the cathedral of Florence, 541 . Hayez, s. Francesco, of Venice, painter, 6t, 400. Helena, St., church at Verona, 111. — the grand duchess : her journey to Ostia, 564. Udloise, Nonvelle, i!s topography, 16. Henin, F., author ol the Journal du siege de Pescldera, 102 n. Henry H- : his Prayer Book at the library of Parma, 272. — HI. : his portrait by Tintnrelto, 150. — IV. : his letter to the Genevese on the Escalade, 3 ; his armour, except the sword, at Ihe arsenal of Venice, 187; 514; his des- cendants lir-t canons ol St. Juha in Late- rano, 538. — VH., emperor: prai^ed by Danle, 113; his lomi), 406; 617, 660. — VHI., king of England : his autograph sig- nature upon a copy of his hook against Luther, dedicated lo Leo X., 514; his let- ters to Anne Boleyn, 563. Hercolani palace, at Bologna, 256. Hercnianeum, 477. Hercules, temple of, at Pompeii, 481. — , Farnese, at Ihe museum of Naples, 443. Hermann, the P. Joseph, Flemish Jesuit, org ui-biiilder, 663. Ucrniilage, house in ruins near Geneva, 12; inscription on its walls, ib. Hermits of Vesuvius, 513. — , church of the, at P.idua, 204. Hess, M., author of a life of Zuinslius, 9. Heriaud, French architect; his restoration of the chateau of Fontainebicau, 46. Heyne, man of letters, 328. Hilarion, St., church at Parma, 280. Hilary, St., pope, 514. Hildebirt, bishop of Tours, in the 12th cen- tury : his verses on (he antique statue dis- covered at Rome, 515. Hinzelmann, house of, at Venice, has Ca- nova's Hebe, 164. Hoeschel, David ; books witli notes in his handwriting at the Barberini, 569. Holer, Andrew, chief of the Tyrolian insur- rection; his embarkation at Liinone, 104. Holbein, Swiss painter (16lh century), 88, 524, 445, 678, 680. Holstenius, Luca, prefect of Ihe Vatican, 552 ; his tomb, 554 ; books at the Barberini with notes in his liand writing, 569. Holweg, one of the pulilishers of the com- mentaries on the rnsdtutes of Gi'ms, 116. Holy Ghost, ancient convent of the, at Ber- gamo, converted into a house of industry, 88— church of Ihe, at Florence, 563— church of the, at Parma, 280— at Pisloja, 663— at Ravenna, 417— hospital of the, at Rome, 585— church of the, at Turin, 703. Holy Sacrament, church at Pesaro, 429— at Pistoja, 663. Horace, 50, 74, 83, 101 «., 106, 123, 588, 598 ; his villa at Tibur, 599, 601. Horatius Codes, 592. Horsmayr, historian of the Tyrol, 130 n. llornung, Genevese painter, 6. Horses, the, of Venice, 148. Hospital, Great, of Milan, one of the finest edifices of its hind, 68. — of Ihe Poor, at Vicenza, 129. Hospitals of Rome, 584. {louse of Acteon, at Pompeii 479— Dioniedes, 478— Pansa, 479— the dramatic poet, idem —Industry at Florence, 385. Houses bought by parts in Italy, 231. — , gambling, of Venice, kept by the patri- cians, 160. Howard, his Appendix to the State of Pri- sons ill Euglarid, etc.; praises the salu- briiy of the Venetian prisons, 137, 582. Hiiber, Genevese painter, 6. Huglord, Igna;ius, painter of the Florentine school ilSth century), 566. — , P. Henry, monk, artist, 580, 594. Hugo, M. Victor, 524 n. Humbert, the abbo', 602. Humboldt, 515. Hypogeum, Etruscan, at Votterra, 640. I. Ideal of Ihe imitalive arts, 128. Ignatius, SI , church at Rome, 531— at Vi- terbi), 611. Iliac table, at the Capitol, 526. Imitation of Jesus Christ, celebrated manu- script at the Turin library, 697. Imola, town, 414. Imparato, Geroiiimo, painter of ihe Neapo- litan school (17lh cenlury), 459. Imperia, celebrated Roman courtesan, 536; virtuous death of iier daughter, ibid. INDEX. 741 Imperiale, Michele : bequeathed money to have masses said for llie soul of Judas, 682. — palace, at Genoa, 08-2. — villa, near Genoa, 687. — , villa of the ancient dukes ofUrbino, near Pesaro, 4-29. Iinprovisatori, 315. Incaffi, near Verona, Fracastor's house, 120. Incoronata, church at Naples, 460. Index, bo(»ks prohibited in, 551. India, Bernardino, of Verona, painter of the Venelian sc.'iool ( t6ih century ), H5. Ingegno, surname of Andrea of Assisi, painter of the Roman school (16th century), 6i7, 650. Inghirami, P. Giovanni, great modern astro- nomer, merit of his geometrical niaj) of Tuscany, 358. — , S., antiquary, designer, engiaver, and lithograplier, director of the Poligrafia ficsolana, 388. Ingres, M., Fiench painter, 548. Innocent ill., third antipope, 483. — X., representpd by Guido under the sem- blance of Lucifer, 547 ; 574. Innocented'lmola, painter of the Bolognese school lOlh century), 239, 246. 247, 232, 415. Inns in Italy : their registers, 29. Innominali, Academy of Ihe, at Siena, 622. Inscription, lapidarian, in Italian, 311. Institute of Fine Arts of Siena, 631. Instituto del Miracolo, at Naples, 469. Interment at Rome, 5.i7. Internari, Signora, singer, 66. Intronati, Academy of Ihe, at Siena, 652. Invasions of the Barbarisms, 31. Iiiviolala, church near Riva, 105. Isaac, Armenian; his tomb, 416. Isabey, M., 692 n. Isehia, isle of, 474. — , Canova made marcpiisof, 134. Isea, lake of, 90. I, St., church at Rome, .537 ; its cloister and gale, 540— of llie F44)rentines', church at Rome, 560— Baptist, St , baptislry of Siena, 621 — St , cailicdral at Turin, 70t— the Almoner, church at Venice, 178, 191— Ciuysostom, St., idem, 178- in Bragora, St , idem, 171 —and Paul, St , 182, 183- in Fonte, St., church at Verona, 111— St., church at Voiterra, 6S7— of God, St., small hospital at Florence, 582. Jomelli, composer, 258 n. Jones, Inigo, English architect, imitator of Palladio, 129 m. Jorio, canon, of Naples, 441. Joseph, St., oratory of Bassano, 133— church of Bolosna, 244— Brescia, 99— Florence, 337 — Milan, 49— Padna, 209— Rome, 334— oratory at Siena, 622— church at Venice, 171, — , Greek patriirch, died al Florence alter the Council ; his tomb, 560. Jonbert, French general, death of, 692. Journal, Arcadian, of Rome, 562 n. Journals, Italian, 430, 448. Jovi, mountain, 692. Juguriha, place of his death, 534. Juhan, St., baths of, at Pisa, 411— monastery of, near Spoleto, 643— church at Venice, 179— at Vercelli, 33. Juliet, her pretended sarcophagus at Ve- rona, 106. Julius II., orders a sword to be ad(]ed to his statue, by Michael Angelo, 243; 253; his portrait by Raphael, 526 ; consecrates a cannon ball at Loretto, 4'4; 506, 309, 310, 516, 321, 530; his tomb, 342 ; 606, 637, 642; his palace at Savoua, 689. — Ill, 593 •• his viliaor casino, 593; 600, 608 ; liis statues, 630. Junte, Tomraaso, printer of Florence, 167. J ussy, 4 n. Justnic, St., church at Padua, 207 ; the old library, 208. Justus, St., oratory al Siena, 623. Jiiturna, foinitain at Rome, 591. Juvara, Filippo, architect ISih century), 693, 702, 703 ; his Superga temple, 702. Juvenal, 431, 502, 562, 391. K. Kara Mustapha, the grand-visir : his defeat before Vienna; his Goran at the library of Parma, 271. Kauffman, Angelica, painter, 87, 324, ,528; her tomb, 3'«8. Kaunitz, baron of, interred in the temple of St. Peter, at Geneva, 4, Keller, utility of his map of Switzerland, 12, Kellermann,'French general, 683, Kircher, theP,, his museum at Rome, .532. Koller, Austrian general, his funeral at Na- ples, 439. Labinius, ancient livcr of Italy, 26'i. Lablache, singer, 65, 449, 683. Labu«, Doctor, editor of Ihe complete works of Emiius Quirinus Visconti, 39; hisdisser- t.ition on the anti(|ue monuments disco- vered at Brescia, 91; his inscription on the tombof Deani, 101 ; 292. Lacretelle, M. Ch., 497 n. Lactantms, Epitome of, at the library of the Turin university, 700. Ladislas, king of Naples, coniiueror of Italy : his toinl), 462 ; 606. La Fontaine, 399 n., 410. Lago, mountain del, near Perugia, 633. Lago Maggiore, 24 ; fete given to the king of Sardinia, 25. Lagomarsini, the P, Latin scholar : his writings on Cicero, 532. Lakes of Agnano, 471— Avernus, 472— Bol- scna, 616— Cosmo, 81— Fucino and ils Emissario, 494— Geneva, 2, 3, 20— Garda, 101 — isea, 90— Licola, 473— Loppio, 104— Lucrine, 472— Nenii, 498— Perugia, 632— Pie di Liico, 643 Lalande; his erroneous opinion of a manu- script at Ihe Duomo of Vercelli, 52 ; on llie steeple of Chiaravallo, 71 ; 247 ; on Ihe cathedral cf .Modena, 267; 308, 341 ; his error respecting two basso-relievos on Ihe bronze door of the Duomo at Pisa, 401, 493, 624. — , Mine, singer, 449, Laialta college, at Parma, 283, Lalonge, Robert, of Antwerp, painter. See Fiaiiimingo. Lama, Giovanni Bernardo, painter of the Neapolitan school, 460. — , De : his f'ltu del car. Giambatli^ta Bo- doni ; anecdote of Napoleon, 284, Lamarque, French general, tat;es Capri, 486, Lamartine, M. de, 229, 231. Lainberii, Francesco Maria, Capuchin, mis- sionary, and man of letters, 680. Lambertini palace, at Bologna, 257. Laniberto Lombardo, of Liege, established at Venice, painier of the ^ enetian school (I6lh century), 211. Laihbruschini, S. Rafaello, economist, 339. Lamennais, abbe de, 614. Lami, doctor ; his Delizie degli crudili Tos- caiii. 317 n.; his inedited works at the Riccardiana, 533; his tomb, 336; his house, 588, Lana, Ludovico, painier of the .Moder.ese school (1 7Lhcenlur5}, 264. Laiicelolti, palace al Rome, 573. — , ancient palace at Villetri, 498, Lanci, S., professor at the Sapienza, 583, Lanci.si, celebrated physician, 585. Laiidi, Cav. Gaspardu, of Placentia, painter, 100, 509, 310, 365. Landino, Cristoloro, commentator on Dante; phenomenon of hts dead body, 536 n. ; 335, 573. INDEX. 743 Landino, Taddeo, Florentine sculptor (ISlli century}, 383. Lando di I'ktro, military archilectof Siena, 628. liJinfranclii, S., professor at the university of Pavia, 76. Lanfranco Giovanni, iiainleroniie Parmesan school (17tli c nlnry\ 277, -iSj. 438. 461, 465, 534 ; his tomb, 337 ; 360, 647, 604. Lanfrarir, Jaco;io, Vi nttian scul|)tor and architect lUth cenluryl, 249, 230. Lanfrctlucci palace, at Pisa, 410. Lanini), Bernardino, paint- r of ihe Milanese school (,16tli cenlurv\ 52, 53, 42, 43, 47, 74. Lanle, cardinal, sin-named Ccirino, 338. ' — villa, at Bagnaja. C42. — villa, at H(jme, 579. Lantern, the, lighthouse at Genoa, 682. Lanzani, Andrea, painter ot the Milanese school (t7lh century), 42, 47, 49 Lanzi, the aulhor's prnicipal anilrority on painting, 40, 198, 499, 244,292 ?i., 5t1 ; his tomh, 333 ; 3!il, 362, 5(i6, 642, 644, 624, 623, 628, 633, 647, 630, G35, COS, 663, 679, 705. — , Loggia de', at Florence, 349. Laocoon, groupattheniuseuniuf the Vatican, 546, 554. Lapi, >icolao, painter of the Florentine school {I7lh century', 545. Lapo, Ariiolto di, architect, creator of the Florentine school (13th century, 338 ; his statue, 359; 383, 384, 614, 653. — , Jacopodi, or il Teuesco, Arnolfo's father, architect, 646. Largilliere, ISicolas, painter of Ihe Frcncli schooU47th century 1, 323, 680. Largo del Castello, piazza at >"aple?, 439. Larricia, 498. Larup, the P., his interpretation of the lique- factaque volvere snxa, 290. Lasca, or Grazziui, burlesque poet, 344, 561. Lascaris, scholar of the revival, 57, 388. Lalini, Brunetto, Dante's master, 108, 36.', 419; his Tie'cor composed in Fiench, 333; 543 n. — , Latino, critic and scholar of Viierbo : Looics with his uoles at the chapter library, 614. Latte, village, 691. Laudivio, tragic poet; the manuscript of his De C(i\>liviUilc duds Jacuiji not printed, '266. Laura, the fair : question of her celibacy, 216; one of her mo'^t authentic portraits in ihe Laureniian, 532 — error respecting her portrait under the semblance of plea- sure, 361, 629. Lauraii, surname of Pietr()Lorenzetli,p,iinler of the Sienese scliool t14th century, 404. Laurence, St., antique columns ofthe church of, 43— church at Cremona, 306— at Flo- rence, 3'<3— Charterhouse at Florence, 596 —cathedral at Genoa, 684— church at Na- ples,435— cathedral al Perugia, 649— church at Pistoj.i, 604- in Cesarca, ancient cliurch near Ravenna, 42l|— St., basilic at Koine, 540.— in Damaso, church at Rome, 3G0— in Lucina, if/em, 531 —St., cathedral at Tivoli, 599— cliurch at Veiuce, 170— cathedral at Viterbo, 611— Laurence, St., national fete at Florence, 315. Lauretli, Tommaso, Sicilian, painter of Ihe Roman schooM6lh century, 236,510,528. Laiirislon, marshal. Law's grand nephew; when commau'ling at Venice, has his uncle's tomb removed, 179. I>aiisannp, description of, 18 ; society and environs, 19. Laulrec; tomb of the last ot the race, 99; tomb creeled to Laulrec by the duke of Sessa, at Naples, 439; mount of Lautrcc, its grotto, 470. Lanziin, 703. Livino, torrent near the island of the Trium- virs, 264 n. Law, his tomb at Venice, 179. Lawrence, English painter, 520. Laraza, marquis Giovanni di, of Padua, friend of letters and the arts, 199 ; his house, 214. Lazaretto of Leghorn, 413. Lazaro, St., islet near Venice; its convent, 191. Lazzari, professor of law : his tomh, 663. Lazzarini da Murro, Domenico, learned scholar of the last century, 205. — , the canim Andrea, painter ofthe Roman schooUISih century), poet and writer, 431. — , Gregurio, painter of the Venetian school l17th century), 135, 171, 182. Lazzaioni, greatly changed, 438. Lelilanc, M., view of Florence from his casino, 376. Lebas, M., French architect, editor of Vi- .gniiia's works, 609 n. Lcbrwn, sculptor (18th century), 331. — , French painter, 162,253. Lecchi, Milanese, his medallion, 62. — , count, of Brescia ; his gallery, 100. — , island in lake Garda, 103; its school of theology, ibid. Lecco, on the lake of Cosmo, its Greek origin, 82. Lecler, professor J. V., 53 n., 532. Lefebvre, French engineer, 675. Lefevre, Valentino, painter (17th century), Legane/, marquis de, Spanish general, for- bids his bombardiers to fire on the church of St. Christopher at Vercelli, lest the frescos of Ferrari should be injured, 35. Leggina, village, 680. Leghorn, 412, 683. Lcgnago, Antonio da, scholar, correspondent of Petrarch, his tomb, 112. Legnani, Stefano, called alsoLegnanino, pain- ter of the .Milanese school (17lh century), 3.3, 45, 49. Legro", Pif rre, French sculptor (17th cen- tury), .531, 353, 543. Leiio, Andrea, called Andrea of Ancona, painterof the Roman school ( 18, h century), 431. Lemoine, M., Frencli sculptor, 531. Lenglet-Uufresnov, his ludicrous blunder atioutCataio, 215. Lcnno, on the lake of Cosmo, its Greek ori- 744 INDEX. gin, 82; perhaps the Trugcedia o{ Pliay, 85 n. Lenotre, French architect, 567, 59i. Lenzoni-Medici, Signora Carlotta, of Flo- rence, o69 ; repaired Boccaccio's house at Certuldo, 399. L('o, Sail, chateau near Rimini, where Ca- ghostro was imprisoned and bnriud, 4-26. Leo, St., pope, 556; the only llomau con- queror at Osli.i, 606. — X. : error rospecling his excommunicating Luther, 2-27; 328, 37< it., 392; orders his Turkish liorse to Ijc talien care of till its deatli, 522 n. ; his portrait by Raiihael, «7,- 509, 5H, 512, 5U, 516,519, 537, 54i8;his torn!), 550; 578, 582, 605, 606, 616, 637, 660, 661, 678, 686. — XL: liisdealli, tomb, 505. — XH., 505; purchases Gicognara's library of works on art, and gives it to the Va- tican, 514; 541; his organization of the Sapienza, 585 ; 585, 595. Leonard, St., church at Bologna, 246— at Trevisa, I'H. Lconardi, Giovanni, of Dieeimo, founder of the congregation of the aiolher of God, 669. Leonardo, of Milan, sculptor and engraver {16lh century), 559. — of Pisloja, painter of the Fioreniine school (16lh century), 637. — di Ser Giovanni, Florenl ne goldsmilh (14lli century), 662. Leonp, Pier, petty despot of Rome : his tomb, 556. Leoni, Pompeo, 55. — palace, now the Sedazzi, at Bologna, 255. — , Pietro, physician and astrologer, dies in (he manner lumself liad predicted, 395 n. Leopoldo, count .lacopo, one of the good Contemporary Italian poets. 354. — , All ssandro, Venetian sculptor ; his bronze pili of the piazza of St. Mark, 146, 182; his pedestal to the statue of Colleoni, 18S. Lercari-Imperiale, ancient palace at Genoa, 680. Lesueur, French painter ( 17ih century"), his Resurrection of Ihe Doctor inferior to Crespi's frescos, 70. Leucio, St., great silk factory near Caserta, its origin, 488. Lewi,'!, St., church at Parma, 282— of Ihe French, churcii at Rome, 531— liospital at Turin, 703. — II., em|ieror, his tomb, 46. — the Moor, duke of Milan, patron of the arts, 54. Lezze, Giovanni, Prianm, and Andrea, their tomb, 184. Liberal, St., church of Castelfranco, 138. Lii)cri, Pietro, of Padua, painter of the Ve- netian gchool (17ih eenlury ), 87, 128, 153, 171, 173, 175, 179, 182, 184, 198, 200,202, 207, 208, 211. Liberties of the Venetian church, approach nearer Ihe Greek sciiism than to the spirit of reform, 169. Liberty of modern republics, without elo- ([uence, 151 ; anarchic liberty of the middle ages, 299. — ol conscience in Lombardy, 59. Libraries : Agnesiana, at Vercelli, 53— Am- iirosiau, at Milan, .52— Angelica, at Rome, 332 — of Arezzo, 657 — Barbcrini, at Rome, 569— of Bergamo, 88— Berio, at Genoa, 683 — Bertoliana, at Vicenza, 127— Brancac- eiana, at Naples, 448— Brcra, at .Milan, 50— of Brescia, 93— Chiavari, 674 — Cosmo, 81— Corsiui, at Rome, 578— Corlona, 654— Ferrara, 224— Geneva, 6— Glugi, at Rome, 563— Imola, 414— St. John Carbonara, 463 — Laurentian, at Florence, 19.5, 327— of Lucca, 671 — Magliabecchiana, at Florence, 536, 430— of the Minerva, called Casana- tense, at Rome, 550 — Magnani, at Bologna. 250— Malatestiana, 423— Maldotii, at Gus- talla, 289— at Mantua, 293— Marucelli, at Florence, 533— of Motli-na, ancient library of the house of Este, 264— of P.irma, 271 ; merit of its successive librarians, 279— of Perugia, 632— of Pesaro, 429— Ravenna, 418— lieggio, 270— Riccardi, at Florence, 335, 335 — (if Rimini, 425— Siena, 652— Ver- celli, 35— Verona, 116— Vicenza, 127 — Vol- terra, 659--of Ihe Pbili|)pines, at Pist'ja, 664— of llie archiepisciip.d palace at Ra- venna, 419— (ehaptc! ) at Verona, 116— Vi- terbo, 611— Perugia, 649— college Forte- guerri ol Pistoja, 666— of the Roman college, 531— of the convent of the Holy Cross of Jerusalem, at Rome, 125'H., 540— of llie convent of St. Philip of Neri, at Naples, 448 — of the convent ol St. Philip of Neri, at Rome, 555— of the minister of the interior at Naples, 448— of the monastery of La Tri- nila, at La Cava, 482— of Monte Casino, 490— of the ducal palace at Lucca, 671— of the Pitti palace, at Florence, 374— of Pla- ccntia, 509— royal, at Naples, 447— of the seminary at Novara, 35— Padua, 209 — of the Salute at Venice, 175— St. Mark's,'at Ve- nice, 153— Trivulzii), at Milan, 55 n. — of the universities u! — Bologna, 238— Genoa, 685— Naples, 448— Padua, 196— Pavia, 77— Pisa, 409— Tuiin, 696— ot the city of Na- ples, 448— of the Vatican, 511. — , lldliaii, publication at Milan, 562 n. Libn, Geronimo da', of Verona, thus siir- named for his ahiiily as a miniaiure painter in music and (irayer-books { 16lh century), 113. — , M., mathematician, formerly of Ihe unn vcrsity of Pisa, 357. Lict.eris, S., luider-libriirian of Naples; his catalogue of the editions of the 15th ceit- ( u ry, 4 47. Lido, ihe, near Venice, 191. Ligorio, Pirro, painter, antiquary, archilect (16tli eenlury), 505; his i'i//« ria, 521; 550, 573, 600; his manuscripts in the ai- cliives of Turin, 696 n. Ligozzi, Jacopo, paiider of the Fiorenriae school (16lh century), 516, 323, 339, 362, 406, 408,414,668, 670. Limone, on the lake ol Garda, 104. Lily, in the arms of Florence, at first white, INDEX. 745 in consequence of revolutions became red, a change (le|>lor'~il by Dante, 339. Linari, the F.Saiili, professor at the Tolomei college and at tlie university of Siena, 622. Ltncei, academy of the new, at Romp, 5-25. Lino, Pierrolini), or Pielro dl, painter of tlie Siencse school (1211) ciMitury), 631. Liuterno, near Milan, ."SG ?j.; inliabitcd by Pe- trarch, 69; 286. Linus, St , convent of Volterra, 637. Lion of S!. Mark, U8. Linni, Lione, of Arczzo, scul[>tor (16th cen- tury \ 59. Lions ot Athens, at the arsenal of Venice, 187. — of the Capitol, at Rome, 523. Liolard, Gftirvese painter, 6. Lippi, Anniliale, architect, 371. — , Lorenzo, painter of llie Florentine school ( 17th Cfulury), and poet ; his .Uulmantite quoted, 212 )i.; his tomb, 360 ; 408. tippi, Filippo, the elder, painier of the Flo- rentine school (13th century), 364, 408; his tomb, 644; 660, 661, 666. — , Filippo, the younger, painter of the Flo- rentine school (13th century\ 336, 539, 36'(, 3.30, 669. — ;, learned printer of Colle, 633. Lipsius, Justus, his poi trail by Rubens, 374; his pen at Loretio, 434. Liris, ancient river of Italy, 494, 493. Literati in Italy, 339; get but litUe money, ibid. Literature, more popular before the inven- tion of printing than since, R8, 111, 126. Lilta, count Ponipeo; his work on the Fami- glic cclebrl italianr, ,39. — palace at Milan, 37; its library, 37. Liulprand, king of ihe Lombarils, erects the tomb of Boetins, 78 ; his mausoleum, ibid. Lizza, promenade at Siena, 630. Lizznro, surname of Giiido Minio, of Padua, ^founder (16lh century), 198. Locatelli, S., first essay of his astro-lamp at La Fenice, 188. Loggia de' Banchi, at Genoa. 677. — , Raphael's, at the Vatican, 307. Lolrno, Giovanni Paolo, of Bergamo, painter of the Venetian school i16th centuiy'), 87. Loraazzo, Giovanni Paolo, Milanese, 40, 41; his Trealisc on Painling, 40 n. ; 49, 88. Lombard!, father and son. able sculptors of the 13th centurv, 140, 141, 142. 143, 176, 185. Lombardo, Pictro, Venetian sculptor and architect (IStli Ciutury^ 143, 147, 161, 163, 174, 180, 181,182. Lombardo, Alfonso, of Ferrara, sculptor (16th century\ 223, 242, 244, 248, 249, 2.31; his basso-relievos of the funeral of the Vir- gin. 253. 234. — , .Antonio. Venetian sculptor (13lh cen- tury), 147,200. — ', Cristoforo, called Tofano and Lombar- iliiio, Milanese architect and sculptor (161h century, 39, 243. — , Geronimo, of Ferrara, sculptor (16th century), 148, 433 ; his sons, ibid. — , Lamberto. painter of Liege(16th century;, did several landscapes in the paintings of Titian and Tintoretto, 211. Lombardo, Tommaso, Venetian sculptor (I6II1 century). 173. — , Tullius, Venetian sculptor (13lh century), 163, 171,178, 184, 198, 200. Lombardy, description of, 20; route briilges, roads. 35; expense of keeping the roads in repair, 36 )!. Loniellini villa, at Pegii, 688. Lomi, Aurelio, painter of the Genoese school (17ih century). 331, 407. Londonio, painter of the Milanese school (18th century \ 61. Longhena, architect '171h century), 172; his tasteless mausoleum of Valiero, 182. — , S. F., Italian translator of M. (JualremSre de Quincy's Histoire de la vie. et da on- vrriges de Raphael, 118 n., 199. Longhi, Luca, of Ravenna, painter of the Bolognese school i16th century), 225, 417, 418. 419. — , FrancB'^co, Luca's son, painter, 418. — , Barbara, painter, Lnci's daughter, 418. — , engraver, [loet, and writer, 41 ; his gallery, 62; his engravnig of the Last judgment begun, ibid. Lorenzetli, Ambrosio, painter of Ihe Siencse school 1 14th cenlury\ 628. — , Saiio di Pielro, pahiter (13th century", 627, 630. Lorenzetto, Florentine sculptor (16ih cen- tury); his Jonah of Ihe church of Santa Maria del Popolo, at Rome, 330, 549, 662. Lorenzi, Bartolorameo, poet and improvi- satore of Veron.i, his cenotaph. 111, 120. — , Battista, Tuscan sculptor (16lh century), 33.3. Lorenzini, Francesco, Arcadian poet, 579. — , Lorenzo, mathematician, imprisoned ; his tomb, 563; 638. Lorenzo, Don, Camakhilile, author of the miniatures of a Missal in ihe Laurenlian, 355. — , Nuovo, San, village founded by Pius VI., 616. Loretto, 433. Lorrain surname, of Claudio Gelee, painter of Ihe Flemish school (17lh centurv;, 525, 443, 447: his landscape of the Mill, 563 ; his house at Rome, 371. Lorraine, carilinal of, 531. Loth, Charles, of .Munich, painter of the Ve- netian school (17lh century, 207. Lotterv, passion of the Konian populace for the, 364. Lotto, Lorenzo, painier of the Venetian school '16lh centurv). 86, 87, 88, 134, 173, 176. Louis XIV. : pensions professor Ottavio Fer- rari, of Padua, 201; his medallion painted by Pctitot, exposed on ihe high altar at Boioi,'na on testivals, 233; founder of the Academy of France at Rome, 371. — , XVIII., at Verona, 119 n., 348. Lourdes, French orientalist, 192. Lovera, borough, 90. Lovers of (|uecns excite but little commise- ration, 463. 6.3 746 INDEX. I/jca of Montepulciano, architecf, 624. Lucan, 4-24, 428, 473. Lncano, bridge of, on the road to Tivoli, 597. Lucca, town, 667. I.nccliese, shrewd and craftv, good farmer?, 672. I.ncchesini, marquis Cnsare, author of the Literal)' History of Lucca, 671. Lucchesino, smnameofPielro Testa, painter of the Florentine school (17th cenlurv), 668. " ' Lucchino, warrior, Petrarch's friend, H2. Liician : hisdcscrlptionof the painter .Etion's Jlarriage of Alexander and Roxma, imi- tated by R.i|ihael, 596. Lucretius, qudted, 438, 502 n. Lucius HI , |ji>|je, driven from Rome, 110. Lucy, St., church at Bologna, 231— fountain at >ap!es, 440— de' Magnoli, St., church at Florence, 367— sul Prato, St., idem, 361— St., church at Padua, 203— at Siena 262— Venice, 173. Ludovisi villa, at Rome, 567. Ludlow, Edmund ; his tomb at the calliedral of Vevey, 17. Lugano, town, 80. Luini, Aurelio. painter of the Milanese school -16lh century,, 41, 45. — , Bernardino^, painter of the Milanese scliool ; 16th century J, 57, 40, 41, 43 ; his frescos of Sr. iMaurice, 43, 48, 49, 33, 60, 71, 72, 73, 73, 79, 80, 297, 446. Luke, St., evangelist, and reputed painter; pictures aitributed to him, 99, 302, 390, 534. — , St., portico of, at Bologna, 231 — church at Genoa, 686 — at Rome, 335— at Vtn.ce, 175 — academy of, at Rome, 533. Lullin, Ami, professor of ecclesiastical his- tory, bequeaths his books lo the library of Geneva, 6. Lunatic asylum at Aversa, 494 — at Rome, 586. Lunatics, number of, in Italy, 387. Lunghi, Martiao, Hie elder, architect (16lh century s 498, .^72, 573. — , Martini), ihe younger, architect (17lh century), 331, 357, 3o2. — , Onorio, architect (16lh century), 331. Liiiii, its ruins, 673. Lusignan, Ilccuhi de. Queen of Cyprus; her lomb, 646. Lniher, his Hei)rew Psalter at Ihe library of Parma, 272, .501 «., 314,680. Li.li, Eeuedeito, p.iint.'r of the Florentine school (17th century), 402, 329, 343, 544, 665. Lyc>'um, nnisical, of Bergamo, 89— Phil- harmonic, of Bologna, ais n. —of Cosmo, 81— Luca, b71 — M. .M.ilii!, Cav. Pietro Ludovico. professor al the university o( Pddua, 208. JIahiia, F. di Mazo. sculptor of Cremona, 15(h centurv.. 306. Mabillon, 53, 434,469; his letters 492- 61Ji 659. ' Macchietti, Geronimo, painter of the Flo- rentme school (16ih century,, 543, 359. .Macdonald, general, his campaign in the Rhet an Alps, 83 ; his victory at Bor- ghello, 642. ■' Machiavel : his remark on the disobedience oflhe Romans lo the popes, HO n., 16.5, 298, 516, 518, 545, 530; his lomb at Santa Croce at Florence, 353, 363, 371 : his ma- nuscripts at the library of the Pitii palace 373; his house at Florence, 378; 382 n.\ 389; his residence and villa at San Cas- siano, o97;423; on his presence al ihe massacre of Senigallia, 451 ; 4.59, 493, 370 633; his romantic and incomplete hislorv of Castruccio Castrucci, 670, 696. Machiielli, count Odoardo, of Pesaro, 428. .Alaciin dAlbe, or Giovanni Jacopo Fava Pitdmontese painter 15th centurv\ 73. ' Madama palace, at Rome, 573. — villa, near Rome, 394. — palace, at Turin, 693. -Aladdaloni palace, at Naples, 442. Maderno, Carlo architect (16th cenlurv) 499, 500, 302, 503, 373. — , Stefano, sculptor '17th cen:ury\ his sta- tue of S!. Cecilia, 357. Sladonna— del Baracano, church at Bo'ogna, 251— del Soccorso, irft»i, 245— del Monte,' ol Varesa, 80— del Monte, convent near Ccsena, 424— of Quintiliolo, church at Ti- voli, .^99-deir Orlo, at Cldavari. G75— dclia Ghiara, at Reggio, 269— 14th century); bis statue of Boniface Vlll., 258. Manno, temple of San, celebrated Etrnscan monument, near Perugia ■ its inscription, 632. 748 INDEX. Mansi, Giovanni Domenico, learned arch- bish.op of Luces, 669. Manso, friend of Tasso, 4o9. Mantegna, Andrea, of Padua, painter of ilie Mantiian school lolli ccntniy), 56, 61,93, ^09, 119, 164, 199, 200, 204, 259 n , 264, 292, 294 ; his ciiapel, 295, 297, 2;i8, 299 ; liis house at Mantua, 300 ; 423, 519. Mantova, Andrea, of Padua, arnaleur painter (I7lh century ), 203. Mantovano, See Spagnuoli. Mantua, 219 «., 291. Manutins, Aldu«, the elder: his typographic academy, 166; inscription over liis cham- ber-door, ib.; his epitaph on the monk Eusebius, 190; 369, 373, — , Paul, his letters, 54 n. ; 166 «., 42'(, 448; Ills tomb, 550; books with notes in his hand at the Baiberini, ,569, .Manzoni, Alessandro, 22 n ; his interesting Promessi Sposi, 59; his treatise Sidla Morale catlotica, Gr> ; 101 «,, 178, 29.3, 501, 354 Ji.; the lir.st edition of his Adekiii dkl not clear its expenses, 540, 696. Marabelli, professor at the university of Pavia, 76, Mara-;siano, sculptor, 675. Maraldi, Jacopo Filippo, astronomer, Cas- siiii's nephew, 546, Maratta, Carlo, painter of the Roman school, 499, 530, 531, 533, 534, 545 ; his tomb, 546 ; 548, 573, 578, 602, 603, 611, 619, 636, 702. Marca, Mattanzio dells, painter of the Komau school ( 16th century ), 619, Marcel, of Provence, niosnist, 566, .Marcellin, St,, church at Parma, 279. Marcello, authdr of the psalm music, poet, patrician of Venice, surnamed the prince of music : his tomb, 98 ; 379, Marcellus, St., church at Rome, .532. Marches!, Pompeo, 37, 40, 36, 61, 69, 7(, 90. Marcbione, sculptor ot Arezzo {I5lh century >, 637. Marchioni, Signora, actress, 66. .Alarchisio, S, Stanislao, Piedmontese dramatic author, 701. .Marco of Siena, painter of llie Florentine school (15lh centurv ), 4'(5, 434, 453, 456, 459, 460, 489. Marconi casino, at Frascati, 602. — , Rocco, of 'J'revisa, painter of the Vene- tian school ( 16lh ceniury ), 175, 183, 214. Marciicci, Agostino, painter of the Sienese .school ( Ifilh century >, 628. Marcus Aureiius : his letters to Fronto, 54 ; his equestrian statue, .525, Mare Morto, ancient port of Misenum, 474. Maremma of Siena, draining of the, 655, Marengo, field of, 692, Marescalchi palace, at Bologna, 236, Marescalco, suniaine of Giovanni Boncon- sigli, of Vicenza, painter of the Venetian school (15lh ceniury ), 127, 129, 176. 'laiescotti, monk and founder (I3ih century'!, 220, .Marforio, colossal statue in the museum of the C ipitol, 526. Jiargaret, St., gate of, at Cremona, 307, — of Austria, natural daughter of Charles V.: Margaret, her monument and mausoleum fn the church of St, Sixtiis at Placenlia, 310 ; 594. — of Orleans, wife of Cosmo III,, 592, — , St., church and convent near Cortona, 634. Margaritone of Arezzo, painter of tlie Flo- rentine school (13lh century), 431, 636, 659. Maria, Maggiore, Santa, church at Bergamo, 87— Nuova, Sta., atFano, 450— della Rosa, Sta., at Feirara, 252 — Pomposa, Sta,, at Modena, 263 «,, 268— la Nova, Sta,, at Na- ples, 439— di Campagna, Sta., near I'la- ceiiiia, 311— in Dominica, Sta., at Rome, 537 — in Vallicella, Sta., or Chiesa-Nuova, at Rome, 5.53— di Provenzano, Sta,, 621 — della Rolunda, Sta., at Alhano, 499 — della Piazza, Sta,, at Ancona, 432— delle Grazie, Sta., near Arezzo, 6.36 — della Minerva, Sta., at Assisi, 645— tielle Carceri, Sta., near Assisi, 648— degli Angeli, S!a., or the Por- tionciila, near As.sisi, 645— delle Grazie, Sta., at Bergamo, 88— del Sepulcro, Sta., idem, 88— delle Grazie, Sta,, idem, 98— del Miracoli, Sta., idem, 98— delle Grazie, Sta., at Cortona, 665— di Bocche, Sta,, at Ferrara,250— del Vado, Sta., 222, 225— Pri- merana, Sta,, at Fiesule,590— del Fiore, Sta., at Florence, 338— Maggiore, Sta,, idem, 565 —Novella, Sta,, irfcw?, 359— hospital at Florence, 582— di Castello, Sta., church at Genoa, 686— dellaConsolazione, Sta, ?V/t;m, 686— of the Pious Schools, Sta,, idem, 686 ~Foi isportam, Sla., at Lucca, 670— in corte Landini, Sta,, ide7n, 669— de' Servi, Sla., idem, 670— delle Grazie, Sta,, near Mantua, 502— del Carmine. Sta,, at Milan, 49— delle Grazie, idem, 48— della Pace, formerly church and convent, at .Milan, 41— della Passione, Sta,, church at Milan, 40— do' Servi, Sta.; idem, 40— della Vittoria, Sta.; idem, 4'<— Incoronata, Sta., 49 — del Car- mine, Sta., at Naples, 464— della Pielk de' Sangri, Sta., chapel at Naples, 434— del Parto, church at Naples, 461— de" .Monti, Sta,, convent at Naples, 470— delle Grazie sopra le Mora. Sta., churehat Naples,452— Coronala, called De Canepanova, a! Pavia, 79— del Popolo, at Perugia, 649— del Car- mine, Sta,, at Pisa, 408— della Spina, Sta,, idem, 408— ilegl' Angeli, at Pistoja, 663— deir Uniilita, Sta., idem, 663— del Letio, Sta., idem, 665— della Rotomla, Sta,, at Ra- venna, 421 — in Porto, idem, 417— degli Angeli, Sta., at Rome, 546— dell' Anima, Sla., idem, 5.54— della Concezione, Sta., idem, 547— dell' Orto, Sta,, idem, 557— of Loretto, Sta., idem, 540— della Pace. Sta,. ?"(/c)w, 554— della Tran«pontina, Sta.,?rfei?j, 560— della Vittoria, Sta,, idem, 545— of Mount Aventiue, Sta., ?V/c)«, 536— del Po- polo, Sta , idem. 550— in Campitelli, Sta , idem, 533— in Cosinedin, Sta., or Bocca dellaVeril5i,irfcm,556— inTrastevere, Sta., idem, 537 — in Via lata, Sta., idem, 533 — Maggiore, Sta., idem, 311— Scala Dei, Sla., near Rome, 556— della Minerva, Sta., at Rome, 449— della Scala, Sta.. hospital at rNDEX. 7^9 Siena, 621— del Carmine, Sta., church at Turin. 702— deir Orto, St., at Velli'lri, 498 — delia Pielii, at Venice, 171— dell' Orto, idem, 184— Formosa, idem, 181— M.iler Domini, Sla., idnn, 176— dei Miracoli, Sta-, idem, 181- Zobeniso, idem, 180— liella Scala, Sta., cluircli at Verona, 113— in Organo, Sta., idem, 114; lias llie finest sa- cristy in Italy, li:;— delle Stelle, Sta., cha- pel near A'erona, 126— della Veriik, Sla., near Viterbo, 612— degli Angeli, St., at Voltri, 688. Maria Louisa, the arcliduchess: hasa necklace and bracelets made of tiie stone of Juliet's sarcophagus, 106; fete given to her in the saloon at Padua, 212; 283; founded the hospital della Materniia at Parma, 285 ; her government, ibid; 311, 580, 46.5. — , Maddelena, archduchess of Tuscany : erected a tomb to ArcangiolaPaiadini, 366. Mariano Casa. palace al Vercelli. 52. — Fiicci, Lorenzi di, Sienesc sculi'tor, 619. Marignan, marquis of, 634. Marinari, Onorio, painler of the Florentine school ( 17ih century), 357. Marini, Benedetto, of L'rbino, isaiuler of the Roman school (17th century), 310. Marini, monsignor Gaelatio, learned [irelate, 110, 214, 258, 276, 543. — , Pieiro, canon, 276 «., 426. — palace, at Milan, 57. — , Cav., 240 n. ; his sarcopliagus, 433 ; his tomb, 463 ; 686. Marino, San, republic of, 426; on the tille of citizen of San Marino, 427. — , St., church at Pavia, 79. — , town, 603. Mario, Crescenzio di, Sienese sculptor, 619. — Mount, near Rome, 594. Marius, Janus, ^eapolilan : his work on the Propriety of old words, 447. Mark, St., church at Florence, 548— iMilan, 49— Novara, 54— at Rome, 553— gale at Siena, 633— confraternity at Venice, 184— basilic of, at Venice, 146— piazza of, al Venice, 144. Marocco, barrisler : his panegyric of Gen. Thenli^, 59 n. Marochetti, S., sculptor, 693. Maroslica, town, 130. .Marot, retugee at Ferrara : protected by the duchess Ren^e, 219. Marriage : political importance \\hich the first Venetians, like the Romans, atlached to it, 180. — Aldobrandini, ancient painting, 508. Marsand, professor : his edition of Petrarch's Bime, 32 n. ; assists in ascerlaining the site of Linterno, 69 n. ; 199, 216 ; 629. Marsigli, general : his monument in the church of St. nominick al Bologna, 250 ; his observatory, 256; 437 «. Marsola, coast of: its submarine fountain of fresh water, 674. Marsollier : his Life of St. Francis de Sales, 14 n. Marsuppini, Carlo, 359, 359 ; his tomh, 556 ; 636. Martana, isle in the lake of Boisena, 616. Martelli, Camilla, mistress, afterwards wife nt Cosmo L : died in a state of imbecility, 585. — , Francesco, bishop : his loud), 269. — , Ludovico, appointed to examine the Vc- cfimeron, 556. Martelli, Ludovico : his duel with Bandiiii. 386. — palace, at Florence, 370. — , Lorenzo, painter of the Florentine school (17th century), 624. Martcllini, Esau, Galileo's pupil, 587 ?j. — palace, at Florence, 571. Martha, St., popular lesUval at Venice, ICO. Martial, St., church at Venice, 185. Marligny, town, 8 n., 15, 26 ti. Martin, St., of Tours, 618— Chartreuse of, at Naples, 461 — Major, St., church al Bologna, 246— SI., church al Conegliauo, 139— Flo- rence, 561— brotherhood of,582— calhe(U.:il at Lucca, 667— church at Pisa, 408— ;il Pietra Santa, 672— de' Monti, St., at Rome. 542— Siena, 622— at T.^evisa, 142— at Ve- nice, 171— palace of, near Viterbo, 612. — IV., elected pope through a riot, 616. — V.(Colonna\ illurtriouspope : lusstalu>-, 59; his toud), 558. Marthiengo, fort, 91. — , Marco Antonio delia Palata, a Bresciari warrior : his siugular mausoleum, 99. — Colkoni gallery, at Brescia, 100. Maitinelti, house of, at Bologna, 258. Martini, S., professor at the universily of Perugia, 651. — , Ihe P., Franciscan, professor of music, 258 n. Martiuo, Pietro di, Milanese architect (15lh century), 440. — , Simonedi, painler, 621. — de' Monti, San, church at Rome, 542. Martorelli, scholar, 444. Marucclli, archilect, 575. — , founder of the library so called ; his miscellany, eniilled Mare Magnum, in that library, 556. — , or Maruscelli, Giovanni Stefano, painti r of theFlorentineschool ^17lh century), 407. Marullo, Giuseppe, iiainter of Ihe Neapolitan school (17th century), 466. Mary, queen of Hungary, majestic tomb of, 452. — St., church at Arona, 26— de' Bulgaric, St., chapel at Bologna, 260— Incoronal.i, St., church at Bologna, 245— Major, St., idem, 244— Magdalen, St., ciuirch at Bolo- gna, 245— St., church at Castclfranco, 159 — Magdalen de' Pazzi, St., monastery at Florence, 552— P.-rta, St., church at Milan, 45— of the Garden, St., idem, now a store- house, 49— Mijor, St , church at Vercelli. 32. Marzagaglia, learned Veronese, 150 ii. iMarzari Pencati, count Giuseppe, Vicentiaii geologist, 150. Marzi, Angelo, bishop, minister of Cosmo I. ; his tonii), 552. Marzini, Ihe broihers Antoniolo and Bernar- dino Jacomo, sculptors, 619, 629. Marzocchi, S.. his method of making colours, 619 n. G3. 750 INDEX. Masaccio, painter of the Florentine scliool (I5lli ceil I ury) : his frescos at the church del canni e, r.64, 405, 408, 452, 519, 557. IMasaniellO, 464, 487. Mascasni, Paolo, celebrated surgeon and anatomist of Siena: his tomb in the ca- tlietlral, 6-20 ; founder of pathological ana- tomy, G-21. Mascarella, church at Bologna, 245. ^[aschel•oni, Lon^nzo : his poem on the mu- seum of natural history al Pavia, 16, 1-27 v. Masigne, Pietro Paolo dalle, Vcneiiau sculp- tor at the end of the 14lh century, of the school of Pisa, 147. Maser, village, 157. Masoliniguerra, Florentine engraver (15lh cenluiy\ 521. Massa, town, 672. Massarelio, painter of the Sienese school (14th ceninry). 651. Massari, Giorgio, Venetian architect (18ih century), 159. — , Lucio, painter of the Bolognese school ^16th century), 243, 247, 248, 257, 265, 555. Jiassarulli, Angelo, painter of ihe Cremouese school (I7lhcenti!iy\ 506. JIa.jselli, house of, at Vollerra, 659. IMassena, geniral, 122,682; his capitulation of Genoa, called a convention, 688 Massillon : his passage on St. Agnes, 402. Massimi palace, at Rom'.-, 574. JJastellata, Giovanni Andrea Dondurzio, painter of ihe Bolognese school (16ih cen- tury), 243, 248, 249, 295. Mastio, lower of, at Volterra, 638. Masuccio I., Neapolitan sculptor and archi- tect (i:-.lh century), 442, 430, 45t, 462. — U., Neapolitan sculptor and architect, 452, 4.55, 434, 455, 457, 458. Maternila, hospilal della, at Parma, 285. Malhias, SI., clinrch at Bologna, 247. Matilda, countess, 270, 406, 411 ; her tomb, 504, 515. .^lattci palace, at Rome, 575. — villa, at Rome, 366. — , Fra Gabrielle, Servite of Siena, minialure painter, 620. Matteino, painter, 627. Matteis, Paolo de, painter of ihe Neapolitan school (17lh century), 6«5, 686. — , S., professor at the Sapienza, 585. Matthew, St., church at Genoa, 686— Padua, 209— Pisa, 408— Salerno, 485. iMaltiuli, Ludiivico, engraver and painter of Ihe Bolognese school (t7lh century), 244. — , house of, at Bologna, 256. Maurice, St., chief of the Theban legion, 15. — , town, near which the Theban leg on was massacred, 15. — , St., church at Mantua, 296~or Monas- lerio inaggiore, church at Milan, 45. — , S., of Geneva, 9. Mauro, Fra, Canialdulite, celebrated Vene- tian cosmographer of Ihe laih century ; his ma[) of the world in the library of St. Mark, 137. Maury, cardinal : his letter to the al)b($ de Rozan, 482 ; .507, 535. Mausoleum of Adrian, at Rome, 581. Maximns, St., church at Padua, 209. Mayer, Bavarian composer, 89. Mazarin, cardinal, 454 ; piircha'jed Ihe Ros- pigliosi palace, wheie his fallicf died, 367. Mazaugues, the president, 569 n. Mazois, French architect : his Palace of Scaurus, 545 n.; restores Ihe Trinita de' Monii, 548. Mazza, Angelo, lyric poet of Parma : his ac- cidental reconciliation with Monti, his tomb, 288. — , Damiano, of Padua, painter of the Vene- tian school (15lh century), 184. — , Giuseppe, Bolognese sculptor and painter (18th century), 254, 245, 248. Mazzaratta, Madonna di, little old church near Bologna, 262. Mazzardiiii, brothers, pirates of the Lago Maggiore, 25. Mazzaroppi, Marco, of San Germano, painter of the iScapolitan school (17th century), 489, 492. Mazzini, brothers, sculptors (J6th century). 626. Mazzocclii, Alexis, learned antiquary: his lomb, 451 ; his letters, 492. Mazzola, Hilarion, painter of the Parmesan school (16th century), 277. — , Geroiiimo, idem, lilt, 273, 277, 278, 279. 281, 284, 294, 299. — , Michele, idem, 277. — dclle Ernette, Filippo, idem, 277. Mazzoni, Guido, Modenese sculptor (15th century), 266. Mazzucchelli, the abbd, director of the Am- brosian, 52 ; dies of apoplexy, id. ■»., 559 n. Mazzuola, Giuseppe, sculptor of Volterra (I8lh cenlnry\ o58, 619, 621. M'Crie, Thomas : his History of the progress and suppression of the Reformation in Italy, 95 n. 219. Mecaenas : villa bearing his name at Tivoli, 599. Mechitarists, Venetian monks, 192. Mcda, Giuseppe, Lombard scal[)tor and ar- chitect (I7lh century), 59, 58. Medals, cabinet of, at Bologna, 258— at Naples, 445— at Ravenna, 418— at Turin, 699. Medici, Cav. de", minister al iNaplcs 448, 450. — , S., professor at Ihe university of Bologna, 256. — , the P.,in(piisilor, learned and liberal Do- minican, 250. — , Alessandro de", duke of Florence, 518. — , Carlo de', nalural sou of Cosmo I., 661. — , Cosmo 1. de", fither of his country, re- fugee at Venice : his gilt lo Ihe Benedic- tines of St. George, 172; site of the tower where he was imprisoned, 216 ; 521, 335, 5.40, his tomb at the church of St. Lau- rence, 345 ; 346, 553, 336, 568 ; 583, 386, 409, 434, 661. — Cosmo IL, de', son of Fenlinand I , "47. — ', Ferdinand L, de', duke of Florence, his lomb, 5 '(7 ; his eipicstrian statue, 350 ; 389, 415. —, Giovanni Jncip.i de', marjuis of Mari- INDEX. 751 giian, his tomb, 19 ; his defence of Musso, 84. Medici, Giivaniil di:', called the Greit Devil, 296, 5i8. — , Giovanni de', Averardo's son, his tomb at tlie churcti of St. Laurence, 346. — , Don Giovanni do", liroihcr of llie grand- duke Ferdinand I., 347, 403. — , Giuliano de", duke of Urbino, 342, 346, 389. — , Lorenzo de*, 321 ; cliaracter of his literary proteclion, 330, 540, 344, 346, 349, 363, 563, 389, 391 ; his residence and burial- place at Caregsii, 392, 4)5, 644, 634. — , Lorenzino de', murderer ol his cousin Alessandro, 368. — , Pietro de', orders Michael An^elo to sculpture statues of snow, 178; 331 ; his tomb, 356, 531, 393 ii. — villa, academy of France at Rome, 371. — palace, at Florencf, 368. Medin.'* founlain, at Naples, 439. Mediterranean, 438. Melius, tlie abbe, creator of the literary his- tory of Florence, 330 n. Mei, Bernardino, painter of the Sienese school (17th century), 628, 629. Meillfrie, rocks of, still retain their savage aspect, 21. Melancthon -.his unpublished letters in the Gliigi library at Rome, 363. Melani, brothers, painters of the Florenlinc school (ISlli century\ 408. Melegari, S. Francesco, magistrate of Parma, 309 n. Slelegnano, fortres*, 84. Melissi, Agostino, painter of the Florentine school (i7th century^ 663. Melleri jialace, at Milan, 37. Melliiii, .Mario: his villa, 594. .Mellio, liie alibe .iutoiiio, jurisconsult; his tomb, 307. Melon : extract from his Essai polili'iue sta- le commerce, 74 Melone, Altobcllo, painter of the Cremonese school {16th century), 306. Melozzo, F. Francesco, of Forli, painter of the Bolognese school ijoth century), 423. Meizi, don Gaelano : his library at Milan, 36, his tomb, 62. — villa, on Ihe lake of Cosmo, 83. Memmi, Lippo, painter (if the Sienese school (14lh century , 408, 665. — , Simone, painter of the Sienese school (14th century), 52, 332, 361, 40'(, 408, 629, 646. Menageot, French painter of tlie last cen- tury, 129. Mendicanti, church del, at Bologna, 243. Mcneflielli, ihc abbe, rector of the univer- sity of Padua : gives the vertebra of Galileo to Ihe cabinet of natural history, 195, 201, 214. Menelaus, Greek sculptor, 567. Menganti, Alessandro, sculptor, surnamed the Unknown Michael Angelo (16th cen- tury), 234. Mengf, Anthony Rai)h,icl, born in Bohemia, painier and writer of the last ccnlin-y, 243, 277 .'I., 278,402, 316, ?)28, 3'M, 597. Menicncci, architect, 331. Menoux, the P., 293. .Mensiiii house, at Siena, 629. Menzini, I'lorentine poet, 336 n., 584, 577. Mercanti, piazza dei, al :\IilaD, 40. Mercurial, St., church at Forli, 423. Mercy, confraternity of, at Florence, 382. — , ancient confraternity of, at Venice, 184. Mcrgcllina, at Naples, 468. Meiic-Lalande, Mine., singer, 64. Meridian of the church of St. Petronius, at Bologna, 242— of the church of Santa Maria degli Angeli, at Rome, 546. Merlin, countess, 258 n. Mersy, Mine. Adelaide, dancer, 259. Merula, George, a disputatious scholar of the revival, and an enemy of printing, 44 ; his epitaph and tomb, ibid. Metastasio, 465; his autograph letters at the library of Siena, 633, 645. Melaxa, S., professor at the Sapienza, 583. Metella, Cecilia, illustrious Roman lady : her sarcophagus, 380, 592. Meiicci, Vincenzo, painter of Ihe Florentine school i18lh century;, 362, 371. Mezzabarba, eminent writer, 327. Mezzanotte, S., poet, professor at the univer- sity of Perugia, G30, 651. Mezzofanti, cardinal, of Bologna, ancient professor al the university, 236 ; his exten- sive knowledge of languages, 238, 239 n. Micali's magazine at Leghorn, 413. — , St. Giuseppe, historian of ancient Italy, 357; 651. Michaux, M., French naturalist, 28 n. Michael in Bosco, St., old convent near Bo- logna, 262— de' Leproselti, St., church at Bologna, 232— Visdomini, St , at Florence, 352— St., piazza and church at Lucca, 668, 669— church at Pa via, 78, 79— in Borgo, St., at Pisa, 408— St., Placeiitia, 311 — in Africisco, St., at Ravenna, 417— St., gate at Parma, 274— hospital at Rome, 586— in Mur.tno, St., church near Venice, 189; merit of its arabesques and ornaments, 190 —St., at Ventimiglia, 691— at Volterra, 636. Michael Angelo (Buonarotti ), celebrated sculptor, architect, and painb r (13lh cen- tury >, 39, 169, 178, 197, 218, 242, 243; his statue of Julius broken by a mob, 235, 278, 293, 295, 307, 316 ; his David, 318, 319, 320 ; his Bacchus, 321; 323, 327, 336, 537, 338; Piety, his last work at the cathedral of Florence, 343; his sacriny of St. Laurence and lombs, 346, 347, 330 ; his tomb at Santa Croce, 353; his ap[ilic.ition to erect a tomb to Dante, 534, 358, 359, 360, 362, 363, 564, 367; Ills Fates, 374, 576; his bouse at Flo- rence, 377, 579, 380; named director-gene- ral of the fortifications of Florence, 385, 387; his bastion, 393, 396, 401, 410, 416, 440, 442, 443, 446, 451, 438, 475 and nole, 489, 300, 502; his ciifioia of St. Peter's, 502, 303, 30i, 503; his List judgment, 306; his roof of the Sixtlne, 506, 307, .508, 516, 517, 522, 32.5, 327, 528, 329, 550, 336 ; his tomb of Julius II., 342, 5'<5, 546, 547, 548; his full length Christ, 519, 354, 537, .538, 560, 563, 568, .578; his colossal head drawn in 75-2 INDEX. charcoal at the Farnesina, 579, 580, 582, 595, 600, 601, 612, 6U, 620, 626, 627, 646, 649, 652, 656, 670, 673, 682, 685, 687, 692. Michelangelo degli Battaglia, or de' Baiiibocci, surnames of Miclielangelo Cerquozzi, painter of the Unman school, 580. JMIchele, Benedetto, of Arezzo, one of the competitors for (he prize offered for a poem on True Friendship, 331. Miciielet, M.: his Discour.s aur Ic. systeme el la vie de I'aulcur, prefixed to his transla- tion of Vico's Scienza nuova, 454 n. Micheli, Domenico, doge of Venice : his armour, 163; his tomb, 172. — , Alviso, died while addressing the senate ; his tomh, 183. — dalle Colonne, palace at Venice, 163. Michelozzo di Bartoloinmeo, artist (14th century), 545. — Miclielozzi, Florentine sculptor and ar- chitect (15th century), 37, 44; Cosmo de' Medici's companion in exile, 172; 515, 344, 349, 536, 387, 389, 392. Michiel, Mme. Justine Renter : lier work on Venetian fetes, 145 n. iMiSliara,Cav. Giovanni, painler, 61, 100, 699. :Migliari, S., Roman, learned numismatist, 337 n . Mignard, Pierre, French painter (17tli cen- 'ury), 325, 344, 694. Milan : its aspect and description, 36. Milancia, wife of the celebrated cinonist Andrea, 237 n. Jlilani, Aureliano, painter of the Bolognese school (17lh century), 252. Milizia: his Mcmoiic degli Archilelti, 313 Ji, 458, 343, 557. Millin, M., 56. Millingen, M.,651. .Millot, French historian, 271. Mills, Mr. Charles, 524. Milton : his imitation of the Bridges in Dante's Inferno, 124; 307, 587; his verses on Val- lonibrosa, 394; 453. Minardi, Cav. Thomas, Roman painter : his drawing of Michael Augelo's Last judg- ment, 62. Minenti, populace of Rome, 575. Minerbp, |ieak of, 122. Minerva Aledica, ruin at Rome, 587 — statue at the nuiscum of the Vatican, 515 — church of, atRoine, 549— piazza dclla, at Rome, ib. Mines dei Cane; traces of the Romans, 24. Miniato, San, in Tuscany ; the Borromeo fa- mily originally from, 38 ; 396. Miiiio, Titian, of Padua, sculptor ( 16th cen- tury), 148, 200,211. Mino di Fiesole, sculptor (15th century), 3.57 ; his sculptured figures in the cathe- dral, 390;63G, GGl. Minorello, Francesco, d'Este, painler of the Venetian school ( 17th century ), 208, 209. Minozzi, Flaniinius, painter of the Bolognese school ( 18lh century J, 245. MinturniE : its remains, 496. .Miuzocchi ( Francesco ), painter of the Bolo- gnese scliool (16tli century;, 433. Miollis. general, 293. 300; his festival and temple in honour of Virgil, 305. Misadois, hill at Naples, 469. Misiatis, Bernardino de, painter of Pavia, 307 n. Missirini. S. Melchiore, 142; 595 h., 674 n. Mitelli, Agostino, painler of the Bolognese school (17th century), 243, 2.50. — , Giuseppe, his son, Bolognese painter, 231. Mithra, worship and mysteries of ; its embiems common on the cliurches of the middle ages ; at the baplistiy of Paima, 277 ; on the front of the ciihedral of Cremona, 305. Mocchi, Francesco, sculplor of Orvieto (I7lh century), author of the Veronica at St. Pe- ter's, 503; 615. — , Francesco, Tuscan sculptor, author of Ihe horses of Placenlia (17th century), 308, 401. Moccio, Maestro, architect (14th century), 630. Mocenigo, Alviso, 167 n. — , Tommaso, doge of Venice, 186. — palace, at Venice, inhabited by Byron. 161. ^ Modanino, sculptor, 459. .Modena, S.. actor, 66. — , town, 266. Moggiani, sculptor, 279. Moglia, S., sculptor, author of the ornaments on the Arco della Pace, at Milan, 69. Moilte, sculptor, one of Ihe commissioners appointed by the re|Miblic to choose the MS. of the Vatican, 512 n. Moja, S. Federico, painter, 61. Mojon, S., Giuseppe, professor at the univer- sily of Genoa, 683. Mola, painter of the Bolognese school (17ili century \ 529. —, Antonio, Mantuan sculptor, 295, 501. — , Paolo, idem, 295, 301. Mole, Old, at Genoa : iuscriplion on its gale, 677. Molina, painter, 45. .Molinari, Giovanni, Picdmontese painter (18di century), 702. Moliiieri, S., one of the founders of the hospi- tal of St. Louis at Turin, 703. Molinelti, Antonio, professor of medicine and anatomy, 281. Moliui, s., bookseller at Florence, 375.' Molza, Tarquinia, maid of lionour of the beautiful Marfise d'Este, poetess, and lasso's friend, 575. — , Francesco, poet : his tomb, 267 ; 609. MombcUi, singer, 89. — , Luca, of Brescia, painter of the Venetian scliool (16th cenlnry), 99. Mona, or Jionna, orMonio, Domenico, painter, Ferrarese school ( 16th century , 221, 223. Monaco, state of, 691. Monaldi, S., of Perugia ; his gallery, 651. Moncalvo surname olGugliehno Caccia,Picd- monlese painter (16ih century ), 34,35, 41, 43, 44, 76, G93, 702, 703. Mondini, S., professor at the university of Bologna, 236 n. Mondragone villa, at Frascali, 603. Monge, or monk of the Golden Isles ;Iiis nia- nuvci'ipt of the /.ices and poems of Pro- veiifal iJocts, 514. INDEX. 753 Monge, one of llie commissioners appoinled by llie repu))lic to choose Hie manuscripts of the Vatican, 512 n. ; 275. Munks : their reform for the defence of Ca- tholicism, 492. Mdimel; his Jnlhologie, 57. Munsignori. Fra Geronimo, Dominican, painter of the Mnnluaa sctwol ()5tii cen- tury, 292, 297, 302. — , I'rancesco, of Verona, painter of tlielMan- tuan scliool ■15th century ). 112,115,114. iMiintagna. Barloloinmeo, of Vicenza, painter (if ihe Venetian school (16th century ), 75, 127, 128, 130, 210. Montagna, Benedetto, of Vicenza. painter of Hie Venetian school (16lh century), 128, 130. — . Leonardo, Veronese scholar; his epitaph, 111. Montagnana, Jacopo, of Padua, painter of Ihe Venetian school 15lli century), 199, 200. Montaigne: found .Milan much like F'aris, 36; 220 ; has scarcely spoken of literature and the arts in his Voyage d'ltnlie, 312; his liortraitof BiancaCapello, 312 n. ;315, 326, 571, 412, 434, 435. 532 n., 574 ; slightly cen- sured at Rome, 584 ; his judgment on Sieiia, 628 ; 694. Montalti, Ihe abhe Cesare, professor, 427. — , surname of Giovanni Slefano Danedi, and Giuseppe, painters of the .Milanese school (17th century \ 33, 43, 49, 73. Monlalto villa, at Frascati, 603. Montanvers, mountain of Savoy, 13 ; the Knglislmien's stone shown there, 14. Montarfano, Milanese painter (13lh century), 99. Moiitbard, 2. M.mt-de-Piele of Trevisa, its antiquity, 142. ilonte, Giovanni da, painter of the Venetian school (,16lh century), 42. Monteaperti : liatlle lost by the Florentines against the Sienese, 377 n. ; 620, 024. Muiite-Baldo, mountain surnamcd the garden of the Alps. 102. Montebello, village. Victory. New histori- cal name. 127. ■Miinte Casino, monaslerv, 488. Alonte-Catini, baths of. 667. Moiilecatino, celebrated professor of tlie Pe- ripatetic philosophy: his tomb, 222. M'lntecavallo, piazza at Rome, 566. Muntecchio. mountain and ruined castle, 91. :\Ionte Circelli), promontory, 498. .Monte-Citorio palace, at Rome, 564. Morilecorona, convent of: piety of its monks, G.j3. Montefeltro, duke Federico of, great amateur o! books, 511 n. .MLMitetiascone, town, 613. Jlontelalici, Francesco, called the Cecco brai-o. iiaiuter of the Florentine school ( 17l\i century), 357. — , the P. UI)aldo, agricultural monk, 318. Moute-Luco, near Spuleto. 643. Monte-Lupo, Baccio da, Florentine architect ; 16lh century), 668. — , Rafaello da, sculptor (I6;h century), 547. 'r33, oioj 667. Montemiirlo, column in commemoration of the victory of Cosmo I., 362 ; unfavourable military position, 661. Montenero. near Leghorn, 414. Monte Nuovo, near Naples, 472. — Oliveto, clmrcli at Naples, 439. — I'incio, promenade at Rome, 372. Monlepulciano, town, 617. Montesanto, S , physician, academician of Padua, 198 n. .Montesciuien : his opinion of the state inqui- sitors of Venice, 151, 152; his observation on the Venetian courtesans, 189; 569 n.; erroneously supposes authentic the senatns- consultum inscribed at Savignano, 424; 480, 676 «., 677, 700. Montfaucon, 53 ; his Laciantius, 238 ; 265 : better judge of Greek and Latin that of Italian literature, 265 ; 463 ; collection of his letters at Monte Casino, 492; 312 n., 577, 618, 632, 635. Montholoii, general : his ^le'inoircs, 123 n. Monti, Vincenzo, great poel, visited by the author, 63, 101 «,, 120, 288 n , 587 n., 415, 428, 467 n., 520 n.; his translation of Ihe Iliad, 559; 632. — , Francesco, paintiT of Ihe Bolognese school l18lh century), 245,634. — , Gaelano, professor at Ihe university of Bologna, 237. — , S., of Ravenna, sculptor, 40, 62,69,79,620. — , of Milan, sculptor, 69. — , Filippo, cardinal, 238. — , S., painter of Siena, 621. Monlictlli, Cav. Teodoro, secretary of the Neapolitan Academy of Sciences, 441. Monlici, near Florence: residence of Guic- ciardini, 587. Monlicini, S., composer of ballets, 701. Monlini, Bartolommeo, canon: his tomb, 276. Jlontmorin, Pauline de : her tomb, 532. Moniorlano, Giovanni Donato, painter of the Milanese school ( 13!h century ), 99. Monlorio hill, at Rome, 558. Montorsoli, Fra, Tuscan sculptor (loth cen- tury I, 547,461, 637, 681,686. IMontreux, village, 16. Monuments, primitive, imitations of, 191. Monza, near Milan, 56, 72. -Morandi, druggist, at Forli, 423. — , Giovanni .Maria, painter of the Roman school ( 17lh century], 354. Morando, Giambattisia, painter of the 17th century, 54. Morato, Giorgio, Armenian, ordered Tibaldi's St. John baptising, 431. Morazzone, Jacopo, painter of the Milanese school (13th century ), 40. — , surname of Pieiro Francesco Mazzuc- chelli, painter of the Milanese school (17lh century), 26, 35, 43, 705. Morcalili, the P., philosophical lecturer at La Cava, 482. Morcelli, Slefano, clever lapidaiian writer : his cenotaph, 62; liis insctiplion for the bust of Boetius, at Pavia, 78 ; 279. MoreauSt. .Meiy, stalesman of Parma, 273. 754 INDEX. Morelli, librarian of St. Mark, 453; his tomb, 190. — , Fernandez, Matldelina, peasant who was crowned at the Capilol, 664. Moreni, the canon, of Florence, o\7 n. Morelti, S. Giuseppe, professor at the univer- sity of Pavia, 76. — , Cristoforo, called also Rivello, painter of tlio Cremoncse scliool (16tli cenlury) 306. Moretio, surname of Alessaiidro Bonovicino, of Brescia, painter of the Venetian school {16th century), 42, 87, 94, 96, 97, 98, 99, 1 13, 325. Morgagni: his biisr, 195; bis tomb at Padua, 209 ; his pious exclamation wliile dissect- ing, ibid. Morgan, lady, 36, 684. Morshen, Rafaello, engraver at Florence, 374, 579; 629. Morichini, Domenicn, physician at Rome, professor at the Sapieuza, 583. Morigia, the P. Antonio, arcliitect, and car- dinal, 41. Mormandi, Francesco, Xe..politaa architect ( 16th century;, 466. Moro, Giambattlsta dal, painter (16lh cen- tury), 112, 113, 114, 183. — , surname of Francesco Torbido, of Verona, painter of the Venuliaa school (15lh cen- tury), 110. — , Giulio dal, of Verona, sculptor, 150, 178, 180,183. Morolli, the younger, S. Filippo, artist of Rimini, 423 n. Morone, Francesco, painter of the Venetian school (13lh century), 90, 112, 113. Moroni, Giambatlista, painier of the Vene- tian school (16Lh century ), 86, 87, 88, 115, 523, 446. Morosmi, Francesco, Venetian doge and war- rior, 153; his tomb, 176, 180, 187. — , Francesco, called Montepnlciano, pain- ter of the Florentine school (17th century), 538. Morozzo, Ferdinando, clever engineer, 636. Mosaic, studio of, at Rome, 320— of the ca- thedral of Ivrea, 31 — otPom|)eii,479— of the Pigeons, in the museum of tiie Capitol, 326 — of St. Ambrose, at Milan, 47. Mosca, smuggler: employed by Bonaparte as a guide at the battle of Rivuli, 122. — , Francesco, painter (16th cenlnry), 292. — Francesco, Tuscan sculptor (16lh century), 68. — . Giovanni Maria, sculptor of Padua, 177, 180. — , Simnne, sculptor of Carrara (16th cen- tury ), 613. — , Cav., chief architect of the king of Sar- dini.i, 703, 704. .Moscaliello, Carlo, painter of the Neapolitan school : 17lh century), 434. .Moschino, sculptor of Carrara M6th centurv), 380. Moses, St., church at Venice, 179. Motta, town of the Tievisan, 140. Mount Cenis, 706. Mozzi, villa near Florence, 589. Mulini, bridge del, at Mauiua, 298. Muller, writer, 9. Munch, M. Ernest, German : his biography uf King Enzius, 235. Mura, Francesco de', painter of the Neapo- litan school (18!h century }, 438. Muranesi, Giovanni and Antonio, painters ( 13th century), 170. Murano, isle, near Venice, 189 ; its manufac- tures, 190. Muratori. man of great learning, 53, 263, 266 ; his tomb, 268 ; 279, 508 ; his letters at Monte Casino, 492 ; 617 n., 655. — , Domenico Maria, (lainter of the Roman school f 17th cenlnry , 343. — , .Moneta, Teresa, p.iinler of the Bolognese scliool f 17lh cenlnry }, 244, 232. Murazz.i, ramparis of \'enice, 193. Muret, -Marco Antonio, 255 n. ; his books and maimscripis at Ihe Roman college in the Vatican, 352. Mnri di Braccio, substructions, at Perugia, 630. Murillo, Spanish painter (17th century), 164, 446, 578, 694. Museum of antiquities at Bologna, 237— of Brescia, 92— ol the Capitol, 326— Casnc- cini, at Chiusi, 633— Egyptian, at Florence, 380— of Geneva, 3— of statues al Mantua, 292— of the Anibrosian, at Milan, 55— of Brera, at Milan, 60— lapidarian, at .Mode- na, 266— Bourbon vStudj), at Naples, 442 — lapidarian, al Parma, 273 — Lapidarian, at Ravenna, 418— Chiaramonli. at Rome, 513- of anliiiuilies, at Turin, 698— of an- cient arms, at Turin, 693— Egyptian, at Tu- rin, 699— of the Vatican, 313— of the libra- ry of St. .Mark, at Venice, 157— lapidarian, at Verona, H7— of jihysics and natural history, at Florence, S82. Music, 98 ; at Naples, 449 ; of the Sixtine cha- pel, 507; French music anterior to the Ita- lian, 563. Musso, castle on the lake of Cosmo; retreat of Giovanni Jacopo Medici, 84. — , Cornelius, bishop of Bitonto in the 16th centurv ; his sermon on the Eucharist, 451. Miistoxidi, Cav. : his opinion on the horses ol Venice, 148 «.; on the lions of Athens, 187. Musuro, Marco, of the Aldine Academy, 166 fi. Muziani, Geronimo, painter of the Roman sch :ol 16th century;, 304, 303. 333, 346, 600, 614. Mytens, Daniel, painter of the Flemish school (.17th century), 694. N. Nacerino, Michelangelo, Florentine sculptor, 376. Naldini, Battista, painter of the Florentine school (I6lh century), 339, 637, 638, 664. Nanni di Anlonio di Banco, sculptor 13lh century) : his Mandorla, 359. Nanni di Bnccio Bigio, sculptor, 534. Naples, 437. INDEX. 755 Nardi, don Basilio di Caseiitino, abbot of St. Felix, Florenline seneral, 303. — , Jacoijo, liistorian, 533. — , S. Liidovico, canon of Uiniini : his work de' Compili e dell' antico Cumpito Savi- gnancse, 425 n. Nardini, ctlcbratcd vio'iiiist, Paganini's mas- ter: fiis tomb near Machiavel's, 533. Narni, town, 642. Nasini, Giuspppp, painter of the Sienrse school (17lh ceiilury), 3i3, 625, 624, 6i3. Nastasi honse.at Siena, (>29. Natali, Francesco, painler of Ihc Cremonese school (.H7lb century , 280. Navagero, Andrea, of the Akline academy, 166 n. Navarra, Pietro, celebrated engineer, taken at the bal'le of Ravenna, 422; tomb erec- ted to bini at Naples by the duke of Se.«sa, 459; 653. Navicella, orSanta Maria in Dominica, church at Rome, 537. Naviglio ranal, partly executed by f,eonardo Vinci, 68. Naviso, supposed the sacred lake of Vadimon, 615. Navona piazza, at Uome, 573. Nazarius, St., anil St. Celstis, churcli, at Brescia, 93, 97, Wi. — , St., church at Cremona, 306; at Milan, 42. Neapolitans, 438, 464, 469. 483 «., 483. Neckcr, \\. Neger, Abraham, Armenian catholic, 23!?. Negro, marcpiis Giovanni Carlo di, of Genoa : bis house, 681. Negroni palace, at Genoa, 681. Neijipt'ig, general, called by Mmc. de Slacl the Bayard of the German troops, 285, 38Q. Nelli, Florentine senator : his opinion on Ibc street where the action of the Mandraguie took place, 378 n. — ,Giand)atti.'5taClementode' : his Fita ecom- meirio U'tlcrario di Galileo Gnlilci, 587 n. — , Plantiila, Dominican nun, painter of the Florentine school (t6lh ccnlury), 579. — , S. Vicenzo, Koman manufacturer : liis various speculaiions, 301 n. —villa, near Uome, 596. Nenu, lake of, 498. Nenci, s. Francesco, Tuscan painter, 386, C50. Nepi, town, 642. Neptune, throne of, basso-relievos of the basiiic of St. Vital at Ravenna, 416. Kerens and Acliille.', Saints, church at Rome, 535. Ner.-Corsini, Cav., minister of Tuscany, 372. Nero's villa, at Subiaco, 601. Nervi, town. 673. Nesso, on ihe lake of Cosmo : its Greek origin, 82. Nesti, S., of Florence, sculptor, 62. — , honorary professor at llie university of Pisa, 409. Newton, sir Isaac, 408. Nibby, M. A., antiquary, professor at the Sa- pienza, 573, 585 NicCdli.Nicolao, Florenline: his library open- ed to the jiublic by Cosmo de' Medici, 333, 334, 330, 304, 603. NIecolini, Cav., arcliilecl, president of llic Borbonica society at Naples, 472. — , Oiambaltista, Florentine orator and poet, 337, 545, 339 »(., 368. — palace, al Rome, 373. — , Giuseppe, poet ol Brescia, translator and biograpber of lord Byron 101, 158. Nice, 691. Nicbesola, bishop of Bellona: his mausoleum. 110. Nicholas IV., pope, 539, 541. — V, Tomn)aso of Sarzana, learned pope, forms the first nsodel of a catalogue lor se- veral libraries in Italy, 330; his corres- pondence wilb Mahomet II., 491 ;liis tomb, 505; 311, 521, 570, 667, 673. — , St., and St. Felix, church at Bologna, 248 — degli All-ari, St., idem, 230— St., churcli at Florence, 367— at Padiia, 199— at Pisa, 407— line Gothic church at Trevisa, 141 — gate of, at Florence, 384. Nicolao, Messer, goldsmith at Mantua, 296. — d'Arezzo, called also Nicolao Leili, sculptor and architect (14lh cenlury) : his St. Mark, 340, 657. — of Pesaro, painti-r of the Roman school (I7lh century), 429, 534. — Pisano, great architect and sculptor (loih century), 177, 199; his basso-relievos of St. Doiiunick's tondi at Bologna, 249; his pulpit in the haptislry at Pisa, 403; 406, 407, 440, 614 ; his pulpit in the cathedral of Siena, 620 ; 6.36, 634, 662, 667. — di Pralo, celebrated cardinal, 661. — di Sozzo, miniature painter (14th century), 628. Nicolaiis, Atlicnian sculplor, 397. Nicole, 344. Niebnhr : discovers Ibe commentaries on llie Jnslilnles ol Gains. HO, 389; his system of Roman InStory, 589. Nievo, S. Alessandro, of Mantua : his gallery, 299. Nino of Pisa, sonofAndrra, sculptor (14th century), 407; his statues of the Madonna at the cliurch deila Spina, 408; 665. Niolip, scene of, 322. Nisida, isle, 473. Noailles, count, French ambassador at Rome, 387. Nohili, Leopoldo, of Modena, physician, 270, 583, 683. Nocelo, Pietro da, of Lucca : his elegant niausoliom, 6G7. Nodier, Mr. Charles, 191 n. Nofelli, Florentine painler (16Ui cenlnrv), 658. Nogaro'a, ancient and distinguished family of, at Verona, 122, 123 n. Noli, town, 689. Norchia, valley of, near Viterbotits Etrus- can tombs, 612. Noris, cardinal : his manuscript in the Ange- lica library at Rome. 543. 756 INDEX. Nostra Signora di Loretto, church, 335— ol Monte Allegro, sanctuary near Rapallo, 673— di San-Celso, church at Milan, 41 — di Saronno, near Milan, 70— dcgli Angeli, at Parma. 278— dci Cai ineliiani.'at Venice', 175— del Monte, near Vieenza, {29. Nota, baron Alberto, dramatic aulhor : re- marlis on his plays, 66 ; 701. Noitoiiai, S. Lorenzo, ol Luca, architect, 672. Novara, town, 33. Novi, town, 692. Nuvolone, Giuseppe, painter of the Milanese school (17lh century), 33, 310. — , Pamfilio, painter of the Cremonese school (17th century), 34, 41, 42, 84, 511. O. Oak, extraordinary, of Montc-Luco, 644. Obelisk of Ihe piazza of St. John in Laterano 337 — delta Minerva, 319— of Monte Cilo- rio, 364— del Popoli, 530— Santa Maria Mag- fiiore, 541— of SI. Peters, 500; its erection 680— of the piazza della Trinila de" Monti' 348. ' Obscrvanlines del Paradiso, church at Vi- lerbn, 612. Observatory of Bologna, 236— Florence, 383 — Brera, at Milan, 36— .MIsadois, at Nanles 469-nf Padua, 196. -^«pies, Occhiali, GabrieleFerrantini, called Gabriele dagli, painter of iheBolognese school ilGlh century), 243. Occone, eminent writer, 527. Oddi, ancient museum of, at Perugia, 652 Oderigo, canon of Siena,' miniature' painter (15th century), 632. Odescalchi, cardinal, 558. — , Don Pietro, director of the Arcadian journal, at Kome, 562. — villa, on Ihe lake of Cosmo, 85 ; on the same spot as the suburbanum of Caninius Ilufus, ibid. Oggiono, Marco d", painter, 41, 42. Ognabene, Andrea Jacopo, goldsmith of Pis- loja, 602. Oguissanti, chinch at Florence, 362— Padua, Oil warehouse, at Leghorn, 413. "sle' '^^ ^" ^''°'*^' ^'^"'^'''^' "f '•'"^ Jesuits, — , mother of Widns, archbishop of Milan, assads Arialdus in his hermitage, 23 lhor°70*l'''*^''*^' ^*'<^^'"°"^'^»e dramatic au- Oliverotto, tyrant of Fermo, 433. Olivien, learned antiquary, 429 ~lin"T"o2°' ''''^'^'"""^''■'*'^ painter (18th cen- ~c?^^i'JC~' ''5 '^'■aulic engineer (16th century), 600, 603. ' ~Jp!^i''/i"s,p^"'°'*',' ^T-'" «C"l;'lor and archi- tect (18th century), 33.S, 539, 554 Ohvolo, isle of, at Venice, 180. Olmo, village near Arczzo, 656. Onibrone, river, .391. Oneglia, town, 680. Onigo, count Agostino, of Trevisa : his tomb. l4o. ' — , theatre, at Trevisa, 142. Onofri, Antonio: zealous citizen of San Ma- rmo, 427. ^^'i^'lG'^^^^^- ^'•' eliurch aud convent of Rome, 228, oo9. Opera at Bologna, 259— at Turin, 704; buffa natural and true in Italy, 64. — , Giovanni dell', Flureniine sculptor (16th century), 340, 351, 333, 560, 401. Orange-trees in Italy, 30. Orbesan, Arminius, baron of La Bastide young Frenchman buried at Padua: his epitaph in Latin and French verse, 202 Orbello, surname of Alessandro Furchi of Aerona, painter of ihe Venetian school (17th century), 82, HI, 113, 114, 11.3,116- his Mater Dolorosa, ib. ; 211. Ordelafi, Barbara, her iiue mausoleum. 423 Orestes, St., hermitage near Kome, 610. Ori^agna, and not Orcagua, surname of An- drea da Clone, Florentine painter, sculptor architect, and poeii14th ccniury): his iog- gia da' Lanzi, 319 ; 340, 352; his taberna- cle of Or-^a^•Michele, 358; his fresros of the Strozzi chapel, 360, 396, 397, 404' 407 420. ' ' — , Bernardo, elder brother of Andrea, pain- ter of the Florentine school (14lh centurvl 360, 404. — , Jacopo di Clone, brother of Andrea sculptor (14th century), 540. ' Oriani, Barnabas, great astrouoraer and ma- thematician, 56. Origlia, Gurcllo, favourite of King Ladislas. 459. ' Origo, house of, at Milan, 57. Orinoli, Pietro di Francesco degli, painter (loth century). 628. Orioli, Bsriolommeo, painter of the Venetian school (17 century), 142. — , Giuseppe, i)aluter of the Mantuan school, 297. — , S. F., professor at the university of Bo- logna, 236. Orlandi, consul of the Pisans in the 11th century, 401. Orlandini del Bcccuto palace, at Florence, 372. Orleans, Margaret of, grand-duchess of Tus- cany, 392. Orose, Paolo, manuscript of his history in the Laurentlan, at Florence, 329. Or-san-Michele, collegiate church at Flo- rence, 337. Orsetii, s., one of the founders of the hospital of St. Loui.'., at Turin, 703. Orsi, Benedetto, painter of the Florentine school (16lh centuryi, 664. — , S. Vincenzo, Florentine, proprietor of Ca- reggi, 393. Orsini, Fernando, duke of Gravina, 442. — , Ludovico, murders his sister-in-law, Vir- ginia Accaramboni, 54. — , monument of the, at Venice, 176. Orso, Antonio d", bishop of Florence, defeats the besieging army ; his tomb at the cathe- dral, 340. INDEX. 757 Orfolano, GiarabatUsta Benvenuto, painter of the Ferrarese scliool ,16th century), 218, 221 ; his tomb, 223. Orvieto, town, 6U. Oscuri, academy of the, at Lucca, 671. Ossa, cardinal: his tomb, 551. Osservanza, convent near Siena, 633. Oslia, town, .564, 605. Olho the great, archbishop of Milan : his tomb, 39. Olricoli, borough, 642. OUale, Cherubino : his ingenious expedient, 169. Ottaviani, colone! Mecsenas, of Arezzo, 657. Ottino, Pascale, of Verona, painter of the Ve- netian schiiol (17th cenlury), 113, 116. Ottoboni, cardinal, Pietro, 579. Ovato, fountain dell', at Tivoli, 600. Ovorbeck, M. Frederick, painter of the new German school, 643. Ovid, 101, 436; his statue at Sulmona, ib., his portrait at the chapel of the Madonna of San Brizio, in the cathedral of Orvieto, 614. Paccliiarotlo, Jaeopo, painter of ihc Sienese schooUlSth century), 623,623,629, 631, 634. Pacchione, Italian bandit ; his behaviour to Ariosto, 435. Pacchioni, Francesco, architect and sculptor of Reggio (Ifilh century), 269. — , Leonardo, Alberto, and Roberto, sons of the above, architects and sculptors, 269. Pacetti Camillo, Roman sculptor, 47, 62, 69,513, 548. PacidudI, the P., formed the library of Par- ma, 271, 273 ; simplicity of his tomb, 279. Pacifico, archdeacon, of the 9lh century ; his tomb at Verona, 110, 116. Pacilli, Roman sculptor CtSlh century), 531. Pacini, S., composer, 64. — , professor at the Lyceum of Lucca, 071. Padovan, Anton, assassinated at Home, 558. Padovanino, surname of Alessandro Varolari, painter of the Venetian school (17ih cen- tury), 87,88,163, 164 ; his Marriage of Cana, 168, 171, 173, 174, 173, 176, 183,198, 202, 203,206, 209,211, 214. Padua, city, 194. Paesiello, 449; his works compleie in auto- graph m the library of the Conservatory, Naples, 430. Pagani, Gregorio. painter of the Florentine school .16th century), 662, 663. Paganini, S., 536. Paganism in the manners of the literati of tlie revival, 530; poetical restoration of, 613. Paggi, Giamballista, painter of llie Genoese school (16th century), 73, 348, .331, 561, Pagnano. viliage, 138. Pagiii, Benedetto, painter of ihe Manluan school (16th century), 297. Pagnossini, Andrea, architect of Trevisa (I7lh century), 143. Painters : a civil body and functionaries, at Siena, 631. Painting of streets in Italy, 119, 629, 644. — , aiiti'iue, in the museum of >aples, 443. Paladini, Arcaiigiola, poetess, painter, singer, improvisatrice : her tumb and epitapii , 366. — . Filippo, painter ofPistoja. 366. Pala d'Oro, mosaic of the church of St. Mark. 147. Palace, archiepiscopal, of Milan, 37— ofBro- letlo, 92— civic {della Podestadura) of Ber- gamo, 89— communal, of Viterbo, 611 — del Capitanio, of Padua, 211— di Caravag- gio, at Vaprin, 86— Colloredo, at Mantua. 299— del Comuue, at Cesena, 424— del Co- nume, at Furli, 423— del Comune, at Par- ma. 284— dellaCommunita, at Pistoja, 666 —of the Conservators, at Rome, 527— della Contabiliia, at Milan, 37— di Corte impe- riale, at Mantua, 291— ofDonn' Anna, call- ed palace of Queen Giovanna, 408— del Governo, at Milan, 57— of Justice, at Pa- dua, 2H—of the Loggia, at Brescia, 94; the old palace designedly burnt, ibid.— del Magistrato, at Ferrara. 218— del Magnifico, at Ssena. 629— of Pietro of Toledo, at Poz- zuoli, 471— del Publnico, at Bologna, 234 —del I'liliblico, at Siena, 627— del Pub- blico, at Volterr:), 639— della Ragione, at Verona, 118— of the University, ' at Fer- rara, 2C0— uf the Cces;irs, 324— of Ihe De- vil, at Mantua, 299— of the Government, at Siena, 630— of the Governor, at Loretto, 433— ducal, at Genoa, 678— ducal, at Lucca, 670— ducal, at Mantua, 291— ducal, at Parma, 283— ducal, at Pisa, 409— ducal at Venice, 149— of the podestA, at Bologna, 233— /(/('w, at Padua, 211— King's, at Na- ples, 439— jrf. at Turin, 694— episcopal, nt Padda, 198— Madama, at Turin, 693— Pre- torio, at Cerlaldo, 061— ;V/., at Cortona, 653— (t/., at Lucca, 671— id., at Pistoja, 660 — i'rf., at Prato, 661- ?rf., at Volterra, 6,39 — public, of Arezzo, 639— id. of Cremona. 307— id. of Perugia, 650— fd. of Placenlia, 309— of the Senator, at Rome, 323— royal, of Alexandria, 693— id., at Venice, for- merly the Pruciiratienuove, 158— of Rome, 360— old, at Florence, 3)3- old, della Ro- gione, at Bergamo, 89. Palagi, S. Pelagio, Bolognese painter and ar- chitect, 56, 59, 61, 62^ 100, 694. Palatine umunt, at Rome, 324. — bridge, at Rome, 393. Palazzina, madhouse, at Rome, 524. Palazzolo, tower of, 90. Palestrina, ancient Prcenestc : its temple and mosaic, 601 . Palestrino, composer, head of the Italian school, 363. Palimpsesli (manuscripts), at the Ambro- sian, 33; at the chapter library of Verona, 116; at the Vatican, 312; at Turin, 696. Palio, porta del, at Verona, 108. Palladio, Andrea, celebrated architect of Vi- cenza (16th cenlury), 37, 117, 127; his Ba- silica, at Vicenza, 127,430, 171 ; his house, 128, 129; his Trisiuo palace, 128, 129; 471, 64 738 INDEX. 173; his cliurcli of Ihe Redcniore, 173; 194, 195, 211,243,299,306. Pallavicini, cardinal: his manuscriiits at llie Barl)eridna, 569. — , palace at Genoa, 681. — palace, surnaoied delle Peschicri, at Ge- noa, 682. Paliifere, Leon, French painter, 548. Palma, Felici, sculptor (16th century), 408. — , llie youni^er, painter of liiu Veiieuau .scliooj (1611) century). 43, 86, 89, 97, 114, 157, 138, 139, 142, 151, 152, 1.)3. 171, 173, <74, 175, 176, 177, 178, 179, ISO, 182 ; his loiib, 183, 184, 190, 198,203, 200, 207, 208, 211, 214, 264, 269, 310, 408, 417, u32. — , the elder, painier of the Venetian school i16lh century), 60, 88, 129, 143. 163, 170, 176, 178, 181, 185, 190, 206, 225, 299, 529, 669, 679, 694. Palniieri villa, called the villa del Boccac- cio, 388. — , Matteo, historian, 361,588. ralotta, cardinal : his distich henealh the bust of a young sirl by Gonnelii, 539. Paniiili palace, at Rome, 574. — Dorio villa, 594. pauiinatone, hospital of Genoa, 687. P.iiupaloni, S. Ludcvico, Florentine sculp- tor, 539 n., 407. Paiianti, Filippo, poet, captive at Algiers, 337. Pancotto, Pietro, painter of the Bolognese school (16th century, 247. I'dudecis of the Laurentian, the oldest known, 728. Pandolfini palace, at Florence, 370. Pandont', Galeaso, chef-d'oeuvre of Giovanni of Nola, 458. Panegyrics, Italian, better than the French, 51. Panclli, Domenico, painter of the Ferrarese school (loth century), 223. Panicale, village, 633. — , Masalino da, painter of the Florentine school (I5lh century), 364. — , Pietro da, of Perugia, painter, 654. Pani/.za, S. Barloloinnico, professor at the university of Pavia, 76. Piiiizzatlo, Mario, one ofAriosto's masters, 231. Paunaitz. German printer (13th century), established at Home, 573. Pannilini palace, at Siena, 629. Paiinini, Giovanni Paolo, painter of theRo- tuan school (18th century \ 446, 567. Panormita, surname ol Antonio di Palerrac : his Hermaphroiite, 330; 456, 435. Pantaleon, St., church at Venice, 173. Pantheon, at Pompeii, 481 ; 548. Paoletti, Gaspardo, Tuscan architect (17th century), 667. Paoli, count, of Pesaro, great chemist, 428. I'aolina fountain, at Rome, 577. Paolini, Pietro, of Lucca, painter of the Flo- rentine school (17th century), 669, 670, 671. Paolino, St., church at Florence, 361. Paolo, Cahste di, sculptor of Siena, 619. Paolo, Giovanni di, of Siena, painter ( I3ih century), 631. — , Fra, theologian, 156; his autograph con- sultations, 186; 189, 193. — , Veronese, surname of Caliari, celelirated painter of the Venetian school (16ih cen- tury ) ; his Martyrd(;ni of St. Afra, 97 ; his St. George, 115; 118, 129,150, 134, 157, 158, 130, 131, 133,139; his Rape of Euro|)a, 130; his F.iiiiily of Darius, 162,- 163, 165, 168, 171, 175, 174, 175, 176, 178, 179, 183, 184, 190, 200, 207, 211, 239 «., 324, 323, 526, 574, 446, 520, 329, 565, 366, 572, 374 ; his Magdalen, 678 ; 679, 680. — Veronese, heirs of, paintings executed by tliem atier his death, 207. Paollozzi, S., of Chinsi : his collection of Etruscan antiquities, 633. Papa, Simone, painter of the Neapolitan school ( 13lh ceutury ), 447, 439. Papacello, painter of Coriona (16th century), 635. Papadopoli, S., possessor of Aglietli's collec- tion of engravings, 161 h. Paper, when invented, 653. Papi, Lazzaro, librarian of Lucca, author of a History of the French Revolution, 671 . Papias, Greek sculptor, 527. Papigno, village near Terni, celebrated for its peaclies, 645. Papyri of Herculaneura, how deciphered, 4'<3. Papyrus of Monza, celebrated, 73— of Ra- venna, 418. Paradisino, il, or tlie Cclle, hermitage at Val- lombrosa, 593. Paradiso palace, at Genoa, 682. Parenti, S., academician of La Crusca, 368. Parigi, Florentine archilecl (16th ceutury), 583. Pariui, Milanese poet, a passionate admirer of the Coenacuiuni, 48; his bust, 56; his me- dallion, 62 ; price he asked of a bookseller for three of his poems, 559. j Paris: the studies pursued there praised by | Boccaccio, 598 n.; 465 n. ' Parisetti, Ludovico, the younger : his tomb, 269. Parisio, cardinal: his tomb, 546. Parlascio and Aringo, ancient Roman theatre at Lucca, 671. Parma, town, 271. ' Parmegiano, surname of Francesco Mazzuoia, painter of the Parmesan school (16th century ), 88, 274, 277, 279, 281, 284, 288, 323, 446, 447, 680. Parodi, Domenico, painter of tlie Genoese scliool ( 17lli century ), 678, 681. — , Filippo, Genoese .-ciilptor i,17lli century) , his mausoleum of the patriarch Francesco Morosini, 176 ; 207, 688, 693. Parolini, Jacopo, the last painter of the Fer- rarese school (18th ceutury), 113, 220, 2£3, 253. Parr, Mr. Wolstenholme, possessor of tlie unpublished dissertations of d Haucarville, 204 n. i Parrhasuis, Aulus Janus, professor of the | Neapolitan academy, 235, 448, 433, 463. INDEX. 759 Pasitielli, Lorenzo, painter of the Uolognese school ; 17th ceiilurv ), 242, 254, 2C3. Pasiiii, 696 >i. Pasquali, Filippo, of Forli, painter of the Bo- losnese school (17lh century), 417. Pasqnalini. siguora, actress, 66. Pasquicr, 297. — , baron : his report on the roads of France, 36 7j. Pasqnini/, Greeiv torso of, at Rome, 574. Passagsieri Uolandlno, jurisconsult, consul of Bologna in the 13th century : his tomb, 249 ». Passanti,BartoIommeo, painter of tlie Neapo- litan school {17th century), 460. Passerotti, Bariolomineo, painter of the Bo- losnese school (16th century \ 245. — , Tihurzio, son of the above, Bolognese painter, 243. Passignano, surname of Donienico Cresti, painter oi the Florentine school ( 16ih cen- tury \ 183, 316, 559 >i., 349, 364, 390, 407, 408, 432, 662, 668. Pasia, signora : her fiist performances at the Filodiammotico theatre of Milan, 67. Pasiorino di Giovanni Micheli, painter on glass (16th century), 618, 620. Paslrengo, Guglielmo : his manuscript of the De rins illustrilms, 183; 286. Patellani house, the ahude of the painter and architect Pellegrino Tibaldi, 37. Paterins, Florentineheretics: column tocom- niemorale ihea- defeat, 363. Patcitiian, St., cathedral at Fano, 340. Palin, Charles, French physician, son of Guy Patin : his tomb at Padua, 197. Patriciate, Venetian : its drciine, 160; more ancient than the oldest aristocracies, 161. Paul, Roman scu!plor (14lh century), 557. Paul II., pope : his tomb, 503. — III., 236, 274; his mausoleum, 502; S05, S06, 524, 350, 580, 381, 648 J)., 686. — IV., 376. — v., 649. — , St., old convent of, at Parma : its frescos;, 282— church at Bologna, 248— at Fcrrara, 222- at Milan, 42— at Naples, 455— at Pisa, 408— at Pistoja, 663— alle tre Fontane, St., church near Rome, 556 — extra muros, St.; its rebuilding, 53o~St., clmrcli at Siena, 622— at Venice, 178— at Vercelli, 53— St., door of, at Naples, 433— St., church at Lncca, 622. Pauline chapel, at the Vatican, 507. Pavement of Rome, still of basalt, 362. Pavia, town, 74. Peasant of Val d' Arno, 393. Pecci, Giovanni, bishop of Grosseto : his tomb, 619. Pedrocchi coffee-house, at Padua, 194, 214. Pegli, village, 688. Peiresc : his autograph letters at the Barbe- riana, 569 Pelagia, St., church at Cremona, 507— at Turin, 703. Pelagonius, velerinary writer of the 14lh century: his only manuscript extant in the Riccardi library at Floierice, 333. Pellegrini, chapel, chef-d'oeuvre of San Mi- cheli, 112. — , Antonio, of Padua, painter of the Vene- tian school (17lh century), 202. — , Louisa, noted for neeille-work, called the Minerva of Lombanly, 59. — , Pellegrino di Tibaldo de', Bolognese pain- ter and architect ( 16ih century), 32, 55, 37, 38, 40, 45, 49, 137, 257, 246, 257, 452. Pellegrino of Modena, Pellegrnio Munari, oftener called .-tretuni, painter of the Mo- deuese school (16ih century), 264, 508, 532. Pellico, Silvio, 101 n. Peloro, Giambattista di Pasquino del, archi- tect (16th century 1, 625. Pcndola, the P., prolessor of piiilosophy at the Toli.mei college and at the university of Siena, 622. Penetesi, Gherardo, architect of Lucca (I61I1 century ;, 670. Penna, the baron delta, of Perugia: his gal- lery, 651. Pennachi, Pietro Maria, of Trevisa, painter of Ihij Venetian school (16th century), 140, 190, Pennachini, Giovanni : his quarto work, entitled Nobiltd ed aniichitd de' Sartoii cuvulu da molli autori wpinovaU, 574. Penni, Giovanni Francesco, also called // Fottore, painter of the Roman school J6II1 century), 310, 520. Pensabene, Fra Marco, monk, painter of the Venetian school (16tli century), 191. People, the poor, live in the ancient monu- ments, 107. Pepin, king of Italy : his supposed tomb, 109. Pepoli, count Carlo, poet, 414 71. — , abbe, librarian of St. Michael in Bosco, at Bologna, 204. — , Tadileo, popular chief of Bologna : his tomb, 2'.9. Peranda, Santo, painter of (lie Venetian school i17ih century), 174, 175. Percier and Fontaine, clever French archi- lects: finish the Louvre, 46 11. ; their C/iow dfis plus ce'lcbres Afainons de plaiaance de Borne el de aes environs, 394 n. Percier, xM. ; his tomb of the countess Albani, 35G. Perelli,Geronimo : enumerates the names oi more than 550 literati born at Arezzo, 637- Perfetti, Sienese improrisatore, 632. Pergola, La, theatre at Florence, 381. Pericaud, M., librarian of the city of Lyons, 698 n. Periccioli, Giuliano, designer with the pen. 628. Vericolanti, Donne, convent of : pensions granted to vedove pericolanii, 224. Pcroni, Don Giuseppe, painter uf the Par- mesan school (18th ccHiury;, 43, 278. 279 ; his tomb, 280. Persico, count. an!hor of the description of Verona and its province, 113, 118 »i., 124. Perticari : Ui^Difesa di £)««(£, 63 ; his widow, daughter of Monti, ibid.; considered the Italian language equal to the Latin for the lapidary slyle, 31 1 ; 428, 503, 562 Ji , 613 n. 760 INDEX. Pertinax, emperor, 689. Peruccliini, his agreeable Venetian air, M9. Perugia, town, U9, 648. Perugino, surname of Pietro Vannnccl, painter, cliief of the Roman school <:;ih ceaturyl, 31, 61, 7o. ■2i\, 2^7, 306, 352,357, 564, 371, 579, 430, 446, 4o», 466, 507, 50S, 309, 3t3, 5)8, 329, 533. 343, 631, 649 ; liis frescos in llie hall del Caiiibio, ai Prnigia, 650, 631 ; iioiise of his birlh at the cita della Pieve pulled down in 1828, 635, 668. Peruzzi, Baltassare, called also B.illassare of Siena, painter and architect (13ih cen- tury), 243, 256,452, 50O 540, 354, 359, .57,>, 574, 573, 578, 579, 582. .590, 619, 621, 622, 623, 625, 626, 627, 628, 629, 650, 653, 634. — palace, at Florence, 570. — , celebrated commercial company of Flo- rence, 521. Pernzzini, Cav. Giovanni, of Ancona, painter of the Bolognese school C17lh ceniury\ 43, 452. Pesaro, town, 428. — , Benedetto, general : his mausoleum, <77. — , Nicolao di, painter of ihe Roman school (17th century), 429, 554. — , Sinione Canlarini di, painter of the Bolo- gnese school (17th ceniury), 429, 450. — palace, at Venice, 163. Pescara, fortress and town, 433. Pescario : las tomi), 456. Peschiera, fortress, 103. Pescia, town, 667. Petarzano, Simone, painter of the Milanese school (I6ih century). 30. Peteau, counsellorof the parliiment of Paris: his collectiou of books divided between Rome and Geneva, 6. Peter, duke of Savoy, surnamed the Little Charlemagne, 16. — , Chrysologus, St. : his tomb, 414. — , St., martyr, his pulpit, 44; his tomb, mau^o!eum, ibid. ; 538— i Majeila. St., convent at Aversa, 494— St., convent of Benedictines at Perugia, 649— St. and St. Orso, church at .\osla, 28— St., at Asti, C95 —in Oliveto, St., of Brescia, 96— al Po, St., at Cremona, 506— St., at Fano, 450— de' Filippini, St , temple at Geneva, 4— So- maldi, St., cluirch at Lucca, 669— in Ge.s- saie, St., al .Milan, 41— a .Majeila, St., icli'in, 4.37— ad Aram, St., at iSaples, 466— al Ro- sario, St.,al>'ovarra, 54— St., atPalestrina, 601 — in Ciel d'Oro, St., ancient church at Pavia, 77, 79— llie martyr, St , oratory at Perugia, 649— in Aincoli, St., church at Pisa, 408— .Majjr, St , church at Pistoja, 663 — basilic rif, at Hume, 500 — the intenorde- scriljed, 501— cost of tis construciion, 504 — in Montorio, S!., church at Rome, .558— in Vincoli, St.,irfe>n,542— aOvile, St., church atSiena,623 — in Castel-Vecchio, St., idem, 622— St., church at Sulmon.i, 456 ; at Ve- nice, 171 — andPaul, Sts., church a; Venice, 190— St., at Viccnza, 129— in Seici, St., at Volterra, 656. Peters, Vinceslas, painter of animals, 596. Pelraja, La, palace near Florence, 395. Petrarch, Francis : his Virgil at the Ambro- sian, 52; his life at Linterno,69;his treatise On the remedies against either fortune, 70; analogy between his opinions and Montaigne's, ibid. ; his bust at Pavia, 78 ; avowal of his libertinism during his passion for Laura, 78; accompanied bis Terses on the lute, 107 n. ; his treatise On the duty and qualifications of those %cho command , 112; disciivers Cicero's Epistolce Fami- liares, 116 ; founder of the library of St. Mark, 155, 162; his various portraits all different, 199; the most authentic, ibid.; 204, 210; his autograph letter to bis physi- cian, 210 ; prejudiced against medicine, ibid. ; his house and tomb at Arqua, 112, 195, 215 ; impression caused by bis tomb, 217, 272 ; bis cenotaph at the cathedral of Parma, of which he was archdeacon and canon, 276; his house at Parma, 286; his building, 286 ; bis life at Parma, 287; visit he received from a b:ind enthusiast, 287 ; composed the sreater part of his Africa there, ibid.; Ins retreat at Selva Plana, 288, 503 ; his copy of Cicero's Kpis- tolce Familiares and Ejiistolce ad Jtlicum in the Laurentian, 529 ; one of his portraits there, 532, 554, 561, 596, 599, 4,57, 460; wit- nessed a gladiatorial condiat, 462, 467; autcigrapb manuscript of his Rime in the Vatican, 315. 514, 384. 595, 628; curious incident on tlie day o\ his triumph, 632 n. ; bouse where he was born, al Arezzo, 637, 671, 673, 678 n. Petrazzi. Astolfo, painter of the Sienese school vl7th century), 621, 622, 623,624, 628. Petrel!!. S. Giuseppe, sculptor, 201 n. Pclrouiiis ; dialli of, at Cum:e, 373. — , St., church at Bologna, 109, 242; apart- ments of the Iieside2iza della Rev. Fab- brica, 242 ; different plans for its facade by ihe first architects, 243. Pelrucci, buok-eller at Rome, 540. — , marcpiis, of Pi'saro, learned n ituralist, 428. — , Antonelle, minister ot Ferdinand I, : his supposed corpse, 456. — , or the Magnificent, lyranl of Siena : his palace, 629; bis tomb, 633. Pevcrelli, architect, Cagnola's pupil, 69 n. Peyron, abbe .\medio, professor at the imi- versily ot Turin, 696, 697. Pezzana, S .•i., librarian of Parrna, 271, 279j 309 n. Pezzo, .Marco, learned Veronese, 130 n. Pizzoli, house of, at .Milan, 37. Pbi.elfo, Francesco : his manuscript DeJocis el Seriis, 34. Plii!ip of Xeri, St. : his dwelling, 333— con- vent at Rome. i6.— cbuich at Forli, 423— at Naples, 453— at Novara, 34— al Pistoja, 664— Tnrin, 694, 702. Philip Ihe Fair; account of his disbursements during the year 1301, 321. Philippines the, church at Padua, 208. Philosiraius, 601. Pbysiciaiis : inscription expressing Petrarch's dislilve uf them, 210. Pia villa, in the gardens of Ihe Vatican, at Rome, 521 INDEX. 76* Pianca house, at Milan, 57. Piaiiciani, the P. G. B., Jesuit, 534. Pianigiani, professor, of Siena, 635. Pianijianiiio, painter, 630. Piazza, doctor Antonio, of Pailua, 214. — , Calisto, of Loili, painter of llie Venetian school (16lh century), 42, 45, 97, 100. — , Paolo, called Padre Cosmo, painter of the Venetian school (IGlli century), 139. Piazza di Arioslo, at l-errara, 232— of the Grand Duke, at Florence, 318— Virgiliana, at Maniua, 300— di Spagna, at Konie, 370— del Popolo, at Rouie, 530— of St. Mark, at Venice, 144— dclle Erhe, al Verona, ll'J. Piazzctta, Gianibattcsta, painter of the Vene- tian school (17th cenlury), 211. Piazzi, the P., astronomer, 469. Piccinnino, Jacopo, celebrated general, 266. Piccolonuni loggia, at Siena, 630. — palace, al Siena, 629, 630. Piccolomini Bellanli, Cav., of Siena ; his gallery and its rarities, 629. Pico della Mirandola, a piiuce of great learn- ing : his tomb in St. Jlark's, at Florence, 349; 357, 592, 393 n. Picturesque in individuals, 12, 485. Pictet Deodati, S., liltrarian of Geneva, 6. Pie di Luco, lake, 6^3. Piella palace, at Bologna, 233. Pier, Florentine goldsmith (l.ilh cenlury), 662. Pier d' Arena, San, suburb of Genoa, 687. Pieri, S., professor at the Sapienza, 583. Piermarini, Giuseppe, of Folisno, architect (18ih century), 56; his ingenious roof to the theatre of La Scala, 64; the palace of Monza, one of his best works, 74. Piela de' Turchini, churcli at Naples, 454. Pietatella, idem, 463. Pietists, sectarians, 19. Pietola : fort on the site of the ancient Andes, Virgil's birlhplace. 298; 303. Pietra-Mala ; ils spring called Acqua biija, and its little volcano called Fuoco del legno, 312. Pietra Santu, town, 670. Pielro of Cortona, surname of Pietro Berret- tini, painter ol the Uouian school {17th century , 327, 332, 363, 574, 436, 529. 531. 333, 335, 5'«7, ,o33, 360, 5G3; his ceiling of the Barberini, 568, 574, 601, 634, 663. — of Toledo, viceroy of Naples : instrumental inrepeopling Puzzuoli, 471. — , Giulio di, painter of the Sienese school (13lh century , 631. — , Landodi, military architect of Siena, 628. Pieve, church at Arezzo, 637— at CastiglLone, 635. — , near Cento, 233. — , Citta della, town near Perugia, 633. Pifferari, mountaineers of the Abruzzi and Calabria : their songs during Advent at Home, 339. Pigazzano, near Placentia, villager's house at, with an inscription by S. Giord.ini, 311. Pigeons of the piazza of St. Mark, 145. — , mosaic of the, al the museum of the Ca- pitol, S26. Pigio dei Buonaguidi, Mic!ieledi,of Volterra: his tomb, 658. PIgua, Giambattisia, lilstorian of the |irinces of Este, favourite of the duke Alfonso, Tasso's enemy and rival in love, 221. PigniTol, town, 703. Pignone, Simone, painter of the Florentim school (17th cenlury), 366. Piguotti of Arezzo, poet, physician, natura- list, anliquary : his mausoleum at t!ie Campo-S:into ol Pisa, 406, 637. Pilate's house, al Rome, 393. Pinacoteca, of Bologna, 259— Brera, alMil.'!!), 60— the Capitol at Rome, 529— Verona, 1 !8. Pinali, S., distinguished architect and anli- quary of Verona, 108, 118. rincio, mount, 572. PiniJemonte, Ippoiito, poet, 63, 101 7?..; his niouuincnt of LoieiiZ', HI, 119, 120, 122, 163, 168; Academician of Padua, 197 n. ; 577 n. Pineta, of Ravenna, description, 421. Pino, gineial : his collection of pictures, 62 ; his villa, 83. — de' Rossi, rich Florentine, 399. Pintelli, Baccio, Florentine architect (15!h cenlury), 350 ; his cupola of the church ol SI- Auguitine, 332, 538, 360. Pinturicchio, Bernardino, painter of Ihe Uoinan school (ISIh cenlurv\ 529, 530, 535, 540, 559,619, 621. Pio, Alberto, prince of Carpi, 255. — , Angelo, Bologuese sculptor ( 17l!i cen- tury), 237. — college, at Perugia, 652. Piola, Domenico, painter of the Genoese school (18lli cenlury), 675, 685, 686. — , Geronimo, painter of the Genoese s-chool (t7th century), 679, 685. — , Pellegro, idem, 680. Pio luogo della Congrega, charitable esta- blishment at Brescia, 100. Piombi, the, prison at Venice, 147, 157. Pionibino, town, 640. Piombo, Sebastian del, painter of the Flo- rentine school (If)lh century), 62, 164. Piranesi, Giambattisia, engraver and archi- tect (18lh century). 536. Piron : the author's reason for not seeking the hou^e where he was born al Dijon, 1. Pir.ini, Geronimo, of Vicenza, sculplor and painter (13tli century), 200. Pisa, town, 401; first town In Europe that hail a maritime code, 406, 449. Pisan, Chrislina de, 237. Pisanello, Viltono, painter of Ihe Venetian school (13lh century), 111, 113. 630. Pisani, sculptor, director of Ihe Modena Aca- demy of Fine Arts, 267. Pisani (a Saint Paul) palace, at Venice, 162. Pisaroni, signora, singer, 581. Pisateilo, river, 423, 424. Piscina Mirabile, 474. Piso, Calpurnius : his villa at Ba'is, 475. Pisogna, town, 90. Pispini, gate, al Siena, 630. Pistoja, town, 662; noted lor its organ-;, 663. Pilenlino, Alberto. hydrauUc architect of Mantua fl2th cenluryi, 298. di. 762 INDEX. ritti, Jacopo, one of the deputies appointed to examine the Decameron, 537 n. — palace, at Florence, 373. Pittotii, Giambattista, painter of the Venetian school (18ih century), 200. Pins U : his letters to Mahomet II., 491, 6t9, 630. — IV. : his statue in the cathedral of Milan, 59 ; raises a rich inausoieuin to his brother, Giovaimi Jacopo de' Merlici, ibid. — V. ; his empty coffin at ihe abbey del Bosco, 692. — VI. : 498. 301 n. his tomb, 502, 503, 512 n., 313, 5'48, 535 n. 364, 602, 616. — Vli. ; crowned at St. George's, at Venice, 172; 424, 303, 515, 528, 5 '.8, 353, 355, 585, 652, 6j'<; his apartments at Savona, 689. — vm. suppressed the bull fights, 581 n. Pizzi, S., sculptor, 62. Pizzighettone, fortress, 508. Pizzola, S. Andrea, arciiitecl, 37. Pizzoli, Joachimo, painter of the Bolognese school ( 17lh century ), 245. Placidia, Galia Placidia Augusta : her mau- soleum, 416, 417. Piacidus, Friar, poet, 647. Placentia, town, 29; 308. Plagues of Italy, 174. Plana, S., astronomer, professor at the uni- versity of Tin-in, 693, 696. Plata, Pedio della, ou Praia, Spanish sculp- tor (16ili century ), 463, 466. Plater, coiuUe.ss Felicity, of Wiina, 434. Plaliua, librarian of the Vatican, 511; his tomb, 341. Plautia, mausoleum of the family on the Tivoli road, 397. Piiuiana, on the lake of Cosmo, not the abode of Pliny, 82 ; explanation ot the ebb and How of the fountain, 82 n. Pliny, the elder : his bust at Ihe Lyceum of Cosmo, 81 ; difference belween him and his nephew respecliu,'; Ihe Pliniana, 82 n. ; Ids oldest manuscri[it in the Ricc.irdi li- brary, at Florence, 355; 476. 498, 313, 516, .390. — , the younger : his bust at the Lyceum of Cosmo, 81 ; his letter, 82 ; his villa at Lau- rentum, 607, 613, 644. Plutarch : his remarks on the colossal head called Alexander dijing, 322 ; 436, 488, 533. Po : its aspect at Brescello and at Borgoforte, 289 ; 693. Poccetli, Bernardino Barbatelli, painter of Ihe Florentine school ( 16lh century ), 323, 346, 349, 332, 361 . 363, 366, 397, 663. Pocci.inti,S. Pascale, Tuscan architect, 413 n. Pocock : his pretended discovery of the valley of Chamouny, 14. Podacataro, Livius, archbishop of Cyprus : his tomb, 175. Pffistum : its temples, 483. Poetic truth, 162. Poets : the eminent poets of Italy and France, born iu the north, 101 ; changes of poets, 282. Pofigiali : his Mcmorie storiche di Piaccnza, 308*1. PoRgio di Cajano, villa near Florence, 392. — iiiiperiale,palacenear Florence ;itsavcnue, 386. — Braccoli, called Poggio, 291; 330; his unpublished letters at the Ricciardiai, 554 ; his statue taken for an apostle's, 340 ; 550 n., 353, 391, 603. Poiana, churcli near Hassano, 133. Pola, Bartolommeo di, sculptor of the (131h century ), 73. — palace, at Trevisa, 143. Polcasiro, Gcronimo, academician of Padua, 107 n. Poleui, marquis, commentator of Vitruvius, 215 Polenta, fainilv of the, of Ravenna : theit burial-place, 418, 419. Politian : his correcMons of Ihe pandects, in the Laurentian. .328; his notes on different manuscripts of that library, 329, 333; his epitaph for Giotto, 540. 542; his tomb in St. Mark's, at Florence, 349, 388; his verses at Ihe Mozzi villa, 389, 391, 392, 450, 617, 637, 644. Pullaiolo, Antonio, Florentine goldsmith, painter, and sculptor (13di century), 343, 531. 552, 572 tl., 503. — , Pieiro, Florentine goldsmith and sculptor (15th century), 621. Pollini palace, at Siena, 629. Pollio : ruins of his villa, 468. Polo, Ma., Bolognese sculptor (16thcent>n7), 244. Polvaro Carlotta, signora, singer, 66. Pousaraucii), surname of Nicolao Circignani, painter of the Florentine school f16th cen- tury), 264; 537, 546; 614, 637. Pompei, Count Alessandro, good architect, 119, 126. Pompei della Vittoria palace, at Verona, 1 17. Pompeii, the ciceroneol', 13 ; description, 477. Poin|>onaccio, Pietro, wrongly accused of atheism : his tomb, 296. Pona, Francesco, physician : ins tomb, H3, 118. Ponaie, cascade, 103. Ponbucci.S., librarian ot Cortona, 654. Ponchiiio, Giambattista, c.dled Borzato, of Castelfranco, painter of the Venetian school (16lli century), 138. Pons, French astronomer, 585. Pontano, Joviano, president of the Neapolitan Academy : his epitaph, 453, 512. Ponte, Atitonio da, sculptor and architect (16th century), 131; his bridge of the Riallo, 163. Ponic, ancient game, at Pisa, 410. Poute di Lagoscuro, limit of the papal states, 217. — Longo at Albt ngi, 680— Molle, near Rome, 60S— Nuovo, ^t R.ivenna, 421— Rotlo, at Rome, 393. Pontine marshes, 498. Ponti-Rossi, ancient aqueduct at Naples, 470. Pontormo, .surname (d' Jacopo Carrucci, painter of the Floienline school fieih cen- tury ), 327, 5.31, 3.32 5.37, 366, 592. Ponzio, Flaminio, architect ( 16lh century ), 365, 567, 60-. INDEX. 763 Ponzone, count Ala di : his gallery, 307. Pope, Alexander, 307. Popes : powerful abroad, but weak at Rome, in the middle ages, HO; collection of popes' portraits, 703. Popoli, town, 436. Poppi, surname of Francesco Marandinl, painter of the Fioreiitiue school (IGlh cen- tury), 664, 6ti3. Pordenone, surname of Giovanni Antonio Licino, painter of the Venetian school (t6lh century), 88, 137, 140, 164; his St. Lorenzo Giu^liiiiani, Hi8, 177, 178, 190, 282, 299,306,311,324,325. Porrata, Jacopo, of Cosmo, sculplor (I3lh century), 305. Porsenna : liis pretended labyrinth and mau- soleum, 635. Porta, Agostino della, painter of tlie Floren- tine school (13th century), 635. — , Fernando, painter of the Milanese school (18th century), 42. — , Gusiielmo della, Milanese sculptor (16th century\ 433, 443 ; his mausoleum of Paul III., 502; 534, 684. — , Jaco|io della. architect (16th century), 333, 540, 330, 353, 356, 362, 375, 582, 603, 684, 683. Porta Cdiiuana, at Naples, 434— Orientale, gate of, at Milan, 37— Pia, at Rome, 347— Stiera, quarter of Bologna, 236— San Spi- rito, at Rome, 560— Maggiore, alRonie, 540 — delPi'polo, at Home, 350. Portici, 473. Portico of Octavia, at Rome, 590. Portin;trl, Foico, founder of the liospilal of Santa Maiia Nuova, at Florence, 382. — , Pigello, clerk of Cosmo di Medici, founder of a chapel, 44. Purtioncida, church at Assisi, 643. Porto, Luigi da ; his novel of Romeo and Ju- liet, 106 «. Porto, ancient college of Nobles del, at Bo- logna, 236 Ti. — Barbaran palace, at Vicenza, 128. Porlr.iits of painters drawn by themselves, collection of, in the gallery of Florence, 524. Posi, Paolo, of Siena, architect (17lh centu- ry), 560. Posilipo, grotto of, 467. Posiiano, town, 487. Possagno, village, Canova's native place; his temple, 133. Possenti, Giovanni Pielro, painter of the Bo- lognese school (17ih century), 203 Possidrnti, painter of the Bolognese school i17lh century), 294. Po'itierla, piazza di, at Siena, 629. Potrnze, ancient popular games of Florence, 362. Potter, Paul, painter of the Dutch school (17th century), 693. Poussin, suinauie of Guaspre Dughet, pain- ter of the Roman school, 370, 542, 36">, 578, 597. — , Nicola«, French painter (17th century\ 62, 325, 419, 463, 479, 308, 509, 310, 520, 528, 329; his mausoleum, 530; 342, 548, 563, 566, 568, .370, 575, 376; his walk ia the campagna of Rome, 608; 644, 666. Puvcda, S. Giusejipe de"; his vvork entitled Del Sepolcro di mess. Ciovrmni Boccac- cio e di vurie sue Mcmorie, 400. Povera palace, at Genoa, 679, Puzzano, hill of, 486. Pozzetti. 339 «., 393 n. Pozzi, bishop of San Donnino, designer, 283. — , the P. Andrea, of Trent, painter and ar- chitect, corrupter of taste (17th century), 113, 14), 531,333. Pozzo, the abbe Agostino dal, author of the jMemorie iUoriche de' Selte cumuni vicen- tiiii, 130 n. — , Louis, Flemish painter, 142 — di Uiana. celebrated well of Siena, 621. Pozziioli, town, 471. Pradier, M., his statue of Rousseau, 3. PratI, Bartolommeo, jurisconsult : his mau- soleum, 276. Prato, town, 660. — , gate«/, at Florence, 383. Prato, Domenico da, uoet, 339 n. — , Francesco dal, painter of the Florentine school 16ih century), 98. — della Valle, scjuare and promenade at Pa- dua, 212; Canova's statue erected there during his life, ibid. n. Pratolicri house, at Keggio, 270. Pratolino, ancient villa, 312. Praxedus St., church at Rome, 541. Praxiteles, Greek sculptor, 442. Preaching, |iroiestani,4; Italian, 5!, 322. Predora, vdlage; its ruined tower, 91. Prefrttizio palace, at Vicenza : its loggia 127. Presentation of the Virgin, church at Bolo- gna, 552. Preti, Francesco Maria, architect, of Castel- franco (18lh century), 13S. Previtali, Andrea, of Bergamo, painter of the Venetian school (16lh century), 86, 88. Priests, parish (Italian) : learning among thfui, 279. Piimaticcio, Francesco, painter of the Bolo- gnese school (I6ih century), 294, 300, 501, 302. Prina, professor at the university of Pavia, 76. Prinetti, sculplor, of Novara, 3i, 33. Pruning, nourishing at Milan, 58; formerly an art, now a trade, 166; its present state at Venice, 167; at Naules, 448; at Rome, 575. Prisons of Italy. 31 ; their accordance with the different degrees of civilisation, 158. Prohus, Peter, Dutch painter (16th century), 323. Procaccini, Andrea, painter of the Roman school (18lh ci'ntury),3"8. — , Antonio, pjinter of the Bolognese school (17th century), 44. — , Camillo, painter of the Bolognese school (17th century\ 34, 40, 41.42, 43, 44,45,48, 49, 70. 73, 79, 80, 81 ; his Last judgment, 269; 309, 310. 311, 683,688. — , Ercolc, the elder and the younger, pain- 76i INDEX. tors of the Bolosnese school 16th century), 47, 48, 49, 87, 264. Pi-ocaccini, Giusp|ipe, painter, 75. — , Giulio Cesare, painter of the Bolosnese school, and sculptor (17th centnrv', 57, 39. 40, 41 . 42, 43, 44, 49, 7<, 73, 75, 79, 97. 275, 306, 3<0. Procida : Greek costume of the girls of that island, 475. Procopius : prohal)ly in error re^ippcling the antique statue of Adrian's mausoleum, SSI. Proculu3, St.. church at Bologna, 248— at Florence, 557 — cathedral at Pozzuoli, 47J. Profits of artists 249, 277, 278 n., 519, 580, 620, 623, 628, 630 Prony, Ihe baron ; his work on the Pontine Mar>hi's, 498. Propertius, 473, 514, 588, 398; his tomb, 643. Prosper, St., church at Uegglo, 269. Prosperoof Brescia : his ridiculous colossal Moses of the fountain de" Termini, 567. Protomoteca of the Capitol, 328. Piiccinelli, painter of Lucca (14th century), C70. Pudenziana, St., church at Rome, 342. Puget, French sculptor, architect, and pain- ter f17lh century), 683; his Assumption, 687. Parga di Boica, mountain near Verona : its sliells and fossile fi.-h, 126. Pulcinella theatrf, at ^aples, 450. Pusterla, Angilherto, gives the celebrated gold Paliotlo to the church of St. Ambrose, at Mdju, 46. Puzzelle, hotel delle Tre, residence of Dr. Lami, 387. Pyrgoteles, Venetian sculplor, adopted a Grecianname (t 5th century), <81,200. Q. Quadri, Geronimo, architect, 48. - , s., his statistical tables of the Venetian provinces, 186. — , S. Gianibatlista, of Naples, professor, cle- ver oculist, 448. Onaiui, Ludovico. painter of the Bolognese school (17th century\ 43, 309. Quaratesi house, at Florence, 378. Q.ualremere de Quincy, the author's principal authority on "architecture, 112 )i., 118 «., 178 n., 191 n., 297 «., 301 n., 337 n., 578, 503, 547, 582. Quatro-Capi, bridge of the, at Rome. 576. Qucrci, Luca, painter at Pistoja (18lh cen- tury , 6t33. Querela, convent of La, near Viterbo, 612. — , Jacoiio delta, Tuscan scniplor (t5th cen- tury;, 242, 618, 619,620, 621, 622, 627, 629, 668, 669. Ouiers, town, 702. Quiete, seminary della, near Florence, 393. guirico, San, and St. Juliet, church at Sieua, 622. Quirina, cardinal, founder of the library at Brescia, 93 ; verges addressed to him by Voltaire, ibid. — , San, near Sulmona : its remains of a tem- ple, 436. Quisisana, the king's ca.MUO at Castelmare, 486. R. Rabelais : his de«cription of the naturalist Pierre Gilles, 532, 352 n. Rabula, Syrian scribe, copyist of the Gospels in the Laurentian, 332. Raccheiti, |)rofessor at Ihe university of Pa- dua, 19i. Radicofani, town, G16. Raffaelli, lioman mosaist, executed the Cccna- ciilum, 48 n. Raffaellino da Reggio, surname of Raffaello Muita, painter of the Roman school (16lh century), 429, 609. Raffaello da Settignano, Florentine sculptor, 619. Ragsi, Antonio, called the Lombard, sculptor (17th century,, 43, 373, 619. Raimondl, Marcanlonio, engraver, 634. Rainaldi, Geronimo, Roman arcliitect M7th century), 243, 284, 510, 605. — , signora, dancer, 701. — . Vincenzo, 518, 333. Rainaldo, Italian architect, assistant and suc- cessor of Buschetto at the cathedral of Pisa, 401. Ramaglianti, tower of, at Florence, 372. Ranibaldi, Carlo, painter of the Bolognese school (,18tli century), 251. Ramberti, Benedetto, o.' the Aldme Academy, 126, 166. Ramclli, Felice, abbot of Latrano, miniature painter (17th century). 196. Ramignani, the P., Jesuit, architect (17th cen- tury), 663. Ramirez di Montalvo , Eleonora, poetess, foundress of the convent della Quiete, 393. Ramparts of Lucca, 672. Raucureil, the abbt-, 324. Rangana, Thomas, of Ravenna, physician and philologist: bissiatue, 179. Ranuccio, Jacopo, Bolognese architect (16th Century), 2'(3. Ranuzzi palace, at Bologna, 256, 237. Ranza, S., architect, 32. Rapallo. town, 675. — , gulf of, 674. Raphael, St., church at .Milan, 40. — , the prince of the Roman school, 41 ; biscirtiion of the School of Aihens, 53; his S|)Osalizio, 60; his portrait, 88; 100, 163, 169, 173; his St. Cecilia, 241; 274, 291, 303 )(., 307, 316, 320. 323, 324; the two Holy Families, llie St. John in the Desert, 526, 327, 344, 364, 370, 372 ; the .Madonna della Seegiola, 574 ; the Vision of Eze- kiel, ibici'.; 379,402, 403, 430, 433, 439, 446, 447; architect, 500, 505, 506; his Loggia, 507; his Stanze, 508 ; his School of Adiens, 509, 318; his Transfiguration, 519, 320; his Madonna di Foligno, 324, 529, 535, 337 ; discovery of his body at the INDEX. 76.> Pantheon in 185', 549 ; his Isaiah, 552 ; his Sibyls, 554, 556, 358, 565, 567; his liotise at Rome, 573, 575, 378 ; his Galatea, 579, 581; real cause ot his dealli, 5S2 ; 593, 59G, 605,619,621, 654,645,649, 652, 670,680, 681, 6S6. Rased, the late professor, of Parma, one of the first physicians of Italy, 285. llath, general, Gencvese, in tlie srrvice ot Rnssia : llie museum at Geneva built with the money be(iueathe(l b^ hisiiaughters, 5. Ravello, near Amalti, 487. Ravenna, 415. Raynouard, Fr.-Juste-Henri, 63; his re- searches after the original poetry of tlie troubadours, 205, 330. Re, theatre at Milan, 66. Rccco, town, 675. Red marble, anlinue : the largest block known, 541. Redenlore, fine cliurch at Venice, 17". Redi, Francesco : medical relormer and poet, 382, 386, 543, 619,656; his tomb, 639; 667. Uefolta, bridge della, near Rome, 603. Reforniagioui, archives delle, al Siena, 628. Refugio, school of Siena, 623. Reggio, town, 29, 268. — , Luca da, painter of tlie Venetian school (17th century), 199, 200, 205, 206, 209. Regillus, lake, 600. Regnoli, S., surgeon, professor at the nniver- sity of Pisa, 409. Reina, French lawyer : his library, at Milan, 56. — , S., singer, -381. Reinaud, .M., keeper of the oriental manu- scripts at ilie royal library : his interpre- tation of Mahomet 11. 's titles, 491 n. Rembrandt, Paul, painter of the Dutch school (17lii century), 163, 574, 445, 581, 695. Reniigio, Fra, Fioie)itino, translator of Ovid's Epislles, 436. Remondini, brothers, painters at Bassano, 133. Hcnaud de Villefranchc, grammarian, Pe- trarch's correspondent : histiunb, 112. Renee, duchess of Ferrara : Calvinism of her little court, 219. Renier, St., church at Pisa, 407, Renieri, Nicolas, Flemish i)aiiitiT, established at Venice (16th century), 203. Reno, river, 264. Renouard, M. Antoine-Augiiste, publislierof the letters of Paul Manuiius; his Annales de I'lmprUnerie des Aide, 134 n.; 113 n., 530. Resina, borough, near Naples, 473. Reslituta, Santa, church at Naples, 431. Reti, Liica, sculptor, 279. Retz, Gondi, cardinal of : his turbulent and factions character, 372 ; Inimoi otis account of his interview with jiope Alexander VU., 463, 667. Revival of learning : popularity of men of letters at that periud, 69; error as to its real epoch, 647. Reynolds, Sir Joshua, English painter, 524. Rezzi, s., librarian of tlie Barberiana, 569. Rezzonico, critic and poet of the 18th cen- tury : his bust at the Lyceum of Gosmo, 8i. — , monument in St. Peter's at Rome, 504. Rhainrnisio, Fracaslor's friend, his tomb, 112. Rhodiginus, Cfflius, author of the Antiquw lecliuurs ■■ his tomb, 217. Riallo, bridge at Venice, 163. Ricasoli, villa, ancient conveni of St. Jerome, 389. Ricca, the P., one of the directors of the To- lomei college at Siena, professor of phy- sics at the university, 622. Riccardi p;ilace, at Florence, 368. — , Ricardo: his tragedy of the Conversion of St. Mary lHagdiilen, 335. Riccati, Giordanoj academician of Padua, 197 11. Riechiui, Francesco, architect, 37, 44, 49, 36, 68. Ricchino, Francesco, of Brescia, painter of the Venetian school (16lh century), 96. Ricci, Cav. A. M., poet, 471 n.; his epic poem on St. Benedict, 489 /(. — , Stefano, Florentine sculptor (19th cen- luiy). 333, .3.56. 371, 380, 406; his tomb of Mascagni, 620, 631. — , Pietro, archbishop of Pisa : his tomb, 402. — , Scipione, bishop of Pistoja : contrast be- tween his palace and bis doctrines, 665. — , Sebastiano, painter, 285. Ricciardi, S.; minister of state, at Naples, 471. Ricciarelli, Leonardo, nephew of Daniello of Volterra, 636. Riccio, surnameof Andrea Briosco, ofPadua, $culplor (13th century); his basso-relievos on the mausoieum of the Turriani, H2, 168; his bronze chandelier, the most beau- tilul known, 200, 205, 206; his tomb, 209. — , surname of Bartolommeo Neroni, sculp- tor and painter of the Siencse school (16th century), 619. 621, 626, 629, 632. 6.33. Rico, Andrea, of Gandia, Greek painter, 389. Ricovero, asylum and hospital, at Verona, 116. Ricovrati, academy of, at Padua, received women, 197. Rido, Antonio, of Padua : his mausoleum, S36. Ridolli, chief of the consuls dell' Uffizio, at Florence, 344- — , Carlo, of Vicenza, painter and writer (17tli century), 110. — , Ciaudio, of Verona, painter of the Vene- tian school (16th century), 207. — palace, at Verona, 118. — , marquis Cav. Cosmo, of Florence, 3l4n., 380. Rienzl, killed near one of the lions of the Cap.tol, 525, 567 ; his pretended house, 593, 598. Rie.ssinger, Sixtus, invited to Naples, by Fer- dinand I. of Aragon, 447. Rigaud, Ilyacinthe, painter of tho French school (15th century), 679, 680. 766 INDEX. Riminaldi, Orazio, painter of llie Florentine scliool ( 17lh cpniury ), 402, 407, 408. Rimini, town, 42.4. Ilinaldo, of Mantua, painter (16tii century \ 296. UinaldoRinaliii, S., of Padua, sculptor, 165, • 98, 2t2, 233, 533. Rinieri, Dan:eie, of llie Aldine Academy, 466 >i. Rio, count da ; iiis cabinet of minerals, 215 n. Ripa, Don Maitheo, founder of the Chinese college of Capo di Monte, 468. Ripailie, ancient castle, 21. Ripalta, Antonio of : sold as a slave after the taking of rlacentia, 508. Ripetta, port of, at Kouie. 572. Riva, at liie point o( lali.e Garda, 104. Rivarola, Slcfano, 675. Rivautella, 696 n. Uivaz, Pierre Joseph de, distinguished ma- thematician^ 15 n.; his Ecktircissements sur le maityre dc la legion iheheenne, ibid. Rivola, Giuseppe, painter of the .Milanese school ( 18di century ), 43. Rivoli ; view ; battle, 122. Robbia, the la-others Luca, Geronimo, and Agostini), sculptors in earthenware ,15h century ), 542, 553, 567, 372, 579, 580, 390, 596, 398 «., 612, 655, 657, 649, 660, 662, 664, 665. Robert, king of Naples, 287 «., 337 ; 457. Roberii, the P., 603. Robolini, S., of Pavia, his Notizie appaite- iienti alia doria delta sua patria, 78. Robusli, Marietta, Tinlorelto'sdaugbter, pain- ter, musician, and singer (16th century , 185 ; her portrait by herself, 324. Rocca, the P. Angelo, Augustine nionij, car- dinal, 552. Roccabonelia, celebrated Venetian physi- cian : his tomb, 206. Roch, St., church at Boiogna, 247— at Cone- gliano, 139- at Viccnza, 129— church and confraterniiy at Venice, 177. Roche, village : the great Ilaller resided in Its chateau, 15. Rock, Tarpi'iai), 525. Rudari, arcbilect, sculptor (13th century;, 80. Rcedan, Andrea Doria's dog, 682. Rohan, Henry, duke of, author of the Parfait capitaiiie, celebrated writer and warrior, 85 ; his mausoleum in the temple of St. Peters, at Geneva, 4. Roland : his pretended lance at the cathe- dra! of Pavia, 80; liis statue at the calhe- dral of Verona, 109; his tower, 496; Ids phallus, 645. Roniagnoli, Signoi a, actress, 66. Romagnols, 414. Roinanelli, Giovanni Francesco, painter of the Roman school i)7lh ceulury •, 408, 529, 611. — , Urbani), son of the preceding, painter of tlie Roman school ,17tli century ), 611. Romanino, Geronimo, of Brescia, painter of the Venetian school f 16th century), 97, 98, 99, tl5. Romanus, St., church, at Lucca, 668. Rome, 449,499; effect of its contemplation, 525; plan of ancient Rome, 526 ; moral ot ils monuments. 554; all hislnry found at Rome, 557 ; society at Rome, 370. Romuald, St., church at Ravenna, 418. Romulus, St., hermitage of : its palmtree.*, 680. Ronca, valley near Verona, celebrated for its shflls and fossile fi^h, 126. Roncalli, Cristoforo, painter of the Roman school 1 17th century), 431. 455, 434. Roncas d' Aosta, marquis, erected the chapel of St. Grat, 28. Ronciglione, town, 609. Rondani, Francesco Maria, painter of the Parmesan school (16th century ), 274, 278. Rondi, S., at Brescia. 101. Rondinelll, Giovanni, one of the two first li- brarians of the Laurenlian, 527. — , >'icolao, painter of the Bulognese school ( 15lh century ), 417. Rondinosi, Zacariii, painter of the Florentine school (17lli century), restorer of the paint- ings of the Canipo Santo at Pisa, 405. Ronti, Maileo, monk: degraded for trans- lating the Divina Conimedia into Latin versi", 334. Rosa, Anella di, Neapolitan painter {17lh century", 434. — , Cristoforo, of Brescia, painter of the Ve- netian school ( 16lh century), 158. — , Stefano, of Brescia, painter of the Vene- tian school (16lh century ), 138. — , Francesco, also called Pacicco or Pacecco, painter of the Neapolitan school ( 17lh cen- tury }, 455. — , Pieiro, of Brescia, painterof the Venetian school ( I6lh century), 96, 98. — , Salvator, uainterof the Neapolitan school (17th cen'uiy ■, 365, 570, 37.3, 402, 506; bis tomb, 546; 360, 565, 565, 57t, 680. — , St , her body intact, at the convent of Viteibo, 611. Rosary, church of the, at Cento, called the Gallery, 255. Rosato, Constantino di, painter, 649. Roscoe: hi* Life of Leo X , 117 n., 235 «., 303 »., 514 «.; his Li!e of Lorenzo de' Medici, 349 n., 392 «., 593 n., 431. Rose, St., convent at Viterbo, 611. Roselli, Aniono, called the monarch of science, 656. — , Nicolao, painter of the Ferrarese school ( 16th century), 253. Rosellini, S. Ippolito, professor at the univer- sity of Pisa, 581. Rosenberg, Justine Wynne, countess of Ur- sins and of, English literary lady of the last century : her tomh, 206. Rcsi, professor : his college at Spello, 643. Rosini, professor, poet : his saggio suite azioni e suite opere di F. Giiicciardini, 587 n., 405, 409, 644. RO'iti, Giaiiilialtista, painter of the Bolognese school (15lh century \ 498. Rosmini, S. : his rita di Filelfo, 54; his opinion on the antiquity of St. Michael's, at Pavia, contradicted by San Quintino, 79. INDEX 767 Rospisliosi, prince Giuseppe : bis palace at Pisloja, 666. — palace, at Rome, 567. Rosselli, Cosmo, painier of ihe Florentine school (15lh century ), 345, 3ol, 557, 507, 668. — , Slatleo, painter of the Florentine school ( 16lh cenlnryX 35-i, 358, 562, 363, 379, 386, 40-2, 657, 665, 665, 670. Rossellini, Antonio, Florentine sculptor (15th century ), his niausoleuni, 596, 4i.>9. — , Bernardo, Florentine sculptor (15lh cen- tury), 355, 360, 662, 665. Rosserinini, Uomenico, painter of Pistoja (16th century), 664. Rossetii, Paolo, ol Cento, painter of the Ro- man school (J6th century), 640. Rossi, author 01 the Treatise on Peuol J.aw, 9. — , Angoio, painter of tiic Genoese school (18th century), 174. — , Angelo, Genoese .sculptor (18th century), 558. — , Signora Angelica Baitione : her coniiaua- tion of the Flora of Piednionl, 698. — , Antonio, painter of the Bolognese school (18th century \ 209, 249. — , Bertrand : his tomb at Parma, 281 — , Carlo Antonio, painter of the .Milanese school (17th century), 80. — , France'^co, antiquary, of Arczzo, 657. — , Geronimo, of Brescia, painter ol the Ve- netian school (17th century), 97. — , Pietro : his curious mausoleum, 278. — , professor Giovanni Bernarrlone : his col- lection of oriental manuscripts in the li- brary of Parma, 271 ; 285, 551. — , Properzia de", painter, sculptor, musi- cian : died of love (16lh century), 242, 251, 255. Rossini, S. : his house at Bologna, 258, 428, 449. Rosso palace, at Genoa, 679. — , Del, painter of the Florentine school (16lh century), 545, 351, 574, 624, 637. — , Signor del, professor at the university of Parma, 409. — , the late Del, Florentine architect, 659. Koslrum, at the arsenal ol Genoa, 677. lldta. Bernardino, poet: his tomb, 453. Botari, Pietro, of Verona, painter of the Ve- netian school (18th cenlin-y ), 111, 114, 200, 209. Rotator, the : statue at the gallery of Flo- rence, 526. Rote, Michel, official clerk to Ren^e of France, duchess of Ferrari, 304 ti. Botzo, one of the Seite Comuni, 150 n. Rouard, M., librarian of the town of Aix, 482 n. Rousseau, father of J. -Jacques : his autograph letter to Mme. de Warens respecting his son, 7. — , J.-Jacipies : his Discours sur le$ effels du relablissement den Sciences el des Arts, 1; house where he was born, 3; his statue at Geneva, Md. ; his letler on the condemnation of his £«ii/(!, 4; two of his autograph letters, 7; ,"?46, 449, 5C3; effect of Catholicism on his talent, 703. Rovera, princes ofv 428. Roveredo, town, 104. Roverella, cardinal : his tomb, 537. Roveria, forest, 19. Rovezzano, Benedetto da, Florentine sculp- tor (16th century), 340, 362, 365. Rovigo, town, 217; its library, iliid. Rozan, the abb6 da : his letter on the library of La Trinita, 482. P.ubaconte, Ponle, or alle Grazie, bridge at Florence, 584. Rubens, chief of the Flemish school (UJIh century), 88, 163, 322, 525, 374, 419, 445, 529, S53, 563, 567, 572, 578, 581, 679, fiSO, 683. Rubicon, river, 423, 424. Rubini, singer, 64, S9. Kuccellai, Giovanni Bernardo, epoch of Ihe re|)resentation of his Rosmunaa, 128 n. ; 371. Ruccellai della Vigna palace, at Florence, 371 . Rnlfin, priest of Aquilea, translator of Jose- ph us, 53. Riifinella, villa near Frascati, 603. Rufinus, St., church at Assisi, 646. Ruggieri, Antonio Maria, painter of the Mi- lanese school (18lh century!, 43. Ruinart, dom : his letters at Monte Casino, 492. Ruins : different impressions they make, 321. Rusca, Milanese sculptor, 33. Rusconi, Camillo, Milanese sculptor (181h century), 504, 333. Ruspi, mosaist, 396. Ruspoli iialace, at Rome, 362. Russi, Franco de', miniature painter of Man- tua (15th century), 263. Rustichino, surname of Francesco Rustici, painter of the Sienese school (17lh cen- tury), 622,623, 624, 623, 627, 632. Ruslici, Francesco, Florenline sculptor (16lh century\ 344. Ruta, village, 673. S. Sabalelli, Ludovico, Florentine painter, 33, 389. Sabatti, Cav., his house at Brescia, 100. Sabattini, Lorenzo, painter of the Bolognese school (16lh century). 241, 246, 2,i7, 260. Sabeus, librarian of the Vatican, 511. Sabina, St.. convent at Rome, 5.57. Saccbetti, 107 «., 341, 360, 396. — palace, al Rome, 381. Sacchi, Andres, painter of the Roman school (16lh century), 520, 338; his tomb, 359, 548, 560. — , Bramante, sculptor of Cremona (14lh centm-y), 506. — , family of mosaisls established three cen- turies at Ihe Chartreuse of Pavia, 75. — Carlo, of Pavia, painter of the Milanese school (15lh cenluiy\ 80. Sacred Heart, nuns of the, at Rome, 572. Sacro Catino, the, 148, 684. Sacro Speco, monastery near Subiaco, 602. 768 INDEX. Safle. abbe de : his Meinoircs four la vie de pelrarque.; asserts tiiat Laura had eleven children, 2t7. SaJolet, cardinal, 236, 266, 516 ; his tomb, S60. Siiilors, Genoese, 676. Saint Cergues : description, beauty of its view, 2. Saint Gingolph, village, excluded from the Nouvelle Ileloise fur its harsh name, 2t. Saint Gusmeus and Saint Matthew, church at Gravedona, 84. Saint Maurice, hermit, f5. Saint-Ours, Genevese, painter, 6. Saint-Pierre, Bernardin de; his opinion of the colossal head called Alexander Dying, 322 ; 546, 498. Saint-Simon, dul^e of, quotation from his Memoirs, 212; his opinion on Villeroy's surprise at Cremona, 307 n. ; 550 ; bis sin- gular portrait of the old cardinal de La Grange d'Arquien, 552. Sainte-Croix, M. de, his Examen critique dcs onciens historiens d' Alexandre qoot- ed, 53. Salaria gate, near Rome, 367. Salatio bridge, near Rome, 589. Salerno, town, 4S3, 674. Saleve, mountain near Geneva, H. Salimbeni, Arcangelo, painter of the Sienese school (16th century), 621, C25. — , Simondio di Ventura, painter of the Sienese school (17lb century), 407, 625. — , Ventura, idem M6th century), 402, 407, 622, 623, 623, 626, 645. Sallust : Ih.s house at Pompeii, 479; his gar- dens, 589. Salmegia, Enea, surnamed Talpino, painter of the Venetian school (16lh century), 40, 49, 87, 88, 89. Salo, town, 105. Saloon of Padua, 211. Salpion, Athenian sculptor, 443 Salt, duly on, appropriated at Venice to the payment of artists, 186. Salt springs ot Volterra, 640. Saltarello, Luca, painter of the Genoese school (17(h century), 686. Saltcrello, Rom.in dance, 575. Salutati, Lino Collucio, or Colluccio, poet and learned man : his mscription on Danle's portrait, 341, 355, 400. Salute, church at Venice, 172. Saluzzi palace, called Paradise, al Genoa, 682. Saluzzo, Cav. Cesare, 699. Salvatore, San, church at Bologna, 255 «., 248. Salvi, Antonio, Florentine goldsmith (15th century), 345. — , Dioti, (if Pisa, architect, 402, 408. — . S., of Brescia, learned bibliograpiier : his collection of autograptis, 375. — , Mculao, Roman architect (18ih century), 570. — , monastery of San, near Florence, 660. Saiviano, mount, 491. Salviati, Francesco, painter of the Fh>rcntme school f16lh century, 165, 317, 530. — , surname of Giuseppe Porta, painter of the Roman school (16th century), 176, 190, 506, 380. Saivini, sculptor (161h century), 576. Samacchini, Orazio, painter of the Bologncse school (16th century\ 241, 246, 257, 260, 274, 275. Samoggia, torrent, near Modena, 264 n. Sampieri palace, at Bologna, 237. San Casciano, near Florence : Machiavel's villa, 397. Sancio, Luca, or Santios, Greek painter, 590. Sancta Sanctorum : its mystery, 338. Sanctis, De', architect, 432. Sandalio, Bartolonmieo Fabio di, miniature painter (15th century), 492. Sandei, Felino, bi.-hop, 668. Saiidrini, Tommaso, of Brescia, painter of the Venetian school (17th century), 99. Sandwich, earl of this Latin impromptu on Michael Angelo's Brutus, 323. San Fiore, hamlet, 139. San Gallicano, hospital al Rome, 524. San Gallo, gate of, at Florence, 384. — , Antonio, Florentine architect (16th cen- tury), 431, 300, 304; his restoration of Santa Maria ofLorelto, at Rome, 543; 560, 380, 381, 615, 617, 648, 655, 689. — , Francesco, sculptor (16th century), 348, 352, 538, 433. — , Giuliano, sculptor and architect (13lh century), 357, 383, 591, 397, 500, 543, 351, 369, 633, 661 . San Germaiio, at the foot of Monte Casino, 471, 492. — , the P., learned missionary, 495. Sdugiorgio, Giovanni da, canonist of Padua, 237. Sin Giorgio, S. Abbondio, sculptor, 69. San Giovanni, Giovanni di, painter of the Florentine school (17lh century), 361, 363, 563, 573, 374, 388, 594, 657, 666. — Decollato, church al Novara, 34. San Giusio, halze of. In the environs of Vol- terra, 639. San Martino, Giuseppe, Neapolitan sculptor (I8lh century), 434. San Micheli, Veronese architect (13th ceit- tury), 108. HI ; his Pelegrini chapel, 112; 113, H4, H3, H7. 124, 139, 162; his castle of St. Andrew, 191 ; 201 . 274, 613, 615. San Minialo al Monte, basilic near Florence, 396. Sannazarro, Latin poet : his verses on Ve- nice, 162, 433, 459 ; his tomb, 461 ; 465 ; his verses on the Mergelllna, 408. San Qainlino: contradicts the opinion of d'Agincourt, Malaspina, and Rosnilni, on the antiquily of St. Michael's at Pavia, 79 n. Sanqnirico, scene painter of La Scala, 23, 64. San Remo, town, 680. San Rossore, farm of, 411. San Savino, Andrea di , Tuscan sculptor (16th century), 657. Sanseverino, Jacopo, Ascanio, and Sigls- mundo. poisoned by their uncle's wife; their tombs, 466. Sansovino, F., sculptor, 140. — , Jacopo Tata, Tuscan sculptor and archi. INDEX. tect (15th cenliiry), HO, H5, 446, 148, 131 ; his ancient library at Venice, 158; 159, 163, 463, 170, 171; lijs mausoleum, 173; 174, 173, 176, 178, 179, 180, 184, 491 n., 193, 200, 201, 233, 340, 351 , 364, 433, 573. Sau Spirilo, sale of, at Rome, 560. — , church at Siena, 623. — , del Morone, formerly convent of the Ce- lestines, near Sulmona, 436. Santa Croce, Gcronimo, painter of the Ve- netian school (16th century), 170, 171, 178, 203, 686. — , Geronimo, Neapolitan sculptor (16lh cen- tury), 453, 434, 439, 401, 463, 466. Santa Fede, Fabrice, paiuler of the Neapo- litan school (16t!i cenlury), 439 Santangelo, advocate, of Naples; his collec- tion of vases, medals, and his miniature sketch in grey camaieu of Michael Angelo's Last judgment, 442. Santarelli, Emilio, Tuscan sculptor, 336. Santi, Domenico, surnamed Menghezzino, painter of the Boluguese school (I7th cen- tury). 253. — , Giovanni, painter, father and first master of Raphael, 61, 430. Santini, Giovanni, professor at the university of Padua, 194. Santissirao Bambino : procession to the church of Aracceli, at Rome, 334. Santi Titi, painter of the Florentine school (16th century), 349,356, 358, 408, 637, 666. Santo, it (St. Anthony), church at Padua, 199 ; its treasury, -201 ; cloister, 202. Santo Cattaneo, painter, 97. Sanuto, Marino, of the Aldine Academy, 166 «., 186. San Vitale palace, at Parma, 284. Sanzio, painter. See SanM, Giovanni. Sapienza, university of Rome, 582. — , college at Pistoja, 666. Saracini palace, at Siena, 629. Saraina Torcilo, Veronese antiquary, his es- timate of the number the amphitheatre of Verona would contain, 107 n., his tomb,l 1 3. Sarchiani. Giuseppe : his lialian translation of the treatise of Pelagonius, de Re veteri- naria, 353; the last Dante professor, 358. Sarnico, borough, 91. Saronno, near Milan : its fine paintings, 70. Sarpi, Pieiro, surnamed Fra Paolo: his /*- toria del Concilio di Trento, 156 ; his auto- graph consullalions, 186; his body disco- vered, 189; his new tomb, 190; auaiomist and architect, 193. Sarti, professor at the Sapienza, 383. Sarto, Andrea Vanuucchi, called Andrea del painter of the Florentine school {16lh cen tury), 264, 274. 323, 524, 326 ; his frescos a the CompaguiadelloScalzo. 348; 351, 332 564, 574, 379; 592, 395, his St. Agnes. 402 447, 365, 566, 568, 572, 624. 660, 665, 680 Sarzana, surname of Domenico Fia.sella, pain terof the Genoese school (17ih cenlury) 673, 686. — , town, 673. Sarzanello, castle, 674. Sassatelli, Biagio, of Imola, general, 414. Sasso Ferrato, Tarquinio Saivi da. painter of the Roman school (17lh century), 498, 523, 434, 446 ; his Kos/iry, 556 ; 563. Satyrius, St., church at Milan, 43. Sauli palace, al Genoa, 682. Sauron, sculptor of Sparta, 540, 390. Saussure : his exccHenl description of the Great St. Bernard, 27. Savelli, family of : their mausoleum, 554 ; 590. Savl, S. Gactano, professor at the university of Pisa, 409. — , S. Slefano. idem. 409. Savignano, borough : senatus-consultum in- scribed on a column there apocryphal, 42*. Savings''Bank at Milan, 59 ; at Florence. 314. Sat'inus, St., church al Placenlia, 310. Saviour, St., church near Florence, S%— Lucca. 669— Venice, 178. Savoldo, Geronimo, originally from Pa- dua, 215, 314, 316; his auiograph notes in a Bible, 533; his cell in St. Mark's, at Flo- rence, 349 ; 330, 361, 593, 332. Savona, town, 688. Savorelli, marquis, 609. Scagiia house, at Brescia, 100. Scala, Bartolomnieo, chancellor of the Flo- rentine republic, 333; his house, 369: 588. — , Alessandra, daughterof the above, poetess, 388. •— , hospital of Santa Maria dclia, at Siena, Scala, La, of Milan, theatre : performances at, 64. — , Santa, 538. Scaliger : books annoted by him at the Bar- beriana, 569. Scaligers : their tombs at Verona, 403. Scalza, Ippolito, sculptor of Orvieto (16th century), 615. Scalzl, church near Bologna, 263— at Imola, 414— at Trevisa, 141— at Venice, 173. Scaizo, compagnia dello : its frescos by An- drea del Sarto, 348. Scamozzi, Vicenzo, of Vicenza, architect (16lh century), 89, 124, 428, 430; his Pro- curatie nuove, 158, 171, 175, 203. Scandiano, village, 270. Scarami'.ccia, Ludovico, painter of the Ro- man school, artist, writer (17t.h century), 44, 49, 234. Scan\eijne,aulhor otDeAntiquitnlePatavii, 204 n. Scarpa. Antonio, celebrated anatomist, pro- fessor at the univer.'iity of Pavia, 76. — , Fra, preacher, 51. Scarpagnino, A., architect (16;h century), 174, 177, 178, 191 n. Scarpellini, the abb6, clever astronomer, professor at the Sapienza, 523, 583. Scarselhno. surname of Ippolito Scaramuc- cia, painter of the Ferrarese school (,16th century), 221 , 222, 223, 233. Scassi, S., Genoese nhysician, 688. Scelerate, street of tne, at Rome, 542. Schadow, Rodolph, Prussian sculptor : his tomb, 548. 65 770 INDEX. sdii.ilfino, Francesco, Genoese sculptor (17ih century), 686. Schiassi, abbe Filippo, of Bologna, professor at the university, 256, 263. Scliiavone, Andrea, painter of the Venetian school {16lh century), 87, 141, i 39, 171,475, ' 177. — , Gregorio, painter of the Venetian school i1.5lh century), 199. Schidone, or Schetone, Bartoloinmeo, of Mo- dena, pain'er of tlie Parmesan school (17lh century), 274, 326, 434, 439, 446. Scliifardini, Era, Carthusian, architect, 624. Sciiirmer, Matthew, cardinal of Sion, fatal to the French arms in Italy, 22. Schnetz, M., French painter, 524, 548, 393. Scliolastic disputes useful to tiie progress of knowledge, 437. Scholaslica, St., St. Benedict's si ter; her sta- tue, her loml), 489 ; her monastery at Su- biaco, 602. School, Venetian, 167; Ferrarese. 223; Flo- rentine, 326; Sienese, 631. Schools, edifice of the, at Bologna, 260. —Austrian elementary, in Italy, 57. Sciamanna, yellow badge worn by the Jews in the Uoman states, 576. Sciarra, bandit, 435. — palace, at Rome, 365. Scipios, lombofthe, 313. Scoglietto villa, at Genoa, 682. Scopetlo, village near Siena, where Socinus planted aholra-tree, 12. Scorticnne, Domenico, architect, 683. Scorzini, Ludovico, Milanese sculptor, 40. Scotti, painter, 397. — , don Angelo, librarian of the Studj, 441, 448. — , count Orazio : his tomb, 310. Scrovigno, Enrico, founder of the Annunziata at Padua, 204. Sculpture, formerly practised on wood, mar- ble, ciay, bronze, and other metals, 178 n. Scuole, edifice of the, at Bologna, 260. Scutellari, Marietta, of Ferrara, 234. Sebastian. St., church at Genoa, 686— Man- tua, 297, 300— Milan. 43— Rome, 553— Siena, 626— Venice, 174— Verona, 115. Sebasiiani, Lazaro, painter of the Venetian school (15lh century), 190. Sebastiano del Piombo, surname of Fra Bas- tiano Luciano, painter of ilie Venetian school (16lh eenturv), 141, 178, 325, 374, 446, 447, 550, 558, 576, 581, 612. .seeciii, the P. Giovanni Pietro, Jesuit, S6I. Sedazzi palace, at Bologna, 255. Sedulius, priest and poet (161h century), 53. Sogala. Francesco, of Padua, sculptor (16lh century), 146. Segna di Buonventura, painter of the Sienese school (14lh century), 631. -, Kicolao, son of the above, painter of the Sienese school, 631. Segneri. the P., Jesuit, reformer of the Italian pulpit, 51 Segni, Bernsrdo, Florentine historian, 587. Selva, S., Venetian architecf, 135. — , church of, at Siena, 621. — Plana, near Parma, abode ofPetrarch, 288. Selvaggi, S, Gaspardo, of Naples, Greek scholar, 441. Seminary, palace of the, at Milan, 37. Semitecolo, Meoletto, Venetian painter (Uth century), 196. Seneca : his description of Pnsilipo, 467, 473 ; his portrait in the chapel of the Madonna of San Brizio at Orvieto, 615. Senesc, Michelangelo, sculptor, 554. Seuigallia : its f.iir, 451. Senlinella, hill near Naples, 474. Sepolte Vive, nuns of Rome, 545. Sepulchre, St., church at Florence, 362— Milan, 43— Parma, 278— Pisa, 408. Seratino dell' Aiiuila, poet and iraprovisatore: his manuscripts at the library of Pcsaro, 629. Seraglio, or Reale Albergo, poor-house at Naples, 469. Seraiio, Spanish poet ; his Latin verses on Ariosto's inkstand, 225. Serapis, Jupiter : his temple, worship, 471, 472. Serassi: his life of Tasso, 266, 313 «.: 37.5, 569. Serl)elloni, house at Milan, 37. — villa, 83. Serego-Alii,'hieri, countess, descended from Danie, 113 n., 120. Serguido, Guido, bishop of Volterra, 66. Seriate, village, 90. Seripandi. Geronimo, cardinal, 463. Serlio, architect, pmiil of Baltassare Peruzzi, 590. Sermino di Simone, painter, 628. Sermione, rock on the lake of Geneva, 102. Sermonetla, Geronimo Siciolanle, painter of the Roman school (16lli century), 534. Serpent, brazen : supposed by the vulgar the one raised by Moses in the wilderness, 46. Serra, maniuis Geronimo : his illustration of the inscrij)iion and bronze table in the palace of the Padri delle Comune, at Genoa, 677. — palace, at Genoa, 680. Serraglio.ai Mantua, description, itsVirgilian aspect, i89. Serre, M. de, at Monte Casino, 492. Serveius, Michael, Calvin's adversary, burnt, 5 H. Servi, church at Bologna, 251 — of Santa Maria, church at Padua, 203. Service, Greek, celebrated in the church of SI. George, at Venice, 170. Servites, church of the, at Pesaro, 428. Sestini, the abbd Domenico, of Florence, numismatist and anticjuary, 327, 337. Seslo, Cesare da, painter of the Milanese school (16ih ceniuryl, 35. Sesto Caltnde, on the Lago Maggiore, 24, 25, 26. Seslri, di Levante, town, 674. — , di Ponrnte, town, 688. Settala, Manfred, surnamed the Archimedes ol Milan : his tomb, 42. Selte Comuni ; on their Cimbric origin; vi- siteti by the auilior, 150 ; their dialect, ibid., n. Severi, celebrated musician, 432. INDEX. 771 Severin, St., cliiirch at Naples, 466. Severiis, St., convciK at Perugia, 649. Sevcsi, clever artist, 52. S6vigii6, Mme de, 306 ; her ob.servation on the princess Margaret of Orleans, 392 n. Sextiiis, Gains : his tomb, 592. Seyssel : liis manuscripts at the library of Turin, 697 ; his style, ibid. ; his tomb, 702. Seyte.", Daniello, "painter of the Venetian school (t7lh century), 705. Sforza, Francesco, liuke of Milan, the first Kalian captain of his day, founder of Ihe great hospital of Milan, 68; his dreadful pillage of Placentia, 308. — , Ippolita, married t) Alfonso, king of Naples : lier learninj^ ; first Greek book printed in Italy composed by her, 123 ; her copy of Cicero's De Seneitute, 340 — , Catherine, natural daugliter of Giovanni Galeaso : her boldness on the walls of Forli, 425- Sgricci, improvisatore, 513. Shakspeare, 106, 124, 177 n. Shelley, Percy Bysslie, poet : his tomb, S92. Shops at Pompeii, 479. Sibyl, grotto of the, 472. — of Cumae, 475. Siena, town, 212 n., 617. Sigalon, painter of the French school (19lh century), 62. Sigismund, St., church near Cremona, 307. Signal, paraile of Ihc, 19. Signoraccio, Fra Paoliiio del, painter of Pistoja 1,16th century), 663, 66.5. Signorelli, Luca, painter of Ihe Florentine school (15th ceniury), 320, 420, 307, 508, 614,657, 638, 6.54. Signorini, Pompeo. Florentine : his tomb, 536. Sigonio, celebrated scholar of Modena : his tomb, 268. Silius Italicus, 505 n. Silk, Italian, exported to Fngland, 101 ; silk first imported into Italy in the 11th cen- tury, 401 li. Silvio of Fiesole, sculptor (13ih century), 3b0, 657. Simon, St., church at Florence, 5.57. Simond, M., author of a Voyage in Italy, considers some of the basso-relievos of Ihe Gate of the Simplon superior to those of the Parthenon, 69, 290. Simone, master, painter of the Neapo'ilan school i14th century), 4.53. — , Donatello's brother, -sculptor (15th cen- tury), 300, 558,661. — of Fiesole, Tuscan sculptor (13th century), 318 n. — di Martino, painter of the Sienesc school (14th century), 628, 651. — of Bologna, surnamed da' Ci'oci/ifsi, painter of the Bolognese school (14ih cen- tury), 2.52. — of Pesaro, surname of Simone Cantirini, painter of the Bolognese school (17th cen- tury), 241, 247, 429, 430. — , Francesco di, Florentine sculptor (16;h century), 230. Simonetta, house of, near Milan: its echo, 71. Simonelta, Carlo, Lombard sculptor ( 17ih century), 45. Simplician, St., church at Milan, 49. Simplon, gate of the, at Milan, 68. — , road over the, 22. Sinner, M. Louis de, Zoin. sum, capital of the Valais, 21 ; cathedral of, 22. Sirani, Giovanni Andrea, painter of the Bolo- gnese school (17lh century), 243, 252, 263, 309. — , Flisabeta, daughter of the above, painter of the Bolognese school (17lli Cfutury , 259 «., 241, 244; his tomb, 230, 252, 205, 309, 665. Sismondi, author of the Italian Republics of the middle ages, 9, 73 n., 103 »i., 186, 233, 343, 451. Sislo, Fra, Florentine, architect (13th cen- tury\ 559. — ponte, bridge at Rome, 560. Sitillo, Giancoio, translator of the.Eneid into Neapolitan verse, 465. Sixline chapel, at the Vatic.m, 306. Sixtus, St., church at Pisa, 407— Placentia, 310. — III., St.. friend of St. Augustine : mosaics ordered by him, 541. — IV., enriched the library of the Vatican, 511, 550, 573 n., 611, 657. — V. : his bronze statue at Lore! to, 453, 310, 511, 312; wanted to convert the Culisenni into a factoiy with shops, 521, 550, 555,557, 538; his to'mb, 541, 548, 567, 587, 592, 600, 680. Skotnicki, count Joseph, Pole ; his tomb in the church of Santa Croce, at Florence, 556. Slavino di Marco, Lo, fallen mountain men- tioned by Danle, 104. Smith, doctor : mistaken as to the date of Ihe botanical garden of Padua, 197 n. Smollett, his tomb at Leghorn, 415. Soavl, Giuseppe, of Ascoli, miniature painter (17th century), 492. Soeciui, Bartolonnneo, of Siena, 563. Society at Milan, 65; at Venici-, 163; Italian society, 253, 569 ; society at Rome, 566. Socinus, Faustns : his holm-tree at Scopetto, near Siena, cut down, 12; liis autograpii letters, 652. Soddoma, surname of Giovanni Antoniu Rozzi. painter of the Siencse school (16t!i century), 522, 402, 408, 445,622, 623, 624, 623; his St. Catherine faulting away, 625, 627, 628, 629, 630, 632, 635, 637. Soderini, Pietro, ihe only perpetual gon- falonier the Florentine republic ever had; Michael Angelo threw marble dust into his eyes; Machiavel's impromptu on his death, 518 ; his cenotaph, 363. Soggi, Nicolao, painter of the Florentine school (16th ceniury), 661. Sogliani, Giovanni Antonio, painter of the Florentine school (lOtli century), 545, 357, 402. Sografi, advocate : his comedy of the Donut (ivvocuU, 88. Sojaro, surname of Bernardo, or BernarJin- 772 INDEX. Gaiti, painter of the Parmesan school (16tli century), 276, 281, 306, 507, 514. Solagna, borough, 132. Solari, Antonio, surnamcd Zingaro, painter of the Venetian school (13tli century), 80. Solaro, mount, 480. Soldani, Ambrogio, Camaldulite, 409. Sole, Giovanni Giuseppe del, painter of the Bolognese school (16lh century) 244, 252. Solfatara at Naples : its cicerone, 15, 471 ; at Tivoli, 597. Solinienc, Francesco, painter of the Neapo- litan school (17th centuryi, 452, 455,454, 455, 456, 458, 463, 464, 648, 673, 702. Sunial, Placidus Sukias, abbot of St. Lazaro, near Venice, 190. .Somma, mountain, 645. Sommaripa, Giorgio, poet, 121 n. Somniariva villa, on Ihc lalte of Cosmo, 84. Sons, or Soens, John, Flemish painter (17t!i century), 281. Sophia, St., church at P.idua, 208. Sopramuro, piazza del, at Perugia, 650. Soracte, mount near Koine, 6t0. Soranza, palace of the, at Gastelfranco, 139. Sorbi, S., goirtsmilh at Florence, 572. Soria, rjijmbatlista, architect (,17lli century), 336, 544, 545, 538. Sorra, isola di, isle in lake Fucino, 494. Sorrento, town, 484. Sorri, Pietro, painter of the Sirnese school (16th century), 402, 620, 621, 622, 626. 632. Sonltlot, French arclii;ect (18tli ci'nlury), 421. Sozomene, canon of Pisloja, scholar : his manuscripts in the library of Ihe Forte- giierri college, 666. Sozzo, Nicolao di, miniature painter, 628. Spada, Leunello, painter of the Bolognese school i,16tli cenlury). 249, 257, 264, 269; his tomb, 276, 278, 280, 281, 283. — palace, at Rome, 580. — villa, at Rome, 524. Spagna, painter of the Roman school (16ih century), 642, 644. Spagnoletto, surname of RIbera, painter of the Neapolitan school, 55, 446, 451 ; his paintings at (he Chartreuse of St. Martin, at Naples, 461, 462, 466, 563, 581, 622, 608, 669, 679, 680. Spagnuoli, Batlista, surnamcd Mantovano : his tomb, 294 ; 297. Spallanzani, celebrated naturalist : his anlo- graph manuscripts at the library of Reg- gio, 270, 673. Spanheim, scholar, 327. Spasiano, S. Gaciano, 484. Specchi, Nicolao, of Assisi, physician : his lomi), 646. Spello, town, 645. Sperandio, iMantuan sculptor and founder (16lh century), 295. Speranza, Giovanni, of Vicenza, painter of the Venetian school (15th century), 127. Speionc Speroni : his tomb at Padua, and singular epitaph composed by himself, 198,203, 212. Spezia, town; its snbmarine spring, 674. .Sjiina, Bernardo, Annibale Caro's friend, 048. Spinazzi, Innocente, Roman sculptor (18tFi century), 341, 332. Spineda, Ascanio, painter of the Venetian school (ICth century), 141, 142. Spinelli, Andrea, sculptor, of Parma, 281. Spinello of Arezzo, painter of the Florentine school (,14lh century, 3%, 404, 656, 658, 659. Spinola, Leonardo, poet of the (7th cen- tury, 686. — , Fernando : his palace at Genoa, 680. Spinola ( Giambattisla ) palace, at Genoa, 681. — (Maximilian) palace, at Genoa, 681. — villa, at Sestri di Ponente, 688. Spoleto, town, 645. Spolverini, J. B., poet : his poem of the Ri.seide, 104. Squarcialupi, Antonino, famous organist, 341. Squarcione, Francesco, founder of a cele- brated school of painting at Padua (15th century), 199. 204, 206, 214. Statins, 483, 599; his portrait in the chapel of the Madonna of San Biizio, at Orvieto, 615. Stael, Mme de, 9, n, 106, 232, 237, 300, 458, 516, 570. —, Baron Augustus de, 11 n. Stafia palace, at Perugia, 652. Stagi of Pietra Santa, sculptor (16th cenlury), 402, 657. Stair of the Trinita de' Monti, at Rome, 348. Sta.Tipa Caslig'.ioni, house al Milan, 57. Stampasoncino house, at Milan, 37. Stanzioni, Cav. Massimo, painler of the Neapolitan school (17th century ), 451, 435, 454, 439, 462, 470. Stale Inquisitors of Venice; their pretended statues apocryphal, 152 ; the opposition of Venice, ib. Statistics, science of, originated at Venice at an early period, 186. Statue of Victory in bronze, ancient, found at Brescia, 92. — - ( supposed) of Pompey, at Rome, 581. Steambiials, remarks on, 437. Sleccata, church at Parma, 280. Steeples, fide Campanile. Stefaneschi, cardinal : his mausoleum, 357. Stefani, Tommr.so di, founder of Neapolitan painting (15lh century), 451, 434. Slellini, the P. Jacopo, a monk of cxfensive learning ; his tomb, 207. Sttlluti, academician of the Lincei : his opi- nion on Ihe invention of paper, 633. Stendiial, 305. Stephen, St., very old church at Bologna, 252— at Florence, 358— in Pane, St. near Florence, 393— St., at Genoa, 683— Major, St., Milan, 41— St., Pisa, 406— il Rolondo. St.. Rome, ,537— St., Venice, ISO -Verona, 115— Vicenza, 129. Siinche, prisons of Florence ; manuscripts copied by the prisoners, 534, 383. Slockalper family, atBrieg, their castle, 22. Slolfella, professor, 150 n. Stoldi, Lorenzo, Tuscan scul^)tor (16lh cen- tury), 41, 4i, I INDEX. 773 Slone Man, the ( Uomo di pietra ), statue at Milan, 37. Slone on which the insolvent debtors in Ihe different towns of Italy were exposed, 212. Stones, hard, manufacture of, at Florence, 380. Slrabo, historian. 390. Slracciaiuoli, old palace of the drapers' com- pany, at Boiosna, 237. Strada a Santa Maria in Percussina, villa near Florence, 597. Stradan, John, Fleming, painter of Ihe Flo- rentine school (16th century), 317, 332, 364. Stratico, Simone, academician of Padua, 197 «., 204 n. Stringa, Francesco, painter of the Modencse school (17th century '■, 283. Strocchi, Cav. DionisI, poet and Hellenist, 413, 422 11. Strolfi, Hermann, priest, painter of the Ve- netian school (17th century ), 208. Strozzi, Antonio, learned jurisconsult ; his tomb, 560. —.Carlo, 330. — , Ercole, son of Titus Vespasian, Latin poet, assassinated : his tomb, 223. — , Leone, bishop ol Pistoja : his tomb, 662. — palace, at Florence, 371, 572. — , Giambatlista, poet, 547. — , Pietro, tomb of, 293. — , Filippo : his will, 555 ; 560, 372 ; his room at Montemnrlo, 661. — , Titus Vespasian, Latin poet, disliked as a minister : his tomb, 225. Stuarts, monument of the, in St. Peter's at Rome, 503. Sludite, Theodore, literary writer of the Utii century, his manuscript of the Miscellanea in the library of Modena, 263. Studj, museum at Naples, 442, 447. Stupinilz, palace near Turin, 704. Suard, J. B. Antonio, man of letters, 295 n. Subiaco, town, 575 n. Subleyras, Pierre, native of Languedoc, painter of tlie Roman scliool (81th century), 546. Sublicius, bridge at Rome, 592. Sudario, San, church at Turin, 702. Suicide, considered by Benedict XIV. as an act of insanity ; does not exclude from burial at Rome, 263. Sulmona, town, 436. Superga temple, near Turin, 704. Sudani, Jacopo, physician : mausoleum, 180. Susa, town, 706. Susani, S. Gaeiano, of Mautua : his gallery, 299. Sutri, town, 609. Suvee, director of the French Academy at Rome, 528. Suwarrow, Russian general, 511, 692. Sweynheim, German, introduced printing at Rome, 573. Sylvester II. (Gerberl), pope, native of Au- vergne, 78, — , St., church at Genoa, 686— Rome, 544— Venice, 478. Syrens, grotto of the, at Tivoli, 599. Syrus, St., church at Genoa, 683. Tabarin, the doctor, comic personage ol Ko logna, 258. Table, Iliac. 526. — , Isiac, iu the Museum of antiquities at Turin, 698, Tables, the Horaclean in the museum of Na- ples, 444. Tabularium, substructions of the, in Ihe Roman Forum, 522. Tacca, Fernando, sculptor, 673 (i. — , Pietro, sculptor ( 16th century), 347, 5.30, 538, 576, 401 ; his Four Slaves chained, 413 : 660, 675 «. Taeco, Ghino di, bandit-chief, 616. Tacitus, ancient manuscripts of, in] the Lau- rentian, 528, 474, 476, 481 , 588, 601 , 643, 691. Tadda, Eattista del, of Fiesole, sculptor (16lh century), 362. Taddei, S., proiessor at the university of Pisa, 409. Tadileo, Giovanni, painter ( 14lh century \ 646. Tadini, count, erecis a cenotaph to his son in the church of Lovera, 90. Tagliafico, Genoese architect, 679. Tagliapietra, Jacopo. Modenese sculptor (16tFi century), 267. — , Paolo, son of the preceding, 267. Tagliasacchi. Giambattista, painter of the Parmesan school ( 17th century), 309. Taglioni, dancer, at Milan, 65. Talenti, Fra, da Nippozzano, architect (13th century), 339, 361. Talpino, painter of the Venetian school (16th century),40. 49, 87, 88,89. Talucchi, Cav. Giuseppe, architect, 702, 704. Tambroni, Clotilda, Greek professor at Bo- logna. 257. Tamburini, professor at the university of Pavia, 76. — , S., singer, 64. Tanara palace, at Bologna, 233. Tanzi, Rodolfo, warrior, founder of an liosp tal : his tomb, 280. Tanzio, A ntonio, painter of the Milanese school ( 16th century), 33. Tarcagnola, MicheleMaruUo, Bvzantianpoet, preferred rival of Politian, 388, 617, 640. Targioni-Fozzetti, S., professor at tlie uni- versity of Pisa, 409,619)1. Tarlati, Guido, lord and bishop of .Arezzo, 656; his mausoleum, 638. Tartagni.Alessandro, celebrated jurisconsult: his tomb, 230. Tarlari, lake de', on the Tivoli road, 597. Tartarughe fountain, at Rome, 573. Taruggi, cardinal : his tomb, 553. Tasi, Andrea, painter of the Florentine school (15th century ), 544. Tasso: his parallel between Italy and France, 36; autograph madrigals and sonnets, 37, 101 n.; statue at Bergamo, 89, 224; manu- scripts iu the library of Ferrara, 226; his 65. 774 INDEX. supposed prison, 234 ; manuscripts in the library of Modena, 266, 298, SO", M 2, 51 3 m.; Ills manuscripts in the Pilti library, 373; 4-28; his manuscripts in the library of Pe- saro, 429, 430; his pilgrimage to Loreito, 454, 435 ; his autographs in the library of Naples, 4'i8; his manuscript of Ihe Gcrii- salemme conquistata transferred fiom Naples to Vienna, 463, 467 n.; site of his house at Sorrento, 485; his devolion to St. Benedict and his visit to Monte Casino, 489, 500 ; his autograph sketch of the three first cantos of the Gerusalemme and other manuscripts at the Vatican, 514, 337, 541 ; his tomb at SI. Onuphriu-, 539 ; sketches of sonnets at the Ghigi library, 363, 367; a Plato and other books annoted in bis hand at the liarberiana, 369, 647, 671, 672, 676. Tasso, Bernardo, father of Tasso, 89; plainness of his sepultiu-e in the clsiuch of Sant' Egidio, at Mantua, 297, 348; his casino, 428, 429, 485; a Plato in the Barberini annoted by him, 569, 686. — , Ludovico, uncle of Tasso, assassinated, 89. Tassoni, author of the Secchia rapita, 92 «., 132n.;2l5, 218 »J.; on IheSecchia, 267, 270, 285, 457. Taurigny, Richard, of Rouen, sculptor in wood 'J6lh ceulury), 207. Tavaroiie, Lazaro, painter of the Genoese school (16th century), 682, 684. Taverna villa, at Frascati, 603. Tavernola, village, 90. Te palace, at Mantua, 501. Tedaldi, Lattanzio, podeslk of Certaldo, 400. Telegraphs, suppressed in the Lombardo-Ve- netian kingdom, 81. Telgate village : its tower, 90. Temperello, surname of Cristoforo Caselli, painter of the Parmesan school (15ih cen- tury), 280, 389. Tempesia, Antonio, painter of the Floren- tine school (17lh century), 366, 537, 609. — , Cav., painter (17th century), 24. Tempi, marqui:^ Ludovico : his inedited ma- nuscripts, 662 n. Temple, ancient, at Brescia, 101— of Anlo- ninus and Faustina, 523— of Bacchus, 392— of Fortuna Muliebris, at Rome, 587— of Fortuna Virih's, 595— of Hercules, at Ti- voli, 599— of Jupiter Serapis, at Pozzuoli, i'i~deila Madonna di camnatjna, near Verona, 124— de Nerva, of Rome, 588— of St. Peter, at Geneva, 4— of Romulus and Remus, at Rome, 323— of the Sibyl, at Ti- voh, 399-della Tosse, at Tivoli, 399— of Vesta, 593. Tenerani, S. Pietro, sculptor, of Carrara : bis Psyche, 369: his tomb ofGiulio Bianchi 620. 673 n. ' Tenters, Flemish painter (17th century), 56S, 581 . Tenore, S., director of the botanical garden at Naples, 469. Teotochi Albrizzihonse, at Venice, 164. Terence, the, at the Laurentian, 329 ; at the Vatican, 512. Termini, mendicity asylum of the, at Rome. 583. — fountain, at Rome, 567. Terni villa, its cascade, 642. Terracina, town, 497. Terribilia, or Trehilia, Francesco, Bolognese architect, 243, 249, 232, 234, 260. Terzi, Francesco, of Bergamo, painter of the Venetian school (16lh century), 49. Tesi Moro, painter of the Bulo^nese school Algarotti's friend, 2'<3, 247, 40G, 6G3. ' Testa, surnamed Lucchi'sino, p.iintn- of the Florentine school (17lh cenliirv), 668. — , S. Francesco, of Vicenza, bibliographer, — , Giovanni Francesco, and Pascale, archi- tects and sculptors in wood (16th centurv) 278. •' Testaccio, mount, at Rome, 375, 384. Teudoii, Ferdinand, French sculptor (17tli century), 504. Teverorie, river, 597. Theatines, church of the, at Ferrara, 223. Theatre of the Corso at Bologna, 259— of Apollo, at Rome, 368 h., 384— of Cosmo, 81— of Fano, 430— Farncse, 283— of the Florentines, at Naples, 430— of Hircula- neum, 477— of [mola,414— ufMaiilua,500— of Marcellus, 590— of Modena, 2C8— Olym- pic, ofVicenza, 127- new, of Parma, 28i— TuUio, at Arpino, 493— of Vcroua, 1 17— of Volt>"rra, 658. — , Italian : the difference of dialects an ob- stacle to its improvement, 66. — , tilodramrnatico, ofMilan, 67. Theatres of Italy, their commoJious arran- gement. 67; the music heard well in every part, 584. Theban legion : its massacre under Maxi- mian, 13. Theodolinda, queen of the Lombards : her golden crown stolen at Paris, 79 ; her re- liquary, 72 ; her adventure with the mu- leteer in Boccaccio's novel, ibid., 342. Theodin, cardinal, his tomb, HI. Theodon, Jean-Francois, French sculptor (17lh century), 333^ Theodore, St., church at Ravenna- 417— Rome, 535. — , St., bishop of Verona, placed in the tomb of Julius Apollonius and bis wife, HO. Theodoric, 417; his tomb, 421; ruins of his palace at Terracina, 497. Theonist, St., church at Trevisa, 141. Theresa, St., church at Parma, 280— Turin, 702. Thermre of Agrippa, .«49 ; others on the road to Tivoli. .397— ofCaracalla, 591— of Dio- cletian, 346— of Pompeii, 479— of Titus, 587— of Volterra. 639. Theulie, general, 59. Thevenin, M., French painter, 548. Thomas, gate of St., at Trevisa, 143. Thomas Aquinas, St., one of his autograph treatises in the library of Naples, 448; his family extinct in the 18th century, 435; his cell, lecture room, a fragment of his pulpit, in llicconveiilof St. Doraiiiick, at Naples, INDEX. 773 436 ; his popular principles, 437 ; his school- room at Fomll, 497. Thomas II , duke of Savoy : his tomb in Ihc cathedral of Aosta, 28. — of Modena, painter (4Uli century), 141. — of Sarzana. See Nicholas V. pope. — in terra amara, St., church al Milan, 48— St., church at Padua, 208— I'arnia, 279— Pisa, 407— Cjntuarieuse, St., church at Ve- rona, H4. Thonon, town, 24. Thorwaldsen, Danish sculptor, established at Rome, 84, 352, 406, 503, 349, 366 ; his stu- dio, 570; his Christ aud llie Apo>tles, ibid. Thiirn, baron, kills his uncle Guichard, bi- shop of Sion, 21. Tiariiii, Alessaridro, painter of the Bolognese scho'il (lOlh cenlurv),79, 2H, 242, 244, 243, 248 ; his Child bron:;ht to li!e, 249, 252, 269, 280, 374, 407, 43V Tibaldi, Dotncnico.Bulosnosearchictect(46lh century), 2'i3, 255, 256, 431. Tiber : its inundations, 572; its decline, 576; its mouth, 606, 642. r.'berius, emperor, 485. Tiene, palace at ^'iceuza, 128. Tiepolo, Giamhaitisla, painter of the Vene- tian school ,18th century), 47, 89,99, J5«, 165, 471 200, 209. — , Boemnulo, killed by an old woman, 147. — , count DoiU'Miic ) : his Discorsi suUa Sloria yemla. 432 n.. 170 «. Tilianeoraus, questor : his curious epitaph, 35. Tin.izzo, torrent, 9. Tioelln, Cav. Tiberio, painter of the Venetian school (I6th century), 325. Tinet, one of the commissioners appointed by the ilepublic to chouse the manuscripts of the Vatic m, 512 «- . Tinti, Giambattisia, painter of the Parmesan ' school (leih century), 275, 278, 279. Tintoretto, suruauieof Jacopo Rohusli, great painter of the Venetian school (46th cen- tury), 97,413, 130, 131, 152,158. 4 j9, 462 ; his Slave Uelivered, 468; 170,471,472, 473, 174, 173, 17o ; his Crucifi.xion, 177, 178. 179, 180, 183,184,18-;, 190, 196,211,214, 239 «., 247, 324, 323, 326, 4'.6, 329, 668, 688. — , Domenico Rohusli, called Donienico, painter, son of the preceding, 132, 17'», 183,206. Tipografia Virijiliana, at Mantua, 294 Tiraboschia, 217, 227, 237 ?«., 257, 265; his written correspnndence at the library of .Modens, 266, 272, 283, and note, 396 n. ; his letters at Monte Casino, 492 ; 373 n., 684 n. Tirali, Andrea, Venetian architect ( 17lh cen- tury), 127. Titian, nameofTizianoVecellio, great painter of the Venetian school ( 16th century), 60, 61,62, 88,89; paintings lost, 94; 93,97,98, 100, 110, 127, 140, 146, 150, 131, 132, 13.3, 138, 159, 162, 16.3, 163, 167, 168, 171, 172 475. 176, 177, 178, 179, 181 ; place of his interment, proposals for raising a monu- ment to him, 176; his .Martyrdom of St. Petei- the Domtiiican, 183, 184, 483, 196, 198, 201, 202, 203, 206, 211, 223, 239 «., 240, 2.")6, 297, 310, 320; his caricature, 321, 324, 323 ; his two Venuses, 326, 349, 352, 374, 430, 433. 439 ; his Philip II., 446, 519. 329, ,365, 566. 368, 572, 375, 578, S80, 381, 679, 680, 686. Tito, di, or Sanli Titi, painter of the Floren- tine school f I6lh century), 349, 356, 338, 408, 637, 666. Titus Livius : his supposed cortin, at Padua, 211, 344 n. ; his topographical accuracy, 589, 604. 603, 652, 656. Tivoli, town, 598. tizio, historian of the famous banquet given to Pope Leo X. by the banker Alessandru Ghigi, 378. Tizzone palace, at Vercelli, 32. Toccoli, remarkable mausoleum of this house, at Parma, 279. Todi, town, 653. Tofanelli, S., painter, 34. Toledo, street of, at N'.qiles, 442. Tolentini, church at Venice, 173. Tolentino, Giovanni; his niausoieuiu and epitaph, 49. ToUius, James, Dutch philologer and alche- mist, 329. Tolmino, castle, 120 Tolo.'nei, Jacoiio : his letter on the waters and fountains of Rome, 570 n. — , Guglielmo, Bolognese professor : his tomb, 626. — college, af Siena, 622. — house, at Pisloj.i, 666. Toliisani, Fra Giovanni, astronomer of the 16tli century, 036. Tomati-Robilant, countess Prassede ; lier mau- soleum, 554. Tommaseo, S., literary man, 337. Tomniasi. Giambaltista, last grand master of Malta: his tond}, 654. Tommasini, S., ancient professor at the uni- versity of Bologna, 236, 285. Tommaso Pisano, sculptor, 663. Tonani, the P. Don Rarairo, Benedictine of Parma ; his inscription on the bridge over theTrebbia, 311 n. Tonelli, or Torclli, painter of the Parmesan school ( 16lh century ), 278. — , the lawyer Tommaso, translator of Shepherd's Life ol Poggio. 334. Tonghi, or del Tonchio, Francesco sculptor (14th century), 619. Topaja villa, near Florence, 394. Topiiei, Genevese pamter, 6. Torcello, isle near Venice, 191; its duonio, ibid. Torelli, count, poet of the 16lh century, 117. — , Jacopo, of Fano, architect v17ih century), 430. Torlonia, S., dnkeof Bracciano, hanker, 557 ; his palace, bails, 565; 568. 592. — palace, at Rome, 363. 582. Tornabuoni, Giovanni, Florentine noble, 360. Tornaquinci, Giovanni, septuagenarian, kill- ed at the battle of .Monie-aperli, after de- fending l)is Carroccio, 620. Tornioli.Nicolao, paintcrof the Sicnese school (17lh century), 628. 776 INDEX. Torno, on the lake of Cosmo , its factory-con- venl, 82. Toro Farnese, group at the museum of Na- ples, 443. Torpe, St., church at Pisa, 407. Torre, del la, formerly popular chiefs of the Milanese, 49. — , Napoleon della, confined in an iron cage, 81. — , Pagano della, 102 n. ; his lomb, 72. — della Gaveta, near INaples, 473. — della Nunziata, near Naples ; its powder wills, 461. — Nuova, near Paleslrina, 600. — Pignatara, on the road lo Palestrina, 600. Torregiani, BartolDmmeo, painter of the Roman school (17th century ), 563. Torretti, Giuseppe, sculptor, Canova's first master, 138. Torri, p.ilace delle, at Turin. 696. Torricelli ; his manuscripts at the Pitti palace, 373. Torrione, Gassone, 44. Torso of the museum of the Vatican, 516. Tortelli, Giovanni, of Arezzo, librarian of the Vatican, 636. Tortoua, town, 692. Toscanelli, Paoli, physician, philosopher, astronomer, and matiiematician : his me- ridian in the cathedral of Florence, 341. Toschi, S., celebrated engraver at Parma, 273. Toselli, Oltavio, Bolognese sculptor, died in the hospital, 245. Tosi, count Paolo, of Brescia : his gallery, 100. — , Signora, singer, 449. Tour.La, village, 706. Tourbillon, an old ca^ile, 21. Tournon, M. de, his Etudes slatistiques SU7- Rome, 503 n. Touron, M., his sermon on the occasion of the September fast, at Geneva, 4. Tower of Boetitis, at Pavia, 78— of Cremona, 303— of Gahbia, at Mantua, 81 , 238— of Zuc- caro, at Mantua, 299— del Mastio, at Vol- terra, 638— of Palazzolo, 90— of Placentia, 81~of Telgate, 90. Tozzi, the P. Dom Bruno, rector of the Her- mitage or Celle of Vailombrosa, artist and botanist. 393. Tradate, Jacopina da, sculptor (I3ih cen- tury^, 39. Traini, Francesco, painter of the Florentine school (I4lh cenluryj, 407. Trajan: St. Gregory obtains his deliverance from hell for the beauty of his forum, 93 n. Translators, errors of, 84 m., 290. Transteverines, 337. Trasimenus. lake, 632. Trasmondl, baron Antonio, surgeon at Rome, professor at the Sapienza, 383. Treasury, at St. Mark's. 148. Trebhia, river, 3H. Tremezzine, on the lake of Cosmo, 84. Trento, Cav., his tomb, 129. Trento Pappafava house, at Padua, 213. Treves baron ; constructions in his garden at Padua, 214. Trevi, town, 644. — , fountain, at Rome, 370. Treviglio, Bernardino da, painter of the Mi- lanese school (15th century), 41, 49. Trevisa, town, 159. — , Geronimo di, painter of the Venetian school (IGth century), 242. Trevisan palace, at Venice, 161. Trevisani, Angelo, painter of ihe Venetian school (18th century), 96, 702. Triachini, Bartolommeo, Bolognese architect (16th century), 257. Tribolo, Nicolao, Florentine sculptor (16lh century), 242, 373, 393, 394, 402, 433, 434, S34. Tribonian, 3^8. Tribuna of the Florence gallery, 326. Trinity, church of the, at Bologna, 231— Flo- rence, 362— Lucca, 670— Maggiore, churcli of, at Naples, 458— of the Pilgrims, sur- named Hossi, church at Parma, 283— de' Monti, church at Rome, 548, 372— of the Pilgrims, cliurch at Rome, 360— church al Siena, 623— at Turin, 703— monastery ol the, at La Cava, 482— bridge of the, at Flo- rence, 383. Trissino : his epitaph on his master Demetrius Chalconilylas, 40; his Sophonisba, 128; his villa, 129, 260. — palace, at Vicenza, 128. — dal Velio doro, al Vicenza, 128. Triton, fountain of the, at Rome, 568. Triviilzio, Giovanni Jacopo : his baton of marshal of Fr.ince, 57 ; his family mauso- leum, 42 ; library, S3 n., 56 ; ascertains and determines the true position of Linterno, 69 n. — , Teodoro, first introduced the culture of rice into the territory of Verona, 108. Trouclii, S., of Pistoja, clever organ builder, 663. Tronchin, of Geneva, instigator of the con- demnation of Rousseau's Emile, i. Trophies of .Marius, at the Capitol, 323, 587. Troy, Giovanni of, painter of the French school (18lh century), 283. Tura, Diiio di, burlesque and satirical poet of the 14lh century, 383. Turamini, Crescentius, banker of Siena, 634. Turbia, borough ; its lower, 691. Turchi, the P. Adeodato, celebrated preacher, bishop of Parma, 276. Turco, Fiaminio di, arciiilecl, 624. Turin, its progression, 694. Turiiu'. Francesco, painter, 373. — , Baltassare, testamentary executor of Ra- phael, orders the portraits of the tatter's mistresses, and the Lante villa, of Giulio Romano, 579; his tomb, 668. Turinus, Vetronius, favourite of Alexander Severus, 588. Turriani, physicians of Verona : their mau- soleum, 112. Turrita, Jacopo da, mosaist of the Florentine school (13th century), 344, 539, 541. Tursi Doria palace, at Genoa, 680. Tuscany: impression it produces oa quitting (he Roman states, 6)6. Tusculum : its ruins, 602. INDEX. 777 U. Ubaldini, Roberto, Dominican, 349. L'bertini, Guglielmo degli, of Arezzo, 636, 657. Uccelli, S., professor at Ibe university of Pisa, 409. L'ccello, Paolo, paintpr of llie Florentine school (tSth century), 341, 361. Udina, Domenico, paiuler, 361. — , Giovanni d", painter of the Roman school (16lh century), t64, 527, 307, 508, 518. [ffizj, of Florence, 520. Ugarugsieri, Ciampolo de Meo de*, Sienese of the I5lh century, translator of the /Eneid, 632. Ogo, marquis of Tuscany, one of the foun- ders of the Badia, at Florence ; his tomb, 357. Igolino of Siena, painter (15th century), 538. — , count : his daughter, 369 ; his tower at Pi^-a, 410. Ugoni, Camillo, 34 n., 293 n., 554. Uguccioni, Benedetto, provvedilore of Flo- rence, 539 «. — palace, at Florence, 320. Uldaric, St., church at Parma, 278. Uiivelli, Cosmo, painter of the Florentine school (17th century), 563. Ungher, signora, singer, 683. Universality of the French language, ancient, 533. Universities : Bologna, 236— Genoa, 683— Pa- dua, 194— Parma, 283— Pavia, 76— Peru- gia, 651 —Pisa 409— Siena, 631 — Turin, 696. Uovo, castello dell", at iVaples, 440, 491. Urban III., pope : his sepulchral stone, 220. — v., Grimoald, great French pope, 488; finds the heads of St. Peter and St. Paul, and lodges Ihem m St. John in Lalerano, 338, 559; pretty story in one of Petrarch's letters addressed to this pope, 616. — Vlll : his tomb, 502; 304, 349, S69, 574 n., 573 ; confers the title of eminence on the cardinals, 569 ; his moral distich on Apollo and Daphne, 596. Urbauo of Cortona, sculptor, G19. Urbiui, Carlo, painter of the Venetian school (16lh century), 40, 42, 44. Urbino, town, 118. Viti, d': manuscript of his Hcrbkr, 269. Isimbardi, Usimbinlo. l)i^ho[) ofColle, 693. L'zzano, Mcolao da, Florentine noble, 390. V. Vacani, S., his History of the campaigns and sieges made by Italians in Spain from 1808 to 1813, .58. Vacations and numerous holidays of the li- braries in Italy, 250. Vacca, sculptor of Carrara, 667. — , Flaminio, sculptor of Cremona (16th cen- turv;,520. Vacca-Berlinghieri, Andrea, celebrated sur- geon: his mausoleum at the Cainpo Santo of Pisa, 406. Vaccai, S., composer, 428. Vaccaro, Lorenzo, Neapolitan sculptor (17lli century ), 495. Vado, fort of, 689. Vaga, Perino del, painter of the Florentme school (16lh century), 508, 532, 537, 563, 618, 681. Vaillant, eminent writer, 527. V.iladier, M. Joseph, French architect, 548. Valais, 21. Vale of Chiana, in Tuscany, 655. Valentino, castle near Turin, 612 «., 695. — , Mos6, painter of the French school (17th century); his Martyrdom of Sts. Processus and Martinian, 520, 529, 565. Valeriani, professor at the university of Bo- logna, 256. — , S., of Florence, man of learning, 337, Valeriano : his work De Lilteraloruni Infeli- citatc, 512 w. Valerio, Vicentinoj engraver and founder (16lh century): his crystal casket repre- senting the Passion, 525. ValeriusMaximus, .592. Valets de place : AlKeri's appellation of them, 13. Valiero, dose of Venice: his tomb, 182. Valla, Lorenzo: wanted to burn the Henna- vhiocHle and its author, Panonnita, 350. Valle, Pietro delta, Roman traveller and pil- grim, 554. — theatre, at Rotue, 584. Valletta, Nicolao, his Inscription on a public house at Posilipo, 465 ; his work on the Jef- tatura, 466 n. Valley of the Adige, 105. Vallombrosa, 394. Valloscm'o, village, 456. Valmarano palace, at Vicenza, 128. Valois, Charles of, cause of Dante's exile, 464 n. Valori, Baccio, senator, one of the two first librarians of the Laurentian, 327; appoint- ed to examine the Decameron, 537 n.; 570. Van Dyck, Anthony, painter of the Flemish school (17th century), 88, 274, 323; liis Charles V. after his abdication, 526; 574, 450, 559, 565, 675, 678, 679, 680, 681, 685, 694. Vanloo, Carle, painter (18lh century ), 693. Vanni, .Andrea di. painter of the Sienese school (16lh century ), 625, 651, 654. — , Francesco, painter of the Sienese school (16th century), 407, 550,622, 623; his tomb, 624 ; 625, 626, 628, 664, 668, 669. — , Michelangelo, son otthe preceding, sculp- tor, 624. — , Giambattista, painter of the Florentme school ( 17tli century ) 557. — , Ralfaello, painter of the Sienese school (17th century), 623, 628. ^ , — , Torino (li, painter of the Florentine school (14th century), 408. — d" Appiano, Jacopo, 641. Vannini, Ottavio, painter of the Florentme school ( 17th century ), 363, 373, 407. Van Obstal, Gerard, Belgian, sculptor in ivory : his grotip of the Sam/ice oj Abraham, the largest of the kind, 100. 778 INDEX. Van Orlay, Flemisl) painter (16th century), 624. Vanpraet, man of learning, 52. A'^ansanzio, Giovanni, called // Fiammingo, architect ( 17lh century ), 595. Vantini, professor llodolfo, architect, 37, 101. Vanvitelli, Ludovico, architect(18th century), 431 , 466; his palace of Caserta and aque- duct, 487, 488 ; 532, 604, 622. Vaprio, on the road to Bergamo: its colossal Virgin in fresco, 86. Varano, Costanza, correspondent of the great Isola, 335. — , Venanziano : his mausoleum, 335. Varchi, Benedetto, pnet and historian, 260 n., 330, 348, 349, 353, 378, 583, 394, 609 n. Varena, on the lake of Cosmo : mildness of its climate, 83. Varese, town, 80. Varignana, surname of Domenico Aimo, Bo- lognese sculptor and architect ( 16lh cen- tury), 243. Varolari, Darius, of Verona, painter of the Venetian school (16ih century), 175, 196, 206, 211. Varro, 414, 6,53. Vasari, 57 «., 71, 165, 177, 204, 213, 2'H, 242 a., 248, 273, 295, 296, 297 «., 299, 300, S16, 317, 318, and n., 339, 320, 324, 526, 327, 343, 515, 347 )i ,552,353, 557, 363, 372, 376, 378, 385, 391, 393, 396, 404. 405, 407, 417, 425 «., 453, 475 n., 503, 520, 534, 543, 559, 579, 580, 595, 625, 626, 628, 629, 635, 637, 6i9, 634, 636, 657; his Loggie, at Arezzo, 6.57 ; 658, 659, 660, 662, 664, 666, 668, 670, 688, 692. Vase, the Medici, ia the Gallery of Florence, 324. ^ Vases, earthen, in the Gallery of Florence, 322. — , collection of, in the museum of Naples, 444. Vasi, 600 n. Vassallo, Antonio Maria, Genoese painter (17th century ), 673. Vatia, Servilius, Itoman senator, 473, Vatican, 505. Valout, M., 3 n. Vaudese, 705. Vecchielia, Lorenzo di Pietro del, sculptor ( 15lh century I, 619, 621, 627. Vecchietii pal.ice, at Florence, 372. Vecellio, Marco, painter, Titian's nephew, 151, 183, 191. Veil. 300)1., its site, 608. Veil, taking the, 4G6. Veja, natural hridge of, in the Veronals: its description, <24. Velabrum, 590. Velasquez, don Diego Rodriguez de Silva y), Spanish painter (16th cemury), 323, 447, 529, 675. Veli, Benedetto, painter of the Florentine school (17th century), 362, 662. Velino, mount, 494. — , river, 642. Vellano, or Bellano of Padua, fuunder (15lh century ), 184, 203, 206. Velleja, ancient town, 273. Vellelri, town, 498. Venafro, town, 437. Vendome, duke of: his remark on muleteers, 20. Vendramini, Andrea, doge of Venice : his mausoleum, 163; 182, — Calergi palace, at Venice, 163. ■\enerando Consorzio, ecclesiastical congre- gation of Parma, 280. Venetian women : without influence at Ve- nice, except the courlisans, 151. Venetians : their character, 147, 160, 163. Venezia, a quarter of Leghorn, 412. Venezze house, at Padua, 214. Venice, 143; its decline, 144; project of joining it to the continent, ibid. ; its spirit of society, 163; its ecclesiastical population, 169; its plagues, 174, 176; its carnival, 189 ; return to Venice by moonlight, 192; its so- litude, its origin and fall, 194. — , palace of, at Rome, 566. \ enieri, Francesco, doge of Aenice : his tomb, 178, 179. Venlimiglia, town, 691. Venturi, Giambatisia : this essay on the phy- sico-uiathematical manuscripts of Leo- nardo Vinci, 55 /!., 108 n., 266. — , Cav. : his Sloria dell' origine e de' primi progressi delli modcrne arti- glierie, 678 n. Venluroli. college, at Boloi^na, 260. Venus Callipyge, at the museum of Naples, 443. — of the Capitol, 527. — of Capua, at the museum of Naples, 442. — of Medicis, at the gallery of Florence, 526. Venusti, Marcello, painter of the Florentine school i16th century"), 442, 5.30, 611. Venuli, Ridulfino, antiquary, 653. Veracini, Agostino, painter of the Florentine school (ISlh century', 343. Verhano, the, steam-boat on the Lago Mag- giore, 24. Vercelli, town, 31. Verdizzotti, Giovanni Maria, landscape pain- ter, Titian's |)upil : his letter to ArJosto's nephew, Orazio, taken by Lord Byron for a letter of Titian's to Ariosto, 227. Verger, M., singer, 64. VerinI, Ugolino : manuscript of his poem of the Paiadisus at the Laurenlian, 330; friendship of Lorenzo de' Medici for this family, ibid. Verita, mausoleum, HI. Verme, Pietro dal ! his tomb, 112. Vermiglio, Giuseppe, Piedmontese painter (17lh century), 40. Vermiglioli, S., antiquary of Perugia, pro- fessor at the university. 650, 631 . Vernet, M. Horace, painter, 371 n. — , Joseph, painter, 572, 629. Verona : its aspect, 105 ; contains monuments of various epochs, 120; 219 n. Verri, count Alessandro, Milanese : his me- dallion, 62; his tomb, 531. — , count Pietro, Milanese : erects a tomb to Paul Frisi, 44. verrochio, Andrea da, Florentine, painter. INDEX. 779 sculptor, architect ci5lh century) : liis horse and slalue of the CoUeoni inonii- nient, tS-i; liis maiisoleuin of Giovanni and Hietio de" Medici, 3/<6 ; 355, 358, 579, 662. Vcrza, (lie baroness Silyia Ciirloni, of Verona, at tlie liead of liie subscription for the Pin- denionte monument, 63 ». V'erz(!lii, Tiburzio, sculptor (I6lh century), 433. vescovo-a-S.-Toscana, porta del, at Verona, 408. Vespino, surname of Andrea Blanchi, pain- ter il6th century^ : the preservation of the Ccenaculiim confided to him by Cardinal Federico Borromeo, 48. Vespucci Americanus : site of his ancient palace at Florence, 582. Veslris, good actor, 68. Vesuvius, the c(te/-o(((? of, 13; 476; ils pre- tended hermits, ibid.; its different erup- tions, ibid. Vettori, Pietro, orator, critic, professor at Florence, 348, 352 ; his tomb, 364. Vevey, town : Kousseau's journey there, 17; Ludlow and Broughton interred in the cathedral, ibid. Vezzosi, of Arezzo, the ladies' physician, 637. Via Appia, the oldest and greatest of the ancient highways, 496, 391— Cassia, 613— yEmilia, 414, 415— Sacra, at Ihe Forum, 323— Sciierata, 342— Doraitiana, at Pom- peii, 478. Viani, Giovanni Maria, painter of Ihe Bolo- gnese sch.iOl (17lh ccniury\ 88, 251. Vianino, surname of Antonio Maria Viani, pamter of the Mantuau school (,16th cen- tury), 292. Vicentini, Alessandro, sculptor, 222. ""sr^' Vicentino, surname of Andrea Micheli, pain- ter of the Venetian school (16th centufO, ^137,150. jgiki Andrea, painter of the Venetian school M7th century), 128. Vicenza, town, 127; indebted lo its native artists f(]r its masterpieces in painting and sculpture, 128. Vico. on the lake of Cosmo, 83. — , Giambattista, author of the Scienza nuova ; his tomb, 454. — , Pietro di, lord o( Viterbo, 610. Victor, St., chiu'ch at Cremona, 307. — al corpo, St., chiu'ch at Milan, 48. Victorino, of Feitrc, founder of infant schools and elementary instruction, 291. Vida, Geronimo, Latin poet, 307. A'idal, St., church at Venice, 180. Vidoni palace, at Rome, 373. Viene, San, gate at sicna, 650. Vieri, Ugolino, Sienese goldsmith (14lh cen- tury) : his reliquary of the holy corporal of Bolsena, 613. Vieusseux : his scientifie and literary establish- ment at Florence, 337. Vigna Palatina, at Rome, 524 Vignali, Jacopo, painter of the Florentine school fl7th century!, 357. Vignola, surname of Jacopo Barozzi, fiiini his birth-place, celebrated architect (IBIh century\ 243, 254, 284. Villa, marquis of: his mausoleum, 221. — reale, piomeuade at JXaiiles, 440. Villas, character of, 594 Villana delle Botti, the blessed : .spoken fami- liarly of by Sachetii ; her toiid), 360. Villani, Giovanni, 314 n., 331, 386 «. ; his remark on the intellectual influence of the air of Arezzo, 656. — , Matteo, Florentine historian, 620. — , Filippo : his portrait of Boccaccio, 400, 419 (i. — , the three, Florentine historians and writers : their chapel, 332. Villar-Bobbio, village, 706. Villemain, M., 53 n. Villeneiive, town, 16. Villeroi at the siege of Dole, 2 ; his surprise at Cremona, 307. Viilers, M. Ch., his E.isoy on the spirit and influence of Luther's Reformation, 227 m. Villetard, secretary of the French legation at Venice, author of several tragedies, died at Cliarenton, 186. Villoison, Greek scholar, 134 u., 444. Vimercaii, Carlo, painier ot the Milanese school (17lh century), 45. Vincent, St., and St. Anastasiu.s, church at Lucca, 670— near Rome, 556. Vincenzi, Antonio, Bologne.se architect (14th century), one of the riformatori, and am- bassador, 242. Vincenzo, St., village, 641. Vinci, Gaudenzio, painter, chief ofihe Mila- nese school, 26. — , Leonardo, great painter of the Milanese school (loth century) : his Treatise on Painting, 40 n. ; his Cceiiaculum, 48 ; his physico-malhematical manuscripts at the Ambrosian, 55 ; pointed out the motion of the earth before Copernicus, 5-3 n. ; his vignettes for the book of .Maximilian, son of Louis Ihe Moor, 56; executed part of the IVaviglio canal, 68 ; first inventor of angular bastion.sl08, 169, 324,326, 344, 3.5S, 564 374. 379, 419, 446, 509. bo9; his Modesty and Vanity, 563, 612, 627, 662, 670, 680, Vineis, Pietro de, chancellor ol Frederick IL, 449 Villi, Sebasliano, Veronese, painter of the Florentine school il6th century), 66,3, 665. Virgil, 13, 81, 82. 101. 212, 289, 290, 291, 293 ; declared lord of Mantua bv the popular voice in 1227,298; his Gothic sia'tue, ibid.n., 30.5, 307, 313; the oldest manuscript of Virgil in the Laurentian, 328, 419, 452, 462; Columbarium called his tomb, 467, 468, 472, 483 ; manu,script with verses adiJed, not printed, 49t ; Virgil of the Vatican, 512, 522, 588, 600, 605, 610; his portrait in the chapel ot ilie .Madonna of San Brizio, al Orvieto, 615, 644, 676. Virgjliana, ancient pal.'ce of the dukes of Mantua, at I'lelola, 505. — , Piazza, at Mantua, 300. Virgina dtlla Regina, pavilion near Turin, 693. Visacci palace, at Florence, 370. 780 INDEX. Visconii, Giovanni, arcLbisliop and lord of Milan : his toraii, 39. — , Ollio the Great, idem, 59. — , Stefano : mausoleum erected to him by his father Mathew, Ui. — , Hector or Aster : his corpse preserved, 73. — , GiovaimiGaicaso, duke of Milan, founder of the Charterhouse at Pavia, 74 ; his tomb amply, ibid. — , Giovanni Maria, duke of Milan : inters a priest alive, -48 n. — , Eimins, great antiquary, 292, 323, 445, 516, 562. — , Filippo Maria, duke of Milan : puts to death ihe brolhprs Mazzardini, pirales of theLaso Maguiore, 25, 178. Vismara lioiise, at Milan, 57. — , Gaspardo, sculptor, 48. Viso, S., learned antiquary : rejects the tra- dition concerning Pietola, 303. Vital, St., church at Parma. 279— and Agri- cola, church at Bologna, 246— St., basilick at Ravenna, 4t6. Vitale, Bolognese painter (14th century), 262. Vite, Timoleo della, of Urbino, painter of the Roman school (15lh century), 241. Vilerbo, town, 610. Vitoni, Ventura, ofPisloja, clever architect (16th century), 664, 663. Vitruvius, architect : Formiaj and Naples claim the honour of his birth, 108. Vittoria, Alessandro, sculptor (<6lh century), 96, 128, 137, 140, 149, 150, 171, 173, 173, 176, 178, 179, 180,183,201. Vivarini, Ludovico, painter of the Venetian school (15th century), 178, 182, 393. — , Barlolommeo, painter of the A^enetian school (13ih century), 171, 173, 177, 178, 180,190 Viviani, Vincenzo : his manuscripts at Ihe Pitti palace, 373; his house at Florence, rebuilt with the pension of Louis XIV., 378, 387 n., 4G3. — , S.. professor at the university of Geneva, 683. Voghera, S. Ludovico, architect, of Cre- mona, 307. Aoiturin: Ihe most commodious manner of travelling in Italy, 20. Volpato, celebrated engraver: his cenotaph, 543. Volpi, Milanese .sculptor, 43. VoUa, Alessandro. celebrated professor of the university of Pavia, 76; his statue at Cosmo, 81, 312. Voltaire : instigator of the condemnation of Rousseau's Emile, 4 ; one of his manuscript letters in the possession of M. Cherbuliez, at Gent'va, 7 ; his chamber at Ferney, 10 «• , 60, 117, 216, 260, 2C7, 293; bis correspon- dence with Bellinelli, ibid, and note; 432, 473, 678, 698. Volterra, town, 636. — , Daniello da (Ricciarelli), painter of the Roman school (16th century), S06, 328, 532, 348. 532, 339, 575, 579. Volterrano, surname of Baltassare Frances- cliini, painter of the Florentine scliool (17th century), 551, 552,336, 561, 365, 566, 390, 393, 411, 636, 657. Voltri, borough, 688. Volvino, Lombard goldsmith, author of the Paliotto of ihe church ol St. Ambrose, at Milan, 46. Vomsro, near Naples, 470. Vouet, Frencli painter (17th century), 685. W. Walls of Volterra, C36. Waller Scott : his heroes' names occasionally vulgar, 16; 38«., .364. Weiss, M., librarian ol Besangon, 23 n. Well of Orvieto, 615— of Tolano, at Arezzo, 658. Wenschefeld, Pietro, Flemish sculptor, 582. Wicar, painter, 634, 649. Widus, archbishop of Milan, 25. William of Insprnck, architect (12lh cen- tury), 403. Winckelinann : 316, 528, 396. Windham : his pretended discovery of the valley of Chamouny, 14. Witte, professor Charles, Prussian, editor of the Letters of Dante, 133. Wolf ot t'.ie Capitol, 528. Women of Bologna ; their learning, 237— of Brescia ; Alheri's verses on their characters 93— ofModena, have a copy otst. Jerome's Letters executed at their own cost iu the 12th century, 265— illusirinus, of the Re- vival, belong ng to the highest classes, 123 ; their public cliaracltr and influence, 335. Works, public, of the middle ages : executed rapidly, 402. Wren, Sir Christopher, Englisharchitect, imi- tator of Palladio, 129 n. Xavier, St. Francis : his letter, a manuscript relic, exposed on his festival in the church of St. Lucy, at Bologna, 231. Y. Young, colonel, director of the military col- lege at Milan, 60. Z. Zahaglia, Nicolao, engineer-artisan: his tomb, 546, 560, 564. Zaccagni da Torchiera, Bernardino de', also called Ludedera, Parmesan architect, 277. Zacchia, Paolo, Ihe elder, painter of the Flo- rentine school (16th century ), 669. Zacharias, St., church at Venice, 170; fete celebrated there, ibid. Zaganelli da Cotignola, painter (16lh cen- tury ), 279. Zago, Santo, painter of the Venetian school ( leth century), 184. Zanibeccari da S. Paolo palace, at Bologna, 256. Zanchi, Antonio, of Este, painter of the Ve- netian school, 207. INDEX. 78< Zanilonienpghi, S., Veiieiian sculptor, t39. | Zaiidiini, S., professor at the university of I'avia, 76. Ziiietii, bishop of Trevis.i : his tomb, 1-50. Zafinoiii, Francesco, of Citladella, clever restorer of paintingM ( I8tli century), 2H. — , the late abb*?, antiquary of the gallery of Florence, 357, iU, 651. Zanolii, St., of Florence : shrine, 340. Zaiiolli, Giovanni Fietro Cavazzoni, painter of llie Bolognese school ( t7th century), 237, 2W, 247, 2 '.8. Zappi, Giambattisia: his sonnet on Cij,'nani's f'ijgine del fuoco, 423; on Wicbael An- gelo'sil/OA'es, 542. Zecca, the Mint, at Venice, 159. Zecclia-Vecehia, at Florence, 314 n. Zelotti, Battisia, of Verona, painter of the Venetian school (16tli century), 128, 213. Zeno, SI., church at Bassano, 135— at Verona, 109. — , St., his singular statue; his tomb, 109. Zenzaliera, gauze curlaiu ( Venetian cono- peuin), 160 ii. Zevio, Stefano da, or of Verona, painter of the Venetian school ( lothcenlnry), 113. Ziiigarelli, celebrated composer, 450. Zingaro, surname of Antonio Solari, born at Venice, and not in the Abruzzi, as sup- posed, 80, 437, 447, 448, 453. 435, 466. Zocclii. Giuseppe, painter of the Florentine school (18thcen(ury), 636. Zoccolanti, convent of the, at Narni, 642. Zoccolo, Ludovico ; liis curious passage on the delicacy of French music, 563 n. Zoega, Danish antiquary: his tomb, 548. Zoppo, surname of Giambattista Discepoli, of Lugano, painter of Ihe Milanese school, 48. — , Paulo, of Brescia, painter of the Venetian school (1611) century), 97. Zucca, Francesco, mosaist, 556. Zuccari, Federico, painter of the Roman school ( 16lh century), 77, 155. 340; hi.-; house, .377, 469, 306, 600, 609, 614. — , Taddeo, painter of the Roman school (16lh century), 310, 306, 580, 593, 600, 609. Zuccato, Arminio, painter and mosaist, 171. Zucclii, Marco Antonio, architect and sculptor in wood Cl6th century), 278. Zucco, Francesco, of Bergamo, painter of Ihe A'enetian school ( 17tli century ), 88. Zuria, cardinal Placido ; his description of Fra Mauro's map of (he world, l.'i?. EM) OF THK INDF.X. PSIiNTEB BV CVSIMIIl, VI, RUE [IE F.» VIEILIE- MO>.N AIF. GU. ^,p )g'^5r