Published Occasionally. MUERAY'S RAILWAY READING: Containing ^Works of Sound Information and Innocent Amusement, printed in. large Readable Type, varying in size and price, and suited for am, Classes of Readers. Already Published. A MONTH IN NORWAY. By John G. Hollway. ¦ WELLINGTON. By\TuLEs Maurel. Is. LIFE OF LORD BACON. By Lord Campbell. 2s. Gd. LOCKHART'S SPANISH BALLADS. 2s. 6d.\ FALL OF JERUSALEM. By Dean Milman. Is. LITERARY ESSAYS AND CHARACTERS. By Henry Hallam. 2s. STORY OF JOAN OF ARC. By Lord Mahon. Is. LAYARD'S POPULAR ACCOUNT OF NINEVEH. 5s. , MUSIC AND DRESS. Two Essays. 1*-. GIFFARD'S DEEDS OF NAVAL DARING. 2s. Gd. NIMROD ON THE TURF. Is. Gd. LIFE OF THEODORE HOOK. Is. THE EMIGRANT. By Sir F. B. Head. 2s. Gd. THE FLOWER GARDEN. Is. LORD MAHON'S " FORTY-FIVE." 3s. CHARACTER OF WELLINGTON. By Lord Ellesmeke. 6c?. „ THE ART OF DINING. Is. Gd. THE HONEY BEE. Is. OLIPHANT'S NEPAUL AND THE NEPAULESE. 2s. Gd NIMROD ON THE ROAD. Is. ' % ESSAYS FROM « THE TIMES." 4s. NIMROD ON THE CHACE. Is. JAMES'. FABLES OF J5SOP. 2s. U . ' Also Just Ready. BEAUTIES OF BYRON. Poetry and Prose. June, 1853. HANDBOOK FOE TRAVELLERS IN NORTHERN ITALY. NOTICE. The Editor of the Handbook foe Italy is very solicitous to be favoured with corrections of any mistakes and omissions which may be . discovered by persons who have made use of the book. Those communications especially will be welcomed which are founded upon personal knowledge, and accompanied by the name of the writer to authenticate them. Travellers willing to make such communications are requested to have the kindness to address them to the Editor of the Handbook, care of Mr. Murray, Albemarle Street. Caution to Travellers. — By a recent Act of Parliament, the introduction into England of foreign pirated Editions of the works of British authors, in which the' copyright subsists, is totalh/ prohibited. Travellers will therefore bear in mind that even a single copy is contraband, and is liable to seizure at the English Custom-house. Caution to Innkeepers and others. — The Editor of the Handbooks has learned from various quarters that a person or persons have of late been extorting money from innkeepers, tradespeople, artists, and others, on the Continent, under pretext of procuring recommendations and favourable notices of them and their establishments in the Handbooks for Travellers. The Editor, therefore, thinks proper to warn all whom it may concern, that recom mendations in the Handbooks are not to be obtained by purchase, and that the persons alluded to are not only unauthorised by him, but are totally unknown to him. All those, therefore, who put confidence in such promises may rest assured that they will be defrauded of their money without attaining their object. — 1843. *¥f* No attention can be paid to letters from Hotel-keepers in praise of their own inns ; and the postage of them is so onerous, that they cannot be received. HANDBOOK FOR TRAVELLERS NORTHERN ITALY: " BEINO A GCTIDE TO THE STATES OF SARDINIA, LOMBARD Y AND VENICE, PARMA AND PIACENZA, MODENA, LUOOA, AND TUSCANY AS FAR AS THE VAL D' ARNO. SffiJttf) JMap anD plants. FOURTH EDITION, REVISED AND CORRECTED. LONDON: JOHN MURRAY, ALBEMARLE STREET. PARIS : A. & "W. GALIGNANI AND CO.; STASSIN AND XAVIEE. FLORENCE : MOLINI, AND GOODBAN. 1853. THE ENGLISH EDITIONS OF MURRAY'S HANDBOOKS MAY BE OBTAINED OF THE FOLLOWING AGENTS : — Germany, Holland, and Belgium. AIX-LA- » CHAPELLE f I.D. MAYER.—!,. KOHNEN. KISSINGEN LEIPZIG . C. JUGEL. T. 0. WEIGEL. AMSTERDAM . J. MULLER. LUXEMBOURG BUCK. ANTWERP MAX. KORNICKER. MANNHEIM . ARTARIA & FONTAINE. BADEN-BADEN D. R. MARX. MAYENCE VON ZABERN. BERLIN . A. DUNCKER. MUNICH . LITERARISCH - ARTIST- BRUSSELS . C MUQUARDT. — KIESS- ISCHE ANSTALT — LING & CO.— A. DECQ. I. PALM. OARLSRUHE . CREUZBAUER & CO.- NllRNBERG SCHRAG. A. BIELEFELD. PESTH HARTLEBEN— COBLENTZ BAEDEKER. G. HECKENAST. COLOGNE . L. KOHNEN.— PRAGUE . CALVE. A. BAEDEKER. ROTTERDAM . A. BAEDEKER— KRAMER. DRESDEN . ARNOLD. STUTTGART . P. NEFF. FRANKFORT . C jflGEL. TRIESTE . MUNSTER. GliATZ DAMIAN & SORGE. VIENNA . C. GEROLD.— THE HAGUE . VAN STOCKUM. BRAUMULLER &SEIDEL HAMBURG PERTHES. — P. ROHRMAN. HEIDELBERG . J. MOHR. WIESBADEN . C. JU'GEL.— C. W. KREIDEL Switzerland. BASLE SCHWEIGHAUSER. LAUSANNE HIGNOU a CO.— WEBER. BERN HUBER & CO. LUCERNE F. KAISER. COIRE GRUBENMANN. SCHAFFHAUSEN HURTER. CONSTANCE . MERK. SOLEURE FENT. ST. GALLEN HUBER. ZURICH H. FUSSLI & CO.— GENEVA . KESSMANN MONROE . Iu dy. H. F. LEUTHOLD. BOLOGNA M. RUSCONI. NICE . SOCI ETE' T YPOGR APHIQU E FLORENCE MOLINI— GOODBAN. — VISCONTI GENOA ANTOINE BEUF. PALERMO . CHARLES BEUP. LEGHORN ROLANDI. PARMA J. ZANGHIERT. LUCCA ", F. BARON. PISA . NISTRI JOS. VANNUCCH MALTA . MUIR. PERUGIA . VINCENZ. BARTELLI. MANTUA . NEGRETTI. ROME GALLERINI.— MONALDINI. MILAN ARTARIA & SON.— -CUCCIONI. MOLINARI.— SIENNA . , ONORATO TORRI. P. 4 J. VALLARDI.— TRIESTE . HERMAN F. MUNSTER.— SANGNER. FAVARGER. MODENA . VINCENZI & ROSSI. TURIN GIANNINI & FIORE NAPLES . DETKEN « CO. BOCCA.— MARIETTI. VENICE . HERMAN F. MUNSTER. Fra ice. AMIENS . CARON. MONTPELLIER LEVALLE. ANGERS . BARASSE'. NANCY GONET. AVRANCHES ANFRAY. NANTES . GUE'RAUD.— FOREST BAYONNE . JAYMEBON,. AINE'. BORDEAUX BOULOGNEBREST CAEN . CHAUMAS LAWALLE WATEL.— MERRIDEW. HEBERT. VILLENEUVE. ORLEANS . PARIS . , GATINEAU.— PESTY. GALIGNANI.— STASSIN ET XAVIER. CALAIS RIGAUX CAUX. PAU . AREES.— AUG. BASSY. DIEPPE . MARAIS. PERPIGNAN . JULIA FRERES. DINANT . COSTE. A REIMS BRISSART BINET. DOUAI JACQUART.— LEMALE. ROCHEFORT . PENARD. DUNKERQUE LEYSCHOCHART. ROUEN LEBRUMENT. GRENOBLE VELLOT ET COMP. ST. ETIENNE . DELARUE. HAVRE COCHARD. — MADAME ST. MALO . HUE. BERTIN HUE. ST. QUENTIN . DOLOY. LILLE , VANACKERE.— BE'GHIN. STRASBOURG . C. F. SCHMIDT. - LYONS GIBERTON & BRUN— TOULON . MONGE ET V1LLAMUS. AYNE' FILS. TOULOUSE GALLON.— H. LEBON. MARSEILLES . MADAME CAMOIN. TOURS COUSTURIER.— BONTE. METZ . WARION. TROYES . LALOY. Sp xin. MADRID . MONIER. Ru GIBRALTAR . ssia. ROWSWELL. ST. PETERS- 1 BURGH | ISSAKOFF N. ISSAKOFF 1 MOSCOW . W. GADTIER. BELLIZARD. ODESSA , VILLIETTY. Constantinople. PREFACE TO THE FOURTH EDITION. The length of time that has elapsed since the publication of the last edition of this work (1847) has rendered many additions and alterations in it necessary. Owing to the extension of railways in several states of Northern Italy, important changes in the distribution, and description of several of the Routes became indispensable. Some new Routes, also, have been added. It has been the Editor's endeavour to render this New Edition as complete a Guide-Book, of the country it professes to describe, as possible; and in doing so he has to acknowledge his obligations to numerous kind Correspondents, who have transmitted to him valuable practical information for the purpose. It is only by such means that a work of this kind can have any claim to perfection, and he begs still to solicit from those who use the Handbook for Northern Italy, any additions or corrections, founded on personal observation*, they may be able to transmit to him, or any information generally of a practical character, useful to travellers on the spot. The Editor thinks it proper to state that Sir Francis Palgrave, the author of the first edition of the Handbook for Northern Italy, has had nothing to do with the three subsequent ones, except as regards those portions of the original work that have been retained, London, July, 1852. CONTENTS. PRELLMINAKY OBSERVATIONS. PAGE 1. Plan of the Work — : 2. Passports and Doganas — 3. Routes — 4. Modes of Travelling — 5. Sight-seeing — Laquais de Place and Ciceroni — 6. Money — 7. Inns and Accommodations — 8. Books — 9. Maps of Italy — 10. Objects to be noticed — 11. Fresco-painting — 12. -Music is Tables of Foreign Coins reduced into the different Currencies of Italy - xxix Table 1. English Money reduced to an equivalent Value in the Money of the several Italian States --------- xxx Table 2. Currency of the different Italian States reduced into English Money, at the par of exchange - xxxi Table 3. Showing the Value of the different Measures of Distances em ployed in Italy, reduced to English Miles and Furlongs - - xxx Sect. I.— PIEDMONT AND SARDINIAN LOMBARDY. Introductory Information — Tables of Money 1 Routes ..-------.--- 6 Sect. II.— SARDINIAN DOMINIONS ON THE MEDITERRA NEAN—THE RIVIERA DI PONENTE, AND RIVIERA DI LEVANTE — TERRITORIES OF NICE, MONACO, AND DUCHY OE G-ENOA. Preliminary Information - 62 Routes ----- 67 Sect. III.— AUSTRIAN DOMINIONS— LOMBARDO- VENETIAN KINGDOM. Preliminary Observations 115 Routes 127 viii CONTENTS. Sect. IV.— DUCHIES OE PARMA AND PIACENZA. PAGE Preliminary Information ™™ Routes 356 Sect. V.— DUCHY OP MODENA. Preliminary Information |82 Routes ... 383 Sect. VI.— TUSCAN STATES. Preliminary Information ... - ... 390 Routes Ml Index 561 PRELIMINARY OBSERVATIONS. 1. Plan of the Work. — 2. Passports and Doganas. — 3. Routes. — 4. Modes of Travelling. — 5. Sightseeing — Laquais de Place and Ciceroni. — 6. Monet/. — 7. Inns and Accommodations. — 8. Books. — 9. Maps of Italy. — 10. Objects to be noticed. — 11. Fresco-painting. — 12. Music. — Tables of Foreign Coins reduced into the different Currencies of Italy. — Table 1. English Money re- duced to an equivalent Value in the Money of the several Italian States. — Table 2. Currency of the different Italian States redueed into English Money, at the par of exchange. — Table 3. Showing the value of the different Measures of Distances employed in Italy, reduced to English Miles and Furlongs. I. — Plan of the Worki. The present edition of this Handbook has been revised with a view of making it simply a guide to the most remarkable places of Northern Italy, and drawing the attention of the traveller to the nature and quality of the objects mentioned. Reflections not seeming to'contribute to this end have been excluded : those who desire remarks or reflections upon Italy can find books containing them in plenty, from Forsyth down to the latest lady- tourist. Of the objects here pointed out to the traveller, most have long been thought worthy of inspection and admiration ; some, however, have not, but have risen into notice through a periodical fluctuation of taste and opinions. These latter are inserted, because some travellers will wish to see them, and others ought, in order that they may judge for themselves, and avoid being imposed upon. f The compiler of a Handbook is happily relieved, by the necessity of being useful, from the pursuit of that originality of a tourist which consists in omitting to notice great works because they have been noticed by others, and in crying up some object which has hitherto been deservedly passed over. It would too be a great misfortune, if the editor of a Handbook of Italy were ambitious of composing an original work. Italy has been so long studied, that all its most interesting places and works have been re peatedly and carefully noted down ; and so much has been written, and by persons of such ability and acquirements, that the most difficult task is that of selection of materials. Although, therefore, the Editor has had the benefit of repeated personal examination, he has not scrupled to use freely the numerous works which treat upon the subject. As it is not possible, in the Compass of a Handbook, where space is so valuable, to indicate where passages have been extracted from, the following works are here mentioned as those which have been chiefly used, in order to protect the Editor from the charge of borrowing without acknowledgment, and that the traveller may, if he wishes, seek in them further information. In architecture, Mr. Gaily Knight's splendid work on the Ecclesiastical Architecture of Italy has been referred to in all cases in which the buildings mentioned in this work have been described o 3 x 1.— Plan of the Work. Introd. by him, and his descriptions and observations are frequently given. Pas sages from Wood's ' Letters from an Architect ' have been often inserted, particularly -those relating to the architecture of Palladio and Scamozzi at Vicenza and Venice, a subject he seems to have particularly studied. His remarks are always unaffected and sensible ; and whatever may be the value of his criticism, it is quite intelligible, and is clearly expressed. Some of Mr. Gwilt's lucid descriptions of celebrated buildings have been taken from his Encyclopedia of Architecture. For much of the description of the Oertosa of Pavia and the palaces at Mantua, and of some other places, the Editor is indebted to the magnificent volume entitled 'La Oertosa de Pavia,' published at Milan, and to the letterpress of the elaborate and beautiful work on ' Fresco Decorations and Stuccoes of Churches and Palaces in Italy during the Fifteenth and Sixteenth Centuries,' by Mr. Lewis Gruner, from whom he has also received some valuable manuscript observations and corrections. As travellers have sometimes a curiosity to know something about the produce and agriculture of Italy, and as such information usually lies in large unreadable books, a short summary of information on these points, taken chiefly from the Papers presented to Parliament by the Board of Trade, is inserted. Considerable assistance has been derived from the Guides produced for the use of the Scienziati ItaUani, at their annual meetings. Those of Milan and Venice are elaborate works, and full of useful and interesting matter : those of Florence and Lucca are, not being so detailed, less satisfactory. Some critical remarks are inserted on works of art, and on several of the more celebrated at some length. These are nearly all derived from persons whose opinions are of weight ; and, although the remarks may not be as sented to by the traveller, at least they are worthy of his consideration. Besides the writers who have been already mentioned with reference to architecture, Flaxman's Lectures have supplied a few remarks ; and for many the Editor is indebted to distinguished living artists, whose names or initials will be found appended to their remarks. The greater part of these last have been kindly communicated in manuscript. Besides these, the Editor has been enabled to give some valuable observations on pictures and frescoes, from notes made by the late Professor Phillips, R.A., during a tour in Italy. Most of these have not yet been published ; and for them the Editor is indebted to the kindness of that eminent artist's son, Henry Phillips, Esq. It will add to their value to perceive that certain negligences of style prove ihem to have been written down on the spot. These are distinguished either by his name, or initials T. P. The observations be tween inverted commas to which the leter R. is appended are by the author of ' Modern Painters.' We have endeavoured to apportion the extent of our remarks and descrip tions to the importance of the subject ; but where, as in the cases of the Galleria Reale, the Palazzo Pitti, and the Accademia of Florence the Accademia of Venice, and the Br era at Milan, there are complete and 'good catalogues of the collections to be obtained on the spot, we have only in dicated the best or most remarkable pictures : whilst, inasmuch as there is no printed catalogue of the Galeria Reale of Turin, we have in that in stance, given a complete list of the paintings as they were arranged in September, 1841, in order to supply the want of such an aid. Introd. 2. — Passports and Ddganas. xi We have extended our descriptions and explanations of some of the allegorical and Scriptural pictures of the middle ages, as in Giotto's chapel at Padua, the Capella degli Spagnuoli in SantaMaria Novella at Florence, and the Oarnpo Santo at Pisa, in order to enable the traveller to understand and set the proper value on those singular compositions. Many incidents are taken from the Apocryphal Gospels, others are allegorical : and the allegories, in many cases, would be quite unintelligible, had not the meaning been preserved by tradition. Unless they are fully understood, the traveller will only obtain a vague and unsatisfactory impression of the forms, without appreciating the mind and genius of the artists. The historical and literary notices are as short and few as we could make them. In a subsequent section (8) we have pointed out from what sources our deficiencies may be partly supplied. A few anecdotes and citations have been introduced when it has been thought that, by creating an interest, they might be useful in fixing the scene in the traveller's memory. 2. — Passports and Doganas. Every English traveller proceeding to Italy, or indeed to the Continent, ought to procure a passport from the Foreign Office, which now costs only 7s. Gd., it being the best certificate of his nationality, and obtain in London the visas of all the principal powers through whose territories he intends to pass : by this mode a great deal of trouble is saved. It is abso lutely necessary for entering the Austrian territories, and is admitted without visa into those of Prussia. The diplomatic agents of Austria never issue an original passport except to her own subjects, nor can the visa be obtained in England excepting upon the passport of the British Secretary of State. In France, whatever passport you carry with you, it is taken from you at the port where you land, in exchange for a provisional one (passe provisoire), which costs 2 francs, and forwarded to your place of destination ; but, by mishap or mistake, this is sometimes delayed. But the British Secretary of State's passport is generally re-delivered to you with the provisional one, on your stating you do not intend remaining in Paris, and you have all your credentials in your own possession. At the same time it should be recollected that this is merely a matter of courtesy, and can only be solicited as such, and not as a right. If this plan be not -adopted on leav ing England, you may obtain a passport at Paris, at the British Embassy, taking care to obtain the needful contra-signatures of the legations of those states through which you will have to pass ; if you intend to embark at Mar seilles for Italy, it maybe necessary to have the visa of the French Foreign Office. These regulations, however, are constantly varying. With respect to Tuscany, the following additional information may be useful : — On arriving at the gates of Florence, the traveller is obliged to deliver up his passport, for which a receipt is given, which he is to present in a fixed time at the police-office in the Palazzo non Finite. If he intends to remain for any length of time in Tuscany, a " carta di soggiorno " is delivered to him, for a period not exceeding 6 months, and for which a small fee destined for the poor-house is paid. On leaving Florence, he must apply for his passport ; have it signed by the British Minister, the Tuscan Minister for Foreign Affairs, and the Ministers of the states through which he intends travelling. xii 3. — Boutes. 4. — Modes of Travelling. Introd. It should be borne in mind that no person is allowed to enter the Austrian dominions unless his passport has been vis^d by an Austrian minister, and that this rule is never departed from. The smaller states, Parma, Modena, Massa, and Tuscany, are satisfied with the Austrian visa. The King of Sardinia and the Pope require the visa of their own officers, which may be obtained gratuitously at their respective missions in Paris, but for which rather a heavy charge is levied by their consular agents at Marseilles and other ports. With respect to the Doganas : — When travellers arrive by a diligence, or other public conveyance, it is in most places usual to have all the luggage opened, trunk by trunk, and package by package : and, if any cause for suspicion arises, carefully searched. But, in the case of a party travelling either vetturino or posting, the conduct of the Doganieri is usually different. They do make a distinction ; and if the party gives them an assurance that there is no prohibited article or book in the luggage, — and a fee, — then no examination takes place : you proffer the keys, and a few of the trunks are opened and closed again. Should any object appear out of -the common way, it is possible that the Doganiere may ask an explanation, but merely out of curiosity. .. As to administering fees, however, to custom-house officers, it is difficult to lay down any positive rules. The Austrian officers are persons of high character, and to fee them is more difficult and less necessary ; for as they do not regularly look forward to being bribed, they are less disposed to be vexatious. But the officers of the other states, more especially of the Pope, are easily dealt with. 3. — Routes. In the Handbooks forFranee, Switzerland, Savoy, Piedmont, and Southern Germany, all the roads, passes, and approaches to Italy are fully described. Since the completion of a large portion of the Rhenish railways, the least fatiguing, most economical route for reaching Italy, is by the Belgian and Prussian railways to the Rhine, then by the river and the French and Baden railways to Basle, thence to Luzern, and by the St. Gothard to Milan. If you wish to reach at once central or southern Italy, or the Gulf of Genoa, you can advantageously pass through France, availing yourself of the Rhone, and proceeding as far as Chalons by railway. Railway trains start several times a day from Paris to Chalons, corresponding with the steamers between the latter and Lyons. By a steamboat that leaves Lyons every morning, the traveller can reach Marseilles from Avignon on the same evening. (See Handbook for France.) The completion of the line from Paris to Strasburg will open an unbroken railway communication from Calais to the Swiss frontier, and greatly facilitate the access of Italy to English travellers. The French post-office steamers for the Levant leave that port at 5 p.m. on the 9th, 19th, and 29th of each month, touching at Leghorn. Most of the private steamers touch at Genoa. An agreeable route is found, by leaving the steamer at Avignon, and proceeding thence to Nice by land. 4. — Modes op Travelling. The posting in Italy is inferior to that of France. The horses in the Austrian territory look as if half starved, and are wretchedly used. In Introd. 4. — Modes of Travelling — Diligences, xiii Tuscany they are better ; and on the whole you get on with reasonable expedition. The postmasters in the Austrian territories frequently attempt various petty acts of imposition which they never practise in the Sardinian States, where the excellent custom of issuing the Bolletone (a printed bill, which contains your route, length of posts, and the posting regulations) prevents all disputes, and is, in fact, the Livre des Postes. For the Austrian dominions and for Tuscany, there are official post-sheets and post-books, which will be delivered to you upon application at the head offices at Milan, Venice, and Florence. Yetturini. — It is the custom for the vetturino to give his employer a de posit or caparfa, a sum of money as a security for the due performance of his contract ; -and, whether the journey be shorter or longer, this precaution should never be neglected. There are three modes or varieties in this mode of travelling : — 1st, Taking a seat in a carriage jointly with other parties. These are usually natives ; and it is a m<*le of journeying which can only suit a single male traveller, and even he must be one who is not very par ticular as to comforts. You must of course take your meals entirely at the discretion of the vetturino, who contracts to furnish you with board and lodging : your companions are frequently very disagreeable ; and none of the regulations which prevent any serious annoyance in a public diligence apply to these private vehicles. 2nd, Hiring a carriage for a party, — a very convenient mode of travelling for those who are not much pressed for time. A party of six people may be conveyed in a very decent carriage, with good horses, and an intelligent and civil driver, at an expense of about from 30 to 40 francs per diem, going from 30 to 40 miles ; and if you get a return carriage (which at Nice, Turin, or Milan you almost always can, by waiting a day or two), for less still. When a vettura carriage is thus hired, the vetturino will, if required, contract for your board and lodging. In Tuscany and the Roman states this answers very well. In other parts it is neither needful nor advisable so to do, and you should stipulate that you are to go to what houses you please. Also always sign an agreement in writing expressing the hire, the time within which the vetturino is to perform the journey, and the stay he is to make at each place, and let the vetturino sign the duplicate. Two forms, or precedents, with directions for filling them up, will be found in Murray's ' Handbook of Travel Talk.' One is for a traveller who engages a single place, the other is for a party contracting for the whole carriage. If the driver gives you satisfaction, he expects a buona mano, about 3 or 4 francs per diem. The 3rd mode is for one or two individuals to hire a calessa or other small and light carriage, generally for short distances, and not ex ceeding a day or two. This is often very convenient in making out pieces of a journey, particularly for the purpose of seeing places where the diligence does not stop, but it is liable to some inconvenience. The vetturini who do these jobs are usually of an inferior class, and will often attempt to play tricks upon the traveller, sometimes refusing to go as far as the intended point, sometimes selling you to another vetturino, and generally contriving, with much ingenuity, to find a pretext for placing some other companion in the vacant seat beside you. Diligences. — Very fairly good as means of conveyance : the best are the Sardinian. Good diligences, belonging to Luigi Orcesi, -have, since the autumn of 1842, kept up a communication between Milan, Bologna, and xiv 4. — Railroads. 5. — Sightseeing — Laquais de Place. Introd. Florence three times a week ; and between Parma and Piacenza daily. If you take your place for a long journey, you should, however, be careful in ascertaining that the same concern is to carry you through, for in some places you may be transferred to an inferior vehicle. These carriages, however, are not very agreeable ; some of them have no coupe" or banquette, and in those you can see but little of the country : and what you can see is rarely more than the glimpse through the tarnished glass. The Italians, when travelling, have the same dread of fresh air as the Germans, and shut up themselves hermetically : they close the windows to keep out the dust, the wind, the rain, besides covering themselves with w»appers if there be the slightest sxispicion of chilliness. Several railroads have been opened of late years. A short line from Milan to Monza and Como (28 English miles) is completed. The great line from Milan to Venice is finished between Milan and Treviglio (29 miles), and from Verona to Venice ; theslatter passing over a causeway built in the laguna. The unfinished portion, between Verona and Treviglio, with a branch to Mantua, is now in progress, and will be opened early in next year. The railway from Turin to Genoa is open as far as Arquata (78 English miles), passing by Asti, Alessandria, and Novi, and will be com pleted as far as Genoa in 1853. In the mean time passengers are conveyed from Arquata to Genoa by omnibus in 6 hours, thus performing the whole distance from Turin in 10 hours. A branch line from Alexandria to Arona, on the Lago Maggiore, crossing the Po at Valenza from the main Turin and Genoa trunk, is in progress, and which, if prolonged into Switzerland as is proposed, will secure to Genoa a great part of the trade of that country, to the detriment of Marseilles. The line from Turin to Coni is also in progress ; and an English company has obtained the privilege of the railroads from Susa to Turin, and from Turin to the Lombard frontier by Novara. In Tuscany the Leopolda railroad between Leghorn and Florence is com pleted (3 hours), with a branch from Pisa to Lucca and Pescia, and from Empoli to Sienna, by which the journey from Leghorn to the latter may be performed in 5 hours, and to Rome in 30 hours. Another line (the Maria Antonia) from Florence to Pistoia, passing by Prato, is also in operation ; it is proposed to connect the latter with the great line crossing the Apennines between Florence and Bologna. Hours of Travelling. — Early rising, so desirable in all journeys, is par ticularly advantageous in Italy. Six o'clock should be the latest hour of starting, and by 9 in the evening the whole party should have retired to repose. 5. — Sight-seeing — Laquais de Place and Ciceroni. There are few things more disagreeable than being led about by a laquais de place : and as good plans of all the principal towns of Northern Italy may be purchased, at a very cheap rate, his help is by no means indis pensable, although for persons pressed for time, and ignorant of the lan guage, his services will be indispensable. If you do take a laquais de place — 1st, Make him conduct you to every place you wish to see, not allowing yourself to be put off with, " non c'e mente da vedere ;" " bah ! e una porcheria," or the like ; for he has no Introd. 6. — Money. 7. — Inns and Accommodations. xv notion of the value of any object ; and caprice, or some plan of his own, or mere laziness, will often make him try to put you off. 2nd, If you have plenty of time on your hands, it is as well to go and see every object which he recommends, unless it should be evidently something quite absurd. For though in so doing he often has a job in view — some shop kept by a friend into which he wishes to seduce you, some ally of a custode, for whom he wants to secure a buona mano, and thus usually occasions you a waste of time and money — yet he is sometimes the means of conducting you to some object which is not mentioned in our Handbook, and which you would have been sorry io have lost. A laquais de place should never be allowed to make bargains for you, as the commission which the shop keeper allows him will be added to the price which you pay. The churches, excepting some of the cathedrals, are, upon common days, usually closed from twelve to three ; and during this interval, when the sacristan takes his dinner and his nap, it is hardly possible to obtain admit tance ; and, when open, there is frequently quite as much difficulty in find ing any one who can or will conduct you. Your guide is usually one of the lowest grade of attendants. The fact is, that the clergy do not like to have the churches considered as shows, nor are the congregations at all in different, as has been asserted, to the conduct of strangers, in walking about and talking during Divine service. It might perhaps too be sug gested to zealous individuals, that they are not protesting against Roman Catholic errors, by behaving indecorously in Roman Catholic churches. It is always a good preliminary to the examination of any city to obtain a bird's-eye view from some tall steeple or tower. 6. — Monet. The traveller will find it for his advantage in Italy, even more than elsewhere, always to make his payments in the current coin of the country through which he travels. If he does otherwise, and pays in French francs for example, he will not only pay rather more (because the natives', in counting their own coin into a foreign one, are naturally led to take some advantage in so doing), but he will be more liable to trouble and annoyance from attempts at imposition, because those with whom he has to deal, perceiving his ignorance of the money in which their transactions should be reckoned, will draw their conclusion that he is equally ignorant as to the amount to which they are fairly entitled. Of all foreign money, French gold Napoleons are the best to carry, as in most towns their value in the coin of the place is fixed by the authorities. 7. — Inns and Accommodations. In the capitals and large cities ot Italy the hotels are comfortable and satisfactory, as at Turin, Milan, Verona, Venice, Genoa, Pisa, the Bagni di Lucca, Leghorn, and Florence. In all these places the resort of foreigners has enabled the proprietors to meet the expenses required for such establish ments : but this, of course, cannot be the case in towns and stations which are not equally frequented, and here the traveller will very frequently have to content himself with the accommodation of a national or Italian inn. He must, firstly, when this contingency arrives, not expect a choice xvi 7. — Inns and Accommodations. Introd. and well-furnished larder. The stock of provisions is on the average but scanty, and the choice in this scanty stock much limited. Most of the country wines are indifferent, poor, and rough. Even in towns where the houses are very decent, he may be compelled to submit to meagre fare,_ if he arrives after others have been served. Susa, Vercelli, Novara, Alessandria, ¦San Remo, Sarzcma, San Donino, Pescia, Pistoia, Prato, Pietra Santa Pontremoli, are, for example, places where the traveller may chance to find nothing but venerable cocks and hens (called there chickens), both lean and tough ; beef, mutton, and veal, equally hard to chew ; soups of various names, consisting of water with scum at the top and something or other floating in the medium below ; and so on. It must always be recollected also, that every chance of inconvenience is exceedingly increased by coming in late : — " Chi tardi arriva maV alloggia," as the proverb truly says. Italian inns have of late years — owing, no doubt, in great measure, to the complaints of English travellers — greatly improved in cleanliness. Iron bedsteads are coming much into use. The under-mattresses are stuffed with the dried leaves of maize, more cleanly and healthy than wool or horsehair. Another source of annoyance, namely, the demand made upon your purse at inns, is sometimes more particularly vexatious in Italy, in conse quence of the exactions being so often accompanied either by such good humour or such appeals to your generosity, almost to your charity, as to be more difficult to parry, than downright rudeness or extortion. The best hotels, though not cheap, are not (compared with an English standard) ex travagant, and, if any ladies are of the party, no house except a first-rate one should be used ; but male travellers may frequently be quite comfort ably accommodated at houses of an inferior grade, and at a lower charge. One great secret of keeping down bills is to avoid having anything out of the common way : a plat de cuisine, e.g. a few slices of cold tongue, brought up at breakfast, will cost you as much as your dinner. The table- d'hote (tavola rotonda), where it exists (for it is not so common in Italy, ex cept in large towns, as in France), should be preferred. Ask the price of everything beforehand, and never scruple to bargain. This is an unpleasant operation, but it is the custom of the country : no offence is taken, or even suspected, and you are only considered an inex perienced traveller if you do not. Amongst other reasons, innkeepers always suppose that every Englishman likes to have the best of every thing, especially at dinner : and therefore, even where no overcharge is practised, you are often put to needless expense by having more, and greater variety, than you desire or care for ; thus, by explaining the num ber of dishes you want, you bring them within bounds. In ordering wines, when you have chosen your kind, order the cheapest quality, for the chance is ten to one that they have no other, and you only pay for the name. This practice is perhaps not carried on in Italy to the ludicrous extent to which it is in France, or on board the Rhine steamboats, but it still exists to a sufficient degree to render it advisable to adopt the course which we have suggested. If exorbitant charges be made, the best plan, if you have nerve enough, is to refuse to pay them, putting down a reasonable sum upon the table. Where expostulations have proved ineffectual, tra vellers not unfrequently enter cautions against the offending party in the travellers' books, at other inns along the road, so as to warn others, and Introd. 7. — Inns and Accommodations. 8. — Books. xvii sometimes communicate their complaints to the Editor of the Handbooks, requesting him to endeavour to redress the grievance by noting the offence in future editions of the Guides. Where the complaint has been properly attested, and the case shows very palpable injustice on the part of the inn keeper, he has agreed, in some instances, to place a note against the name of the house, or to omit it altogether. Travellers, however, who resort to this course, ought to consider beforehand whether they are quite in the right, and the innkeeper quite in the wrong ; weighing well, that a hasty accusation not properly founded may ruin an honest man and his family. The simple threat of making such a complaint may, in some cases, infuse a salutary terror, so as to produce the desired effect — a remedy of the abuse. The buona mano to servants and waiters is a source of constant trouble ; to those who travel with couriers advice is needless : to those who must decide for themselves what to give, the following hints are offered. The best plan is to give (in the presence of some other servant) a sum to the head-waiter to be distributed. In the principal towns, for a single day, for one person, a zwanziger is sufficient. If the traveller has to distribute his buona-mano among the servants, he can hardly give less than 1 zwanziger, or 2 pauls, to the waiter, and about i zw. to the facchino, who brushes clothes, &c. Of course the rate of payment is proportionally reduced when the traveller's stay is prolonged, or where several persons are /travelling together ; and in small country inns about two-thirds of the above is quite sufficient. After a long stay, the chambermaid, too, receives a small gratuity. The excellent system of charging the gratuity to servants in the bill is become very general in Italy, and ought to be encouraged by tra vellers. When dining at a Trattoria, 15 cts., or 2 crazie, are enough for the waiter. " Ladies should be aware that they may always be attended by a female in the Italian inns, by expressing a wish to this effect. At the best inns, in some of the great towns, a female attends regularly to the arrangements of the bedrooms." — Mrs. M. 8. — Books. A traveller whose mind is not previously prepared for a visit to Italy is deprived of the greatest portion of the pleasure (to say nothing of the in struction) which he would otherwise derive. This assertion is true of every portion of the world ; but the extent and variety of interest attach ing to the scenery, the cities, the churches, the castles, the palaces, the works of art in this country, renders the amount of loss much heavier than in any other ; and we shall therefore venture to give a brief list of the works Which we would recommend, for the purpose of affording a small portion of the information which may be required. History. — To those who are willing to give the time we should strongly recommend the previous attentive perusal of Sismondi's great work, Les Republiques Italiennes. As a narrator, Sismondi has peculiar clearness : without attempting effect, he is always interesting. The great difficulty in affording a general view of Italian history, arises from the necessity which the historian is under of constantly shifting the scene, from Florence to Venice, from Naples to Milan. Sismondi, with singular ability, has xviii 8» — Books. Introd. interwoven the narratives of the several states without perplexing the skein. There is hardly a place of any importance in Italy which is not more or less noticed in this work, which contains the very pith of Italian history. Amongst the older writers, Guiccwrdmi is the most classical ; and though a languid narrator, he is nevertheless an historian who compels you to take great interest in the story which he tells. For the history of particular states, the following may be noticed : — Venice. — Darn's history is very entertaining and clear, but must be read with caution, for it was written with the express intention of placing the extinct republic in an unfavourable light, and thus justifying the faithless conduct of Napoleon in subverting it. Tuscany, — Pignotti. — No depth of thought, but readable and pleasant. Machiavelli should be read, but he is rather a difficult writer. Reppetti's geographical dictionary is highly useful ; and the Osservatore Fiorentino is a very entertaining historical guide for Florence. Milan, — Verri. — Full of entertaining matter. Fine Arts. — The work of Vasari is both entertaining and full of valuable information, not to be obtained elsewhere ; and the book, heretofore so scarce, has been reprinted in an economical form (Milan, Bettoni, 1824). This edition is noticed on account of its portability ; but a much better one has recently appeared at Florence in 2 vols. 8vo. This is very correct ; and the editor has added copious notes to each life, stating where the pic tures referred to in the original text now are, or whether they have perished.* " The plan of the book was suggested in a familiar conversation winch took place at Naples, somewhile in the year 1544, at a supper in the house of the Cardinal Farnese. Amongst the company was Paolo Giovio, who had then composed his well-known work, the ' Vitas Illustrhim Virorum.' The book does not appear to have been published, but it had probably been circulated in manuscript, as was then much the custom in the literary world. Giovio wished to append a biography, of artists from the time of Cimabue, upon whose productions, as Vasari says, he began to discourse with judgment and knowledge of art, making, however, terrible mistakes with respect to the artists themselves, confounding names, surnames, birth places, and specimens. In reply to a question put by the Cardinal, Vasari replied that such a biography would be very instructive, if compiled with accuracy ; and the company, amongst whom was Annibal Caro, joined in urging him to undertake the task of giving a better outline to Giovio. This he did. And he performed his task so satisfactorily, that, when the sketch was presented to Giovio, the latter declined using it, and advised Vasari to complete the book for himself. " Vasari, ever since his youth, had been collecting materials for such a work, yet the instinct of authorship was not strong upon him. He hesi tated — asked advice — a rare thing in authors — and what is still more rare, he took it ; and his advisers were sound — Annibal Caro, Molza, Tolomei ; and he worked diligently, until, being urged by Cosmo to bring it out, the first edition was printed at the grand ducal press, and under the special * An English translation of Vasari by Mr. Forster, in a cheap and portable form, has been published by bohn in 1851. Jntrod, 8. — Books. xix auspices of his patron. In this first edition he inserted no life of any con temporary, excepting that of Michael Angela, who received the presentation copy with great pleasure, testifying his gratitude by a sonnet, a thing, like most complimentary poems, a column of fine words, containing an infinite simal quantity of meaning. Still the sonnet was a high token of approba tion, and it increased the intimacy subsisting between them ; and this friendship enabled Vasari to profit the more by the verbal information received from Michael Angelo, as well as by his correspondence. Other valuable materials Vasari obtained from the manuscripts of Ghirlandajo, Ghiberti, Rafael d'Urbino, and many more who are not named. It was the custom in Florence for the heads of families to keep a book of remem brances — ' ricordi,' as they were termed — of the events happening to them* selves, their children, and kindred ; and from these memorials he gleaned abundantly. Vasari was also well versed in the general and particular history of Tuscany and the adjoining states ; but besides these sources, all the traditions of art were yet rife and lively, and much information of the greatest importance had been handed down from mouth to mouth. The chain of tradition, if once broken, can never be replaced. Interesting as such traditions of art may be in relation to the personal anecdotes they pre serve, they were perhaps even more important with respect to the know ledge which they imparted of the mechanical proceedings employed by the artists, the identification of the portraits introduced in historical subjects, and the meaning of allegorical compositions, without which many would have remained unintelligible mysteries— enigmas to be gazed at, and nothing more — like hieroglyphics of which the key is lost. For example, the great fresco of Simon Memmi in the ancient chapterhouse of Santa Maria Novella, representing the Church Militant, in which the portraits of Petrarch and Laura are introduced, would, without this aid, be completely inexplicable."— Quart. Review, vol. lxvi. art. 1. Vasari is, however, unmethodical and uncritical, and much prejudiced in favour of the Tuscan school : dates are frequently wanting, and his works need a continuation through subsequent periods ; and those who require a succinct compendium of the history of art, and at the same time an excellent corrector and continuator, will find what they need in Kugler's Handbook of Painting, edited by Sir Charles Eastlake, P.R.A., with illus trations. Lanzi gives more ample particulars, and is especially useful in conse quence of the manner in which the different schools are brought together by him, and an edition has been published in small and portable volumes ; but his methodical work does not possess the charm or interest of that of Vasari's biographies. Ticozzi's Dictionary of Painters, in 2 vols., will be found a most useful work, and, from its size, very portable. A very interesting work on the History of Painting (Storia delta Pit- tura), on the same plan as that of Cicognara for Sculpture, is now in course of publication, by Professor Rossini of, Pisa ; the part already published embraces the earlier artists prior to Perugino, and is very interesting, and accompanied by outline engravings of some characteristic works of each painter. In Italy each great school has had its historian ; and there is scarcely an artist of note who has not had his separate biographer, who may be xx 8. — Books. 9. — Maps of Italy. Introd. usefully consulted by the traveller. The Italian translation of Quatre- mere de Quinci's life of Raphael is peculiarly valuable, from the annota tions of the translator. Those who read German may profit much by consulting Rumohr's Italienische Forschungen, which contain a great deal of curious matter respecting early Tuscan art. Muller's Archaologie der Kunst is also a good guide for the works of art. Cicognara is the principal authority for Italian sculpture, and we regret that there is no other which can be recommended. It is bulky, expensive, and yet very incomplete, and therefore we notice it merely as the only existing book which can be consulted : any one who could compile a better might render great help to the lovers of art. Literature. — Ginguene is an interesting, though not always a faithful guide ; but perhaps, for the general reader, none better can be found. The reputation acquired by Roscoe's Lorenzo de' Medici was, in some degree, owing to the novelty of the subject. But Roscoe is always elegant, and, so far as literary history is concerned, fairly correct. The Italian edition of Roscoe's Leo X., with notes by Ticozzi, is far more valu able than the original. Manzoni's Novel, The Promessi Sposi, will add much interest to the scenery of Milan and its vicinity. Dante's Divina Oommedia may be accompanied by the Commenti Storici of Arrivabene, which, though carelessly written, are tolerably satis factory. Brockedon's Italy will present the traveller with some of the most beauti ful and correct pictorial representations of the country which have yet appeared, and which may serve vividly to recall to the traveller's memory the interesting scenes through which he has passed. A volume published under the title of ' Italie des Gens du Monde, Venise,' par Jules Lecomte, is a very full guide, and contains an amusing selection of history and anecdote. Guardi is the most exact and methodical guide for Venice. 9. — Maps op Italy. General. — The best general Maps of Italy are those of Orgiazzi and Stucchi, but they are both incorrect in the details. The same observation applies to all general Maps of Italy published in England, Germany, and France. The Austrian Government is about to publish a general Map of the whole of Italy on an uniform scale, founded on the most recent surveys, some of which, those of the Tuscan and Roman States, have been under taken for that special purpose. General Collegno published some years since, at Paris, a useful Geo logical Map of Italy, founded on all that was then known ; recent dis coveries, and particularly the labours of our countryman Sir R. Murchison, call for a new edition of it. Piedmont amd Sardinia. — The Sardinian Government has published a very beautiful and correct Map of its Continental States in Italy, in 6 sheets, founded on a trigonometrical survey; and Professor Sismonda is about to publish a reduced Geological Map of the same kingdom based upon the same. Introd. 9. — Maps of Italy. 10. — Objects to be Noticed. xxi General de la Marmora has published, in two large sheets, a magnificent Map of the Island of Sardinia, which reflects the highest credit on the talents, patriotism,and liberality of that officer, who has been for several years engaged on it, and completed the whole of the surveys nearly at his own expense. Lombardy. — The Austrian Government has published a very detailed and beautiful Map of the Lombardo- Venetian Kingdom in 80 sheets on a scale of mkm, and a reduction of it in 4 sheets on a scale of j88faro ; the latter contains everything necessary for the ordinary traveller, and, like all the Maps published by the Imperial Corps of Austrian Geographical Engineers, may be procured at Artaria's, Via di St. Margarita, Milan. Parma and Piacenza, Modena — Very accurate Maps of these duchies, on a scale similar to that of the great Map of Lombardy, have been re cently published by the Austrian Government. Tuscany. — The Map of Tuscany by the late Padre Inghirami, in 4 sheets, is very good, and by far the best : it offers some errors of detail, and is often erroneous in its topographical details ; but when it is considered that it was the work of a single individual, who, almost unaided by his Govern ment, not only made a trigonometrical survey of his country, but executed the topographical drawing, the highest praise is to be given to its reverend author, one of a family long celebrated in Tuscany for its learning. A very useful reduction in one sheet of Inghirami's Map has been re cently published at Florence by Segato. Signor Zuccagni Orlandini published some years since an Atlas of Tus-, cany, divided into valleys,- a convenient arrangement enough, with very useful statistical details respecting each valley, but the Map part is copied from Inghirami. As to Signor Zuccagni's great work on the Geography of Italy (Goro- grafia dell' Italia), the Maps it contains are compiled from more original works, already cited, and often with little criticism or judgment. The traveller will find at Artaria's in Milan most of the Maps of Italy published, save those of Tuscany and of Naples, which can only be had generally in their respective capitals. 10. — Objects to be Noticed. Within the districts described in this work, the walls of Fiesole, and some few Celtic reminiscences in Piedmont, are the only vestiges of the period before the Roman domination. To the era of the Empire belong the amphitheatre and gates of Verona, the villa of Catullus, the arch of Susa, the ruins of Velleja, the columns of San Lorenzo at Milan, the temple at Brescia, the amphitheatre of Lucca, and some smaller fragments there and in other parts of Tuscany. Amongst these, the amphitheatre at Verona is the most celebrated ; the arch of Susa is the oldest ; the other vestiges belong to the Lower Empire ; but none are in a pure style of architecture. The only one which we can ascribe to the Augustan age (the arch of Susa) is particularly barbarous. To the Roman era belong the buried city of Velleia, — the Pompeii of northern Italy — and the remains of Industria and of Luni. Amongst the museums of antiques, the Galeria Reale of Florence stands pre-eminent. Turin, inferior in other departments, has one of the xxii 10. — Objects to be Noticed. Introd. finest collections of Egyptian antiquities existing. And the museums of Mantua and Verona, and particularly of Brescia, are all of importance. The Campo Santo of Pisa, though not, strictly speaking, a museum, has been a precious depository of classical art. Of Christian antiquities during Roman times, or of the earliest portions of the middle ages, Milan, Verona, and Pisa offer remarkable vestiges. The circular or octangular baptisteries of Florence, Novara, and Oneglia, perhaps, also belong to this class, but there is much difficulty about their history. — St. Mark, at Venice, forms a class of its own. Although frequently much altered, northern Italy abounds in magnifi cent specimens of the Romanesque style, a variety of which is familiarly known amongst us as Norman. The cathedrals of Pisa, Lucca, -Verona, Parma, Borgo, San Donino, and Modena, and the conventual churches of San Zeno (Verona), San Miniato (Florence), San Michele (Pavia), are peculiarly valuable. Most of the larger Lombard churches are interesting from the symbolical and hieroglyphical sculptures of the facades, as well as from their impressive and magnificent character. This Romanesque style was never entirely superseded in Italy till the revival of classical architec ture : and, generally speaking, so many schools and styles had a concurrent existence in Italy, that the data by which we judge of the age of a building in France or England lose much of their certainty when here applied. Gothic architecture in Italy exhibits itself in many marked varieties, and four distinct schools may be observed: (3.) The Tuscan-Gothic, remarkable in the earlier periods for its simplicity, and in the latter for the extreme beauty of its forms. (2.) The Venetian- Gothic, of which the main type is the Palazzo of San Marco, and which may be traced as far as Brescia. (3.) The Genoese- Gothic, more than any other disclosing an imitation of the Arabian or Saracenic models. (4.) The Lombard-Gothic, an exuberant variety of the French and German, and which, in the Duomo of Milan, attained transcendant excellence. — To these must be added the Gothic styles appropriated to particular orders ; the Austin Friars, the Franciscans, and the Dominicans ; and these orders not unfrequently re tained the Gothic when it was elsewhere entirely disused. Connected with the Italian churches, the Oampanili, or bell-towers, generally detached, constitute a remarkable feature. Those of St. Mark and of Florence are familiarly known, and the latter has no equal for beauty. But the Oampanili of Cremona and Modena deserve attention, and in all cases they form a characteristic and pleasing portion of the scenery of Italy. So much for the styles which we commonly, though not quite accurately, term medieval. During their prevalence in Italy a homely imitation of Roman or classical architecture had always subsisted, evidenced every now and then in some single example, and then again subsiding. But it never had been studied till the time of Brunelleschi. The churches of San Lorenzo and Santo Spirito at Florence are noble examples of his genius. He also possessed great influence throughout Italy, though few direct imitations of his style appear out of his native city. Brunelleschi's ten dency is to assimilate his Italian to the Romanesque. But others united the Italian to somewhat of Gothic feeling, after the manner which in France has been termed the style of the Renaissance ; and this style in Italy has great elegance. The facade of the Certosa of Pavia may be lhtrod. 10. — Objects to be Noticed. xxiii instanced ; but it is more generally discernible in subsidiary portions, in chapels, and in tombs. Leon Battista Alberti, one of whose best works will be found at Mantua (Sanf Andrea), bestowed extraordinary thought upon church architecture : whilst Scmmicheli, Scammozzi, and Palladio more peculiarly excelled in their civil buildings, which form the chief ornaments of Verona,. Vicenza, and Venice. The traveller should observe the rich edifices of Turin which belong to a later period. Domestic architecture, in Italy, affords a high interest. Its progress may be traced at least from the 15th century. The interiors of the period of the Renaissance, which are frequently well preserved — and Mantua may be instanced as affording a remarkable example — should be well examined, and will well repay this study ; as also will most of the palaces of Genoa. In Venice, besides the great beauty of .the buildings, the ingenuity of the architect in adapting his plans to the confined and untoward sites will often be found peculiarly interesting. At Verona buildings of this class have a character of their own, of strength and elegance united in the details. Florence excels in the colossal grandeur of its palaces. The municipal buildings of Lombardy are of great and varied merit. In the four Palazzi del Commune, or Town-halls, of Como, Bergamo, Piacenza, and Brescia, the beauty of the structures is enhanced by their singularity. The ancient military architecture of Italy has been neglected ; but Northern Italy abounds in noble mediaeval castles and fortifications. The Sealigerian castles in and near Verona are peculiarly grand; and the Modenese are not only curious in themselves, but interesting as being amongst the objects which first "tinged the mind of Ariosto with his fond ness for tales of chivalry. In Italy, also, will be found the earliest examples of regular fortifications, by which all the ancient modes of de fence were superseded. Sculpture in Italy offers a vast number of objects of the highest inte rest. The names of Michael Angelo* of Nicolo di Pisa, of Mino da Fiesole, of Bambaja, and of Donatello, and the bronze gates of the Baptistery at Florence, are universally celebrated ; but the merits of other Italian sculp tors have as yet been scarcely recognised to their due extent by the general traveller. Of all the more remarkable works of sculpture we believe that we have given sufficient notices ; and the traveller should recollect that of some of the best of the Italian sculptors such few specimens exist, that, unless he seizes the opportunity of examining them where they are indicated, he will never meet with them again. Thus, there is scarcely a first-Tate fragment of Luca delta Robbia out of Tuscany ; no work of Bambaja is found out of Milan and Pavia ; no work of Mino da Fiesole out of Florence and Fiesole ; no work of BegareMi out of Parma and Modena. None have been multiplied by casts ; few -have been engraved, and, when engraved, the representations have been most inadequate. Working in the precious metals was a branch of the sculptor's art, or, as would be better said, trade, for, in the earlier periods at least, they followed it as a craft. Some magnificent specimens, in which enamelled work and jewels are introduced, exist as pale, or palliotti, altar-tables or coverings. Those of San Marco at Venice, and Sanf Ambrogio at. Milan, and the Baptistery at Florence, are amongst the most remarkable. So also xxiv 10. — Objects to be Noticed. 11. — Fresco-Painting. Ihtrod. is the more modern one in the cathedral' of Pistoia. Many specimens of, the same nature, together with votive offerings, cups, vessels, and the like,, ate still preserved in the sacristies of the churches. Very early and fine specimens of Roman mosaic, that is to say, the , mosaic formed by square prisms of coloured or gilded opaque glassj or' enamel, will be found at Milan (San Ambrogio and San Lorenzo), Lucc?i (San Frediano), Pisa (Duomo), Florence (Baptistery and San Miniato),. Venise (San Marco and Torcello). The art was continued in practice at Venice till the 16th century, but not so late in Lombardy or in Tuscany. At Novara and Cremona, also, are curious early Christian tesselated pave ments. In Tuscany, about the 13th century, a richer kind of working was introduced, employing serpentine,^ porphyry, and various coloured marbles, as at Lucca (San Frediano), Pisa'(Duomo and Baptistery), Florence (Baptistery and San Miniato), Which mode of workmanship seems to have been improved into the present beautiful Florentine mosaic of pietre dure, or pietre commesse. This is composed of the noblest mineral productions, some approaching to the rank of gems, and of the finest marbles, arid may be seen in the utmost beauty in the Medicean Chapel of San 'Lorenzo (Florence), and the Certosa of Pavia. L- The stained glass of Italy is exceedingly beautiful. In the cathedrals of Lucca, Pisa, and Florence, as well as in some of the churches of the latter city (Santa Maria, Novella in particular), it is most brilliant,;, so also at Milan. In Venice the colours are not so good. Stained glass* however, does not appear to have become common : we do not recollect any - example of it in a parish church, or in any civil building except the Lau- rentian library, where only two colours are used, but where the design is very elegant. 1 1 . — Fresco-painting. The traveller's attention is drawn, more particularly than before, to the great works in fresco existing in the part of Italy described in this book, both by remarks inserted at those places where these works are mentioned, and by some preliminary observations, which will be found in a following section (see § 12). The reasons for this are, first, the importance and interest of the subject at the present moment, in consequence of the en deavour to revive the higher style of art by the introduction of fresco- painting in the new Houses of Parliament ; and secondly, the facts which are stated by Sir Joshua Reynolds in the following passage (Lect. V.) :— '< The principal works of modern art are in fresco, a mode of painting which excludes attention to minute elegances ; yet these works in fresco, are the prdductions on which the fame of the greatest masters depends : such are the pictures of Michael Angelo and Raffaelle in the Vatican ; to^whicb we may add the Cartoons, which; though not strictly to be called fresco, yet may be put under that denomination : and such are the works of Giulio Roinano at Mantua. If these performances were destroyed, with them would be lost the best part of the reputation of those illustrious painters ; for these are justly considered as the greatest efforts of our art which the world can boast. To these, therefore, we should principally direct our attention for higher excellences." ¦ Though it is probable that the majority of persons interested in art are mtroa. 11. — Fresco-Painting. xxv a little more acquainted with the true nature of Fresco-painting than they might have been a few years since, before the public interest in the subject which has of late been felt was excited, and when the popular belief was that every picture painted on a wall was fresco, including in that simple term oil and distemper, gesso and tempera painting, — still a few words may not be out of place upon the theory of fresco-painting, its eminent. applicability to great works, and the information which all lovers of high art should feel it a duty to obtain concerning it, in consequence of the present movement towards forming a school of historical painting in this country. The style of painting called Fresco-painting is so denominated simply from the meaning of the term Fresco, or Fresh, alluding to the fresh or. wet lime, which, with an admixture of sand, forms the ground upon which the painter works. This ground is formed of one part of quick lime, with some portion of its burning nature slaked out of it, and two of carefully washed silver-sand. The colours used are those which are not changed or affected by the chemical action of caustic lime, and, being laid upon the ground in its wet state, are partially absorbed into it, and the whole forms a concretion which, when dry, presents a surface impervious to the action of water, and proof against all change or decay, save what is caused by the want of care in the first preparations, or after neglect, always excepting that which the hand of Time slowly but surely effects. The dry surface has also a certain crystalline glisten in it, 'which, no doubt, aids in giving the illuminating power which so strikingly distin guishes fresco from all other modes of painting. Indeed a fresco may be said to give out light instead of absorbing it. The claims of fresco as the material best fitted for the execution of great works, may be considered under three heads : — 1st. For the simplicity and dignity of composition to which the artist who truly appreciates the capabilities of the material is insensibly induced, and by which his mean ing is so much more intelligibly conveyed than in the more florid representations to which he is tempted by the flexile nature of other materials ; 2nd. For its illuminating properties already alluded to, aud the readiness with which it is seen in all variety of light, owing to its equality of surface, free from the gloss and unequal shine which is in separable from oil-paint ; and, 3rd. For its durability and freedom from change of any kind where ordinary care is taken. For the establishment of the first proposition it is only necessary to appeal to the works and practice of the most celebrated painters, and it will invariably be found, that their greatest and most famous works are those they executed in fresco. Where it is possible to institute a com parison between their pictures in oil and their paintings in fresco, it will be acknowledged that those who possessed equal mechanical skill in both materials produced the greatest and most interesting results in fresco. The works of Michael Angelo, Raffaelle, and Domenichino make this evident. It may be said that we have but little means of instituting the comparison in M. Angelo's case. He cared so little for oil-painting, that the old story (fable as it may be) told of him is eminently characteristic of the man, namely, that he said that "Painting in fresco was an occupa tion worthy of a man, while oil-painting was only fit for women and children." N.Italy— 1852. b xxvl 11. — Fresco- Painting. Introd. But in the practice of Raffaelle and Domenichino there is no lack of evidence in support of this opinion. Who will not rank the Stanze and Cartoons* of Raffaelle as the highest efforts of his genius ? and what com parison can be instituted between the oil pictures of Domenichino (not even excepting the St. Jerome) and his frescoes at Grotta Ferrata, and in the churches of St. Luigi and St. Maria degli Angeli, at Rome ? Nothing is more striking in the paintings' of the masters above alluded to than the intelligible manner in which the stories of the subjects are told; and this important quality, so indispensable in works intended to elevate and in struct the mind, is equally conspicuous in the frescoes of the earlier masters. Take, for instance, Giotto, who, amidst all his dignity, grace, and refine-* ment, is as legible as Hogarth or Wilkie. The great charm, after all, of fresco-painting, is the way in which it absolves the spectator from all sen sation of the material — "paint." Technical intricacies and tricks Of the trade, such as " surfaces," " variety of texture," &c, are never thought of. Where the execution of a fresco fe sufficiently complete, so as not to obtrude palpable deficiency upon the eye, the mind neither calls for nor requires those adventitious aids of art by which," after all, nature is only approached at a most respectful distance, but is entirely satisfied and absorbed in the contemplation of the intellectual properties of the com position. With regard to the second proposition, namely, the illuminating property possessed by Fresco, and its aptitude for all variety of light in buildings, it may safely be asserted that, in this respect, believing will be the inevitable result of seeing. Go where you will through the length and breadth of Italy, in and out of any of its many thousand churches, and countless evidences of this assertion will be presented to you. As a modern instance, Hesse, one of the best fresco-painters at Munich, stated to the writer of this, that he tested the comparative powers of oil and fresco in viewing them at a distance, by placing an oil study, which he had made for the head of the Virgin in'the painting at the end of the north aisle in the basilica of St. Boniface, side by side with the fresco, which was exactly the same size, and on retiring to the west end of the church the oil study was invisible, while the fresco shone out (to use Hesse's own expression) " like light itself." - In the third and last place, it remains to speak of the durability of Fresco, and its freedom from change, where ordinary care is taken. The present condition of many of the frescoes in Italy will no doubt be a matter of disappointment and surprise to those who are unacquainted with the causes which have produced Such lamentable results. But when it is con sidered with what utter neglect these great works have been, and are still, alas ! treated, the surprise will be, not that they are thus injured, but that any trace whatever exists of them. Roofs have been stripped of 'their. covering, and winter and foul weather allowed free access to such works as those of Correggio at Parma, and Pordenone at Piacenza. Fires lighted in the middle of the Stanze of the Vatican have mercilessly smoked the School of Athens, and Dispute of the Sacrament. 'The candles of the Altar in the Sistine Chapel have flared and guttered Over the Last Judgment of M. Angelo for centuries ; and as late as 1847 the writer of this saw three ..* The cartoons are here mentioned on account of their design being eminently of a fresco character. ¦ - Introd. 12. — Music. xxvii distinct streams of rain pour over Giotto's Last Judgment through the broken ill-fitting windows of St. Maria dell' Arena, at Padua; aud to earnest remonstrance made to the Cicerone to get this sad state of things altered or amended, the only reply obtained was a shrug of the shoulders, and an intimation that the Padrone "lived at Venice, and that nothing could be done without his consent,"* &c. Indeed, with every species of neglect and injury have these immortal works been visited, and so deeply rooted is the national indolence, that even now, when the present pecuniary value has been discovered, and a plentiful harvest annually reaped by the countless tribe of Ciceroni, both civil and ecclesiastical, of high and low degree, scarcely an effort is made to retain the golden egg which is gradually but surely escaping from their possession. Yet even in Giotto's Chapel and other places where carelessness and neglect have been the order of the day, how -wonderful is the preservation of many of the frescoes and much of the decoration! and, in some instances, such as Gozzoli's frescoes in the chapel of the Palazzo Riccardi at Florence, and the works of Spinello Aretino, and Taddeo Gaddi in the Chapter- room of St. Miniato, and Sta. Maria Novella in the same city, all painted early in the 15th century, where ordinary care has been taken, the frescoes are almost as fresh as the day on which they were painted. Gozzoli's frescoes in the Campo Santo at Pisa are in a wonderful state of preservation, when it is reflected that for centuries they have been exposed to the immediate contact of weather, with all its alternations of heat and cold. — I. C. H. 12. — Music. " There is no feature of Italy in which the traveller is more liable to disappointment than its music ; a vague idea still pervading many persons that Grisis are to be found at every country town opera, — that the streets are never empty of singing, — and that ' all those churches, open from morning to night,' must mean organ-playing and choral performance, of some sort or other. Now, without stopping to point out how a sweeping denial of all this would be as unfair to the genius of a, country which has been always spontaneous, no less than elaborate, as the sweeping expecta tion is ridiculous, a word or two may in some degree protect the tourist from disappointment. In the first place, he must prepare himself for a declamatory style of dramatic singing, in which the old French usages (reviled by the Burneys and Walpoles) are more nearly approached than is agreeable to cultivated taste. Next he must recollect that, save in the. winter, and at Carnival times, he will fall upon the bad opera season at the great theatres of Milan and Venice (' La Fenice' indeed is not open in autumn). At the fairs a 'star or two' are generally secured to add their attractions to the manager's bill of fare ; and at the second-class towns, such as Verona, Vicenza, Padua, there is a chance of tolerable average companies, but hardly singers of ' primo cartello.' The best assemblage, I have been told, is generally at Trieste, early in September. In the churches; even the Duomo at Milan, and St. Mark's, Venice, the perform ances on high days and holidays are nothing short of disastrous. All trace, * A more worthy act of devotion to art could not be paid than the finding out of this Padrone, persuading him to give orders that the windows of this unique monument of Giotto's genius should be repaired, and seeing it done. 62 xxviii 12. — Music. Ihtrod. moreover, of the fine unaccompanied church music of Italy, most of which was perpetuated by MS. copies, has vanished from the shops. Lastly, though Italy produces surpassing instrumentalists, the taste for instru mental music hardly secures sufficient to maintain them at home. I never heard of an orchestral concert, or saw sign of a single new composition, save fantasias on the favourite opera themes. This does not sound very tempting : and yet the dilettante who troubles himself to seek, will, I think, discern that the sense of tune among the people is still living ; and when he recollects that Rossini sprang up to amaze Europe, at a time little more promising than the present, will pause ere he echoes the com mon growl, ' There is no more music in Italy.' " — H. F. C. In the remarks upon works of art which are inserted in the following pages, the object has been to promote the enjoyment of the traveller, by directing his attention to the beauties of every school ; and not to dwell upon the defects of any one in a cynical spirit, or to adopt any particular or limited theory of art. There was a -wish, however, first to point out the great qualities of mind, before the power and graces of manipulation, however beautiful. Ihtrod, Tables of Currency . xxix Tables of Foreign Coins reduced into the different Currencies of Italy. I. into piedmontese currency. English Sovereign . . Crown of 5 Shillings Shilling . . . . French Napoleon d'Or 20frs . . . . 5 franc piece . . 1 ditto .... Austrian or Milanese Lira Crown of 6 Lira . Gold Sovrana . . Tuscan Zecchino . . Francs. 25 6 1 20 51 0 5 34 11 Cen times. 21 25 25 0000 00872280 20 Francs. Tuscan Scudo of 10 Pauls. 5 Dena of 15 Pauls . . 8 Paul 0 Florin 1 Roman Doppia, gold . . 26 Scudo, 10 Pauls . . 5 Paul 0 Neapolitan Oncia of 3 Ducats 12 Scudo of 12 Carlini . 5 Carlino ..... 0 Cen times. 60 4056 408737 549909 42J II. INTO MILANESE CURRENCY. English Sovereign . Crown .... Shilling . . . French Napoleon d'Or 5 franc piece . 1 ditto . . . Tuscan Zecchino . . Scudo of 10 Pauls Aust. Lira. 29 7 1 23 51 13 Cen times. 00 25 49 00 75 •15 33 6 66 Tuscan Paul . . , Florin .... Roman Doppia . . Scudo of 10 Pauls Paul .... Neapolitan Oncia Scudo of 1 2 Carlini Carlino 0 49 Aust,Lira. 0 1 30 60 14 5 Cen times, 67 67 87 17 62 93 85 III. INTO TUSCAN CURRENCY. Pauls. Grazie. English Sovereign ... 45 00 2 2* French Napoleon . . , 35 H 5 franc piece ... 8 U 1 franc ditto ... 1 H Roman Doppia since 1 839 46 H Scudo of 10 Pauls . 9 «\ Roman Paul .... Neapolitan Oncia . . Scudo of 12 Carlini Carlino .... Milanese Sovrana, gold Scudo of 6 Lira . Lira auls. Grazie. 0 23 9 0 7f> 6 62 1 9 1 2* Tables of Currency. Introd, Table 1. English Money reduced to ah equivalent Value in, the Money of the several Italian States. Tuscan Tuscan English Lira Nova Austrian Scudi, English Lira Nova Austrian .Scndrlf • Money. or Franc. Lira. Hauls, and Grazie. Money. or Franc. Lira. Pauls, and - Grazie., £. s. rf„ Lira cent. Lira cent. Sc. 11. Gr. £ s. d. Lira cent. Lira cent, Sc. PI. Gr. 0 0 1 0- 101 , 0 12 0 0 li 5 0 0 126 5 145 00 22 5 0 0 0 2 0 21 0 24 0 0 3 « 0 0 151 26 174 00 27 0 0 0 0 4 0 42 0 48 0 0 6 7 0 0 K6 47 203 00 " 31 5 0 0 0 fl 0 63 0 72 0 1 1 8 0 0 201 68 232 00 36 -0 0 0 1 n 1 26 1 44 0 2 2 9 0 0 2i6 89 261 00 40 .5 0. 0 2 n 2 52 . 2 89 0 4 4 10 0 0 252 10 290 00 45 0 0 0 3 0 3 78 r 4 33 0 6 6 20 0 0 504 20 580 00 90 0 0 0 4 n 5 04 5 80 0 9 0 30 0 0 756 30 870 00 135 0 0 0 5 0 6 30 7 25 1 1 2 40 0 0 1008 40 J160 00 180 0 0 0 10 0 12 60 14 50 2 2 4 50 0 0 1260 50 1455 00 225 0 0 0 15 n 18 90 . 21 75 3 3 6 fill 0 0 1512 60 1740 00 270 0 0 1 0 n 25 21 29 00 4 5 0 70 0 0 1764 70 2030 00 315 0 0 2 0 0 50 42 58 00 9 0 0 80 0 0 2016 80 2320 00 360 0 0 3 0 0 75 63 87 00 13 5 0 90 0 0 2268 90 2610 00 405 0 0 4 0 0 100 84 116 00 18 0 0 loo 0 0 2521 00 2900 00 450 0 0 The Lira Nuova d'ltalia, equivalent to the French Franc, is the current eoin of the Kingdom of Sardinia and of the Duchies of Piacenza, Parma, and Modena. The Austrian Lira, equal to 87 centimes of the Lira Nova, is only current in the Lombardo-Venetian territories. The annexed Table has been calculated at the par of exchange, i. e. at the comparative intrinsic values of the precious metals contained in the English sovereign and the different foreign coins comprised in it. Table 3. Showing the Value of the different Measures of Distances employed in Italy, reduced to English Miles and Furlongs. Foreign Distances. Reduced to Eng lish. Foreign Distances. English, Yards. Miles. Fur .Yds, Miles. Furl, Yds. "French Myriamftfe- .* * 10336" 6 r 156 Piedmontese Mile 2,699 1 4 60 Piedmontese Post , . . 4 4 168 Milanese Mile. . . 1,952 1 0 192 Milanese Post 8 6 200 Venetian Mile 2,114 1 1 134 Tuscan Post of 8 Miles . . 8 1 164 Parma & Piacenza M. 1,619 0 7 79 Roman Post of 8 Miles . 7 3 44. Tuscan Mile . . . 1,808 1 0 48 Neapolitan Post of 8 Miles. 11 0 112' Roman Mile . . . 1,628 0 7 83 Austrian Mile of 4000 klai'ter .... 8,297 4 5 155 8 ^ 3> . 05 SL •8 « 5.1 S H .» V it < •w © Ol ^ 00 © •9 (30 * -4M 00 © to s -*< to s _ C CM 00 CO 3! ¦* © t-O « CO 00 — CI z W &S © © © © -^ - - CO CO © CO t0 CO © i> © ^ I- - S to - 10 2 CO — r- ¦*? <* © © © © © © © © © © © © 1-1 CM CO to to 00 © CO in © f. M N to oo to GO 'lOrUf) <-« O © © © © © © © © © © © © © © © © © © © 9 © © © © © © •iuitre0 © © -* « CO ¦* >n © © © © © © © © © © © © © © © © © © © © o < •BIBOOQ © © © © © © © ¦""¦ Ol CO •* tO © >ra © CN o © CO "* © s g © ao ©CJl © © © © r— CI © 3 © © o © © © ^ »n © a T3 © CM A © °i5 CO C3 -4# 7> © 5? 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H* •*« <* CM CM CM o =! © © © © »H ©> CM CO CO © CO e " 2 - oo tn -1 ai 00 i> to to ¦* CO W »— © T « W © © © © © © © © © © © "H ^ — CM « CM CO CO to © CO £5 S a »>¦ -H ¦* M CO CO Ss •83tUlta30 —1 © © © m o o © o © © ©o o o © o o © ©© ©© © © © 9 ©o © © © © © © © © © © © © ©© © © o o s © © © © © © 5 •Bjjr] ©¦©©<- CM SO * ¦o © m © CN © eo o © © © © t- 00 © © © ©otM © OCO © ©T1 © © © © iQ co © © © © o S ° ® 00 3» 9 A HAND-BOOK TRAVELLERS IN NORTHERN ITALY. SECTION I. PIEDMONT AND SARDINIAN LOMBARDY. INTRODUCTORY INFORMATION. 1. Territory, Government. — 2. Nature of the Country, Produce, Revenue. — 3. Language. — 4. Fine Arts, Literature. — 5. Posting, Money, Weights, Measures, fyc. Routes. [In the tables of contents throughout this work the names of places are printed in italics only in those routes w here they are described.'] ROUTE PAGE 1. Susa to Turin 6 2. Turin to Milan, by Novara - 30 3. Turin to Milan, by Casale and Mortara - - 39 4. Turin to Asti, by Chieri - 42 5. Turin to Genoa - 43 6. Alessandria to Piacenza 47 ROUTE PAGE 7. Turin to Nice, by the Col di Tenia - - 8. Turin to Oneglia, by Cherasco ¦9. Turin to Oneglia, by Mondovi 10. Alessandria to Savona, by Acqui and Dego 11. Turin to Savona 54 57 58 61 § 1. Territory. — Government. What Frederick, or Voltaire for him, said of Prussia, that it was made up of pieces rapportees, is most particularly applicable to the continental dominions of the King of Sardinia. On this side of the Alps, the following are the component parts, united under the authority of the present dynasty : — Piedmont proper, the nucleus of the present kingdom, gained from the Counts of Provence, by Peter Count of Savoy, in 1220. The Marquisate of Susa, which, at an earlier perisjj, included the greater part of Piedmont, but which was afterwards re strained to narrower bounds. The Principality of Carignano, a modern dismem berment of the Marquisate of Susa. The Marquisate of Ivrea, which submitted to Savoy in 1313. The small Marquisate of Ceva, at the foot of the Apennines ; the Lordship of Vercelli, which, after several changes of masters, was ceded by Milan to Savoy in 1427. The County of Asti, ceded by Charles V. to Duke Charle3 IV. in 1531. . The Marquisate of Sdhtzzo, long contested by the French, and which, though cutting into the heart of Piedmont, was not fully acquired by N. Italy— 1852. B 2 § 1, — Territory — Government. §2. — Nature of the Country. Sect. I. the Dukes of Savoy till 1601. The Duchy of Montferrat, obtained by the Dukes of Savoy in 1631. Several dismemberments of the Duchy of Milan, namely, the Provinces of Alessandria, Valenza, Tortona, the Oltre Po Pavese, and the No- varese, ceded to Sardinia by the treaty of Aix la Chapelle in 1748 ; and some smaller districts. And, lastly, Nice, Oneglia, and the Genoese States, &c, which are treated of in the next Section. Previously to the occupation of Italy by the French, these territories were all respectively governed by their local laws. Under Napoleon, Piedmont continued annexed to the Empire ; and, since the restoration of the House of Savoy, much of the French administration has been retained, in connexion, however, with the original institutions, which have been partially restored. The government since 1848 is constitutional monarchy, consisting of a king, a senate, and a chamber of representatives : the municipal bodies have much power. The Dukes of Savoy, as is well known, acquired the regal title at the beginning of the last century. The following is their succession from the time of Emanuele Filiberto (1553), by whom the fortunes of the House were restored, and who is considered as the founder of the Monarchy : — 1580. Carlo Emanuele I. 1773. Vittorio Amedeo III. 1630. Vittorio Amedeo I. 1796. Carlo Emanuele IV. 1637. Francesco Giacinto. 1802. Vittorio Emanuele. 1638. Carlo Emanuele II. 1821. Carlo Felice. 1675. Vittorio Amedeo II. 1831. Carlo Alberto. 1730. Carlo Emanuele III. 1849. Vittorio Emanuele II. At the Congress of Vienna, the right of succession, in the event (which hap pened) of the failure of male issue in the direct royal line of Vittorio Amedeo II., was secured to the collateral branch of Savoy Carignan. The founder of this branch was the Prince Tomaso Francesco (born 1596, died 1656), the fourth son of Carlo Emanuele II. ; and upon the death of Carlo Felice, without male issue, the late king, as the descendant of Francesco Tomaso, obtained the crown accordingly. Defeated by the Austrians at Novara on the 23rd of March, 1849, he abdicated in favour of his son, the reigning Monarch, and retired to Oporto, where he died soon afterwards. The royal family now consists of his Majesty Vittorio Emanuele, King of Sardinia, Cyprus, and Jerusalem ; Duke of Savoy, Genoa, &c. ; Prince of Piedmont, &e. : born March 14, 1820, ascended the throne March 23, 1849. The king is married to Maria Adelaide Francesca, Archduchess of Austria, and daughter of the Archduke Renier ; born June 3, 1822 ; married April 12, 1842. They have five children ; the eldest, Humbert Carlo Emanuele, being Prince of Piedmont and prince royal, born March 14, 1844. § 2. Nature oe the Country. — Produce. — Revenue. Extent, Population, Agriculture, Food. — The area of the continental portion ot the kingdom of Sardinia, including the Alps of Savoy and the Maritime, Alps, is estimated at 19,850 sq. miles, with a population of 4,140,000. Of this, the por tion which belongs to Piedmont consists of 12,280 sq. miles and 2,345,000 inhabitants. The fertile region of Piedmont, extending downwards from Mont Cenis and the Simplon to the Maritime Alps and the Northern Apennines, is the most productive part of the continental kingdom. It requires, however, gsptt, careful, and laborious irrigation, and the Po and the streams flowing into it supply the water. The farms are generally small, and in some instances culti vated by the proprietors, but generally the Metayer system prevails. In most respects the cultivation resembles that of the flat country of Lombardy. The productions are maize, the chief article of food, — wheat, rice, hemp, silk, the most important after maize, — beans, and other pulse vegetables. There are several Piedmont. § 2. — Nature of the Country — Manufactures. 3 extensive vmeyards, and the wines, especially those of Asti, are reputed in the country for superior excellence. They are not, however, in general well prepared, and are often either acid or sweet. Piedmont exports a surplus produce for the consumption of Genoa, Nice, and the provinces bordering on the Mediterranean. The continental Sardinian States do not, however, produce a sufficient quantity of farinaceous food for the wants of the populatiou. The average importation of foreign grain has been calculated to be — of wheat, 201,278 English qrs. ; of Indian corn and other grain, 47,398 English qrs. : total 248,671 English qrs. The produce of oats of the continental states of Sardinia is sufficient for the consump tion, except in bad years, when the deficiency is made up by importation from Lombardy and the Romagna. The number of horses is small in proportion to what it is in countries north of the Alps ; oxen and cows are generally used for agricultural purposes. Barley is greatly consumed for the feeding of swine. Beer is made in the country, but in small quantities, and is very bad. Beet-root is very little cultivated in the continental states of Sardinia. A few years ago it was attempted to grow beet-root for the ^purpose of making sugar, but, that thus produced coming dearer than colonial sugars, the cultivation of beet-root for this object has ceased. The quantity of hemp produced in the continental states of Sardinia represents a yearly value of £400,000 ; but is not sufficient for the wants of the country, including those of the naval arsenal of Genoa. What flax is grown in Piedmont is consumed in the country. Tobacco being a royal monopoly, its cultivation is strictly prohibited ; a small quantity is however grown in the island of Sardinia. The nature of the agricultural produce consumed for food varies in different parts of the country. In the towns wheat is extensively used. The inhabitants of the plains and low bills of Piedmont consume at least as much Indian corn and rye as wheat. In the Alpine valleys wheat is an article of luxury, and Indian corn, potatoes, rye, and buckwheat are the only articles of food used by the great ¦ majority of the inhabitants. In the Apennines and the hills of Montferrat chest nuts form an important article of consumption ; and lastly, rice, the production of the provinces of Vercelli, Novara, and Lomellina, to the extent of 137,000 English qrs., is consumed in the country. A species of porridge called Pollenta, made from Indian corn, a soup of vege tables, such as pumpkins, onions, &c, together with coarse bread and wine, which in this country is of a heavy and nutritious quality, and of a very low price, form the ordinary food of the working and labouring classes in the states of Sardinia. Manufactures. — In the continental states of the kingdom of Sardinia, the- Genoese and other silk velvets and stuffs, stockings, common linens and woollens, for the use of the labouring classes, tanneries, several distilleries, with some unimportant works in iron, paper, glass, and earthenware, form the principal manufactures. Canvass and cordage, with other articles for fitting out vessels, are manufactured in the towns along the coast : and the ships of Sardhiia are constructed in the country. In Genoa, Turin, Nice, and some other towns, optical, surgical, and musical instruments, jewellery and fancy articles, are manufactured; but excepting for domestic consumption, and that not in sufficient quantities, (with the exception of silk stuffs, velvets, and paper,) this kingdom cannot be considered a manufacturing' country. The hours of labour, and the employment of children in manufactories, are regulated by printed rules issued by the government. Revenue and Taxation. — The revenue is derivedfrom the land-tax the customs, the excise upon home production, and minor sources. The two branches of cusr torn, and excise yield annually an average of from 42,500,000 to 43,500,000 lire ; the land-tax, &c., about 28,000,000 ; post-office, &c., 2,250,000 ; mines, patents, B 2 4 § 3. — Language. § 4. — Fine Arts — Literature. Sect. t fees, coinage, &c., 1,500,000. Total, 74,750,000 lire. The expenditure, including the interest of the national debt, being something under the receipts. The national credit of Sardinia consequently stands high. The amount of the public debt is about £10,000,000, bearing interest, part at 4 and part at 5 per cent. Notwithstanding the great expenses incurred by the late war, the finances of Sardinia may now be said to be in a prosperous condition, in a great measure owing to the wise adminstration of the present Prime Minister Azeglio, and the great advances made by the government of Victor Emanuel II. towards a liberal commercial policy. Before the Christian era the gold-mines of this region were productive ; and at present most of the rivers descending from the Alps into the Po are still auriferous, though affording but a poor living to those who are employed in washing the sands. The Piedmontese are not handsome, but they are strong and well built, and very active and industrious ; and, in the rural districts, very simple and honest. The Roman Catholic religion is not merely the established but the dominant creed, and its ascendancy is strictly maintained. It may be noticed that, unlike most other parts of the Continent, the Sunday is very strictly observed in the Sardinian states ; the shops, and all the public offices, including the post-office, being closed. But since the accession of the present sovereign, the Protestants of the Alpine valleys are no longer persecuted, and they have been even permitted to erect a church at Turin. § 3. Language. The Piedmontese dialect is much more like the Provencal than any other of the modifications of the Volgarein the north of Italy. But this similarity is not the effect of mixture or corruption : it is an original language, holdmg a middle place between the two languages of Provencal and Italian, with some peculiar intona tions and vowels ; which, in addition to its vocabulary, render it perfectly un intelligible to a stranger, however well versed he may be in the sister tongues. The Piedmontese is the universal speech of the country, and employed by high and low ; though, of course, all persons of education, or who have transactions with strangers, speak Italian. French i3 in very common use at Turin, Saluzzo, and Susa ; first introduced, without doubt, by the court and followers of the Dukes of Savoy, and kept up by the frequent occupations which the country sus tained from their Gallic neighbours. Now, however, it is losing its ascendancy, and is rather discouraged by the government. § 4. Fine Arts.* — Literature. The manner in which the dominions of the House of Savoy have been com pacted renders it rather difficult in some cases to define who are the great men whom it can claim. The best painters that were naturalised here, such as Gaudenzio Ferrari, a native of Val Sesia(see Vercelli), Lanini, and Solari, really belong to the Milanese school. The last, Solari (fl. 1530), the son-in-law of Lanini, was born at Alessandria. He was an imitator of Raphael, and not with out success. Gitglielmo Caccia, otherwise called Moncalvo (1568-1625), so named from the place where he fixed his residence, worked much at Turin, Novara, and Vercelli. Some consider him as a follower of the Carracci, a point disputed by Lanzi, and apparently with good grounds. The eighteenth century produced a host of inferior artists. The Dukes of Savoy were liberal and splendid collectors of works of art, and they also invited many foreign artists, as Balthazar * On this subject consult Kugler's * Handbook of Painting in Italy,' edited by Eastlake — a work designed for the information of travellers. Piedmont. § 5. — Posting — Money, Weights, and Measures. 5 Matthew of Antwerp ; Jan Miel, a pupil of Vandyke ; and Daniel Seyter of Vienna. Very recently the Academy has received much encouragement : it was first founded in 1678. A certain number of pupils are sent to Rome, and are there maintained at the expense of the government. It was re-organised by the King Carlo Felice in 1824, and was afterwards denominated the Academia Albertina, after the then reigning sovereign. No painter of any eminence has been produced, and the only good Piedmontese engraver, Porporati, is dead, without a successor. One, however, of the best sculptors of the present age, Marochetti, may perhaps he considered as a Piedmontese. The Piedmontese school of architecture in the last century exhibits some genius : that of the present day is not remarkable. Literature is flourishing ; offering as good if not a better prospect than in any other state of northern Italy. French literature is losing much of its influence, and of German little is known. Though only what may be termed a commercial symptom, the art of. printing is carried to great perfection. It is in history, belles-lettres, and science, that the Piedmontese (using the term for the Italian subjects of Sardinia) are most distinguishing themselves. Manno, Balbo, Cibrario, Rieotti, Bertoletti, Pellico, DAzeglio, Nota, Gioberti, Sclopis, Peyron, Maremo, Romani, Plana, Collegno, Alberto della Marmosa, Lorenzo Pareto, Moris, Gene1, are an honour to their country. § 5. Posting, Monet, &c. K o post-horses can be furnished until the traveller has procured a bolletone, which is a stamped printed paper containing the route, and is issued by the post- office, and for which 75 centimes are paid. This document is made out for the several roads — e. g. from Turin to Genoa ; and contains the names of the several stations, the length of the posts, and the principal regulations as to the number of horses required for the different classes of carriages. The bolletone is valid for 24 hours only, so that it requires to be renewed if the traveller should choose to stop, or should even from an accident be detained on the road longer than that time. The regulations respecting the post are numerous and intricate : they are all contained in a little book published by authority, intituled ' Petit Livre Postal a l'usage des Voyageurs dans les ef;ats de terreferme de S. M. le Roi de Sardaigne.' The ordinance which it contains regulating the post has 104 sec tions, and might perhaps, by the application of due ingenuity, raise as many questions as an Act of Parliament of the same length. The price per post is the same as it used to be in France before the recent alterations, viz. 1 fr. 50 cents ; the postilion is entitled to 75 cents per post, and from 1 fr. 50 c. to 2 fr. is what he usually receives. The amount, including postilion at the rate of 1 fr. 50 c. per post, may be reckoned according to the following table : — osts. 2 Horses. 3 Horses. 1 4 50 6 li 5 62 7 50 1£ 6 75 9 n ¦7 87 10 50 2 9 12 2i 10 12 13 50 21 11 25 15 n 12 37 16 50 3 13 50 18 Money, Weights, Measures. The coinage is exactly of the same tariff and divisions as in France : some few pieces of the old Savoy coinage are current, but they are rarely seen. Route 1. — Susa to Turin. Sect. I. Silver Coins. 1 franc ==100 centimes = 20 sous = 9§d. English. i „ = 50 .„ =10 „ = 4&d. i „ = ,25 „ = 5 „ = tyd. „ 5 „ — 3*. lUd. „ Gold Coins. Pieces of 20 francs or Napoleons = -15s. lOd. VALUE OE SOME OE THE COINS OE THE NEIGHBOURING COUNTRIES IN THE CURRENCY OE SARDINIA. A Zwanziger or Lira Austriaca is equal to 87 centimes ; 5f zwanzigers are current as, equal to 5 francs. An Austrian florin is equal to 2franes, 50 centimes. A Swiss batz is equal to 15 centimes, 7 batzen = 1 franc. GOLD AND SILVER WEIGHT. Mark. Oncie. 1 = 8 = 1 = Denari. 192 24 1 Grani. ¦4608 = 576 = 24 = VALUES IN ENGLISH TEOYWEIGHT. Ounces. Pennywts. Grains. 7 18 3 19 18| The Rubbo, commercial weight, is 25 pounds. This pound or libra contains 1£ Mark or 12 ounces of the gold and silver weight. Therefore, 100 pounds of Turin = 81-32 lb. Avoirdupois. Wine Measure. The Brenta is divided into 6 Rubbi, 36 Pinte,, and 72 Boccale. The Brenta =14-88 Gallons English ; the Rubbo,= 2'48 Gals. ; and the Boccale is rather more than a pint and a half. Long Measure. The foot = 1272 English inches, or 0-323 of a Metre. The raso or ell = 23"3 English inches, or 0'5915 of a Metre. The Piedmontese mile is reckoned at 2466 P. metres = 2697 English yards = 1£ mile and 57 yards English ; consequently, as the Poste consists of 3 Pied montese miles, it is equal to 4^ English miles. 45-1 Piedmontese miles are equal to 1 degree of latitude. ROUTE 1. 9USA TO TURIN. 7 posts (32 miles). (For the road from Pont de Beau- voisin to Susa, see Samdbook for Swit zerland, Rte. 127.) Susa (Albergo della Posta, decent ; Hotel de Savoie, new). This very ancient city, the Segusium of the Romans, is now reduced to a small extent, scarcely numbering more than 3000 Inhab. It is still the seat of a bishopric, the only token of its former importance. It is surrounded with lovely scenery. The Dora-Susina, so called to distinguish it from the Dora-Baltea, in the valley of Aosta, rushes by the side of the city. The Arch or City Gate, erected by Julius Cottius, the son of King Donnus, about B.C. 8, in honour of Augustus, is the most remarkable historical feature of the city. This king of the Alpine tribes, having submitted to the Roman authority, records his dignity under the humbler character of Prefect : the in- Piedmont. Buute 1. — Susa to Turin. scription, now nearly defaced, states the names of the mountain clans ; whilst the basso-rilievos represent the sacrifices and other ceremonies by which the treaty was ratified and concluded. The order is Corinthian. The basso- rilievos are of coarse execution — rams and swine as large as the human figures, and the latter with overgrown heads and diminutive limbs — sculp tures which are perhaps the work of native Celtic artists. The dispropor tion and deformity of the heads of the figures, and the clumsiness of the ani mals, may be said to emulate the basso- rilievos of a Norman cathedral. " The arch is a fine but simple building of white marble. The upper part is destroyed, but enough of the attic remains to exhibit the inscrip tion. On the upper course, in a single line, are the following letters, which re main very perfect :— IMP. CAESARI AUGUSTO DIVI F. PONTIFICI MAXIMO TRIBUNIC. POTES- TATE XX. IMP. XIII. The second course seems to , have contained three lines of inscription, but the upper is so nearly destroyed as to suggest the idea that the line above it must have been restored ; the part most exposed could hardly have remained perfect while .that. below it suffered so much. Many letters of the third line (the middle line of the second course of stones) are distinguishable, but I could not make out the words reported by Millin. The general proportions are not unpleasing, jbut it is, rather singular that the co lumns are set on a pedestal which raises them considerably above the pilasters of the arch. This diminishes their size and apparent importance. The details of the entablature are in bad taste, and the frieze is ornamented with a bas-relief of men and monsters rudely executed." — Woods. Near this arch two fine torsos of figures in armour were discovered, which, without any authority, were supposed to be the statues of Augustus and Cottius. They were sent to Paris for deposit in the Louvre, where they were repaired and completed by the addition of heads, arms, legs, and what ever else was wanting ; and one was converted into Tiberius, and the other into Napoleon. After the peace these statues were given back to the Sardi nian government, and are now in the cortile of the university of Turin. . The Cathedral of St. Justus is of remote antiquity. The great campa nile, in the Lombard style, is one of the loftiest and finest of its kind ; it is detached from the church. In the cathedral the centre arches and massy piers of the nave are vestiges of the ancient fabric ; the rest is of a simple Gothic. A statue of Adelaide Coun tess of Susa, made of gilt wood, com memorates the princess through whom the House of Savoy acquired the domi nions which became the basis of its power. This celebrated lady was thrice married ; first to Herman Duke of Suabia j secondly, to Henry Marquis of Montferrat ; and thirdly, to Otho, son of Humbert I., Count of Mauris enne. It is said that she is buried here ; but others suppose that her body rests at Turin. A magnificent font, hollowed out of a single block of marble, stands in the baptistery. This font is a work of the 11th century, with an ambiguous inscription, leaving it doubtful whether " Guigo " was the workman or the donor (supposed, ac cording to the later interpretation, to be Guigo V., first Count of the Vien- nois). ,In the sacristy is shown a large silver cross, said to have been given by Charlemagne. Ancient towers, gateways (one very noble near the cathedral, called the Capitol), and Gothic porticoes, add to the picturesque effect of the city, con trasting with the modern edifices and improvements rapidly arising here, and in every other part of the Sardinian territory. Above Susa are the extensive ruins of La Rrunetta, once a very important fortress, and .considered as the key of the valley. The road from the Mont Cenis passes near them. The real or supposed defence which La Brunetta formerly gave to Piedmont is now effected by Fort Lesseillon, on the other side of the Mont Cenis. The 8 Route. 1. — Susa to Turin. , Sect. .1* Brunetta was destroyed by the French during their possession of the country, and the demolition is said to have cost 600,000 francs (?). The Monte di Roccia Melone, also immediately above Susa, is upwards of 11,000 feet in height. Upon the sum mit is a chapel, founded by Bonifaccio di Asta, a crusader, who, having been taken prisoner by the Mahometans, made a vow that, if set free, he would here erect an oratory in honour of the Virgin. The fetters which bound him are kept in the chapel. An annual procession takes place to this chapel on the 25th of August, the feast of the Assumption. It is not to be accom plished without much difficulty : all the pilgrims are equipped with spiked staves and shoes. The pilgrimages, discontinued during the occupation of the French, are now resumed. It is to the top of the Roccia Me lone that many of the writers who assert Hannibal to have crossed the Alps by the pass of Mont Cenis sup pose him to have led his army, in order to encourage his soldiers by the sight of Italy. Somewhat more distant is the cele brated Abbey of Novalese, situated upon the old and now almost aban doned road from Susa to the Hospice. Here are the remains of the monastery founded by Abbo, lord of Susa, about the year 739. It was ruined by the Arabs or Saracens not long after its foundation, but rebuilt with increased splendour. The library, which it con tained until the invasion of the French, was exceedingly rich in manuscripts. Just out of Susa, the view, looking back upon the town, in which the Roman arch is conspicuous, is very beautiful. It is equally so on looking down the long valley. The furthest extremity of this valley appears closed by the lofty Monte Pirichiano, upon the summit of which may just be dis cerned the tower of the Abbey of San Miehele. The Roman road over the Alps, which was constructed when Cottius submitted to Augustus, passed up this valley, and, turning to the S.W. at Susa, up the valley of the Dora, crossed „by the pass of Mt. Geneyre. This became the road most frequented by the Romans between Italy and Gaul. The military road of Pompey and Csesar passed through Uxeau, and over the Col de Sestrieres.' The road skirts Bussolino, a borgo surrounded by fine walls and towers. Near this place are quarries of the marble commonly called marble of Susa, very much like the verd' antique in appearance, but possessing less durability. The road again Bkirts 1\ Bruzolo. San Giorgio, also displaying its array of walls and towers, and an an cient fortress ascending the hill which crowns it, standing out boldly, and rising stage above stage with great beauty. The road now crosses the Dora Su- sma by a good bridge. Sanf Antonino, a small town, in which the principal feature is a very ancient Lombard tower. The gorge here narrows, and becomes exceedingly picturesque. From the beginning of the traveller's progress down the valley of Susa, he will have seen before him, in the extreme distance, a very lofty bill, upon the summit of which a building, apparently a tower, can be faintly discerned, the whole mass ap pearing, as before observed, to' close the valley. This mountain is the Monte Piriehiano, between which and the Monte Caprasio were the ancient for tresses erected a.d, 774 by Desideriiis King of the Lombards, by which he vainly endeavoured to defend his king dom against Charlemagne ; but of these defences no traces are now to be found, except in the name of the neighbour ing hamlet of Chiusa. The wall was strong in bulwarks and towers j but Charlemagne did not attack them- — a minstrel from the Lombard camp be trayed the existence of a secret and unfortified path, through which the forces of the King of the Franks pene- trated. Desiderius fled to Pavia, and the Lombard monarchy was over thrown. The monastery is the " Sacra di San Miehele?' one of the most re- Piedmont. Route 1. — Monastery di San Micheh. 9 markable monuments of Piedmont. It is supposed to have been originally an oratory, founded by Amisone Bishop of Turin, in the 10th century. Beams of fire descending from heaven marked, it was said, the spot, and lighted the tapers employed for its consecration. As a monastery, it was re-endowed by Hugh de Montbossir, a nobleman of Auvergne (about the year 966-988), who for some heinous crime had been enjoined the penance of building a mo nastery on the Alps. In its flourishing age the Sacra contained 300 monks, who kept up the " laus perennis," or perpetual service, in the choir; and its history is connected with several of the most important personages and events in the history of Piedmont and Savoy. The mountain can only be ascended on foot or on mules. Its height is above 3100 feet above the level of the sea. The higher portion is covered with exceedingly fine groves of chestnut- trees, through which*you pursue your winding path. Still higher up are most secluded and picturesque farms, which, with the woods, constitute almost all the property that the once opulent monastery retains. Like most of the monasteries dedicated to St. Michael, this Sacra has the character at once of a castle and a church : great masses of ruins surround the habitable portion. A rook near it is called the Saito dellq, Bella Alda. The fair Alda leaped from the summit and reached the ground in safety, under the protection of the Virgin. Vainglorious and rash, she attempted the leap a second time, and perished by the fall. Injudicious repairs have diminished the effects of the building ; but it is yet a complete castle of romance, — wafls growing out of rocks, and rocks built in and form ing walls , and foundations of the edifice. Passing by a ruined outwork, whose circular windows bespeak its early date, you traverse a low vaulted gallery, and reach a small terrace. Before you is a tower, rising out of and also abutting or leaning against the rock : the lower part contains the staircase by which you ascend to the monastery j the upper portion of the tower forms the extremity of the choir, and terminates in an open Romanesque gallery of small circular arches supported by pillars : this is one of the oldest and most curious features of the building. The height, looking down from the external gallery is great : an iron balustrade has been fitted into the interstices. This staircase is sus tained by an enormous central pier: here and there the rocks against which the edifice is built jut out, and por tions of sepulchres are dimly seen. At the summit is a great arch, filled with desiccated corpses. Until recently these corpses were placed sitting upon the steps of the staircase ; and as you ascended to the church you had to pass between the ghastly ranks of these sentinels. Whence the corpses came, or why they were placed there, cannot be known : respected, if not venerated, the, peasants used to dress them up and adorn them with flowers, which must have rendered them still more hideous. The extremely beautiful circular arch, by which you pass from the staircase to the corridor leading to the church, is a vestige of the original building. It is composed of grey marble, Roman esque in style, and sculptured with the signs of the zodiac and inscriptions in very early Longobardic characters. The church itself is in a plain Gothic style : the choir retains vestiges of an earlier age. A fine Gothic tomb, represent ing an abbot, has excited much con troversy. The late king has caused the remains of Carlo Emanuele II. (the father of Vittorio Amedeo, the first King of Sar dinia), and of several other members of the royal family, to be removed hither from Turin ; and it was supposed that he intended to render San Michele the future place of burial of the royal family. The remainder of the Sacra is composed of a wilderness of ruined halls and corridors, and of the cells and other apartments inhabited by the re gular clergy, to whom the monastery is now assigned. The Benedictines have disappeared j and long before the Re volution their possessions had been B 3 10 Route 1 . — Sant' Ambrogio — Rivoli. Sect. I. much dilapidated. It was considered as one of those good " pieces of prefer ment " which the crown might dispose of; and the celebrated Prince Eugene, all booted and spurred, appears in the list of abbots. The monastery has been given over within the last three or four years to the priests of the Instituto delta Carita — an order of very recent origin, and belonging to a class of re gulars now much encouraged by the Church of Rome, as better suited to the exigencies of the age than the more ancient ascetic orders. They are prin cipally employed in the care of the poor, in hospitals, and in education. The views from the summit of the mountain, and more particularly from the external gallery of the choir, are of the greatest beauty, and would alone fully repay the traveller for the toil of the ascent. If Sanf Ambrogio, a village at the foot of the Monte Pirichiano. The houses with their projecting galleries are pleasing objects ; and there is a decent small inn at this place. The church is rather remarkable. A little beyond, by the side of the road, is seen Avigliana, with a fine feudal castle standing out most boldly above the tower, and forming with it a beautiful group. Avigliana is a very unaltered town, and full of shattered fragments. The church of San Pietro is of very high antiquity, and supposed, like many buildings of the same class, to have been a heathen temple. The popula tion has singularly declined : at the beginning of the last century it is said to have contained 30,000 Inhab. — now scarcely a tenth of that number. The Monte Musine in the neighbourhood furnishes some remarkable minerals, amongst others the HycVrophane, which, opaque when dry, has the property of becoming transparent when immersed in water, and regaining its opacity when dry. The neighbouring woods also furnish much game, both for the sportsman and the ornithologist. Near Avigliana are two small lakes, the Lago delta Madonna and the Lago di San Bartolomeo. They are very pleasing and secluded. The Dora adds greatly to the beauty of the water scenery of this vicinity. About this spot the Alpine valley of Susa has ceased, and the traveller has now fairly entered the great valley or plain of the Po, walled in by the Alps, those bulwarks which have never de fended Italy from external invasion. The extreme beauty of the cattle will strike the beholder. The colour of the horned cattle varies from cream colour to the richest auburn. Their forms are fine and picturesque; they are large- boned, and appear powerful; and a dark mild eye gives an expression of great gentleness. The ancient Lombard plough also comes into use here. It has probably not changed its form since the days of the Georgics. It has no wheels,, and the ploughshare is inserted in the shaft. It is a rude and inefficient machine, except for ploughing a light soil, or scratching the surface. At some little distance from the road is seen the church of Sanf An tonio di Rinverso, anciently belonging to the Knights HospitaEers, and con secrated in 1121 by Pope Cahxtus V. It is Gothic, and built of moulded brick ; the pinnacles and all other or naments being formed with much deli cacy. This is a specimen of a style almost peculiar to Lombardy, of which the traveller will find the full display at Milan, Piacenza, and Pavia. The roof is of brilliant -painted tiles; and both within and without are many in teresting frescoes. The high altar is of the 15th century. The country is plea santly wooded ; and in returning from Turin the noble views of the Alps open more and more. If Rivoli, a small town of about 5200 Inhab., pleasantly situated, above which towers the great unfinished pa lace begun by Juvara, and exhibiting many of his peculiarities. This palace was one of the places of confinement in which Vittorio Amedeo II. was incar-i cerated during the short interval which elapsed between the unfortunate at tempt which he made to re-ascend the throne and his death. He had abdi cated (1730) in favour of his son Carlo Piedmont. Route 1. — Turin. 11 Emanuele, and had retired to Cliam- bery, taking the title of Conte di Tenda. He was a wise and good monaroh ; and in his person the House of Savoy ob tained the island of Sardinia and the royal title ; but a short time after his retirement he grew weary of a private life, and formed a scheme for repossess ing himself of the royal authority. Some say that his intellects were im paired ; others, that he was instigated by the ambition of the Countess of Sommariva, for whose love he had* re nounced the crown, and whom he married immediately after his abdica tion. The royal revenant was speedily laid. The council of Carlo Emanuele readily concurred in the opinion that Vittorio should be seized — a deter mination which was probably not re tarded by his boast that he would take good care to behead all his son's minis ters. He was accordingly brought to Rivoli, Sept. 1731, ' and kept in what was equivalent to solitary confinement. His attendants and guards were strictly prohibited from speaking to him ; and, if he addressed them, they maintained the most inflexible silence, answering only by a very low and submissive bow — a miserable mockery of respect. He was afterwards permitted to have the company of his wife, and remove to another prison ; but, on the 31st of October, 1732, he died ; thus exempli fying" the truth of the well-known re mark, that it is only a short descent from the throne to the grave. Some of the rooms have recently been fitted up for the present king. There are many pictures in the palace — a collec tion of views in Piedmont by the bro thers Cignaroli, landscapes by Vanloo, and a series of historical scenes from the life of Amedeo VIII. The air of Rivoli is remarkably pure, and the place is very healthy. Hence the town and its vicinity abounds in villas.' Amongst others is the resi dence of the Awocato Colla, to which is annexed a botanic garden, with hot houses and conservatories. At Rivoli begins an avenue of pol lard elms, leading to Turin, about six miles in' length, the distant extremity of the vista being terminated by the Superga. In quitting Turin, the view towards Mount Cenis is very fine. If. (But half an additional post is charged on entering Turin.) Turin. Inns .- H6tel de 1' Europe ; chez Trombetta ; very comfortable and well managed. Hotel Feder, very good, and moderate charges. Tabie-d'hdte at half-past 1 and at 5, 3 francs. Dinner in private 4 francs. A list of prices, &c. is hung up in every room. Albergo di Londra, good cooking. H6tel de Ville, formerly the Pension Suisse, and Bonne Femme, are tolerably good as second-rate inns. Restaurateurs : The Cafes of Turin are numerous and good ; the San Carlo and the Fiorale are reckoned the best. The prices at the cafes are not high : e. g. coffee, 20 cents ; chocolate, 25 cents ; ice, 25 cents ; good white wine, 60 cents the bottle ; red 50 cents ; but you must not ask the price, for, if you appear ignorant, they will double it. There are good Restaurateurs on the French plan : L'Universo ; il Pastore ; le Indie ; and la Verna. At these es tablishments dinners may be had from 2 to 5 francs. There is also a restaurant at the H6tel de l'Europe. The cho colate of Turin is reckoned the best in Italy. The Piedmontese bread, in long thin wands, called " Pane gris- sino," is remarkably good. It was introduced by a physician, who found it in his own case more digestible than the ordinary bread. It takes its name from him. Poultry should be avoided in the spring : the fowls at that season feeding upon a peculiar insect which gives them a rancid taste, extending even to their eggs. The Post:office, which is in the Pa lazzo Carignano, is shut on Sundays and holidays. On other days the office closes for Genoa and Tuscany, Rome and Naples, at 11 A.M., and the courier leaves at noon. For France, England, and all countries to the north, the office closes at 3 p.m., and the courier leaves at 4. On Saturdays letters which require franking must be posted before 6 P.M., and all others before 10 12 Route 1. — Turin, Sect. I. There are no regular fiacres ; but carriages ply for hire in the Piazza Castefio. Of these, some are shabby, and some are good ; but, for most pur poses of excursion in and about the city, they answer quite as well as the much more expensive carriages hired at the hotels. The Diligences of the Brothers Bona- fous (Strada de Angennes) are among the best in Italy. A diligence or a chaise de poste runs daily, over the Mont Cenis, to Chambery, and from thence to Lyons and to Geneva. To Milan daily. The railroad from Turin to Genoa is now open for nearly 80 m., as far as Ar quata ; trains start 3 times a day ; the station is at the S.W. extremity of the Strada Nuova, not far from the Piazza San Carlo, To Pignerol daily, from the Bureau, near the Albergo dei Moratto. To Arona, Biella, Casale, Vercelli, Pia- cehza, &c, daily, or nearly so, from the Bureau, near the Albergo del Pozzo. A diligence from Turin to Nice daily by Cuneo and the Col di Tenda, and another by Mondovi, Oneglia, Venti- miglia, and Mentone. A diligence 3 times a week to Piacenza, Parma, Bo logna, and Rome. Veturini ply at the Bue Rosse, the Dogana Vecchia, and the Albergo d'ltalia. For the Mont Cenis, Genoa, Geneva, and Nice, return- carriages may be found almost every day, and at very reasonable prices. There are now no suburbs to Turin : what were the suburbs are taken into the town, and continuously built up. It may be said to be one of the most flourishing cities of Europe. Under the French, the population in 1813 sank to 65,000 : it is now in creased to 117,000, exclusive of the military, and is yearly increasing. Of its commerce, the silk trade is the chief and most lucrative branch; and the firm of Nigra, and all the other prin cipal bankers, are engaged in it. Their character for respectability and solidity stands very high in London. On arriving at Turin your passport is no longer taken from you. But be fore leaving, the passport must be vised by the Minister of the Sovereign in whose name it was granted, and also by the Sardinian Secretary of State far Foreign Affairs, for which a fee of 4 francs is charged, and lastly at the office of the police, Palazzo Madama, in the Piazza Castello. Turin is now unfortified, but the citadel subsists, and is a very remarkable monument of military architecture. It was built by Emanuele Filiberto in 1565 ; and, pre ceding Antwerp in date by two or three years, is the earliest specimen of regular fortification in Europe. It is a pentagon, and constructed with great skill. The modern art of mathe matical fortification is of Italian inven tion (see Verona) ; and it is interesting to notice the perfection to which it was at once brought. Within the last few years the pavement of the streets has been considerably improved, by laying down long slabs for the wheels to run on, similar to the method used at Milan, and to be seen in the Commercial Road in London. In the broader streets there are two lines, in the narrower a single line. In Italy, the land the most rich in recollections of the past, Turin is per haps the poorest city. Its history, whether under the Empire or during the middle ages, is almost a blank. Some of its marquises are obscurely noticed ; and Claudius Bishop of Turin (died 840) is distinguished by bis opposition to the use of images in Divine worship, as a breach of the second commandment ; and he was equally opposed to the veneration of relies. . , Turin has been repeatedly destroyed: the last ravages it sustained were from FranciB I., in 1536, who demolished the extensive suburbs, and reduced the limits of its ancient walls ; and it then appeared as a borgo of the greatest size. Turin is therefore absolutely denuded of any vestiges of antiquity, whether classical or mediaeval. Fran cis I., the " Father of Letters," by his ravages also destroyed the amphitheatre, and several other Roman remains.- Two towers, said, without the slightest probability, to be Roman, called the Torri Augustali, forming part of an edifice used, as a prison, and two others, Piedmont. Route 1. — Turin— Climate — Cathedral. 13 part of the castle erected by Amedeo VIII. (about 1416), and now included in the Palazzo Madama, can hardly be considered as an exception. The re construction of the city, begun by Emanuele Filiberto and Carlo Ema nuele I., is more due to Carlo Ema nuele II. and Vittore Amedeo. Still further improvements have been very recently made, under the three last, and the reigning monarch. At least one fourth of the city has been erected since the restoration of the royal family. The streets, or contrade, are all in straight lines, and generally intersect each other at right angles. The blocks, or masses, of buildings, formed by the intersections are called isole, an archi tectural Latinism retained here and also in Provence. The houses are of brick intended for stucco, and not stuccoed. This is the fashion of the place, and yet it is a fine, and even magnificent city. The houses are large, the parts on a large scale ; the windows and doors are always ornamented, and the houses are crowned with a cornice. The houses themselves are not all alike, though sometimes there are rows of considerable extent. Through the per: spective of the streets, the hills, moun tains, Alps, which surround the city, are continually in sight. Turin is placed in the most beautiful conjoint valleys of the Dora Susina, or Riparia, and the Po, just above their junction : the first is a fine mountain torrent, whose banks afford a continued succession of fine scenery ; the last is already a deep and rapid river. "Cosi scendendo dal natlo suo monte Non empie umile il P6 V. angusta sponda ; Ma sempre pin, quanto e piu lunge al fonte, Di nove forze insuperbito abonda. Sovra i rotti confini alza la fronte Di tauro, e vincitor d* intorno inonda : K con pi.u corna Adria rcspinge, e pare Che guerra porti, e non tributo, al mare." — Tasso, Gier. Lib., ix. st. 46. Beyond the Po is the very beauti ful range of hills called the Collina di Torino, rising to the height of about 1200 or 1500 feet. They are sparkling with villas ; and, in their forms, possess alpine boldness without alpine severity; the little valleys are most richly clothed with vegetation ; ¦and advantage has been taken of these [varieties of surface in many of the gardens and grounds attached to the villas. The climate, however, is influenced by the vicinity of the Alps ; the winters are cold, the quantity of rain is con siderable ; and when it hails, the crops are literally cut in pieces by the frag ments of ice ; hence the institution of an insurance office (the Societa Reale d'Assieurazione contra la Grandine) against this risk. The architect principally employed at Turin by Carlo Emanuele II. was Chiarini (1624-1683), a Theatine monk, an able mathematician, and who well used, some say abused, his mathe matical knowledge, in his bold and daring constructions. Ivara, or Ju vara, a Sicilian by birth (1685-1735), was much patronised by Vittorio Amedeo. There is a great difference in the style of these two architects, but both have in common a neglect of the rules of Vitruvius or Palladio ; more moderated perhaps in Juvara, but carried to the utmost extent in Gua- rini. Hence both have been much criticised. The Cathedral, or Duomo, is the oldest of the sacred edifices in Turin. The original structure was founded by Agilulph King of the Lombards, about 602. The present building was begun 1498, and consecrated in 1505. Bramante is supposed to have de signed it, but the building has little similarity to his style ; and it has been much altered, and some arabesques in the pilasters of the facade are the only remarkable portions of the original structure. The interior has been very recently elaborately decorated with frescoes; sorne by a German artist. The vaulting contains the Scripture history, from the Creation to the giving of the Law. Over the arches are the principal events in the life of St. John the Baptist ; at the west end is a copy of the Cenacolo of Leonardo da Vinci, also in fresco. The older pictures are not very remarkable. The best are the following : Albert Durer, the Virgin 14 Route 1 . — Turin— Cathedral' — Procession. Sect. I. and Saints. — F. Zuecheri, the Resurrec tion. — Casella, St. Cosmus and St. Damian. — Two statues, by Pierre le Gros, representing Sta. Teresa and Sta. Christina, have been much praised ; but they are all in a flutter, and, except in the mechanical execution, have not great merit. There are few sepulchral monuments in this church. The most remarkable is that of Claude Seyssell, whose career, allowing for the difference between that of a cleric in his age and of a layman in this, was not very dissimilar from that of some illustrious French statesmen of the present day. Seyssell began by being a, professor at the university of Turin, where he taught with great success. He then entered the army of Louis XII., but was transferred to the civil service, and became master of the requests, and was also much employed in diplomatic offices. He then became Bishop of Marseilles, and, finally, Archbishop of Turin. He translated several Greek writers, and composed various historical works ; but all with more or less of a political character, and promoting the interests of the French crown. He died 1520. The high altar is ornamented by a most splendid display of silver candle sticks and other church plate : by the side of it is the tribune, or gallery for the royal family. Out of the Roman states, there is no part of Italy where the rites and duties of the Roman Catholic Church are practised with so much pomp and splendour. The sacristy contains several magni ficent crosses, vases, shrinesf and the like, of which the chief is a very large statue of the Virgin, crowned, and standing under a silver-gilt canopy. On the festival of the Nativity of the Virgin (8th Sept.), a solemn procession takes place, equally in honour of the Virgin and in commemoration of the delivery of the city from the French. (See Superga, p. 81.) The battle took place under the walls of Turin, 7th Sept. 1706. Vittorio Amedeo, assisted by the Imperial and Prussian troops, under Prince Eugene, Field Marshal Daun, who occupied Turin, and the Prince of Anhalt, gained a complete and decisive victory. The French lost 153 pieces of cannon and sixty mortars ; and this victory was in truth the salva tion of the house of Savoy, whose de struction was sought by Louis XIV. with the most inveterate antipathy. — ¦ " The procession begins with the children of the different schools, which are very numerous. Then follow the charitable and devotional guilds, fra ternities, and sisterhoods, all mar shalled under their crosses and banners. The office-bearers wear a curious head dress, somewhat like a turban, and often seen in the ancient frescoes: The fraternities and sisterhoods com prehend members from every rank of society : now you see a smart cap, or a handsome collar, or a pair of neat silk stockings peeping out beneath the grey veil and the ash-coloured robe,andnow the hem of a gown of the poorest mate rial; but all distinctions are levelled, though not entirely concealed, by the monastic garb. Then follow the dif ferent religious orders : the dean and chapter of the cathedral ; the arch bishop, his green hat borne before him ; the decurions and other magistrates ; and, lastly, the statue of the Virgin, sixteen bearers being scarcely able to support the weight of the Brancard and its imagery. All the while the bells are ringing; the chants of the Litanies at each pause are exchanged for martial music, whilst you hear- the distant roar of the cannon from the citadel" — (M.S. Journal?) To see this striking spectacle advantageously, the spectator should be in some of the houses which look upon the piazza of the cathedral, and view the train coming forth from the portals and descending the stairs. Another similar procession takes place on Corpus Christi day, or, as the Italians call the festival, Corpus Domini. On the eve of St. John, that fated, mystic eve "when bad spirits have power," they yet celebrate one of those ceremonies which, without doubt, are indirectly connected with the an cient belief. A great bonfire, called the falb, is made in the Piazza Castello, Piedmont. Route 1. — Turin — Santo Sudario — Churches. 15 immediately opposite to the pyramid : and contributions of faggotB and brush wood are given as liberally to the pile by the neighbours, as they used to be amongst us upon Guy Fawkes's day. But the falb is singularly honoured : all the magistrates of the city attend its light, and the king and his family present themselves at the balcony of the royal palace, and the troops in the piazza conclude the ceremony with their volleys. On the following day the magis trates attend mass in the cathedral : the relics of St. John are then carried in procession to the Palazzo della Cittit, where flowers and citrons are presented to the archbishop and the canons, and the procession then returns to the duomo. The illuminations which accompany these festivals are beautiful. Behind the altar end of the cathe dral, and seen in perspective through the arch over the high altar, is the chapel of the Santo Sudario, said to be the masterpiece of Guarini. The chapel is on a higher level than the church, and is entered by a staircase of black marble. It is circular, the lowest division being composed of arches, and is built of the same black or rather dark grey marble. The cupola is formed of arched ribs, on chords of the circle; from the sum mits of which other similar ribs Bpring in succession, thus forming a sort of dome. The capitals of the columns, and some other ornamental portions, are of bronze. In these capitals the crown of thorns is in troduced amidst the leaves of the acanthus. The pavement is composed of a dark blue marble, also inlaid with bronze. In the centre is the altar, of black marble, upon which is placed the shrine, brilliant with gold, silver, and precious stones. Magnificent lamps, given by the late queen, are suspended on either side. The Santo Sudario, ac cording to the ecclesiastical legend, is one of the folds of the shroud in which our Lord was wrapped by Joseph of Arimathea, and on which an impression was left of his body ; other folds being preserved at Rome and at Besancon, and at Cadouin in Perigord. This one was brought from Cyprus, 1453, by Margherita di Charni, the descendant of a nobleman of Champagne, who was supposed to have won it during the Crusades : but there is not the slightest evidence of its history, or even of its existence, until the fifteenth century; when, having been given by Mar gherita to Duke Louis II., it was first deposited at Cbambery, whence it was brought by Emanuel Philibert for the purpose of enabling St. Carlo Bor- romeo to venerate it, without the fatigue of crossing the Alps. While it was at Chambei-y it was invoked by Francis I. previously to the battle of Marignano, and on his return to France he went on foot from Lyons to worship it. Most of the other churches are splendidly decorated: amongst these may be noticed — San Maurizio, belonging to the military order of St. Maurice, with a fine cupola : a recent facade is the least pleasing portion of the building. San Domenico contains a picture by Gfaercino; the Virgin and Child presenting the rosary to the patron saint. Chiesa del Corpus Domini (one of the finest in Turin), built by Vitozzi in 1607 ; but the whole of the interior is from the designs of Count Alfieri. It is very rich, and is a characteristic specimen of the architect and of his age. In the centre, as is stated by an inscription, on a railed-in marble slab, to commemorate the miraculous recovery of a piece of Sacramental plate containing the blessed wafer, and which, being stolen by a peasant, was hid away in one of his market- panniers, the ass carrying which re fused to pass the church door until relieved of the weight of the sacred object, which being removed, he pro; ceeded on his journey. San Filippo. This church was one of the trials of skill of Guarini, but here his skill failed him ; and the cupola, somewhat upon the plan of that of the Santo Sudario, fell down. 16 Route 1 . — Turin— Churches — Palace. Sect. I. It was rebuilt by Juvara. The church of San Filippo is perhaps the finest at Turin, but it is not very handsome. The architects of this city have been fond of dividing the nave into large parts, and redividing each of these into a centre and two sides, by an arch resting on two columns, and smaller openings between these and the piers. The effect is not at all good, nor is it possible it should be so ; everything which divides the parts into separate compositions weakens the effect of the whole, by destroying its unity. San Lorenzo, an extreme example of the boldness and strange fancy of Guarini, is curious from its fantastical dome, formed on ribs, each of which is the chord of three eighths of a circle ; in this may readily be traced the archi tect of the Chapel of the Sudario. Sta. Christina, with a striking facade by Juvara : perhaps, on the whole, one of his best productions. San Rocco. This, which has a fine and well-constructed dome, belongs to the fraternity of the blue penitents, who attend the sick and bury the dead. In the front of their garments they ex hibit a skull and' crossbones. To a stranger they appear the strangest of the constituent portions of the great processions. • La Consolata derives its name from a supposed miraculous painting of the Virgin, the object of much honour. The picture is, in the opinion of Lanzi, the production of some pupil of Giotto, though attributed by the legend to the age of St. Eusebius, Bishop of Vercelli, in the fourth century. This church is a combination of three churches open ing into each other. It is richly de corated with silken hangings, curtains, and marbles, many of the latter of which are beautiful. Sanf Andrea, united to the Conso lata, is one of the most ancient churches of Turin. In the 10th century it was set on fire by a body of Saracens, who, having been brought prisoners to Turin, overpowered the guards, and nearly de stroyed the city. La gran Madre di Dio, a new church, finished only a few years ago. It is erected in commemoration of the re storation of the royal family. The building is a servile and meagre imita tion of the Pantheon. The Piazza Castello, containing some of the principal edifices, is surrounded by lofty palaces, which extend also through the Strada del Po, a noble perspective, terminating with the blue hills ; in the same manner as the pros pect of the Contrada Dora Grossa, on the other side of the Piazza, terminates with the Mont Cenis. The Royal Palace. This edifice was raised by Carlo Emanuele II., from the designs of the Conte Amedeo di Castellamonte. The exterior is respect able, but has no "pretensions to mag nificence, except irom its magnitude. The interior is well arranged, and, be sides the usual apartments for the state and residence of a sovereign, contains within it many public offices. On the principal staircase is an equestrian statue of Vittorio Amedeo I., com monly called "II Cavallo di Marmo," the animal being much more prominent than his rider. The figures of captives at the feet of the horse are by Adriano Frisio, a scholar of John of Bologna. The great old-fashioned hall, formerly appropriated to the Swiss Guards, is open to the public ; the sovereign being always accessible to his subjects, not only in theory but in fact. A curious painting of the battle of St. Q.uentin forms an appropriate ornament. , The state apartments, particularly the throne room, are splendidly furnished ; modern luxury being united to the solid magnificence of the last century.- It has lately received additional de corations from the King's architect, the Cavaliere Pelagio Palagi, not all in the best taste. The parquets, or in laid floors, are remarkably beautiful. The King's Private Library is very extensive, and contains some curious manuscripts and correspondence :— the materials sent by Frederick "the Great" to Count Algarotti as the basis for the history of the seven years' war ; letters of Emanuel Filibert, Prince Eugene, Redi, and Napoleon ;"many Arabic and PiEDMQNT. Route 1. — Turin — Armoury. 17 Syrian manuscripts. There. is, also a Valuable collection of drawings by old masters, formed by Volpato, who. is now the custode, and the Cavaliere Promis, the librarian. Under the roof of the palace, and adjoining the state apartments, is the Armeria Regia. This collection was formed in 1833, partly from the ar senals of Turin and Genoa, and partly from private collections. It contains several pieces of historical interest, and, perhaps from its novelty, is con sidered as one of the principal shows of Turin. It has been judiciously ar ranged • but whether Sir Samuel Mey- rick will acquiesce in the dates assigned to the pieces, is more than we can war rant. The following are amongst the chief objects :— 20. 34. Two suits which belonged to Antonio Martinengo in the 15th century, both ornamented with da- masquine and other engravings of ex cellent design : the latter (34) is the finest in the collection. ¦ 35. The full suit of the Duke Ema nuele Filiberto, or Tete de Fer, and worn by him on the great day of the battle of St. Quentin. (See Piazza di San Carlo.) Emanuele himself was a very good armourer, not only in the coarse smith's work, but in the finer departments of inlaying with silver, or dam a squin ing, and it is said that the armour which he wore was his own manufacture. Pacific as he was in the later years of his life, he never went into public except in his panoply, and bearing his good sword under his arm. 37. A suit fit for a giant, respecting which there have been many conjec tures. It seems to be of French work manship. 67. The staff of command of Alfonso di Ferrara. 104. The like of the celebrated bur-, gomaster Tiepolo. 239. A' magnificent suit of damas- quined steel. 275. The cuirass of Prince Eugene, with three deep bullet indentations in front, worn by him at the battle of Turin, where, as before mentioned, the French were totally defeated. 288. .Cuirass worn by . King Carlo Emanuele III. at the battle of Guas- talla, 19th. September, 1734. 292-294. Helmets in the style of the Renaissance. The last belonged to the celebrated surgeon and anatomist Scarpa, who, towards the close of his hfe, was as fond of it as Dr. Woodward was of his shield, and made it the sub ject of a special dissertation, which he printed privately for his friends, illus trated with beautiful engravings. It is covered with imagery, representing Jove thundering upon the Titans. 381-385. 394, 395. Shields and targets in the same style. 381 is ex ceedingly rich, embossed with subjects from classical history. Amongst the ornaments is introduced a crescent, the device of Diana of Poitiers ; and hence it has been inferred, first, that it be longed to her, though it is not easy to understand how ; and next, that it is the "work of Benvenuto Cellini, the reputed father of all works of this de scription. 394 is also very splendid, representing the labours of Hercules. .819-821. Three very delicate tri- angular-bladed stdettoes, which, it is said, were carried by Italian ladies for the purpose of ridding themselves of husbands or lovers. 943. Sword of Duke Emanuele Filiberto, formerly preserved in the " Camera de' Conti," and upon which the officers of state were sworn; a custom which explains the much con tested passage in Hamlet. This armoury cannot be seen without permission, for which application must be made the day before. Joining the palace, and, in fact, form ing jjart of it, for there is a continued series of internal communication, are the following buildings and establish ments : — The Reali Segretarie, and the TJffizj, containing the offices of the principal departments of government. The Archivi, in which is deposited a very rich collection of muniments and charters ; a selection from these is in course of publication. Annexed to these archives is a very select and valuable library, rich in early printed 18 Route 1. — Turin — Gallery of Pictures. Sect. I. books and in manuscripts. Amongst' the latter are three missals which be longed to the Cardinal della Rovere, Archbishop of Turin, who erected the present cathedral. They are very richly illuminated. The Academia Militare is also a part of the same pile. It encloses a large quadrangle, of handsome and scenic effect. The institution, which was re organized in 1839, is said to be very complete and efficient. Lastly is the Teatro Regio, which is only opened during the Carnival, and on some extraordinary occasions. It was built from the designs of the Conte Benedetto Alfieri, and was the building which made his fortune. Alfieri, born at Rome, was educated as an advocate ; but his exceeding love for architecture soon induced him to abandon the bar. He never mentioned the name of Mi chael Angelo without taking off his hat or beretta. Having been employed at Tortona, when the king, Carlo Ema nuele II., happened to pass through that city, the monarch was so pleased with his work, that he took the young advocate into his service, and at once intrusted the building of this theatre to him ; and so satisfactory was the production, that Alfieri was forthwith appointed court architect, and became the object of every species of favour. He obtained the reputation of the best architect of his time. In the centre of the Piazza del Cas tello is the ancient castle, now con verted into the Palazzo Madama. Of the old castle, the principal vestiges are the two towers, which have been before mentioned. Two others exist, concealed by modern buildings. When erected by Amedeo VIII., 1416, this castle was at the extremity of the city. The principal front was added to the old structure in 1720, after the designs of Juvara. It is an excellent piece of street architecture. The other three Bides were to have been completed after the same design. It was fitted up as a palace for Madama Reale, Duchess of Savoy Nemours. It is now the re pository of The Royal Gallery of Pictures. The great hall of entry remains nearly as it was when the building was a palace : it is adorned with paintings represent ing the deeds of the house of Savoy. The gallery is open daily from 10 till 4. The rooms are plainly but appropriately fitted up. The light is not always advantageous. The prin cipal pictures are the following (but their arrangement has been recently changed) : — Room 1. — Ferrari, a Crucifixion in distemper, on linen, being the design for one of the frescoes at Vercelli (see Vercelli), — very rich, although only a sketch, and offering scarcely any varia tion from the fresco, which is much damaged; — an Entombment, on wood, very fine ; — a subject called the Con version of St. Paul, but more probably a legend of some other saint ; a War rior, surrounded by other Warriors ; a Resurrection, with Saints. Panini, a Holy Family and Saints on wood, 1564 ; Deposition from the Cross, 1545 ; De position with Saints, 1558. Giovenone, Resurrection ; a Virgin and Saints, Olivieri, a Crucifixion, on linen. Room 2. — Raphael, La Madonna della Tenda, on wood, — a very beau tiful picture, whether it be really by the hand of Raphael or not ; for there are at least three repetitions, all claim ing to be originals : one is at Munich, another is or was in Spain, and this is the third ; besides two others, which are rather more modest in their pre tensions, at Rome and at Vienna. Its genealogy is said to be as follows : — a certain Cardinal delle Lanze gave it as a present to the Countess Por- porate : upon her death it came to the Countess of Broglio, who sold it for 800 francs. It then passed, no one knows exactly how, to Professor Bou- cheron, who kindly " relinquished it," as the phrase is, to the present king, when Prince of Carignano, for a very- large sum of money. Passavant says that competent judges consider it to be a good copy by Pierino del Vaga. — Titian, the Supper at Emmaus, a noble picture, bought by Cardinal Maurice in 1660, and said to be the original of that in the Louvre ; a' portrait. — Palma Piedmont. Route 1. — TurmH-Galhry of Pictures. 19 Vecohio, Holy Family and Saints, the Virgin -crowning a Figure in front. — Guercino, Virgin and Child ; a Figure, half naked, with a red Beretta, and bearing a great Sword, called David ; a Virgin and Child. — Panini, two In teriors, San Paolo fuori delle Mura, and another Church. — Bassano, a Market. — Guido, &**¦ Agnese. — Cignani, Venus and Cupid. — Bembo, the Graces. — Crespi, a Confessional — Salviati, Geo metry. — Cesar e da Sesto, Virgin and Child. Room 3. — Pani/ni, Ruins. — Mdn- tegna, Holy Family and Saints. — Paul Veronese, Pharaoh's Daughter finding Moses, a splendid picture, in which the artist has introduced his own portrait ; Magdalene washing our Lord's Feet at the table of the Pharisee. This fine picture formed until recently one of the principal ornaments of the collection at the Palazzo Reale or Durazzo at Ge noa; Queen of Sheba's Visit to Solo mon. — Bassano, Rape of the Sabines ; a Fair. — Titian, Adoration of the Shep herds ; Fall of Troy ; Judgment of Paris ; Rape of Helen ; tineas sacri ficing : all in Titian's early style.— iSM- vator Rosa, a very fine Landscape, with the Baptism of our Lord. — Canaletti, Turin from the n.e. ; Old Bridge at Turin. — Badile, Presentation in the Temple. — Beltraffio, Angels singing. — Vaami, a Magdalene. — Bronzino, Por trait of Cosmo I., very characteristic. — Carlo Dolce, Mater dolorosa. — Ma- ratti, the Angel Gabriel. — Guercino, a drowned head looking upwards. — Maz- zuchelli, Fulvia fainting before the Head of Cicero, a fine specimen.— Battoni, jEneas bearing Anchises.— - Solimene, four pictures. Room 4. — Guercino, Sta. Francesca Romana. — Spada, David. — Spagno- letto, Homer, a vulgar idea of the poet. — -Bassano, Venus and Cupid Superin tending the forging of the Armour of Mars. — Gian Pietrino, St. Peter the Dominican, and Sta. Caterina. — An drea del Sarto, Holy Family. — Semini, Adoration of the Shepherds, on wood, 1584. — Cignani, Adonis and his Dog. — Gian Pietrino, Lucretia.— Spagno- letto, St. Jerome. — Ricci, Moses striking the Rock ; Daniel. — Mezzucheli, Lu cretia. — Proccacino, Virgin and Saints ; amongst others, San Carlo Borromeo and SK Teresa. — Guido, Combat be tween three Sons of Venus and three of Bacchus ; Samson drinking from the Jawbone, the same subject as that at Bologna. — Calisto, St. Jerome. — Bat toni, Return of the Prodigal. — Annib. Coram, St. Peter. — Carlo Dolce, Head of Christ. — Sasso Ferrato, Virgin and Child. — Giorgione, a Portrait. — Do menichino, Architecture, Astronomy, and Agriculture. — Guercino, Return of the Prodigal Son, very beautiful. — Ve lasquez, Portrait of Philip IV. — Carlo Dolce, Mater dolorosa. — Bernardino Luini, Herodias' Daughter receiving the Head of St. John the Baptist. — Lomi, the Annunciation. — Moroni, Carlo III. ; Duke of Savoy and his Wife. Room 5. — Cagnacci, Magdalene. — Piola, Bacchante. — Schidone, two sub jects of Children's Heads. — Raphael, Virgin and Child, in his very early style. — Pa«i»j,threepictures of Ruins. — Guercino, Head of our Lord. — Seiter, the Saviour dead. — Calvart, Assump tion of the Magdalene. — Moroni, Por traits of a Doge and his Wife. — Bassano, the Saviour dead ; Soldiers mocking Christ. — Guido, Lucretia; Fame on a Globe. — Ricci, Magdalene washing the Saviour's Feet ; Abraham dismissing Hagar ; Solomon sacrificing to Idols.— Castiglione, a Market. — Bernardino Lumi, Holy Family. — Cesare d'Arpino, Adam and Eve driven from Paradise.— Sementi, Cleopatra. — ¦ Daniel da Vol- terra, Crucifixion, fine. — Garofalo, our Lord disputing with the Doctors, a beautiful Picture. — Ciro Ferri, Agony in the Garden. — Allori, Jacob's Vision. Beltraffio, Marriage of St. Catherine. — - Giorgione, Herodias' daughter receiving the Head of St. John, fine. — Vanni, Crucifixion and Saints. Room G.— Battoni, a Nativity .—Tin- toret, our Lord on the Cross, received into Heaven by the Father. — Titian, Portrait of Paul III., fine. — Pietro da Cortona, Rebekah at the Well. — Cam- biasi, Wise Men's Offering. — Giovanni Bellini, Virgin and Child, and Saints, a fine picture. — Tiarini, St. Peter. — 20 Route 1. — Turin — Gallery of Pictures. Sect/ 1. Morazzone, Virginia Btabbing herself. — Nogari, a Man smoking, and three Com panions.— Pordenone, Holy Family and Saints. — Guido, St. John Baptist ; Apollo flaying Marsyas, very disagree able from its truth ; St. Jerome. — Fran. Bigio, Holy Family and Saints. — Dan. da Vplterra, Decollation of St. John. — Piola, St. Paul. — F. Francia, an En tombment. — Salmati, the Wise Men's Offering. — Greghetto, Satyrs in a Land scape. — Elisabetta Sirani, Cain killing Abel. — -Pipp i, St. Matthew. — Caravag- gio, Reading at Night. — Bronzino, Por trait of Leonora of Toledo. — Fran, del Cairo, Agony in the Garden. — Lorenzo Laugier,i£ea,& of our Lord. — Salvioni, Geometry. Room 7. — Albano, Earth, Air, Fire, Water. These allegorical paintings are among the finest works of Albano. They were painted for Cardinal Maurice; and Albano in two of his letters, written in 1626, has explained the meaning of his allegories with much clearness and originality. The representation alfire is Venus. The Cardinal had directed the painter to give him " una copiosa quantita di amoretti ;" and Albano has served him to his heart's content. The amoretti in this and the other com panion pictures are exquisitely playful. Juno is the representation of the air ; and her nymphs are, with much odd ingenuity, converted into the atmos pheric changes and natures. Dew, rain, lightning, and thunder form one group, and so on. Water is figured by the triumph of Galatea : at the bottom of the picture are nymphs and Cupid fish ing for pearls and coral. Earth is personified by Cybele, whose car is sur rounded by three seasons, winter being excluded. Here the Cardinal's Cupids are employed upon various labours of agriculture. Room 8.— Sir P. Lely (J), Portraits of Cromwell and his wife (?). — Vandyke, Holy Family, a rich painting. — Vanloo, Louis XV. — Luca di Leida, Crowning of a Sovereign- Rubens, four heads.-Ja» Miel, a Market. — Valentin, our Lord bound. — Vandyke, Virgin and Child. — Mytens, Charles I. of England. — Rubens, an unknown portrait in armour. — An gelica Kaufman, a portrait. — Honde- kooter, Cocks and Hens. — Rubens, a Magdalene. — Mignard, Louis XIV. — Teniers, Peasants dancing. — Jan Miel, Royal Chace. — Rembrandt, Wise Men's Offering. — Rubens, Holy Family. — Vandyke, Three Children of Charles I. ; Six Heads of Children of the House of Savoy ; Portrait of a Lady. — Pourbus, Portrait of a Lady of the same Family. Room 9. — Rothenhammer, the Na tivity. — Bernhardt, a Family at Supper. — Wouvermans, a Battle-piece, la Bi- coque, good. — Rubens, our Lord and Magdalene. — Holbein, Portrait of Cal vin. — Vandyke, Assumption of the Virgin. — C. Moor, Pyramus andThisbe. — Ravenstein, Portrait of Catherine of Savoy. — Rubens, a Burgomaster. ¦ — ¦ Poussin, Peasants. — Imca di Leida, Crucifixion, a triple altar-piece. — Ma- buse, Crucifixion, excellent. — Siffert, Holy Family. — Geldorp, Portrait of a Lady. — Rubens, two Heads. — Vandyke, Holy Family. — Rubens, Boar and Dogs. — Vander Werf Adam and Eve lament ing the Death of Abel. — Rembrandt, Resurrection of Lazarus. — C. Netscher, Knife-grinder. — Ostade, old Man and Woman. — Lustermans, a Head. — Rem brandt, a Rabbi. Room 10. — Rubens, three Heads. — Vandyke, Nymphs and Bacchantes. — Fytt, two pieces of Fruit and Game. — F. Mieris, sen., three Heads. — G.Crayer, Our Lord teaching the Doctors ; En tombment. — Holbein, Portrait of Eras mus ; Ditto of himself. — Teniers, two Interiors of Public-houses. — P. Potter, four Oxen, a well studied and carefully work. — G. Honthorst, Samson shorn. — Vander Werf, Shepherd and Sheperd- ess. — G. le Due, a Head. — JJoo*,Sheep, Cows, and Goats. — G. Terburg, a Head. — G. Dow, Woman looking out at a Window; Head of a Man; Boy and Grrl at a Window. — Pazzaro, two Land? scapes. — Holbein, Portrait of a Man ; Ditto of a Lady. — Wouvermans, Battle- piece. — Hans Hemlinck, History of our Lord's Passion, a most singular succes sion of scenes spread over the canvas, in thesamestyle as theNativityin theBois- seree collection. — Sanredam, Interior of a Church. — Schalken, Painter at his Piedmont. Route 1. — Turin— Gallery of Pictures — Isiac Table. 21 Easel. — Fran. Floris, the Arts sleeping in time of War. Room 11. — Flower-pieces, by Breug hel, Van Huysum, and Snyders. ¦ Room 12.— A. Durer, Salutation of Elizabeth, not remarkable ; Man pray ing. — Holbein, a Portrait called Luther, dated 1542 ; Ditto of his Wife, same date. — Stella, Spring. — Vouet, Paint ing. — Spranger, the Lasl Judgment. — Templi, the Virgin and Child appearing to three Knights praying. — Jordaens, Our Load and Angels ; raising of Laza rus. — Vandyke, Holy Family. — Teniers, a Lady and Music, in his best manner ; Public-house Interior, and Music. — Jan Miel, St. Philip and an Angel. — Rubens and Breughel, Venus and Cupid in a Landscape. — Breughel, sen., Village Dance. — Mignard, St. John ; Scene in an Arbour. — Teniers, sen., a Country man and his Wife talking with a Law yer. — Frank, Cavaliers dancing the GcaSimdi.— Rembrandt, Portrait of an old Man. — Poussin, St. Margaret. — Wouvermans, Halt of Horsemen. — Ru bens, Portrait of himself when very old. Room 13. — Twelve battle-pieces, the Campaigns of Prince Eugene, bird's-eye views, by Hugtenburgh, and one by Bor- gognone. Room 14. — Breughel del Velours, River scene ; Ditto, with Ruins. — Wil- lingen, Interior of a Church. — Holbein, Portrait of Petrarch. — Jan Miel, Model ler's Studio. — Breughel aVEnfer, Ships burning. — Peter Neefs, Interior of a Cathedral. — Teniers, a Man playing. — Jordaens, Diana and Nymphs bathing. — Van Vitelli, Port of Naples ; Colos seum. — Vander Poet, Fishermen. — A. Durer, Deposition from the Cross ; Holy Family, fine. — Salaert, a Proces sion in Brussels. — Lucas van Leyden, Death of the Virgin. — Jordaens, Bear- hunting. — Gagnereau, Cupids and Lion. — Van Musscher, Portrait of a Poetess. Jan Miel, Roman Ruins. — Rubens, Sketch (one of the series of the life of Mary de' Medici). — Schalken, View near a Ruin, with figures. — Holbein, Portrait (?) .—Breughel de' Velours, Passage of the Red Sea ; a Fair. -Room 15. — Constantia, copies of celebrated Florentine pictures, on ena mel, or large plates of porcelain. Room 16. — Landscapes : 10 by Breughel de Velours; 2, Claude Lor raine ; 1, Both; 6, Vanloo; 13, Gref- fier ; 2, Vander Meulen ; 2, Gaspar Poussin; 2, Tempesta; 1, Brill; 4, Vries ; 2. Manglard ,- Peter Neefs, In terior of a Cathedral. Room 17. — Family Portraits of Savoy. — Vanschuppen, Prince Eugene. — P. de Champagne, Prince Tomaso and his wife. — Argenta, Emanuel Filibert. — Vernet, Charles Albert (present king). — Copy of Guido, Cardinal Maurice. — Jan Miel and others, Portraits. Upon the northern tower of the Pa lazzo is the Observatory, established in 1822, and now under the direction of Professor Plana. It is well furnished with instruments. In ancient times it was the post of the king's astrologer. The Palazzo dell' Academia Reale delle Scienze contains the several mu seums, which have now attained great importance. The principal, unques tionably, is the Museo Egyzio, com posed in great part of the collections made by the well-known Cavaliere Dro- vetti, a Piedmontese by birth, but who for many years filled the place of French consul in Egypt. It is open to the public on Mondays and Thursdays ; but the. custode is in attendance on other days. It was purchased by King Carlo Felice in 1821 ; some previous but unsuccess ful negotiations having taken place for the purpose of securing it for the British Museum. It is said to contain 8000 articles ; and, judging from the general view, the number is not exaggerated ; but the want of any catalogue or sy nopsis renders it much less useful and satisfactory than it would other wise be. The celebrated Isiac table. It is a tablet of bronze, of about 4 feet by 3, covered with figures of Egyptian deities, and hieroglyphics, engraved or sunk, ' the outlines being partly filled with silvering, partly with a kind of niello. According to some accounts, it was discovered at the Villa Caffarelli upon the Mount Aventine, where there had 22 Route 1. — Turin — Egyptian Museum. Sect. I. been a Temple of Isis, and presented by Paul III. to a son of Cardinal Bembo. It sustained various mis chances : after the " sacco di Roma " by the Connetable de Bourbon it was fpund in the possession of a brazier : others say it was discovered at Casale. Transferred to Mantua, it disappeared after the siege of that city in 1630, and was thought to be lost : but it was found at Turin amongst some lumber in 1709. It went to Paris in 1797, and has now reverted to Turin. This monument is very interesting, as being the first specimen of Egyptian antiquity which attracted attention after the revival of letters, and none has had more eminent interpreters. Olaus Rudbeek, the worthy successor of Olaus Magnus, discovered on it the whole mythology of the Edda. Father Kir- cher translated the whole into good substantial Latin, and found it con tained the whole cosmogony of Hermes Trismegistus. Jahlonski showed its perfect agreement with the most ortho dox doctrine of Thebes. Winkelman, Schmidt, Montfaucon, have all ex plained its mysteries. But it is now ascertained to be a pseudo-Egyptian production of the age of Adrian ; and great doubts are entertained whether any real meaning at all is conveyed by the imagery. In the centre of the principal apartment is an inscription in honour of Champollion, as the (Edipus by whom the Egyptian enigmas were first explained, overlooking the well- known and sagacious discoveries of Dr. Young. The principal objects are the follow ing : they are, with few exceptions, in the highest state of preservation, idols of wood, painted and gilt ; household gods ; figures of real and ideal animals ; amongst others, that which was un questionably the origin of the Grecian harpy : many with inscriptions painted or written in the enchorial character ; others of terra cotta, on none of which such character is found, the inscription being in hieroglyphics. Animal mummies, — cats, crocodiles, ibises, fish, monkeys, serpents, heads of calves and bulls, without doubt the bull Apis, many in their original ban dages and swathings : all the " abo minations of Egypt," dug out of the sands which concealed them, are ex hibited here. Sepulchral Statues. — These are very curious : most of them are hus bands and wives, or at least a male and a female, often with a child be tween them. These have been some times considered as Isis, Osiris, and Horus, "mais nous avons change tout cela." Some are single figures. The females have all most respectable wigs, much like those of the judges in Westminster Hall. Models : amongst others, of a boat and of a temple ; furniture of all kinds, baskets, Bhoes, sandals, vases, tablets, articles of clothing, and speci mens of stuffs and linen, a very great variety. Clothing for the dead .- masks for the faces of the mummies ; sandals, upon the soles of which are painted captives with ther hands bound ; some are negroes, other Jews, — a singu lar specimen of posthumous triumph. The wooden doorcase of- a temple, painted of different colours. The colouring was restored by Champollion, — an operation which had been better left alone. Articles of food for man and beast ; pomegranates, bread, onions, eggs, dates, hay, corn, butter, — all preserved in the catacombs. Female ornaments, some very beauti ful and delicate, much finer than any in the British Museum, Numerous rolls, some of papyrus, others of leather and cloth. They are in various characters, hieroglyphics, hieratic letters and enchorial, with some few in Greek or Coptic. This very valuable portion of the collection is not in good condition : the rolls have been framed and glazed (as at the British Museum), and it has very recently been discovered that they are beginning to decay. Human mummies. " A head of which the hair was red or auburn : this seems to show that the party was not a de- Piedmont. Route 1. — Turin — Egyptian Museum. 23 scendant of Misraim, but a stranger. perhaps a Greek. The hairs of the eye lashes even are in perfect preservation. Another head, the face covered with a fine cloth, through which the features are distinctly seen. Upon the forehead is a bandage, in the centre of which is a gold ornament." Mummy chest, of which the interior is entirely covered with enchorial writ ing ; another, of which the hieroglyphics are formed of enamel. An exceedingly beautiful Sarcophagus of basalt, supposed to be the tomb of a priest : the hieroglyphics are worked with the delicacy of a gem. Specimens of Egyptian statuary^ many of which are colossal, form the most valuable portions of the Drovetti collection. Most of these are named by the bold erudition of Champollion, and with him must the responsibility rest. Sesostris. — Perhaps the most remark able. Whether really the monarch or not, this statue is most evidently a por trait, and full of life. By his side is his queen, as usual with a wig ; it is curious to observe the excessive fondness of the women of Egypt for this deformity. He has a book in his hand. The coun tenances are not Egyptian : they have not the thick lips and the elongated eye generally so marked in the Egyptian monuments ; and this circumstance alone may lead us to doubt the appro priation of the statues. Sesostris (wholly unlike the pre ceding), as a Deity between Ammon and Neith, very fine. Head of a colossal statue of Pha raoh, yet retaining vestiges of the original colouring. Amenophis and Ms Queen, wigged of course, — fine statues. Thotmosis II., — Bingular for the ornaments. Pharaoh Chebro, in the act of making A warrior, clad in » panther's skin, of which the head hangs in front. The skin is embroidered with stars. This statue is very remarkable ; for, with some variations, it was adopted in the middle ages as, the model or pattern of an idol, worshipped by the idolatrous tribes of Mount Libanus. The head of a ram, — colossal and fine. Jupiter Ammon, — colossal. An altar of a circular shape, with channels for the purpose of receiving the libations, said to be the only ex ample subsisting. The Greek and Roman antiquities are of less importance. A sleeping Cupid was honoured by deportation to the Louvre : it is now returned, ancjt is the finest piece in the collection. It is said to be Greek ; but some very provoking doubts have been raised re specting it, as if it were a Florentine or Roman copy of the 16th century. Antinous. A colossal bust of the Em peror Hadrian .- another of Julian, of great beauty, considering the period when it was executed. A mosaic pave ment, found in Sardinia : its compart ments are separated, but it seems to represent Orpheus playing to the beasts. It is of the bes^ species of Roman work. The medals amount to upwards of 15,000. Amongst these is a gold medal of Athens, said to be unique; a fine series of the Sassanian kings ; the kings of Syria ; the Ptolemies. Bronzes, some very fine; a very ancient, per haps Etruscan, patera, representing the battle between Theseus and the Ama zons, found in the Po, near Turin. Others of the same style and date have been found in Savoy. A faun, found upon the site of the ancient city of Industria. Vases, in Etruscan style, discovered at Monza. Ivory carvings, more remarkable, however, for the la bour bestowed upon them than for their taste. The Museum of Natural History is peculiarly rich in the mineralogical de partment, especially in specimens of the minerals and fossil organic remains of the Sardinian states. The other branches are not remarkable. The Museums are open daily. The custode of the antiquities expects a small gratuity. Vniversitd Reale, a very extensive and magnificent building. The cortile 24 Route 1. — Turin — Library. Sect. I. is an example of the effect produced by columns encircled by bands, story ahove story ; and is a species of lapi dary museum. Until recently, the greater part of the Roman and Grecian remains now in the museum were in the university. Those which remain are principally fixed in the walls. Here are the Torsos (no longer Torsos) found at Susa, and now exhibited as Tiberius and Napoleon (not that the likeness is very striking in either). Such restorations destroy all the benefit of the instruction which a collection of antiquities is intended to impart. Many of the inscriptions and monu ments are sepulchral. Upon the cippus of Quintus Minutius Faber, a wheel wright, he is represented, at bottom, working upon a wheel; and at the top, sick in bed. There are also many medical inscriptions : some of the times of the Lombard kings, Grimoald, from whom the Grimaldi family claim de scent, Aripert, and Rothar. The lAbrary is rich. It contains a valuable collection of MSS., many of which anciently belonged to the Dukes of Savoy. It was placed here by Carlo Emanuele I. ; many collections have been successively added to it. The celebrated Calusio, the author of the Hebrew Concordance, bequeathed his Oriental manuscripts to this library ; and it also contains a part of the manuscripts of the Benedictine monas tery of Bobbio. These are very ancient and authentic, and probably include palimpsests ; but they do not seem to have been examined. A very numerous collection of the Greek chemical and alchyniical writers, mostly inedited. Grammarians and physicians, also waiting for the care of some, probably German, editor. A manuscript of the ' Imitation of Christ,' the celebrated work, commonly attributed to Thomas a Kempis. This codex was found at Arona ; and in 1687 it was submitted to a regular congress of the Archse- ologists, held at St. Germain des Pres, for the purpose of deciding upon its antiquity. The question is yet unde termined. Several Bibles, from the 10th to the 16th centy., some most curiously and others most richly il luminated. Seyssell' s translation of Appian, richly illuminated, and in which is a portrait of the author pre senting his work to Louis XII. He brew MSS., several inedited, The lecture-rooms, and other parts of the building appropriated to the business of the university, are not remarkable. There are 47 professorships. The Piazza di San Carlo is the finest at Turin : one extremity is formed by the churches of Sta. Chris tina and of San Carlo Borromeo, from the latter of which it derives its name. It became necessary, after the houses were first erected, to strengthen the columns of the faqades by a species of pilaster; and this accidental altera tion has produced a better effect than the architect originally contemplated. In this piazza is the statue of Ema nuele Filiberto, presented to the city by King Carlo Alberto, and executed by the Cavaliere Marochetti, born at Paris, but whose ancestors were Pied montese. Emanuele Filiberto, Tgte de Fer (born 1528, died 1580), succeeded to the rights of his father, Charles III. Duke of Savoy, 1563, at the time when almost all his dominions were in the power of the French. He revenged himself by continuing in the service of Philip II., and he commanded the troops of Spain at the battle of St. Quentin, where the Constable Mont morency and the flower of the French nobility became his prisoners. A fur ther defeat, sustained by the French, prepared the way for the treaty of Cateau Cambresis, 1559, by which the Duke recovered the greater part of his dominions ; and it was agreed that he should marry Margaret, the only sister of Henry II. The nuptials were cele brated with fatal splendour ; for it was in the tournament which formed a portion of the festival that Henry II. received his death-wound from the shivered lance of the Count of Mont gomery. The remainder of the reign of Emanuele Filiberto was entirely passed in tranquillity. The figures are spirited, and the intention is good. But the Composition is remarkable, Piisdmost. Route 1. — Turin — Piazza Vittorio Emanuele, 25 and has been praised for a minute and elaborate attention to detail, and an accuracy of imitation, which, though _they are very pleasing to uneducated persons, destroy that simplicity and grandeur which are the attributes of the highest art. The ba3so rilievos on the pedestal are of bronze : and repre sent the two principal events in the life of Emanuele Filiberto, — the battle of St. Qulntin, and the treaty of C&teau Cambresis. In this Piazza is situated the Cabi net, of Minerals belonging to the " Azienda dell' Interno." This Board, whose Spanish name of Hazienda is a reminiscence of the influence of the age of Charles V., has the management of the roads and bridges, woods, forests, mines, and minerals, and indeed gene rally of the crown domains. The fossils and minerals are arranged geo graphically, according to provinces, and then again according to communes, a plan remarkably convenient to the scientific traveller, who can thus, by inspecting the collections, obtain a general view of the productions of the country. There are also some special classes of minerals — amongst others, of the fossil shells of the Collina; models of mines and mining machinery ; and specimens of all the indigenous timber trees and shrubs of the Sardinian states. The Piazza Vittorio Emanuele is principally remarkable for its extent and regularity, and the fine view which it commands of the Po, and the Colhna covered with villas and churches, and the Superga towering over all, At its eastern extremity is the bridge Which connects this Piazza with the opposite bank of the Pp, just in front of the rjhurch of La gran Madre di Dio. The bridge over the Po was begun by the French in 1810, from the plan and designs of the ingehieur-en-chef, Per- tinehamp. It was completed by King Vittorio Emanuele, who found it un finished when he was restored to the throne. It has five elliptic arches, each of about 80 feet span. The granite used in its construction, which is from the quarry of Cumiana, is harder but more 'brittle than that used N'- Italy— 1852. in the bridge over the Dora, and con tains many particles of iron ;' on ao- count of which its surface, when exposed to the atmosphere, becomes spotted, and has a disagreeable appear ance. But the bridge on the road to Chivasso, a little beyond the Piazza Emilio Filiberto and the Porta Vit torio, is much bolder and finer. This bridge, which may be characterized as the boldest work of the kind, is erected over the Dora Riparia, a river ordi narily shallow, but liable to -heavy floods, and during these becoming ex tremely rapid, owing to the great de clivity of the bed ; it consists of a single arch of granite, resting on solid abutments of the same material. The arch is a- segment of a circle, having a span of 147 ft. 7|§ in., with a rise or versed sine of 18 ft. 0|3 in. These pro portions, -whioh correspond to an arc of 54° 56', render it the flattest arch of this form yet constructed in Europe. The lightness of appearance derived from the flatness of the arch is much increased by the introduction of two ugnature, or comes de vaches, (as the French call them,) which, rising from the third course above the springs of the principal arch, form a second one of a somewhat larger span, coinciding with the first at the lower edge of the keystone, and having a versed sine of 12 ft. ljjj in. This arrangement, and the convex form of the abutments, give a more free passage to the stream in time of floods. The keystone is 4 ft. 11^5 in. deep. On the level of the top of the keystone is a plain cornice, with modillions cut in the solid stone, similar to those round the temple of Marte Vendicatore at Rome. Above this is a solid plain parapet, whose total height is 3 ft. 4 in. The roadway over the arch is 40 ft. wide between the parapets : of this each of the footpaths occupies about 5 ft., and the carriage way 30 ft. ; no blocks less than from. 8 to 9 ft. in length were employed for the cornice and parapet, and some of those used in the latter at the abut ments are from 36 to 40 ft. in length. All parts of the structure are minutely dressed, and all the joints exposed to' 0 26 Route 1 . — Turin — Theatre — Pictures. Sect. I. view were filled in with a very fine ce ment to the depth of about an inch, and this cement was rubbed over with an iron point, till it became , as hard as the stone itself : .every visible part is of the best Alpine granite, of the quarry called Del Malanaggio, near Pinerolo. This granite is better than that used in the bridge over the Po, not being subject to discolouration, and is sus ceptible not only of being dressed very finely, but also of being used in very small and delicate works, and takes a high polish. This bridge was designed and constructed in the most scientific and skilful manner, under the imme diate direction of the Chevalier Mosca, and to this day not the least settling, or the smallest crack or chipping, has taken place: and as the whole face of the work has been finely dressed, it appears to the most practised eye a single solid mass of granite. The bridge, together with the approaches, cost the Sardinian government 56,000£. "If I may be. allowed to express an opinion, the general architectural ap pearance of the bridge over the Dora would have been improved if a simple projecting base had been given to each of the pilasters of the abutments, with its summit forming a line a little above the water-level. By this addition a better proportion would have been maintained between the width and height of the pilasters, and a . more strict accordance with the cornice that surmounts them. This method is now generally employed, with the very best effect, in every great work of the kind, and particularly in this country [Eng land], which possesses some of the most magnificent structures of the same nature, particularly over the river Thames." — B. Albano, C.E. There is also a suspension bridge over the Po, a little above the stone bridge. There are very many excellent man sions in Turin, but none which need to be particularly remarked for outward appearance, except, perhaps, the un finished Palazzo Carignano, one of the specimens of the fancy of Guarini, and in which he has carried his powers of invention to the greatest extreme. It is a most extraordinary combination of curves and compartments. The Royal Theatre has been noticed, There are also the Teatro Carignano, which is open for operas and ballets during the autumn season, and for the regular drama in the spring and summer ; it was built by the Count Alfieri ; and here the first piece of Vit: torio Alfieri was first represented. The Teatro Carignano was embellished in 1845 with the most gorgeous magni ficence, and is now perhaps the most richly decorated theatre existing. The Teatro d'Angennes, remarkable for the good arrangement of the scenes and Btage, is an elegant but not a large theatre. It is open for the regular drama during the Carnival, and for the opera buffa in spring and summer. The Teatro Sutera is open for the opera buffa during the Carnival. There are also two theatres of fantoccini. The Piedmontese claim the honour of being the inventors of puppet-shows, which axe carried to high perfection in the performances of these wooden com^ panies. The buffoon characters Giro- lamo and Gianduja are of Piedmontese, origin, as Arlequino is Bergamasque, No theatrical performances take place on any Friday throughout the year, on AH Saints day, and during Advent and Lent. The practice of closing the theatres on "Whitsunday and Corpus Christi, which exists at Milan, does not exist at Turin. There are several respectable private collections of pictures atTurin, of which the principal are the following : — The Marquis Cambiano, to whom the palace, formerly called Priero, now belongs. Amongst the finest are two Holy Families, said to be by Raphael, and a study of two Heads by the same hand for the San Celso picture now at Vienna; a study of the lovely Ma donna della Scodella by Correggia, the Virgin iand Child with two Angels/ painted on paper, and a small Holy Family, also attributed to him, The; Death of St. Francis d'Assisi, a com-j position including 27 figures, by Ma* saccio, whose easel pictures are very rare. The Portrait of the Queen of. Piedmont. Route 1. — Turin — Private Collections. 27 Louis XII., and a Death of Cleopatra, attributed to Leonardo da Vinci; a Holy Family, and a Sta. Barbara, by Luim, his scholar and close imitator. St. Agnes, the Angel Gabriel and Tobias, and a Holy Family, by Andrea del Sarto. An admirable and splendid Paul Veronese, representing the taking of the Vows. A Portrait of Paul Doria by Titian, with his signature, and the date 1559 ; a Venus and Cupid sleeping, by the same hand ; and two other pictures, also attributed to him. A fine composition of many figures, the Crucifixion on Mount Cal vary, by Bronzino. A half-length of St. Peter, a Head of our Lord crowned with Thorns, and a Sibyl, by Guido. Francia, a Madonna. A very fine spe cimen of Albano, representing St. John the Baptist ; a Mater Dolorosa by Carlo Dolce ; a Magdalene in the De sert, and his own Portrait, by Ann. Caracci : Diogenes, by Sahiator Rosa ; and other interesting specimens of Ita lian art. By Rubens is a fine Magda lene, a small Portrait painted on wood, Henri IV. taking leave of Gabrielle d'Estr&s, and a Dance of Satyrs. A five portrait of a noble Lady in the dress of a Nun, by Vandyke ; a Land scape with a, Man and Animals, by Pawl Potter ; a Portrait of Louis XIV., with four other figures, by Mignard. The Marquis Cambiano possesses, be sides, a collection of original drawings ¦by Guercino and Palmieri. Count Haratch, in his palace in the Contrada di San' Francesco d'Assisi, has also a fine collection, both of Italian and Flemish artists. The Deluge, a fine and well-known picture by Do- mmichmo ; St. John in the Desert, painted on wood, by Leonardo da Vinci; the Attendant pi Medea saving her ¦Children from the Flames, by Man- tegna ; a fine Susannah and the Elders, from the Soderini gallery near Venice, by Guido ; the Samaritan Woman, by ¦Bassano, from the Pisani gallery, also engraved ; the Martyrdom of St. Bar- -tholomew, by Spagnoletto, — painfully true and forcible in its horrible details ; the Prodigal Son, a fine specimen of Caldbrese ; a Virgin, on woodj by Francia; a good Holy Family, by Guercino. A Portrait of M. Roche, his Wife and Children, executed by Rubens at 22 years old, when, leaving the school of Otho Venius, he came to study in Italy, is highly interesting as a well- authenticated picture, both as to date and pedigree : it was in the collection of Madame de Pompadour, and has been engraved by Cousins. St. Jerome, on wood, by Quintyn Matsys ; a beautiful Sea View, by Vernet ; and some good specimens of Migliari, a Piedmontese artist, recently deceased, once a scene- painter, and latterly chiefly occupied on interiors of churches, in which he rivalled Peter Neefs. The portraits, and espe cially those of eminent Italians, in this gallery, constitute a highly interesting portion of its collection. The cele brated general Gatta-Melata, by Cap- pucino ; Canani; Great Master of the order of Sanf lago di Compostella, by Titian; Campanella the Jesuit, by Caracci; Padre Zanchi, of Bergamo, by Crespi; Paris Bordone, by himr self; and four female portraits, by Moroni, Bellini, Palma Vecchio, and Tintoretto. Signor Lavaria, in the Contrada di Sanf Agostino, has a good collection of cameos and gems, medals, and a series of gold coins of the Gothic Kings of Spain ; stone bas-reliefs, attributed to Algardi, and fine statues in ivory, re markable for their size as well as their fine execution. The principal of his pictures are a " Mater amabihs," by Luini, on wood ; a remarkable picture, called the Founding of the City of Rome, attributed to Fra Bartolomeo ; a Virgin and Child, painted on stone (like that at Genoa), by Raphael's scholar Pierino del Vaga; another picture of the same subject, on copper, by Parmigiano; a so-called Guido, Pindar and the Muses on Mount Heli con; St. Jerome, in the manner of Michael Angelo. There is a landscape by Teniers ; flowers and fruit-pieces by other Dutch and Flemish painters; amongst which are placed two land scapes by Revilli, a Piedmontese artist still living, and enjoying some repu tation. 28 Route 1. — Turin — Charitable Institutions. Sect. I. Signor De Angelis, in the Piazza di San Carlo, has also a collection of pic tures of considerable value : a Cupid, by Guido ; a half-length figure holding a skull, by Spagnoletto ; a fine battle- piece, by Polidoro da Caravaggio ; a landscape, with figures, attributed' to Titian ; the Adoration of the Magi, by Rubens ; two Apostles, by Lanfranchi ; a Lamplight Scene, a Feast, with many figures, by Gherardo delle Notti; a portrait, by Albert Durer ; a Storm at Sea, by Vernet; landscapes by Mou- cheron, and fine flower-pieces by Can- dido Delfiore ; and many others in the schools of Titian, Caracci, &c. The charitable institutions, or Opere Pie, of Turin, are numerous and opu lent. A detail of these institutions would be foreign to this work : a few of the most remarkable may be noticed. The Ritiro delle Rosine was founded by Rosa Govona, a poor girl of Mon- dovi, who, in 1740, collected a number of other poor girls of her own class for the purpose of living as a semi-religious community, maintaining themselves by their own labour. In 1745 she re moved her institution to Turin, and settled here, under the patronage of Carlo Emanuele III. She died in 1776, and is buried in the simple ora tory, or chapel, of the Ritiro ; on her tomb being inscribed " Le figlie grate alia Benedetta Madre hanno posto questo monumento." The number of inmates is now upwards of 400 ; and the income of the house, which arises wholly from their labours, is upwards of 75,000 franes, with which they are most comfortably maintained. They may quit the Ritiro if they think fit, but few avail themselves of this power. There are several other houses of Rosine in other parts of the Sardinian states. The Reale Albergo di Virtu is ex actly what we should term an industrial school. It was founded, in 1580, by Carlo Emanuele I. The Regio Manicomio, a lunatic asylum, arose out of the voluntary con tributions of the fraternity of the Santo Sudario, about the year 1728 ; and the Prior of the fraternity, with the appro bation of the Crown, names the .direct ors. Its management is very mild and judicious : the patients all dine at a common table, and many of the im provements in the treatment of these unfortunate objects recently adopted in England have been long practised here. The Great Hospital of St. John is of very remote origin, perhaps as old as the cathedral, to which it is, in a mea sure, annexed. It is now managed by a congregation, composed of six canons of the cathedral and six decurions of the city : about 6000 patients are an nually received in it. The revenues before the Revolution were very large ; and now, partly from estates, and also from voluntary contributions, they amount to about 300,000 francs per annum : the contributions are nearly half. In the centre of the wards is an altar, so placed that it can be seen from every bed. This hospital is a great and flourishing medical school. The hospital of San Imigi Gonzaga, founded in 1794, and wholly supported by voluntary contributions, has a larger income than the hospital of St. John : it is also a dispensary. The out-pa tients are maintained at their own homes for a full fortnight after they are represented as cured, in order that they may fully recover their strength, and have an opportunity of looking out for employment. The in-patients are those who are refused admittance elsewhere as incurable. The building is well contrived and ventilated. Up- wards of 12,000 out-patients are an nually relieved, and fed, if they require it. This noble institution owes its origin to the late Padre Barucchi, a parish priest of Turin, who began by erecting a fraternity for the purpose of assisting the poor at their own houses ; and, in the course of twenty year3, col lected the Bums needful for its esta blishment in the present edifice. Its utility has caused it to be liberally supported by the Turinese. The Compagnla di San Paolo em braces a great number of objects — education, marriage endowments, re lief of the Poveri vergognosi, i. e. poor not asking charity, and medical assist ance. Piedmont. Route 1. — Turin — Superga. 29 In the vicinity of Turin, the Superga, with which the traveller becomes ac quainted long before he enters the city, is the monument of the vow made by Vittorio Amadeo previously to the battle of Turin. On the 2nd Sept. •1706, he advanced with Prince Eu gene from Chieri; and, taking his station upon the summit of the Collina, they looked upon his capital, impri soned by the triumphant army of Louis le Grand. Vittorio here vowed to erect a church in honour of the Virgin, if it should please the Lord of Hosts to grant liim and his people deliverance from the hand of the enemy. (These are the words of the vow.) The result of the battle of Turin has been before ¦noticed. The name of Superga is said to be derived from its situation super terga montium — a doubtful etymology. The mountain is very steep ; carriages from Turin cannot go up without four horses ; and the visitor must either go to this expense, or walk the greater part of the way, that is to say, from the foot of the hill, about four miles from Turin. The elevation, to the summit of the building, is about 2200 feet : the view from the terrace would alone repay the fatigue of the ascent. There is, perhaps, no point whence the rich plain of Lombardy is seen to equal -perfection, girded in by its alpine boundary on the north and the Apen nines on the south. The BasilicS, was begun in 1715, and completed in 1731. Juvara was the architect. It is of a circular plan, and in the interior has eight pilasters, .almost detached from the wall that ¦forms the enclosure, and in these are set as many columns, but at unequal distances, supporting a cupola. This disposition has the disagreeable effect of two buildings one within the other, without any harmony of parts or cha racter. Through the interpilaster, op- . posite the principal entrance, is the access to a large octangular chapel, at the extremity of which is the grand altar. The external flight of steps is continued round. The facade has a portico of eight Corinthian columns, the centre intercolumniation being larger than the lateral ones : the co lumns are very much belhed, and, being built up of small pieces, the whole effect is poor. Above the order is a pediment, which interrupts the balus trade. The cupola, which is of a good figure, is in the centre of two elegant campaniles. The high altar is deco rated with a profusion of statues and basso-rilievos, one representing the siege of Turin ¦ — Vittorio Amadeo, Prince Eugene, and the Duke of An- halt pursuing the enemy. As works of art, the sculptures and paintings are of a very low grade : Vittorio Amadeo's tomb in the crypt is decorated (or de formed) by allegorical figures in the taste of the last century. The body of Carlo Emanuele rests in the same edi fice with that of his dethroned father. The " Genius of War" and the "Genius of Art " seem out of place. The whole is of indifferent workmanship, and worse design. The " depositi " of the members of the House of Savoy con tinue from Vittorio Amadeo to Vittorio Emanuele (died 1821), but the Su perga has ceased to receive the remains of the royal family. King Carlo Felice is interred at Haute Combe in Savoy : the late monarch, as has been before mentioned, was inclined to se lect the Sacra di San Michele, partly in order (as it is supposed) to mark that with him begins the new dynasty of Savoy-Carignan. The college (often erroneously called a monastery) is upon a large scale. The halls and staircases are grand from their proportions and rich marbles, and the solid decorations of the architect. A series of portraits of the popes, the majority of course imaginary, is placed in the apartments appropriated to the sovereign, who visits the Superga annually, upon the anniversary of the battle. The priests who officiate in the Superga constitute an ecclesiastical seminary. The canons who were first placed in it were sup pressed in 1833, when the present body was formed in their stead ; they are sustained by the king. Vigna della Regina. This palace overlooks Turin, being on the side of the Collina, immediately above the Po. 30 . Route 2. — Turin to Milan. Sect. T. It was built by Cardinal Maurice of Savoy, when he had ceased to be a cardinal for the purpose of marrying his niece Ludovica, the daughter of Vittorio Amadeo I. The views of the city from hence are very beautiful. The entrance of the palace offers a painted ceiling, ¦ascribed to Paulo Veronese, and also some tricks in perspective, imitation 'colonnades and the like, of which the Italians have long been fond, and which -they still practise with much success. II Valentino, built by Christine of France, the wife of Vittorio Amadeo I., and daughter of Henri IV. and Marie de Medicis. As far as the design of the original building has been executed, it is a regular French chateau, and ¦quite declaring its origin : hence its historic interest ; and the king has had it restored with much care and taste. The gardens are very agreeable ; one of them is the botanic garden of the uni versity. It is most pleasantly situated on the banks of the Po. A subterra neous marble staircase by which you descend from the palace has a poetical effect. Stupinigi, about 8 m. from Turin. A fine avenue leads from the city to this iinfmished hunting lodge or palace, of which the object is announced by the bronze stag which crowns the roof. It was erected by Carlo Emanuele III. from the designs of Juvara. The ele vation is finely varied by the masses, semi-castellated in form, of which it is composed. Napoleon lodged here in his way to Milan, when about to receive the iron crown. It contains some tolerable paintings : a good Vanloo, representing Diana bathing. It also contains much perspective painting. Castello di Aglie. The favourite country residence of .King Carlo Felice, and now of the Queen Dowager, re markable for the extreme purity and pleasantness of the air. It contains a small but very choice collection of Ro man antiquities. Turin to Cormayeur and the Val d'Aosta. (Swiss Handbook. Rte. 107.) Turin to Romagnano. (Ibid. Rte, 103.) ROUTE 2. TURIN TO MILAN, BY NOVARA. 15f Sardinian posts to Magenta, thence to Milan 2 Lombard posts, 89 miles. This road affords a continued succes sion of beautiful scenery. During the greater portion of the journey the Alps are always in sight. Rising, as they do, from the plain, they offer perhaps even a bolder aspect in the distant view than when you are amongst them, as in Switzerland ; their highest point is Monte Rosa, next in height to Mt. Blanc. On quitting Turin you have the Collina to the south, crowned by the Superga. Cross the fine bridge over the Dora- Susina on leaving Turin : a toll of 1 fr. is paid per horse. — The same is paid on all the other bridges. Shortly afterwards two other bridges cross the Malone, and its branch the Malonetto, both frequently inundating the adjoining country. 1J (half an additional post is charged on leaving Turin) Settimo, a small vil lage, bearing in its name the reminis cence of its Roman origin, ad septimum lapidem. Brandizzo, a village or borgo of great antiquity, though now having nothing to show for it. It is noticed in the an cient itineraries, as one of the stations where the pilgrims to Jerusalem were accustomed to change horses. Cross the torrent Oreo, which, like the other streams already passed, con tributes to the Po, and, like that river, frequently inundates the adjoining lands. It is said that the periods of the dura tion of the floodings of these streams are regular. The floods of the Malone last twenty hours, and those of the Oreo thirty, thus bearing an analogy to inter mitting springs. Gold is found in the sands of the Oreo, the right of washing which is let out by the municipahty of Chivasso for a small sum ; the time consumed in the search rendering the employment an unprofitable branch of labour. The banks of the Oreo are beautifully wooded, Piedmont. Route 2. — Chivasso — "Rondissone — Vercelli. 31 1$ Chivasso, a small city on the 1. bank of the Po, heretofore of much military importance, but now fortu nately unfortified. It was long consi dered as the key of Piedmont, and in 1798 it opposed a considerable degree of resistance to Marshal Joubert when executing the decree of the Directory, by which he was ordered to dethrone the House of Savoy. The fortifications were destroyed by the French in 1804, when their possession of Lombardy placed Chivasso in the midst of their Own territory. Chivasso was the ordi nary court and residence of the Mar quises of Montferrat, who, as sovereigns, held so conspicuous a place in the his tory of medieval Italy, though Casale was their proper capital. The Marquis Giovanni, sumamed the Just, who was much loved by his people, died here in 1305, after a tedious and wasting sick ness. He had been attended during this malady by Manuel di Vercelli, a physician of great reputation for skill. Manuel followed as one of the mourners. There is an old jest in Joe Miller of an M.D. in a similar situation being told that he was " carrying his work home." The people of Chivasso believed it. Sus- 'pieions had been spread that the good marquis had died in consequence of the want of skill, or that somehow or an- dther the doctor had despatched his employer ; they rushed upon the luck less scholar of Avicenna, and literally tore him in pieces. The Marquis Gio vanni had no children; and his domi nions devolved upon his sister Violante (Irene the Greeks called her), the Em press of the East, wife of Andronicus Oomnenus Paleologus. Their second son, Theodore, was selected to exercise his mother's rights, and in his person began the dynasty of Montferrat-Paleo- logo, which continued until it became extinct in the person of Giovan' Giorgio, who died in 1553-. ' The city (we should call it a good- sized market-town) consists of two adjoining groups of streets and build ings, and which anciently, probably, formed two distinct jurisdictions. The church of San Pietro is in the style of the revival, and dates as early as 1425. The front is decorated with ornaments and entire statues in terra cotta, of great elegance, but much defaced The remains of the ancient palace, or castle, of the Counts of Montferrat, con sist of an octangular tower, upon the summit of which are growing two mul berry-trees, an evidence of the long period during which it has been aban doned to decay. At Chivasso the road leaves the banks of the Po, which runs nearly E. along the base of the low hilly district of Montferrat, the road to Vercelli approaching nearer to the Alps. The fine views of the Alps continue in creasing as the road advances. Rondissone. Cross the Dora Baltea, descending from Ivrea, rushing as rapidly as the Dora Susina to pour its contribution into the Po. All these streams are remarkable for the rapid descent of their channels, less broken by cascades than is usual in mountain torrents, and, being fed by perpetual snows, Yery rarely, if ever, become dry. 2i Cigliano, now dismantled, but once surrounded with walls and towers. The old church is rather an interesting object ; but the main beauty of this vicinity is to be found in the Monte Rosa, which is hence seen rising in great magificence. 2J San Germano, also once fortified, but now dismantled. In this neigh bourhood the women wear a peculiar ornament in the hair, which exists, with more or less variation, throughout Lombardy. It consists of rows of large pins (spiloni) radiating round the head. Here these pins terminate in balls, either gilt or of polished brass. The dialect of the people is completely Milanese ; and the style of all the ancient buildings shows that the traveller has entered historical Lombardy. If Vercelli (Leone d'Oro, very fair : La Posta, middling), a city near the 1. bank of the Sesia, the seat of a bishopric, of great importance in the middle ages, and still containing a population of 18,000 Inhab., and with great appearance of activity. It covers a wide tract of ground, and is sur rounded by boulevards, of which those on the N.W. command the finest view Route 2. — Vercelli — Cathedral Library. Sect. I. of the Alps. At this extremity of the city is the Duomo. It was built by Pellegrino Tibaldi, towards the middle of the 16th century, and is in the best style of Italian architecture. During the French occupation this building was exposed to ruin. They turned it into a stable, burned all the wood- work of the choir, and defaced the tomb of St. Amadeus of Savoy. All this da mage has been recently repaired. The tomb of St. Amadeus was richly deco rated with silver, at the expense of King Charles Felix, in 1823, from the designs of an artist of Turin, S. Savesi. The wood-work of the choir was re stored in 1822, from a design of Ranza, an architect of Vercelli ; it is so con trived that it holds together without nails, and can be taken down in a 'very short time. The portico, by Count Alfieri, is original and bold. In this church are interred St. Eusebius, the first bishop of the see, and St. Amadeus. The sepulchral chapels, in which the bodies are deposited, are sumptuously ornamented. The library of the cathedral has es caped spoliation, and contains a collec tion of manuscripts of great antiquity and value. The most remarkable is a copy of the Gospels written by St. Eu sebius, the founder of the see in the fourth century, and which, being much •decayed, even in the reign of Berenga- rius King of Italy (see Monza), was, by the order of that monarch, bound in silver ; and it yet remains in this cover, with the inscription, testifying the name of the donor, in the following verses : — "Presul hoc Eusebius scripsit, solvitque ve- tustas ; Rex Berengarias sed reparavit idem." The silver cover is ornamented with rude chasings : it represents our Lord seated upon a species of throne com posed of two zones ornamented with gems, and which have been explained as representing the earth and the heavens. Upon his knees is an open book, the Gospel, presented to mankind. Olive-branches surround the tablet, as . the emblems of peace. On the . other , side is St. Eusebius in his robes, but merely designated as " Eusebius Epis- copus ;" the absence of the epithet Sanctus being conformable to the usages of high antiquity. This manuscript is considered as of the greatest importanco in biblical criticism. It is a Latin ver sion, and supposed to be the most authentic copy of that called " Itala " by St. Augustine, and employed in the earliest ages of the Western Church, until its use was superseded by the Vulgate ; and this manuscript being older than any Greek manuscript now extant, it is in one sense the most an cient copy of the Gospels existing : hence, when a question arises as to various readings, the soundest and most judicious critics give the prefer ence to those which are supported by the " Codex Vercellensis." The Gospels are arranged in the following order : — ¦ St. Matthew, St. John, St. Luke (here called " Lucanus"), and St. Mark. It is written in capitals, in two columns ; the writing is much faded, and the eva nescent character can scarcely be traced except by the indentation of the pen in the mouldering vellum. St. Eusebius always carried this volume about with him; and it, is the earliest certified autograph in existence. Besides the injuries which the manuscript has sus tained from time, it has been strangely mutilated to gratify the former devo tion of the people of Lausanne, who in the 15th century erected a church in honour of St. Eusebius, and in whose favour Bonifazio Ferreri, the then Bishop of Vercelli, detached a leaf, which he sent to them as a relic of the holy prelate whom they thus revered. Lalande stated this manuscript to be an autograph of St. Luke, though it is a Latin version ! Amongst the other manuscripts are Anglo-Saxon poems, including one in honour of St. Andrew, and very pos sibly brought from England by Cardi nal Guala, of whom we shall shortly have occasion to speak; the Recogni tions of St. Clement, a very early manu script, but whether the work be really the production of this apostolic father is a question upon which theological critics are much divided ; the Laws of the Lombard Kings, written in the reign Piedmont. Route 2.— Vercelli — Cardinal Guala. 83 of King Lnitprand, and therefore not later than the year 744. The church of Sanf Andrea was erected by Cardinal Guala de' Bicchieri, who filled the office of papal legate in England in the reign of John and Henry III., and whose name is con nected with some very important trans actions during that turbulent period. He was born and educated at Vercelli. Over one of the lateral doors he is re presented as in the act of dedicating .the church ; and his merits are re corded in rhyming Leonines, in the first of which, by a poetical figure, called Epenthesis, familiar to the students of the Westminster and Eton Latin gram mars, one word is inserted in the cen tre of another, that is to say, the word Car dinalis is split into two, and the word Guala inserted in the gap be tween, for the sake of the metre : — " Lux cleri patriasque decus Car(/«rt^adinalis Quern canon atque artes, quern Sanctio ca- nonicalis, Quern lux dotavit, quern pagina spiritualis." The Cardinal left all his property to the Church, and amongst the relics which he deposited there was part of the sword by which Saint Thomas a Becket suffered martyrdom. Cardinal Guala was a most strenuous ally to King John; he excommunicated Stephen Langton and Prince Lewis, when the latter was called in by the barons of Runnymede (1215), with bell, book, and candle; and on the accession of Henry III. he was one of the ministry by whose exertions the royal authority was in a great measure supported and restored. The gratitude of the new monarch bestowed upon Guala much preferment, and among other benefices the priory of St. Andrew at Chester. He made heavy demands upon the clergy generally, besides sequestrathig (to his own use) the benefices and pre ferments of those who were in opposi tion to him ; and he thus amassed the fortune, amounting, it is said, to 12,000 marks of silver, with which this fabric was raised and endowed. On his return to Italy through France, in 1218, he engaged in his ser vice an ecclesiastic, a native of Paris, skilled in architecture, and in 1219 began his new church, which, in allu sion to his church at Chester, he dedi cated to St. Andrew. The career of the founder accounts for the style of St. Andrea. Having passed many years in France and England, Cardinal Guala imbibed a taste for the style of archi tecture which had recently come into fashion in those countries. St. Andrea is far from pure. In parts of the ex terior, perhaps from compliance with the habits of the native masons, round forms are used. The facade is Roman esque; but the interior presents the exact appearance of a French or Eng lish building, in the early pointed style. The arches are pointed. Light pillars, with foliage capitals, run up to support the roof: the roof is vaulted and groined. The windows in the chan cel are lancet. The material of the walls is brick, with stone joints, win dows, and doors. The campanile was added by Pietro del Verme, in 1399. The ancient tombs which it possessed have been destroyed, with the exception of that of the first abbot, and architect of the church, Tomaso Gallo, a French ecclesiastic (ob. 1246), upon which is a curious fresco, in which he is repre sented as surrounded by his disciples ; amongst others, St. Anthony of Padua, distinguished by a glory : below, in a contemporary bas-relief, Gallo is seen kneeling before the Virgin, while St. Dionysius the Areopagite lays his hand on Gallo' s head. The church has lately had the addition of painted glass and Gothic confessionals, not in the best taste. The Hospital, founded by Cardinal Guala, retains its original endowment and destination. It contains a pic turesque cloister, with the arms of its benefactors ; and a so-called Museum, not of much value. In the church of San Cristofero are some excellent frescoes of Gaudenzio Ferrari. They have been retouched in some places by an unskilful hand. Gau denzio Ferrari, who is much less known beyond the Alps than many inferior masters, was born in 1484, in Valdug- gia, about 40 m. from Vercelli ; and not C 3 Route 2. — Vercelli-^Gaudenzio Ferrari. Sect. I. being able to find a teacher of the art he loved in his native place, he came to Vercelli for the'sake of instruction. GioVenone was his master; and so proud was he of his pupil, that in some of his paintings he signs himself " Ge- ronimo Giovenone, maestro di Gauden- zio." The magistrates of Vercelli gave him the municipal freedom; and the city where Gaudenzio was thus in structed and adopted claims him as her own. This church, now belonging to the Jesuits, was anciently a convent of Umiliati ; and Gaudenzio executed the paintings at the request of Andrea and Angelo de' Cprradi, brothers in blood as well as in profession, being both members of the convent, 1532. The subjects are the following : they are in the chapels, which form a species of transept between the nave and choir. The Crucifixion, of which there is the finished sketch in the gallery at Turin, remarkably forcible and rich in colouring; many of the figures wonder fully foreshortened and relieved from the dark background. The Roman Centurion, a most singular figure, armed and clad nearly in the fashion of the court of Henry VIII., is the most prominent figure in the second range. In the right-hand corner is the portrait of Padre Angelo. The angels hovering about the cross, one receiving the soul of the good thief " Gestas " (according to the legend), and another weeping for the loss of the soul of the impenitent thief " Dysmas." Our Lord preaching, or relating a parable ; finely painted, but damaged. Our Lord at the table of Simon the Pharisee, the Magdalene kissing his feet. Very many figures are intro duced. A Scene from the legendary life of the Magdalene. It is an ancient histo rical tradition in Provence, that St. Mary Magdalene, St. Matthew, St. La zarus, with some other disciples of our Lord, after his ascension, being ex pelled by the Jews, embarked from Judea, and landed at Marseilles, of which place St. Lazarus became the first bishop, and where they were re ceived by St. Maximin, afterwards Bishop of Aix, and St. Marcella. The city is seen in the distance. The Assumption of the Magdalene, represented as surrounded by angels.- The Birth of the Virgin. The Sposalizio. In the background the painter has introduced the Present ation. The Assumption of the Virgin: The group of the apostleB, dividing the composition, exhibits skill. " The Nativity. The Virgin iB kneel ing before the infant Saviour, who is presented to her by angels. In the background two other subjects are in troduced — the Annunciation, and the Visitation of St. Elizabeth. The Adoration of the Magi. Many portraits are evidently introduced into this composition, particularly a pro minent figure with a cap and feathers. So also the bearded king kneeling be fore the Virgin. Groups of pages, esquires, and attendants fill the scene. St. Nicolas, Bishop of Bari, and St. Catherine of Sienna (erroneously called St. Teresa by the custode), presenting two novices (ladies of the noble Vercel- lian family of Lignara) to the Virgin : fine portraits, and full of character. This fresco also contains portraits, namely, those of the painter himself, of his master Geronimo Giovenone, and of his pupil Bernardino Lanino, St. Christopher and other figures, upon panel. The painter has so far followed the popular legend as to re present the saint rather larger than the other figures. St. John the Baptist is seen in the background. Two por traits of Umiliati monks, probably the donors, are introduced. Above is the Virgin, forming the group into a pyra mid. This painting is peculiarly valued by Lanzi. In the sacristy is a good Lanino, St. Peter Martyr and another monk ; thorough monastic faces. The frescoes are all more or less injured. The first damage occurred during the siege in 1638, although the young Marquis de Leganez forbade bis artillerymen to fire on the church of St. Christopher, lest the masterpiece of Piedmont. Route 2. — Novara — The Duomo.' ;35 Ferrari shoidd be injured. But they suffered more from the French, who converted the church into a place of custody for refractory conscripts, and the paintings suffered greatly from the wanton idleness of the prisoners. Church of Santa Caterina. Here is also a Ferrari — the Marriage of the patron saint : in this painting St. Fran cis, St. Agapet, and St. Anthony are introduced. San Bernardino, a beautiful fresco. It represents the preparation for the crucifixion, — the Virgin fainting, our Lord bound and guarded by a soldier. This church has some curious rehcs of Lombard architecture. In the Casa Mariano is a fine fresco by Lanino — the Feast of the Gods, and some other allegorical and mytholo gical figures. The hall in which it is painted is now a granary. There is a beautiful theatre at Ver celli, where operas are frequently given, and the performances are sometimes very good. Cross the Sesia, which runs hard by Vercelli, by a new and handsome stone bridge, replacing a wooden one. Ex tensive plantations of the pseudo-acacia follow. When they are passed, Monte Rosa opens again with great beauty, and hence to Novara, generally, the wall of the Alps is seen in wonderful majesty. This mountain view is much enhanced in effect by the peculiar cha racteristics of the great plain of Lom bardy. The traveller has begun to make acquaintance with these already at Susa; but they now become more and more apparent, for, though the mountains are constantly in sight, you are entirely out of their territory. The open face of Flanders is not more •level ; and the soil, much intersected by trenches and small canals, is teem ing with exuberant fertility. You have the contrast of the richest scenery of the plain and of the lofty mountain, and each of the most decided character. 1\ Orfengo. Torrion Balducco, a mile further: cross the Agogna torrent. li Novara (Inns : Albergo de' tre Re ; a tolerable Italian inn. Another, the Pesce d'Oro, is about to be fitterl up on a more extensive scale), a flou rishing city, containing 16,000 Inhab. There is a large fair in the middle of November. Novara retains portions of the regular fortifications, which have withstood many an onslaught. They are partially dismantled, but continue for a sufficient extent to afford pleasant walks, with fine views from the vicinity of the Alps. This perhaps is the point from which Monte Rosa is seen to the greatest advantage. Around extends the plain, cultivated like a rich garden ; but the soil is marshy, and the neigh bourhood is considered rather un healthy. The Duomo is an early and noble Lombard building, somewhat damaged by neglect and weather on the outside, and more so by recent repairs and adornments within. The choir and transepts as entirely masked by the stucco, the paintings, and the gildings introduced within the last 20 years. The high altar, though quite out of place, is a splendid structure. It has some sculptures by Thorwaldsen, finely executed, but. not remarkable as to design. The nave remains nearly in its original state ; many ancient columns are inserted. In the chapel of St. Joseph are seve ral frescoes by Luini, the best scholar of Leonardo. The Sibyls : portions of the history of the Virgin, partly scrip tural and partly legendary. They are rather injured by damp ; but enough remains to show that they fully deserve the praises which have been bestowed upon them by those who saw them when they were more perfect. In the sacristy is a marriage of St. Catherine, by Gaudenzio Ferrari ; and a Last Sup per, by Cesare da Sesto, a pupil of L. da Vinei, and who was also the friend and worked in the school of Raffaelle. The pavement of the Duomo is a relic of the original structure. It is a Mosaic, worked and laid completely in the Roman maimer, probably by By zantine artists of the 9th or 10th century : only two colours are em ployed, black and white. The com partments are divided by borders of 36 Route 2. — Novara — San Gaudenzio. Sect. I. frets and grotesques, such as are usu ally found in the tesselated pavements of Roman baths. The figures in the medallions are all birds : — the pelican, an emblem of the love of the Saviour ;' the phoenix, of the resurrection ; the stork, of filial piety (i. e. towards God). They are very remarkable as early spe cimens of Christian allegory. There is a square atrium, or clois tered court, in front of the cathedral, in the walls of which are inserted many Roman and mediaeval monuments, in cluding also an inscription in what ap pears to be a barbarous or colloquial -corruption of Greek. The side oppo site to the great door of the cathedral opens into the baptistery. This very curious sanctuary is circular, and sup ported, as is the case with almost all the very early baptisteries, by ancient columns ; and hence the tradition, al most invariably annexed to these build ings, of their having been ancient tem ples ; but it is possible that the columns of Roman workmanship belong to the Christian era of the Empire. One heathen remain, however, it certainly exhibits — a circular funeral urn, or tomb, of Umbria Polla, used as the font, without any alteration. The recesses between the columns contain the events of the Passion. The figures, in plastic work, are as large as life, coloured ; and in some cases the resemblance to hfe is completed by the addition of real hair. They are pro bably by Gaudenzio Ferrari, who ex celled in this branch of art ; and many of the figures are of exquisite work manship. The two finest groups are the Garden of Olives and the Scourging of our Lord. One of the executioners is sitting down, tired with his work ; the Roman soldier looks on with pity ; the other can no longer look, and turns away. These representations are so entirely at variance with the principles of high imitative art, that it requires1 a considerable degree of mental exertion to appreciate them. The plea by which the introduction of images into churches is attempted to be justified by the Ro manists is, that they are books of in struction to the' common people; and certainly neither mere painting nor mere sculpture realise the events of Scripture to the uneducated mind in a manner so vivid as this union of form and colour. Vou will rarely enter this baptistery without finding individuals employed in acts of devotion before these scenes ; some reading appropriate selections from Scripture, some engaged in prayer. The archives of the Duomo contain some curious specimens of the antiqui ties of the Lower Empire and the middle ages, and some very old docu ments. There are two remarkably fine ivory diptychs ; both are consular : on the first the consul is represented at full-length, under a species of cupola supported by columns, in the style of which we may see most evidently the transition which produced the Roman esque or Norman style. This diptych contains a list of the bishops from Gaudentius to the year 1170; the second bears the bust of a consul, and contains another list of the bishops from St. Gaudentius to William of Cremona, in 1343. There is also a life of St. Gaudentius, and other saints of Novara, written in 700, and a petition to the Bishop Grazioso, in 730, for the consecration of an altar erected to St. Michael. The library of the seminary, which is open to the public 3 days a-week, contains about 12,000 vols. The Duomo of Novara is known in Italy as a distinguished school of music ; and the office of Maestro di Capella has usually been given to emi nent composers. In more recent times the place has been held by Generali and Mercadante. The Basilica of San Gaudenzio, the patron saint of Novara and its first bishop, was entirely rebuilt by Pelle- grino in the 16th centy,, and is a noble structure ; the sepulchral chapel of the patron saint is very magnificent : the high altar was erected in 1725, and betrays the bad taste of that time. This church contains one of the finest specimens of the works of Ferrari. It was originally the altar-piece of the high altar ; but, upon the latter being re-constructed, it was placed in a side Piedmont. Route 2. — San Pietro al Rosario — San Marco. 37 chapel. It consists of six compart ments, enclosed in a framework richly carved and gilt, and also executed by ¦him. The date of this work (1515) is exactly fixed by the contract between the artist and the chapter, and which is yet subsisting in the archives of the church. The principal compartment contains the Nativity. In another are introduced St. Ambrose, as the patron of the metropolitan province, and St. Gaudentius as the patron of this parti cular church and diocese. Much gild ing is introduced into the garments of the figures ; and this adornment is the subject of a special clause in the con tract. This is his largest work before he went to Rome, and the last in his earlier style. In another chapel is a crucifix modelled by Ferrari. The church also contains — Mon- calvo, the Taking Down from the Cross ; Morazzone, the Last Judg ment ; and some good recent frescoes by Sabatelli. The archives of San Gaudenzio are very valuable. A con sular diptych of great beauty, on which are sculptured two Roman consuls giving the signal for the public games, and some early manuscripts, are re markable. San Pietro al Rosario. This church, formerly annexed to a Dominican con vent, now suppressed, was finished in 1618. It contains some good wall- paintings in oil by a Novarese artist of the last century, and the Virgin, St. Peter Martyr, and St. Catherine^ in the chapel of the Rosary, by Giulio Cesare Procaccini. Here, in 1307, sentence was passed on Frate Dolcino, who preached the tenets of Manes, and a community of goods and women. Having retreated to the mountains above Vercelli, at the head of 5000 disciples, he was defeated on Maunday ¦Thursday, in a pitched battle, by the NovareBe, and taken prisoner. He and Iris concubine, the beautiful Margaret, a nun whom he had abducted from her convent, were burnt alive, March 23, 1307. They both behaved with extraordinary firmness at their execu tion, which was accompanied with cir cumstances of most grievous cruelty. Dante introduces Mahomet requesting him to warn Dolcino of his approach ing fate : — " Or di' a fra Dolcin dunque, che s' armi, Tu, che forse vedrai il sole in breve, (S' egli non vuol qui tosto seguitarmi) Si di vivanda, che stretta di neve Non rechi la vittoria al Novarese, Ch' altrimenti acquistar non saria leve." Inferno, xxviii. 55-CO. " Thou who perhaps the sun wilt shortly see, Exhort Friar; Dolcin, that with store of food (Unless he wish full soon to follow me) He arm himself; lest, straiten'd by the snow, A triumph to Novara be allow'd O'er him whom else he could not overthrow." San Marco has some good paint ings, of which the best is the legendary martyrdom of the patron saint, by Crespi. San Carlo Borromeo, by Mon- calvo, in procession, offering up prayers for the cessation of the plague at Mi lan, is a curious historical picture, and not without merit. The Church of San Giovanni decol late, built in 1636, is in the form of an ancient tomb, and is remarkable for its singular construction. It contains an Adoration of the Magi, by Nuvolone. There is rather a good theatre at Novara, which is open for operas and ballets during the carnival. Operas are performed there also during the autumn season. Much building is now in progress at Novara, exhibiting the advancing state of the country. The Mercato, which also contains the offices of the Tribunal of Commerce, is reaUy a good building. It is built from the designs of Professor Orelli of Milan, who has adopted a style formed upon that of Brunelleschi, making the arches rise from the single columns which support the building, which are of granite, and of the Doric order. This building, which is not yet completed, is said to have cost the sum of -a million livres (Milanese cur rency), or upwards of 35,0002. The Ospedale Maggiore, with its cor- tile supported by_ 88 columns of granite, less ornamented than the Mercato, is also a great ornament to the city. The low ancient streets of cloistered arches are disappearing before lofty arcades after the fashion of Turin: The statue of King Carlo Emanuele 38 Route 2. — Novara — Batth-field. Sect. I. III. by Marchesi, lately erected near the Palazzo della Giustizia, has re markable freedom in the action. It was at Novara that the dignity of the Sforza family came to an end. Ludovico II Moro having regained Milan, which had been occupied by the French under Louis XII., he advanced to Novara, then occupied by Ivo d'Allegre, and laid Biege to the eity. The strength of the garri son consisted in a large body of Swiss mercenaries. The army of Ludovico contained equaUy numerous bands of -the same hirelings ; and the report -of the good pay and good wine and good plunder which they enjoyed under the Duke induced those in the French service to pass over to the Milanese camp, and Novara surren dered. This help was Ludovico's ruin. The base Trivulzio (see Milan, San Nazzaro), and Bussy; the French envoy to the Swiss Diet, bribed the Swiss, who refused to give battle. Ludovico entreated them at least to stipulate for his safety, or to allow him to retreat under their protection. This they refused, but suffered trim to try to escape disguised as one of them, together with such of his family as might have most reason to fear for their personal safety. But how could Ludovico — tall, weakly, thin — pass for a Swiss landsknecht ? So he put on the garb of a Franciscan, and per sonated a chaplain ; but he appears to have afterwards changed this dis guise for that of a soldier. Perhaps he might yet have fled ; but Rodolph de Salis, a Grison, and Gaspar Silen of Ury, betrayed him to the French, who seized him and carried him to France, where, transferred from dun geon to dungeon, he died in the castle of Loches, after a long and most deso late captivity. But the Swiss were not yet satisfied. On the return to their mountains, they seized Bellin- zona, the key of Lombardy, and which they still retain. Probably this was a part of the compact with France, and thus they completed their campaign with consistent perfidiousness. It was to the S. of the town of Novara, almost in its suburbs, that took place on the 23rd of March, 1849, the sanguinary action between the Aus- trians and the Piedmontese, which ter minated by the signal defeat of the latter, and the abdication of the brave and chivalrous but ill-advised Carlo Alberto. That unfortunate sovereign, pressed by the democratic party, at Turin, denounced the armistice into which he had entered in August of the preceding year, after his disastrous cam paign on the Adige and the Mincio, and prepared to invade the Austrian terri tory by crossing the Ticino 21st March on the same day the veteran Radetsk invaded the Piedmontese territory by crossing the river at Pavia, with a well-equipped army of 60,000 men, in 4 divisions. Without losing a mo ment his advanced guard was put into motion in the direction-of the head quarters of the Piedmontese army, then lying between Novara and Trecatef: after a hard-fought action at Mortara, on the 21st of March, in which the Piedmontese were worsted, the Aus- trians advanced upon Novara, where both armies engaged on the 23rd of March, the Austrians under Radetsky the Piedmontese commanded by the Polish General Chernowski, under the King in person. The site of the battle is a little S. of the town in the nar row space separating the Agogna and Terdopio torrents. The heat of the action was between Olengo and the chapel of the Bicocco, about 1 m. S. of Novara : the Piedmontese performed prodigies of valour, led on by Carlo Alberto and his sons the Dukes, of Savoy and Genoa: it lasted during the whole day, when the Piedmontese retired through the town, committing very reprehensible acts of pillage and disorder. On the 26th of March an armistice was signed, in which Ra detsky showed much generosity and magnanimity — the whole campaign, from the crossing of the Po at Pavia, having only lasted 5 days. Trecate. Beyond this place you reach the Sardinian Dogana of San Martino, and shortly afterwards cross The Ticino, the boundary between Piedmont. R. 2. — Naviglio Grande. R. 3. — Turin to Milan. 39 the dominions of Sardinia and Aus trian Lombardy. It is here a fine river, and gold is said to be found in its sands. The bridge, which is called the bridge of Boffalora, is of the granite of Montorfano, and has 11 arches all of the same size ; its length is 997 feet, and it cost 128,6032. It was begun by the French in 1810, afterwards stopped by political events, resumed in 1823, and completed in 1827 by the two Sovereigns whose territories it joins. It is one of the finest buildings in Italy. The Aus trian Dogana is encountered shortly after the river is passed. Near this place begins the Naviglio tGrande, which, first reaching Milan, connects the Ticino and the Po, and is remarkable as being the earliest artificial canal in Europe, with the exception (not entirely certain) of that between Ghent and Bruges. It was begun in the 12th centy. The first line ended at Abbiate-grasso, and appears to have been intended princi pally for the purposes of irrigation. In- 1259 it was continued to Milan by Napoleone della Torre, and also deep ened and better adapted for naviga tion. It is still highly useful for its •briginal purpose. The country on either Side is watered by the numerous cuts which communicate with it. The flood-gates are locked and opened when required, under particular regulations, so as to secure to the adjoining land owners their due share of the fertilising waters. 3Jj or 2i Lombard posts. Magenta. This is the first Lombardo- Venetian post-house, and from this place the posts are Lombard. It was founded by the Emperor Maximilian, and de stroyed by Barbarossa. It is now a Btrange-looking place, the houses sup ported by arches. Sedriano, where once existed the villa of Desiderius King of the Lom bards. The wide road is here in ex cellent condition, frequently bordered by plantations. ^ San Pietro aV Olmo. Olona, where there are many dairy- farms, 1J. Half an additional post is charged on entering and leaving Milan. (Rte. 20.) ROUTE 3. TUEIN TO MILAN, BY CASALE AND MOBTAEA. 15^- Sardinian posts to Vigevano, thence to Milan 3J Lombard posts, 100 m. This road is not so generally taken as the other : it wants the beautiful scenery of the Alps ; and, although it is called a post-road, there are no relays to be depended upon after Casale. li Settimo. Half an additional post is charged on leaving and entering Turin. 1£ Chivasso. Both described in the preceding route, Verolongo, a borgo containing 5000 Inhab. Near this place, but on the opposite side of the Po, is Montea del Pd, occupying the site of the Roman city of Industria. This city, mentioned by Pliny and other ancient writers, had been in a manner lost. Many antiquaries supposed that Casale had risen upon its ruins ; but in 1744, the discovery of Roman remains on this spot, and some fragments of in scriptions, led to the supposition that this was the site, and further excava tions were made. The result proved that this soil covered a very rich mine of antiquities, and produced, as has been before mentioned, many of the finest articles in the Museum of Turin. One of the first objects found was a vase of bronze ; and it is very remark able that in this and other cases in the north of Italy, the discoveries of antiquities made in cities of which little or nothing is said in history have been far more important than those made in places of known wealth and consequence. The probability is, that the smaller cities decayed and were abandoned by the inhabit ants, whilst the greater cities were exposed to the active devastations 40 Route 3. — Crescentino — Casale. Sect. I. of the barbarians. The excavations have not been recently prosecuted with much vigour. 2£ Crescentino, near the junction of the Dora Baltea with the Po, 4300 Inhab., m the midst of a territory abounding in marshes. Its plan indi cates a Roman station ; and some ample remains discovered in the last centy. seem to confirm this supposition. The principal church, Nostra Donna della Assunta, is ancient, but has been re cently decorated and altered. It con tains some good pictures by Moncalvo. On the opposite side of the Po to Crescentino, but not in the road, rises Verrua, formerly strongly fortified, but now dismantled. From its site, upon an abrupt and insulated hill, it is a most defensible position : it opposed an obstinate resistance to the Emperor Frederick II., and equally defied an enemy in modern times. The Duke of Vend6me attacked it without effect in 1704. The works were destroyed by the French during their possession of Piedmont. The road continues skirted by the Po, passing through a rich but un healthy country, reeking under the hot sun, full of swamps and marshes, and constantly liable to receive addi tions of silt and soil from the inun dations of the Po. The marsh mea dows feed abundance of cattle, and hence the cultivation of rice is not so prevalent here as farther on. 2 Trino, 7000 Inhab. This place was formerly much better peopled, and its decrease is attributed to the general unhealthiness of the country. Great herds of swine are reared in the marshes near Trino, and the hams of Trino are celebrated throughout Italy. In the early history of printing this place is famous as having produced many of those whose presses were the most active in the 15th centy. Of these the chief was Bernardino Gioleto di Ferrara, who established himself at Venice in 1487, and who became literally, and not figuratively, .the father of a long line of typogra phers. Trino originally belonged to Vercelli; and it was the constant object of contention between them and their dangerous neighbours the mar quises of Montferrat. When Victor Emanuel asserted his claims to the marquisate, he laid siege to and gained Trino, assisted by his two sons Victor Amedeus and Francis Thomas. This achievement was commemorated by the following jingling epigram : — " Trina dies Trinum trino sub principe cepit. Quid minim ? numquid Mars ibi trinus erat." The road follows the 1. bank of the Po, which it crosses by a suspension bridge before entering 2J Casale, an important city, 21,000 Inhab., the capital of the ancient marquisate or duchy of Montferrat j Chivasso having been the Residenz, as before mentioned. In later times it was a position exceedingly con tested; and the citadel, founded in 1590 by Duke Vicenzo, was one of the strongest, some say the strongest place in Italy. The castle or palace is yet standing : it was embellished by the Gonzagas. It is said the Isiac table was discovered in the ex cavations made for this building; a very remarkable fact, if true. Many Roman remains were certainly found here ; amongst others, coins of the earliest ages of the republic. The forti fications of Casale have been recently greatly increased, and, with Alessandria and Turin, it is now one of the great military strongholds of Piedmont. The Cathedral or Duomo of Sanf Evasio is said to have been founded by Luitprand King of the Lombards, in 742 ; and the archives of the chapter contain a singular monument, a char ter engraved upon a tablet of lead, supposed to confirm this opinion : but it is a point much contested by anti quaries. The cathedral, by whom ever founded, is of high antiquity as a Lombard building ; but in 1706 the repairs and decorations bestowed upon it effaced many of its original features. In contains some good paintings : the best is the Baptism of our Lord by Gaudenzio Ferrari : this is, however, but a portion of a larger picture which was destroyed by fire. The chapel of Sanf Evasio has beep. Piedmont. Route 3. — Casale — The Paleologi. 41 recently ornamented with much splen dour; the shrine is of silver. In the sacristy (though the French re moved a large portion of its contents) are still some very curious specimens of art. A cross taken from the, in habitants of Alessandria, covered with plates of silver and set with gems. Another of exceedingly rich work manship set with enamel, given by the Cardinal Teodoro Paleologo. A statue by Bernini, forming part of a group of the Spasimo, from the suppressed convent of Santa Chiara, and, in his peculiar style, is a master piece. The altar, with alto-relievos, was formerly in the chapel of Saint Evasius. Amongst the archives, be sides Luitprand's charter-tablet, are some very valuable manuscripts of the 10th centy., and an ancient sacrifi cial vessel of silver representing the Triumph of Bacchus. The church of San Domenico is one of the last bequests of the Paleo- 'logi, having been begun by them in 1469, and consecrated in 1513. The stags which form a part of their armorial bearings, and which orna mented the facade, have been re moved ; but the memory of this family is preserved by the tomb erected by the king in 1835, and in which the remains of several of those princes have been deposited. The building is supposed to be after the designs of Bramantino, and from the elegance of its proportions and the richness of its ornaments, espe cially of the facade, it may rank among the finest of the sacred edifices in this country. It contains paint ings by Pompeo Battoni and Mon- calvo, — good of their kind. Here is the fine Mausoleum of Benvenuto di San Giorgio, who died in 1527. This individual wrote an excellent chronicle of Montferrat, which is also of much importance in the general history of Italy ; he was a knight of Malta, and he is represented upon his tomb in the habit of his order. Quaint allegorical basso-rihevos adorn other portions of it ; a canopy surmounts the tomb ; and the style of the whole i3 interest ing, as being the remote parent of that which prevailed in England in the days of Elizabeth. The church of Sanf Ambrogio, also a beautiful spe cimen of the Bramante style. Sanf Ilario enjoys the reputation which the Italians are so happy to obtain for their churches, that it was once a pagan temple. Of this there are visible signs. It is said to have been consecrated by St. Hilary in the 4th centy. It did contain many good paintings of early date : the best have been removed to Turin, but some curious specimens yet remain. Many of the ancient civil edifices of Casale are remarkable. The ancient Torre del grand' Orologio was built before the year 1000. It was altered in 1510 by William IV., Marquis of Montferrat, whose arms are cast upon the great bell. The Palazzo della Citta was originally the property of the noble family of Blandrate. Having been confiscated in 1535, it was given over to the municipal bodies. It is attributed to Bramante ; and the por' tal and porticoes are not unworthy of his reputation. The paintings which it contained have been removed, but some frescoes yet ornament the roof and walls. Palazzo Delavalle con tains some frescoes by Giulio Romano, happily imitating the style of Raphael. In the Palazzo Callori-, is a portrait of Gonzaga, abbot of Sanf Andrea, at Mantua, by Titian. The Marquis Giovan' Giorgio was the last of the Paleologi. Before his accession he was Bishop of Casale ; but, being the only remaining male of the family, at the death of Marquis Bonifazio V. (1530), he received a dispensation from the Pope, and espoused the Princess Julia of Arragon ; but she died before their actual mar riage, and he survived only till 1533, leaving two sisters, Maria and Mar garet, both of whom were married to Frederick. Gonzaga, Duke of Mantua. Gonzaga had first married the elder sister; but, having divorced her, he took the second. The marquisate was claimed by three competitors : Charles Duke of Savoy, and Louis II. Marquis 42 Route 4. — Turin to Asti — Chieri. Sect. £ of Saluzzo, as representatives of other branches of the family ; and Gonzaga, in right of his wife. The Emperor Charles V. adjudged it to the latter in 1536. Charles V. Duke of Mantua, having died under the ban of the Empire in 1708, in consequence of his having joined the French, Joseph I. granted the marquisate to the Dukes of Savoy,, who had already won a grant of it ; and it was confirmed to them by the treaty of Utrecht. Terra Nuova. Cross the Sesia at Porto, 4 m. farther on. 2 Candia, a borgo pleasantly situated in the valley of the Sesia, and about a m. E. of it, which here abounds in good fish. It contains a large building called the Castellone, probably an ancient stronghold. In the church of Sta. Maria are some good though much damaged frescoes, by Lanini. Cozzo. This little village is said to have been founded by King Cot- tius, and no one can contradict the tradition. Castel aVAgogna, on the 1. bank of the torrent of that name. 2 Mortara, 4070 Inhab. ; the chief town of a district called the Lomellina. It is said to have derived its name from its imhealthiness — Mortis ara, the altar of death. According to an other tradition, it derives its funeral name from the slaughter of the Lom bards, who were here defeated by Charle magne, a.d. 774. The whole district is intersected by rivers, rivulets, and canals ; and the rice-plantations add to the insalubrity of the marsh-lands all around. Santa Maria, the principal church, has been rather a fine Gothic structure, but it is partly ruined, and, like the rest of the town, wears an aspect of desolation. In the neigh bourhood of Mortara took place a se vere action between the Austrian and Piedmontese armies on the 21st March 1848, when the latter were forced to retreat on Novara (see p. 38). Gamolo. In the church here is an excellent painting by Bernardo Campi. 1J Vigevano, 14,000 Inhab. The last city of the Sardinian states ; a place of considerable trade, but not otherwise remarkable. The ancient castle of the Sforzas was altered in 1492 by Bramante; and having been formed into a palace, it is now em ployed as a barrack. The cathedral is a p>od building ; it has recently been repaired and decorated. Pass the Dogana, and enter the Austrian territory. Cross the Ticino upon a flying bridge. 1J. Abbiategrasso (first Lombard post), a considerable borgo upon the naviglio grande of Milan. It contains a large establishment in the nature of an infirmary, dependent upon the great hospital of Milan. Corsico. Much of the cheese ex ported under the name of Parmesan, but known in the country by the name of formaggio di grana, is made in this neighbourhood. 2 Milan. (Route 20.) ROUTE 4. TUEIN TO ASTI, BY CHIEEI. This road, which has recently been completed, is not a post-road. It is, by a rough estimation, about 40 m. Chieri is about 8 m. from Turin. Borgo della Madonna del Pilone. From this point the road ascends the1- Collina,. about a m. S. of the Superga, to Pino, .on the highest part of the range, whence it descends for 5 m. to Chieri, in Latin Carrea Potential The syllable "Car," varied into Caw, Chier, Chiar, is found in the beginning of many of the ancient names of the Piedmontese and Ligustrian towns, and the Italians derive it from some oriental root. It is most probably, however, the Celtic Caer, commonly found in Wales ; a curious vestige of a race so long since exterminated or extin guished in these parts of Europe. Chieri contains about 12,000 Inhab. The church of Santa Maria della Scala is the largest Gothic building in Piedmont. It. was founded in 1405. Annexed to it is a very ancient baptistery, which, as usual, is said to have been a pagan temple. Piedmont. Route 5. — Turin to Genoa — Moncalieri. 43 - The Dominican Church, built in 1210, has some good paintings by Moncalvo. This convent has been re stored. It once contained a singular inmate. In the month of October, 1664, the knights of Malta captured a Turkish galley, on board of which was one of the sultanas of Ibrahim, the then reigning Padischa, with her son, the young Osman. The boy was educated at Rome ; but it was judged expedient to send him to France, when, chancing to stop at Turin, he determined to be come a friar, and he entered this con vent, where he professed under the name of Padre Domenico Ottoman di San Tomaso. The church of , San Francesco, once full of interesting memorials of ancient art, was ruined by the French. Chieri is one of the most ancient manufacturing towns in Europe, The manufactories of fustians and cotton stuffs arose in 1422, and upwards of 100,000 pieces were annually made to wards the middle of the same century. The manufactories are still very flour ishing ; so also are the silk-factories. Riva di Chieri, to the Stat, of Vol- dechiesa, on the railway to Asti, or by the road to Villanova. Asti. (See Rte. 5.) ROUTE 5. TUEIN TO QEKOA. The railway from Turin to Genoa is now open for 78 m. as far as Arquata. Trains start three times a,day, at 6-10 a.m., 10 • 15 A.M., and 4 E.M., perform ing the journey in 3h. 50m. At Ar- •quata diligences and carriages are in readiness to transport travellers to Genoa ; the fares are moderate, includ ing rail and dihgence from Turin to Genoa : ls,t class 18f. 50c. (15*.) ; 2nd 13f. 75c. (Us.) ; 3rd lOf. (8*.) . The station at Turin is in the town, at the extremity of the Strada Nuova, The railway runs parallel to the old Eost-road in nearly its whole extent om Turin to the passage of the Apen nines. Leaving Turin, the line ascends along the Po to the first station, where it crosses it at Moncalieri, pleasantly si tuated on the banks of the river, and sheltered by surrounding hills. The country affords gay and rich landscapes. The palace, which crowns the hill above the town, was built by Vittorio Ame deo IX., on the site of a far older building, dating from the days of Jo- landa : it is fine and commanding from every point of view. This palace was the last prison of Vittorio Amedeo II. ; here he died after his removal from Rivoli. It is the favourite country residence of the present royal family. The gallery contains a long succession of family portraits, and also a curious series representing the hunting parties of Carlo Emanuele II. The influence of French costume is singularly marked in the fashions of the court : with re spect to the countenances, the descend ants of Humbert aux blanches mains, the founder (or nearly so) of the family, may.be said to be generally a handsome race. The little town has some vestiges of antiquity in its collegiate church The name of the place is said, to be derived from the provincial language, — Mont Caillier, the hill of quails ; but these birds are not more common here than in other parts of the range. Ariosto has made Moncalieri the seat of one of the Paladins of Charlemagne, — slain, sleeping, by Clorinda :— " Dopo essi Palidon da Moncalieri Che sicuro dormia fra due destrieri." The fair of Moncalieri is held on the 29th of October, and lasts for a week. It is one of the greatest cattle-fairs of Piedmont ; but it is also a pleasure fair, and a favourite holiday-time with both the country folks and the citizens. The road onwards is varied by beauti ful undulations : mulberry-trees abound in the fields. On the W. the noble mass of the Monte Visa towers above the rest of the alpine range. On the S. E. the distant Apennines, or rather the mountains which, connecting Alps and Apennines, may be said to belong to either, are seen blue and clear in the extreme distance. Cambiano Stat. Here the line sepa rates from the post-road, running E. 44 Route 5. — Asti— Alfieri,' Sect. T. through the plain of Riva Chieri and Poirino, crossing several streams to Valdechiesa Stat., 2 m. from Villa- nova, and an equal distance from Riva di Chieri (Rte. 4), founded in 1248 by the inhabitants of several townships, which had been destroyed by the citizens of Asti and other more powerful places. The road from Turin to Asti, by Chieri (Rte. 4), here crosses the railway. Beyond the stat. the country becomes hilly to Dusino Stat., situated on a rising ground that separates the waters flow ing towards the Bama on the W. and the Tanaro on the E. Vines are now seen much more frequently ; and in this neighbourhood is grown much of the wine commonly called vino oVAsti, the most drinkable of Piedmont. The vineyards are principally upon the un dulating hills ; and other crops are grown amongst the vines. Few of the growths keep well. ¦ ¦ Villafranca Stat. San Damiano, near the confluence of the Triversa and Borbore torrents. Asti Stat. Asti (Albergo Reale ; Leone d'Oro : both indifferent). Population 22,000. A city of ancient celebrity (Hasta Pom- peija), situated near the confluence of the Borbore and Tanaro, surrounded by fertile and picturesque risings and hills. The original Duomo fell down hi 1323, and the present ample Gothic edifice was begun shortly afterwards, and completed about 1348. It is a fine and venerable building, filled with much painting, which unfortunately begins to suffer by decay. The choir was painted by Carloni, — a Nativity, ."vuole essere di Bassano;" but its parentage may be doubted. In a chapel by the side of the high altar is an ancient anonymous painting, German or Flemish, representing the Nativity. This picture was much admired by Gaudenzio Ferrari, who has made a careful copy of it. By Moncalvo is a Resurrection : the terror of the sol diers is expressed with ability. San Secondo. Also a fine Gothic ¦building. It is a collegiate church ; and. here also is a good ancient Fle mish painting, representing the Pu rification; and another, in the same style, in the church of Sta. Maria Nuova. San Pietro in Concava, probably an ancient baptistery ; it has, as usual, the perplexing appearance of classical antiquity. It is supposed, but without any reason, to have_been a temple of Diana. In this town is a printing-office, in which the business has been carried on since 1479 without interruption. The Seminary is a fine building, by Count Alfieri, the relative of the poet. It is rich and picturesque in effect, and contains a good library. In the Palazzo Alfieri, also built by the Count, is shown the room where Vittorio A 1 fieri was born, January 17th, 1749 : his portrait and his autograph decorate the apartment. " Oygi ha sei lustri, appie del colle ameno Che al Tanaro tardissimo sovrasta, Dove Pompeo pianto sua nobil asla, L' aure prime io bevea del dt sereno. Nato e cresciuto a rio servaggio in seno, Pur dire osai ; servir, 1' alma mi questa ; " Loco, ove solo un contra tutti basta, Patria non m' e henehe natio terreno. Altre leggi, altro cielo, infra altra gente Mi dian scarso, ma libero ricetto, Ov' io pensare e dir possa altamente. Esci dunque, o timore, esci dal petto Mio, die attristarti gia si lungamente ; ' Meco albergar non dei sotto umil tetto." Son. xxxvii. The churches of the Certosa and- San Bartolomeo, just outside the town, were ruined by the French. In both are the remains of good paintings : about half the other churches in and about Asti were destroyed. The Astigiano, or territory about Asti, contains very many mineral and thermal springs, all more or less sul phuretted. At Castel Alfieri are two wells, which, until the earthquake of Lisbon, were of pure spring water. After the earthquake they became sul phuretted, and wholly unfit for do mestic purposes, and so continued until 1807, when, a sharp earthquake having been felt at Pignerol, but which did not extend to this province, the waters be came sweet again. This part of the country abounds with extraneous fos sils ; and many curious specimens are Piedmont. Route 5. — 45 found in the materials of the road. They abound most in the valleys of Ardina, where they are also found in the greatest variety. Leaving Asti, the railway follows the valley of the Tanaro to Anone Stat., i. e. ad Nowum; the ninth stone from Asti on the banks of the Tanaro ; it is very unhealthy, and the inhabitants are said to be affected with a peculiar disease, called Pellagra, common throughout Lombardy. Poor and unwholesome food, and exclusive feeding on Indian com, is supposed to be the principal cause of it. Cerro Stat. Felizzano Stat. ; burnt three times in the 17th century, besides sustaining many previous destructions. The country now becomes one great plain, frequently inundated by the Tanaro. . Solero Stat. Here the plain of the Tanaro widens considerably. . Alessandria (the Albergo Nuovo is the best hotel : a good character is also given to the Albergo d' Italia : the Al bergo dell' Universo, late Alb. Reale, was newly fitted up in 1845). This city stands near the confluence of the Tanaro and the Bormida, and is the most remarkable monument of the great Lombard league. This alliance, so pow erful, so memorable, and yet bo ineffec tual for the preservation of national Jiberty, which began in 1164 by the confederacy of Verona, Vicenza, Padua, and Treviso, included in 1167, besides these four cities, Ferrara, Brescia, Ber gamo, Cremona, Lodi, Parma, Piacenza, -Modena, Bologna, Novara, Vercelli, Como, Venice, and, lastly, Milan, rising again from its ruins ; all bound by solemn oath and covenant to defend their mutual rights and privileges. The most powerful allies and wUhng sub jects of. Frederic were the citizens of Pavia and the Marquis of Montferrat ; and to keep these in check, the cities of the League determined to erect a new city, at once a fortress of defence and a memorial of their liberties. On the confines of the marquisate of .Montferrat and the Pavezano was a ¦small castle called Robereto ; this was cchosen as the site of the new city. The ground was carefully surveyed by the engineers, for military architecture had already become a study among the Ita lians, and the expanse of the country and the course of the streams, not deep, but frequently inundating the adjoining plains, appeared excellently well adapt ed for defence against the German cavalry. The astrologer stood by with his astrolabe, and the first stone was laid at the fortunate moment. The blessing of the Pontiff was asked and obtained ; and in a general congress of the League it was determined that the new city should be called Alessandria, in honour of Pope Alexander III., the protector of the Guelfs, and the head of Catholic Christendom. The build ing of the city was more peculiarly in trusted to the Milanese, the Cremonese, and the Placentines : Genoa sent large sums of money. So earnestly did they labour, that before the close of the year the city was raised. The Ghibel- lines scornfully called it " Alessandria della Paglia," either in allusion to the materials of the newly erected build ings, earth mixed with chopped straw, or in prognostication of its being speedily destroyed like stubble or chaff ; but Alessandria speedily rose to great power. The inhabitants of the sur rounding villages and towns, Castel- lazzo, Marengo, Solerio, Bergoglio, Quargnento, Villa del Foro, and Ovigr ho, settled collectively at Alessandria. From Asti came 3000, including some of the most noble families. Milan fur nished a large contingent ; and, resist ing the attacks of the Marquis of Mont ferrat, the siege laid to Alessandria by the incensed Emperor in 1174 ended in a disgraceful retreat from the newly erected walls. Subsequently, when he made peace with the city, he stipulated that it should assume the name of Cesarea, but the Guelfle appellation prevailed over the Ghibelhne; and Alessandria has continued to retain its original denomination to the present time. Alessandria has been Btrongly for tified by the sovereigns of the Rouse of Savoy. The citadel, built in 1728, is now the most interesting and the 46 Route 5. — Alessandria— Novi. Sect. I. most prominent feature of the city. The road winds round it, passing over a covered bridge, under which the Ta naro seems to be lost. This fortress is larger than many towns, with a regular Place in the centre, a parish church, and very extensive barracks and ar mouries. The French added to the fortifications of the city ; and much more was projected by Napoleon, and extensive lines were begun under his orders, the work being chiefly per formed by the wretched conscripts, who, trying to escape enforced service, were condemned, as refractory, to la bour .with the bullet chained to their legs. The unfinished works left by him were afterwards destroyed. Mo dern engineers have skilfully availed themselves of the advantages afforded by the position chosen by those of the middle ages ; and, by the sluices of the Tanaro, the whole adjoining country ean be inundated, and rendered quite unapproachable by the enemy : but, as before observed, the Tanaro often does quite as much without any asking or aid. The Duomo is richly ornamented ; its principal work of art is a colossal statue of St. Joseph, by Parodi. The Church of the Madonna di Lo- reto has recently been completed. It says little for the talent of the architect. Palazzo Ghilino, built by Count Al fieri, and amongst the best examples of his style. It now belongs to the king. But, in detail, Alessandria offers less than the average interest of Italian cities. This is partly the result of its modern foundation. Two great business fairs are held here annually, in April and in October. The goods are sold in a species of bazaar erected for the purpose. The traveller who consults his purse and his comfort must not attempt to stop at Alessandria during these fairs. Before arriving at the Station of Alessandria the railway crosses the Tanaro, and, soon after leaving it, the Bormida ; the city being situated in the triangle separating these two rivers, near their junction. After crossing ,the Bormida the line runs along the western side of the battle-field of Ma rengo (see Rte. 6), distant about two miles from and parallel to the old post- road to Frugarolo Stat., near the village of Boseo. Novi Stat. (Inns : l'Em-ope, very tolerable ; the Aquila Nera is also good and clean.) Novi is the best sleeping- place between Milan and Genoa. It is a town of 10,000 Inhab., with a con siderable trade, but offering nothing remarkable, except some picturesque old houses. The silk produced about Novi is amongst the most celebrated in Italy. The . Milan road to Genoa, by Pavia and Tortona, comes in at Novi. Beyond Novi you begin to enter the Apennines, and the country becomes very beautiful. Fine hills in the dis tance, curiously stratified rocks nearer the road, and the most beautiful groves of chestnuts, all cheer and enliven the way. At Serravalle the Railway enters the mountain valley of the Scrivia, which extends to beyond Ronco. Arquata. From Arquata to Ronco an additional horse is taken through out the year, but not from Ronco to Arquata. A fine ruined castle sur mounts the hill, and the road continues increasing in beauty. The railroad is in progress of construction beyond Arquata, but will not open before the end of 1853, in consequence of the difficulty of cutting the tunnel of Giovi, which is to pierce through the central chain of the Apennines. 2 Ronco. From Ronco to Ponte Decimo, and in the contrary direction, an additional horse is taken through out the year. (La Posta, called also Hotel Royal, very good.) Beyond Ronco, at Bugalla, a toll of 30 sous per horse is paid for the maintenance of the Bochetta road. 2^ Ponte Decimo. The ridge of the Apennines is now crossed, and the scenery becomes finer and finer, until at length you gain a most extensive view of the riviera, with Genoa and its bay beneath you, the vmeyards, of which the trelhees are supported by stone pillars, forming beautiful avenues. The descent continues very rapid t villas, and ornamental gardens increase Piedmont. Route 6. — Alessandria to Piacenza — Marengo. 47 in number, forming an appropriate in troduction to the magnificence of 2 Genoa. But half an additional post is charged. (Rte. 12.) ROUTE 6. ALESSANDEIA TO PIACENZA. 12^ posts: Diligences run daily corresponding with one of the railway trains from Alessandria to Piacenza. For the road from Turin to Alessan dria, see Rte. 5. The village of Marengo is in sight immediately upon leaving Alessandria, and the road continues through the plain of the battle-fiehl. " On the evening of the 13th of June, 1800, the whole Austrian army mustered in front of Alessandria, having only the river Bormida between them and the plain of Marengo ; and early in the following morning they passed the stream at three several points, and advanced towards the French position in as many columns. " The Austrians were full forty thousand strong ; while, in the absence of Dessaix and the reserve, "STapoleon could at most oppose to them twenty thousand, of whom only two thousand five hundred were cavalry. He had, however, no hesitation about accepting the battle. His advance, under Gar- danne, occupied the small hamlet of Padre Bona, a little in front of Ma rengo. At that village, which over looks a narrow ravine, the channel of a rivulet, Napoleon stationed Victor with the main body of his first line, the ex treme right of it resting on Castel Ceriolo, another hamlet almost parallel with Marengo. Kellerman, with a bri gade of cavalry, was posted immediately behind Victor for the protection of his flanks. A thousand yards in the rear of Victor was the second line, under Lannes, protected in like fashion by the cavalry of Champeaux. At about an equal distance, again, behind Lannes, was the third line, consisting of the division of St. Oyr, and the consular guard under Napoleon in person. The Austrian heav^. infantry, on reaching the open field, formed into two lines, the first, under General Haddick, con siderably in advance before the other, which Melas himself commanded, with General Zach for his second. These moved steadily towards Marengo, while the light infantry and cavalry, under General Elsnitz, made a detour round Castel Ceriolo, with the purpose of out flanking the French right. " Such was the posture of the two armies when this great battle began. Gardanne was unable to withstand the shock, and, abandoning Padre Bona, fell back to strengthen Victor. A fu rious cannonade along the whole front of that position ensued. The tirailleurs of either army posted themselves along the margin of the ravine, and fired in cessantly at each other, their pieces al most touching. Cannon and musketry spread devastation everywhere, for the armies were but a few toises apart. For more than two hours Victor withstood singly the vigorous assaults of a far superior force ; Marengo had been taken and retaken several times ere Lannes received orders to reinforce him. The second line at length ad vanced ; but they found the first in re treat, and the two corps took up a second line of defence considerably to the rear of Marengo. Here they were again charged furiously, and again, after obstinate resistance, gave way. General Elsnitz, meantime, haying effected his purpose, and fairly marched round Castel Ceriolo, ap peared on the right flank with his splendid cavalry, and began to pour his squadrons upon the retreating columns of Lannes. That gallant chief formed his troops en echeUon, and re tired in admirable order : but the re treat was now general ; and, had Melas pursued the advantage with all his reserve, the battle was won. But that aged general (he was 84 years old) doubted not that he had won it already; and at this critical moment, being quite worn out with fatigue, withdrew to the rear, leaving Zach to continue what he considered as now a mere pursuit. *' At the moment when the Austrian horse were about to rush on Lannes* 48 Route 6, — Marengo — Tortona—r Vpghera. Sect. I, retreating corps, the reserve under Des saix. appeared on the outskirts of the field. Dessaix himself, riding up to the First Consul, said, 'I think this a battle lost,' 'I think it is a battle won,' answered Napoleon. ' Do you push on, and I will speedily rally the line behind you.' And, in effect, the timely arrival of this reserve turned the fortune of the day. , " Napoleon in person drew up the whole of his army in a third line of battle, and rode along the front, saying, 1 Soldiers, we have retired far .enough — let us now advance — you know it is my custom to sleep on the field of battle.' The enthusiasm of the troops appeared to be revived, and Dessaix prepared to act on the offensive. He led a fresh column of 5000 grenadiers to meet and check the advance of Zach. The brave Dessaix fell dead at the first fire, shot through the head. ' Alas ! it is not permitted to me to weep,' said Napo leon: and the fall of that beloved chief redoubled the fury of his followers. The first line of the Austrian infantry, charged, however, with equal resolution. At that moment Kellerman's horse came on them in flank, and, being by that unexpected assault broken, they Were, after a vain struggle, compelled to surrender. General Zach himself was here made prisoner. The Austrian columns behind, being flushed with victory, were advancing too carelessly, and proved unable to resist the general assault of the whole French line, which now pressed onwards under the imme diate command of Napoleon. Post after post was carried. The noble cavalry of Elsnitz, perceiving the in fantry broken and retiring, lost heart ; and, instead of forming tp protect their retreat, turned their horses' heads and . galloped over the plain, trampling down everything in their way. . When the routed army reached at length the Bormida, the confusion was indescrib able. Hundreds were drowned — -the river rolled red amidst the corpses of horses and men. Whole corps, being unable to effect the passage, surrender-, edy and, at ten at night, the Austrian eommander with difficulty rallied the remnant of that magnificent array on the very ground which they had left the same morning in all the confidence of victory.". The landscape is picturesque, and the monotony of the immediate neigh bourhood of Alessandria begins to im prove. 2 Tortona, the Dertona of the Ro mans. — Inn: St. Marsano, where the dilifjence stops ; »a good dinner and" clean bed may be had. 8400 Inhab, One of the most ancient cities of the north of Italy. It was entirely levelled to the ground by Frederick Barbarossa. In recent times it was fortified by Vit- tore Amadeo III. ; but the French blew up the citadel in 1796, after its surrender, pursuant to the treaty of Cherasco. The Duomo contains a very remarkable ancient sarcophagus, on which are inscriptions in Greek and Latin, to the memory of P. Alius Sabinus, and exhibiting a curious mix ture of Pagan and Christian emblems. The former are by far the most pro minent. Castor, Pollux, and the fall of Phaeton stand out boldly ; whilst the lamb and the vine more obscurely indicate the faith of the mother who raised the tomb. This curious amal gamation of Pagan mythology and of Christianity is explained by supposing that the family were afraid to manifest. their belief ; but it may be conjectured to exhibit that eclecticism which ulti mately introduced so many corruptions into Christianity. In the church of San Francesco is the rich chapel of the Garofali. The other churches do not offer anything remarkable. Ponte Currone, a village so named from the torrent Currone, which runs close to it. Cross the Staffora, another torrent. 2i Voghera. (The Mora, the prin» cipal Inn, is thoroughly Italian. Hy d'ltalie, tolerable, but high charges" unless you bargain. The Posta is said to be tolerably comfortable.) ,12,000 Inhab. This is the last city of Piedmont. The country around is bright and The cathedral is an elegant Piedmont. Route 6. — Casteggio. Route 7. — Turin to Nice. 49 building. Near the altar is the tomb of a certain Count Taddeo, whose body was found entire two hundred years after his death, in 1658 — a fact com memorated in a strange inscription placed over his tomb, This place is one of the earhest Italian towns in which printing was introduced; and the books produced here are of the greatest rarity. li Casteggio (Inn: Albergo d' Ita lia) ; 8500 Inhab.; anciently Clastidium, celebrated as the place where Claudius Marcellus gained the spolia ophna, by vanquishing and slaying Viridomarus King of the Gsesatse. It has been an im portant military position from the time of the Gallic and Punic warB, down to the last great European conflict. It was besieged by Hannibal, and might have defied his power; but 200 pieces of gold paid to Publius Dasius, the com mander, purchased the fortress ; and the provision and stores found therein were of the greatest utility to the Car thaginian army. Of the Carthaginian general there is yet a remarkable me morial. About half a mile from the village is a spring of very pure and clear water, called, by immemorial tradition, the " Fontana d' Annibale," and girt by a- wall which he is said to have built. It is close to the track of the Roman army. It was here that, on the 9th of June, 1800, the great battle between the French and the Austrians was — ""ought, usually called the battle of Montebello, from the village where the French finally routed the corps de re serve of the enemy. The Austrians defended themselves in Casteggio with the greatest valour ; and the hills near the town were constantly occupied and re-occupied by the contending parties ; but the fortune of the day was decided by Victor, who broke the centre of the enemy ; and when Napoleon came up to the assistance of the French van guard, the victory was gained. A few fragments of walls and towers are the only remaining vestiges of antiquity in this town; but many curious Roman inscriptions have been found here. If Broni, a town which hardly yet has recovered the exhaustion which it suffered during the revolutionary wars N. Italy— 1852. when it was repeatedly occupied by the conflicting parties. It contains 6000 Inhab. Its situation, a plain bounded by the roots of the Apennines, is very beautiful. Very many organic remains, principally of the larger land animals, are found in this neighbourhood : the hills also abound in medicinal and aromatic plants. The collegiate church, founded by Asso Marquis of Este and Ferrara, in the 13th century, is a build ing of various ages and styles : some portions are of the 10th century, for the church existed before it became col legiate. It has recently been richly fitted up by the inhabitants : it boasts a silver shrine, containing the rehcs of San Contardo, the son of the founder. Very good wine is made in this neigh bourhood, which, when old, has a quality approaching to Malaga. It is, however, rarely exported. Stradella, the last Piedmontese town, at the extreme northern point of the hills, which here approach within 2 m. of the Po. A roadjeads from Stradella to Milan, by Corfe, llona, crossing the Po (2J m.) at the 1 v of Portalbera. 2 Castel S. Giovanni, the first town of the duchy of Parma, where pass ports are vised, 2 m. beyond the fron tier, which is here the Bardonezza torrent. An extra horse from the 1st of November to the 1st of May. Agree ably placed between the hills and the Po. Between this place and Piacenza the Tidone is crossed a little before reaching Rottopeno. About 3 m. before arriving at Piacenza, cross the Trebia by a bridge built by Maria Louisa. 2 Piacenza. (See Rte. 34.) ROUTE 7. TUEIN TO NICE, BY THE COL DI TENDA. 28£ posts (or 131 m.) (Rte. 135, Simss Handbook, is in corporated with this route.) A Rail road is in progress between Turin and Cuneo, and is now (May 1852) nearly finished as far as Racconigi : it is ex pected to be completed to Savigliano early in next year, and to Cuneo in ail 1853. 50 Route 7. — Turin to Nice — Carmagnola. Sect. I. Quit Turin by the Porta Nuova, near the railway station : the road, which is excellent, runs near the Po. 2J A half-post additional is charged on leaving and entering Turin. Ca rignano, 8000 Inhab. This pleasant and not unimportant city is close on the banks of the Po. The country round about is beautiful, dotted with villages, towns, and hamlets. Much silk is produced in the immediate vi cinity. The principal ornaments of this little city are its churches ; and the Carignanesi are said to be distinguished for the care bestowed upon their places of worship. San Giovanni Batista, built by Count Alfieri. The principal facade is nQble. The entrance of the building is lighted almost entirely from above, by windows placed over the cor nice. The basso-relievos of the four doctors of the church, St. Chrysostom, St. Jerome, St. Ambrose, and St. Au gustine, come out under the glaring rays. Sta. Maria delle Grazie, now annexed to a monastery of minor friars. It was endowed by the Duchess Bianca Paleologo, wife of Duke Charles I., and it still contains her monument. She was the daughter of William IV. Mar quis of Montferrat; as a widow, Bianca was distinguished for her gentitezza and beauty ; and Bayard, the " Che valier sans peur et sans reproche," who had been brought up as a youth in the household of the duke, gained great honour in a tournament held before her in this place when she was becoming advanced in years. After many muta tions Carignano was severed from the rest of Piedmont, or rather from the marquisate of Susa, and granted as an appanage, with the title of a principality, to Thomas, second son of Charles Emanuel I., from whom the present sovereign is lineally descended, he hav ing been the nearest male heir upon the death of the late sovereign. Cross the Po. ¦%\ Racconigi (or 21 by Carmagnola). Pleasantly situated, and which in the days of TriBBino, was famed for the beauty of its women. " E quei di Scarnafesso e llacconigi, Ch' han bellissime donne." The palace of Racconigi is one of the most favourite country residences of the royal family. The building, though handsome, offers only the usual features of palaces of this description. . There is another road from Carig nano to Racconigi, rather longer, but of more interest, through Carmagnola. In posting, an extra half- post is charged for travelling this road. Carmagnola contains upwards of 12,000 Inhab. The principal church is that of Sanf Agostino. It is Gothic, though much altered. The Campanile, with its pointed spire, is the most genuine portion. In the cloister annexed to the church are the remains of the tomb of James Turn- bull, a Scottish condottiere in the French service, and who died here when the army was returning from Naples in 1496. The collegiate church of San Pietro e San Paolo is also Gothic, but more altered than the other; it was conse crated in the year 1514. Carmagnola stood on the extreme frontier of the marquisate of Saluzo, and, as the border town, was fortified by a very strong castle, of which only one massy tower remains, now per forming the peaceful service of steeple to the church of San Filippo. The walls are upwards of 7 feet in thick ness. It was built in 1435 ; and the city, when the marquis required an aid, gave him his choice, 300,000 bricks or 300 ducats. Bricks now cost in Piedmont 35 fr. per thousand. The contadine in and about Carmagnola are gaily dressed, wearing rows of. large beads, often of real gold, round -their necks, which are manufactured in the city. The name of Carmagnola is asso ciated with the horrible orgies of the. French Revolution, though no one can tell exactly how. The inhabitants most sturdily disclaim the disgrace of being the inventors of the too cele brated " Danse de la Carmagnole," the prelude to so many fearful tragedies. Here was born, in 1390, the great condottiere, Francesco Bussone, the son of a poor herdsman, who became Piedmont. Route 7. — SavigUano — CentaUo — Cuneo. 51 so celebrated under the name of Car magnola, which he assumed from his birthplace. He began his career in the service of Fihppo Maria Visconti, Duke of Milan, and, rapidly rising in power, he served his master most effec tually, regaining a great part of Lom bardy and of the dominions of Gio vanni GaJeazzo, which had escaped from his successor. Suspicions of his loy alty were entertained by the duke; Carmagnola was unthankfully banished, his property confiscated, his wife and children cast into prison, and he passed into the service of the republic of Ve nice. By the signoria he was appointed generalissimo. He conquered Brescia for them from the Duke of Milan ; and at. the battle of Macalo, 1427, he en tirely routed the ducal, army. But the aristocracy of Venice, as suspicious as the despot of Milan, also distrusted the soldier bound by no tie of allegi ance ; and having seduced him to Ve nice by a vote of thanks and confi dence, he was cast into prison, tortured, and beheaded " between the two co lumns," 5th May, 1432, having been conducted to the place of execution with a gag in his mouth, lest his com plaints of the ingratitude of the senate should excite the pity of the multitude. -. Cavalier Maggiore, a large and flou rishing borgo, 5000 Inhab., formerly fortified ; but there is hardly a vestige of the two castles and the lofty walls which once surrounded it. 1^ SavigUano (Inn : the Corona ; tolerably comfortable), a pleasant and cheerful town, 16,000 Inhab. It is a place of some importance in the history of Piedmontese art, as the birthplace oif Molineri, a painter who flourished in the course of the 17th century, and was a tolerable imitator of the style of the Caracci, whence he acquired the name of Carraccino ; and it is sur mised that many of the pieces attri buted in collections to the great mas ters result from the pencil of this little one. The church is nearly filled with Ms paintings; others are in the Pa lazzo Tafnno, representing the battles of Emanuel I. The principal street terminates with a species of triumphal arch, erected in honour of the marriage between Victor Amadeo and Christina of France. 2$ CentaUo, 4500 Inhab. ; also a large borgo in the midst of a fertile though not a healthy country : remains of walls and towers mark its conse quence in the middle age3. Roman inscriptions are found on the site ; but, as is generally the case in the north of Italy, there is nothing above ground to prove its antiquity. 1£ Cuneo or Coni, 1500 ft. above the sea (Inn: the Barre de Fer; a dismal and dirty auberge : there is an other in the town, said to be no better), a city of 18,000 Inhab., situated be tween the Stura and Gesso torrents, at their confluence. Cuneo was, in its origin, a species of city of refuge. About the year 1100, Boniface Mar quis of Savona had conquered, or rather occupied, this district, which formed a part of the marquisate of Susa ; but his authority, hardly strong enough to enable him to retain his usurpation, was entirely inadequate to enforce the observance of the laws, or to ensure tranquillity; and the lords of the adjoining castles . so plundered the inhabitants of the surrounding country, that they determined upon resistance. Such transactions, a few centuries later, gave rise to the republics of Switzerland and the Grisons; but Piedmont was not yet ripe for a re volution. The people came together under the colour of a pilgrimage to a sanctuary of the Virgin, called Our Lady of the Wood, and now included in the city ; and then determined to take vengeance, if, as usual, any of their wives and daughters were in sulted by the . petty tyrants of the sur rounding castles. The anticipated cause of offence was soon given ; the peasants assembled again, destroyed the castles, slew the oppressors, and, retreating in a body to the present site of the city, a wedge-like piece of land between the Stura and the Gesso, they began to build. The abbot of San Dalmazio, to whom the wood3 belonged, gladly per mitted a settlement which gave him »"2 52 Route 7. — Robillante — Limone. Sect. I. the prospect of such a numerous vassal age ; and the " nuova villa di Cuneo " rapidly rose into consequence. In the 16th century Cuneo was strongly for tified, and its history from thence is a succession of sieges. No place is more celebrated in the military history of Piedmont, until 1800, when, after the battle of Marengo, the three consuls decreed, on the 5th July, that the for tifications of Cuneo, the citadels of Milan and Tortona, the fortress of Ceva, and the gates and bastions of Turin, should all be destroyed; and, before the end of the month, those massy girdles of Cuneo were riven from their foundations, to the great comfort and advantage of the inhabit ants, thus delivered from the defences which had proved to them, not the means of protecting, but exposing them to the worst horrors of wars. The Duomo, or cathedral, of Coni is the ancient sanctuary of the " Madonna del Bosco," but it offers nothing re markable beyond its historical interest. Coni is one of the most modern bishop ries in Europe, not having been founded till 1817, when its diocese was severed from Mondovi. San Francesco, belonging to a Capu chin convent : a regular Gothic church of the 13th century, said to have been built in the time of the saint himself. It is remarkable that the Franciscans, both in Italy and beyond the Alps, re tained the Gothic style after it had generally begun to get out of fashion. Cuneo suffered much from the cholera in 1835, and amongst its numerous charitable establishments is one for the reception of the children who were de prived of their parents by the disease. At first there were 200 ; about half that number now remains. There is a pleasant public walk at the junction of the Gesso and Stura. In the Alpine valley of the Pesio, about 8 m. from Coni, is the Certosa of Val Pesio, founded in 1173, in a very picturesque situation. An hydro pathic establishment has lately been placed there by Dr. Brandeis, on the Graffenberg or Preisnitz system. The situation is represented as very salu brious, and the water, which is in abundance, excellent. The gradually ascending road begins? to offer much beauty. Sal Dalmazio, a village, supposed to be the remains of the city of Pedone, destroyed by the Milanese in 1250. 4 m. after leaving Cuneo the post-road enters the valley of the Vermenagna, along wliich it runs to the bottom of the Col di Tenda. 2 Robillante. (An extra horse from, Cuneo to Robillante from the lsff Nov. to the 1st of May, but not in the opposite direction.) Hitherto the road has passed through the great plain of Piedmont, watered by the Po, the Magra, the Grana, and the Stura ; but it now enters the mountains an4 begins to ascend, and the noble masses of the maritime Alps, crowned by the Monte Viso, more than 12,000 feet above the level of the sea, become more clearly visible. The plains themselves are very fertile, and nothing can be more beautiful than the little streams by which they are irrigated and crossed. The hills abound with bright and aro matic flowers. If Limone, 3340 feet above the sea, (An extra horse from Robillante to Limone from Nov. 1st to May 1st, but not in the opposite direction.) Inn : the Hotel de la Poste ; a very civil and obliging landlord. No trouble is now given at the inland Douane sta tioned at this place. The traveller hence ascends rapidly, and by a good alpine road, though constructed with less skill than those of more recent date. The abrupt turns of the ten-aces are often almost alarming in their aspect, nor are they so well defended as could be wished. The danger, or rather the semblance of it, is, of course, more felt in the descent from Nice. The difficulty is greater this way. On this road mules are not unfrequently harnessed to the carriages, and they are almost as large and quite as good as the horses, though their broken knees afford full evidence that even mules can have a fall. About half way from the Bummit an attempt was made by the former princes of Savoy, and Piedmont. Route 7. ^-Tenda— Giandola — Sospello. 53 continued down to the French occupa tion in 1794, to bore a tunnel through the -mountain, and thus avoid altoge ther the passage over its crest. If completed, it would have been more than half a mile long, and would have surpassed any similar work in the Alps. The summit is a narrow ridge, or " giogo," 6158 feet above the level of the sea. It commands a very fine view of the Alps, from Monte Viso to Monte Rosa, the latter appearing like a cloud ; while, on the south, the Me diterranean may be faintly discovered. During more than three months in the year," and not unfrequently during five, the Col di Tenda is impassable for wheel carriages, though it can always be crossed by mules, provided there be no storms ; for the wind is so violent that the mules themselves can hardly keep their footing, and are compelled to wind round a more sheltered path, The descent to Nice is by a succession of more than 50 zigzags from the house of refuge near the summit. 4 Tenda, at the southern foot of the Col (between Limone and Tenda an extra horse both ways all the year) ; 2000 Inhab. (Inns : H6tel Royal; Hotel Imperial.) Tenda is an excel lent station for sketching and fishing ; but, indeed, this might be said of almost all the district. It is a place of much note in the feudal history of Italy. From the family of Facino Cane it became vested in the unfortu nate Beatrice della Tenda, the luckless wife of Filippo Maria Visconti, by whose commands she was cruelly tor tured and condemned to death. (See Binasco, Rte.' 21.) There are some .picturesque remains of the castle. The road from Tenda is amongst the earliest of the alpine roads. It was made by Carlo Emanuele I., 1591 ; and improved in 1780 by Vittore Amadeo III., as is commemorated in two in scriptions near its commencement. Upon leaving Tenda the road be comes exceedingly striking, with alpine scenery of peculiar boldness, and, by the side, the Roya, a torrent scarcely leaving room for a carriage to pass. Wherever the rocks fall back ever so little out of the perpendicular — enough to allow the possibility of raising a wall — you see a little village in the cleft, like the nest of a bird. The finest of these savage defiles of the Roya is below Saorgio, where a fort, perched upon a rocky knoll, commands the passage of the gorge. It was taken by the French in the campaign of 1794. The Roya abounds with excel lent trout. 2£ Giandola, 1250 feet above the sea. (From Giandola to Tenda an extra horse all the year, but not vice versd.) H&tel des Etrangers affords decent accommodation, and a civil landlady ; H6tel de la Poste, said to be good. The town is grandly situ ated at the foot of high schistose rocks, which look as if they were on the point of crushing the inhabitants. The road has been recently altered, and leaves on the 1, Breglio, a borgo of 2500 Inhab., near which are the noble ruins of the castle of Trivella; ascending the mountain of Brouis by a very steep road to the pass of the same name, the sides of which are covered with wild lavender. 2J Sospello, 1175 feet above the sea (between Giandola and Sospello an extra horse both ways all the year — Inn : H6tel Carenco, said to be the best between Turin and Nice), 4000 Inhab., is the sleeping-place for voitu- rier travellers. Its situation is very beautiful. Through it rushes the Be- vera, a roaring mountain stream; and all around rise the mountains out of an exceedingly fertile plain. The valley abounds in thick woods of olives and figs. The Bevera forms a junction with the Roya about 4 m. before enter ing the sea at Vintimiglia. Here is a cross road from Sospello to Ventiraiglia, in the ravine of the Bevera. The road commences to ascend from the inn door at Sospello until you pass the Col di Braus, about 4000 feet above the sea. At the proper season a good deal of lavender-water is made on the sides of this mountain by the peasantry, whose rude apparatus for that purpose, which you see on the road-sides, is curious. 54 Route 8.— Turin to Oneglia — Bra — Alba. Sect. I. 3 Scarena (between Sospello and Scarena, an extra horse both ways all the year), 1700 Inhab. After crossing another hill you descend into the valley of the Paglione, which you fol low to Nice, and to the full luxuriance of the Riviera. 2| Nizza (from Nizza to Scarena an extra horse all the year, but not vice versa). (Rte. 12.) ROUTE 8. TUKIN TO ONEGLLA, BY CHEEASCO. 23i posts (or 106f m.). This professes to be a great post- road, but relays cannot be depended on beyond Bra. 2J Carignano (half a post extra charged on entering and leaving Turin) . (See Rte. 7.) 2£ Sommariva del Bosco, 5000 In hab. ; a small town, beautifully situate at the foot of a hill, upon which is a castle, anciently fortified, now a pri vate residence. 1£ Bra, or Brauda, 10,000 Inhab. ; in the vale of the Stura, and about 2 m. N. of it. The principal object of interest in this town is the church of Sta. Chiara, built in 1742 by Vettone. It is in the most luxuriant style of the Piedmontese churches. Brauda derives its name from the plain adjoining the city. There are many " braude " near the Lombard towns ; and the word without doubt is Teutonic — a broad. A noble avenue leads to the Santuario di nostra Donna de' Fiori. According to the legend, a miraculous appearance of the Virgin in the copse hard by, on the 29th December, 1336, was the means of rescuing a peasant girl from the daggers of assassins; since which event the wild sloes with wliich the copse abounds are said to flower three timeB in the year — in spring, autumn. and the depth of winter. It is yet much resorted to, especially on the 8th of September, the feast of the Nativity of the Virgin. 2 m. S.E. of Bra, and anciently a de pendance upon it, is Pollenzo, a castle and a village, replacing the Roman municipium of Pollentia near the 1. bank of the Stura. Here the armies of the Triumvirate frequently assembled. It was celebrated for its wools, as well as for its manufactures of terra cotta, praised by Pliny as being scarcely in ferior to thoBe of Samos. In the age of the Antonines Pollentia was very flourishing ; and it is supposed that the edifices, of which there are still con siderable vestiges, belonged to that era. An amphitheatre and a theatre can be distinguished ; and the walls of both are still standing to a considerable height. Upon the ridges of the Colle di San Vittorio are the ruins of four small edifices, called by the peasants the " Turilie," supposed by antiquaries to be the ruins of a temple of Diana, and the buildings which were annexed thereto. On the old road to Alba are the sup posed remains of the Villa Martis, the birthplace of the Emperor Pertinax, who together with his father carried on what we should call an earthenware manufactory. Hard by is a field called "Ciupelle," of which the ground is quite filled with fragments of earthenware, the confirmation (or perhaps the origin) of the opinion by which the spot is identified. Pollenzo was erected into a county by Wenzel or Wenceslaus (the emperor, who was deposed by the elect ors in consequence of his sluggishness and vice), in favour of Antonio Pirro, a condottiere, who had served under Ga- leazzo Visconti of Milan in 1383 ; and with the assent of the Antipope, Cle ment, he erected, in 1385, a castle upon the site of a monastery. Most of this building is standing, and it is exceed ingly picturesque, with its overhanging machicolationsand lofty dungeon tower. It has lately been fitted up and judi ciously restored, as a hunting lodge for the king. A good road (10 m.) along the 1. bank of the Tanaro, by San Vittorio, leads to Alba. Alba Pompeia, a very ancient episcopal town of 7000 Inhab., on the rt. bank of the Tanaro, near where the Querazza empties itself into the latter. The town is in a plain, surrounded by very fertile hills, producing much wine and silk. The Cathedral, dedicated to Piedmont. Route 8. — Cherasco — Dogliani — Bene. 55 San Lorenzo, and founded in 1486, is attributed to Bramante, and contains in its choir a handsome mausoleum of the founder, Andrea Novelli. Alba was an Imperial fief, granted succes sively to the Saluzzos and the Viscontis, and as such it formed a part of the mar riage-portion given by Gian Galeazzo to his daughter Violante on her mar riage with Lionel Duke of Clarence. The road from Bri continues in the plain of the Stura ; cro3Bing that river 3 m. farther to Cherasco : 9000 Inhab. The quad rangular form of this place indicates that it stands upon the site of a Roman town. At each end of the principal Contrada is a fine modern arch. Of the five churches, three, San Pietro, San Martino, and San Giorgio, are Gothic ; the fourth, the Madonna del Popolo, was built in 1693-1702. Its interior is of rustic work, and heavy. It has, however, a noble oupola. In the Palazzo del Commune are some good paintings by Tarrico. There are others in the Palazzo Gotti. They are scriptural and historical ; in the land scape portion he is a successful imitator of Poussin. Numerous organic remains are found in the tertiary marls and sands in this neighbourhood. In the Colle di San Bartolomeo is petrified wood. The for tifications of Cherasco, once exceedingly strong, were destroyed by the French in 1801. After the battle of Mondovi, April 22nd, 1796 (see Rte. 10), the Piedmontese troops fell back upon Cherasco, and made a show of resistance. Cherasco was well provisioned, and in an excellent Btate of defence ; but, after very few shells had been thrown into the town, the garrison surrendered, not without suspicions of treachery. The Austrians, under Beaulieu, were march ing to the assistance of the Piedmon tese; but, on being apprised of the surrender of the fortress, they retired. The Sardinians now proposed a suspen sion of arms; and on the 28th of April the Sardinian commissioners concluded with Napoleon the " armistice of Che rasco." Before Napoleon would treat at all, he required the surrender of the strong fortresses of Coni and Tortona. By this armistice, and the consequent treaty, the King of Sardinia renounced his coalition with Austria; ceded to the Republic Savoy, Nice, and the whole possessions of Piedmont to the west ward of the highest ridge of the Alps (extending from Mount St. Bernard by Mount Genevre to Roccabarbona near Genoa) ; and granted a free passage through his dominions to all the troops of the Republic. The importance of this accommodation may be judged by the letter of Napoleon to the Directory the day the armistice was signed. " Coni, Ceva, and Alexandria, are in the hands of our army : if you do not ratify the' convention I will keep these fortresses and march upon Turin. Meanwhile I shall march to-morrow against Beaulieu, and drive him across the Po ; I shall follow close at his heels, overrun all Lombardy, and in a month be in the Tyrol, join the army of the Rhine, and carry our united forces into Bavaria. That design is worthy of you, of the army, and of the destinies of France. If you continue your confidence in nle, I shall answer for the results, and Italy is at your feet." How well he redeemed his pledge it is unnecessary to say. The road, which here enters the up per valley of the- Tanaro as far as Mon- chiero, now passes through 3i Dogliani, 4000 Inhab. ; a borgo, standing partly upon the banks of a torrent, the Rea, and partly upon a bold bill. The road from Dogliani to Ceva is very hilly. About 5 m. before arriving at the latter, at Montezzemolo, the direct road from Turin to Savona, through Millesimo and the Cadibona pass, strikes off to the 1. (see Rte. 10). There is a cross road from Cherasco to Fossano (see Rte. 9). Bene, upon a pleasant rising on the MondAlavia torrent, has arisen out of the ruins of the ancient Augusta Ba- giennorum, destroyed by Alaric, and of which many interesting vestiges are found at Roveglia, about half a mile off. The ruins of an aqueduct, amphitheatre, baths, and other building's, extend over aconsiderable tract of ground. Bene was 56 Route 8. — Ceva — Bagnasco — Ormea. Sect. I. the birthplace of the celebrated Giovanni Botero, preceptor to the children of Emanuel L, who wrote much and with great acuteness upon the theory of po ntics. To the north of Bene is the dis trict of Sahnour, anciently Sarmatia, so called from the Sarmatians settled there during the Lower Empire, and who had a Prefect of their own. 3 Ceva, a town of 3500 Inhab., on the rt. bank of the Tanaro : the capital, so long as the ancient divisions Bubsisted, of the marquisate of Ceva, whose sovereigns held rather a con spicuous place in the history of this country. They traced their origin to Aleramo, the hero of many a tradition ary tale ; but the first of whom there is any real account is Anselmo, the fourth son of Boniface Marquis of Savona, about 1142. The place is much de cayed; and recent demolitions have deprived it of aU its feudal towers. The chief feature of the landscape is a rock towering above the town, and upon which are the remains of the dismantled citadel. The celebrated Piedmontese cheese, called Robiole, is made in this neighbourhood. The valley narrows as you approach 1 i Bagnasco. You are now fairly en tering the Maritime Alps. The moun tains surrounding Bagnasco are bold and picturesque, and the streams and torrents are limpid and beautiful. Some curious minerals are found in them, particularly in the Valle d' Amano. The castle was destroyed by the Marechal de Brissae in 1555. The ruins of its ancient fortifications are fine, spreading widely above and around. Generally speaking, the feudal ruins of this class, which are numerous in Italy, have been less noticed than they de serve. On the E. are . the remains attributed to the Saracens ; and it is recorded that the present town was ori ginally built with the materials of the Saracen castle. They certainly had various settlements upon this coast. According to a most apocryphal tradi tion, the historian Valerius -Maximus was buried here ; and a stone, with the inscription "Hie jacet Valerius," found, or made to be found, has been adduced in support of this tradition. It is now at Turin. 1$ Garessio, once the capital of a small ancient marquisate, which, in 1509, was sold to the Spinola family. It is nearly 2000 feet above the sea. A good road leads from Garessio to Albenga, crossing the Col diBernardo to descend into the valley of the Nerva. Hence the road to Oneglia passes through wild and picturesque scenery, by Ormea and the Ponte di Nava, where it crosses, for the last time, the Tanaro. The rocks are often marble, the species called Persigliano being quarried here. The source of the Tanaro is of diffi cult access, but the path is practicable. The mountain from which it rises is called the Tanarelo ; the rush of waters is magnificent. The mountain scenery of this part of the Apennines is entirely distinct in character from the Alps on the N., or from the central range further S. It is more verdant and luxuriant than either. Near this, is the Cavern of Aleramo, where he and Adelasio took refuge with their seven sons, who, in process of time, became seven marquises. The traditions of this country deserve quite as much attention as the "Deutsche Sagen," of which we have heard so much of late years. 1£ Ormea. It was once well inha bited, but, having been nearly depopu lated by the plague in 1630, it has never recovered. From Ponte di Nava the road ascends to the Col of the same name, the culminating point of the road {3150 feet above the sea) , to descend into the valley of the Arrosia at 2f Pieve, in a lonely valley. The mountains around are singular and bold. The principal church has some good frescoes oilmca Cambiaso. Pass over the ColofSanBartolomeo, which separates the waters of the Ar rosia and Impera torrents, along the 1. bank of which a wide and easy road leads to 3J Oneglia. (See Rte. 12.) Piedmont. Route 9.— Turin to Oneglia— Mondovi. 57 ROUTE 9. TUBIN TO ONEGLIA, BY MONDOVI. 25i posts (or 116 m.). A post-carriage runs regularly on this road, and from Oneglia to Nice, by San Remo and Mentone ; fares, 32 fr. 28 o. Turin to 2^ Carignano. 1 2^ Racconigi. > (Rte. 7.) if SavigUano. j 1^ Fossano, on the 1. bank of the Stura, (an extra horse between Fos sano and Mondovi, and vice versd, from Nov. 1 to May 1. An extra half- post is charged for ascending to the town at Mondovi,) the seat of a bishop*- ric, 13,000 Inhab., offers a very beauti ful prospect from without. Seated upon a lofty hill, surrounded by circling ramparts, and crowned by the still lofty feudal castle upon its hill, it is as fine a picture as can be imagined. Within, it is singularly antique and gloomy. The houses stand upon ranges of arches, which in many parts are so low that you can hardly walk through them upright, contrasting strongly with the very charming walk planted with trees which surrounds the town. The road continues rising, and commanding very beautiful views, over a rich though hilly country. It is said to derive its name from some salubrious fountain, Fonte Sana, in its vicinity. The city was founded in the 13th century, by the inhabitants of the villages of the adjoining countries ; burnt during the wars of the Guelphs and Ghibellines. Constantly exposed to the attacks of Saluzzo on the one side, and of Asti on the other, the Fossnnese ended by plac ing themselves, in 1314, under the pro tection of Philip of Savoy, nominal Prince of Achaia. The cathedral is a fine building by Guarini, with some decent modern paintings. In the Pa lazzo Grimbaldi are frescoes by Gio vanni Boetto, who was also a good engraver. He was one of the very nu merous talented artists whom chance has consigned to obscurity. La TrinitA, a village of 2500 Inhab., the head of a very ancient barony. 9 TifnndmA- on the rt. bank of the Ellero, 1810 feet above the sea, (be tween Mondovi and Ceva, and vice versd, an extra horse from Nov. 1 to May 1,) the seat of a bishop, 16,000 Inhab. A portion of this city is on a commanding hill. Here is the cathe dral of San Donato, and the principal public buildings. The three other por tions, Brea, Carazzone, and Piano, are partly on the side of the hill and partly in the plain below. It is comparatively a modern city, as it was not founded till the 12th century. Like Coni, Fos sano, and several other of the Apennine towns, Mondovi was a city of refuge ; that is to say, built by the inhabitants of the villages of the open country flying from the contentions of Guelphs and Ghibellines. Near Mondovi is the sanctuary of the Madonna di Vico. This church, built by Vitozzi, is one of the innumerable adaptations of themain idea of St. Peter's. It has been very recently finished, and richly decorated by private munificence. It is said that the people assembled here when they determined to abandon their houses and to found the new city. They governed themselves as an inde pendent republic until, in 1396, they submitted to Amadeo of Savoy, nomi nal Prince of Achaia. Here, 22nd April, 1796, was fought the decisive battle between Napoleon and the Sardinian troops under Colli. The Sardinians occupied this strong position, while Beaulieu, with the Austrians and an army still formidable, was in the rear of the French, and might have resumed offensive opera tions. A council of war was held in the night, at which it was unanimously re solved, notwithstanding the fatigue of the troops, to resume the attack on the following day. AH the dispositions, accordingly, were made for a renewed assault on the bridge with increased forces; but, on arriving at the advanced posts at daybreak they found them abandoned by the Piedmontese, who had fought only to gain time for the evacuation of the magazines in their rear, and had retired in the night to Mondovi. Colli was overtaken, how ever, in his retreat, near Mondovi, by D 3 58 Route 10. — Alessandria to Savona — Acqui. Sect.; I. the indefatigable Victor, who had seized a strong position, where he hoped to arrest the enemy. The Republicans immediately advanced to the assault, and, thoughSerrurier was defeated in the centre by the brave grenadiers of Dichat, yet, that courageous general having been struck "dead by a cannon-ball at the moment when his troops, somewhat disordered by success, were assailed in flank by superior forces, the Piedmon tese were thrown into confusion, and Serrurier, resuming the offensive, at tacked and carried the redoubt of La Bicoque, the principal defence of the position, and completed the victory. Colli lost 2000 men, eight cannon, and eleven standards. Great as the loss was, yet, coming in accumulation upon the preceding defeats, the moral effect was still greater. There were suspicions of treachery, or at least of tacit co operation with the Republicans ; and Colli retreated to Cherasco, whither he was followed by Napoleon. The result has been already told. (See Rte. 8.) In 1799 the people of Mondovi rose against the French. This offence was cruelly punished by Moreau, whose troops committed acts of violence such as no provocation could excuse. From Mondovi the road ascends to the borgo of Vico, and descends to the bridge of San Michele, on the Cor- saglia torrent, where Colli repulsed Jaubert and Serrurier on the 19th of April, but retreated on Mondovi in the night : continuing on» its rt. bank to Lesegno, where the Corsagha joins the Tanaro, the road runs along the L bank of the latter to 3 Ceva. 1£ Bagnasco. l| Garessio. 1£ Ormea. (Rte. 8.) The relays at Bagnasco, Garessio, Ormea, and Pieve, are not regularly supplied with horses. Route io. ALESSANDBIA TO SAVONA, BY ACQUI AND DEGO. There are no relays of post-horses between Alessandria and Savona. This is a very interesting road to the military traveller, as it is over ground rendered celebrated by Napoleon's first Italian campaign of 1796 ; the greater part of it is up the valley of the Boi*- mida to the passes of Montenotte and Cadibona. The road enters the hilly country at Porto, following the 1. bank of the Bormida to Gamalero, a small village in a plea sant country, and thence to Cassine, 4000 Inhab., situated upon a height overlooking the fine valley of the Bormida. This small town main tained many a sturdy conflict with its more powerful neighbour Alessandria. Acqui or Aquce Statiellce : 8000 Inhab. This city, the seat of a bishopric, was the ancient capital of the Statielli, a Ligurian nation, and acquired much celebrity under the Ro mans from its hot springs. The whole country abounds with them ; and, like those at Aix-la-Chapelle, they are partly within the city and partly without. Within the walls is the spring called the "Bollente." The heat, on the average, is 60° Reaumur. The flow is most abundant, and never diminishes', and the water is used by the inhabit ants for the purposes of washing, though, both to taste and smell, dis agreeably impregnated with sulphur etted hydrogen. The bath-houses are outside of the city, on the opposite bank of the river, where several springs issue from the ground, their temperature varying from 35° to 41° Reaumur. They were built in the 16th century, by the Duke of Mantua, but have re cently been much improved. The mud of the baths is considered as having most efficacy. Gout, paralysis, contractions of the limbs, are the complaints in which they are most peculiarly Useful. The following is the analysis of 1000 ater of the Bollente : — Piedmont. Route 10.^-Monte Stregone—Dego. 59 Sulphuretted hydrogen . 0-000240 Hydrosulphate of lime . 0-001240 Muriate of soda .... 0-015500 „ magnesia . . 0-002600 „ lime .... 0-002404 Sulphate of soda .... 0003375 „ magnesia . . 0-003086 „ lime .... 0-000800 Vegetable matter . . . 0-000700 Silica 0-000450 Oxide of iron 0-000495 Iodine, in the state of hy- drodate . . ... Water 9-969150 10-000000 Dr. Cantu, a celebrated Piedmontese physician, has discovered iodine in the waters, to wliich he attributes much of their virtue, and also a trace of bro mine. The waters of the Bormida are, or at least have been, supposed to pos sess the same efficacy as the hot springs. Roman remains are found at Acqui. The few which have escaped the de struction of the city by the Goths at test its ancient magnificence. Four arches of a massy yet elegant aqueduct are the most conspicuous. Several reservoirs and other portions of the thermee may be traced. One spring retains, by tradition, the name of " the fountain of Pallas." The block or nucleus of a large sepulchral monument is called the Game by the common people, a name having a curious, though perhaps accidental, similarity to the Gaelic and Cymric cairn or Carnedd. Very numerous sepulchral and other inscriptions have been found near the Via Emilia, which runs by the city, re lating to the Lolhan, Mettian, Rutilian, Petronian, Rubrian, Mennian, and Plautian families, as well as of several sacerdotal colleges, urns, lamps,, brazen and other idols. Numerous medals are also found ; the series of the latter extends from Augustus to Theodo- sius. The Duomo was begun in the 12th centuryj The front has a fine and venerable porch ; . and an ample flight of stone steps adds to its effect. The interior is divided into five aisles. The church of San Francesco, a Gothic building scarcely inferior to the Duomo, is a ruin, having been reduced to this state by the French. The other churches are not remarkable. The Monte Stregone, meaning the Great Wizard, rises above the city. Here the hot springs have their sources. The air is exceedingly pure and plea sant ; and Acqui only requires the good help of a literary M.D. to acquire an European reputation in its line. The wine produced in this neigh bourhood is very good, — at least in the opinion of the natives. Acqui was the capital of the upper Montferrat, and some of the towers erected by the Paleologi yet remain. It suffered very much during the revo lutionary wars. In 1799, the people of Acqui having shown some real or sup posed symptoms of dissatisfaction to wards the French, Generals Grouchy and Flavigny entered the city with a large body of troops, for the purpose of punishing the inhabitants ; but the entreaties of the bishop, Giacinto della Torre, averted the evil. On leaving Acqui the road follows the 1. bank of the Bormida, which it crosses at Terzo, on the site of a Roman station — ad Tertium — which represents. very accurately its present distance; from Acqui : from thence it follows the rt. bank of the river, leaving Bis- tagno, a village of 2000 Inhab., on the rt. The two branches forming the Bor mida unite opposite Bistagno, the Bor mida di Cairo descending from the- Altare or Cadibona Pass, and the Bor mida di Millesimo, which rises at the foot of Monte Calvo. The road to Sa vona follows the first of the two, nearly in a true southern direction, for 10 m. to Spigno, a village of 3000 Inhab., 12 m. from Acqui, in a fertile territory, producing much silk and wine; and 10 m. further is Dego (Degus), a village of 2600 Inhab., which has little to interest the traveller, except its historical recollec-1 tions ; situated in a bend, and on the 1. bank of the Bormida : its territory pro duces a good deal of wine and some silk. 60 Route 10. — Cairo— Carcare — Altare. Sect. I. Dego, from its situation on one of the high roads into the plains of Lom bardy and of Piedmont, has suffered severely on several occasions from mili tary operations, but especially in Sept. 1794, when it was occupied by Mas- seha, and in 1796, when it was the scene of one of the Banguinary battles that opened to Napoleon the conquest of Italy. The French general, having succeeded by a most masterly move ment in cutting through the centre of the allied army of the Piedmontese and Austrians at Montenotte on the 12th of April, lost no time in following up his success, by attacking each in turn. The Austrians, after their disaster at Montenotte, retreated along the Bor mida, and occupied Dego. When their conquered division received reinforce ments from the main body of the Im perial army, then about Genoa — after beating the Piedmontese under Colli at Millesimo, and forcing him to re treat on Ceva and Mondovi — Napoleon attacked the Austrians at Dego, having under his orders Laharpe and Massena. After a series of hard-fought actions during two days, the Imperial general was obliged to retreat upon Acqui, leaving 3000 prisoners and 13 cannon in the hands of the French. Two days afterwards, however, a most gallant attempt was made by General Wicka- sowich, at the head of 600O Austrian grenadiers, to recover the past disaster of his countrymen. Dego was re taken with 600 French in it ; but Na poleon, uniting his forces, pounced upon Wickasowich unexpectedly, and soon recovered it, making 1600 imperialists prisoners. The results of the battle of Dego were — the impossibility of the Imperialists forming a junction with, or relieving, their Piedmontese allies, already hard pressed by Napoleon at Ceva, and ultimately defeated at Mon dovi (see Rte. 9), and their being obliged to retreat on Alessandria to cover Milan from an attack by Napo leon, who had been so advised to do by Carnot's (then Minister of War at Paris) instructions. It was at the battle of Dego that Lannes, afterwards celebrated as Due de Montebello, was first distinguished by General Bona parte, who for his gallant conduct made him a colonel on the field of battle. Cairo (Cairum), 5 m. S. of Dego, is supposed to have been a station on the Via Emilia, which from Rimini led to Savona. It has a population of 3000 souls, and some iron-furnaces in the neighbourhood. It is the principal town in this upper valley of the Bor mida. The old road to Savona by the Pass of Montenotte, now abandoned, struck off to the left from this point. Since the new road has been opened, a handsome stone bridge of 7 arches has been thrown over the Bormida at Cairo. This new road was commenced in 1800 by Napoleon ; and, instead of crossing a difficult col, as that of Montenotte was, now penetrates into Liguria, by perhaps the lowest pass or depression in the whole chain of the Apennines (for the Apennines may be considered to commence near this me ridian) — that between Altare and Cadi bona. Leaving Cairo, some remains of the Roman road are seen about a mile be yond the town, and the ruins of a con vent, said to have been founded by St. Francis himself, but burned down by the French in 1799. 4 m. farther is the village of Car care, where the valley widens. The road from Turin to Savona, by Ceva and Millesimo, here joins that from Alessandria. Carcare has a population of 1200, and in a mihtary point of view occupies an important position ; for this reason it was selected by Napoleon as his head-quarters after the battle of Montenotte, from which he directed his operations against the Austrians in the valley of the Bormida, and the Piedmontese at Millesimo, and in that of the Tanaro. Beyond Carcare the road rises from the torrent over a ridge of hills, which separates the two branches of the upper Bormida, to reach Altare, the last village on the northern declivity of the Apennines and only 7 Piedmontese m. as the crow flies from the shores of the Mediter- Piedmont. Route 10.— Montenotte. R. ] I.— Turin to Savona. 61 ranean at Savona. This pass is perhaps the lowest in the whole range; the ascent to Cadibona is very easy, and the road generally in good condition. We have already stated that this fart of the road was made by the French during their occupation of this part of Italy, then called the department of Montenotte, a province so well de scribed in Count Chabrol de Volvic's celebrated statistical work upon it ; the more ancient one, between Savona and the valley of the Bormida, passing by the battle-field of Montenotte, about 7 m. farther E. A mule-path, frequented by the Genoese fishermen, still exists over that celebrated pass. As we have already mentioned, it was at Montenotte that N apoleon, on the 12th of April, 1796, succeeded in piercing the centre of the auied army by a mas terly movement. Encamped at Savona, having the Austrian commander-in- chief in front, at Voltri, he had de tached a corps of 1200 men, under Colonel Rampon, to occupy the pass of Montenotte. The latter was vigorously attacked by as many thousand Imperi alists under General Roccavina, who being severely wounded, the command devolved on Argenteau. Forced to shut himself up in the dismantled re doubt of Monte Legino, the French commander defended himself with he roism until night closed in, exacting from his soldiers an oath that they would conquer or die. Napoleon, hearing of Rampon's critical position, immediately broke up from Savona, with the greater part of his forces, being unobserved owing to the darkness of the night, and by daybreak the next morning was able to relieve Rampon. The Austrians were .completely beaten, losing 1000 killed, 2000 prisoners, and 5 pieces of cannon; but, what was more serious still, having their centre forced, and thei main body. obliged to retreat on Dego. r The very great depression of this part of the Ligurian Apennines gave rise to the project of the French go vernment in 1805, of estabhshing a water communication by a canal be tween the valley of the Po and the Mediterranean. Altare was in that project selected as the site of an im mense reservoir to supply the canal in its descent through the valley we have travelled up to Alessandria, from whence the Tanaro, into wliich the Bormida empties itself, is navigable to the Po. The road attains its culminating point near Cadibona, from which it descends to the hamlet of Montemore, at the head of the Vanestra torrent, which it follows to Savona. There are mines of a lignite coal in the environB of Cadibona belonging to the tertiary geological epoch. This coal contains bones of an extinct quadruped, the Anthracotherium, also found in the tertiary strata of the Paris basin, of Alsace, and the Isle of Wight. For Savona see Rte. 12. ROUTE 11. TUEIN TO SAVONA., The first part of this road, as far as Dogliani, has been described under Rte. 8. From Dogliani the road follows that to Ceva, as far as Montezzemolo, a mountain village 2500 ft. above the sea (p. 55) ; from whence striking off to the 1., after 6 m. of rapid ascents and descents, over the Alpine spur that separates the upper valleys of theTanaro and Bormida, it reaches Millesimo, a poor village of less than 1000 Inhab., on the Upper Bormida, 1490 ft. above the sea, memorable for the battle between the French under Augereau, and the Piedmontese com manded by General Provera, and in which the latter were defeated and forced to retire on Ceva and Mondovi (p. 57), whilst at the same moment Bonaparte was forcing the Austrians at Dego (p. 59) from Millesimo. The road crosses a high ridge for 5 m. to reach Carcare, where it joins that from Ales sandria to Savona (Rte. 10.) ( 62 ) SECTION II. SARDINIAN DOMINIONS ON THE MEDITERRANEAN— THE RI VIERA DI PONENTE, AND RIVIERA DI LEVANTE.— TERRI- TORIES OF NICE, MONACO, AND DUCHY OF GENOA. PRELIMINARY INFORMATION. Political Changes and Character of the Country. — Produce, State of the Country. — Roads.— Posting.- — Money, Weights, Measures.-— Character of the Population. — Inns. — Fine Arts. Routes. eoute page i eoute page 12. Nice to Genoa . . 67 | 13. Genoa to Sarzana , 106 § 1. Political Changes. — Chaeactee oe the Countby. At the beginning of the present century the dominions of Sardinia on this coast consisted of the county of Nice, the principality of Oneglia, and some smaller enclavures ; the remainder belonged to the republic of Genoa. What were called the " imperial fiefs " in the interior were, as the name imports, small feudal sovereignties ; but they all belonged to Genoese nobles, and, though by law subject to the empire, still, politically speaking, they had no independent existence, and had become mere private domains. The revolution after the transitory duration of the Ligurian republic (1797) incorporated- the whole tract into the French empire (1805). The results of the congress of Vienna transferred it to Vittorio Emanuele ; and the House of Savoy thus not only regained their old dommions, but also obtained the territories for which they had more than once struggled when in their times of prosperity, and wliich they now gained after their season of misfortune. A nominal existence has been given to the " duchy of Genoa," and the title of duke is taken by the sovereign ; but the whole is politically united to the rest of the Sardinian states, though it is equally separated from them by national features and by national character. Between the Var, fixed in the time of Augustus as the boundary of Italy on the W., and the Magra, the equally ancient boundary of Tuscany, the greater part of this territory is situated. We say " the greater part " just to avoid inac- ¦ curacy, for a small district beyond the Magra, won by the Genoese from their ancient rivals of Lucca, and anciently composing a part of the Tuscan Luni- giana, is retained by the Sardinian monarch as the successor of the republic. The country is a continued series of mountain terraces, valleys, and ravines, formed by spurs from the Maritime Alps and the Apennines ; geographers are not agreed as to where "Alps" commence and "Apennines" end. The breadth of the district, which is now denominated " Maritime Ligurla," varies (always supposing the central chain of the Maritime Alps and Apennines to form its N. limit) from 25 m. at Nice, to 5 m. between Arenzano and Voltri, where the latter chain approaches nearest to the shores of the Mediterranean. The climate is most agreeable, the atmosphere remarkable for its transparency and purity. In several of the districts on the shore, which are protected from the N. and N.E. winds, the thermometer- tm-bIv falls halnm the freezing-point ; Riviera. §2. Produce — State of the Country. §3. Roads. 63 and hence the singular beauty of the vegetation, in which the botany of the temperate zone of the southern coasts of Europe, and of the northern coasts of Africa, is combined with that of the tropics. The first exhibits the natural productions of the basin of the Mediterranean, though in part (we allude to the olive in particular) transplanted at some exceedingly remote period by the hand of man ; the last, the American species, introduced (as it is most probable) by the intercourse of the Genoese with Spain. Where the ravines open into the mountains the sharp wind occasionally penetrates, and cuts the growth of these strangers ; and sometimes the winters are severe ; but the olive rarely, if ever, suffers on this coast ; and this affords a test of the temperature, cold below the freezing-point being fatal to these trees. Yet these transient variations of tem perature, or perhaps Borne less perceptible cause, render pulmonary complaints common amongst the inhabitants of the Riviera ; and the foreign invalid who resorts hither in search of health finds the natives mowed down by the disease from which he seeks to fly. The mountains abound in valuable mineral pro ducts, which are but partially explored ; they also contain inexhaustible quantities of the finest marbles, furnishing the stores by which the palaces of Genoa are adorned. The most remarkable of these marbles are that of Polzevera di Genova, called in French the Vert d'Egypte and Vert de Mer (it is a mixture of serpentine with granular limestone, and it is sometimes mixed with a reddish body), and the black marble of Porto Venere, quarried at the cape of the same name, in the Gulf of Spezia. The first of these marbles was formerly much employed in Italy, France, and England, for chimney-pieces, but its sombre appearance has put it out of fashion. Taken as a whole, nearly all the beauties which the traveller admires in the Alps of Switzerland, or on the shores of the bay of Naples and Cuma, are here combined. § 2. Peoduce! — State oe the Cot/ntey. The coast of the Mediterranean from Sarzana to the frontier of France rises abruptly, and often in rocky heights up to the Maritime Alps and the Apen nines. Facing the S., with generally a warm aspect, the vine and the olive are extensively cultivated. Wheat and maize are grown and sown in rotative crops. Beans, some potatoes, and other vegetables are also produced, which, with roasted chestnuts and Indian com meal made into pollenta, form the chief food of the lower classes in the mountain districts. -Generally the rural inhabit ants, as weU as the labouring classes in the towns, are poor. The farms are small held chiefly on leases of from three to seven years, and slovenly husbandry prevails. Along some parts of the sea-coast, and inland up the valleys and hills, the Metayer system predominates. The towns along the Mediterranean, from the Var to Genoa, with the exception of Nice (which strangers have enriched), appear strikingly pic turesque and beautiful from the sea •„ but, on entering them, wretchedness, dirt, and discomfort, windows without glass, a want of all that we consider conve nient within doors, and dilapidation and a general absence of completeness without, and within, and a prevalence of what may serve as a slovenly expedient for the moment, are the characteristics of those towns. Improvement is, how ever, making advances. It commenced under the late kmg, and it is makmg rapid progress under the present constitutional sovereign. The chief ports are Spezia, Genoa, and Nice. § 3. Roads. At the beginning of the present century there were only two roads practicable for wheel carriages* and thosebut indifferent— the road from Nice to Turin l by the Pass or Colla di Tenda, and the road from Alessandria to Genoa over that 64 §4. Posting, ^c. §5. Money — Weights. Sect. II. of the Bocchetta; all the rest were difficult mountain paths, some of which could not be crossed, even on mules, without imminent danger. The present great thoroughfare which connects France with Tuscany was planned and executed as far as Mentone by Napoleon, along the line of the ancient Via Aurelia, but was completed by the Sardinian government, who also opened all the other car riage roads by wliich the traffic of the country is carried on, and to which its rapid improvement is to be in part ascribed. The road along the coast is inter sected by fifty or sixty torrents, the passage of some of which is occasionally not unattended with danger. Bridges have aheady been thrown over many of them, as at Ventimiglia, Oneglia, Pegli, and St. Pier d' Arena. Five francs are .paid for tolls in a carriage with two horses, partly at the two first-named bridges, partly at the entrance to the town of Finale. From Genoa to Sarzana the road is excellent : a bridge over the Magra would be a great improvement, but its construction would be attended with much difficulty and expense. § 4. Posting, etc. The post regulations are the same as in the other parts of the Sardinian dominions ; and it must be recollected that the regulation of the " bolletone " is strictly enforced. The relays are good and well served, and the postilions drive with great speed ; from the nature of the roads, timid persons prefer the vetturini, who are good and cheap ; but there is in reality no danger. Any part of the journey, from point to point, may be performed by water, either by the steamers from Marseilles, Nice, and Genoa, or by the feluccas, which can be engaged at the intermediate stations ; and some parts of this beautiful coast cannot well be visited in any other mode. § 5. Money. The Sardinian coinage is the same as the French. The following coins of the republic of Genoa are also current, though not very commonly seen. There are some smaller pieces, which, as usual, are honestly passed off in change to the traveller much above their current value. Those most current are of mixed metal : pieces of 8 sous, of which 5 = 2 francs ; and of 4 sous, of which 5 = 1 franc. Gold : — Quadruplo di Genoa, 79 francs. Doppia di Genoa, 39 francs 50 cents. Accounts are also kept in lire di Banco at the rate of 100 = 80 francs. Among the small dealers, too, Buch as the sellers of grapes and figs in the markets, calculations are still in use in the old currency of Genoa, the lira and solda. Their value in the present currency is as follows :— A lira of Genoa contains 20 soldi, and is equal to 80 centimes of the present currency. A soldo = 4 centimes. A French franc is equal to 25 soldi of Genoa. A Spanish dollar (colonnato) is equal to 6 lire and 10 soldi of Genoa. Weights, The pound, gold and silver weight, is divided into 12 ounces ; the ounce into 24 denari ; the denarq into 24 grani. The pound = 4891£ grains Troy = 10 ounces 3 pennyweights 13§ grains. The ounce = 16 „ 23| „ This weight, called peso sottile, is used not only for gold and silver, but for all commodities of small bulk. Other goods are weighed with the peso grosso. 100 lbs. peso grosso = 76-875 lbs. avoirdupois, 100 lbs. peso SOttile = 6q,;SQ.lba avnirdn liinnis. Rivieea. § 6. Character of tlie Population. 65 Measures of Length. The palmo = 9'725 English inches. The canna is of three sorts ; the piccola, which tradesmen and manufacturers use, is 9 palmi, or 87"5 English inches. The canna grossa, which is used by merchants, is 12 palmi, or 116-7 English inches. The canna used at the custom house is 10 palmi, or 97'6 English inches. The Braccio contains 2^ palmi. § 6. Chaeactee oe the Population. The Ligurian tribes were amongst the last of the inhabitants of Italy incor porated in the Roman empire. We are not acquainted with the government and constitution of the people prior to this event ; it seems probable, however, that, being Celts, they constituted a confederacy of clans and tribes bound by their own laws and customs, but not acknowledging any common head or supe rior. Having allied themselves to the Carthaginians, the Romans, after the second Punic war, assailed them with eighty years' hostility, and they were for a time rendered obedient ; yet they were not finally subjugated until they were conquered by Augustus, who commemorated his triumph by the remarkable trophy of which the ruins are still existing (see Turbia). By him — or, at least, under his government — the Alps became the limits of Italy; and that lair country acquired the boundaries by which it is now known and characterised. ¦ • II bel paese Che V Appenin' parte, e '1 mar* circonda e 1' Alpe. But this conquest did not break up the nationality, nor indeed the govern ment, of the Ligurian states. They continued to retain their identity, though under Roman supremacy ; and this corporate succession (as in the great cities of the south of France) was continued, in good measure, until the last great European revolution. Thus Noli, Savona, Albenga, San' Remo, Porto Mau- rizio, and Vintimiglia, were rather the allies than the subjects of Genoa ; and even much smaller communities enjoyed a species of independence. The in habitants of this coast possess a very decided national char-act er, and present all the outward physical tokens of a pure and unaltered race, excepting at Genoa, where there appears to have been a considerable mixture of Lombard blood ; and in the tract between Nice and Mentone, where the Provencals have intermingled. Their forms are robust and square, eyes very black, and hair equally so, lank and smooth, and the complexion brown and swarthy, — forming a Btrong contrast, especially the femajes, to their Tuscan neighbours beyond the Magra, amongst whom the women are remarkable for their blue eyes and the ringlets of their bright hair. From the earhest period the Ligurians have been a nation of sailors and mer-. chants, Mago the Carthaginian reduced the city of Genoa B.C. 205. The ancestors of Doria and of Columbus were distinguished by their aptness for maritime enterprise. In the middle ages Genoa alone vied with Venice ; and at the present day she has, in no inconsiderable degree, recovered her commer cial prosperity. The Genoese are said to be parsimonious : tins reputation they have of old ; but in acts of charity, and indeed in every call which can be made on public spirit, their liberality has been unbounded, and still continues very eminent, though with diminished means, the confiscations and spoliations of the French having ruined many families. The lower orders are remarkably hard-working and industrious. 66 § 7. Inns. § 8. Fine Arts. Sect. II. § 7. Inns. The inns between Nice and Genoa, and between Genoa and Pisa, have rather declined since the steamers between Marseilles, Nice, Genoa, and Leghorn have been established, the number of travellers by land having very considerably diminished. They are still, however, fairly good in almost all the places-ih Which, according to the usual arrangement, a traveller requires to stop. Iron bedsteads, for the manufacture of which Genoa is celebrated, are now in general use, greatly to the comfort of the traveller. § 8. Fine Aets. Little is known respecting the arts of Genoa) in the middle ages. There are Roman remains near Nice, belonging, it may be, more properly to Gaul. Others exist at Turbia and at Albenga ; but the ancient masters of the world have left few traces of their domination in Liguria. The " Gothic " architec ture of the country is of a very peculiar character, and, in Genoa at least, exhibits more orientalism than perhaps in any other part of Europe. But, in the 16th century, architecture burst out in Genoa with peculiar splendour. The palaces of Genoa exhibit great excellence in domestic architecture. Galeazzo Alessi (1500-1572), by whom the best of these edifices were designed, gave the impulse which continued till the last century, when the art declined, giving way to extravagant decoration or meagre poverty. Nowhere has painting been more closely allied to architecture than at Genoa, In the first era the earhest known Genoese" artist is the individual who bears the somewhat romantic appellation of the " Monk of the Golden Islands " (1321- 1408). The golden islands are said to be the isles d'Hyeres, where he took the vows. This monk, who is thought to have belonged to the noble family of Cibo, was also a Troubadour of no mean powers ; and he gave what may be termed a new edition of the works of his predecessors, by making correct copies of their works, which had been muoh corrupted by the ignorance of tran scribers. As an artist he was chiefly distinguished as a miniature painter or illuminator. There appears also to have been a class of artists who flourished in this district, either Germans, or who followed German models ; and to this class belongs, in a degree, Ludovico Brea (see Nice), who, flourishing between the years 1483 and 1515, is perhaps to be Considered as the proper father of the Genoese school, of which the principal of the more early artists are, Robertelh (1499), Nicolo Corso (about 1503), Pietro Francesco Sacchi (1512- 1526), and Lorenzo Moreno (about 1544). The second era was formed by Pierino del Vaga (died 1547) and his scho lars, who may be considered as a Species of offset from the Roman school. The calamities of Rome compelled Pierino to seek a refuge at Genoa at the very moment when those palaces were rising which have conferred such splen dour upon the Citta Superba. Patronised by the great Doria (see Palazzo Doria), he was employed upon the frescoes of his palace ; and by him, and by the native Genoese who were either directly or indirectly his pupils, were those frescoes produced. To this era belong Lazzaro Calvi (born 1502, and who attained the patriarchal age of 105 years), and Pantaleon Calvi his brother (died 1509), Giovanni Cambiaso, and Luca Cambiaso his son (died 1585), Tavarone (1556-1641), and Bernardo Castello (died 1629). Giovanni Cambiaso is the chief of these artists. All were exceedingly prized in their own country ; and the Genoese republic conferred an honour upon painting which no other Italian state had bestowed. By a special decree, they raised painting from a trade to a profession, declaring that it was a liberal art, and that it might be practised without derogating from nobility. Riviera. Route 12. — Nice to Genoa. 67 In the third era, which partly includes some who may also be considered as belonging to the preceding age, Domenico Fiasella, surnamed " Sarzana," from his birthplace (1584-1669), holds a conspicuous station. The Piola family produced many artists of high merit, one of whom, Pellegro (died 1640 — see Genoa, Strada degli Orefici), had he not been prematurely cut off, would probably have attained the highest rank in art. Eight of the Piola family were artists, the series extending from 1625 to 1774. The Carlone family also formed a species of clan of artists. Giovanni Battista Carlone (died 1680) must perhaps be considered as the greatest master of this period ; and his eider brother, Giovanni, was scarcely inferior. During the earlier part of tliis period Genoa was visited by many foreign artists, more, certainly, than any other state in Italy. Both Rubens and Vandyke were much encouraged, as well as others of inferior fame. During the great plague of 1657 very many bf the principal painters died. This is assigned as one of the causes of the sudden decline of the Genoese school. It may have had considerable effect ; but, without doubt, the main cause was the general decline in art, in which all Italy equally participated. Many young men went to Rome to pursue their studies ; and, on their return, constituted what is considered as the fourth era. The greater number of these students became the pupils of Carlo Maratti; and those most distinguished were, Andrea Carlone (died 1697), Paol' Girolamo Piola (died 1724), and Domenico Parodi (1740). These have considerable clever ness, though but little originahty. The later artists are of no great importance, nor does Genoa at the present day form any exception to the general observa tion — that Italy exhibits no real symptoms of any efficient revival of art. ROUTE 12. NICE TO GENOA, BY THE EIVIEEA DI PONENTE. 31 posts (142£ m.). Nice may be reached from Turin by the Col di Tenda (see Rte. 7), or by Mondovi and Oneglia (see Rte. 9) ; from Aix en Provence by a road on wliich there is a daily dihgence ; from Toulon also by dihgence ; and from Marseilles by steamer. The transport of luggage from London to Nice by the steamers between Liverpool and Leghorn, who transship to those which ply between that port and Nice, is safe and cheap. Inns. — H6tel de France, kept by Buonacorsi, the former proprietor of the Gran Bretagna, at Naples, is now excellent. B. hved for many years in England, and his wife is an English woman. H6tel Victoria, kept by Zi- cliitelh, in a very good situation, is highly spoken of for its cleanliness, cuisine, and moderate oharges. H6tel des Etrangers, formerly kept by a very respectable and obliging landlord, has lately become the property of the owner of the H6tel de la Ville at Genoa ; ex cellent table-d'h6te at 3' francs, at half- past 3 and 5 o'clock. H&tel des Em- pereurs, formerly de Londres, kept by Joseph Monnoyeur, of Paris, newly fitted up. H&tel de York, in a good situation in the centre of the town ; and H6tel de l'Europe, in the Fau bourg of the Croix de Marbre, well spoken of. H&tel Chauvin, formerly Hfitel d'Angleterre, a fine house, in a good situation near the Fort ; very good. Pension Anglaise. Almost all the hotels at Nice are much im proved of late years, as regards fur nishing, cleanliness, and domestic com fort. Restaurants. — There are several, but not one can be recommended. Lom bard, traiteur, sends out dinners, but his bills should be carefully looked over. Cafe's.— The best is the Cafe Royal, where the principal French news- Route 12. — Nice — Diligences — Steamers. Sect. II. papers are taken in, and the ices are excellent. Good cigars may be procured from the waiter, which it is impossible to purcliase in any shop in the town. Lodgings. — Comfortably furnished apartments may be had at from 3000 to 5000 francs for the season. Some of the new lodging-houses are good ; they have from 10 to 12 rooms upon each floor, but they are 4 and 5 stories high. There are public baths and sea bathing near the Pension Anglaise. Bankers. — The principal bankers are MM. Avigdor ; MM. Etienne, Carlone, and Co. ; and Lacroix and Co. : all these gentlemen are very obliging and useful to England visitors. English Consul. — A. Lacroix, Esq., the banker. There is now a Protestant church, 'where service is regularly performed by a resident English clergyman. Physicians. — Dr. Farr, Dr. Gilder, Dr. Travis. Apothecary. — Paulian; good, but charges English prices. Libraries and Reading Rooms. — There is a club of the first people at Nice, called the " Cercle," to which strangers are admitted as subscribers, on the introduction of the British consul or their banker. It is pro vided with English newspapers and books ; Philharmonic concerts are held there once every fortnight during the season, and an annual ball takes .'place, all which are included in the subscription. Visconti keeps a sub scription library and reading-room, with English books and newspapers. Giraud, at the Librairie Etrangere, has a good library and reading-room, .in the part of Nice chiefly inhabited by .English visitors. Vetturini. — Felice, near the post- office, is the best; but the vetturini of Nice are not good, their horses being middling and their demands exorbitant. Return horses of vet turini who have brought families to Nice from Genoa, Florence, &c, are often to be heard of at the hotels, and Imay in general be depended on. Carriages for excursions may be had at the hotels: saddle-horses are good, but dear. There are good ponies and donkeys to be hired, with guides who know the principal ob jects of interest in the neighbour hood. Diligences. — Servizio dei Regit Cor- rieri, daily to Turin, by the Col di Tenda and Mondovi, Milan, and Genoa. Steamers go once or twice a week to and from Marseilles and Genoa. Masters. — French Master, M. Mal lard, a great collector of butterflies, &c. Italian Master, Abbe Sapie. Botan ist, M. Montolivo, librarian at the public library. Tradesmen. — Weeks, an English tailor, who has lived many years at Nice, is a good workman. Thibaud is a good tailor, and makes habits. Louise Malzac is the best milliner. The turnery and hard-wood joiners' work of Nice are good. The inlaid tables, trays, boxes, &c, are made of the varieties of wood grown in the country, and the shops in which they are sold abound. Nice (Ital. Nizza di Mare, to dis tinguish it from Nizza della Paglia, in the province of Alessandria) anciently belonged to the Counts of Provence, and has partly a French and partly an Italian character ; the latter pre dominates, owing in some measure to the endeavours of the King of Sar dinia. Its population is about 30,000. In the older portions the streets are narrow and not over clean ; but the old town is surrounded by fine and open new streets, squares, and ter races, which have the usual character of a watering-place where everything is laid out for visitors; — there are gaiety, idleness, sickness, and death. The small port, protected by a mole, admits vessels of 200 and 300 tons burden. Nice has some manufactures of silk, and a few other articles. Its exports of native produce are chiefly oil, wine, and fruit. Like Genoa it is a porto-franco. Villa Franca is considered, on account of its vicinity, as forming a part of the port of Nice. RlVIEEA. Route 12. — Nice — Dialect — Castle. 69 It is where vessels perform quaran tine. In the new town there is a fine terrace, from which the view is ex tensive and beautiful ; the mountains of Corsica may be seen by the naked eye. There are three . suburbs, that of St. Giovanni Battista, that della Poudriere, and that of the Croix de Marbre. The faubourg of the Croix de Marbre, or Croce di Marmo, in which most of the English live, is on the W. side of the city, from which it is separated by the torrent Pag- lione. It contains many good houses with gardens, which may be had for the season. It is, however, greatly exposed to a hot sun, and to the vio lent winds which blow from the S. and E., and is very dusty; and the clouds of fine white dust form, in wet weather, a disagreeable white mud. In this suburb stands the Church of England chapel, built under a special permission granted by the late king, Vittorio Emanuel, 1821. There are two English burying-grounds ; the chapel is in the new one, which is remarkably neat ; both are affecting from the incidents which the ages of many of those who he buried there suggest to the mind. When Nice first became the resort for British visitors, its agreeableness and salu brity were perhaps overrated; and now there is, accordingly, a tendency to place it Bomewhat below its due station in the scale of desirability. The air is highly stimulant and irri tant in the town itself; but among the low hills a mile or two inland there are situations in which these qualities of the air are more modified than can easily be believed to be the case at so short a distance; houses in such situations can be hired by the month — the maison Nicholas, 160 francs ; a cottage belonging to and adjoining the residence of M. Mar- tine, at Cimiers, 40 francs per month. Dinner is brought, up from a traiteur in the town on the head of. a peasant girl ; 4 francs should , produee a good plain dinner for 3 or 4 persons; it is best to order it for 2 persons at 2 francs a head. The sharp bise or W. wind is occasionally trying to invalids ; but there are but very few days, even in the winter, that persons, unless in a very delicate state of health, cannot get out with comfort ; caution is, however, necessary, even in summer. Provisions are generally good; fish, most abundant, but poor. The wine of Nice, though apparently thin and light, is strong and heady, and dis agrees, at first, with strangers : many people on first arriving have bilious attacks and diarrhoea, if not very care ful in their diet. The people speak what is called the Nizzard, a dialect of the ancient Pro vencal, more properly called the Ro- mane language, and which, in all probability, was spoken amongst the Roman colonists as early as the first era of the Caesars. It is mixed and corrupted in the city; but in the mountains it is preserved in greater purity. This dialect possesses much interest ; inasmuch as the Troubadours gave the first impulse to the poetry of modern Italy. Nice does not contain any very re markable public buildings. The Ca thedral, Sta. Reparata, built in 1650, is in the ordinary Italian style; nor have any of the churches any peculiar beauty of architecture, or works of art. Italian operas are peformed at Nice during the carnival. French, however, is more spoken on the stage as well as off it. Above the city are, or rather were, the scanty ruins of the once formidable castle, blown up by the Duke of Ber wick in 1706, under the direction of Louis XIV. : the ruins have been re cently almost wholly removed, and the site laid out and planted as a walk, and the view hence is very beautiful. Nice has seen much hard fighting ; but per haps the most remarkable passage in its history is the siege which it sus tained in 1543 from the combined forces of the French and the Turks, when, " to the astonishment and scan dal of all Christendom, the lilies of France and crescent of Mahomet ap peared in conjunction against a fortress 70 Route 12. — Environs of Nice. Sect. II. on which the Cross of Savoy was displayed. The town, however, was bravely defended against their com bined force by Montfort, a Savoyard gentleman, who stood a general assault, and repulsed the enemy with great loss before he retired into the castle. This fort, situated upon a rock on which the artillery made no impression, and which could not be undermined, he held out so long, that Doria had time to approach with his fleet, and the Marquis del Guasto to march with a body of troops from Milan. Upon intelligence of this the French and Turks raised the siege, and Francis had not even the consolation of success to render the infamy which he drew on himself by calling in such an auxiliary more pardonable." — Robert son's Charles V. Dr. Robertson, however, has not mentioned that the repulse of the Turks was (as it is said) much aided by the prowess of a female warrior. The Janissaries had planted the cres cent upon the ramparts, when a wo man, the wife of a poor citizen, one Catharine Segurana, rallied the flying garrison, and, cutting down the stand ard-bearer with a hatchet, she waved the standard above. The Nizzards re gained their courage ; and the breach was so well defended that the Janis saries .fled in the greatest confusion. The inhabitants raised a bust to her honour with this inscription ;— " Ni- csena Amazon irruentibus Turcis oc- currit, exemptoque vexillo triumphum meruit, 1543." Besides the epithet of Amazon, which she so well deserved, she also equally deserved the appella tion of Dame Ugly Face, Donna Mau- faccia. The Croce di Marmo, from which the suburb derives its name, eommemorates the celebrated con ference of Nice,. 1538, between Pope Paul III., Charles V, and Francis I. ; if conference it can be called, " when so great was the difficulty of adjusting the ceremonial, or such the remains of rancour and distrust on each side, that they refused to Bee one another, and everything was transacted by the intervention of the Pope, who visited them alternately " — Robertson's Charles V. The neighbourhood is exceedingly lovely, and the gardens, many of wliich abound with tropical plants, are most luxuriant. The flora of Nice is very rich. In spring the blue hepatica flourishes ; likewise primroses, rarely seen in Italy. There are two varieties of sweet violet different from ours, and a profusion of scarlet, purple, and pink anemones in the olive-grounds. Environs of Nice. — The more im mediate outlets are the drives along the sea-shore. One of these was made at the expense of the English visitors, who raised a subscription for the pur pose of thus employing the poor. Ci- meUa or Cimiers may be the object of a pleasant drive. It is about 2 m. from the city. The " Civitas Ceme- lieusis " appears to have been a place of considerable importance, but it was utterly ruined after the fall of the Em pire. Here are the remains of a Roman amphitheatre, called by the peasants the Bath of the Fairies, — It tino delle fade. Other ruins may be traced in the plea sant vineyards and farms by which the site is covered. The Franciscan mo nastery at the summit is shaded by fine trees, and a curious ancient cross is in the little area in' front. The church contains a good painting by Ludovico Brea, the only artist of emi nence whom Nice has ever produced. His style is older than that of his, era, which arose, perhaps, from want of intercourse with the great capitals of art. The view from the garden is very fine. ¦ Cimiers is very mild, and well suited to an invalid .' equiring quiet. Another excursion may be made to . San' Bartolomeo, a picturesque old convent. The altar-piece is said to have been brought from Rhodes, and to have been given to the convent by Villiers de l'lsle Adam. II Vallone Oscuro. A fine gorge, or Via Mala on a small scale. La Fontana del Tempio. A valley of a totally different character, being as cheerful as the Vallone Oscuro is savage. It derives its name from an RlVIEEA. Route 12. — Scenery of Riviera. 71 ancient commandery of the Knights Templars. . Other very pleasant excursions may be made to the Chateau de Villeneuve, the suppressed convent of Sanf An drea, and the Villa Guerrio, — ah short journeys made without fatigue. On leaving Nice for Genoa . it is necessary to apply for your passport twenty-four hours before you start, and to have it visdd by the English consul and by the governor and prefect of pohee. The fees amount to 6 or 7 francs. The road from Nice to Genoa, leaving Nice by the Piazza Vittorio, separates just outside the gate from the Turin road, nearly parallel to wliich it runs for about 2 m., ascending the mountain by a long, straight, gradual ascent. It then turns eastward round the shoulder of the hill, leaving Villa- franca, which is scarcely visible from the road, far below to the rt., and , runs along the crest of the ridge behind Esa to Turbia. The views during the ascent, and at the summit, are splendid in every direction. After gaining the top of the ascent, the road passes under Montalbano, a fortress finely situated on the hill, or rather mountain, of Monbarone. From this part of the road the view is remarkably fine. To the W. the great bay of the Mediter ranean extends as far as Antibes and far beyond, the coast of France losing itself in the horizon. To the E., Vil- lafranca, the Riviera, headlands, bays, towns, and towers, sweep away in the perspective. From this point it may be reckoned that the Riviera di Ponente begins. The road is sometimes called the Comiche, from the nature of the narrow path which existed before the present magnificent road was made : the Comiche was then a mere ledge on the side of the rock, a relic of the Roman Aurelian way, overhanging the sea in many parts, scarcely wider than was needful for a single horse or .mule, and of which the terrors were equal to the beauties. These terrors have been in great measure removed, The pre sent road was begun by the French, who executed it as far as Mentone„ ancL has been recently completed by .-the Sardinian government in a manner not very satisfactory. Amongst other ad vantages, it is the only pass into Italy which is never blocked up by snow in winter, and for this reason it is to be preferred to all others by those who need to travel at that time of year. The road is often much injured by storms, and by the torrents which in tersect it rushing down to the sea. These, when heavy rains have fallen, rise suddenly, and so high, that they compel you to stop for days at the nearest town. The road is most ably carried along the shores, or slopes of the subalpine spurs of the chain, which form the shores. In some parts it is carried along at a great height; and, though in reality always safe, yet, per haps, a parapet wall is occasionally de sirable to calm the apprehensions of a nervous traveller, by keeping off the immediate view of the precipice below. This route presents some of the most beautiful scenery in Italy. Upon the sides of the hills sloping to the Medi terranean grow olives, oranges, cy presses, and the stone-pine, so frequent in the landscapes of Claude Lorraine. Then successive indentations of the shore, larger bays, including smaller bights, headlands advancing and clos ing in the prospect, and the blue sea,- constitute the main features of this most favoured tract, in which alpine heights and maritime scenes are con joined to the ornaments given by hu man art. Tassoni, in his Seechia Ra- pita, gives a picture of this sea and coast : — " Tremolavono i rai del sol nascente Sovra l* onde del mar purpuree e d' oro ; E.in veste di zafliro il Ciel ridente Specchiar parea lesue bellezze in lore-. D' Africa i venti fieri, e d' oriente Sovra il letto del mar prendean ristoro;- E co' sospiri suoi soavi e lieti Sol Zefiro increspava il.lembo a Teti." Seechia Rapita, canto x. 11 . The towns and villages, thickly studded along the coast, and glittering upon the sides of the hills, sometimes placed at a great height, wear a gay aspect. The churches have usually very lofty fagades,. painted in fresco. The pre vailing architecture is.in the most fan- 72 Route 12. — VMafranca. Sect. II. ciful style of Borromini, small columns, contorted pediments, and a profusion of ornaments. At a distance these de fects are not visible, and the lofty bold elevations, the gay colours, the tall belfries, and the numerous cupolas, produce a striking effect, thoroughly Italian, yet altogether differing from the Italian of Lombardy or of Tuscany. The road frequently passes through the towns, where the streets are generally so narrow as only just to admit a car riage, and it would be impossible to pass even a wheelbarrow. Even the mules and passengers on foot are obliged to stand in the gateways to let a car riage pass. Towers are planted along the coast, intended to protect it from the invasion of the Barbary rovers, in bygone times of no unfrequent occur rence, their doors high in the wall, the apertures scanty, and with the aspect of the age of Charles V. The corsairs continued to harass the coast ; and even as late as 1770 they occasionally carried off some small plunder. The coast of the Riviera. sloping to the sea, and exposed to a southern sun, enjoys in many parts a temperature which you do not meet again until you reach the bay of Naples. This is most strikingly evinced to the eye by the tropical luxuriance and cha racter of portions of the vegetation, joined to those productions which more peculiarly belong to the basin of the Mediterranean. The Cactus Opuntia, or prickly pear, the noble palm of the East, the Phoenix dactylifera, and the Agave Americana, or American aloe, flourish in profusion. The palm, which is of the species indigenous in Palestine, was introduced and cultivated for the purpose of supplying the branches used in the ceremonies of the Church, on the Sunday which yet retains the name of Palm Sunday in common language, though not designated as such in the Liturgy. With respect to the aloe, the period when the plant was intro duced here is not recorded. It pro bably was first employed in ornamental gardening ; but -now it has quite natu ralised itself throughout the country. The arid banks near the border of the sea, and the scanty soil in the rifts of the rocks, are alike congenial to it, and the flower-bearing stems rise often to the height of twenty feet or more. This aloe is equally naturalised in Sicily, where it has become so completely a feature in the landscape, that few per sons are aware that it is a stranger. The pomegranate, which first in the southern parts of Italian Switzerland begins to ripen its fruit in the open air, here does so abundantly in the gardens. With respect to the productions which, if not absolutely indigenous, have been introduced here before the time of historical memory, the olive is the most striking. It here attains a considerable size : it is not, perhaps, a beautiful tree taken singly, but is remarkable for the contorted and twisted forms which the stem assumes when old. This knotted and wrinkled stem, and the projecting roots of the aged olives, harmonise well with the hoary hue of , their rigid silvery leaves. The fig- trees are remarkably fine, and the fruit abundant and full of flavour. There is, however, a great difference in the climate of places situated on the Riviera. At some places, as at Al benga and Nice, ravines opening up to the higher mountains afford a passage to chilling gusts of wind. Other situa tions, like Mentone, are completely sheltered. There is a difference of ve getation corresponding to this difference of climate. The people of the Riviera are the least beautiful of its objects : still they are a stout, active, and hardy race, ge nerally well clothed and fed ; and the road always exhibits much animation. VMafranca, built in the 13th cen tury by Charles II. of Anjou, King of Sicily and Count of Provence, lies close to the sea-shore, at the bottom of a deep bay, under the safeguard of the fort of Montalbano before men tioned. The harbour is good and spa cious, the port and dockyards are in good condition, particularly the latter. Though so close to Nice, the climate here is even milder. It is on the same level; and the difference must be oc casioned by its aspect, and from being ¦Riviera. Route 12.— Turbia. 73 surrounded by hills. Oranges, lemons, and olives abound,' particularly the last. . Accommodation for visitors may be found here, and it is a good residence for "invalids requiring privacy and quiet. In the rocks near Villafranca is found the shell-fish called the " dattero di mare," or sea-date, a name given to it either from its shape or its sweetness. It is the Mytilus hthophagus of Lin naeus, which, piercing the calcareous stone in an early stage of its existence, enlarges in the burrow winch it has 'made. The Btone must therefore be broken to get at the shell ; and the great labour employed in arriving at the fish enhances its price. It is considered a great delicacy, and is very dear : a dish 'sometimes costs 50 livres. The cliffs all along this part of the shore abound with picturesque grottos and caverns. The , beautiful Peninsula di Sanf Ospizio forms the E. side of the har bour of Villafranca. Sanf Ospizio was an anchorite, or rather a recluse in the strict sense of the term, having been immured in the tower where he died. In this peninsula, anciently 'called Frassinato, the Saracens or Moors of Spain formed, a.d. 906, a military settlement, and they lin gered in the country till nearly the close of the same century, when they 'were finally expelled (973) by William Count of Provence. Fsa, very boldly situated upon a rock, stands a little off the high road. It was built as a city of refuge from the corsairs. The Italian local anti quaries, the most industrious of the Oldbuck family, are at issue as to the etymology of this name ; some say Isis, some from Msus, the Celtic Jupiter. The Colonna del Re, close upon Turbia, points out the road leading to the sanctuary of the Madonna del ! Laghetto, situated in a most romantic 'valley, and well worthy of a visit, from the beauty of its sequestered scenery. In 1721 the Marseillais presented a chalice to the shrine, as a votive offer ing after the cessation of the pesti lence ; and it is even yet visited by the Provencal peasantry, who, during the feast, which lasts three Mays,' are per- N. Italy— 1852. mitted as pilgrims to enter the Sar di- nian territories without passports, the police regulations being suspended in honour of the sanctuary. Near here are many remains of the AureUan way. The traveller who takes an interest in geology, after passing the castle' of Esa, and before arriving at Turbia, should leave his carriage near the stone pillar to the rt. of the road, and de scend a path towards the sea along the western side of the hill which termi nates in Cape d'Aglie; he will find there the fossils of the greensand. 3 Turbia. An extra horse all the "year from Nice to Turbia, but not from Turbia to Nice. A very remarkable mass of solid ruin, towering above the houses of the little village of Turbia, will have at tracted the notice of the traveller long before he has reached it. This ruin is the nucleus (for all the rest is de stroyed) of the celebrated Trophma Augusti, to commemorate his victories over the tribes of the Ligurian Alps. The inscription contained the names of these tribes, and has been preserved by Pliny. The fragment wliich re mains, and which contains part of one word, and portions of the letters of the line above, can be exactly fitted on to Pliny's text. It stands, turned upside down, over a door. Numerous frag ments scattered about, show that, in part' at least, the building was covered by Sculptures of trophies of arms : the statue of Augustus is supposed to have surmounted the structure. The church is built with stones taken from this monument : a portion of one of the trophies is fixed, into the walls; and many fragments of columns and friezes, and other architectural ornaments, are incorporated in the other buddings, showing the ancient magnificence of the pile. In the middle ages it was converted into a fortress, and much dilapidated ; but it was reduced to its present state of ruin by Vauban, who blew up the greater part of it, the French destroying what others had spared. In the Itinerary of Antoni nus this rock of Turbia is assigned as the boundary of Italy' and Gaul; and 74 Route 12.— Monaco. Sect. II. whether it be naturally so or not is a question which is still mooted by foreign geographers. Shortly afterwards a dogana, upon which is painted in gay colours the lozenge shield of the Grimaldi family, surmounted by a crown, informs you that you have entered the territory of the Prince of Monaco, the smallest monarchy in the world. The history of this principality is very obscure. It seems, however, to have been one of the very few allodial domains which escaped the process of feudalisation ; and, except by main force, the emperor had no authority over it. The sove reignty was acquired by Lucchino dei Grimaldi, 1344 ; but this was only a restitution, for the dominion belonged to the Grimaldi in the 10th century, and probably long before. The family became extinct in the male line in the person of Antonio Grimaldi, who died in 1631, and left one daughter, wife of the Count de Torigny, who assumed the name and arms of the Grimaldi, and from whom the present Prince of Monaco, Florestan, of the Matignon family, is descended. He lives the greater part of the year at Paris, -and is under the protection of Sardinia, submitting to allow the king to station a garrison in his territory. The in habitants, however, have a certain pride in their independence, and of the dig nity of their pr nee (whom they gene rally suppose to be a descendant of Louis XIV). The officers of the " Sovrana " do not give any extraor dinary degree of trouble to those who traverse his little territory. His re venues are derived in part from a rent in kind; the remainder from what in Scotland is called thirlage, or the right of compelling all the inhabitants to grind their corn at his mill. About one-half of it is spent in the country, the remainder is remitted to Paris. The number ,of his subjects is about 6000. By/a decree of Charles Albert, 18th Sept. 1848, the prhicipahty of Monaco was declared to be united to the Sar dinian monarchy, and garrisons placed at Monaco and Mentone, Different projects have been since then drawn up for the government of this terri tory, for the approval of the Sardinian legislature ; but none of them appear to have been acted upon, in conse quence of the appeal made to the Powers who signed the treaty of Vi enna in 1815, placing Monaco and Mentone under the protection of the King of Sardinia, and whose sove reignty the latter engaged by a sepa rate convention in 1817 to maintain. Within the principality are two towns and one village. Monaco, the ancient capital, stands out of the main road, close to the sea-shore, covering the table surface of the rook, com manded by higher hills, commemo rated in the proverbial rhymes so honourable to the industry of the in habitants. " Son Monaco sopra un scoglio, Non semino e non raccoglio, E pur mangiar voglio." The city is of very remote antiquity, its foundation having been attributed to the Greeks, who at an early period, quite ascending into their heroic age, were well acquainted with Liguria, where many of their traditions were localised. There are frequent allusions to it in the classics. One quotation from Lucan may be selected from the rest, on account of its accurate de scription of the situation of the " Ari Monoeci :" — " Quaque sub Herculeo sacratus nomine portus TJrget rupe cava pelagns : non Corus in ilium Jus habet ant Zephyrus : solus sua littora turbat Circius, et tutta prohibet statione Monceci." " Where winding rocks the peaceful flood re ceive, ; Nor Corus there, nor Zephyrus resort, Nor roll loud surges in the sacred port : Circius' loud blast alone is heard to roar, ¦ -' And rex the safety ot Moncecus' shore." Monaco was fortified at the expense of Louis XIV. The view, as you look right down upon the town within its walls, the towers above, and its little quiet port in the centre of such a wide expanse of sea and mountain shore, is pecuhar and beautiful. The palace of the prince is in the great Piazza, and Rtvtera. Route 12. — Mentone — Ventimiglia. 75 contains some fine apartments ; one is rich in painting, gilding, and all the attributes of sovereignty. Guard-room, antechamber, and throne -room are there ; but all in sad abandonment and decay. Until recently the Scoglio was in surmountable by carriages, but it can now be ascended without difficulty. The view from the terrace of Monaco, over the Mediterranean, is exceedingly beautiful. The surface is occasionally enlivened by the sporting of the dol phins which abound here. Pass Roccabruna, curiously situated upon a rock of breccia. It is said that the "whole has sunk down several hun dreds of feet, without damaging or even disturbing the castle and edifices composing the village. All this part of the road is most romantic. It sometimes runs along the summit of a ridge, whence the clouds are seen hanging in the clear air below. Wher ever there is any shelter, the soil is carefully tilled. Every inch where a spade can be handled is cultivated by means of terraces, and with most varied crops. The rifts abound with trees, though the sides are so steep that they can rarely stand upright. You then descend through a noble wood of an cient olives, and a long avenue of rho dodendrons, oleanders, and plane-trees, till you reach 2 Mentone (Inn: H6tel de Turin, kept by Velhano ; good, comfortable, with moderate charges ; beautifully si tuated). The Sardinian government charges 2 posts from Turbia to Men- tone; the Prince of Monaco 3 posts from Mentone to Turbia, and his post master requires payment beforehand. There are constant disputes between bim and travellers going in the direc tion of Nice, from this charge not being in accordance with the printed bolle tone. An extra horse is taken all the year from Mentone to. Turbia, but not vice versd. PracticaUy, the capital of the principality, and which, if the prince did reside here, would be what in German is called the " Residenz ;" bearing — si parva licet componere mag- nis — the same relation to Monaco, the ancient capital, which Petersburg does to Moscow. It contains 4000 Inhab. French is generally spoken by all, the result of their former connection with France. Amongst themselveB they use a very corrupt Genoese dialect. On a hill above, its sides feathered with grey olives, are the picturesque ruins of an old castle, of which a por tion was not long since blown down by a storm of wind. The female peasants in this part of the country wear a straw hat pointed at the top like the roof of a barleymow. About half a mile from Mentone you re-enter the Sardinian territory. At Port St. Louis, which crosses a fine gorge immediately after passing the custom-house, turn down to the shore, and continue till you have the view beneath the bridge. You must return the same way in. order to regain the road. This expe dition occupies about 20 minutes. Monaco and Mentone are said to enjo'y a milder climate than Nice. On ascending the next bill, and looking back to Mentone, the view is beautiful. 1J Ventimiglia (Inn : Croce di Malta; a tolerable Italian locanda, but make your bargain beforehand). An extra horse from Mentone to Ven timiglia, and vice versd, is taken from November to April. The ancient " Al- bium Intermelium," a very ancient city, and the capital of the Intimelian Ligurian tribes. In the middle ages it repeatedly changed masters, being much contested by and amongst the Genoese, the dukes of Savoy, and the counts of Provence. Just before the French invasion it was the frontier town be tween the Sardinian States and Genoa. It is now an episcopal see, and, if its pretensions be correct, of apostolical foundation, St. Barnabas having, ac cording to ecclesiastical tradition, been its first bishop. The Duomo, or cathe dral, has been much modernised : some of the ancient portions are in a very rude and singular Gothic, pecuhar to the Riviera, and as yet neglected by architectural antiquaries. Roman in scriptions are inserted in this and other buildings of the city. The road through E 2 76 Route 12. — Bordighiera — San' Remo. Sect. II. the town is very rough, narrow, and steep, until you come to the long wooden bridge over the Roja, which jmns below the town on the eastern side. Ventimiglia has been made very strong towards the sea. The Monte Appio is one of the but tresses of the Maritime Alps, or per haps of the Apennines, for it is difficult to say where one chain begins and the other ends. Upon this mountain stands a castle, consisting of two ^tone towers, supposed to be Roman, with other fortifications, probably of Ge noese origin. At a short distance from the main road is the ancient castle of Dolce Acqua, a fine feudal relic by the iside of the river Nervia. The site is exceedingly beautiful. Bordighiera. The Jesu Maria, the best inn, is detestable. A small ancient castello, finely situated under olive-clad mountains. The road from Venti miglia, through Bordighiera and San' Remo, runs mostly low (at least com paratively so), and sometimes quite near the sea-shore. Here the palm-trees become more and more numerous, giving an oriental aspect to the scenery. Many of these are swathed round, in order to improve the growth of the branches used in processions, which gives them a very singular appearance. Near here is Perinaldo (1.), just seen on the height, the birthplace of the celebrated astronomer Gian' Domenico Cassini, the father and grandfather of Jacques Cassini and of Cassini de Thury, who worthily followed his ex ample. It was also the birthplace of Monaldi, the nephew of Cassini, scarcely less eminent as an astronomer than his uncle. Bordighiera, with the adjoining rural communes of Campo Rosso, Valle Crosa, San' Biagio, Sol- danb, Vallebuona, and SaBso, consti tuted a republic independent of Genoa, though under its supremacy. Above Bordighiera is the Castello of Seborca, situated upon the Monte negro, which is said to have sent forth flames within time of historical me mory. In this neighbourhood are many mineral and thermal springs. 2f San' Remo. Between Venti miglia and San' Remo an extra horse both ways all the year. (Inn, La Palma; not over clean, nor particu larly comfortable in other respects.) A large and flourishing place, contain ing upwards of 11,000 Inhab. It is a prefecture and capoluogo of a province. San' Remo is close upon the sea-shore, beautifully situated upon a bright sandy bay, and rising thence up a lofty bill Terraces and orange groves are seen intermixed with handsome churches and white houses, in gay and picturesque confusion ; but the inte rior is remarkably gloomy, and, in the upper town, offers a singular example of the municipal arrangements of the middle ages. With the exception of the Strada Maestra, San' Remo may be described as a succession of caverns and defiles. Ranges of very lofty stone houses, built upon arches, cross and intersect other ranges of arches, and wind up the side of the Apennine bill. These streets are crossed transversely by arches, like bridges, extending from wall to wall. The whole ancient borgo is thus connected, as it were, into one hive ; and, with a very shght degree of trouble, you might walk and clamber through it from end to end, without setting foot upon the ground. Such a mode of construction, when the in habitants were determined upon de fence, must have rendered it almost impregnable. The principal church is very ancient, and the portals are in the singular Gothic which has been noticed as belonging to the Riviera ; the in side has been modernised. The other churches and convents, of which there are many, are also very rich ; and, without having any objects remarkable as works of art, they should be visited by the traveller, as exhibiting a style of which he will not find the like else where. San' Remo is the culminating point of the tropical vegetation of the Riviera: it is in the vicinity of San' Remo that the palms grow in the greatest luxuriance, the dates approach ing nearest to maturity. The city con tains many beautiful gardens, generally upon terraces. These are often planted Rivieka. Route 12, — San' Lorenzo — Oneglia. 77 with palms, and the long waving branches, intermixed with the build ings, have a peculiarly beautiful effect. The jessamine, the orange-flower, and, in short, whatever can give sweetness, has here a pecuhar fragrance. With such odoriferous groves are the hills covered, and watered by frequent and rushing streams. There is no part of the Riviera to which the description given of it by Ariosto can better apply. It is in his account of the voyage from Marseilles of the traitor Gan di Ma- gartza. — Gkmta all' Orlando Furioso, oanto 1, st. 71. " Poiche licenza dal Re tolto avea, Use! del porto, e dei sicuri stagni. Restare addietro, anzi fuggir parea, II lito, ed occultar tutti i vivagni. Indi 1' Alpe a sinistra apparea lunge, Ch" Italia in van da' Barbari disgiunge. 72. " Indi i monti Ligustici, e Riviera, Che con aranci, e sera pre verdi mirti, QuAndo avendo perpetua primavera, Sparge per V aria i bene olenti spirti. 73. " Dove nn miglio discosto da 1' arena D* antiche palme era una selva amena: 74. "Che per mezzo da un' acqua era partita Di chiaro uumicel, fresco e giocondo, Che V una e 1' altra proda avea tiorita, Dei pi'i soavi odor che siano al mondo, Era di la dal bosco una salita, D' un picciol monticel quasi rotondo, Si facile a montar, che prima il piede D' aver salito, che salir si vede." From San' Remo a pleasant excur sion may be made to the Madonna della Guardia, upon the Capo Verde, to the south of San' Remo. The high road continues through Arna to Riva di Taggia, where the church ib most gay on the outside with paint ing : the figure of St. Maurice, the patron of Savoy, is very prominent. , 2 San' Stefano. San' Lorenzo. The wine of this neighbourhood is much praised, as being nearly equal to Cyprus ; but it is said that it is principally grown for the use of the proprietors, and that little of it is brought into the trade. The coast here is thickly studded with those picturesque towers which have been before noticed in the gene ral description of the Riviera. They were, however, inadequate to prevent the descent made by the famous or infamous Occhiali, a Calabrese rene gade, who, sailing from Algiers in 1566, landed at Riva di Taggia, which he plundered, and thence extended his ravages as far as Monaco. The rocks which border this portion of the road are singularly varied in their aspect and colour, huge strata of slate sloping into the road, intermixed with beds of marble. The road passes through the steep streets of Porto Maurizio (Inn : H6tel du Commerce, tolerable and moderate), standing on a hill projecting into the sea, and, although not one of the most curious, yet, in its general outward aspect, one of the most characteristic towns of the Riviera. In the centre is a lofty church, painted with the brightest colours, palazzi, terraces, vines, all like a fancy composition : the noble mountains form the background. In the neighbourhood, to the E., out of the main road, are several spots not without interest. Carinagna. In the sacristy of the church are several pictures, brought (as it is said) from a cottage which the inhabitants were compelled to abandon on account of the invasions of the ants ! One of the pictures is by an early German master. Multedo, standing upon a stream which at one time divided an encla- vure belonging to Sardinia from the dominions of Genoa. Montenegro, very beautifully situated upon a rising ground. The church, built in 1450, is a specimen of transi tion Gothic. Olivesabound all around. Within sight of Porto Maurizio is 2i Oneglia. (Inn : Hotel de Turin ; clean and comfortable, outside the town on the E. side.) Onegha is a good halting-place for the night ; it is about 14 hours from Genoa, and as many from Nice. The town was bombarded and burnt by the French, under Admiral Truguet, 1792 ; and 78 Route 12. — Alassio — Lusignaho. Sect. II. churches and convents, in picturesque ruins, still bear witness of the deed. It is the birthplace of Andrea Doria, the Genoese admiral born 1468. Here, in the autumn, the fronts of the houses are often seen hung with the inflated pigs' skins in which the wine is kept. A fine suspension-bridge, with the piers which support the chains of polished white marble, haa been thrown across the river at Oneglia, and forms a noble addition to the approach to that city. It is also a fine object in the view looking down the street from the Hdtel de Turin. A toll of 2£ francs is paid on crossing it. (For the roads from Oneglia to Turin see Rtes. 8 and 9.) From Oneglia the road becomes very beautiful ; far and near the land scape is dotted with bright towns and In one part you descend into the valley of Diano, celebrated for its growth both of olives and vines. ' Diano Marino, as its name imports, upon the shore, and through which the road passes. Diano Castello is upon the hill. Cervo. Cross the Andora, a sluggish stream, which often swamps and floods the neighbouring valley. The country is unhealthy, and consequently not well peopled. About a mile onward is the haunted Castle of Andora, a ruin. Here, it is said, a papal nunzio was murdered ; and the curse pronounced in consequence of this misdeed is the cause of the decay of the adjoining territory. Beyond the mouth of the Andora the Capo delle Mete advances boldly into the sea. This cape divides the Riviera di Ponente into two nearly equal parts. The aspect of the coast changes. There is a perceptible dif ference in the quality of the crops, particularly of the olive, of which the oil is of an inferior quality. From the Capo delle Mele to the Capo della Croce the coast forms a beautiful bay, on the shores of which are LinguegUa and 3£ Alassio. (An extra horse from Oneglia to Alassio and vice versa all the year. Inns: H6tel de la belle Italie ; Albergo Reale ; Albergo della Posta.) Through both of these the. road runs. Both are places of much activity and commercial enterprise. The inhabitants are excellent sailors. Alassio is said to derive its name from Alassia, a daughter of the Em peror Otho the Great, who is sup posed to have fled to the forests in this part of the Riviera with her be trothed Aleramo, where they lived after the fashion of Lord Richard and Alice Brand. Long before crossing the Arosia you come in sight of the island of Gallinaria. The name of this island is said by Varro and Columella to have arisen from its containing a par ticular species of the fowls now called domestic, or, according to an other explanation mentioned by the former writer, from some fowls hav ing been left here by some navigators, which bo multiplied as to fill the island. Enter the exceedingly beautiful valley of Albenga, splendid in its varied vegetation, and most richly cultivated. It is watered by the river Centa, one of the few streams of the Riviera which are perennial. This valley contains many pleasant villages. In one, Lusignano, Madame de Genlis lived some time, and she considered the valley as a perfect Arcadia. The vines are often allowed to hang in festoons from the trees, a practice which, whenever it prevails, improves the landscape at the expense of the liquor. The plough here used is of the most primitive construction. The share is a mere spear of iron, attached to a long crooked shaft, exactly such as is seen in the explanatory print of Greek agricultural instruments usually inserted in the old school editions of Hes'iod's Works and Days. The female peasantry arrange their hair with much taste, usually adding small bunches of natural flowers. Lusignano is near San Fedele, which possesses a ruined feudal castle. So Riviera. Route 12. — Garlanda-— Albenga. 79 does Villanuova, situated at the con fluence of the rivulets by which the Centa is formed. After passing through a marshy plain, frequently overflowed by the Arsena, one of these rivulets, you reach Garlanda. The church of this se questered spot contains some good paintings. The martyrdom of St. Erasmus (N. Poussin) is a fine com position, though the subject is so horrible as to render it almost dis gusting. The Virgin and Child, be tween St. Benedict and St. Maur (Domenichino), painted with great de licacy and sweetness. It was intended to remove this painting to Paris ; but the inhabitants, by the same process which closes the eyehds of a douanier, rendered the domenichino invisible to the French commissioners. More re cently, the curate, and what we should call the vestry, were in treaty to dis pose of it for 20,000 francs, with wliich they intended to purchase an organ, and otherwise to embellish the church, but the " contadini " rose en masse and prevented the completion Of the bargain. After this excursion out of the main road, we must re vert to 1J Albenga ¦ (Inns : Albergo della Posta ; said to be improved lately. Albergo d'ltalia ; tolerable, but rather dirty), a city, the " eapoluogo " of the province, and containing about 4000 Inhab. Both within and with out, the aspect of this ancient metro polis of a repubhc, which was of sufficient importance to be courted as an ally by Carthage, is very striking. Three very lofty towers, besides many smaller structures of the same nature, frown over its narrow streets in all the sternness of the feudal ages. Of these, the loftiest is that called the Torre del Marchese Malatesta, in front of which, at the basement, are two fine statues of lions couchant. The second is the Torre de' Guelfi, The third is annexed to the Casa del Com mune. These towers derive much of their effect from their bold machico lations and battlements, the pecuhar features of Italian castellated archi tecture, and of which these are the first examples which the traveller will see on this road. They have the as pect of castles of romance ; and here Madame de Genhs has localized her story of the Duchess of Cerifalco, im mured nine long years in a dungeon by her barbarous husband. The cathedral is an ancient Gothic building : over the doorwayB are some basso-rihevos in a singular style, ex hibiting runic knots, and imagery not unlike what are found on the runic pillars of Penrith or Bewcastle. The interior is modernised. The baptistery is an octangular building, supported within by Corinthian pillars, and sup posed, but probably erroneously, to have been a heathen temple. It con tains early Christian mosaics. Many unquestionable Roman antiquities; however, have been discovered in and about Albenga ; and the " Ponte Lungo," at the distance of about a quarter of a mile, is of Roman con struction, at least in the piers. It was built by the Emperor Honorius. Albenga is one of the unhealthy spots of the Riviera. The frequent inunda tions of the Centa rendered the ground about it marshy ; and the insalubrity was increased by the numerous flax- steeping grounds. " Hai faccia di Albenga," You have an Albenga face, is a proverbial expression, addressed to those who look out of sorts, or out of condition. This insalubrity has, how ever, recently been diminished by (framing ; and the steeping-grounds are now confined to the vicinity of the sea, and are at some distance from the town. Albenga was occupied by the French in the year 1794, and it became the centre of the military operations of the invaders ; and in 1796 Napoleon made it his head-quarters. During this period the adjoining country, which had become the seat of war, suffered greatly from the ravages of the con tending armies, and also from epidemic diseases. In 1797 it formed a part of the Ligurian repubhc, an incorpora tion which terminated its political existence ; for, although previously 80 Route 12. — Loano — Finale. Sect. II. subjected to the supremacy of Genoa, Albenga had continued to be governed by its own magistrates arid laws. Three fairs are held here annually, on the 17th January, 3rd May, and 30th September : the last continues for seve ral days. About two miles E. of Albenga is the bed of the torrent Torsero ; ascending which about a mile, a very good example is seen of the blue upper tertiary marl, which exists also N. of Onglia, on the Mondovi road. The road now runs close upon the shore, passing near Ceriale, a place abounding in plea sant gardens. Borghetto di Santo Spirito, above which lieB Toriano. The cave of Sta. Lucia in the adjoining hill is full of stalactites, and beautiful of its kind; one of its recesses is fitted up as a chapel and dedicated to the saint whose name the grotto bears. Loano, a small city, a title claimed for it by the inhabitants. It was the principal fief of Luigi del Fiescho, so celebrated for his unfortunate con spiracy. Loano was the scene of the first victory of the French Republicans in Italy, on the "24th Nov. 1795, when Scherer and Massena defeated the Aus trians with immense loss. A new road has been made close to the sea, to avoid going over the mountains; a tunnel leads to Finale. There is a fine view of Genoa before reaching Finale. 2J francs are paid at the barrier before entering on the new piece of road. Pietra, a small town, the principal church of which contains some curious wood carvings. (Inn .- H. d'ltalie.) Pass the Headland, or Cape of the Lame Goat, Capo di Copra zoppa. The road is carried up a causeway to the middle of the rook, through which a gallery is made, and from which there is a fine view of Finale. The rock here is constantly disintegrating and falling down upon the shore. 3 Finale Marina, on the sea-coast (to distinguish it from Finale Borgo, situated about 1 m. up the valley in the interior) . (Inn : H6tel de Londres; onee a palazzo, with a fine staircase.) Per haps so called from being below the end of one of the great abutments of the mountains over wliich the road until recently passed. Finale was the capital of a marquisate, which anciently be longed to the noble family of Caretto. In 1314 Giorgio di Caretto, then Marquis of Finale, took advantage of a disturbance which had arisen at Genoa, and occupied Albenga. The Doge, Boccanegra (see Genoa, San' Siro), sent such a force against him as com pelled him to repair to Genoa in the guise of a supphant. He was cast into a dungeon, where he was com pelled to execute a treaty ceding Finale and all his possessions to the repubhc, and the door of the dungeon was then opened ; but it was for the purpose of transferring him to a Bmall wooden cage, where he was kept con fined in great misery. Towards the end of the fifteenth centy. the town, passing to the kings of Spain, was strongly fortified by them. The ruins of the numerous forts which they built are still seen upon the adjoining heights : they were mostly dismantled by the Genoese when they acquired the marquisate, which, after a long series of contests, they effected by the expenditure, not of bullets, but of money, having purchased it, in 1713, from the Emperor Charles VI. ; but the title of the Genoese was not con sidered as established until it was confirmed to them by Maria Theresa in 1743. Bernini was the architect of the principal -church, a collegiate foun dation, dedicated to St. John the Baptist. On the heights above is the Castello Gavone, a picturesque ruin. One of the towers is fronted with stone cut in facets, like Tantal- lon in Scotland. Varigotta, a small village, with great capability for a port or haven. In the making of this part of the road much blasting was necessary ; and you also pass through a fine gallery or tunnel in the living rock, from which, when the road emerges, a most lovely pros pect opens. Riviera. Route 12.— Noli — Savona. 81 Noli, anciently an episcopal city, and picturesque from its walls and towers. The castle, which commands the city, runs tip the mountains. Noli, like Al benga, was a repubhc, and preserved its own government under the Genoese, until the ducal city and this small state were equally devoured by the Gallic invaders. The rocks bordering the road are here lofty and beautiful : marble of many colours, black, red, yellow, and white, most beaiitifully variegated, often overhanging the path; the splendid aloes rising in the rifts, and flourishing in gigantic vigour. The prospects' also are lovely : a view of Genoa is gained after you have passed the gallery of Noli, when you see the lofty light house, the long line of the MolC, and the fortifications which crown the hills ; objects which are more or less visible during the remainder of the road. Spotorno, opposite to which is a small island bearing the name of Sola dei Bergeggi, now uninhabited, but upon which are the ruins of an abbey and a castle. Pass Bergeggi. At the foot of the cliff is a stalactical cavern, praised by the Genoese in prose and verse ; as by Biondi in his canzone addressed to the Marchesa Serra Durazzo : — " Tutta la volta concava Delia grottesca reggia, Scabra e inegual hiancheggia Di marmoreo lavor ; " E dell' asciutta pomice Piover dai pori mille Vedi filtrate stille Di cristallino umor. " Talor spuntando tremula JLa colorita goccia, Su la materna roccia s' arresta ad impietrir ; " E quai maturi grappoli Sospesi in alto e chini Iconi aiabastrini Ti sembrano fiorir." Pass Vado, anciently the seat of a bishop, now a very small village. 3£ Savona. (Inn: Grand H6tel Royal : a new establishment, finely situated, clean and moderate, near the entrance to the harbour : baths on the premises : H6tel de l'Univers.) An omnibus runs daily to Genoa, as well as a small steamer, which performs the voyage in about 3 hours. (For the roads from Savona to Turin, see Rtes. 10 and 11.) — A flourishing city, being considered as the third in importance on the Riviera, Genoa being the first, and Nice the second. The town ex hibits much appearance of comfort and activity. Large quantities of pottery are made here. It is of high antiquity ; and here Mago, the Carthaginian, de posited his spoils after the capture of Genoa. The acropohs of the Ligurian city is thought to have been the in tended site of the present fortress on the "rupe di San' Giorgio." Savona is close upon the sea; but its once ample port was spoiled by the Genoese in 1528. They blocked it up by sink ing hulks filled with stones, and the deposit of sand and silt did the rest ; and though it has been partly cleared and repaired, it cannot admit vessels of more than 200 tons. The Cathedral was built in 1604, an older and more curious structure having been demolished to make way for the fortifications. This former cathedral had been enriched by the munificence of Pope Julius II. (Giulio della Rovere), who, born at Albissola hard by, was bishop of this see at the time of his promotion to the papal dignity. Some of the ornaments of the" present cathe dral are his gifts, having been saved from the demolished structure ; as, for example, the fine wood-work of the choir. It contains some good paintings. A Virgin and Child, by Lodovico Brea; the Annunciation and Presentation, by Albano ; the Scourging of our Lord, by Cambiasi ; La Madonna della Colonna, by Robertelli. The last is a fresco, and so called because it was painted on a pillar in the ancient Duomo, from which it was ingeniously detached, and placed in its present situation. In the chapel of the Madonna is a large painting in seven compartments, the Virgin and several Saints in a richly-sculptured framework, representing the front of a church, and exhibiting the allusive arms E 3 82 Route 12.; — Savona. Sect. II. of the house of Rovere, — an oak-tree, surmounted with the cardinal's hat. It was the gift of Pope Julius ; and as almost every picture in Italy has its story, it is said with respect to this one, that Julius, who, when Pope, threatened Michael Angelo with a halter, or some thing as bad, because he did not paint fast enough, employed seven painters upon this work, in order to get it done out of hand. The best compartment is the St. John by Lodovico Brea. Near the cathedral stands a Sistine Chapel, founded by Sixtus IV. (1471-1484), also of the family of Rovere, and uncle of Pope Julius IL, as a place of sepul ture for his ancestors. His father waB, however, but a poor fisherman, though, as it should seem, descended from a noble family. Savona is celebrated as the birth place of Chiabrera, one of the finest poets of the 17th century. He was highly successful as a lyric poet : " and though the Grecian robe is never cast away, he imitated Anacreon with as much skill as Pindar. 'His lighter odes,' says Crescimbeni, ' are most beautiful and elegant, full of grace, vivacity, spirit, and delicacy, adorned with pleasing inventions, and differing in nothing but language from those of Anacreon. His dithyrambics I hold incapable of being excelled; all the qualities required in such compositions being united with a certain nobleness of expression which elevates all it touches upon.' " (Hallam's Hist, of Literature.) Chiabrera also wrote much poetry of a devotional character ; and over his tomb in the church of San' Giacomo (now despoiled of its paint ings) he caused this impressive inscrip tion to be engraved : — " Amico, Io, vivendo, cercava conforto Nel Monte Parnasso : Tu, meglio consigliato, cercalo Nel Calvario." In the Dominican church is a paint ing of great value by Albert Durer The Nativity, by Antonio Semini. Lanzi says of this picture that it is sufficient to see it to be convinced that Semini rivals not only Pietro Perugino, but Raphael himself. In the cloister of this church is another monument erected to the memory of Chiabrera; a bust, beneath which is an inscription written by Pope Urban XL, in very elegant Latinity. The villa in which Chiabrera lived near the church of San' Giacomo, his burial-place, and the rooms wliich he occupied, are left, not exactly in the same state, yet not much altered. The house in which he was born is in the town, with the significant motto which he chose, " Nihil ex omni parte beatum." One of the towers of the port is de corated by a colossal statue of the Vir gin, beneath which, in very large cha racters, is engraved the following in scription, which may (after a sort) be read either in Latin or Italian. '* In mare irato, in subita procella, Invoco te, nostra benigna Stella." This conceit has been attributed to Chiabrera; but there is not the slightest authority for supposing him to be its author, and it is part of a popular hymn sung by the sailors and fisher men on this coast. The sanctuary of Nostra Signor a di Misericordia, situated about five miles from Savona, is a very celebrated place of pilgrimage, and well worthy of a visit, though the road is only practi cable for light carriages. It is embo somed in the mountains, and shrouded by their woody heights. The church is built over the spot where a miraculous appearance of the Madonna is said to have taken place so late as 1536 ; and, though of such recent origin, the devo tion of the Riviera so increased its treasures, that they were thought only second to those of Loretto. The greater part of these disappeared under the French; but the sanctuary has been somewhat replenished, particularly by a crown of silver studded with gems, placed on the head of the image by Pope Pius VII. Marino and Chiabrera in poetry, and Bernardo Castello in painting, vied with each other in ex ercising their talents in honour of this saint. The church is filled with paint ings by Castello, containing nearly the Riviera. Route 12. — Savona — Voragine. 83 whole life, legendary as well as scriptu ral, of the Virgin. They are much faded. Castello was the intimate friend of Tasso ; and one of the most prized editions of the Gerusalemme is adorned with engravmgs, partly executed by Agostino Caracci from his designs. Castello obtained very great reputation ¦amongst his contemporaries. Other objects in this church are a Presentation of the Virgin by Domenichino ; and an alto-rilievo of St. Elizabeth and the Virgin by Bernini. This is rather a remarkable specimen, inasmuch as it has not the usual flutter and exaggera tion of this artist. The valley of the sanctuary is properly called the Valley of San' Bernardo. In the Bmall chapel of the village is a very curious and well- preserved painting of an early date (1345), containing fourteen figures upon a gold ground, not by Giotto, but in the best style of his school. Gold is found in the sands of a rivulet or torrent nigh to this sanc tuary. From Savona to Genoa the road runs in many places more inland than pre viously, but often close upon the shore, in several parts tunnelled through the rock where the last abutments of the hills come down sheer into the sea, and in some parts it is supported by ter races. Along this part of the Riviera, in the neighbourhood of Genoa, may be seen villas and palazzi, sometimes high above the road, sometimes on its level, with their gardens gay with bowers, terraces, trellis walks, and the brightest profusion of trees, and shrubs, and flowers. These gardens are gene- -rally in the old-fashioned, regular style, and are generally entered by a lofty gate, once surmounted by the armo rial bearings of the owner or founder. Almost all the buildings were originally painted on the outside, but these paint ings are all more or less washed off, or faded, by exposure to the rain and sun. The traveller will have seen the first specimens at Nice of this mode of decoration, with regard to which let him consider the following remarks : — " This will perhaps strike you as mighty meretricious ; but we must not try everything by the test of our own ha bits and opinions, since these, when they are right, are possibly only right with reference to our own peculiar situation. "In our stern and melancholy cli mate this mode of gay decoration would be something like dancing over graves ; but here, where sun, earth, sea, and sky make almost perpetual holiday, it seems to harmonise well with the gene ral festivity of the elements. Here, also, in this broad glow of general light (for a great part of the year is un broken by partial shades), tricks of this kind pass uncontradicted; because it is easy to charge what you want to put into shade with such a strength of dark colour as shall make good the illusion, in caseB where you have to contend with light alone. But with us, the effect of an oblique sun and black clouds is such, that Nature may be said to give the lie to every similar attempt at imposture. Thus, for in stance, I meditate the most simple one : — I want to place a statue against my house, and, fearing to break into the wall, i paint a niche behind it for the purpose of giving it the effect of imi tation. What follows ? There comes (a thing common with us) a day preg nant with strong contrast of light and shade ; the whole flat surface of the wall perhaps remains in shadow, while a malicious thread of light falls full upon the niche, exhibiting all the false ness of its pretensions." — Rose's Italy. Albizzola, in a pleasant valley. The town stretches along the shore. Here is the fine palazzo of the Rovere family, possibly not the building in which Pope Julius was born, though he was cer tainly a native of the town. In the principal church, the Madonna della Concordia, are some good paintings by Fiasella, called II Sarzana, and An- saldo. Cella, seen from the high road. In the church of St. Michael is a fine pic ture of the Archangel by Perino del Vaga, painted by him in fulfilment of a vow made during a storm. Voragine. Small vessels are built here. It is the birthplace of Jacopo 84 Route 12. — Cogoletto— ^Voltri. . Sect. II. di Voragine, the author or compiler of the well-known Golden Legend, a collection of monkish legends of saints, miracles, and adventures of the devil, which was most popular in the- 13th, 14th, and 15th centuries. It has the fame of being the chief book which transformed Loyola from a soldier to a religious enthusiast. In 1292 its author became Archbishop of Genoa, where he excelled in charity and benevolence, and was most useful in putting down the factions by which the city was disturbed. In the hills above Vo ragine is a very singular monastery, most appropriately called " II De- serto." It was founded by a noble lady of the family of Balbo Palla- vicino. According to fame, Bhe was exceedingly beautiful, and she is said to be somewhat profanely represented in the character of the Madonna, though in the Genoese dress of the 16th cent., in an exquisite altar-piece by Fiasella. Pass the lofty cape or headland of Cogoletto. Before entering this town is the celebrated foundry of shot and shells, but principally the latter. The iron is brought from Elba. Cogoletto is by tradition the birth-place of Co lumbus ; and if faith is to be given to inscriptions, you may see the house in which he was born. On the other hand, the house of his father Domenico can be proved by title-deeds to have been situated in the suburbs of Genoa, and he himself states that he was born in Genoa, an expression which, how ever, was quite compatible with his being born within the territory. The family can be traced in Savona, Oneglia, and all about the neighbourhood ; and the fact of his being a Ligurian is unquestionable. The mountain over which the road passes between Cogoletto and Arenzana offers the most picturesque and varied scenery, and the most luxurious rich ness of vegetation, fine woods of pinas ters and evergreen oaks, with an under growth of myrtles and various kinds of the most beautiful heaths, astragals, and lihes rearing their tall stems, and snow-white blossoms among the shrubs. The view on descending towards Aren zana is enchanting. On this mountain are situated a villa and extensive plea sure-grounds belonging to the Palla- vicini family. They are only accessible by a written order from the owner. The mansion is not seen from the road. 3 Arenzana, a pleasant village. Vo/tri, a flourishing town of 8000 Inhab., with churches richly adorned. A new bridge is now building here. Much paper is manufactured in this town and its neighbourhood. Anciently the Genoese supphed most parts of Europe with paper, and a considerable quantity is still exported to S. America. It is said to have the property of resist- ingtheworm better than any otherpaper, a quality supposed to be derived from the sulphureous impregnation of the water with which it is made. This is particularly the case with the mills in the valley of the Leira, about three miles off. The paper made there used to be very much in request in Spain and Spanish America. At Leira are the sulphureous springs of the Aqua Santa, as it is called, which rush out very copiously near the chapel dedi cated to the " Madonna della Aqua Santa,", to whose intercession the heal ing powers of the waters have been ascribed. A bath-house has been re cently erected here. The water is very clear at the source, the average heat is 18° Reaumur, and it is considered as very useful in cases of cutaneous diseases. The springs are much frequented by the Genoese. There is a villa of the Marchese Brignole at Voltri, in a lovely situation. Ora, which almost joins to Pegli, another town. The villa Gri maldi has a good Botanic Garden. The villa Doria is fine. It was built by Adamo Centurione, one of the richest merchants of Genoa in the times of Charles V. When the emperor was preparing for his expedition, his trea sury borrowed 200,000 crowns from Centurione, who immediately paid over the amount in ready money, and then forthwith sent a receipt in full to Charles V., who east it into the flames, determining not to be outdone in con fidence and generosity. A story not Riviera. Route 12. — Sestri — Genoa. 85 dissimilar in spirit is told of theFuggers of Augsburgh. The villa Lomellina has a " Jardin Anglais." The church of Mont' Oliveto is on a hill above. Here is a very remarkable picture by Francesco Succhi of Pavia, with the date 1527. The subject is the Descent from the Cross, and it is in excellent preservation. The background, an extensive landscape, retreating in perspective, is painted with FlemiBh accuracy. Sestri, a flourishing town of 6000 Inhab. In the principal church is the bark of St. Peter, by Fiasella. Near Sestri is a hill crowned by a chapel, to which is annexed a colos sal statue of the Virgin. From this point, in every direction, the view is magnificent. The Villa Spinola, with its terraces and hanging gardens, is very striking. Pass the monastery of Sanf Andrea, now the Villa Vivaldi. The church is preserved for divine service. Good wine is grown about Conigliano, also a flou rishing town. Like many others on this coast it is composed of two ; the longshore town, and the one more in land. Here are rather extensive manu factures of printed cottons. The Serra Palace haB a fine elevation. A short distance before crossing the, Polcevera is the church of Santa Maria Incori- nata, wliich contains a Holy Family by Pierino del Vaga, of great sweetness, but in a bad condition. Below this church is an oratory attached to a con vent richly covered with frescoes of merit ; the ceiling by P. del Vaga, and the Last Judgment, fine. Cross the river Polcevera, and enter into the valley of the same name. The bridge over the river was built at the expense of the Durazzo family. Here Massena signed his capitulation to Lord Keith and the Austrians. Pass the Monte di San Quirico, where was found the very remarkable brazen tablet, the earliest record of the history of Genoa. (See Palazzo dei Padri del Commune.) San Pier d' Arena joins on to Genoa. In the principal church are some good paintings. The Fhght into Egypt, by Cambiaso; the Virgin, by Castello; and some frescoes, by Fiasella. The Palazzo Spinola is an excellent speci men of an Italian villa. The great saloon on the first floor is painted in fresco by Carlone. The Palazzo Impe- riale also contains frescoes. Palazzo Saoli, smaller, but an able specimen of architectural skill. 3 (But half a post extra is charged on leaving or entering Genoa) Genoa. Ital. Genova, and called " La Superba." Inns : H6tel de l'ltalie, a new hotel, formed out of the Grimaldi and Fieschi palaces, very highly spoken of, kept by Tea; it has been fitted up by its present proprietor in a way to insure every English and foreign comfort; table d'hote, coffee and smoking rooms; the front windows command a splendid view over the harbour, the lighthouse, and the eastern part of the town. H6tel Feder, formerly the Palace of the Admi ralty, contains some fine rooms, is clean, and everything is good, with moderate charges; table d'hote at 5, 3 fr. Croce di Malta, also very good, with table d'hdte at4; thishouseoncebelongedtotheOrder whose name it bears, and forming part of it is a lofty tower, from which its inmates will be able to enjoy a very extensive panoramic view of Genoa, its harbour,lighthouse,&c. The proprietor, Mr. Loleo, keeps one of theprincipal shops of filligree-work, for which he received a medal at the great Exposition in his hotel. Grand H6tel de la Ville, on the Port, kept by Schmitz, who is also a com mission agent for the sale of Genoese jewellery and filigree-work ; this hotel, having recently changed hands, iB much improved and well spoken of. "We have not met with more civility, or found greater comfort, in any hotel on the Continent." — I. J. H Albergo di Londra, Albergo de' Quattro Nazioni, good, and reasonable charges. Pen- sione Suizzera, said to be a fairly com fortable second-rate house. The Italia, Feder, Croce di Malta, Quattro Nazioni, Londra, and H6tel de la Ville, all look on the harbour, but the view of it from the lower floor is shut out by a wall with a terrace on the top, which has been recently con- 86 Route 12. — Genoa— Conveyances. Sect. n. structed along the quay to separate the port from the town. Cafes. — La Concordia, in the Strada Nuova, and the Cafe Gran Cairo, are very good ; an English newspaper is to be seen there. Port regulations. Passports. — -After 6 o'clock in the evening passengers by sea are not allowed to land, but must remain on board till the following morning. The examination at the cus tom-house is very uncertain, and some times very severe. The police visa must be obtained forthwith ; and the visa of the British consul is necessary for all English persons leaving Genoa. The visa of the Tuscan consul is required for those who go to Tuscany. Consuls. — Great Britain, T.Y.Brown, Esq. The British consular office is oppo site the Theatre di Carlo Felice. Steamers. — There" is communication by steam-vessels between Genoa and Leghorn, Civita Vecchia, Naples, Mes sina, Palermo, Malta, and Marseilles. The days and hours of the departure of the steamers are announced by post ing-bills, and must be learned from these or at their respective offices, as they are constantly changing. As it is, the voyager may generally reckon on the sailing of a steamer belonging to one or other of the several compa nies every two days, both for Leghorn and Marseilles. Vetturini. — Plenty and good. They ply in the Piazza della Annunziata. Diligences. — Malle-poste, or Servizio de' Reali Corrieri, daily to Turin. Agent, Giovanni Reta, Piazza Fontane Amorose. To Arquata and thence by rly. to Turin. Messagerie Sarde, dei fratelh Bonafous, Strada Novissima, No. 759. To Turin Tuesdays, Wed nesdays, and Saturdays ; another com pany runs Mondays, Wednesdays, and Fridays ; on Saturdays the hour of starting is 7 p.m., on other days it is 5 P.M. To Milan there are two dili gences daily : one in 18 hrs., the other in 22. There is also an excellent malle- poBte from Genoa to Milan, quicker and more comfortable than the dili gences, and only by 3 fr. more expen sive. Regia Diligenza, for Savona and Finale, twice a day ; Piazza della An nunziata, No. 916. Mallespostes to Florence daily in 38 hours. Steamers twice a week to Nice. The rlwy. from Genoa to Turin is only open from Arquata, at the N. side of the Bochetta pass, to which diligences run several times a day ; by this means the journey to Turin is easily performed in one short day. The whole line will not be open before the end of next year, although i* is expected to be tra versable as far as from Genoa to Ponte- decimo in all 1852. The great diffi culty to be encountered is between the latter station and Arquata, where as many as nine tunnels will be necessary, especially that of the Giovi (Galeria dei Giovi), which pierces the central mass of the Apennines, and which will be nearly 3 miles in length. Trains leave Arquata for Turin at 4 40, 5 45, and 11 40, a.m., and at 3 45 p.m. Carriages leave Genoa to join the two latter, by which the tra veller can reach Turin at 3 20 and at 7 25 P.M., but the number of trains and hours "will be found to vary ac cording to the season of the year. Post Office in the Piazza delle Fon tane Amorose. Letters arrive daily, and are distributed after 9 o'clock A.M. The office closes for letters to Turin, Geneva, the N. of France, and England, Milan, Venice, and Germany, at 2 p.m. j for letters to the S. of France, Spain, Rome, Florence, and Naples, at 3£ P.M. English Church. — A large room has been fitted up, where the service is re gularly performed by the Rev. Mr. Strettle, of the Established Church. ¦ Bankers. — MessrB. Gibbs are parti cularly civil and obliging to their Eng lish customers. Physicians. — Dr. H. B. Bennett} Casino delle Pesohiere, and Dr. Giliolij, an Edinburgh M.D., who practised some years in London — a very respect able man. Maggi, in the Strada Carlo Felice, has a very good and very extensive collection of curiosities, antique articles, &c, but asks most unreasonable prices, which he has been known to abate 50 per cent. The best shot) for velvets is said to Riviera. Route \2.— Genoa — Inhabitants. 87 be that of Righini, No. 279, Palazzo Franconi, in the Piazza Luccoli. Sedan-chairs are common, though not so much as formerly, the new streets having rendered the town more easily traversed in carriages. Genoa is now in a flourishing state, and not a cheap residence : this is especially the case with respect to house-rent within the city, which is exceedingly high: out of the walls it is cheap ; but it is very difficult to hire lodgings, except by the year. Signor Noli, who lives near the post-office, is the best agent. Provisions are abun dant. Beef is as good as in England ; poultry is said to be better. Fish is good, but there is only a scanty supply ; so that there is some Bhadow of truth in the first clause of the old vituper ative Tuscan proverb, which says of Genoa, — Mare senza pesce, — montagne senza alberi, — uomimi senza fede, — e ddnne senza vergogna. The climate is fine, but the winds in winter are so piercing, that great caution is needed for strangers. Genoa is a Porto Franco,;where goods may be warehoused and re-exported free of duty. It has a tribunal and chamber of commerce. It is the chief outlet for the Mediterranean of the ma nufactures of Switzerland, Lombardy, and Piedmont ; and Lombardy receives most of the foreign articles imported through Genoa. The harbour, fwhich is not of great extent, is deep, and pro tected by two moles. The width of the opening between ¦the heads of the moles is 519 yards. It is not an easy harbour to enter, and is exposed to the south-west wind (the Libeccio) . The resident population of the town and suburbs, including the seamen, and excluding the garrison, amounts to about 144,000. Manufac tures of silks, velvets, damasks, thrown silks, paper, soap, and the usual trades of a seaport town, employ many of the inhabitants. The shops are good : the articles pe culiar to Genoa, in addition to the gold and silver work, of which more here after, are the three-piled velvet, the artificial flowers, and the coral orna ments. The velvet is still an excellent article ; and embroidery on cambric and muslin is carried to much perfec tion. Bedsteads of iron are well made, and, to the great comfort of the tra veller, are coming very much into use. Generally speaking, furniture is well manufactured here, especially dressing- boxes, caskets, and similar small articles of fig-tree wood. The Genoese are laborious, and, on the whole, a robuBt and well-looking people ; but the Ligurian character, both physical and mental, is very pe culiar; and they have yet a strong feeling of nationality. Their dialect is almost unintelhgible to a stranger. One national peculiarity whl, it is to be hoped, long remain unaltered — the exceedingly graceful costume of the wo men. Both the wearers and the dress have been well described by Romney. " The Genoese women," he says, in his Journal, " are, in general, elegant hi their figure, have great ease in their action, and walk extremely well. They are of a good size, fair, but, very pale, which is heightened by the dress they wear. It is a loose robe of calico or muslin, which goes over their heads like a veil, and over their shoulders and arms like a Capuchin. They let it fall over the forehead as low as the eye brows, and twist it under the chin : they generally have one hand up almost to the chin, holding the veil with their fingers beautifully disposed amongst the folds, and the other across the breast. They are short-waisted, and have very long trains, which produce the most elegant flowing lines imagin able ; so that, with the beautiful folds of the veil, or cloak, they are, when they move, the finest figures that can be conceived. When the veil is off, you see the most picturesque and ele gant hair : it is braided at the back of the head, twisted round several times, beautifully varied, and pinned with a long silver pin." To the beautiful road of the Riviera through wliich the traveller has passed, Genoa forms a very worthy termina tion. " I have now seen," says a most competent observer, " all the most 88 Route 12. — Genoa — Port — Lighthouse— Navy. Sect. II. beautiful cities of the South, and have no hesitation in ranking this after Naples and Constantinople. But the charm of the latter ceases on landing, whereas the interior of Genoa does not disappoint our expectations. The streets indeed are narrow ; but, to say nothing of the obvious convenience of this in a hot climate, it does not of course pro duce the gloom which it does in our northern cities. We too naturally at tach the idea of small mean houses to narrow streets, whereas these are lined with magnificent palaces. In this re spect, as well as in the massive and florid character of these edifices, Genoa bears a considerable resemblance to La Valletta, in Malta ; but in that island architecture has something of an oriental cast ; here it has adopted a more festive character. "But Genoa is most impressive in its general exterior, and is best seen from the sea, The figure which it forms approaches nearly to that of a crescent. It is backed, as I have before observed, by a mountain, which is fringed here and there with low oak woods and olives, and it looks down upon a beautiful bay. " Imagine, then, to yourself a city, with something of a theatrical form, at the base of a mountain, the sloping sides of which are gay with suburban palaces, and gardens full of colonnades of trellis-work, covered with the red oleander, now in one blaze of bloom ; add an atmosphere and a sun such as you see represented in the vivid paint ings of the Venetian school ; and you have Genoa such as I saw it in the month of August." — Rose. The port, round which " Genova la Superba" extends, is terminated at either extremity by two piers, the Molo Vecchio and the Molo Nuovo. Near the land end of the western pier stands the Fanale, or lighthouse, built '1547 ; the tower rising to the height of more than 300 feet out of the rock. Several towers had previously stood here in succession. The last, called the Briglia or Bridle, was erected in 1507 by Louis XII., for the purpose of securing the authority which he had acquired. The hghthou'se should be ascended for the view which it affords. The machinery of the lamp is excellent ; it exhibits that kind of revolving light which is called a flashing light. . Close to the foot of the lighthouse is the qua rantine establishment. On the N. side of the harbour is the Darsena (docks and arsenal), which was first estabhshed in 1276 ; the expenses of beginning the works being furnished by the spoils made by Tomaso Spinola, in 1276. It now exhibits considerable activity. Here also is the Bagne, or prison for the convicts, who are still called galley-slaves, although galleys no longer exist. They are employed, in gangs, in the public works in different parts of the city, and are dressed in red clothes and caps. The caps of those who have committed murders have a mixture of black, while those whose caps have a mixture of yellow were thieves. It is the custom, if they behave well, to pardon them at .the ex piration of half their sentence; and hence it is commonly said that those who are sentenced for 100 years' ser vice are in a worse situation than those sentenced for life ; inasmuch as the latter may be pardoned at any time, and that hence the 100 years' sentence is passed upon the worst offenders. "Imprisonment for hfe has recently been substituted for capital punish ments, which are now abolished ; but an increase of crime is said to have been the result of the change." — Ld. St. The small but respectable Navy of Sardinia is on the English model ; and, after that of France, is superior in effi ciency to the Navy of any otherPower except France on the shores of the Mediterranean: boys of good families are much encouraged to, enter the service. The Porto Franco, which is on the E. side of the harbour, near the end of the Molo Vecchio, is a collection of bonded warehouses, surrounded by high walls, and forming a small town, and with only two gates, one towards the sea, the other towards the city : the most recent portions were built in 1642. It contains 355 warehouses, which are Riviera. Route 12. — Genoa — Porto Franco, — Fortifications. 89 filled with goods, and the rates are high. According to ancient regulations, entrance is forbidden (except by special permission) to the military, the priest hood, and womankind ; all these being, as it should seem, equally liable to sus picion. The Porto Franco is under the management of the Chamber of Commerce. The Facchini, or porters employed in the Porto Franco, form a privileged corporation. There are two classes, the Facchini di Confidenza, who are employed in the interior of the warehouses, and the Facchini di Cara- vana, who carry out the goods. The latter are Bergarnaschi, and the calling is hereditary in their families, and they have enjoyed an exclusive privilege since 1340. They are recruited, not from Bergamo itself, but from the towns of Piazza and Zogno in the Val Brem- bana, to the N. of Bergamo ; and therefore the Facchini often send their ladies to be confined there, as folks do in England with respect to fellowship counties. They are governed by then- consuls. Their number has been limited since 1832 to 200 by the government. They sell their privileges to their fellow- countrymen at high prices. Close to the Porto Franco is the Dogana (custom-house), and from this to the Darsena, along the quay of the port, extends the new portico, under which are shops ; above is a terrace on which is an agreeable walk affording a full view of the harbour. The city has been repeatedly in creased in size, and its walls as often enlarged. It is said that some traces of the Roman walls are discernible. In 1155 the Genoese raised another circuit, for the purpose of resisting the impending attacks of Frederick Barba- rpssa. Some of the gates are yet stand ing. Such is the Porta Vacca, or Cow- gate, a fine and lofty Gothic arch, be tween two towers. Above are pendent the huge links of one of the fragments of the chain that closed the Porto Pi- sano, carried off by the Genoese as a trophy of the great naval victory which they gained over their commercial and political rivalB. Another circuit was begun in 1327. In this many of the previous suburbs were included. It is in the semi- modern style of fortification, but very strong. The ramparts afford very agreeable promenades, and are con nected with a species of public garden, called the Acqua Sola. This affords a delightful walk. There is also a fine view from the battery ; and very ex tensive alterations and improvements have recently been made in. all these portions of the city. The third circuit, at a considerable distance from the second, runs all round the hills which command the town : it was planned in 1627, but not really begun till 1630, and com pleted in 1633 ; it has since been greatly strengthened. These lines, wliich form a vast semicircle, are also sup ported by numerous detached forts, redoubts, and outworks, crowning hill after hill, and constituting the largest town fortification yet in Europe ; seven miles in circumference. They will only be exceeded in extent by the fortifica tions of Paris. If Genoa should again sustain the calamity of a siege, it is upon this line that its defence must depend. In the first instance, they were erected to protect the city against the present dynasty, when the Gallo-Sar- dinian army, under Carlo Emanuele Duke of Savoy, threatened the very existence of the Repubhc ; and they were, in great measure, raised by vo luntary contributions and voluntary labour. Upwards of 10,000 of the in habitants worked upon them, without receiving either provisions or pay. All the citizens contributed individually, besides the donations made by the different trades, pubhc bodies, and cor porations. One Carmelite friar raised 100,000 lire by collections after his sermons. Within these walls Massena sustained the famous siege of 1800. The city was invested by land by the Austrian troopB ; the British fleet, under Lord Keith, assisting them. Massena was at length starved out, and he evacuated the city on the 4th of June, 1800, after a blockade of 60 days, during which the garrison, and still 90 Route 12. — Genoa — Palazzo Rosso. Sect. II. more the inhabitants, suffered the greatest misery from famine. Of the 7000 troops under Massena, only 2000 were fit for service when they surren dered. This defence was the achieve ment which estabhshed his high mili tary character; for, to have manned the vast circumference sufficiently, 20,000 men would have been required. The number of the inhabitants who died of the famine, or of disease pro duced by famine, exceeded 15,000. To wards the conclusion of the siege, the raging hunger of the inhabitants was, as it were, mocked by the dealers ex posing for sale all their stock of con fectionary and preserves, the only articles of food which remained uncon- sumed. Genoa is, like Bath very up and down. Many parts of the city are almost inaccessible to wheel-carriages ; nor are the smaller vicoli peculiarly con venient for foot-passengers. Through these the trains of mules, with their bells and trappings, add to the busy throng. In the older parts of the town the houses have an appearance of an tique solidity, whilst those in the more modern streets, the Strada Nuova, the Strada Nuovissima, the Strada Balbi, the Strada Carlo Felice, and the Strada Carlo Alberto (now in progress), are all distinguished for their magnitude ; and the first, the Strada Nuova, for its unparalleled splendour. • " Genoa may justly be proud of her palaces : if you walk along the three continuous streets of Balbi, Nuovis sima, and Nuova, looking into the courts and staircases on each hand as you proceed, you may indeed think yourself in a city of kings. The usual disposition exhibits a large hall sup ported partly on columns leading to a court surrounded by arcades, the arches of which likewise rest upon columns. Sometimes, on one side of the street, these courts are on a level with the ex ternal pavement; while on the other the rapid rise of the ground is com pensated by a flight of marble steps. Beyond this court is the great staircase rising on each hand, and further still is frequently a small garden, shaded with oranges ; so far the composition is ad mirable. It is invariably open to public view ; and the long perspective of halls, courts, columns, arches, and flights of steps, produce a most magnificent effect; and this is still further en hanced when the splendour of the marble is contrasted with the dark shades of the orange-gf oves. But the chief merit of the buildings lies in these parts. There are internally fine apartments, but by no means of mag nificence corresponding to that of the' entrance. The other streets of Genoa are mostly narrow and dark : but even here some noble edifices are found." — Woods. The Strada Nuova was built in 1552, on ground purchased by the repubhc, with the buildings upon it, then of dis reputable character ; this street con tains six palaces on the N., and seven on the S. side. Of these palaces, all except two are by Alessio. Just at the entrance of the Strada Nuova, but in the Strada Nuovis sima, is the Palazzo Brignole (one of three belonging to this family) : the portal is supported by two gigantic Terms. In the Strada Nuova, No. 53, the Palazzo Brignole Sale, or Palazzo Rosso, is considered by some as the most distinguished for its architecture, The cortile is fine : and from the marble- paved terrace into which its upper story opens there is a beautiful view of gardens and palaces. , This palace con-- tains the best private collection of pictures in Genoa. The principal are the following : — Great Hah. Several pictures by artists of local character and fame. The Rape of the Sabines, by Valeria Castello, a Genoese ; four pictures by Ghtido Bono, of Savona, &c. In the room called "La Primavera" are some extremely fine portraits by)- Vandyke, especially those of the Mar quess and Marchioness Brignole Sale, the Marquess on horseback ; a noble picture. A portrait of a man holding a paper in his left hand, by Paris Bor- done ; that of an armed soldier by Tin toretto; the portraits of a father and Riviera. Route 12. — Genoa— Palaces — Pictures. 91 son (names unknown), by Vandyke, are as fine specimens of this master as can be seen in Flanders. Second room — called " Lo State." A singular and most highly finished half-length of a man with a long beard, by Duca oV Olanda ; painted on wood. A beau tiful sketch of the Nativity, by Paul Veronese ; our Lord going to Calvary, bearing bis Cross, by Lanfranco, a small picture, very fine ; a well-drawn and coloured half-length of St. Sebas tian, by Guido. Third room — called c? L'Autonno." The Virgin enthroned, with the Infant in her arms, and Saints standing round, by Guercino, a speci men of his rich colouring; a fine Andrea del Sarto, the Virgin and Child, with St. John and St. Elizabeth, like one by the same artist in the Marquess of West minster's gallery ; a young man in a furred garment, by Titian; a, father and son, half-lengths, by Bassano ; and a sketch of St. Mark (also a half-length), by G-uido. Fourth room — called "L'ln- verno." Judith giving the head of Holo- fernes to a slave, by Paul Veronese; " She has just taken it off, and the bleeding neck is towards the spectator, a disgusting object; the picture is finely done, and of good tone." — T. P. The Pharisees questioning our Lord on the Tribute Money, by Vandyke, very fine, especially the heads of the two Jews ; a beautifully coloured Flight intoEgypt, with attendant Angels, by Carlo Ma- ratti ; a beautiful specimen of Piola, a Genoese, a Holy Family with St. John offering a Butterfly to the Infant Jesus ; another Holy Family, attributed to Raffaelle ; a portrait of a man in a black dress, by Rubens. The Fifth Saloon is merely a room of commu nication, with architectural subjects, the figures by Piola, father and son, Genoese artists. Sixth Saloon. A beautiful portrait of the Marchioness Geromina Brignole, with her daughter, standing, by Vandyke : by the same hand is the picture of a man in a Spanish costume : " both are freely and full painted, but too black." — T.P. The portrait of a woman holding a fan, by Paul Veronese, is more singular than beautiful. Two Albanos, our Lord appearing to Mary Magdalene, and the Car of Love, are fine small pictures. Seventh Saloon, entirely hung, as well as painted in fresco, by Deferrari, a Genoese, with pictures representing subjects of Roman heroism. The other rooms may be passed without much remark : there are several pictures inte resting as specimens of the Genoese school. In the Eleventh Saloon are portraits of the three Doges of this noble family ; and in the Twelfth are portraits of two more of the family, by Palazzo Doria Tursi, in the Strada Nuova, late the residence of the Queen Dowager, and afterwards the Jesuits' College. The facade is grand, and is flanked by terraced gardens. The architect was Rocca Lurago, of Como. Since the expulsion of the Jesuits it has been given to the city for public purposes ; it is now occupied by the National Guard. In one of its upper rooms are a few good Dutch pictures of great merit ; one by Albert Durer, another by Mabuse, &c, but difficult to be got at. Palazzo Serra, Strada Nuova, No. 49, by Alessio. The entrance, which is modernised, is richly decorated ; and Semino and Galeotti, Genoese artists, have painted the ceilings, &c, of the principal rooms. The saloon is parti cularly rich : the gilding, said to have cost a million of francs, the white marble bas-reliefs, the caryatides, the mirrors, the mosaic pavement, procured for this palace its name of the Palazzo del Sole. Palazzo Adorno contains some good frescoes by Taveroni, from subjects of Genoese history. Palazzo Spinola (Ferdinando), for merly Palazzo Grimaldi, Strada Nuova, No. 44, opposite the last, a large and fine building, with good pictures. The Hall. — Frescoes by Semino ; a man on horseback by Vandyke. First Saloon. — ¦ Two fine portraits by Andrea del Sarto; a remarkable portrait of a Philosopher in a black dress, by Sebastiano del Pi- ombo ; a finely preserved and beauti fully painted circular picture of the Virgin and Child, by Mecherino da 92 Route 12. — Genoa — Palaces — Pictures. Sect. II; Sienna, more commonly known by the name oiBeccafumi, an imitator of Ra phael ; a Venus, by Titian ; and a fine head, by Vandyke. Third Saloon. — A Crucifixion by Vandyke ; a Holy Family, Gian. Bel- lino ; and the same subject, with two Saints, by Luini. Palazzo Lercaro Imperiale. A strik ing facade, opening into a cortile of equal excellence. Here are some fine frescoes and several good pictures. . Third Saloon. — A fine picture, with figures of the size of life, of our Lord appearing to Mary Magdalene, by Carlo Maratti; a good portrait of Calvin, by Holbein; and that of a Philosopher, by Luca d' Olanda. In the Fifth Saloon is a beautifully finished picture, with small figures, also oy Imca d' Olanda ; a Magdalene by Guido; and a St. John the Baptist in the Desert, by Elisabetta Sirani. Palazzo Cataneo. In the Hall, besides a fine portrait of a Lady, half-length, by Rubens, is a Narcissus at the Foun tain, by Parodi; a good specimen of this artist. Two landscapes with small figures, by Tempesta; and two others, one a Moonlight, by Tavella, an oval ; the Virgin and Child, by Velasquez. In the Cabinet are some choice small pictures : a highly finished Virgin with the Infant sleeping, an oval, by Fran- ceschini ; a Fhght into Egypt, with the landscape and accessories beautifully painted, by Greghetto ; a Virgin and Child, by Garofalo ; the Entrance of the Animals into the Ark, by Tempesta; an elegant half-length female, with the motto, "Riguarda il tuo fine" by an artist of the Florentine school ; and a beautiful view of a City and Port by Brandt. In the Saloon are several pictures worthy of attention : a Virgin and St. Elizabeth, small but beautiful figures, by Layne ; a fine and large picture of our Lord driving the Buyers from the Temple, by Salvator Rosa ; a beautiful half-length of St. Agnes with the Lamb, by And. del Sarto ; our Lord praying in the Garden of Ohves, full of force and expression, and a head of our Lord crowned with Thorns, the artists un known; a fine portrait of a Philosopher in his Study, by Domenichino ; a beau tiful Ludovico Caracci, of the Stoning of St. Stephen ; a graceful Virgin and Child, by Francesco da Imola ; two fine views of Rome, the Coliseum and the Ponte Rotto, by Vanlindt ; and a Ra phael (?), St. Joseph and St. John adoring our Lord. The Palazzo Spinola (Giov. Batt.) ; containing the following pictures : — ^neas and the Cumsean Sibyl, Car lone; Madonna and Child, Vandyke; Joseph before Pharaoh, Le Sueur ; St. Sebastian, Guido ; Madonna and Child sleeping, Guercino ; the Family of To bias, Domenichino ; Holy Family, and Abraham's Sacrifice, Borgognone ; Mar riage at Cana, Bassano ; the Adoration of the Kings, Parmeggiano ; the Fhght into Egypt, Guido ; a Woman and Child, and a Woman with two Men, Ann. Caracci ; the Woman of Samaria, Imco Giordano. Palazzo Pasqua (now Pallavicini), No. 26 in the same Piazza : it contained some good pictures, which have been all removed. The Strada Nuova opens into an irregular Place, called the Piazza delle Fontane Amorose, irregular in shape, but containing some fine buildings, of which the principal are the Palazzo Negroni, No. 24, a wide- spreading and noble front, where are some good pictures — Tarquin and Lucretia, by Guercino; and some in teresting frescoes, relating to the great deeds of the Negroni family, by Pa rodi. In the Salita Santa Caterina, which enters the Piazza delle Fontane Amo rose at its S. E. angle, stands the Palazzo Spinola (Massi/miliand), a fine building. The arms of Spinola, which crowned the marble doorway, have been re moved. This palace contains some of the earhest frescoes of Cambiaso, in particular the Combat of the Titans, which he executed at eighteen years of age. A portion of the palace is still occupied by one of the Spinola family, who has a fine collection of insects of the country, and several good pictures, Riviera. Route 12. — Genoa — Palaces — Pictures. 93 especially a collection of miniatures by Castello. The Strada Carlo Felice has less architectural splendour than the Strada Nuova, but it is broad and regular. Palazzo Pallavacino, Strada Carlo Felice, No. 327. The name of this family is said to have been Pelavicino, or Strip my Neighbour. A member of this family acted in England in con formity to the supposed signification of his patronyme. This was " Sir Horatio Palvasene, Who robb'd the Pope and pillaged the Queen." He was receiver and banker of the court of Rome during the reign of Mary; and having a good balance in his hands at the accession of Elizabeth, could not then reconcile himself to the iniquity of letting so much money go out of the country to be employed against his new sovereign. A very rich branch of this noble family has been long settled in Hungary, and is well known in the best circles at Vienna. This palace contains an ample collec tion of pictures, amongst which are many of great merit. Salone della Camina. — A finely co loured Magdalene, painted on copper, by Annibal Caracci, and an unfinished picture, on copper also, by Dud. Co- racci,~i,re beautiful. The Sacrifice of Abraham ; Hagar and Ishmael ; and Bathsheba bathing, are good specimens of Franceschini. A Descent from the Cross, painted on wood, divided into three compartments, byLuca oV Olanda, is a fine specimen of an early and pecu liar style. A Drunken Silenus, with other figures, by Rubens, and the Wo man taken in Adultery, by D. Crespi. Mutius Scsevola before Porsenna, by Guercino. Salone della Conversazione. — Cleo patra, by Semino, considered the chef- d'oeuvre of this artist. Two large pic tures of Shepherds sacrificing to Pan, and of Romulus exposed, are also ex cellent specimens of Castiglione. Cori- olanus before Rome, his wife and child ren, is beautiful and large, Vandyke. A Venus and Cupid, by Cambiaso, and Music, by Guercino (above the door), are pleasing pictures. Salone. — Mary Magdalene carried to Heaven by Angels, by Franceschini. The celebrated Madonna della Colonna, by Raphael, beautiful as it is in design, disappoints the expectations raised by the engravmgs, being dull in colour (perhaps injured). The Journeying of Jacob and his Family, by Bassano; a half-length of St. John the Baptist, by Ant. Caracci; and here are two good specimens of Strozzi, especially that representing the Virgin in Prayer. Salone d' Estate. — Diana and her Nymphs surprised by Actseon, a fine and perfect Albano ; a highly finished and beautiful Virgin with the Infant sleeping, by Franceschini ; two curious pictures of sacred subjects, by Luca d' Olanda; and a Repose in Egypt, a fine, though small, Albert Durer, not mentioned in the catalogue. The Strada Balbi has some very fine buildings, as the Palazzo Balbi, with a fine portico and pleasant garden. It is one of the finest palaces in Genoa, perhaps the finest after the Brignolo Rosso ; the vaulted ceilings, cornices, &c, richly painted and decorated by Genoese artists, are very fine : it contains a good collection of pictures, amongst wliich the following are of great merit : — In the Great Hall, a fine Vandyke, a portrait on dark horse ; Joseph inter preting the Chief Butler's Dream, the chef-d'oeuvre of Bernadino Strozzi, called " the Capucino," whose works are much prized in Genoa, of which he was a native: he was a Capuchin monk, and self-taught artist : his countenances are generally commonplace and unre fined. First Sala has a deep cornice by a Genoese artist, Dominico Fiasella, detto H Sozana : it represents the battles of the Nymphs, Tritons, and Bacchanals ; a fine Titian, Madonna and St. Catherine ; a Martyr, Agos. Caracci; St. Catherine, Annibali Ca racci; Christ's Agony in the Garden, designed by M. Angelo, finished by Sebastian del PiOmbo; Madonna, by 94 Route 12. — Genoa — jraicaxs — jt icuures. KJGl.U. AA. Andrea Mantegna ; Innocence, by Ru bens ; Cleopatra, Lucretia, by Guido. Second Sala. — Three magnificent Vandykes, portraits ; in one, the head is by Velasquez : it was a portrait of G. Paul Balbi, chief senator, who being banished from Genoa, it was feared the mob would destroy his picture ; Velas quez was begged by the family to re paint the head, and he accordingly depicted that of Philip II. of Spain over the features of the disgraced Balbi. Third Sala. — St. Jerome, in Guido' s first manner, very forcible and vigor ous ; Conversion of St. Paul, by M. A. di Carravaggio, fine ; A Holy Family, the Nativity, by Luca d' Olanda ; St. Joseph, the Capucino ; Magdalene, An- nibali Caracci. Library. — A Market, Bassano; An dromeda delivered by Perseus, Guer cino, fine. Gallery. — A number of small good pictures: Wise Men's Offering, Pro- caccino ; Portrait, Tintoretto ; ditto, Rubens; Holy Family, Benedetto Veneziano ; ditto, Vandyke ; Virgin and Child, Procaccmo. Palazzo Reale. Formerly belonging to the Durazzo family, and called Mar- cello Durazzo, but purchased by the late king, and completely fitted for a royal residence. The interior cannot be seen when the king is at Genoa. The front is nearly 300 feet in length ; it was built from the designs of P. F. Cartone and T. A. Falcone. It con tained* a fine collection of pictures, amongst which were, in the Salone, several portraits of the royal family of Spain, the Durazzo family, &e., interest ing from their authenticity ; and two large historical pictures, representing the reception of Durazzo, ambassador from Genoa, by the Sultan, one by Piola, the other by Bertolotto. Salone di Giordano. A portrait by Vandyke ; another by Tintoretto ; and some other pictures worthy of obser vation are here, besides the two chief pictures in the room : one of Olindo * We have been informed that many of the pictures formerly in the Palazzo Reale have been removed to Turin. and Sophronia, the other of the Trans formation of Phineas by Perseus, by: Luca Giordano. Salone della Cappella. A Mussul man, by Rembrandt : our Lord in the Manger, by Titian. Salone dell' Aurora. Portrait of the Emperor Joseph II. ; two pictures of Saints, by Cappuccino; a sketch for the Martyrdom of St. Peter, by Guido. Salone del Tempo. A female head, by Titian ; a large Holy Family, with many figures, by the same artist ; two heads, by Tintoretto ; two battle-pieces, by Borguignone; several pictures, chiefly of animals, by Greghetto. Salone di Susanna, so called from the principal picture in it, Susannah and the Elders, by Rubens. Salone di Paolo, so called from the fine and large picture by Paolo Vero nese, representing the feast given to our Lord in the house of the Pharisee, and the Magdalene at his feet; now removed to the Royal Gallery at Turin : an excellent copy or duplicate remains here. Some good antique statues are also in this hallj and four modern ones by Filippo Parodi, and some others. Domenico Parodi executed the elabo rate paintings and gildings which de corate the ceiling and walls of this gallery. Beyond it are two fine rooms painted in fresco, in one of wliich is the bust of Vitelhus, much admhed. This bust has been highly praised for powerfully expressing the character of the "beastly" Vitelhus. It forms an interesting companion to the cele brated bust of Otho in the Uffizi at Florence. " Vitelhus consumed in eating, at least, six millions of our money in about seven months. It is not easy to express his vices with dig nity, or even decency. Tacitus fairly calls him a hog, but it is by substi tuting to a coarse word a very fine image. ' At Vitelhus, umbraculis hor- torum abditus, ut ignava animalia, quibus Bi cibum suggeras; jaeent, tor- pentque, prarterita, instantia, futura pari obhvione dimiserat. Atque hlum nemore Aricino desidem et marcentem,' &e." — Gibbon. There is in this palace a contrivance Riviera. Route 12. — Genoa — Palaces — Pictures. 95 of a small boudoir, which hoists up ancl down by tackle from the queen's apartment on the third floor, so as to save her Majesty the trouble of going up stairs. Palazzo della Vniversita, Strada Balbi. This building was erected at the expense of the Balbi family. The veBtibule and the cortile are amongst \ the finest specimens of the kind. Two huge lions are placed at the top of the staircase, whose walls contain some curious inscriptions from destroyed churches. The halls are finely deco rated with frescoes by Genoese painters and oil pictures. The Hall of Medi cine contains some bronze statues by Giovanni di Bologna, and in the Great Hah are six of the Cardinal Virtues by the same sculptor, whilst in a third room above are a great number of his bas-rehefs in bronze. The museum of natural history is interesting, as con taining a complete' collection of the birds and fishes of this part of the world. The library, which is open to the public, contains about 45,000 bopks, principally theological, but does not contain any book rarities. The Uni versity consists of three faculties, Law, Medicine, and Humanities. In each faculty there is a senate composed of twelve doctors, by whom the degrees are granted. In the church belonging to the University is a bas-relief in bronze, and in the sacristy another — the Descent from the Cross, good, by Giov. di Bologna. Behind the Univer sity Palace is the Botanic Garden. , Palazzo Durazzo, Strada Balbi, No. 227, by Alessio, but altered within by Tagliafichi, has a good collection of pictures. Its spiral marble staircase is admired. In the first room is a Pellegrini, the subject from Shakspeare, a good specimen of this artist; a Fhght into Egypt, by Pesaro, with a rich tone of colour ; and Abraham with the Angels, by Castelli. The Magdalene, by Titian, claimed as an undoubted original, in spite of the similar picture in the Barbarigo palace at Venice ; the Tribute Money, by Guercino, considered .one of his most perfect and impressive works ; the Woman taken in Adultery, by Procaccmi, a beautifully expressive picture. Second apartment on the E. The Flagellation of our Lord, by Ludovico, and a half-length of St. Peter, by Anni bal Caracci, beautiful in expression and design. The Roman Daughter, by Guido, and St. Eustace, by the same, full of grace in design; the Marriage of St. Catherine, a good specimen of Paolo Veronese; a Sleeping Child, in an oval, by Guido, beautifully true to graceful nature. The ceiling of this Gallery, repre senting Apollo and the Muses, by Piola, is thought one of his best works. First apartment on the W. Our Lord appearing to the Virgin after the Resurrection, one of Domenichino 's best works ; Phihp IV. of Spain, by Rubens, an admirable portrait ; Three Philo sophers, by Spagnoletto, good samples of this artist ; Portrait of a Lady and two Children of the Durazzo family, by Vandyke, well grouped and highly finished. Palazzo Imperiale, near the Piazza di Campestre. This palace is much decayed and neglected. The beautiful cortile is used as a remise. In the soffit are fine frescoes, with mytho logical subjects in the compartments. To detail the palaces of Genoa would be impracticable in the present work, yet one more must be noticed, which, from its situation, is the most striking of them all : the Palazzo Doria PanfiU, situated within the Porta della Lan- terna, and without the Porta di San Tomaso, the gardens of which extend to the sea-shore. These gardens, as. well as those of the palace in thejr centre, form a noble feature in the panorama of the port of Genoa. This magnificent pile, originally the Palazzo Fregoso, was given to the great Andrea Doria, and improved, or rather rebuilt, and brought to its present form, by him. The stately feehngs of this Doria, who is emphatically called " H Principe " (for that title of dignity had been granted to him by Charles V.), are expressed in the inscription which is engraved on the exterior of the edi fice: "Divino munere, Andreas D'Oria 96 Route 12. — Genoa — Palazzo Doria Fanfi.li. oect. u. Cevse F. S. R. Ecclesiae Caroli Impera- toris Catolici maximi et invictissimi Francisci primi Francorum Regis et Patriae classis triremium mi. prarfectus ut maximo labore jam fesso corpore honesto otio quiesceret, sedes sibi et successoribus instauravit. m.d.xxviii." The architect was Montorsoli, a Flo rentine : but many portions were de signed by the celebrated Pierino del Vaga, who has here left some of the best productions of his pencil, but which are fast decaying, upon the walls ; so rapidly, indeed, that in a few years, it is to be apprehended, they will have almost wholly disappeared. Pierino, poor, sorrowful, and needy, driven from Rome by the calamities which had befallen the Apostolic city when stormed by the Imperialists in 1527, was kindly received by Doria, who became his patron, giving him constant employment in this his palace. He worked there, not merely as a painter, but generally as a decorator ; and it was Doria's express wish to reproduce here, as much as possible, the magnificence of Rome, especially in the buildings which Raphael had adorned. The decorations introduced by Pie rino in this palace were exceedingly admired ; and he became, in fact, the founder of the peculiar style which prevails in the other ancient palaces by which Genoa has been so much adorned. In the gallery that leads to the terraced garden are the portraits of Andrea Doria and his family. The figures are in a semi-heroic costume; Andrea Doria is grey-headed, his sons are helmeted, and supporting them selves upon their shields. These in teresting portraits have been much injured by the soldiery quartered here during the late revolution. Beyond this gallery you look upon the garden, where are walks of cypress and orange, fountains, statues, and vases. In the background are the sea, the moles, the hghthouse. The fountain in the centre represents Andrea in the character of Neptune. Over another fountain is a fanciful mermaid, the portrait of one which, according to popular belief, was caught at Genoa. Opposite to the palace, on the street front, is another garden belonging to it, bordered by a grapery. In this garden is the monu ment raised by Doria to " H gran' Roldano" a great dog which had been given to Doria by Charles V. He is buried at the foot of a huge Jupiter, to whose care, according to the inscription, his ashes were intrusted, In this gar den also is a grotto built by AleBsio, which in its time was much admired : it is now almost a ruin. The successive employments held by Doria enabled him to acquire great wealth. With these riches he was able to keep a fleet of 22 galleys ; a force with which he turned the scale against the French, and accomphshed the dehverance of Genoa, 11th Sept. 1528, from the heavy yoke wliich they imposed. " Questo e quel Doria, che fa dai Pirati Sicuro il vostro mar per tutti i lati, Non fa Pompeio a par di co*tni degno, Se ben vinse, e caccio tutti i Corsari ; Perd che quelli al piil possente regno Che fosse mai, non poteano esser pari ; Ma questo Doria sol col proprio ingegno E proprie forze purghera quei mari ; Si che da Calpe al Nilo, ovunque s' oda 11 nome suo, tremar veggio ogni proda. Questi, ed ognaltro che la patria tenta Di libera far serva, si arrossisca ; Ne dove il nome d' Andrea Doria senta, Di levar gli occhi in viso d' uomo ardisca. Veggio Carlo, che '1 premio gli augmenta ; Ch' oltre quel che in common vuol che fruisca, Grli da la ricca terra, ch' ai Normandi Sara principio a farli in Puglia grandi." Orlando Furioso, cant. xv. 30-34. It was under Doria's influence and counsel that the form of government was established in Genoa which lasted till the revolution. He was offered the ducal authority for life, and there is no doubt but that he might have ac quired the absolute sovereignty. The Doria family is not extinct, but they hve in Rome ; and the palace is aban doned to ruin. The Duomo or Cathedral of St. Lo renzo was built in the 11th century, consecrated in 1118, by the Pope Ge- lasius IL, and restored about 1300. The front belongs to the latter date'; the lower part is occupied by three Riviera. Route 12. — Ge.ioa — Cathedral — Pictures. 97 pointed arches, with the little columns and other appendages of Gothic archi tecture. There is one marigold win dow in the centre, and several smaller ones. The intention was, probably, to erect two towers, but of these only one lias been executed, and that at a later period, and it does not preserve the character of the rest of the building. There is not the least trace in this edi fice of the taste which prevailed at Pisa and Lucca. The columns of the portal were taken from Almeria, as part of the spoils won at the capture of that city, 1148 : among the vestiges of an earlier period are the curious pilasters of the door on the N. side of the church, exhibiting monsters and runic knots, and the rude basso-rihevos en crusted on the principal front. In the friezes are inscriptions, from which we ascertain that the N. side was completed in 1307, and the S. in 1312 ; furthermore it is therein re lated how the city was founded by Janus I. King of Italy, the grandson of Noah; and how Janus II. Prince of Troy took possession of the city founded by his namesake and ancestor. These inscriptions are engraved in capital letters exactly in the form employed in coeval manuscripts, and are fine specimens of lapidary calli graphy. Internally, the first arch is Gothic, and corresponds in style with the front : in the remaining part, small pointed arches rest on single columns. " In the church of S. Lorenzo appears a strange mixture of styles : the, nave is separated from the aisles by Co rinthian columns, connected by pointed ,. arches, and bearing an horizontal en- . tablature,' above which reigns an arcade, whose supports are alternately columns and piers. The internal appearance of the church is singular, from the courses of masonry being alternately of white and black marble." — Ghvilt. The co lumns of the nave are of a hard brec cia, and the lower part of the shafts of white marble upon black bases. The choir and side chapels have been modernised, and covered with carving, paintings, and gilding. The architec- N. Italy— 1852. ture is by Alessio. The high altar is decorated with a fine statue in bronze of the Madonna and Child, by G. P. Bianchi, a work of the 17th centy. The paintings are not of a first-rate quality ; the principal are, St. Sebastian, in the chapel on the right at the end of the nave, Barroccio ; another Virgin, Ferrari; the Ascension, Piola; and Saints adorning the Infant Saviour, L. Cambiasi, good. The ¦ stalls and par titions are beautifully inlaid in woods of various colours. The ancient manu script choir-books are yet in use, and they are fine volumes of their kind. In the Palavicini chapel is a curious monument, a detached marble statue of a cardinal kneeling before the altar, a fine figure. An altar-piece by Gatini, of Genoa, has lately been put up in one of these chapels. The richest portion of this church is the Chapel of St. John the Baptist, into wliich no female is permitted to enter except on one day of the year, an exclusion imposed by Pope Innocent VIII., as it is said, in vendetta of the daughter of Herodias. The screen which divides it from the church is of a rich Gothic, and was completed about 1496. The tribune, supported by four porphyry pillars, covering the sarco phagus in which thj so-called rehcs of the Baptist are contained, was erected in 1532 at the expense of Filippo Doria The eleven statues, and the bas-rehefs which adorn the external facade, are by Guglielmo della Porta. Eight niches in the interior of the chapel are also filled with statues, six of winch are by Matteo Civitale (1435-1501), and two, the Madonna, and the Baptist, by Sansovino. The high altar is by Giacomo and Guglielmo della Porta. The relics of the saint are contained hi an iron-bound chest, which is Been through the apertures of the marble. On the day of Ms nativity they are carried in procession, being placed in the Cassone di San' Giovanni, a shrine preserved in the treasury of the cathe dral. It was made in 1437 by Daniele di Terramo, of silver gilt, a combination of Gothic panels, tracery, and finials of the most delicate workmanship. The 98 Route 12. — Genoa — Cathedral — Santa Maria. »ect. 11. sides are covered with imagery, the his tory of St. John ; the figures being all but completely detached from the back ground. In the treasury is preserved a more interesting relic, the Sacro Catino, long supposed to be composed of a single emerald. It was part of the spoils won at the taking of Caesarea, 1101. The Crusaders and their allies divided the prey ; and the Genoese, under the command of the celebrated Guglielmo Embriaco, selected this precious dish, or vessel, as their portion of the spoil. The traditionary worth of the ma terial was infinitely enhanced by the fond traditions annexed to the vessel, whether as a gift from the Queen of Sheba to Solomon, or .as the dish which held the Pascal Lamb at the Last Supper, or the Sang real, the vessel in which Joseph of Arimathea received the blood flowing from the side of the Redeemer, and in search of which the Knights of King Arthur made their quest. Three times each year was the Catino brought out of the sacristy, and exposed to the vene ration of the faithful. A prelate of high rank exhibited it to the multi tude ; and around him were ranged the Clavigeri, to whose care the relic was committed. The Clavigeri, as their name imports, were the keepers of the keys of the sacristy ; and they were solemnly bound never to allow these keys to depart. from their custody. No stranger was allowed to touch the Catino under heavy penalties ; and if any one at tempted to try the material by steel or diamond, gem or coral, or any real or supposed test of its genuineness or hardness, they were to be punished with heavy fines, imprisonment, or even death. Acute and somewhat sceptical travellers, as Keysler and the Abbe Barthelemy, in spite of these precau tions, saw enough to lead them to sup pose that the Catino was glass, a fact which is now fully confirmed. But the extraordinary perfection of the ma terial, as well as of the workmanship, must always cause it to be considered as a very remarkable monument, and of remote antiquity. The dish is hex agonal, with some shght ornaments, which appear to have been finished with the tool, as in gem engraving. The colour is beautiful, the transpa rency perfect ; but a few air-bubbles sufficiently disclose the substance of wliich it is made. The Catino was sent to Paris ; and was reclaimed in 1815, with other objects of art. It was so carelessly packed that it broke by the way. The fragments have been united by a setting of gold filagree. The keys of the cabinet are kept by the munici pal authorities, and a fee of about five francs is expected, at least from Eng lishmen, by the officer who opens the door. , Near the cathedral is the Baptistery, no longer used ; and a great cloister in which are the residences of the canons, but it has nearly lost all vestiges of antiquity. Many of the churches of Genoa were demolished by the French. Amongst the churches which remain, the most conspicuous in the general view of the city is Santa Maria di Carignano, finely situated on a hill, built from the ground about 1552, and endowed by the Sauli family. It is in the form of a Greek cross, with a lofty dome in the centre. "The arms are rather too long, and the entablature is poor and meagre. The vault is divided into 13 panels, which is too many; but the lines are well preserved, and, con sidered with respect to its interior, it will occupy a distinguished place among the most beautiful churches of modern times." — Woods. It was built by Alessio. Two colossal statues by Puget, and two by David, are placed beneath the great dome. They re present St. Sebastian, St. John, St. Bartholomew, and the blessed Ales- sandro Sauli. Paintings. — St. Francis receiving the Btigmata, Guercino : originally good, though now damaged. St. Francis is represented as very young. The Virgin and Saints, Procaccino. St. Peter and St. John healing the Palsy, Piola. Three subjects, of which the best is a Pieta, Cambiaso. The Martyrdom of Riviera. Route 12. — Genoa — Paintings— San Siro — San Matteo. 99 St. Blaise, Carlo Maratti; the saint good, the chief executioner badly fore shortened. St. "Catherine receiving the Sacrament, Vanni of Sienna ; the bishop administering, fine. Bishop Sauh go ing in Procession, Fiasella; much cha racter in the groups. A fine view of Genoa is obtained from the top of the cupola, which is ascended with tolerable ease. Oppo site to the church is a noble bridge upon dry land, also built by the muni ficence of the Sauh, begun 1718, by an architect named Langlade. It joins two hills, crossing the street and houses below. Some of these houses are Beven stories high (adding to the reminis cence which the bridge gives of Edin burgh) ; but the bridge rises far above them. It affords a cool and pleasant evening walk. An amusing instance of the fancies of Italian antiquaries is found in the Hebrew- Greek etymology which they give to Carignano, deriving the name from Cherem-Jani, the vine yard of Janus. St. Stefano della Porta, in the Piazza S. Stefano, at the southern end of the Strada Giulia. The church is fine; but its great attraction is the painting of the Martyrdom of the titular Saint, the joint production of Raphael and Ctiulio Romano : that is to say, Ra phael made the design for the whole, and finished the upper part, and Giuho Romano executed the remainder. In its present condition and position, which is wretched (being concealed by an unsightly tabernacle and candle sticks), the unbounded praise which continues to be lavished on this picture will to many persons appear extrava gant. It was sent to Paris by Napo leon, and the head of the saint and other parts were there repainted by Girodet. This picture was a gift to the Genoese republic by Leo X. In 1814 a negotiation was opened for its pur chase by an Englishman for 100,000 fr. The fee demanded for seeing it is lfr. San' Siro. The most ancient Chris tian foundation in Genoa, and asso ciated with important events in its his tory. It was originally the cathedral, under the title of the Basilica del Do- did Apostoli, but San' Siro, or Cyrus, an ancient bishop, became its patron, and in 904 the episcopal throne was translated to St. Laurence. In this church the assemblies of the people were held. Here Gughelmo Bocca- negra was proclaimed Capitano del Po polo in 1257. Hitherto the powers of government, and the profits and plea sures of government also, had been wholly enjoyed by the aristocracy. This revolution first broke down the barrier ; and although the office of Ca pitano del Popolo did not continue permanent, it prepared the way for the great changes which the constitution afterwards sustained. Here, in 1339, Simone Boccanegra was created the first Doge of Genoa, amidst cries of " Viva il popolo .' '" marking the influ ence by which he had been raised. His election was, in fact, the crisis of an other revolution : the government was completely transferred from the nobles to the people. Ah traces of the ori ginal building are destroyed, or con cealed by recent adjuncts and recon structions. " It is boasted of for the richness of its marble. The nave has arches resting on coupled columns, which are rather gouty. It is one of the many proofs that a profusion .of rich and beautiful materials may be em ployed without producing either rich ness or beauty. The Annunziata is another example of the same sort ; but such are not wanting in Genoa." — Woods. The roof is painted by Car lone. Eleven painters of this name have left their productions in Genoa and the Riviera. This Carlone was born at Genoa in 1594, and died at an advanced age. Some of the Other paintings are, the Saviour disputing in the Temple, Bernardo Castello. The Adoration of the Shepherds, Pome- rancio. Saint Catherine of Sienna, Castelli. The facade is in a poor style of modern architecture. San' Matteo, built in 1278, was under the patronage of the Doria family. The front, which is in a plain Gothic, is built in alternate courses of black and white marble. Five of the v 2 100 Route 12. — Genoa — uimrcnes — n uuamgs. tDtJCU -LJL. white courses bear inscriptions relating to the achievements of the family. The pilaster at either extremity of the fa cade, and on each side of the entrance door, present the banners of Genoa and of the Doria family. One of the inscriptions commemorates the great naval victory of Scargola, September 7, 1298, over the Venetian fleet, com manded by Andrea Dandolo, by the Genoese, under Lamba Doria, both being the most honoured names in the military annals of Italy. The Genoese fleet consisted of 76 galleyB ; their op ponents, who numbered 96, sustained a total defeat ; 74 Venetian galleys were captured and 7400 captives were brought to Genoa by the conquerors. Over the door is one of the very few mosaics still existing in Genoa. It is in the ancient Greek style. The inte rior, which is small, was splendidly re constructed at the expense of the great Andrea Doria. It is of the Corinthian order, discordant in its style from the exterior. Gian' Agnolo Montorsoli, the architect, was also a good sculptor ; and he executed the two figures of children upon the tomb of Andrea Doria, who is here interred. In the surrounding Piazza are some curious specimens of ancient domestic archi tecture. Sanf Ambrogio or di Gesu, entirely built at the expense of the Pallavicini family. The interior is completely co vered with rich marbles and paintings ; from the vaulting down to the pave ment all is gold and colours. Here are several fine paintings : — The Assump tion, by Guido : the Virgin surrounded by hosts of angels. The commission for this picture was sent to Bologna, and the offer for it was made to the Caracci and to Guido ; when the latter, being willing to execute it for half of the price demanded by his competitors, obtained the order. The Caracci were much vexed at this ; but when the picture was exhibited, they put by their vexation, and fully acknowledged the excellence of the production. The Cir cumcision, over the High Altar, by Rubens, painted before he came to Ge noa ; and St. Ignatius healing a Demo niac, painted whilst he was in this city. The altar-piece was executed by him whilst he was in ignorance of the height and position whence it would be seen ; but in the second picture he was able to adapt his figures accurately to their site in the building. St. Peter in Pri son, by Wael. The frescoes in the cupolas are principally by Carlone and Galeotto. L'Annunciata is, like many others which we have noticed, a monument of private munificence. It was built and decorated at the expense of theLomellini family, formerly sovereigns of the island of Tabarca off the coast of Africa, which they held until 1741, when it was taken by the Bey of Tunis. The very rich marbles of the interior give it extraor dinary splendour. The roof too has been recently regilt, and the church completely restored. Here is the " Cena" of Procaccini, a noble painting, but un favourably placed. Santa Maria di Castello, said to be built on the site of a temple of Diana, some of the columns of which still remain ; it contains a quaint picture by Ludovico Brea, with a number of figures in odd costumes, and a pre tended portrait of the Virgin and Child by St. Luke, of which the faces alone are painted, all the rest, even the frame and border, being in very rich and curi ously worked metal. The Ch. of San Donato, in front of which are fragments of the Pisan chains ; — San Luca, painted in fresco by Piola, and many others, are worthy of notice ; though perhaps not of a special visit, excepting from those who have much leisure at command. The gre&tAlbergo de' Poveri is to. the N. of the city, just outside the Porta Carbonera. It was founded in 1564, by Emanuel Brignole, and unites the care of the poor within its walls to the administration of many charitable en dowments for their benefit. Thus, for example, the girls who marry out of the hospital receive a decent dowry. The house is very clean, and the pro portion of deaths remarkably small. It is a stately palace, extending above 560 feet each way, and enclosing four equal Riviera. Route 12. — Genoa — Tlieatre — Academy. 101 courts, each about 170 feet square. The internal buildings, dividing the courts, form a cross, in the middle of which is the chapel, or at least the altar ; the different inmates occupying the arms during the time of public service. It boasts a Pieta of Michael Angelo, in which the attitude and half-closed eyes of the Virgin seem to indicate that she is about to faint on the dead body of her son, but the lips are firm. This poor-house will contain 2200 jiersons, and includes a manufacture of lace, linen cloths, and other objects. In the chapel is also a statue of the Virgin ascending into heaven, by Puget, which is among the best works of that master. The Ospedale del Pammatone stands on the W. side of the public gardens of the ACquasola. It was originally the private foundation of Bartolomeo del Bosco, a Doctor of Laws, 1430 ; and was built from the designs of An drea Orsolini. It is a large and mag nificent building, and contains statues of benefactors of the establishment. It has within its walls, on an average, 1000 sick and 3000 foundlings, and is open to the sick of all nations. The Deaf and Dumb Institution (Sordi Muti) founded by Ottavio Assarotti, a poor monk, in 1801, is much cele brated. In and about Genoa there are about 15 Conservatqrie. They are all intended for females, and all are religious foun dations, and regulated according to the monastic system, though none of the inmates take vows. Some are houses of refuge for the unmarried ; some peni tentiaries for those who wish to aban don their evil courses ; some are schools for the higher branches of education ; some asylums for girls who are either orphans or the children of parents unable to maintain them. Of these, the largest is that of the Fieschine, founded in 1762 by Domenico Fieschi, for orphan girls, natives of Genoa, and which now contains about 250 inmates : they are employed upon various light works, such as lace and embroidery, but principally in the manufacture of artificial flowers. Half the profits be long to the workers ; and with these they are often enabled, not only to relieve their relations out of the house, but even to accumulate a small dowry. The situation of the house, to which large gardens are annexed, is very plea sant. The whole establishment is con ducted kindly and affectionately: it remains under the patronage of the descendants of the family. The Teatro Carlo Felice is the prin cipal theatre, and is an elegant struc ture. It was opened in 1828, and receives its name from the present king. It is the third theatre for size in Italy, the Scala at Milan and the S. Carlo at Naples being alone larger than it. It is open for serious operas and ballets during the carnival and spring sea sons, for the opera buffa in the autumn, and for the regular drama in the sum mer and the early part of December. The Teatro Sanf Agostino is open during the carnival for the regular drama. The Academia Ligustica delle Belle Arti is located in a public building in the Piazza Carlo Felice, close to the theatre. It was founded by private munificence, having been instituted by the Doria family. It is, however, in sufficiently endowed; the society con sists of protettori, or subscribing pa trons, and of working academicians. It contains a collection of ancient pictures, models, &c, and a library of about 25,000 volumes. It is said to have been useful in improving the designs and patterns employed in manufac tures, but it has not produced any per ceptible effect in the higher branches of art. The Palazzo dei Padri del Commune is now the seat of the Tribunal of Com merce. Here is kept one of the most remarkable monuments of the history of Genoa. It is a bronze table, con taining the award made A. tj. c. 633 by Quintus Marcus Minutius and Q. F, Rufus, between the Genuenses and the Genuates, supposed to be the people of Langasco and Voltaggio, who had been disputing about the extent of their respective territories. This boundary question was most carefully investi- 102 Route 12. — Genoa — Palaces — Arsenal. Sect. II. gated : the landmarks are set out with great minuteness, and clauses are in serted respecting rights of common and commutation rents, with as much accu racy as we should now find in an In- closure Bill. The table was discovered in 1506 by a peasant, whose name has been preserved, one Agostino di Piedmonte, when digging his land at Polcevera. He brought it to Genoa for the purpose of .selling it as old metal ; but the matter coming to the knowledge of the senate, they purchased it for the use of the commonwealth, Externally, the Palazzo Ducale has somewhat of the aspect of an ancient fortress, with lofty massy walls, sloping outwards, turrets and bartizans'at the angles, and one great dungeon tower overshadowing the whole. The interior of the principal range of the building, which contained the hall of the senate and the other chief apartments, Was destroyed by fire in 1777. The pre sent interior was rebuilt by Carlone. The vestibule is supported by 80 co lumns of white marble : a fine staircase of marble leads, on the rt. hand, to the apartments of the governor, on the 1, to the hall of the senate. The hall is deco rated by paintings, not of a high order, .representing subjects taken from or con nected with the history of Genoa, Of these, the best are copies from pictures of Solimeni, existing before the fire, of the deposition of the rehcs of St. John the Baptist, and the discovery of Ame rica by Columbus. There is also a large picture by I. David, representing the Battle of Pisa. The hafi also con tains statues of the great men of Genoa. These were destroyed by the French in 1797 ; and upon occasion of the fete given to Napoleon as the restorer of the hberties of Italy, their places were supphed by statues of straw and wicker- work, coated with plaster of Paris, with draperies of calico, which still continue in the room. "Almost all travellers omit to visit, in the lower story of this palace, in one of the offices of the Courts of Law, a collection of beautiful paint ings by old German masters, the like to which they will not readily find in Italy. The best are, Christ on the Cross, with the Virgin and St. John : these two figures are beautiful beyond belief, and well preserved — Abert Durer. Virgin and Child on a Throne, called Floris, but probably Mabuse. St. Gi- rolamo, whole length, as large as life — Van Eyck : perfect. St. Augustine, Van Eyck : rich brocades in the back ground. In an adjoining room is a bust of Columbus, and a specimen of his handwriting." — L. G. This apart ment is the Stanza del Consiglio, with the bust of Colombo, and some of his autographs, kept under three keys. The paintings of the early Flemish and German schools are in the " Gabinetto m de' Sindaci :" besides those aheady mentioned, there is one more, folding altar, probably painted by I. Mabuse, of exquisite art : the centre composi tion is the Adoration of the Kings, and on the two wings the Annunciation and the Fhght into Egypt. I admired the pictures by Diirer this time still more than before. — X. 2 61 = trian florin - | Francescone - - 5 49 = The Roman Scudo, Ik .« * and the Colonnato J Printed papers of the current value in exchange of the principal coins of other states may be readily obtained at Milan. 3. Weights. — Measures. Weights. — The weights and measures of Lombardy are extremely various and confused. Until within a few years there were in use, 11 units of money, 100 of linear measure, 120 of superficial measure, and a stUl greater number of measures of capacity. Some clearness has been gained by the use of, and by reference to, the French metrical system, which is still used in some of the government transactions. Some of the most commonly occurring measures are here given. The libbra piccola, the ordinary commercial weight, is divided into 12 once, 288 danari, and 6912 grani, and equals 5044 Enghsh grains, or 0-32679 kilogrammes. Thus 1001b. of Milan = 72-061b. avoirdupois, or 32-68 kilo grammes. The libbra grossa is equal to 28 once, or 2-33 of the libbra piccola. Hence 3 libbra grossa equal 7 libbra piccola, and 100 hbbra grossa equal 168'21b. avoirdupois, or 76'25 kilogrammes. Liquid Measures. — The brenta is divided into 3 staia, 6 mine, 12 quartari, 96 boceali, and 384 zaine or terzeruole, and contains 18'86 Enghsh gallons. -.Measures of length. — The braccio is divided into 12 once, 144 punfi, and 1728 atomi, and is equal to 23-42 Enghsh inches, or 1-95 feet, or 0-5949 of a French metre. The mile is by chap. 161 of the Statuti criminali fixed at 3000 braccia da legname. It is consequently equal to 1952 Enghsh yards, or 1 mile and 190 yards, or 1784 metres, or 941 klafter of Vienna. The Italian mile, which is sometimes used, is the same as the geographical or nautical mile, and is equal to 2025 English yards, and 1852 metres. Eight of the former miles, called Milanese or eommon Lombard miles, make a post. As the post is reckoned and charged not merely in reference to the length of the road, the number of posts does not afford a satisfactory indication of its length. It will be seen, therefore, that the distances given below in Enghsh miles do not always correspond with the above value of the post. The distances being in many cases known by actual admeasurement, these are of course preferred. At Venice other weights and measures are in general use ; but it is unne cessary to mention more than the following. The pound weight, by which all, except very heavy materials, are purchased, is the Hbbra, peso sottile ; it is 118 Posting. Sect. 111. divided into 12 oncie, 72 sazi, or 1728 carati, and equals 4650 Enghsh grains ; hence 1001b. peso sottile equal 66'41b. avoirdupois. The braccio for woollens equals 26-61 Enghsh inches ; that for silks equals 24'8 Enghsh inches. The Venetian foot equals 13-68 Enghsh inches, or 1-14 feet. > Austrian lire. 4. Posting. For each horse per post - 3 16] Postilion - - 1 01 Hostler for each pair of horses per post 0 30 j ' Calesse, if furnished by the maestro di posta 0 92 J The following are the general regulations : — The postmaster is bound to furnish a calessa from station to station : very rumble-tumble concerns they are. The tariff is as above. The postilions are, of course, not contented with the regulation fee ; usually, if there are two horses, you pay the tariff of a third horse to the postilion, but they always grumble, even if you offer them more than double ; and usuahy, the older the postilion is, the less he is to be satisfied. Carriages are divided into three classes, which, with their load, must not exceed the following weights, all calculated according to the Vienna standard. 100 pounds Vienna weight = 123^ lbs. avoirdp. =56-01 kilogrammes. Species of Carriage. Lbs. of Vienna weight. Horses. A. of the lightest build, as open caleches with four seats, or half open with two ... not exceeding 600 2 exceeding 600 3 B. of a medium size, as close carriages with two seats, and half closed with four, or with a small head, not exceeding 500 2 from 500 to 800 3 exceeding 800 - 4 C. of a heavy build, as carriages, whether with two or four seats, entirely covered and enclosed, not exceeding 600 3 from 600 and not exceeding 800 4 exceeding 800 - 6 § I. In calculating the weight, the passengers are reckoned at the following rates : — ¦ Lbs. of Vienna weight. An individual of twelve years and upwards - 100 V A child from five to twelve years - - 50 Two children, under the age of five years ... 40 A single child of five years, or under, is not reckoned. With respect to the ages of children, the declaration of the traveller suffices without further proof. The postilion is not calculated in the weight of the load, § II. The baggage is reckoned thus : — , , ,, , , . . .,,,,. . Los. of Vienna weight. A bundle, a carpet-bag, and an imperial, when this occupies all the top of a covered carriage with four seats, each at - 100 An imperial, occupying ah the top of a covered carriage with two seats, or a half-closed carriage, or half an imperial, &c, fastened to the carriage, each at .... gQ A valise or portmanteau, when fastened outside the carriage, and 2 ft. long, l£ wide, not more (I Vienna ft. = 12-45 inches Engl.), each at - - 50 Austrian Dom. Posting — Territory. 119 § III. Bags or boxes for caps and hats, if hung on the outside, or any par cels or small bundles placed within the carriage, are not reckoned. These regulations, as to weight, look troublesome upon paper, but thev are rarely insisted upon. The following table may assist the traveller in his calculation as to horses : — Post. 1 Hif 2 n2# Aust. 1. c. 6 32 7 90 9 48 11 06 12 64 14 22 15 80 17 38 18 96 Ital. I. c. 3. Aust. Ital. 1. c. 1. c. Aust. Ital. 1. c. 1. c. Aust. 1. c. Ital. 1. c. Aust. Ital. 1. c. 1. c. 16 50 20 63 24 75 28 88 33 00 37 13 41 25 45 38 49 50 5. Teeeitobt. The ancient kingdom possessed by the Longobardi, or Longbeards (whose name is a curious proof of the permanence of our Teutonic tongue), extended from the Apennines and the Po to the Alps, excepting Venice and some few border districts. From this great and opulent territory large portions were detached at various times by the Venetians, constituting nearly the whole of their terra firma dominions. A respectable portion was taken by the dukes of Savoy on the W. Mantua, Modena, Parma, Piacenza, Guastalla, ah were dismembered from Lombardy, and erected into Imperial or Papal fiefs. The Swiss appropriated the Valtellina ; and the Itahan Balhages of Switzerland, . now the canton Ticino (which still retains so many features of ancient Lom bardy), resulted from this acquisition. (See Novara.) The republic of Milan became subject to the Lordship of Matteo Visconti I. in 1288. The Visconti gained a great extent of territory which had belonged to the other Lombard repubhcs ; and their domains were converted into the " Duchy of Milan " by the Emperor Sigismund, in 1395. Milan, when acquired by the Spanish branch of the House of Austria, was thus reduced into comparatively narrow bounds. But we are apt to consider ourselves still in Lombardy throughout the whole of the ancient territory. The treaty of Vienna, in 1814, restored to Austria ah the possessions enjoyed by that house before the wars arising out of the French revolution, and also gave a great deal more — Venice, and the whole of the Venetian terra firma, the Valtellina, and some smaller districts. These posses sions were erected into a distinct kingdom, and still possess a national cha racter widely different from the rest of Italy ; and though the administration of the whole of the Austrian dominions is guided by an uniform spirit, yet the forms and details of the government are widely different from what they are to the north of the Alps. The kingdom is divided into two governments — Venice, with 2,168,553 Inhab. ; and Milan, with 2,588,526 Inhab. 120 Nature of the Country — Agriculture. Sect. 111. 6. Nature oe the Countey. — Ageicultuee. — Peoductions. In the earhest times of the history of Italy, the whole of that rich country which now bears the name of Lombardy was possessed by the ancient and powerful nation of the Tuscans. Subsequently numerous hordes from Gaul poured successively over the Alps into Italy, and drove by degrees the Tuscans from these fertile plains. At about the beginning of the second century before Christ it became a Roman province. Large tracts of country, which, from being swampy or covered with forests, were uninhabited and unfit for- cultiva tion, were now drained and levelled, and the whole assumed an appearance of prosperity and opulence which was not surpassed, if equalled, by any part of the Empire. " The splendour of Verona may be traced in its remains ; yet Verona was less celebrated than Aquileia or Padua, Milan or Ravenna. But from the age of Tiberius the decay of agriculture was felt in Italy. In the division and decline of the Empire the country was exhausted by the irretriev able losses of war, famine, and pestilence. St. Ambrose has deplored the ruin of a populous district, which had been once adorned with the flourishing cities of Bologna, Modena, Regium, and Placentia. The barbarians who took posses sion of Italy on the fall of the Western Empire were compelled by necessity to turn their attention to agriculture, which had been long in such a state of pro gressive but rapid depression, that the country could not furnish the imposts on which the pay of the soldiery depended, nor even a certain supply of the necessaries of life." — Gibbon. After the occupation of Northern Italy by the Lombards, and the restoration of a tolerable degree of security and quiet, agri culture gradually improved. In spite of the constant warfare of the neighbour ing cities during the existence of the Italian repubhcs, both the towns and country advanced in population and wealth. Though the greatest territorial improvement of Lombardy took place, perhaps, at an sera rather posterior to that of her republican government, yet from this it primarily sprang, owing to the perpetual demand upon the fertility of the earth by an increasing popula tion. The rich Lombard plains, still more fertilised by irrigation, became a garden, and agriculture seems to have reached the excellence which it still retains. Though Lombardy was extremely populous in the thirteenth and fourteenth centuries, she exported large quantities of com. Many canals were cut : the Namglio Grande was commenced in 1177, and completed in 1272 ; that of Pavia, though only recently put into its present complete state, was begun in 1359 ; that which runs through Milan, in 1440, and finished in 1497 ; those of Bereguardo and the Martesana were begun in 1457 ; and that of Paderno in 1518. These canals, and the general character of the land, give to the internal districts of the plain a considerable similarity to Flanders. At the present time this fertile section of the Austrian empire, situated between the northern and the maritime Alps, and stretching from the frontiers of Piedmont to the Adriatic, comprises the most generaUy productive part of Italy. It is distinguished for its mulberries and silk, itB rice, Indian corn, and wheat, its Parmesan and its stracchino cheese. The vine, olive, chestnut^ and a great variety of fruits are raised. Potatoes and various vegetables are also grown ; and the inhabitants are in a better condition than in most parts of Italy, if Tuscany be not excepted. The farm-houses are often large, but incon veniently and scantily furnished, and, generaUy speaking, there is a great absence of completeness about the dwellings and in the implements of husbandry: many things are found out of order ; and we seldom fail to observe a prevalence of the make-shift system in agriculture, as weU as in other branches of industry. There is, however, a great variety in the pursuits, as weU as in the habitations, of the people. Those in the moiintain or hiUy regions hve and work very Austrian Dom. • Nature of the Country — Agriculture. 121 differently from those in the low countries of Lombardy and Venice. The flat countries derive their fortuity from the mountain regions which fill those great reservoirs the lakes of Maggiore, Como, and Garda with the water which is carried downwards by the rivers, and serves to flood the rice-fields and other lands requiring irrigation. 1. The Mountainous Region comprises the high northern parts of the pro vinces of Bergamo, Brescia, and Como, and the province of Sondrio. The lower heights of the Alps consist of woodland and pastures. The wood is chiefly fir, larch, birch, oaks, and chestnut ; the pastures in the moimtain slopes and vaUeys. The herds (Bergami) ascend with their families, horses, and cattle to great elevations on the Alps during summer, and descend graduaUy, as is the case in Switzerland, when winter approaches, to the vaUeys and low country. Cultivation is attended to with great labour on the southern decli vities of the mountain region ; the ground being formed in terraces, and the earth frequently carried up to supply what has been washed down by the rain. The vine is cultivated on the slopes or terraces. Walnut and mulberry trees are also grown. Common fruits, some hemp and flax, barley, rye, Indian corn, buckwheat, millet, potatoes, common and kitchen vegetables, are ah grown, though not in great abundance. Wax and honey are coUected ; the latter, especiaUy that of Bormio, is delicious; The heritage of families is subdivided, even to the measure of a few yards : the ground is covered with landmarks. These properties are often subject to the devastations of the torrents, which destroy houses, bridges, and roads : they have in general a poor sandy sou1, or a clayey bottom degenerating easUy into marsh. Marshy grounds occur at the upper and lower extremities of the lakes. The wines of this region are exported to Switzerland and the Tyrol. They are said to improve when sent to the north, and to deteriorate when brought down to the flat country. Calves, kids, lambs, small goatB, milk-cheeses, and the rich cheese caUed stracchino ; butter and honey ; fire- wood and charcoal ; walnut, larch, and pine timber ; granite, marble, slates, and bricks ; iron, steel, arms, agricultural and smiths' implements ; clothes, and some hemp ; and ah the commodities which the inhabitants of the high country export, are exchanged with those of the Milanese, and other low countries, for the produce and fabrics of the latter. 2. The Littoral Region comprehends the districts of Gravedona, Dongo, Bellaggio, Menaggio, BeUano, Lecco, and Erba, in the province of Como ; Lovere and Samioo, in Bergamo ; and Iseo, Gargnano, Salb, and Dezen- zano, in Brescia. The littoral parts of the lakes (riviere lacuali) belong to the elevated region, and form the sides of high mountains, whioh shelter them hi a great measure from the cold winds. They are exposed to the warm air from the S., and from the lakes ; they are rarely subject to frost or snow, and in these dis tricts the climate is much more temperate than on the hills and plains situated in a lower degree of latitude. The lemon is cultivated in a few places, not only for ornament, but for profit. These districts produce much wine and Bilk ; the country is covered with vfllas and gardens, adorned with cypresses, magnolias, or with acacias : on the rocks the Agave americana (aloe) grows ; but, in proceeding a httle into the country, in some places there are rugged bills and pasture grounds, — in others, torrents, forests, and all the sterility of the mountain region reappears. Properties are much divided on the Lake of Garda (district of Gargnano) ; a few yards of ground set apart for the cultivation of lemons suffice to main tain a whole famUy. The peasants are, properly speaking, gardeners. In this district are almost entirely produced the 11,800,000 lemons and the 40,000 lbs. of laurel oil which are due to the province of Brescia. N. Italy— 1852. a 122 Nature of the Country — Productions. Sect, ill. The lemon-trees are sheltered in winter and cold weather by sheds, which cover them. This region is chiefly dependent on the former for timber. The cultivation of the mulberry is greatly extending, and that of the olive decreasing. It must be noticed that for several years the mulberry has by degrees sup planted the olive, because the product of the mulberry-tree is more constant, and the time of crop less distant, whilst with the ohve there are alternate years of abundance and scarcity. The ohve crop is gathered towards the end of the year, and remains long exposed to accidents. In the province of Brescia, within these last 36 years, the production of silk has increased from about 1,900,000 lbs. to more than 3,000,000 lbs. ; that of oil has diminished from 400,000 lbs. to 180,000 lbs, 3. Hilly Region. This region extends, forming a rather narrow belt of country, immediately N. of the low country, along the upper parts of the provinces of MUan, Como, Bergamo, and Brescia. The chief productions of the hill country are the finest sUk, wines, corn, maize, panico, millet, chestnuts, and fruit, besides vegetables. The declivities facing the N. have the most elevated summits, and are covered with forests. In the environs of Como (Travernerio, Geronico) are great pine forests. Cypresses are very frequently found. The water in some places is scarce, and the cultivation of the fields, even in the great vaUeys, is neglected. The properties are less divided than in the mountain region ; still they are always split into smaU stewardships (Massarie), of the value of from 15,000 to 20,000 francs.' Few. peasants are proprietors; the greater part are simple tenants, and pay in kind. They keep cows and bulls, but milk, cheese, and butter are scarce : part of these articles are introduced from the mountains, and part from the low country. There are few goats and sheep. The inhabitants attend principaUy to the cultivation of silk, and with the money gained from this production they provide themselves decently with the necessaries of life. The houses in general are large, weU aired, and clean, which they owe chiefly to the use these rooms are put to in rearing silk-worms, as the. worms are always more prosperous in good apartments. Here, as everywhere in the Lombardian provinces, the abodes of the peasantry are built of brick with tiled roofs. Villages, hamlets, and isolated houses, with httle intervening space, are spread about even on the back of the mountains, and are connected by carriage- roads, made at the expense of the proprietors and of the communes. The inhabitants are hospitable, and crimes are rare among them. There are quarries of marble ; also quarries of freestone and clay beds. The climate is salubrious, mild, and free from fogs. HaU-storms are frequent. In this region there are often clear days, when in the adjacent flat country the sun is clouded. , The wines of Montosabio and Montorfano are highly extoUed, but they are seldom prepared with sufficient care for exportation. 4. The upper flat country comprehends part of Somma, Gaharate, Busto, Guggionno, Saronno, Barlassina, Desio, Monza, and a part of Vimercato, in the province of MUan ; VerdeUo, Treviglio, Martinengo, and Romano, in Bergamo ; part of Ospitaletto, Castiglione, and Montechiaro, in Brescia ; Canneto Asola Castel Goffredo, and RoverbeUa, in Mantua. ; This region is traversed by gentle undulations which branch from the hiUs • siliceous earth prevaUs, and the soU is in many places dry, and not of natural fertUity. .The dry districts are often to a great extent covered with heath and other plants common to barren lands. There are stUl remaining forests of oak pine, and chestnuts. c Austrian Dom. Nature of the Country — Productions, 123 The subterranean -waters are very deep, and the weUs, for the greater part, are Borne hundred feet under ground, chiefly in the environs of GaUarate, Saronno, and Desio. The peasantry, when they have not some canal of water in the neighbourhood, are obliged to coUect the rain-water in tanks, caHe&foppe, or large square ditches embedded with a clayey stratum, which contain the ram-water for the use of the cattle, and wliich in dry weather becomes green and unhealthy. The ground is cultivated in wheat, rye, Indian com (which last suffers much from the drought), a httle buckwheat, panico, miliar,, colza, melons, and, above all, in mulberry and fruit trees, chiefly peaches. In situations near the water the apple-tree flourishes. Meadow land is obtained by means of artificial irrigation. Asses are much used ; few or no goats are maintained. The peasants are less active, less cordial, and less cleanly than in the hUl country. Instead of massarie, or stewardships, as in the lulls, it is customary to have pigionanti, that is, tenants who pay a rent in money for the house, and a fixed rent in kind for the ground. When in want of fodder and bedding for the cattle, the deficiency is made up by an abundant supply of lupins, colza, and with heath, which latter substance is collected for this pur pose ; it is cut from a portion of heath ground, and given as an appendage to a certain quantity of cultivated land. The inhabitants are much addicted to smuggling, and inclined to a licentious life, much more so than the inhabitants of the bills and of the mountains. 5. The low flat country comprehends BoUate, Gorgonzola, Melzo, Melegnano, and Corsico, in MUan; the provinces of Pavia, Lodi, Crema, and Cremona; Orzi-Novi, Verola-nuova, Bagnolo, and Leno, in that of Brescia; Marcaria, Bozzolo, Sabbioneta, Viadana, Borgo Forte, Mantua, Ostiglia, Lazarra, Gonzaga, Revere, and Sermide, in Mantua. A gravelly soU prevaUs also in this region ; but the same aridity does not exist as in the upper flat region. RUls of good water are easUy formed by digging a very moderate depth. FontaniU are semicircular excavations dug in the earth, in which are placed long tubs, from the bottom of which bubble up copious streams of water. The water flows from the fontanili into a channel or ditch, along wliich the water runs and irrigates the fields. These water- ditches are, when running in their course, increased by additional tubes from other springs. The fontanili abound chiefly in the MUanese. Water is also drawn from the rivers by canals. The smaUer canals, cavi and rugie, are innumerable, and were cut at different times to conduct the water to higher grounds. They often encroach on each other, mixing their waters, or avoiding them by means of bridges, canals, or by syphons, called salte di gatto. The waters are diligently measured by rules deduced from the law of hydro statics, which have passed into an habitual practice. The canals are provided with graduated doors, which are raised or lowered according as the case may be : they are termed incastri. The measure is caUed oncia,- and corresponds to the quantity of water which passes through a square hole, three MUanese inches high (an oncia of MUan equals two inches Enghsh) and four inches wide, open one inch below the surface of the water, which, with its pressure, determines a given velocity. Sometimes the same number of inches of water is given out by the day and the hour on different farms. The value of a property depends on the command, the conveniency, and the goodness of the water; if deprived of water, it would diminish in price. Hence the state of the waters is the object of local statutes, of diligent care and keeping. The best irrigation is that in the low lands of MUan, Lodi, and Pavia. In the country between MUan, Lodi, and Pavia, the cheese called in the country Grana is made. This is the cheese usually called Parmesan. Lodi.is G 2 124 Nature of the Country — Productions. Sect. III. the chief country of its production ; wlhle MUan and Pavia are celebrated for rice cultivation. In the eastern part of Lodi and Crema the finest flax is cultivated, and ex ported to foreign countries by way of Venice and Genoa. In parts of Crema ¦rice is also cultivated. In the Cremonese country, where there is but httle irrigation, the cultivation of various kinds of grain, flax, mulberry-trees, and the vine is chiefly foUowed. In the low parts, along the Po, towards Casal maggiore, wine is the principal production ; cream of tartar is prepared there from the deposit in the wine- casks. The flax of Cremona is shorter and coarser than that of Crema. In the higher parts of Mantua there are extensive vineyards, and in the low grounds rice is extensively cultivated. The inhabitants of the low country are less inclined to be industrious, or to engage in commerce, than in the upper part of the country. Hence in the lower countries manufacturing industry is greatly restricted. Nevertheless, in the low Cremonese territory much linen cloth is manufaetureoV mostly at Via- dana; as also at Pralboino, in the province of Brescia. Some classes of the peasantry, and chiefly those who tend large flocks, often change masters, and show httle settled conduct. In the Milanese districts the rich cheese caUed Stracchino is made from cream and unskimmed cow's milk. This cheese is also exported. The best is made at Gorgonzola, 12 m. E. of MUan. Silk. — The culture of the mulberry, and the rearing of the silkworm, have, in commercial value, become the most important braneh of Lombard industry. The white mulberry grows in plantations, and also in rows, surrounding grounds under other culture, over a great extent of Lombardy. In most places it is poUarded, and is a dwarf thickly-leaved tree. When aUowed to grow naturaUy it attains a tolerable size. AU things considered, Italy ranks higher for her sUk than any other nation. She supplies her own extensive manufactures, and exports largely, and her prices fix the universal prices of the artiele. In thirty years the production has grown from a small value to the enormous sum of 300,000,000 Austrian livres (more than 10,000,000/.), of which the Lombardo- Venetian provinces furnish one- third. In 1800 the whole produce of the Lombardo- Venetian kingdom did not exceed 1,800,000 lbs. of silk. The then principal market for Itahan silk, that of Great Britain, was closed by the Berlin decrees ; and the new demand from France did not at aU make up for the loss of the Enghsh market. Itahan sUks sometimes found their way to England through Turkey, Russia, and Sweden ; but the difficulty of obtaining them drew the attention of the English manufac turers to the oriental silks. Nevertheless, when peace came, the sUk production of Italy received a great impulse : from 1800 to 1814 the average importation of silk into London was 786,280 Italian lbs. of Itahan silk, and only 538,483 of Asiatic sUk; while from- 1815 to 1834 the average of Itahan sUk imported was 1,446,519 Italian lbs., and of Asiatic silk 1,572,051 lbs. In the progress of 20 years the silk produce of the Lombardo-Venetian provinces has trebled. The value of the Bilk exported from them now amounts to nearly 5,000,000?. sterling, Factories for winding, throwing, and spinning silk are spread from the E^ side of the Lago Maggiore to the Lake of Como — from the Olona to the Serio •" and this district is distinguished for the superiority of its silk. It supplies the manufactures of MUan, and those of Como, which stand next in rank to those of MUan. After these, those of Brescia, Cremona, and a part of Mantua are most important. Next come the provinces of Lodi and Pavia, which are less adapted, from their low and damp situation, for producing sUk. The atmos phere is less friendly to the worm, which seems to work more delicately in the pa,nicknamed Caradosso, was a Milanese, the contemporary of Cellini, and he earned the deserved praise of the jealous Tuscan.. He also ¦professed as a die-sinker, in wliich art he exceUed, and as an architect. Foppa was not handsome : and a Spanish grandee having in contempt caUed bim " Ca-ra d'osso," or Bear's face, he very innocently adopted the name, without understanding it, perhaps thinking it a compliment (just as the Cadiz captain told Baretti that in England he was always in a friendly way eaUed Rspani- monqui), and it entirely superseded his ¦proper name. We have incidentaUy adverted to the Ambrosian ritual. It is in the West almost the only national liturgy which has been spared by the Roman Church, and is probably much older than the Roman Liturgy. The Rito or Culto Ambrogiano is in use throughout the whole of the ancient archbishopric of MUan. Several attempts have been made to introduce the Roman service in its place, but they have been foUed by the attachment of the clergy and people to their ancient rites ; and even in the present age " noi Ambrogiani" is an expression employed with a certain warmth of national feeling. The ser vice is longer than the Roman service. The Scriptures are not read from the Vulgate, but from the ancient version caUed the Italica, which preceded that made by St. Jerome. No musical in strument is permitted except the organ ; the melodies of modern music are rarely introduced, and the monotonous chant maintains its supremacy. There are many minor differences in the ceremo nies which are anxiously retained, ex tending even to the shape of the censers or turiboU.A species of tunnel connects the Duomo with the Archiepiscopal Palace. Annexed to it is a workshop belonging to the fabric, in which is the model, Or rather the wreck of the model, of one of the plans for completing the front of the Duomo. It is so large that a man can stand up in it ; but it is sadly broken and neglected. According to this plan the front would have had a noble portal of Gothic arches, not' un like Peterborough, and much more ap propriate than the present front. There are many churches besides the cathedral deserving notice. Many are highly interesting from being works iof considerable antiquity, and specimens of early styles ; or from their connexion with the events recorded in history ; :or for the works, more especiaUy in fresco, which they contain. As antiquities, however, some of them have lost their interest by being modernized, particu larly the inside ; and this seems to have been done very much at one period, probably about the time of St. CharleB. The notices of such of the churches as seem worthy of being examined are here arranged according to the divisions of the city, by reference to its gates. AU those which stand in one ward qv division are placed together, beginning with those in the Porta Orientale divi sion, and proceeding round the centre of the city from E. to W. CHURCHES OP THE POP.TA OBIENTAXE, San Carlo Borromeo, buUt by con tributions raised amongst the inhabit ants of MUan after the first invasion of the cholera, from the designs of Amati. It is a very extensive buUding, with a fore-court or atrium, and a rich Corin thian portico. The first stone was laid on the 29th of Dec. 1838. The dia meter is 105 ft. ; the height 119 ft. 10 in., and with the lantern 149. ft. 7 in., dimensions greater than those of the churches of Possagno, Ghisalba, and Turin, built on a similar design Austrian Dom. R. 20. — Milan — Churches of the Porta Orientale. 153 and inferior only to those of the Pan theon, from which it differs by having ehapels. In one of these is to be placed a group of 9 figures larger than life, by Marchesi, called the Venerdi Santo. The old church of the Servi near it con tains some good paintings of Nuvolone, of Borgognone, Crespi, and the Magi, 1 by Luini. In the'second chapel is a lunette in fresco, said to be the work of Gaudenzio Ferrari. Sta. Maria della Passione. Opposite to the end of the Stradone, and between the Porta Orientale and Porta Tosa, stands this church, bearing this inscrip tion : " Amori ed dolori Sacrum." It Was, together with the adjoining mo nastery, formerly belonging to the La- teran Canons, buUt by Daniel Birago, a MUanese, Archbishop of MytUene, in 1485. The fine cupola was raised in 1530, from the design of Solaro, called " H Go bbo." Its height from the pave ment is 160 ft. The facade was added in 1692. It is*heavy and overloaded, but contains 3 fine bas-rehefs. The Scourging of our Lord — the Crowning with Thorns — the Entombment. The interior is divided into a nave and two aisles, and the original design of a Greek cross has been altered into a Latin cross, with 8 chapels in each aisle. The length of the church is 318 ft., its width 78 ft., and including the chapels 136 ft. On the rt. hand, at the end of the transept, is a Crucifixion, by G. Campi ; the roof above it is painted in fresco, by bis brother Antonio; near this are the tombs of the two Biraghi, a work of AndreaFusina, rising in 3 di visions. It bears bis signature anddate, "Andreas Fusinae, opus, mcccclxxxxv," and is the only specimen which can certainly be attributed to this artist, 'almost unknown, but who was amongst the best sculptors of Lombardy. Cicog- nara, speaking of this monument, says, _*' its general proportions, the grace of its ornaments, the beauty of the several parts, all are in the best taste and the utmost elegance." On the 1. hand the baptistery contains the supper of San ¦Carlo, by Daniel Crespi; the first chapel, a St. Ubaldo, by Bianchi ; the fifth, a St. Francis, by Camillo Procac- cini; the last, Christ going to Calvary, a work of the school of da Vinci. In the principal chapel is a Last Supper by Gaudenzio Ferrari, and Christ in the Garden, one of the best works of Salmeggia. The FlageUation, the Re- Burrection, and the long pictures on the pUasters of the high altar are also by him. Much expense has been bestowed upon the high altar ; the ciborium is of pietra dura ; and behind it is a paint ing, almost a miniature, upon marble, by Camillo Proeaccino, representing the Deposition of our Lord. The principal ornament, however, is the altar-piece, by B. Luini, in his first manner : it is a Pieta, of which the arrangement is rather Bingular. The Virgin is bending over the body, the other Marys on either side ; each of the 3 in a different atti tude, all expressive of grief. The doors of the organ are painted in chiar' -oscuro by Crespi and Carlo Urbino. Those on the rt.-hand side are by Urbino. By Crespi also are the smaU pictures of the Four Doctors of the Church, and the 8 pictures fixed to the great pillars, and representing the History of our Lord's Passion. The interior of the cupola is painted by Panftlo Nuvolone. The sa cristy is a noble apartment. In the lunettes are paintings of the saints and prelates who have belonged to the order ; and the Sacristan will not be satisfied unless you look at the very beautiful parements d'autel, worked by the young ladies of the Guastaha esta blishment, a great pension for noble families. Here is the monument placed by Trissino over the grave of his in structor, Demetrius Chalcondyles, one of the learned Greeks who, lingering to the last amidst the crash of their ruined empire, found a refuge " in hospitable and aihniring Italy." The monastery connected with this church has, since 1808, been occupied by the Conservatorio di Musica. San' Pietro in Gessate (just out of the Borgo di Porta Tosa). The latter word of this name is that of a famUy who founded here a monastery for the Umihati, which, in 1436, was trans ferred to the Maurini. The interior, consisting of a nave and two aisles H 3 154 Route 20. — Milan — Churches. Sect. Ill, with Gothic arches supported by ino- nolith columns, preserves its original construction unaltered. The date of the present arrangement of the choir is 1640. In the third chapel, on the rt., is a Madonna of Luini. D. Crespi painted the S. Mauro, to whom persons afflicted with the sciatica made and performed vows in this church. The actions of the saint at the sides are by Moncalvo. The frescoes in the last ehapel but one, on the l.-hand side, re presenting St. Ambrose as pro-consul, and as archbishop, are attributed to B. Zenale and B. Buttinoni of Trevig lio. The Madonna, in the middle of six compartments of very ancient paint ing, is by Bramantino or Vincenzio Foppa. The monastery adjoining this church was erected in 1509, and is in the style of the school of Bramante : it has 2 cloisters, with Doric columns, with arches and a frieze of brick. It is now used as an Orphan Asylum. San' Stefano in Broglio, a very an cient basilica, rebuUt by Archbishop Visconti, the successor of San Carlo, and completed by Cardinal Federigo Borromeo. It was also caUed St. Zac- caria alia Ruota, from a species of wheel of terra-cotta, with the inscription " Rota sanguinis fidelium, " formerly fixed against a pillar, and afterwards deposited in the sacristy ; but recently it has been again concealed or removed. Perhaps from the fear of exciting ridi cule or scepticism, the Roman Catholic priests are often very shy of showing similar objects. Near the pillar is a species of rude urn, now buried in the pavement up to its rim, and covered with a grating. This is caUed the "Pietra degli innocenti." Who the innocents were is a subject of great dis cussion, and so also with respect to the "rota:" some say it commemorates the martyrdoms in the earliest ages of the Church. In the modern history of MUan an important fact is connected with the " Pietra degli innocenti." Hard by perished one to whom that name did not apply, Galeazzo Maria Sforza, slain De cember 26, 1476, by the three conspira tors — Carlo Visconti, Girolamo Olgeato, and Giovann' Andrea Lampugnano.' They were instigated by Cola Montanoi a man of letters, who, fanaticised by the study of ancient history, urged his dis ciples — and he had many — to imitate the examples of those who had perished in the extirpation of tyranny. Galeazzo, besides ah the ordinary and extraordi nary vices of a despot, was possessed by that demoniacal insanity of cruelty which seems to have been a permanent moral epidemy amongst the Italian This church was judiciously restored in 1829. The statue in bronze on the rt.-hand within the church stood, untU 1801, in the piazza in front of the church. The rich Corinthian chapel to the rt. of the high altar was buUt by Cardinal Trivtdzio, governor of MUan, 1656: it was restored in 1844. The baptistery has been lately fitted up with modern stained glass by Oldrino, a ma nufacturer in Milan. The ancient cam- panUe having faUen down, the present one was built in 1642 : its height is 146 ft. Close to, and at right angles with, St. Stefano, stands San' Bernardino del Monte, a small sepulchral chapel, entirely waUed with skulls and bones symmetricaUy dis posed. Some say that they are the re- niains of the Catholics slain by the Arians in the time of St. Ambrose. They are not, however, considered as rehcs ; and the exhibition of these gloomy tokens of mortality is merely intended to excite devotional feelings. Even in our present age this end seems to be obtained ; and the dark and awful sanctuary is always crowded with an earnest congregation, principaUy, yet not whoUy, composed of the lower orders. The oblations to masses amount an nually to 10,000, and in the year of the cholera were 14,000. The open space before these two last- mentioned churches is the Verzaro, i. e. the market for vegetables (verzee) and fish. CHUECHES OP THE POETA EOMANA. San Satwo, in the Contrada del Fal cone, surrounded by houses, is without Adstrian Dom. R. 20— Milan— -Churches of the Porta Romana. 155 facade or choir, but is considered a very graceful budding. The original church was buUt in 869 by Archbishop An- spertus on the site of his own house : the only remains of this is the chapel in the l.-hand transept, with four columns of different materials and dimensions, and with different capitals, aU taken from earlier buUdings, as was then usual. The present church was buut about 1480. It was intended to be in (the usual shape of a Latin cross ; but, from want of space, tjhe choir is want ing, and its place is supplied by a per spective painted on the waU. This painting is as old as the church, but it has lately been retouched and refreshed. It can hardly be called a work of art, but, as a trick, the deception is mar- yeUous. Annexed to the church is a smaU octagon sacristy, by Bramante .- it is highly praised by Vasari. The bas-rehefs, arabesques, and sculpture, are by Caradosso, and are very beau tiful. San Sepolcro (close to the Ambrosian library) retains its ancient towers buUt in the 11th century ; the rest is modern. It contains an exceUent Luini, our Lord prownod with Thorns. Many other figures are introduced; perhaps the members of some pious fraternity or guild. This church was the centre of the congregation of the Oblati, a body of priests founded by San Carlo, in order that they might, by stricter lives and more exemplary performance of their duties, check the Protestant Re formation. The congregation has now ceased to exist. San Nazaro maggiore, in the Corsp di Porta Romana. This basUica was founded by St. Ambrose (a.d. 382), and dedicated to the 12 Apostles. It was burnt in 1075, enlarged upon its being rebuilt, and again by San Carlo : the two principal chapels were added in 1653. The most striking feature of the church is the vestibule by which it is entered. This is the sepulchral chapel' of the Trivulzii, which contains a most interesting series of monuments of this Ulustrious family. They are remark ably simple, figures as large as hfe, in the armour, dress, and garb of the times, true portraits in marble, reposing upon their sarcophagi. — Antonio (d. 1454), the father, of the great Trivulzio, who, upon the death of the last Sforza, turned the dubious scale in favour of the Vis conti. — The great Gian' Giacomo, (died 1518,). Marquess of Vigevano, his laurel- crowned head pillowed upon his corslet, with the inscription " Johannes Jaco bus Magnus TrivultiusAntonn Alius, qui nunquam quievit quieseit, tace." This was the Trivulzio who, banished from Milan,returnedatthe head of the French army, and may be said to have been the main cause of the ruin of his country. Those who had profited by his treason respected him not : an affront received from Lautrec led him, at the age of 80 years, and in the depth of the winter, to seek an audience of the heartless Francis I. It waa denied. Trivulzio placed himself in the way of the king. " Sire," said he, " hear a man who has been 40 years in the service of your crown, and who has fought 18 battles against your enemies." The "chival rous monarch" passed on. Trivulzio sank under fatigue and anxiety, and feU siek. The " gaUant monarch, " the " father of letters," &c. &c, sent a " gracious message" to the old broken hearted warrior; but he died a few days after; and was buried, as the French say, at Bourg de Chartr,es, near Mont Clery. The marechal was the founder of the chapel ; and if he erected, as some believe, his cenotaph in his life time, it must become a question which kind of epitaphs are likely to be mos^ true — those which others write for us, or those which we write for ourselves. That he endowed the chapel is certain,. as appears from an inscription yet re maining. But his grandson seems to claim the monument. — The two wives of the Marquess, Margareta CoUeoni, died 1488, and Beatrice d' Avalos, sister of the Marquess of Pescara. — Gian' Nicolo, died 1512, the only legitimate son of the Marquess ; as zealous as his father in the interests of France, and who, had he Hved, would probably have equaUed him in military fame. — Paula Gonzaga, the wife of Giannicolo ; Ippo- lita, Luigi, and Margherita — maiden, 136 Route 20. — Milan — Churches of the Porta Romana. Sect. III. boy, and infant, chUdren of Giannicolo, ah lying side by side ; and, lastly, Gian' Francesco, died 1573, the son of Gian nicolo, who served both Francis I. and Charles V., changing sides as was most convenient to him. It was he by whom these monuments were erected, as commemorated by him in an inscription which seems to apply to the whole series. All the monu ments, however, are cenotaphs, the real place of sepulture being in the cata combs below. The chapel is said to be designed by Bramante, and altogether iB one of the most remarkable of its kind in MUan. But the tombs are placed so high that you cannot make out the details, excepting by using an opera-glass. The church is strangely long and broad in its proportions. In the cupola and four spandrUs are fres coes by Vitale Sala. There is a very fine picture by Lanimo in the church. A good fresco, representing the Mar tyrdom of St. Catherine, in the oratory of St. Caterina della Ruota, adjoining the church, was executed by the same painter in 1546. In the principal com partment, on the rt. hand, and near a pUaster, he has introduced himself be tween Gaudenzio Ferrari, and Delia Cerva. San Antonio Abate, buUt in 1632, from the designs of F. Richini. It con tains 7 chapels richly ornamented with marbles and paintings. The vaulting" of the nave is painted in fresco, by Carlone; the subjects relate to the Crucifixion and the Miracles of the Cross. The choir is painted in fresco, by Moncalvi : the subjects are taken from the history of St. Paul the Hermit, and St. Anthony the patron saint. In the first chapel on the rt. hand the pic ture of St. Andrea Avellino is by Cerano. The Nativity, in the 2nd chapel, is by B. Campi, and another further on by one of the Caracci. In the principal chapel on the 1., Christ bearing his Cross is by Palma GioVane. In the chapel of the Annunciation are various works of G. C. Procaccini. St, Fufemia, in the Corso di San Celse, with an Ionic vestibule, contains a picture of Marco d'Oggiono. The death of St. Eufemia is asserted to be J by Titian. On the S. side of the open space in front of St. Eufemia stands S.'PaoloC The side towards the piazza, with Co rinthian pillars above coupled Doric, projecting two-thirds from the walL/iB from the design of Alessi,mid. is praised. ; The front, which is in bad taste, con tains a bas-rehef over the door, la Ma donna di Loreto, in the tympanum, and some long perpendicular compartments with emblems, beautifully executed. The interior is divided transversely by a waU rising as high as the cornice, the further part being occupied by the Augustin nuns caUed the Angeliche.' ' San Celso, in the Borgo San Celso.""'1 In a field caUed " ad tres moros " St. Ambrose, in 396, discovered the bodies of St. Nazarus and Celsus, martyrs. St. Nazarus he dug up and deposited in the church of the Sanf Apostoli :" but over San Celso, whom he let lie r where he found him, he built a smaU church, which was afterwards enlarged: and then restored in 1651. Kris now partly destroyed. There remains the choir, an ancient painting in a lunette, and a door with capitals and symbolical ornaments of the 10th century. The campanUe is of the 14th century. Sta. Maria presso San Celso. Avery splendid buUding, one of the richest and finest churches of MUan. According to tradition, St. Ambrose,; on the spot on which he found the re mains of St. Nazarus and St.. Celsus^;. placed a picture of the Madonna, who, on the 30th December, 1483, appeared there. The miracle drew so many per- -: sons to the smaU church which had. been buUt there in 1429 by Filippoc Maria, that it was resolved to erect-it' splendid church on the spot, and this was commenced in 1491 from the plans- of Bramante. The front was begun by* him, or, as others say, by Gobbo Solarb% carried on and altered in 1572 by Mar-' tin Bassi, and completed by Alessi. of Perugia, to whom the present design is: prinoipaUy due. The sculptures of the, facade are remarkable for beauty. The Adam and Eve, the Annunciation, and the bas-rehefs of the Adoration . of the Austrian Dom. Route 20.— Churches of the Porta Ticinese. 157 Magi and the Fhght into Egypt, are by Stoldo Lorenzi, a Florentine. The rest are by Annibale Fortana, a MUanese. They lived towards the latter half of the 16th century. The capitals of the columns of the interior are of bronze. The rich organ is decorated with 2 statues by Fontana, and supported by caryatides by Bassi. 12 statues stand round the 12-sided cupola. The pen dants, and the lunettes beneath, were painted by Appiani in 1797. Below these is a statue of St. John the Bap tist, by Fontana, and two others by Lorenzi. The 4th space is occupied by the altar, in wliich the miraculous figure is preserved behind 2 smaU sUver doors. The altnr is rich in sUver and gold, sculptured by Fontana. The wood work of the staUs is by Taurini. Ac cording to the original design there should only have been 2 altars, but several have been added. In the 1st on the rt. hand is a Deposition by &. C. Broeaccini; the side pictures are by Nuvolone. Next is the Martyrdom of St. Nazarus and St. Celsus, also by ; ever, now again scaling off, not very rapidly, but incessantly ; and this is, perhaps, the last generation whose eyes Austrian Dom. Route 20\'-*Milan— Churches. 169 •will behold its beauties, even yet so transcendent in then," irreparable decay. -' The foUowing are the observations of 'the late Professor Phillips, R.A., upon its present state : — "' ¦ " Since there have been given to the public many contradictory reports con cerning the condition of this important picture, it may not • perhaps be un- pleasing to you, should I occupy a little of your time in reading a few *emarks, extracted from notes I made before it, when at MUan, in 1825. •Mr. HUton and myself examined its condition with careful and minute at- , tention, and could with difficulty find a portion of its original surface. The httle we did find exhibited to us an ex ceedingly weU prepared ground, smooth in the highest degree, and the painting upon it free, firm, and pure. " TUl this time ah paintings on waUs had been wrought in fresco ; but oU painting, which had become known and practised in smaUer works, better suited da Vinci's mode of proceeding, as it admits of retouching or repeat ing : and, unfortunately, - he adopted it here. He was not, however, the first, who had employed it in that ¦way ; Domenico Veneziano, and one or two others, had made tempting examples for him, and thus led to a result so unfavourable to his repu tation. "It would appear that the vehicle which he employed, whatever it were, had no union with the ground, and therefore the surface cracked ; and ¦whenever damp found its way through those cracks, and between the painting and the ground, smaU parts of the ' former were thrown off, tiU at length large blotches were formed, exhibiting the white preparation beneath. These have at various times been filled up ; and it had been weU if with that filling up had rested the efforts of the re storers. But their attempts to match the remaining colours failing, as I sup pose, they have taken the shorter me thod of cure, by repainting the whole Surface of the part they were required to mend ; so that," at the present time, httle or nothing, 4t -may- be said, re- N. Italy— 1852. mains of Leonardo, save the composi tion and the forms generaUy. " Of the heads, there is not one un touched, and many are totaUy ruined. Fortunately, that of the Saviour is the most pure, being but faintly retouched ; and it presents even yet a most perfect image of that divine character. : Whence arose the story of its not having been finished, it is difficult now to conceive ; and the history itself varies among the writers who have mentioned it. But perhaps a man so scrupulous as he in the definement of character and expres sion, and so ardent in his pursuit of them, might have expressed himself un satisfied, where aU others could see only perfection." — Phillips' Lectures, p. 65. The name of some one apostle has been assigned to each of the figures, though, with the exception of the prin cipal group, these is nothing to identify- any one figure. As they are always referred to by these names, it may be useful to point them out. The stand ing figure to the extreme left of the spectator, and on the right of our Sa viour, is St. Bartholomew ; then the heads come in order, thus : St. James the less, St. Andrew, Judas, St. Peter, St. John. On the left of our Saviour, beginning with the head next to him, are St. Thomfts, with the forefinger raised, St. James the greater, St. Philip, St. Matthew, St. Thaddseus, St. Simon, They are divided into groups of three. very skilfully connected, and the ani mation shown in their countenances and movements arises from our Saviour having just said, "Verily I say unto you, that one of you shall betray me;" upon which they "began every one of them to say unto him, Lord, is it IP " The finest group is that of St. John, Judas, and St. Peter. Judas ' alone of the apostles expresses no horror or sur prise, and makes no inquiry. St. Peter starts up to urge St. John to ask our Sayiour who the guUty party is, and the quickness of his movement is in dicated by Judas, who leans forward to allow him to speak to St. John, having upset the salt-cellar with his hand. A more detailed examination of the com position may be seen in Kugler, whos^ I 170 Route 20. — Milan — Leonardo da Vinci's 'Last Supper.' Sect. III. remarks are borrowed from Gothe's review of Bossi's work. The foUowing are some remarks by the late Professor Phillips, R.A., on the original colour ing and drawing. " Here and there small patches of colour appear, which show its original depth and clearness of tone ; and that what is now grey was originaUy very dark, as the archi tecture behind the head of our Saviour, and a part of the tapestry. The waU of the background on the rt. hand was originaUy a plain light and warm grey, and the tapestries not at aU like our copy, but of good damask ara besque pattern ; but it has been most heavUy repainted with a red pattern on a green ground. The pattern of the table-cloth, was of a blue colour, and remains in a few small parts, showing it to have been of an ultramarine al most pure. One may judge from that of the brilliancy of hue it originaUy had. The blue sleeve of Judas was also ul tramarine, and that of St. Peter is a hlac of it, mixed with lake, and a httle white. I found the line of the forms not bo grand as I had expected, but partaking of that littleness of line which I am now confirmed in conceiving to be a characteristic of his hand. These forms, I suppose, must have remained in general unchanged, as the assistant destroyers must have confined then- work within the original boundaries of the figures, and they have none of the fulness of his successful rival Michael Angelo. Fulness of expression to mi nuteness, and suavity, were the elements he sought to develop, and succeeded. The head of our Saviour is quite full of these. The hands are not weU drawn, that is, not with style : that of Judas which holds the purse is tolerably en tire, the other is destroyed and re painted. Those of our Saviour are quite gone, one by time, the other by 6ome wretched dauber, employed sense lessly a, few years ago ; and he repainted it smoothly in the most duU and miser able manner. The perspective effect must have been extremely fine. I have no doubt either, from what remains of the colours, that it was bright and very • %\ Ponte Decimo. ! 2a} Genoa. (Rte. 12.) Austrian Dom. Route 22. — MUan to Lodi and Piacenza. 203- ROUTE 22. MILAN TO LODI AND PIACENZA. 6£ posts, 54 m. Milan to Lodi, actual distance 24 m. Lodi to Pia cenza, about 30 m. Leaving MUan by the Porta Romana, the road is for most part of the way of the same character as that to Pavia; in some parts exceedingly marshy, in tersected with numerous canals and streams. It is perhaps the least agree able side of MUan, If the traveller is eoming from the S. he wiU miss the festoons of the vines, which, even before he reaches Lodi, will have almost en tirely disappeared. The maize, though beautiful in flower and in ear, is, when ripe, arid in appearance and ungraceful. The rice plantations, below the level of the road, and where the cultivators labour in black mud above the ankle, convey the idea of unhealthiness ; but the meadows are beautiful. Chateau- vieux says, " The cultivation of rice in Lombardy is remarkably unhealthy ; sickly labourers are seen walking along the banks to superintend the distribu tion of the water. They are clad like miners, in coarse clothing, and wander about, pale as speotres, among the reeds and near the sluices, which they have barely strength to open and shut. When crossing a canal they are fre quently obliged to plunge into the water, out of whieh they come wet and covered with mud, carrying with them germs of fever, which invariably attacks them. - They are not the only victims, for the harvest labourers seldom gather in the crop without being seized with rigors, the air in aU the environs being poUuted by the stagnant waters. The cultivation of the rice-planters is con sequently restrained by law, and they are prohibited to extend its culture beyond prescribed limits." The road to Lodi is exceUent. This part of the country abounds in ancient churches. At a short distance from Porta Ro mana is the very ancient church of San Giorgio di Nosedo, annexed to what was the residence of the Arch bishop. The mansion is now an inn. The church was founded in 571, by Alboin King of the Lombards : it is stUl standing, and has the remains of a curious fresco. • About 3 m. from the Porta Romana and 1 J m. to the W. of the road stands the Abbey of Chiaravalle, a Cistercian monastery, suppressed in 1797. A oross road, which leaves the main road about a m. from the Porta Romana, leads to it, " This was the church of the first Cistercian monastery that was established in Italy. The Cistercian reform was first introduced by St. Ber nard, who was Abbot of Clairvaux in Franoe. In 1134 St. Bernard crossed the Alps to attend a councU at Pisa, and, on his way back, paid a visit to Milan. The citizens of Milan advanced seven mUes beyond their gates to receive him. His presence excited the most enthusiastic feelings ; and within a year after his departure a monastery was buUt at the distance of about four miles from the city, which was to be governed by St. Bernard's rules, and to receive a name from the parent institution. The monastery was inhabited in 1136, but it was not tUl nearly the close of the twelfth century that the church was completed. It is in the Lombard style, and deserves consideration, as an archi tectural composition, for the import ance of its central tower. The body of the fabric is left perfectly plain, and, in effect, serves only as a base for the leading feature of the design. The tower alone is enriched. Octagonal in its form up to a certain height, it becomes a spire above. Both the octagonal and spiral portions are en riched with Lombard gaUeries, wliich give an appearance of lightness, and attract the eye to that part of the buUding on which it is intended to rest. It is evident that the architect must have made the central tower his chief object ; and whenever an architect has had a pecuhar object, and has suc ceeded in producing the effect which he desired, his work deserves to be studied." — G. Knight. This monastery was the favourite retirement of Ottone Visconti, who died 204 Route 22. — MUan to Ixidi. Sect. IIL here. What is called bis tomb is stUl I shown ; beneath the inscription are shields of arms, amongst which are the fleurs-de-lys of France. In the cemetery which adjoins the church stUl remain several monuments of the powerful family of the Torriani, who selected this cemetery for their last resting-place. Here hes the great Pa- gano della Torre (who died 1241), the most distinguished of his race ; and near him repose several of his descend ants. The Torriani were at the head of the popular party, and, for two or three generations, governed MUan, keeping the nobles in bitter subjection. Having conspired against the Emperor in the year 1311, they were defeated, pro scribed, and banished; and by their fall made way for then- rivals the Visconti, who were at the head of the nobles. Here also is shown the tomb of the celebrated but ill-famed WiUiehnina, Her name passed into a once popular saying — egli ha da fare peggio che la Guglielmina. — She died in 1282, .and in her lifetime she was deemed a saint; but after her death is was discovered that she had been the foundress of a secret sect, whose tenets involved the most fearful blasphemies in doctrine, as well as the most abominable sins in practice. Her bones were taken up and burned, and her accomplices put to death. The cruelties inflicted upon them were most atrocious, and cast a disgrace upon the Church of Rome, which is not to be removed by proving that these individuals had adopted Manichsean tenets. . The country round this monastery was reclaimed by the labours of the Cistercians, who were in agriculture almost what the Benedictines were in literature. The Cistercians invented the plan of forming artificial meadows, called ltprati di Marcita," to which modern Lombardy owes so much of its prosperity, i San Donato. San Giuliano. 1^ Marignano or Melegnano. Here, on The 14th Sept. 1515, Erancis I. won, in the first year of his reien, the victory by which he acquired a transient and delusive glory. Having invaded the MUanese for the purpose of asserting his chimerical rights, he was attacked at Melegnano by the Swiss, to whom the defence of the Milanese territory had been intrusted. The battle was continued with great obstinacy during three entire days, and the Swiss were at length eompeUed to retreat in good order, but leaving 15,000 dead upon the field, a slaughter which, if we may judge by the feelings expressed by Ariosto, occasioned great delight to the Itahan heart : — " Vedete il lie Francesco innanzi a tutti, , Che cosi rompe a' Svizzeri le coma, Che poco res'a a non gli aver distrutti ; Si che '1 litolo mai piu non gli adorna, Ch' ustirpato s' avran quei villan brutti, , Che domator de' Principi, e difesa Si nomeian della Cristiana Chiesa." Canto xxxiii. 43. Cross the Muzza, one of the many canals of irrigation, with which this district abounds. The approach to Lodi from MUan is somewhat singular, from the height of causeway on which the road -is carried. "A fine avenue of planes borders it on either side. 1£ Lodi. (Inns .- II Sole, good, civU people ; L'Europa ; I tre Re, very : fair.) The original settlement of the citizens, Lodi Vecchio, is about 5 m. off, to the westward. It was founded by the Bon, and. having been colonised by Cneius Pompeius Strabo, the father of Pompey the Great, the citizens caUed it Laus Pompeia. Cicero eaUs it sim ply Laus. The conversion of Laus into Lodi shows how, by the employ ment of the oblique cases, the Latin language was corrupted into the modern dialect. The men of Lodi were the great and . constant rivals of the MUanese, who, in 1111, entirely destroyed the city. "The animosity between Milan and Lodi was of very old standing. It originated, according to Arnulf, in the resistance made by the inhabitants of the latter city to an attempt made by Archbishop Ecibert to force a bishop of his own nomination upon them. The bloodshed. Austrian Dom. Route 22. — Milan to Lodi — Lodi — Cheese. 205 plunder, and conflagrations which had ensued would, he says, fill a volume if they were related at length." — Mallam. After the destruction of Milan, the Lodigiani, who had fled to Pizzighet- tone, came (1158) before Barbarossa, as suppliants, weeping and bearing crosses, and requesting a home ; and accordingly he gave them a village then called Monteguizone, granting them investiture by the delivery of a banner. The spot is said to have been fixed upon by Frederick himself; it was defended by the river Adda, and lies in a tract of exuberant fertUity: thus arose the modern city, containing now up wards of 18,000 Inhab. The Lodigiani removed from their ancient city the rehcs of their patron saint, Bassianus, which they deposited in the Duomo, a fine Lombard building. The porch is supported by fine griffins; perhaps not only the design, but even a part of the materials may have been brought from old Lodi. This is cer tainly the case with respect to a very curious baBso-rUievo, representing the Last Supper, and which iB a remarkable monument of early Christian art, ante rior to the settlement of the Lombards. The eyes are of enamel. Some fine paintings in tempera are on the waUs near the high altar. They are by Guglielmo and Alberto di Lodi, and were covered up tiU within the last few The Incoronata, by Bramante, begun in 1476, is a very beautiful specimen of the Renaissance. It is an octagon, and contains some good specimens of the paintings of CaUsto Piazza, commonly caUed CaUsto da Lodi, an imitator, or, as some say, a pupil of Titian. The subjects are taken from the events of the Passion of our Lord, the Life of St. John the Baptist, and the Life of the Virgin : the heads have great beauty. It is said that some of the pictures were executed by Titian, who, passing through Lodi, gave this help to his pupU. The great Piazza, surrounded by arches, is fine of its kind. The entrance of the convent formerly belonging to the Padri dell' Oratorio is formed bv an arch said to have been brought from old Lodi, where it formed the entrance to the schools. It is inscribed Igno- raidim et Paupertati : neither the form of the letters nor the nature of the inscription sanctions its supposed anti quity. The terrible passage of the bridge of Lodi, and the heroic conduct of the young Buonaparte at the head of his grenadiers, May 10th, 1796, need no commemoration. The bridge is on the eastern side of the city, over the Adda. The Lodi district is the chief country for the production of the cheese usually caUed Parmesan. In the country it is caUed Grana. The territory from wliich the (misnamed) Parmesan cheese is produced is 20 m. wide from Pavia to MUan and Lodi, and double that in length from Abbiategrasso, near the Ticino, to Codogno, near the confluence of the Adda and Po. The cows set apart for this production are about 80,000. It is seldom found profitable to rear them in the country ; they come from the cantons of Unterwald, Uri, Zug, Luzern, and Schweitz. They are brought at the age of from 3 to 4 years, between October and March, and give milk abundantly for about 7 years. Nearly 11,400 are imported every year; the price of each is from 14?. to 15?. : the finest are valued in some years at 162. to 18?., and the highest price is from 19?. to 20?. After 7 yrs. they are sold, the most worn out, at about 21. 8s., the best at about 5?. 12*. The cheese produced from a cow is, on an average, 200 large pounds (342 lbs. avoirdupois) in the course of a year, which is weighed after six months. It is sold twice a year; that caUed la Sorte Maggenga (May lot) is that which is made between St. George's day and St. Michael's, 24th AprU to 29th Sept. ; the other is caUed la Sorte Invernenga (the winter lot), which is made between the 29th Sept. and the 24th AprU. The average price is from 92 to 100 fr. for every 100 large pounds (». e. from 3?. 13*. 8d. to 4?. for 171 lbs. avoirdupois). The total production of the year wUl be 16,000,000 large pounds (27,568,500 lbs. avoirdupois). After two or three years' seasoning in 206 Route 23. — Milan to Venice. Sect. III. the warehouses of the merchants, who are principaUy at Codogno, province of Lodi, and Corsico, province of MUan, the weight of the cheese is diminished 5 per cent ; then remain 15,200,000 large pounds. About the half compre hends two inferior sorts. The first of these sorts is cheese of a bad quahty ; the other inferior sort is of a good quahty, which from some defect in the shape cannot be exported, and is consumed in the country. The other half is exported. The quantity imported into Great Britain is very small ; the entire amount of cheese imported from Italy in the year 1841 was only 738 cwt. Three kinds of pasture are used for the cows ; viz. the marcito (or con stantly flooded meadow land) ; irri- gatorio stabile (the merely irrigated grounds) ; erbatico (rotative meadow grounds). The marcito consists in dividing the land into many smaU paraUelograms, sensibly inclined to one side. The water which fiUs the little canals amongst them overflows these spots slowly ; it spreads hke a veU over these spaces, and by the incli nation of the ground faUs again into the opposite canal. From this it is diffused over other parts, so that the whole meadow country is continuaUy flooded ; from which there is main tained a rapid and continual vegeta tion in the heats of summer and the frosts of winter ; at the same time no marshy weeds prevaU. The grass is cut five times a year ; and in some parts below Milan, in the meadows (along the Vettabbia), even nine times. When cut on the 31st May it is 32 inches high ; at every subsequent cutting it is always less — the second 10, the third 8, the fourth 6, &c. It is quite tasteless and insipid, and horses refuse to eat it, which proves the opi nion of many strangers to be errone ous, who attribute the fine taste of the cheese to the flavour of the pasture. The marciti meadows require a con stant supply of water ; when there is not enough, the simple irrigating sys tem is adopted ; the grounds are then watered at the interval of several days. The erbatico, or rotation meadow, alter nates with the cultivation of rice, grain, flax, Indian corn, and oats. 1£ Casal Pusterlengo, a good -sized borgo, where the road divides ; one branch leads to Cremona and Mantua (see Rte. 23) ; the other, which we pursue, goes on to Fombio S. Rocco and la Ca Rossa, near which last place are the respective custom-houses of Austria and the duchy of Parma. Shortly afterwards the Po is crossed by two bridges of boats, each joining an island to the shore. A short drive brings you to the gates of 2 Piacenza (see Rte. 34). ROUTE 23. MILAN TO CBEMONA, MANTUA, AND VENICE. 25 posts. MUan to Cremona, actual distance 55J m. MUan to Mantua, actual distance 96 m. : and Mantua is about hah way between MUan and Venice. li Melegnano. ] See pre- li Lodi. > ceding lh Casal Pusterlengo. ) Route. Codogno, principaUy remarkable as a great cheese-mart. Malleo. Gera. The country caUed the Gera or Ghiara d Adda is hereabouts tradi tionally supposed to have been once covered by a lake, called the Lago Ge- rondo, and dried up, partly by drain age, and partly by evaporation. There is much in the aspect of the country to confirm this opinion. 1. Pizzighettone, once a fortress of great importance. It was originaUy built by the men of Cremona in 1125 as a point of defence against the Mi lanese. Here Francis I. was detained after the battle of Pavia. The forthV cations BtUl look strong, though they have been partiaUy dismantled. The place offers no object of interest, except some good frescoes by Campi in the principal church. The Adda is here a fine rapid stream. Austrian Dom. Route 23. — Milan to Venice— Cremona. 20? . Aqua Negra, where the Cremonese sustained a signal defeat in 1166. Cava Tigozzi is a species of hoUow, from whence it derives its name. 2 Ceemona. Cremona. (Inns : The Sole d'Oro is the best inn. La Colombina, not cheap or clean. L' Albergo Reale. II Ca- peUo.) Cremona ran the same course, and underwent the same vicissitudes, which befel most of the principal cities of Italy during the middle ages. Cap tured and destroyed by the northern barbarians in the 5th centy., it remained in a state of desolation tUl the 7th, when, at the command of the Lombard king, AgUulfus, it was rebuUt, and gradually restored. During the no minal rule of the German emperors, and the real anarchy which ensued, Cremona obtained municipal rights. No sooner were they independent than, Hke the other enfranchised towns of Italy, the Cremonese quarreUed with their neighbours. Cremona was always at war with either Crema, Brescia, or Placentia — but especiaUy with MUan. In consequence of this feud, when Frederick Barbarossa vented his wrath on Milan, the Cremonese sided with him, and aided in the subversion of their ancient rival, and obtained a new charter in return. But internal dis orders were now added to foreign wars. The nobles quarreUed ; Guelph and Ghibelline factions fought in the streets. In the latter hah of the 13th centy., Cremona, in common with many other cities of Italy, had recourse to the sin gular expedient of calling in a Dictator, under the name of Potestas, or Podesta, who was never to be a native, that he might be entirely unconnected with any of the various parties whom he had to control. The Dictator was so far of use that he preserved internal peace. But, after a time, an end was put to this anomalous, though bene ficial, domination, and a republican form of government was estabhshed. So much disorder, however, was the consequence, that the people, wearied with the strife of their rulers, again called out for a chief. The repubhcan party were compeUed to withdraw, but in strength enough to return to the charge. CivU war thinned the popu lation, and exhausted the resources, of this unfortunate district. The Em peror Henry VII., who came into Italy to vindicate the imperial authority, completed the ruin of Cremona when he attacked it in 1312 ; and in 1322 Galeazzo Visconti had httle difficulty in avenging the former injuries of MUan by taking possession of Cremona, and incorporating it with the duchy of that city. It is now a thriving place, containing about 37,000 Inhab. It has a good trade, and a fair is held here about the end of September, a time when the uncommercial traveUer wUl do well to keep away. Cremona was once celebrated for the manufacture of musical instruments. The business was hereditary in families : and the remote ancestors of Amati, the most renowned of these modern makerB, who flourished 1704-1739, had supphed Charles IX. with lutes and violins of an excellent buUd. The instruments of the last Amati are yet in great re pute, and fetch high prices : they are sweet, but not powerful. He was suc ceeded in reputation by Stradivarius and Guarnieri ; but at present the- articles made here have no peculiar character. . The pubhc works of Cremona were undertaken in the short intervals of tranquillity which that city enjoyed, In 1107, after a sharp struggle with the citizens of Brescia, which was re newed the foUowing year, the Cremo nese began their cathedral, wliich, how ever, was not consecrated tUl 1190, By that time the nave and the aisles were completed. Little more was done at the cathedral tUl after Cremona had become a tranquil member of the Duchy of MUan. In 1342, perhaps with some assistance from the Visconti (for that was the usual manner in which a new ruler sought to recom mend himself), the transepts were un dertaken, but the choir was not finished tUl 1479. The facade was begun in 1274, continued in 1491, ornamented in 1525. and terminated in 1606. The 208 Route 23. — MUan to Venice — Cremona. Sect. III. various times at which the fabric was constructed sufficiently account for the various styles of its architecture. In the front, which is of marble, the Lombard -Romanesque predominates, and the pUlars of the porch rest upon the usual griffonised lions, of which one grasps the serpent, the other an animal which holds a bird between its jaws. The zodiac is over the door, and Count Von Hammer PurgstaU has made good use of it in one of his trea tises upon the Mithraic mysteries. The noble rose-window, surrounded by a rich and dehcately carved vine-leaf moulding, was buUt by Giacinto Po- rata of Como in 1274, and was evi dently suggested by that in his native town. Other parts of the exterior are of moulded brick, and worked with much beauty. The interior of the cathedral is one mass of colouring and gUding. Lanzi considers this interior as rivalling the Sistine Chapel, not, of course, as to the merit of the paintings, but in its pictorial magnificence. The nave and part of the choir are painted in fresco by Boccaccio Boccacmo, who received 1000 lire for the first 4 arches, accord ing to contract, dated AprU 12, 1514. The subjects are from the histories, partly legendary, of St. Anna and the Virgin. The Sposalizio in this set is fine, and is said to have induced Garo- falo to place himself under Boccaccio as a pupU. The most celebrated, how ever, of his works is in the choir, in wliich are introduced the four protect ing saints of Cremona, that is to say, Himerius, Homobonus, MarceUinus, and Peter, at the feet of the Saviour, of wonderful effect. Amongst the many paintings by Giulio Campi, the Last Supper, in which the expression of the countenances is remarkably good, and the Miracle of the Manna, must be noticed. The Archangel Michael by him is also a forcible painting ; but it is in bad condition. — Altobello di Me- lone, the Fhght into Egypt, and the Slaughter of the Innocents, both dated 1578; and a long series of the principal events of the life of our Lord, aU care fully finished. — Cristofero Moretto, our Lord before Caiaphas ; and the Scourg ing. — " Pordeno-ne's large Crucifixion on the waU inside the principal door is powerful to heaviness, yet, as an in stance of manipulation on a large scale, worthy of attention." — S. A. Hart, R.A. Many of the soldiers and the figures are in a Spanish dress : three other paintings represent scenes from the Passion. — Bonifazio Bembo, the Presentation in the Temple ; the Ado ration of the Magi. In the contract for these it is stipulated how much gold-leaf he should employ. The last of these pictures has the inscription, "Bembo incipiens, 1451," the meaning of which has been the subject of much discussion. — The Entry of our Lord into Jerusalem, by Bernardo Campi; also St. John the Baptist in the Desert ; our Lord washing the Feet of the Dis ciples ; and the Sacrifice of Melchisedec, — By Antonio Campi, the Assumption. — Malosso, the Crucifixion. — Romanini, the Crowning with Thorns, and an Ecee Homo. The high altar is the last work of Gatti, or Sojaro. It re presents the Assumption of the Virgin. It is said that, being rendered infirm by age, he added the last touches to the painting with his left hand. It was unfinished at the time of his death, and it was completed by Sommacchino of Bologna. On the left of the choir is a BmaU but curious votive picture by Giotto (1370) . Four large frescoes have been lately added by Diotti, a living artist. " The southern transept has frescoes attributed to Giorgio Cas- selti, and said to have been executed about the year 1301 (subjects .from the Old Testament) ; they are more curious than fine in art, but interesting, from the fact of their having lasted so weU, especiaUy considering, as I hear from a native of the place, the dampness of the situation of the city, and its tend ency to nitrous formations." — S. A. Hart, R.A. The intarsiatura, or inlaid oak of the stalls of the choir (1489-90), by Giovan' Maria Platina, is very elaborate. There are some good speci mens of mediaeval sculpture in the altar of San Nicolo, of San Pietro, and San MarceUino. In the transept is a Austrian Dom. Route 23. — Milan to Venice — Cremona. 209 singular ancient vessel, apparently of the 9th or 10th centy., ornamented at the 4 corners with winged and tailed monsters, in which, according to the sacristan, §t. Albert was accustomed to knead bread for the poor. Who was St. Albert? it may be asked. He was born at Castel Gualtieri in this neigh bourhood ; and, after filling the epis copal chair of Vercelli, was, in 1204, appointed patriarch of Jerusalem. He was the founder of the Carmelites, and distinguished for humility and kindness to the poor. The Sacristy yet con tains a few curious articles, ancient crosses, and the hke. Beneath the Duomo is a fine, th6ugh not ancient crypt, with the tombs of the patron saints of the city. TheBattisterio,bi.ult, some say, about the year 800, others a centy. later, is in a plain and simple Lombard style. It has, what is very rare in these build ings, a fine projecting porch, supported by lions. The windows, by which it is scantily lighted, might serve for a Norman castle. The waUs within are covered with ranges of Romanesque arches, and fragments of frescoes are seen in the gloom. In the centre is a noble font hewn out of a single block of fine marble. By the side of the Duomo, connected by a hne of loggie, rises the great tower, which has ob tained for Cremona its architectural celebrity. It was begun in 1283 ; hi that year peace was made between Cre mona, MUan, Placentia, and Brescia ; and in celebration of this event this tower was undertaken at the common expense of the Guelphs, or partisans of the Pope, not only of Cremona, but of aU northern Italy, It is said to have been carried up to the square in the space of two years. The Torazzo, as it is caUed, is the highest of aU the towers in the N. of Italy, reaching the elevation of 396 ft. 498 steps conduct to its summit, from whence the eye surveys the extensive plains of the MUanese, intersected by the Po, and distinguishes the Alps to the N. and the Apennines to the S.W. In 1618 the beUs were cast which hang in this tower, at which time it may be concluded that the octagonal cupola was added. Iu the third story is an enormous astronomical or astrological clock, put up in 1594. The custode of the Torazzo hves in it. The stair case iB not in the best repair ; but it can be ascended without difficulty. The view of »the plain of Lombardy is re markably fine. The rude ancient dog- grel rhyme — " Unus Petrus est in Roma, Una turris in Cremona," — is a curious illustration of the popular celebrity of this campanUe. It had a chance of becoming even still more renowned. In 1414 the Emperor Sigis- mund and the Pope visited Cremona, then subject to the usurped authority or signoria of Gabrino Fondulo. The Signore was cruel and treacherous, but wise and talented. Sovereign and pontiff consulted with him ; and, by his advice, Constance was fixed upon as the place where the great councU was to be held for the purpose of re storing the peace of Christendom ; and Sigismund, besides other marks of favour, gave to Gabrino, in Cremona, the authority of a vicar of the empire. Gabrino invited his illustrious guests to mount the Torazzo and enjoy the prospect, and he alone accompanied them. They aU came down in safety ; but when Gabrino was brought to the scaffold at MUan in 1425, he said that of only one thing in the course of his life did he repent him, that he had not had quite courage enough to push Pope and Emperor over the battle ments, in order that he might have profited by the confusion which such a catastrophe would have occasioned in Italy. Near the cathedral is what is called the Campo Santo, though now used as the repository of the archives, and where the functionaries of the cathe dral assemble. It contains an under ground vault, to whieh you descend by about fourteen steps ; an exceed ingly curious but puzzling mosaic pave ment, with aUegorical figures represent ing a Centaur fighting against a figure representing Cruelty, Faith and a figure 210 Route 23. — Milan to Venice— Cremona. Sect. III. kneeling before her, and Pity conquered by Impiety. It seems to be an early Christian monument. The spot was evidently an ancient Christian ceme tery, as appears not only from its name, but from the hones and the inscriptions yet found there. Cremona had many convents, almost aU of which are demolished. The churches are generaUy of dark red brick : those which have escaped demohtion or modernisation are usuaUy Gothic. ¦ Santa Agata is one of these ; and the architectural traveUer wiU here find what we should caU the earliest Nor man capitals, from which spring the latest Gothic arches. This church con tains several exceUent specimens of Giulio Campi, one of which, the Mar tyrdom of Sta. Agata, dated 1537, has obtained high commendations from Vasari, usuaUy so penurious in his commendations of Lombard art. Santa Margherita, annexed to the episcopal seminary. At an earlier period it was a priory, and claims much in terest, as having been buUt under the directions of the celebrated Jerome Vida :— " But see 1 each muse in Leo's golden days Starts from her trance, and trims her wither'd bays ; Rome's ancient genius o'er its ruins spread, Shakes off the dust, and rears his reverend head. Then Sculpture and her sister-arts revive, Stones leap'd to form, and rocks began to live. With sweeter notes each rising temple rung, A Raphael painted, and a Vida sung. Immortal Vida I on whose honour'd brow The poet's bays and critic's ivy grow ; Cremona now shall ever boast thy name, As next in place to Mantua, next in fame." Vida employed Giulio Campi to de" corate the church with his paintings, of whieh there are many, but the chef- d'oeuvre is the Circumcision. San Nazaro. The cupola, painted partly by Giulio Campi, and partly by Malosso from bis designs : they are grand. Over the high altar is a capital piece by Altobello. Sanf Agostino, and San Giacomo in Breda, a fine Gothic church with some remarkable paintings. — Perugino, the Virgin and Saints, a specimen of great merit, carried oft' by the French, and restored in 1815. — G. B. Zupelli, the Virgm and Child in a beautiful landscape. Lanzi praises the_originality of its conception and the exceUent im- pasto and tenderness of colouring. — Malosso, a Deposition from the Cross ; the Temptation of St. Anthony. — Mas- serotti, St. Augustine, and personifica tions of the Orders, supposed to have arisen out of the rules constituted by the Saint ; a strange variety. San Giorgio, a sumptuous buUding with numerous paintings. — Malosso and Frmenegeldo di Lodi, the Christian Virtues in the vaulting of the nave. — A. Campi, a Holy FamUy, the Infant playing with a Bird, — The piece over the high altar. The Virgin and ChUd surrounded by Saints, dated 1575. It was originaUy painted for the Servites in the suppressed church of San Vit tore. The price for which Campi sti pulated was 250 MUanese lire, and a mass per diem during seven months. — - Bernardino Gatti, or Sojaro, a Na tivity; the main idea taken from the celebrated Notte of Correggio, retain ing nearly the whole general composi tion, but Uluminated by the light of day. The Palazzo Publico, a rehc of an cient Cremona, was begun in 1206, and is supported by lofty arches. Two towers are annexed to the buUding. The ancient gates of brass are said to have been put up in 1245, in the expec tation of a visit from the Pope and the Emperor. The exterior has recently loBt much of its character, owing to repairs. The interior, now used for the Congregazione Municipals, contains several paintings. —Grazio Cossale, the Descent of the Manna, dated 1597. — - A. Campi, the Visitation. — Malosso, the Protectors of the City, Saints Hi- merius and Homobonus. In the ante chamber is a chimney-piece of alabaster, brought from the Raimondi Palace, sculptured in Arabesque style by Pe- doni, in whieh the artist has introduced a portrait of Marshal Trivulzio : it is much praised by Cicognara, Near this Palazzo is another and better example of the domestic Gothic of Italy, in which the cohege of juris- Austrian Dom. Route 23. — Cremona— Palaces and Churches. 211 consults used to hold their sittings. It is buUt of finely moulded brick, and exhibits many curiouB detaUs. There are many private Palazzi in Cremona ; and some are now in pro gress of erection .- some of the older ones are fair specimens of the cinque- cento age. Such is the Palazzo San Secundo.: the sculptures on the exterior are by Bernardo Sacchi, and equal those of Bambaja. The Palazzo Rai- tnondi is by Pedoni ; the pUasters are of a most fanciful order, and adorned with arabesques. There are some tolerably good col lections of pictures at Cremona. Marchese Pallavicino, a Presentation by Bernardino Campi; an exceUent library and curious manuscripts. Conte Schizzi, many specimens of the Cremonese school. B. Campi, a Na tivity, considered as one of his best works. Conte Ala Ponzoni, a rich coUection, both of drawings (some by Michel An gelo), paintings, and coins. Conte Pe- dretti, the hke. Casa Bolzesi, many works of Ca- nova. Signor Giovanni Beltrami (a dealer) has a good coUection. The district round Cremona pro duces flax which is superior in quahty to, that of any of the neighbouring dis tricts. Numerous remains of ancient castles are scattered over it, monuments of the constant warfare which was car ried on among the adjoining states. Just out of Cremona, on the Man- tuan side, but not exactly on the road, is the noble church of San Sigismondo. It was in this church that Francesco Sforza married Beatrice, the only chUd of Filippo Maria Visconti (Oct. 25, 1441),; and thus, after the death of his father-in-law, became the founder of the new dynasty. Cremona was the dowry of the bride ; and Francesco, as a token of affection both to her and to the eity, rebuUt the church as it now stands. It consists of a single nave with twelve chapels, and iB fuU of the works of native artists. — A. Campi, the Decol lation of St. John the Baptist. The vaulting of the chapel in which this picture is placed, as weh as the bas- reliefs, are aU by Campi, and he claims them by an inscription dated 15,77. — Bernardino Campi, St. Philip and St. James. The vaulting is by him : the chapel was finished by Malosso. — Giulio Campi, an interesting piece over the high altar ; the Virgin and ChUd, and Francesco Sforza and Bianca Maria Visconti presented to them by St.Chry- santhus and St. Jerome. Campi has subscribed his name and date, 1540. He was paid 200 scudi d'oro for the work. The vaulting is entirely covered with paintings, principaUy by Bernar dino Galti : the smaUer ornaments, angels, foliage, and the like, by him, are graceful and beautiful. — By Camillo Boccaccino are the paintings in the tri bune and round the high altar. Of these Lanzi says, " the finest are the four Evangelists ; three are seated ; St. John is standing, his figure thrown backwards, as if by a movement of sur prise, and skUful in the drawing and perspective. It seems strange that so young a man as CamUlo, and one who never frequented the school of Cor reggio, should so weU have caught his style : this work, which is a model in perspective and the optical delusion of effect, was finished in 1537. The two side pictures are also much-esteemed works of CamUlo. One represents the resurrection of Lazarus ; the other, the Judgment of the Woman taken in Adultery ; both are surrounded by an elegant frieze, where the httle angels sporting with a crozier and other sacred emblems are admirable for their life and grace. CamiUo seems to have imi tated Pordenone in truth of colouring and in beauty of chiar'-oscuro ; had he shown more dignity in the heads of his men, and were there more of dignity and order in his compositions, nothing would remain to be desired in his works." "The church of St. Sigismund is literaUy covered with the works of the brothers Campi ; hardly a square inch has been left vacant. These frescoes, bearing date many of them 1566-77, are aU vigorous and brilliant, and are perhaps, on the whole, some of the 212 Route 23. — Sta. Maria delle Grazie. Sect. III. best that could be adduced in favour of the material. Among other colours, a green of an emerald kind, and a most vivid blue, I have never before seen equaUy weU preserved : they are espe- ciaUy brilliant here in an Ascension by Bernardino Gatto, called il Sojaro, a pupU of Correggio. Probably this church was buUt of better materials and on a drier soU, as the waUs with their decorations are in perfect preser vation down to the very pavement. The waUs of this church on the outside towards the garden, to an extent of 65 ft. Eng. measure from their bases, have a pavement of red burnt bricks laid edgeways (the herring-bone form) . Was not this probably done to prevent an attraction of moisture to the walls from any vegetation growing outside them ? and may it not be partly owing to this precaution that the high state of preservation of the paintings, down to the very pavement, a circumstance so very unusual, is to be attributed ?" — S. A. Hart, R.A. 1 Cicognolo. Near this place is an ancient castle, modernised, but still a fine object. It belongs to a branch of the Palavicini famUy. Pass Villa Picinardi, a good gallery and library, and gardens possessing much local celebrity. San Lorenzo de' Picinardi. li Piadena, a smah town. In Latin it is caUed Platina, and as such it has given its appeUation to Bartolomeo Sacchi, the historian of the popes, this being his native place. [Here one road branches off to Casal Maggiore.'] 3 Bozzolo, anciently a smaU inde pendent repubhc. Pass Calvotone, said to be on the site of the city of Vegra, destroyed by Attila. San Martino dell' Argine. Cross the river Oglio, a turbid stream. Mcwcara, where is an ancient castle. Cross the canal caUed the Fossa Maestra. 1^ Castellucchio. Curlatone. Here was fought, on the 29th May, 1848, a very sanguinary action between the Austrians and Tus can auxiliaries of Carlo Alberto, the latter composed chiefly of volunteers, who defended themselves heroically against a very superior force before retreating. In this battle the students of the university of Pisa shed their blood nobly for the cause of Italy ; one of their chiefs, PUla, the eminent geo logist, was killed in bravely repelling an attack of Prince Felix Schwartzenberg, Bince Prime Minister of Austria. The road, about 6 m. from Mantua, passes close by the church of Sta. Maria delle Grazie, consecrated in 1406, and buUt by Francesco Gonzaga, Signore of Mantua, as the sanctuary of a sup posed miraculous painting of the Ma donna, which had previously been ve nerated in a small church situated upon the bank of the adjoining marshy lake. The chief votaries of this object of faith were the boatmen and navigators of the lake. But in 1399 Gonzaga ad dressed his vows to the image, praying that the Virgin would intercede for the dehverance of Mantua from the pesti lence wliich then desolated Italy, and the result was the erection of this church, together with the now sup pressed monastery, of which only a BmaU portion remains, tenanted by the two chaplains by whom divine service is performed. The architecture is of good Italian- Gothic ; it contains a strange array of votive images arranged on each side of the nave above the arches, upon columns richly gUt and carved. They are as large 'as life, co loured like life; fuh- dressed, half- dressed, and undressed, representing the individuals whose gratitude is com memorated in the verses below. Here may be seen the Emperor Charles V., Federigo Gonzaga, Pope Pius II. , the Connetable de Bourbon, and a host of other warriors. Others represent the trials and perils from which the votaries have been dehvered, torture, anguish, death. All testify their gratitude to the Virgin for the help they have ob tained. Take an instance : one sufferer had been condemned to the corda, or strappado, the torture most dreaded . on account of its prolonged and re peated agonies : the Virgin rendered him hght, and he escaped without pain" Austrian Dom. Route 23. — Sta. Marie delle Grazie. 213 " TJalla fune ond' in alto era sospeso Vergine benedetta io te chiamai, Leger1 divenni, e non rimasi olFeso." Rinaldo deUa Volta is condemned to lose his head : his neck is beneath the manaja, an axe sliding in a groove ; and the executioner is wielding the enormous sledge-hammer which, at one blow, wiU cause it to descend, but it is stopped by the Virgin's hand. " Per mio delitto condannato a morte E in van datomi un colpo il giustiziere L' altro sostenne per Tua destra forte." A third is fixed on the iron stocks, and coals of fire placed at his naked feet ; but he is released by her. " Col fuoco appiedi, ahime, posto tra ceppi, Sottrato fui dal barbaro tormento, Perche devoto a Te, volger mi seppi." A fourth is suspended from the gal lows ; but the Virgin looses the halter, and he is saved. " Io veggo e temo in cor lo stvetto laccio, Maquando penso che hi 1' liai disciolto Ribcnedico il tuo pietoso braccio." Besides these, the smaUer ex-votos are innumerable : pUes of crutches and bushels of waxen limbs. This church gives some proof of the truth of Jeremy Taylor's remark, that in Italy the pre vailing religion is not Christian but Marian, and illustrates the character of the religion which arose from the excessive veneration paid to the Virgin. "It is difficult to conceive the stupid absurdity and the disgusting profane- ness of those stories which were in vented by the monks to do her honour." — Hallam, Mid. Ages, hi. 348. Some instances are there given in a note very similar to the tales of this church. Amongst other strange spectacles is a stuffed creature, like a huge lizard, six or seven feet in length, which infested the waters in the neighbourhood some time after the foundation of the present church. The reptUe attacked two bro thers, one of whom it kiUed, but the other slew the monster, and presented its carcase to the Virgin. These stories are very common, and have led to the supposition that scattered individuals of a now extinct Saurian family existed in Europe tUl a comparatively late period, and that, like the beaver in N. Wales, they have been extirpated by the extension of population. The choir is painted by Lattanzio Gambara, the Brescian, and there are also several curious paintings in the numerous side chapels. There are also many interesting monuments. Giulio Romano designed the tomb of the cele brated Balthasar Castiglione (ob. 1529), the author of the ' Cortigiano,' a work which was considered as being the very standard of civihsation: the epitaph was written by Cardinal Bembo. The mausoleum is of a simple and noble design — a plain sarcophagus, sur mounted by a statue of our Lord. Balthasar's wife, Hippolita ToreUi, had previously been buried here ; a touch ing epitaph declares her beauty and virtues. The son of Balthasar, Ca mUlo, is buried in the same chapel : he procured his father's work to be struck out of the Index. The supposed mi raculous picture of the Virgin is an Italian painting, apparently not older than the 15th century. A long dark cloister, much chlapidated, leads to the church. It is stUl annuaUy visited by large numbers of pUgrims, yet it looks deserted and decayed. The smaU tract round about Man tua is caUed the Serraglio, from the ancient waUs buUt to defend the city against the tyrant Ezzehno. The country near Mantua is very fertUe, but not agreeable, from the marshes upon which it borders. The gnats and mosquitoes, the "zanzare" and the "pa- patasse," are consequently pretty nu merous in summer. Donatus informs us that VirgU was born at Andes ; a local and very an cient tradition has identified this place with La Pietola, about 2 m. from Mantua, surrounded by woods and groves, in which the willow predomi nates. One of the Gonzagas buUt a palace here, to which he gave the name of the Virgiliana. 1. Manttta: Itahan, Mantova. — (Inns: La Fenice, fairly good. L'AquUa d'Oro, kept by the proprietor of thp Fenice, is good. Scudo di Francia. La 214 Route 23. — Mantua — History. Sect. III. Croce di Francia. H Leone d' Oro.) A railroad is now open to Verona ; a dihgence daily to Milan and Padua at 3 p.m. ; to Parma every morning ; to Ferrara three times a week ; and the maUeposte to Florence four times a week. Mantua is surrounded by swamps, broads, and marshes, adding at once to the strength of this ancient city and to its insalubrity. The latter, however, has been somewhat dimi nished ; the waters have been partiaUy drained. This was effected by the French. The three principal broads are caUed the Lago di Mezzo, Lago Inferiore, and Lago di Sopra, partly formed by artificial dams and embank ments ; and are crossed by six bridges, or chaussees. Mantua stands on the " smooth- sliding Mincius." " Propter aquam, tardis ingens ubi flexibus errat Mincius, et tenera pi setexit arundine ripas." In fact, the city is situated on two lands, between which the river flows, and from its situation amid the flat and sedgy banks of the Mincio its climate is any but a healthy one : intermittent and low fevers rage in the autumn, and it has no claims to natural beauty ; but it contains many fine buUdings, and remains of works of art, caUed into existence by its former sovereigns. Mantua contains a popula tion of nearly 30,000, of whom one- fifth are said to be Jews. The Gonzagas, first the Lords or Captains, in 1328; next the Marquises, or Margraves, in 1433 ; and lastly, created by Charles V. the Dukes of Mantua, in 1530, were men of great talent, and possessed extraordinary mu nificence and energy ; and in the 16th eenty. " Mantova la Gloriosa " was one of the most rich and gay of the courts and cities of Italy. The Gon zagas, but more especiaUy Giovanni Francesco II. (from 1484 to 1519), and Federico II. (1514-1540), who first ob tained the ducal dignity, were magni ficent patrons and promoters of the arts and of literature. Their successors continued to govern with much wis dom ; and Mantua became one of the most opulent and flourishing cities of Lombardy, when the death of Vin- cenzio II. (1627) brought on exceed ing calamity. It seemed thenceforward as if the house had become fated. Francesco XV. having died without male issue after a reign of ten months, the duchy devolved upon the Cardinal Ferdinando, his brother. It was more than doubted whether he had any right to the duchy, for Mantua had not been declared a male fief ; and it was thought that the Princess Maria, his niece, was the lawful heir. Ferdinand, having by papal licence resigned his cardinal's hat, married twice. By his first and secret marriage with Camilla Reticina he had one son ; but Ferdinand pro cured the marriage to be dissolved, Jacinthio Gonzaga was declared Ule- gitimate, and his father married Ca therine of Medicis ; but he had no children by her ; and, on his death in 1627, the duchy was claimed by the branch of the Gonzagas settled in France, then represented by Charles Duke of Nevers. The right was eon- tested; and the Emperor Ferdinand IL, claiming to dispose of the duchy of Mantua as an imperial fief, vested it with military execution. The Man- tovano was invaded by Altringer, Ko- lalto, and GaUas, names written in blood in the history of the thirty years' war. The Duke Charles, or Carlo as we must now caU him, was neglected, and almost betrayed, by the Venetians, and feebly supported by the French. On the 8th April, 1630, the imperialists laid siege to the town : famine and pestilence raged" within ; but the duke defended himself boldly ; and the inhabitants, knowing what would be their fate, aided with the ut most valour and desperation. On the 18th July, when the garrison was re duced to 1000 fighting men, the city was taken by storm. The besiegers entered at a point near the bridge of St. George, which was negligently guarded, in the supposition that it was inaccessible; but some suppose that this neghgence was the result of Austrian Dom.. Route 23. — Mantua — Blockade. 215 treachery. During three days the eity was given up to plunder. The Ger mans on this occasion executed their work of devastation with great system and regularity ; they got exceedingly drunk ; they neither killed a man, nor insulted a woman, nor burnt a house : but they stripped the town of every thing which it contained. The plunder was valued at 8,000,000 ducats. Such calculations are, of course, vague ; but they show the opinions which are formed. One Landsknecht secured 9000 ducats in hard cash, which he lost aU at cards at one sitting; and the foUowing morning Kolalto hanged him, on account of his having so stu pidly got rid of his money. Pre viously to the siege the duke had sold large portions of the Gonzaga coUec tions. The plunder of the city dis persed the remainder, with the excep tion of such of the marbles as remain in the museum. The best portions were taken to Prague. They were afterwards purchased by Christina Queen of Sweden, who carried them to Rome, where they remained until they were acquired by the Regent Duke of Orleans, and became the foundation of the Orleans gaUery. The triumphs of Ccesar, reckoned by Vasari as the very best works of Andrea Mantegna, passed, after many chances, to England, and are weU known at Hampton Court, but by no means appreciated as they deserve. The Isiac table came to Turin (p. 21) Carlo Gonzaga I. regained his duchy by submission to the emperor ; but Mantua never recovered from the blow. Population has increased of late years ; but the 50,000 Inhab. have diminished in number ; there are now 28,400, upwards of 3000 of whom are Jews, by whom such commerce as the city possesses is now carried on. The Gonzagas were in the last century deprived of their possessions by the jurisprudence of the feudal ages. Carlo IV. having unfortunately joined the French in the war of the succes sion, the Emperor Joseph I. placed him under the ban of the empire, and seized his dominions. The duke fled, and died at Paris in 1708, not without suspicion of poison ; and Joseph, de claring the fief to be an escheat, united it to his own dominions. The Aus trians added to the fortifications, and Mantua became, what it is now, the strongest fortress in Italy. Hence, in 1796, after the fall of MUan, Napoleon immediately endea voured to make himself master of Mantua, as the bulwark of the Aus trian dominions, and without the pos session of which the conquest of Lom bardy never could be secure. The siege was begun 14th June, 1796, by a blockade ; but the forces of Serrurier were only sufficient to keep the gar rison in check, and the French could not prevent the occupation of the city by brave old Wurmser, after his defeat at Bassano. About September' the Austrians were shut in on every side within their waUs. Wurmser then kUled aU his horses, and salted their carcases. Four unavaUing attempts were made by the Austrians to relieve the garrison. After the failure of the last, Mantua could no longer hold out. The half of its once numerous garrison was in the hospital : they had con sumed all their horses, and the troops, placed for months on half-rations, had nearly exhausted aU their provisions. In this extremity Wurmser proposed to Serrurier to capitulate : the French commander stated that he could give no definite answer tUl the arrival of the general-in-chief. Napoleon, in con sequence, hastened to RoverbeUa, where he found Klenau, the Austrian aide-de camp, expatiating with Serrurier on the powerful means of resistance which Wurmser enjoyed, and the great stores of provisions which stUl remained in. the magazines. Wrapped in his cloak near the fire, he overheard the conver sation without taking any part in it, or making himself known. When it was concluded, he approached the table, took up the pen, and wrote on the margin his answer to aU the propo sitions of Wurmser ; and when it was finished, said to Klenau, " If Wurmser had only provisions for fifteen days, and spoke of surrendering, he would 216 Route 23. — Mantua^Public BuUdings. Sect. III. not have merited an honourable capi tulation ; but as he has sent you, he must be reduced to extremities ; but I respect his age, his valour, and his misfortunes. Here are the conditions which I offer him if he surrender to morrow : should he delay a fortnight, a month, or two months, he shaU have the same conditions : he may wait tUl he feels he can do so with honour to himself. I am now about to cross the Po to march upon Rome : return, and communicate my intentions to your general." The aide-de-camp, who now perceived that he was in the presence of Napoleon, and finding that it was useless longer to dissemble, confessed that they had only provisions left for three days. The terms of capitulation were immediately agreed on; Napo leon set out himself to Florence, to conduct the expedition against Rome ; and Serrurier had the honour of seeing the marshal, with aU his staff, defile before him. On taking the city, the French plundered it, and committed many excesses. It was retaken after a bombardment of four days by the Austrians in 1799. In the centre of the city there is much appearance of commercial ac tivity ; but the grass grows in the out skirts, and the marks of ruin, too visible upon many of the buUdings, attest the misfortunes which Mantua has sus tained. Vet many interesting memo rials remain, to remind us of its ancient splendour. There are no large places, or wide streets ; but great masses of buUdings, huge pUes casting deep sha dows, feudal towers crowned with then- forked battlements, castles and Lom bard arches, form a scene of pecuhar and novel character. The assemblage of buUdings which beginning at the Porta di San Giorgio. extends to the Piazza Delpurgo on the other side, is almost unique in its kind. The first object is the ancient Castello di Corte, the palace and for tress of the Gonzagas, having been buUt by Francesco IV., Gonzaga, Ca- pitano of Mantua, between the years 1393 and 1406 ; the architect being Bertohno Novara. It is a vast pUe, flanked by deeply machicolated and noble towers, but battered and de cayed. It is now used partly as a prison and partly as public offices. The archives of the Gonzagas are de posited here, unexplored by the his torical inquirer. The interior was richly decorated with frescoes, which were perfect tUl the conquest of Lom bardy by the French : now oiUy a few vestiges can be traced in some of the rooms, occupied by the pubhc offices. Of these the most interesting is the fine picture of Ludovico Gonzaga, and his wife Barbara and three chUdren, by Andrea Mantegna. It is in a sad state of decay ; many portions are quite gone. In the coves of the ceiling are heads in chiar'-oscuro, also by Man tegna. Another smaUer room has a border representing, in smaU but ani mated groups, chaces of wUd animals and of fabulous creatures ; and in the rest of the neglected chambers similar traces may be seen of past grandeur. Adjoining the CasteUo di Corte is the immense edifice begun in 1302, by Guido Buonacolsi, surnamed Bottigella, third sovereign lord of Mantua, now compris ing the so-caUed Palazzo Imperiale, Pa lazzo Vecchio, and Corte Imperiale, and containing, it is said, 500 rooms. Of the older buUding, however, httle besides the front, with its Gothic windows and battlements, and the arms of the Buo nacolsi in the capitals of some columns, is now in existence. Several artists had employed their talents upon it before Giulio Romano was caUed upon to transform it entirely, and exhibit new proofs of the inexhaustible powers of his imagination. Since his time many other artists have contributed in various ways to its embellishment. In fact, for the grandeur of its masses, for propriety, invention, and decorations of every kind, for the solution of the : most perplexing problems in architec tural and pictorial arrangement, for the skilful adaptation of designs to the most uninviting and embarrassing spaces, we know no edifice of this kind either in or out of Italy wliich ap proaches this imperial residence, or which displays such varied resources to Austrian Dom. Route 23. — Mantua — Palaces. 21-Y PLAN OP THE BUILDINGS OF THB DUCAL PALACE IN. MANTUA. LAGO INFERIOR E. 1 Piazza Arctae. 2 ScuderiB Reall. 3 Cdii. Ducale. 4 Cda. Giorgio. 5 Cda. del Duomo 6 Semiaario. References to the Apartments. a Scalcheria. 6 Camere degli Arazzi. c Camera del Zodiaco. d Galleria degli Specchi. e Giardino pensile. / Corridor leading to the Corte Vecchia. g Sala de' Marmi. A Sala and Appartamento di Troja. £ Corte Vecchia. h I Castello, now Archives. m Sala with portraits of the Gonzaga family. n Gallery. o Appartamento Stivali. p Appartamento Paradiso. q Passage leading to the Ca thedral. the student of decorative art. This Palazzo was the favourite residence of the later members of the ducal house. The Emperor Joseph bestowed much care upon it, and many of the rooms retain much of their former splendour, but the finest have, for centuries, been used as barracks. The genius of Giu lio Romano, whether as a painter or an architect, is nowhere displayed to greater advantage. The front of the N. Italy— 1852. CavaUerizza, and the Giardino pensUe, on a terrace, so as to be on a level with the upper floor, and surrounded with richly painted loggie, are deservmg of attention. In the interior, the chamber called the "Appartamento di Troja" is prin« cipaUy by Mantegna, but is partly by Giulio Romano. The works were begun in 1524, by Federigo Gonzaga, the first Duke of Mantua, and he em- 218 Route 23.— Mantua — Palaces. Sect. III. ployed the celebrated Baldassare Cas- tiglione, the author of the Cortigiano, to make the needful arrangements with the artists. It leads to the Sala di Troja, which is painted entirely by Giulio Romano. These chambers, as the name imports, contain passages from the history of the Trojan war, and are in tolerable preservation. " In this room, painted by Giulio Romano, in fresco, his characteristic invention is powerfully conveyed. Ajax, transfixed with a fiery arrow by Minerva, is strongly and vividly expressed. Mi nerva retiring looks back with scorn upon the impotent rival of her fa vourite Ulysses. When Paris con- duets Helen to the ship, the natural feeling of the characters is admirably portrayed. The lover is manly, and is earnestly persuading his fair heroine to embark : she, though not unwUling, yet looks back to her attendants who bear her attire, with true female feeling, to see if her adornings are in security : aU is bustle and activity. The frescoes of Laocoon and his sons, and of the completion of the Trojan Horse, are weak, and yet again, in that of AchUles dragging Hector at the back of his chariot, the very spirit of vengeance seems to inspire him. In colour and effect it is as bad as it can be, and this work is by no means so finished as his labours in the Palazzo del Te." — Phillips, R.A. Adjoining these chambers is the Sala de' Marmi (so caUed from a num ber of masterpieces of the Grecian chisel which once adorned it), very richly decorated. It is of the time of Giuho Bomano, and is the finest. This is connected by a gaUery, running along one side of the CavaUerizza, with the Appartamento Stivali, painted by Giulio Romano and Primaticcio. Near this last is the apartment caUed "II Paradiso," containing some curious ancient cabinets, yet retaining the initials of the celebrated Isabella d'Fste, wife of Francis III. Marquis of Man tua, equally celebrated for her beauty and her intrepidity. The ceilings of most of the apartments are framed of wood, richly ornamented with carvings and Btucco work, by Primaticcio. They are very curiously varied : in one room the ceiling represents a labyrinth, with the inscription "forse che si,forse che no," repeated in each meander. The Sala de' Mori is the richest ; it is blue and gold. The Scalcheria, or room of the seneschals, contains " an exquisite specimen of a richly decorated ceding, said to be one of the first paintings which Giulio. Romano executed in Mantua. The conception is beautiful, and the execution most careful. The figure of a female, with a genius, in the centre, looking over a balustrade, is painted in oil, and attributed to Man tegna. The pleasures of the chace, or sports of Diana, in the lunettes, are amongst the most elegant inventions of Giulio Bomano." — Gruner. Close to this room are three large rooms, eaUed the Camere degV Arazzi, on whose waUs are extended a set ijr5-- tapestry from the Cartoons of Raphaid at Hampton Court, and two more, the Conversion of St. Paul, and the Martyi> dom of St. Peter ; both fine, but-nof^- equal to that of St. Paul preaching at Athens. "The tapestries are surrounded by painted borders of aUegorical imagery, and there is a painted ceding : all have the finest effect." — L. G. Though the tapestries are necessarily much inferior in expression to the cartoons, they are nevertheless very striking. On the opposite side of the court yard to the Camere degl' Arazzi is the Galleria degli Specchi, painted by Giulio Romano's pupils : it is very rich. The great audience-chamber, whose ceiling is upborne by magnificent consoles, is interesting ; and stUl more so is another, containing the long series of Capitani, Marquises, Dukes, Princes, and Princesses of the Gonzaga family. A suite of rooms is kept weU furnisheq> but the greater part are empty and desolate ; and in the back part of the buUding, deserted cortiles, and blockied,- up windows, and springing vegetation, are sad and dreary memorials of Man tua's decay. Opposite tq the palace stands the Austrian Dom. Route 23. — Mantua — Churches. 219 palace of B. Castiglione, the author of the Cortegiano. It has a fine gateway with sculptured arabesques. Close to it is a tower annexed to the ancient palazzo of the Guerrieri family, for merly belonging to the Bonacolsi, by .one of whom it was buUt in 1302. About half-way up projects an iron cage, from whence this buUding, the -Torre delta Gabbia, derives its name. According to the traditions of the city, when any criminal deserved to be put to shame, he was exposed in this cage for three successive days, and for three hours each day. The caging of crimi nals was very common in Italy; and this peculiar instance also reminds us of the weU-known story of the Countess of Buchan, said to have been so exposed by the orders of Edward I. After the capture of the city by the French, the ¦cage was taken down, but replaced afterwards bythe direction of Napoleon ; the tower itself commands a .fine and singular prospect. The Torre dello Zuccaro, hard by, is also fine of its kind, and interesting as a memorial of the ancient factions by whom the city was ruled and divided. The Palazzo della Ragione was begun in 1198, in the age of Mantuan independence, and completed about 1250. It is a fine specimen of the civil architecture of the age. A large archway of brick and stone forms a prominent feature in this buUding. Inserted in the waU is a Gothic throne and canopy supported by twisted and facetted columns. Beneath thia canopy is seated a statue of Virgil, a crowned figure, the countenance grave but beau tiful, holding an open book upon his knees. From this building rises a lofty campanUe with a curious astronomical clock upon the Dondi plan (see Padua), but of rather later date, having been put up in 1478. It has a great number of complicated movements, now much dilapidated. It is in the neighbourhood of this Palazzo that the city is most un changed. The' Cathedrale di San Pietro has been much altered. One side-wall, exhibiting a Beries of Gothic gables, separated by pinnacles of moulded brick and aU richly ornamented, shows the original style ; and a fine Lombard campanUe is also standing. The in terior was rebuilt by Giulio Romano. The arches of the aisles rest upon beautiful Corinthian pillars : the roof of the nave is flat, with richly orna mented compartments. Except a fresco by Andrea Mantegna (and that partly covered by another picture), there are no paintings of any peculiar merit in this buUding. The Chapel della Ma donna Incoronata, which is by Alherti, is fine.The Basilica de Santa Andrea is among the finest existing specimens of an interior in the ItaUan or revived Roman style. It was begun by Leon Battista Alberti. The cupola was added by Juvara; it was begun in 1732, but not completed till 1781. The church is about 310 ft. in length It contains many good frescoes by the scholars of Mantegna. In a crypt beneath the altar is a '• shrine Baid to contain the blood of our Lord, coUected by the Centurion. The vaultings of this church are very bold and skilful. Here is the burial-place of Mantegna. His bust in bronze by Sperandio, erected in 1516, ten years after Man- tegna's death, is an exceUent piece of -workmanship. Its eyes are said to have been made of diamonds. In the same chapel is a Holy FamUy, with St. Elizabeth, by Mantegna.. It has much dignity with his usual dryness. The other good paintings are — L. Costa, a Holy FamUy ; — Guisoni, a Crucifixion. Several of the monuments are worthy of notice, either for their beauty, or on account of the persons to whose me mory they are raised. Giulio Romano was the architect and sculptor of the magnificent mausoleum of Pietro Strozzi.— Prospero dementi of Reggia, a pupU of Michael Angelo, sculptured the tomb of George Andreassi. — The Cantehni monument, of curious archi tectural construction ; the memorial of Pietro Pomponazzo, who enjoys a great but unfortunate celebrity — his renowned work on the Immortality 6i the Soul, published at Venice in 1516, % 2 220 Route 23. — Mantua — Public Buildings. Sect. III. having laid him under the imputation of atheism, a charge not diminished by his having had Cardinal Bembo as a defender. The great portal or entrance of the church is deeply recessed. It has also the remains of an excellent fresco by Mantegna. The fine Gothic campanUe of the original basihea is stUl standing. 67 churches and con vents were destroyed and suppressed by the French ; 19 remain. The Ch. of Sta. Barbara, was built by Bertani, a scholar of Giulio Romano. Over the high altar is the Martyrdom of the Patroness, by Brusasorci. This is a coUegiate church, exempted from the jurisdiction of the bishop, but im mediately under the papal see ; and the liturgy has some peculiarities of its own. The archives are extensive and curious. The once rich sacristy stUl contains a few objects of value ; the principal is a golden vase, dehcately chased, and attributed to Benvewuti Cellini. San Maurizio. Here is the Martyr dom of the Saint, by Ludovico Caracci: the figure of St. Margaret is beautiful. San Sebastiano, erected by Alberti in 1460 ; a specimen of the revived Roman style : it offers some good but dUapidated frescoes by Mantegna. Opposite stands the house of Man tegna, presented to him by the gene rous Gonzagas ; by the side of which is the Porta Posterla leading to the Palazzo del T. A curious specimen of ancient engi neering is the Porta Mulina, the bridge, or rather dam, constructed in 1188 by Alberto Pitentmo. It stands between two of the pieces of water which sur round Mantua, one of which, being of a higher level than the other, serves as a great miUpond, and turns the wheels of the twelve mUls which flank the bridge and are severaUy dedicated to the twelve Apostles. The bridge itself is covered, and is entered by a fortified tower or gateway, in which is a beau tiful pointed window, divided by a central mullion. Each nhll has the statue of its apostle. Near the Porta ¦Mulina. is a saw-mill, wliich is, perhaps, the earhest example of these machines. It was built by Girolamo Arcari in 1400, and it is still in full operation. The Beccheria and the Pescheria, the shambles and the fish-marketj stand upon the Mincio, so that they are always kept clean. They were planned and built by GiuUo Romano;, and, whilst the plan is exceedingly simple, he has given them, and more especially the Beccheria, no inconsider able degree of architectural beauty. The Palazzo Colloredo was built by Bertani from the designs of Giulio Romano. The front is supported by enormous caryatides of bold sculpture. Within is a profusion of frescoes by the scholars of Giulio Romano. Amongst them are introduced many curious portraits of sovereigns and princes : Francis I., Charles VIIL, and other French kings ; Giovanni de' Medici, Nicolo III. Marquis of Fer- rara, and Francesco IV. Marquis of Mantua. Opposite to the Palazzo CoUoredo, is Giulio Romano's house ; the front is in rustic work, an elegant design. Over the door is a statue of Mercury, or rather a fragment restored by Giulio Romano and Primaticcio. The attri butes of the heathen god are intro duced in various parts of the buUding. The Accademia delle Belle Arti, founded in 1775, is now merely a drawing-school. It contains a number of pictures from suppressed churches and convents. There is a good copy of the " Notte " by Correggio ; but the gaUery 'does not pretend to great names. Our Lord bearing his cross, by Fran cesco Monsignore, is amongst the best pictures which it contains. The Scuole Pubbliche were formed out of the Jesuits' CoUege. The library contains about 80,000 printed books, and some few curious MSS. : some beautiful missals, and one with. pen and ink drawings by Andrea Man tegna. Here is a very fine Rubens, formerly in the church, representing four members of the Gonzaga famUy in the act of worship. The Museo Antiquario is a long and narrow gaUery, filled with Roman and some few Greek statues and fragments, Austrian Dom. Route 23. — Mantua — Museum — Palaces. 221. of which the greater portion, it is said, were part of the plunder coUected by Lodovico-Gonzaga at the sack of Rome. It used to be considered the first col lection in Italy, a rank it can no longer maintain ; though it certainly contains some remarkable pieces. — Three fine bassi-rUievi, representing the submis sion of a province, a sacrifice, and the marriage of an emperor, supposed to be Lucius Verus. Several Imperial busts, amongst them Caligula, very fine. The Battles of the Amazons ; Death of PenthesUea. The Sun (not Apollo) surrounded by other divinities. Euripides. Thales. The Descent of Orpheus. Medea. A Cupid Sleeping, attributed to Michael Angelo, and also said, hke some other of his productions, to have been passed off by him for an antique. VirgU's Chair, that is to say, a very ancient bishop's throne of marble. The bust of VirgU, a calm, beautiful countenance with long flow ing hair. There was, anciently, in the market-place of Mantua, a statue said to be VirgU, and representing him sit ting on a throne, holding his works in one hand, and raising the other, as in the act of declaiming. This statue be came the object of a species of worship; and when Carlo Malatesta, in 1397, occupied Mantua, a conscientious scruple induced him to break the idol in pieces and cast its fragments into the water, the head only being saved. It is evident, whatever may be thought of the story, that this head never could have belonged to a statue, inasmuch as it is part of a Term, and, in the next place, it is equaUy evident that it is not VirgU, but a young Bacchus, or some simUar mythological character. The Ponte di San Giorgio crosses the entire lake, and is upwards of 2500 t. in length. It was buUt in 1401, and was aneiently covered like a Swiss bridge. The view of Mantua from hence, towers and cupolas, and the great mass of the castle, is pecuhar and fine. The Palazzo del Diavolo is said to have been buUt by the fiend in the course of one night, he having been constrained thereto by the divining rod of hazel, which in Germany used to be employed for the discovery of treasures. It was beautifuUy painted on the exterior by Pordenone, but it is now cut up into shops and dwellings, and has httle remarkable except its name. The Piazza Virgiliana was formed out of a swamp, drained and planted by the French ; it is yet dark and rather dreary. At one end is the Anfi- teatro Virgiliano, buUt of stone in 1820, as a private speculation for shows and games. A short distance from Mantua is the Palazzo del Te. Various accounts have been given of the origin of the name of this palace, but the only one which seems to deserve credit is that- of Ga- brieli Bertolazzo (the author of a de: scription of Mantua, the 2nd edition of which appeared in 1628), who ascribes it to the form of the roads and avenues by which it was apt proached, and which were so arranged as to produce the capital letter T. AU the old authors, beginning with Vasari, write it del T, and not, as in modern times, del Te ; which affords a con firmation of this view. The Palazzo consisted originaUy of stables, and the Marquis Federigo Gonzaga intended to make this buUding an unpretending country-house, with one single large room besides the necessary accommo dation ; but Giulio, in acquitting him self of his commission, showed so much propriety and taste, that the Marquis decided upon transforming and extendi ing the new house into a splendid palace, and thus gave Giulio the op portunity of applying, in harmonious combination, his powers as architect, painter, ai^d sculptor. Giulio executed this great work, with the assistance of his skilful pupUs Primaticcio, G. B, Pagni, and Rinaldo Mant ovano, in the short space of five years. The prin cipal building, with the large court in the centre, forms an exact square, each front being about 180 ft. outside, and about 120 ft. in the court. The order of architecture is throughout Doric, tastefuUy exhibiting aU the variety of which this style is susceptible. The 222 Route 23. — Mantua — Palazzo del Te. Sect. III. haU opposite the principal entrance leads over a bridge into an extensive parterre, which ends with a semicir cular wall portioned out into 15 niches, probably for statues. At each ex tremity of this waU was an exquisite apartment of smaU dimensions, com posed of a grotto and a loggia, with which a small flower-garden is con nected. Of these the one on the 1. is stiU in a tolerable state of preservation : the other was destroyed more than a century ago, by being used as a guard house. The principal rooms of the palace are the foUowing : — The Loggie of Entrance. — Passages from the hfe of David, executed by Giulio's scholars. The medallions by Primaticcio. Sala de' Stucchi, in which there is a double frieze executed by Primaticcio, from designs of Giulio Romano, repre senting the triumphal entrance into Mantua of the Emperor Sigismund in 1433, who the year before had created Gian Francesco Gonzaga Marquis of Mantua. The arched ceiling is equaUy rich in stuccoes. Camera di Feionte. — So caUed from the oU-painting in the vault. The dis tribution of this smaU room is as tasteful as its execution is exquisite. Camera del Zodiaco. — On the ceU ing, in stucco, are the winds and the 12 signs : the occupations of the sea sons are painted in 16 medaUions. Camera di Psiche. — Rich in frescoes, oU-paintingB, and stuccoes, iUustrating the story of Psyche from Apuleius. The vaulting is the finest in the whole building. " Subjects of deep pathos, of sublime allegory, are here treated with the hand Of a master, in aU that relateB to poetic imagination and in vention in design. The pictorial is Wanting to render them agreeable, though it is in this room that Giulio Romano has evidently put forth his strength in force and depth of colours, and in effects of hght and shade, par ticularly in Psyche offering her fruits and flowers to Venus, in her receiving the grapes, in the discovery of Cupid by Psyche, and in some of the beauti fully composed figures of the lunettes; These pictures are in oU, and therefore he could work on them to effect more fully than in fresco, and they are so treated, but are far too black. The large pictures below are in fresco, and are rich indeed in the important qua lities of imagery, invention, and design, but woefully wanting in colour, effect, and harmony. The knowledge of the works of the ancients, from whom he has evidently borrowed much, and the poetic fervour of his own imagination, have afforded him an infinite quantity and diversity of matter, and such a subject required it. Practice had given bim the power to render his vivid feel ings in composition and design, and for these quahties these works com mand admiration, as weU as for the boldness of style in design in which they are wrought : his warmest ad mirers must be contented with the praise such power deserves, and that iB not a httle ; but this is not aU that the adorning of a room hke this re quires. On one side of the room is a large chimney, over which is a magni ficent figure of immense size of Poly phemus, with a small group below of Acis and Galatea. The drawing of his figures is evidently as much from ima gination as from nature. The actions are not unfi-equently impossible. His object has been to render the vivid imagination of his mind." — Prof. Phil lips, R.A. " G. Romano's pupUs, Be nedetto, Pagni, and Rinaldo Monto- vano, are said to have painted the ceiling in oU from the designs of their master. These paintings are turned black and heavy, especially in the shadows ; a remark which cannot "with equal truth be apphed to the subjects in the room beneath in fresco, in which not more than a certain depth is in dulged in, calculated to give space and light to the apartment. The ceiling, on the contrary, looks low."- — S, A. Hart, R.A. Camera de' Cavalli. — Portraits of Gonzaga' s stud. This is the oldest part of the buUding, and that which gave such delight to Giuho Romano's patron. The ceUing, which is of wood, Austeian Dom. Route 23. — Mantua — Palazzo del Te. 223 is finely carved in compartments. " On entering the Camera de' Cavalli, I was struck with the great truth shown in the imitation of the horses, six in num ber, of the natural size, painted in this room. The two bays are nearly as perfect in preservation as could be de sired, whUe the three white, and re maining one, an iron grey, have suf fered much. One of the white horses is now, indeed, a mere shadow. AU warm colours have stood, whUe the cool have faded. These are said to have been also painted by the pupUs of Giulio Romano, B. Pagni and Ri naldo Montovano, from the designs of their master." — S. A. Hart, R.A. Sala de' Giganti. — The most cele brated of the series : it was chiefly exe cuted by Rinaldo Montovano, a smaU portion only was the work of Giulio Romano, who gave the designs. Ju piter, amidst the heathen gods, hurls his thunders upon the Titans, who, in different actions, terror, danger, and impending death, cover the four walls, down to the very floor. The giants in the foreground are represented 12 or 14 ft. high. Most contradictory judg ments have been passd on these paint ings; Vasari, Borghini, and all the earlier writers upon art, praise them exceedingly ; and Lanzi considers him as rivalling Michael Angelo. Others have thought that they have been praised far beyond their deserts. " Colossal figures in a smaU room, even where the idea of a supernatural size is in tended to be conveyed, are unsatis factory, as the spectator is quite near enough to perceive detaUs, and finds none, except those belonging to the execution of the work, which ought not to be visible. This unpleasant effect is produced in the ' Sala de' Gi ganti,' by Giulio Romano, at Mantua." — Rastlake. Original desings for this apartment are in existence, and are very superior. " The hah of the Giants would Oc cupy a month to understand, or convey thoroughly the quantity of matter, of feeling, of aUegory, and poetry which it contains. The figures of the Giants, ¦who have fallen on the foreground, are upon a scale of 17 ft. at least in height, and he has endeavoured to render them larger in appearance by drawing the rocks which faU upon them in compa ratively smaU parts, but has missed the effect and rendered them monstrous, not large. They have been woefully repainted in the lower part of the picture, and so have the clouds above. The upper part of this painting is all by Giulio himself, which the lower part is not. It exhibits a style of feeling the reverse of that of Correggio; but it pos sesses other qualities, and grand ones too, to which he on the other hand had no pretensions. In Correggio ex pression gives way to the picturesque ; here the picturesque yieldB to feeling, and composition, and expression ; fine indeed in parts, in parts also Ul-eom- bined, and worse affected. AU is hi violent colour, unfit for its station, and the ceUing particularly so, which should have been hght ; and the celestial abode, from wliich Jove and the Gods have descended, is rendered dark as Erebus. The taste of the work therefore is displeasing, and unfit for the adornment of a palace: but the power of imagination exhibited in it is of the most extraordinary kind. Most of the figures are of superior order in action and in form, though some are coarse and offensive. The draperies are folded with great BkUl and know ledge, and, were the taBte in which it is apphed equal to that skill, would be perfect : it is too bustling in manner, and too minutely divided ; it has the exuberance of fancy stamped upon it, and the style consequently powerful and effective. In short, this work, with all its defects, stamps him a great master in the art of painting. The grouping is often exceedingly beautiful, particu larly so in that of Cybele, Ceres, Her cules, Mercury, &c, but the only head that has any pretension to beauty is that of Juno. In general they are un favourable imitations of the antique, from which he has drawn largely. To the colouring I am unwilling to give the name it merits. Harmony has no share in it ; there is no general arrange ment of hght and dark ; the whole is 224 Route 23. — Mantua — Palazzo del Te. Sect. III. broken into parts ; purples, yeUows, greens, reds, in full force, are relieved off cold gray clouds, some of them even purple. The Hours staying the pro gress of the horses of ApoUo are per haps in the most perfect style of paint ing, as to colours and effect, of the whole."— Prof. Phillips, R.A. In the garden is a grotto whose waUs and vaulting are formed of rustic mo saic, and decorated with sheUs, and more finished mosaic ; connected with this is a casino or loggia, much praised for its arrangements and unity. The ceUing is painted in nine compartments representing human life and its vicissi tudes, beginning with the birth of man, and ending with his immortality by means of fame. The two large lunettes on the waUs at the two ends of the loggia belong to this series. The pre servation of the frescoes is indifferent, and they are not without some retouch ing, although by a clever hand : those parts of the dado where the two birds in full colour are represented have been entirely painted over in imitation of a veined marble, hke the correspond ing spaces on the principal waU. " In a smaU buUding without the palace is presented the birth and exist ence of Man. At his birth, whilst females attend the mother, the goddess Nature, depicted with her manifold breasts, delivers the chUd to the care of its guardian angels, and the natal hour is marked by the rising of the sun, whUst the torch of life is kindled by a female. At his meals the guardian hand of Providence, depicted by a winged female, protects and Bupports the allegoric torch, and, whUst the man is heartily engaged with his food, his mother turns to the genius with anxiety. WliUst he pursues his agri cultural labours, the thread of his fate is woven by a female (introduced aUe- goricaUy), and a man rests his head upon her lap. WhUst he sleeps, hea venly glory and watchfulness are around him, and when his labours are over, and he enjoys himself in the pleasures of the dance, Cupid attends, and wings his aiTow to his heart. In warfare there is no need of aUegory, death is represented triumphant, and is, exhi bited in the bodies of the slam ; rage and fury animate the living, who con tend for the standard. When on the bed of sickness, a clothed female, point ing upwards, makes manifest to the careful attendants, who prepare his food and administer medicine, that all their efforts are useless without the assisting hand of Providence. When age has rendered him decrepit, and death at length lays his potent hand upon him, the instruments of labour or of warfare faU from his grasp, and the young array themselves in his attire ; an angel conducts Mb soul to the re cesses of the grave, and Diana hastily arrives in her car to iUumine the dark night in which he is immerged. Hav ing paid due attention to the services of religion during his life, his regene rated spirit is wafted by angels to re gions of blessedness, and Fame, with intense energy, prepares his crown of laurels, and spreads his praise to future ages upon earth. Another figure with the trumpet, below, seems to be the evU genius who relates the weaker deeds of his life, but his better genius is trium phant. Such are the eleven subjects of the pictures which are presented in smah compartments on the semicircular ceUing of a smaU room. They are by far the most complete portion of his paintings, with which this palace abounds, even in comparison of the paintings from the story of Psyche, whieh are overcharged and confused, and are more laboured to effect in oU- colours : and though they cannot be said to possess fine colour, they are not unpleasing to the eye, as they are with out that discordance of hueB, that vio lence of opposition, or that excess of style in drawing, which the others. present. It would appear that the very spirit of Raffaelle himself presided over him when designing this beautiful series of compositions, such is the in- teUectual simplicity and purity of the style in which they are wrought and the fulness of feeling they present. The room is about 30 ft. by 15." — Prof Phillips, R.A. Quitting Mantua by the Porta di Austrian Dom. Route 23. — MUan to Venice— Este. 225 San Giorgio, the road continues among the marshy waters ; but the soU shows great fertility. Stradella. Castellaro. Bonferraro. — In the church is a painting of the Immaculate Conception, by Casti, a good second-rate artist. Cross the Tartaro, upon the 1. bank of which is If Nogara, a good-sized town. Of the once strong and celebrated castle some ruins remain : it has Borne in terest from its connection with the history of the Emperor Henry IV., who sought refuge in it during his con tests with his son Conrad. The town has some good buUdings. Palazzo Marogna has a fine gate way; and parts of the waUs are painted by Brusasorzi. The ancient churches of San Silvestro and San Pietro are both remarkable ; but the latter has been modernised. Sanguinetto : here also are the re mains of a feudal castle. Cerea, rather a large straggling town, once an independent community, with the remains of an ancient castle. In the church of the Vergine del Carmine, is a good specimen of Brusasorzi. 1^ Legnago, situated upon the Adige. The fortifications are remarkable, as having been in part planned and exe cuted by Sanmicheli, the architect, who most contributed to the invention of the art of modern military fortification. One of the gates designed by him, and of great beauty, has been pulled down, and partly rebuUt in another situation. Bevilacqua ; the head or capital of an ancient feudal barony. The castle was buUt in 1354, by the Count di Be vilacqua, who obtained a grant of the fullest rights of sovereignty ; and who intended to render his " Rocca" worthy of his authority. It became a position whieh was often contested, and hence, after the peace of Cambrai (about 1517), its then owner, Giovanni Fran cesco BevUacqua, caused it to be dis mantled and partly demolished. The portion of the fabric which remained, including 4 towers, was converted into a splendid palazzo. The great cortUes and the massy ornaments of rustic work unite picturesquely with the towers and drawbridgeB that yet sub sist. The statues and architectural, or naments are beautifuUy executed ; but the whole is exceedingly dUapidated, having suffered much during the revo lutionary wars. li Montagnana, a smaU town, but remarkable as presenting a fine speci men of ancient fortification, vast waUs and lofty towers, aU of the finest brick. The circuit towers are open towards the town : those which flank the gate ways are lofty. A cross fleuree and bottonee appears conspicuously over the portals, and may enable the heraldic antiquary to trace by whom they were erected. In the town are several fine ancient churches. One in the great Piazza is of the Italian-Gothic of the 14th centy., partly altered into the cinque-cento style. The road from Montagnana to Este is heavy and sandy, in consequence of which the postmaster is entitled to add a third horse. The country, however, continues as rich as possible ; vines in festoons, hemp with stalks as taU as smaU trees, and gourds of great diameter. Saletto. Ospedaletto. The fine ranges of the Euganean hiUs begin now to open more and more upon you as you approach 1J Este.- — (Inn: La Speranza, a smaU quiet house, clean and good.) Beautifully situated near the Monte Murale (perhaps so caUed from its form), one of the advanced buttresses of the Euganean range. The " Rocca," or Castle of Este, is a fine and almost perfect buUding ; a noble dungeon tower, with frowning embrasures and battlements, and standing at least upon the site of the original fortress, the seat of the family of Este, so celebrated in history. Alberto Azzo (born 996) must be considered as the more imme diate founder of the house. The an cestry of Alberto may be distinctly traced in history to Bonifazio Duke of Tuscany, in 811. Poetry carries us much higher. The magician, in the vision of. the enchanted shield, enables L 3 226 Route 23. — MUari to Venice — Petrarch. Sect. Ill: Rinaldo to behold Caius Attius aS his -remote ancestor : — *( Mostragli Caio allor, ch' a strane genti Va prima in preda il gia inclinato Impero, , Prendere il fren de' popoli volenti, E farsi d' Este il Principe primiero ; - E a Tui ricoverarsi i men potenti , Vicini, a eui Rettor facea mestiero, , Poscia, quando ripassi il varco noto, A gli inviti d' Honorio il fero Goto." Alberto Azzo was twice married. His first wife was Cunegunda, a prin cess of the uralt Suabian line, by whom he had Guelph Duke of Bavaria (sue-' ceeded 1071), and from whom aU the branches of the Ulustrious House of Brunswick are descended. Fulco I., Marquis of Italy and Lord of Este (died about 1135), the son of Alberto Azzo, by his second wife Gari- senda, daughter of Herbert Count of Maine, was the founder of the Itahan branch, to which the dukes of Ferrara and Modena belonged, until the ex tinction of the male line at the end of the last century. The present Duke of Modena, who is of the House of Hapsburg, represents the House of Este in the female line. The. grandmother of the present Duke, Maria Beatrice, being the last descend ant of the Italian branch. The town of Este, hard by the castle. now contains about GOOO Inhab. It has a Lombard aspect ; most of the houses are supported by picturesque arches. The exterior of the church of San Martino bears the appearance of high Romanesque antiquity ; but the interior is modernised. The campanile, in the same Romanesque style, inclines as much as the leaning tower of Pisa. A fine belfry tower, with forked battle ments, and a Dondi clock (see Padua) of the largest size, adds to the antique adornments of the town. The hUls aU the way from beyond Este, sometimes nearer to, and sometimes more distant from the road, are very picturesque. 1 MonseKce, a small town com manded by a rocca, or castle, even more feudal in aspect than Este. It stands upon a noble rock. There is no dun geon, but long ranges of curtain waUs with stepped battlements, studded with bold creneUated towers. They ascend and descend the hUl sides, intermin gled with the richest vegetation. These ruins abound in vipers. All the coun try through which the road passes is exceedingly rich, but intersected by muddy canals. Monsehce is the best point from whence to diverge from the main road to Arqua. The postmaster considers himself entitled to charge one post and a half, out and back, for this excursion, although the distance is less than 5 m. ; but if the traveUer professes indifference, then the postmaster wiU be contented with 1 post, going and returning included. Excursion to Arqua, or Arquato. This place is beautifully situated amongst the Euganean hiUs ; here Pe trarch retreated, dwelt, and died. The house shown vi as, no doubt, his habita tion, for as far back as 1650 the tra dition was firmly beheved : the paint ings on the walls, of which the subjects are taken from his poems, date in the preceding centy. ; and there is nothing in the architecture of the house (Pe trarch died in 1374) inconsistent with the story. It is inhabited by a farmer, and is somewhat dUapidated, but not. in decay. Here is Petrarch's chair, and his inkstand, in whieh you may dip your pen and add to the nonsense in the album. Petrarch's cat or "miccia," as he used to caU her (and as aU cats are stUl called in Italy), is here stuffed, in a smaU niche. The tomb of the Lau reate, supported by four low piUars, stands in the churchyard. It is of red Verona marble, and raised by his son- in-law, Francesco Brossano. The latter was the husband of Francesca, one of the illegitimate chUdren of Petrarch. Above is a bronze bust, placed there in 1677. The Pozzo di Petrarca is said to have been dug at his expense for the use of the town. _ Near Arqua is a spring, called (from the present vice roy) the Fonte del Vicere Ramieri : its waters are strongly sulphurous. Very good figs and wine (for this country at least) grow near Arqua, and may be had at the little osteria in the town. Battaglia, close to the high road, upon the canal of Monsehce, has some thermal springs, which are much visited. Austrian Dom. Route 23. — Abano — Its Hot Springs. 22T Near this place is the ancient castle of Catajo, which was bequeathed by its former proprietor, the Count Obizzo, to the I) ukc of Modena, upon condition that he should keep it in its present state. " The old part of the castle may always be seen ; it contains some fres coes, said to be by Paul Veronese. The designs are possibly by him, but the frescoes must have been executed by his scholars ; they are very careless and shght." — C.W.C. The museum, which is very extensive, contains >¦• vast col lection of old armour and weapons, Ul- arranged early inscriptions of the church, and some curious antiques and rehcs. Abano may be visited either from Padua or from Monsehce, being at an equal distance, about 6 Eng. m., from both. Its baths have retained their celebrity from the time of the Romans ; medals and other remains of antiquity are found here in abun dance : the place is also remarkable as being the birthplace of Livy, and also of the physician and reputed necro mancer Pietro d' Abano, in whom the Paduans take almost equal pride. (See Padua.) "This vUlage is about 3 m. from the Euganean Hills j and the houses occupied by those who resort to this place for the benefit of its muds and waters are yet nearer, aU situated in an extensive plain : from this rises a sort of natural tumulus, of a. figure nearly circular, of about 15 ft. high, and, I should think, above 100 in circmn- ference. It appears to be of the same sort of composition as the neighbouring hills, consisting of materials indicative of a volcanic origin." From' this mount burst 2 or 3 copious streams of hot water, which are capable of boiling an egg hard at then' source. A part of these serves to fiU the baths and pits for heating the muds ; a part loses itself in cuts and wet ditches, amidst the meadows ; and a part turns the wheel of a mUl, which whirls amidst volumes of smoke. The meadows, which are of a surpris ing richness, extend about 2 m. with out interruption, when they are broken by an insulated bill, entirely covered with trees, brushwood, and vines ; from the foot of this issue smoking streams, and a little farther is another single hill, from whose roots issue hot mineral waters. The structure of the hUls, and the character and position of their strata, show evidently that they were once links in the Euganean chain. There are other springs of the same nature, and having all of them more or less of medicinal virtue ; which pro cured this place the ancient name of Aponon, apparently derived from a pri vative, and novos, pain. " It is celebrated for its muds, which are taken out of its hot basins, and applied either generaUy or partially, as the case of the patient may demand. These are thrown by after having been used, and, at the conclusion of the season, returned to the hot fountain, where they are left tUl the ensuing spring, that they may impregnate them selves anew with the mineral virtues whioh these are supposed to contain. The most obvious of these, to an igno rant man, are salt and sulphur. The muds are, on being taken out, intensely hot, and must be kneaded and stirred some time before they can be borne. When apphed, an operation which very much resembles the taking a cast, they retain then- heat without much sensible diminution for three quarters of an hour, having the effect of a shght rube facient on the affected part,, and pro ducing a profuse perspiration from the whole body ; a disposition which con tinues more particularly in the part to which they have been applied, when un checked by cold. Hence heat is consi dered as so essentiaUy seconding their operations, that this watering-place, or rather mudding-place, is usuaUy nearly deserted by the end of August ; though there are some who continue to waUow on through the whole of September. " The baths, though sometimes con sidered as a remedy in themselves, are most generaUy held to be mere aux iliaries to the muds, and usuaUy but serve as a prologue and interlude to the dirty performance which forms the subject of the preceding paragraph, they being supposed to open the pores and dispose the skin togreater susceptibility. 228 Route 24. — Milan to Chiari and Brescia. Sect. III. "There is, no doubt, great fanati cism in this part of Italy respecting the virtues of these muds, which are here considered as applicable to many eases in which it would be ridiculous to sup pose they could be efficaceous. On the other hand, there seems to be as much perverse increduhty amongst medical men on the other side of the Alps, always excepting our own, who, without rejecting the possibUity of the thing, seem (at least those I have known) very discreetly to suspend their belief." — Rose's Italy. Since Mr. Rose visited the place it has been much improved. A range of handsome bath-buildings has been erected, with aU needful ac commodations for visitors ; a good re- stauration and cafe. There are 16 baths weU fitted up, besides those for the poor. The thermal springs in this district are very numerous, Besides those at Abano, there are others at Ceneda, Monte Gotardo, Sanf Flena, San Pietro Montagnone, Monte Grotto, San Bartolomeo, Monte Ortone, San Daniele in Monte, The road from Monselice, which we now rejoin, continues through a fertUe country, along the E. bank of the ca nal, to Padtja. 1 From Padua to Venice by I « , „„ raUway. ' Rte. 26. Venice. ) ROUTE 24. MILAN TO CHIAKI AND BEESCIA. 7J posts ; actual distance, 65J m. MUan. \ See next 1J Cascina de Pecchi. / Rte. 1 Cassano, fuU of silk -works. There are some ruins of an ancient castle. Cassano occupies an important mili tary position on the Adda, at which were fought two sanguinary battles, between Vendome and Prince Eugene, in 1705, and between Suwarrow and Moreau, the 27th AprU, 1799. Cross the Adda by a fine bridge. Gropello, 2 m. on 1, a vUla belong ing to the Archbishop of Milan, buUt from the deBigns of Pellegrini. . Treviglio. The church is rather a remarkable buUding, and there are some good second-rate pictures in it. The rly. has been open to this place. from MUan since the 17th Feb. 1846 : a distance of 18£ m. 1 Caravaggio, a good-sized borgo, of about. 6000 Inhab. In the principal!; church are some good paintings by' Campi, which have been recently re stored by Diotto : near the town is the sanctuary of the Madonna, built in 1575 from the designs of PeUegrini. The name famUiarly known to every body from the two great painters both caUed "da Caravaggio," from this town,. the place of their birth ; namely, PoU- doro Caldara, the scholar of Raphael, and Michael Angelo Merigi, who has sometimes been compared to the Mi chael Angelo. Mozzonica, a smaU vUlage, ruined in the middle ages. 1 Antignate, beautifully situated. Calcio, near the Oglio, once a smaU and independent community, and stiU a flourishing place. 1 Chiari, whose ruined waUs mark its ancient importance. Many Roman remains are found here. The principal church is a buUding of some import ance. Much trade is carried on here, especiaUy in silk. Coeagho and Rovato. 1 Ospitaletto. ) 0 , •„. IBbescxa. / See next Rte. ROUTE 25. MILAN TO BEKGAMO AND BEESCIA. 8\ posts. MUan to Bergamo, actual , distance, 72 m. This road is rather longer than that by Chiari ; but Bergamo is an object of much interest. There are daUy velociferis to and from Bergamo, which run the distance in about 4 hrs. Quit MUan by Porta Orientale. Crescenzago, a pleasant village, with many villas and gardens. 1J Cascina de Pecchi. This is a famous cheese district, of less extent . than that about Lodi, but nevertheless > of considerable importance. The cheese Austrian Dom. Route 25. — Milan to Bergamo and Brescia. 229. is caUed Stracchino. The road con tinues as far as Le Fornaci, near the canal of the Martesana. It was first excavated in 1457, by Francesco Sforza ; but the levels being Ul calculated, the canal was nearly useless. Leonardo da Vinci was afterwards caUed in, and he gave plans and surveys for improving the cut : and when the duchy was oc cupied by the French, Francis I. as signed 5000 zecchins annuaUy for the works. In the 16th centy., under Phi lip II. of Spain, other plans and sur veys were made ; but the naviglio was almost entirely re-excavated in 1776. Gorgonzola, a flourishing borgo, with a new church and cemetery. Here the Milanese suffered a signal defeat from Frederick Barbarossa in 1158, a httle before the destruction of MUan; and here King Heinz, whom the Italians call Fnzio, the Ulegitimate son of Frede rick II., was taken prisoner (1245) by the Milanese, but released upon his swearing that he never again would enter their territory, an escape which only renewed for him the captivity in which he expired. At Gorgonzola the best stracchino is made. This rich cheese is made from cream and un skimmed cows' milk. It derives its name from having been originally made from the milk of the cows of the mi grating herds, caUed bergamini (per haps from the German word berg, a mountain), which came down from the mountain pastures (alpi) in the au tumn, to feed during the winter in the plains, and who arrived stracche, tired. Since the consumption has become very great, it has been made also from the milk of cows wliich pasture always in the plain country. Two sorts are made, one in a square form, which is eaten fresh, or when not more than 6 months' old ; the other round, and of a considerable size, which is kept from 3 to 12 months. It is valued in pro portion as it is duly streaked and spotted with green marks, called erbo- rine, and which are produced by mixing the curd of one day with that of the previous day. Although a mild rich cheese at first, it becomes very strong by keeping. Old stracchino is greatly esteemed : the quartirolo stracchino churned in the faU of the year, and made from the mUk of the herds which have descended from the mountains to pasture where the Parmesan is not made, is of less value than the summer cheese. The stracchino is sold fresh at about 1 fr. the great pound, i. e. about 5d. a lb. avoirdupois. It is estimated that the cow which yields the mUk for stracchino affords a double gain to that yielding the Parmesan cheese. Fornaci .- here the road branches off to Cassano and TrevigUo, the road to Bergamo runs on to Vaprio, in a beautiful situation on the Adda : the country around is studded with villas and palaces. One of these, formerly belonging to the noble family of Castel- barco, and now to the Duke of Melzi, is interesting on account of its con- ' taining a remarkable painting executed, as it is said, by Leonardo da Vinci when he resided here. It is a colossal Virgin, now extending through two stories of the dweUing. There is much beauty in the figure, and it haB been attributed, upon old authority, to Leo nardo ; yet many doubt the tradition, on account of the unusual size. Cross the Adda : Vaprio and Cano nica are only divided by the Adda. The handsome bridge which existed here . was destroyed by the Sardinian army in their retreat in 1848. 1 Canonica. (Inn : Albergo de' tre Re.) From this point the views become very beautiful. Bergamo is seen on its hUl, crowned by its domes and lofty towers ; and in the foreground the landscape is of exceeding richness. Here is one of the old clocks, striking only to six, which are now very rare in ¦ this part of the country. Boltiere. > Oslo. Guzzanica. li Bee&amo : if to the upper town, an additional quarter of a post is charged. Inns: in the lower town, La Fenice ; civU people, but not particu larly clean. L' Albergo d'ltalia, " com- , fortable in some respects, but rather high in its charges." This flourishing city, which contains 230 Route 25.— Bergamo — Public Buildings. Sect. III. upwards of 30,000 Inhab., consists of an upper and a lower town, the latter called the Borgo of San Leonardo, perhaps half a mUe distant from one another. The road passes through the latter ; traveUers rarely ascend to the former, in which the most interesting objects are contained. Many German Swiss are settled in the lower town, and this is the only part of Lombardy where mixed mar riages are aUowed. ' The city of Bergamo, the Pergamus, stands upon a steep and lofty hill. This position was strongly fortified by the Venetians. The view from these ramparts is fine. It commands Como to the N., and its mountains in the distance, nearer the Resegone chain ; on the S., the level plain of Lom bardy, with the Borgo in the fore ground. The main street winds up and round the lull : nearly the first object which you see in the ascent is the beautiful but desecrated church of Sanf Agostino in the Venetian-Gothic style, the first of this species on this side of Italy. The houses of the Citta, are solid and lofty : narrow streets and narrow vicoti, the sides often joined together by arches. In every part of the Citta are vestiges of the middle ages — pointed archways, cortiles surrounded by ar cades upon massy columns, seen in perspective through the gateways. The Citta is almost whoUy inhabited by the ancient Bergamasc nobility, who keep themselves apart from the traders of the Borgo. The same circumstance is found in other ancient Continental cities, and arises from the political state of the country in remote tunes. Amongst themselves they keep up ex clusively the use of the Bergamasc dialect ; a dialect scolding in its tone and accent, and the most inharmonious of northern Italy. Harlequin, according to the tradi tional cast of the ancient Italian drama, is- a Bergamasc, and was an imitation of the manners, accent, and jargon of the inhabitants of the vaUey of the Brembo. In the centre of the Citta is the Pa lazzo Vecchio, or Town-hail, standing" upon lofty Gothic arches, with the pro jecting ringhiera and an open staircase on the outside. Here is the statue of Tasso, by which the Bergamasc assert their claim to consider him as their countryman. His father was a Berga-: masc, and, compeUed by proscription to abandon his native city; his townsmen . were afterwards willing to beheve that his involuntary absence did not de prive them of the honour of claiming his son, the poet, as their own. Tasso himself seems to have adopted the idea at least, and, amidst his trials, to have- been glad to consider Bergamo as his native town. The unfinished Palazzo Nuovo is after the designs of Scamozzi : it con tains some good pictures by Salmeggia. Through an arch by the side of the Town-hall is seen the church of Sta. Maria Maggiore ; of which a consider able portion is in the earhest Roman esque style ; other parts are much more recent. The columns of the projecting lateral porches rest upon symbolical animals. The N. part- was erected by Giovanni di Campello in 1360. It- is of black and white marble. The southern porch is elaborate, of yeUow and red marble, surmounted by a ta bernacle, containing a statue of Duke Lupus, who, in the middle ages, was still in great celebrity at Bergamo. Ranging with this porch is the sepul chral chapel of Bartolomeo CoUeoni, rich in marbles and elaborate in its workmanship, and which has been lately renovated. Medallions and statues of Roman emperors constitute the prin cipal decorations. The windows are divided by candelabra stems, with ara besques and varied capitals, placed so close together that the apertures for the hght are less than the diameter of these columns. To the rt. of the prin cipal entry, upon a round tower, are some remains of old frescoes. The sa cristy, an octangidar buUding, erected, as appears from the inscription, hi. 1430, is among the earhest examples- of the introduction of the Roman or classical style in juxtaposition with Gothic. The dado has pointed arches, Austrian Dom. Route 25. — Bergamo— Excursion to Iseo. 231 but, i the two upper stories are pure Composite, accurately worked. The campanUe, which is upwards of 300 ft. in height, is one of the towers so con spicuous in the view of the Citta. Within, the church has been modern ised : it is painted in fresco, and, on festival days, so draped with scarlet and gold brocade that the paintings whieh it contains are scarcely discern ible. The principal are by Luca Gior dano and by Salmeggia, surnamed " il Talpino." This artist (died 1626) was born at Bergamo. The monument of CoUeoni was begun by his orders in his lifetime, and completed in 1475, a year after his death. It is the workmanship of Giovanni Antonio Amadeo. The bas-rehefs in front of the sarcophagus have great merit. We shaU meet Bar- tolorneo CoUeoni again at Venice. The paintings of the roof are by Tiepolo. A Virgin by Angelica Kauffman is curi- oub as a mark of the decline of art. To this church has been transported the; monument of Medea, the daughter of Bartolomeo CoUeoni, a masterpiece of Amadeo, formerly at la Basella. In the Duomo the fine cupola is a conspicuous object ; and the propor tions and general character of the build ing are, good. It was designed by An tonio Filarete, but has since been much altered. It contains many paintings. There is a curious and ancient Baptis- terio, said to be as'old as the 5th centy. Santa Grata is the church of a re stored nunnery, which has been newly gUt and decorated. The altar-piece, by Salmeggia, 1623, represents the Virgin and several Saints, amongst them Santa Grata, bearing the head of Sanf Alessandro. This picture, con sidered as the masterpiece of the artist, had a journey to Paris. There are some pleasing mosaics in this elegant little building. Other churches are Sanf Andrea. — In the vaulting are frescoes by Pado- vanino — The Virgin and Saints, by Moreiii. Church of Sanf Alessandro in Colonna—St. John the Baptist, by the younger Palma. Church of San Bartolomeo — A Virgin ; one of the best works of Lotto. There is a fine view from the terrace of the Casa Terzi, where the Austrian Em peror Francis iodged, in the upper city. The lower town, or borgo, is the Beat of business. An important fair is held here. It begins about the middle of August, and lasts a month. This mart, called the Fiera di Sanf Alessandro, which has been known to have been held since the 10th centy., is the Leipsic fair of northern Italy. It iB kept in a very large quadrangle, in which are rows of shops, and is not only a very large business, but also a large pleasure fair, to which the gentry of aU the country about resort. Bergamo is celebrated in the annals of music by the number of good singers which it has produced. — Rubini and Donzelli are amongst them. There is rather a good pubhc li brary ; and a gaUery, the Academia Carrera, with a coUection of very in ferior paintings. Bergamo contains several good pri vate coUections of paintings, not exten sive, but select. That of Count Lochis, the president of the Academy, was the best. Count Andrea Verdoa haB some fine things ; so also the Signorivlwe?«o Casera, Ghidini Pavesi, Valonia, Ari- goni, and others. The situation of Bergamo is remark ably beautiful, and the walks about it are pleasant. The country around is one of the most renowned in Lombardy for its silk, and the great source of riches of its landed proprietors. Neighbourhood of Bergamo. The province of Bergamo contains some of the most beautiful landscapes in the Lombardo - Venetian kingdom. The soU is of the greatest fertUity, and is exceedingly weU watered : the river Serio is the main trunk of the irriga tion of the district, its waters being drawn off to numberless canals. The road from Bergamo to Lecco is heavy, and with long ascents and de scents, and affords pleasing scenery, and may be conveniently taken by those who, travelhng the Stelvio or Splugen roads wish to reach Venice without 232 Route 25. — Lovere — Scenery. Sect. III. passing by MUan. The post-stations are 1£ La Cava, 1£ Lecco. A pleasant excursion may be made to the lake Iseo. A good road to Sar- nico, which is situated at the end of the lake where the Oglio leaves it, turns out of the high road to Brescia, about half a nule after crossing the Serio. The distance to Sarnico is about 18 mUes. At rather more than halfway, near where the road crosses the Cherio, Qorlago lies about a mile to the 1. of the road ; it has a church containing some valuable old paintings, and a saloon painted in fresco by Giulio Ro mano, and now used as a hay-loft. About 4 m. before reaching Sarnico, on the rt. of the road, is the old castle of Calepio, buUt in 1430, and finely placed on the steep banks of the Oglio. There is a poorish Inn at Sar nico. The lake Iseo presents some beautiful scenery. The " Monte deU' Isola" rises boldly from its surface. It is very deep, and abounds in fish. The vegetation of the shores is rich, and the olive-tree flourishes in the more sunny exposures. Many fossil remains are found at Provezzi ; and many towers, castles, and vUlas are dotted round its shores. The Palazzo Fena- roli, at Tavernola on the W. shore, op posite to the Monte deU' Isola, com mands «• fine prospect of the lake and of the small town of Iseo, from whence the lake takes its name. The lake of Iseo (Lacus Sevinus) is the fourth in size of the subalpine lakes of Lombardy, occupying an area of 22 sq. Eng. m. It has the same elongated form as those of Como and Garda, and, like them, fUls the bot tom of a great transverse valley. Its principal ieeders are the Borlezza and Oglio torrents that descend from the Alps through the Val Camonica, and its only , exit is by the Ogho at Sar nico ; it is 700 ft. deep in some parts, and its surface is 680 ft. above the level of the sea; near its centre is an island, about 1\ m. long, with two vUlages, Siviano and La Pescheria di Iseo. The climate of the shores of Iseo is nearly the same as that of the lakeB of Como and Maggiore, but, from its greater elevation above the sea, of ,a more alpine character than that of Lago' di Garda. The town Iseo has extensive silk-works, and is said to owe its name to a temple of Isis. It is about 7 mUes by the footpath along the shore of the lake from Sarnico to Iseo, which is the principal port on the lake, and from whence a steamer (a wretched craft, Sept. 1845) starts daUy for Lo vere, taking about 2 hrs. to run the. distance. There is a tidy Inn at Iseo, by- the water-side, kept by Angelo Ferrari. At the foot of the mountain, nearly opposite to Iseo, to the northward, is Predore, where are plantations of orange and lemon trees. Lovere may also be reached by a road which turns off to the 1., out of the road to Sarnico, about 5 m. from Bergamo, and passes through the baths of Trescorre, where are the palace of Count Gianforte Soardi, and a chapel painted entirely and most beautifully by Lorenzo Lotto. The principal church of Trescorre contains a very fine Salmeggia. Hence the road runs up the Val CavaUina by the side of the Cherio torrent, and along the W. shore of two smaU lakes, Spinone and Gajano. The distance from Bergamo to Lovere by this road is about 26 Eng. m. Lovere is well known as the residence during several years of Lady Mary Wortley Montagu, who thus describes it in a letter to Lady Bute, her daugh ter, dated the 21st July, 1747 .— " I am now in a place the most beautifuUy romantic I ever saw in my life ; it is the Tunbridge of this part of the world, to which I was sent by the doctor's order, my ague often returning. I found a very good lodging, a great deal of good company, and a village in many respects resembling Tunbridge Wells, not only in the quahty of the waters, which is the same, but in the manner of the buUdings, most of the houses being separate at httle distances, and aU built on the sides of hills, which indeed are far different from those.of. Tunbridge, being six times as high : they are reaUy vast rocks of different figures, covered with green moss or. short grass, diversified by tufts of trees, Austrian Dom. Route 25. — Lovere — Scenery. 233 httle woods, and here and there vine yards, but no other cidtivation, except gardens' hke those on Richmond-hUl. The whole lake of Iseo, which is 25 m. long and 3 broad, is aU surrounded with these impassable mountains, the sides of which towards the bottom are so thick set with vUlages (and in most of them gentlemen's seats), that I do not believe there is anywhere above a mUe distance one from another, which adds very much to the beauty of the prospect. — The fountain where we drink the waters rises between two hanging hUls, and is over-shadowed with large trees that give a freshness in the hottest time of the day. The pro visions are all exceUent, the fish of the lake being as large and weU taBted as that of Geneva, and the mountains abounding in game, particularly black cocks, which I never saw in any other part of Italy." In a subsequent letter she'describes part of her residence : — " I have been these six weeks, and stiU am, at my dairy-house, which joins to my garden. I believe I have already told you it is a long mile from the castle, which is situate in the midst of a very large village, once a considerable town, part of the waUs stUl remaining, and has not vacant ground enough about it to make a garden, which is my greatest amusement. This spot of ground is so beautiful, I am afraid you will scarce credit the description, which, however, I can assure you shaU be very literal, without any embeUishment from imagination. It is on a bank, forming a kind of peninsula, raised from the river Oglio 50 ft., to wliich you may descend by easy stairs cut in the turf, and either take the air on the river, which is as large as the Thames at Richmond, or, by walking up an aveuue 200 yards on the side of it, you find a wood of 100 acres, which was all ready cut into walkB and ridings when I took it. I have only added 15 bowers, in different viewB, with seats of turf. They were easily made, here being a large quantity of underwood and a great number of wUd vines, which twist to the top of the highest trees, and from which they make a very good sort of wine they caU brusco. I am now writing to you in one of these arbours, which is bo thick-shaded the sun iB not troublesome, even at noon. Another is on the side of the river, where I have made a camp-kitchen, that I may take the fish, dress and eat it immediately, and at the same time see the barks, which ascend or descend every day to or from Mantua, GuastaUa, or Pont de Vie, aU considerable towns. This wood is carpeted in their succeeding seasons with violets and strawberries, inhabited by a nation of nightingales, and fiUed with game of aU kinds, excepting deer and wUd boar, the first being unknown here, and not being large enough for the other." More modern travellers do not agree in Lady W. Montagu's enthusiastic description of Lovere, and suppose she must have mixed up in it that of some other sites on or about the lake of Iseo. Lovere has two large churches with pictures, and a fine cenotaph, by Canova, one of the repetitions of that of Vol- pato, erected by Count Tadini to his son, who was crushed by the faU of an arch. At Borne distance from Castro, about 2 m. to the S. of Lovere, on the shore of the lake, is a narrow abyss, where the torrent caUed the Orrido di Tinazzo precipates itself with a roaring noise. It is a very singular place. The road from Lovere to Bergamo is carried along it for several yards on arches ; the water below is out of sight. To the N. of Lovere is the Val Camonica, through which the Ogho. flows. There is a good level road skirting the hUls from Iseo to Brescia, a dis tance of about 15 m. ; 3 m. out of Brescia it joins the high road from Ber gamo. The traveller who does not wish to return from Lovere to Bergamo wUl find a very fair road on the E. side of the lake, through the vUlages of Pirogne, Sale, and Marone to Iseo, and which from thence joins the high road to Brescia by Provaglia. " About 8 m. to the N. of Bergamo is the church of San Thomaso in Limine. It stands alone on the brow of a hiU 234 Route 25. -^Bergamo to Brescia. Sect. III. from whence there is a beautiful view. Its extreme age is obvious from its extarnal appearance, but it is stiU in good preservation, for which it is in debted to the firmness and exceUence of its construction. ThewaUs are very thick, and the blocks of stone of which they are formed are put together- with very httle cement. This buUding is not of large dimensions, and the decay of art is manifest in its detaUs ; but there is a degree of elegance and unity in the design, and of science in the construction, for which it deserves to be admired. No record of the date of San Thomaso has come down to our time. The evidence of style, however, places it among the buUdings of the 7th century, during which this part of Italy was at rest, and a great zeal for church-building prevaUed. The plan is nearly identical with that of San Vitale at Ravenna, a rotunda crowned with a cupola. The cupola is not sup ported by pendentives, but by the walls themselves, assisted by the lateral resistance of the arches of the wings. The pUlars are stunted and thick, and their capitals exhibit the usual imagery of the Lombards : the manner of con struction of the walls is in their style. The Lombards were fond of the cir cular, or octagonal form, and employed it in their churches as often as they did that of the BasUica. If the round form is to be adopted there can hardly be found a more graceful model than is afforded by San Thomaso." — G. Knight. Some other pleasant excursions may be noticed. There are many fine feudal castles dotted about the country on aU sides, memorials of the feuds of the Guelphs and Ghibellines ; such as the Castello de Trezzo upon the Adda, about 12 m. by the road to the S.W. of Bergamo, and many others to the eastward of Bergamo, near the lake Iseo. The Santuario d'Alzano, 4 m. from Bergamo to the N. E., at the beginning of the Val Seriana, has fine paintings, sculptures, and intagliaturas. Returning to the post-road from Ber gamo to Brescia, — The deep red soil is irrigated by the canals which constantly skirt the road ; the water is turbid, and usually of a dark reddish hue ; it flows rapidly, and there is not that dark marshy aspect which may have been remarked on the Lodi and Pavia sides of MUan. 3 m. from Bergamo the Serio is crossed, at the picturesque village of Seriate. 5 m. beyond Seriate, at the village of Canzona, a road branches off to the rt., leading to Martinengo and Romano. About 2 m. along this road is Castel Malpaga, buUt on Roman ruins by Bartolomeo Coleoni, stUl re taining gateways and drawbridges ; the inside is fuU of old historical frescoes — one saloon fiUed with the best frescoes by Carianni, the pupU of Giorgione, representing the visit of Christian II. of Denmark to Bartolomeo, highly in teresting for the costumes. About 2 m. W. of Malpaga, on the other side of the Serio, is a chapel caUed La Basella, formerly containing a masterpiece by Amadeo, a sepul chral monument of Medea, the only child of Bartolomeo, which is now in the church of Sta. Maria Maggiore at Bergamo. 2 m. beyond Malpaga towards Mar tinengo is a curious belfry, rich in architecture and sculpture, by Cagnoli ; and one of the masterpieces of this architect, the Rotonda at Ghisalba. Returning to the high road, the first post-station out of Bergamo is 1 Cavernago, where are the splendid palace and gardens of Count Marti nengo. 1 Palazzolo, very pleasantly situated: the view from the campanile is exceed-1 ingly fine, extending to the Duomo of Milan and the tower of Cremona, Coccaglio : the mountain above it ( Monte Orfano ) commands a noble view. . Rovato : the birthplace of the painters Moretto and Richino. 1J Ospedaletto. 1 Bejescia. (Inns : Albergo Reale, in the Contrada Larga, very good'; le due Torri, in the Piazetta della PaUata, civU and attentive people, and com fortable. The other Inns are H Gam- Austrian Dom. Route 26.— Brescia— Historical Anecdotes. 235 baro and La Posta.) This is a fine and flourishing city, now containing 35,000 Inhab., and appearing very prosperous. "Brescia Varmala" has been anciently celebrated equaUy for the strength of her fortifications, the valour of her inhabitants, and the exceUence of the arms and weapons here manufactured. The Brescians have probably not degenerated from their ancestors ; but the fortifications are dismantled and the manufacture has declined, though it is yet carried on to a great extent in fire-arms of an inferior quahty in the adjacent Val Trompia. Brescia was anciently con sidered as one of the most opulent cities of Lombardy, second only to MUan. But the capture of the eity by Gaston de Foix, the "gentil Due de Nemours," the nephew of Louis XII. (1512), inflicted a blow upon its pros perity from which it never recovered. When in pursuance of the League of Cambrai the French overran the Ve netian states, Brescia feU like the rest of the Venetian possessions, but was recovered by the vigour of the Count Luigi Avogadro. The inhabitants de tested the French, and the standard of St. Mark being hoisted the whole dis trict was in a state of insurrection. The castle, however, was stUl held by the French, and Gaston de Foix marched against Brescia with an army of 12,000 men, the flower, says the ' Loyal Ser- viteur,' of French chivalry. Amongst them was the " Chevalier sans peur et sans reproche," the celebrated Bayard, who, in the attack of the breach by wliich the French entered, received a wound which he thought to be mortal. The French poured in, and the city was taken by storm ; the Venetian troops made a desperate but ineffec tual resistance in the " Piazza del Bro letto " to which they retreated, and the inhabitants emulated the soldiers in valour. The city was given up to pU- lage, and the French, the "flower of chivalry," under the guidance of the " gentil" Gaston de Foix, truly termed by Sismondi the most ferocious of the chieftains who ever commanded an army, indulged during seven days in ' pillage, lust, and slaughter. The French boasted that 46,000 of the Inhab. perished. The spirit of the warfare may be illustrated by two celebrated passages in the history of the siege of Brescia, — the escape of Tartaglia and the gene rosity of Bayard. Amongst the crowds who vainly sought refuge in the churches was a poor woman of the lowest class with a child in her arms. The French chivalry cut at mother and chUd, and the boy received in the arms of his mother five sabre wounds ; his skuU was fractured and his upper lip split. In spite of this treatment he lived, yet the wound in his lip was so severe that he never fuUy recovered his speech ; hence he was called Tartaglia, or the stutterer : but his memory has been preserved, not by the injuries which he shared with so many others, but by bis talent as one of the greatest mathema ticians of the age, and discoverer of the method of solution of cubic equations. With respect to Bayard, he was placed by 2 archers upon a door torn from its hinges, and carried to the best- looking house at hand, beheved to be that of the Cigola family Its owner was " a rich gentleman who had fled to a monastery ; but his wife and 2 fair daughters remained at home, in the Lord's keeping, and were hid in a hay loft under the hay." The mother, when she heard the knocking at the wicket, opened it, "as awaiting the mercy of God with constancy ;" and Bayard, notwithstanding his own great pain, observing her piteous agony, placed sen tinels at the gate, and ordered them to prohibit aU entrance, weU knowing that his name was a defence. He then assured the noble lady of protection, inquired into her condition, and, de spatching some archers for her husband's rehef, received him courteously, and in- treated him to believe that he lodged none other than a friend. His wound confined him for 5 weeks, nor was it closed when he remounted his horse and rejoined the army. Before his de parture, the lady of the house, stUl con sidering herself and her family as pri soners, and her mansion and whole 236 Route 25. — Brescia — Historical Anecdotes. Sect. III. property as the lawful prize of her guest, yet perceiving his gentleness of demeanour, thought to prevaU upon him to compound for a moderate ran som, and having placed 2500 ducats in a casket, she besought his acceptance of it on her knees. Bayard raised her at the moment, seated her beside himself, and inquired the sum. He then assured her that if she had presented him with 100,000 crowns, they would not gratify him so much as the good cheer which he had tasted under her roof ; at first he refused to take them, but upon her earnestly pressing him, and seeing " that she made the present with her whole heart," he requested permission to bid adieu to her daughters. " The damsels," says the 'Loyal Serviteur,' "were exceedingly fair, virtuous, and weU-trained, and had greatly solaced the good knight during his illness by then choice singing, and playing on the lute and virginals, and their much- cunning needlework. When they en tered the chamber, they thanked him with deep gratitude as the guardian of their honour; and the good knight, almost weeping at their gentleness and humility, answered : — ' Fair maidens, you are doing that which it is rather my part to do, to thank you for the good company which you have afforded me, and for which I am greatly bound and obliged to you. You know that we knight-adventurers are Ul provided with goodly toys for ladies' eyes, and for my part I am sorely grieved not to be better furnished, in order that I might offer you some such as is my duty. But your lady mother here has given me 2500 ducats, which he on that table, and I present each of you with 1000 in aid of your marriage portions ; for my recompence I ask no more than that you witt be pleased to pray God for my welfare.' So he put the ducats into their aprons, whether they would or no : then turning to the lady of the house, he said, 'These remaining 500 ducats I take, madam, to my own use ; and I request you to distribute them among the poor nuns who have been pillaged, and with whose necessities no one can be better acquainted than your self: and herewith I take my leave!' After having dined, as he quitted his chamber to take horse, the two fair damsels met him, each bearing a little offering which she had worked during his Ulness ; one consisted of 2 rich brace lets woven with marveUous dehcacy from her own beauteous hair, and fine gold and sUver threads ; the other was a crimson satin purse embroidered with much subtilty. Greatly did the brave knight thank them for this last cour tesy, saying that such presents from so lovely hands were worth 10,000 crowns ; then gaUantly fastening the bracelets on his arm and the purse on his sleeve, he vowed to wear them both, for the ho nour of their fair donors, while his hfe endured ; and so he mounted and rode on." " The booty," says the ' Loyal Servi teur,' "was rated at 3,000,000 of crowns. Certain it is that the taking of Brescia was the ruin of the French cause in Italy : for they had gained so much that a great part of them returning home forsook the war, and were much needed afterwards at the battle of Ra venna." As for the unfortunate city, famine and pestilence foUowed the ra vages of war, and the void of popula tion has scarcely yet been proportion- ably supplied. Brescia is pleasantly situated, and there are lovely views from the heights above the city. It is close to the tor rent Mela, noticed in the verses of Ca tullus." Brixia, Cycnea? supposita specula?, Fiavus quam molli percnrrit fiumine Mela, Brixia Verona? mater amata mens." The Mela here mentioned stUl re tains its name, and is supposed . to be the river of which VirgU speaks. . . . . . " tonsis in vallibus ilium Pastores, et curva legunt prope flumina Melte." Brixia is known to have become a Roman colony, but we are not informed at what period this event took place. It was also a municipium, as ancient inscriptions attest. Strabo speaks of it as inferior in size to Mediolanum and Verona. Austrian Dom. Route 25. — Brescia — Roman Remains. 237 ' The antiquities of Brescia were in vestigated in the 17th century by the learned Rossi, who describes them in his Memorie Bresciane, but who trusted more to bis fancy than to his observa tion. A taU Corinthian column was then protruding through the soU, and Rossi in his treatise gave the drawing of the whole temple to which it had belonged. The column escaped demo htion, but no one paid much attention to it' except Girolamo loli, stUl living in green old age, who from a child was accustomed to wonder at the relic ; and, mainly by his persuasion and ex ertions, the municipal authorities were persuaded to institute a scava ; and the result was the discovery of the entire portico, and of much of the adjoining structure. The columns, with the ex ception of the one which so long de clared the existence of the rest, are broken at various heights, but the por tions remaining are very perfect, and so are the stairs and the basement, which are entirely in their original state. The latter is composed of up right blocks of marble, one block com posing the whole height upwards. The masonry indeed throughout is magni ficent. The columns are elegant, both in proportion and execution, and good workmanship is visible in the sharply- cut capitals and mouldings which lie around. Where the outer casing is removed you may observe the bands of brick binding the structure. The architecture has many peculiarities, and, hke almost every Roman buUding of the same era, shows that the archi tects considered themselves as by no means bound by such rules as those which Vitruvius has laid down. The buUding' is" caUed a temple, and is supposed to have been dedicated by Vespasian to Hercules : but its form seems to indicate that it was intended for some other purpose, perhaps a court of justice; and it is not even certain whether the mutUated inscrip tion upon which the conjecture is founded belonged to the buUding. Be this as it may, it is raised upon the foundations of an older structure, of which many vestiges may be seen in , the passages and vaults included in the basement story. They have tes sellated pavements, and the waUs are of the " opus reticulatura," over which a fine and hard compact and polished stucco has been laid. Great portions of this remain quite perfect ; it was painted in compartments as at Pom- pen, and the colours are very fresh. When these passages were opened, the excavators discovered a heap of bronzes, some nearly whole, others broken, but none injured except by fracture, and which had evidently been deposited there all at one time — how or when, it is difficult to conjecture ; but the most reasonable supposition is, that, when the emblems of paganism were removed by law from the temples, these were hidden by the adherents of idolatry, and forgotten in the dark vaults in which they were concealed. A museum has been formed within the waUs of the ancient buUding, to preserve these objects. The finest work in this museum iB the bronze winged statue, which, from its attitude, has been supposed to be either a Fame or a Victory. The shield under the left hand is a restoration ; so also is the helmet upon which her left foot rests ; but these have, perhaps, been removed, as an intention to remove them was expressed some time ago. The figure is rather larger than life. Her head is encircled by a garland of laurel-leaves, inlaid with sUver. The drapery and wings are executed with the greatest delicacy ; the latter were cast separately, and a smah portion of one is wanting. When discovered the wings were found lying at the feet of the statue, evidently having been taken off for the purpose of better stowing the figure in its place of concealment. The head, the drapery, the elegance of the hmbs, and more particularly of the extremities, are as fine as can be conceived. A mould having been taken from the statue, a copy was cast in bronze by the desire of the Emperor of Austria. It is erected at Culm. Found together with the Victory, and now in the same room, are six heads, with traces of gUding: one of them is 238 Route 25. — Brescia — Roman Remains. Sect. III. supposed to be the Empress Faustina. Also a smaU statue, fully gilded, repre senting a captive, a Barbarian mo narch. The workmanship is inferior to that of the Fame. Portions of harness, with very fine figures in rehef. A female hand and arm, larger than life ; very fine. Many fragments of mouldings and ornaments, some gUt, all of great ele gance ; and probably decorations of the monument, whatever it was, of which the Victory formed a part. The inscriptions in the museum are numerous and valuable. The citizens of Brescia began to coUect and pre serve these remains at an early period ; earlier indeed than any other city in Europe. By a special ordinance, passed in 1480, they required that aU who, in digging or otherwise, might discover ancient inscriptions, should preserve them, and fix them on the waUs of their houses, or otherwise place them where they should be the objects of pubhc study. These inscriptions were afterwards brought together in the Bishop's Palace, and in the other pubhc buUdings. They are classed, as nearly as possible, according to sub jects. The Conservatore Ioli wishes to form a complete coUection of aU the Roman inscriptions found in the province of Brescia, which he is con stantly exploring. In those cases, therefore, where the original could not be procured, he has caused a rubbing to be taken from the stone, and from these rubbings he has painted fac- simUes in tablets upon the waUs ; if he obtains the original, he substitutes it for the copy, — and this process has very often induced the owners to Bur- render, for the public benefit, the in scriptions which they would otherwise have withheld. The inscriptions thus brought together would form a large and curious volume : many are early Christian ; one is to the memory of a certain Cecilia, who is singularly de scribed as " Mater Synagogae Brixia- norum." The architectural fragments are nu merous ; some exhibit .rich varieties of the composite. An Ionic capital has fine angular volutes, according to the modern Italian fashion, commonly sup posed to have been invented by Sca- mozzi. Many other objects of interest are dispersed in the museum : — votive and other altars ; a portion of a beautiful mosaic pavement ; specimens of pottery and articles of bronze. One apartment is devoted to mediaeval an tiquities : those of the Lombard era are interesting. — Several columns re moved from the partly ruined church of Santa Giulia, with Corinthianized capitals ; fragments covered with runic knots, some apparently slabs and door- jambs, one the foot of a cross ; a runic cross bisecting an epitaph in Roman characters. These remains appear pe cuhar to the N. of Italy. Some por tions of the original walls, and what are caUed portions of the altars, can be seen in the back part of the interior of the museum ; but the masses, so-called altars, have a resemblance to the sug- gesta of a tribunal. Near these ruins are the remains supposed to be part of a theatre. Not much is seen, and they are concealed by a private dweU- ing-house. Under another dweUing-house, near the museum, in a kind of ceUar, are some Corinthian columns, buried up to their capitals, and supporting archi traves sculptured with foliage. These are conjectured to be parts of the Forum. Many other vestiges are found dispersed in the city. The Monte di Pieta contains several inscriptions and fragments built up in the waUs ; and the columns and pavements dug up in various parts of the city attest its an cient magnificence. Brescia has two cathedrals. The Duomo Vecchio was built, according to some historians, between the years 662 and 671, by Marquard and Fro- doard, two Lombard dukes, father and son, with the assistance of Grimbald King of the Lombards. Others attri bute it to a Count Raymond, who go verned Brescia under Charlemagnei The walls are of stone ; the eircuit on the outside is divided by pUasters into I 24 portions,, surmounted by a brick .Austrian Dom. Route 25. — Brescia — Cathedrals — Paintings. 239 .cornice. This church offers another instance of the preference of the Lom bards for the round form. Within there is an insulated peristyle of eight piers, bearing round arches, which help to support the dome, in conjunction with the outer circle of walls. The interior has been much altered. Some curious mediseval tombs are stUl left. — High up in the wall is the memorial of Lambertus de Bononia, bishop of this see in 1349. A slab tomb remains of Nicolo Durando, Archdeacon of Brescia in 1541 ; the effigies, in low rehef, are expressive. — -The sarcophagus of Bishop Maggi is a good specimen of the style prevailing upon the revival of the arts; by its side is the tomb of Cardinal Mo- rosini, by Antonio Carra, a Brescian artist. The paintings in this cathedral are not first-rate. Pietro Rosa, St. Martin dividing his Cloak with the Beggar. — Bernardino Gandini, the Guardian Angel. — II Moretto, Abraham and Melchisedeo ; the Last Supper ; St. Luke and St. Mark ; Ehjah fed by the Angel ; and Abraham and Isaac, — Ro- manini, the descent of the Manna, much injured. Over the high altar is also an Assumption, by Moretto. Under a glass, and much valued, is a Virgin, by Pietro Marone. In the chapel of the Santissima Croce are two large paintings by Cos- sale and Gandini : the first represents the miraculous Apparition of the Cross to Constantine ; the second represents " Duke Namo " delivering the ancient crosses, still preserved as relies in this chapel, to the magistrates of Brescia. It. is quite uncertain whence these crosses proceed ; and inasmuch as the existence of Duke Namo rests only upon the authority of Ariosto and the romancers of the Dozepeers, no great support is gained by the quota tion of his name. Yet the curious casket in which they are enclosed does bear unquestionable marks of respect able Byzantine antiquity, It repre sents Constantine and Helena, their names being written in Greek letters. The crosses are known to have been in the possession of the citizens in 1295. It is supposed by some authoritiea that they were brought from the East by Bishop Albert, who, in 1221, was the bearer of the Oriflamme, a standard absurdly ascribed to the crusaders. One of the crosses, indeed, is thought to have been the stem of this standard, but it seems much too small for any such purpose. The interior of the chapel is weU painted in fresco by Sandrini and Giugno. Under the cathedral is the crypt or scurolo, sup ported by 42 columns of fine marble ; many of the shafts appear to be ancient : the capitals, which are Lombard, indi cate perhaps an earlier style than the superincumbent structure. The baptistery which adjoined this church, said to have been buUt by Queen Theodohnda, was demolished in the 16th centy. to make room for the New Cathedral, or Duomo Nuovo, be gun in 1604, from the designs of Gio vanni Battista Lantana, but the vault ing of the cupola was only closed in 1825. The dome is the third in size in Italy ; St. Peter's being the first, and that of BruneUeschi, at Florence, the second. The architecture is fine. It has some good pictures by second- rate artists, amongst which are,— Palma Giovane, the Virgin, with San Carlo Borromeo and San Francesco ; Bishop Marin Georgi, the donor, is introduced as a devotee. — Zoboli, helped by Conca, both decent artists of the last centy., painted the Assump tion. — Panfilo, the Processions during the plague which ravaged the city in 1630 ; St. Anthony of Padua, In the chapel of St. Plhlasterius, Bishop of Brescia 384, is preserved his pastoral staff. The archives of the cathedral are rich in ancient manu scripts. The three buUdings of the Broletto and the two cathedrals form one side of the piazza. In the centre is a statue aUegorical of the city, an armed female. Altogether it is a per culiar scene. Church of Sta. Afra, erected upon the site of a temple of Saturn. . This church is rich in frescoes and paint ings. The latter were kept together at the period of the suppression, of the 240 Route 25.— Brescia — Churches — Paintings. Sect. III. coUegiate estabhshment (the canons of St. -John of Lateran) by the exertions of the Canon Martinengo. — The fres coes of the roof are by Bagnadore and Rossi. — The chief ornament of the church is by Titian : the Woman ¦taken in Adultery. The colouring is excellent. Whether this picture is en tirely by the Titian has been the sub ject of considerable controversy, and some have attributed it to his son Orazio .- the prevailing opinion, how ever, now is, that it is by the father, and amongst his best works. There are two or three repetitions of it in Eng land. — Paolo Veronese : the Martyr dom of Sta. Afra. This piece has the name of the artist, " Paolo Caliari, V. F. ;" the picture is unfortunately the -worse for some restorations. — Tinto retto : the Transfiguration. — Bassano : -the Baptism of Sta. Afra : the rite of -baptism is administered by St. Apol- lonius ; and Faustinus and Jovita are distributing the Eucharist. The whole is represented as taking place by torch light. Faustinus and Jovita, who so repeatedly appear in the Brescian paintings, were brothers of a Patrician famUy, who preached the faith at Brescia whilst the bishop of the city lay concealed during the persecution. They suffered martyrdom, a.d. 121, by the commands and in the presence of ¦ Adrian. — Giulio Cesare Procaccini .- the Virgin, San Carlo Borromeo, and St. Latinus. — Baroccio : a Pieta. — Pal/ma Giovane : the Martyrdom of St. Felix and his Companions, spoded by re storation. This church is one of the most an cient in the city, and .has sustained innumerable changes and misfortunes. One cloister, in the style of Sansovino, is good : another is in an earlier style. The crypt is worth a visit from its antiquity. Church of San Barnabo, erected on the site of a temple of Hercules : this is the tradition, and the remains found •on the spot confirm the popular opi nion. It was founded in the 14th centy. by Bishop Maggi for the Austin Friars, who have long, since d-isap- It is now annexed to a found ling hospital. Paintings : Palma Vec chio, Sant' Onophrius the Hermit. — Girolamo Savoldo, the Shepherds at the Nativity ; one of the best pictures of this rare artist. — Poppa the younger : the Last Supper. In the apartment formerly used as the library are Some good specimens of the elder Foppa, in particular the Last Supper. The clois ters of this church were demoUshed by the French : they contained some very interesting monuments ; amongst others, the tomb of Foppa. Church of Sanf Alessandro, for merly officiated by the Servites, who entered here from Florence about 1430, and brought with them the painting over the first altar on the rt., repre senting the Annunciation ; below is a range of smaU paintings by Civerchio. — Gambara : an Ecce Homo. Church of San Luca, now the chapel of the great hospital. — Angelo Paglia : St. Luke and the Virgin. The hospital was founded in 1447. In the Cancel- leria, or secretary's office, are some good paintings. — Moretto : our Lord at Emmaus ; and Romanino .- our Lord bearing the Cross, and the Virgin and ChUd. Church of San Domenico, a fine buUding, of a single nave, and richly decorated with frescoes. — They are by various hands, Sandrino Fiaminghino and Giugno. — Romanino : the Coro nation of the Virgin, with many Saints introduced ; the colouring is exceUent. — Ghitti: the Resurrection. — Antonio Gandini : the Crucifixion, with the three Maries. — Palma Giovane, two large pieces ; in one are introduced portraits of Pope Pius V., Philip II. of Spain, and the Doge Veniero, return ing thanks for the victory gained by their combined fleets over the Ottoman" forces 1571. Portraits of their cap tains are also introduced. The other is aUegorical, and represents the deli verance of souls from purgatory by the virtue of papal indulgence. La Pieta, an hospital, founded in 1523, with a smaU church annexed. The church has good od-paintings upon the walls, by Gandini and Ma- rone. In the infirmary is a series of Austrian Dom. Route 25. — Brescia — Churches. 241 subjects, representing the principal events of the hfe of St. Catherine of Sienna, by Gandini. Church of San Carlo. This church also is annexed to an hospital. The best picture which it contains is by Cossale : San. Carlo Borromeo, and the patrons of the city, Faustinus and Jovita. Church of San Nazario e Celso. A suppressed coUegiate establishment. The church was rebuUt in 1780 ; and as an edifice is not remarkable, but it is very rich in paintings. The high altar, by Titian, consists of five distinct subjeots, but united into one compo sition ; and executed when he was in the fuU vigour of his powers. — The Annunciation forms the subject of the first and second pictures. — The third represents our Lord risen ; the subjeot being spread over both compartments. Amongst the figures the painter has introduced the portrait of the provost Averoldo, by whom the picture was presented to the church, together with the patron saints, St. Nazario and St. Celsus ; and he has prevented these extraneous figures from injuring the general composition. — The fourth is St. Sebastian : at the foot of the co lumn to which the saint is bound the painter has subscribed his own name and the date of the work. " Ticianus faciebat, MDXXII."— The last subject is the Resurrection. Another exceUent painting in this churoh is the Coro nation of the Virgin, by Moretto : the colouring is beautifully transparent. Other paintingB are, the Nativity, by Moretto; our Lord in the Clouds, with the Symbols of the PasBOver and the Patron Saints of the Church ; St. Michael the Archangel, St. Nicholas, and St. Francis. — Gandino : St. Roceo. — Foppa juniore : Martyrdom of the Patron Saints, forming the interior of the shutters of the organ ; the outsides are by Romanino; Adoration of the Magi. — Latanzio Gambara : St. Bar bara ; in which is introduced the portrait of Pietro Antonio Duero, the provost of the church, by whom it was presented. . Church of Santa Maria de' Miracoli, buUt pursuant, to a decree of the eity in \4S7, in honour of the supposed mir-a- N. Itah— 1852. culous painting of the Virgin which it contains, and which was upon the waU of the house of one Frederick de' Pela- broschi, and was bought, house and aU, for the benefit of the city. The facade is covered with elegant arabesques, birds, medallions, touched with the utmost delicacy, by Brignola, an artist of the 15th century. The interior is splen didly decorated with stuccoes and gUd ing. Paintings : Marone, the Assump tion ; very Titianesque. San Francesco, the first permanent settlement of the Franciscans in this city, having been founded in 1254 ; but only a portion of the original edifice remains. The convent was a fine struc ture. In the precinct of this convent the Brescians took the oath of fidelity to the republic of Venice, March 17th, 1421. Paintings : — Romanino, the Vir gin and Child, surrounded by St. Fran- - cis^ St. Anthony of Padua, St. Bona- ventura, and St. Louis, over the high altar. — Cossale, the Immaculate Con ception, and St. John the Baptist and St. ApoUonia. — Moretto, St. Francis, St. Jerome, and St. Margaret, dated 1525. — Francesco da Prato di Caravaggio, the Marriage of the Virgin, with date 1547. The works of this painter are exceedingly rare. His style is rather that of the earher school of art, hard and formal, but with great beauty of expres sion and transparency of colouring. Church of St. Agata, supposed to have been founded by Queen Theodo linda. The waUs and roof richly painted by Sorisene and Ghitti, the figures prin cipaUy by the latter. Amongst the many other paintings are : — Foppa Giovane, the Adoration of the Magi, surpassing any other of his works in colouringandin chiar'-oscuro. — Callisto da Lodi, St. Agatha on the Cross, to gether with St. Peter and St. Paul. Churoh of San Giuseppe, formerly belonging to the Minor friars, and buUt at the expense of the city. Paintings : — Romanino, the three Maries round the Corpse of the Saviour. The Na tivity, St. Catherine, St. Paul, and St. Jerome. — Moretto, the Descent of the Holy Ghost. A composition, St. Fran cis, the Virgin, and a portrait of the 242 Route 25. — Brescia — Churches. Sect. III. donor of the painting. — Palma Giovane, St. Anthony of Padua; — Luca Mombelli, St. Joseph and St. Sebastian. — Avoga- dro, the Martyrdom of St. Crispin and Orispinianus. Lanzi points out this picture as his chef-d'osuvre. In the cloister are some valuable though much- damaged frescoes by the elder Gandino, and by Moretto. Church of San Giorgio, formerly be longing to a Franciscan convent. Here are to be noticed : — Bernardino Gan dini, the Martyrdom of the patron Saint. — Ghitti, St. George and the Dragon, and another representation of the Martyrdom of the Saint. In the sacristy is an ancient picture of St. George and the Dragon. — Giovita Bres- cianino, a Nativity. Very few of the oU paintings of this able scholar of Gam bara exist : some say that this is the only one. He also painted the outside of a house adjoining the church. Church of San Faustino Maggiore, one of the oldest monasteries of Brescia. The bodies of St. Faustinus and St. Jo vita were translated here in 843. Three years after, some monks of the then recent order of Benedict were placed here ; and they continued in possession of the monastery tUl their suppression by the French : the present building is, however, modern. Like so many other of the Brescian churches, the walls and roof are covered by frescoes. The tomb of the Saints, forming the high altar, by Carra, is fine of its kind. Amongst other pictures is an exceUent Gambara, the Nativity ; one of the largest and best of bis oU paintings. — Romanino, the constantly recurring groups of St. Apohonins, St. Faustinus, and St. Jovita. — Gandino Giovane, St. Hono rius and St. Mary the Egyptian. In the cloisters adjoining to this monas tery is a vaulted passage with a good fresco by Gambaro ; and in the conven tual buildings, now used as a coUege, is a very curious picture by Cossale, re presenting the supposed miracle worked by the saints Faustinus and Jovita when Brescia was besieged by Nicolo Piccinino, on which occasion they were beheved to hurl back the cannon-baUs of the enemy. v , Church of the Carmini. The Car melites were invited to Brescia about the year 1345 : and the present church was built for them at the expense of the city. In the 17th century it was re- ornamented by the frescoes of Sandrino, Gandino, Rama, Barucco, and Ferra- mola. — The Apostles and the Sibyls are by Gandino, Rama, and Barucco. Some of the vaultings, with figures on an azure ground, by the elder Foppa, are vestiges of the former decorations of the structure. Amongst the paintings are ; — Gandino, Martyrdom of St. Ursula; St. Peter receiving the keys. — Palma the younger, the Archangel Michael. Church of San Giovanni FvangeUsta. This is the primitive church of Brescia, having been founded in the 4th century by St. Gaudentius ; but it was rebuilt in the 16th century. This church con tains many of Moretto's best produc tions : the Slaughter of the Innocents, St. John departing from his Father Za- charias, St. John preaching in the De sert ; a group, the Virgin and ChUd, with St. John, St. Augustine, and St. Agnes. Others were the result of the competition between him and Romanino. The paintings so produced by the rival artists are placed opposite to each other ; those of Moretto are on the rt. hand, and represent the FaU of the Manna, Ehjah sustained by the Angel, the Last Supper, the Evangelists and Prophets. The paintings by Romanino are on the 1. ; the Raising of Lazarus, St. Mary Magdalene in the House of the Phari see, the Holy Sacrament offered to the Veneration of the Faithful, Evangehsts and Prophets. Another Romanino, and in a different style, is the Marriage of the Virgin ; it is reckoned one of his best productions. — F. PagUa, the As sumption. — Giovanni Bellini, the Three Maries weeping over the Body of the Saviour (exceUent), in the chapel of the Santo Sagramento. — Grazio Cossale, an, Apocalyptic Vision — a striking compo sition. In the chapel of the Baptistery is a beautiful picture in the style of Francia, Saints in adoration of the; Trinity ; to which Jandine added S. Pietro Martire. Church of Santa Maria delle Grazie* Austrian Dom. Route 25. — Brescia — Churches. 243 successively tenanted by the Umihati, the Jeronymites, and the Jesuits, Cu riously ornamented with very rich com partments of gUded stucco work, and ample frescoes by Antonio Gandini, Fiamminghino, Marone, Pilati, Rossi, and Rama. Other paintings : — Pietro Rosa, St. Barbara kneeling before her Father in Expectation of Death, scarcely inferior to Titian. — Moretto, the Na tivity, over the high altar ; several saints also introduced ; an exceUent early pic ture.— .FejvfltfBO?^, the Virgin and Child, with St. Jerome and other Saints ; some attribute this picture to the younger Foppa. — Gandini sen., the Purification. Church of San Pietro in Oliveto, altered and partly rebuUt by Sansovino. This church was successively possessed by the Celestines, by the canons regular of the order of the Beato Lorenzo Gius- tiniani, and by the Carmelites, and it is now used as a chapel to the ecclesias tical seminary. It is rich in specimens of the Brescian sohool. — Foppa the elder, St. Ursula, St. Peter, and St. Paul, upon gold grounds. — Vincenzio Foppa, Our Lord bearing the Cross ; considered as the chef-dceuvve of this artist. The outlines are somewhat hard ; but the expression of the countenances and the harmony of the tints fuhy com pensate for this defect. — Moretto, the High Altar, a singular but fine compo sition. Above is the Virgin, between Justice and Peace ; below, St. Peter re ceiving the Keys, and St. Paul a table, signifying his Commission to preach the Gospel. Over a second altar is another aUegorical composition — St. John the Evangehst and the Beato Lorenzo hastening to the Advice of Wis dom ; a 3rd has the FaU of Simon Ma gus, and St. Peter and St. Paul helping the Church. — Ricchino, 4 large subjects from the life of Moses. The roof is richly decorated. Church of Sam Salvatore, annexed to the monastery of Sta. Giuha. This noble budding, erected by Desiderius King of the Lombards, is now turned into a barrack. The E. end is toler ably perfect. Church of San Clemente boasts of what are considered as the five best pamtmgs of Moretto : — a large altar? piece, a group of female saints, Lucia, CecUia, and Barbara, thoroughly Ear phaelesque ; St. Ursula and her Com panions ; Abraham and Melchisedec, St. Jerome and St. Paul; and the great painting over the high altar. They ex hibit great command of pencU and rich ness of colour. Church of SantaMaria Calchera, not remarkable for its architecture, but con taining a picture considered the master piece of Romanino. It represents the patron saints of Brescia, — ApoUonius, Faustinus, and Jovita. .Other good paintings are : — Camillo Procaccini, San Carlo in Prayer. — Moretto, the Magdalene at the Feet of our Lord; St. Jerome and St. Dorothea. — CaUsto da Lodi, a smah but fine picture in dis temper, the Visitation, over the High Altar. Church of Sta. Fufemia, a very an cient foundation, but entirely rebuUt. The high altarpiece is by Moretto ; St. Euphemia and Justina, and St. John the Baptist. In the cloister are the re mains of some of the best frescoes by Gambara, representing a series of Scrip ture subjects. The French turned the monastery into barracks, and the smaUer frescoes are now aU but ruined. Church of Santa Gaetano, formerly belonging to the Theatines. Paintings : — Alessandro Maganza, the Annunoia- tion, the Fhght into Egypt, and Saints Lucia and Barbara. Church of il Santo Corpo di Christo, formerly belonging to the Franciscans, and afterwards to the Jesuits. This church contains a very fine monument of the 16th century : its principal orna ments are Scriptural histories, of admir able workmanship. There are no in scriptions, but it is supposed to contain the remains of Antonio Martinengo, a very able commander in the Venetian service, slain in a skirmish with the Spaniards, 1526. Church of San Faustina in Riposo, a chapel or oratory, so caUed in conse quence of its being the spot where Bishop Amphigius rested with the bodies of Saints Faustinus and Jovita, when they were translated from the. 244 Route 26. — Brescia— -Palazzo della Loggia. Sect. III. present church of Sta. Afra to Santa Maria in Silva, and hence to San Faus- tino Maggiore. It is said that on this occasion blood flowed from the dry bones, in order to dispel the incredulity of the " Duca Namo, " who has so strangely passed from the lays of ro mance to the legends of Hagiology. This scene was painted at the expense of the city by Moretto ; but the paint ing having been damaged, it was copied by Bagnadore. It is not opened to the pubhc, except upon principal holidays : at other times the zwanziger wiU open it. Sta. Julia. This chapel iB one of the latest works of the Lombard dynasty. It formed part of a large convent founded and buUt by Desiderius, the last Lombard king. The foundation was, at first, in honour of the Saviour ; but Ansa, the wife of Desiderius, having imported from Corsica the body of the African virgin, Sta. Julia, and enriched the convent with so precious a gift, the name of the saint finally reigned alone. Anselperga, a daughter of Desiderius, was the first abbess of the convent. The convent has been turned into a barrack ; but this chapel, which stands at one angle of the court, remains in a very perfect state, and, with its cupola and arcades, is a pleasing specimen of the Lombard style. Besides thebefore-mentionedchurches, aU of which contain many more paint ings than we have noticed, there are several others : — San Carlone, La Mi- sericordia, SS. Cosimo e Damiano, Sanf Agnesi, Gli Angeli, Sta. Croce, Sta. Orsola, La Madonna al Mercato di Lino, Sanf Ambrogio, San Zenone, Congrega Apostolica, Sta, Maria della Gonsolazione, San Tomaso, Sta. Chiara — aU containing objects worthy of notice. Palazzo della Loggia. Several of the first architects of the 15th and 16th centuries have successively worked upon this beautiful buUding, which was in tended forthe palace of the municipahty, or town-hah. The decree directing the erection of the building was passed in 1467 ; but it does not appear that much progress was made till about 1490. Bramante is supposed to have designed the front ; but this point is contested, and it has been attributed to a Tomaso Formentone, of whom httle is known. It was continued by Sansoviuo, and completed by Pahacho; yet the rich, varied, cinquecento style predominates, and it is one of the finest specimens of its kind. The general outline is that of the old Lombard town-hah : 3 rich arches form the ground-floor ; an arcaded court is seen receding beneath them. Above is the councU-chamber, with the Ringhiera projecting over the piazza : an open staircase is on the side of the buUding. The order is a fanciful com posite ; the pUasters and friezes are covered with rich-sculptured scalework, foliage, and capricci, in the style of the baths of Titus. The keystones of the groinings are sculptured with half-length figures, and with shields of arms. The entrance to the lower chambers is a smaU triumphal arch, composed, hke the whole buUding, of the richest marbles. The exterior is covered with sculp ture. The fine series of medallions, representing Roman emperors in bor ders of coloured marble, are by Gas- paro di Milano and by Antonio della Porta. The fanciful candelabra tro phies by Fostinello, Casella, Colla, Martino della Pesa, and Giovanni da Lugano : Justice, and the Saints Faus tinus and Giovita, by Bonometti; Faith, by Frederico da Bagno — all artists of -high merit, though their re putation is lost amidst the greater names of Italy. The magnificence of the interior originally frdly corre sponded with the exterior ; but, on the 18th of January, 1575, the whole . was in flames. The proclamation issued by the governor attributed the fire to de sign. The reward offered to those. who should give information which might lead to the conviction of the offenders. was 2000 crowns, and the pardon ofr any two bandiii whom the party giving* such information might name. But the Brescians were offended about this proclamation, for it was currently -be heved that the real instigators of the fire were in the Palace, of St. Mark, . and that the Ulustrious Signoria had. paid the incendiary. The motive for the act was (according to report) the- Austrian Dom.' R. 25.— Brescia — Torre del' Orologio — Broletto. 243' wish to destroy certain charters of li berties granted to the Brescians by the emperors, and confirmed by decrees of the repubhc under the Doges Fran cesco Foscari and Leonardo Loredano. Those who raised or beheved Buch a report do not seem to have felt that the government had much more effec tual means of restraining the Brescians, if they thought fit, .than by burning the old parchments. Some very fine paintings by Titian were destroyed by this fire. In the great but rather neg lected chambers used for business there are stiU some paintings not without interest : — Foppa : St. Faustinus and St. Jovita, from the waUs of a demo lished church ; uuskfffiilly restored. St. Veronica and our Lord ; a fine pic ture. — Giulio Campi : a series of eight drawings in distemper, the subjects of aU relating to the administration of justice ; Susanna and the Elders ; Cha- rondas slaying himself; Zeleucus and his Son ; the Punishment of Sisamnes by Cambyses ; the Judgment of Solo mon ; Philip of Macedon condemning himself in costs and damages upon re versing his own unjust decree ; Titus ¦Manlius sentenced by his Father ; Tra jan and the Widow. — Mombelli : a Pieta. — Marone : four subjects from the Life of St. Peter ; the Transfigura tion. A large picture represents the passing of judgment, 13th Sept. 1710, ,by the Inquisitor- General, assisted by the Bishop of Brescia and the Venetian authorities, upon Giuseppe BeccareUi, a priest, who, foUowing up the doctrines of Antinomianism, maintained that the ¦body might commit any sin provided ¦the sOul was pure. He was condemned to the galleys, a sentence afterwards commuted into imprisonment. The picture has no peculiar merit, but it is remarkable as an historical document, the decree against BeccareUi having been the last proceeding of the In quisition in this part of Italy. Torre del' Orologio. This tower rises out of a picturesque portico and arch. It is a fine structure, and has an enormous dial, with its figures going on to XXIV. It marks the course of the sun and the moon ; and two men of metal, of the size of nature, as at old St. Dunstan's, strike the hours. It was put up in 1522, and was much admired in its time ; and the citizens were most hberal in decking it with gold and azure. Torre di Pallade : thiB tower is also caUed Torre dei Palladmi, and Torre della Pallada. The classic school of antiquaries suppose it stands upon the site of a Temple of PaUas ; and a statue of the Athenian goddess affixed to the basement probably resulted from this conjecture : the romanticists main tain it derives its appellation from the companions of Charlemagne ; whUst a third set of matter-of-fact etymologists say that it was so called from the pali (stakes or palings) surrounding it when it was part of the fortifications of the city. Be that as it may, it is a fine and perfect specimen of casteUated architecture, with a great projecting base and lofty battlements : it now serves as the town belfry. At the base is a fountain (1596),- from the designs of Pietro Maria Bagnadore. The Broletto, the ancient palace of the repubhc, is a huge pUe of brick. A tower rises out of the buUding, sur rounded by the deeply-cleft Itahan battlements. Where the terra-cotta ornaments are perfect they are very beautiful, particularly in a great cir cular window. The style is character istic of the times in which it arose, probably between 1187 and 1213. Be fore the invasion of the French the interior contained exceUent paintings, and many objects of historical interest ; amongst others, the portrait of Brigida or Braida Avogadro, who, armed with spear and lance, led on a squadron of Amazons, who fought with consider able efficacy in defending the city when besieged by Niccolo Piccinino in 1438, deeds recognized in three decrees of the repubhc. The' French sold the best articles, destroyed others, cleared out the whole ; and the Broletto was turned into a barrack. It is now em ployed for pubhc . offices : one fine chamber retains its paintings on the ceUing ; the subjects are from the Apo calypse, by Lattanzio Gambara; Ve- .246 Route 25. — IBrescla — Library — Galleries of Paintings. Sect. Ill- nice triumphant, and St. Nicolas of Bari, by Gandini. The Biblioteca Quiriniana was founded about 1750 by Cardinal Qui- rini, a diligent cultivator and munifi cent encourager of literature. To him We owe the coUection of the works of ¦Cardinal Pole, so essential as docu ments in the history of England. Here he placed his most ample coUections, 'adding a noble endowment, which is partly employed in increasing the col lections. It now contains upwards of 90,000 volumes, including many early printed books and curious manuscripts, besides objects of antiquity. A few may be noticed : — A copy of the Gos pels, written in gold and sUver upon purple vellum, of the 8th century. Various charters of the 8th, 9th, and 10th centuries, formerly in the archives of the monastery of Santa Giulia. A Koran, upon cotton paper, of early date and great beauty. The " Croce Magna," of Byzantine workmanship, set with ancient gems. Three valuable ivory diptychs. The first in honour of Manhus Boetius, who became consul •in 487, and who was the uncle — or, as -some say, the grandfather — of the cele brated Boetius. On one side he is re presented in his consular robes ; on the other presiding at the games of the •Circus. Another diptych of Lampa- -dius, consul a.d. 530 : he also is repre sented as presiding at the games. A third diptych, viz. Dittico Quiriniano, said to have belonged to Pope Paul II. (1464-1471), and, afterwards passing into the possession of the Cardinal, he gave it to the library. There is much doubt, however, as to the origin of this piece of antiquity. The subjects are mythological — Paris and Helen on one side, and a group of Paris and Helen crowned by Love on the other. Many good judges have suspected that it is modern : the workmanship is beautiful at all events. There are a few good pictures in this coUection, amongst which are : — Moretto : the Virgin and Child, and St. John. Titian .- the Virgin and ChUd. Zuccarelli : San Girolamo taking care of Orphans. •This .artist rarely painted any subjects excepting smaU landscapes, and hence this specimen is rather remarkable. A very extensive coUection of engravmgs, both wood and copper, from the first invention of the art, formed by Count Martinengo, and bought by the go vernment for the library. Brescia contains some good private coUections of pictures, the rehcs of itB former splendour. Galleria Averoldi. The Palazzo Averoldi was buUt in 1544, and the famUy have been long distinguished as cultivators and protectors of art. Amongst the pictures are fine portraits by Morone, Paris Bordone, Callisto da Lodi, Girolamo Savoldo, Romanino, Richino, &c. ; landscapes by Paul Brnll and Tempesta; and by Titian is an Ecce Homo ; a Virgin with two Saints, by Carpazio ; a Virgin and ChUd, by Giovanni Bellini; several specimens by Romanino, amongst which a St. Alexander is almost equal to Titian ; a Holy Family, by Boccaccio Boccaccino ; and several Morettis, &c. There is also here a fine coUection of medals, often quoted by Goltzius and the earlier numismatic writers. , Galleria Lecchi. A large and valu able coUection of pictures : — Titian [?], Portraits of Paolo Veronese and of Fracastoro ; of a Husband and Wife, by Morone; of Cosmo de' Medici, by Bronzino ; of the brothers della Torri, by Lorenzo Lotto ; of a young Woman, by Paris Bordone ; and others by the hand of Andrea del Sarto, Tintoretto, and Vandyke. In this coUection are landscapes by Poussin, Bernardino Luini, Salvator Rosa, and Wouver mans ; besides which are fourteen his torical subjects by Titian; twelve by Paul Veronese; one by Tintoretto, Cynthia in her Car; St. Agnes, by Domenichino; a Presentation in the Temple, by Francia; Orpheus and Eurydice, by Giorgione; San Rocco, by Pordenone ; and several pictures by Moretto, Romanino, and Gambara. Galeria Tosi. Here is the cele brated Raphael — the Saviour, formerly in the possession of the Mosca family. Passavant speaks highly of it ; painted about 1505. The Holy Family, Fret .Austrian Dom. Route 25. — Brescia — Paintings — Palaces. 247 Bartolomeo, once belonging to the Salviati of Florence ; a Battle-piece, by Borgognone ; a Holy Family, by An drea del Sarto ; Venus adorned by the Graces, "Albano : Sir Isaac Newton, Palagi ; Portraits by Morone d' Al bino, Titian, Tintoretto, and specimens of the works of Luca von Leyden, Mantegna, Teniers, Landi, &c. Ca- ¦ nova, Thorwaldsen, and Monti have contributed in sculpture to adorn this gallery, which contains also a large assemblage of objects of virtu, and of natural history ; coins, rare books, and a beautiful collection of prints. Count Tosi died a few years ago, and left his valuable collection to Brescia, and it is now open to the pubhc. The corns are in the Biblioteca Quiriniana ; the pic tures, statues, &c, stUl (1845) remain in the Palazzo Tosi ; and it is not yet known what wUl become of his gaUery. Galleria Fenaroli. Fine portraits by Morone, Velasquez, Vandyke, &c. ; landscapes by Poussin, Tempesta, Sal. Rosa; views of Venice, by Canaletti; Hercules strangling the Nemean Lion, by Rubens ; the Adoration of the Magi, by Paul Veronese ; the Magdalene, by Guido ; samples of Moretto, Callisto da Lodi, Guercino, &c. Also several speci- .mens of sculpture by modern artists. Near the GaUeria Fenaroli is the Casa Rondi, where there is a group carved in ivory by Van Obstat, repre senting the Sacrifice of Abraham : the draperies are in wood. The workman ship is poor, but it is the largest group ever executed in ivory. Van Obstat was one of the founders of the Aca demy of Painting at Paris. Palazzo Martinengo CoUeoni. A portrait caUed Caterina Cornaro Queen of Cyprus, attributed to Titian .- below is a kind of basement, on which she is represented in profile, in chiar'-oscuro, and on which are the initials T. V., which stUl, however, leave some doubt as to its author. Like aU the portraits appropriated to Caterina Cornaro, it is doubtful whether it be truly given to her, inasmuch as she was dead in 1510, before Titian could have painted her. The gay external decorations of the houses 01 Brescia form, or rather formed, a peculiar feature of the city ; but they are rapidly disappearing, from time and from neglect. In the Strada del Gambaro are some curious frescoes, on which Romanino was first em ployed; but Gambara having married his daughter, Romanino transferred the order to his son-in-law as part of the young lady's fortune. On the exterior are various classical Bubjects : — the Rape of the Sabines ; passages from the Iliad ; Eneas and Dido ; Europa and Jupiter ; the Continence of Scipio ; Mutius Scsevola ; Lucretia ; Asdrubal at the feet of Scipio ; and some others, with a great variety of accessary orna ments in the fresco, showing wonderful fancy, and, though less grace, yet per haps even more originality than that exhibited by Perino del Vaga, in deco rations not dissimilar in character. Palazzo Martinengo Cesaresco is re markable for its very beautiful archi tecture. Palazzo Martinengo della Fabrica, an extensive and sumptuous edifice ; one chamber finely painted by Moretto. In the Corso de' Mercanti is a house covered with frescoes by Gambara; the subjects are aUegorical, and seem to represent the three principal stages of human life, youth, manhood, and age. Contrada della Loggia, also aUegorical ; these have been nearly aU whitewashed. The principal subject was Envy ex citing the bad Passions of Mankind ; and it is Buppoaed that Gambara in tended thereby to signify his feelings upon the preference which Titian ob tained in being employed upon the paintings in the Palazzo della Loggia. " A whole street, II Corso del Tea tro, has the fronts of the .second-floor story painted with a series of scrip tural, mythological, and historical sub jects, attributed to the Cavaliere Sa- batti. They have suffered very much owing to their complete exposure to the weather, but the warm colours have remained, and in many portions are thoroughly weU preserved. Some of the actions of the figures in these subjects, judging from their remains, are very grand, and equally so is the style in which they were drawn ; many •248 Route 26.— Brescia to Verona and Venice. Sect. III. ¦ of the deep but brilliant lake tones are worthy a Venetian." — S. A. Hart, R.A. Casa Sabate contains an apartment, . upon the waUs of which Gambara has painted the mythological deluge, dated 1568. Gambara's own house is No. 318 in the Contrada delle tre Spade, behind the bishop's palace. The paint ings on the outside were vilely defaced, soon after they were finished, by his professional enemies : he quickly re painted the front, but the work is now nearly destroyed by a greater enemy — Time. One figure, Atlas supporting ,the Globe, with the weU-chosen motto, " indefessus labore," may just be dis cerned : the paintings in the vestibule within are better preserved. Casa Scaglia; a fine apartment, with the Marriage of Pirithous and Hippo- damia. Casa Valotti has a ceiling with aUegorical figures. The Campo Santo was begun in 1810, the work of the locaUy celebrated architect Vantini. It is much admired. The government exercises a surveillance over epitaphs : in order to insure then- being perfectly loyal and orthodox, none are aUowed to be put up until approved by the censors of the press. ROUTE 26. BBESCIA TO VEEONA AND VENICE. 15i posts, 134 m. 1^- Ponte San Marco, on the Chiese. The road to Verona retains the same character as on the approach to Bres cia, with abundance of dark-watered canals, untU ascending you reach . Lonato, a small town on the W. de- -clivity of a range of hUls that border the Lake of Garda, and extend to -Castiglione and Volta on the Mincio. ¦Lonato is celebrated in the military -history of Napoleon as the scene of one of his most brilliant faits d'armes, on the 3rd Aug. 1796, when he de feated the rt. wing of the Austrian army under Wurmser, and whieh was foUowed two days afterwards by the stUl more decisive battle of Castiglione, which sealed the fate of the Austrians in Italy. There is here a church with a noble dome. The mountains coast ing the Lago di Garda now come in sight. The shores of the lake at the southern end are flat, but the upper end is enclosed by fine mountains, among which Monte Baldo, on the north-eastern shore, is the most con spicuous. This lake, the Benacus of the ancients, is formed by the river Mincio, which descends from the Tyro • lese Alps, and has been always cele brated for the violent storms by which it is frequently agitated, giving its waters the appearance of the sea: — Fluctnbus et fremita assurgens Benace marino. 1 Desenzano. (Inns: Albergo Im periale is not remarkable for comfort ; it is expensive, and not over clean ; — Vittoria, on the Lake, with a garden ;; — Posta Vecehia.) Vino Santo is a godd wine here ; 3 francs a bottle ; the best and oldest 5 fr. The road, as far as Peschiera, runs near the lake, and passes the S. extremity of the Promontory of Sermione, at the opposite or northern point of which are the Roman ruins which have long passed as the "vUla of Catullus." They do not retain any architectural ornaments, but are massy and weU constructed, and appear to have formed a paraUelogram of nearly 600 feet in length on the longest side ; and its extent, and the traces of former magnificence, prove that this buUding could not have been the poet's abode. The Sealigerian castle of Sermione is a picturesque object, with its towers and forked battlements. The church of San Pietro in the village of Sermione is an ancient structure, with frescoes bearing date 1321. Amongst these are tablets representing the Last Judgment. From Desenzano pleasant excursions maybe made to Salo, Isola de' Frati, Valle delle Cartiere (i. e. the paper- miUs), Limone, and Bugliano, and Riva di Trento, and to return by Torre, San Vigelio, Garda, and Lacise, one of the most interestingly varied countries of Upper Italy, and to the battle-field of Castiglione, 7 Eng. m. off. The steamer " Benaco," of 42-horse power, runs between Riva and Desen zano, along the shore on the Brescia side, and between Riva and Lacise, Austrian Dom. Route 26. — Verona. 249 along the eastern shore, aU the year round. Its times and places of starting were as foUow : — from Riva to Desen zano every Monday and Friday ; from Desenzano to Riva every Tuesday and Saturday ; from Riva to Lacise and Peschiera every Wednesday, returning the next day. Returning to the main road, you pass through p&voltella, near which is, on the rt., the Villa AJrrighi, ascribed to PaUadio, The lake here gains upon the shore ; in other points the shore is advancing, in consequence of the de bris brought down by the mountain streams. Peschiera, a Btrongly fortified town, on an island in the Mincio. Here the discharge of the Lago di Garda forms the Virgihan Mincio. (See Mantua.) Peschiera has been very strongly for- .tified of late years, first by Napoleon, and since by Austria : it has been the .scene of many sanguinary conflicts. It underwent a siege of seven weeksin 1848, when it surrendered to the Piedmont ese army under Carlo Alberto. 1£ Castel nuovo, above which are the fine ruins of an antique fortress. This town was burned by the Austrians in 1848, and under circumstances of great atrocity, for having aUowed itself •to be occupied by one of the Lombard free corps, under Manara: only two houses and the church remained intact after this horrible act of military ven geance. A good road leads from Castel nuovo to Pastrengo, the site of one of the brilliant faits darmes of the Pied montese army in 1848, and to the vaUey of the Adige, which it crosses at Ponton, to join the high road from Verona to the Tyrol. Ca de' Capri. Pass by the village and church, of San Massimo, which contains some good frescoes copied from Raphael. 1£ Verona (Inns : Albergo Imperiale deUe Due Torri ; table-d'h&te at half- past two, at 3 francs ; private dinners 5 francs a head ; — La Torre di Londra ; —and the gran Parigi : aU very good) . Verona being now situated on the rail road from MUan to Venice, several trains start daUy for the latter city, and Vicenza and Padua, whUst the tra veUer wUl find ample means of pro secuting his journey in the opposite direction by dUigences and post-car riages to Brescia and MUan. A maUe- poste for 3 passengers leaves Verona for MUan at midday and at 8 P.M., performing the journey in 16 hours, fare 25 fr. ; and Barbesi, the owner of the Due Torri, lets carriages for MUan, served by post-horses, at the foUowing rates : — a carriage for 4 perr sons, 180 fr., in 15 hours ; a dihgence for 8 or 10 persons, in 18 hours, 280 fr. 3 or 4 railway trains daUj to Mantua, and from thence by dUigence and mal leposte to Florence, Parma, and Mo dena ; and a dUigence every day to In- spruck by Trent and Botzen at 1 P.M. Verona now contains 60,000 Inhab. From its vicinity to the Alps the climate is somewhat sharp, but healthy, and the people are weU looking. Fruit and flowers are exceUent, as may be seen in the Mercato deUe Erbe every morn ing. The city is divided into two un equal portions by the Adige. The treaty of. Luneville, 1801, gave the smaUer portion on the 1. bank to Austria, the remainder to the Cisal pine repubhc. This division of one city occasioned great inconvenience to the inhabitants, who, in crossing the middle arch of the bridge, entered into a foreign territory ; but their trouble soon ended by the French getting the whole. The site of Verona has been considered as the finest in the N. of Italy. Such superlatives are always matters of fancy; but the blue hills and mountains beyond, the rushing stream, and the finely varied landscape, dotted with villas, surrounded by groves, in which the taU dark cypress contrasts with the other trees, deserve the vivid picture wliich they have re? ceived from Berni : — " Bapido flume, che d'alpestra vena, Impetuosamente a noi discendi, E quella terra sovra ogn' altra amena Per mezzo, a guisa di Meandro, fendi ; Quella che di valor, d' ingegno e piena, Per cui tu con piu lume, Italia, splendi, ¦ Di cui la fama in te chiara risuona, Eccelsa, graziosa, alma Verona. 25(3 Route 26. — Verond — Amphitheatre. Sect. III. " Terra antica, gentil, madre, e nutrice Di spirti, di virtu, di discipline ; Si to che lieto fanno anzi felice L' amenissime valli, e le colline, Onde ben a ragion giudica e dice Per questo, e per 1' antiche tue mine, Per la tua onda altiera che la parte, Quei che 1' aguaglia alia citta di Marte." The river Adige, called Ftsch in the Tyrol, flows through the city with great rapidity. It js crossed by four bridges, and turns numerous floating watermUls anchored across the stream. The floods of the Adige are tremendous. One, which took plaee in the 13th century, is commemorated in the ancient frescoes of the cathedral, and they have con tinued to modern times. By such a flood in 1757 the Ponte delle Navie was entirely carried away. On the 31st of August, 1845, after three days' hard •rain, the greater part of the town could only be traversed in boats. The ex pense of maintaining the channel and banks of the Adige is, consequently, very great. In Austrian Lombardy there are 40 navigable rivers, which ¦cost the state annuaUy 1,233,750 Aus trian lire, of which the Adige is charged with 480,460 Aust. lire, and the Po only with 203,615 Aust. lire. The distant aspect of " Verona la degna," with its serrated walls and lofty towers, is very pecuhar, and it contains various remarkable objects. Of these, that which first attracts the attention of the stranger is the Amphitheatre. It is supposed to have been built between 81 and 117 of our era, that is to say, to be contemporary "with the Coliseum. The interior is nearly perfect, which it owes to the continuous care bestowed upon it. Most of the other Roman amphi theatres have Buffered exceedingly from having been converted into fortresses, as at Aries and Nismes, or considered as quarries for materials, as the Coli seum. The outer circuit was greatly damaged by an earthquake in 1184. The ruined portions appear to have been carried away and employed on other edifices, but the mass itself was diligently preserved. By a statute passed in 1228 it was enacted that every podesta, upon taking office, should spend 500 lire upon the repairs of the Arena. In 1475 penalties were de creed against any one who should re move any of the stone ; in 1545 a special officer was appointed to take care of it ; in 1568 a voluntary sub scription was raised for its support j and in 1579 a tax was imposed for its reparation. Other decrees in its favour have been since made ; yet, notwith standing aU this care, 4 arches only are preserved of the outer circuit, which consisted originaUy of 72. The in ternal aspect of the arena is complete : and though a great number of the seats have been restored, some as late as 1805, yet, the operation having been performed graduaUy, the restorations are not apparent. The greater di ameter of the Amphitheatre is 513 ft. ; of the arena 2484 ft- The lesser di ameter of the Amphitheatre is 410 ft. ; and of the arena 147 ft. The circum ference is 1470 ft., and the height of what remains is, from the original pave ment, 100 ft. It is built of Veroha marble, the substructions and vaultings beneath the seats being of good Roman brickwork. " The seats continue nearly in one slope from top to bottom, nor is there any evidence that they were di vided by pracinctiones (i. e. broader steps, leaving a passage behind the seated spectators) into maeniana, or stories, as was usual. However, im mediately above the podium (which is the terrace immediately above the arena, just wide enough to contain two or three ranges of moveable seatB) is a wide space which, though never called by that name, is precisely of the nature of a precinction, and the sixth step from this is very narrow ; and as it could not be used as a seat, the back of the step immediately below would become a means of communication : it is uncer tain, however, whether this is anything more than a bungling restoration.* The steps now existing are 43, each, on tin average, as nearly as I could determine it, 16 inches high and 28 wide, and * There can be little doubt that this narrow step is an imperfect restoration, as it is car ried only half way round the amphitheatre. — Austrian Dom. • Route 26. — Verona — Ancient Gates. 251 sloping two inches from back to front. I wiU not undertake to say that this latter circumstance arises from any thing but the settlement of the work ; yet I think, from the ancient steps which remain, that these were origin aUy laid with a smaU slope, to throw off the rain-water. The part wliich stUl exists of the outer circuit of the amphitheatre is unconnected with the Bteps, and, at the upper part, is en tirely detached from the rest of the fabric ; so that, if we have, therefore, no direct proof of the existence of a wooden gaUery, there is at leaBt no evidence against it. The building is much larger than that at Nismes." — Woods, So much remains perfect of the corridors and entrances by the vomitories, that a very clear idea of the arrangements of an ancient amphi theatre may be obtained. Some por tions of the underground arrangements of the arena have been cleared out within a few years, but these do not afford any sufficient data for solving the much-debated questions respecting the object of substructions of the arena. The numbers sculptured on the arches of the outer circuit to guide the spec tators where to present their tickets remain quite distinct — LXIIII. LXV. LXVI. LXVII. Many of the arcades are now occupied by 6miths, farriers, and smaU tradesmen. The interior is frequently used for exhibitions of horsemanship, dancing on the tight rope, fireworks, and dancing dogs. In the 13th century it was used for judicial combats ; and it is recorded of some of the Visconti, that they received 25 Venetian lire for every duel fought there. The Roman Theatre is on the 1. bank of the Adige ; its destruction began at a very early period. A very curious decree of King Berengarius, dated 895, describes it as dilapidated, and permits ah persons to demolish the ruinous portions ; yet much of it was standing as late as the 16th cen tury, and Caroto, the celebrated painter, delighted himself with drawing and studying its remains. There is now httle above ground, excepting frag ments principaUy incorporated in other buUdings ; but numerous sculptures have been dug up. Besides the amphitheatre, Verona stiU contains some remarkable and pro-* minent monuments of the imperial age. The arch commonly called the Porta de' Borsari, hke the Roman gates of Treves, of Autun, and that which once stood at Chester, is double. From the traces of the inscriptions in the friezes, it appears to have been built under the Emperor Galhenus, together with the walls of the city in which it is inserted, about the year 265. The style of the architecture is very remarkable ; pUlars with spiral flutings, smaU arches or windows between columns and sur rounded by pediments, and numerous other anomalies, rendering it a con necting link between the style of the Antonines and that of the darkest por tion of these middle ages. The inscrip tions were composed of raised letters of metal fastened by naUs to the stones, as in the frieze of the Maison Carree at Nismes, and the words have been de ciphered, as weU from the position of the holes by wliich the letters were fixed, as by the marks which they have left. But some antiquaries are of opinion that GaUienus merely caused the gateway to be fronted and orna mented, but that the block of the buUding belongs to an earlier age. Be this as it may, the Porta de' Borsari, a monument more than 1500 years old, stands in full sohdity athwart the crowded street of a living city. Another fine Roman gateway is caUed the Porta de' Leoni .- this, however, is much less perfect than the Porta de' Borsari. It is in better taste, though probably much about the same age. The ornaments are much mutilated ; and, as far as they can be made out, it should seem that the lower range of columns is Composite, and the upper Corinthian. A third Roman arch was the Arco de' Gavii, bearing the name of its ar chitect, Vitruvius ; not, however, the author, but Lucius Vitruvius Cerdo, who is supposed to have been his freed- man. 252 Route 26. — Verona — Fortifications. Sect. in. It was puUed down in 1805, and the French have been accused of having wantonly destroyed it. According, however, to a more probable account, said to be supported by the stUl existing correspondence of General Popigny, the Veronese were desirous of having the arch removed, and the French general at last gave his consent. Eugene Beau- harnois, on hearing of its destruction, gave orders that it should be rebuilt ; but this was never done. Verona exhibits a remarkable series of fortifications, of various ages. The earliest are those buUt by the Emperor Galhenus, of which the Porta de' Bor sari and the Arco de' Gavii were the gates : large masses of this waU remain, but generaUy incorporated in other buildings. The most apparent portion is in a lane caUed the Viottolo di San Matteo. . To these imperial waUs succeed, in point of date, the waUs attributed to Theodorie the Ostrogoth, and probably not much later than his age. They are of great extent, buUt of alternate triplets of courses of stone and brick ; that is to say, three of each, the bricks placed in what is caUed her ring-bone fashion, a fashion apparent in the churches of this city, and doubt less imitated from this structure. An other line is popularly attributed to Charlemagne : that is beyond the Adige. The fourth was begun by the Scaligeri, the lords of Verona, who crowned them with the forked battlements which ren der them so picturesque, especially the part beyond the Adige ; and the towers which rise upon the bold and pictur esque lulls add much to the beauty of the town. These last walls are raised upon those of Theodorie. Lastly are the out works of the Seahgerian waUs, begun by the Venetians about 1520, according to the plans of several engineers. Ulti mately they were completed by, or at least after the plans of, the celebrated Michele di San Micheh, commonly caUed Sanmicheli (born at Verona 1484), who was the author of the sci ence of modern fortification used by Vauban and his school. Square and circular bastions had previously been introduced: of the latter kind a. very remarkable one is yet subsisting, caUed the Bastione delle Boccare, containing within it a vast bomb-proof casemate,. of which the vault is supported by a central pUlar. But a circular bastion can never be perfectly flanked ; and San micheli, considering this defect, intro duced the triangular and pentangular bastion ; and the Bastione della Mad- dalena of this city was the first specimen of the defence which has become the basis of the present system of fortifica tion. Sanmicheli also not only flanked the curtain, but aU the fosse to the next- bastion, the covered way, and the glacis. The mystery of this art consisted in de? fending every part of the enclosure by the flank of a bastion. The fortification gates designed by Sanmicheli yet remain. Porta di San Sisto, or del Palio, is near the centre of the line of the fortifications on the W. and S. sides of the city. " In this gate the mode in which Sanmicheli combined pure and beautiful architec ture with the requisites caUed for in fortification may be seen displayed to great advantage. It is an instance of his wonderful ingenuity and taste."— Gwilt. This gate was so caUed from the game of the Palio which used to be played hard by. Dante has comme morated it by his comparison , of the unhappy Brunetto Latini to the victor in the raoe : — " Poi si rivolse, e parve di coloro Che corrono a Verona 1 drappo veTde Per la campagna ; e parve di costoro Quegli che vince, e non colui che perde." Inferno, c. xv. 121, 124. " Then back he turn'd, and one of those he seem'd Who at Verona in the race essay To gain the mantle green ; and might be deem'd Not he who loses, but who wins the day." Wright's Dante. Vasari terms this gate a miracle of architecture. Porta Nuova. — Through which passes the road to Mantua. "This gate has great architectural merit. It is a square edifice, supported within by a number of piers of stone, with enclosures or apartments for the guards, artillery, <&c. The proportions as a whole are Aust. Dom. R. 26. — Piazza dei Sigrmi— Palazzo del Consiglio. 253 pleasing. It is of the Doric order, de void of aU extraneous ornament, solid, strong, and suitable to the purposes of the buUding. Except in the middle gate and the architectural parts, the work is rusticated. The exterior facade stands on a waU, with two large pyra midal pUasters of marble rising from the bottom of the fosse ; at the top are two round enclosures approaching almost to towers. In the interior, to the two gates near the angles are two corresponding long passages, vaulted, leading to a number of subterranean galleries and rooms. For beauty, how ever, this gate is not equal to that of del Palio."— Gwilt. Piazza dei Signori, Here are the palaces formerly inhabited by the Sca- tigeri, the lords of Verona, which upon their expulsion became the seats of the municipal government. The Palazzo del Consiglio, in the mixed style of the 15th centy., was built by Fra Giocondo. His portrait as architect of the buUding exists in bas-rehef on the buUding close to the Arco delle foggie. Fra Giocondo (d. 1499) was an exceUent scholar as weU as an architect. He was the first who gave a correct edition of Vitruvius. He discovered at Paris the letters of Pliny. He was also an exceedingly able engraver. Coupled windows and arches supported upon columns, pUas ters with elegant arabesques, in a style simUar to the CoUeoni chapel of Ber gamo, adorn other portions, ah full of the merit of the cinque-cento style. The Annunciation in bronze, in front of this palace, is a fine work of Gio vanni Campagna. This buUding iB adorned with statues of those whom Verona claims as her own ; and aU celebrated men are claimed as Veronese, who were born within the municipal jurisdiction. They are as foUow : — Pliny the younger, though stoutly con tested by Como, and apparently upon good grounds ; for, though he speaks in his epistle, of " our Verona," this probably refers only to his rights of citizensliipinthecity. — Cornelius Nepos. — Macer, the author of the poem upon the qualities and poisons of herbs and serpents, which, down to the middle ages, enjoyed great popularity. — L, Vetruvius Cerdo. — But, above aU, Ca tullus, who reflected as much credit upon Verona as VirgU did upon Man tua, thiB value being assigned to hinj by Ovid and Martial : — " Mantua Virgilio gaudet, Verona Catullo." Ovid. Amur. iii. el. 15, 1. 7. " Tantum magna suo debet Verona Catullo, Quantum parva suo Mantua Virgilio." Mart, xiv. ep. 195, And Petrarch echoes the same praise. Of the modern period, and on the Voltg delle foggie, is Fracastorius, equaUy eminent as a poet and a physi cian ; but who, unfortunately, chose disease as the subject of his didactic poem ; he is one of the three great masters of modern Latin poetry, Vida and Sannazarius being the other two ; and HaUam thinks that, though Vida exceUed in the structure of hi? verse, yet that Fracastorius was the greatest poet of three. And, lastly, close to the Volto Barbaro, stands Scipione Maffei, whom we shall meet again at his tomb. The Palazzo, in one of its first floors, contains the pinacoteea, or pubhc gal lery. The best pictures have been taken to Venice, and Verona has only the leavings. Of Paolo Veronese his city now possesses httle more than the name. Here are two of his produc tions — the Taking down from the Gross (brought back from Paris), and the Raising of Lazarus. Others are, D, Brusasorzi, Pope Gregory with St. Jerome and St. Bonaventura. — Came- rio, St. Helen. — Stefano da Zevio, the Virgin and ChUd, surrounded by other compartments ; a curious picture, with the date 1497. — Giovanni Badite, an other of the same class, but of earher date, 1400. — Maganza, the Veronese placing themselves under the dominion of the Venetian Repubhc, 1405 ; a fine and interesting composition. — Vittore Pisanello, a Madonna with Angels and Saints ; graceful and pleasing. " In the third room, No. 82 is an exquisite picture by Girolamo de' Libri, St. Joseph and Tobit, with the Angel, in veneration of Madonna and ChUd. 254 Route 26. — Verona — Monuments of the Scaligers. Sect. III. —No. 88, Two Saints and the Ma donna, by the same artist. — No. 96, Venetian School, St. Zeno, and St. Peter Martyr, with a beautiful Ma donna and Child on a throne. There is also some good early Venetian paint ing. In the fourth room, 135, St. Catherine of Alexandria, with a por trait of the donor of the picture, a beautiful distemper, by G. Francesco Carotto, natural size. — 141, Bonifazio, the Doge receiving the Keys of the Town of Verona ; a magnificent com position, and interesting for the cos tume. There is also a smaU room with early painting from 1300-1400. "- — L. G. Communicating with the Piazza dei Signori on the S. W. side is the Piazza delle Frbe, or vegetable-market, which was the Forum of the repubhcan times of Verona, and contains many old and picturesque buUdings connected with history. The smaU open tribune near the market-cross occupies the place of an older building, to which, in repub hcan days, the newly elected Capitano del Popolo, after having heard mass at the cathedral, was conducted, and in which, after he had addressed the people, he was invested with the insignia of office. In after-times the sentences of condemned criminals were pro nounced from this tribune. Proclama tions were made from it, and debtors were here compeUed to submit to a humiliating punishment. If the foun tain, in the centre of the Piazza, was first erected by King Berengarius, in •916, it was restored and provided with an additional supply of water by Can- signorio, the ninth ruler of the Scahger fanhly, in 1368. The same Cansignorio erected the tower which is seen at the further end of the Piazza, and placed in it the first clock erected at Verona. The buUding at the side of the .Piazza, with arcades and pointed windows, is an Exchange, caUed the Casa dei Mer canti, and was built for that purpose, by Albert Scahger, in 1301. On it is a 'fine statue of the Virgin, by Campagna. .The pillar at the end of the Piazza was erected in 1524 by the Venetians, to •whom Verona was then subject, to support the image of the winged lion of St. Mark. The pillar consists of a single block of Veronese marble. The name of the architect, as may stUl be read on the base, was Michael Leo. The bronze lion was thrown down when the repubhc of Venice came to an end in 1799. At the end of the Piazza near this pUlar is the Palazzo Maffei, the residence of the patrician famUy ef wliich the historian of Verona was a member. It is a highly enriched speci men of the modern Itahan style. The fronts of several of the more eonsider- able houses in this Piazza are decorated with frescoes. On the other side of the Piazza dei Signori are the tombs of the Scaligeri, These singular monuments stand close to the church of Santa Maria VAntica, They are enclosed by an iron trellis- work, consisting of open quatrefoUs, in the centre of each of which is the scala, or ladder, the arms of the fanhly. The origin of the family of the Scaligers is not known. We find them at Verona in 1035. In 1257 two brothers, Boni facio and Frederieo deUa Scala, of the patrician order, were beheaded by Eccelino da Romano. Their fate first gave the name a place in history. In 1261, after the death of Eccelino, the unanimous voice of the people of Verona, then a repubhc, raised Mastimo delta Scala to the office of " Capitano del Popolo." He had been a soldier of fortune in the army of the tyrant. He governed Verona wisely and mo derately for 15 years. After escaping several state conspiracies, he was killed by some of the members of a disaffected famUy, who considered that he had aggrieved them by delaying the punish ment of an offender against their honour (1277). This assassination took place under the archway in the Piazza de Signori; which retains the name of " il volte barbaro " to this day. The tomb of Mastino, as it now exists, is a plain sarcophagus, orna mented only with a cross. The canopy which covered it has been destroyed, and the stones employed for the pave ment of the church, whilst the tomb itself was afterwards appropriated by Austrian Dom. Route 26. — Verona— Cangrande — Dante. 255 ¦the Nogarola family. The original in scription is, however, yet preserved. Mastino was succeeded by his bro ther Alberto I., who, during 24 years, kept the turbulent factions in order, and sowed the seeds of commercial •prosperity. These two superior men were the founders of the greatness of their house. Alberto, who had served as Pode3ta of Mantua, was exceedingly esteemed and loved for his pacific virtues; and he was instaUed amidst the shouts of " Viva Alberto, assoluto oggi e per sempre ;" and if any portion of the legal power of the old common wealth had stUl existed, it now whoUy expired. Alberto died in 1301. A sarcophagus standing on the soil, without inscription, is attributed to Alberto by immemorial tradition. Upon it is sculptured the Signore, riding in fuU state and pride, wielding the sword of state in his hand. The successor of Alberto was his second son, Bartolomeo, a gentle and humane prince, who died in 1304. In his time, in 1302, hved Romeo de' Montecchi, and Giulietta de' Cappel- letti. Upon the death of Bartolomeo, Al- ioin I. was caUed to the supreme authority by aeclamation. Henry of Luxemburg was then prosecuting his plans for the re-establishment of the ¦imperial prerogative; and Alboin in 1311, surrendering his authority as Capitano del Popolo, received it back from the Emperor as Vicar Imperial in Verona ; a concession by which the .dignity was confirmed to the famUy. ¦ Alboin, who had been originaUy intended for the church, was not well able to sustain the government, and he caUed in the assistance of his brother Cangrande, Who was associated to him by the Emperor Henry VII., as joint vicar of , the empire in Verona. Can grande was a GhibeUine in heart and soul ; and, whUst he acquired the pos session of Vicenza, Padua, Feltri, Bel- luno, and "Bassano, by force or pohey, the grant of the vicarial powers gave a legitimate character to the dominion which he obtained. The court of Cangrande was the most magnificent in Italy, and exhibit ed a combination of mUitary splendour and profuse hospitality and liberality to the stranger, and encouragement to the literature of the age. His palace became the refuge for all who, em bracing his political opinions, had in anywise subjected themselves to per secution ; and it was here that Dante found an asylum, having been first received by Alboin. Cacciaguida fore- teUs to Dante his retreat, and describes the Court of Verona, and character of Cangrande, in these lines : " Lo primo tuo rifngio, e '1 primo osteite Sara la cortesia del gran Lombardo Che 'n su la Scala porta il santo uccello ; Ch' avra in te si benigno riguardo Che df 1 fare e del chieder tra voi due Fia prima quel che tra gli altri e piu tardo. Con lui vedrai colui che impresso fue, Nascendo, si da questa Stella forte, Che notabili fle'n V opere sue. Non se ne sono ancor le genti accorte Per la novella eta ; che pur nove anni Son queste mote intomo di lui torte. Ma pria che '1 Guasco 1' alto Arrigo inganni, Parran faville della sua virtute In non curar d' argento, ne d' alfanni. Le sue magnificenze conosciute Saranno ancora si, che i suoi nimici Non ne potran tener le lingue mute. A lui t' aspetta, ed a suoi benefici ; Per lui fia trasmutata moll a gente, Cambiando condizion ricchi e mendici ; E porterane scritto nella mente Di lui, ma nol dirai.'' Paradiso, xvii. 55, 92. " The first retreat, — first refuge from despair, — Shall be the mighty Lombard's courtesy, V* hose arms the eagle on a ladder bear. His looks on thee so kindly shall be cast, That asking and conceding shall change place ; And that, wont first to be,- 'twixt you be last. With him shall one be found, who, at his birth, Was by this ardent star so fraught with ¦grace, His deeds of valour shall display his worth. Not yet his greatness by the world is seen, So tender is his age ; for scarce nine years Around him whirling l.ave these circles been ; But ere the Gascon's artifice deceive Great Henry, he, all sordid hopes and fears Despising, shall a glorious name achieve. His deeds magnificent shall still proclaim His praise so loudly that his very foes Shall be compell'd to celebrate his fame. Look thou to his beneficence ; for he Of fortunes in such manner shall dispose, Kich shall be poor, and poor exalted be. Stamp these predictions in thy memory, But be they not divulged." Weight's Dante. 256 Route 26.— Verona — Monuments of the Scaligers. Sect. III. Cangrande, or the Great Dog, died in 1329, having just received the in vestiture of Mantua as the Vicar Im perial, under Louis the Bavarian. Many conjectures have been made to ¦account for his strange name. It can not have been given him in consequence of his great achievements, as he bore it from his infancy. The tomb of Cangrande I. forms a species of portal to the church. It is composed of three stages ; columns support the tomb, and through them the church is entered; upon the sar cophagus the Signore is extended in his peaceful robes, girt with his sword of state : above, on a pyramid, is the statue of the warrior, in fuU armour, mounted on his war-horse. The sar cophagus rests upon figures of mastiff dogs supporting the shield charged with the scala, the ladder, the bearing of the family ; and the mastiff's head equaUy appears as the crest of the helm, thrown back upon Mastino's shoulder. Cangrande was succeeded by Alberto II., bis nephew, the sixth deUa Scala who ruled Verona. The seventh was Mastino II., a nephew of Alberto. With him began the decline of his house ; and from this time the history of the family, instead of exhibiting statesmen and heroes, becomes a me lancholy and revolting picture of mis fortunes and crimes. Mastino II. was vain, weak, and unprincipled. He was surrounded by a brilliant court, and Treviso, Vicenza, Bassano, Brescia, Parma, Reggio, and Lucca, aU owned him as lord ; and he won Padua from 'the powerful family of Carrara. He had been an imperialist, and, having abandoned the party which had raised his house to the sovereign authority, Pope Benedict XII. fixed upon him as the head of a general league or alliance of the Guelphs against the Visconti, the leaders of the GhibeUine party. But he lost several of the most import ant of the possessions which had been united under his authority. He died in-1351. The tomb of Mastino II. equaUy ex hibits the double effigy ; the equestrian warrior on the pyramid, and the re cumbent sovereign on the sarcophagus. The eighth ruler, Cangrande II., who buUt the Castel Vecchio, and the great bridge adjoining it over the Adige, after a troubled reign of eight years, was murdered by his own bro ther, Can Signorio, 1359 : and it shows in what a demoralised state Italy must then have been, when we find that such a crime did not prevent the per- pretator of it from succeeding to the government. At first he fled, but soon returned, assisted by the Lord of Padua; dethroned and imprisoned another brother, Paolo Albino, who had assumed the command ; and he was permitted to reign tiU he- died. He committed a second fratricide on his own deathbed, the crime being insti gated by bis desire of preserving the succession in his own descendants, which he feared might be endangered if Paolo Albino had been suffered to survive him. Next to ensuring the inheritance of Verona to his sons, his most earnest passion in his last days (he died in 1375), was the erection of his most sumptuous mausoleum. The tomb of Can Signorio, which forms four stories, also surmounted by an equestrian statue, is exceedingly elaborate. The plan is hexagonal ; and six Corinthianised Gothic columns support the lower story. The base ment is surrounded by an iron trel lis, of richer pattern than that of the rest of the cemetery. Upon the pilas ters which support it are the six war rior-saints, St. Quirinus, St. Valentine, St. Martin, St. George, St. Sigismund, and St. Louis. Beneath the gable of the third story are aUegorical figures of virtues. Faith, with the star upon her breast ; Prudence, Charity, and three others. The figure is recumbent upon a sumptuous sarcophagus. An inscription, cut in Gothic letters, pre serves the name of Bonino di Campi- lione, who was both the sculptor and the architect of this sumptuous pUe. These tombs Btand in the old ceme tery of Sta. Maria Antica, which had been the famUy burial-place of the Scaligers before they rose to power. Austrian Dom; Route 26. — Verona — Museo' Lapidario. 257 The tombs are of white marble, in a style whieh is a mixture of the pointed and the Romanesque. " The desire of the Italians to introduce something resembling the column and entabla tures of the Roman architecture ren ders these monuments much inferior to our own Gothic crosses." — Woods. ¦ The rest of the history of the Sca ligers may be briefly noticed. Can Signorio was succeeded by his son Bartolomeo II., who was also mur dered in 1381, by his half-brother Antonio. The iniquities of the famUy could no longer be endured. Antonio endeavoured to fasten his own crime on the brothers Melaspina and others. The accused fled to MUan, and per suaded its Duke, Visconti, to attack Antonio. Antonio was easily defeated, and banished from Verona. His son Guglielmo, and his grandson Brunoro, received the appointment of Vicar Im perial of Verona from the Emperor, .but were never able to gain admittance to the city. The virtues of the early Scaligers had raised them to power -. the vices of then- descendants termi nated their reign. The Veronese, dis gusted with the Scahgers, voluntarily surrendered themselves to the Vene tians in 1405. The Museo Lapidario contains a valuable coUection of antiques, disposed in a cortile, at the end of which stands the Teatro Filarmonico. It was by the Academia Filarmonica that the coUection was first formed. This so ciety arose from the union of the Fi- larmonici and the Incatenati, as early as the year 1543. Their primary ob ject was the study and cultivation of music : the main body consisted of amateurs, but they aided themselves by engaging professionals at very hbe ral salaries. They did not, however, limit themselves to this one object. In 1547 they resolved to institute literary professorships, mathematics, phUoso- phy, and Greek ; and by their pro ceedings the Academia acquired great celebrity. It was suppressed in 1810 by the French. The theatre was buUt by Bibiena, 1716 ; but it was after wards burnt, and it is now dUapidated. In an adjoining apartment are the portraits of members of the academy'. Amongst these is that of the painter Domenico Brusasorzi, who was also an excellent performer of the lute, and who chose for his motto, " in miserid felix." The device of the Academy was two Sirens in chains. To return to the coUection of an tiques. It was begun by the Aca demia in 1617 ; but it acquired its present importance and magnitude by the exertions of the celebrated Maffei, who bestowed upon it his coUections, adding to their value by the descrip tion which he pubhshed of them in the Museum Veronense. Many important additions have been subsequently made. The whole of the Moscardi coUections were liberally given by the two ladies to whom the inheritance had descended; and from time to time several inscrip tions and other monuments found on the Veronese territory have been depo sited here. This coUection does not contain any objects of peculiar merit as works of art ; but it is fuU of monu? ments illustrating ancient geography and other points of archaeology. The porticoes under whieh the antiquities stand were buUt by the Philharmonics, each member contributing a pUlar, The Castello Vecchio was buUt in 1355 by Cangrande II. , for the purpose of keeping the city in check after the rising of his brother Frignano. It is yet a noble and picturesque pUe, battle- mented at the top. "Within, the qua drangle has been much modernised, and some fine towers have been demo lished. Immediately adjoining the castle, which is on the banks of the Adige, is the coeval Ponte del Castello, also a picturesque object. It is of brick, turreted and battlemented. The arches are of unequal size ; the largest is about 161 feet in span. The differ ent views of and from this bridge are admirable. Upon the 1. balhk of the Adige rises the Colle di San Pietro, where for merly stood the palace of Theodorie, the Burg ot Dietrich von Bern ; with out doubt buUt in part of Roman 258 Route 26. — Verona — Churches — Duomo. Sect. III. materials, but in a Romanesque style. Late in the middle ages it retained much of its pristine splendour; and, as the most prominent structure of their city, the inhabitants caused it to be engraved upon their seal. As far as the character of this engraving is intelligible, it agrees with the early •descriptions, which state the palace to have been surrounded by porticoes. Many parts of the buUding were demo lished for the purpose of raising the •church of San Pietro, which contained ¦several capitals, columns, and other ¦fragments of the Gothic structure. In more recent periods (1393) Theodoric's palace was turned into a castle by •Galeazzo Visconti, who obtained the lordship of Verona in 1387, when the dominion of the Scahgeri came to an end. But the ViBconti lost Verona in 1405, and other fortifications were 'added by the Venetians, to whom Ve rona then became subject. The remains of the buUding were blown up by the French in March 1801. Some portions 'of the church of San Pietro and of the ancient buUding yet remain ; and the view from the summit repays the trouble of the ascent. Beyond the ruins of the church of San Pietro are the dis mantled remains of the Castello di San Felice. This also was the work of Sanmicheli. The CoUine abound with fossUs ; and in the history of the science of geology they are remarkable, ¦as being amongst the first which ex cited curiosity when a specimen of them was presented to the celebrated Fracastorius. He had read about them in Phny and Theophrastus, and he •Came to the conclusion that they were not semblances, generated by the plastic force of nature, but that they had been •real living animals deposited by the sea. Churches. The Duomo, caUed also Sta. Maria Matricolare. The history of the Duomo is very obscure, it is attrimited to Charle magne, but it may be shown that he had no hand in this work, though it cannot be clearly shown by whom, or exactly at what time, the existing fabric was undertaken. It appears that a church had been erected before the time of Charlemagne on the spot where the cathedral now stands, in honour of the Virgin. It was buUt on the site, and with the materials, of a temple of Minerva. This church was repaired thirty years after Charle magne's death by the Archdeacon Paci- fico, as is mentioned in the inscrip tion on his tomb in the church. Had Charlemagne built a new church, it would not so soon have wanted repair, except owing to some accident, of which, however, there is no mention. The tradition of this church having been buUt in the time of Charlemagne may perhaps be accounted for by the episcopal chair having been transferred here in 806. A new sacristy was buUt in 1160, and in 1187 Urban III. re consecrated the existing cathedral. We may conclude, therefore, that the greater part of the existing cathedral was re built in the first half of the 12th centy. The apse at the E. end of the cathe dral, and a portion of its Bides, are in a very different style from the rest of the buUding ; in a style which is so near a resemblance to the Roman as to permit us to beheve that these por tions are a remnant of the original church. The vaulting of the Duomo was begun in 1402, but not finished tUl 1514. In 1534 further alterations (the choir, screen, and the chapels apsed from the S. waU) were made under the direction of Sanmicheli. The splendid porchmust have formed part of the new buUding, and must, therefore, belong to the 12th centy. Four columns, supporting two arches, one above the other, and the lower columns resting on griffons, form the porch. This absurd mode of support ing columns seems to have been com mon in Italy in the 12th and 13th centuries. The celebrated Paladins, Roland and Oliver, who guard the entrance, may be supposed to have been introduced with reference to the traditionary connection of Charlemagne with this buUding. The Lombard imagery no longer appears as an orna ment of the mouldings, but the under- Austrian Dom. Route 26. — Verona — Churches — Duomo. 259 Bide of the arch which forms the roof of the porch exhibits a variety of gro tesque images and symbols. Orlando in his rt. hand holds his cele brated sword, upon the blade whereof its name is inscribed, divided thus into its four syUables, Du-rin-dar-da. His oval shield, flat at top, is pointed at the bottom, and ornamented with a species of Etruscan scroll-work. His 1. leg and 1. foot are armed in maU ; the rt. leg and rt. foot are bare. Oppo site to him is his companion Oliver : his shield is like that of Orlando ; and -he is armed not with a sword, but with a truncheon or mace, to which is ap pended a spiked baU held by a chain. Such a weapon, supposed to have be longed to him, was untU the last age preserved in the monastery of Ronces- vaUes, thus showing the authority of the traditions according to whieh the sculptures were formed. But the most remarkable circumstance is, that the combined peculiarities of the arms and armour of Roland and Oliver are found in Livy's account of the Samnite war riors ; and the description which he ¦gives is so singularly apphcable to the costume of these statues, that we think it best to give it in the original, in order that the traveUer may compare the words of the historian with the effigies which he wiU see before him. — " The shape of their shield was this ; broad above to cover the breast and shoulders, embossed with sUver or with gold, flat at top, and wedgelike below, — " spongia pectori tegumentum," — and the 1. leg covered by the ocrea." — The "spongia" has puzzled the com mentators, and Baker translates it by " a loose coat of maU ;" but Maffei supposes that the spongia is the baU wielded by Oliver, and which closely represents a sponge in its form. In the semicircle over the portal is an ancient bas-rehef, representing the Adoration of the Magi ; it has been cloured, and the blue ground is yet visible : beneath are three female heads, weU executed, inscribed Fides, Spes, Caritas. But the achieves of the cathe dral state that these heads represent Bertrada, the mother of Charlemagne, his Queen, and the Queen of King Desiderius ; and how is the discre pancy to be explained ? Some say that the names of the virtues were subse quently added ; but they were probably names assumed for the sake of poetical elegance, just as Alcuin caUed Charle magne David, and himself Flaccus, thus anticipating the practice of the academies of modern Italy. It would be in vain to particularise the other architectural features and grotesques of this portal. One only may be noticed. It represents a boar-pig standing up right on his hind legs, dressed in a monk's robe and cowl, and holding in his fore paws an open book, upon which is inscribed A. B. poecbl. Va rious attempts have been made to ex plain this, but it is probably merely a satire of the middle ages against the monks, of which other examples are found beyond the Alps, though few appear in Italy. The porch of the transept of the Duomo offers many peculiarities, con sisting Of two stories or ranges of columns, with strange sculptures, mys tical or satirical. The interior has been Gothicised. " The piers are very slen der and clustered with fiUets down the middle of the shafts. The capitals are large, both at the springing of the side arches and of that of the vault ; the baseB preserve the members of the Greek attic with some pecuhar modifi cations, but without the deepened scotia which we see so frequently in the latter productions of our early Gothic. In beauty this church is inferior to St. Anastasia." — Woods. The more modern portions of the Duomo are exceedingly rich. AmongBt the altars, the Maffei altar, and that of St. Agatha, are peculiarly elegant. In and about the Duomo are some remarkable monuments. — One inscrip tion commemorates the death and the works of the celebrated Pacificus Arch deacon of Verona (778-846). His name is written in three languages, — Pacifi cus, Salomon, Irenavus. By him the cathedral, or Sta. Maria Matricolare, as it was caUed before the episcopai seat was removed to it, was extensively 260 Route 26. — Verona — Duomo- — Library. Sect. III. repaired. Seven churches were founded by him at Verona. He had great skiU as an artist in wood, stone, and metal, and he also invented some machine for telling the hour by night ; but there is no reason to suppose that a striking clock is intended. His epitaph also claims for him the merit of having been the first glossator of the Holy Scriptures. — Here is interred Pope Lucius III., who, like many other of the mediaeval pontiffs, was driven from his see by the disturbances of the un ruly Romans, and compeUed to take refuge at Verona, where, after holding a very important ecclesiastical councU, he died, 1185. A curious epitaph marks the place of his interment. — An ancient sarcophagus, with the head of Medusa, was afterwards used as the tomb of a noble Venetian. Such adap tations often take place : at Pisa we Bhall find them in store. The Duomo formerly boasted of many fine paintings ; but several have been removed. The Assumption, by Titian, has been replaced here after travelling to Paris. This picture does not need praise, for its beauties would strike the most careless and transient observer. The manner in which the Virgin is represented as floating upwards is admirable. Others worthy of notice are, — Moroni, St. Peter and St. Paul ; — Giolfino, the Last Supper; — Fari- nati, the Virgin and ChUd ; — Liberate, the Adoration of the Three Kings. The bronze statue of our Saviour is by Giovanni Battista di Verona (fl. 1500) . The presbytery in which it stands is by Sanmicheli, and the waUs and mould ings are painted in fresco by Francisco Torbido il Moro, from the designs of Giulio Romano. The baptistery, also caUed the church of San Giovanni in Fonte, is said to have been buUt between the years 1122 and 1135 ; the older baptistery having been destroyed by an earth quake in 1116 ; but if these dates be true, it shows how httle rehanee can be placed upon inferences deduced from style, for the remarkably plain Roman esque manner of the building points to a much earlier period : perhaps the supposed rebuUding was only a repair. In the centre is a large octangular font, perhaps more than 30 ft. in circum ference, hewn out of a single block of Verona marble. A frieze of Lombard circlets, supported by grotesque heads, runs round the summit. On the faces are represented the following subjects ; the Annunciation, the Visitation, and the Birth of our Lord, the Angels appearing to the Shepherds, the Adora tion of the Magi, Herod commanding the Slaughter of the Innocents, the Execution of his Decree, the Plight into Egypt, the Baptism in the Jordan. The sculpture is in a rude but forcible style. The Baptism of our Lord, over the High Altar, is by Paul Farinati. The Cloister of the cathedral has been modernised in the upper story, for it was originaUy a double cloister. It has two ranges of arches in the height of the gallery, each arch rests on a pair of columns, and each pair is of a single stone, the capitals and bases being united. Adjoining is a fragment of what is said to have been a church before the erection of the present cathe dral. It is merely a rectangular room, with a groined vault supported on columns. The Biblioteca Capitolare is one of the most important coUections in Italy for sacred and Patristic literature. It was first formed by Pacificus, and con tains a large proportion of very early manuscripts, some of the 4th and 5th centuries. Here Petrarch first read the Epistles of Cicero ; and the library is yet an unexplored mine for the histori cal, ecclesiastical, and liturgical in quirer. Many of the manuscripts are palimpsests, and one of them furnished the ' Institutes of Caius,' compUed in the reign of Caracalla. It was known that this treatise was the foundation of the 'Institutes of Justinian,' but not a fragment of it could be found. " A rumour, devoid of evidence," says Gibbon, " has been propagated by the enemies of Justinian, that the jurispru dence of ancient Rome was reduced to ashes by the author of the Pandects, from the vain persuasion that it was Austrian Dom. Route 26. — Verona — San Zenone. 261 now either false or superfluous. With out usurping an office so invidious, the Emperor might safely commit to igno rance and time the accomplishment of this destructive wish. Before the in vention of printing and paper, the labour and the materials of writing o'ould be purchased only by the rich ; and it may reasonably be computed that the price of books was an hundred fold their present value. Cqpies were slowly multiplied and cautiously re newed : the hopes of profit tempted the sacrilegious scribes to erase the characters of antiquity, and Sophocles or Tacitus were compehed to resign the parchment to missals, homilies, and the golden legend. If such was the fate of the most beautiful compositions of genius, what stability could be ex pected for the duU and barren works of an obsolete science." — Gibbon. Tears after the death of Gibbon his sagacity was verified by the zeal of Niebuhr, who, when on his way to Rome in 1816, examined the capitular library : two smaU fragments relating to jurisprudence, not palimpsests, had been published by Maffei, but he had not ascertained their author. Niebuhr suspected that they were parts of the * Institutes of Caius ;' and upon fur ther examination he discovered the whole remainder, or nearly so, of this ancient text-book of the Roman law pahmpsested beneath the homilies of St. Jerome, hteraUy verifying Gibbon's words. At the instance of Niebuhr a learned German jurist was despatched to Verona by the Prussian Govern ment, and the result has been the pub lication of the lost work. The Biblio- teca Capitolare also contains inedited poems by Dante, which are shown to the curious, but which are not aUowed to be copied, on the plea that this would diminish their value. The Vescovato, or bishop's palace, has been altered and rebuilt at various periods, but principaUy about the year 1356. One of the cortUes with fanci ful columns is striking, and this edifice exhibits in its more modern portions many curious modifications of the cinque-cento style, particularly in the portals attributed to Frate Giocondo. Many of the paintings have been car ried off, but a series still remains, in the Sala dei Vescovi, of the portraits of the bishops of Verona from Eupre- pius to the Cardinal Agostino Valerio in 1566, by Brusasorzi; of course the greater number are imaginary, and therefore as uninteresting as possible ; but the artist has given his subjects expression and variety. " In the court of the Vescovato stands a fine colossal statue of a crowned female, marked with the artist's name, Alessandro Vittoria."—L. G. "The Vescovato was painted externaUy on plastered waUs."— P. C. H. San Zenone. — This is the most in- teresting example at Verona of the architecture of the middle ages. It stands at the W. end of the city near the gate leading to Brescia. The first church of any size whieh was buUt on the spot where the church of San Zenone now stands was erected in the beginning of the 9th centy., by Rotal- dus Bishop of Verona, with the assist ance of Pepin, the son of Charlemagne, whom his father had deputed to govern his kingdom of Italy. This church was much injured by the Hungarians in 924. In 961 Otho I. passed through V rona on his way to Rome, and left a rich donation in the hands of the bishop for the restoration of San Zenone. The new church, how ever, was not begun tUl 1138, and not finished before the year 1178. The plan of the church is that of the Latin Basilica, without transepts. The Btyle of the buUding is Lombard. The front is of marble. The sides are constructed with alternate layers of marble and brick. — " The front may be cited as a good example of the early architecture of this part of Italy : the general idea is that of a lofty gable with a lean-to on each side, which, being the natural re sult of the construction, is, if weU pro portioned, a pleasing form." — Woods. The principal feature of the front is one of the earhest wheel of fortune win dows. It was executed by a sculptor1 of the name of Briolotus, who aisd buUt the baptistery. An inscription 262 Route 26. — Verona — San Zenone — Exterior. Sect. III.' in the baptistery records this fact, and speaks of the window as a work which excited wonder in those times. Its aUegorical meaning is here made sufficiently clear by the King at the top of the wheel, and the prostrate wretch at the bottom, and the verses both within and without, by which Fortune speaks and addresses the be holders. Maffei gives the inscrip tions : — • 'En ego fortuna moderor mortalibus una - Elevo, depono, bona cunctis, vel mala done. This is on the external circumfer ence ; within is — Induo nudatos, denudo veste paratos, , In me confidit, si quis derisus abibit. The campanUe, which stands by it self, wholly unconnected with the church, was begun by Abbot Albericus in 1045, but was not finished till 1 17S. The portal is »• very rich specimen of those of Italian churches in the 12th century. Whatever the sculpture of that age and country was able to effect is profusely expended upon its decora tion, both in marble and bronze. If in these decorations some ludicrous images are retained, the greater part of them attempt to imitate the more cor rect models of the Roman bas-rehefs. Ah the figures are rudely sculptured ; but the arabesques, which enrich the divisions of the different compartments, are beautifully designed, and not ill- executed. The bas-relief within the portal over the door is said to represent a deputation which was sent to San Zeno by the Emperor Gallienus. Im mediately above the arch of the porch is a hand with the fore and middle fin gers extended, and the two others bent, in the act of the Latin Benediction. It is said that, in the early ages, before the artists thought of making him an old man supported on cherubim, the Almighty was always indicated in this way. On the flanks of the portal ap pear subjects taken from the Old and New Testament, — the history of Adam and Eve on the 1. hand, the principal events in the hfe of our Saviour on the other, explained in leonine verses in short epigraphs. With these are blended, as usual, subjects taken from ordinary life, and Ulustrating the man ners of the times, — knights jousting at each other ; and below the first series is a representation of the chace, popu larly caUed the Chace of Theodorie. The feet of the hunter, who is in Roman costume, are placed in stirrups ; and this, according to Maffei, is the most ancient piece of sculpture in which they are exhibited. The dogs have seized the stag, and at the extremity is a grinning demon waiting for the hunter. Some lines underneath de signate him as Theodorie, and, accord ing to the vulgar notion, the infernal spirits furnished him with dogs and horses. This arose probably from his being an Arian. The doors are of bronze, enriched with figures in com partments. The pUlars, as usual, rest on the backs of animals — lions, sym bolical of the vigUance and strength of the church. Round the arch of the portal are symbolical representations of the months of the year, beginning with March. It is to be regretted that this porch is much neglected ; and the group of Theodorie and the demon, in particular, is defaced by the urchins who have punched holes in the marble, in order to " smeU the brimstone " which it is popularly Bupposed the fiend gives out by this process. Adjoining to the church there was a monastery, and adjoining to the monas tery a palace, in which the bishops of Verona resided. The palace was burnt down in 809, but must have been after- wardsyrebuUt, as we find that the em perors lodged at San Zenone when they visited Verona in the 11th and 12th centuries. Its remains consist of a tower and some portions of a waU. The interior of the church is striking, from the grandeur of its proportions. and its elevation. The nave is lugh, and is divided from the aisles, which are low, by alternate pUlars, and piers supporting semicircular arches in pairs. These pUlars are less stumpy and of better proportions than the pUlars of Lombard buUdings in the 7th and 8th centuries, but their capitals show that the Lombard monsters were not en-.. Aust-. Dom. Route 20. — Verona — San Zenone — Interior. 263 t-irely discarded so late as the 12th century. From the piers ribs ascend to support the roof of the nave ; two only of these ascending Bhafts support a direct arch across the nave, and the arrangement is not calculated to sup port any vaulting. The wooden roof is exceedingly curious, and more elabo rately ornamented than occurs any where else in Italy. The choir is in the pointed style ; but this part of the church was rehuUt in the 15th century. The windows in this church, unlike those in the early BasUicas, are of smaU dimensions. From this archi tectural change arose that sombre effect which was afterwards considered a merit. Many curious rehcs. of anti quity are disposed about the interior. Of these, the strangest is the statue of San Zeno, awkwardly sitting in a chair. San Zeno is the patron of Verona ; he became its bishop in a.d. 362, in the reign of Julian the Apostate. He was an African by birth ; and the painted statue represents him as brown as a mulatto, though not with a negro phy siognomy. Several of his sermons are extant, and are written with power and eloquence, though in a rude and bar barous style. He is represented in the attitude of benediction. In a httle chamber near the entrance is the Coppa di San Zenone, a vase of porphyry, from a single stone, the external dia meter of which is 13 ft. 4 in., the in ternal 8 ft. 8 in, ; and the pedestal is formed out of another block of the same material. It is of high antiquity, and, according to the legend, was brought by the fiend from Syria, at the behest of the bishop. It originaUy stood on the outside of the church, and Maffei supposes it to have been in tended for washing -the feet of the pU- grims before entering the sacred edifice. If so, it would hardly have been ele vated on a pedestal. Many of the altars are adorned with pUlars, taken, as it should seem, from some more ancient edifice. In parti cular, the Altar of the Virgin may be remarked ; the columns here are com posed of four smaUer pUlars fastened in a kind of true-lovers' knot. A Roman tomb of Augusta Atilia Valeria is one of the early Christian monu ments which formerly abounded in this city. The statue of St. Proculus, exe cuted in 1392 by Giovanni son of Mas ter Rigino. Several frescoes, one re presenting the great flood of the Adige in 1239, and probably coeval with the event. A bas-rehef, representing two cocks carrying a fox, dangling from a pole, considered as a hieroglyphic of vigdance overcoming craft. Paintings are rather scanty. The best is by An drea Mantegna, which went to Paris, and is now over the high altar. It is one of the most important of the artist's easel pictures in Italy, and re presents a Madonna enthroned with Angels, and four Saints on each side. Rich architecture, adorned in front with festoons of fruit, surrounds the composition. There are three more compartments, which have not returned from Paris. Copies however may be seen in the house of Signor Benedetto del Bene, whieh show the general com position. The church also contains a good store of curious old devotional paintings and tablets. There ia also a remarkable sarcophagus, perhaps of the 9th century, serving for an altar : it is worked on three sides. Here is also a most simple sarcophagus, found in 1838, with the bones of San Zeno. It is intended to erect a splendid monument over it. Under the choir there is a spacious crypt, the semicircular vaulted roof of which is supported by 40 pUlars, with capitals of various forms. In and about its recesses are dispersed nume rous fragments of ancient frescoes and bas-rehefs, the tombs and statues of the ancient bishops of Verona, Eupre- prius and Circinus, and the sarco phagus containing the bones of San Zeno, found in 1838. The cloister of San Zeno consists of arches supported on coupled columns of red marble, united by a httle appen dage of the same substance at the necking of the column and at the upper torus of the base. On one sid& is a projecting edifice, sustained by columns of different sizes, which for- 264 Route 26. — Verona — San Fermo. Sect. III. merly contained a large basin for the monks to wash themselves before en tering the refectory; but it is now in ruins. The cloister contains many tombs, some always belonging to it, others brought from suppressed Churches. Here are the tombstones of Giuseppe della Scala, of whom Dante speaks, and of Ubertino della Scala, superior of the Benedictines. Adjoining the cloisters is an old church, built in the same manner as the one which stands close by the cathedral, with groined semicircular arches supported on four pUlars, aU Unlike, dividing it into nine equal squares. The adjoining cemetery, from whioh the church and itB campanUe may be conveniently examined, contains an ancient and singular mausoleum. You descend by a flight of steps, and at the bottom is found an ancient sarco phagus. Over the entrance is an in scription, appropriating it to Pepin King of Italy, who died at MUan a.d. 810. The sepulchre is remarkable, and is evidently made for some person of great distinction ; but the inscription is modern, and was put up by a priest hi the course of the last century. The water found in the tomb, and caused by the percolation of the rain, is thought to possess medicinal virtues. San Fermo Maggiore. This church has the epithet of "Maggiore" from its size : it is, perhaps, the most inter esting after the cathedral and San Ze none. Its foundation may be traced as far back as 751. The crypt appears to have been buUt in 1065 ; and the massy piers and plain heavy vaulting are perhaps unaltered. The church is of brick with a good deal of ornament, and the rows of httle arches are some 6f them trefoU-headed. The door of the facade is round-headed, with a pro fusion of ornamented mouldings. It has no rose in the front, but, instead, are four lancet windows with trefoil heads ; and the parts seem more con sistent on this account, as the rose trindow rarely unites weU with the numerous intersecting lines of this Style of buUding. Over these is a smaUer window, divided by little shafts into three parts, and a small circular opening on each side of it. There is no tracery. The buUding ends in » gable, whose cornice is loaded with or nament, and three pinnacles rise above it. The interior is a fine and bold Gothic, buUt between 1313 and 1332. The ceUing is of wood, and not hand some, but is ornamented with a vast number of paintings of saints on the compartments. When seen from the bridge behind the church, a little poly gonal buUding, each face of which ter minates in a high gable, composes very richly. San Fermo has some remarkable monuments. The altar of the Aligeri (for thus they say at Verona that the name should be properly ' spelt, and not Alighieri) is also the monument of the last branches of the famUy of Dante. It was erected by Francesco Aligeri, sixth in descent from the poet, to the memory of his brothers Pietro and Ludovico. Francesco was eminent for his literary acquirements ; he was also much addicted to the study of architecture, and made an exceUent translation of Vitruvius. UntU their extinction the famUy of Dante conti nued in great prosperity and honour. Two of the descendants of the Dante took his name ; and hence in the epi taph the father of Francesco and his brother is termed " Dante terzo." The wing — the Ala — in the shield of the Aligeri, is what the French term an " armoirie parlante ;" so also are the turrets introduced into the ornaments of the tomb of Torello Sarama, an early historian of Verona, whose works may yet be read with pleasure. — Altar of Torello Sarama, buUt by himself, 1523. An exceUent cinque-cento spe cimen. — Tomb of the Torriani, erected about the beginning of the 16th cen tury, by Giulio, Battista, and Rai- mondo della Torre, to the memory of their father Girolamo and their brother Marc Antonio. Both father and son were professors at Padua, and enjoyed the highest reputation. The monu ment, a lofty altar-tomb, was decorated with bronzes, each by Andrea Riccio Austrian Dom. Route 26. — Verona — Churches. 265 or Briosco, the architect, at least in part, of the church of St. Justina at Padua. The few ornaments, the bronze sphinxes and the portraits of the Tor riani, which remain, are of great beauty : the principal bas-rehefs were carried off to Paris, where they are fixed into a door of painted wood at the Louvre ; here the broken and disfigured panels remain as accusers. There is a curious monument to the memory of Antonio Pelacani (or, skin the dogs), who ap propriately took to wife Mabilia Pela- vicini (or, skin the neighbours). He was a professor of medicine, and is re presented surrounded by bis pupUs. Many ancient paintings in and about the church have been whitewashed. .Among those paintings which remain are the foUowing : — a Crucifixion, evi dently earlier than the time of Cima- bue. — Vittorio Pisanello, an Annuncia tion, executed about 1430 : the angel is represented as kneeling before the Virgin. The correctness of the linear perspective is characteristic of Pisa- neUo. The Adoration of the Magi : this painting is in a bad hght, but has merit. — Benaglio, the same subject. — Domenico Morone, St. Anthony of Padua. — Orbetto, the Nativity. — Ca- roto, the Virgin and SaintB, dated in 1528. — Barca, a Pieta. — Coppa, an emblematical composition, — Verona supplicating the Virgin for dehverance from the PestUence. — Dondoli, the last Supper. — Giovan Battista del Moro, St. Nicholas and St. Agostino. — Tor- bido, the Virgin and Saints.— Crema, the Virgin with St. Anthony and St. Brandan. — Caneiro, the Virgin with St. Peter and St. Paul. — Francesco Bonsignore, the Virgin, with the Lady by whom the painting was presented kneeling before her, date 1484. — D. Brusasorzi, a Crucifixion, with the Virgin and Saints and the Magdalene. The Gothic pulpit, with fine frescoes of Saints and Prophets, by Stefano da Zevio, is remarkable. There are many other works of art in this church, too numerous to be particularised, except ing perhaps the Crucifixion, in bronze, by Battista da Verona. The saeristy and cloisters should also be visited. So N. Italy— 1852. also the crypt, with curious fragments of frescoes removed from the whitewash with wliich they had been daubed. Church of Santa Eufemia, abound ing hi frescoes and paintings, of wliich the best are those by Caroto, in the Chapel degli .Spolverini. They are considered by a most competent judge as the best and most characteristic of his productions. In the middle pic ture of the altar are represented the three archangels ; in the side panels two female saints. On the side waU Caroto painted the History of Tobias : of these pictures the lower one is grace ful ; the mother of Tobias embraces her daughter-hi-law, whUe Tobias him self heals the eyes of his blind father. These frescoes are in some parts painted over and much injured. — Besides these are some fine fragments by Stefano de Zevio ; they are principally heads of saints in fresco. — D. Brusasorzi, the Virgin in Glory ; below, St. Roch, St. Sebastian, and others. — Moretto, St. Onofi-io and St. Anthony. There are also several monuments in this church. That of Marco and Pier Antonio Ve- rita, by Sanmicheli, has much merit. Two are remarkable from their connec tion with Petrarch — the tomb of Ri naldo di Villa Franca, one of Petrarch's correspondents, and the tomb of Pietro del Verme and Lucchino his son. The latter was a Condottiere of consider able fame, to whom Petrarch dedicated his treatise upon the virtues needed for a commander. ¦ The cloister is from the designs of Sanmicheli ; but it is now used as a barrack. Church of Sta. Flena, adjoining the baptistery of the cathedral: some curious ancient tombs and inscriptions; amongst others that of Theodorius, one of the cardinals of the time of Lucius III. ; about 1177. Pamtmgs : Felice Brusasorzi, St. Helen and other Saints, a pleasing composition, — Libe rate, St. Helen and St. Catherine, dated 1490. In a crypt is a curious mosaic, an early Christian monument. Church of San Sebastiano, formerly belonging to the Jesuits, and exhibit ing that rich, if not tasteful, ornament ation, for which the churches of this N 266 Route 26. — Verona — Churches. Sect. III. order are remarkable. The front is after the- designs of Sanmicheli, and very magnificent. Almost aU the mar bles found in the province of Verona are employed in the sumptuous co lumns and decorations of the altars. The adjoining buUdings are now used as the Ginnasio, a school for little boys. Here also is kept the communal library, an indifferent coUection. Church of SS. Nazaro e Celso. The ancient monastery to which this church belonged is partly destroyed, but in and about it are some remark able rehcs of antiquity. In a small chapel, excavated in the side of an ad joining lull, are frescoes, probably of the Bixth century, and good specimens of the style of that age. The subjects also which they represent are more than usuaUy varied. The church is partly from the designs of Sanmicheli, but unfortunately mutUated in their execution, the five arches which he contemplated having been reduced to three. It is fiUed with paintings, many by Brusasorzi ; — amongst these his favourite subject of a Choir of Angels, painted on the doors of the organ. — Paolo Farinati also contributed much to the adornment of this church. His fresco of Adam and Eve is thought to be one of his best productions. — Ca- nerio, the Descent of the Holy Ghost. Other fine old pieces in this church are by Falconetti, Monsignori, Montagna, and others. There are also many pic tures by modern artists. Santa Maria in Organo, a very an cient church, erected upon the site of some stUl more ancient building, caUed the Organum, of the time of the Lower Empire. What this buUding was has been much disputed by antiquaries. It is doubtful whether it was an arsenal or a prison. The present church was principaUy buUt in 1481, as appears by an inscription upon the first column on the rt. hand towards the entry: the facade is by Sanmicheli. Within the church, the foUowing objects are worthy of remark: — the intarsiatura, or inlaid wood- work of the choir, by Fra' Giovanni, a friar of the Ohvetan order, to whom this church belonged, was executed in 1499. Fra' Giovanni is considered as the greatest master in this branch of art. In the Chapel of the Holy Sacrament is a candelabrum of walnut-tree wood, carved with beau tiful but inappropriate grotesques. Paintings : G. de Libri, the Virgin, in fresco. — Brentana, the Discovery of the Holy Cross by the Empress Helena. — Giolfmo, Subjects from the Old and New Testament. — Farinati, St. Peter sinking in the Water; St. Gregory feeding the Poor. — Domenico Brusa sorzi, the Resurrection of Lazarus ; the Pool of Bethesda ; St. Jerome and St. John. — Caroto, the Virgin, St. Vincent, and St. Maur. The sacristy, besides the intarsiatura and carving of Fra' Giovanni, contains some " beautiful studies, three half-figures in every com partment (of which there are fourteen) of ' padri Benedettini ed Ohvetani,' all in white dresses, hooded, relieved on blue grounds, and aU in the most per fect condition. Eighteen lunettes con tain each two portraits of the popes who have been elected out of these orders. The blue grounds have been reheved by gUding, and have stood perfectly. These works are aU by Mo roni. Vasari justly speaks of this place as one of the finest sacristies in Italy." — S. A. Hart, R. A. Among the por traits is that of Fra' Giovanni, over the door leading to the altar. In the adjoin ing cemetery are curious ancient tombs. San Giovanni in Valle : a church principaUy remarkable for its crypt, which contains two very remarkable Christian tombs, of an early date. Both are covered with sculptures : upon the one beheved to be the most ancient, the prominent group includes our Lord upon a lull, whence issue four streams, which may be either inter preted as the four Gospels, or as the four rivers of Paradise. Nearly the same representation occurs in the mo saics at MUan. St. Peter is on one side and St. Andrew on the other ;— our Lord and the Woman of Samaria ; — the Cure of the Demoniac ; — Moses receiving the Law; — Daniel in the Lion's Den. What might puzzle the antiquary are two figures of monks; Austrian Dom. Route 26. — Verona — Santa Anastasia 267 but these appear to have been added about the year 1495, when the tomb was discovered. The other tomb is in a better taste as to art, but far less interesting as to subjects : it represents a deceased husband and wife, with St. Peter and St. Paul. In the church above, numerous fragments of Roman buUdings are apparent in the half- ruined walls. San Giorgio Maggiore, of very an cient foundation. The interior exhi bits Sanmicheli in aU his talent and exuberant richness of fancy. The ad joining convent was sold by the French, and is now almost whoUy demolished. In the church the fol lowing objects may still be remarked. The High Altar is by Brugnoli, the nephew of Sanmicheli : the details are exquisitely sculptured. — Paolo Vero nese, the Martyrdom of St. George. — Farinati, the Miracle of the Loaves and Fishes, painted by the artist in 1603, at the age of 79. With many defects, this piece, which is of great size, is a remarkable performance. — The faU of the Manna in the Desert, begun by Felice Brusasorzi, and com pleted by Ottini and Orbetto, his pupUs. — Caroto, the Annunciation ; St. Ursula, in distemper. — Moretto, the Virgin and Saints. — Girolamo de' Libri, the Virgin, two Bishops, and three Angels. Lanzi points this out as being a masterpiece in dehcacyof work and beauty of design. — Brusasorzi, the Three Archangels, supposed to have been executed in rivalry of the preceding picture. — Jacopo Tintoretto, the Bap tism in the Jordan. Paintings by Caroto, under an old fresco on the 9th altar. This church contains a profusion of other paintings, statues, and architectu ral ornaments. The campanUe, by San micheli, is a noble and solid structure. " Santa Anastasia would, if the front were finished, probably be the most perfect specimen in existence of the style to which it belongs. It was buUt at the beginning of the 13th century, by the Dominicans." The main fabric was begun in 1260, but the casing of the front not till 1426. " The front was to have been enriched with bas- reliefs, but this work has been only begun. The inside consists of a nave of 6 arches with 6 aisles, and a semi circular recess. The transept is short, and in the angle between that and the choir is a square tower, terminating in an octagonal spire. All the arches and vaultings are obtusely pointed. The springing of the middle vault hardly exceeds the points of the arches into the aisles ; and the windows of the clerestory are circular and very small. In the cathedral of MUan, the width from centre to centre of each pier, measured along the church, is just hah the width of the nave, measured also from centre to centre ; and this may perhaps be considered as the gene ral arrangement of a Gothic buUding. In some of our own churches the pro portional width of the side arch ia stUl less. But in this edifice the first di mension is 7-8ths of the second. This circumstance, in connection with the httle windows of the clerestory, and the want of height above the side arches, impresses upon the structure a charac ter totaUy different from anything we have ; but it forms a very fine compo sition, and one which makes the build ing appear larger than it is ; though it is by no means a smaU church, being about 75- ft. wide, and 300 ft. long." — Woods. The church is rich with paint ings and altars ; and it appears to have been originaUy entirely covered with frescoes, but many of them are almost destroyed ; those, however, in the span- drils of the vaulting are very remark able on account of their beauty and fine preservation, A few of the principal objects which it contains may be enu merated : — The two Benitiers, sup ported by grotesque figures ; the one on the 1. is by Gabrielle Caliari, the father of Paolo Veronese. — The Fregosi Altar and Chapel, which Vasari, usually scanty in his account of Lombard art, considers as one of the finest in Italy. Danese Cataneo, 1565, was at once the archi tect and sculptor of this monument. — The Altar of St. Vincent, buUt of the beautiful bronzino marble peculiar to this country. — The Patron Saint, by Rotari, much praised by Lanzi : above 268 Route 26. — Verona — Churches. Sect. III. a curious fresco, in tolerable preserva tion. ¦ — ¦ The Altar of the Bevilaqua Family : Caroto, the Body of our Lord, with the Maries weeping around. — The Pindemonte Altar, an imitation of the Arco de' Gavi. — Caroto, St. Martin : near it hangs a large Bemi-fossilized bone of some antedUuvian elephantine animal. — Chapel of the Crucifix, a curious an cient piece of sculpture : The Deposi tion from the Cross. — Stefano da Zevio, the Emblems of the Passion. Altar of the Centrago Family. — The Virgin be tween St. Augustine and St. Thomas Aquinas ; an exceUent picture by Fran cesco Morone. — Pellegrini Chapel : cu rious bas-rehefs, in terra-cotta, of the life of our Saviour ; they are of the 15th century. The Descent from the Cross is the best, in which the artist has intro duced a fine figure, one of the PeUegrini famUy. Here are also some curious ancient frescoes, in which portraits are introduced of members of the Aligeri and BevUaqua families. Over the arch of the chapel is a St. George, by Vit torio Pisanelli; the fore-shortenings and projections, as usual, remarkably skilful. — High Altar .- Torelli, the Death of San Pietro Martire, imitated from Titian ; tomb of Cortesia Serego, 1432, one of the Condottieri of that age. — The Lavagnoli Chapel : curious fres coes in the style of Andrea Mantegna ; and the fine tombs of the family.- — Sacristy .- over the door, the CouncU of Trent, by Falcieri, with no merit as a work of art, but curious as a contem porary memorial of that assembly. Within are some good pictures by Bru sasorzi : the altar-pieee with Saints ; portraits of members of the Dominican order. — Capella del Rosario, buUt from the designs of Sanmicheli : The altar- piece, in distemper, in a Giottesque style, contains portraits of Mastino II. deUa Scala, and his wife Taddea Carrara, kneeling before the Virgin : the features of Mastino are remarkably expressive of his character. — Chapel of the Farinati Family : Amongst its many decorations the principal is the Descent of the Holy Ghost, by Giolfino. — The Capella di S. Gemigniano has fine frescoes (pro bably by Altichieri), connected with the famUy Cavalli. — Several cenotaphs have been recently erected here : bust of Cossali, the author of the Storia Critica dell' Algebra, a work of great merit ; Cignoti, the mathematician ; Targa, the translator of Cebus ; and Lorenzi, a recent poet and improvisa- tore. Much of the marble caUed bron zino is introduced into the ornaments of this church : it is not so caUed from its colour, but from the metallic sound which it emits when struck by the tool. Hard by is the interesting though smaU Gothic Church of San Pietro Martire, which, with the adjoining buUdings, formed a part of the convent of Sanf Anastasia. The edifice is now the Liceo, an institution in whieh up wards of 500 pupUs are received. Over the entrance, on the side of St. Anasta sia, is a noble tomb of one of the Counts of Castelbarco, a lofty Gothic canopy, beneath whieh stands the sarco phagus. There are other fine tombs of the same description within the court yard. The buildings are kept closed, but wiU be readily opened for a trifle. Santi Apostoli, completed aboutll94. The front is remarkable for the rich and beautiful scroU-work inserted between the pUasters. On the outside there are fine arched tombs. Within are frescoes by Brusasorzi. Church of San Stefano, buUt in the 11th century, has been much modern ized. Its porch resembles that of the cathedral ; and the central octagon tower also retains its original appear- - ance. Twenty of the Bishops of Verona are buried here ; and it has been doubted whether it was not the original cathe dral. There is a marble throne for the bishop BtUl existing. The crypt- may, perhaps, date from the 7th century, having every mark of early Christian antiquity : so have also two very re markable tombs ; the one of Galla Pla cidia, daughter of Eudoxia and Valen- tinian III., and wife of Olibrius Em peror of the East ; the other (as also supposed) contains the remains of Mar- cian, a patrician, a.d. 427. — Amongst the paintings are — Caroto, the Virgin between St. Peter and St. Andrew. — Giolfino, the Virgin with St. Maur and Austrian Dom. Route 26. — Verona — Churches. 269 St. Simplicknus, and St. Placida. — Dom. Brusasorzi, a very fine fresco: St. Stephen preceded by the Holy Inno cents; above, a choir of angels. The artist, who was himself an exceUent musician, is fond of thiB representation, and is peculiarly happy in it. Our Lord bearing the Cross. The Adoration of the Magi.— Ottini, the Massacre of the Innocents. — Orbetto, the Forty MartyrB ; one of his best works : Lanzi says that some parts are worthy of Guido. " This church was formerly painted in fresco by the best artists of the 14th century, but it was afterwards whitewashed ; and, what is worse, the pictures were partiaUy destroyed before the walls were whitewashed: so that now, when the whitewash has been cleared off, injured fragments only bear witness to the original merit of the pictures." — L. G. Church of San Tomaso Cantuariense. Tebaldo, a Bishop of Verona, chose Thomas a Becket for the patron of this church in 1316. It is curious that there should not have been a single church dedicated to him in England. The church has been repeatedly altered. The front is of the 15th century, partly from the designs of Sanmicheli: had these been followed the church would have been one of the finest of his pro ductions. Here is the tomb of Giovan' Battista Beket, who claims to be of the famUy of the Archbishop, perhaps a descendant of some of those who fol lowed him into exUe. Paintings : Or betto, Martha and Mary. — Felice Bru sasorzi, the high-altar piece ; the Virgin with St. Thomas and St. Catherine. — Farinati, St. Jerome, in Meditation: good. In the sacristy is a fine painting, which has been ascribed either to Caroto or Garofalo. It represents the Infant Saviour and St. John sporting before the Virgin. The foreground is rich in flowers, the garofanello being conspicu ous amongst them. Church of San Bernardino : monastic in its outward aspect, and flanked by cloisters full of decayed and broken tombs. The church was built about 1499, after the affliction of the great pestilence. The principal pictures which it contains are the following : — Bonsignori, the Virgin between St. Jerome and St. George, dated 1488. His paintings are rare out of Mantua. — A very beautiful and interesting painting, the joint work of Morone and Paolo Cavazzolo, the latter of whom died at the age of 31 (1522), whUe engaged on this work. By him is the lower portion : a group of Saints, in cluding St. Elizabeth, who, according to the legend, sees the bread which she has distributed to the poor changed into roses : he has also introduced the portrait of the female donor. The upper division, by Morone, consists of the Virgin and ChUd, SS. Francis and Anthony, and Angeis. The CapeUa della Croce has a Deposition from the Cross, and other fine paintings, by Cavazzolo. — Giolfino, some beautiful though damaged frescoes. In one of them the painter has introduced a view of the Piazza di Bra, as it stood in his time, an interesting historical memorial. Annexed to the church is the Capella Pellegrini, one of the finest works of Sanmicheli. " The gem of this great master is the little circular chapel at San Bernardino, whose beauty, we think, has scarcely ever been surpassed, and which exhibits, in a striking de-: gree, the early perfection of the Ve netian school. It was not finished under Sanmicheli, and blemishes are to be found in it ; it is, nevertheless, an exquisite production, and, in a surpris ingly small space, exhibits a refinement which elsewhere we scarcely know equalled." — Gwilt. The material is of a greyish white, showing exquisite work manship : in the pavement some coloured marbles are introduced. In the upper cloisters and library are fine frescoes by Morone. What was formerly the li brary of the convent is beautiful. Altogether there are about 40 churches in Verona ; but the last whieh we have space to notice is that of Sta. Maria delta Scala. The exterior is in a cinque-cento style, by Fra' Giocondo. It was first founded by Cangrande, and a fresco upon a wall which formed part of the original structure displays curious portraits of his nephews Al- 270 Route 26. — Verona — Palaces. Sect. III. berto and Mastino. The church con tains the tomb of Maffei, the historian of Verona, perhaps the most able and judicious of Itahan antiquaries, and who was also a dramatic poet of con siderable merit. He died in 1755. " Sanmicheh's most admired works are his palaces at Verona ; the general style of composition, very different from that of the palaces of Florence and Rome, is marked by the use of a base ment of rustic work, wherefrom an order rises, often with arched windows, in which he greatly delighted, and these were connected with the order after the manner of an arcade, the whole being crowned with the proper entablature. The facade of the Pompei palace is a good example." — Gwilt. Palazzo Bevilaqua would have been beautiful ; but, like our WhitehaU, it stands merely as a specimen of an entire design. It did contain a splen did coUection of antiquities, which have been sold and dispersed in consequence of the impoverishment of the famUy. They are now in the Glyptotheca at Munich. Palazzo Canossa, also by Sanmicheli. This palace was begun in 1527, by Ludovico di Canossa, Bishop of Ba- yeux, in France. His armorial bearings are on the front. It was not completed tUl 1560. It contains a tolerable gal lery of paintings ; the best are by Brusasorzi, Farinati, and Orbetti. The coUection of Monte Bolca fishes and other fossil remains is interesting. This palace is usually chosen as the residence of royal and other great personages when they visit Verona. Palazzo Maffei Giusti, a noble ele vation of three stories, more laboured than the style of Sanmicheli, but very effective; the construction of the staircase is remarkably bold. The col lection of the Maffei family is dispersed, but one fine statue of Serapis remains. Palazzo Ridolfi contains a remark able historical picture — the Coronation of Charles V. at Bologna, by Ricci. It is interesting from the detaUs of costume, and the portraits introduced, amongst which are some of the prin cipal dignitaries and princes of the empire ; a complete scenieal representa tion, not forgetting the fountains run ning with wine, and the ox stuffed with poultry and roasted whole, for the de lectation of the multitude. Opposite to the amphitheatre, in the Piazza di Bra, is the Palazzo PubUco, a noble buUding, attributed, but er roneously, to Scamozzi. It was buUt by Andrea Midano, a pupU of San micheli, as appears from an inscription lately discovered. Palazzo Giusti. Fine gardens and beautiful views ; the whole front painted by Paolo Farinati. Palazzo degli Fmilii. Some good pictures ; amongst them the Adoration of the Magi, by Orbetto. Palazzo Meniscalchi. The exterior is finely painted in fresco by TulUo India and Aleprandi. Amongst the subjects is the feast of Damocles. Near this palace are Roman remains, vaults used as prisons by Fccelino da Romano. Casa Scannagatti. This palace of the kill-cats has some curious remains of cinque-cento architecture. Palazzo Portalmpi. Recently built, and only remarkable as showing the decline of architecture in Italy. Palazzo Muselli. A very valuable coUection of medals, principaUy found in the province of Verona. Palazzo Guastaverza. One of the most graceful productions of Sanmi cheli: the management of the rustic work is peculiarly able. Palazzo Guarienti. Painted on the outside by Farinati. Here is a capital portrait, by Paul Veronese, of one of the family. Palazzo Sagramosc. Several good pieces by Orbetto and Felice Brusa sorzi : near it are some remains of Roman walls. Palazzo dell' Aquila. Anciently belonging to the Scaligers, and in which the Knights of Brandenburg, who came to the assistance of Cangrande against' his brother Frignano, were lodged. This palace, though very much altered by being converted into a mo dern dwelling, yet retains many vestiges of its former architecture, especiaUy its Austrian Dom. Route 26 a. — Verona to 271 towers, and the archings and mouldings of the doorways of the inner cortUe. This palazzo is now the Albergo delle due Torre. Casa Gazzola. Extensive coUections of Monte Bolca fishes, and other geo logical specimens. Theatres. The Teatro Filarmonico is open during the autumn and Car nival : for operas only during the for mer, for operas and ballets during the latter season. The other theatre, the Teatro Mo- randa, is smaU but elegant. Verona and Shakspeare are, of course, associated in the mind. The Montecchi belonged to the Ghibellines ; and as they joined with the Cappelletti in ex pelling Azo di Ferrara (about some short time previous to 1207), it is pro bable that both were of the same party. The laconic mention of their families, which Dante places in the mouth of SordeUo, proves their celebrity : — " Vieni a veder Montecchi e Cappelletti Monaldi e Filippeschi, uom senza cura, Color gia tristi, e costor con sospetti." Purgatorio, vi. 107. " Come, see the Capulets and Montagues, — Monaldi — Filippeschi, reckless one I These now in fear — already wretched those." Wright's Dante. The tragic history of Romeo and Juliet cannot be traced higher in writ ing than the age of Lungi di Porto, a novelist of the 16th century. The Casa de' Cappelletti, now an inn for vetturini, may have been the dwelling of the fa mUy. With respect to the tomb of Juliet, it certainly was shown in the last century, before Shakspeare became known to the Italians. That tomb, however, has long since been destroyed ; but the present one, in the garden of the Orfanotrofio, does just as weU. It is of a reddish marble, and, before it was promoted to its present honour, was used as a washing-trough. Maria Louisa got a bit of it, which she caused to be divided into the gems of a very elegant necklace and bracelets, and many other sentimental young and elderly ladies have foUowed her ex ample. ROUTE 26 a. VERONA TO MANTUA. 3 posts=26 m. A railroad is now open between Verona and Mantua. 3 trains daUy. The province of Verona abounds in objects of great singularity and interest. Amongst the works of art the ancient feudal castles are remarkable. Of those which are of the era of the Scaligeri, and more or less in the style of the Castle of Verona, some are noticed on the routes ; but there are many more in parts of the country out of the beaten track ; and the castles buUt after the cessation of that dynasty aU carry on the same plan. The country on the rt. of the road is celebrated as the scene of some of the most bloody actions between the Pied montese and Austrians in 1848. It passes near to Santa Lucia and Somma Campagna, from which Charles Albert blockaded Radetsky in Verona, to Cus- tozza, where, after a most sanguinary and protracted contest, the Piedmontese were worsted on the 25th of July, and obliged to recross the Mincio ; and by Villafranca, the head-quarters of the King of . Sardinia during the greater part of his Ill-judged invasion of the country beyond the Mincio. At Villafranca, on this road, is a fine casteUated structure. It was founded in 1199 by the Veronese ; but the pre sent building is of the 14th century. Hence you may proceed by a cross road which leads to Valeggio and Borghetto, near the Mincio. Over* looking Borghetto is the Scahgerian Castle of Valeggio, with » very lofty dungeon. But the most remarkable feature of the place is the fortified bridge or causeway, buUt in 1393 by Gian' Galeazzo Visconti, who has in this fabric exhibited his favourite pas sion for architectural magnificence. His engineers avaUed themselves of a Roman substructure, upon which they erected this bridge, upwards of 600 yards in length, waned in and battlemented on either side, hke the bridge of Verona, and defended by several lofty towers. It cost 108,182 golden zecchins of Venice. 272 Route 26 a. — Neighbourhood of Verona. Sect. III. 1J Mozzecane. Roverbella, a large wealthy place, where they show the house in which Bonaparte, when consul, lodged for 40 days in 1796, during the military ope rations between the Adige and the Mincio, and the siege of Mantua. 1£ Mantua. (See Rte. 23.) Mantua to Bologna and Parma — see Rtes. Neighbourhood of Verona. Towards the Adige, and on the N., are Gargagnano, where Dante is said to have composed his Purgatorio, and where he possessed some property, a villa, which afterwards passed to the Serego famUy. It is a wUd and pic turesque situation. Sanf Ambrogio, a httle to the E. of the road, about 2 m. before reaching Volargne, which is the first post sta tion on the road to Trent out of Ve rona : near it are marble quarries, from whence much of the Rosso di Verona is excavated, as weU as other sorts, the nemba and the brancone. The work men of these quarries are remarkable for their cleverness as masons and sculptors, which latter art, as at Como, they profess from father to son. San Giorgio, a mUe and a half N.E. of St. Ambrogio, upon a lofty hill, ap parently easy of ascent, but in fact very difficult, whence it has the name of " Inganna poltrone." Here is a beautiful Lombard church, where the columns and inscriptions of Luitprand were found. The mountainous districts to the N., the Monti Lessini, afford a variety of interesting excursions, such as that to the Ponte di Veja, to which a road passes up the Val Pantena, through the pleasant vUlages of Quinto, Grez- z.ano, and Lugo. It can be taken on horseback or in a Hght carriage. At Quinto, on his way to the Ponte, the traveUer should stop for the pur pose of visiting the sanctuary of Santa Maria della Stella. Beneath the church is a very curious Roman crypt, which the Itahan antiquaries have supposed to be a cave dedicated to Mercurius Trophonius (a creation of then' -own), but which, in 1187, was consecrated by Pope Urban III. A heathen altar or Roman sarcophagus, now in the crypt, may have been brought from its vici nity. The floor exhibits the remains of a beautiful mosaic : a stream of very pure and limpid water, which stiU flows into the crypt in the original Roman conduit, and the remains of other Ro man constructions adjoining, may pos sibly lead to thesupposition that the cave of Trophonius was originaUy a bath. Grezzana is beautifuUy situated. The adjoining rocks abound in fossU remains, principaUy of land animals, and they are amongst the first which attracted the notice of the Itahan geologists. Skeletons of deer and of elephants they were deemed, previous to more exact modern science. The Villa Cuzzano, near Grezzana, is a good and unaltered specimen of an old Itahan mansion, and contains frescoes by Paolo Veronese. In the vicinity of Marzana are Ro man remains, an aqueduct, and other buUdings. Val Policella and Val Pantena are diligently cultivated by an industrious peasantry, who from time immemorial have been the proprietors of the land. In a deep ravine ia the Ponte della Veja, a natural arch, beneath which bursts a cascade. The span of the arch is about 150 ft. : you can walk along the summit, of whieh the breadth varies from 10 to 15 ft. The scene is fantastic and strange. Beyond is the village of Sanf Anna, a secluded spot. An excursion to the Monte Bolca, which, out and in, is about 40 m., also in cludes many objects of varied interest, Soave, the town nearest the Vicenza road, is an admirable specimen of Sea- ligerian fortification": the surrounding waUs and gates, as weU as the castle, are more than usually perfect. Diverging by the by-road which leads to Monteforte, you approach the valley of Ronca. The rocks of the adjoining Val Cunella are composed ahnost wholly of beds of sheUs, whilst the neighbourhood possesses some very Austrian Dom. Route 26. — Verona to Vicenza. 273 remarkable basaltic formations. One of these formations is called the Monte del Diavolo : here the pUlars are mostly inclined at a considerable angle from the horizon ; others are curved, and others broken off, so as to form a pave ment on the boU. At Vestena they are very lofty and erect. In one part they form a cliff nearly 50 ft. in height, down which the torrent Alpone pours a singular and beautiful cascade. The basaltic hUls are called the Stanghellini, a name quite simUar in its etymology to Staffa, for Stanga means a pole or staff. About 4 m. further is the Monte Bolca, the largest and most singular deposit of fossil fishes yet discovered. The mountain, which is nearly of a conical form, is partly basalt. The impressions of the fish are found in the schistous strata, which gives out, when broken, a bituminous smeU. Coal of in inferior quahty also is found here in the tertiary marine strata under the basalt. With respect to the fossU fishes, it must be observed that the same in genuity which supphes the antiquary with Othos, equaUy insures to the geologist the rarest and most extra ordinary specimens; that is to say, they are imitated in such ajnanner as to deceive any ordinary eye ; they are cleverly manufactured out of the dis jointed fragments of several different species. Good and genuine specimens may be bought of the custode of the Amphitheatre at Verona ; but they are not cheap : and this dearness is ex plained by telling you, what is tolerably correct, that it is a rare occurrence, amidst the numberless fragments im bedded in the schistus, to find anything approaching to an entire individual. Route 26 continued. The raUway to Vicenza passes a httle to the S. of the post-road. The road to Vicenza, which we here resume, first reaches San Michele. In this vUlage was a very ancient mo nastery, which afterwards became a convent of Benedictine nuns. It has some interest as being the place where the three granddaughters of Dante, the chUdren of his son Pietro, namely, Aligeria, Gemma, and Lucia, took the veU. In the church, which is modern, are some good second-rate pictures by Lo Spadarino, Bellotti, and II Gobbino. At a short distance from the road, but on the other side of the Adige, is the Lazaretto, built in 1591, and for which Sanmicheli gave the designs. It is said that they were not strictly foUowed, but altered for the sake of economy ; yet the building, as it now stands, cost 80,000 zecchms. It is a noble cloister ; a paraUelogram of about 700 ft. by 300, containing 150 ceUs. In the centre is a very graceful circular chapel of marble. The buUding is now used as a powder-magazine. Pass near the church of the Madonna i Campagna, buUt also from the de signs of Sanmicheli, but not begun tUl after his death : a circular buUding with a Tuscan colonnade, and crowned by a cupola of great beauty and ori ginahty. The contrivaiicea of the vault ing, the winding staircase, and other similar portions of the fabric, show also great ingenuity. Within are some gopd painthigs by Brusasorzi and Farinata, the latter a Nativity. Before the altar Davila the historian is interred: he was assassinated close by the church. 1 Caldiero, anciently Calderium, so caUed from its remarkable, though now neglected, thermal springs. An inscrip tion found here shows that the baths were built or repaired by Petronius Probus, A. tj. c. 753, or the first year of the Christian era, and consecrated to Juno. The buUdings stood and con tinued in use till the year 1240, when they were destroyed by Eccelino. The waters retained, however, so much re putation that the Venetian repubhc, more than two centuries afterwards (1483-1500), directed the buUding of a bath-house, and made many directions for preventing the waste or destruction of the salutary streams ; but at present they are little visited. The principal spring is surrounded by a circular en closure. Like aU in this district, the water is strongly sulphureous. The surrounding country has a volcanic K 3 274 Route 26. — Verona to Vicenza — Arcole. Sect. III. appearance. At Caldiero, and on the opposite heights of Colognola, the Aus trians took their position, towards the beginning of November, 1796, where, on the 11th of the month, they were assaUed by Napoleon. " Massena was directed to attack the right, which appeared the most accessible, and his advanced guard succeeded in ascending an eminence, surmounted by a mill, which the Austrian general had neg lected to occupy ; but the Imperialists, returning in force, regained the post, and made the brigade prisoners. The action continued the remainder of the day along the whole line, without de cisive success to either party ; but the rain, which feU in torrents, and the mud which clogged their wheels, pre vented the French artillery from being brought up to meet the fire of the Austrian cannon, which, in position, thundered with terrible effect upon the repubhcan columns. Wearied and dispirited, they drew back at night, yielding, for the first time in the cam paign, the victory in a pitched battle to their enemies." Villanuova. This httle viUage pos sesses a church which is rather remark able. The campanUe is formed out of an ancient feudal tower, formerly part of the castle of the noble family of San Bonifacio, by whom the place was founded. The altar-table has a good bas-rehef in the style of the 13th cen tury, and the Corinthian capitals of several of the columns seem to have belonged to some early Christian structure. The road now skirts San Bonifacio, on the 1. bank of the Alpone, 3 m. to the S. of which is the field of Arcole. It was near this point that Napoleon, after his check at Caldiero, determined to assaU the Austrians in flank; and he therefore stationed his army in the low grounds which extend from this vUlage to the Po. He thought, with reason, that, on the narrow causeways which traversed these marshes, the superiority of numbers on the part of the enemy would be unavailing, and everything would come to depend on the resolution of the heads of columns. The position which he had chosen was singularly weU adapted for the pm-pose in view. Three ehaussees branch off from Ronco ; one, foUowing the 1. bank of the Adige, remounts that river to Verona ; one in the centre leads straight to Arcole, by a stone bridge over the little stream of the Alpone ; the third, on the rt., foUows the de scending course of the Adige to Alba- redo. Three columns were moved for ward on these ehaussees : that on the 1. was destined to approach Verona; that in the centre to attack the flank of their position by the village of Arcole ; that on the rt. to cut off their retreat. At daybreak on the 15th Massena ad vanced on the first ehaussee as far as a small eminence, which brought him in sight of the steeples of Verona, and removed all anxiety in that quarter. Augereau, with the division in the centre, pushed, without being per ceived, as far as the bridge of Arcole ; but his advanced guard was there met by three battalions of Croats, by whom the French were driven back. The Austrians despatched by Alvinzi passed through Arcole, crossed the bridge, and attacked the corps of Augereau; but they also were repulsed and foUowed to the bridge by the victorious French. There commenced a desperate struggle ; the republican column advanced with the utmost intrepidity, but they were received with so tremendous a fire that they staggered and feU back. Napo leon, deeming the possession of Arcole indispensable, not only to his future operations, but to the safety of his own army, put himself with Ms generals at the head of the column, seized a standard, advanced without shrinking through a tempest of shot, and planted it on the middle of the bridge ; but the fire there became so violent that his grenadiers hesitated, and, seizing the general in then- arms, bore him back amidst a cloud of smoke, the dead and the dying. The Austrians instantly rushed over the bridge, and pushed the crowd of fugitives into the marsh, where Napoleon lay up to the middle in water, whUe the enemy's soldiers for a minute surrounded him Austrian Dom. Route 26.-~Arcoh—* Vicenza. 275 on aU sides. The French grenadiers soon perceived that their commander was left behind s the cry ran through their ranks, " Forward to save the general !" and, returning to the charge, they drove back the Austrians, and extricated Napoleon from his perilous situation. During this terrible strife Lannes received three wounds. His aide-de-camp, Meuron, was killed by bis side when covering his general with his body, and almost all his personal staff were badly wounded. The battle continued with various fluctuations through the 16th and 17th, when " both parties advanced, with diminished numbers but undecaying fury. They met in the middle of the dikes, and fought with the utmost animosity. Towards noon, however, Napoleon, perceiving that the enemy were exhausted by fatigue, while his own soldiers were comparatively fresh, deemed the moment for decisive suc cess arrived, and ordered a general charge of all his forces, cleared them •of the enemy, formed his troops in order of battle at their extremity, having the rt. towards Legnago. By the orders of Napoleon the garrison of Arcole issued forth with four pieces of cannon, so as to take the enemy in rear ; wlhle a body of trumpeters waB sent, under cover of the willows, to •their extreme 1. Hank, with orders to sound a charge as soon as the action was fully engaged along the whole line. These measures were completely suc cessful. The Austrian commander, whUe bravely resisting in front, hear ing a cannonade in his rear, and the trumpets of a whole division' of cavalry in his flank, ordered a retreat, and, after a desperate struggle of three days' dura tion, yielded the victory to his enemies. An obelisk was erected near the bridge of Arcole in commemoration of the victory, and is yet standing, but it has been foohslUy mutilated and dis figured ; as if the destruction of his torical monuments could cancel' the pages of history. Pass the Torre dei Confini, the an cient boundary between the territories of Verona and Vicenza. 1£ Montebello, a .good-sized viUage : from here to Vicenza, on the rt. of the road, are the beautiful hiUs caUed the Monti Berici. li Vicenza. — (Inns : the Albergo di Parigi, a large and new hotel (1847), just inside the Verona gate, and near the Rly. Stat., good ; CapeUo Rosso, very good and reasonable ; Le Due Ruote; La SteUa d'Oro. The Luna is a comfortable inn, and being outside the town is more airy than the others.) A good strong wine is made near Vicenza, caUed Braganza, bianco, and nero ; the bianco is the best. Old Braganza costs 3 and 3| fr. the bottle. The situation of this city, wliich, in cluding the adjoining and contiguous vUlages, contains upwards of 30,000 Inhab., is beautiful, particularly on the Bide of the Monti Berici. The rapid Bacchiglione, upon which it is situ ated, though smaU, sometimes does much mischief. Nine bridges croBs the Bacchiglione, one of which, that of San Michele, a bold single arch, is at tributed to Palladio. Vicenza is of great antiquity, but possesses no Ro man remains, and less than the usual average of structures of the middle ages. This is much owing to the in fluence of PaUadio (born 1518, died 1580) in his native town, and of those architects who more or less foUowed his school. " Palladio' s buUdings are in general very beautiful ; but most of them are at present in a very forlorn condition. The fronts and even the columns are of brick, the entablatures of wood, and the stucco, with Which both have been covered, is peeling off. I am aware that this statement of their materials may lessen your respect for the palaces whieh make so fine a display on paper ; but the circumstance does not diminish the merit of the architect, though it does the magnificence of the city. Pal- ladio's columns are mostly mere orna ments ; but in contemplating bis buUd ings it is impossible to feel this to be a fault. The sculpture whieh loads the pediments of the windows is certainly Ul placed ; _and stUl worse is the httle panel of bas-rehef so frequently intro- 276 Route 26. — Vicenza — PaUadio — BasUica. Sect. III. duced over the lovjer windows ; dividing what ought to be one solid mass into two miserably weak arches. What is it then that pleases so much and so universaUy in the works of this artist? It seems to me to consist entirely in a certain justness of proportion with which he has distributed aU the parts of his architecture ; the basement being neither too high nor too low for the order above it ; the windows of the right size, and well spaced ; and aU the parts and proportions suited to one another. The same exceUence is found in. his orders, and the relation of the columns, capitals, entablatures, &c. He has not adopted the theoretical rules of another, but has drawn them aU from what he felt to be pleasing to himself, and suited to his own style of art ; but they are not good when united to a more solid and less ornamental manner. — PaUadio was succeeded by Vicenzio Scamozzi, also a Vicentine (born 1552, .died 1616). He was in a manner formed by the example of PaUadio, whom, however, he never acknowledged as a master. This wUl be seen fully at Venice, where Scamozzi was principaUy employed, though some fine specimens of his skill are to be found in this his native city. The Piazza de' Signori is remarkably fine. In the centre are the two columns which the Venetians, were so fond of repeating in aU the cities of their do minion, in imitation of the two in the Piazza di San Marco. A lofty and slender campanUe is nearly 300 ft. in height, though not much more than 20 ft. in the square ; a row of shields shows the sway of the ancient magistracy. The Basilica, or Palazzo della Ra- gione, is an ancient Gothic buUding, surrounded with loggie by PaUadio. " The result is rich and harmonious. To obtain this composition the archi tect has rather gone against than com plied with the arrangement of the anterior buUding. The columns are independent of the real or apparent strength of the edifice, and PaUadio intended they should be so, for he has made the entablatures break round them. In this he was right ; had the architrave been continued in a straight line, the columns would have become essential, and the great space between them would have produced an appear ance of debility. The great roof is not his fault ; but as the point of sight is near, it is never so offensive, in fact, as in the published elevations. Each intercolumniation of PaUadio is op posed to two arches of the original work." — Woods. The great haU is a noble apartment, but rather dUapi- dated. In another apartment are some good pictures. Bassano has left a magnificent composition, considered as his best work ; the chief magistrates of the city, Giovanni Moro and SUvan' CapeUo, kneeling before the Virgin, who is seated beneath a magnificent canopy. Others are — Carpione : a composition matching that of Bassano ; allegorical, and aUusive to the pros perity of the eity, wherein two fine portraits are introduced. — Bonconsigli: St. Catherine a Pieta. — A. Maganza : the Martyrdom of St. Vincent. — Fo- goUno : the Adoration of the Magi. Gothic hah within. The decree for buUding this facade was made by the coundl of the city in 1560 ; and Pal ladio was engaged to superintend the execution of his own designs. When the Palazzo Prefettizio, op posite the Basihea, was built, this pre caution was neglected. PaUadio was at Rome when it was in the course of construction, and hence, as it is said, those who had the direction of the work departed from his designs. It is Corinthian, rich and fanciful, but, in the upper story, the windows cut into the entablature. A narrower front to wards the E. is better; it is a Roman triumphal arch converted into a dweU- ing ; and PaUadio was so weU pleased with his work that he has sculptured . his/m'?upon the architecture. Within, in the Sala Bernardo, so caUed from Battista Bernardo, governor of the city at the time of its erection, are good paintings by Favolo ; the subjects are taken from Roman history. A singular pageant caUed the Rua is yet annuaUy shown at Vicenza upon Austrian Dom. Route 26. — Vicenza — Churches — Palaces. 277 Corpus Ohristi day. It consists of an enormous car, upwards of 60 ft. in height, which is dragged by about 100 men, who manage it with great skUl and dexterity. It is formed of temples and pyramids surrounded by a combi nation of wheels, which are manned by men, women, and chUdren, aU keeping their equilibrium as they revolve : a consteUation of roundabouts. There is a traditionary story that this pro cession commemorates the achievements of two valiant knights, Bassano and Verlato, who marched into the city, kUled Ezzelino the tyrant, and threw him out of the window. The Duomo, much altered and in jured, is Gothic. The front is an ugly mixture of different styles. The inside is a single nave, of great width, to which neither the height nor length is in proportion. It is nearly 60 ft. be tween the pUlars, which are set against the waU. It is so wide and so low in the nave, that it became necessary to tie the side waUs together by timber beams, and to support these again by iron bands. It contains few objects worthy of much notice, excepting some good paintings by Mantegna and Ma- ganza. The choir is rather handsome. The Dominican Church, of the 14th centy., is one of the few Gothic churches remaining in this town : here may be observed Romanesque capitals, which, though certainly coeval, might be of the 10th centy. — one of the pecu liarities of the Itahan styles. Santa Corona. This church, of no great pretence, has two good paintings : the Baptism in the Jordan, by G. Bel lini. — B. Montagna : the Patroness of the Church, St. Mary Magdalene, St. Jerome, St. Maurice, and St. Martin : a composition rich in architecture and figures. — The Adoration of the Magi, by P. Veronese. San Pietro, to which is annexed the Ospizio de' Poveri. Over the entrance of the Ospizio is a bas-relief by Canova, of which the workmanship is exceUent, though the design is commonplace : a female figure (explained as Charity), writing something upon a pedestal which supports the bust of Ottavio Trenta, the founder of the institution. In the church are some good pictures by Maganza : a king offering his son to St. Benedict, St. Plaeidius, and St. Maur ; a Pieta ; Our Saviour pre senting Garlands of Flowers to St. Peter and St. Paul. — Zelotti: Our Saviour delivering the Keys to St. Peter. There are some ancient palaces or houses in the old Venetian style in the principal Btreet, memorials of the do minant repubhc. Massy pUlars, with capitals of fohage, form the muUions of the windows. They have generaUy two balconies, with animals pawing upon them, one in either wing. Among the beautiful specimens of street archi tecture in the Palladian style, the fol lowing may be selected. Palazzo Barbarano, by Palladio, Ionic and Corinthian, with rich fres coes. " PaUadio haa given this design with seven openings in the range ; two more have since been added, and I do not know that the composition has been inj ured, except that the doorway is no longer in the centre. It is. over loaded with ornament. The sprawling figures over the pediments of the win dows, the husks which run down on each of the openings, and the trophies in the lower story, ought all to be taken away : with these exceptions in the decorative parts the composition is excellent, and presents in its unbroken entablatures a simplicity not usual in the Pahadian architecture." — Woods. Palazzo Chiericati. Of this buUding Palladio was peculiarly proud. The lower story is a continued Doric por tico. " The inosculating columns at the angles of the centre displease every body : a greater failure in point of effect arises from the architect having filled up the centre spaces of the upper colonnade ; its solidity is so offensive where aU the rest is open, that no pleasing impression can be produced by the building." — Woods. The ge neral design is bold, and the interior arranged with great skUl. Palazzo Tiene. Had this been com pleted, it would have been the largest in the city. "The architect of this is 278 Route 26. — Vicenza — Palaces. Sect. III. said to have been the proprietor, Count Marc Antonio Tiene, the contemporary and friend of Palladio, from whom, no doubt, he has largely borrowed. Sca- .mozzi seems to have completed it. It consists of two orders, Corinthian and Composite, and an attic ; the lower order is partly rusticated, and an im post moulding contracts the heads of the windows, whieh are square ; this pleases me very well ; but the thin flat arch over them, the sunk panel, and then another thin flat arch, are very objectionable. The upper windows are smaUer at top than at bottom, but the diminution is shght, and the first time I passed the house I did not observe it ; altogether the building is very beautiful. The buck consists of an open colonnade of two orders, closed at each end ; the middle intercolumnia- tion is wider than the others, and has some masonry and an arch within it ; this variation seems to be introduced merely to spoU the composition. The front has eight columns in each story ; the back ten." — Woods. Palazzo Conte Porto al Castello (but for whieh the stranger must inquire under the name Ca' del Diavolo). " This fragment is by some attributed to Palladio, by others to Scamozzi ; but the latter disclaimed it, and it ap pears to me to be PaUadian. Whoever was the architect, we may certainly pronounce it a noble design, although a very smaU part has been executed, and that fragment is nearly in ruins. It would have consisted of a range of composite columns placed on high de- .tached pedestals, and these on high double plinths. The lower range of windows reaches to the top of the pe destal ; the second range, in the spaces between the columns, is much larger than the others ; the upper windows are in the frieze ; these latter have cer tainly a bad appearance, and the situa tion of the lower range is not free from blame ; hut in these cases, where the order is merely ornamental, their want of perfect correspondence with the appa rent internal work is of less consequence than might be imagined." — Woods. Palazzo Valmurana, by Palladio, only partly completed : Composite. " It is a handsome edifice, and would be more so if the angles were better supported, but the smaU pilaster and figure over it, instead of the pUasters of the larger order, are as displeasing in reality as in the drawings ; and the change in the size and number of the windows in the adjoining divisions is equally reprehensible. The mouldings of the lesser order project beyond the pUasters of the larger, and if the panels of sculpture over the lower windows were somewhat narrower, they would have a better shape themselves, and the greater space over them would be an advantage. In other respects the pro portions are exceUent, and the distri bution at once beautiful and uncom mon. The total absence of windows in the height of the pedestal I take to be a great advantage." — Woods. Palazzo Trissino, by Scamozzi. " This is probably one of his best works, and is a noble edifice, though it wants something of that undefinable grace of proportion we admire in Pal ladio, and it stands in so narrow a street that one can hardly judge of it fairly. It has a range of nine windows on the principal floor, with interme diate pUasters doubled at the angles ; but the change of design in the three middle divisions, the high unmeaning arch in the centre, and the double pi lasters separating the centre from the wings are so many defects. In the ground floor the large central arched opening is too reasonable to displease." — Woods. Palazzo Trenta is also by Scamozzi : much plainer than the preceding. Casa del Palladio, supposed to have been built by him ; but it is more pro bable that it was erected from the de signs of a Venetian nobleman (Pietro Cogollo), for his own use, about 1566. It is a PaUadian adaptation of ¦ a tri umphal arch. Palazzo Capitanale, by PaUadio. " The composition of the front, if com pleted, would have exhibited a range of eight half columns, comprehending two stories in height. The openings of the lower story are large arches, including Austrian Dom. Route 26. — Vicenza— Olympic Theatre. 279 almost the whole intercolumniation. Above the order is an attic. The effect is rich and magnificent, chiefly, I be- 'lieve, from the solidity and bold rehef of the parts. On examination one can not but severely condemn the cutting the architrave by the windows, not merely judging by rule, but by the effect. In its present state the brick columns, the stucco of which is half peeled off, have a forlorn and desolate appearance ; yet the colouring thus produced is not bad. What displeases is merely the associated character of poverty and ruin. At the end is an elegant doorway, ornamented with a smaUer order." — Woods. Palazzo del Conte Orazio da Porto. "This was designed by PaUadio for a Conte Giuseppe Porto, and great part finished by him ; but the whole design has never been completed. There are arches above the windows of the base ment larger than the openings below, and the lines not being continued downwards they have an unmeaning appearance, and it would be better if the figures and brick ornament which are added to the middle and extreme windows were omitted. These are very trifling defects ; and for everything else the biulding is one of the most correct of PaUadio's designs, and is in the highest degree graceful and pleas ing." — Woods. Teatro OUmpico, if not the finest, yet the most curious of the works of PaUadio. The Academia Olimpica of Vicenza had been accustomed to act translations of the ancient Greek tra- ' gedies, and Andrea Palladio being a member they employed him to give the designs for this, fabric, of which the first stone was laid on the 23rd of May, 1580 ; but in consequence of the death of the architect, which followed almost immediately afterwards, it was raised and completed by Scilla Palladio, his son. He followed, as strictly as he could, the text of Vitruvius and the remains which existed. The scene, which is fixed, represents the side of a species of piazza, from wliich diverge streets of real elevation, but diminish ing in size as they recede in the per spective. " In the middle avenue a considerable effect of distance is ob tained ; those on each side opening into the middle are nearly lost ; those of the second openings on the rt. and 1. look pretty weU from certain points of view ; the end ones are failures. Daylight, however, by which a traveUer usually sees it, is injurious to its effect. It is remarkable that the point of sight is lower than it would be on the lowest seat, which is 3 or 4 ft. above the stage. The colonnade above the seats is beautifully proportioned, but the centre division has been filled up in consequence of want of room, and this is very injurious to its beauty." — Woods. On the opening of the theatre the academicians performed Edipus Tyrannus, a play to which the scenery is entirely unadapted. It is such a scene as would have been used for the comedies of Menander, and the other plays of the New Comedy. It would be admirably adapted for the represen tation of the comedies of Terence by the Queen's scholars at Westminster. The Pimacoteca contains a small col lection of dubious pictures : a Madonna, may be by Guido ; a Holy Family ascribed to Titian, &c. There is also a pubhc library, which has some curious manuscripts. It is closed every Wed- ¦ nesday. The country round about Vicenza is beautifully varied with hiU and dale. About f of a m. from the city is the Monte Berico, celebrated on account of the sanctuary erected upon the summit in 1420 in honour of a supposed appa rition of the Virgin. It is nearly joined to Vicenza by a continued range of arches. You first pass between noble avenues of plane-trees skirting meadows, which, on the Sunday evening, are the favourite drives of the nobility and gentry of Vicenza. As at Bergamo, the general look of the equipages and weU-dressed company which they con tain conveys an idea of the wealth of the country. The white veUs of the young ladies, so becomingly thrown Over their heads, appear as a pleasing national costume. The dress of the contadine is far less graceful. Most of 280 Route 26. — Neighbourhood of Vicenza. Sect. III. these damsels prefer men's black beaver hats, the ugliest head-covering ever invented. Each of the arches of the Portici del Monte bears the shield, or device, or name of the fraternity or individual at whose expense it was erected. There is no pecuhar beauty in the architecture, but the long suc cession of pUlars and arcades is striking. The church, which is caUed Sta. Maria del Monte, was smaU and of pointed architecture ; but a large new part has been added in the form of a Greek cross, which internaUy is very beau tiful. What was once the length of the old church has thus become the breadth of the whole buUding, and the altar has been removed from the recess in the end of the former building to a place wliich was the middle of one of the sides. It contains some good spe cimens of Mantegna : a picture with many saints introduced, signed and dated by the painter, 1500. Another, the Adoration of the Magi, 1528 : this is reckoned one of his best pictures. In the refectory, a capital Paul Veronese: Our Lord received by St. Gregory as a traveller or pUgrim. The belfry or campanUe of the church is unfinished. The view from the summit of the hUl is magnificent. " Imagine to your self an enormous flat, whieh presents something like the shape of a bow, the arc of which is formed by various mountains that are apparently united. Facing the N.E. you have, but at an immense distance, the mountains of Friuli; to the E. are the Euganean lulls ; and to the S., with his back to which the spectator stands (and this forms the central part of the arc, with a projection towards the chord), are the Colli Berici, or Vicentine hiUs, which appear to be an offset from the Alps. These seem from behind to join the Euganean and Este hills, and the mountains of the Friuli. All is plain between these and the chord, that is, to the utmost extent of the visible horizon, unbroken by the slightest apparent undulation of surface, and rich in wood, vmeyards, and in grain. To give you something of a more accurate idea of the extent of this we may select the space which hes between this place and Padua, a plain every part of which is visible to the naked eye in ordinary- weather. This, by the road, which is sufficiently straight, is distant 18 Itahan or English nautical m. (that is, 60 to a degree). Allowing, therefore, 2 for de viations (and the road is remarkably straight), they might yield 20 Eng. m. in a level line. When you have wearied your sight with the northern view, take post on the western side, and you have again a perfect plain, but of no great extent for this country : this i3 bounded by mountains, and in it hes the city of Vicenza. " The N. offers the most extraordi nary contrast to the S., for you have here a sea of mountains, which, in ap pearance, runs as far as the Alps. On the top of the Monte is a casino, the opposite windows of whose saloon com mand this extraordinary prospect N. and S." — Rose's Letters. It must also be added, that the plain and the hiUs are everywhere dotted with viUas and towns and cities. Near tbe Porta del Consiglio, just out side of Vicenza, is a remarkable tower, dark and deeply machicolated, which forms rather a prominent object in the view from the Monte, and such as to excite curiosity. It was originaUy the March Tower between Lombardy and the Venetian states, and it is now used as the belfry of an adjoining church. Near Monte Berico is the Rotonda Oapra, so weU known as Palladio's VUla, copied by Lord Burlington at Chiswick. " It is a square buUding, containing a round saloon lighted from above. From the four sides you ascend on broad stairs, and reach at every side a porch formed by 6 Corinthian pUlars. It may be that architecture never pushed splendour to a higher pitch. The space taken up by stairs and porches is far greater than that of the buUdingj because every side would be quite suffi cient for the entrance to any temple. The saloon exhibits the finest propor tions, as weU as the rooms. Every side presents itself from all parts of the adjoining country in a most magnifi cent manner." — Goethe. Austrian Dom. Route 26. — Rotonda Capra — Padua. 281 - " ExternaUy it partakes of the deso late condition of everything at Vicenza, but stiU it is exquisitely beautiful, and the situation at the extremity of a point of hUl advancing from the general line is no less delightful ; no other position could have suited the house so well, and no other house, either larger or smaller, or with any other arrangement, would have been so weU adapted to the situation. Internally it is equaUy ad mirable ; it looks smaU, even more so than it reaUy is. This is probably owing to the preposterously massive ornaments about the doors. The rooms form altogether one Buite of apartments, four of which are intended for bed rooms ; but this, in the system of Itahan manners, would be no objec tion to their being aU thrown open to receive company : and here, whatever may be the time of day, you are sure of shade, ah, and beautiful scenery. It would be difficult to accommodate the design to our climate and manners without spoiling it, even if we should find for it a suitable situation. In this most essential particular the three imi tations wliich we have are aU remark ably deficient." — Woods. Just beyond the Porta di San Bar tolomeo ib the Palazzo Trissino in Cri- coU, interesting, both on account of its beauty, and as having been the resi dence of the celebrated Giovanni Giorgio Trissino, whose name appears on the architraves of the upper windows. Tris sino was a poet of considerable emi nence, and it is said that the palace was buUt from his designs. The honour ie contested for PaUadio. Theatre. — The Teatro Eretenio is not large, but the summer perform ances are very good. Vicenza is said to be hable to fevers. The wine grown in the neighbourhood is considered as the best table wine in Lombardy— and bad is the best. The baths of Recoaro are about 3J posts from Vicenza to the N.W., at the head of the vaUey of the Agno ; there are two intermediate relays, the first at Palazetto (l£), and the second at Valdagno (1). They are princi pally frequented during the months of July and August. There are good Inns (that kept by Domenico Tret-te- nero exceUent), and every accommoda tion for persons frequenting the baths : indeed Recoaro may be resorted to as a very cool and agreeable summer resi dence, httle inferior in this respect to the Baths of Lucca. The waters of Recoaro, which are ferruginous, are sent in bottles, properly sealed, to ah parts of Italy. Persons using them should see that the smaU leaden seal bears the date of the current year : if kept beyond the year the iron precipitates. The season for bottling the water begins in May. Another mine ral water, Aqua CatuUiana, containing a rather strong solution of sulphate of iron, is also procured in the neighbour-: hood of Vicenza, and is sent to differ ent parts of Italy. Very agreeable ex cursions may be made from Vicenza to Recoaro, the Sette Commune, &c, which, belonging more properly to the Italian Tyrol, are described in the Hand book for S. Germany, Rtes. 232, 233. The roads from Vicenza to Inspruck, by the Val de' Signori and the Val Su- gana, through Schio, Bassano, &c., as weU as those to Feltre and BeUuno,including Possagno, the country of Canova, and Asolo, the retreat of the unfortunate Queen of Cyprus, Caterina Cornaro, are described also in the Handbook for South Germany (Rtes. 222, 232, 233, &c.), in connection with the great lines of communication across the Alps, be-: tween the Austrian and Italian Tyrol. The road from Vicenza to Padua abounds in vUlas and pleasant gardens, and the soU seems to suit aU exotics remarkably weU. The catalpa and tulip- tree flourish by the side of the road, and you see the crimson trumpet-like flowers of the Bignonia festooning most luxuriantly over the walls. 1£ Arlesega. Mestrino, between the torrents Cere- sone and Brentella. 1 Padtja. (i»m«.-AquUa d'Oro ; very good and weU situated. Croce d'Oro, clean ; close to the Cafe Pedrocchi. Stella d'Oro, not very clean, more reasonable.) 282 Route 26. — Padua — Antenor. Sect. III. Cafes .- several ; but the Cafe Pedroc chi is celebrated all over Italy ; but its merits are not equal to its fame. There is a " restauration " there, and a table d'h6te at 2 p.m., at 3 zwanzigers a-heacl. WhUe the buUding was in progress Pedrocchi was present every evening, and paid aU the workmen ready money, and, it was said, always in old Venetian gold. He had been left in poor circumstances, and hved in a ruinous httle old house upon the site of his present cafe, wliich, falling into decay, he was compeUed to puU down. Suddenly he abounded in riches — as many stories were afloat concern ing hidden treasures and yet more awful things as would furnish materials for a legend. The secret of his wealth was this — he kept a gaming-house. During the buUding portions of an ancient Roman edifice were discovered, and the marbles so found have been employed in the slabs and pavements of the salone. Booksellers. Zambecarri has a good choice of old and new books, but the former at very high priceB. Padua is perhaps the oldest city in the N. of Italy, and the one abounding most in traditions propagated from age to age. The foundation of Padua was attributed to Antenor by the Romans. " Antenor potuit, mediis elapsus Achivis, Illyricos penetrate sinus atque intima tutus Regna Liburnorum, et fontes superare Ti- mavi : Unde per ora novem vasto cum murmure montis It mare proruptum, et pelago premit arva sonanti. Hlc tamen ille urbem Patavi, sedesque loca- vit Teucrorum, et genti nomen dedit, armaque fixit Troia. Nunc placida compQstus pace qni- escit." JEtieid, lib. i. 243, 249 " Antenor, from the midst of Grecian hosts Could pass secure, and pierce th' Illyrian coasts : Where, rolling down the steep, Timavus raves, And through nine channels disembogues his waves. At length he founded Padua's happy seat, And gave his Trojans a secure retreat : There fix'd their arms, and there renew'd their name, And there in quiet rules, and crown'd with fame." Dkyden's Virgil. In the year 1274, when the work men were laying the foundation of the Foundling Hospital, a large sarco phagus of marble was discovered, con taining a second of lead, and a third of cypress-wood. In the third reposed a skeleton, larger than the ordinary stature of men, grasping a sword in the bony hand ; and an inscription upon the inner coffin was interpreted to indicate that the tomb belonged to Antenor. The discovery, hke that of the bones of Livy, wliich we shaU soon have to notice, excited the greatest enthusiasm, and the remains of the founder of the city were deposited in the church of San Lorenzo. Though a pagan, Antenor was admitted into holy ground. To the same church the sar cophagus was removed, and an inscrip tion composed by Lupato de Lupati, by profession a doctor of laws, and by amusement a poet, was engraved upon the monument, which still exists in exceUent preservation. When Alberto deUa Scala visited Padua in 1334 the sarcophagus was opened, and he re quested as a gift the sword of the Trojan hero. The church has been demolished, but the sarcophagus has been spared. It stands at the corner of a street, beneath a baldacchino, or canopy of brick, and, whatever may be thought of the details of the story, it is unquestionably antique, though of what age it is difficult to decide. It is not unimportant to add that ancient medals to a large amount were also discovered near the spot where the tomb was found. " Padova la Forte" contains 38,000 Inhab. Long rows of arches, generaUy pointed, support the houses. Irregular places— -wide-stretching tracts of deso late waste on the outskirts — add to its peculiar character. As the structure most pecuhar and most national, we must select' the Palazzo della Ragione, buUt by Pietro Cozzo between 1172 and 1219, which extends along the market-place : a vast buUding, standing entirely upon open arches, surrounded by a loggia. The E. end is covered with shields and armorial bearings. To the BrogUo of the Lombard cities it has no resem- Austrian Dom. Route 26. — Padua — Palazzo della Ragione. 283 blance. A vast roof, like that at Vi cenza, towers above the edifice, rising, perhaps, half as high again as the walls upon which it rests. This roof is said to be the largest, unsupported by pUlars, in the world. The hall is about 240 feet long, and 80 wide, as much in height, and not quite rect angular. The history of this haU is as remark able as its aspect. In the year 1306 there came to Padua a renowned archi tect and engineer, an Augustin friar, Frate Giovanni by name. He had traveUed far and wide, in Europe and in Asia, to the very Indies, and he had brought back plans and drawings of aU the buUdings which he had seen; amongst others, a drawing of the roof of a great palace in India, beyond the sea. This design greatly pleased the Paduans, and they requested him to roof their haU (which had previously formed three chambers) in hke manner ; and Fra' Giovanni assented, asking no other pay excepting the wood and tUes of the old roof, whieh he was to take down. The interior of this hah is gloomy, and the whole is closely covered with the strange mystical paintings, de signed, it is said, by Giotto, according to the instructions of the great physi cian, astrologer, alchemist, and (sus pected) magician, Pietro d Abano (born 1250, died 1316). Pietro d'Abano was the first reviver of the art of me dicine in Europe ; and he traveUed to Greece for the purpose of learning the language of • Hippocrates and Galen, and of profiting by the stores which the Byzantine libraries yet contained. He practised with the greatest success ; and his medical works were considered as amongst the most valuable volumes of the therapeutic library of the middle ages. He wrote the ' Concihator diffe- rentiarum Medicorum.' His bust is over one of the doors of the haU : the in scription placed beneath it indignantly repudiates the magic and sorcery ascribed to him ; but the votaries of the occult sciences smUed inwardly at this disclaimer. His treatises upon necromancy, geomancy, and amulets and conjuration, were circulated from hand to hand. The paintings, forming 319 com partments, have been repeatedly da maged by the elements of fire and water, in 1420, 1608, 1744, and 1762; and have been entirely repainted. They fall into several classes. The constel lations — sacred subjects — apostles and saints — the winds and elements — aUe gorical figures of Virtue ; — but the principal series consists of the months of the year, with their ruling planets and constellations; the employments of the month; and the temperaments, assigned, according to astrological rules, to those who are born under' the different astral combinations. The apertures, or windows, are said to be so disposed that the solar rays in each month travel along the representatives of the signs and planets then in ruling activity. The foUowing paintings may be remarked, either for their beauty or singularity: — Justice and Prudence; portrait of Dante, under the personi fication of Sagittarius ; Pisces, under which is a young woman supporting an aged person with great tenderness ; also a very beautiful kneeling figure; generaUy, the representations of the trades and occupations of human hfe. — The coronation of the Virgin — the Magdalene — and St. Paul in prayer. At the top of the haU is the so- eaUed monument of Livy. Like the astrologer, he was born at Abano ; but both are claimed aa Paduans, in consequence of Abano being in the Patavinian territory. According to an immemorial tradition, the site of Livy's house can be pointed out in the Strada di San Giovanni ; and in the year 1363 an inscription was found nearthechurch of Santa Giustina, purporting to have been placed there by Titus Livius, to the memory of Livia, his fourth daugh ter ; which inscription the monks built into the walls of their church. Some time afterwards, in 1413, a tesselated pavement was discovered, beneath which was found a leaden coffin contain ing a skeleton, which was immediately supposed to be that of Livy himself. , The discovery excited the greatest 284 Route 26. — Padua — Livy — Duomo. Sect. III. enthusiasm, and it was determined to place the remains in the palazzo. The translation took place with as much pomp as if Livy had been a tutelary saint. The bier was covered with cloth of gold, and it was carried by the noblest and most eminent of the citi zens and professors of Padua. The rehcs were divided : the jawbone was deposited in the CanceUaria ; and Al fonso of Arragon, King of Naples, de spatched (1450) a special embassy to request the gift of an armbone, which was conceded by the Paduans, as ap pears by an inscription on a marble tablet over the door. The inscription found at Sta. Giustina has been let into the waU ; and statues of Minerva (or, aa some say, Eternity) and Fame, the Tiber and the Brenta, have been added : above is a bust, upon which are engraved the letters P. T. L, E., which, with somewhat of Oldbuck's sa gacity, are explained to signify Patavini Tito Livio Erexerunt. Besides the foregoing, there are some modern in scriptions to his honour. The bones, however, are placed oyer one of the lateral doors leading to the TJffizio deUa Sanita. Over a third door is the bas-rehef representing the celebrated jurist Paulus, who flourished in the age of Alexander Severus, and contri buted much to the formation of the system of the code of the eivU law. Alberto Padovano, commemorated over another doorway (died 1323), was a preacher of extraordinary eminence in his day : Sperone Speroni also has a statue. It was erected at the public expense in 1594, or, as it is quaintly expressed in the inscription, A. U. C. 2712. HaUam considers Sperone's tragedy of Canace as a work of genius ; and his Dialogues, an humble imitation of Plato, may have been valued, when weU-tumed phrases were accepted as an equivalent for meaning. Such tributes to literary eminence are sufficiently common, but the bust erected, 1661, by the city to the me mory of Lucrezia Dondi, is, perhaps, unique : it bears witness to her virtue and to her death, under circumstances nearly -similar to those of her Roman namesake. Lastly, in this strange as sembly, is Belzoni, represented in his Turkish dresB, between the two Egyp tian statueB which he presented to his native city. No circumstance in poor Belzoni's hfe pleased him more than his being able to present these trophies to Padua. A beautiful medal was struck by the city as a token of their gratitude, in addition to the bust thus placed in the hah. At one end of the haU is the lapis vituperii, of black granite, upon which debtors cleared themselves by their exposure to shame — the altar of in solvency. At the other end of the hall, in front of the plaster statue of Livy, stands the enormous wooden model of a horse, formerly in the Pa lazzo Emo, made by Donatello, upon which Vasari has expatiated with much ardour. A meridian line crosses the haU : the ray of the sun passes through a hole decorated with a golden face in the roof. The whole structure is now exceedingly neglected. In the adjoin ing CanceUaria are kept the archives of the city. The decrees are written in parchment books of great beauty, and would probably repay the investigation of Italian antiquaries. The Duomo claims Michael Angelo as its architect; but it was two cen turies in progress, not having been completed untU 1754, and it is pro bable that, if he was the designer, his plans were not fuUy carried out. The best picture which the church contains is a fine copy by il Padovanino from Titian, long supposed to be an ori- gidal : indeed, there are many who wiU not yet give it up. It is a Virgin and ChUd. — By Francesco Bassano are two pictures : the Fhght into Egypt and the Wise Men's Offering; both weU co loured. — Sassoferrata : a Virgin. — And a Pieta by a good, though unknown, ancient master. Here are the tombs of Sperone Speroni and of Giulia Conti, his daughter. A modern bust of Pe trarch, who held a canonry in the cathedral, by Rinaldi, Canova's scholar, has been recently placed here ; there are also two others, respectively in honour of Benedict XIX., and Cardinal Rezzo- Austrian Dom. Route 26. — Padua — Duomo — Library. 285 nico, afterwards Clement XIII. These last are curious monuments of vanity and courtly flattery. What had the pope done for the canons to deserve this token of gratitude ? He graciously granted them the privUege of wearing their pontifical copes in the choir. And what had Rezzonico done? Why, he had asked the favour for them. The sacristy contains some curious early liturgical manuscripts ; a vase for the holy chrism, of Byzantine manu facture, and other rehcs. The Baptistery is a Lombard buUd ing of the 12th centy., belonging to what may be termed the second class of these buUdings ; namely, those erected in imitation of the baptisteries of the first period of Romanesque archi tecture, such as at Novara and Brescia, and which, when unaltered, are inva riably of the Corinthian order, and almoat as invariably are said to have been heathen temples. This baptistery belongs to the second or imitative class, of which the traveUer wiU find many other examples (as at Parma and Cremona). WaUs and cupola are entirely co vered with frescoes, executed at the expense of Fina Buzzacarina, wife of the elder Francesco di Carrara. Both Giusti and AldAghiero di Zevio are thought to have been concerned in the work. They are in the style which imitated the ancient mosaics. Biblioteca Capitolare. — Petrarch may be reckoned as one of the founders of the Library of the Duomo. It con tains many early printed books, and several inedited manuscripts. Amongst others, various essays and letters of Sperone Speroni, and some splendidly Ulummated missals ; also various an cient pictures. , A Virgin and Child, by Nicolo Semitecolo of Venice, 1367, is much valued as a species of docu ment in the history of the Venetian school. Over the door of the library is a portrait of the Laureate, which was originaUy painted upon the waUs of the' house in which he dwelt when he resided at Padua under the protec tion of Carrara. The house was de molished in 1581 ; but the fresco was cut from the wall, and thus preserved. This portrait is reckoned one of the best. The Palazzo Vescovile has been modernised. It contains several fres coes by Montagnana, a clever pupU of Giovanni Bellino, painted about 1495. In the chapel are the Apostles, hi chiar'-oscuro ; and the altar-piece is by the same artist. A large painting by Ricci, representing the plague at Padua in 1631, is interesting for its truth, and some of the figures have much of the grace of Guido, of whom Ricci was a pupU. Striking clocks are said to have been invented at Padua; and that which stands in the great battlemented tower in the Piazza de'- Signori, adjoining the cathedral, is claimed as the contrivance of Giacomo Dondo or Dondi. It was erected in 1344, at the expense of TTbertino di Carrara ; the works, how- eyer, having been made by Antonio Padovano. Besides the four-and- twenty hours, it teUs the course of the sun and the aspects and phases of the moon. Dondi obtained such celebrity for his performance, that he acquired the surname of Horologio. It passed to his descendants, and the famUy of " Dondi deU' Orologio" stUl flourishes. This clock-tower forms the centre of the Palazzo del Capitano, which occu pies one entire side of the Piazza de' Signori. It is in a mixed style: the exterior by Falconetto, the staircase is attributed to Palladio : it is remark ably fine. The buUding is let out for various purposes ; part is used as the Bettoni printing-office. Sanf Antonio. " In the year 1231 the citizens of Padua decreed that a magnificent temple should be erected in honour of St. Anthony, their patron saint. To accomplish this object, they sent for Nicholas of Pisa, and intrusted to him the construction of the new church, and he produced one of the most remarkable buUdings in Italy. The fashion of the day compeUed him to adopt the pointed style, but with this he combined some of the Byzan- [ tine features of St. Mark's at Venice. St. Anthony' 8 is crowned with no less 286 Route 26. — Padua — S. Antonio. Sect. III. than 8 cupolas, which give it an oriental character. It is in the shape of a cross, 280 ft. in length, 138 ft. in breadth to the extremity of the tran septs. It was completed in 1307, with the exception of the cupola over the choir, which was not added tUl a centy. later. If the external features of this church are meagre, if the three great portals are bald when compared with the contemporary portals of the North, it must be remembered that Nicholas of Pisa was compeUed, by the fashion of the day, to adopt a style which he did not hke, and which, it must be confessed, he did not under stand." — G. Knight. This church is remarkable for the splendour and beauty of its internal decorations. Occupying the N. or l.-hand transept, stands the chapel of the Saint, "il Santo" — (for thus is Anthony honoured at Padua, where he died, having been born at Lisbon). It is Uluminated day and night by the golden lamps, and sUver candlesticks, and candelabra borne by angels, which bum before the shrine. The chapel was begun in 1500 by Giovanni Mi- nello, and Antonio his son ; continued by Sansovino, and completed (except as to some subordinate portions) by Falconetto in 1553. The two richly worked pUasters are by Perone and Matteo Agleo. A large and singular series of sculptures by various artists surround the walls ; the best are by Tullio Lombardo, Sansovino, and Da- nese Cataneo. In the centre is the shrine : the statues of St. Anthony, St. Bonaventura, and St. Louis, by Titiano Aspetli, are amongst its orna ments. " The shrine of the saint is as splendid as gold and marble can make it : the lower part, which is a range of five arches, supported on columns, is good ; but the top is overloaded with a double attic. The most sober archi tect takes some licence in these smaU productions, and is more lavish of or nament in them; and it is probable that the eye requires more play of line and more richness of detaU than where the impression is helped out by the mass of the edifice." — Woods. The two fine sculptures on the sides of the sarcophagus are the work of Oratio Marinate, 1450, andV Filippo Parodi. They support two of the can delabra. Opposite to the chapel of the saint is that of Sta. Felice. It is separated from the body of the church by a screen of five Gothic arches of yellow marble, above which rises a species of entablature of coloured marbles dis posed in scales. The waU and vault ing is covered with excellent early frescoes, by Jacopo Avanzi and by Al- dighiero di Zevio; the worse, however, for the injuries they received in clear- ing off the whitewash with which they had been covered, and for their re storations : the subjects are taken partly from the legendary history of St. James, to whom the chapel was originaUy dedicated, and partly from the Gospels : they are striking even in their present state. The waU at the end of the chapel is divided into five spaces by columns and pointed arches, corresponding to those opposite which separate the chapel from tile church. In the centre space the subject is the Crucifixion. To the rt., and separated from it by one of the co lumns, the soldiers are casting lots for the garments of Christ. The skUl dis played in this composition seems almost in advance of the time (about 1376) of the painter. To the 1. of the Cruci fixion, and separated from it by a marble pillar, is the crowd foUowing Jesus -from the city ; one group is beautiful : it is a woman supporting the fainting figure of the Virgin Mother, foUowed by another, who is leading along her own infant son. Farther on, to the rt. of the Crucifixion, there is a tomb ; the space above it is fUled with the picture of the Resurrection. An other tomb on the opposite side con tains the remains of the founder of the chapel : the picture over it represents the Taking down from the Cross. These five pictures by Avanzi and Zevio fill the lower part of the side of the chapel opposite the entrances; they are each under a pointed areh. Over them the space is divided into three parts, each Austrian Dom. Route 26. — Padua — S. Antonio. 287 also canopied by a pointed arch, and filled with a picture. The subject of that on the 1. of the spectator is the Denial of St. Peter ; of that in the centre the via dolorosa, or Christ led to be crucified ; and of that on the rt. the Entombment. The two nearest the window on the rt. are quite visible, that on the 1. is not so easy to make out. In the spandrUs to the extreme rt. and 1. of the five lower arches the Annunciation is painted. The angel Gabriel occupies the spandril to the extreme 1., and the Virgin that to the extreme rt. The head of the Virgin is very beautiful. A long narrow window is in the end of the chapel to the rt. of the entrance. One of the compartments on that side contains the picture of the Virgin and Child, engraved by D'Azincourt; the others are filled up with scenes from the hves of St. Christopher and other saints. The opposite end is divided into irregular compartments, and painted by the before-mentioned artists with subjects from the Scriptures and from legends. The presbytery and choir are divided from the rest of the church by splendid marble screens and balustrades. Dona- tello contributed the bronzes which decorate the high altar, somewhat meagre in the outlines, but marked with the genius of the master. By DonateUo, also, is the great bronze crucifix, and a basso-rilievo over the door. Cicognara points out as the finest work of art in this most sumptuous sanctuary the great candelabrum of bronze, executed by Andrea Riccio, standing near the high altar, the result of ten years' labour. It is a species of cinque-cento adaptation of the antique form. The human figures possess ex quisite grace and simphoity. Four emblematical figures upon the " zoc- colo " have occasioned much perplexity to the commentators. They have been explained as representing astrology, music, history, and cosmography. But these interpretations are more inge nious than satisfactory ; and it is diffi cult, for instance, to discover astrology in the representation of Jupiter in his chariot. In the presbytery are other very fine bronze bas-rehefs by the same master : David and Goliath ; and David danc ing before the Ark. The sepulchral monuments, which are numerous, are many of them fine. The Contarini monument, erected in 1555, at the expense of the repubhc, is from the design of Sanmicheli, the sculptures being by Vittoria and Da- nese Cattaneo. Sanmicheli also de signed the monument of Cardinal Bembo; on which the sculptures are by Cattaneo, A third, and perhaps the best, specimen of Sanmicheli is in an adjoining cloister. There are seve ral cloisters abounding with these mo numents. Ceaarotti, the translator of Oasian and Homer (died 1808), is buried in the church. Sanf Antonio is watched by dogs of a pecuhar breed, and who execute their duty with extra ordinary and amusing sagacity. In front of the church is an irregular and picturesque place, partly formed by the conventual buUdings, wliich are now retenanted, the friars having been recently restored. Here stands the equestrian statue of "Gatta Melata," whose real name was Erasmo di Narni, by DonateUo, a production full of vigour, and one of his best works. The Scuola di Sanf Antonio adjoin ing the church, and now re-occupied for conventual purposes, contains some fine frescoes by Titian and Campagnola, representing the miracles ascribed by legendary fame to St. Anthony. " Three are by Titian. The subject of the first is St. Anthony proving to a jealous husband his wife's innocence. The effect of this picture is unsatis factory ; but, on examination, it ap peared that the only pure parts are the- heads of the lady and her female at tendants, and some other trifling por tions : all the rest has been repainted, apparently in oU The female heads are very fine in exp. jssion ; and with re gard to the mode of painting, the lights are loaded, the shades quite transparent, and the whole mechanical treatment is that of oU-painting. Another fresco is 288 Route 26. — Padua — S. Giustina. Sect. III. St. Anthony restoring a criminal at the intercession .of his mother. This paint ing is in more perfect preservation ; the landscape background only Beems re stored. Titian painted in fresco in a very sketchy manner, and with great rapidity, this picture having occupied a few days only. The drawing is careless, especiaUy that of the extremi ties ; the draperies are painted in a very Blight manner ; and the general effect of the picture is not striking. These frescoes look hke ineffective works in oil. In these examples Titian has at tained httle beyond harmonious co lour. Every part of these works is painted in a thin manner, the lights excepted. In the body of the youth he has availed himself of the colour of the intonaco in the half tints, the shadows being laid in with brown. Near this work there is another fresco by Titian [a man attempting to kUl his wife], which, however, is in a very ruined state." — Wilson. Close to Sanf Antonio is the small church of San Giorgio, containing Borne fine frescoes by Avanzi, painted in 1377. — Aldighiero helped him here also. Santa Giustina is supposed to have been erected on the site of the Temple of Concord. It was repeatedly built, and as frequently ruined. The fabric raised after the destruction of the city by AttUa was thrown down by an earthquake in 1117. In the 13th centy. it was rebuUt. Two griffonised lions, standing at the top of the flight of steps in front of the present struc ture, are vestiges of the earher church. The present church was begun in 1502, by Frate Girolamo da Brescia, and completed 1532-1549, by Andrea Mo rone. The facade is rough and un finished ; but the general view of the interior is good, from its proportions, its great expanse, and its many piers and lofty cupolas. " The disposition of the aisles is rather that of a series of vaulted re cesses opening into the nave, and nearly as high as that is, and commu nicating with one another by lower arched openings, than a continued aisle. The first thing that struck me was the whitewash, and it is wonderful how much this empty glare can spoU the effect of the finest buUding. After the first impression of this had passed off, I admired with the rest of the world. The exceUence of the buUding consists, I think, in the great space be tween the piers, equal to the width of the nave, and the loftiness of the side arches. Two little chapels • open into each of the recesses forming the side- aisle. These are badly managed, and the details are execrable; but the ge neral disposition has an appearance of space and airiness which is very mag nificent." — Woods. The Martyrdom of Sta. Giustina, by Paolo Veronese, is the best picture in the church, but the upper division is heavy and laboured, and the groups at the top are badly and clumsUy ar ranged. It is said that this defect arose from the interference of the prior, who insisted that the figures should be put in perspective according to his way. Other paintings are : — Carlino and Gabriele Caliare or the heirs of P. Veronese : the Conversion of St. Paul. — G. Maganza .- TotUa King of the Goths falling before St. Benedict. — C. Rodolfi : St. Benedict instituting his Order. — Liberi .- St. Gertrude sup ported by Angels. — J. PaVma .- St. Be nedict with St. Placidius and St. Maur ; in the best style of this artist. One chapel contains a beautiful group formed from one block of marble, representing a dead Christ, with the Virgin, Mary Magdalene, and St. John. A chapel below contains an ancient image of the Virgin, supposed to have been brought from Constantinople. There is a fine cloister to this church. In a cortUe adjoining is a piece of sculpture of the 11th centy., one of the earhest specimens of mediaeval allegory. It represents Mercy and Justice. The large cloister is a part of the older mo nastery. It contains the remains of a curious and highly finished series of paintings of the life of St. Benedict, executed between 1489 and 1494, by Bernardo Parentino. Other parts of the cloister are by Girolamo Padovamo, damaged, but stUl showing talent. Austrian Dom. Route 26. — Padua, — Arena. 289 Some of the subjects are aUegorical, and are difficult to be explained. .The French converted this monastery into barracks ; some of the paintings were whitewashed, others spoUed by the soldiery. , The Church of Sta. Giustina stands at the extremity of a very large irregu lar place, the centre of which is occu pied by the Prata della Valle, an oval, surrounded by a small canal, supphed by the waters of the Bacchiglione, and peopled with an army of statues. It was intended to limit these memorials to the great men of Padua ; but inas much aa even local fame could not sup ply a sufficient number of characters to fiU the pedestals of the original design, they have been forced to enlist various worthies of other countries and aU ages. Antenor, Tasso, Pietro d' Abano, Gahleo ; about 80 in aU ; two are by Canova, and many of the others show much facility and knowledge. , Gus- tavus of Sweden figures amongst these . worthies. The "Lion of the North" has a fuU right to this station, for in 1609 he studied at Padua, and attended the lectures of Gahleo ; and in conse quence of this, when his unfortunate namesake visited Padua in 1783, he re quested permission to erect this statue of hia great ancestor. The whole scene, though odd, has a pleasant effect. The form of the Arena, as weU as the name which it bears, sufficiently in dicates that it was a Roman amphi theatre. No traces of seats can be found, and probably they were con structed of wood, as at Pola. Here and there the Roman masonry can be dis tinguished; but, in the middle ages, the Roman circuit was, like the amphi theatre of Nimes and Aries, converted into a place of defence by the noble family of Delesmanin, who crowned it with battlements ; from thence it passed to the Scrovigno family, in the person of Enrico Scrovigno, the son of Regi- ualdo, condemned by Dante for. his usury and avarice in the foUowing verses, in explanation of which it must be recoUected that the blue sow, the Scrofa azzurra, was the bearing of the family :— . . . N. Italy— 1852. " E un che d' una scrofa azzurra e grossa Segnato avea lo suo sacchetto. bianco Mi disse: Che fai tu in quest a fossa? Or te ne va ; e perche se' viv' anco, Sappi che '1 mio vicin Vitaliano Sedera qui dal mio sinistro franco. Con questi Fiorentin son Padovano." Inferno, xvii. 64, 70. " And one upon whose purse of argent hue A lusty swine in azure colour stood, Exclaim'd, ' In this abyss what doest thou ? Begone, — and since of life thou art not reft, Know, Vitaliano, my rich neighbour there, Shall take his seat with me upon my left, A Paduan I, 'mid Florentines am here.' " Weight's Translation. Enrico rendered the arena a complete castle ; but he did more ; about 1303 he built within its precinct the chapel of Sta. Maria dell' Annunciata, com monly caUed Santa Maria dell' Arena ; but, whether as a domestic chapel, or for the use of the order of the Caval- Ueri di Santa Maria, has been much contested. This order of religiouB chi valry was instituted, not for the defence of the faith in general, but for the worship of the Virgin in particular. They obtained large possessions, and thereupon abandoned themselves to worldly luxury, whence they were called Frati Godenti ; but their career of vice and profligacy was cut short by papal authority ; they were suppressed, and their property given to other orders. There is not, however, the slightest evidence that the chapel was ever ap propriated to this order, or that the founder was a member of it. The in scription beneath his very curious statue in the sacristy, — " Propria figura Domini Henrici Serovigni, nhhtis de Arena," — and probably put up in his lifetime, only shows that he was a knight; and his dress is merely the ordinary " abito civUe " of the time. We must, therefore, adopt fhe first supposition, that the chapel, was erected for domestic worship, and not impro bably, in the opinion of the people, for the purpose of atoning for his father's sins. At this period Giotto, then young, was working at Padua, and Scrovigno eaUed him in to raise this fabric. It consists of a single aisle with a prolonged chancel or tribune, in a simple Gothic style. The unity o 290 Route 26. — Padua — Giotto's Chapel. Sect. III. of design apparent in the chapel and in the paintings no doubt resulted from both being designed by the same mind ; and what adds to their interest is, that Dante lodged with Giotto when the works were under his hand. Of all the existing productions of Giotto, none are so perfect and genuine, or so truly exemplify the character and beau ties of his style. The subjects are taken -partly from the New Testament, and partly from those additions to the Scripture history which were made by the Romish Church in what are caUed the Apocry phal. Gospels. These additions wUl be easUy understood, for the amount of invention shown in them resembles that in the additions which Dryden and Davenant made to the Tempest, of which Johnson remarks, "The effect produced by the conjunction of these two powerful minds was, that to Shak- speare's monster, Caliban, is added, as sister-monster, Sycorax ; and a woman who, in the original play, had never seen a man, is in this brought ac quainted with a man that had never seen a woman." When the Virgin Mary was made a goddess, it seems to have been considered necessary to represent her birth as having been in some de gree miraculous. So the events whieh preceded the birth of St. John the Baptist and Samuel, or occurred in the chUdhood of our Saviour, were told as having also happened in the case of the Virgin Mary. "Among the many objects of inte rest in the old-world town of Padua, Giotto's chapel, as it is familiarly and expressively called, stands pre-eminent ; and to the genius of Giotto is the in terest of this httle buUding alone to be ascribed*. Standing as the chapel does at the end of a green court-yard, backed by gardens growing vegetable stuff, without a single trace of the monastic buildings which formerly were attached to it, and which with it were, tUl late in the last centy., hermetically sealed from pubhc gaze and curiosity, every asso ciation which might raise an emotion in the mind is removed, save that which is to be derived from the contem plation of its internal mural decora tion. But let those who have so far cultivated a love and knowledge of art, as to appreciate its high capabilities, most carefuUy study these frescoes of Giotto. They wUl there find Sacred History illustrated with a dignified as weh as touching simplicity, eminently befitting the Divine theme. No artist of any period has been more, if so suc cessful as Giotto in telling his story in a striking and intelligible manner. Add to this, indispensable ingredient in the composition of a great historical painter Giotto's exquisite feeling for graceful beauty and deeply pathetic expression, and you have the chief qualifications of works which,, without using the lan guage of middle-age mania, 'may be safely pronounced as possessing the very highest interest/ Second in con sideration, but equaUy remarkable, is Giotto's skUl in ornamental design ; in this hght, the chapel may be considered as a perfect model of taste. The beauty of the ornaments, particularly those which divide the walls into panels to receive the various subjects, and the judgment whieh has kept everything not purely ornamental work from the ceUing, are some of the chief points of exceUence, which it is to be regretted have not been, and are not, more fre quently observed and imitated." ¦*•? I.C.H. Over the entrance is The last Judg ment. This is much injured : some of the groups of the blessed have great beauty. The vices of the clergy are brought forward with peculiar promi" nence. In the centre, and not con nected at all with the rest of the compo sition, Scrovigno is represented, offering his chapel, which is accepted by 3 angels. The general series is distributed into 3 ranges, of which the uppermost con tains scenes from the Life of the Virgin, principaUy from the Apocryphal Gos pels. 1, Joachim repeUed from the Temple by the Priests, because he had not begotten any issue in Israel. 2, Joachim returns to his sheepfolds, and prays during 40 days and 40 nights. 3, the Sacrifice of Joachim. The hand Austrian Dom. Route 26. — Padua — Giotto's Chapel. 291 issuing from the cloud is a symbol of its acceptance. 4, The Angel appears to Anna, and reveals that the prayers of her husband are heard. 5, Joachim's Vision: 6, The meeting of Joachim and Anna at the gate of the Temple. "And Joachim went down with the shepherds ; and Anna stood by the gate, and saw Joachim coming with the shepherds ; and she ran, and, falling on his neck, said, ' Now I know that the Lord hath blessed me,' " — a most grace ful composition. 7, The Birth of the Virgin; 8, The Presentation of the Virgin in the Temple. 9, The Priests having declared that the marriageable men of the House of David should bring their rods to the Temple, and that whosesoever rod should bud was to become the husband of Mary, they come, each man bringing his rod. 10, The Blessing of the Rods. 11, The Marriage of Joseph and Mary : the Vir gin and the other female figures are fraceful. 12, The Marriage Procession. his, perhaps the most beautiful pic ture in the series, is the one which has most Buffered by damp. 13, The Salu tation, in two divisions : here the grace which Giotto Imparts to his female figures is peculiarly discernible. This compartment is under 14, and forms the connecting link between the Life of the Virgin and that of our Lord, which forms a second series. 1, The Nativity, injured ; but the colouring yet in parts remarkably vigor ous. 2, The Wise Men's Offering. 3, Jesus brought to the Temple, 4, The Slaughter of the Innocents. 5, The Fhght into Egypt. 6, Our Lord dis puting amongst the Doctors ; much in jured, but some fine heads can yet be made out. 7, The Baptism in the Jor dan. 8, The Marriage in Cana of Ga- hlee. 9, The Raising of Lazarus : a magnificent composition ; awe ap proaching to terror in the bystanders,1 death yet struggling with life in the re- susoitatedcorpse. 10; The Entry into Jerusalem.: groups full of animation and spirit 11, Christ driving the Money-changers out of the Temple. The third series begins with 12, The Last Supper much ornament, very minutely finished, is introduced into the architecture. Each apostle has a marked and peculiar dress, either in colour or fashion, which is preserved in all the other paintings in which they are introduced. 13, Christ washing the Feet of the Apostles, a very beau tiful composition. 14, Jesus betrayed. 15, Jesus before Caiaphas. 16, Jesus scourged and crowned with Thorns. 17, Jesus bearing the Cross : a fuU composition with some beautiful groups, particularly Mary and her companions pushed back by the Jews. 18, The Crucifixion ; partly aUegorical : the thieves are omitted. 19, The Depo sition from the Cross. In expression this is considered the finest of ah the existing works of Giotto, whether here or elsewhere. The deep and tender affliction of the Virgin; the impas sioned eagerness of St. John, and the steady composure of Nicodemus and Joseph of Arimathea, are ah in accord ance with their characters. 20, The Resurrection: the figure of St. Mary Magdalene is an admirable personifica tion of devotion. 21, The Ascension : the Virgin is the most prominent figure. 22, The Descent of the Holy Ghost upon the Apostles : singular in its ar rangement. "In this chapel, which may be deemed a perfect example of Italian Gothic church-painting, blue is substi tuted for the gold ground of the earlier painters. The figures are aU on a ground of plain blue, and the vaulted roof is painted blue, and is divided into compartments by stripes of ornament, which is of a geometrical character. The paintings on the walls are divided from each other by broad ornamented bands, verticaUy, and by narrow ones horizontaUy. AU these bands are richly painted with various colours; and the patterns are very beautiful. In the vertical bands are octagonal spaces, with heads of saints, coats of arms, and subjects composed of 2 figures. The colours have faded, possibly from the action of the hght, as some of those on the same side with the windows are much stronger in point of colour than those opposite." — Wilson. o 2 292 Route 26. — Padua — Giotto's Chapel. Sect. III. The lowest range of paintings con sists of aUegorical or symbolical figures, intermixed into architectural compart ments, consisting of imitations of mar ble, panelling, &c, with borders, exactly hke those executed in mosaic upon the tomb of Edward the Confessor in Westminster Abbey. This species of decoration seems to have been a favour ite amongst the Itahan artists of the time of Giotto, as it is found in the papal chapel of Avignon, painted in his style, or by his school. Opposite to each virtue is the antagonist vice ; the figures are tinted in chiar'-oscuro. In many the aUegory is very inteUigible ; in others obscure. — Hope : winged, scareely touching the earth which she is quitting, and eagerly stretching for- words and upwards to the celestial crown.- — Despair: portrayed as a fe male, who, at the instigation of the Fiend, is in the act of hanging herself. — Charity .- a triple flame issues from her head. Her countenance is beaming withjoy. She holds up her right hand to rceive gifts from heaven ; and in her eft is the vase from which she dis penses them. — Envy : standing in flames : a serpent issues from her mouth, and recoils on herself : she has the ears and claws of a wolf. — Faith : holding the creed, and trampling on a horoscope : in the other hand she grasps the cross. When we recoUect the trust which, in the age of Giotto, was placed in astrologers, the boldness of thought which this figure discloses wiU be ap preciated. Her garments are lacerated and tattered ; this is thought to denote the trials of Faith by Poverty. — Un belief: a Roman helmet upon her head ; in her hand an ancient heathen idol, to which she is noosed, and by which she is dragged to the pit. — Justice : a crowned matron seated upon a throne ; her countenance severe and thoughtful. The scales of the balance which she poises are perfectly even. In one an angel presents a laurel wreath to the good; in the other is the destroyer, wielding the sword for the punishment of the wicked. Beneath is a compo sition with figures hunting, sporting; apparently indicating the ease and com fort enjoyed by those who live under a good government. — Injustice: an elderly man in the dress of a judge, of a harsh and forbidding countenance : he is " sitting in the gate ;" but the path to his tribunal is overgrown with thorns and briers, and his fingers terminate in claws. In one hand he holds an un sheathed sword for punishment ; in the other a hook (like that with which de mons are usuaUy represented), as the emblem of rapacity. In the compart ment below, traveUers assaulted and murdered, indicate, in apparent con trast to the figures on the opposite side, the miseries of living under an evU government. — Temperance : a female figure fuUy draped. She holds a sword, but it is bound into the scabbard: a bit is placed in her mouth — emblem of restraint. — Anger: a hideous crone, tearing her own bosom. — Fortitude: in ancient armour ; the skin of a hon thrown over the armour. She rests tranquiUy upon the shield which she opposes to her enemies. — Inconstancy : a young girl, and, with some touch of satire, represented in the dress of a Flo rentine damsel, falling backwards from a wheel, upon which she tries to balance herself; in aUusion to Ecclus.xxxhi. 5. — Prudence : sitting at a desk, and contem plating herself in a mirror. At the back of her head is the face of an old man, but apparently a mask, or part of her head-dress, and not a second face, aa in the tomb of San Pietro Martire at MUan. Rafael adopt ed this mode of allegorising the Vir tues. — Folly : in a fantastic dress, pro bably intended for that of a court fool, or jester. The tribune, or choir, is painted with the history of the Virgin by Taddeo di Bartolo Sanese. These pictures are much inferior to Giotto. Behind the altar is the tomb of Enrico Scrovigno. It is very highly finished in the style of the Pisan school. The windows of the chapel mostly retain the ancient Vene tian glazing; smaU circular panes of thick glass, which adds to its antique effect. This glazing is not now often. found in Italy ; but it may be remarked that one example exists in England, at Austrian Dom. Route 26. — Padua — Church of the Eremitani. 293 Chester, in a room overlooking the cloisters. The key of the chapel is kept at the dwelling-house in the Arena, where the proprietor resides. Inquiry should also "be made for the key of the sacristy, which is often kept locked. The church of the Eremitani is ad joining the Arena. It is a most solemn and striking buUding, from its sim plicity as weU as its ornament. It con sists of a single aisle, -lighted from the extremities. The large choir has some curious frescoes, attributed to Gna- rienti, and remarkable, not only for the beauty of the design, but for the ain- gular mystical and aUegorical character which they possess. They consist of the signs of the zodiac, together with the planets ruling the consteUations more peculiarly appropriated to them. — The TSarth appears crowned with the papal tiara, and placed between In dustry and Idleness, an aUegory of which it is difficult to hit the precise meaning. — Mercury is dressed hke a friar. — Mars is mounted on a spirited steed, painted with much action. — Venus is adjusting her attire : and so on : aU very strange. — Above are large paintings which were, by the same hand, for they have been so worked upon and restored, that aU the original touches and much of the outlines may be said to be lost. By Mantegna are fine fres coes in a large chapel, of which they cover the waUs. The best compart ment, though unfortunately damaged, is that representing the death- of St. Christopher, in which Mantegna has introduced himself in the character of a Soldier, holdmg a spear in his hand. ¦ Squarcione appears as another soldier, in green. Several compartments are by Buono and Anmino, disciples of Squar cione ; they have great merit, though inferior to their master. The altar of this chapel has several figures of terra cotta, preposterously painted bronze colour. They are by Giovanni di Pisa, a pupU of DonateUo. Cicognara ranks them very high for their grace and - movement as weU as for the beauty of the drapery. Behind the. altar are more of the same school. The painting over the high altar of the church, by FiumicelU, is a grand composition; It is a votive picture, presented by the city of Padua : in it is introduced a portrait of the Doge Andrea Gritti. On the altar of the Bacristy is a good specimen of Guido : St. John the Baptist. The tombs in this church are in teresting : none more so than that of Jaeopo di Carrara, Lord of Carrara, the friend and patron of Petrarch, who composed the Latin epitaph. The companion to this monument is that of Dbertino di Carrara (died 1345). Each is beneath a canopy as large as a church portal : the figures are of the most beau tiful execution. The countenance of Ubertino, the hard old man, is ex pressive. With the exception of these tombs, there are but few memorials of the once powerful princes of Padua. The extinction of the famUy is one of the most gloomy scenes in the history of Venice. After a valiant defence Francesco di Carrara and his two sons surrendered Padua to the Venetians (1405) : they were independent princes, nowise subject to Venice ; but by the CouncU of Ten they were condemned and strangled in the dungeons of St. Mark, 1406. Francesco made a des perate resistance in his eeU, but was overpowered, and the noble Priuli did not disdain to perform the task of the executioner. The architect of the church is buried over the choir. He is represented by an odd half-length statue, clad in a robe. The splendid monument of Be- navides, professor of law in this univer sity, is by Ammanati : the artist has equaUy displayed his talents as a sculp tor and as an architect. Benavides would not trust his executors, and therefore he erected this memorial to his memory in his own hfetime, in 1546, and ornamented it with aUego rical figures of Wisdom and Labour, Honour and Fame. In the Mantegna Chapel hes Pietro di Abano himself., This church is the chapel of the university, and the stu dents attend divine service here on Sundays and hohdays. As it receives 294 Route 26.— Padua — Churches — University. Sect. III. them when living, so it is the place of repose for their bodies when dead; and there are many touching inscriptions to their memory. In the sacristy is a monument by Canova, to the memory of William Prince of Orange, who died here at the age of twenty-five years. It represents the ever-recurring weeping female figure, near whom is a pehcan. The design has much beauty of form, and it is CarefuUy executed. Near this monument is the remarkable Gothic monument of red marble, erected in 1300 to the memory of Paulus de Ve- netiis, and upon which he is represented as lecturing to his pupUs, men as old as himself, and with cowls and hoods ; but, as at Pavia, the dignity of the tutor is preserved by his being repre sented four times as large as they. -Amongst the remaining churches of Padua the foUowing may be noticed : — Church of Santa Sofia, supposed to be the ancient cathedral of Padua. Some portions of the architecture and sculptures, especiahy about the prin cipal portal, are of the 12th century, and are in a rude style. It contains several early paintings. One, a Virgin and ChUd, of about the same period, against a pUlar, is curious. Church of San Michele : a fragment preserved by the care of a private indi vidual, and converted into an oratory. Here is a painting by Jacopo di Ve rona, dated 1397. It represents the Adoration of the Magi. The painting has merit in itself ; but its great curi osity consists in the portraits which the author has introduced-— several members of the Carrara famUy, Boc caccio, Dante, Petrarch, and Pietro d'Abano. The body of the church, which was covered with exceUent fres coes, has been destroyed. Church of San Gaetano. The facade by Scamozzi, and fine. Two good paintings by Maganza, the Adoration of the Magi, and our Lord disputing in the Temple. Church of the Servi. Like most of the churches belonging to this order, Gothic, and with abundance of cinque- cento tombs and paintings, much about the same age. Amongst the tombs, one of the most singular is a large bronze tablet, erected 1492, to the memory of Paolo di Castro and Angelo his son, supposed to be by Vil- lano. Church of Sta. Maria in Vanzo, erected in the 16th century. The painting over the high altar is by Par- tolomeo Montagna .- it represents the Virgin surrounded by a host of saints. Our Lord carried to the Sepulchre, Jacopo Bassano, is a striking composi tion. The, artist, according to his cus tom, has introduced the portraits of himself and his famUy. Annexed to this church is the Semi- nario Vescovile, which contains an ex ceUent hbrary of printed books : here is an autograph letter of Petrarch to Jacopo Dondi, and other MSS. A printing-press is estabhshed here, and the editions, generaUy of standard authors, which it publishes are good and cheap. Carmini. Several curious monu ments of professors in the university. In the Scuola adjoining, now neglected and forlorn, are several paintings of considerable merit, by Campagnola and Girolamo Padovamo, and two wliich may be by Titian. The University, or, in more ancient language, the Studio of Padua, enjoyed considerable celebrity as early as 1221, when Frederic II. commanded the students of Bologna to forsake their Alma Mater, who had incurred his in dignation, and to resort to the city of Antenor. At first it was pre-eminent in law, and the great Baldus here taught and professed what lawyers caU " the written reason." Padua also greatly exceUed in medi cine; and the medical professorships of the university include some of the greatest names of the 16th and 17th centuries. Vesalius (1540), Fallopim (1551), and Fabrieius ab Aquapendewte (1565), and Spigelius (1618). Here Sanctorius taught (1611) ; and; in times nearer our own, Morgagni conti nued to emulate their honours. The university, which was specially pro tected and encouraged by the Vene tians, enjoys most reputation as a Austrian Dom. Route 26. — Padua — University— Palaces. 295 medical school. It has four faculties, theology, law, medicine, and humanities. Each faculty has a Direttore, u, Dean, and an Anziano, who, together with the Rettore, constitute the senate. The students vary in number between 1500 and 2000. The palazzo of the University is caUed il Bb, or the Ox, as it is said from the sign of the inn upon the site of which it stands ; something in the same way that the Hog-market is honoured at Oxford. Others dispute this origin, and ascribe it to some other tradition, and point out the figure of the animal sculptured on a column within. The building was begun in 1493, at the expense of the republic. The interior cortile, by Palladio, has great beauty : the vaultings and walls are entirely covered with the armorial bearings of the members. This is pro bably an ancient civU-law custom, for they are hung up in hke manner in the hall of Doctors' Commons. At the top of the staircase is the statue of the celebrated Elena Lucrezia Cornaro Pisoopia, who died 1684, aged 48 years. She spoke Hebrew, Arabic, Greek, Latin, Spanish, and French, with entire fluency, was a tolerable poetess, an exceUent musician, wrote mathematical and astronomical disser tations, and received a doctor's degree from the university. She died unmar ried, having refused every offer, how ever advantageous. The library is a richly painted hall. It contains — Roman Emperors, said to be by Titian ; a portrait of Cardinal ZabareUi, ascribed to him ; and a Petrarch. The Anato mical Theatre was buUt by Fabricius ab Aquapendente in 1594. It is. the oldest in Europe. The idea is said to have been given by Fra Paolo Sarpi. The collec tion of anatomical models-is worthy at tention. The coUection of natural his tory was first founded by ValUsnieri, a name of some repute: the mineralo- gical division is the best. Gahleo was professor of mathematics here for up? wards of ten years ; and in the Gabi- netto fisico they exhibit one of the ver tebras of his spine, stolen by Dr. Cooohi when his remains were removed, in 1757, to the church of Santa Croce at Florence — a theft displaying an equal absence of good taste and of good feeling. As Padua can show the earhest ana tomical theatre, so also does she possess the most ancient botanic garden, it having been instituted by the Venetian senate in 1543, upon the apphcation of the celebrated Prosper Alpiwus, who professed at the university in 1545. It is laid out in the ancient formal style ; statues and busts— amongst others, of Solomon and Dioscorides — adorn it. The' garden is interesting as containing some of the oldest specimens of trees and plants now common in Europe, the patriarchs of our shrubberies, plantations, and conservatories. The cedar of Lebanon, the oriental plane, may be noticed; the latter is pecu liarly venerable. The magnolias are superb. Padua was the chief seat of domi nion of Eccelino da Romano, The castle which he erected has been demo lished, with the exception of the one tower, through which was the entrance to the dungeons where his victims suf fered. It is now the Specola, or astro nomical observatory, and was adapted to its present purpose in 1767. It contains some good instruments from London and Munich. Padua has many sohd respectable palaces and; fine old houses. Palazzo del Podesta. A neglected but fine buUding of the 16th. century. Within are several curious paintings :¦ — The Emperor Maximilian raising the Siege of Padua. — A good Dario Varoi tare, the conclusion of the Alliance between Pope Pius V., the Venetians, and PhUip II. of Spain. Palazzo Venezze, buUt by BenavideB, who, as before mentioned, raised his own monument to his own memory. Here are good frescoes by G-ualtieri and Campagnola, and a very remark able colossal statue of Hercules by Ammanati. Palazzo Giustiniani, anciently ber longing to the Cornaro famUy. It is from the designs of Falconetto. Ad joining it is a rotonda, also erected by 296 Route 26. — Mestre — Fusina. Sect, III. Falconetto, intended for musical enter tainments, and buUt by the directions of the celebrated Luigi Cornaro, the dietist, whose treatise on the prolonga tion of life by sobriety and temperance contains so many useful truisms, which provoke us by amounting to practical nullities. It is a very beautiful struc ture. Palazzo Pappafava. Contains a good coUection of paintings ; amongst others, curious frescoes brought from suppressed convents. A strange group, in sculpture, of Lucifer and his com panions cast down from heaven, by Agostino Fasolata. It contains sixty figures, carved out of one sohd block of marble. The figures are so twisted together that it is difficult to under stand how the artist could have ma naged his tools. It is five feet high. The artist was employed upon it more than twelve years : it is a wonderful specimen of skUl. ¦ The Pappafava famUy are a branch of the Carraras; hut the name being thought dangerous by the jealous re pubhc, they were compeUed to exchange it for a sobriquet, borne by some one of their ancestors in the old time. In the Palazzo Emo, formerly Capo- dilista, are some good pamtmgs. Palazzo Lazara a San Francesco. Here are some curious inscriptions. The most remarkable is in characters BimUar to the Etruscan, and conjec tured to be written in the ancient Euganean language. Some of the pic tures bear great names. The library contains a very large coUection of MSS. and printed works on the Fine Arts. Theatre. The Teatro Nuovo is opened during a season, which is Btyled , " Fiera del Santo " (the fair of St. Anthony), which begins in June and ends in August. The ancient defences of " Padova la Forte " are much dilapidated : a few towers remain, and some gateways by Falconetto, in a good Btyle. On quitting Padua the road con tinues by the side of the Brenta. The banks, in themselves, have little charm, but, as you advance, the views of the Tyrolean Alps become finer, and the vUlas, though too often dilapidated, give an interest to the road. Pass Stra, near which is the Palace of the Viceroy, once belonging to an old Venetian famUy, one of the very few in good condition. 1 J Dolo. — From Dolo you may take either Mestre or Fusina. There is httle to choose. The road branches off to the two places at about two-thirds of the way. The road to Mestre is somewhat the longer, but if you come in late in the evening it is the better station of the two. Upon either of these roads the views of the Tyrolese Alps continue very fine. The road to Fusina abounds with neat villas. Many of them are PaUa dian. The Brenta's embankments give it, rapid as it is, the character of a canal. The traveUer may, if he chooses, proceed by the barca, with a very mis cellaneous assortment of passengers; and those who do not mind roughing it speak of the voyage as affording much pleasure. 1^ Mestre. An active town, con taining now about 5000 Inhab. (For the road to Venice by Treviso and Mestre, see Rte. 28). The Albergo Reale, alias the Campana, is tolerably good, but dear. The landlord wUl, if not resisted, charge 4 fr. for a bedroom of the most ordinary description. The carriages, which must be left here or at Padua, are not weU taken care of. 1J Fusina has a decent inn, and very good and extensive premises for carriages : whatever you leave there is regularly booked and weU taken care of. The charges for the post-boat are as at Mestre, and the same observations apply as to the boats. If you travel vetturino, and take a place in the boat, you pay for a single passenger about 2 zwanzigers. The voyage across the Lagune is interesting. To the N. are the Tyrolese Alps, sometimes bright, but often veUed by a haze, the portions of snow shining bright. Before you the domes and towers of Venice float ing on the water. Vicenza to Venice by railway. — On the 11th of January, 1846, the raUway, for the whole distance between Venice Austrian Dom.' Route 26.-— Vicenza to Venice — Railway. 297 and Vicenza, and the great bridge across the Lagoon, were " inaugurated," the railway having been previously open between Padua and the edge of the Lagoon at St. Giuhano. . Trains leave Verona for Venice 3 times a-day. The hours of starting are 7, ll-33, A.M., and 3£ p.m. The time occupied in the journey is 3h. 15m. The trains stop at San Martino, Caldiero, San Bonifacio, Lonigo, MontebeUo, TaverneUe, Vi cenza, Pajana, Padua, Ponte di Brenta, Dolo, Marano, and Mestre. The fares to the principal places are : — From Verona to Venice, 1st class 14 lire Austriache 50 c. ; 2nd class, 11 1. 25 c. ; 3rd class 61. 50 c. From Padua to Venice 23 m., 1st class, 4 1. 50 c. ; 2nd class, 3 1. 50 c. ; 3rd class, 2 1. From Vicenza to Padua 17 m., 1st class, 3 1. 75 c. ; 2nd class, 3 1. ; 3rd class, 1 1. 75 c. From Vicenza to Venice, 1st class, 8 1. 25 c. ; 2nd class, 6 1. 50 c. ; 3rd class, 3 1. 75 c. All luggage is charged extra ; the tariff prices depend on the weight and the distance. It is impossible, therefore, to give them here ; but, as a specimen, it may be stated that, from Vicenza to Venice, luggage weighing more than 40 kilogr., i. e. 88 lbs. avoirdp., and less than 50 Mlogr., or 110 lbs., is charged 2 1. 25 c. ; and when weigh ing more than 80 kUogr., or 176 lbs., and less than 100 kUogr., or 220 lbs., 4 1. 50 c. The charges for the same weights from Vicenza to Padua are 1 1. 25 c. and 2 1. 50 c. ; and for the same weights from Venice to Padua, 1 1. and 2 1. - The length of the raUway from Verona to Venice is 72 m., and from Padua to Venice 23^ m. Between Verona and Vicenza it runs nearly parallel to the post-road, having some inconsiderable cuttings. After leaving Vicenza two short tunnels are passed through, one of which is 295 ft., and the other 180 ft. in length. The railroad then runs over the level country a httle to the N. of the old road from Vicenza to Padua, and, skirting Padua on the N. side, runs in a straight line to within a short distance from Mestre, where it curves round to the S.E., and then, bending round in front of the fort of Mal- ghera, reaches the edge of the Lagoon at St. Giuhano. Here begins the great bridge which carries the railroad over the Lagoon, and enters Venice on the island of St. Lucia. Its course is paral lel to, and a httle S. of, the channel connecting Venice with Mestre, and it passes close to the fort of San Secondo. This great work occupied 4j years in construction, the foundation-stone hav ing been laid by the Viceroy on the 25th of April, 1841, and the last arch having been completed on the 27th of October, 1845. The length of the bridge is 3936 yds., or 2 m. and 416 yds, containing 222 arches : these are divided into sec tions of 37 arches each, by 5 sohd em bankments. The centre piece of em bankment is larger than the other 4. Each section of 37 arches is again sub divided into 7 smaUer sections by 6 double piers,- the 2 centre of which are larger than the others, and include 7 arches. The other 6 sections contain 5 arches each. The arches are circular, their span is 10 metres, or 32 ft. 9J in., with a versed sine or rise of 1"8 metre, or 5 ft. 10J in. The thickness of the single piers is exactly 1 metre, i. e. 3-28 ft. The height of the top of the para pet above the mean level of the water of the Lagoon is 14 ft. The width of the bridge, where it passes over arches, is 29£ ft. The length of each of the 4 lesser embankments, called Piazzette, is 328 ft., their width 56 ft. 5 in. The length of the larger central embankment, called Piazza maggiore, is 446 ft., its width 97 ft. 10 in. The depth of the water through which the bridge is car ried varies from 13 to 3 ft. The soU of the bottom of the Lagoon, where it is built, is entirely mud. The founda tion is upon piles driven into the bed of the Lagoon. The piers from the platform formed on the heads of the pUes up to the impost are of Istrian stone, the arches and spandrils are built of brick, the cornice and parapet are of Istrian stone. Close inside the parapet, on a level with the roadway, two chan nels are formed for carrying fresh water from the mainland to Venice. O 3 298 Route 26. — Venice — Hotels — -Restaurants. Sect. III. It may give some idea of the magni tude of the work to mention that, amongst other materials, 80,000 larch piles were used in the foundations, and in the bridge itself 21 millions of bricks and 176,437 cubic ft. of Istrian stone; and that, on an average, 1000 men were employed daUy. It cost 5,600,000 Austrian lire, = 186,666?. The bridge, was much injured during the Biege of Venice in 1849, when several of the arches were destroyed, and a battery formed on the Piazza Maggiore. The bridge is traversed by the train in 8i minuteB. Three trains leave Ve nice daUy, for Verona, Vicenza, and Padua, at 7-18, and 11, A.M., and 3-4 P.M., and as far as Pajana only at 5-10 T.M. Four trains daily for. Treviso at '7-18, 10-10, a.m., 3-4 and 6-40 p.m. As Venice is a free port, luggage is ex amined on leaving it : this is done at _ the station before starting. VENICE. Ital., Venezia: French, Venise : Germ.; Venedig. Hotels : The best situatedhotel at Venice is the Albergo Reale Danaeli, on the Riva dei Sohiavoni. It was formerly the Nani-Mocenigo Palace, and is at a short distance from the ducal palace. i The view from the front windows over the canal of the Giudecca and the Lagoon is fine. In the autumn of 1845 it was enlarged, and there is now a very good table d'hdte. Of late complaints have been made of the attendance and charges, which are higher than elsewhere at Venice, with out greater advantages, except those of a more open situation, over some of the other hotels. In the autumn mosquitoes are a great pest at Venice, and especiaUy on the Riva dei Schiavoni, where no provision is made against them by Danaeh, in the shape of net curtains, an indispensable comfort. L'Empereur oVAutriche, Palazzo Grassi, Grand Canal, recently esta- bhshed, is very weU spoken of as equal to Danaeh's in aU but situation, with more attention on the part of master and servants, and more mode rate charges. Albergo delV Europa, formerly the Giustiniani Palace, near the mouth of the great canal, and opposite to the Dogana del Mare, and therefore close to the Place St. Mark: there is a table d'h&te. Albergo d' Italia, a new house, at San Moise, on a canal near the Europa and the Fenice theatre. It is weU re commended, but is in rather a confined situation. The H&tel de la Ville, a new hotel on the Grand Canal. Living here, en pension, cOBta 7 francs a day. Albergo San Marco, in the Piazza San Marco, a new hotel, kept by Pa- drun, weU spoken of, and moderate as to charges. Second-rate Inns. Luna, close to the S.W. angle of.the Place St. Mark*; La Regina d'Inghilterra, in a smaU ca nal not far from the Post-Office ; La Gran Bretagna, a smaU hotel on the Grand Canal ; Stella d' Oro, a small hotel and dirty, in Campo S. Moise, where traveUers sometimes go when the other hotels are full. Inferior, ho tels, frequented by the people of the country, are Regina, dUngheria, Co rona d' Oro, It Pellegrino, Alia Pizza, Vapore. Restaurants. There are few good at Venice : the best is in the Campo GaUo, a smaU piazza close behind the Pro- curatie Vecchie. It has a sign, in? scribed with the words, " Caffe Haus." The Restaurant Francais, over the Cafe" Mihtaire, in the Piazza San Marco, opposite Florian's, is a new establishment, where an exceUent din ner may be had for 3 zwanzigerS. Others are, Marseille's, at the Ridotto, opposite the Europa; il Cavallelto, just heside the Caffe Haus ; il Vapore ; il Capello. Many sorts of fish are very good at Venice : Red Mullet (Trigla) ; Anchovies, fresh (SardeUe) ; Turbot (Romho) ; Sturgeon (Storione) ; a large fish, called Lissa, is much esteemed^; and Tunny (Tonno), from Aug. to Oct. The native wines are not remarkable : those of Conegliano and Vicenza are most esteemed. The best, foreign wine at Venice is that of Cyprus. Venice is exceUently well supphed with fruit Austrian Dom. Route 26. — Venice — Cafes — Gondolas — Shops. 299 and vegetables from the islands of the Lagoon. Cafes. Florian's has long enjoyed what is caUed an European reputation. It is situated in the centre Of the Pro- curatie Nuove, and is greatly resorted to bytravetters. Grahgnani and the French newspapers may be seen there, and breakfasts a-la-fourchette and suppers maybe had. Smoking is not permitted in the rooms : persons who wish to smoke sit in the piazza in front of the CatiS. Close to Florian's is the Cafe Suttil, frequented by the upper classes of the Venetians. Nearly opposite- to Florian's, in the Procuratie Vecchie, is the Cafe Quadri, the resort of the mili tary and Germans. There is conse quently no restraint upon smoking there. Itahan ladies rarely enter the cafes ; they take their refreshment — ice pr coffee — outside. The arcade outside Florian's is the rendezvous of the Venetian beau monde in the warm summer and autumn even ings. Gondolas. The tarif is as foUows : For a gondola with one rower, 1 zwan ziger- for the first hour, and £ a zw. for every succeeding hour. With two rowers double the above price. A gon dola for the day, 4 zw. if with 1 rower ; if with 2, 8 zw. If, however, a gondola is taken for the day or several hours, an abatement may be effected by previous agreement, but a buon-mano wiU be expected. It is a good plan for a traveUer, as long as he is occupied in sight-seeing, to hire a gondola by the day, which With one man costs a florin (i.e. 3 zwanzigers). The gondolier is of course acquainted with the situation of aU the objects a traveUer wishes to Bee, and thus saves the annoyance and expense of a valet de place. English Consulate. Mr. DawMns, Consul- General ;, Mr. Tatam, of < the firm of Tatam and Mudie, bankers, San Vitale. Painters. Mr. Nerly, a Prussian, whose views of Venice are in great re quest, resides in the Palazzo Pisani, near the British Consulate. Miss EmUy Schmack, an Enghsh lady, dis tinguished by much originaiIrtalent,-has made adnurable copies of many of the best- pictures of the Venetian school, and may be heard of at the British Con sulate. Carlo Grubas, CaUe deU' Erbe, No. 6120, behind- the Dutch Consulate, also paints smaU views of Venice, both in oils, and: body colour, at a very rea sonable rate. Booksellers. Herman Minister, a very obliging man, Piazza San Marco, Nos. 72, 73, is weU supphed with foreign and Italian works, maps, guide-books, &c. Santini and Son, in theatore Ed Public Building 9 Doges Fahzce —F e 10 Academy of Fine Arts C e il Fala2ZO Mt'ji/raix B 12 Grimania S. Maria. Formosa, F 13 Fost Office. _ D l^EospUal ..._ F 16 Teatro JAI-i Fenice, Dt 16 GaELo D. 17 JpoCLo..^ 18 MaUbrouu E i 19 Entrance to theArsenal H . Other Churches 20 SApostoU. - Ec Zl SFrancescodeSaKdna.-G c 22 GesuiU. — - E b 23 S. Giovanni Gisostomo — E c 2* S .Giorgio de Greei... G- d 25 S. Jacopo di Rialto Ec 26 S.Lucia, — — B c 27 MadonnadeBJOrto D S-Ttovosq .- - ¦Ullo-t.J 1 hunch 42- _ C f dell Jntpuratnre d' Austria, — Published by John Miuray.Alberruirie SfFondov,.18SZ J& C.Walker, SmfyV Aust. Dom. R. 26.— Venice — The Zecca—Lion of St. Mark. 311 curatie Nuove to' the splendid saloon in the..]Ducal Palace, ho longer re quired for the assemblies of the Grand CouncU. " The library of St. Mark is a buUd ing of noble design, »twithstanding the improprieties with which it is' re plete. It consists of two orders,- — the lower one of highly ornamented Doric, and the : upper one Ionic, and very graceful in effect. Of ¦ both these orders the entablatures are of inordi nate comparative height. The upper one was expressly so set out for the purpose ;of exhibiting, the beautiful sculptures with which it is decorated. The cornice is crowned with a balus trade, on whose piers statues were placed by the ablest scholars of Sanso vino. A portico occupies the ground- floor, which is raised three steps. from the level of the piazza.. This portico consists of 21 arcades, whose piers are deoorated with columns. In the inte rior are larches corresponding to the interior ones, 16 whereof, with their internal apartments, are appropriated for shops. Opposite the centre areh is a magnificent staircase leading to the haU, beyond which is the Ubrary of St. Mark. The faults of this buUding, which are very many, are lost in its grace and elegance ; and it is, perhaps, the chef-d'oeuvre of the master. Whilst Sansovinorwas engaged .on it, he pro pounded an architectural problem, which reminds us very much of the egg of Columbus :—' How can the exact half of a metope be so contrived as to stand on the external angle of the Doric frieze?' The solution, clumsy as that of the. navigator with his egg, practised in this buUding is however a bungling absurdity, namely, that of lengthening the frieze just so much as is necessary to. -make out the deficiency." — Gwilt. The interior de corations are in keeping /with the exte rior. The ceiling of the great hall in which the books were deposited is filled with very fine ornaments in stucco, and with paintings by the best Venetian artists. Three compartments are by Paolo Ver&nese. Other objects are — Tintoretto, St. Mark delivering a Saracen, and. the furtive exportation of the rehcs of St. Mark from Alexan dria, and the grand staircase ; the latter has fine ornaments in stucco by Vittoria, The Zecca, or Mint, adjoins the Bib- liotecaj on the Molo., BuUt by Sanso vino, it i^ a noble specimen of Itahan ! rustic-work, above which are two orders, Doric and Ionic. Eroni this buUding, the Zicchino, the ancient gold coin of the repubhc, acquired its name. The Cortile of the Zecca is by Sca mozzi. Here is a singular figure of an ApoUo, by Cattaneo, holding a golden ingot. This figure has been censured as inappropriate ; but, without doubt, the sculptor considered ApoUo; or Sol, as the alchemical emblem of the noble metal. In the Zecca are preserved some of the articles of curiosity formerly be longing to the treasury of St. Mark. At the southern extremity of the Piazzetta are the two granite, columns, the one Surmounted by the lion of St. Mark, the other by St. Theodore, exe cuted, by Pietro Guilombardo (1329). These columns so completely formed a part of the idea of Venice, that they were copied in most of the cities sub ject to their dominion. St. Theodore stands upon a crocodUe : his head is Govered by a sohd nimbus. In his 1. hand he wields a sword ; a shield is on his rt. arm. This is considered, says Francesco Sansovino, as symbolical of the temper of our repubhc ; and that she exerts her strong hand for her own defence, and not to attack others. St. Theodore Tyro -was, as his surname imports, a young soldier, a Syrian, who suffered martyrdom under the perse cution of Maximin, and was much honoured by .the Eastern Church. Narses, after expelling the Ostjrogoths, visited (a.d. 553) the,rising republic of the Venetians— for Venice, properly so caUed, did not then exist — and buUt a church or chapel in honour of St. The odore, now included in the church of St. Mark,; and St. Theodore continued the patron of the repubhc until St. Mark obtained the popular veneration in his stead. The lion suffered during the repub- 312 Route 26. — Venice — Columns — Campanile. . Sect. III. liean rule of the Erench. Erom the book which he holds the words of the Gospel were effaced, and "Droits de V Homme et dm Citoyen " substituted in their stead. Upon this change a gon dolier remarked that St. Mark, like aU the rest of the world, had been com- pehed to turn over a new leaf. The lion was afterwards removed to the In- valides at Paris ; and thus, as Erench writers now admit, by this foolish translation the Piazzetta was deprived of a monument which, without any pecuhar merit as a work of art, was of the greatest value as a historical feature of this interesting city. It was re stored after the faU of Paris. The capitals of the columns speak their Byzantine origin. Three were brought from Constantinople. One sank into the ooze as they were land ing it ; the other two were safely landed on the shore ; but, as the story goes, there they lay, no one could raise them. Sebastiano Ziani (1172-1180) having offered as a reward that he who should succeed should not lack any " grazia onesta," a certain Lombard, nicknamed Nicol6 Barattiero, or Nick the Blackleg, offered his services ; and be placed the columns on their pedes tals. ' Nicold claimed as his reward that games of chance, prohibited else where by the law, might be played with impunity between the columns. The concession, once made, could not be revoked ; but the legislature enacted that the public executions, which had hitherto taken place at San Giovanni Bragola, should be inflicted in the pri- vUeged gambling spot, by which means the space " between the columns " be came so Ul-omened, that even crossing it was thought to be a sure prognosti cation of some fatal misfortune. At the other end of the Piazzetta, where it abuts upon the Basilica of San Marco, are some more curious relics of ancient times. The Stone of Shame, a species of pedestal upon which bankrupts stood, and were cleared from their debts after making a cession of their property, ac companied by certain humiliating cere monies. The square piers of St. John of Acre, originaUy forming part of a gateway in that city, and brought to Venice, as some say, by Lorenzo Tiepolo, when he took the place in 1253. Other accounts teU that they were conveyed hither in 1291, by the merchants and colonists who fled from Acre when it was taken and deatroyed by the Sultan of Egypt. According to another account they be longed to the church of St. Saba. They are covered with fretwork and inscriptions, apparently formed of mo nograms, which have never been ex plained : and, whatever may have been their origin, they are of great curiosity and antiquity. Near the angle of the Piazza and Piazzetta stands the great Campanile tower of St. Mark. This buUding was begun in 902, under the government of Domenico Tiepolo, but it was not car ried up to the belfry until the time of Domenico Morosini (1148-1155), whose epitaph is so ambiguously worded as to claim the honour of the entire edifice. The ascent is by a continuous inchned plane, wliich winds round an inner tower which is hoUow or open. The present belfry, an open loggia of four arches in each face, was buUt in 1510, by Maestro Buono ; the whole being, surmounted by a lofty pyramid. The prospect hence is magnificent. A watchman is stationed in the belfry, who at stated times beats the great bell ; and who, when not so employed, per forms the usual duty of explaining the prospect. The height of the CampanUe is 323 ft., and it is 42 ft. square at the base. At the foot of the campanUe is the very beautiful and much criticised loggia of Sansovino, built about 1540, ornamented with four statues — Pallas, ApoUo, Mercury, and Peace — cast in bronze by him. The order is a fanciful Composite. The columns are of rich marbles. .The elevation contains several bas-rehefs in marble, of which the three principal are in the attic, and represent in the centre Venice as Justice, with two rivers flowing at her feet : on the rt. of the spectator, Venus — the symbol of the Island of Cyprus ; on the 1., Jupiter — the symbol of Crete. The AustbiAn Dom. Route 26. — Venue — Palazzo Ducale. 313 two bas-rehefs also beneath the bronze figures, on the side towards the flag- Staff's, are much admired ; the subjects are, the EaU of HeUe from the Ram of Phryxus, and Tethys assisting Leander. The interior, which was used as the station for the Procuratori commanding the guard during the sitting of the Con siglio Grande, has a Madonna by San sovino. Palazzo Ducale. On the eastern side of the Piazzetta stands the Doge's Pa lace, or Palaazo Ducale. The southern -front extends along the Molo as far as the canal which separates the latter from the Riva dei Schiavoni. The first palace which was buUt on-this spot was in 820. This having been destroyed in a sedition was replaced by another, built about 970, by the Doge Pietro Urseolo. This last was, 150 years after wards, destroyed by a great fire, which : consumed a third of Venice. A second fire having destroyed the palace, its reconstruction began under the Doge Marino Ealiero (1354-5) ; the architect, or at least the designer, being Filippo Calendario; according to modern his torians the EUippo Calendario who ap pears as a chief conspirator in Lord Byron's tragedy. That a person so named did take an active share in the plot, and that he was hanged with a gag in his mouth upon the red pUlars of the balcony of the palace from which the duke was wont to view the spectacles in the Piazzetta, is unquestionable; but the contemporary chronicle describes him as a seaman ; and it should seem that the real Filippo,. at least the real artist, died in the preceding year whilst employed upon his works. Many por- , tions, however, are earlier than his time; and many important additions, includ ing the very" beautiful entrance caUed the "Porta della Carta," are of the next . or 15th century. A great deal, particularly the facades of the cortUe within, is much later— the interior of the buUding having been exceedingly damaged, or rather reduced to a shell, by two successive fires, in 1574 and 1577. All the principal apartments were destroyed by these conflagrations. The paintings of Giovanni Belhno, Car- •2V. Italy— 1852. puccio, Pordenone, and Titian, repre senting the triumphs of the republic and the heroes of her annals, together with the vast haUs whose walls they covered, perished in the flames. The efforts made for extinguishing the fire were, in a great measure, ren dered ineffectual by the torrents of molten lead which flooded down upon the surrounding crowds. The waUs were calcined and riven. One corner of the buUding had fallen, several co lumns and arches were shattered ; and PaUadio, who was consulted with other architects, maintained it would be dan gerous, if not impracticable, to attempt the re-insertion of the floors. PaUadio, in giving this opinion, proposed to re- buUd the whole palace in a more uniform and elegant modern Btyle. That his genius thus employed would have pro duced a beautiful and magnificent struc ture, cannot be doubted. But after much consideration in the Senate, it was determined not to innovate, but to re tain the fabric as much as possible fo rts ancient form. In the repairs and alterations, however, of the interior cortUe, the Italian style is a good deal introduced. - The plan of the building is an irre gular square: the sides fronting the Piaz zetta and the Molo, on a line with the Riva dei Schiavoni, are supported upon double ranges of arches. The columns of the lowest tier of arches are partly imbedded in. the pavement, the level of which was raised (1732) about a foot, in consequence of the inundations to which the Piazzetta- and Molo were sub jected, wliich gives them an undeserved appearance of olumsiness. They are raised, however, not upon bases but upon a continued stylobale, as dis covered some years. ago when the piaz zetta was repaired. It appears, from numerous observa tions made with great care, that the mean level of sea at Venice rises about 3 in. in every century : so that, as these columns have been erected five centu ries, about 15 in. of the lower part of them are now .concealed, owing to the repeated and necessary elevation of the pavement. 314 Route 26. — Venice — The Doge's Palace. Sect. Ill- Before the fire both the upper and lower loggia were only separated from the main cortUe, as weU as from the Piazza and Piazzetta, by ranges of open arches, but now this is closed. The whole of the loggia towards the Molo, and the first six of the columns on the side of the Piazzetta, were raised by Ca lendario ; the remainder by Maestro Bartolomeo, between 1423 and L429. The capitals, executed by the former and his pupils, belong to the 14th cen tury ; they, together with those exe cuted by the latter, are curious for design and execution. They contain figures and groups, aUegorical or em blematical of good government and the due administration of the law ; such as the legendary story, so popular in the middle ages, of the Justice of Trajan, the Seven Sages, and a long train of analogous imagery. The 9th and 10th of the upper tier in the Piazzetta, reckoning from the angle at the door of entrance, caUed the Porta della Carta, are of red marble ; from between these two columns sentences on criminals were proclaimed. Dr. Moore, writing from Venice about 20 years previous to the end of the repubhc, says, " The lower gaUery, or piazza, under the pa lace, is caUed the BrogUo. In this the noble Venetians walk and converse ; it is only here, and at councU, when they have opportunities of meeting together, for they seldom visit openly, or in a family way, at each other's houses, and secret meetings would give umbrage to the state inquisitors ; they choose there fore to transact their business on this pubhc walk. People of inferior rank sel- domremainon the BrogUo for any length of time when the nobility are there." The large window towards the Molo is rich in figures and bas-rehefs, exe cuted about 1404 either by Maestro Bartolomeo or under his directions ; and the other large window, towards the Piazzetta (1523-1538), is as remark able in its kind, having been executed by Tuttio Lombardo and Gugliehno Bergamasco : aU are wrought with the greatest care. The principal entrance of the Palazzo is from the Piazzetta through the Porta della Carta. The inscription " Opus Bartholomaei " over the arch (about 1429) declares the name of the architect. It possesses great symmetry and delicacy. Opposite to, and seen through, the Porta della Carta is the Giants' Stair case, the Scala dei Giganti, erected towards the end of the 15th century. It derives its popular name from "two co lossal statues by Sansovino, Mars and Neptune, fine, and noble in their atti tudes, which stand on either side at the head of the staircase. The portals and arches are inlaid and incrusted with the finest marbles, most dehcately worked, by Bernardo and Domenico di Mantua; and the steps themselves are inlaid with a species of niello, or intar siatura of metal. The Scala dei Gi ganti almost runs down into a fine portal on the opposite side, buUt by Cristqforo Moro in 1471. It ia a very curious specimen of a peculiar transi tion style. The statues of Adam and Eve are by Antonio Rizo of Verona, and are considered as having surpassed all previous productions of the Veneto- Lombard School. In the courtyard are two finely sculptured bronze wells, one executed by Nicolo di Marco in 1556, the other by Alfonso Alberghetti in 1559. On the 1. hand, when ascending the Giants' Staircase, is a beautiful facade of 2 stories in height, by Guglielmo Berga- masco, forming one side of the Corte de' Senatori. The ceremony of the coronation of the Doge was anciently performed at the head of the staircase. Turning to the rt. at the top of the' stairs, against the waU of the loggia- may be observed an inscription let into the waU, commemorating the visit of Henry III. of France to Venice in 1574, and the openings of the terrible lions' mouths, the heads having been knocked away. Passing along the loggia you find near the end the great staircase, the Scala d' Oro. Sansovino had a con siderable share in its construction. The ornaments in stucco are by Alessandro Vittoria, and the paintings by Franco ; the whole was completed about the year 1577. There was much difficulty in conforming this staircase to the plan Austrian Dom. Route 26. — The Doge's Palace — Paintings. 315: of the buUding. The adaptation of the fretwork to the cove of the ascend ing roof is particularly skilful. After ascending 2 flights of this staircase a large store on the 1. hand gives admis sion to the suite of rooms which occupy the facades of the Palace on the side of the Molo and Piazzetta. The first room entered is an antechamber, now filled with books, and containing over the door leading to the great haU a portrait of Paolo Sarpi, attributed to Leandro Bassano. From this room you enter the Sala del Maggior Consiglio. This truly magnificent room, 175J ft. long, 84J broad, and 51J ft. high, was begun in 1310, and completed in 1334. It was afterwards painted by Titian, Bel lini, Tintoretto, and Paul Veronese. The fire of 1577 destroyed this hall and the adjoining one, dello Scrutinio, and aU the works of art they contained. It is now the Regia Bibliotheca di San Marco, or Marciana, the Ubrary of the Republic having been transferred here from the old Library in the Piaz zetta in 1812. It is open from 10. tiU 1 o'clock. The decorations of this hall of the Great CouncU remain unaltered, and the splendid paintings which de corate the WaUs are proud mementoes of the opulence and power of the republic. In the history of art they are remarkable for a circumstance which had considerable influence on art. They are amongst the earhest large speci mens of oU painting upon canvas, a material first employed by the Vene tian school. On the rt. as you enter, that is, upon the waU at the E. end of the hall, is ¦ Tintoretto — Paradise. Damaged and blackened by time and picture-cleaners, yet stUl powerful and impressive, though confused in the composition ; said to be the largest picture ever painted upon canvas, being 84£ ft. in width, and 34 ft. ,in height. Proceeding round the haU, beginning with the picture next to this, at the E. end of the N. waU, the paintings occur in the foUowing order. On the N. wall, 1. Carlo and Gabriello Cagliari, sons of Paolo Veronese. Pope Alexander III. discovered by the Doge Ziani and the senate in the convent of La Carita, where he had concealed himself when flying from Frederic II. in 1177. Ac cording to one historian he was dis guised as a scullion, according to another as a poor priest ; in the painting his dress rather resembles the latter. Ba- ronius takes great pains to refute this legendary story, considering it as dero gatory to the character of the pontiff, and he is particularly angry with this painting. It is full of action. The group in the gondola in the foreground is good. 2. By the same. The Embassy den spatched with powers from the Pope and the Repubhc to the Emperor; a small composition cut in two by co lumns, one in the hght and the other in the shade : the groups are animated." 3. (Above the window.) Leandro: Bassano, The Pope presenting : the lighted taper to the Doge. By this act the Doge and his successors acquired the privUege of having such a taper borne before them : curiously mo dernised in costume. 4. Tintoretto. The ambassadors meet Frederic II. at Pavia, praying him toi restore peace to Italy and the Church, when he made the proud answer, " that' unless they delivered up the pope he would plant his eagles on the portal of St. Mark." The principal figures, the two ambassadors, have great grandeur. 5. Francesco Bassano. The Pope; delivering the consecrated sword to the Doge previous to his embarkation, and from which the Doges, enjoyed the- privUege (as it is said) of causing this mark of dignity to be carried before; them until the extinction of the Re- publici The scene is placed in the Piazza of San Marco, of which it is a representation as the buUdings now existing stood at the end of the 16th: century, previous to the not very nu merous alterations which they have sustained. 6. (Above the window.) Fiammingo*: The Doge departs from Venice receiv-; ing the Pope's blessing. 7. Domenico Tintoretto. The greafc. B 2 316 Route 26.— Venice— The Doge's Palace— Paintings. Sect. III. naval battle which took place off Pirano and Parenzo in Istria, when the Im perial fleet was entirely defeated, and Otho, the son of the Emperor, taken prisoner, an event which induced Fre deric to treat for peace. It is, however, rather unfortunate to be compeUed to recoUect, when looking at this picture, that it is a mere piece of national boast ing, inasmuch as it appears, from the absolute sUence of all contemporary writers, that no such battle was ever fought. In the foreground is a Pisan gattey, which the Venetians are in the act of boarding from the Doge's vessel, upon which floats the banner of St. Mark. The detaUs of armour, cos tume, and equipment are curious. 8. (Over the door.) II Vicentino. Otho presented to the Pope. 9. Jacopo Palma. The Pope re leases Otho, and aUows him to repair to his father. The principal group is good : the others are affected and irre levant. 10. Zuccaro. The Emperor sub mitting to the Pope. This painting is amongst the finest in the series. Amongst other beautiful passages is the group of the lady and her httle boy. The mother is impressing her chUd with tha awful veneration due to the Pontiff. Less harmonious are the semi-heroic figures in the angles, which approach to extravagance. 11. (Over the door.) Girolamo Gam- berato. The Doge, who had co-operated so strenuously in the Pope's cause, having embarked with him and the Emperor, they land in Ancona on their way to Rome. On this occasion, ac cording to the Venetian historians, or rather legends, the Anconitans came out with two umbreUas or canopies, one for the Pope and the other for the Emperor, upon which the Pontiff de sired that a third should be brought for the Doge, who had procured him the consolation of peace. To this act of distinction the Venetians ascribed the umbrella borne over the head of the Doge on grand occasions, as shown in some of Canaletti's pictures, but which was in truth probably only a fashion borrowed from Constantinople. The three umbreUas, which are very prominent in the painting, and which, without doubt, are accurate represen tations of those seen at Venice, are quite oriental in their fashion. On the W. side of the haU, beginning with the picture next to that last men tioned, are, 1. Giulio del Moro, Consecrated banners bestowed upon the Doge by the Pope in the church of St. John Lateran : a composition in which the story is remarkably . Ul told. In the foreground are some strange grotesque figures, in particular a dwarf (without doubt, a portrait) leading a dog. 2. (Between the 2 windows.) Paolo Veronese, a fine work. The return of the Doge Contarini after the great naval victory gained by the Venetians over the Genoese off the classic pro montory of Antium (1378) ; a victory which, however, did not prevent the Genoese from entering the lagoons in what was caUed the war of Chiozztf, and reducing Venice to the last ex tremity, 3. L'Aliense. Baldwin receives the crown from the hands of the Doge Dandolo. In a figurative sense this is true, for, the dignity having been offered to Dandolo, he rejected it ; but, his- toricaUy speaking, it is untrue, inas much as he was crowned by the hands of the legate. On the S. side of the haU are, 1. (Next to the last picture.) II Vicentino. Baldwin elected Emperor of the EaBt by the Crusaders in the church of Sta. Sophia. 2. Domenico Tintoretto. The second conquest of Constantinople by the Crusaders and the Venetians (1204), which was foUowed by the pUlage and conflagration of the city. 3. J. Palma. The first siege and conquest of Constantinople by the Cru saders (1203), the assault being led on by the Doge Dandolo, blind, and more than 90 years of age. 4. II Vicentino. Alexis, the son of the dethroned Emperor of Constan tinople, Isaac .Angelus, implores the aid of the Venetians on behalf of his father. In point of fact, "his cause Austrian Dom. Route 26. — The Doge's Palace — Paintings. 317 was embraced and pleaded by the Mar quis of Montferrat and the Doge of Venice. A double alliance and the dignity of Caesar had connected with the imperial famUy the two elder bro thers of Boniface : he expected to de rive a kingdom from the important service ; and the more generous ambi tion of Dandolo was eager to secure the inestimable benefits of trade and dominion that might accrue to his country." — Gibbon. 5. (Over the window.) Domenico Tintoretto. The surrender of Zara. 6. Vicentino. Assault of Zara (1202) by the Venetians, commanded by the Doge Dandolo and the Crusaders. 7. De Clerch. The alliance between the Venetians and the Crusaders, con cluded in the church of St. Mark, 1201. JThe ambassadors on the part of the Crusaders were Baldwin Count of Flanders (afterwards Emperor), Louis Count of Blois, Geoffrey Count of Perche, Henry Count of St. Paul, Simon de Montfort, the two Counts of Brienne, and Matthew de Montmo rency. The ceUing is exceedingly rich with painting and gUding. Three larger paintings are placed in a line down the centre of the ceUing. That nearest to the great picture of Paradise is by Paul Veronese, and represents Venice amid the clouds and crowned by Glory. The centre picture, which is oblong in form, is by Jacopo Tintoretto, and consists of two parts : above, Venice is seen among the Deities ; below, the Doge da Ponte with the senators is receiving deputations from the cities who tender allegiance to the repubhc. The third picture, answering in position to the first, is by Jacopo Palma : the subject is Venice seated, crowned by Victory, and surrounded by the Virtues. Some .of the smaller paintings are worthy of being pointed out. Two octagonal pic tures, on either side of the first men tioned oval, are by P. Veronese. As you stand with your back to the pic ture of Paradise, the octagon on the rt. represents the taking of Smyrna ; that on the 1. the defence of Scutari. The two beyond these are by Francesco Bassano; the subject of that on the rt. is the Venetian Cavalry routing the army of the Duke Visconti : of that on the 1., the Victory of the Venetians over the Duke of Ferrara. There are three octagonal pictures on each side of the last oval by Palma. The two middle ones are by F. Bassano ,- that on the rt. (relatively to the same posi tion as before) represents the victory gained by Vittore Barbaro over the Duke Visconti ; that on the 1., the victory of George Cornaro over the Germans. Round this chamber is the cele brated frieze of portraits of the Doges, with the black veU covering the space which should have been occupied by the portrait of Marino Faheri, with the weU-known inscription. These por traits are, many of them, by Tintoretto, who must of course have painted the earher ones from fancy. Besides the books several pieces of ancient sculpture have been placed here, some of whieh are of great merit, e. g. a group of Ganymede and the Eagle, which has been attributed to Phidias, an opinion in which Canova concurred. Others are, a smaU statue of ApoUo, resembling very much that in the Poggio Imperiale at Florence. The librarian has the custody of the splendid Greek Cameo, found at Ephesus in 1793, caUed the Jupiter iEgiocus, and the celebrated Map of the World, drawn in 1460, by Fra Mauro, showing the surface of the globe according to the state of knowledge at that time. A corridor connects this hall with the Sala dello Scrutinioj ¦which, occu pies the rest of the facade towards the Piazzetta. The principal door is a triumphal arch erected in 1694 to Francesco Morosini, surnamed II Pe- loponnessiaco, from his having con quered the Morea. His ephemeral con quest is now principaUy recoUeeted as connected with the destruction of the Parthenon. The three other sides are adorned with historical pictures : be ginning on the rt. hand, supposing you to have entered by this arch, the sub jects are as foUows ;— '318 Route 26. — Venice— The Doge's Palace— Paintings. Sect. III. 1. II Vicentino. Pepin, the son of Charlemagne and King of Italy, pre paring for the attack of Venice, or rather of the islands of the Lagoons (809) ; and 2, his defeat in the Canale • Orfano, which hence derived the tra ditional name it stiU retains, in conse quence of the numbers who were ren- ¦ dered fatherless by the slaughter. 3. Santo Peranda. The Caliph of Egypt defeated by the Venetians. 4. L'Aliense. The Capture of Tyre by the Crusaders and the Venetians (1124), under the Doge Domenico Mi- ¦chieUi, when he dismantled his ships, .so as to leave the crews no choice 'between death and victory. 5. Marco Vecellio. The dfcfeat of Roger King of SicUy, by the Venetians (1148). 6. On the waU opposite to the tri umphal arch is a large picture of the Last Judgment, one of the best works of Jacopo Palma. 7. Tintoretto. The taking of Zara in 1065. 8. (Above the window.) Vicentino. The taking of Cattaro. 9. Vicentino. The battle of Curzo- lari, on the feast of St. Giustina (1571). 10. Belotti. The demohtion of Mar- .garitino. 11. Liberi. The victory gained in the DardaneUes over the Turks by Mocenigo (1639). The frieze of Doges is continued and concluded in this apartment. Many are by Tintoretto. The last Doge, Manini, under whom the repubhc perished, has recently been placed here. There are also several fine historical paintings in the ceiling, the best of wliich is an oval in the line of the centre of the ceiling, and at the end of the room, next to Palma's Last Judg ment. It is by Francesco Bassano, and represents the Capture of Padua by night. Returning to the staircase and as cending to the top of the Scala d'Oro, a door on the 1. hand opens into the suite of rooms which fill 'the upper story on the eastern side of the build ing. The first room is the Atrio quad- rato, of which the ceiling was painted by J. Tintoretto, from this you enter the Sala delle quattro parte; so called from the four doors, designed by Pal ladio, remarkable for their symmetry. The ceUing is the joint production of Palladio, Sansovino, and Vittoria; the two first having given the designs, which were executed by the last. Here, as in the subsequent apartments, only a selection of the paintings can be noticed. Those of the ceUing are in fresco, by J. Tintoretto. On the waUs, to the 1. as you enter, is the Doge Marino Grimani on his knees before, the Virgin, St. Mark, and other saints, by the Cav. Contarini: to the rt., a great picture, representing Faith, by Titian. The two figures at the side are by Marco Vecellio; and Battle near Verona, by the Cav. Contarini : opposite to this is the Doge Cicogna receiving the Persian ambassadors, and the. arrival of Henry III. of France at the Lido, by Andrea Micheli, caUed II Vicentino. The two first-mentioned pictures, by Contarini and Titian, went to Paris in 1797, and were brought back" in 1815. Leaving this room by a door opposite to the one by which you entered, you pass into the Anti Collegio,. a guard-room, con taining four splendid paintings in Tin toretto's best style. They hang by the sides of the two doors. The subjects are, Mercury and the Graces ; the Forge of Vulcan ; Pallas driving away Mars; Ariadne crowned by Venus. On the waU opposite to the windows are, the Return of Jacob to the Land of Canaan, by J. Bassano ; the Rape of Europa, by Paul Veronese, a very fine painting : the action of the bull licking Europa' s feet has been criticised on the ground that it makes the god assume too much the character of the animal. This picture went to Paris. This room contains also a splendid fireplace, and a rich doorway with two pillars, one of verde-antique, the other of cipoUino ; both were designed by Scamozzi, Over the door are three statues by Vittoria. The fresco in the centre of the ceding is by P. Veronese, as weU as the four chiar'-oscuro paintings : the latter haye Austrian Dom. Route 26. — The Doge's Palace — Paintings. 319 been repainted by Rizzi, Hence you pass into the Sala del Collegio. This was the presence-chamber, in -which the Doge and the Grandi, his Privy CouncU, received foreign ambassadors. The picture over the door, and the three to the rt. as you enter, are by J. Tin toretto. The subjects are, — 1. The Doge Andrea Gritti before the Ma donna and ChUd. — 2. The Marriage of St. Catherine.— 3. The Virgin with Saints and Angels. — 4. The Doge Luigi Mocenigo adoring the Saviour. On the waU at the throne end of the chamber is a splendid work of P. Vero nese — a grand but confused composi tion of Venice triumphant, or the Victory of Curzolari (1571), in which are introduced portraits of the General, afterwards Doge, Sebastiano Veniero, and the Proveditore Agostino Barba- rigo. The two side figures in chiar'- oscuro are also by P. Veronese. The picture between the windows, repre senting Venice, is by Carletto Calliari. The rich ceiling was designed by Antonio da Ponte; aU the paintings are by P. Veronese. The compartment nearest to the door represents Neptune, Mars, and flying children. In the centre an oval, containing Faith; the next is, Venice seated on the world with Justice and Peace. These com partments are surrounded by 8 smaUer, representing 8 Virtues ; and by 16 in chiar'-oscuro in green, with subjects from ancient history. A fine frieze, representing events from history, runs round the room. The chimney-piece, with pilasters of verde-antique and statues, is by 6?. Campagna, the paint ings by P. Veronese. There are two doors with columns of cipoUino. A door in the side of this room opens into the Sala dei Pregadi or del Senate. Between the windows is a picture said to be by Marco Vecellio, but by some attributed to Bonifacio : the Election of S. Lorenzo Giustiniani to the Patri archate of Venice. On the wall above the throne is a great work of J. Tinto retto : the Saviour dead, with Saints and two Doges kneeling. The two figures at the side are also by him. Of the pictures on the side opposite to the windows, three — 1, The Doge Fran cesco Venier before Venice; — 2, The Doge Pasquale Cicogna kneeling before the Saviour ; — and 3, The League of Cambrai, are by J. Palma; the 4th, the Doge Pietro Loredano before the Madonna, is by J. Tintoretto. Above the door, opposite to the throne, is a fine work of J. Palma, the Doges Lorenzo and Girolamo Priuli adoring the Saviour. The paintings of the ceUing are by different artists ; the best is the oval in the centre, representing Venice amid the Clouds with many Deities, by J. Tintoretto. A smaU corridor, on the same side as the throne, leads to the chapel through an antechamber, in which, between the windows, is a beautiful work of Bonifacio, Christ driving the Money-changers from the Temple. Tlie Chapel has httle remarkable except the altar, by Scamozzi, and a Madonna and ChUd, sculptured by Sansovino. This apartment, in fact, was merely a private oratory, the real chapel of the Palace being the Church of St. Mark. A smah neighbouring staircase contains the only fresco paint ing remaining in Venice by Titian. It is a single figure of St. Christopher, " It is very rich in colour, but there is no tone in it that has not been obtained by means of the usual fresco colours. This picture has been painted with great rapidity, apparently in two days, as there are traces of joining in one place only. The outline has first been carelessly marked in with the point, without any cartoon, and the artist has altered it considerably as he painted. In some places part of the drapery has been put in without any outline having previously been made, and the back ground has been hastily rubbed in at the same time with the picture, and is very shght and careless. Titian has patched over a great part of this pic ture in a free but Bomewhat clumsy manner. The intonaco, which is about T3S of an inch in thickness, has faUen off in some places, showing that it was spread on the brick waU without any 320 Route 26. — Venice— T/ie Doge's Palace — Paintings. ] Sect. III. previous plastering." — C. Wilson. Re turning to the Sala delle quattro Porte, you pass into the Sala del Consiglio dei Died. Op posite the windows is the Visit of the Wise Men, by Aliense. To the. rt. the Doge Sebastian Ziani returning from the victory obtained over the Emperor Frederic Barbarossa, met by Pope Alexander III. : the painter, Leandro Bassano, has introduced his own por trait in the figure carrying the umbreUa behind the Pope. Opposite to this, the Congress held at Bologna in 1529, by Clement VII. and Charles V., when the peace of Italy was restored, by Marco Vecellio. The frieze is by Zelotti. In the very rich ceUing, an oval, containing a figure of an old man seated near a beautiful young woman, is a fine work of P. Veronese. Two paintings, one an oval representing Neptune drawn by sea-horses, and an oblong containing Mercury and Peace, are by Bazzacco, the rest are by Zelotti. Sala della Bussola. The ceUing is painted by P. Veronese. Sala de' Capi del Consiglio di Died contains a fine marble chimney-piece, sculptured by Pietro da Said. The centre com partment of the ceUing, an Angel driving away the Vices, is by Paul Veronese. The other compartments are many of them good. In the gaUery leading to the Scala de' Giganti are several apartments noa usuaUy shown unless you inquire for them ; they contain some paintings, interesting either from their merit or their curiosity. Amongst others are — G. Bellino, the Deposition of the Body of our Lord in the Sepulchre. — Jacobello del More, 1415, the Lion of St. Mark, — and a series of costumes of the ancient magistracy. The ceUings of aU the apartments contain many other paintings by the best Venetian artists, which our hmits prevent us from particularising. The Pozzi, or dark ceUs in the two lower stories, are yet in existence; obscure and intricate passages lead to them, and the nethermost tier are perfectly dark, and correspond with the well-known and accurate descrip tion given by Sir J. C. Hobhouse in the notes to the fourth Canto of 'ChUde Harold.' They were aU lined with wood, but this wainscoting was chiefly destroyed when the ceUs were thrown open by the French. The famous Sotto Piombi are, of course, at the top of the buUding,1 as their name denotes " under the leads." They were formerly used as prisons, and were represented to be very dis agreeable places of residence ; the heat in summer and the cold in winter being intense. SUvio PeUico was one of the last persons confined here : but it has been lately discovered by the defenders of the Venetian government that they must have been rather pleasant abodes. A few have been recently con verted into dwelling apartments ; the others are used for lumber-rpoms. The Ducal Palace is separated, on the eastern side, -by a canal caUed'-the Rio di Palazzo, from the public pri sons, the Carceri, a fine buUding, which, on the side facing the palace, has a gloomy character suited to" its destina tion. They were built in 1589, by Antonio da Ponte. The front towards the Riva dei Schiavoni is of a less severe character, owing to the architect placing in this part of the building the "apartments intended for the Signori di Notte, the heads of the night pohce, which enabled him to introduce larger openings than in the portion "intended for the security of criminals. It can now contain about 400 prisoners. "It is a very handsome building, with rustic arches below, and above these a range of Doric columns on pedestals, and a large cornice with consoles in the frieze. These would be objectionable if the columns were on the ground; or perhaps if the height were divided by any strongly projecting cornice over the rustic arcades; but as it is, forming the only entablature to the whole height, it has a noble effect." — Woods. The Molo is connected with the Riva dei Schiavoni by thePonte,della Paglia; standing on which and looking up the Rio di Palazzo, a covered bridge is | seen, connecting the palace with the Austrian Dom. Route 26. — Venice — The Arsenal. 321 prisons, and at more than the usual height- above the water. This is the celebrated Ponte de' Sospiri, or Bridge of Sighs. The Arsenal. The fifth bridge on the Riva dei Schiavoni, after crossing the Ponte della Paglia, is a swing bridge. This crosses the eanal leading to the Arsenal. Just before you reach this bridge a passage on the 1. leads to the entrance to the Arsenal. If we con sider the size of the vessels when Venice was a naval power, the extent, size, and completeness of the basins, yards, and buUdings of the arsenal must convey a high idea of the great ness of the power of Venice. The arsenal attained its present dimensions, nearly 2 mUes in circuit, between 1307 and 1320. WaUs and towers, battlemented and orenulated, surround it. They are attributed to Andrea Pisano. The principal gate way is an adaptation of a Roman triumphal arch ; erected in 1460, as appears from an inscription on the column on the l.-hand side. An attic with a pediment was added in 1581, surmounted by a statue of St. Giustina, by Girolamo Campagna, in commemoration of the great battle of Lepanto, fought on the festival of St. Giustina, 7 Oct. 1571. Near this en trance stand the four marble hons brought by Morosini from the Pelo ponnesus in 1685. The most remark able of them, that which is erect, stood at the entrance of the Piraeus, which from this image was commonly caUed the Porto Leone. It is of very ancient workmanship, and it has been conjec tured, upon somewhat dubious grounds, to have been originaUy a memorial of the battle of Marathon. Engraven on this hbn's shoulders and flanks are some very remarkable Runic inscrip tions, which have so much exercised the learning, and baffled the penetra tion of the antiquaries. The head of the second of the hons, also from Athens, is a restoration. " The second is, I think, the finest ; it is recumbent : both the first and second are admirable works, and un doubtedly of Pentelic marble. The third appeared to me to represent a panther rather than a hon ; the figure is lanky and not beautiful. The fourth is a little thing of not much value, I beheve of marmo greco, that is, a large- grained, saline marble, of » white not very pure, and marked more or less with greyish stripes." — Woods. The noble armoury was in part dis persed by the French. It has recently been re-arranged, and stiU contains some very interesting objects, but of whieh many were brought from the armoury of the Ducal Palace. — The great standard of the Turkish Admiral, taken in the battle of Lepanto, of red and yehow sUk. Much fine and curious ancient armour, interesting both from its workmanship and the historical per sonages to whom the suits and pieces belonged. Some however are apocry phal, e. g. AttUa's helmet. Among those which have more claim to be considered genuine are the shield, helmet, and sword of the Doge Sebas- tiano Ziani, 1172-1178. Upon the first is the Rape of Helen : upon the last, an Arabic cipher. The armour of Gattamelata, for man and horse, of fine MUan work manship. The full suit of Henry IV., given by him to the repubhc in 1603. This was brought from the Palazzo Ducale, and, as they say, is unques tionable. Arbaletes, or cross-bows, of remark able power. One was tried in the presence of the late Emperor of Aus tria, by shooting bolts against a steel cuirass, at the distance (as it is said) of an hundred yards. The cuirass is riddled through and through. Helmets and shields of the ancient Venetian soldiery, and of very strange forms, quite unlike those of France or Eng land: quivers yet filled with arrows, perhaps used by the Stradiotes and other semi-barbarian troops of the republic. A press full of instruments of mur der and torture. A species of spring pistol, in the shape of a key, with which it is said that Francesco di Car rara, the tyrant of Padua, was accus tomed to kUl the objects of his suspi- 3? 3 322 Route 26'. — Venice— The Arsenal and Dockyard. Sect. III. eion, by shooting poisoned needles at them. In front of this press are some helmets of iron of rough workmanship,- without apertures for the eyes or mouth, bo that the wretch enclosed in them could neither see nor breathe. Such being the case, it has been oddly conjectured that they were intended for the protection of the warriors who stood on the prows of the Venetian gaUeys. Others suppose that they were used as instruments of torture, or of restraint equivalent to torture, a conjecture less improbable ; for head pieces of a similar description were applied, at the discretion of the gaoler, in Newgate, the Fleet, Norwich Castle, and other Enghsh prisons, in the course of the last century, and in Ire land tUl a later period. At aU events, it is probable that Carrara had no thing to do with them, but that, hke the contents of the Spanish Armoury in the Tower; they were exhibited to keep up a national feeling against an enemy. Ancient artiUery and fire-arms : a springal of iron, not cast, but composed of fifteen pieces riveted together, and .covered with exceedingly elegant ara besques, made by the son of the Doge Pasqnale Cicogna, who flourished to wards the close of the 16th centy. This also formed part of the ducal armoury. These armouries also contain me morials of the Venetian High-Admiral ,Emo (died 1792). The bas-rehefs from his tomb, representing naval sub jects, were brought from the chm-ch of the Padri Serviti, wliich was puUed down by the French. The memorial, a rostral column surmounted by a bust, was made for the place where it how stands, and is interesting as being amongst the earhest works of Canova, executed at Rome in 1794. It is ex quisitely finished. The arsenal contains four basins, two large and two small. These are nearly surrounded by dry docks, and shps for the buUding of vessels, and workshops. The roofs are supported by ancient arches, lofty and massive, some, circular, some pointed, standing upon huge cylindrical pUlars, with an gular leafy capitals, hke those found in the crypts of churches. The columns are sculptured with numerous shields of arms and inscriptions, some of whieh are in the ancient Venetian dialect. The rope-walk is amongst the most recent portions of the arsenal, having been bmlt in the early part of the last centy. It is supported by 92 elegant Doric pUlars. The model-room stiU contains some curious materials for the history of naval architecture, gaUeys, galliots, and many other vessels now obsolete. The coUection was exceedingly rich and important, but the French de stroyed a great portion. They also burnt the celebrated Bucentoro, the vessel from wliich the doge annuaUy espoused the Adriatic. A model of it is here, but it was made from draw ings and recoUections, after the loss of the original. The ceremony of the espousal, which took place off the Lido mouth, was intended as a continued assertion of the right of the repubhc to the dominion of the Adriatic, and may be traced back to the year 1245. Long before the actual faU of Venice, the arsenal displayed aU the decre pitude of the state. When the French entered Venice, they found thirteen men-of-war and seven frigates on the stocks. This enumeration seems re spectable ; but of these vessels, none of which were completed (nor were there any sufficient stores or materials for completing them), two had been begun in 1752, two in 1743, two in 1732, and the remainder at subsequent periods, so that, if the one most ad vanced could have been launched, she would have attained the respectable and mature age of 75 years. At pre sent, the business of the arsenal is just kept alive, affording a scanty memorial of the operations which so struck the fancy of Dante as to furnish the sub ject for one of his most strange and striking sinhles : — " Quale nell' arzana de' Viniziani Uolle 1' inverno la tenace pece A rimpalmar li legni lor non sani Che .navicar non ponno ; e 'n quella vece Austrian Dom. Route 26. — Venice — Canal Grande — Palaces. 323 Chi fa suo fegno nuovo, e chi ristoppa Le coste.a quel che pill viaggi fece ; Chi ribatte da proda, e chi da poppa ; Altri fa remi, e altri volge sane ; Chi tejzeruolo ed artimon rintoppa : Tal, non per fuoco, ma per divma arte, Bolfta lag^iuso una pegola spessa." Inferno, xxi. 7-18. " As in the aTsenal of Venice boila Th' adhesive pitch in winter, to repair The bark disabled by long watery toils; For since they cannot put to sea, — instead One here his vessel builds, another there Caulks that which many voyages hath made ; One strikes the prow — one hammers at the poop, — ¦ One mends a main, and one a mizen sail, — , . One makes an oar, another twists a rope ; So, not by lire beneath, but art divine, . Boil'd up thick pitch through all the gloomy vale." Canal Grande. Palaces. — We wUl suppose a traveUer to embark in a gondola at the end of the Piazzetta on the Molo, and to proceed up the Grand Canal or Canalazzo, and wUl point out the more remarkable palaces, as .far as the hmited nature of these pages allows. Nearly opposite to the end of the Piazzetta is the island and church ¦of St. Giorgio, and adjoining this, and enclosed by a sort of mole with a -lantern tower at each end, ia the ori ginal Porto Franco, whose limits are now extended to a considerable circuit round Venice. To the westward of this is the wide canal and Island of the Giudecca. On entering the Grand Canal, the Dogana del Mare, built in 1682, is on the 1. hand, on the point of land di viding the Grand Canal from that of the Giudecca: beyond this is the Ch. ¦of S. Maria della Salute. On the , rt., after passing the gardens of the .palace, and the paviUon, in a Greek style, buUt by Napoleon, at the en trance of the canal is the Palazzo Treves, formerly Emo, containing a coUection of pictures by modern artists, and two fine statues by Canova, the Hector and Ajax. Beyond this is the Palazzo Giustiniani, now the Albergo delV Furopa. A httle further is the Casa Ferro, which, although it has only two windows in front, is a beau tiful specimen of the Venetian Gothic style, Further on, on the same, side, is the Palazzo Corner, buUt by Sanso vino, in 1532. The facade has three orders — Doric, Ionic, and Composite. It is now occupied by the Regia dele- gazione della Provincia. Further, on the 1., incrusted with fine marbles, and bearing this inscription, " Genio Urbis Johannes Darius," is the Palazzo Da- rio, in the style of the Lombardi. Beyond, with a quay in front, is the Accademia delle belle Arti. Opposite to this is the Tragitto or ferry of San Vitale, the busiest ferry on the Grand Canal, and where it is proposed to erect a suspension bridge. Proceeding — on the rt., P. Giusti- nian Lolin, by Longhena. On the 1., P. Contarini dagli Scrigni, with three orders — Rustic, Ionic, and Corinthian — attributed to Scamozzi. P. Rezzonico, by Longhena, with three orders — Doric, Ionic, and Corinthian. The third order was added by Massari. Three palaces of the Giustiniani family, in the mediaeval Venetian style. P. Fos- cari, highly praised by Sansovino : built towards the end of the 16th centy., and attributed to Mastro Bar tolomeo, the architect of the Porta della Carta in the Doge's palace. Here, in 1574, Francis I. was lodged : it being then considered as the Palazzo whieh, in all Venice, was best adapted for the reception of royalty. The tragic history of the Doge Foscari and his son is weU known. They were not a powerful famUy, for the power of a famUy depended upon its numbers, and they were few; hence, possibly, the extreme harshness and rigour ex ercised against them received so httle mitigation. P. Balbi, by Aless. Vittoria, in 1582, with three orders — Rustic, Ionic, and Composite. Behind it is seen the campanUe of the church of the Frari. The temporary buUding for the pubhc officers, who distributed the prizes at the Regattas on the Grand Canal, was always erected by the side of the Balbi Palace, as it commands a view of both reaches of the canal. On the rt. hand, Palazzo Contarini, buUt between 1504 and 1546. The artist is unknown, but it seems to be of. the 324 Route 26. — Venice — Palaces. Sect. III. school of the Lombardi. The eleva tion has much fancy and elegance. On the I, Palazzo Grimani a San Toma. A noble buUding of the 16th centy., probably by Sanmicheli, now dismantled. On the rt. are the three palaces of the Mocenigo famUy. The first is the property of a French mer chant ; the other two are BtUl inhabited by members of the Mocenigo famUy. Lord Byron came to reside here in 1818. He at first occupied the palace in the centre, but afterwards moved to the one nearest to the Rialto, belong ing to Count Mocenigo, who was then attached to the court at Vienna. This palace contains Tintoretto's sketch for the great picture of Paradise at the Doge's palace, not injured, as the pic ture is, by cleaning. The Mocenigi were amongst the most illustrious of the Venetian aristocracy. They boasted of four doges, and of Procurators of St. Mark in almost every generation. On the 1., Palazzo Pisani a S. Polo, buUt at the beginning of the 15th centy. Arabesque Gothic, but the latest of its kind : the outline is according to the ancient fashion, but the minuter lines betray the approach of the studies of Roman architecture. Here is the ce lebrated "tent of Darius," by Paolo Veronese, remarkable for the richness of the composition and colouring, and the expression of the figures. The anachronisms of the costumes have been criticised. — " I went to see the Pisani Moretta Palace on account of the va luable picture by P. Veronese. The females of Darius's famUy are kneeling before Alexander and Hephsestion ; the mother, who kneels in front, takes the latter for the king, but he declines the honour, and points to the right person. The gradation from the mother to the wife, down to the daughter, is fidl of truth, and most happy. The youngest princess, kneeling quite at the end, is a charming httle chUd, ' and has a most ingenuous, wilful, sturdy httle face ; her position does not seem to please her at ah." — Goethe. The group of Icarus and Dsedalus, by Canova, by which his rising repu tation was established, and which was formerly in the Barberigo Palace, is now here. The Pisani, though belonging . to the second class of Venetian nobility, and strangers by origin, were amongst the most illustrious famines of the repubhc. To this famUy belonged Vittorio Pisani, the great naval com mander. Having been condemned to imprisonment for the loss of the battle of Pola (1379) by the senate, who visited the misfortune of a commander as a crime, the people, during the war of Chioggia, when the very exist ence of the republic was threatened, demanded his enlargement ; and he was brought forth from his dungeon to victory. Palazzo Barberigo. The facade and entrance are in the Rio di S. Polo ; only a wing and terrace are on the Grand Canal. The Barberigo coUection of pictures, so celebrated for its many Titians, has been recently sold to the Russian Government. On the rt., P. Corner- Spinelli : in the style of the Lombardi in the 15th centy. Some parts of the interior by Sanmicheli are deserv ing of attention. — P. Grimani. Now the post-office, from the designs of San- micheU, who unfortunately died before it was completed, in consequence of which some alterations, for the worse were made in the design. It consists of three Corinthian orders exquisitely worked. It is one of the finest of the more modern palaces. Sanmicheli who was employed to buUd it by Girolamo Grimani, father of the Doge Marino Grimani, had great difficulties to con tend with, in consequence of the irre gular form of the site, of whieh the smallest side fronts the Grand Canal. Above are two grand stories, in which the Venetian window may be seen to great advantage. Being a pubhc buUd ing, it is kept in good repair. The Grimani were originaUy Vicentine nobles, but after their aggregation . to Venice they rose to high dignities in the state. Two Doges were of this fanhly, Antonio and Marino. Upon the election of the latter, 1595, his duchess, a lady of the Morosihi fa mUy, waa inaugurated with great Austrian Dom. Route 26. — Venice — Palaces — Rialto. 325 splendour, for it had been the custom of Venice, if a doge was married, to render the ceremony of his wife's ac cession a reason, or an excuse, for gay and sumptuous festivity, far beyond what took place when the new prince was solitary in his dignity. She was conducted from her palace to San Marco, clad in cloth of gold, wearing a golden crown, and, stepping into the bucentauro, she was thus brought to the piazza, where she landed, amidst the strains of martial music and peals of artUlery. Clergy and laity, priestB and fraternities, guUds of merchants and companies of mariners, came out to meet her. In the ducal palace she was enthroned amidst her ladies, and the baUs and festivals of rejoicing lasted for weeks afterwards. Pope Clement VIII., whether to show his favour to the repubhc in general, or to the Houses of Grimani and Mo- rosini in particular, presented her with the golden rose,' blessed by the pontiff every year. According to the etiquette of the court of Rome, this rose is given only to sovereign princes, and the gift awakened, if not the suspicion, at least the caution of the senate. It had hitherto escaped notice that, al though the doge wore only the beretta, the crown of his consort was closed or arched, which was considered as the pecuhar privUege of sovereign princes, not owning any superior, and hence denied to the dukes of MUan, or the electors of the empire. The rose was, by the order of the senate, taken from the dogaressa, and deposited in the treasure of St. Mark : and the corona tion of her successors was afterwards disused. Opposite, and on the l.-hand side of the canal, is the Palazzo Tie polo, of which the architecture is mo dem and elegant. The facade has three orders, Doric, Ionic, and Com posite. Here is deposited the Nani coUection of antiquities, Greek, Roman, and Egyptian. Palazzo Farsetti (beyond the Leone Bianco), now the Residenza Muniei- pale : on the staircase are two baskets of fruit, almost the earhest works of Canova ; executed when he was fifteen. Palazzo Manin, lately restored by Selva, who designed the present ar rangements of the interior. The archi tect was Sansovino. It has three orders, Doric, Ionic, and Corinthian. The land on the rt. hand in pass ing up the canal forms the island of San Marco, that on the 1. the island of the Rialto ; and at this part of the canal, near the Rialto bridge, the land on the 1. hand is the spot on which Venice as a city first existed. Even tUl the 16th centy., and perhaps later, " Rioo alto" was considered as the city in aU legal documents, and distin guished as such from the State of Venice : and of aU the eyots and islands upon which the eity now stands, it is the most of a continent. After the population was extended into the other quarters, the Rialto continued to be the seat of aU the estabhshments con nected with trade and commerce. The Fabbriche, a series of buUdings, cover ing, perhaps, as much as a fifth of the island, and partly connected by ar cades, were employed as warehouses and custom-houses ; the exchange being held in the piazza, opposite the church of San Jacopo (the first church buUt in Venice), an irregular and now a neg lected quadrangle. The whole place was the resort of the mercantile com munity ; but if you seek to realize the locahty of Shylock and Antonio, you must station yourself in the double portico at the end of the piazza oppo site to the church, that being the spot where the " Banco Giro" was held, and where the merchants transacted the business of most weight and conse quence. SabeUico teUs us that this " nobUissima piazza" was crowded from morning to night. In the night of the 10th of January, 1513, a fire broke out which destroyed aU the buUdings as weU as then1 con tents. The senate, fully impressed with the necessity of preventing any stagnation in the transaction of busi ness, immediately decreed the recon struction of the commercial buUdings, and they were intrusted to Antonio Scarpagnino. He was an artist of small reputation ; and Vasari speaks 326 Route 26. — Venice — Bridge of the Rialto— Palaces. Sect. III. most contemptuously of his produc tions, partly on account of their po sitive demerits, and partly because his plans and designB were preferred to those of the celebrated Frate Giocondo. The Fabbriche are now principaUy con verted into private houses. Many portions have been demolished, aU are neglected and in decay ; and the mer chants no longer congregate here, but transact their business in their count ing-houses. There were several churches upon the Rialto. San Jacopo is desecrated : Ban Giovanni, by Scarpignano, is not Ul-planned. The only building on the island now possessing any splendour iB the Palazzo de' Camerlinghi, only one side of which ia upon the Grand Canal: to examine ita architecture it wUl be necessary to land. At the foot of this Palazzo is the Ponte di Rialto. This very celebrated edifice was begun in 1589, in the reign of the Doge Pasquale Cicogna, Antonio da Ponte being the architect. His design was preferred to those given by Palladio and Scamozzi. Cicognara says he is not sufficiently estimated ; but this edifice is more remarkable for its solidity and originahty than for its beauty. There was an older bridge of wood which was replaced by the present structure. SabeUico informs us it waa bo constantly thronged by passengers that there was hardly any hour of the .day when you could get along without much difficulty. It waa intended that the bridge should have been much more adorned than it is at present. The ornaments wliich it now exhibits are confined to the figures in the span- drils ; the Angel and the Virgin, St. Theodore and St. Mark. The span of the arch is about 94§ ft., and the thickness of the arch-stones about 4 ft. 4 in. It is segmental, and the height from the level of the water is about 21 ft. The width of the bridge is about 75 ft., and this width is divided longitudinaUy into 5 parts ; that is, into 3 streets or passages, and 2 rows of shops. The middle street or passage is 21 ft. 8 in. wide, and the 2 side °nes near 11 ft, The number of shops on it is 24. The palace of the Treasurers, or dei Camerlinghi, now the Tribunate d'Ap- pello, is on the 1. hand immediately after having passed through the bridge. It was built by Guglielmo Bergamasco in the year 1525. It is irregular in figure owing to its site, but is admired. Opposite, on the rt. hand, is the Fondaco dei Tedeschi. The Fondachi form a curious portion of the reminis cences of the ancient commercial pros perity of Venice. They were the fac tories of the different nations, very simUar in object to some stUl possessed by the Franks in the Levant, or of the Europeans at Canton, where the mer chants of each language and race could dweU together under a domestic juris diction ; where their business could be transacted, and their goods safely housed. It is hardly necessary to ob serve that they have long since ceased to be applied to their original use. Some are converted into pubhc offices, but, generaUy speaking, they are falling to decay. The finest and the best pre served is the Fondaco de' Tedeschi, now the Dogana, near the foot of the Rialto. It was buUt somewhere after 1505, when the older Fondaco waa burnt down. The architect was Frate Gio condo, whom we have already noticed as having been the disappointed com petitor for the rebuUding of the Rialto ; and it is remarkable as being almost the only certain and unquestionable specimen of bis style in Venice. Coupled arches and arched porticoes mark it as one of the diversified channels by which the Veneto-Gothic style passed into the classical style. It has now a somewhat heavy character; but its walls were originaUy covered with frescoes by Giorgione and Titian, which have long since disappeared. On the 1. are the Fabbriche Nuove, buUt by Sansovino in 1555. The facade has three orders, Rustic, Doric, and Ionic. On the rt. Palazzo Micheli delle Colonne, now Martinengo, contains a very curious armoury. Several pieces of armour are said to be of the time of the crusades, but this assertion is doubtful, though the pieces are highly Austrian Dom. Route 26. — Venice— Palaces— Manfrini GaUery. 327 worthy of notice. It also contains some good tapestries after Raphael's The Casa or Ca' d'Oro, the most remarkable of the ancient Palazzi, and of winch the ornaments are the most decidedly in the oriental taste, particu larly in the ogee or contrasted turns of the arches. It was gUded, and hence derives its name ; others say it was called after the Doro family. It was much dilapidated, but has undergone a complete restoration by the present proprietor, Madlle. TagUoni. On the 1. hand are the Palazzo Correr della Regina, buUt by Rossi in 1724, and the vast Palazzo Pesaro, .built by Longhena. The facade has three orders — Rustic in diamond forms, Ionic, and Composite. It is now an Armenian coUege. On the rt. are the Palazzo Grimani attributed to Sanmicheli, and the Pa lazzo Vendramini Calergi. This, which in the 16th centy. was reckoned as the vory finest of the palaces, was buUt in 1483 at the expense of the Doge An drea Loredano, by Pietro Lombardo. But the circumstances of the family compeUed them to alienate it, and it was sold in 1681 to the Duke of Brunswick for 60,000 ducats ; and by the latter, not long afterwards, to the Duke of Mantua. It now belongs to the Duchesse de Berri. The order is .Corinthian ; but columns are placed as muhions in the great arched windows 'which fill the front. It contains some .works of art, amongst which are statues of Adam and Fve by Tullio Lombardo, removed from the Vendramini Mauso leum in San Giovanni e Paolo, and se- .veralinterestingrelics of the elder branch of the House of Bourbon. On the 1. is the \ Palazzo Correr. — A very curious library ; amongst others the manu script coUections of the celebrated Col- letta, most learned in the ecclesiastical antiquities of Venice, and a very large coUection of misceUaneous objects of .antiquity and the fine arts. Further on to the rt. a canal, much .wider than those hitherto passed, opens out of the Canal Grande, and leads to .Mestre. On the acute angle formed by this canal, whieh is caUed the Cannd- reggio [i.e. canal regio), with the grand canal, stands the Palazzo Labia, buUt by Cominelli. It is much dilapidated, but contains a haU painted in fresco by Tiepolo. Proceeding up the Canna- reggio, after having passed under the Ponte di Cannareggio, you see on the 1. the Palazzo Manfrini, an elegant modern buUding, and weU kept up ; it contains the best coUection of paintings in Ve nice after that of the Academy, and is to be seen on Mondays and Thursdays from 9 till 1. In each room is placed a catalogue of the pictures ; the more remarkable pictures, therefore, are alone here men tioned. The ten rooms are marked by large letters : in the room marked A. are — Giorgione: Woman with Guitar. —G. Bellino : a Madonna — and Ru bens : Ceres and Bacchus. — B. Titian : Catherine Cornaro, Queen of Cyprus, is most interesting. The sweet harmony of colour, and the splendour of the ornaments are remarkable. But it must be recoUected that there are reasons for doubting whether this por trait is rightly named. — Titian : a mag nificent portrait of Ariosto. — Gior gione : three exquisite portraits. — C. Rocco Marcone : the Woman taken in Adultery. —Velasques .- a portrait. — B. Gennaro : a Sibyl. — D. Titian : De scent from the Cross, similar in compo sition to that in the Louvre. — Lorenzo Lotto : HolyN Fanhly. — Rembrandt : portrait. — Pietro Perugino : Christ washing the Disciples' Feet. — Padova- nino : the Sacrifice of Iphigenia. — P. Veronese : portrait. — E. G. da Udine : Madonna presenting Jesus to Simeon. — G. Dow : the Physician. — Murillo : a Shepherd, the only picture of this artist in Venice. — F. Pordenone : his own FamUy and five of his PupUs, and the Circumcision. — Fra. Bartolomeo : the Coronation of the Virgin. — G. G. Bellino : Our Lord at Emmaus. — Ra phael ( ? ) : a large Cartoon, the Em barkation of Noah. — H. Many ancient pictures, Cimabue, Giotto, &c. — Por traits of Petrarch and Laura by Jacopo Bellini, the father of Giovanni. — I, ff. 328 Route 26. — Venice — Palaces. Sect. III. Santa Croce: Adoration of the Magi. — K. Sebastian del Piombo : Presenta tion of Christ. — Guido .- Lucretia. — Agost. Caracd : the Fhght into Egypt. " I went over the Manfrini Palace," says Lord Byron, " famous for its pic tures. Amongst them there is a por trait of Ariosto, by Titian, surpassing all my anticipation of the power of painting or human expression : it is the poetry of portrait, and the portrait ¦of poetry. There was also one of some learned lady, centuries old, whose name I forget, but whose features must always be remembered. I never saw greater beauty, or sweetness, or wis dom : it is the kind of face to go mad for, because it cannot walk out of its frame. There is also a famous dead .Christ and live Apostles, for which Bonaparte offered in vain 5000 louis ; and of which, though it is a capo d' opera of Titian, as I am no con noisseur, I say httle, and thought less, except of one figure in it. There are 10,000 others, and some very fine Gibrgiones amongst them, &c. There is an original Laura and Petrarch, very -hideous both. Petrarch has not only the dress, but the features and air, of an old woman, and Laura looks by no means hke a young one or a pretty one. What struck me most in the general coUection was the extreme re semblance of the style of the female -faces in the mass of pictures, so many centuries or generations old, to those you see and meet every day among the existing Itahana. The Queen of Cyprus and Giorgione' s wife, particularly the .latter, are Venetians, as it were of yes terday ; the same eyes and expression, and to my mind there is none finer." There is one error in this account which it is necessary to correct, as it has . been repeated by others. Gior gione died young, unmarried; the lady whom he calls the wife of Gior gione is said to be the daughter of Palma Vecchio. Besides pictures there are good specimens of Niellos, or en graved sUver plates. Some, which have .been covers to Missala, are par ticularly good. A room in this palace is also devoted to a fine collection of the fossU fishes from Monte Bolca, near Ve rona, sheUs, fossUs, &c. ; and in another apartment the old and rich furniture of Gobelin tapestry, &&, are stiU seen, left just as when the Manfrinis were in their full power. In one of the rooms there is a re markable echo. This palace also possesses a good Ubrary, and, what is a species of cu riosity at Venice, a good-sized garden. Other palaces, not upon the Grand Canal, which ought to be mentioned, are the Palazzo Trevisano (Ponte di Canonica), probably by one of the Lom bardi, richly incrusted with fine marble, and marking the transition from the Gothic to the Italian. This palace afterwards passed to the CapeUo famUy ; and from hence the celebrated Bianco CapeUo eloped. Palazzo Comoro Mocenigo (Campo di San Paolo), originaUy Cornaro, built by Scamozzi about 1548, remarkable for the boldness of its elevation and its grandeur, notwithstanding the multi plicity of its parts. The Palazzo Grimani a S. Maria Formosa is attributed to Sanmicheli ; it contains a fine coUection of ancient statueB, bas-rehefs, urns,' vases, and in scriptions. On the 1. hand as you enter is a colossal statue of Marcus Agrippa, brought from the vestibule of the Pantheon at Rome. In the elegant chapel is a fine work of Palma Vecchio : Christ crowned with Thorns. Also, Two Heads of our Saviour and the Virgin, by Salviati. Among the pic tures in this palace are the Institution of the Rosary, a fine picture, by Albert Durer, containing portraits of the artist and his wife. Five pictures represent ing the Story of Psyche, by F. Salviati, the largest and one of his best works. The Purification of the Virgin, Gentile Bellino. On a ceiling is the Dispute of Neptune and Minerva about giving a name to Athens, by G. Salviati. One room contains several Greek sta tues, bronzes, &c., arranged by J. San sovino, Churches.- — GeneraUy speaking, the churches of Venice are fine, and very varied in their character ; that is to Austrian Dom. Route 26. — Venice — Church of the Frari. 329 say, they faU into four principal styles, which, as amongst themselves, are very uniform. The first is a pecuhar Gothic, generaUy plain, massy, and solemn; un like the arabesque richness of the ducal palace, and the secular structures of the same order. The second is a style which here they term Lombard; but which is a revival of the Roman style in the 15th centy. The third is clas sical — Itahan, properly so caUed — of which the principal examples in the sacred edifices here are PaUadian. The last is the modern Itahan ; sometimes overloaded with superfluous ornament. Perhaps no city in Italy, not even Rome itself, formerly possessed so many churches in proportion to its size. It was the pohcy of the Venetians that every shoal and island should have its great mother church, surrounded by a host of minor oratories. The Frari, or Sta. Maria Gloriosa de' Frari, built, at least designed, by Nicolo Pisa/no, about 1250. It contains several fine tombs and of considerable historical interest. In the basins for holy water are two smah bronze statues by Girolamo Campagna; that on the 1. represents St. Antony, that on the rt. Innocence. Commencing the circuit of the church on the rt. hand as you enter — near the second altar Titian is buried (he died 1575, at the age of 99 years), and a plain slab marks the spot where his body is laid. The inscription is a doggrel rhyme : — " Qui giace il gran Tiziano de' Vecelli, Emulator de' Zeusi e degli Apelli." No monument has hitherto been raised, though one has several times been pro jected : the design of Canova's was intended originaUy by him for Titian. A Jnonument has been recently (May, 1852) ordered, at the sole expense of the Emperor of Austria. 3rd Altar, Presentation of the Virgin in the Temple, with Saints, Salviati. 4th Altar, Statue of St. Jerome, Aless. Vit torio. 5th Altar, Martyrdom of St. Catherine, J. Palma. Near the further corner of the rt.-hand transept is a fine picture, in three compartments, by Vivarini. It contains the Virgin and some Saints. The monument of the Venetian general, Benedetto Pesaro, is a tri umphal arch, and forms the decoration of the door of the sacristy. The prin cipal figure is by Lorenzo Bregni ; on his 1. is a fine figure of Mars, by Bacdo da Monte-lupo. The Bregni, who flourished about the latter part of the 15th and the beginning of the 16th century, were members of one of the famUies of artists, of which there were many in Italy, amongst whom art was so successfully carried on by tradition. Paolo was an architect ; Antonio, his brother, a sculptor ; and both worked upon these tombs. Lo renzo Bregni, not less eminent, hved a generation later. In the sacristy is a beautiful paint ing by Giovanni Bellino, three com partments, with the Madonna and four Saints, 1488. Also fine alti-rihevi of the Crucifixion and Burial of our Lord. Returning to the body of the church — two splendid monuments : on the rt. that of the unfortunate Doge Fos- cari, an exceedingly noble elevation. The columns support statues. This is also by Ant. and Paolo Bregni, helped by other artists. It was suspected that Foscari was endeavouring to render himself Signore of Venice. LordByron's tragedy has rendered the history of this famUy sufficiently familiar to the Enghsh reader. Grief for the crimes or misfor tunes of his son weakened Foscari' s body and mind, and he agreed to abdicate, compeUed rather than persuaded. Quit the palace in private he would not, but he descended the " Scala dei Giganti" in fuU state and dignity. As he did thus the great beU of St. Mark an nounced the election of his successor : the old man fainted, and died the fol lowing day, Oct. 30, 1457. This mo nument was erected by his grandson Nicolo (son of the unfortunate Gia como), who filled several important offices in the repubUc between 1480 and 1501. Opposite is the monument of the Doge Nicolo Tron (died 1472), by the Bregni school, which is perhaps 50 ft^ in width and 70 in height, being composed of six distinct stories, and adorned by 19 whole-length figures, 330 Route 26.— Venice — Church of the Frari. Sect. III. larger than life, besides » profusion of ;bas-reliefs and other ornaments. The 'statue of the Doge is by Antonio Bregni. It was during this dogado that the Venetians acquired Cyprus. Nicolo had been a " royal merchant *' at Rhodes, where he traded during 15 years, and acquired what was then considered as a large private fortune, 80,000 ducats, being in money about 20,000^., but which would now represent perhaps ten times that sum. The rood-screen deserves notice from its pecuhar construction. The high altar was erected in 1516. The picture, the Assumption of the Virgin, is by Salviati. The staUs of the choir are of the very finest wood work, most beautifully veneered, or worked in tarsia, by Giovanni Paolo di Vicenza, 1468. In the 6th chapel is the monument of Melchior Trevisan (died 1500), by Dentone .- the statue is in complete armour, standing boldly forth in simplicity of conception, com bined with great richness in execution. In the 7th chapel is a fine altar-piece in distemper, by Vivarini, completed by Basaiti, an inferior hand. It con tains a double subject, the Crowning of the Virgin, and St. Ambrose with a group of Saints. In the l.-hand transept is the Orsini monument, the work of an un known artist, at the end of the 15th century. In the chapel of St. Peter, which is entered from the adjoining part of the body of the church, is a font with a statue of St. John the Baptist, by Sansovino, and some sculp tures of the 15th century. Beyond the entrance to this chapel is the monu ment, rich in Oriental marbles, of jacopo Pesaro, who died 1547. Over the Pesaro altar is a fine votive picture by Titian. It belongs to the Pesaro famUy, and therefore was not taken to France. It represents the Virgin seated in an elevated situation, within noble architecture, with our Saviour in her arms, who turns to St. Francis : below is St. Peter with a book ; on one side of him St. George bearing a standard, on which are emblazoned the Pesaro arms : below are members of the Pesaro family. " In composition this picture ranks next to the Peter Martyr. More fuU and deep colour belongs to the nature of the subject, if subject it may be caUed, and it possesses it. It is also an exceUent specimen of back ground finished to character, but so weU composed to receive that finish that it nowhere obtrudes on or inter rupts the principal matter, though it has itself sufficient grandeur and in terest, and is perfectly natural. The execution is firm and masterly, but inclines to the heavy and opaque, per haps, in the half-tints, owing, very likely, to the dirty condition of the picture." — Prof, Phillips, The monument of the Doge Gio vanni Pesaro (died 1658) is also a stupendous fabric, but it is more re markable for its singularity than its beauty. It is supported by colossal Moors or Negroes of black marble, dressed in white marble; their black elbows and knees protruding through the rents of their white jackets and trousers. Two bronze skeletons or deaths bear Bepulchral scroUs ; and dragons or serpents sustain a funeral urn. In the centre sits the Doge. This is, on the whole, a. curious spe cimen of the odd taste of the 17th century. The architect was Longhena, the sculptor Barthel : it was executed about 1670. By the side of this is another, the monument erected to the memory of Canova (in 1827), a repetition of his own design for that of the Archduchess Christina at Vienna. A vast pyramid of white marble, into whose opened doors of bronze various mourners, Art, Genius, and so forth, are seen walking in funeral procession. The design of Canova' s monument, originaUy apphed by him for the Aus trian archduchess, was nevertheless first intended for Titian ; and perhaps the various changes whieh the design has sustained may have rendered it less satisfactory. On the altar whieh follows this is a statue of John the Baptist by Dona teUo. Between this and the principal door is an elegant monument, in Austrian Dom. Route 26. — Church of S. Giovanni e Paolo. 331 marble, of Pietro Bernardo, who died 1568., The conventual buUdings have been converted into a depository for the archives of the ancient Venetian state. Their bulk is appaUing. The highly curious : selections relating to Sanuto, made by Mr. Rawdon Brown, one of the few Englishmen who have had the dih gence to attempt an exploration of the historical treasures of Italy, shows to what good use they may be turned; but considerable difficulty is experienced in obtaining the necessary permission to examine them, from the Austrian au thorities at Vienna. San Giovanni e Paolo. This building was begun in 1246, but not finished tiU 1390. The architect's name is not known : he is supposed to have been one of the school of Nicolo Pisano. Jts length is 330J ft., its width between the ends of the transepts 142J ft., and in the body 91 ft. : its height 123 ft. The principal door, with columns and sculptures, is fine. On the rt., as you enter, is the monument of the Doge Giovanni Mocenigo (died 1447), the work of Pietro (the father) and Antonio and Tultio Lombardo (the sons). At the first altar on the rt. is a picture of the Virgin and ChUd, with Saints, by G. Bellini, in tempera.; it has suffered much from restorations. At the 2nd altar, a picture in 9 com partments, by Vivarini. The 5th chapel contains 6 bas-rehefs repre senting the actions of St. Dominic, by Giuseppe Mazza ; 5 of them are in bronze, the 6th in wood. In the rt.- hand transept, near the angle, is a picture of St. Augustine seated, by B. Vivarini, 1473. Over the door of the rt.-hand transept is a statue of the general PionigiNaldo (died 1510), by Lorenzo Bregno. Here is a large window with good coloured glass, by Mocetto, exe cuted at Murano in the 15th century : the design is thought to have been given by B. Vivarini. At the 8th altar is our Saviour among the Apostles, a fine work of Rocco Marconi. In a line with the high altar are 5 chapels, in the second of. which is a fine work of Tintoretto, the Virgin and Saints, and some figures of Senators, and the Magdalen, sculptured by Gut. Berga- masco. In the principal chapel is, on the waU on the rt. hand, the monument of the Doge Michele Morosini (died 1382), which is in a tolerably pure Gothic style, and therefore rather remarkable. Morosini reigned only four months, but this short reign is Ulustrated by the capture of Tenedos. Next to this the monument of the Doge Leonardo Loredano (died 1519) commemorates one of the wisest of the princea of Venice, when her prudence and fortitude baffled the league of Cambrai. The design is by Girolamo Grapiglia, 1572. The statue of the Doge is an early work of G. Campagna, from a design of D. Cattaneo, by whom are the other statues and bronzes. Opposite to this is the most splendid monument of its kind in Venice — that of the Doge Andrea Vendramin (died 1479). " The basso-rihevos and the statuettes round the sarcophagus seem as if taken from the intagho of a Greek gem, so pure is the outline, so grace ful the invention, and so dignified the style."— Cicognara. The statue of the deceased Doge, stretched on the bier, exhibits him as faUen asleep rather than as dead. In the architectural portion the arabesques of the friezes are particularly remarkable. They are attributed to Alessandro Leopardo, he who made the bases of the standards opposite San Marco. The elevation of Andrea Vendramin to the dogado (1476) marks the decline of the pri mitive pohcy of the state. He was the first of the newly ennobled families admitted to the honours heretofore monopohsed by the descendants of the primitive aristocracy. The founder of the famUy was a banker or money changer, who, having fitted out a vessel at his own expense during the war of Chioggia, was inserted in the Libro d'Oro as the reward of his liberal patriotism. Vendramin's reign was short and unprosperous ; and a peace with the Turks was purchased by the cession of Negropont, Lemnos, and 332 Route 26. — Veince— Church of La Madonna deW Orto. Sect. Ill, many other possessions in Greece, Albania, and the Archipelago, and the payment of an annual tribute of 10,000 ducats. In the 4th chapel are two good works of Leandro Bassano, one on the waU on the 1. hand, the Disinterment of a Corpse ; the other, over the altar, the Trinity, Madonna, and Saints. After passing the 5th chapel, on the waU on the rt. is a marble group representing Vittore CapeUo kneeling before S. Elena, by Antonio Dentone (1480). Beyond this a door leads into the chapel of the Rosary, wliich is splendidly decorated by Vittoria Campagna, and other cele brated artists. It contains some fine alti-rilievi of the history of our Lord. On the ceUing above the altar is the Virgin crowned in Paradise, by J. Palma (1594). Returning into the church, on the rt. hand, after having left the transept, is a fine picture by Tintoretto, the Crucifixion. Further on, beyond the door of the sacristy, is the monu ment of the Doge Pasquale Malipiero (died 1461), and under it the Coro nation of the Virgin, attributed to Carpaecio. Then foUow monuments of doges and generals, and at the altar, which iB the second on the 1. hand on entering the church, is the cele brated Peter Martyr, by Titian, one of his finest works, indeed often caUed the third picture in the world. It re presents the martyrdom of the saint (see p. 132). At the last altar is a fine statue of St. Jerome, by Alessandro Vittoria. On the wall on the l.-hand side as you enter the principal door, is the monument of the Doge Giovanni Mocenigo (died 1485), a fine work of Tullio Lombardo. In the Campo in front of the church, one of the largest plots of open ground in Veniee, stands the celebrated statue of Bartolomeo CoUeoni da Bergamo, the second equestrian statue erected in Italy after the revival of the arts, that of Gattamelata being the first (see Padua). Andrea Verrocchio gave the design and model for this group, but, according to the story, he' died of grief because he could not complete it, in consequence of the faUure of the mould. It was cast by Alessandro Leoparflot whose name can be traced in the in scription upon the girth beneath the horse's body : " Alexander Leopardus F. opus." This may be rendered " fusit opus." " It is interesting as a specimen of art of the time, but it is heavy in form, and the action of the horse is not true to nature."— West- macott jun., A.R.A. The pedestal is lofty, and supported and -flanked by columns. CoUeoni is said to have been the first who employed field-pieces in warfare. This is not exactly correct ; but he is nevertheless to be considered as one of the great teachers of the moderh art of war. The statue is very animated. La Madonna dell' Orto. A fine Gothic church, buUt about 1350, and of which the facade is much in the style of Sanf Alessandro, at Bergamo, but of brick : the fine arch over the door is crocketed. Some parts of this church approach our decorated style. An elegant circular archway is in the facade. Over the door are statues of St. Christopher and the twelve Apostles, by Maestro Bartolomeo, who executed the Porta della Carta. The church was very dilapidated, but in 1845 was undergoing repair. The roof, flat, and of wood, was formerly richly painted. An enormous Saint Christopher, by Morazzone, stands in the choir, of wood. The church contains several paintings by Tintoretto ; the principal one is the Last Judgment, a most sin gular picture, and of enormous size, at least 60 ft. by 30. Nothing can be more strange than the composition, or more unlike the ordinary representa tions. The figure of our Lord is at the summit, and not particularly con spicuous. All around and below him are hosts of Angels, Saints, and Martyrs, sitting on clouds, and occupying nearly the whole canvas, but few of them dis tinguished by any symbols. A stream of water crosses the picture, in which many figures are struggling ; a boat fuU of fiends and condemned souls render it probable that it is the Styx. Lower down are the dead rising from their graves. Opposite to :it, and of Austrian Dom. Route 26. — Venice — Churches. 333 the same size, is the Worshipping of the Golden Calf. The arrangement is pecuhar. In the centre four men are carrying the idol upon a board covered by a cloth ; below are heaps of gold and jewels ; mingled groups aU around ; the rt. is full of richly costumed female figures. To the 1. is Mount Sinai ; in the clouds are many angels, one holdmg the tables of the law : — altogether a picture of great power. These two great works are on the walls of the principal chapel. Besides these, the church contains, at the first altar on the rt. as you enter, a fine work of Cima da Conegliano : Saint John the Baptist and four other Saints ; and » masterpiece of Tintoretto : the Pre sentation in the Temple. The fourth altar is the Martyrdom of St. Lorenzo, a good picture, by Vandyke. On the organ are paintings, also by Tintoretto ; and beneath is a small but fine Ma donna and ChUd, by Giovanni Bellino. Above the high altar are the Five The ological Virtues ; and under these, on the rt., the Martyrdom of St. Christo pher ; and on the 1. St. Peter regard ing the Cross, which is sustained by Angels ; all by Tintoretto. The fourth chapel on the 1. hand, on entering by the door at the end of the nave, is the chapel of St. Agnes : the Martyr dom of the patron Saint ; one of the most pleasing pictures of Tintoretto. St. Agnea, in white drapery and with her white lamb, aU allusive to her name, Ib in a full bright hght, looking upwards and awaiting her death ; abundance of figures around. This painting was carried to Paris. Before its spoliations this church was the richest in Venice ; but much has been carried off, and the neglect of repairs has caused the almost total destruction of the paintings which formerly ex isted on the roof. The beBt time for Seeing this church to advantage ia to wards the afternoon. The campanUe of this church is ascended, like that of St. Mark, by an inclined plane. It is principally of brick, and the ornaments are formed out of that material. The upper portions were partly destroyed in 1828, by a thunderstorm, when the shattered fragments feU on the roof of the church. San Pietro di Castello, interesting as being the mother church or cathedral of Venice, from the earhest times of the repubhc down to 1807.- The cam panile (1474) is fine. The other parts of the buUding were, however, entirely modernised in 1621, by Francesco Sme- raldi. " It is an imitation of PaUadio, with the pedestal cut through to admit the door, and the pediment surmounted by a ponderous attic : how different is the same composition when managed by different people! InternaUy, the nave is too short, and its lines are sadly interrupted by the large transept; it would have been handsome had this been omitted." — Woods. It contains a very curious chair, or throne, of marble, which, according to popular tradition, is the very Cathedra in wliich St. Peter sat at Antioch. An inscrip tion in Cufic or Syriac characters has not yet been satisfactorily explained. Some say it is a sura from the Koran. The church contains some good paint ings by Lazarini, and other artists of the more modern Venetian school. The rich Vendramini chapel is incrusted with marble; it is from the design of Longhena. The Capella CMnsa, called that di tutti i Santi, contains a mosaic after the designs of Tinto retto. San Zaccaria. This church is in a remarkable transition style, built about 1450 ; Matteo Lombardo being, as some suppose, the architect : Gothic in the choir, and semi-Byzantine in the nave. It is said not to have been com pleted tUl 1547. " The western front seems to belong to the latter date, or perhaps has been added still later, but the rest of the buUding is in a sort of pointed style. The cornices are orna mented with simple, pointed arches, and there are many pointed arches to the windows,- 'and clustered columns about the choir; but we have also httle domes, and Corinthian columns (bad enough) supported on high pe destals. These passages of one style into another are often curious, but seldom beautiful. The side aisles 334 Route 26. — Venice — Churches. Sect. III„ are very lofty, the clerestory windows very minute, so that this mode of ar rangement seems to have been pre served to the last period of pointed architecture." — Woods. In the chm-ch, a fine picture of the Virgin and Child, and four Saints, is by Giovanni Bellino. By Tintoretto is the Birth of St. John the Baptist. Another Giovanni Bellin-o is the Circumcision, within the choir. The three altars in a side chapel, by Giovanni and Antonio di Murano (1445), are richly decorated with carv ings and paintings, and are remarkably valuable specimens of early Venetian art. Sta. Maria de' Miracoli .- buUt be tween 1480 and 1489. This plan waa produced by competition. The name of the successful architect is not pre served ; but he appears to have endea voured to get the prize by novelty of style ; and the exterior exhibits a very curious attempt to unite the Byzantine and Itahan Btyles. The designs were executed by Pietro Lombardo, and some portions are his own. Within, the ornaments of the altar and presby tery have singular beauty. The buUd ing is much neglected and decayed. In its flourishing days the Madonna, from . whom it derived its name, caused it to abound with alms and offerings. The front is rich in marbles, and adorned by a very indifferent statue, the pro duction of a Venetian artist of the 16th centy. Titian hved in- the neighbour hood of this church, which was an nexed to a Franciscan monastery. San Francesco della Vigna. Tins magnificent, though still unfinished church, was buUt at the expense of the Doge Andrea Gritti, by whom the first stone was laid Aug. 15, 1554. Sanso vino had made the designs ; these were criticised, and differences of opinion arose, particularly with respect to the proportions of the building. The doge was troubled, and opinions were taken; amongst others, Titian was consulted. The buUding was completed, but from the designs of Palladio, and much of what we now see, the facade, with its lofty portal, bears the impress of his style. :' "The inside is not beautiful; the outside doea not at all correspond with it, and nobody need doubt that the' buUding was the work of two archi tects. In the facade of tins church the lower cornice belonging to the smaUer order is only continued in two or three flat members in the intercolumns, and there is a smaU projection in the wings on which the cornice returns, so that these flat mouldings alone are inteiTupted by the columns. Both orders are on a high continued pedestal, which breaks round the principal co lumns, and is cut through to admit the door. Over the door is a large semi circular window," — Woods. The entrance is profusely adorned. It contains 17 chapels ; in the fourth chapel is the Resurrection, by Paolo Veronese. The Capella Giustiniana is> in the sumptuous style of the Lorn-' bardi. Santo Salvatore, by Pietro Lom bardi, altered by Scamozzi, but with a front by Longhena. " The front is of two orders, or rather of one order surmounted by an attic of almost equal height, forming a square composition, with an unmeaning pediment over the centre. The columns are very wide apart, as there are only four in the range of the whole front ; yet, on the whole, the appearance is not bad, though one cannot call it good. The inside has a nave and side recesses, or, as Moschini has it, a nave with three transepts, the farthest of whieh is longer than the others ; each intersection is covered with a httle dome, and each dome is crowned with a smaU lantern. The piers which sepa rate these transepts are perforated in both directions with a smaU areh. The lights are kept high, and the general effect is very good. Where there is a range of lower arches opening into the nave, surmounted by a continued cor nice, the simple vault forms by far the finest finish ; but. in a case like this, where the side-arches are as high as the nave, the succession of domes is poBsibly superior, at least the upper and lower parts seem perfectly suited to each other." — Woods. Beyond ther first altar is a monument of Andrei Austrian Dom. Route 26. — Venice — Churches. 335 Dolfin and his wife, attributed to Gmlio dal Moro : the figure of our Saviour in the middle is fine. The second altar, and the statue of the Ma donna and ChUd, are by Campagna. Then comes the splendid monument of the Doge Francesco Venier (died 1556), by Sansovino; but which has the de fect of being, like many others of the same class, rather the facade of a building, in which the actual tomb is only a subordinate member ; besides the adornment of various coloured marbles, portions of the adjuncts are gUded. This monument was executed by Sansovino in his 80th year, and exhibits no mark of decaying powers. The same remark cannot be apphed to the Annunciation by Titian, painted by him when he was nearly 90 years of age, and which is placed at the altar, designed by Sansovino, which comes next after this monument. It is said that this is the painting on the margin of which the artist wrote, " Titianus fecit, fecit;" in order to sUence the critic who asserted that no one would believe that it proceeded from his pencU. In the rt.-hand transept is the tomb of Catherine Cornaro, Queen of Cyprus, so weU known from her numerous por traits. It was by showing her portrait to the young Lusignan that her uncle Andrea Cornaro, then in exUe, excited first the curiosity of the prince, and then his love. Lusignan was then Archbishop of Nicosia, and without pretensions to the throne, being Ulegitimate ; but the protection of the Soldan of Egypt, the Bupport of the repubhc, and the fa vour of the Pope (Pius V.), a strange union, enabled him to win the crown. Catherine was solemnly adopted as the daughter of the republic, and given, with a rich dowry, to the archbishop, who ascended the throne as King Jacopo Lu signano II. He had a posthumous chUd by the queen, proclaimed as James III., who died an infant in 1475 ; and the repubhc, as the grandfather of the minor, claimed his inheritance : and the daughter of Venice, being forced to abdicate, her dear mother, the repubhc, obtained the sovereignty. This took place in 1489, when, abandoning her kingdom, she retired to her lovely castle at Azolo with the empty title of Queen, which she retained until her death, sur rounded by a diminutive court, one of wliich was the celebrated Bembo, after wards Cardinal. — See Handboolc for South Germany, Rte. 222. Perhaps no kingdom was ever obtained by a more whimsical theory of inheritance. The high altar has another Titian — the- Transfiguration, also a work of his old age ; behind this is another altar-piece of ancient embossed sUver, in a semi- Byzantine style, executed in 1290. There is in the chapel, on the l.-hand side of the high altar, a Giovanni Bel lino, our Lord at Emmaus. San Sebastiano was buUt by Serlio, in 1506, except the facade, which is attributed to Sansovino, 1548. It is the burial-place of Paolo Veronese. His tomb consists of a bust, and the decoration of his arms. For the in scription to his memory might be sub stituted the weU-known epitaph of Wren, for the church contains some of the best productions of his pencU in his first manner. The roof is almost covered by his paintings, of which the principal subjects are taken from the Book of Esther : so also are the waUs of the ohoir and the vaulting of the sacristy. Other pieces by Paolo are : the High Altar, a composition ; St. Se bastian and other Saints before the Virgin ; St. Sebastian exhorting his' Companions, Marcus and Marcelhnus ; his Martyrdom ; a Crucifixion, the two Maries on either side of the Cross ; the Virgin and ChUd ; the Baptism in the Jordan. Many fine specimens also of other artists : St. Nicholas, by Titian ; St. Francis, Palma; the Madonna, and the Fiery Serpents, Tintoretto. San Martino. This church is attri buted to Sansovino, and was buUt in 1540. " It is a square room, with three recesses on eaeh side, one of which, rather deeper than the others, forms the choir. The detaUs are rather poor, but the distribution does not seem Ul chosen." — Woods. S. Jacopo di Rialto. On the site of this church stood the first church 336 Route 26. — Venice — Palladio's Churches. Sect. III. which was buUt in Venice. This was erected in 421. In its present form it was first built in 1194. It was en tirely restored or rather rebuUt in 1531, but " precisely in the old form, as we are informed by an inscription in the portico ; we may doubt the perfect accuracy of the imitation, but the six marble columns of the nave, with then- capitals copied from the Corinthian, are probably parts of the ancient- buUd ing. The middle space is about twice the width of the others, forming a transept, and a cupola rises at the intersection. I suspect that this was an innovation, but on the whole it is a pretty httle thing." — Woods. It con tains a fine atatue of St. Anthony, the Abbot, by G. Campagna, and one at the high altar of S. Jacopo, by A. Vittoria. "Palladio's churches have aU one general disposition in front, a pediment in the centre supported on half co lumns, and a sloping roof on each side, resting on a emaUer order, whose hori zontal cornice is continued, more or less perfectly, in the intervals between the larger columns. The effect is al ways in some degree as if a great pedi ment over the smaU order had been cut away for the purpose of introduc ing the larger ; and on this account I doubt if it would not be better entirely to omit ah trace of the smaUer order in the intervals of the larger. However, though not absolutely perfect, these buUdings are very graceful, and hitherto no better mode seems to have been adopted for accommodating the Ro man architecture to the usual dispo sition of a Christian church." — Woods. . II Santissimo Redentore. This church, an ex-voto built by the re pubhc after the staying of the plague of 1576, is considered by the common consent of architects as the finest of Palladio's structures. It has the ad vantage of ",' commanding situation upon the Giudecca ; and the front ex hibits aU the peculiar characteristics and favourite arrangements of PaUadio. " The church of the Redentore is alto gether a design of PaUadio' s, begun by him in 1578, two years before his death. Here the pedestal is not so high' as San Francesco deUa Vigna ; and, in stead of being cut through, there is a flight of steps up to the entrance. This does not leave room for a large window over the door. So far the design is superior to that of the before-men tioned edifice, and the composition is not the worse for taking a squarer form ; but then, in order to obtain height, the architect has introduced a sort of attic above the pediment of both orders, and a roof rising above the attic ; in which it is at least as much inferior. IntemaUy, it has a fine, wide, single nave, and this simple disposition might be weU imitated in our Protestant churches. The arrange ment and colour of the lower part are beautiful, and if the vault were a semi, instead of a segment, and paneUed in stead of whitewashed, it might be cited as a perfect model of this mode of architecture. The termination of the choir wants consequence, and the plain whitewashed waU, behind the semi circular screen of columns, is absolutely disagreeable. The supports of the dome are good, and have no appear ance of insufficiency." — Woods. The church contains, at the third altar on the rt., the FlageUation, by Tintoretto ; also by him, an Ascension ; and a De position, by J. Palma. In the sacriBty is a fine work of Giov. Bellini : the Vir gin and ChUd and two Angels. And in a chapel of the adjoining Convent is one of the fineBt works of the same painter, the Virgin and ChUd and two Saints. The island of Giudecca (Zuec- ca, as it is pronounced) on which this church stands, was originaUy called Spinalonga : it received its present name when the Jews obtained permis sion to settle on it. San Giorgio Maggiore, " This church was also designed by PaUadio, and begun in 1556, though the front was not erected tUl 1610. This front, or at least its central and principal divi sion, is narrower in proportion to its height than in any other of PaUadio's churches. The larger, order, as usual, is Composite, and the httle order Co rinthian. . The general proportions are Austrian Dom. Route 26.— Venice — Churches. 337 pleasing, yet the columns appear upon stilts, as each stands on its own lofty pedestal between which the doorway is introduced, whUe the smaUer order reaching to the ground has its pUasters almost as long as the principal co lumns. There is no pediment over the door, the existence of which is rather a defect at the Redentore, but there is a great space not weU occupied above the secondary cornice. Internally the church has a nave and two side aisles, but the piers are very solid, and admit noobhqueviewbetweenthemonenteringthe great door. The nave itself is much inferior to that of the Redentore. It is too short, and the pedestals are too high. The transept cuts the lines dis agreeably ; and the want of some pro jection or alteration of plan at the intersection produces an effect of feeble ness. The altars are aU simUar, simple, and good." — Woods. This church was finished under the directions of Sca mozzi, who is beheved to have made some alterations in the design of Pal ladio. It contains several good pic tures : at the 1st altar on the rt. the Nativity, by J. Bassano : at the 3rd, Martyrdom of Saints ; at the 4th, the Virgin crowned ; both by Tintoretto. On the walls of the principal chapel, the Falling of the Manna and the Last Supper, by the same. The seats in the choir are beautifuUy executed in wood by Albert de Brule, a Fleming : they represent the story of St. Bene dict. A door on the rt. on entering the choir leads into a corridor where is a monument erected in 1637, from the design of "Longhena, to the memory of the Doge Domenieo Michele (died 1128). It was this doge who urged the Venetians to co-operate in the cru sade. According to some historians he refused- the kingdom of Jerusalem. : Santa I/uda: remarkable as being the last work designed by PaUadio. It was not erected until 1609: conse quently, after his death. Its archi tecture has much beauty. It contains some good paintings by Palma. San Trovaso, oirmore properly San Gervasio e San Protasio : a design of the PaUadian school, built in 1583. N. Italy— 1852. There are many pictures : the Annun ciation, by Palma, at the 4th altar on the rt. In the Chapel of the Holy Sacrament is a rich-sculptured altar- piece in the style of the Renaissance. Here is also the Last Supper, by Tin toretto. In the church of the SS. Apostoli, which was rebuUt in 1575, is a fine relic of an older buUding, the sepul chral chapel of the Cornaro famUy: fanciful Corinthian pillars, half fluted in the general way and half fluted spi- raUy, support it. Here is the tomb of Girolamo Cornaro, brother of Catherine ' Queen of Cyprus. This church con tains a dubious Paolo Veronese .- the Fall of the Manna. S. Maria Formosa. This church was buUt in the 14th, but entirely altered in the 17th century, according to the style of Sansovino. The weU- known event of the Brides of Venice who were carried off by the pirates of Istria took place in this church. The memory of the event was long kept ahve by an annual procession of Vene tian women on the eve of the Purifica tion, and by a solemn visit paid by the Doge to this church. It contains at the first altar on the rt. a master piece of J. Palma il vecchio — ¦ a pic ture in six compartments, with S. Bar bara in the centre. The Chiesa de' Tolentini "is perhaps one of the best works of Scamozzi. The front is a handsome portico of six Corinthian columns, but the leaves of the capital are uncut- — perhaps they have never been finished ; and an open ing in the middle of the pediment is disagreeable. The inside consists of a nave with three chapels on each side, a transept with a dome at the intersec tion, and a choir somewhat narrower than the nave, which is perhaps better than keeping it the full width: the proportions are good, but there is too much ornament." — Woods. The de sign of the facade was, however; altered by Andrea Tvrali, by whom the buUd ing was completed after the death of Scamozzi. In the first chapel on the rt. are two pictures on the side waUs, by Padovanino, representing actions 338 Route 26. — Venice — Churches. Sect. III. of St. Andrea AveUino. And on the side waUs of the 3rd chapel are Herod and the Daughter of Herodias, and the Beheading of John the Baptist, by Bonifazio. On the 1. hand in the principal chapel ia a curious monument to Francesco Morosini (died 1678), by Parodi, a pupU of Bernini. Sta. Maria della Salute : erected pursuant to a decrree of the senate in 1632, as a monument of thanksgiving after the cessation of the great pesti lence, in whieh 60,000 of the inhabitants are said to have died. " It is a great octagonal ohurch, or oratorio, erected under the direction of Baldassare Lon ghena. The outside is overloaded in aU parts with ornament, and this defect is not redeemed by any peculiar deli- cacy of sentiment in the distribution. IntemaUy, the dome is supported on eight pillars, the aisle continues aU round it, and there are eight receases, seven of which are chapels, and the eighth forms the entrance, The dis position produces a degree of intricacy without confusion ; that is, without rendering it at aU difficult to under stand the design, wliich is very favour able to the expression of richness and splendour, and presents some very pic turesque and even beautiful combina tions ; but the windows, disposed two on each side over the arches of the cen tral octagon, have a had effect, and it is at present much nvjured by the abominable whitewash with which the Venetians daub almost aU their churches," — Woods, The interior is splendidly decorated with many works of art of a high character, The Descent of the Holy Ghost, by Titian, at the third altar on the 1. hand, painted when the artist waB in the fuh vigour of his talent. Salviati, painted a portion of the vaulting of the choir, namely, the three large ovals. The eight smaUer ovals, representing the four evangehsts and four doctors of the Church, are by Titian in bis old age, and in whieh he has represented himself under the cha racter of St, Matthew. Before the high altar is a most splendid cande labrum of bronze, by Alessandro Bres- ciano : it is considered as second only to that of Padua. In the oratory is the tomb of Sansovino. The sacristy contains the Madonna deUa Salute, Padovanino. San Sebastian, by Ba- saiti. St. Mark, with four saints, by Titian, in his first manner. The Mar riage at Cana, by Tintoretto. The Last Supper, and Saul aiming his spear at David, by Salviati. The ceihng con tains 3 fine works by Titian, the Death of Abel, the Sacrifice of Abraham, and David conquering the Giant. The se minary adjoining the church contains the usual requisites for such establish ments. The library, formerly belonging to the Somaschi, a highly cultivated body of ecclesiastics, is remarkably good. A select coUection of cabinet pictures has been bequeathed to this institution by the Cavaliere Manfredini. The Chiesa de' Gesuiti, buUt by Rossi in 1728, ia an extraordinary spe cimen of the theatrical and luxurious- magnificence of the churches of this order. The waUs are tabled with carved marble inlaid with verd'-an- tique and other coloured marbles in flowers. The twisted columns of the altar are solid blocks of verd'-antique. The pavement within the altar-raUs is of verd'-antique and brocateUo. The roof is finely coloured. The sacristy contains four fine paintings by Palma Vecchio, and a smaU altar-piece by Palma Giovane: the ceiling is by Palma Vecchio, pleasing in the general effect, though of moderate execution. The Circumcision, by Tintoretto, is painted with great care. The Martyr dom of San Lorenzo, by Titian, has not quite his usual brilliancy. It has probably been retouched. Beneath a slab in front of the high altar is in terred Manin, the last of the long line of Venice's Doges. The inscription, "jEternitati Sum Manini Cineres," is singularly affecting. Manin, a weak and honest man, was unequal to the exigencies of the times he hved in, but not a traitor, and when required to take the oath of aUegiance to the Austrian Emperor he dropped senseless upon the ground, so poignantly did he feel his country's abjection and misfortunes. It was another Manin, a distant relative Austrian Dom. Route 26. — Venice — ChurcJies. 339 of the last successor of the proud Dandolos, Loredanos, and Loscaris, who at an interval of half a century (1848-49) so nobly endeavoured to recover for Venice the lost hberties so disgracefully bartered and sacrificed by Napoleon at Leoben and Campo Formio. ' Other Churches are : — Gli Scalzi, buUt in 1680, the pride of the Venetians for its richness — Longhena was the architect — abounds in fine, rare, and highly polished mar bles, and in gUding. It contains several Eaintings ; one is exquisite, behind the igh altar, a Madonna and ChUd, by Giovanni Bellino. St. Maria del Carmine, a fine church of the 14th centy., but the facade is modern. It has several good paintings, among whieh are, at the first altar on the rt. hand, the presentation of the infant Saviour to Simeon, by Tinto retto, and, at the third altar, the Na tivity, by Cima da Conegliano. SanNicolo, one of the oldest churches of Venice; rare marbles', and abund ance of ornament both in architecture and painting. ' San Pantaleone, buUt in 1684. In the second chapel on the rt. is St. Pantaleone healing a chUd, by P. Ve ronese ; and in a chapel to the 1. of the high altar, the Coronation of the Virgin, by Vivarini (1444), and a finely worked altar of the 15th centy. San Giovanni Crisostomo, by Tullio Lombardo, 1483. Paintings — Giovan' Bellino, St. Jerome with Saints. Se bastian del Piombo, St. Giovanni Cri sostomo and Saints. Vivarini, several paintings. A fine bas-rehef, by Tullio Lombardo, the Last Supper. In this the management of the perspective is very remarkable. Santo Stefano, 1325 ; with fine paintings and monuments. The toler ance which distinguished the repubhc is maintained by the Austrian govern ment ; and the different " riti"— a term employed as synonymous with sects — continue to enjoy the utmost freedom, notonlyinthe celebration of their public worship, but in the administration of their internal government, and the ma nagement of their several communities. Of these, the Greeks are stiU the most prominent. Their church, San Gior gio de' Greci, was buUt from the de signs of Sansovino. It is weU known that the Greeks do not admit of sculp ture in their sacred edifices. MedaUions of mosaic in the facade, and, within, paintings of which the ground is co vered with sUver plates, therefore con stitute the principal ornaments. The women are separated from the men, as in a synagogue, and the whole mode of chanting the prayers and cele brating the form of worship has much simUarity to that of the Jews. There are no seats, and the congregation stand during the whole of the service. " The outside of San Giorgio de' Greci is altogether bad. The inside is an oblong room, not, I think, very weU proportioned or weU decorated. Yet - Moschini appeals to the judgment of his predecessors in confirmation of his own, that it is the finest of Sansovino's works, full of ' majesty and magnifi cence, and as, on the score of elegance, the artist has here touched perfection, so, in point of solidity, he Beems to have erected a richly adorned castle.' It was thirty years in building, and ' the expense was defrayed entirely by subscription among the Greek inha bitants of Vendee, and those who fre quented that city. On the division wliich separates the sanctuary from the body of the church are some paintings coated with sUver, and hav ing crowns and other ornaments of gold attached to them, and leaving hardly anything visible but the heads. I was assured that the painting was complete beneath this covering, and that the parts which were figured in ' low rehef on the sUver plate corre sponded exactly with the drawings be hind it." — Woods. San Lazaro, the Armenian convent, stands out of the main eity, on its own island. It was founded about the be ginning of the last century by the Abbot Mechitar. The church and the conventual buildings are patterns of neatness and good order. Here, as is weU known, Lord Byron amused him- Q2 340 Route 26. — Venice — Saitoh. Sect. III. self by studying the Armenian lan guage ; and he has borne fuU testimony to the merits of its worthy inmates. The service, like that of the Greeks, is an Oriental liturgy; but the Arme nians acknowledge the supremacy of the pope, and are in communion with the church of Rome. They have an exceUent Ubrary, with a great number of curious Oriental manuscripts ; and the convent may be regarded as a species of metropoUs of Armenian literature. Many important works, such as the translation of Eusebius, have been printed here, besides the greater portion of the liturgical and other religious books for the use of their widely dispersed community. The Armenians are amongst the most respectable and opulent native mer chants at Calcutta, and they contribute liberaUy to the support of this national institution. A large bequest, amongst others, was made for the education of a certain number of chUdren here. The Scuole of Venice were institu tions of a very pecuhar nature, and of which the intent could scarcely be coUected from their name. They were asapeiations, compoaed principaUy of laymen, but acting by authority of the Church, and who effected most of the objects for wliich our modern bene volent and charitable institutions are founded. They were " Blanket and Cfothing Societies ;" " Societies for vi siting the Poor in their own Habita tions ;" "Mendicity Societies;" and provided services for boys, and dowries for maidens, of whom more than 1500 are said to have been annuaUy married by their aid. These rehgious frater nities, of which there were five, became very opulent by the private contribu tions, gifts, and legacies which were hbera-Uy bestowed upon them. The buUdings in which they assembled are amongst the most remarkable monu ments of ancient Venice ; not of the government, but of the people ; for the foundations were in the strictest sense voluntary and private. Of these buUdings, perhaps the Scuola di San Marco (which stands close to, and at right angles with, the church of St. Giovanni e Paolo) is the most Btriking,- for the external archi tecture of its elevation is singularly fanciful and elegant; Byzantine rich ness blending itself with classical archi tecture. Martina Lombardo, the ar chitect, has in this building so much surpassed his former productions, that it is conjectured that he was helped by Frate Francesco Colonna, the author of the celebrated 'Sogno di Polifilo,' a book in whieh a great number of very singular and beautiful designs are introduced ; and who hved in the ad joining monastery. The present buUd ing was erected soon after 1485, when its predecessor was destroyed by fire. There is much fine work in the inte rior, particularly in the carvings of the ceilings. The structure is now a por tion of an hospital, formed also out of the adjoining convents of the Domini cans, and of the mendicant Franciscan Friars. Scuola di San Rocco. This was be gun in 1517. It has been attributed to Sansovino, but is now usuaUy given to Pietro Lombardo and Serlio. How ever, during the space of more than 20 years, which elapsed before the buUding was completed, Mastro B. Buono, Santo Lombardo, Scarpagnino, and Sanso vino, were aU consulted, and contributed somewhat towards the design. The principal front towards the " Campo" is by Scarpagnino. " It is of 2 orders, each of 6 entire columns, round which the entablature breaks. The windows are arched, and in pairs ; each pair is placed in an arched recess in the lower story, and crowned with a pediment in the upper. It is more singular than beautiful. Buono' s style is more simple,. and that of the Lombardi would pro bably be better than the one adopted, for they had some taste and feeling in their way, though it too often happens that their houses are monuments, and, their monuments gingerbread." — TV ods. The fraternity, in 1560, be came the patrons of Tintoretto, who continued to paint here during 18 years. The lower Sala is a magnificent haU, the walla of whieh are covered by his paintings. The best are the Annuneia; Austrian Dom. Route 26. — Venice — Accademia — Paintings. 341' tion, and the Slaughter of the Inno cents. On the staircase, the Visitation, also by Tintoretto; the Annunciation, by Titian. The upper Sala is alao fiUed with paintings by Tintoretto, of which the Miracle of the Loaves and Fishes, the Last Supper, and the Resurrection, may be particularly distinguished for their richnesa of grouping and inven tion. The picture at the altar repre sents S. Rocco in glory ; the statues at the side, St. John the Baptist and S. Sebastian, are by G . Campagna. Round this Sala are sculptures in wood ; those on the side opposite to the altar are by Michael Angelo. The ceUing is very fine. The compartments, which are all by Tintoretto, contain subjects from the Old Testament. Over the doorway of the Sala dell' Albergo, so oaUed because here the fraternity received their guests, is the portrait of Tintoretto, by him self, painted in 1572. Within is the Crucifixion, considered, on the whole, to be his chef-oV oe/uvre, showing great powers of invention and composition, but exceedingly injured, owing to the dUapidated state of the buildings ; and several other subjects, including the 6 fraternities of Venice. The Church con tains many paintings by Tintoretto. On the rt.-hand side of the nave are, the Annunciation, the Pool of Bethesda, and St. Rocco in the Desert : and in the principal chapel are 4 great pic tures. — Titian, our Lord dragged along by an executioner, much injured. On the 1. side of the nave, — Pordenone, St. Martin and St. Christopher. — Mosca, statues of St. Sebastian and Pantaleone. Accademia delle Belle Arte. The building in which the Academy is lo cated is the ancient Convento della Ca pita, and it was one of those upon which PaUadio bestowed the greatest ^ study ; we have besides the advantage of his own explanation of his designs, he having published an account of it in his architecture. He intended that the habitable portion of the convent should represent a Roman mansion, at least according to the idea which, Pompeu being then undiscovered, he was enabled to form of such structures : but it has sustained many misfortunes. The larger part was burnt down in 1650. The French turned it into barracks; and though the present appropriation of the buUding was intended to preserve it from further degradation, still, to adapt it, several alterations were needed, by which what was left of the original plan and design has been much altered and impaired. Many of the riches of the Venetian school of paint ing are here deposited, together with other fine specimens, of which the fol lowing are the principal. In the room numbered I., and caUed Sala delle publiche Funzioni : — No. 1. The Assumptionof the Yirgm,by Titian : blackened by candles and incense ; it formed the altar-piece in the church of the Frari. Count Cicognara, suspecting its value, had himself drawn up to it, cleaned a small portion, and, having ob tained it from the priests of the church, in exchange for a new and bright paint ing, placed it in this gaUery. " In this picture Titian has employed the whole power of his palette, from its brightest and purest hght to its richest and" deepest tone. The composition divides itself into 3 compartments of unequal Bize ; the largest in the centre, where is the subject of it, the Blessed Virgin. Her action is grand and devout, her character maternal, the arrangement of her drapery such as to produce a full and fine form. It is a glorious work, itB power of colours is immense : far beyond that even of any other picture of Titian that I have seen, and it is painted with great bravura. I wish I could say more of its sentiment, ' but that is a quahty to- which it can lay but little claim." — Phillips, R.A. — 2. Adam and Eve taking the forbidden Fruit, Tintoretto. — 3. St. Jerome, St. Mar-. garet. — 4. St. Mark. — 5. St. Bruno and St. Catherine. — 6. St. Barnabas and St. Silvester, Bonifaziq. These are pictures of great ability. — 7. St. Francis re ceiving the Stigmata, and other Saints, by Conegliano, a dignified and exceUent specimen of the master ; as also 10. — 8. The Calling of the Sons of Zebedee, Marco Basaiti, a master in whom a sim ple dignity and severity is united with a beautiful and powerful colouring. He 342 Route 26. — Venice — Accademia — Paintings. Sect. III. appears to have been in close alliance with Vivarini, a large altar-piece in the Frari having been begun by Vivarini and finished by Basaiti. His pictures in this coUection are beautiful but severe. — 9. The Presentation of our Lord in the Temple, Carpaecio, taken from the church of St. Job, considered as the chef-oV oyuvre of this artist, " who is, properly speaking, the historical painter of the elder Venetian school." — 11. The Raising of Lazarus, Bas sano, finely grouped and rich in colour, — 12. St. Lawrence and other Saints. Pordenone ; considered the chef-aVceuvre of this artist : the figures of St. John the Baptist and St. Augustine are very fine, pure in design, and fuU of life and vigour in colouring. — 13. The Holy FamUy, with many Saints, and 3 Angels playing on musical instruments, by Giovanni Bellino. — 17. Portrait of a Doge, Contarini, an imitator of Michael Angelo, though of the Venetian school, 3 by Bonifazio. — 15. Our Lord sur rounded by Saints, with an Angel tuning a Lute. — 16. The Supper of Dives. In this latter large and fine pic ture, the groups of musicians, who, ac cording to a pleasing custom of the Venetians, are never absent from such festivals, are particularly attractive from the truth of character and Ufe of the heads. — 18. St. James and St. Do minic— 20 and 22. The Prophet Eze- kiel and the Prophet Isaiah, in chiar'- oscuro, by Paul Veronese. — 21. The Venetian Slave deUvered by St. Mark, Tintoretto ; one of the wonders of this school of painting. All is motion, ani mation, and energy. " It is certainly by far the finest work I have seen of Tintoretto. If it lacks the sober manly judgment of Titian, it has extraordinary brilliancy of imagination to compen sate, and a more perfect and clearer hue than any picture I have seen of this school."— Phillips, R.A.— 23. The Marriage at Cana, Padovanino, an art ist of the Venetian school in the 17th centy., not remarkable for grand or noble conception, but for an agreeable softness of execution in his heads. This is considered his chief work : it is rich, elegant, and animated. — 24 and 25. Portraits of a Dominican Monk, and of a Doge, Leandro Bassano. — 26 and 27. St. Francis of Assisi and St. Paul, and the Woman taken in Adultery, Bonifazio. — 29. The Virgin on a Throne, P. Veronese, with many Saints surrounding her, was, hke many of its neighbours, judged worthy of being transported to Paris.- — 31. The Fisher man presenting to the Doge the ring, which, having risked his boat when the Saint stilled the tempest; he had re ceived from St. Mark. (See the story told below, Sala Seeunda nuova.) Paris Bordone, his chef-d'oeuvre. This picture is rich in figures, and the com position and architectural arrangements are most pleasing. The harmonious and beautiful tones of this artist's colouring charm, however wanting he may be in the depth and force of his more power ful companions. — 32. Our Lord bearing his Ctosb, Carlo Caliari, son of Paul Veronese ; and 34. The Last Supper, by Benedetto Caliari, his brother. — 35. The Assumption of the Virgin, Palma Vecchio. (The upper part of the pic ture is unfinished.) Sala delle Antiche Pittwre, marked IV. — 1. The Virgin and Saints, Bar tolomeo Vivarini. This artist flourished about 1463 : his works have great sharpness and severity of drawing, and withal considerable ability and often a marked dignity. ¦ — 2. Altar-piece of many compartments, Michele Mattei di Bologna (about 1469).— 3. The Sa viour and four Saints, Michele Giam- bono (died about 1450). — 5. Another altar-piece in several compartments, the Coronation of the Virgin in the centre, by Lorenzo Veneziano, dated 1357.— 4, 6, 7. St. James, St. Anthony, and the Saviour dead, Marco Basaiti. — 8. Coronation of the Virgin, Gio vanni and Antonio di Murana.-^- 10 and 12. St. Augustin and St. Jerome," Vincenzo Catena. The influence of Vivarini on this artist's style is per ceptible.— 14, 16, 17-20. St. Matthew and other Saints, by Luigi Vivarini the younger, who flourished at the close of the 15th centy. " He has much of the feeling and colouring of Carpaecio," L. G. — 15. An altar-piece Austrian Dom. Route 26. — Venice — Accademia — Paintings. 343 of many compartments, by Nicolo Se- mitecolo. The centre compartment, representing the Coronation of the Virgin, is a work of a later artist. Semitecolo hved about the middle of the 14th centy. — 22. The Virgin and two Saints, Giacobello del Fiore, dated 1436 ; chiefly interesting as a specimen of a rare artist. — 23. The Virgin en throned, under a canopy supported by Angels, with the four Doctors of the Church by her side, Gio. and Antonio di Murano. This large picture, dated 1446, is curious. The Sale delle Statue, numbered Xi, XI., XII., contain a good coUection of casts of ancient and modern statues and bas-reUefs, including many by Canova. . Several rooms contain works of httle interest : of these, many are inferior Flemish pictures, many by unknown artistB : most are gifts, and of recent acquisition. But observe the foUow ing:-^ Pinacoteca Contarini, Sala mag- giore, marked VI. Virgin (half-figure) and ChUd, Gio. Bellini. — Virgin and ChUd, with "four Saints, Cima da Cone- gliano. — Virgin and Child with St. Peter, St. John Baptist, SS. »Catherine and Rosa, Boccaccino Cremonese. In the Corridor, marked VIII. — Two pictures representing aUegories of Fortune ; and a third, Bacchus in his Car, Gio. Bellini. Galleria Palladiana, marked XlIL —26. The Head of an Old Woman, be heved to be the portrait of his mother, by Titian ; very fine. — 29. Portrait of a man of letters, Moroni.— 45. Portrait of Jacopo Soranzo, by Titian, formerly in the, Procuratie Nuove. — 58. The Virgin and ChUd, with Saints, Giro lamo Santa Croce, known particularly by bis cabinet pictures, with small pleasing figures. At a later period this artist foUowed the modern manner of Titian, • without, however, particu larly distinguishing himself in it. This is amongst the best pictures of the latter kind.— 76. The Addolorata, An- tonello da Messina. About the middle of the 15th centy. this artist repaired to the Netherlands, and there, as it is said, learned Van Eyck's secret in the preparation and use of oU colours, whieh knowledge he spread amongst the Venetians. This picture is a good specimen of AntoneUo's later time. Prima Nuova Sala, marked XIX. — 2 and 11 are portraits of noble Vene tians, Tintoretto. — 6! Another Venetian portrait, Giorgione. — 10. A similar Bubject, by Contarini, and, 14. The same, by Bassano, have aU great in' teresti— 18-22 and 43, 45, and 46. The pictures representing the History of St. Ursula and her 11,000 Virgins, by Carpaecio, are particularly worthy of attention : they were in the school of St. Ursula, and are good samples of this master, who loves to fill Up the backgrounds of his pictures with land scape and architecture, and t9 intro duce the daUy hfe of Venetians of his time in the greatest variety. This has been engraved by G. and F, Calin- berti. — 25. The Presentation of the Virgin in the Temple, Titian; very fine. " It has freedom in its execution, and beauty in various combinations of its partB. It is exceedingly Slight in its execution, but many of the heads have a great deal of character — indeed, are evidently portraits." T, P. — 28i Christ giving the Crown of Thorns to St. Catherine, while one of gold, re- served for her in Heaven, is shown her in exchange, Bissolo ; a beautiful pic j ture, with many figures of Saint) around. Bissolo was one of the mosj distinguished artists of the school <«f Giovanni Bellini. — 29. Procession a/d Miraculous Cure in the Piazza di Jgan Marco, by Gentile Bellini; verfl teresting, as showing the state fi the piazza in the year 1496, when me pic ture was painted, and the costume of the period exhibited in many animated figures. Gentile had greats delicacy and grace, but he wanted the vigour of his younger brother, Giovanni — 54. By the same artist, and the companion picture, is equally deserving of atten tion. — 36. The Annunciation, Martin da Udme; a picture of tranquU and noble beauty, by this rare master. — 37. Our Lord between St. Roch and St. Sebastian, Bartolomeo Montagna; an unpleasant dryness of manner is 344 Route 26. — Venice — Accademia. Sect. III. united to a dignity of conception in this artist. — 44. The Deposition of our Lord from the Cross, Lazzaro Sebas- tiani, the scholar of Carpaecio. — 51. Miraculous Appearance of the Holy Cross to Antonio Riccio, Lazzaro Se- bastiani, whose works resemble those of GentUe Bellini. — 52. Miracle of the Holy Cross, Giovanni Mansueti. Like Sebastiani, Mansueti was a scholar of Carpaecio, and his works also chiefly relate to the miracles supposed to have been wrought by means of the Cross. — 54. G. Bellini, the Recovery of the Cross dropped into the Canal near San Lorenzo ; a very curious picture on account of the portraits which it contains, as weU as for the costume of the figures, much of which is uncouth and ungraceful, but, without doubt, true. There is hardly any Ught and shade. Sala Seconda, marked XX. — 2. Rocco Marconi, Deposition from the Cross, with two Saints. — 4. Tintoretto, the Assumption. — 11. The Supper of Chriat in the houae of Levi, painted 1573. " Full of power and life." L. G. —12. St. Matthew and St. Mark, P. Veronese. — 21. Death on the Pale Horse; and 22. The Guardian Angel, Palma the younger. — 23. Titian, St. John in the Desert ; a noble and vigo rously drawn figure. " A figure of i common nature in form and action, j\with a head of fine character, and ma- estic and commanding countenance. tmhe style is of his best manner, and In li colour of his richest and clearest. of mhe background are the mountains landseis own Cadore, and a beautiful mmeiatiape below." T. P. — 25. The An- gin in ttion, P. Veronese. — 26. The Vir- of the ea&lory, Padovanino. — 27. One Meeting arhest paintings of Titian, the 30, his lastf Mary and Elizabeth ; and position fronV unfinished work, the De- curious pictuiV the Cross. — 29 is a very principal works by Giorgone, one of the existing of thiB \ of imagination now § xcvi.) It exhibVainter. (See Kugler, and masterly drawhits glowing colouring The subject of tluvig so characteristic of\s picture is a story >dhe superstitious age in which it was beheved, and so often referred to in the works of art at Venice, that we shah give it here. It is a legend recorded by more than one authentic chronicler, and beheved sufficiently to give birth to a pubhc religious ceremony. " In the year 1341 an inundation of many days' conti nuance had raised the water three cubits higher than it had ever before been seen in Venice, and during a stormy night, while the flood appeared to be stUl increasing, a poor old fisher man sought what refuge he could find by mooring his crazy bark close to the Riva di San Marco. The storm was yet raging, when a person approached and offered him a good fare if he would but ferry him over to San Giorgio Maggiore. ' Who,' said the fisherman, ' can reach San Giorgio on such a night as this ? Heaven forbid that I should try ! ' But as the stranger ear nestly persisted in his request and pro mised to guard him from harm, he at laBt consented. The passenger landed, and, having desired the boatman to wait a httle, returned with a compa nion, and ordered him to row to San Nicolo di Lido/ The astonished fisher man again refused, tUl he was pre vaUed upon by a further confident assurance of safety and exceUent pay. At San Nicolo they picked up a third person, and then instructed the boatman to proceed to the Two Castles at Lido. Though the waves ran fearfully high, the old man by this time had become accustomed to them, and, moreover, there was something about his mys terious crew which either sUenced his fears or diverted them from the tempest to his companions. Scarcely had they gained the strait when they saw a gaUey rather flying than sailing along the Adriatic, manned (if we may so say) with devUs, who seemed hurrying, with fierce and threatening gestures, to sink Venice in the deep. The sea, which had hitherto been furiously agitated, in a moment became unruffled, and the strangers, crossing themselves, conjured the fiends to depart. At the word the demoniacal gaUey vanished, and the three passengers were quietly landed Austrian Dom. Route 26. — Venice — Theatres. 345 at the spots at which each respectively had been taken up. The boatman, it seems, was not quite easy about- his fare, and, before parting, he implied pretty clearly that the sight of this miracle, after aU, would be but bad pay. ' You are right, my friend,' said the firBt passenger, 'go to the Doge and the Procuratori, and assure them that, but for us three, Venice would have been drowned. I am St. Mark, my two comrades are St. George and St. Nicholas. Desire the magistrates to pay you; and add, that aU this trouble has arisen from a schoolmaster at San Felice, who first bargained with the DevU for his soul, and then hanged himself in despair.' The fisherman, who seems to have had all his wits about him, answered that he might teU that story, but he much doubted whe ther he should be beheved: upon which St. Mark pulled from his finger a gold ring, worth about five ducats, saying, 'Show them this ring, and bid them look for it in my Treasury, whence it wiU be found missing.' On the morrow the fisherman did as he was told. (See Palis Bordone's masterpiece in the first room, 31.) The ring was discovered to be absent from its usual custody, and the fortunate boatman not only received his fare, but an annual pension to boot. Moreover, a solemn proces sion and thanksgiving were appointed, in gratitude to the three holy corpses wliich had rescued from such calamity the land affording them burial." — Ven. Hist. The Bosd collection belonging to this Academy contains many and beau tiful drawings by Raphael, Michael Angela, Leonardi da Vmd, and others, with some good bronzes and sculp tures. The Sala delle Radunanze Accade- miche, or room in which the Academy holds its meetings, is a noble apart ment, painted by Titian. It contains some very curious specimens of ancient sculpture, coUected by Cicognara from various demolished churcheB. Over the chair of the president is a vase of porphyry, containing the right hand of Canova, with his chisel above. The preservation of the latter rehc has been dictated by that feeUng which has pre served the telescope of Newton, the inkstand of Ariosto, the sword of Fre deric, and the palette of Wilkie ; but the former seems strange to those who have not acquired a habit of venerating the fragments of Saints. The Pmacoteca Manfredini is depo sited in the buUdings of the Ecclesias tical Seminary (see p. 338), to which establishment it was bequeathed by its late owner. It contains some fine sketches by Correggio for the Duomo of Parma, and some other tolerably good pieces. The cloister of the Semi nary is entirely filled with monuments and inscriptions saved from demolished churches. House of Titian. According to Mrs. Jameson the direction by which this may be found, though with difficulty, is, "NeUa contrada di S. Cancino, in luogo appeUato Birigrande, nel campo Rotto, sopra la palude o Canale ch' e in faccia all' isola di Murano, dove ora stanno innalzate le Fondamenta nuove." For details, however, the traveUer must be referred to that lady's, interesting account. Theatres. The principal theatre is la Fenice, originaUy buUt in 1791. The whole of the interior was burnt in De cember 1836, but was restored by May 1837. It is a handsome theatre and of a good size. It is open during the carnival season, i. e. during the winter, and sometimes in the spring, for the performance of operas and ballets. The office for places is, during the day,' situated about the middle of the Pro curatie vecchie. It wiU be discovered by the playbills stuck up before it. The price of admission is 3 zwanzigers. The next theatre after the Fenice is the Teatro Gallo, so caUed from the name of its proprietor, but also known by the name of Teatro San Benedetto. In autumn, winter, and spring, an opera company, usuaUy second-rate, perform at this theatre. When the Fenice is shut the performances are rather better. It wiU contain about a thou sand spectators, is not inelegant, but is unfavourable for hearing. 1«rf .1 2S?«8*3Tr An interesting excursion may be made to AquUeja either from Montefal cone or Palma Nova, the former 15, the latter 10£ m. distant from it. From Palma Nova the road passes through Strasoldo (3 m.), Cervigna (2£ m.), Terzo (2 m.), AquUeja (3 m.). Aqui- leia was in ancient times one of the most important provincial cities of Rome, and one of its strongest frontier fortresses, the chief bulwark of Italy towards the N.E. Augustus often resided at it, and its population was then estimated at 100,000 souls. It was taken by Attila in 452, and reduced to ashes by that ferocious barbarian, who caused it to be razed to the ground. It contains at present about 150 houses, and 1500 Inhab. Its climate is pestilential at certain seasons from the marshes in the midst of which it is situated. The Duomo, buUt between 1019-42, is a splendid architectural monument of the middle ages, histori- caUy remarkable as the metropohtan church of the Patriarch of AquUeja, whose stone throne, in wliich he was instaUed, is still preserved behind the altar. The crypt is very curious. Among the remains of antiquity are fragments of the palace of the Patriarch Poppo, who buUt the cathedral and a detached tower of sandstone. The Roman remains in the neighbourhood are very abundant ; excavations are going on, and a local museum contains what has been recovered. ( 355 ) SECTION IV. DUCHIES OF PARMA AND PIACENZA. Routes. EOUTE PAGE 34. Piacenza to Parma . . . 356 35. Cremona to Parma, by Casal Maggiore and Colorno . 377 (Turin to Piacenza, 25 posts, Rte. 6.) ROUTE PAGE 36. Parma to Mantua, by Guast- alia 378 37. Parma to Lucca, by Fornuovo and Pontremoli .... 379 (Milan to Piacenza, 8i posts, Rte. 22.) PRELIMINARY INFORMATION. § 1. Government. These two dismemberments of ancient Lombardy, which were bestowed by Pope Paul III. on his son Pier Luigi Parnese, remained in the possession of his descendants untU the extinction of the male branch of that celebrated family in 1731, when they devolved to the Spanish branch of the House of Bourbon, in virtue of the inheritance of Elizabeth Farnese, the daughter of the last duke of that family, who had married Philip V. of Spain. This transfer was confirmed by the treaty of Aix-la-ChapeUe ; at the breaking out of the wars of the French Revolution these duchies were governed by Ferdinand the grandson of Eliza beth, and were invaded by Bonaparte in 1796. From that period they may be considered as dependencies of France, forming one of the Departments of the Regno d'ltalia, that of the Taro. On the faU of Napoleon, Parma and Piacenza, to which Guastalla had been annexed, were made over to the Empress Maria Louisa for her lifetime by the Allied Powers at the congress of Vienna, and afterwards to revert to the descendants of the last dukes of the House of Bourbon, to whom in the mean time the duchy of Lucca had been given in compensation. On the death of Maria Louisa, in December, 1847, Duke Charles II. of Bourbon became Duke of Parma and Piacenza; but, having abdicated in favour of his son the year foUowing, the present Duke Charles III. commenced his reign on the 27th August, 1849. In the event of faUure of male issue in the reigning famUy, the duchy of Parma Proper is to revert to Austria, and that of Piacenza to the Crown of Sardinia. The sovereignty of Parma now embraces the former duchy of that name, the duchy of Piacenza, and the district of Pontremoli, ceded to it by Tuscany on the sovereign of the latter country coming into possession of the duchy of Lucca. GuastaUa, which formed a part of the possessions held by Maria Louisa, has been transferred to Modena. The laws and coins of the united duchy are French ; and the tone of the httle court, from the long reign of the ex-French Empress, is equaUy GaUican, with a strong admixture of Austrian. § 2. Nature op the Country. — Inhabitants. — Produce. Parma, as a government, comprises the two small duchies of Parma and Pia cenza, and the province of Lunigiana, with a population in 1850 of 494,790 356 Route Z-k.—Piaaensa'to Parma. Sect. IV. souls. It is of a triangular shape, having the Po on the N. for its boundary, and the Apennines on the S. The portion of the plain of Lombardy wliich is comprised within Parma is watered by numerous canals, and is remarkably fertile. The mountainous districts are dry and rooky, but afford pasturage. The metayer system prevails ; the engagements are not, however, free between the landlord and tenant ; the administration favours and protects the latter, in order that he may not be forced to accept unfavourable terms, the landlord having only power to demand from the tenant to a specified extent delineated by the law. Pasturage is extensively foUowed. The farms are small, and the mode of cultivation is not in an advanced state, except in the plain country. Many of the inhabitants of the mountain districts leave then homes annuaUy to seek for employment during the agricultural season in Lombardy and Tus cany, and return with the money earned to maintain themselves and their families ; others, for a much longer period, as itinerant musicians, &c. Most of those Italians with organs, &c, whom we see about our streetB, come from the districts of Parma and Modena bordering on the Apennines. Whenever we find this migration to seek for employment abroad, the people may generaUy be considered as not in a favourable condition in their own country. This applies equally to the Irish and the Westphalian peasant ; the one leaves his country for England, the other for the Netherlands, during harvest-time. The trade of Parma is limited to the importation, chiefly through Genoa, of colonial produce for its consumption, British and other foreign manufactures, and articles of luxury, such as dress and ornaments. The exports consist chiefly of cattle, hogs, sausagea, and cheese, some silk, and a good deal of wine to the districts beyond the Po. § 3. Money and Posting. The coin struck by Maria Louisa is very beautiful, and, as before observed, is simUaV to the French in value, differing only in the impression. The old Ura of Parma is still in circulation ; 97 of these are equivalent to 20 francs ; but in ordinary dealing 5 lire of Parma are equal to a franc, a lira being thus 4 soldi. The Austrian coinage is current. The Tuscan paul passes for 12 soldi. The posting regulations are the same as in Austrian Lombardy. The passport must be vised by the Austrian diplomatic authorities, and that is sufficient. ROUTE 34. PIACE'SZA TO PABMA. (5 posts.) Piacenza (Inns .- Albergo di San Marco, known also under the name of Leone aV Oro, as St. Mark is repre sented by his winged hon ; the best, and tolerable : on the ground-floor of this inn is a strange coUection of old paintings, but of no merit. Albergo d'ltaUa. La Croce Bianca). Piacenza la Fedele, founded by the Boian Gauls, received, it is said, from the Romans the name of Placentia, on account of its pleasing situation. It was one of the towns which revived the soonest after the invasions of the northern barbarians, and obtained an early share of the commerce which in the middle ages enriched the Italian towns. In the 10th century the fair of Placentia was the principal mart of the peninsula. The city now contains about 32,000 Inhab., a number which is not by any means in proportion to the ground covered by its circuit.' Once a most opulent and%plendid' city, it now has a deserted aspect. The fortifications, even if in good repair, would not protect the city in modern warfare. Parma. Route 34. — Piacenza — Piazza de' Cavalli. 357 The most busy part of Piacenza is in the neighbourhood of the Piazza de' Cavalli, so called from the bronze statues of the two dukes, Alessandro and his son Ranucdo Farnese, which stand at either end of the terrace, in front of the Palazzo del Commune, or Palazzo Publico. " This buUding was erected by the merchants of Piacenza, and was begun in 1281. The lower part is of stone, and in the pointed style ; the upper half is in the round style, and of brick, with terra cotta mouldings and ornaments. This buUd ing is one of the many instances which prove that the Saracenic style, finding its way through Venice, had in the middle ages a partial influence upon the architecture of Italy. The windows and the forked battlements of this buUding are in a Saracenic manner, and the Saracenic passion for variety appears in the dissimilarity of its parts, for the windows of the front are varied, and the two ends of the buUding are purposely made unlike each other. It is a noble building, in spite of its ano malies and mixture of different styles and materials." — G. Knight. The statues were designed by Fran cesco Mocchi, a scholar of Giovanni di Bologna, and oast by Marcello, a Roman artist. They were decreed by the city on the occasion of the pubhc entrance into Piacenza of Margherita Aldobrandini, the wife of Ranuccio, and were executed at its expense, at a cost, exclusive of the pedestals, of 44,107 Roman soudi, then equivalent to about 7200Z., but at the present period to a much larger sum. The statue of Ranuccio was erected in 1620, that of Alessandro in 1624. Ranuccio is in an attitude of command ; Alessandro is reining in his steed. The rider has puUed up the horse ; but the speed with which they have been proceeding is seen by the flutter of his drapery and the housings and mane aU carried out by the wind. " These statues ob tained for Mocchi a wide reputation at the time, and must be aUowed a place amongst the great works in bronze; but Cicognara observes that Mocchi was carried away by the passion for singularity which turned the heads of so many artists in the 17th century. In consequence, there is too much flutter both in the horses and in the men ; and the statues possess neither the repose nor the simplicity which constitute the truly beautiful in art." — G. Knight. These colossal statues, instead of being formed of several pieces, are east at one jet. There are perhaps no other examples of groups of equal size thus cast. The traveUer here first becomes ac quainted with the countenances of the Farnese famUy, whose elevation so deeply tarnishes the Papal tiara. Ales sandro, who succeeded to his father Ottavio in 1586, and died 1592, is the " Prince of Parma " whose name was so famUiar in England in the reign of Elizabeth, as, for example, in the famous old baUad on the " Armada :" — Their men were voung, munition strong, And, to do lis more harm a, They thought it meet to join their fleet All with the Prince of Parma, All with the Prince of Parma. He was bold and enterprising. Governor of the Low Countries, he served PhUip wisely and prudently ; and, as a general, was lesB sanguinary than the other captains of his age. He died in 1592 at Arras, in conse quence of the wounds which he had received at the siege of Rouen, his services having been transferred to France for the purpose of assisting the party of the League. The bas-rehefs upon the pedestal represent the taking of Antwerp (1585), and the raising of the blockade of Paris (1591). The Prince of Parma had been despatched- by Philip to assist the party- of the League ; and this achievement was fol lowed not long afterwards by Ales- sandro's retreat. Alessandro was suc ceeded by his son Ranuccio. Gloomy, suspicious, covetous, and mercUess, Ranuccio was constantly in dread of the vengeance of the nobUity, whom he insulted and oppressed ; and a sup posed conspiracy enabled him, in 1612, to wreak his vengeance. On the 19th May in that year a scaffold was raised against the windows of the Farnese 358 Route 34. — Piacenza — The Duomo. Sect. IV. palace ; and Barbara San Vitali, Coun tess of Colorno, was brought forth, shown to the people, and beheaded ; she was foUowed by the noble Pio ToreUi — bis head feU also ; San Vitali, Marquis of Sala, succeeded, and four others of the chief famUies. The exe cution lasted four hours, the duke looking on with grim delight. He wished to extirpate the families ; and we dare not repeat the treatment in flicted upon the children of San Vitali. The son and nephew of ToreUi escaped ; and the latter, taking refuge in Poland, and having married the heiress of the fanhly of Poniatowski, became the an cestor of the last unfortunate King of Poland. The Duomo stands at the end of the long, narrow " Contrada dritta," which proceeds in a straight Une from the Piazza. Though not of remote date, having been consecrated by Pope Inno cent II. in 1132, it is, excepting some interpolations of the 15th century, in an ancient Lombard style. The porches are curious. In the archivolt are sculptured various figures, emblema tical of the heavens and elements ; amongst them are the twelve signs of the zodiac; the sun and the moon: Btars, planets, and comets, and winds The pUlars of the portals stand upon combinations of crouching figures, together with the usual Uons, and the whole exterior is fuU of curious details. A window in the apse is remarkable, the moulding of the archivolt standing free from the waU, with which it is connected by four grotesque heads. The interior is in a Lombard ' style, with wide spreading arches rising from massy columns, with bold plain capi tals : over the crown of each arch a statue is let into the wall and on most of the pUlars are smaU tablets, repre senting workmen of various descrip tions, a wheelwright, a carpenter, a smith, and many others, denoting the Crafts who contributed to the expense of erecting the buUding. The choir retains its stalls of rich intardatura ; massy, bossed choir-books ; and its twenty-four canons, who, with dimi nished means, stUl retain their station in the cathedral. The paintings are of a superior order. Six of the eight sides of the cupola are painted in fresco by Guercino; two, namely, the E. and N.E. compartments, supposing the church to stand exactly E. and W., are by Morazzone. A nearer view of them may be obtained from the colonnade which runs round the top of the drum, but the ledge is rather narrow, and has no hand-raU. The subjects are : — four Prophets, four Sibyls, choirs of Angels, and Bibhcal subjects. " Guercino gives at all times too picturesque a character to his sub jects to attain much elevation, but here he has, to a certain extent, risen above this. Theae frescoes have been injured in a peculiar manner, — birds getting into the dome have flown against and scratched them." — C. Wil son. " The Guercino frescoes are very remarkable for their great power in colour and skUl in execution of fresco on a large scale, and have less of the heaviness usuaUy pervading the works of this master. At the great distance from which they must be seen from the floor of the cathedral, they are quite satisfactory, and fine specimens of interior decoration." — C. W. C. Lower down are figures of Charity, Truth, Chastity, and Humility, by Franchini. " In the tribune are frescoes by Agostino and Ludovico Ca- racd, full of academic power and skiU, showing great knowledge of the human form and much grandeur of contour ; the colours are distemperhke, but in as perfect preservation as if but just done. In the apsis is the Ascension of the Madonna, encircled by Angels, by Agostino Caracd ; in preservation, and execution of its kind, quite complete, and full of skill ; and in the arch above this are colossal figures of angels, grand but academic in treatment. Three of the four compartments in the vaulting above the high altar are by Ludovico Caracd, simUar in design and treatment." — C. W. C. The sub jects are — the Souls of the Just in Hades, and the Angelic Hierarchies. The fourth compartment is by Camillo Procacdni; the subject, the Assump- Parma. Route 34. — Piacenza — Churches. 359 tion of the Virgin. By the same artist are the Visitation and the Descent of the Holy Ghost, on the S. waU of the chancel above the arches. By Andrea Sirani is a strange painting of the 10,000 crucified Martyrs. Accord ing to the legend they consisted of an army of 9000 Roman soldiers, com manded by Primicerius and Helias, who were miraculously converted to Christianity, and of 1000 more of the troops sent against them who foUowed their example. Their persecutors were the Emperors Hadrian and " Anto- nius," and the crucifixion took place by the advice of Xing Sapor. In a chapel at the end of the N. aisle is a picture, which has become very black, of St. Martin and the Beggar, by Lu dovico Caracd. By Fiamenghino, a St. Francis, and a Resurrection. Over the doorway is a Gothic tablet, or rather series of tablets, fuU of details. The Scurolo is Uke that at Parma, a oomplete and weU-lighted church, with transepts and choir, and numerous columns with varied capitals. To the Campanile, a plain brick tower of about 200 ft. in height, is affixed a large projecting cage of iron, put up by Ludovico U Moro in 1495, and, as the tradition goes, for the pur pose of exposing state prisoners to the gaze of the multitude. - The Church of San Francesco Grande, near the Piazza de' CavaUi, was built by the Fraciscans in 1278. The exterior is partly in the Roman esque style ; in the interior it exhibits a Gothic style^ The Altar is richly plated with sUver. The Cupola of the Altar of the Conception is weU painted in fresco7 by Malosso. Church of Sant Antonino, the ori ginal Cathedral of Piacenza, founded A. D. 324, as it is said upon the Bpot where St. Barnabas preached to the people, rebuUt in 903, and again 1104, and much altered and added to at various subsequent periods, lastly in 1562, so that only one portion of its mediaeval architecture now remains, namely, the curious entry called "II Paradiso." The Sanctuary and, Choir are painted by Camillo Gavassetti of Modena, who died in 1628, at a very early age, and few of whose paintings are found except in his native city; These pictures are principally subjects from the Apocalypse, and were admired and studied by Guercmo. The draw ing is exaggerated and mannered. Ga vassetti is one of the numerous artists who, having painted but httle in oil, are little known. An ancient painting upon wood of the 14th centy. should ako be noticed as curious ; it repre sents the incidents from the hfe of the patron saint. Church of San Savino, founded in 903, and rebuUt in the 15th centy. The crypt is probably as old as the 10th centy. : the pavement is tessel lated, representing the Signs of the Zodiac. In the church are good specif mens of Nuvolone and Zucchero. Church of San Giovanni in Candle, founded by the Knights Templars. In the cloisters are some curious frag ments of paintings of very early date. The buUding, which is spacious, con tains a San Giacinto by Malosso, and some productions- of modem artists. Here is a fine tomb of the Count of Montalbo, Orazio Scotti, by Algardi. Church of Sant Agostino, desecrated and closed, and in danger of demoli tion. This church, by Vignola, is a very noble fabric. The nave is supported by 34 Doric columns, each granite shaft being of a single . stone. Church of San Sepolcro, by Bra mante, and a beautiful specimen of cinque-cento architecture. Church of Sta. Maria della Cam- pagna, also by Bramante; butapor-,. tion has been puUed down and rebuUt, and the previous proportions of the interior spoUed. This alteration occa sioned the destruction of several fres coes by Campi. The frescoes of this church, though httle known, are ex ceUent. " In this church is a cupola and chapel painted in fresco by Porde none, showing to what extent colour may be carried in fresco. The orange and blue, azure and gold, purple and red are as rich as in the Venetian pic tures, and similar in treatment : the 360 Route 34. — Piacenza — Churches. Sect. IV. design not more severe, and with the same fierce dash in execution. On the 1. of the western door on entering there is a smah fresco of St. Augustine (done as a specimen previously to his being engaged to put his hand to the larger works), more complete and careful in finish, and very beautiful in colour; the rosy tints and luscious fulness hi the flesh are as fine as can be."— C. W. C. This fresco has been wantonly injured and scraped off ; as has also one fur ther on, in a chapel on the 1. hand, representing St. Catherine disputing with the Pagan philosophers. This last is rather inferior in design to the restofPordenone'sworks in this church. Qn the waU at right angles with it is an oU picture of the Marriage of St. Cathe rine, also by Pordenone, which has become black and unintelligible, while the fresco is still clear. This picture the French were unable to remove ; because, when they attempted to roU up the canvas, the painting, which was executed upon a prepared ground of plaster or gesso spread to the thick ness of about |th of an inch on the canvas, broke and feU off. Opposite to St. Augustine is a St. George. painted by Gatti as a specimen, when contending with Pordenone for the execution of the frescoes of this church ; it is wretched. " The cupola is like wise by Pordenone ; it is divided into 8 panels whieh contain Scripture sub jects. Immediately under the circular opening of the lantern, and on the bands which divide the panels, are painted smaU compositions of chUdren playing with animals among festoons of flowers of exquisite colour and fancy. Below the dome, on the frieze of the entablature, from which it springs, is a circle of smah frescoes from the hea then mythology, in which the painter has evidently re'veUed."— C. W. C. Sub jects which are thus so incongruously mixed with Scripture subjecta are : 1. Neptune and Amphitrite with sea monsters ; 2. Rape of Europa ; 3. SUe- nus drunk, borne by Fauns and Satyrs ; 4. Bacchus with Fauns and Satyrs ; 5.. Hercules strangling the Serpents, and other figures expressive of his Labours ; 6. Jupiter hurling lightning at the Giants ; 7. Diana hunting with Nymphs and Satyrs ; 8. Venus and Adonis, with Cupids, Nymphs, and Sa tyrs. " In these the painter's fancy and fire are unfettered." On the piers, which alternate with pillars in sup£iorting the entablature, are figures called apostles, said to be by Pordenone, but very inferior to the paintings in the dome, and resembling more the works of Bernardino Gatti, caUed Sojaro, who painted the drum below these piers with Scripture subjects. The penden- tives are painted by Pordenone. These frescoes may be seen exceedingly weU from the terrace which runs round the drum, behind the pillars and piers, and which is very wide. In a series of Scripture histories on the arches of nave and choir, the best are, — Tobias and the angel Raphael, Daniele Campi ; Ruth and the Reapers, Tiarini ; and several by Gavassetti, of which Rachel and Rebekah, and some subjects from the history of Tobit, are the most striking. The Church of San Sisto was rebuUt in the 16th centy. If formerly con tained RaffaeUe's celebrated Madonna di San Sisto, which, in 1754, the monks sold to the King of Poland for about 12,000Z. Amongst the paintings which remain are the Slaughter of the Inno cents, Camillo Procacdni; Sta. Bar bara, Palma Giovane ; The Martyrdom of St. Martin, Bassano ; the Martyr dom of St. Fabian and St. Benedict, Paolo and Orazio Farinata. The monument of Margaret of Austria, wife of Ottavio Farnese, is rich but heavy ; it was sculptured by Giacinto Fiorentino. The intardatura of the stalls of the choir is very elaborate and good of its kind. The ancient Palazzo Farnese^ buUt by Margaret of Austria, from the de signs of Vignola, has been a most sumptuous edifice, and the remains of its splendid ornaments may be traced on its degraded and dilapidated halls. The French employed it as a barrack. The Citadel, a regular pentagon, was begun by Pier Luigi Farnese in 1 !" ' " It is now permanently occu- 1547. Paema. Route 34. — Environs of Piacenza — Velleia. 361 pied by an Austrian garrison, and has been greatly strengthened by new works since 1848. The charitable institutions of Pia cenza are stiU very numerous and im portant. One (amongst many) may be instanced aa interesting to the cur sory traveUer. . It is the Instituto ffazola, founded for the maintenance and education of young females, who also receive marriage portions. The pupUs are aU taught drawing, and the house contains a very good coUection of objects useful for instruction in the fine arts. The walk round the decayed ram parts of Piacenza offers some fine and peculiar views ; the masses of the churches and palaces within, the dis tant Alps and Apennines, and the glimpses of the Po, studded with wU- lowy islands. Neighbourhood of Piacenza. A very interesting excursion may be made to Velleia, the PompeU of Northern Italy, which hes somewhat to the E. of S. of Piacenza ; hut it cannot be posted, and a part of the road is scarcely practicable for any carriage, excepting the vehicles of the country ; the distance is about 20 miles. It hes through the foUowing places. San Polo, formerly the fief of the ancient family of Anguisola, whose castle is still standing. San Giorgio, hard by the torrent Nura. Here is a large and fine ancient castle, and a palazzo from the designs of Vignola, both belonging to the noble fanuly of the Scotti. Rezzano, near which is also a feudal castle, now dismantled. Badagnano, where the carriage-road ends. The track now leads to the fertUe and. picturesque vaUey of the Chiero, and pasaes by a spot about J of a mile from VeUeia, where flameB, formed (as it is supposed) by the combustion of car- buretted hydrogen gas, are constantly issuing from the ground ; and you soon come in sight of the Monte Moria and Monte Rovinazzo, anciently one mountain, but severed by the faU of the vast masses by which the city was destroyed. It is oonjectured.that the N. Italy— 1852, summit contained a lake, and that the waters, percolating through a lower stratum of clay, detached the superin cumbent rocks and soU, which, as at Goldau, slid down and covered VeUeia in their faU. And it is remarkable that the names of both the hills have reference to the catastrophe ; - Rovi nazzo being derived from rovina, and Moria from Morte. No medals have been found of a later date than Pro- bus ; and hence we may conclude that the catastrophe took place in or not long after his short reign. Vellda, though it must have been a city of considerable note, is nowhere directly mentioned in any existing ancient writers ; but there is a remark ably curious indirect notice of it in Phny. It is in relation to the census of the Roman empire taken by Trajan, on which occasion there were found to be at VeUeia six persons exceeding 110 years of age; four of 120, and one of 140. The subterraneous treasures were first obscurely known in the 17th cen tury ; and for a long time those who were in possession of the secret worked the mine with much profit : the larger" bronzes went to the beU-founders, coins and ornaments to the goldsmiths' of Piacenza ; but in 1760, the cireumJ stances having been made known to the Infante Don Philip, then Duke of Parma, the excavations were begun scientifically, and in the course of five years as many statues, inscriptions, and smaUer antique articles were found ' as: have fiUed the museum at Parma,- hereafter described. An amphitheatre; temples, a forum, have been discovered ; none of the walls are more than 10 ft." in height, the mighty crush having- thrown down the upper part. The ex cavations have not been regularly or1 systematicaUy pursued since 1765." Maria Louisa intended, it was said, to puU down and rebuUd a church which, as is supposed, stands over one of the principal buUdings. We now return to the main road' from Piacenza to Parma, Which, upon quitting the gates of the city, is the celebrated Via Emilia, so called from; B 362 Route 34. — Piacenza — Fiorenzuola. Sect. IV. Emilius Lepidus, who constructed it B. c. 187. This road took a wide cir cuit from Bologna, passing through Modena, Parma, and Piacenza, to MUan. Other branches are more doubtful ; in this portion it generaUy foUows a straight line ; and when we see the track diminishing and losing itself in the far perspective, we are constantly reminded of the journey of William of Deloraine, — " Straight to the right before him lay, For many a mile, the Roman way." San Lazzaro, so called from an an cient hospital for lepers, upon the site whereof is now erected an extensive and important ecclesiastical seminary. The celebrated Cardinal Alberoni left aU his property to this institution. Besides the students it supports many poor. The coUege contains some good pictures. The Legend of the Appa rition of our Lord to St. Francis, by Zuccaro ; a Virgin and ChUd, by Pietro Perugino ; two paintings of Soldiers, by Borgognone ; his own portrait, by Caravaggio. In the church is the monument of the Cardinal benefactor. The whole inBtitution is conducted upon the kindest and most hberal prin ciples. Ponte Nura, near which were dis covered the mosaic pavements now in the Museum at Parma. Cadeo, whose name, hke San Laz zaro, is a memorial of ancient piety ; for here, in 1110, one Gisulphus, a Placentine citizen, founded a hospital, Casa di Dio, or Ca' Deo. Fontana fredda, now a very small village, but anciently the seat of the Lombard kings. Here Theodorie the Ostrogoth had a palace, and the spring, truly answering to its present name, is in ancient chronicles caUed " Fons Theodorici." He is supposed to have founded the now parochial church of San Salvatore. Cross the torrent Arda, remarkable for the variety of its pebbles ; jasper, quartz, onyx, and dendritic stones. Here , the landscape begins to vary. On leaving Piacenza you first pass tirrough rich meadows almost perfectly flat, divided by hedges and a few vines, the blue and purple Apennines being in the far-distant horizon. But vines now increase rapidly, and you obtain a better view of the southern waU of the plain of Lombardy. In this district is grown the Vin Santo, the best of the wines of this district: it is clear and pure, " blood red," but without much strength or flavour. 2 Fiorenzuola, a smaU but rather active town, nearly square in form. It is supposed to be the Fidentia of anti quity. It has many mediaeval relics; To one tower many chains are pendent, to which, as it ia said, criminals were bound. SmaU as the place is, it was once rich in conventual and ecclesias tical establishments. The principal church, SanFiorenzo, is stiU coUegiate. The carved work of the choir is re markable; and the Sacristy contains some curious rehcs of ancient art, amongst others a fine Niello. VeUeia may be reached from Fio-i renzuola : the road is shorter than from Piacenza. but it is not so good, It passes through CastelV Arquato, which stands on the bank of the Arda, a decayed but interesting town. The Palazzo Publico is a fine and perfect Gothic buUding. Near CasteU' Arquato is the Monte Zago, abounding in fossil sheUs and marine animal remains in the highest state of preservation. Some yet retain the stains of the flesh which decayed upon them. The Corted cohj lection was principaUy formed from fos- sUs found in this neighbourhood. From Fiorenzuola you continue upon the straight Roman road to Alseno, the centre of a territory remarkable for its fertUity in this most fertile region. The country on the 1. extending to the Po was once called the Stato Pal- lavicino, from that Uluatrious famUy; now so scattered over Italy, who held the sovereignty of it. Its chief town, Busseto, was erected into a city by Charles V., and was the place of a conference between that sovereign and Paul III. The other towns are Corta Parma. Route 34. — Borgo San Donino, 363 Maggiore and Soragna, on the road from Cremona to Parma (Rte. 35). 1 Borgo San Donino (Inns: Croce Bianca, opposite the Duomo, fairly good ; — Angelo, the last house going S. in the town, also fairly comfortable and civU ; but it is necessary to fix with the landlord the price of your accommoda tion, for, not having muoh custom, he makes the most of what he can catch). This smaU city, often noticed in the mediaeval history of Italy, contests with Fiorenzuola the honour of being the ancient Fidentia. The castle and towers, which so often enabled the inhabitants to defy the power of Parma, have long since been leveUed with the ground. The principal vestiges of mediaeval antiquity which the city stUl retains are the Gothic Palazzo Publico and the Duomo. " San Donino, in whose ho nour this churoh was erected, was a sol dier in the army of the Emperor Maxi- mian, and served under his orders in Germany. Donino, with many others, became a Christian; and when Maximian issued an edict, ordering aU persons to renounce the Christian faith on pain of death, Donino fled, but was overtaken near the river Strione, by the emissaries of the tyrant, and immediately put to death. Near that spot there was at that time a village called Julia. " In 362 the Bishop of Parma, ad monished by a dream, saUied forth and discovered the body of Donino — known to be that of the martyr by an inscrip tion found on the spot, and by the sweet odour which issued from the grave. A chapel was immediately erected to receive the holy remains : and we learn from aletter from St. Ambrose to Faustinus that the village of Julia had changed its name into that of San Donino so early as 387. "From that time the shrine of St. Donino became one of the most fre quented in Italy, and received oblations which led to the construction of a temple on a larger scale. The existing church is a large buUding, and has un dergone various alterations. The oldest part of it is in the Lombard style ; but the very curious and rich facade belongs to times subsequent to those of the Lombard — to times when the imitation of the Roman bas-rehefs succeeded to the monstrous imagery of the 7th and 8th eenturies. No record remains of the period at which this facade was erected ; but there are various circum stances which give us reason to beheve that it cannot be older than the 12th century. The barbarous character of the sculpture, the neglect of aU propor tions, the heads as large as the bodies, might seem to indicate a remoter an tiquity; but there is a bas-rehef over one of the gates at MUan, known to have been executed at the close of the 12th century, wliich is no less rude, and which proves that the arts of Italy, down to that period, continued to be in a state of the lowest depression. The projecting portals, the pediment over the doors, the pUlars resting on animals, are all features of the latter part of the 11th and of the 12th century. Those were times in which public tranquillity was beginning to be restored, and in wliich the labours of ecclesiastical archi tecture were entirely resumed in every part of Italy. At no great distance from S. Donino the cathedral of Pia cenza was rebuUt in 1122, the facade of which exhibits a composition of much the same character; and bas-rehtefs of the same kind, though somewhat more BkUfuUy executed. In the stUl more immediate neighbourhood of this church the cathedral of Parma was rebuUt in the latter part of the 11th, and the begin ning of the 12th century. Nothing can be more probable than that the emula tion excited by these adjacent worts should have prompted the addition of the existing facade to San Dohino's shrine." — G. Knight. There is a good deal of mediaeval sculpture, curious to the antiquarian. In one of the lateral porches, the porch of Taurus, the heads of bulls are intro duced ; in another, the porch of Aries, the piUars rest upon kneeling rams, and the ram's head is introduced in the capitals, while the sun — represented by a radiated human head — appears in the archivolt. Some sculptures of the porches are avowedly taken from Scrip? ture history ; others as avowedly notj. E2 364 Route 34. — Castel Guelfo. Sect. IV. " Forfis Ercoles" is wrestling with the hon. A square tablet, containing the figure of a woman in a chariot drawn by dragons, holding a torch in either hand, is the same design which at San Marco at Venice ia called Proserpine. It is in the same singular flat workman ship. Among the sculptures dotted on the- walls of the apsis are the hunt of the soid by the Demon, under the hiero glyphic of the stag and the hounds ; and the " Petra Solis," exhibiting the sun, foUowed by an inscription in uncial letters, which only one Prete could un derstand. The interior of the cathedral, which is scarcely altered, is as interest ing as the exterior. The crypt is among its antique singularities. Borgo San Donino contains a large dep6t de mendicite established by the French, rendered necessary by the suppression of the convents whose buUdings they occupy. Rovacchia Co Aura, on the torrent Rovacehia, where a church marks the ¦site of a deserted village. Parola, where a certain Podesta of Parma buUt a castle, for the purpose of keeping the " Borghigiani " in cheek. The traces of the ruined buUding are in the fields to the S. of the road, and the situation so struck Ariosto, that he has described it in the foUowing stanza : — " Giacea non lungi da Parigi un loco, Che volgea un miglio, o poco meno intorno, l Lo cingea tutto un argine non poco Sublime, a guisa d' un teatro adorno. Un castel gia vi fu, ma a ferro, e a foco Le mura e i tetti, ed a rovina andorno. Un si mil pud vederne in su la strada, Qua] volta a Borgo al Parmigiano vada." Orlando Furioso, cant, xxvii. 47. 1 Castel Guelfo, a smaU place, with the fine ancient castle from whence it derives its name. One portion is in ruin, other portions are partly modern ized ; but the bold projecting machico lations stiU remain, as weU as the ori ginal outline, testifying to its feudal grandeur. The walls are now covered with ivy. The castle was, at one time, caUed Torre <£ Orlando, not from the Paladin, but from Orlando Palavidno, who held it for the GhibeUine party; but being besieged and taken (1407), by Ottone Terzi, the Lord of Parma, and a great leader of the opposite faction, he denominated it Castel Guelfo, in honour of the victory which he had obtained. Reach the banks of the Taro, from autumn to spring a fine and rapid tor rent rushing to join the Po, wlhlst in the summer, the wide waste of the stony bed marks the extent of its stream at other seasons. This stream is of con siderable note in ancient geography, as having been the boundary between the Gaulish and the Ligurian tribes. In the autumn it sweUs with sudden and impetuous fury, and during the whole winter season the passage was here at tended with much difficulty and peril. Such dangers bo often occurred during the middle ages, that bridge-building was undertaken ais a work of Christian charity : and, somewhat hke the Pont Saint Fsprit, the first bridge over the Taro was erected some time after 1170, by the exertions of a poor hermit of Nonantola, who, stationing himself by the side of the Via Emilia, begged untU he coUected sufficient money to buUd it. But, after sustaining repeated damage from the violence of the Taro, the hermit's bridge was finally carried away in 1345, and Ul replaced by a ferry, dangerous and inconvenient, even tUl our own times. The present reaUy magnificent bridge was begun by Maria Louisa in 1816, and completed in 1821. It is about 2350 ft. in length (or nearly double that of Waterloo bridge), and composed of 20 arches. Colossal statues of the four principal streams of the duchy, the Parma, the Taro, the Enza, and the Stirone, resting upon their urns, adorn the abutments at each end ; and it is in most respects a work worthy of the best times of Italy. From this spot, and during the re mainder of the journey for 25 m., the views of the Apennines, ranging along the southern horizon, are fine; bold", though not craggy, hiU above hUl, coloured with vints of purple and blue. The costume of the female peasants is here rather un^ofth : they are concealed in great cotton cloaks with frUled bor-i ders — a species of German or Flemish attire. San Pancrazio : this district abounds Parma. Route 34. — Parma — The Duomo. 365 in quails. The road runs on in a per fectly straight line to Parma. 1 Paema. Inns: Albergo deUa Posta, good, in the main street. H Pavohe, a well-conducted house in an out-of-the- way corner of the Piazza. This capital, whose population now exceeds 41,000, approaches to an oval shape, which it has retained from remote antiquity ; for, founded by the Romans, or rather con verted into a Roman colony, B.C. 187, it is said to have been called Parma, from, its sinularity in shape to that species of target or shield. When the city was under the immediate authority of the popes, it was represented by a female figure sitting upon a pUe of shields, and holding a figure of Victory, With the inscription of Parma aurea. But the torrent Parma, which divides the city, most probably gave its name to the buUdings which arose upon its shores.. Parma suffered from the earthquake in 1832, and several houses were so far injured as to require being, rebuilt ; and improvement is going, on here as weU as elsewhere, i'The Roman Via Emilia crosses th&Piazsa- Grande in the centre of the city. This piazza is principally formed by pubhc buUdinga, the Palazzo del Governo with its campanUe, and the Palazzo del Commune. So complete has been the subversion of the ancient co lony of Lepidus, that a few inscriptions are aU that remain of the Roman age. The name of Parma is connected with some of the principal events in the Lombard league ; but little of its me diaeval character remains, except in the fine group formed by the Duomo, the Baptistery, and the Campanile, which stand close to one another, a httle to the N. of the main street, at the 2nd and 3rd turning after leaving the Piazza Grande. ¦ Fh-Bt, aa to the Duomo : the exterior of the'W. front is almost unaltered. The transepts and the choir are Lom bard, and the centre is crowned by an octagon tower and dome. In the great portal the peculiar Lombard style wiU be recognised. The building was con secrated by Pope Pascal II. a.d. 1106 ; Jmany portions are much later, The colossal hons of red marble, the one grasping the serpent, the other the ram, were sculptured in 1281 by Giambono da Bisone. The sun mysticaUy placed in the keystone of the circular arch, the months on either side ; the hunt, the aUegory of the pursuit of the soul by the fiend, in the architrave, are curious : and some Roman inscriptions buUt up in the walls indicate perhaps how many more are concealed in its core or beneath its foundations. One, in elegiac verse, apparently of the Lower Empire, has elegance. The interior, deducting Borne Gothic interpolations and some modern addi tions, is in a fine Lombard style, and the arrangement of the triforium is re markable : " The vaulting of the nave is elliptical; a circumstance I do not remember having met with elsewhere in a buUding of this era." — Woods. Mag nificent but perishing frescoes cover the waUs. The most important of these cover the cupola, and were executed by Correggio between the years 1526 and 1530. The subject is the Assumption of the Virgin. The painter has imagined that the octagon form, from which the cupola rises, embraces the space of earth in which was the sepulchre of the Ma donna ; for thia purpose, upon the octa gon itself, from whence the great vault springs, runs a balustrade, and upon that is a candelabrum at each of the 8 angles, with a number of boys between engaged in lighting the wax tapers, or burning incense and odoriferous herbs. In front of the balustrade, and also on the base of the cupola, stand the Apos tles disposed around looking upwards with astonisment, and as if dazzled by the great hght of the Celestial Host, who. transport the Virgin; and above, Heaven appears open to receive her. The Angel Gabriel descends to meet her, and the different hierarchies of the blessed circle around him. In the four arches under the cupola are represented the Four Protectors of the City of Par ma — St. HUary, St. Bernard, St. John the Baptist, and St. Thomas ; each oo- .cupies an arch, attended by Angels, symboUcal of the virtues of the Saint, . and with the emblema and ornaments 366 Route 34. — Parma — The Duomo. Sect. IV. of his ' dignity. St. John, holding a Lamb upon his lap ; angels around darting, as it were, through the clouds : St. Thomas, also surrounded by angels, some bearing exotic fruits, emblematical of this apostle's labours in India ; St. HUary, looking down upon the city with an expression of kindness and pro tection ; wlhle St. Bernard, kneehng, is imploring on its behalf. This magni ficent work, which occupied so many years of the artist's life, was poorly paid and inadequately appreciated. He was much teased and thwarted by the ca thedral wardens : one of them told him that he had made a " hash of frogs," un guazzetto di rane. This great work of Correggio is remarkable for its chiaro scuro, confined indeed, as compared with his oil pictures, to a light scale, espeeiaUy in the upper portions ; for its wonderful foreshortenings ; and for the extensive range in the size of the figures, in order to convey by then- perspective diminution an impression of great space. " It must be evident that gradations in magnitude wiU be more full and varied when they comprehend, if only in a hmited degree, the perspective diminu tion of forms, The great Itahan artists seem to have considered this essential to distinguish painting, however severe in style, from basso-rUievo, in which the varieties of magnitude are real. But in the works by Michael Angelo and Raphael this perspective diminution of figures is confined to narrow limits; partly because the technical means may have been wanting to mark the relative distances of objects when the work was seen under the conditions required ; but chiefly because figures much reduced in size cannot be consistently rendered expressive as actors or spectators. In the second compartment of the ceUing in the Sistine Chapel the effects of the perspective are expressed without re straint ; but the indistinctness which was the consequence was probably among the causes that induced Michael Angelo to reduce the space in depth in the other compartments (as regards the figures) almost to the conditions of sculpture. In Raphael's Transfigura tion the figures on the mount are sup posed to be distant with reference to those below ; but, had they been so re presented, they would have been devoid of meaning and importance : they are, therefore, by a judicious liberty, brought within that range of vision where ex pression, action, and form are cognizable. One great exception is, however, not to be overlooked ; Correggio, who was devoted to picturesque gradation under ah circumstances, and aometimea at any sacrifice, adopted a different course. The perspective diminution in the cu polas at Parma (to say nothing of the objects being represented as if above the eye) is extreme ; so that even the prin cipal figures are altogether subservient to the expression of space. This was the chief object ; but the grandeur of form and character whieh the nearer figures exhibit has been justly con sidered to place these works far above subsequent efforts of the kind, which in the hands of the ' machinists 'soon de generated to mere decoration. " If the criticisms which the frescoeB in the Duomo at Parma caUed forth on their completion hadTany founda tion, it may be infewed thafy the great distance at which the figures Vere seen rendered it imposaible, in souk? cases, to discern the nicer gradations of hght and shade which are essential to make perspective appearances intelligible. Such considerations must, at aU events, operate to restrict foreshortening under similar circumstances." — Eastlake. " At first, and seen from below, this magnificent work appears extremely confused, but with great amenity of colours. This confusion is found to arise from two things, the destruction of the colours and consequent rehef of the parts, and the blotches of white produced where the plaster has faUen, which I regret to say are neither few nor smaU. The hghts too have doubt less changed somewhat of their tone, and become darker than they were originaUy. The predominating colour is a beautiful Ught and warm grey, warmed by its union with the yeUow hght of the centre, within that mass of beatified beings which surrounds the Virgin, and which presents to the mind Parma. Route 34.— Parma — The Duomo. 367 of the observer a rich garland of deli cate flowers. The grey is not confined to the sky and figures, but is carried in rather a warmer tone to the imita tion of stone-work, at the bottom of the painting where the large figures of saints with genii are contemplating the beatifioation of the Virgin. This lower part is of the grandest and richest character in line, in hght and shade, and in colour. The parts are hotter separated than in the upper part, in which I cannot help thinking there is too great a multitude of legs and arms, which confuse the effect ; but perhaps the object of the painter was, as weh to give simplicity and effect to the , figure of the Virgin, as to fiU the scene with figures, and give a splendid idea of the heaven of heavens, which he wished to represent. The effect is ex tremely injured by the round window which is found in each of the eight compartments of the base of the dome, and the picture is weU seen only when those lights are hidden— then, and then only, the whole combined effect is ob servable. The grey of the sky above the undermost figures is brought down over the warmer stone-work by grey draperies cooler than the waU, sup ported and enriched by the accompani ment of deep colours, as red, green, and yeUow, and these aid much the delicacy of those of the mass above. That mass reUeves the under dark part off the sky, but the clouds, among which the groups of angels are plaiced, are not agreeable in form, many of them appearing like huge blown blad ders. This lower mass is Ulumined by a yeUow, which streams down from above, on one side of the opening, which is through the clouds ; but the light of the flesh thereabout, and of the clouds (some of which are even blue), and of the drapery of the Virgin, is rather of a pearly hue, though the last is red with blue as usual. The whole of that- mass has the same rehef from the Bky as is seen in some of Rubens' Assumptions. The whole of the lowest part is relieved off the bluest portion of the sky, by light upon the genu and the draperies of the saints : some in strong colours and dark shades, off the warm grey stone-work, giving an ex ceUent base to the gaiety of the upper part. In this work I see clearly the source of the beauty of Sir Joshua: his separation and selection of parts, rejecting minor and unimportant ones, his draperies, his suavity of tone and brilliancy of colour with simphcity, It is fraught with rich invention, and parts are involved, exposed, and inter changed, with the most inteUigent fancy, for the production of that unidn of effect which Mr. Fuseh has bo justly and so beautifully stated to be the basis of Correggio's principle. In this no one foreran him : it is entirely his own, whether he may have learned his largeness of style in his line from M. Angelo or Raphael, or not. AU other duomos that I have yet seen are dark and heavy in comparison with this, and the figures cut out ; but here all acts to produce gaiety, and appears to blend with atmospheric tint into the air that surrounds and involves them, and render it a source of great beauty and cheerfulness ; the observer has no fear lest the figures shah fall upon him." —Prof. Phillips, R.A. The decay of these frescoes is to be chiefly attributed to the old insufficient roof over the dome, which stUl exists under the new leaden one, which has been added to save the wrecks of Cor reggio's works from final destruction. Their present bad state has also been partly attributed to Correggio having used what is caUed a rich intonaco ; that is, with a small proportion of sand. A closer inspection of them may be obtained by ascending to the roof of the church, from four smaU openings in the drum of the cupola. The vaultings of the choir and nave are by Girolamo di Michele Mazzuoli, the cousin and scholar of Parmigiano. The other portions of the nave are by Lattanzio Gambara, who worked here from 1568 to 1573. Near the door he has introduced Correggio and Parmi giano, fine heads, and evidently por traits. By G. Cesare Procaccini are two good paintings of King David and St. Cecilia. By Bernardino Gatti is a 368 Moute 34. — Parma — Battisterio. Sect. IV." Crucifixion, and the Martyrdom of St. Agatha, below. The Baganzola Chapel is covered by ancient frescoes, as bright as if they were quite new. They were painted by Grasn in the 15th century, and represent various martyrdoms — St. Peter, St. Sebastian, and others; the drawing is, of course, stiff and bad. TJntU recently these paintings were covered with whitewash. Amongst the minor objects of curi osity are the seats of the choir, finely carved, and the rich high altar; also fragments of a fine painted glass win dow, executed by Gondrate in 1574, from the designs .of Gambara. The inscription upon Bodoni's tomb is cut in imitation of his printing types. The tomb of Bartolomeo Montini (died 1507), by de Grate, should also be noticed. Petrarch held preferment here. He was, as he most truly styles himself in his wiU, inutile Archidiacono : he directed that, if he died at Parma, he should be interred in this cathedral. In 1713 a cenotaph was erected here to' his memory by Count Nicolo Cico- gnari, a canon of the cathedral. This monument is of variously -coloured marble, and is covered with inscriptions to the honour of the Laureate. The under Church is large and weU lighted, and supported by 28 columns of rich marbles, with varied Corinth- ianized capitals. It contains some good specimens of sculpture by Prospero Clementi of Reggio — the Altar and Shrine of San Bernardino degli Uberti, Bishop of Parma (died 1133). The saint is represented between angels supporting his mitre and pastoral staff. The bas-reUefs were designed by Giro lamo Mazzola. The tomb of Barto lomeo Prato, erected in 1539. Two -weeping figures are fuU of expression : the drapery is of good execution ; the background is a mosaic upon a gold ground, rare in a work of such modern date. Of the paintings, the best is the Assumption of the Virgin (Anselmi). Battisterio. "This is the most splendid of the Baptisteries of Italy. It is entirely buUt of white marble. It was constructed after the designs of Benedetto Antelini, and was begun in the year 1196. But the work ex perienced many interruptions, espe- ciaUy during the supremacy of the powerful and ferocious Ezzelino da Romano, who, in the middle of the 13th century, governed the north of Italy in the name of the Emperor, and who, displeased with the inhabitants of Parma, forbade them access to the quarries of the Veronese territory, from which the marble with which the bat tisterio was buUt was obtained. In consequence of these interruptions the battisterio was not finished before 1281, which wUl sufficiently account for the appearance of the round style in the lower part of the buUding, and of the pointed above. " Externally the battisterio is encir cled with several tiers of smaU columns, which, with more observance of ancient rules than is usuaUy found in the Lombard style, support continued ar chitraves. The interior has 16 sides, from wliich spring converging ribs that form a pointed dome. The portals are enriched with mouldings and pUlars, but without imagery." — G, Knight. Over the S. door is some aUegorical and grotesque sculpture. In the in terior stands an immense octagonal font, cut out from one block of yeUow- ish-red marble. It appears from the inscription that this font was made by Johannes de Palissono, 1298. All the chUdren of Parma are stUl brought here. The baptistery is a coUegiate church, having a chapter of six canons and a provost, besides inferior officers, and the registers begin in 1459. In one corner of the buUding is a smaUer font (or, at least, what is now used as such), covered with Runic foliage and strange animals ; it stands upon a hon setting his paws upon a ram. Except ing the galleries, the walls and dome are covered with frescoes, supposed to have been executed about 1270, by Nicolo da Reggio and Bartolomeo da Piacenza. " They are meagrely executed, but weU preserved." — G. K. Besides the frescoes, there are — the altar-piece, by Filippo Mazzolo, the father of Parmigiano, and St. Octavius-, Parma. Route 34. — Parma— San Giovanni: 369 by Lanfranco. The stalls, of inlaid work, or intardatura, are by Bernard ino Canodo, 1493. The fine ancient brick CampanUe is about 250 ft. in height. Church and Convent of San Gio vanni. This very ancient Benedictine monastery dates from the 10th centy. The interior has been attributed to Bramante, but it appears to have been designed by one .Zaccagna, and begun in 1510 : the exterior is nearly a centy. later : the design is good and striking. It contains frescoes in the dome by Correggio, now damaged and obscured by damp and smoke. This work was intrusted to Correggio in 1520. In it is represented a vision of St. John. •He, in extreme old age, and the last surviving apostle, beholds, in a moment of extacy, his companions in heaven, who form a circle around their Master resplendent in all his glory. The saint is alone upon the earth, and is depicted below aU the others at the extreme edge of the cupola. He kneels upon a rock, his arms leaning on a book, which is supported by a number of boys, of whom the very clouds are fuU. Each of the 4 pendentives contains an Evan gelist, with a Doctor of the Church, -viz. St. John with St. Augustine ; St. ¦Matthew with St. Jerome ; St. Mark with St. Gregory; St. Luke with St. Ambrose; aU seated in various atti tudes upon clouds, and supported by graceful chUdren. "This is a much smaUer work than that of the Duomo, and painted some time before, when he was only 26, that is in 1520, finished in 1524. By this work, which is ex tremely large and grand in style, it appears that he very early abandoned his instructors and penetrated that mysterious system of management of light, and shade, and colour, which none before him had done, and em bodied that beautiful principle which is entirely his own, totally different from that of Leonardo da Vinci, who has been frequently miseaUed the author of it. Correggio' s system is rather in opposition to his, for here the hght is the predominant part, and the darks .are employed to support it, in accord ance t6 tne present; aoi'ce of the Eng" lish school, extending the plan of Sir Joshua. The style, as I have said,«s extremely large, and, if he adopted any thing of that quality from seeing M. Angelo and RaffaeUe's works, it must have been before the commencement of this work, for here it is in fuU power. The finish of this picture is more com plete than in that of the Duomo. It would seem that he could not yet trust himself with freedom, or know so weU the power of distance to give finish, It has the same beautiful admixture of light with light, and dark with dark, but there is also the same defect in principle of colouring. The darks of the figures and of the draperies have more local colour than the Ughts or half-tints, instead of being of the colour of shade. The figure of the Saviour, the Ascension of whom is the subject of the picture, is a most weak composi tion and ugly form. Many of the figures of the apostles and saints below, however, compensate by the grandeur of character and the style in which they are wrought. They are upon an immense scale. The arrangement of colour is somewhat simUar to that of the Duomo. The Saviour ascends to a yeUow Ught which streams from above ; below him are the clouds and grey sky, and below that the saints and apostles in strong colour and shades. " The figures in the pennachi or an gles are much injured by the peeling off of the plaster : some parts appear very fine. I forgot to say that the heads and expressions of the saints in the group below are far more complete aud appropriate than in those of the Duomo, which are in general very coarse and gross." — Prof. Phillips, R.A, Correggio also painted the tri bune behind the altar. When the church was enlarged in 1584 the monks thought that the frescoes could be detached, but they crumbled and broke in the operation. Hence pro ceeded the fragment of the Coronation of the Virgin in the Biblioteca. A copy made by Aretud, in 1568, in somo measure replaces the original. By Correggio also is a smaU fresco of St. n 3 370 Route 34. — Parma — Madonna deUa Steccata. Sect. IV. John writing his Gospel. It is over the smaU door leading into the cloister. Other works of art are — a Nativity, Franda : the figure of the Virgin adoring the Infant Saviour is beauti ful ; so is one of the shepherds stretch ing forth both arms as he hears the song of the Angels. A fine altar-piece of St. James, Parmigiano, The Trans figuration, by Girolamo Mazzuola, A copy of Correggio's San Girolamo, Aretud (see GaUery). Our Lord bear ing his Cross, Anselmi. The monastery was suppressed by the French. It has now been restored for 30 Benedictines, who devote themselves whoUy to the education of the higher classes, so that, in fact, it has become a coUege. The monastery is a stately buUchng, containing three very hand some quadrangles, surrounded by clois ters. The exterior waUs were adorned with frescoes, which have aU but dis appeared from the effect either of time or of violence. The interior is fine : it is traversed by 4 long gaUeries which meet in a ctobs. At the point of junc tion are 4 fine statutes, executed by Begarelli, of Modena, from the designs of Correggio. This monastery has lodged 3 Ulustrious individuals : — Charles Emmanuel King of Sardinia, when flying from the enemy in 1798 ; Pius VI., when carried a prisoner to France in 1799 ; and Pius VII. return ing in 1805 from Paris to Rome ; as commemorated in the inscriptions on the staircase. Church of the Madonna della Stec cata, begun about 1521, from the de signs of Giovan' Francesco Zaecagna. A figure of the Virgin painted on the waU of the house first attracted the de votion of the Parmigiani ; and from a palisade buUt round it, it acquired the name of the Steccata ; others say that the Steccata was a tUt-yard. The pre sent church, which stands on the Bite of an oratory whither the Madonna was removed, is a Greek cross, with very short arms, and a semicircular arch to each. "It is very darkly painted ; the internal proportions are fine, and there is something of a pleas- .ing solemnity in its gloomy appear ance. On the outside, the central dome rests on a drum, ornamented with smaU columns and arches, which has a good effect, but the rest is not worth criticism." — Woods. The chief paintings are those by Parmigiano : Moses breaking the Tables of the Law, Adam and Eve, and the Sibyls, and the Virtues over the organ. The Moses, and Adam and Eve, which are executed in chiar'-oscuro on the soffit of the arch which forms the entrance to the choir, have become so dark that it is difficult to Bee them; but the merit of the Moses has always been considered very great. " Parmigiano, when he painted the Moses, had so completely supphed his first defects, that we are here at a loss which to admire most, the correct ness of drawing or the grandeur of con ception. As a confirmation of its great exceUence, and of the impression wliich it leaves on the minds of elegant spec tators, I may observe, that our great lyric poet [Gray], when he conceived his sublime idea of the indignant Welsh bard, acknowledged that, though many - years had intervened, he had warmed his imagination with the remembrance of this noble figure of Parmigiano." — Sir J. Reynolds. Parmigiano wais em ployed by the Fraternity of the Annun ciation, to whom the church then be longed, and by whom he was engaged at weekly wages. He was at this time much addicted to alchemy, to which he gave his time when he should have been employed at his work. His em ployers first warned him that such conduct would not do : then they sued him at law, and he ran away, and died shortly afterwards (Aug. 24, 1540), of trouble and vexation, in the 37th year of his age. Upon his death, Anselmi was caUed in, some say at the instance and under the directions of Giulio Romano. Anselmi 's prineipal painting here is a Coronation of the Virgin. " The works of Francesco Parmigiano in this church have been so often de scribed that I have httle to add, save that they show him to have felt the value of simple line and form, unhke and far above his cousin Girolamo, whose works constantly pass for his. Parma. Route 34. — Parma — San Ludovico. 371 Neither Girolamo, nor Anselmi, nor B. Gatti, who were all largely em ployed in this same church, seem to have had a glimpse of that grand prin ciple of their master. The difference it produces is inconceivable, unless when their works are brought, as in this place, into coUision. Going from the broad and simple, yet fuU, labours of Cor reggio and Parmigiano, the eye cannot rest with satisfaction on these workB, broken as they are into parts, and lack ing the delightful union which weU- arranged Ught and shade affords." — Phillips, R.A. The interior of the cupola, by Sojaro or Gatti, represents the Assumption. " It is the same sub ject as the Duomo, but here Christ descends to crown the Virgin. It is a direct imitation, but a clever one, of Correggio. But Gatti has not com prehended the value of a quantity of ground, and has crowded figures into his composition till it is overloaded and confused. Yet he appears to have been the most successful of the imme diate scholars of Correggio in his management of Ught, though he pos sessed not his master's grace and taste. Here he has actuaUy endeavoured to give the same effect as is found in the Duomo of his great master. But it wants the breadth, the simphcity of forms ; in short, the sense and feeling of the other ; yet it is a work of great ability." — Phillips, R.A. By Giro lamo Mazzuola are the frescoes of the Nativity, and of the Descent of the Holy Ghost : the Madonna and ChUd between St. John the Baptist and St. Luke is good, though a doubtful Franda. In this chm-ch the knights of the garter of this tiny sovereignty, i. e. of the " Sacro Angelica Imperiale ordme equestre Constantiniano di San Giorgio," are instaUed ; and there is a showy throne for the Archduchesa Maria Lousia, as sovereign of the order. There are some good monuments in this church. Sforzino Sforza (by De Grate) son of Francesco Sforza II. (died 1523), sleeping in death, his head resting on his helmet. Ottavio Farnese (died 1567), by Brianti, a fine bust. Count Guido di Correggiq,' a fuU-length , statue, rising above a sarcophagus of a yeUow marble, executed by Barbieri, of Correggio, about 1568. In the vaults beneath the church are the sepulchres of the Bourbon dukes, and of some of their Farnese prede cessors. The most interesting is that of Duke Alessandro ; his name, Alex ander, only appears upon the sarcopha gus, upon whieh are lying his helmet and his pliant long-bladed Spanish ra pier. The remains of the other princes are in vaults bricked up in the waU, a smaU marble tablet recording the name of each. Maria Louisa intends to have her heart placed here, but her body at Vienna. A smaU vault with a grated door holds the heart of the last sove reign, in a httle box, on a table. In the Piazzetta, by the side of the church, are some of the scanty ves tiges of Roman Parma. They are two truncated columns, one bearing an in scription in honour of Constantine, the other of Julian. San Ludovico, formerly caUed San Paolo, a monastery of Benedictine nuns : now again restored as a monas tery, but principaUy for the purpose of education. The church and buildings are not remarkable, but the great ob ject of attraction which it contains is the " Camera di Correggio," painted by him about the year 1519, in the Par lour, and by order of the Abbess, Giovanna di Piacenza. It represents a grotto of Diana, beneath the level of the ground, covered with a roof of vine foliage, having 16 oval apertures cor responding in number with the spaces interposed between the sections of the vaulted roof. From each of these ovals children are seen peeping in and out as they pass around the grotto. The composition is varied in each of the ovals. They bear various symbols or attributes of the goddess, and imple ments of the chace. Under these medallions are 16 lunettes containing mythological subjects in chiar'-oscuro, — The Three Fates ; the Suspension of Juno ; Bacchus nursed by Leucothea- Lucina ; Ceres ; a group of Satyrs ; Endymion and Adonis ; Minerva ; the Graces; and the hke. Round the 372 Route 34! — Parma — Farnese Palace. Sect, iv; apartment runs an elegant frieze. On one side of the chamber ia a projecting chimney, and on that is painted Diana throwing off her veU as she mounts a car drawn by stags. " Her figure is a piece of beautiful imagination." — Phil lips, R.A. " The hatching with which the Cupids are covered and destroyed is manifestly the work of another hand: the lunettes underneath have fortunately escaped this profanation. In the works in fresco of Correggio there is no hatching." — C. Wilson. An adjoining chamber is painted by Alessandro Araldi, principaUy with groups of figures, some from sacred subjects, and arabesques. At the time when Giovanni flou rished great irregularities prevaUed in the more opulent nunneries. The abbesses, even when untainted by grosser vices, indulged, without the least restraint, in all the gaieties and pleasures of the world, setting at nought all ecclesiastical discipline. The Vatican was, however, alarmed by the progress of the Reformation ; and, under the rigid and conscientious Adrian VI., the nuns were commanded to observe the vows which they had made; disorders in the conventual establishments were reformed ; the doors were closed, and the poor abbess died within a month afterwards. The paintings remained almost forgotten untU about the year 1795, when the duke caused them to be examined, and a dissertation from the Padre Offo brought them out of their seclusion. Several ancient churches were demo lished by the French. Those which remain (besides those wliich have been described) are principaUy modern or modernised : a few may be noticed. San Stefano, remarkable as being almost the only certain specimen known to exist in Italy of the archi tecture of Serlio, so weU known as" a writer upon his art. It is an altera tion of a Gothic buUding, and the front is not completed. It contains many paintings ; the best is a Virgin and Saints, by Girolamo Mazzuola, much damaged, but almost worthy of his cousin. San Tomaso, a Nativity ; one of the earhest works of Parmigiano. La Trinita, Vecchia has a good Ma losso. The ancient Farnese Palace, and the buildings connected with it, form a somewhat gloomy and rambling pUe of great extent. One portion, called the Pilotta, includes a cortUe of fine proportions, but unfinished, and pre senting an aspect of neglect, if not of shabbiness. It waa begun by Ranuccio Farnese I., and then adjoined the fine church of San Pietro Martire ; but the church has been puUed down to enlarge the cortUe ; and no buildings having been completed upon its Bite, this adds to the desolation. Entering under the portico of the palace, and ascending the wide stair case, a rich heavy portal is seen. ThiB is the entrance to the Teatro Farne3e, buUt, in 1618, by Duke Ranuccio. It was not opened, however, tUl 1628, upon occasion of the marriage of Duke Odoardo with the Princess Margaret of Tuscany, whose nuptialB were cele brated with great magnificence. The plan of the buUding is nearly that of a horseshoe, about 100 ft. in, width. The seats of the lower division are arranged in concentric tiers, as in the Roman models ; but above are boxes as we buUd them ; and this is said to be the first theatre in which they were introduced. The opening of the stage is flanked on either side by equestrian statues of Alessandro and Ranuccio. The whole is of wood ; and, though some effort has been made to keep ic in repair, it is in a most dilapidated state, and seems rapidly verging to complete ruin. The hght shines through the rafters above, and the decayed boards are giving way below. " This theatre is neither beautiful nor convenient, but very remarkable on account of the distinctness with which one hears even a low voice on the stage through every part ; aU the planks are disposed verticaUy, which is not con sistent with the plan usuaUy adopted for the distinct propagation of sound." — Woods. To the 1. of the theatre are the Parma. Route 34. — Parma — Accademia Ducale. 373 apartments of the Academia Ducale, founded in 1574, and, according to the usual fantastic fashion, caUed the Aca demia degli Innominati ; and each member took an epithet of conceal ment, such as L' Oscuro, L'Ascoso, L'Incerto, II Sepolto, and so on. After many changes the Academy was re established in 1822. In its better days it numbered amongst its members many scientific and literary characters of eminence ; at present it is princi paUy a school for the fine arts. Of this establishment the Galleria Arci- ducale is a portion. The coUection is not large, but contains several pictures of the highest importance. It is pecu liarly rich in the works of Correggio, the most celebrated being (1) the pic ture oalled the St. Jerome, in conse quence of his being the most remark able figure in the group, of which the centre is formed by the Madonna and ChUd ; St. Mary Magdalen is opposite to St. Jerome, kissing the feet of the Infant. The history of this fine paint ing is curious. It was bespoken by an old widow lady, one Briseis Berganza, who, in her contract with Correggio, made her stipulations as to what she was to have for her money with the utmost minuteness. The price was 80 golden crowns. Correggio was em ployed during six months in the widow's house painting the picture, and, when it was finished, she was so weU satisfied with it that she gave him, besides his board, two cartloads of faggots, a quantity of wheat, and a pig. The widow bestowed the painting upon the Convent of St. Anthony at Parma in 1527 ; and it speedUy ac quired an European reputation, so much so, that Don Joam V. of Por tugal in 1549 opened a negotiation with the convent for the purchase of the painting, offering, as it is said, as much as 460,000 frs., a sum which appears incredible. The magistrates of Parma, hearing of the intended con tract, and fearing lest their city should lose its ornament, gave notice to the duke, and he stopped the bargain by removing the pictra-e and placing it in the oathedral. Here it continued tiU 1756, when one M. JoUain, a French painter, obtained an order from the reigning duke, the Infant Don "Philip, to make a copy of it. The chapter made Borne difficulties, upon which the duke sent a file of grenadiers and re moved it, and after a lapse of a year placed it in his new-founded Academy. It was one of the earhest works of art carried off by the French. " The Angel next to St. Jerome is extremely beautiful; other portions are, how ever, not quite free from affectation." — Kugler. The Virgin is lovely ; but aU the chUdren's heads are slightly exaggerated. " The grace, the taste, in the action of the Magdalen, and the management of her drapery, has been, and must for ever be, the theme of aU who see it. Gentleness and entire devotion reign throughout her figure. The colour is, perhapB, the quint essence of colouring, — rich without being gaudy, soft without dulness or insipidity, deep without blackness, fuU yet broken, clear yet meUow, and its harmony complete." — Phillips, R.A. The Italian writers upon art often call this picture " H Giorno," from the wonderful effect of bright daylight which it exhibits, thus placing it in contrast with his celebrated Notte^ above which it is placed by Mengs, who considered it as the finest of Cor- reggio's works. (2) La Madonna della Scodella ; a Flight into Egypt, deriving its name from the scodella — the smaU dish or porringer which the Virgin holds in her hand. Vasari caUs this picture " divine." " Thougl skUlful, it is harder and drier than the St. Jerome, and lacks its lustre ; either it was never fuUy glazed, or it has been overcleaned; yet its surface does not appear crude; it is finished more minutely to its boundaries, and that perhaps causes the hardness." — Phillips, R.A. " These two Cor- reggios have been moved (1845) into separate rooms, with a view to their being seen to greater advantage ; but this good intention has been frustrated by the mistakes made in carrying it into effect. The waUs of the principal room are hung with figured silk, in 374 Route 34. — Parma — Accademia Ducale. Sect. IV: the pattern of which Correggio's initials A. A. (Antonio AUegri) occur repeat edly ; but, in consequence of its heavy lead-colour (which the custode says was chosen after repeated trials of various tints by the cognoscenti of Parma), and the lowness of the side windows on each Bide, one reflecting a cold dayhght, the other a warm sun light reflected from a stucco waU, and both glazed with ground-glass, the St. Jerome picture is deprived of the value of all its greys, and in conse quence loses much of its brilliancy, and the eyes of the spectator are dis tressed and puzzled by the opposing influences. The picture of the ' Sco della' is in an equally cold grey room."— C. W. C- (3) The Depod- tion, or Taldng down from the Cross, in the artist's second manner. " This is equally juicy and luminous with the St. Jerome, though its colour is with propriety kept less luxurious and rich, except about the Magdalen, where its fulness gives contrast and aUveriness to the other partB. This picture shows the weak point of Correggio, and he here feU short of RaffaeUe as far as he surpassed him in colour, effect, and harmony. The expressions are not the offspring of feehng ; the striving of the painter with nature is evident ; the figures act, not feel, and faU to affect the observer: the dead Saviour alone has a natural air." — Phillips, R.A (4) The Martyrdom of San Placidio and Sta. Flavia is its companion. " The same defect reigns in this aa in the last ; it excites not the sought- for impression. The lady is particu larly theatric. The expression of St. Placidio is much nearer the mark. The harmony of this picture is quite perfect, and the plan ingeniously con trived."— Phillips, R.A. (5) Our Sa viour bearing the Cross, and sinking under its weight ; the Virgin in a swoon in the foreground. This is one of Correggio's early works, " executed before he had shaken off the style of arrangement, or rather want of ar rangement, of his master Andrea Man tegna. It is totally deficient in com position and drawing, but exhibits a perfect feeling for colour and har mony." — Philipps, R.A. (6) La Madonna della Scala, a fresco wliich has been twice removed, first from a gate of the town, and afterwards from an oratory, yet stUl considered as one of Correggio's finest works. The Ma donna holds the Child in her lap, regarding him with fervent tender ness ; his arms are clasped around her neck ; he looks towards the spectators. It has been much damaged by weather, removals, and restorations. — Amongst the Correggios may perhaps be classed a copy, by Ludovico Caracci, from the frescoes in the cathedral ; an exceed ingly beautiful group of children's heads, full of grace and charm. By Annibal Caracd is also a copy of the two figures of Christ and the Virgin crowned, by Correggio, now in the Ubrary. Raphael, Jesus glorified. The Virgin and St. Paul on one side, St. John the Baptist and St. Catherine on the other. It was much restored at Paris, and Passavant speaks very doubtfully of its originahty. Its early history is quite unknown, and it can not be traced beyond the last century. Passavant thinks it is the work of some clever scholar of Raphael. — Francesco Francia, the Taking down from the Cross ; Joseph of Arimathea, St. John, and the three Marys stand round the body. — Badalocehio, San Francesco d' Assisi receiving the Stig mata, in a wooded landscape ; a good specimen of the school of the Caracci. — Tiepolo, Two ancient Saints, a dead body lying between them. — Parmigi ano, the Marriage of St. Catherine ; very lovely. — Marinari .- this pupU of Carlo Dolce has produced a beautiful Magdalen. ¦ — Ludomco Caracci, two pictures upon a colossal scale, from the legendary history of the Virgin Mary, — the Apostles bearing her to the Tomb, angels in the air waving incense over her; the Apoatles open ing the Tomb, and finding it fiUed with roses in token of her Assumption. — Parmigiano, Study of Heads, a Virgin and ChUd, St. Jerome and St. Bernard, painted by him at nineteen Parma. Route 34. — Parma — Library — Museo Ducale. 375 years old ; and a sketch in oU, on paper, of the Entry of our Lord into Jerusalem, formerly at the Calorno palace, full of figures.' — Ansel/mi, two fine pictures of the Virgin with different Saints. This artist was a native of Lucca, but of an ancient family of Parma, whence political disturbances had driven his father. — Rondani, the Virgin and ChUd appearing to St. Augustine and St. Jerome. — Mazzuola, cousin to Parmigiano, a Holy FamUy with St. Michael, and an Angel play ing on the mandoline. These latter painters were chiefly of the school, and formed by the imitation, of Correggio. — By Schidone, who also was his ardent imitator, we have a fine work, the Angel appearing at the Sepulchre to the three Marys. This small but choice coUection con sists chiefly of the works of Correggio and his school; but there is, besides, a Vandyke — the Virgin with the Infant sleeping on her breast ; St. Jerome writing, by Guerdno ; and our Lord amongst the Doctors, by Giovanni Bellini, A fine and almost colossal bust of Maria Louisa, by Canova, adorns the apartment. The annual exhibition of modern paintings takes place in two adjoining rooms. The original library is said to con tain 10,000 vols. Maria Louisa is said to have added 30,000 more ; judg ing from the look, the number is not much exaggerated. It contains the very valuable Hebrew and Syriac ma nuscripts of De Rossi, the great Ori ental scholar, bought by Maria Louisa for 100,000 frs., as weU as his printed books. It is altogether weU selected, and is much used by students. Amongst the curiosities are the foUowing : — Luther's Hebrew Psalter, with many autograph notes of the great reformer ; evidently the copy from which he worked in making his translation of the Bible. A very beautiful MS. of Petrarch, which belonged to Francis I., and was taken amongst his baggage at the battle of Pavia. The autograph coUections of the great anatomist Mor- gagni. A map of the world made by Pezzigani in 1361. The Koran found in the tent of the Grand Vizier Cara Mustapha, after the raising of the siege of Vienna. The very large coUection of ancient and modern engravings made, by MassimUiano OrtaUi, lately purchased for 45,000 frs. The Heures which belonged to Henry II. of France, in each page of which is the emblem and motto of Diana of Poictiers. The library is fitted up with elegance, and is ornamented by a fresco painted by Correggio, and removed from the choir of the demolished church of San Gio vanni, representing our Saviour crown ing the Virgin with a crown of stars. " It is on a large scale, and the figure of the Virgin is grand and flowing in line, more so than that of Christ, though there is exceUent drawing in that."— Phillips, R.A. The Museo Ducale has many inte resting monuments. The main stock consists of the antiquities found at Velleia. Amongst the principal ob jects are the foUowing, — the Tabula alimentaria of Trajan, or the regula tion or ordinance for the distribution of his gifts for the maintenance of the chUdren of the poor. He gives the sum of 1,144,000 sesterces, to be in vested in lands, of which the proceeds are to be employed in mamtaming 245 males and 45 females, aU to be legitimate, together with one spurims and one spuria, a proof how much the Roman pohcy, even at that period, respected the sanctity of marriage; every boy was to receive 16 sesterces by month, and every girl 12, but the spurius and the spuria only 10 each. It appears that the whole sum invested produced about 5 per cent. The tabula is nearly 12 ft. in length by about 5 in height; the writing is in seven columns. The names and situar tion of the lands are given, thus ren dering it an interesting memorial of local topography. — Another inscription contains the fragments of lav* to be observed in Cisalpine Gaul. — The tomb of a Purpurarius, with the implements of his trade. — A supposed Agrippma, of marble. — A colossal head of Ju» 376 Route 34. — Parma — Tipogrqfia Ducale. Sect. IV. piter ; fine, but with a new nose, &c. — An Athlete, converted by restorationa into a faun. — A smaU statue of bronze representing a drunken Hercules; he is leaning back, and almost off his ba lance, corresponding with the semi- farcical character assigned by the old Greek comedy to the gluttonous son of Alcmena. — An Egyptian slave — a crying baby — fine candelabra — Ionic and other capitals. — Many colossal fragments of statues, hands, feet, torsoes. AU the larger marble statues appear to 'have been crushed by the fall of the •mountain : the metal ones escaped -better. — A multitude of smaU utensUs ; ¦bracelets, lamps, snuffers, rings, keys. • — Two fine colossal statues of basalt, Hercules and Bacchus, found at Rome on the Palatine HiU. In 1724 they were placed in the Villa Colorno, and returned here in 1822. The mu seum also contains a very rich coUec tion of gold Roman coins, found in Parma or its vicinity ; one a Gahienus, •suspended to a golden chain Uke the decoration of an order. Plans and views are hung up, showing the present state of VeUeia and the excavations. The Tipografia Ducale is known to aU the bibliographical and biblioma- nical world as having been under the direction of the celebrated Bodoni. Bodoni cast his own types, and he had a great variety of founts ; his paper was almost always supphed from Ger many. Among his coUections may be seen various fine specimens of typo graphy, and amongst them different methods of printing music Music is usuaUy printed from pewter plates, on which the characters have been im pressed by steel punches. The metal being much softer than copper, is liable to scratches, which detain a smaU portion of the ink. This is the reason of the dirty appearance of printed music. The above, though the method by far the most frequently made use of, is not the only one em- ployedjlfor music is occasionally printed from stone. Sometimes also it is printed with moveable type ; and occa- sionaUy the musical characters are printed on the paper, and the lines printed afterwards. Specimens of both these latter modes of music-printing may be seen in the splendid coUection of impressions from the types of the press of Bodoni, at Parma; but not withstanding the great care bestowed on the execution of that work, the per petual interruption of continuity in the lines,, arising from the use of move able type when the charactera and lines are printed at the same time, is appa rent." — Babbage. In the Casa Bodoni are his coUections, which contain some good things : A. Caracd, his own por trait ; Andrea del Sarto, a head caUed Dante ; Titian, a head caUed Petrarch ; Schidone, a good copy of Correggio's St. Jerome. Two smaU paintings, in his early manner. The Teatro Nuovo, begun in 1820, and opened in 1829, is a very showy buUding withinside. It cost 2,000,000 francs, or lire Italiane, Besides the Bodoni coUections there are some others which may be noticed. Palazzo Sanvitdle contains a St. Ca therine by Parmigiano. The Stuardi coUections are now in the hospital of the Congregazione della Carita, to which institution the late benevolent owner bequeathed the whole of his property. They contain a series from the age of Cimabue, together with the original drawings of Correggio, for his paintings in the Duomo. They are drawn with great freedom, and are of the highest interest. The Cabinet of the Marquis Rosa Prati is also of some repute. The Cavalier Toschi and his school are engaged in a series of elaborate drawings from the frescoes of Cor reggio; from which engravings are being executed, which will preserve a knowledge of these great works, now so decayed. They are executed with great care, and may be seen in London at Messrs. Colnaghi's of PaU-MaU. In 1843 the remains of a fine Roman theatre were discovered at Parma. The torrent Parma has here no beauty : it is crossed by three bridges. In the suburbs is the Palazzo del Giardino. It was buUt by Ottavio Farnese, but was altered and enlarged Parma. Route 35. — Cremona to Parma. m in 1767. It is partly stuccoed and looks unfinished, but contains some curious frescoes, which about a cen tury ago were covered with paper- hangings of the most ordinary descrip tion. Parts were uncovered by the French about 40 years ago, others very recently ; some are stiU concealed. The frescoes in one room are by Agos tino Caracd ; but were left unfiniahed by him, as wc learn from an inscrip tion, which says that it is better to see them unfinished by his hand than finished by any other. They represent the Rape of Europa, the Triumph of Venus, the Marriage of Peleus and Thetis, in three large paintings occu pying three sides of the room. On the window side is ApoUo and Daphne. In the centre of the ceUing are three Cupids, and Other subjects in lunettes above the four sides. " There are some frescoes in the Palazzo del Giar dino worth visiting ; the best are by Agost. Caracd. Although ahght and Coarse in execution, the classical stories they represent are pleasingly told, and with much poetic feeling; parti cularly that one of Peleus and Thetis, where the coy modesty of the lady, the enjoyment of the Cupids, and the general languid voluptuousness are successfully treated." — C. TV. C. Another room is decorated with aUe- gories representing various scenes of enjoyment ; one the palace of Armida, with its columns and waUs of crystal, Uke the Palais de la Verite of Ma dame de Genhs, through which the figures are seen. Another room con tains mythological subjects. There is also an. enormous coUection of portraits of the members of the houses by tyhich Parma has been ruled; none of the slightest merit as works of art ; and ais strange and queer, both in look, expression, and costume, as it ia possible to bring together. In the baU-room are models of the Bridges buUt by Maria Louisa over the Trebbia and the Taro. The Giardino is old-fashioned and deserted, but not unpleasant. ROUTE 35. CREMONA TO PARMA, ET CASAI, MAG GIORE AND COLORNO. (54 posts =48 m.) Cremona, 1 1 Cigognolo, > Rte. 23. li Piadena, J 1J Casal Maggiore; a smaU but important town on the banks of the Po, here a mighty stream : the country is always at the mercy of its devastat-. ing waves. " Sic pleno Padus ore tumens super aggere tutas Excurrit ripas, et totos concutit agros. Snccubuit si qua tellus, cumulumque furen- tem Undarum non passa, ruit ; turn llnmine toto Transit, et ignotos aperit sibi gurgite campos. lllos terra fugit dominos ; his rura colonis Accedtmt, donante Pado." Pharsalia, vi. " So, raised by melting streams of Alpine snow, Beyond his utmost margin swells the Po, And loosely lets the spreading deluge How : Where'er the weaker hanks oppress d retreat, And sink beneath the heapy waters' weight, Forth gushing at the breach they burst their way, And wasteful o'er the drowned country stray : Far distant fields and meads they wander o'er, And visit lands they never knew before. Here,, from its seat the mouldering earth is torn, And by the flood to other masters borne ; While gathering there, it heaps the growing soil, And loads the peasant with his neighbour's spoil." Eowe's Lucan, vi. 4G4-476. The embankments, in many parts, look down upon the adjoining coun try ; and from time to time " the king of rivers" fuUy asserts his devastating power. " There is an old channel of the Po in the territory of Parma, called Po Vecchio, which was abandoned in the 12th centy., when a great number of towns were destroyed. There are re cords of parish churches, as those of Vico Behgnano, Agojolo, and Mar- tignana (which he a httle to the rf. and N.W. of Casal Maggiore), having been pulled down, and afterwards re buUt at a greater distance from the 378 Route 3t>. — Parma to Mantua. Sect. IV." devounng stream. In the 15th centy. the main branch again resumed its deserted channel, and carried away a great island opposite Casal Maggiore. At the end of the same century it aban doned, a second time, the bed caUed ' Po Vecchio,' carrying away three streets of Casal Maggiore." — Lyell. " Proluit insano contorquens vortice silvas Fluviorum rex Eridanus, camposque per omnes Cum stabulis armenta tulit." Oeorg., i. 481. " Then, rising in his might, the king of floods Rush'd through the forests, tore the lofty -woods, And rolling onward, with a sweepy swav, Bore houses, herds, and labouring hinds away." Deydek's Georgia, i. 649-653. The traveUer wUl have fuU time to study, not only these quotations, but probably to read good part of the Georgics, in crossing the ferry, one of the clumsiest and worst ordered of its kind. The heavy crazy boat is mis managed by three rowers, who have to contend here with the strength of the stream; now rowing, then punting, now dragging ; bo that, from land to land, the passage usuaUy occupies a considerable time. Shortly after, you reach Sacea. Here the dogana shows that you have entered the Parmesan territory. Colorno, on the Parma, formerly the fief of a noble family, of whom the last member was the beautiful Bar bara Colorno, sacrificed, as before men tioned, to the insane tyranny of Ra nuccio I. Upon her execution the fief was confiscated, and the Palazzo be came what it now is, the principal villegiatwa of the sovereign: it is a large and Btately, but somewhat neg lected, buUding. Under the Farnese fanhly it contained several remarkable pieces of antiquity and works of art. A fine statue of Maria Louisa, in the character of Concord, is its principal ornament. It has also some tolerable modern frescoes by Borghetti. The Church of San Liborio, near the Pa lazzo, has some rich ornaments and marbles. Cortile San Martino. Here is an other desecrated buUding, once a mag nificent Carthusian monastery, with a fine church in the Renaissance style, neglected and falling into ruin. The above is the only road on which there are post relays between Cremona and Parma ; but there is a more direct one, which crosses the Po at the Porto di Cremona to MontioeUi, from whence it branches off to the 1. to Corte- maggiore, Busseto, Borgo San Donino, and Parma (see Rte. 34) ; and an other to the rt., through San Nazzaro, Caorso, and Roncaglia, to Piacenza, about 20 m. 2 PARMA (p. 365). ROUTE 36. BABMA TO MANTTTA, BY GUASTA1IA, (6 posts = 53 m.) Vicopre, with a smaU church in the style of the Renaissance. Sorbolo, on the Enza torrent, a vUlage and dogana; this place being on the frontier of Modena. 2 Brescello ; pleasantly situated on the banks of the Po, here dotted with numerous islands. This town, which is now on the rt. bank of the Po, is one of those of which the site was formerly on the 1. bank. " Subse quently to the year 1390, the Po de serted part of the territory of Cremona, and invaded that of Parma; its old channel being stiU recognisable, and bearing the name of Po Morto." — Lyell, The road runs along the Po by Bo- retto and Gualtieri, and crosses the Crostolo torrent, which formerly se parated Modena from GuastaUa. 1 GuastaUa. — (Inns: La Posta, H CapeUo Verde, H Leone d'Oro.) This BmaU city, containing between 2000 and 3000 Inhab., is quite in propor tion to the duchy of which it is the capital. Forming with those of Parma and Piacenza the sovereignty of Maria Louisa, it reverted to the Duke of Mo dena on the death of that princess. Parma. Route 37. — Parma to Sarzana. 379 In the Lombard times it was known by the name of Guardstall. It is a very primitive place, in which two physicians, two surgeons, and one mid wife are paid out of the pubhc funds to do all that is needful for aU the members of the community. The statue in bronze of Don Ferrante Gonzaga I., by Leone Leoni, in the piazza, is the only work of art in the city. He is trampling upon Envy, represented in the shape of an ugly satyr. Don Fer rante had been accused of treason against the emperor, but he disproved the charge made by his enemies. The cathedral has only very recently ob tained a bishop, the see having been instituted in 1828. There are eight other churches, and many charitable institutions. Luzzara, on the banks of the Po, a village and dogana, and where a smaU body of troops is uauaUy sta tioned. It is a point of much military importance; and here, in August 1702, the imperiaUsts under Prince Eugene suffered a memorable defeat fi-om the French. One m. beyond SaiUetto cross the Po by the ferry or porto of 2 Borgoforte, so called from the strong castle buUt here by the Man- tuans in 1211. 1 MANTUA (Rte. 23). ROUTE 37. PABMA TO SARZANA, CARRARA, AND I/UOCA. This road is kept in tolerable repair, but is heavy in winter, and at aU times dull until it reaches the summit of the Apennines. It has been much im proved of late years, and a dUigence starts by it 3 times a week from Parma to Pontremoli, leaving at 5 A.M., and arriving at 3-15 p.m. It was much frequented in the middle ages by per sons going to Rome from countries beyond the Alps ; hence the names it bore of Strada Francesca and Romea then given to it. Anciently a branch of the Via Clodia appears to have tra versed this pass of the Apennines. Since the death of Maria Louisa the Tuscan province of Lunigiana, of which Pontremoli is the capital, having been annexed to the sovereignty of Parma, the whole of this road, as far as the Sardinian and Modenese frontier sta tions of San Benedetto and AuUa, are within the Parmesan territories. This route may prove convenient to persons desiring to reach the baths of Lucca, sea-bathing at Spezia, &c., from Lombardy, without going round about by Bologna on the E., or by Genoa on the W. The only tolerable sleeping-place wUl be found to be Pontremoli, which may be easUy reached in a summer's day from Parma. Collechio, a vUlage pleasantly situ ated at the commencement of the Ihhy country ; there is a fine Gothic church with a baptistery here. From CoUechio the road runs along the hUls wliich bound the vaUey of the Taro, graduaUy approaching that river, to 2 Fornuovo (Forum Novanorum), at the foot of the Apennines, on the rt. bank of the Taro, at its junction with the Ceno, a considerable stream from the W.S.W. There are many vestiges of Roman antiquities in the more re cent buUdingsof Fornuovo, particularly in the waUs of the great church and some of the adjoining houses : the church is rather a fine Lombard struc ture ; on the facade are some curious bas-rehefs, particularly one representing the Seven Mortal Sins. Fornuovo de rives some celebrity from the battle fought here in 1495 between Charles VIII. of France on hi8 return from Naples, and the Itahan confederates under Franceso Gonzaga, Marquis of Mantua, when the latter were de feated with great loss, although num bering more than four-fold the victo rious army. The roads leading from Parma to Bargo Taro and Bardi separ rate here. There is a tolerable Itahan Inn here (Albergo Reale), the people civU; the road begins to ascend rapidly from Fornuovo, over a spur of the Apennines separating the Taro and 380 Route 37. — Parma to Sarzana. Sect IV; Bagnanza vaUeys, winding round the high hill of Monte Prinzera, and pass ing through the vUlages of Piantogna and Cassio. 3 Berceto (Albergo Reale, rather better than at Fornuovo ; the Dihgence and Vetturini generaUy stop here) hes in the midst of the mountains ; it is a picturesque ancient town. The church is a Gothic buUding ; the piazza in front, the fountain, and the whole scene -around, is singular ; this is the last town before crossing the Apen nines ; the road from hence ascends the Bagnanza torrents to the Cisa Pass, where, before the incorporation of Pon tremoU with Parma, the dogana stood. The Cisa Col is very wUd and desolate, at an elevation of 3420 Eng. ft. above the sea ; it is supposed that it was by this pass that Hannibal penetrated into Etruria, after having defeated Sempronius on the Trebbia. We here enter the province of Upper Lunigiana, which, untU the death of Maria Louisa, belonged to Tuscany, but, on the trans fer of Lucca to the latter country, the district of PontremoU reverted to the duchy of Parma. The road de scends rapidly by Monte Lungo and Mignenza on the Magra, the rt. bank of which it foUows to - Pontremoli (Inn : II Pavone, at the Posta : although not over clean, it is a tolerable house, with very civU people, and the best stopping-place between Parma and Sarzana) . This city, of 3400 Inhab., which derives its name pro bably from a shaky bridge over the Magra (Pons tremulus), offers a striking contrast to aU the traveUer has hitherto seen. He finds himself amongst a new race, and many buUdings have a pecu har character. Situated in a triangle formed by the junction of the Magra and Verde torrents, it consists of an upper and lower town, the former sur rounded by massive and picturesque fortifications. PontremoU, being during the middle ages as it were the key to one of the most frequented passes of the chain between Tuscany and Lom bardy, has repeatedly changed masters. Some of the old towers were raised in 1322 by Castruccio AntelmineUi, the" lord of Lucca ; others by the Genoese, when they held possession of the Lu nigiana. It also belonged for a time to MUan; and the armorial bearings of the Sforzas, and stUl more of the kings of Spain, show its ancient union to that powerful duchy. Annexed to Tus cany by the treaties of 1815 until Lucca became annexed to the latter, on the death of the widow of Napo leon PontremoU was handed over to the reigning Duke of Parma. The lower town of PontremoU has a more modern aspect ; the Duomo, unfinished, was begun in 1620. Sta. Annunziata in the S. suburb was buUt in 1471 ; within stands a smaU octagonal temple of white marble and fine workman ship. The other churches are modern ized. The road, on leaving PontremoU, runs parallel to, but at some distance from the Magra, passing Villafranca, where the Bagnone torrent enters it ; several fine old casteUated remains are scattered over the country on each side of the river. Filattiera, between PontremoU and Villafranca, has a fine old Rocca, once belonging to the Malespinas. 2 Terra Rossa (no Inn), near the junction of the Coviglia and Tavarone torrents with the Magra, both of which must be crossed on leaving it for Sar zana. Do not let traveUers aUow them selves to be imposed upon by the people offering assistance to cross these tor rents, as it is unnecessary. A new road has been recently opened from Terra Rossa to Sarzana by AuUa (the Papa- gaUo is a poor cabaret, but with civU people, before entering the gate) ; the country as far as AuUa is very beauti ful; after leaving this town the, Au- letta torrent iB crossed in a ferry-boat, the 'landing from which is bad for carriages on both sides. The Sardir man frontier is crossed at San Bene detto. 4J Sarzana ; an extra horse between Sarzana and Terra Rossa, both ways, from Nov. 1 to May 1. (Rte. 13.) TraveUers wishing to proceed to Parma. Route 37.-— Parma to Sarzana. 381 Lucca and Florence need not go out of their way to Sarzana; after crossing the Auletta, on leaving Aulla, we enter the duchy of Massa Carrara ; the car riage-road ascends for 5 m. to Ceserano, a smaU town, where a road branches off on the 1. to Fivizzano, a newly-acquired possession from Tus cany of the Duke of Modena; from this place a hilly road leads by Terenzo and Tendola to Fosdinovo, a town of 1850 Inhab., very finely situated on a projecting part of the Apennines ; it stands pictu resquely itself, and offers very fine views over the Mediterranean, the Gulf of Spezzia, and the shore to the east ward ; the myrtles grow wUd in abun dance between Fosdinovo and the plain to the S. There is a good road of about 5 m. from Fosdinovo to Portone, where it joins the high road from Sarzana to Lucca, 3 m. below the former station. From Fosdinovo a considerable ascent of nearly an hour to Monte Girone, and an equal distance to Cos- telpoggio, where there is a kind of Inn (the Pistoia). From Castelpoggio the road is good and very picturesque as far as Carrara. (See Rte, 40.) ( 382 ) SECTION V. DUCHY OF MODENA. The present Duke of Modena, Francesco V., was born 1st June, 1819, and succeeded his father on the 21st January, 1846. In addition to his principal title he is Archduke of Austria, and Duke of GuastaUa, Massa, and Carrara. His territories embrace the duchies of Modena Proper, GuastaUa, and Reggio, on the N., and of Massa and Carrara, the district of the Apennines, and Fivizr zano, recently acquired by exchange from Tuscany, on the S. The Modenese territory therefore extends from the Po to the Mediterranean, although the por tion of sea-coast is very small, and devoid of ports or harbours. § 1. Agricditttre. — Commerce. Modena is of somewhat greater extent than Parma. Its soU and productions are similar, except to the S. of the Apennines, where the ohve and orange grow in the open air. The population in 1850 amounted to 586,458 Inhab. The farms are smaU, and the metayer system prevaUs. In the Apennines the peasants are often proprietors of the land. Agricultural industry is in a rude state, and the duchy seldom yields sufficient grain for the inhabitants, who Uve in great part on roasted cheatnutB and chestnut flour, polenta, and a few vegetables fried in common ohve oU. Wheat, maize, some rice, wines, olives, and other fruits, some vegetables, silk, hemp, and some flax, are the principal objects of culture. The valley of Garfagnana is that alone in which dairy pasture is foUowed to any extent. The Duke and a few ' of the principal landlords own the large flock6 of sheep which pasture on the Apennines and the slopes of the mountains. On the latter, beech, pine, oak, and also chestnuts abound. The vine is exten sively cultivated about Reggio and Modena, from wliich a large quantity of wine, of a strong rough description, is exported to Lombardy. The worst of these, with water, constitutes the drink of the population. The labouring popu lation Uve in general very sparingly, and are seldom enabled to eat any animal food. Iron and some other minerals are found : the marble of Carrara, which seems inexhaustible, forms the most valuable article of export. Some silk- works, Unen [and canvas, leather, paper, gluea, and pottery, aU on an insig nificant scale, with the ordinary handicraft works, comprise the manufacturing industry of this smaU state. Its trifling commerce is, like that of Parma, con fined to an interchange of its few surplus products for sugar, coffee, and articles of luxury ; aU of which, from both being inland countries, are comprised in the trade of the surrounding countries. § 2. Posting. — Monet. The posting regulations are the same as in the Lombardo- Venetian kingdoms ; the currency is Itahan or Austrian. The visa of the Austrian government to the passport is sufficient for travelling in the duchy of Modena. Modena, Route 38. — Parma to Modena and Bologna. 383 ROUTE 38. PARMA TO MODENA AND BOLOGNA. 1\ posts=62 m. Quitting Parma, you resume the Via Emilia, stretching out in a straight line before you. Fine views of the purple Apennines in the distance. San Lazzaro ; the name of this place indicates the former existence of the ancient hospital. Lepers were strictly prohibited from entering the city of Parma, hence the necessity of this houae of refuge. The Portone di San Laz zaro, which crosses the road, was erected for the purpose of commemorating the solemn entry of Margaret of Medici, when entering Parma for the purpose of celebrating her marriage with the Duke Odoardo. San Prospero. Then by a long bridge cross the torrent Enza, furious in win ter, but in summer having its course marked .only by a bed of stones. The Enza abounds, nevertheless, with ex ceUent fish. About a mUe further on enter the territory of Modena, and encounter a custom-house at 1£ Sant' Ilario. 5 m. S. of this hes Montecchio, celebrated as the birth place of Attendolo Sforza, the father of Francesco Sforza, the founder of the great but unfortunate second dynalsty of Dukes of MUan. Gross the Crostolo torrent, which, under the French, gave its name to the department, before reaching 1J Reggio (Inns: Posta, Giglio), a flourishing city, containing upwards of 1-6,000 Inhab. Regium Lepidi was founded by, or at least received the privUeges of a Roman colony from, .ffimihus Lepidus. The devastations of Alarie, and the restoration of the city by Charlemagne, have effaced almost every vestige of antiquity. A curious Roman statue of Janus, of fairly good workmanship, but lacking both arms, is buUt into the corner of a house near the Palazzo de Becchi, hke the Uomo di Pietra at MUan. A statue, which is said to be that of Lepidus, is pre served in the Palazzo del Commune. Several curious Roman inscriptions and altars are preserved in the cortUe and arched porticoes of this buUding. The great romantic poet of Italy was born at Reggio, and the house in which Ariosto first Baw the light is, accord ing to immemorial tradition, pointed out near the Palazzo del Commune. No theme of controversy, from the time of Homer downwards, has been more fierce than that respecting the birthplace of great men. Ariosto has himself spoken too clearly to permit any other city to contest with Reggio; but that is not enough, for, if cities and vUlages cannot dispute, then locahties in cities and villages will. One party maintains that Ariosto must have been born within the precincts of the cita del ; and this species of civU war rages as yet undecided. The house itself has no appearance of age, and has nothing but the tradition to render it remark able. The Duomo is of the 15th century. The fa9ade, which is unfinished, is ornamented with marble columns, and recumbent on the pediment of the great door are fine statues of Adam and Eve, by Clementi. They are larger than life, and Clementi has evidently imitated his master, Michael Angelo, in the position of the figures, which are like the "Morning and Evening" in the Laurentian Chapel at Florence ; besides these there are SS. Chrysanthus and Darius, and other patron saints. Within the cathedral are several other fine works by Clementi: — The Tomb of Ugo Rangoni, Bishop of Reggio. He is represented in the atti tude of benediction, larger than life. By Clementi also are the bronzes of the High Altar, representing Christ Triumphant, and the statues of Saints Prosper, Maximus, and Catherine in the choir. Clementi himself is buried in this cathedral, under a monument sculptured by his able pupU, Pacchione, who was both a sculptor and an archi tect. In a chapel is a statue of Bishop FiccareUi, who died in 1825. It is above the ordinary run of modern ItaUan sculpture. A supposed Caracd in the choir is much damaged. Another monument is that .of Francesco Maria 384 Route 38. — Reggio — Madonna della Ghiara. Sect, V, d'Este, late Bishop of Reggio, died 1820. He left aU his property to the cathedral. Madonna della Ghiara, The plan of this church is a Greek cross. It was begun in 1597 from the designs of Balbi, and completed by Pacehione, who added the vaulting of the cupola. The architectural details are good. The interior is covered with frescoes. Large and small there are upwards of 200 compartments thus decorated, and in good preservation. One series is by Luca Ferrari (1605-1654), a native of Reggio, the disciple of Guido, more " grandioao," says Lanzi, than delicate, yet with a share of the grace of his master. Amongst theae are several Scripture histories, which, hke all the paintings throughout the church, are explained or aUegorised by short mot toes ; as, for example, Rebekah at the WeU, " Haunt aquas ingaudio, defoi Sahiatoris." Another series is by Tiarini, of Bologna (born 1577, died 1668), This painter, who lived during the greater part of his hfe at Reggio, was in some respects formed by the Caracci, yet preserved a distinct cha racter. His compartments also are Scripture histories, intermixed with devices : — Samuel offered by his mother to- the High Priest is one of the best, with the motto " Quod Deo vovit, de vote reddidit." A third series is by Lionello Spada (1576-1622), a friend, and yet in some degree a rival, oiTiarini, and to whom he was superior in colour ing, but inferior in design. Spada was here in direct competition with Tiarini, and the series which he has left con tains some of his most carefuUy exe cuted works. In this series, Esther before Ahasuerus, " Humiles exaltati sunt," is the best. By Desani (1594- 1657), a pupU of Spada, and who esta blished himself at Reggio, is a curious series of figures, representing eight rehgious orders, with the virtues sup posed to belong more particularly to each. By Gavassetti (died 1628), a beautiful series of Prophets and Virtues. Many of the paintings of emblems are clever. A Crucifixion, by Guercino, seems a fine picture, but it is dirty and Ul seen. The original Madonna della Ghiara, once' an old painting upon a garden waU, has long since perished. The present one was painted in 1573, and placed in a magnificent shrine or altar, ornamented with mother-of-pearl and coloured marbles : beautiful lamps of sUver are suspended before it. A fine monumental bust of Maria Teresa of Este was erected, 1820, by her daughter, Maria Beatrice. The very ancient Basihea of San Prospero (which stands behind the ca thedral) was entirely rebuilt in the 16th century. The demolished buUd ing was in the Lombard style. Six colossal hons of marble, which sup ported the portals, are stitt before the modern church. One grasps two skulls with his hind pawa ; others have the usual rams and serpents. Within, the structure is grand and regular. Fine, but damaged, frescoes by Campi and Procacdni — amongst other subjects, the Last Judgment, Heaven, Purga tory, HeU — decorate the vaultings. Other paintings are by Tiarini. In the sanctuary are some statues, a cru cifix, and massive ornaments, in sUver. Great rents, now filled with mortar, Bhow the damage which the church sustained, a few years ago, by an earth quake. Reggio has a good pubhc library and a museum. In the latter are the coUections of the celebrated Spallan- zani : he was born at Scandiano, within the district of Reggio, and therefore the inhabitants of the city consider him as their feUow-citizen. Reggio is also the country of Valesnieri, Toschi, and Paradisi. There is an active trade here in wine, silk, cheese, and hemp, so that the place has an air of prosperity. A road much improved of late years, and with a mUitary object, leads from Reggio to the shores of the Me diterranean by the Pass of Sassalbo, Fivizzano, and Sarzana, through a country offering httle interest, and only one decent resting-place at Casteh nuovo nei Monte ; there are no relays of horses upon it, and it is chiefly traversed by persons carrying • fish from the Gulf of Spezzia to Reggio Modena. Route 38. — Modena — The Duomo, 385 and Rubiera ; it is probable it wiU now be more travelled over, since the district of Fivizzano has been united to the possessions of the Duke of Modena. About 12 m. S.W. from Reggio is Canossa, celebrated as the place where the Emperor Henry IV., after supph- eating during three days, barefooted and bareheaded, obtained absolution from Pope Gregory VII. 1 Rubiera, a m. before reaching the Seechia. This place, surrounded by very fine fortifications, was a fief be longing to Bojardo, Lord of Scandiano, and author of the ' Orlando Imia- morato.' There are remains of a Roman bridge over the Seechia. The road continues through a plain, with many vines ; but, in other re spects, with somewhat diminished fer tUity. 1 MODENA (Inns: II Grande Albergo S. Marco. It belongs to the government, and is kept up partly at the Duke's expense. Grande Albergo reale, new), anciently Mutina, possesses nothing but the features of land and stream to recaU its early history. The city is pleasantly situated between the vaUeys of the Seechia and the Panaro, and the verses of Tassoni weU describe the locality. — Seechia Rapita, canto i., st. 8, 9. " Modana siede in una gran pianura, Che da la parte d' A ustro, e d' Occidente, Cerchia di baize, e di scoscese mura Del selvoso Apennin la schiena algente ; Apennin, ch' ivi tanto all' aria pnra S' alza a veder nel mare il Sol cadente, Che su la fronte sua ointa di gelo Par che s' incurvi, e che riposi il cielo. Da V Oriente ha le fiorile sponde Del bel Panaro, e le sue limpid' acque, Bologna incontro, e a la sinistra 1' onde, Dove il liglio del Sol giu morto giacque, t Seechia ha da 1' Aquilon, che si contbnde Ne' giri, che mutar sempre la piacque ; Divora i liti, e d' infeconde arena Semina i prati, e le campagne amene." The city, wliich contains about 30,000 Inhab., is fortified, and the ramparts, though destitute of strength, offer a very pleasant walk. The views W- Ttahi— 1852. of the Apennines from them are pecu liarly beautiful. One curious remini scence ia connected with the ramparts of Modena. The hymn Bung by the Roman sentinels as they paced the summit of the waU, when they awaited the attack of the dread Hungarians, is stUl preserved. The Citadel, and its place d'armes, include perhaps fully one-third of the area of the capital, which possesses a character differing much from the other Lombard cities in its domestic architecture, it being more of a Ger man cast. The Duomo. " This splendid buUd ing was begun in 1099, at the instance and with the assistance of the cele brated Countess MatUda, of whose vast possessions Modena formed a part. In 1108 the work was so far advanced that in that year the body of St. Gemi- nianus, the patron saint of Modena, was translated into the new Basihea, which was at the same time conse crated to Pope Paschal II., in the pre sence of the Countess MatUda. The bidk of the fabric therefore belongs to the close of the 11th century. The name of the architect was Lanfrancus, as is proved by an inscription still extant on one of the external waUs ; but it is not known whether he was a native of Modena or not. The style is Lombard throughout. External arcades ornament both the W. end and the great semicircular apse. In the interior, monsters and grotesque images are stUl retained in the capitals of some of the pUlars. But a feature wliich is not found in the old Lombard churches may be remarked here, in the large projecting porch, two stories in height, wliich advances before the prin cipal entrance ; and in the hons, on the hacks of which the pUlars of the porch repose. Though projecting porches were an essential part of the primitive churches, they seem to have been aban doned under the Lombard dynasty, and not to have been resumed tiU the 11th century, when they became uni versal. The hons are symbolical. They were intended to represent the strength and vigilance of the Church. At a 386 Route 38. — Modena— The Duomo. Sect. V. later period the animals which were introduced in the porches often repre sented the arms of the state to which the buUding belonged. For example, the griffin is the crest of Perugia, and the wolf that of Sienna. Perugia and Sienna were constantly at war : in consequence, the doorway of the Pa lazzo Pubhco of Perugia is decorated with a griffin tearing a wolf. " On either side of the nave there are gaUeries. Under the chancel is a lofty crypt. To gain elevation for the crypt, the chancel is approached by several steps, as at S. Miniato and else where. The portals exhibit ornaments and bas-rehefs of different periods, from the 12th down to the 14th cen tury. The earliest are executed with httle skiU, though they must have excited great admiration at the time, as an inscription preserves the name of the artist. Over the head of one of the figures, at one of the side-doors, appears the name of Artrea de Bre- tania — a proof that the legends of ro mance were popular in Italy" in the 12th century." — G. Knight. The sculptures on the doorway re present the principal events of the life of St. Geminianus, the patron of Mo dena; amongst others, his expelhng the Demon from the Daughter of the Emperor Jovinian. Others represent Scripture histories. The portal near the campanUe shows a city waUed and turreted, assaUed by knights with the pointed shields and conical helmets of the 11th century, and whose names are written in barbarous characters. Here are the names of some of the heroes of the round table. Many an cient Roman inscriptions and tombs are about the facade. Behind the altar of the crypt is the tomb of San Geminiano. The scurolo has been altered : the original architectural fea tures are singular. The marble co lumns supporting the church itself have capitals nearly resembling the Corinthian. The paintings in the Duomo are below mediocrity. It contains, how ever, 6ome good works of art. The screen of red marble which surrounds the choir, finished at the top by small double columns, supporting a species of balustrade, is peculiar. An altar- piece in the style of the Renaissance, in terra-cotta, with abundance of small curious statues. Another altar-piece contains the earhest known specimen of Modenese art. It is by Stefano de' Serafini di Modena, and was • executed 1385. It is hard and dry, and more than usuaUy Byzantine. The pulpit is of marble, sculptured, 1322, by Tomaso di Campione ; and the intarsiatura of the staUs in the choir, executed hi 1465, should also be noticed. Near the sacriaty, in a niche, behind and above an altar about half-way up on the N. side, is a beautiful group of the Nativity, in terra-cotta, by Bega- relli. So many of the works of this admirable artist have perished, that this is kept shut up, but it wiU be opened by the custode. The tombs in this cathedral are interesting. Several, belonging to the Rangoni famUy, are of a grand period of monumental art. That of Claudio Rangoni, designed by Giulio Romano, consiats aimply of a sarcophagus beneath a canopy. Two angels, supporting a tablet in which the initials I.H.S. are inscribed, above, and a similar one below, constitute its only ornaments. Claudio, who died 1537, at the age of 29, succeeded his father, Francesco Maria, as Count of Castelvetro. He was a great protector of literature. He was married to Lucretia, a daughter of the celebrated Pico deUa Mirandola, who erected this monument to his memory. The tomb of Lucia Rusca Rangoni, his mother, is even more simple — a vase crowning a sarcophagus. This is also by Giulio Romano. There is a striking monu ment of Ercole Rinaldo, the last duke of the House of Este, who died hi 1803. Ercole Rinaldo, who was a prince of no ordinary merit, was de prived of his dominions by the French invasion. A principality was erected for him in the Breisgau, but he would not accept this compensation, and died as a private individual at Treviso, 14th Oct. 1803. He married Maria Teresa Cibo, Sovereign Princess of Massa Car- MoDEXA. Route 38. — Modena — The Ducal Palace. 387 rara, the last heiress of the noble famUy of Cibo Malespina. It is she who is buried at Reggio. They had but one daughter, Maria Beatrice, who married the Archduke Ferdinand of Austria. The duchy had been previously secured to her by the treaty of Versailles. She died at Vienna, 1829, at an advanced age. The late duke, Francesco IV., was her son. " The campanUe, or ghirlandina, as it is caUed, from the bronze garland whieh surrounds the weathercock, is 315 ft. high, and is one of the four towera of wliich the North of Italy has reason to be proud. Whether it was undertaken at the same time with the church is uncertain; but the square part of it must have been complete in 1224, for in that year it was seized upon by one of the factions who at that time disturbed the peace of Modena. The upper pyramidal part was only finished in 1319."— 6?. Knight. In this tower is stiU kept the old worm-eaten Seechia rapita, or the wooden bucket, which, taken by the Modenese from the Bolognese in the battle, or rather affray, of Rapolino, Nov. 15th, 1325, was here deposited by the victors, the Geminiani, as a trophy of the defeat of the Petronii, with wonderful triumph, as described in Tassoni's celebrated poem : — " Qui vi Manfredi in su 1' altar maggiore Pose la Seechia con divozione : E poi ch' egli, ed il clero, e Monsignore Fecero al Santo lunga orazione, Fu levata la notte a le tre ore, !-: dentro una cassetta di cotone Ne la torre maggior fu riserrata, Dove si trova ancor vecchia e tarlata. Ma la Seechia fa subito portata Ne la torre maggior, dove ancor stassi In alto per trofea posta, e legata Con una gran catena a curvi sassi. S' entra per cinque porte ov' e guardata, E non e cavalier, che di la passi, Ne pellegrin di conto, il qual non voglia Veder si degna e gloriosa spoglia." Seechia Rapita, cant. i. 63. The Modenese and Bolognese are respectively called Geminiani and Pe tronii, from their patron saints Gemi- nianus and Petronius. Sim Francesco, near the southern gate, a Gothic church, desecrated by the French, and restored for divine worship by the late Duke. S. Agostino, now caUed S. Michele, on the S. side of the street, near the Milan gate; over the door is "Pan theon Sstenae." In the 1st chapel, on the rt., is the remarkable group of the Taking down from the Cross, by Begarelli. It is of terra-cotta : the figures, which are as large as hfe, are full of animation. " If his clay could become marble," exclaimed Michael Angelo, " woe to the antique !" " Se la creta delle figure di eostui diventasse marmo, guai alle statue antiche /" The by-name of Begarelli or Bigarino, for they caUed him either way, was "II Modano." His compositions show much grandeur of conception. The Ducal Palace was begun in the 17th century. Much was added by the late Duke, who died 21st January, 1846, and it ia now a fine buUding. It is said that, when the late Emperor of Austria visited the Duke, he clapped him upon the shoulder, saying, " Va bene, Francesco, hai piu bel palazzo di me." It contains court after court, with open staircases, galleries, arches upon arches, such as are seen in the background of old Itahan pictures. Other parts remind- one of Heidelberg, though in a less elaborate style. The collection of paintings in this palace is large : some are good, but the best, including the Notte of Cor reggio, were sold in the last century, and are now the chief ornaments of the Dresden gaUery. Amongst those which remain are the foUowing : — a Crucifixion, by Guido ; the single figure on the cross, the background in awful darkness, has a fine and simple effect. St. Roch in Prison, by Guido also, in his early manner; a grand and dark picture, but not very pleasing. Marr tyrdom of St. Peter, Guerdno; fine, but with the characteristic coarseness and scattered lights which often mark this artist's style. Rinaldo and Ar- mida, also by Guerdno ; the hght fine, but the picture unpleasing as a whole. A Crucifixion, by Pomarando, like Guercino ; fine, but with the same s2 388 Rome 69. — Modena to Pistoja. .Sect. V. defects. A Holy Family, said to be by And. del Sarto, but not an un doubted original. The Virgin appear ing to the Carthusians of Bologna; a striking picture, by Dosso Dossi, of Ferrara, by whom are many other good paintings (the Annunciation, the Ado ration of the Shepherds, &c.). The Crucifixion, by Andrea Mantegna; hard and stiff in style, but a curious and interesting old picture full of figures. The Virgin and ChUd above and three Saints below, of whom St. PeUegrino is in the centre, Garofalo : another Virgin with Angels round her, by the same artist. The Assumption of the Virgin, the Twelve Apostles standing below ; a large and fine pic ture, by Francia. The Circumcision, by Procacdni, a large picture with colossal figures ; a fine specimen of the master. Portrait of Ludovico Larea, by himself, a Modenese artist, imitator of Guercino. Some of the most in teresting pictures in this coUection are the Four Elements, two by Ludovico, two by Annibal Caracci. They are well placed over four doors in the palace : water is the finest. An As sumption of the Virgin is also by Lud. Caracd. The Nativity, a beautiful sample of Pellegrino Munari, a Mo denese, and the scholar of Raphael, who is said to have been assassinated. This picture was formerly in the church of St. Paul. St. Francis offering Flowers to our Lord, the Virgin, &c, by Leonello Spada. In one of the rooms are frescoes by Nicolo del Abate, the subjects taken from the Trojan war, as described in the jEneid. The eeUing of the great haU is painted by Franceschino da Bologna, an artist whose style resembles that of Luca Giordano. Here also are fine pictures by Procacdni, Crespi, and Tiarini. There are also a good many family pictures ; amongst others, one by Soli of the Duke Ercole Rinaldo, which entirely exculpates the artist from the eharge of flattery. The Ubrary, the Riblioteca Fstense, is rich in manu scripts. Three of the most learned men in Italy, Zaccaria, Tiraboschi, Muratori, have been its curators. The museum contains some curious medi aeval sculptures. Quitting Modena, you pursue the Via EmUia. The plain is covered by a soU of great fertility. Most of the land is used for grazing. Long rows. of trees, generaUy festooned by vines, divide the fields ; but where the vines are trained against the mulberries they are not festooned. Sant Ambrogio. The Panaro is crossed by the bridge built by Duke Ercole Rinaldo, and which is finely flanked by four soUd towers. Here you quit the duchy of Modena, and enter the papal territory. The douaniers of his Holiness are civU, and usuaUy give no other trouble except that of desiring the gentlemen of the party to get out of the carriage and declare, as gentlemen, that they have nothing liable to the duties. 24 pauls are paid for the barriers ; the traveUer receives a bolletone in return. Castel Franco, or Forte Urbano. The old waUs and ramparts of the castle, caUed after Urban VIII., who buUt it, are picturesque. The church possesses a dubious Guido. The site of the battle between Mark Antony and the Consuls Hortius and Pansa is supposed to have been in this neigh bourhood. H Samoggia. 1 Handbook for \\ Bologna. ] Central Italy. ROUTE 39. MODENA TO PISTOJA, BY BARIGAZZO AND SAN MARCELLO. This is a long dreary road, through a country offering little interest except to the geologist. It traverses the cen tral chain of the Apennines three times. On the northern side of the Apennines ft is not, generally speaking, in good repair, where it runs through the Mo denese territory ; the contrary is the case with the Tuscan portion. There are neither post-horaea nor diligences ; but vetturini frequently travel by it, employing two days and a half between Modena. Route 39. — Modena to Pistoja. 389 Pistoja and Modena. Were it kept in better repair it would offer, now that the railroad is completed between Pis toja and Florence, some advantages to the traveUer going from Verona and the Italian Tyrol to the shores of the Mediterranean. Formigine, a town of 1800 Inhab., is the first stage, 9 m. from Modena, on the plain, in a district rich in grain, vines, and mulberry-trees. Marinello, 5 m. farther, entering the hUly region. Paullo or Pavullo, a borgo, 35 m. from Modena ; 4 m. beyond which the road, which had hitherto run nearly S., changes its direction to W.S.W., turn ing abruptly round the picturesque hill of Montecucullo, with a caretle on the summit, the birthplace (in 1609) of the celebrated mUitary commander Monte- cucuUi, the rival of Turenne and Conde. A dreary road of 15 m., through a pasture country, leads to Barigazzo, a smaU hamlet, close to which are emanations of cai-buretted hydrogen gas, similar to those near Pietramala, on the road from Bologna to Florence, and which ignites on a light being applied to it. Ascending along the Scoltenna torrent we reach PievePelago, a village of 1800 Inhab., in a cold inhospitable region; and 7 m. higher up the hamlet of Fiumalbo. Here the principal ascent of the Apen nines commences, having the Monte Cimone, the highest peak of this part of the chain, about 4 m. on the 1, The most elevated point of the road, at the Col deU' Abbetone, is 6310 ft. above the sea. Here we enter the Tuscan terri tory, Pistoja being 35 m. distant, and by a rapid descent of 7 m. reach Cutigliano, a vUlage of 1200 Inhab., on the Lima river, which we foUow as far as San Marcello, a prosperous borgo on the Limastre. There are some iron and cloth works in the neighbourhood. A bridle-path leads down the ravine of the Lima to the baths of Lucca. There is a beautiful road of 22 m. from San MarceUo to Pescia by Petigho and la Pruneta. From San Marcello the road to Pis toja runs easterly, ascending again the central chain by Cartrece and Barde- lone, to descend to Ponte Petri, a bridge on the river Reno, and near its source. Here we are again on the N. side of the Apennines. From Ponte Petri (Pons Presbyteris) the road ascends along the Reno, here a mere mountain-torrent, to the hamlet of Piastre, close to its source. By a slight ascent to Cireglio, from wliich the water runs towards the Ombrone, the central chain is crossed for a third time. The spaoe which here sepa rates the affluents of the Po and Arno is perhaps less considerable than at any other point. Descending along the Ombrone, which the road crosses by a bridge at Burgianico, 2 m. before arriving at Pistoja. (See Rte. 40.) ( 390 ) SECTION VI. TUSCAN STATES. § 1. Territory. — 2. Agriculture. — 3. Manufactures.— 4. Wines. — 5. Weights, Measures. — 6. Posting. — 7. Passports. — 8. Servants. — 9. Paint ing. — 10. Sculpture. Routes. route page 40 Sarzana to Lucca and Pistoia . 401 41 Lucca to Florence, by Pescia and Pistoia 414 ROUTE PAGE 42 Lucca to Pisa 423 43 Leghorn to Florence . . . 449 44 Bologna to Florence .... 452 PRELIMINARY INFORMATION. § 1. Territory. The present work describes no part of Tuscany S. of the Arno, excepting the road from Leghorn and Pisa to Florence. But this district includes, with the portions of Tuscan country described in the preceding sections, the principal territories of the ancient repubhcs of Florence, Pisa, and Lucca, which render it full of interest. As to its natural character, it is a series of valleys formed to a great extent by the roots of the Apennines, and it combines much picturesque beauty with exuberant fertUity. The resources of this state are numerous ; the soU, cHmate, and configuration of the country are as various as the diversities presented by the sterile, cold, Apenmhe region, — the fruitful vaUeys of the Arno, of the Chiana, and Ombrone, — :and the unhealthy Maremma. The present population since the accession of the Duchy of Lucca is 1,696,500, and it is rapidly increasing under the mUd government of the reigning sovereign Leopoldo II. The population of the towns is given according to the census of 1845. § 2. Agriculture. The metayer system prevaUs in Tuscany, and, unless it be in the Maremma, the farms, as weU as the estates, are smaU. The proprietor of the land suppUes the capital ; the cultivator the implements and the labour ; the produce being divided between them. The metayer Uves from hand to mouth, seldom with any grain, oU, or wine in reserve ; they are usuaUy indebted to their masters ; the system begets such idleness that a hired labourer wUl do three times as much work in the same time as one metayer. The metayer system has existed from time immemorial. Of a date anterior to the Roman dominion, it has survived the middle ages, for the feudal system was never generaUy prevalent in Tuscany. The contract between the landlord and peasant, which is unwritten, is in force for one year only ; the proprietor may discharge his cultivator every year at a fixed period, but a good tenant wiU Tuscany. Tuscany. — Agriculture— Manufactures. 391 hold by the estate from generation to generation. The system depending too on mutual good faith, a good labourer is indispensable to the wen-doing of the landlord. In the partnership the proprietor supphes aU the capital, and the cultivator the labour and utensUs ; the produce is .equaUy divided between them. The cultivator is only obliged to supply the labour required in the ordinary cultivation. If the proprietor is desirous of reclaiming waste lands, he must pay the cultivator wages for extra work. The seed for sowing is supphed at joint expense ; that required for the support of the cultivator the proprietor is in general bound to supply. Tuscany is highly cultivated. A small extent of land, of very moderate fer tUity, sufficea for the support of a famUy of ten or fifteen individvals. No other system could draw from the land so large a mass of produce. But an enormous capital is swallowed up by the land. The cultivation is by no means scientific. Every species of cultivation which does not contribute to furnish direct con sumption is neglected. The same field is under cultivation for wheat, vines, and olives at one and the same time, and frequently for fruit, herbage for cattle, and aU the different varieties of produce that may be required, not according to the condition of the land, but to the wants of the famUy. This erroneous self- sufficing principle pervades everything, even to the extent that a single field should produce everything — that one man should do everything ; there is no such thing as a division of labour — no intermediate branch of occu pation. The same individual who has planted a vine, or sown his field, must seU the final produce to the consumer ; the labour of the Tuscan proprietor is, therefore, so compUcated, that it is impossible to get through it. The re sult of all this is, that out of ah the gross produce the net revenue to the Tuscan proprietor is most miserable. The gross produce is in itself large — very large — in proportion to the natural productiveness of the soU ; but it ia small con sidered in relation to the expenses incurred, to the capital absorbed, and to the labour bestowed upon it. The cultivators are said to constitute at least one- third of the population of Tuscany. The hving of the peasantry is frugal. Bread varies according to the quality of the soU and the grain it produces. In most of the provinces it is a mixture of rye, barley, and Indian corn, with a httle wheat ; in some places, however, it is of pure wheat. Next to bread beans form the principal article of nourishment to the cultivators. They drink but little wine, but more frequently acquareUo (piquette). To eat meat once a week is considered a luxury. The poorest of them are satisfied with a piece of bacon. The number of cattle is on the increase considerably, and the conaumption of meat stUl more. The supply of wheat is inadequate to the consumption of , Tuscany. There is an appearance of neatness and cleanliness, as well as contentment, which prevail among the Tuscan peasantry, which is extremely pleasing, and which may be mistaken for a state of independent circumstances. The vaUeys of the Arno and Chiana are, however, cultivated with great care, and with less waste than in many parts of Europe. Among the productions of importance silk is increasing, and the annual quantity produced is stated at nearly 260,000 lbs. The olive-oU is an article of great value, which might be greatly increased in quantity. § 3. Manufactures. The manufactures of Tuscany have never been either restricted nor main tained by legislation. In this respect, as in everything connected with liberty of commerce, Tuscany has been the first country to take the lead in that system which has immortalized the name of Sir Robert Peel. Except as far as the usual handicrafts in towns and vUlages, such as carpenters, joiners, Wrights, blacksmiths, shoemakers, and masons, have been caUed by necessity into opera- 392 Tuscany. — Manufactures. Sect. VI. tion, the people look to agriculture chiefly for their support : those who are employed in the straw-hat making, and in the spinning and weaving of such wooUens, linens, and silks aa are made in the country, are generally found at work in their own habitations. Notwithstanding the predilection of the Tuscan people for agriculture, the following branches of manufacture employ a great part of the population of towns : — Straw Platting and Straw Hats. — This important branch of industry has long been celebrated for its fine and beautiful workmanship. It was long a profitable and extensive article of export, until the high duties in England and France on the Tuscan hats, bonnets, and platting, rendered the price too high for the use of any but the opulent classes. Besides the general use of straw hats in the country, the value of hats and platting exported averaged from 6,500,000 to 7,500,000 lire per annum, a great part of which was smuggled into foreign countries. This interesting branch of industry is foUowed in the towns and in the country. Preparing the straw in bundles of different degrees 'of fineness, platting, cleansing, and making up for use or exportation, afford em ployment to the female population, — moderately paid, it is true ; but, at the same time, in a much cheaper country, far higher wages than is paid for straw- platting in London, Dunstable, and other places in England. Florence, Prato, Pistoja, Pisa,- Leghorn, and intermediate places, are the localities of the straw manufactories. The young females of the Contadini often by their industry and skUl in straw- platting realise their marriage dower. Chateauvieux says, " each girl can, for a few pence, purchase straw to work up, and earn between 30 and 40 sous, 15 to 20 pence, per day." Silk Manufactures. — Florence is the principal seat of the sUk manufactures, especiaUy for throwing, weaving, &c, the number of looms being estimated at nearly 4000. There are sUk-miUs and works also at Sienna, Modighana, Pistoja, and Prato. Even the silk-looms in Florence are in the houses of the respective weavers. In the female schools of industry there are, with other branches, a number of sUk-looms. Woollen Manufactures. — These are chiefly of a coarse description : the wooUen caps called beretti, and the military caps, calabasd, worn by the Turks, are manu factured extensively for the Levant trade. The value exported, of both, is esti mated at nearly 75,0002. sterling. In Prato and its neighbourhood there are above thirty wooUen manufactories of woven cloths, five of which are for caps. Florence has manufactories of carpets, in one of which criminals are employed. The colours and textures of the Florentine carpets are beautiful. Linens and Hemp Tissues are manufactured chiefly in the country districts, and almost exclusively for ordinary wear. Cotton Manufactures. — There are few manufactures of cotton in Tuscany, the country deriving its supphes from England. Paper and Printing. — Both these are extending ; there are about fifty great and smaU of the first, and about forty printing-presses. Paper is manufactured in very large quantities and for exportation about Pescia. Alabaster and Marble. — There are a great number of alabaster works at Volterra, &c., and marble and sculptured works in Florence and other places. Porcelain. — There is one establishment near Florence which produces some beautiful high-priced specimens. Tanneries and Works of Leather. — There are several tanneries, but they tan httle more, if any, than the leather dressed and used in the country. Common Farthenware, common Glass, Furniture, carriages of various kinds, agricultural implements, &c., are ah made for ordinary use. Tuscany. Wines. 393 Hardware and Works of Metal. — The cutlery, iron and other metal works are only moderately good. The best cutlery is made at Pistoja. A considerable quantity of iron is manufactured in the duchy from the Elba ores, but not sufficient for the consumption of the country. § 4. Wines. The process of wine-making is better understood, and a greater number of good wines are produced, in the Tuscan dominions than in any of the other states of Italy. The Grand DukeB have taken considerable pains to improve their vmeyards, by importing the best species of vines from other countries, as, for instance, from France, Spain, and the Canaries ; and the wines made at their vUlas show that their labours have been attended with considerable success. According to Redi's patriotic dithyrambic, entitled ' Baeco in Toscana,' the wines of Tuscany are the first in the world, and they perhaps might be, if a better choice were displayed in the soUs appropriated for their growth, and if greater science were displayed in their fabrication. That it is not from igno rance on the former of these points that the Tuscans bo often err appears from several passages of the poem just mentioned, in wliich the author anathematises those who first dared to plant the vine on low soils, and celebrates the exceUence of the juice which flows " dall' uve brune Di vigne sassosissime Toscane." " Among the ancient laws of the city of Arezzo," he remarks in a note, " was one granting free permission to plant vines on such hiUs aa were calculated to produce good wine, but strictly prohibiting the cultivation of them on the low grounds destined to the growth of corn." The injudicious method also of training the vine excites his just indignation. In the description of Tuscan wines much confusion has arisen from not attending to their different qualities. As the press is httle used, and the grapes have, in general, attained then1 full maturity — being, besides, in the case of the choicer sweet wines, dried for six or seven weeks within doors before they are trodden — the first juice (mustum lixivium) necessarUy abounds in saccharine matter, and the wine procured from it witt consequently belong to the sweet class. But, when this is drawn off, it is customary to add a quantity of water to the- murk, wliich, after a short fermentation, yields a very tolerable wine ; and a repetition of the process furnishes an inferior sort. In this way, a great pro portion of the ordinary wines of the country are made ; but aU the choicest growths, aU the vins d' entremets, are more or less sweet. The Montepulciant wine, which a traveUer wUl most probably have set before him, will be the common wine of the place, and wUl not enable him to judge of the most esteemed wine in Tuscany, and " che d' ogni vino e il re." According to Red:, another source of error arises from the circumstance of several of the best Tuscan wines receiving their appeUations from the grapes whieh yield them, as, for example, the Aleatico, the Columbano, the Trebbiano, the Vernacda, &c; and as these names are not confined to Tuscany, but are common to the growths of other parts of Italy, the difficulty of distmguishing them is still further increased. The Aleatico, or red muscadine, which is produced in the highest perfection at Montepulciano, between Sienna and the Papal State ; at Monte Catini, in the Val di Nievole ; and at Ponte-a-Mariano, in the Lucchese territory, and of which the name in some measure expresses the rich quahty (it being obviously derived from r)\id£a, to expose to the sun), has a brilliant purple colour, and a luscious aromatic flavour, but without being cloying to the palate, as its sweet ness is generaUy tempered with an agreeable sharpness and astringency. It is, in fact, one of the best specimens of the dolce-piccanti wines ; and probably s 3 394 Tuscany. — Wines — Money. Sect. VI. approaches more than any other to some of the most esteemed wines of the ancients. The rocky bills of Chianti, near Sienna, furnish another sort of red wine, which is made from a different species of grape, equaUy sweet, but rather less aromatic ; and at Artimino, an ancient vUla of the Grand Dukes, an excel lent claret is grown, which Redi places before the wine of Avignon. The wine of Carmignano is also held in much estimation. These are the chief red wines of Tuscany. Formerly several white sorts were made, of wliich the Verdea, so caUed from its colour inclining to green, was in high repute. Frederic II. of Prussia preferred it to aU other European wines ; and in the time of our James I. to have drunk Verdea is mentioned among the boasts of a traveUed gentleman : — " Say it had been at Rome, and seen the relics, Drunk your Verdea wine," &c. Beaumont & Fletcher, The Elder Brother, Act ii. sc. 1. The best used to be made at Arcetri, in the vicinity of Florence. Next to it ranks the Trebbiano, so caUed from the grape of that name, and much extoUed for its golden colour and exquisite sweetness ; being in fact rather a syrup than a wine. For making it the sweetest grapes are chosen, and, according to Ala- manni, partly dried in the sun, after having had their Btalks twisted. The fermentation continues four or five days ; the wine is then introduced into the cask and undergoes repeated rackings during the first six weeks or two months. It appears from Sismondi' s account, that most of the Tuaean white aweet wines now pasa under the denomination of Trebbiano ; but there is very httle made, the white grapes being chiefly consumed in the manufacture of red wines. — (Henderson, Hist, of Ancient and Modern Wines, 236.) The produce of the vineyards is now more than sufficient for the consumption of Tuscany ; but as the native wines are easdy spoUt by carriage, the surplus, be yond that consumed in the country, is distiUed to obtain the brandy contained in them. § 5. Money. — Weights. — Measures. There are various modes of keeping accounts in Tuscany ; the fundamental money may be considered the lira, which consists of 20 soldi, each soldo con- aiating of 3 quattrini or 12 denari. The most common currency is the paolo. The values of the different coins of Tuscany are as foUows. Gold Coins : — £. s. d. The Zecchino, or Sequin, also called Ruspo, or Gigliato, the oidy coin of pure gold issued at the present day 0 8 10J The Ruspone, or 3-Sequin piece, valued at 40 Lire or 60 Paoli ..168 Silver Coins : — The Scudo, or Francescone, contains 10 Paoli 0 4 5-A The Paolo contains 8 crazie = 54 French centimes .... .00 5A 1 Lira = 20 soldi = 240 denari 0 0 8 i The Francescone also contains 6| Lire or 6 hre and 1 paolo. It is also divided into 4 Florins : the Fiorina or Florin (so caUed from its bearing the Fleur- de-Lis, the arms of Florence, on one of its sides) is equal to If lire or 2J pauls. Copper Coins : — > 1 Crazia = 5 quattrini = 20 denari. 1 Quattrino = 4 denari. The Crazia is a coin of the ancient Medicean government, and none have been struck of late years. Tuscany. Coins— Weights and Measures. 395 The Denaro has not been coined since the days of the repubhc ; the smaUest Tuscan money is now the Quattrino. Thus the Francescone = 4 florins = 400 quattrini, affording an easy decimal system for calculation. There are several pieces multiples of the smaUer coins, as 5 pauls or mezzo Bcudo, and pieces of 2 pauls : also half-pauls in great abundance. Values oe Foreign Coins : — The EngUsh sovereign is worth from 44J to 45 patds. Napoleon exchanges for 35J or 36 pauls, and sometimes more. 5-franc piece - 8 pauls 6 crazie. The Colonnato or Spanish pihar doUar is current for 6J lire, or 9 pauls 4 crazie. The Roman doUar has the same value as the Spanish. The Zwanziger or Lira Austrica = 1 lira and 9 denari, or 1 paul 4 crazie and 2 quattrini. At Leghorn every species of coin may be found in circulation. The sovereign passes for something less than 30 lire, and the slulhng for 2 paoh. Weights and Measures. Weights. — The Tuscan pound = 0'74864 lb. Avoirdp. Therefore 100 pound or a Quintal is 74'86 lb. avoirdp. In round numbers, therefore, a Tuscan pound is 12 ounces avoirdp., or f of a lb. of that measure : it is T^ of a pound Troy. It is the same as the Roman pound. Measures of Length. — The standard measure of length is the Braccio Fioren- tino, which is divided into 20 soldi, and each soldo into 12 denari, or 60 quat trini. The Braccio is equal to 2298 Enghsh inches, or 1-915 English feet, or 0-5836 metres. The Tuscan mUe consists of 2833-33 of these Braccia, 67-2948 are equal to a degree of the equator. The Tuscan' mUe is therefore equal to 1808 Enghsh yards, or 1 mile EngUsh and 48 yards, or 1-6536 kdometre. The Tuscan post consists of 8 mUeB, and is therefore equal to 8 English miles and 384 yards, or 8i mUes nearly. Distances are expressed in mUes and posts. There is another Braccio used by buUders and surveyors which equals 216 English inches, or 0-5486 metre, and 5 of these make the Pertica or perch. Superfidal Measure. — The Saccata of land is composed of 660 square Per- tiche, and equals 1 acre 36 perches English measure. The Stioro contains 1541"3 square Florentine Braccia. Dry Measure.— The Stajo is divided into 2 Mine, 4 Quarti, 32 Mezzette, 64 Quartucci, or 128 Bussoli, and contains 0-6913 English bushels. The Moggio is composed of 24 Staja, and therefore equals 2 quarters 4f bushels Enghsh measure. The Sacco contains 3 Staja. Liquid Measure. — The Barile of wine is divided into 20 Fiaschi, 80 Mezzette, or 160 Quartucci, and contains 12042 Enghsh gaUons. The Barile of oil is divided into 16 Fiaschi, 64 Mezzette, or 12S Quartucci, and contains 8-8313 Enghsh gaUons. The Soma is composed of 2 BarUi. As the coinage and measures of Lucca are stUl current in that part of Tus cany, we annex a table of them : — § 6. Coinage, Measures, and Weights oe Lucca. Accounts are kept in lire, soldi, and denari ; a lira contains 20 soldi, and the soldo 12 denari. The foUowing are the coins in circulation, and their values : — 396 Tuscany — Posting — Passports — Servants. Sect. VI. French. Lire. Soldi. Francs. Cents. s. d. The gold Doppia = 22 0 = 16 50 = 13 0 The sUver Scudo = 7 10 = 5 62 = 4 5-1 — Mezzo = 3 15 = 2 81 = 2 2? — Terzo = 2 10 = 1 87 = 1 5? — Quinto = 1 10 = 1 12 = 0 10? — Lira = 1 0 = 0 75 = 0 n Mezza = 0 10 = 0 37 = 0 8| There are also pieces of 2 lire, which at first sight so resemble pieces of 2 French francs, that a stranger might mistake them. In Lucca, Tuscan-money is current at its value : in Tuscany, the Sardinian money is current in hke manner. Linear Measures. — The braccio is divided into 12 once : — 1 braccia = 0 ¦ 5905 metre = 23-2479 Engl. in. or 23£ in. nearly. The canna = 4 braccia = 2-362 metres = 7 ft. 8 • 99 Engl. in. or 7 ft. 9 in. nearly. The pertica = 5 braccia =2-9525 metres = 9 ft. 8 • 239 Engl, inches. The mUe=600 pertiche = 1771-5 metres = 1936-2495 Engl. yd. = 1 m. 176Jyd. Wdghts. — The Lucehese pound differs only by a few grains more from that of Tuscany. § 7. Posting. The tariff is the foUowing, at the rate of 5 paoli per horse, except on entering or quitting Florence, when you pay 6 paoU. The regulations as to carriages are of the usual description, but are not very rigidly insisted upon, for the postmasters have not got a monopoly, and the government rather encourages competition. Paoli. Francs or lire Italian!. Pair of horses ... 10 = 5-60 PostUion .... 3 = 1-68 StaUiere, per pair and per post \ = 25 6 paoli is the usual mancia to the postilion. If 3 horses are taken, the third is ridden by a boy, who receives half-pay. § 8. Passports. Upon entering the country, the passport of any of the great powers suffices ; but on quitting, it must receive the visa of your own Minister, of the Tuscan Minister for Foreign Affairs, as weU as that of the ambassadors or consuls of the states to whieh you are immediately proceeding. The police visa is valid only during 3 days, and if the traveUer does not set out within that period from the date it must be renewed. A carta di soggiorno must be taken out by persons remaining for any time at Florence, or the other large towns. § 9. Servants. English residents in Tuscany frequently experience great annoyance from then- disputes with their Itahan servants. The law is very different from ours and the servants often take a dishonest advantage of their masters' ignorance. ' The foUowing summary of the UabUities of the master may therefore be useful. By the law of Tuscany, every servant engaged at yearly wages is entitled to 6 months' notice to quit, or to 6 months' wages : the better way is to engage by the month, and to have a written agreement, stating that you are entitled to discharge at a fortnight's notice. Any foreign servant brought by a stranger Tuscany. Painting. 397 into Tuscany, and discharged by him there, however bad his conduct may have been, can, upon applying to the tribunals, compel the master to pay his fuU coach-fare and expenses back to his own country, unless the employer have a written agreement, signed by the servant, to the contrary. Families intending to winter in Florence generaUy engage a cook, at a stipulated price per month, to furnish everything required for the house ; but, in this case, it is necessary for the stranger to advertise in the Gazetta di Firenze, giving his name and resi dence, and stating that his servants have orders to pay for everything in ready money, and that he wUl not be accountable for any debts they may contract in his name ; failing to do this, the cook wiU probably pocket the whole of the money paid him for housekeeping, and the master will be eompeUed to repay all the tradesmen's biUs. It is also necessary to be extremely particular to take a written receipt for every weekly or monthly payment made to the cook, as, in default of this, he wiU probably, on the eve of the departure of the famUy, go into court and swear that he has been supplying the house upon credit during his master's whole stay ; and, although his master may have been in the regular habit of paying him weekly in the presence of members of his own famUy, and of the other servants, stUl, as, by the Tuscan law, the evidence of ndther rela tions nor servants is allowed to be given in the master's favour, and aa his own oath is not taken, the stranger wUl, after much delay and law expense, be obliged to repay the whole. The above is by no means an isolated case, but one of very " common occurrence. It is also extremely desirable, in engaging apartments, to avoid employing a valet-de-place, or other person similarly situated, as he wUl be sure to levy a contribution, which is added to your rent. Any gentleman intending to pur chase pictures, or other works of art, should also be particularly cautioned against aUowing a valet-de-place to accompany him, or have the slightest connection with the transaction, as such an assistant wUl be sure to help in defrauding you. § 10. Painting. It was in Tuscany that the art of painting was revived in the middle ages. At the era of the revival of art in Tuscany, artists were artificers in the strictest sense of the term. They studied their art not in the academy, but in the workshop. The " Arte degli Orefici," the goldsmiths' craft, was the chief school ; hence came some of the beat artists in aU the three branches of archi tecture, sculpture, and painting. BruneUeschi, Ghiberti, Orcagna, Luca della Robbia, Massolino, Ghirlandajo, PoUajuolo, Botticelli, Verrochio, Francia, Finiguerra, Andrea del Sarto, Baccio BandineUi, Benvenuto Cellini, Salviati, Lione, Vasari, and a host of other inferior names, aU were brought up in this trade, which some practised to the end of their lives. Painters were chiefly omployed in church imagery and ornaments, as decorators of houses and furni ture. The articles which gave occupation to their pencUs were of various descriptions. The most costly seem to have been the ponderous weU-Uned chests in which the trousseau of the bride was conveyed to her new domicUe, or in which the opulent citizens kept their robes and garments of brocade and velvet, no smaU portion of their inheritance. Bedsteads, screens, cornices, and other ornamental portions of the rooms, were adorned in hke manner. Subjects were often borrowed from the legend or the romance, the Ulustrations of the popular literature of the age. Here also were exhibited the amusements of the world : — tilts and tournaments, the sports of the chace, and the pastimes of wood and field, were often particularly chosen ; and upon such works the most exceUent painters exercised themselves. Even under the first Medici, when the altered spirit of the pursuit had rendered painting a profession, it was stUl talked of as a trade. It was in the " bottega" the shop, and not in the studio, 398 Tuscany.— Sculpture. Sect. VI. that the painter was to be found. The statutes of the Company of St. Luke, or the "Arti de' Dipintori," at Florence, 1386, show that, as in London, they were a mere guild of workmen or tradesmen. There were the like fraternities at Bologna and at Venice ; and aU were equally comprehensive, admitting as then' members trunk-makers, gUders, varnishers, saddlers, cutlers, in short, all work men in wood and metal whose crafts had any connection with design, however httle that might be. ., Most, perhaps aU, of what we should now term the easel pictures of the oldest masters, have been detached from articles of ecclesiastical or civU furniture : and indeed, before the 16th 'centy., it may be doubted whether any cabinet pictures, that is to say, moveable pictures, intended merely to hang upon the waU as ornaments, without being considered as objects of veneration or worship, ever existed. For an account, however, of the artiste of the Florentine school, and for their respective characters and merits, the traveller must be referred to Kugler's Handbook. § 11. Sculpture. The earhest mediaeval sculpture of Tuscany appears, perhaps, at Pistoia, where a Maestro Gruamonte has left several specimens of his chisel : they seem above the average of his age. Pisa was illustrated by Nicolo di Pisa and other artists of the Pisan school, of whom Andrea worked much at Florence ; and an impiuse having been thus given, the art speedily attained the greatest vigour. Sculpture with the Florentines, Uke painting, was a trade, and very frequently - connected with some other caUing. Very often the sculptors were also orefici, or workers in metal. At the head of the Florentine school, properly so caUed, stands Andrea Orcagna, or Orgagna (1326-1389), who waa originaUy a gold smith. He became an architect, painter, sculptor, and poet. "His works in sculpture, notwithstanding a certain dry quahty of execution that pervades them, have great merit. His most esteemed performances are the sculptures on the altar in the chapel or oratory of Or San Michele in Florence. Orcagna showed great talent in the management of his draperies, preserving considerable breadth in the forms and dispositions of the folds, and so composing them as not to conceal the action of the limbs." — Westmacott jun., A. R. A. A new era of Tuscan sculpture begins with DonateUo. There has been some discussion as to who was his master, and there are several very able men who flourished just before him, and who led the way. Jacopo di Pietro della Querela, otherwise Jacopo della Fonte, is one of these : he produced the beau tiful tomb of Daria del Carretto at Lueca. There were also many Fiesolani of great ability : they were rather a school of masons and workers of ornaments, but they acquired great dexterity of hand : one of them was Andrea da Fiesole, who worked with great purity of style. Donato di Betto Bardi, better known as Donatello (born 1383, died 1466), traveUed much in Italy, studying the antique at Rome. " The works of DonateUo are numerous, and remarkable for then- superior qualities. His conceptions were bold, and his execution vigorous, ¦and it is easy to see in his performances the reason for the compliment paid to his statue of St. Mark by one who could so weU appreciate these qualities as Michael Angelo — ' Marco, perche non mi parli ? ' It is probable that the some what exaggerated treatment which is observable in some of the productions of DonateUo, as weU as of his contemporary Ghiberti, arose from their desire to avoid the dryness and poverty of form in the works of some of theh immediate predecessors." — Westmacott jun. The great Filippo Brunelleschi (1377-1446) attempted to rival DonateUo, but not successfuUy, for, much as he exceUed in architecture, in sculpture he showed but inferior talent. Antonio Filarete, a disciple of DonateUo, is principaUy known as an architect. Michele Michelozzi worked with DonateUo. Desiderio da Settignano, a favourite scholar of Dona- Tuscany. Sculpture. 399 teUo, who died at the age of 28 years, was most graceful in his designs, and succeeded most happUy in giving to his marble an appearance of softne8S. Nanni di Banco (1383-1421) was a scholar of DonateUo, more distinguished for his good and amiable quaUties than for his skUl : he was, however, much employed. Antonio Rossellini (flourished 1440-1480), and Bernardo his brother, are most fully masters of all the mechanical portions of their art ; but both had merits also of a high order, and Michael Angelo much admired the expression of Antonio's countenances and the execution of his drapery. He worked with the utmost freedom : the marble seemed to yield before his hand hke wax, and his figures are pervaded by tenderness and sweetness. Lorenzo Ghiberti (1378-1455), educated as a goldsmith, has secured a lasting repu tation by his celebrated bronze gates of the Baptistery at Florence. He was also a good painter, and has left some curious historical writings upon art. Lucca della Robbia (1388-1460) was also a goldsmith. He worked sometimes in metal and marble, but principaUy in a species of porcelain of his own in vention — burnt clay, painted with vitrified colours, and possessing remarkable durability. Agostino and Ottaviano, his brothers, worked in the same line, and their performances can scarcely, if at ah, be distinguished from those of Luca. Andrea, a nephew of Luca, and exceedingly devoted to his art (1444-1528), another Luca and a Girolamo foUowed, aU keeping the secret of the porcelain, which died with them. " There is a tradition that Luca deUa Robbia committed . his secret to writing, and enclosed the paper, or whatever it was inscribed on, in some one of his models before he sent it to be baked ; so that it could only be known at the price of destroying, or at least injuring, a number of his works, tUl the document should appear. Among his productions are some of great beauty. They consist chiefly of groups, in alto-rUievo, of the Madonna and infant Saviour, or Christ and St. John as chUdren, and simUar subjects." — Westmacott jun. The two Majani, Benedetto and Girolamo — some say uncle and nephew, some say brothers — were artists of great fertUity of invention and much elegance. Benedetto worked much in wood, both in carving and in inlaid wood or intarsiatura. Antonio del Pollajuolo (1426-1498) possessed so much anatomical knowledge that he has been called the precursor of Michael Angelo. Though not a pupU of Ghiberti, Pollajuolo worked much under that great master ; he and his brother Pietro were also exceUent goldsmiths and workers in metal. Andrea del Verrocchio (1432-1488), a goldsmith, and afterwards a pupil of DonateUo, possessed, like Pollajuolo, great anatomical knowledge. He principaUy faUed in his draperies. He was an artist of much inventive skUl, usually working in metal, and he first made plaster casts. Matteo Civitali (1435-1501) has been noticed at Lucca. UntU a mature age this very exquisite artist practised as a barber. Andrea Ferrucd and Mino da Fiesole both belong to the school of Fiesole. Michael Angelo (1474-1563) became at an early age the scholar of Domenico Ghirlandajo, the most celebrated painter of his time, and afterwards studied under Bertoldo, the director of the academy established by Lorenzo de' Medici at Florence. -" TUl the time of Michael Angelo the works of art since the revival were aU more or less meagre and dry in style, although considerable feeling and talent were occasionally displayed in their conception (or invention) and composition. Extraordinary efforts were some times made, as by Ghiberti and DonateUo, to infuse into them a better and more elegant quality of form, but it was left for Michael Angelo to effect that total revolution in style which has stamped not only his own productions, but the art of his age with a character peculiarly its own." — -Westmacott jun. Baccio di Montehpo (flourished 1490), also of the school of Ghiberti, produced but httle in Tuscany ; he was free and bold in manner. Giuliano di San Gallo (d. 1517) and Antonio di San Gallo (A. 1534) are more known as architects than as sculptors ; their minor ornaments show much taste. But in this line 400 Tuscany.— Sculpture. Sect. VI. they were much excelled by Benedetto di Rovezzano, whose works of this de scription exhibit the utmost delicacy of touch and elegance of design. Andrea Contucd worked principaUy out of Tuscany ; what he has left here is generaUy simple and affecting. Of Francesco Rustid there are remarkably few specimens. Cicognara considers Rustici as a first-rate artist. Bacdo Bandinelli (d. 1559) possessed extraordinary talent. He was an Ul-conditioned man, and was much censured in his own time by the many enemies whom he had made ; but he was an artist of extraordinary power, bold in design, rich in invention, and pecu liarly clever in his draperies. Frate Montorsoli (d. 1563) worked under Michael Angelo. His heads are fuU of expression and grace, and his style so like that of Raphael di Montehpo, also a pupU of Michael Angelo, as to be scarcely distin guishable from him. II Tribolo, the son of a carpenter, made copies of Michael Angelo with remarkable accuracy, and, when he worked independently, he was distinguished for his delicacy and sweetness. Giovanni delV Opera, a pupU of Bandinelli, is, allowing for some incorrectness, amongst the best artists of the Florentine school. Of Benvenuto Cellini (d. 1570), as a sculptor, only two'spe- cimens are known to exist ; one of these is his Peraeus, certainly a masterpiece of art. Vincentio Danti is perhaps a httle exaggerated in his anatomical dis-1 play ; this pupU of Michael Angelo approaches most nearly to the exceUences of his master, and he fully understood as weU the theory as the practice of his art. Bartolomeo Ammanati (1511-1592) was exceUent aa a sculptor as weU as an architect. He was often employed on statues of large dimensions, which at this period had become much in vogue. Giovanni di Bologna (1524-1599), a Fleming by birth, came to Italy at an early age, and Uved so many years at Florence that he must be considered as a master of the Tuscan school. He is one of the first in whose works we observe a dechhe in sculpture. Instead of grace we find affectation and mechanical skUl held in high estimation. " His works are fuU of imagination, and are executed with a boldness and abUity that both surprise us and call forth our admiration ; but there is at the same time an exaggeration in the attitudes, and an endeavour after picturesque effect, that disappoint ua." — Westmacott jun. In Pietro di Francamlla (1548-1611), a Fleming from Cambray, but an adopted chUd of Florence, we can begin to trace the rapid decline of art. Not without considerable ability, he is mannered and affected. Giovanni Cacdni (1562-1612) was a free and clever workman, and an exceUent hand at restoring an antique. Many of the ancient statues in the Grand Ducal gaUery owe, in their present state, more to him than to their first authors. Pietro Tacca (d. 1640) must be particularly noticed. This disciple of Giovanni di Bologna was an artist of great and real genius : he worked in every species of material, even in wax, but he exceUed in bronze, the castings of his figures being conducted with the greatest skill. Antonio Sudna (d. 1624) was an exceUent worker in bronze : he had, in his time, almost a monopoly of crucifixes and of simUar church images. In the decline of art Gherardo Sil- vano (d. 1675), who was also an architect, showed a considerable degree of cleverness and truth. Of the last period Foggimi may be mentioned with praise, as showing great mastery of the chisel, though with aU the faults of the school of RoubUlac, of whom he was nearly a contemporary. Respecting the present state of the Fine Arts in Tuscany httle can be said. Some of the principal artists have considerable merit, but in the midst of the most splendid models, and enjoying all the advantages of tuition, there is no approach to the original talent of former ages. "You wUl find," said an intel ligent Itahan to us, " in our Academies scores of Raphaels and Michael Angelos under twenty years of age, showing much genius, much precocious talent ; but what becomes of it nobody can teU : it aU evaporates." Massa, Carrara, &c. Route 40.— Sarzana to Lucca — Carrara. 401 ROUTE 40. SARZANA TO LUCCA. li Sard, posts, and 5 Tuscan posts. Genoa to Sarzana (Rte. 13). 1£ or 1 Tuscan post, Avenza (an extra horse from Avenza to Massa, and vice versd), pop. 2000, situated on the torrent bearing the same name. The castle was built by Castruccio AntelmineUi about 1322, for the pur pose of protecting the dominion which he had conquered in the Lunigiana. It is a grand building, little injured : the round towers which flank the for tress are sm-mounted by machicola tions of the boldest character. Avenza is the first town of the duchy of Massa, and the Modenese dogana is stationed here. In 1845 a plan for a canal and artificial harbour here was sanctioned and the works commenced by the Duke of Modena. Between Sarzana and Avenza, but on the coast and nearer to Avenza, are the scattered and scanty remains of the once celebrated Luna or Luni, a very ancient Etruscan eity, giving its name to the Gulf of Luni, now the Gulf of Spezzia, and to the whole district of the Lunigiana. Lucan makes it the residence of Aruns, the oldest and most venerable of the Etruscan augurs. Lucan's verses attest the Etruscan origin of Luna and its deso lation in his time : — " Hsc propter placuit Tuscos de more vetusto Acciri vates, quorum qui maximus eevo Aruns incoluit desertae moenia Lunae." Luna has not flourished much since Lucan's days. It became the port of shipment for the marbles quarried from the adjoining mountains and from Carrara ; and its " candentia moenia" are described in the curious poetical itinerary of Rutilius Numentianus. Some have supposed that Luna was dismantled by the Lombards ; and in 1016 the Emir Musa plundered it and carried away its inhabitants into captivity. From this period Luna fell into great decay, though it continued to be the seat of the bishop, untU the see was translated, in 1465; to Sar zana, and it is now whoUy deserted. The remains of the Roman age, above ground, are but scanty : an amphi theatre, a theatre, and a circus may be traced with some distinctness, and Borne other fragments of edifices. Ex cavations, however, have produced rather an abundant harvest of curious bronzes and inscriptions. There are some few remains also of the ancient catliedral. To the 1. of the road between Avenza and Massa, and which may be reached by a road of 4 m., lies Carrara. (Inn: Aquila Nera, dirty and dear. The landlord is a sculptor.) The httle principality of Carrara is almost aU mountain and vaUey. The peaks of the mountains, out of whose sides the white marble is quarried, are of a beautiful warm grey colour, and are visible at a great distance all round. The city stands in a narrow vaUey be tween five mountains, the Poggio di Montia, the Monte d' Arme, the Pog gio di Vezzala, the Poggio di Bediz- zano, and the Poggio di Codona. The town is a continued studio, peopled with artists, in various costumes -. mostly they affect the shaggy aspect of the German Burschen, with a wUd growth of hair, whiskers, mustachios, and beard, and every variety of head covering. Their productions generaUy are beautifully finished, and nicely mo- deUed. The profusion of marble gives a cheerful appearance to the city, espe cially to the more modern buildings, of which the principal is the Academia delle belle Arti. The principal church, which is coUegiate, was built in the 13th, and has some good sculptures of the 15th centy. "It corresponds in age and style with the Duomo of Monza. These two buildings afford examples of a pecuhar and most grace ful Gothic. Fragments of a similar style occur at Sarzana ; but this church at Carrara is decidedly the most perfect gem of its kind. I prefer it to that at Monza." — R. The Madonna delle Grazie is remarkableforits fine marbles. From Carrara there is a steep ascent to Torano : the summit commands a 402 Route 40. — Massa. Sect. VI. noble view; on the one side Massa and the Mediterranean, on the other the ravines of the mountains in which the quarries are situated. The excur sion to these celebrated quarries must be performed in a Uttle carriage of the country. The road is not passable for ordinary carriages, but the postUions wiU stop for you at a convenient station, and you pay one franc per hour for every horse which you detain. The excursion may be accomphshed in about two hours. There are 31 quar ries, of which not above seven or eight furnish the statuary marble. The path Ues by the side of the torrent Torano ; and after traversing the fine gorge, partly artificial, between the Monte Crestola and the Poggio Sil- vestro, you reach the quarries of Cres tola and Cavetta, which supply a marble of very dehcate grain : the largest blocks are quarried further on under Monte Sagro. This last is the " Ravacdone" marble. This portion of the quarry district is most pic turesque : but another, to which the road by the side of the Bedizzano leads, is interesting, on account of the curious vestiges of the ancient work ings. They are found in the quarries of Fantiscritti, 3J m. from Carrara. These derive their name from three small ancient figures of Jupiter, Bac chus, and Hercules, sculptured upon a rock; and which, being very tiny, have been denominated fanti by the peasants : and many names of traveUers having been also inscribed upon the rocks, the odd compound of fantiscritti was formed. AU around are lying pi lasters, columns, architraves, blocked out, but left unfinished. They appear to be of the Lower Empire. Rejoining the high road, which, after leaving Avenza, continues beautifully varied, you pass Mirteto ; and, cross ing the torrent Frigido by a bridge, enter Massa, or proceed direct by a good road leading from Carrara to Massa, about 5 m. 1 Massa Ducale ; so caUed to dis tinguish it from the numerous other places, of the same name, i. e. Massa, of which the origin is very obscure. (An additional horse is required in going from Avenza to Massa, and vice versd.) Inn; Albergo deUe Quattro Nazioni is now very comfortable. — The views of this httle city are remarkably picturesque. An old castle extends along a noble rocky ridge, a stream flows below, vines are trained over trel lises, and oranges flourish. The quan tity of marble employed in the buUd ings speaks of the vicinity of Carrara. The Palace of the Princes of Massa is the principal buUding in the city. Maria Teresa, the eldest co-heiress, of the noble house of Cibo-Malaspina, by her marriage in 1741 with Ercole Rinaldo, the heir of Francis III. Duke of Modena, brought this principahty to the house of Este, to whom it now belongs. During the French occupa tion Massa and Carrara were placed under the Baeiocchi. The Princess Elisa chose the palace as her summer residence, and, in order to make it more to her taste, she ordered the splendid cathedral which stood in the Piazza, now planted with orange-trees, in front of the palace, to be demohshed, and in the course of a few weeks the fabric was entirely rased to the ground. The present Duomo is a plain building, formerly the Franciscan convent, of the 17th centy. ; but in the facade is a curious ancient doorway, — a circular arch supported by twisted columns, — which is a portion of one of the portals of the demolished cathedral. The mountains enclose and shelter Massa ; the road to Lucca passes through a most fertUe country, and is constantly ascending and descending : sometimes you obtain an extensive view of the sea. The noble forests of ohves also add much to the fine and pecuhar character of the scene. Pass the ruins of the Castle of Mon- tignoso, fine and picturesque, beauti fully situated upon a bold hUl. The history of this castle, properly called the Castello d' Aghinolfo, can be traced to Lombard times, and is fuU of re markable incident. After passing Mon- tignoso some short distance, the Tuscan frontier is crossed at Torre di Porta ; Lucca, &c. Route 40. — Pietra Santa — Lucca. 403 and 2 m. beyond this, at Querceto, a good road on the 1. hand leads to Se- ravezza, a cool, cheap, and picturesque summer residence, — a sort of quiet miniature Bagni di Lucca. Proceeding 2 m., we arrive at 1 Pietra Santa, (The Unione, a new Inn, kept by Bertolaoci, is very good ; it is near the Poste.) Pop. 3185. This city, on the outer edge of one of the outlying fragments of the Tuscan states, is beautiruUy situated, with a background of swelling bills. It is surrounded by venerable old waUs, which could teU many a tale of Guelphs •and Ghibellines. In the centre of the city is an interesting group of eccle siastical buUdings. The ch. of St. Martin is caUed the Duomo from its size, for it is not a cathedral. It was rebuUt in the 13th centy., but many parts are later. The facade is nearly all of the 13th centy., and contains a fine rose-window which abounds in curious details ; so also do the door ways. The interior is much modern ised : the pUlars of coloured marble are of the latter half of the 16th centy. The pulpit is by Stagio Stagi, an artist of wonderful merit (see Pisa, Duomo), by whom there are also many sculptures in the choir. The Bap tistery contains bronzes by Donatella, and sculptures by Stagi, executed about 1625. The font is an ancient Tazza, with figures of sea-gods. The bronze figure of St. John, which crowns the cover, and the Baptism in the Jordan, are by DonateUo. . The ch. of Sant' Agostino is of the Gothic of the 15th centy. : the front is rich, but unfinished. It is full of curious ancient tombs ; the nave is quite paved with them. In the first chapel to the rt., on entering, is a picture, the best at Pietra Santa, dated 1519, by Taddeo Zacchia, of Lucca, and a fine altar by Stagi, or in bis style. This church, and the adjoining monastery, now belong to the Padri Soolopi, an educational order. The Campanile, detached from the Duomo, and the machicolated Town Hall, which stands between the Duomo and St. Agostino, complete the group. The road continues through the same well-cultivated and lovely country. "Where the soU of the hUls is visible, it is of a deep red. 1 Montramito. (From Montramito to Lucca an extra horse, but not vice versd.) The relai is a single detached house, at the foot of the hill, which you climb by a long ascent, from whence you have a fine view of the sea, and then descend into a weU-cultivated plain. Above, upon a beautiful hUl, stood the ancient castle of Montra? vanto. Montramito was formerly called Monte Travante. At Montramito a road to the 1. leads to Stiava, a villa of H. R. H. the Duke of Lucca, another on the rt. to Viareggio, which is much frequented in summer for sea-bathing. It has no beauty in itself, but affords a glorious view of the mountains of Carrara, and contains a theatre, where, in 1840, to lerable operas were given, under the management of the celebrated Pacini ; pop., in 1844, 6546. Before reaching Lucca, on the rt. is the smaU vUlage and curious castle of Nozzano, said to have been buUt by the Countess MatUda, Massa Rosa, otherwise Massa Gros sa ; a scattered borgo, at the foot of a bill, covered by a villa, anciently a feudal castle, once a regal vUla. Cross the Serchio. Here is a good cross-road which joins the highway from Lucca to Pisa, at the vUlage of Montuolo, in a quarter of an hour of vetturino-travelhng, without going round by Lucca. Nave, anciently Nave d! Fribrando. 2 Lucca. Pop., in 1844, 24,894. (Inns: Albergo dell' Europa, good, kept by Gustavo Pagnini, nephew to the person of that name at the Baths ; La Croce di Malta, very good ; PeUi- cano, said to be good, kept by Orlandi, who also keeps the hotel of the same name at the Baths.) Post-office. Letters arrive and are despatched daUy : they are given out every day but Sunday, fi-om the 1st of June to the 30th of September, between 8 in the morning and 1 P.M., and in the afternoon between 4 and 5— from 404 Route 40. — Lucca — Cathedral. Sect. VI. the 1st of October to the 31st of May inclusive, between 9 in the morning and 1 p.m., and in the afternoon be tween 3 and 4. On Sundays the office closes at mid-day. The office for re ceiving letters is open every day but Sunday, from 10 in the morning tUl 12, and in the afternoon from 3 tUl 6. On Sundays from 4 till 6 in the after noon only. Letters need not be pre paid. " Lucca V Industriosa'' wears an ap pearance of considerable activity, and even cleanliness. It was a place of im portance under the Lombard kings. After the subversion of the Lombard dynasty Lucca was governed by dukes of its own, whose rule extended over the whole of Tuscany. In the 12th centy. Lucca became a free town, and, for above a centy. was governed by consuls of its own choice; but dis turbed, in common with the other Cities of Italy, by dissensions amongst its own nobles, and by Guelph and GhibeUine factions, it was so far weak ened as to faU into the hands of the stranger. In 1314, Uguecione deUa Faggiuola, Lord of Pisa, favoured by the GhibeUine party, made himself master of Lucca, from which time Lucca was governed by despots tUl 1369, when its inhabitants purchased a charter from Charles IV. for the sum of 300,000 florins, and thus recovered their liberties. Lucca was the first place in Italy where sUk was produced and manu factured. "In the year 1314, Lucca alone, among her sister republics, en joyed the lucrative monopoly. A do mestic revolution dispersed the manu facturers to Florence, Bologna, Venice, MUan, and even the countries beyond the Alps ; and thirteen years after this event the statutes of Modena enjoin the planting of mulberry-trees, and regulate the duties on raw silk." — Gibbon. The production of silk had been introduced into Lucca from Sicily, whither it had been brought from Greece by the Normans. Lucca retains two monuments of the Roman age ; portions of its amphi theatre (see Piazza del Mercato p. 410), and some small remains of a theatre. The latter are not far from the ch. of S. Maria di Corte Landini. The Duomo or Cathedral (near the middle of the S. side of the town), dedicated to St. Martin, is a remark able monument of architecture and art. It was founded in 1060, and conse crated 6th Oct. 1070, by Anselmo Ba- dagio, who, having filled the episcopal chair of Lucca, became supreme pon tiff' under the name of Alexander II. (1061-1073). (St. Marc. Hist, d'ltalie, Ui. 193.) Hewas thepope who presented the consecrated banner to "WUUam of Normandy when about to invade Eng land. Most of the features, however, of the building raised by Alexander II. have been obliterated by subsequent additions. The fine facade, of three large unequal arches below and three tiers of small arches above, was erected by the sculptor and architect Giudetto in 1 204. " The rich inlaid work of the fronts of this church and S. Michele are altogether unique. Both represent hunting-pieces, Uons, wild boars, wolves, foxes, and deer pursued by hounds and men, with lance and horn, constantly repeated." — R. The atrium abounds with curious ornaments of the date of 1233 and interesting inscriptions. " One of the most masterly composi tions of any school of sculpture is a semicircular alto-rUievo, over the l.- hand door, of the Taking down from the Cross, by Nicolo da Pisa." — West macott, A. R.A. ; on the architrave below is a mezzo-rihevo of the Adora tion of the Magi, by Giovanni, bis son. The principal inscriptions are, one, recording in hexameters the founding and consecration of the cathedral by -Alexander II. ; the epitaphs of Adel- bert, the " Dux Itahse," and of Bertha his wife ; and a curious covenant, or engagement, entered into by the money changers a.d. 1111. In the interior the lower arches of the nave are Lombard, the upper por tions are Gothic, added about 1308, when the church was lengthened and raised. The gaUery, which we caU the Triforium — here of large dimensions — is filled in its arches with the richest Lucca, &c. Route 40. — Lucca — Cathedral. 40$ Gothic tracery. The roof is richly co loured in fresco ; the mosaic pavement, which in part remains, is curious in Gothic patterns ; the deeply -tinted stained glass, of which there is much, is rich, particularly in the uppermost tier of windows , on the 1. side of the choir. The centre window of the choir bears the name of the artist, Pandolfo d' Ugolino da Pisa, A cresaet, a species of vessel composed of iron bars, is sus pended from the vaulting of the nave. The bishops of Lucca (since 1726 an archbishopric) possessed numerous an cient and honorary privileges, derived from emperors and popes — jurisdic tions and regalities, as Counts of the Empire — power of creating 8 knights of the order of the golden spur, — and many others which have become value less or have passed away. The only privileges, in fact, practically existing, are, those enjoyed by the archbishop, of wearing the purple of the cardinals of Rome, and of having the ceremony performed before him of burning the flax in this creBset : whUst, as the light flames arise and are spent, the choris ters chant " Sic transit gloria mundi." But whUst this ceremony is performed before his Holiness oiUy on the day of his coronation, it is repeated before the prelate of Lucca whenever he officiates pontifically on solemn festivals. Begin ning the examination of the interior on the rt. hand on entering at the "W. end, the objects most deserving of notice are the foUowing : — At the first altar, The Nativity, D. Pasdgnano : at the second, the Adoration of the Magi, F. Zuccari .- at the third, the Last Supper, Tintoretto .- at the fourth, the Cruci fixion, D. Pasdgnano : at the pillar near the fifth altar stands the very beautiful marble pulpit executed by Matteo Cimtali, in 1498. , Enter the Sacristy, in which is a Ghirlandaio, a fine specimen of this master, and which is quoted by Vasari- The principal figure is the Virgin, attended by Pre lates and Saints, Pope Clement, St. Peter, St. Paul, St. Clement, St. Se bastian. Below is a smaU long pic ture, representing passages in the lives of the saints, very tiny figures deh cately pencUled in chiar'-oscuro. In this sacristy is kept a curious ancient cross of silver gUt, executed in 1350 by Bettuccio Baroni. Return to the church and enter the S. transept. Here is the very beautiful monument, in Carrara marble, of Pietro da Noceto, Secretary. of Pope Nicolas V., erected in 1472 by Matteo Cimtali. The works of this artist (born 1435, died 1501) exist only in Lucca, his native city, and in Genoa. Cicognara thought this, perhaps, the finest work of the kind in the 15th century. Beyond this is the fine bust of Domenico fiertini, the friend and patron of Civitali, 1479. In the chapel of the Sacrament, which is oppo site the monument of Noceto, are two small angels kneeling before the taber nacle, by Civitali. Leaving this chapel, on the rt. is the altar of St. Regulus, who stands between St. Sebastian and St. John the Baptist, by Civitali. Be-i neath are bas-rehefs, representing the martyrdom of the saints whose statues are above. Herodias dancing before He rod is a graceful figure. St. John is re presented as consumed by abstinence. The choir is splendidly fitted up. The throne of the archbishop is shadowed, by a rich canopy of crimson damask. The eighteen canons, like their prelate, have many honorary privileges, such as wearing the mitre borne by cardinals, and the pectoral, which are even yet much prized,- whilst the thfrty-three chaplains, whom we should caU minor canons, are in their degree equaUy pri- vUeged by being aUowed to wear the cappa magna. In the N. transept, flanking the high altar, is a curious historical memorial — the altar conse crated to God the DeUverer, Deo Libe- ratori. This was erected by the Luc- chesi after their dehverance fi-om the Pisan yoke in 1369, and seems to have been known from the time of its erec tion by the name of the Altar of Liberty. As it now atands, it is the work of Giovanni di Bologna, 1579. The main subject is the Resurrection of our Lord. On one side is St. Peter, on the other St. Paulinus, the first Bishop of Lucca. On the waU, by the side, is a beautiful picture by Daniel 406 Route 40. — Lucca — Volto Santo — San Michele. Sect. VI. da Volterra, a small figure of St, PetronUla. In the adjoining CapeUa del Santuario is a very fine Fra' Bar tolomeo, dated 1509 ; a Virgin and ChUd ; an Angel with a lute below ; St. John the Baptist and St. Stephen. Near the door in the N. transept is a marble sarcophagus with figures of children and a female figure on the top. It is the tomb of Uaria del Car- retto (died 1405), wife of Paolo Guinigi, Signore of Lucca ; a work of Jacopo della Quercia: much praised by Va sari. "The couched figure is deserv ing of great praise : the head-dress is singular, and consists of a turban-like fillet round the brow divided by bands of stars. The same head-dress in every respect occurs in a picture by Gentile Bellini, in the coUection of Professor Rosmi at Pisa." — R. Proceeding round the church, after passing the organ, at the first altar is the Visitation, Ligozzi. In this picture the artist introduces himself aa speaking to a prelate. Near the next altar is a smaU octagonal temple or chapel of marble, richly gUt and adorned, by Matteo Civitali, 1484. This chapel contains the " Volto Santo di Lucca" in mediaeval Latin caUed and spelt "Vultum de Luca." This is an ancient crucifix carved in cedar -wood, and supposed to have been made by Nieodemus. According to an ancient tradition it was miraculously brought to Lucca in 782, and was per haps one of the earhest of the images which, acquiring what we should term an European reputation, exercised such a deleterious influence throughout Christendom. Amongst the many oaths and imprecations used by "William Rufus, his favourite one was "per vultum de Luca," which by some mo dern historians has been translated by the " face of St. Luke." The figure is long and meagre, clothed in a pontifical dress, stiff and dark : " The face of the original is fine." — R. Whether it be the production of Byzantine artists is a contested point. It is only ex posed for pubhc devotion three times in the year, when the head is adorned with a sUver-gUt crown and the breast with a large trinket. It may, however, be seen at any time by special permis sion from the Archbishop : but a fae- simUe copy is always exposed to view. Before the entrance of the chapel is a lamp of soUd gold suspended by chains of the same metal, a vow of the Lucchesi in 1836 when they were in terror of the cholera. Immediately behind this chapel is a fine statue of St. Sebastian, by Matteo Civitali. At the fourth altar is a highly praised Presentation in the Temple, Bronzino. The history of the Volto Santo is in part told by a fresco by Cosimo Roselli on the N. side of the great door, — an angel ap pearing to Nieodemus in the back ground, and Nieodemus again in the foreground with a trunk of a tree, which he is about to hew into the sacred image. Behind the cathedral is a curious httle Gothic chapel, Sta. Maria della Rosa, probably of the 13th century. San Michele. "San Michele was originaUy founded by Teutprandus and Gumpranda his wife, in 764 ; and the hulk of the fabric belongs to that date. At that time the archangel, for whom a particular devotion had, in the pre ceding century, been imported from Apuha into the N. of Italy, was the favourite protector of the Lombards. But the rich facade, to which this church owes its celebrity, was added at a much later period, in 1188, when Lucca was a free town, and its inhabitants re solved to do credit to themselves by adding splendour to their pubhc buUd ings. In 1188 the celebrated architect Giudetto, who was afterwards em ployed to decorate the cathedral in the same manner, was caUed upon to en noble the W. end of San Michele. The idea of this facade is evidently taken from the cathedral of Pisa, though executed in the more florid style which had subsequently come into fashion. If this facade sins against classical rules in the multiphcity and irregu larity of the orders of its columns, in their variety and over enrichment, it neverthelesa produces a grand and im posing effect. The whole is constructed of white marble from the quarries in the neighbourhood. The statue of the Lucca, &c. Route 40. — Lucca — San Frediano. 407 archangel at the summit is of colossal size. The wings are composed of separate plates of bronze, so contrived as to suffer the wind to pass through them -freely, lest it should have a dan gerous purchase upon so large a mass completely exposed to its power. No thing more waa done at S. Michele during the thraldom of Lucca, but when Lucca was again enfranchised the second order of the lateral colonnade was added (in 1377). The colonnade is sufficiently in harmony with the facade, but evinces the greater degree of purity of taste which by that time began to prevaU." — Gaily Knight. San Frediano (in the centre of the N. side of the town). San Frediano was the son of an Irish king. Having become a Christian, he made a pU- grimage to Rome in early hfe, and having gone back to Ireland and founded a monastery there he returned to Italy. He arrived at Lucca in 560, at a moment when the episcopal chair was vacant, and was chosen by the people for their bishop. He governed the Church of Lucca 18 years, and, dying in 578, was buried in a church he had buUt. Pertaric King of the Lom bards, who began to reign in 671, had such a veneration for San Frediano that he resolved to build a splendid church in his honour, and, in the construction of it, avaUed himself of the materials of the deserted amphitheatre. He did not live to finish the buUding, but it was completed by Cunibert, his son and successor. The plan of this church is that of the long or Latin basilica. It is of large dimensions, 255 ft. long, 80 ft. wide, and 73 ft. high. The waUs are built of stone. The style of the archi tecture is not the usual style in which the Lombards were' accustomed to bmld, but the more Roman style of the more ancient BasUicas. Single pUlars support the arches on either side of the nave, and no imagery is mixed with the foUage of their capitals. Of this the explanation is to be found in the materials of which the church was buUt. If it is true, as stated by Lami and others, that the materials were taken from the ruins of the amphi theatre, a large supply of pUlars and capitals would be afforded, wliich the architect of the church would naturaUy employ in the shape in wliich he found them ; and it was at the time that this church was built that these materials were hkely to be at command, because it was not tUl the early part of the 7th century that the amphitheatres of Italy were destroyed. In vain had the bishops protested against them. The amphitheatres remained on foot tUl the arrival of the Lombards, whose morals, purer than those of the luxurious people of Italy, would not ahow such schools of vice to remain in existence. This is one of the churches which have been turned completely round. The principal entrance now occupies the original position of the apse, and the apse has been rebuUt, apparently with the old materials, in the original situation of the door. The change took place when the waUs of Lucca were rebuUt, and the church, which had formerly stood without the waUs, was now comprised within them, and required to front the street. This alteration was made in the 12th cen tury. It was then the Abbot Rotone erected the new front in its present form, and added the pictures in mo saic with which it is decorated. The roof was formerly carved and gUt, but was renewed in 1843 in a plain style. Beginning the circuit of the interior at the rt. hand on entering at the end of the nave, — the ancient font, intended for baptism by immer sion, is covered with sculptures by an artist who has inscribed his name, " Robertus Magister." The characters show that he flourished in the 12th century. The modern font, by Nicolao Civitali, is of dehcate workmanship in the best cinque-cento style. At the altar behind the pulpit is a much- esteemed picture by Franda, the Virgin received into Heaven, in his early style, and he has repeated portions of the composition in a picture in the Duomo of Ferrara. The worshipping figures consist of two Kings, two Bishops, and a Friar, the last evidently « portrait : 408 Route 40. — Lucca-^-ChurcJies. Sect. VI. smaUer subjects in chiar'-oscuro are in troduced into the frame below. Around the high altar is a mosaic pavement of the 14th century, interesting as being Uke that of Edward the Confessor's chapel in "Westminster Abbey. The high altar itself has been recently put up ; it is not an ornament to the build ing. Standing against the wall of the choir is an enormous slab of marble, about 17 ft. in length and 7 in height. It is supported by piers of brickwork, and does not touch the wall behind. An inscription, apparently of the 11th century, testifies that St. Frediano, assisted by his canons, lifted this stone, dug in a quarry four mUes off, and, placing it on a car, it was drawn by two wild cows to the place where it now stands. On the opposite side of the chm-ch is the Capella del Sagra- mento. Here the altar nas some re- liefs, by Jacopo delta Qucrda, 1422, representing the Virgin and ChUd with four Saints, and events of their hves ; highly praised by Vasari. Proceeding round the church you come to the Chapel of Sant Agostino, containing fine but damaged frescoes, by Amico Aspertino, a scholar of Francia. The subjects are taken from the legends of the Volto Santo, and the history of Lucca. .The Campanile forms no part of the original buUding. It was probably added before the church was turned round. Its windows increase at each story in an ascending series, an arrange ment frequently seen in the more an cient belfreya of the north of Italy. San Giovanni (close to the cathe dral), a very ancient basihea, somewhat Uke San Frediano, and probably of the same age, but much altered. Over the principal doorway yet remains an ar chitrave, representing the Virgin and the Apostles. It is probably of the 11th centy. The baptistery, a large square Lombard building, has been altered in later times : it is impressive from its size. The font has been re moved. San Romano ; a church existing in the 8th centy., but altered to its present state in the 17th centy. by Vincenzo Buonamid, known by his works rt Malta; the alterations, however, stopped short, and left the front unfinished. On the outside of the nave are four large tombs, each with a canopy, placed something like those at Verona, upon which are crosses of a peculiar fashion : they are falling into decay. This church was held for some centuries by the Dominicans, who have been restored ; and it is, from its vicinity to the pa lace, considered as the chapel of the Ducal family. This church contains in a chapel of the transept, on the 1. hand as you face the high altar, the magnificent Fra' Bartolomeo, caUed the " Madonna deUa Misericordia," or the Virgin interceding for the Lucchesi during the wars with Florence. This picture is in exceUent preservation, and is dated 1515 : it-was presented by the noble famUy of Montecanini, who,-5 in finely varied groups, mostly in atti tudes of prayer, fill the foreground. Above is the Virgin, with outstretched arms, most earnest in supplication. There is at the first altar, on the l.- hand side on entering by the great door, another Fra' Bartolomeo, dated 1509, St. Mary Magdalene and St. Catherine of Sienna. The colouring is exceUent. Both pictures are specially noted by Vasari. There are some other good pictures. — Pasdgnano, St. Hyacinth raising the Dead ; a female figure in mourning is beautiful. — Guidotti, the Madonna presenting the infant Saviour to St. Agnes and St. Monica. San Salvatore, a Lombard building, with some curious sculptures; one by Biduino of Pisa, about 1180, the im mediate predecessor of Nicolo Pisano, shows the dawn of a new period of art. It is in half-relief, and is upon the architrave, over the smaU lateral door ; it represents a miracle of St. NiColaus. The architrave of the smaUer door of the facade, on the rt. as you face it, has a curious earlier bas-rehef, probably of the 11th centy., representing a feast, of which the principal figure is a king. Santa Maria Forisportam, so caUed^ from its having been without the gate . of the city prior to 1260 ; a fine Lorn- LtrceA, &c. Route 40. — Lucca — Churches and Palaces. 409 bard church, but altered in 1516, by the nave and transepts being made loftier. It has two good paintings by Guercino ; one, which is at the third altar in Hke aisle on the rt., represents Sta. Lucia ; the other, which is at the altar in the transept on the 1., and is •the best, represents the Virgin, St. Francis, and Pope Alexander II., a fine and dignified figure. It was given by the Mazzarosa family, to whom the altar belongs. San Vincenzio ; the facade of the 13th centy., with remains of earlier •work, particularly the portal with its lions. At the high altar is a Cir cumcision by Ligozzi, brilliantly co loured. San Pietro Somaldi; the front of Lombard, mixed with Itahan Gothic, was added in 1203. It contains a Palma Vecchio, a group of Saints, Sant' Antonio Abbate being the prin cipal figure. San Cristoforo; the facade is con sidered interesting in the history of architecture, as showing the transition from the Lombard style to the Italian Gothic. It has a curious circular win dow. Civitali was buried here, but only a plain slab marks the place of his grave. St, Maria di Corte Landini, buUt in the 13th centy., retains smaU ves tiges of its original architecture, ex cepting as to parts of the facade. Of this the lower portion is singular, a row of arches, with half-length monsters projecting over the door. It belongs to the " Chierici regolari della Vergine," who devote themselves to education, and were therefore exempted from the general suppression ; it is a species of . private chapel, but wiU be opened by the sacristan. The interior is entirely modernised, with much gilding and fresco. The roof is in imitation of per spective, retiring cupolas and balus trades. Over the high altar is an Assumption of the Virgin, by L. Gior dano. At the two altars which flank the high altar are copies of pictures of Guido, sold in 1840. Paolini, the Birth of St. John the Baptist. — Vanni, Jhe Birth of the Virgin. N. Itahi— 1852. SS. Crocifisso de' Bianchi, bo caUed from a crucifix left here by the White Penitents, an association of very doubt ful character, in 1377, passing here on then- way from Spain. It contains in the transept the Assumption, by Spag- nolelto ; and the Martyrdom of St, Bartholomew, by P. Battoni. San Francesco, erected for the Minor Observants in 1442. It contains a tablet to the memory of the celebrated Castruccio Castracani degh Antelmi neUi; he died Sept. 3, 1328, in his 47th year. The Ducal Palace is part of a vast buUding, designed in 1578 by Amma- nati, of which not half has been com pleted ; and his designs even for that were much altered by Juvara and Pini, in 1729. The great marble staircase is fine ; but since the sale of its pictures, the palace contains no object requiring peculiar notice here. In front of the palace is the Piazza Ducale, a monument of the Baciocchi. Here, amongst other buUdings, stood the noble church of the Madonna, buUt towards the conclusion of the 16th centy. by Gherardo Penited. It was of the Doric order, and constructed wholly of marble. Princess EUse did not like it so near the palace, and therefore it was, hke the Cathedral of Massa, in spite of aU remonstrances, leveUed to the ground. Depodto di Mendicitd, formerly the Palazzo Borghi, a noble specimen of a class of buUdings pecuhar to Tuscany, palaces intended for habitation aild state, and also for defence. In the Scaligerian castles defence is the first object, and magnificence the second; but in these, peace takes precedence of war ; but it is an armed peace. This buUding is of red brick, in the Itahan Gothic style, with muUioned windows and gloomy cortUes. It was buUt in 1413 by Paolo Guinigi, one of the chiefs of the very powerful family which, from about 1380 to 1430, ruled the repubhc of Lucca. Annexed to it is a lofty tower of many stories, on the ruined top of which plants grow. This buUding is now used as n. poor-house. The exterior is, however, unaltered, and 410 Route 40. — Baths of Lucca. Sect. VL deserves the attention of the archi tectural antiquary. Close by is another Palazzo, also bearing the Guinigi arms, gules, a cross vair, and nearly in the same style. The Palazzo Pretoria, which dates from the time of the repubhc, is a good specimen of the Renaissance. The Palazzo Mansi, Piazza S. Maria Bianca, has several exceUent Italian, Dutch, and Flemish pictures : the best picture is the Sacrifice of Isaac, by Fer dinand Bol. It also contains some excellent specimens of Franda and Ni cholas Pousdn. The Piazza del Mercato (near S. Fre diano) occupieB the site, and preserves the form, of the ancient amphitheatre. The external circuit is to some extent preserved; the most remarkable re mains are between the principal en trance, which is at the E. end, and the entrance at the N. end of the minor axis. It seems to have been buUt at the end of the 1st, or the beginning of the 2nd centy., and it has been calcu lated that it was capable of containing 10,685 spectators seated. It had 2 stories of arches, each 54 in number. The lower part of the buUding is now concealed, owing to the earth having accumulated to the height of nearly 11 ft. The interior space, which is the ancient arena, was a few years ago en cumbered with small houses and gar dens : but it was cleared, and the line of the houses carried back to the ancient curve of the arena, and the present gateways opened, under the directions of the architect Nottohni. The entrance at the E. end, wliich is wider and lower than the otherB, is part of the ancient work. The market was, by the order of the present Duke, transferred here from the Piazza S. Michele, on the 1st Oct. 1839. There are very pleasant walks and views about Lucea. Such are the walk round the ramparts, the inner side of which is planted with trees, and that along the line of the aqueduct, which, by 459 arches, supplies the city. Hence may be seen to great advantage the beautiful outlines of the hills, bounding the plain hi which the city lies. The Roman remains, called the Baths of Nero, near the lake of Mas- saduccoli, are interesting, and their arrangement inteUigible. . Their site, about 8 m. from Lucca, to the W., is exceedingly beautiful. If time aUows, the foUowing vUlas, Torrigiani at Camigliano, Montecatini at Gattajola, and Mansi at Segromigno, will repay the trouble of a visit by the traveUer, being amongst , the finest in Italy, excepting those in the vicinity of Rome. Baths oe Lucca. — These baths, situ ate in the finest of the Tuscan vaUeys, are about 15 m. from Lucca, reckoned at 2 posts. If a stranger, travelling post, wishes to proceed to the baths within 24 hrs. after arriving at Lucca, he must take post-horses ; after that time he may travel as he chooses. An excursion from Lucca to see the baths occupies a summer's day. Leaving Lucca by the Porta Sta, Maria, or di Borgo, you see a high embankment, raised, at enormous ex pense, as a barrier against the inunda tions of the river Serchio. From this bank comes the ancient proverb, when speaking of any ruinoua undertaking, that i^ cost as much as the Serchio at Lucca. The Serchio, during the 30 m. of its course previous to reaching the plain of Lucca, descends as much as 48 ft. per m., and thereby brings down so much deposit as to cause a constant rising in the level of its bed. In con sequence of this, the summer height of the river, at the distance of half a m. from the city, is 9 ft. above the siU of the gate of Sta. Maria, which is one of the most elevated points. The difficulty and expense of confining the river to its present channel continues increasing so much that various plans have been proposed for carrying it off to the sea by a new and artificial channel. The present excellent road to the baths is due to the Princess Elisa ; it was previously execrable. Soon after passing the 3rd milestone, a road to the rt. turns to Marlia, a summer palace of the sove reign. It was purchased and embel lished by the Baciocchi. It stands in a fine park of 3 m. ofrcumference, Lucca, &c. Route 40. — Lucca — Excursion to the Baths. 411 waUed in ; the shrubberies are laid out in the Enghsh style ; the gardens are in the French taste, ornamented with fountains and jets d'eau, in imitation of Marly, whence its name is derived. In order to see the Palazzo, it is neces sary to have an order. Several Lucchese nobles have large and handsome villas, with flower-gar- dens.in the neighbourhoodof the palace. Many of them are to be let, at from 50 to 100 scudi a month, according to the season. They are generaUy weU fur nished and commodious, but the situa tion is hot; there is no shade about the house ; and they are walled in by an amphitheatre of luxuriant hUls from every cooling breeze ; wlhlst the great vegetation inevitably produces niusqui- toes. To those who dread not such an noyances the vUlas around Marha wUl prove agreeable residences. The neces saries of hfe are easUy procured in the neighbourhood. The factor of each vUla supplies oU and wine, firewood, and sometimes provender for horses; and the vUlage of Moriano contains a good butcher and baker. After passing the turn to Marha the road approaches the Serchio, which is crossed by a sandstone bridge, the Ponte a Moriano, ornamented with co lossal statues of saints. This bridge was erected in 1832, in the place of the old one, carried away by a flood in 1819. The road from thence ascends with the river through a splendid valley, luxuriant in vegetation ; the nearer hills rich in ohves and vines, the moun tains covered with chestnuts : every turn presents a varied and beautiful landscape. On the summit of a lofty hUl you Bee a noble edifice ornamented with marble colonnades. This is the Convento delV Angelo. Its situation is salubrious, and the view from it beau tiful. A succession of picturesque vUlages adorn the vaUey and mountain sides, at intervals of 2 m. They are caUed Sesto, Val oV Ottavo, and Diedmo, according to their distances from the capital, and have borne these names from the time of the Romans. The last gives its name to the Ponte a Diedmo, of which all but 2 arches were swept away in 1842 ; thence the vaUey narrows, and much engineering is apparent in the formation of the road. A deUghtful drive continues along the banks of the Serchio, which cornea down with a strong current, often bearing a file of rafts, each guided by a pair of half- naked mountaineers, with long poles. These rafts are broken up for exporta tion on reaching the mouth of the Serchio. The road continues through a chest nut forest, whose fruit is the principal food of the poorer mountaineers. Its cultivation was stimulated by the pre miums of Paolo Guinigi, the Signore of Lucca. The chestnuts are dried in a great oven, ground to flour, and baked between hot stones into cakes, wliich resemble the Scotch scone, or English crumpet. They are sweet and nutri tious, but heavy, and cost a third less than wheaten bread. This vaUey is a rich field for the bo tanist, and many of our garden-plants are recognised. After 12 m. pass Borgo a Mozzano ; and a fine ancient bridge, of 5 irregular arches, comes in sight, called Ponte della Maddalena. Its construction is attributed to Castruccio, in 1322 ; but the common people, who caU it the Ponte del Diavolo, claim the Fiend as its architect. The second arch from the rt. bank is 60 ft. high, and 120 in span ; the causeway is but 8 ft. wide, and so steep that no carriage heavier or larger than a hght calesse can venture over it. The httle town beyond, the emporium of the mountain commerce in sUk, wool, and hemp, with its convents, ancient churches, fir and pine trees, is flanked to the E. by smiling hills, covered with vines and ohves. To the N. and W. the view is closed by lofty mountains, richly clothed in chestnut forests, and beyond are the cloud-capped Apennines. 2 m. further, the Lima, a tributary mountain stream, joins the Serchio, in the plain formed by the junction of the 2 vaUeys, which, after heavy rains, bears the appearance of a lake. A road to the baths runs up both banks of the Lima> over which a suspension-bridge t2 412 Route 40. — Lucca — Baths — VUla. Sect. VI,- is erected, to replace one of stone car ried away by the terrible inundation of 1836. The road to the 1. here leads into the upper vaUey of the Serchio, a district called the Garfagnana, and into Lombardy by the pass of La Foce. The distance from here to the Mode nese frontier is 20£ Eng. m., and to Lucca 14. After another mUe the traveUer reaches the flourishing hotels, lodging- houses, and shops of the vUlage of Ponte a Serraglio. There are no baths here ; but in consequence of its central posi tion between the Bagni Caldi and the Bagno alia Villa, the former of which is on the 1. hand, and the latter on a hUl on the rt., as you come from Lucca, and from its situation being adapted for carriages, this village has become a favourite place of meeting and resi dence of persons frequenting the baths. Ponte a Serraglio. — Inns : There are 3 exceUent hotels ; the chief one is the H6tel de l'Europe ; aU belonging to one owner, Pagnini : he is clever and enter prising, and is married to an EngUsh- woman, who ia most active and helpful. He has also estabUshed a club-house, caUed the " Circolo di Riunione," in cluding a large table-d'h6te, Ubrary, reading-room, biUiard-table, card-room, &c. The rooms all open on a picturesque garden and shrubbery. The object of this club was to afford a place of general rendezvous for the company at the baths, independent of the Cadno, which feU into the hands of a French company, who came here when gam bling-houses were prohibited in Paris. This Cadno became the pest of the baths, until gambUng was forbidden by the late Duke, in 1846, since which it has been respectably conducted. BaUs are given in it every week, and bUUard and reading rooms are always open to strangers. The Hotel de Russie and the Croce di Malta are also weU spoken of. The Ponte is the first of the Bath vUlages : the second is the Bagno alia Villa. Here Orlandi's excellent hotel, the Pelicano, has an active and obliging master and mis tress. Further on is the Trattoria of Gregorio Barsantini, who sends out excellent EngUsh dinners, on cheaper^ terms than cookery can be achieved at home. Near the chapel is the Casa Gregory, the mOBt extensive boarding- house at the Bagni aUa VUla. The pro prietor has 3 other lodging-houses in the neighbourhood, aU very good. The office of the bank of Signor Peverada of Pisa is in the Casa Gregory. The Villa is a long street of about 20 lodging-houses, commencing with that of Pettini, who supplies dinners', if required. Many of the houses have the advantage of a garden, and some have stabling. Pagnini hires and lends plate and linen on hire where it is not supphed by the lodging-houseB. The houses let from 50 to 350 scudi for the summer season, or from May to Oc tober. In the VUla is the Enghsh chapel, erected by private subscription. The architecture is Venetian. Annexed to it are apartments for the clergyman, who officiates at Pisa during the winter. The chapel has been placed under the protection of the Bishop of London. Some new baths are constructing oppo site. A road turns off to the 1., and ascends tUl it brings the visitor to the palace, where the Duke of Lucca resided from the end of June to the middle of Sept. Around the palace are a dozen good houses to be let, mostly belonging to the Lucchese no- bUity, and preferred by foreigners for their more elevated situations. From the piazza of the palace you may walk, ride, or be carried in open portantini (a species of palanquin), over the moun tain to the Bagni Caldi, the 3rd vUlage, con taining a group of lodging-housea, on the side of a high hill. Those who prefer bracing air wiU find it in this situation. An exceUent carriage-road winds down to the Ponte a Serraglio, and there are shady walks, by short cuts, for pedestrians. There are 5 estabhshments of baths. 4 are to the S. and W. of Ponte a Ser raglio, and are caUed Bernabo, Docce basse, Bagni Caldi, and S, Giovanni • about half a m. to the eastward, on the slope of the same lull, are the Bagni Lucca, &c. Route 40. — Lucca — Baths — Bagni Caldi. 413 alia Villa. The most commodious are those of Bernabo, on the hUl imme diately behind Pagnini's hotels. They owe their name to a native of Pistoja, who, in the 16th centy., was cured of a cutaneous complaint by these waters, whose virtues up to that time had been undiscovered. There are 2 springs : the heat of one is 111" Fahrenheit, of the Other 90° Fahrenheit ; the supply is abundant. Higher up the hiU are the Bagni Caldi, formerly called the Bagno di Corsena. Here also there are 2 springs, one of which is the hottest at the baths, its temperature at the source being 133° Fahrenheit. There are 2 vapour baths at this establishment. The Bagno S. Giovanni has 2 springs, whose temperature does not exceed 101° Fah renheit. At the Docce basse there are 11 springs, whose temperature varies between 117° and 88° Fahrenheit. The Bagno alia Villa haB 3 springs of about 106° Fahrenheit. The waters here are used internaUy and are sent to various parts of Italy. The whole of the springs supply about 65,827 gaUons every 24 hrs. They aU eon- tain sulphates and muriates of lime, of magnesia, and of alumina, but prin cipaUy sulphate of lime. There is also a smaU deposit of sUex, and of iron in a state of peroxide. Theh specific gravity at 66° Fahrenheit is 113. The baths are of marble, with douches, stoves for airing linen, and every con venience. A bath costs two pauls, and a trifling gratuity to the attendants if their linen is used. The waters flow from beneath the lull, whose base is washed on the E. and S, sides by the Lima, and on the W. by the Camaglione brook. One opinion is, that they come from the Montagna di Celle, 5£ m. off, from a spot called the Prato Fiorito, remark able for its early and brilliant vegeta tion, and for the rapid melting of the snow from its surface, notwithstanding its elevation. The mountain is of a conical form, one side presenting a perpendicular rock, and the other an inclined plane of greensward, ena- meUed, especiaUy in June, with flowers of great variety and beauty. The ascent, 5| m., is by the Bagni Caldi, and may be made on horseback, or in a chair. It is best to go by way of the Monte Fegatese, and return by iS. Casdana di Controne. The path runs for some way through the dry bed of a river, in the shade of a fine chestnut forest. As a summer residence, this vaUey is the coolest in Italy; the sun ap pears 2 hrs. later, and disappears 2 hrs. sooner, owing to the height of the mountains, thus insuring cool morn ings and evenings, and curtailing the accumulation of heat during the day, The river Lima also, dashing along from rock to rock, keeps up a continued circulation of air. The vaUey is re markably healthy: malaria and fever are never heard of, and the annual mortality is not 1J per cent. The native population of these vUlages amounts to 1000 souls ; the deaths rarely exceed 15 yearly, and have been sometimes as few as 11, one half infants. In September, however, the evenings become cold and damp. There is a beautiful sequestered drive of 3 m. up the river Lima, by the old iron-works, and another down the river Lima and up the Serchio, over the temporary wooden bridge, to the upper and wider valley of the Serchio, towards Torrite Cava and Galicano, or by another turn to Barga, a small old Tuscan city on a mountain 10 m. off. The roads are generaUy exceUent, though injured occasionaUy by inunda tions. The favourite drive to the Ponte della Maddalena is watered every even ing, and the roads about the baths are well Ughted at night, except during moonlight. There are many interesting points, accessible only to ponies, donkeys, and portantini. One favourite spot is the vUlage of Lugliano, in the valley of the Lima, where there is a curious tree, of which the branches form a bower, and containing a table large enough for 12 persons to dine. A much longer ex cursion is often made to the Bargello, an old watch-tower on the summit of a conical mountain, from whence the whole duchy of Lucca, the sea, and, it 414 Route 41. — Lucca to Florence — Pescia. Sect. VI. is said, Corsica and Elba, are to be seen on a dear day. Physidans. — Dr. Carina is the di rector of the baths ; he has been in England. Dr. Giorgi, a clever zealous young man, is the medical attendant of the commune. Of EngUsh physicians, Dr. Deakin comes from Rome, Dr. Gason from Pisa, and Dr. Trottman from Florence, during the summer months. There is a good apothecary, who has Enghsh medicines, at the Villa. Tradesmen, Sec. — At the Ponte, Cor don has an exceUent store for aU kinds of useful articles ; and at the VUla, AnguUese, a civU Itahan, keeps a ma gazine of the same kind. Circulating libraries abound ; and there are milli ners and dressmakers from Florence. Huband's EngUsh livery stables sup ply good riding-horses and light open carriages of all descriptions, whUe the natives offer ponies and donkeys ; an evening pony ride costs 5 pauls, and a day's excursion 10 ; the portantini re ceive 20 pauls for a day's excursion, and 2, 3, or 4 for an evening airing, ac cording to the distance. Strangers may, by an arrangement, find the Bagni hotels quite as reason able as those of Interlaken. FamUies coming for the whole season to Pag- nini's may have their table weU sup plied, masters at 9 pauls per diem, or less, chUdren and servants at half price. The charge of their apartments depends on their selection. From June to September letters ar rive from Lucca every morning soon after 9 o'clock, and the estafette returns with those of the Bagni at half-past 2. Before and after the high season, the Lucca procaccio takes the letters in the morning, and brings the arrivals back by 6 in the, evening. There is a weekly procaccio to Florence, and another to Leghorn, and great facilities for re ceiving trunks, packages, and musical instruments from England. There are good Italian teachers at the Baths, and professors come during the season from Rome and Florence to give lessons in singing and music. Signor Guerini, from Florence, is a good Itahan master. ROUTE 41. LUCCA TO IXORENCE, BY PESCIA AND PISTOJA. (About 50 Eng. m.) LUCCA (see Rte. 40). The greater part of this route may be now performed by railroad, the lines being completed between Lucca and Pescia, and between Pistoja and Flo rence ; the intermediate portion be tween Pescia and Pistoja being in pro- Trains leave Lucca at 8'25 a.m., and 5-30 p.m., employing 45 min. to reach Pescia. The Rly. runs about 3 m. S. of the old post-road, nearly parallel to that to Fucecchio, and in the plain, as far as the first station, Altospaccio Stat. ; And from thence foUows the vaUey of the Pescia torrent to San Sal/vadore Stat. PESCIA (Inn: Albergo dellaPosta; tolerable, and reasonable if you bar gain) . A flourishing and pleasant smaU city (pop. in 1845, 6506), of which the situation is beautiful in every direction, but perhaps most so when approached from the Florence road. But whichever way you look, the landscape is fiUed with viUas, convents, castles, and towers, above and amongst groves of ohves and mulberries ; while the background is of purple hills, rising in graceful forms. The neighbourhood of Pescia is one of the parts of Tuscany where the white mulberry was first introduced, it having been cultivated here since 1340. The Duomo has been modernised, only a smah portion of the ancient fiwjatde remaining. Its principal ornament is a monument ascribed to Montelupo, the disciple of Michael Angelo, and the executor of Raphael's wiU. The chapel in which it stands is a rich specimen of the cinque-cento style. The other churches are not remarkable. There are several manufactories of paper in and about Pescia, from which large quantities are annually exported ; the water of the Pescia river is con- Tuscany. Route 41. — Lucca to Florence — Pistoia. 415 sidered peculiarly weU adapted to this fabrication. A very agreeable road of 22 m. leads to San MaroeUo, on the way from Pistoia to Modena (Rte. 39). FoUowing the post-road, to the 1. are the Bagni di Monte Catini. Very poor Inns, and the lodginghouse-keepers ex tortionate. The warm springs here are much frequented in the autumnal months. In the middle ages they were greatly resorted to, but, having been neglected, they were again brought into notice towards the end of the last cen tury, when the present bath-buUdings were erected by Leopold I. There are several springs, aU very copious. Their temperature ranges from 68° to 93° Fahr. They are slightly aperient. Monte Catini, whence they derive their name, is a mountain about 2 m. to the N.E. of the baths, crowned by the town and castle of the same name. The ruins of the fortifications are ex tensive and picturesque, and are curious memorials of ancient mUitary archi tecture. Here, on the 29th Aug. 1315, the Florentines were completely de feated by the celebrated GhibeUine leader, Uguccione deUa Faggiuola, the lord of Pisa and Lucca. Pieve a Nievole, beautifully situated on the brow of the ascent towards Monte Catini. If possesses an ancient church, near which another has been recently built on a large scale. Seravalle, a picturesque httle town. Above are the ruined towers of the ancient Rocca or castle ; and the old gateway which crosses the road an swers to its name by closing the valley. Situated as the fortress is, between Pistoia and Lucca, it was a post of great importance in mediaval warfare, and withstood many a hard assault. The castle is apparently constructed out of the ruins of more ancient buUd ings, and some portions of the church seem to be as old as the 12th centy. A fine distant view of Pistoia is gained from the summit. The ground is here much broken with finely wooded hUls. Barile on the Ombrone. As you approach Pistoia the scenery slightly varies in character, but with increasing beauty. H PISTOIA; situated at the en trance of the Ombrone valley, where it opens into the great vaUey of the Arno. (Inn : H&tel de LondreB, situated just without the city, improved ; Albergo della Posta, in the town.) Pop. within the walls in 1845, 13,102. Lofty and weU-preserved ramparts surround the town. The Medici arms are conspicu ously seen on the frowning summits of these waUs : within, the city con tains objects of interest. The first which strike the traveUer are the for tifications which we have just no ticed. They are regularly formed, with bastions ; but in their style they form an intermediate link between the strongholds of the days of bali stas and catapults and those of the age of Vau- ban. The streets are all thoroughly Tuscan, and generaUy retain their pri mitive aspect. The city has not fallen into decay, but was never opulent. In her present institutions Pistoia pos sesses some faint vestiges of ancient times. The chief of the community is the Gonfaloniere, who, except in the period of French rule, has been elected regularly from 1329 to the present time. The Palazzo della Communitd was begun in 1294, and was stiU incomplete in 1385, when some additions were made to it. It is a valuable specimen of the Itahan- Gothic as applied to civil purposes. This Palazzo preserves memorials of a hero named Grandonio, who was 7| braccia, or about 15 ft., in height, and who in the year 1202 con quered the Balearic Islands. Nothing of him, it is true, is found in Muratori, or Denina, or Sismondi ; but the blank in their pages is made up by bis por trait, aa large aa hfe, on the wall of one of the halls, now eaUed the Camera degli Avocati. The painting is exe cuted in fresco, in verditer, shaded with brown, much in the style of Paolo Uccello, Beneath are the verses re counting Grandonio's deeds. Outside of the Palazzo is suspended Grandonio's: 416 Route 41. — Pistoia — The Duomo, Sect. VI. brazen mace with a pine-apple top, which mace was so much prized that it was kept in order at the expense of the community ; and, lastly, Gran donio's brazen head, over which two keys are suspended, wliich are supposed by some to be the keys of the capital of the Balearic or Cannibal Islands, for such the tradition makes them. But the brazen head is also said to be that of FUippo Tedici, who in 1322 betrayed Pistoia to Castruccio degh AntelmineUi. Tedici was aUowed to live with his head upon his shoulders, but it is said that after his death four of these brazen heads were put up as a token of ignominy ; and it is also said that the keys never came from the Balearic or Cannibal Islands, but that they are the keys of the prisons, and betoken the release of aU the debtors and other prisoners by the alms and intercession of the bishop, Andrea ' Eranchi, in 1399. The Palazzo, partly occupied for pubhc offices, is a wUder- ness of great haUs, dusty chambers, and corridors. In one of the rooms connected with the quaritere del gon- faloniere are 12 ambos or pulpits, of marble of exquisite workmanship of the 12th or 13th centy., and which were found in 1838 under the pave ment of the cathedral. A number of curious old paintings are dispersed about the rooms, staircases, and pas sages. — By Fra' Paolino is the city of Pistoia at the foot of the Virgin. The frescoes of Giovanni di San Giovanni are much damaged, but stUl show beauty. There are also some ancient inscriptions. In the centre of the buUdmg is a noble cortUe, a Gothic cloister below, and a Gothic corridor above. The area is fUled with frag ments of early date, brought from the cathedral, and found beneath the pave ment when it was relaid. On the opposite Bide of the piazza is the Palazzo Pretorio, which was completed between 1217 and 1220. This also is an exceUent specimen of Gothic domestic architecture : it is curiously ornamented with ancient cressets, and the arms of the ancient praetors. The seat of judgment is in this cortUe, and over it are the foUow ing quaint verses : — " Hie locus odit, amat, punit,conservat,honorat, Nequitiam, leges, crimina, jura, probos." The Duomo has been buUt at various periods. Fire and earthquakes had greatly damaged the fabric, when in the 13th centy. it was enlarged accord ing to the designs of Niccolo Pisano, and incrusted on the outside and or namented within with white and black marbles. The curious portico was incrusted with marble in the same way in 1311. This porch contains some frescoes by Balducd and Giovanni Christiani, now damaged. Over the principal door is a beautiful bas-rehef in terra-cotta of the Virgin and ChUd, surrounded by angels and fruit and flowers, by Andrea, the nephew of Luca della Robbia. It was placed here in 1505, and was originaUy gUt. The whole of the interior was much modernised and ornamented in wretched taste in 1838 and 1839. Massy co lumns with corinthianised capitals, a crypt, and here and there a moulding or a doorway which has escaped, bear the stamp of the 11th centy., or perhaps of an earher age. The tribune, adorned with mosaics, was erected in 1599. The whole of the roof is of 1657. Paintings and sculptures are in great variety. Amongst many others, the foUowing maybe noticed: — Vasari, two ; the Paschal Feast, and Moses striking the Rock. — Bronzino, the Re surrection, one of his largest pictures ; grand, but left imperfect. He con tracted in 1601 to paint thia and two other pictures for the sum of 600 crowns, which was to cover aU expenses " excepting ultramarine ;" but he did- not work steadUy, and, having brought one picture to its present state, he left it as it now stands. In the Capella del Sacramento is a very ancient Ma donna in fresco, now covered with a glass. — Lorenzo di Credi, Virgin and ChUd with St. John and St. Zeno, a fine picture, much in the style of Leo nardo. — Tomb of Bishop Donati de' Medici (1475), with a fine bust in basso- rilievo, by Rosselino. At the foot is Tuscany. Route 41. — Pistoia — The Duomo. 417 the slab which covers his remains, with the ancient Medici arms in mosaic, in chief a tortreux, oharged with a cross gules. — Tomb of Cardinal Forteguerri, begun in 1462, by Verrochio, and com pleted by Lotti. — Font, by Andrea Fer- rucd da Fiesole, covered with sculp tures, whUst the architecture in which it is set is in the finest cinque-cento style. Near the door of the nave is the in teresting monument of Cino da Pistoia (died 1336), onee equaUy celebrated as a lawyer and as a poet. But his com mentaries on code and digest are for gotten ; and, as a poet, he is scarcely recollected as one of the great fathers of Italian verse ; yet, in his own time, few enjoyed so much celebrity. The monument by Cellino di Nese da Siena only recognises Cino in his legal capa city. On the sarcophagus, which forms the lower part of the monument, he is represented as sitting in his chair, read ing a lecture to six students, disposed at their desks or tables. At the end is a female figure, supposed to be Selvag- gia Vergiolesi, bis wife. At the middle table two of the students are very dif ferently employed : one is reading dili gently ; this is the learned Baldus : another is idle ; and that is Petrarch : both are said to have been Cino's pupUs. Above is an elegant Gothic canopy, supported by twisted pUlars, beneath wliich we have Cino again, lecturing : he is, hke his compeers at Pavia, repre sented as much larger than his pupUs. The female figure is again repeated, but in the garb of a Roman matron ; and instead of being Cino's wife, we suspect it is an aUegorical type of the Roman law. Petrarch's funeral sonnet upon Cino is curious. " Piangete, Donne, e con voi pianga Amore, Piangete Amanti per ciascun paese ; Poi che morto e colui, che tutto intese In farvi, mentre visse al mondo, honore. Io per me prego il mio acerbo dolore, Non sian da lui le lagrime contese, E mi sia di sospir tauto cortese Qunnto bisogna a disfogare il core. Piangan, le rime ancor, piaugano i versi, Perche'l nostro amoroso Messer Cino Novellamente s' e da noi partito. Pianga Pistoia, e i cittadin perversi, Che peril ut' hanno si dolce vicino, K rauWrissi '1 cielo. ov' ello fe irito." The ornaments of the high altar were stolen from the " Sagrestia de' belli arredi," by Vanni Fucci, whom Dante has made as it were the redpient of all his antipathy to Pistoia (see Inf., xxiv. 121-151) ; for wliich place also, as we have just seen, Petrarch had no very good wiU. In order to replace this loss, the Pistojesi put up the most sumptuous Altar of St. James, in 1786 removed from the choir to a side chapel,. which it nearly fills. Composed of sUver, chasing, nieUo, enamel, and sculp ture, its execution occupied artists from 1316 to 1466. Of this altar the centre was, after several years of labour, finished by the Pistojese, Andrea di Pucdo di Ognibene (that is, Andrea the son of Jacopo, contracted to Pucdo, the son of Ognibene) : it con tains prophets and apostles, richly enamelled and coloured, and fifteen Gospel and apocryphal histories : the ornaments are fine and florid Gothic. Another portion, the lateral compart ment on the rt,, is probably (for there are some doubts) by Maestro Pietro di San Lionardo of Florence, between 1355 and 1364. These are Old Testament histories. The bosses are enameUed with rich colours also, and in an elaborate style. The third portion, on the 1., ia by Lionardo de Ser Giovanni, a scholar of Orgagna, finished between 1366 and 1371 ; con taining the life of St. James, the last tablet representing the translation of his rehcs to ComposteUa. The shrine of St. Otto and the several statues are partly by Peter d'Arrigo, a German settled at Pistoia between 1387 and 1390 ; partly by Brunellesco, whose statues of the prophets are of great beauty; and the last figures, Angels and Saints with Tabernacles, are the production of Nofri di Buto, a Flo rentine, and Atto di Pietro Bracdni of Pistoia, who worked till 1398. These were the principal artists, but many others concurred in the work. They of course exhibit a great variety of style. In drawing, after those of Bru nellesco, Lionard£$ are the best ; some parts are chased, others chiselled out of the solid sUver. T 3 418 Route 4 1 . — Pistoia — Churches. Sect. VI. The sacristy has been robbed since the days of Vanni Fncci. It stUl, how ever, contains several curieus specimens of ancient goldsmiths' work. Here is de posited a fine ancient sepulchral urn of Roman workmanship, whieh for many Centuries held the bones of St. Felix. - The campanile was originaUy a dun geon tower ; and, as it should seem, was anciently connected with some of the old municipal buUdings. It was then caUed the Torre del Podesta ; and many of the armorial shields of the Podestas are yet remaining upon the waUs. Giovanni Pisano adapted it to its present purpose, adding three tiers of arches, filled up above the line of the capitals with black and white mo saic, and a lofty pyramidal spire. San Giovanni Rotondo (opposite to the cathedral), or the Baptistery, is not rotondo, but an octagon. It is sup posed to have been built by Andrea Pisano about 1337. The exterior is ItaUan-Gothic. It is of black and white marble in stripes. By antiqua rians this union of colours is supposed to be emblematical of the reconciliation of the parties of the BianoM and the Neri. Several sculptures, of the Pisan school are over the doorways. The square font within is much older than the present buUding. The ancient palace of the bishops is now used for other purposes, but its ancient outline, a simple Gothic, remains nearly unaltered. The shields of the prelates continue to adorn the exterior. Pistoia stUl retains the larger pro- portion of its ancient churches. They are generaUy of importance in the history of architecture as well as of sculpture. We shaU briefly notice them, recommending them to the at tention of the traveUer interested in such inquiries. Church of San Salvaiore ; rebuUt, as appears by an inscription in the facade, in 1270, by Maestro Buono and Jacopo Squarcione, or di Scordone, partly al tered. On either side of the principal doorway are effigies of St. Michael the Archangel and King David, as defenders of the church. According to a very old tradition, CatUine is buried here. Church of San Pietro Maggiore much altered. The front, whieh has suffered' least, is in the style of the Pisani. The curious architrave of the principal door, supposed to be by Ma estro Buono, represents the Virgin and the Apostles, white marble figures, cu riously let into compartments of dark marble. It contains a fine Ghirlandaio : a Virgin and Saints. San Desiderio contains a fine fresco, by Sebastiano Vini, representing the atrange subject of the 10,000 crucified martyrs ; and good oU paintings by The Annunziata, anciently belonging to the Servites, now much modernised, has a doubtful Fra' Paolino, and a good San Bartolomeo in Pantano, curious Romanesque. - Rodolphinus, the archi tect, has inscribed his name, and the date 1167, upon the facade. On the architrave of the principal doorway is sculptured our Lord giving his mission to the Apostles to convert mankind. The pulpitis by Guido da Como (1250), " and is very archaic in manner and very barbarous, though quaint and in teresting. It is supported by a figure with its hands on its knees, in a skull cap, and of ignoble features, like a black slave ; and by two beasts, one a Uoness suckling a cub, the other a hon standing over a winged dragon, who bites his Up — a frequent incident oc curring at Parma, Lucca, and in other Romanesque buUdings. AU the figures have the iris of the eye painted black." — R. Santa Maria delle Grazie, com pleted from the designs of Vitoni, in 1535, in the style of the Renaissance. Amongst the pamtmgs are, the Virgin, St. Catherine, and St. Jerome, by Fra' Paolino ; — and another Virgin and Saints, by Lorenzo de Credi. Vasari calls this one of the best pictures in Pistoia. Santa Maria deW Umilitd; a fine buUding, begun from the designs and under the direction of Ventura Vitoni, a pupU of Bramante, in 1509, in the best style of the Renaissance. It ia an octagon, of the Corinthian order. Vi- Tuscany. Route 41. — Pistoia — Churches. 419 toni planned a cupola, Whieh was exe cuted by Vasari, who took much credit to himself for this portion of the structure. But he departed from the designs of Vitoni, and added the objec tionable attic, and the vaulting was so unskUfuUy constructed that it became necessary to secure the cupola by iron chains. No one could give better ad vice than Vasari ; but " del delta al fatto, ha gran' tratto.'' The atrium of the church, which is finished accord ing to the original design, is pictu resque, with its rich pavement and frescoes. Amongst the paintings, the best was the Adoration of the Magi, by Vasari ,- but it has been much da maged by injudicious retouching. San Giovanni Fvangelista, caUed also, from its ancient situation, S. Giov. Fuor Cwitas, a Romanesque buUding, with circular arches tier above tier. Some suppose that the architect was Gruamons, or Gruamonte, 1166, who has inscribed his name in the architrave of the lateral door, upon which is sculptured the Last Supper, in bas- rehef. At the altar'end of the church pointed arches appear. The pulpit is of the end of the 13th centy. The sculptures are beautifuUy designed and carefuUy worked. It exhibits, besides a profusion of other decorations and imagery, ten Scripture histories, of which the finest is a Deposition from the Cross. The artist is not exactly ascertained : some attribute it to Gio vanni Pisano ; Vasari to a nameless German. The beautiful benitier is cer tainly by Giovanni. It is supported by three of the theological virtues, Tem perance, Prudence, and Justice, with •the same attributes as in the Campo Santo of Pisa. San Paolo. The front of this church was built about 1136, but has later additions, and is singular and striking. It is of black and white marble, and has lofty circular arches, with a beau tiful Gothic range above. The great portal is supposed to have been de signed by Giovanni Pisano, and shows a marked adoption of Roman orna ments. Above are statues, St. Paul and others, certified as the work of Giovanni di Pistoia in 1302. Below is a range of pointed arches, in each of which is a sarcophagus, charged with a cross between armorial shields, all of one pattern, a monumental decoration characteristic of ancient Tuscany. The painting over the high altar is by Fra' Paolind ; a Virgin and Saints, amongst which the artist has introduced (as it is supposed) a portrait of Savonarola. This piece, winch is quoted by Vasari, has suffered in parts, from unskilful repainting ; but the female figures are very graceful, and the. colouring free and transparent. San Domenico, formerly belonging to the Dominicans, completed in 1380. Not remarkable for architecture, but containing several valuable objects of art. — Tomb of Filippo Lazzari, a cele brated legist, who died in 1412, but whose monument was not raised tUl 1464. It is the work of Bernardo di Maiteo Florentine. The usual bas-re hefs, representing the master teaching his scholars, is in very low rehef; the recumbent statue has simpUcity and elegance. — Altare Rospigliod : a mi racle attributed to San Carlo Borromeo, by Fmpoli; good. — Altare Celled, painted by Cristoforo Allori ,- the sub ject is St. Dominic receiving the Rosary from the Virgin. In the background the painter has introduced his own portrait, in the act of receiving pay ment for the picture from the Sacristan. • — Altare Melani : the Adoration of the Magi, painted by Fra' Paolino in - 1539, rather flat in effect. — Altare Pa- pagalli : a Crucifixion, in which the Virgin and St. Thomas Aquinas, the latter a fine figure, are introduced, by Fra' Paolino. By him, also, in the choir, is a Virgin surrounded by Saints, carefuUy executed. — Ghirlandaio : St. Sebastian, a very fine painting, but unskUfuUy retouched. The extensive cloisters are weU painted by Sebastiano Veronese and others. Santa Maria degli Angeli. Here is a good specimen of Benedetto Luti (1666 - 1724), who so happily imi tated the style of Guido as to have enriched many a gaUery with the name of that great artist. 120 Route 41. — Pistoia— Churches— Palaces. Sect. VI. San Francesco, buUt in 1294. The arches are circular, though in other •respects the architecture (where it re mains unaltered) is Italian-Gothic ; a fine and spacious buUding. It contains many curious and some early paintingB of merit. — Altare Arrighi : the Purifi cation of the Virgin, by Poppi, which obtained high applause from Borghini, and i the best contemporary judges. Francesco Morandi (flourished after 1568), surnamed Poppi, was a scholar of Vasari, and far^ excelled his master. He h#6 rather whimsicaUy signed the picture, with the letters P. P. P., Poppi pinxit -Pistorii. It is damaged by cleaning. — Altare Sozzifant: the Re surrection of Lazarus, by Bronzino ; a capitaLhesign. The painter has intro duced ..'an expressive portrait of the friar hy.whom it was presented. In the ehapter.-'haU are some frescoes, at tributed to Pucdo di Pietro, of con siderable interest. Sant Andrea, an interesting church, thought -to have been the original ca thedral. -The architrave of -the prin cipal portal, of curious seulpture, re presents the Adoration of the Magi. It is the work of Gruamonte, and has brother Adeodato, as appears from the inscription, " Fecit hoc opus Grua- mons magister hon [us] et Adod frater ejus." It may be strongly suspected that the epithet given to the " good master" has transformed him into " Magister Bonus" in the pages of the historians of other churches. Some of the fine old work has been cut away. The pulpit is by Giovanni di Pisa (ex> eeuted 1298.-1301), a close copy, in the general plan, of the pulpit executed by his father at Pisa, The subjects here are, the Nativity, the Wise Men's Offering, the Slaughter of the Inno cents, the Crucifixion, and the Last Judgment. It is the opinion of Cicog nara that, though the pulpit of Pisa has more reputation, this has greater merit. The rehef is bold : the five compartments include 148 figures, and the whole is in good preservation. The 7 mystical columns and their strange Bupporters possess beauty. Amongst the remaining objects of curiosity the foUowing may be named : Ospedale del Ceppo, an ancient hospi tal, founded in 1218. The buUding has been modernised ; its chapel has been suppressed, and many of the works of art belonging to the establish ment ahenated or destroyed. Its pre sent pride is the frieze of coloured porcelain by Giovanni della Robbia, assisted by his brothers Luca and Girolamo, about 1525. It represents the seven works of mercy : clothing the naked ; — hospitahty to the stranger ; — tending the sick ; — visiting the pri soner ; — burying the dead ; — feeding the hungry ; — comforting the afflicted. Friars, in white garments and with black scapulariea, are represented as fulfilling aU these offices, If the tra veller comes straight from home this wiU be the first Robbia work which he ¦wUl see, for there are few specimens to be found out of Tuscany ; .and he will, -probably, feel some prejudice against the rich colouring as weU as against the material. The Palazzo Vescovile (near the Lucca gate), the present episcopal palace, was buUt in 1787, when the see was fiUed by the notorious Sdpione Ricd. It is a handsome buUding, in a good Italian style, and was designed by the Pistojese architect, Ciardi. Palazzo Pandatichi, now del Bali Cellesi (near S. Giov. EvangeUsta), of the 16th century; a memorial of one of the most powerful families of ancient Pistoia. Palazzo Cancellieri, another fine buUding of the same description. It was from the dissensions between the members of this fanhly that the fac tions of the Bianchi and the Neri arose in the year 1296, and extended hke a pestilence throughout Tuscany. The CanceUieri were Guelphs ; and for some httle time both the derivative factions caUed themselves of that party. But the Neri became ultra- Guelphs, whilst the Bianchi veered about into very moderate Guelphs, with a very GhibeUine tendency. Casa Piccimi contains a good col lection of pictures and many objects relating to the fine arts. Tuscany. Route 41. — Pistoia to Modena. 421 Biblioieca Fabbroniana, an exceUent coUection, founded by the Cardinal Fabbroni. The ecclesiastical manu scripts are very valuable. Pistols were first manufactured in Pistoia la ferrigna, where the iron manufactory, once so celebrated, is still carried on. But the Pistojesi no longer are distinguished for the fabri cation of the weapons whose appeUa- tion is derived from their city. Mus ket-barrels are, however, stiU manufac tured. Tolerable cutlery is made there. There is also a naU manufactory whose annual produce is 400,000 lbs. ; one of iron-wire giving 200,000 lbs. ; and one for agricultural instruments, manufac turing 80,000 lbs. per annum. There are also two celebrated organ manufac tories, and two of other musical instru ments. There is a carriage-road over the Apennines from Pistoia to Modena (Rte. 39), passing through S. Marcello, Pieve a Pelago, and PauUo. The dis tance is about 90 m. It appears from an inscription at S. MarceUo, that this road was made by the Grand Duke Leopold I., in 1784. It is weU laid out, and in exceUent repair on the Tuscan side of the summit ; but, on crossing the frontier to the Modena side, an immediate change is evident, and it becomes rough and out of repair. There are no post-stations on it, and the inns are very indifferent. From Pistoia to S. Marcello is caUed 18 m. This latter is a smaU town of 1143 Inhab., but is the chief place of a Comunitd, ; diligences run between here and Pistoia. From S. MarceUo to the summit of the pass is 13 m., and thence to Pieve a Pelago 8 m. The road crosses the Lima, the stream which runs by the baths of Lucca, at a small viUage caUed Ponte di Lima. The road afterwards ascends through fine scenery ; chestnuts, beech, firs, and a few larches are seen. The fron tier is marked by two pyramids, and a httle further stands the first Modenese custom-house. There are two ; and though the first has no power to pass a traveUer' s luggage clear of examina tion at the second, both estabUshments exhibit an equaUy intense appetite for bribeB. A milestone, close to the fron tier, is marked 59 m. to Modena. Before reaching Pieve a Pelago the smaU town of Fiumalbo is passed on the rt. It contains an indifferent inn. The Posta at Pieve a Pelago is a wretched place. At Barigazzo, 8 m, further, it is the same. At Panllo, caUed also Pavullo, which is 16 m. further, the Posta, which stands almost behind the church, is somewhat better. About 10 m. before reaching PauUo the road becomes very bad. PauUo is 30 m. from Modena. The descent to the plain is very long, but nowhere steep. Part of this road is carried along the ridge of a spur of the Apen- nine, with a deep glen close on each side. The view hence across the plain, with a foreground of wooded and culti vated hiUs, and studded with churches, castles, and towns, is very beautiful. At about 12£ m. from PauUo, on the rt. hand, at Montardondno, is an inn, a single house, said to be tolerable; and near Maranello, 18 m. from PauUo, on the 1., just before crossing a small bridge, is another, with three or four tolerable rooms. It has by some been considered pro bable that it was by this pass, then un known to the Romans, that Hannibal crossed the Apennines, when he out manoeuvred the Roman generals, posted at Luca, Arretium, and Rimini, and ad vanced into Etruria, previously to the battle at Thrasymene ; but it is more hkely that the Carthaginian general entered Etruria by PontremoU and the pass of the Cisa, by the road from that town and Parma. (See Rte. 37.) The Maria Antonia Railway now connects Pistoja with Florence. Trains start five times a day, performing the journey in an hour and five minutes, foUowing the direction of the post- road. The road, which runs at the foot of the undulating hills, is beautiful. Besides the raUway there is a good carriage - road to Florence through Monte Albido, Brozzi, San Donate, 422 Route 41. ±— Prato— Churches. Sect, VI. and Polverosa, which does not pass through Prato. San Piero Stat, . PRATO. Pop. Within the walk, in 1845, 10,070. (Inn: La Posta.) A bright and pleasant town, of which the principal ornament is the group of the Duomo, with its campanUe, and the buUdings surrounding the piazza in which they stand. The Duomo is partly of the 12th and partly of the I4th century. The facade was completed about 1450. Within and without the building is curiously inlaid in stripes of black and green serpentine, from the neighbour ing Monteferrato, alternating with whitish marble. From one corner of the fagade projects the celebrated pul pit, or gaUery, by DonateUo, and whence the relic preserved in the church, the sacra dntola, the girdle of the Virgin, was exposed to the venera tion of the multitude. In the seven compartments in bas-rehef he has sculptured a beautiful group of children, supporting festoons. He was paid 25 florins of gold for each compartment. Over the principal doorway is a fine specimen of Luca della Robbia, the Virgin between St. Stephen and St. Lawrence. Within, some of the windows of the choir are pointed ; these, with the columns and capitals of the E. end, were executed about 1320, when this part of the church was enlarged, by Giov. Pisano. The rest of the interior, including the columns of serpentine and the arches of the nave, belong to the original structure of the 12th century. There is a fine painted-glass window. The paintings by Fra' Filippo Lippi in the choir are the most valuable of his works. They have been carefuUy re stored by an artist of Prato, Ant. Marini. The compartments represent ing the DecoUation of St. John the Baptist, and Herodias dancing before Herod, are the best. Opposite are — the Benediction of St. Stephen and his Interment. In the latter are introduced two fine figures — a bishop reading the service, and another priest with a red beretta : one of these is said to be the painter, and another his disciple Fra' Diamante, Other compartments con tinue the history of St. Stephen. The merit of Lippi is energy, and his fault exaggeration, approaching to caricature. The crucifix of bronze, the size of life, on the high altar, is by Pietro Tacca. The Capella della Sacra Cintolat or del S. Cingolo, is separated from the nave by a screen of brass curiously, en graved and chiselled, which is from the design of FU. Brunellesco. This chapel is filled with frescoes, by Agnolo Gaddi (about 1395), representing passages in the life of the Virgin, The smaU statue of the Virgin, on the altar, is by Giov. Pisano. Over the door of the sacristy is the monument of Carlo dei Medici, natural son of Cosmo Pater Pa triae, dean of this church, by Vicenzio Danti, 1566 : the head of the Madonna, forming part of the accessories, is fine. Near the principal door is a fine picture of Ridolfo Ghirlandaio, the Virgin giving the Cintola to St. Thomas ; and in side chapels are, Carlo Dolce, the Guardian. Angel ; Mehus, St. Peter of Alcantara. The circular pulpit, by Mino da Fiesole, is in a beautiful cinque-cento style. The foliage and ornaments are flowing and elegant : the figures are less so. It rests upon a curious base of sphinxes and serpents. The Martyrdom of St. Stephen is the best compartment : one, the DecoUation of St. John the Baptist, is unfinished — left so, the cus- tode says, in consequence of the un timely death of the artist. The campanUe, in the Lombard style, is attributed to Giov. Pisano. Chiesa della Madonna delle Careeri, begun in 1492, from the designs of Giuliano di San' Gallo. It is upon the plan of a Greek cross, with a beautiful centre cupola. The high altar, by his brother Antonio di San Gallo, is weft planned and decorated. The ancient Palazzo Pretoria, now del Popolo, has been converted into a prison, its Gothic windows stopped up, and the building degraded.. This buUd ing was originaUy the Palazzo of the great Guelph family of Guazzagtiotri, and, even in its present state, ia interest ing and characteristic. Tuscany. Route 42. — Lucca to Pisa, Empoli, and Florence. 423 The Collegio Cicognmi has a fine Italian front. It is an ecclesiastical seminary. ' The ancient walls of Prato are fine : the Castello dell' Imperatore was built by the GhibeUines for the purpose of defending the cause of Frederick II. - Campi, a flourishing borgo on the river Bisenzio, in a rich but unhealthy alluvial soU. It has a fine old machi colated castle. The Casa del Comune is curiously carved with the armorial bearings of the magistrates. The church of S. Crespi, of the 12th century, has been disfigured by whitewash and altera tions, so that its original features can hardly be discerned. Sesto Stat. ¦ Castello Stat., near the Villa of la Petraja. Rifredi Stat. Flobenoe. There are two carriage- roads from Prato to Florence, the most interesting through Sesto, Quinto, Quarto, to Ponte a Rifredi, passing under the hills, and near the beautiful Grand Ducal vUla of la Petraja, so celebrated for its flower-gardens. ROUTE 42. LUCCA TO PISA, EMPOU, AND FLORENCE. (85 posts = about 62 m.) The railroad between Lucca and Pisa is open. Immediately upon leaving Lucca you enter upon a most fertUe and lovely country, abounding with ohves of noble growth. , , Pass by Montuolo, a village on the rt. bank of the torrent dell' Ozzeri with rather an interesting ancient church. Further on is a ruined castle upon a fine olive-covered hUl ; below is the vil lage of Ripafratta, and the river Ser chio, the pass between the castellated rock and the river being picturesquely closed by a fine ancient tower. The prospect here is pleasantly varied ; vUlas in the plains, sparkling and bright; hamlets scattered amongst the rocks and woods on the 1. The road then opens upon the Val' d'Arno, command ing a fine view, the hUls retiring in beautiful forms, terminated by the cas teUated point of Monte Diero. The castlg is beautifuUy overgrown with vegetation ; and the hUl upon which it stands is the moat western Bpur of the Monte Pisano, which Dante, hi Ugo- lino's dream, describes as interposed between Pisa and Lucca. " Questi pareva a me maestro e donno Cacciando '1 lupo e i lupicini al monte Per che i Pisan veder Lucca non ponno." Inf., xxxiii. 27-30. Bagni di San Giuliano, or di Pisa; the ancient Aquse Calidse Pisanorum. The bath-buildings are good and the situa tion is very agreeable ; but the Bagni di Lucca have all the company. There are two establishments weU fitted up, standing near each other on a piazza ornamented with two fountains. One is caUed the Bagno Orientale, the other the Bagno Occidentale. The source called the Pozzeto, which is in the for mer, is the hottest of the springs ; its temperature is 106° Fahrenheit. That in the bath caUed degli Ebrd is the coldest ; its temperature is 86° Fahren heit. There are several other sources of temperatures between these : the most abundant is the Maestra. The water is exceedingly limpid, and whUe warm without smell. According to an analysis by Santi, 100 pounds (Tuscan measure), from the spring Maestra, con tain the foUowing ingredients : — Carbonic acid . . . 187 cub. in. Carbonate of lime . . 281 grains. „ of magnesia . 87 „ Hydrochlorate of soda . 265 „ „ of magnesia . 199 „ Sulphate of soda . . 203 „ „ of lime . . 969 „ „ of magnesia . 325 „ Alumina . . . . 46 „ SUex . . . ¦ 12 „ 2387 grains. There are 12 private baths, named after the heathen gods ; and one for the poor. Many Roman remains have been found here. Pisa Stat. Population, in 1845, 28,530. Inns: Le tre DonzeUe, now caUed 424 Route 42. — Pisa — The Duomo. Sect. VI. H&tel Peverada, on the N. or sunny side of the Lung'arno, near the middle bridge, kept by Peverada. It was en larged and improved previously to its being opened by him in Sept. 1844, ¦by the addition of the Palazzo Beltrami. Families who prefer private apartmentB unconnected with the hotel may be accommodated in the Casa Lenzi, which is immediately contiguous to the Ponte del Mezzo, and also belongs to Sig. Pe verada. Sig. P., who speaks English weU, is agent to Messrs. Coutts and Co., and carries on his banking business both here and at the Baths of Lucca ; and is also a Commission Agent for ex pediting works of art or other property to England and the United States of "America. The Vittoria, on the Lung'arn o, adjoining the Tre DonzeUe, is kept by Pasquale Piegaja, who formerly kept the Croce di Malta, at Genoa, and has hved in English families. It is an ex ceUent and well-managed hotel, great attention and civility are shown, and the charges are reasonable. The Gran Bretagna, kept by Avogaddi — at the W. end of the Lung'arno, and near the Enghsh church, in a quiet situation, with a fine view towardB the N. — ia exceUent and moderate. There ia a table d'hfite in the hotel. La Colomba, moderate. M. D. Vanniniisa good Itahan master, speaking Enghsh, French, and German. Dr. Cook and Dr. NankiveU, Enghsh physicians, and Dr. Gason, an eminent Irish surgeon, practise at Pisa. The railroad between Pisa and Leg horn has been open since 14th March, 1844. The journey occupies 25 min. Its length is 12 m. 740 yards. The raUroad is also now open the whole way to Florence (La Leopolda) . Trains start five times a-day from Piaa : at 4, 6'55, andil-10, a.m.; and at 4 and 6-10 p.m.; performing the journey in 2\ hours. From Leghorn the trains start $ an hour earlier. Fares from Leghorn to Florence — 1st class, Is. ; 2nd class, is. Gd. ; 3rd class, 3*. There are also 2 additional trains daUy; making 7 in aU between Pisa and Leghorn. Pisa formerly stood at the junction of the Serchio and Arno; but owing to the alteration and increase of their delta by the deposits brought down, they now flow into the sea by separate channels. At the mouth of the Arno stood the celebrated Portus Pisanus. Pisa was once an important naval station, and very flourishing commercial town. The climate of Pisa is remarkably mUd during the winter. With respect to healthiness there is a considerable dif ference of opinion. The quantity of rain which annuaUy faUs here much ex ceeds the average of Florence on the one side, or of Leghorn on the other. The water of the Arno is not considered as salubrious, and that of the weUs and springs near the town is hardly drink-t . able ; and the frequent epidemic diseases anciently prevaUing in Pisa in the mid dle ages, and its then general unhealthi- ness, have been, and with much proba bility, ascribed to the bad quahty of the water. The inconvenience haB been, however, entirely remedied by the care and munificence of Ferdinand I. and Cosmo II. A watercourse has been formed from the Valle d' Asdano ; at first by channels passing under-ground, and afterwards along an aqueduct of more than 1000 arches, extending up wards of 4 m. in length. Near the city, which it enters on the S.W. side, the arches are about 40 ft. in height. There are 8 reservoirs for rendering the water clear, by depositing the particles sus pended in it. This great work was begun in 1601, and completed in 1613, and cost 160,000 scudi. The cathedral at Pisa, with its bap: tistery, campanUe, and the Campo Santo, or cemetery, are a group of buUd ings of more curiosity than any four edifices in the world. It has, top, been well observed that they are " for tunate in their sohtude, and then- society." They group weU together, and are seen to advantage. " They are more curious from being bo strongly marked with the distinguishing features of the Byzantine and Romanesque styles. The ItaUan architecture in the Byzantine or Romanesque style pre served a very different sort of character from that of the same date in Germany and other parts of Europe. Thus, Tuscany.. Route 42. — 'Pisa — The Duomo. 425 taking the cathedrals of Pisa and Worms, whose respective periods of construction are very close together — the former is separated into its nave and aisles' by columns with Corinthian capitals, reminding one very much of the early Christian basihea ; in the lat ter, the separation of the nave from the aisles is by square piers." — Gwilt. The cathedral of Pisa owes its origin to the foUowing events : — Commercial enterprise and naval achievements had made the Pisans affluent. At length, in 1063, having engaged to assist the Normans in freeing SicUy from the Saracens, the Pisans attacked Palermo with their fleet, broke the chain which protected the harbour, and returned home with six of the enemy's largest vessels, laden with rich merchandize. Triumphant, enriched, and devout, they resolved to transmit to posterity a me morial of their Buccess in the shape of a new cathedral, which should at once do honour to God and their country. In the beginning of the year 1064 the first Stone of the cathedral was laid, and the finished buUding was consecrated by Pope Gelasius II. , in 1118. The name of the architect, as is testified by his epitaph, still extant on the front of the building itself, was Busketus. Whether he was a Greek or an Italian has been warmly contested. It consists of a nave with two aisles on each side of it, transepts, and choir. Its bases, capi tals, cornices, and other parts were frag ments of antiquity coUected from dif ferent places, and here with great skUl brought together by Buschetto. The plan of the church is a Latin cross ; its length from the interior face of the wall to the back of the recess is 311 ft., the width of the nave and four aisles 106 ft. 6 in., the length of the transepts 237 ft. 4 in., and its width, with its side aisles, 58 ft. The centre nave is 41 ft. wide, and has 24 Corinthian columns, 12 on each side, all of marble, 24 ft. 10 in. high, and full 2 ft. 3 in. in diameter, and each shaft is a single block. The height of the columns, capital and base included, is 30 ft. 10 in. From the capitals of these columns arches spring, and over them is another order of co lumns, smaUer and more numerous from the circumstance of one being inserted over the centre of an intercolumniation below, and from their accompanying two openings under arches nearly equal to the width of such intercolumniations. These form an upper gaUery or trifo rium, anciently appropriated to the use of females. An architrave, carried along the whole flank of the nave, between the arches and the gaUery, reproduces the long horizontal fine of the ancients, and completes the classic character of the buUding. The four aisles have also iso lated columns of the Corinthian order, but smaUer. The transepts have each a nave and two side aisles, with isolated columns, the same size as those of the other. The soffit of the great nave and of the tranaepts was made in its present form after the fire : it is of wood, flat, with compartments and rosettes, carved and gUt ; but the smaUer ones are groined. The height of the great nave is 91 ft., that of the transepts about 84 ft., and that of the aisles 35 ft. In the centre nave are four piers, on which rest four large arches, supporting an elliptical cupola. The pointed arches under the cupola were introduped after a fire which destroyed the original cupola, and damaged the whole church. The fire took place on the 15th October, . 1596, as usual from the carelessness of plumbers who were repairing the roof. The church is Ughted by windows above the second order of the interior. The windows, excepting those of the clerestory, are fiUed with stained glass of bright and rich colours. Some por tions are copied from the subjects in the Campo Santo. The vaulting of the eastern apse is fiUed with mosaics on a gold ground. In the centre is a gi gantic figure of our Lord. The Virgin and St. John are on either side. These mosaics were completed in 1320. The exterior of the edifice is surrounded by steps, which add greatly to its effect. The extreme width of the western front, measured above the plinth moulding, is 116 ft., and the height from the pavement to the apex of the roof, is 112 ft. 3 in. The facade has five stories, the first whereof consists of seven 426 Route 42. — Pisa — The Duomo. Sect. VI. arches, supported by six Corinthian columns and two pUasters, the middle arch being larger than the others ; the second has 21 arches, supported by 20 columns and two pUasters ; the third is singular, from the facade contracting where the two aisles finish, and forming two lateral inclined planes, whence in the middle are columns with arches on them as below. The columns which are in the two inclined plane graduaUy diminish in height ; the fifth story is the same, and forms a triangular pe diment, the columns and arches as they approach the angles becoming more diminutive. The two exterior sides have two orders of pUasters, one over the other. The roof of the nave is supported, externaUy, by a waU de corated with columnB, and arches rest ing on then- capitals. The whole of the buUding is covered with lead. The drum of the cupola is externaUy orna mented with 88 columns connected by arches, over which are pediments in marble, forming a species of crowns. "The principal point of difference in these cathedrals from the old basilicas, in imitation whereof they were doubt less built, is in the addition of the transepts, by which a cruciform plan was given to these edifices. The style of the cathedral of Pisa is much Ughter than most of the buUdings of the period; but whatever the taste and style, the architect of it was a very skilful mechanic."— Guilt. The buUding has, however, suffered a good deal from settlement. Not a single Une of it is upright ; the facade overhangs its base visibly ; the lower row of arches had subsided at the W. end 3 feet before the upper one was superimposed ; the former have been built level again by a dead wall, which receives the upper story. It is curious also that, in the seven arches Composing the basement story of the front, although the 1st and 7th, the 2nd and 6th, and the 3rd and 5th are in tended to correspond, none of the pairs do actually correspond, there being a variation of about 2 inches in each pair. " The Duomo of Pisa is one of the most remarkable monuments of the middle ages ; exhibiting a degree of architectural excellence wliich had not •been approached for centuries, and which, if it evenuaUy assisted to pro duce a general improvement in the ecclesiastical architecture of Italy, re mained for long, not only unrivaUed, but alone in its superiorty. The fact is, that for that superiority it was much more indebted to the genius of the in dividual by whom it was erected than to any general ameUoration which took place at the time. The whole effect of the interior is magnificent ; but when we recoUect how different was the style of the contemporary buUdings of Italy, our respect for Busketus wUl be pro- portionably increased. It must have been in conformity with the taste of the age that he introduced the alternate layers of white and red marble, of which the waUs are composed." — G. Knight, The original bronze doors of tl^ Duomo were destroyed by the great fire ; the present bronze doors, mo delled in 1602 from the designs given by Giovanni di Bologna, were executed by the best workmen of the age, Mocchi, Francavilla, Tacca, Mora, Giovanni deV Opera, Sudni, and Pagani, The centre doors contain eight compart ments, the history of the Virgin from her birth to her glorification ; the rt. and 1. doors six each, the history of our Lord ; and each compartment, besides the historical representation, has a de vice or emblem allusive to the history. In the transept caUed the Crociera di San Ranieri is the only bronze door which escaped the fire. It contains 20 compartments from the Gospel his tories, in rude rehef. The falling of the roof of the nave during the fire damaged or destroyed many of the ancient works of art which it contained. Amongst these was the pulpit, the masterpiece of Giovanni di Pisa. Some portions were saved, and these form a part of the present pulpit : columns of porphyry and brocateUo standing upon hons, imitated from the antique, and such as are seen on sar cophagi, and the four statues of the Evangehsts. Near the door are the remains of a fresco attributed to Ber- Tuscany. Route 43..— Pisa— -The Duomo. 427 nardo Falconi. They are curious as showing how the buUding was adorned before the fire. The designs of the 12 altars in the nave and transepts are attributed to Michael Angelo ; the execution to Stagi of Pietra Santa. The first point is dubious, the second is certain. They unite great simphcity in the general design to the greatest variety in the details. If Michael An gelo gave the architectural elevations (for it is not at aU probable that he would have been asked to do more), aU the filling up is by Stagi, whose fancy and delicacy of taste are, in this style of art, very great. Other works of Stagi are in different parts of the cathedral : the Altar of Sam Biagio, in a beautifih cinque-cento style. The statue of the saint is by Tribolo, who began working here, but who ran off, being dissatisfied with his pay. The altar of Saints Gamaliel, Nieo demus, and Abibon, whose rehcs were presented by the " pio Goffredo" to the Pisans, in grateful acknowledgment of theh services, is also by Stagi. Most delicate and tasteful are the arabesques and foliage, intermixed with masks, monstei-B, as neat a8 if they were mo delled in wax, and yet with the utmost Grecian purity. In the chapel of the Annunziata are also remains of the work of Stagi. The altar-piece is by Francesco Mosca. It represents Adam and Eve : the Ser pent, according to the rabbinical tra dition so universaUy adopted by the Tuscan artists, has the head of a female. The altar is covered with chased work of sUver, given by Cosmo IV. This is covered, but wiU be shown on apphca tion to the sacristan. The sUver figures -.which support the shrine are of great elegance, and seem to be rising from the altar. The sUver of the altar, &c., is said to have cost 36,000 crowns. The altar waa twice repurchased by an archbishop from the French, first for 18,000 ' crowns, and afterwards for 12,000 crowns. The choir and apsis are the parts which suffered least from the fire, and have a vast variety of ornament accu mulated by time. The interior of the cupola is Splendidly painted by Riminaldi, the best artist of the more recent Pisan school. He died of the plague in 1630, at an early age. By Mecharino of Sienna, otherwise called Beecafume, whose works are rare out - of his native eity, is a series whose s subjects include the Finding of Moses, St. Matthew, St. Mark, and several others. Ghirlandaio's frescoes have been much restored. The intonaco feU off in great pieces, and this, and some of the other damage sustained by the Pisan frescoes, is attributed to the bad quality of the lime. The groups of angels are good in design. — Four figures by Andrea del Sarto, SS. John, Peter, Catherine, and Margaret, are in his best style. The enclosure or parapet of the choir is, in part, formed of four ancient and two modem bassi-rilievi : the firsfare by Frate Guglielmo Agneli, the pupU of Nieolo di Pisa. The High Altar, a ponderous but gorgeous pile of rich and elaborate marbles and lapis lazuli, was erected in 1774. But the foundations having sunk considerably on one side, the front was rebuUt in 1825. This settlement of the high altar, standing so cloBe to the cam panUe, seems to show the nature of the soU. Above are the figures of our Lord with Angels, by Giovanni di Bologna. Behind the high altar is a picture by Razzi of Abraham and Isaac, which is said to have been taken away by Napoleon. On the rt. is a column of porphyry, with a fanciful capital, by Stagi — flowers, foliage, angels, pierced and undercut with freedom and neat ness. Opposite to it is another cor responding, by Foggini, who possessed great mechanical skill. It is said that two fluted columns near the high altar came from a temple or palace buUt by Hadrian, and that the cathedral was erected on its site. The woodwork of the stalls of the choir, with their rich intardatura, is amongst the best speci mens of this branch of art. Resides these paintings there are many others of great merit. — And. del Sarto, St. Agnes ; very beautiful. The Adoration of the Virgin, dark and dis coloured, but fine. The Virgin, St. 428 Route 42. — Pisa — Duomo — Campanile. Sect. VI. Thomas, St. John, and St. Francis. Andrea died wlhlst he was employed upon this piece, which was finished by bis disciple Sogliani. — Cristoforo Al- lori, the Virgin in Glory, surrounded by female saints and holy women : one is a repetition, or nearly so, of his cele brated Judith in the Pitti palace, a picture of fine effect.— Venturi Salim- beni, the Celestial Hierarchy. — Pierino del Vaga, a Madonna and Saints, begun by him, but he did not keep to the work ; and, having frequently absented himself, it was given to Sogliani, by whom it was finished. When Pierino returned he was so incensed, that he entirely threw up his engagement, and left unfinished the other paintings which he had begun. — Lomi, six large paintings in the style of AUori. — Pas dgnano, a fine, though injured, picture of the Triumph of the Martyrs. — dig- naroli (1706-1772), two large pictures of legendary histories. — Vanni (1565- 1610), Angels with the Holy Sacrament of the Altar, Doctors of the Church below. There are very many other pictures, and some of quite modem date. A painting caUed the Madonna dell' Organo, the object of Roman Ca tholic devotion, is kept under lock and key, and cannot be seen without special permission. It is a Greek painting, and was venerated at Pisa before the year 1224, and may possibly be as old as the first foundation of the present building. The Duomo was once very rich in monuments ; but some were destroyed by the fire, others have been removed to the Campo Santo. Of the more ancient, there remains that of Arch bishop Rinuccini (died 1582), by Tacca. The figure of our Lord, of bronze, is weU designed, and, Uke aU Tacca's works, an exceUent casting. — Amongst the modern works, the tomb of Cardinal Francesco d' Elci, erected in 1742, and the work of Vacca of Carrara, is re spectable. — The white marble vases for holy water are elegant. Upon one is an exquisite group of a Virgin and ChUd, after the designs of Michael Angelo, and executed under his in spection by one of his pupUs. The bronze lamp suspended in the nave, and of fine workmanship, is said by some to be by Tacca; by others, by Vicenzo Possanti. According to the weU-known story, this lamp sug gested to Gahleo the theory of the apphcation of the pendulum. The extraordinary Campanile, or beU-tower, more usuaUy caUed the " Leaning Tower," was begun in Aug. 1174. The architects were Bonannus of Pisa, and William of Innsbruck. It is celebrated from the circum stance of its overhanging upwards of 13 ft., a peculiarity observable in the Garisenda tower at Bologna and many other Italian towers, but in none to so great an extent as in this. There can be no doubt whatever that the defect has arisen from bad foundation, and that the failure exhibited itself before the tower had been carried up one-half of its height ; because, on one side at a certain height, the columns are higher than on the other ; thus showing; an endeavour on the part of the buUders to bring back the upper part of the tower to as vertical a direction as was practicable, and recover the situation of the centre of gravity. The waUs too are strengthened with iron bars. In cousequence, the materials adhere firmly together ; and, as the courses of stone cannot sUde one on another, the tower does not faU, because the centre of gravity stUl remains within its base. The tower is cylindrical, 50 ft. in dia meter and 178 ft. high. It consists of eight stories of columns, in each of which they bear semicircular arches, forming open gaUeries round the story. The eighth was added by Tomaso Pe saro about 1350. There are some shght ornaments in the basement, in which the arches are soUd ; mosaics, and a few sculptures, amongst others a copy of the pseudo- Egyptian bas-rehef in the jamb of the window of the Duomo, and which, it is supposed, was adopted as a type of the Porto Pisano. An inscription also has been added, commemorating the recent congress of the Savans. The ascent of the campanUe is by 330 steps, and is very easy, and the Tuscany. Route 42. — Pisa — The Battisterio. 429 summit is secured by double rails, of which the uppermost is about the height of the shoulder. On the sum mit are seven beUs, 60 arranged that the heavier metal is on the side where its weight counteracts the slope of the buUding. These beUs, of which the largest weighs upwards of 12,000 lbs., are remarkably sonorous and harmo nious. The best toned is the fourth, culled the Pasquareecia ; it was this bell which was tohed when criminals were taken to execution. It was cast in 1262, and has many ornaments, a figure of the Virgin, and the devices of Pisa. The beU-founders of this city enjoyed great reputation. The pro spect from the summit of the cam panUe is interesting. The city and the surrounding plain are seen in their fuU extent. The Mediterranean, Leg horn, with the hills of Monte Nero near it, studded with its white viUas, and the island of Gorgona in the far horizon, and, in fine weather, even the island of Capraia. In other directions, the fine hUls of the Lucca frontier, the baths of San Giuhano, and the Certosa, further N., and the rugged chain of Alpi Apuani. In clear weather it is said that Corsica may be discerned. The Battisterio. Dioti Salvi, whose birthplace even is unknown, com menced, in 1152, the baptistery of Pisa, but did not complete it. It remained unfinished for a number of years, from a deficiency of funds. At length the citizens of Pisa levied a rate for the purpose. On the waU of the inner gaUery on the S. side, near the floor, there is this inscription, cut deep in the wall, in the character of the middle ages — " A.D. 1278, ^IDIFI- CATA FUIT DE NOVO ;" and this is considered as indicating that the work was resumed in 1278. There is reason to believe, from the date of a monument of an operarius, or buUder, within the fabric, that it was not com pleted before the 14th century ; aU which sufficiently accounts for the finials and ornaments in the pointed Btyle, which appear in the upper parts of this buUding. It is 100 ft. in dia meter within the waUs, wliich are 8 ft. 6 in. thick. The covering is a double brick dome, the inner one conical, the outer hemispherical. The former is a frustum of a pyramid of 12 sides. Its upper extremity forms a horizontal polygon, finished with a smaU parabo^ he cupola, showing 12 smaU marble ribs on the exterior. The outer vault terminates above, at the base of the small cupola, which stands Uke a lan tern over the aperture. From the pavement the height of the cupola is 102 ft. The entrance is by a decorated doorway, from the sUl of wliich the general pavement is sunk three steps round the buUding, the space between the Bteps and the wall having been provided for the accommodation of the persons assembled to view the cere mony of baptism. An aisle or cor ridor is continued round its interior circumference, being formed by 8 gra nite columns and 4 piers, from which are turned semicircular arches, which support an upper gaUery ; and above the arches are 12 piers, bearing the semicircular arches which support the pyramidal dome. On the exterior are two orderB of Corinthian columns, the lower one being engaged in the waU, wliich support semicircular arches. In the upper order the columns are more numerous, inasmuch as each arch below bears two columns above it. Over every two arches of the upper order is a sharp pediment, separated by a pinnacle from the adjoining ones, and above the pediments a horizontal cornice encircles the buUding. Above the second story a division in the com partments occurs, which embraces three of the lower arches ; the separation being effected by piers triangular on the plan, crowned by pinnacles. Be tween these piers semicircular headed smaU windows are introduced, over each of which is a smaU circular win dow, and thereover sharp pediments. Above these the convex surface of the dome springs up, and is divided by 12 ribs, truncated below the vertex, and ornamented with crockets. Between these ribs are a species of dormer win dows, one between every two ribs, ornamented with columns, and sur- 430 Route 42. — Pisa — The Battisterio. Sect. VI. mounted each by three small pointed pediments. The total height is about 179 ft. The cupola is covered with lead and tUes ; the rest of the edifice is marble; but marble of an inferior sort to the original Carrara was being used in the repairs which were being executed on the outside in 1845. The principal sculptures of the exterior are on the eastern doorway. They repre sent the martyrdom of St. John the Baptist, together with three larger statues. The columns are aU elabo rately worked. The 30 Gothic pedi ments above each contain imagery. Within, the pavement before the altar is mosaic. Other parts of the pave ment are filled with foot-worn monu mental marble figures, carved in bas- rehef, with arms and inscriptions. They are principally of the 14th and 15th centuries. In the centre of the buUd ing is the font, formerly used for bap tism by immersion, about 14 ft. in dia meter. At the alternate angles are 4 smaU basins, whose use has not been ascertained. The lower mouldings are of brocateUo ; the vessel itself of mar ble. The ornaments are rosettes carved in the stone, and fiUed in with coloured stones. The bottom of the font is ornamented in the same manner. The altar and the enclosure around are aU decorated in the same style of inlaying. From the centre of the font rises a pillar, supporting a figure of St. John, attributed to Baccio Bandinelli, but not worthy of his name. The great ornament, however, of this buUding is the pulpit, or pergamo, i. e. reading-desk, by Nicolo Pisano. This work, erected in 1206, was so much prized, that it was placed under the special guardianship of the law; and during the holy week the Podesta was sworn to send one of his officers, with a proper guard, to preserve it from injury. It is a hexagon, resting upon 9 pillars, a mystical number ; 7 for the pulpit — 1 at each angle, and 1 in the centre; and 2 supporting the staircase. There are two marble desks; one for the Gospel, another lower down for reading the Epistle. The first, pro jecting from the side of the pulpit, is itself in the shape of a book, and sup ported by an eagle ; the second, rising from the staircase, rests upon a bracket column of brocateUo. The shafts of these columns are of various materials: five are of granite, each of a different sort ; one is brocateUo ; one aspro di Siciha; and the two supporting the staircase Parian marble. The columns stand upon male figures seated, or rather crouching, and upon a griffin, a hon, and a tiger or leopard, alternately. These are plainly imitated from similar supporters in Lombard buildings. The arches are circular, but in each is a Gothic trefoU; figures are placed in the spandrils of the arches, and the mouldings are, with shght variations, taken from Roman architecture. The bas-rehefs are the foUowing: — 1. The Nativity. 2. The Adoration of the Magi. 3. The Presentation in the Temple. 4. The Cmcifixion. 5. The Last Judgment; a very extraordinary production. Vasari says that it is exe cuted " con pazienza e dUigenza in- finita." Underneath are the lines recording the date and the name of the artist. The sixth side is formed by the stah-case. Campo Santo. This celebrated ce metery, which has given its name to every similar place of interment throughout Italy, was founded by the Archbishop Ubaldo (1188-1200). The prelate, retreating from Palestine, whence he was expeUed by Saladin, found some compensation for his de feat, by returning with his 53 vessels laden with earth from Mount Calvary. This earth was said to reduce to dust within 24 hours dead bodies buried in it. He deposited it in ground which he purchased; but the present struc ture enclosing it was not begun until 1278, by Maestro Giovanni di Pisa. The tracery of the arches is Gothic, and much speculation was occasioned by the supposition that it was coeval with the arcade; but it is in fact of the later hah of the 15th century, having been completed in 1463; and it was originaUy intended to have in troduced stained glass. Over one of the two entrance doors is a tabernacle Tuscany. Route 42. — Pisa — Campo Santo. 431 in marble, with 6 statues by Giov. di Pisa. The dimensions of the buUding are — length, 415 ft. 6 in. ; width, 137 ft. 10 in. ; from the pavement to the roof of the cloister, 46 ft. ; width of cloister, 34 ft. 6 in. The collection of sepulchral monu ments is interesting. The greater number, however, do not belong to the place, having been brought from the Duomo and other churches in the Pisan territory. The Pisans began coUecting at an early period, not merely for curiosity, but for use; interring their departed friends in the heathen sepulchres. The Campo Santo was already a museum in the days of Queen Christina of Sweden. It owes its pre sent rich coUection to the exertions of the late Cavaliere Ladnio, who was justly appointed to the office of con- Servatore of the edifice, which, during the revolutionary era, he rescued from destruction. Of the sarcophagi appropriated by the Pisans, the finest in point of work manship, as weU as the most interest ing as a monument of history, is that which contains the body of the Coun tess Beatrice. It stands near the middle of the N. cloister, and is marked out by this inscription on it:-— " Qvamvis peccatrix sum Domma vocata Beatrix In tumulo missa jaceo qure Comitissa." A.D. MLXXVI. The archaeologists are much at vari ance as to the subject which it repre sents ; whether it be Adonis taking leave of Venus, the chace of the Caly- donian boar, or Phffidra and Hippo- lytus. There is no reason for suppoa- ing it to be more ancient than the age of Hadrian. Several Roman sarcophagi are nearly of one pattern, the front covered with a curved or vermiculated fluting ; the flutings closing upon a tablet in the centre, with bold figures at the angles. They have generaUy, with more or less alteration, been adopted as mediaeval sepulchres : sometimes armorial bear ings are inserted in the ancient wreaths or tablets, or inscriptions in Gothic capitals running along the mouldings or amidst the imagery. Such, for in stance, are the following : — Aldobrando del Bondo claims a very fine sarcopha gus, on which is Bculptured Hercules and Omphale. That borrowed by the noble family of the Porcari displays exceedingly beautiful foUage only, and therefore was probably an ancient Christian tomb of the earhest period. Cupid and Psyche twice repeated, river gods, and Ganymede, cover the marble which contained the bones of Gallo OgneUi, who, being a magistrate of the republic, also fiUed the office of Operario of Santa Maria. Diana and Endymion are sculptured on the sarco phagus which once contained the bodies of Gherardo del Canfera, Paula his wife, and Francesco his son; whUst Beato della Pace rested in a tomb orna mented by a Victory or Fame, of ex quisite design. Sometimes the more prominent sculptures have been recut or altered in the middle ages : one example, amongst many, may be seen in a tomb bearing the inscription, " Biduinus fecit." There are some curious specimens of the work of the early Roman Christians : thus the favourite type of the Good Shephered is found upon them, as in the frescoes of the Roman catacombs. The statue erected by the Pisans as a token of the gratitude due to the Emperor Frederick I., and originaUy placed over a doorway in the Duomo, surrounded by a group of his four coun- cUlors, as they are caUed, may yet be seen here in a tolerable state of pre servation. The drapery, particularly that of the Emperor, is skilfuUy exe cuted, and the detaUs of the costume highly curious. Another imperial monu ment, the tomb of the Emperor Henry VII., or of Luxembourgh (died 1312) , contrasts singularly, from its elaborate ness, with the simplicity of the Suabian Emperor. Henry was the great pro tector of the Pisans, and equaUy the enemy of Florence. The Italians main tain that he died a natural death ; the Germans, that a Dominican friar poisoned him with a sacramental wafer at Buonconvento. A statue of Hercules, with a lioness 432 Route 42. — Pisa — Campo Santo. Sect. VI. at his feet and a cub in his hand, ib supposed by some learned antiquaries to have been brought by the ancient Pisans from the ruins of Carthage. It is square, and somewhat "goffo," and exhibits rather a pecuhar style. Other authorities ascribe this ancient statue to a Pisan artist of the 16th centy. Two inscriptions inserted in the waUs, containing decrees of the colony of Pisa in memory of Lucius and Caius, the sons of Augustus, are held to be valuable, as illustrating the municipal history of the Roman Empire. A Roman bas-reUef of the Lower Empire was supposed by popular tra dition to represent the delivery of Migharino, a vUlage near Pisa, from a serpent which infested the woods around. The people consulted Nino Orlandi, the Bculptor ; and he, by means of an hon cage or trap, con structed with wonderful art, captured the beast, and brought him into the city. The cage is, in fact, the usual Roman plaustrum, drawn by oxen ; but the load is, though entirely unlike a serpent, yet a strange nondescript, and the compartment in the centre is surrounded by four semisaurian mon sters. Numerous relica of the 14th centy. are of value. The noble sepulchre of Count Bonifazio deUa Gherardesca, and his famUy, is amongst the most promi nent removed from the now suppressed church of San Francesco ; but it has lost many of the statues which adorned it in its original locality. Some valuable fragments from the Duomo and its adjoining appendages are here ; e. g. a triplet, apparently re presenting theological virtues, part of the ancient pulpit, by Nicolo Pisano. The outline of the bodies and limbs are seen beneath an ample drapery, with graceful effect. Four bas-reliefs from the spandrils of the arches of the same pulpit represent prophets. A beauti ful fragment by Giovanni Pisano, apparently of a pulpit, representing the Seven Sciences, small female figures in alto-rihevo. There is Grammar, with a child on each knee sucking her breasts, and Philosophy, crowned as the Queen of the Sciences. A small Btatue of St. Peter, described by Vasari as then standing upon one of the Beni- tiers in the baptistery, is good. The high altar of the cathedral by Rimu- aldo Pisano, removed to make way for the present one, with arabesques. Several capitals, dislodged during the repairs of the Duomo and the Cam panUe, enable the observer to examine the execution in these Nord, in the handsome Pa lazzo Bartobhi, and in the Piazza Santa Trinita, is a smaU clean hotel, with a good table-d'h6te at 5 pauls. It is (May, 1846) kept by a Frenchman, who was cook to Jerome Bonaparte. — H6tel de York, good; frequented by the better class of Itahan families and French : a very good bachelor's hotel, and improved of late years. — Porta Rossa, an economical house, much re sorted to by French and German com mercial traveUers ; breakfast, with meat and fruit, 2£ pauls ; dinner, including wine, 5 pauls. — Hdtel de New York, on the Lung'arno, next to the Corsini Palace, with table-d'h6te, well spoken of. — The PeUicano, now I'Europa, in the Piazza Santa Trinita. Restaurateurs. — The AquUa d'Oro, Borgo Santi Apostoli, is good and moderate. The Luna, in the Via Con- dotta, near the Piazza Gran' Duca, is good. Cafes. — The cafe Doney, in the Piazza Sta. Trinita, is the most fre quented in Florence. Doney is the Gunter of Florence as regards ices, confectionery, &c, and his house is much resorted to for breakfast, as this meal may be obtained here for less than half the price charged at the hotels. There is a separate smoking- room, namely, the one on the side nearest the Arno. The Cafe deUa Miherva and Cafe Elvetico are also good ; but smoking is aUowed. The two latter are also restaurants. Lodgings. — Private lodgings abound in Florence: a comfortable bachelor's apartment, well situated, may be had at from 13 to 18 doUars per month, including service ; and famUies wUl easUy find apartments to suit aU sizes and means. As a place for hving, Florence is perhaps the cheapest in Italy. Miss Clark's boarding-house, Lung'arno, in the house once occupied by Schneiderf s hotel, can be recom mended. It was estabhshed by the mother of the present proprietor, and has maintained a good character for more than a quarter of a century. The charges are very moderate, 12 pauls (5s. 3d.) per day, including everything; the society is respectable, and it is an excellent establishment for ladies, or families unacquainted with Florence and its language. News Room and Circulating Library. — Vieusseux's, in the Palazzo Buon- dehnonti, Piazza S. Trinita, is excel lent, but the subscription, about 10*. a month, is high. The collection of jour nals and newspapers of every country is very extensive and weU chosen. Near the Palazzo del Podesta is an office caUed " Denunzie dei Forestieri," where may be seen a foho in which the names of aU strangers, recently arrived, are alphabetically arranged, with their addresses, and the place whence they eame, and, if they are gone, their destination. Volumes which have been fiUed up, and therefore contain less recent arrivals, may also be inspected. Wine Merchants. — Mr. James Tough, a very respectable man, hi the Piazza, Gran' Duca, is extremely obhging, and wiU obtain lodgings and attend to aU the wants of his customers, giving ad vice, &c. : he is at the same time banker and wine-merchant ; and, in the latter respect, better supplied with fo reign wines than any other in Florence. Mr. Brown, in the Via RondineUi, keeps a large grocery and wine ware house. Grocers. — Samuel Lowe, in the Piazza Sta. Trinita, and Townley in the Piazza degli Antinori and Lung'arno, are weU supplied in wines, tea, sugar, and aU English articles. Printsellers. — Luigi Bardi, Piazza San Gaetano, is the principal, and one of the most extensive in Italy. Ed ward Grodbaw, an Engliahman, and formerly an assistant at Bardi's, an obliging man, has opened a shop for prints, drawings, stationery, &c., oppo site the Cafe Doney. Bankers. — Messrs. Fenzi and HaU, Piazza Grand Duca ; Maquay, Packen- ham, and Smith, Piazza Santa Trinita, who have branches of theh' bank at the 456 Route 44. — Florence — Miscellaneous Information. Sect. VI. Baths of Lucca, Pisa, Siena, and Rome ; and Erench and Plowden, Piazza Santa Trinita. Mr. Brown, 4203 in the Via RondineUi, professes to take biUs on England without commission, by which a saving of 1 per cent, is effected. He has adopted the useful plan of posting the rate of exchange daUy at the door of his bank. Agent. — Mr. Saml. Lowe, Piazza Trinita, agent to Messrs. M'Cracken, and banker to many Enghsh families. Diligences. — To Bologna three times a-week, in 16 hrs., and thence to MUan, Mantua, and Venice ; a dihgence runs in the summer season to Bologna by Pistoja and the baths of la Poretta. A maUeposte three times a-week to Mantua. MaUeposte and dUigence to Rome three times a-week, by Siena and Viterbo, in 36 hrs. To Arezzo three times a-week. To Forli, by way of Dicomano, three times a-week, in 19 hrs. ; a very agreeable road, and convenient for those who wish to visit the Romagna, Ravenna, &c. MaUe poste daUy to Genoa by raUway as far as Lucea. RaUways are now open from Flo rence to Leghorn, Pisa, and Lucca ; to Siena by Empoli and Certaldo ; to Pistoja by Prato. The fares are gene rally speaking moderate : the station of the Pisa and Leghorn raUroad (the Leo- polda) is in the Cascine, near the Porta del Prato ; that of the Pistoja and Prato line (the Maria Antonia) within the waUs, behind the Church of Santa Maria NoveUa. Vetturini to Rome may be always met with. The journey by way of Arezzo, Perugia, and Terni, occupies five days in summei' and six in whiter, sleeping each night at a good inn ; by way of Siena, one day less ; the fare for a single person, including -hving and expenses, from 12 to 15 doUars, 21. 14s. to SI. 7s. Gd. Families having then- own carriage may hire four horses for the journey by either road, which, in cluding toUs, barriers, exclusive of hving, or buona mano, which is about 20 fr. for the whole journey, wUl cost 16 to 18 napoleons, 320 to 360 fr. The distances from Florence to the principal places in Italy, in English mUes, measured along the nearest high roads, are as follow : — To Genoa, 182 — Turin, 293 — MUan, 244 — Verona, 174 — Mantua, 142— Venice, 186— Modena, 82 — Bologna, 72 — Ravenna, 115— Pistoja, 21— Pisa, 53i— Leg horn, 58 — Siena, 41 — Arezzo, 48 — Rome, 190— Naples, 365. Carriages. — A carriage furnished by an hotel-keeper costs 25 pauls per day ; but residents may obtain from a car riage-hirer a good open or close car riage at 50 doUars a-month, including the coachman. Gamggee, in the Piazza San Gaetano, and Huband, on the Lung'arno, can be recommended as livery-stable keepers and horse-hirers. Gaetano Bartolotti, Borgo St. Apostoli, 1177, is a fair-dealing horse and car riage hirer. Hackney coaches in abundance ply hi Florence. There is no tariff, but 3 pauls a course is the usual fare. Private carriages to go out in the evening may be hired for 5 pauls, ex cept to the palace, for which, without reason, they charge dearer. Passports. — TraveUers wishing to remain beyond a week at Florence must obtain a Carta di Soggiorno at the Pohee Office, which remains in force for only two months, and for which a fee is exacted, the amount varying 'according to the number of the family. Peraons going to Rome must have their passports vised by the British and Tuscan Minister for Foreign Af fairs, and, if proceeding by land, by the Papal Nuncio ; if by way of Leg horn, by the Papal Consul at that port. TraveUers going to Marseilles by sea wUl save themselves delay and expense at. Leghorn by obtaining at Florence the visa of the French Mi nister. Clothes, Shoes, cfc, may be had in Florence cheaper than in Paris : there is a good Enghsh taUor, Haskard, very moderate in his charges. The best boots cost 30 pauls, 14s. ; men's shoes 12 to 15 pauls, 6s. to 8*. Coe- chi, hi the Via dei Balestrieri, No. 823, is a good bootmaker ; and Fani, in the Via Porta Rossa, is a good gentlemen Tuscany. Route 44. — Florence — Miscellaneous Information. 457 and ladies' shoemaker, and moderate in his charges. Ladies' Shoemaker. — Fiacchi, Via Maggiore, 1871. Modistes. — Mad. Besancon, over the Caf£ Doney ; Mad. Giraud, Via Ron- dineUi, 4203 ; Mad. Lamarre, Via RondineUi. AU three are fashionable and good, but by no means cheap. Dressmakers. — Mad. Eeton, 4255, Piazza. S. Maria NoveUa; Mad. Du- plan, aUa Porticinola, A3896 ; Regina, good and reasonable, Piazza deUa St. Annunziata. Linendraper, Src. — Charles Molk- necht, Via RondineUi, an exceUent Bhop, with reasonable prices, for Eng Ush flannel, linen, calico, &c. The proprietor speaks Enghsh. Leghorn Straw Bonnets. — In this article there are several dealers : a very good round hat for a man, uncut, should not cost more than from 12s. to 14*. for an article which would not be procured for less than from 40s. to 60s. in London. Ladies' hats from 4 to 60 doUars ; but very handsome ones may be had for 14 doUars, or 3 guineas. GeneraUy speaking, the Florence shop keepers, with few exceptions, ask about twice as much from a stranger as they wiU take : aU you have to do is to beat them down with good humour and civihty. Phyddans. — There are four exceL lent English physicians resident at Florence, — Dr. Harding, who is the Locock of Florence ; Sir Charles Her bert ; and Dr. WUson, MD, late Phy- Bician to one of the London Hospitals, possessing considerable experience both of Enghsh and Continental practice. Dr. Trottman, Via della Scala, 4280. Of native physicians, Prof. Zanetti is the most in vogue ; and Prof. An- dreini and Rignoh are among the most celebrated Itahan surgeons of the pre sent day. Apothecaries. — Forini, Piazza del Granduca ; Magrelli, Mercato Nuovo ; Cioni, Piazza del Duomo. Medicines are compounded according to the Enghsh Pharmacopoeia at the Farma- cia Ferrari in the Piazza Sta. Trinita, where the charges are very moderate, N. Italy— 1852. and where every Enghsh patent me dicine may be obtained. H. Roberts, an English chemist and druggist, keeps the Farmacia del Sole, opposite the Corsi Palace, 419Q in the Via Tor- nabuoni. Teresa Massoni, 4252, Piazza S. Maria Novella, 4° piano, is a respect able and quiet nurse to attend upon sick persons. She has been accustomed to attend upon EngUsh ladies ; her daughter, Vittoria Massoni, is an ex ceUent needlewoman, both for em broidery and plain work, and goes out by the day : her charges are very mo derate. Mrs. Petri, an Englishwoman, Via Romana, 2307, is an exceUent monthly and siek nurse. Baths. — There is an establishment in the Borgo Santi Apostoli, on the site of the old Roman Baths, near the Piazza Sta. Trinita. A hot bath costs 3 pauls : baths are sent to any part of the town at 5 pauls each and a smaU gratuity to the porter. A new bath establishment has been set up in the Via Maggio, equaUy good ; prices, li paul, and 1 paul by subscription. Fancy shops. — Prinoth's, in the Mer cato Nuovo, is weU supphed with everything French, and Enghsh. BookseUers. — M.. Molini, in the Via degli Archibusieri, who is a partner hi the London house of the same name, is one of the most extensive and best- informed bookseUers hi Florence ; att French and English works may be ob tained at his shop, Guide Books, &c. Mr. Molini, formerly Ubrarian to the Grand Duke, speaks Enghsh well, and traveUers will find him and his son most obhging in giving information about masters and books, &c. Piatti has an exceUent coUection both of old and new books, but principally the former. Near the Duomo are several good and cheap bookseUers. Mudcseller. — Ricordi, Piazza del Duomo ; Ducci, Piazza San Gaetano, also lets pianos on hire. Sculptors. — Bartolini, Pampaloni, whose studio contained, in August, 1845, a Magdalen and a Venus, both of considerable merit, and Costoli, the latter a very rising artist; his statue 458 Route 44. — Florence — Miscellaneous Information. Sect. VI. of Gahleo particularly good. Powers, Via della Fornace, 2538, an Ameriean artiat, whose fine statue of the Greek Slave was exhibited in London in 1851. Bazzanti is recommended for sepulchral monuments, having put up most of those in the English cemetery, and Bent many to England : he also keeps the largest and best warehouse in Florence for alabaster figures. Painters. — ¦ Bezzuoh, Buonarotti, Mussini, Piatti, Pietro MUani (portrait painter), Via Maggio. G. Tibaldi di Bologna, Borgo Ognissanti, is a good eopyist of paintings in oU and water colour, and is also a teacher. Wood-carving and Picture-frames. — Tuscany haa been long celebrated for this branch of art, of which we have seen some magnificent specimens at our Great Exhibition, by Barbetti, of Florence, and Giusti, of Sienna. Bar betti, of whose work several fine speci mens are in England, Uves near the Chapel and Ponte delle Grazie ; he is celebrated for his picture-frames : Ligozzi, Borgo Ognissanti; Pacette, Via dei Palagi; Ahani, Via Maggio, are good workmen. Engraver. — Jesi, who, executed th© fine prints of the Madonna di Casa Tempi, and of the portrait of Leo X Italian Masters. — Don Antonio Bosclii, Casino dei Nobili, Piazza S. Trinitk, 1° piano, is weU recommended ; P. Aretini, Lung'arno, No. 1198 ; di TivoU, at Molini's library;. Sig. Gue- rini, of Rome, 460, Borgo, degli Albozzi, — his wife, an English lady, goes out as a daUy governess. An Enghsh lady, Mad. Dupre, has established a school for young ladies, which is weU recom mended. The terms are hOl. per annum for aU branches of general female edu cation. The English Chaplain attends and gives religious instruction. Post-office. — Letters leave Florence daUy for England, France, Rome, Naples, and Genoa ; but letters posted on Friday do not reach London sooner than those posted on Saturday. Letters arrive from England every (lay except Tuesday. Letters leave for the Levant and India on the 2nd, 12th, and 22nd of every month ; but their arrival in India depends upon the days of for warding the India maUs from London. Persons in Italy having correspondents in India should be particular in pro viding them with the address of a house at Malta to receive and forward their letters to Italy. Otherwise, ac cording to the present very inconve nient regulations of the London Post- office, the letters go on to England, and are not forwarded from thence tiU the parties are written to by the London Post-office and desired to cause the postage to be paid in London. This causes a delay of some weeks, and a heavy additional postage. Letters for England may or may not be prepaid ; the postage is 17 grazie in the former ease. A letter from Florence to London now takes 7 days. The post-office on feast-days is only open for an hour before church-time. Divine service is performed every Sunday at 11 in the morning and 3-30 in the afternoon, in a new church situated nel MagUo, at the back of S. Marco. It was buUt by subscription, and opened in Nov. 1844. Persons wishing to engage seats for any period should apply at the church every Saturday from 1 tiU 3 o'clock. The charge for a family of 6 persons for 6 months is 140 pauls. The price of admission to a single service is 2 pauls. Xhis charge is made at the doors, or tickets may be obtained at the principal Enghsh shops. A Swiss church is opened next to the Casa Schneiderf, on the Lung'arno, where the service is performed in French in the morning, and in Enghsh in the afternoon, in the Presbyterian form. Florence. Pop. in 1845, 106,899. " Firenze la bella" has been cele brated by many in aU ages for the beauty of its situation. If the traveUer ascend to the high ground of the Bo- boh Garden, or to the church of S. Miniato, or to BeUosguardo, or to Fiesole, he wUl admire the picturesque forms of the buUdings of the city, the bright villas scattered about the rich and wooded plain and on the slopes of the hUls, and the fine forms of the mountains which enclose the prospect. Tuscany. Route 44. —Florence — General Aspect. 459 The environs of Florence have been described by Ariosto in the weU-known lines — *' A veder pien di tante ville i colli, Par che il terren ve le germogli come Vermene germogliar suole e rampolli. Se dentro un mur, sotto un medesmo nome Fosser raccolti i tuoi palazzi sparsi, Non ti sarien da pareggiar due Rome." Ariosto, cap. xvi. delle Rime. Within, the streets are, with few ex ceptions, narrow. The older buUdings are grand from their massive character : the basement story being often of great solidity, sometimes of the most massive rustic work. The finest palaces are crowned by a deep cornice in a bold style of ornament, whose size is pro portioned to the total height of the buUding. This massive rustic base is a characteristic of the Tuscan style. This is the term usually employed by Vasari. This pecuhar character pre vaUed tUl the 17th century, when the buildingslo st aportion of their national character, and became more like those of the rest of Italy. A profusion of iron-work adds to their prison-like appearance, which is increased by the comparative scarcity of windows and the smaUness of the apertures. Very- many of the facades of the churches are unfinished. Florence lies so com pact that the visitor may visit and revisit every feature of importance dur ing every day of his stay. Modern Florence forms an irregular pentagon, unequally divided by the Arno, now shaUow and sluggish, now swelling and rushing down from the mountains with irresistible fury ; three quartieri are on the N. of the Arno, and one on the S. side of the river. The ancient city was wholly on the N., and an attentive observer may yet find indications of the successive en largements which it has sustained. The Primo Cerchio, or nucleus, was confined within narrow hmits, forming nearly a rectangle, of which the front age towards the Arno extended from the Ponte S. Trinita to half way be tween the Ponte Vecchio and the Ponte alle Grazie, a distance of about 400 yards, and extending from N. to S. about 600 more, the ancient church of the Apostoli being just without the walls, and the Duomo or cathedral being ju6t within. This was probably the precinct of the original Roman colony, The first distinct historical notice of Florence is found in Tacitus (Ann. I. 79), in relation to the em bassy sent by the Florentines to Rome, A.D. 10, for the purpose of presenting their petition against the proposed diversion of the Chiana into the Arno, a scheme devised for diminishing the then frequent inundations of the Tiber, but by which the danger which theh district sustained from inundation would have been increased. Remains of Roman buUdingB have been dis covered, but rude and poor, and indi cating the insignificance of the city. A few notices of the existence of Flo rence after the invasions of the Bar barians can be traced, but the history of the city is exceedingly obscure. Modern criticism equaUy rejects the legends of its foundation by the Roman senate upon the site of the camp of King Fiorino after the destruction of Fiesole, and the tales of its deaolation under Attila, and ita restoration by Charlemagne. It appears, however, to have continued increasing in popula tion under the government of the cele brated Countess MatUda. The inhabitants of the Primo Cerchio were the descendants of the ancient Etruscan or Roman colonists, subju gated but left undisturbed by the Teu tonic victors. Many powerful and noble families, however, of the adjoin ing country, as it is thought of Lom bard hneage, had been from time to time settling themselves round about the city, in the different borghi, the smaU villages and townships which grew up around it. These were aggregated to the community, when the distinc tion of origin began to be obscured, and in 1078 it was decreed that the whole population should be included within the walls of the Secondo Cerchio, of which the Arno frontage extends from the Ponte della Carraja to the Ponte alle Grazie, about double the length of the first enclosure, x2 460 Route 44. — Florence — Ancient Towers. Sect. VI. In the Primo Cerchio the narrowness and complexity of the streets, or rather of the aUeys, mark the crowding of the ancient population round the fane of their tutelary saint, St. John, the pro tector of Florence. Both the first and the second Cerchio were thickly stud-= ded with the towers of the nobles, varying from 120 to 150 bracda in height, at once the token of aristocracy and the means of abusing aristocratic power. Hence, in the great revolution in 1250, whieh established democracy, it was ordained that aU these towers should be reduced to the height of 50 bracda, an injunction which was rigidly executed ; and these truncated dun geons were afterwards either demo lished or incorporated in other buUd ings. At Oneglia the traveUer may see some of these towers in their ori ginal state, others, more altered, at Pavia and Bologna, At Florence only one of them subsists ; it is the Torre de' Girolami, more commonly caUed Torre di San' Zanobio, situated at the angle of a street near the Mercato Nuovo ; and where, according to the popular beUefjthis Bishop of Florence, who flourished in the 4th century, was born. Antiquaries have supposed it to be Etruscan, but it is evidently not older than the 11th century. It has been altered and Gothicised. The Terza Cerchio, the circuit formed by the existing walls, and which in cludes the Oltr' Arno, was begun in 1285, and not completed, at least on the 1. bank of the Arno, before 1388. Arnolfo gave the plans and designs. In the usual spirit of magnificence which distinguished the republic, it was decreed in 1324 that, at the dis tance of every 200 ' bracda, there should be a tower 40 bracda in height, as weU for beauty as for defence ; and some were much loftier. Giovanni VUlani, the historian, was director of the works, and he has desoribed them with delight and pride, The aspect of this portion of the city differs much from that of the first and second ciroleB. It wants their early historical monu ments, but here are the great Convents of Friars, whose orders did not arise or become of importance untU after the buUding of the second circuit, and which here obtained the extensive sites which many stiU enjoy. The streets here are wide, straight, and weU- planned ; many of them existed as Borghi before they were taken into the town. Of these the Via Larga is the principal. The citizens took a larger measure than they were able to fill. In the main city there is yet much void ground, and in the Oltr' Arno fully onerhalf is occupied by the Grand Ducal Garden of Boboh, and that of the noble House of Torrigiani. The waUs which mark this last en largement of the city, and the length of whose circuit is 5 m. 7 furl, and 61 yds., English measure, continue entire and unbroken throughout the whole extent, excepting where the more modern citadels of the Belvedere and the Fortezza da Basso have been in serted; but the towera which orna mented their circuit have generaUy been demolished, or lowered to the level of the curtain. " These towers," says the historian Varchi, who had seen them in his younger days, " en circled the city like a garland." They were demolished in 1527, when the Florentines were menaced by the Im perial army under the constable Bour bon. This was the era when the mo dern system of fortification began ; and outworks being cast up by the cele brated engineer Antonio di San Gallo, it was thought that the ancient towers rather diminished the defensibleness of the city. The most perfect are on the southei n side of the Oltr' Arno. The walls are utterly unavaUable for any purpose of defence in modern war fare. Theh utility consists in furnish ing stations for the examination of passports, and in affording the means of eoUecting various small city tolls, of which the only one that can concern a foreigner is the pedaggio, paid for opening the gates after the hour (8 o'clock) when they are shut for the evening. AU the ancient gates are nearly uni form in design ; a tower, pierced by a circular arch. Porta San Gallo, Porta Tuscany. Route 44. — Florence— Ancient Gates — Bridges. 461 San Miniato, Porta San Niccolo, Porta S. Frediano, and Porta Romana, are perhaps the most perfect, yet aU have Buffered mutUation by the cutting down of the towers which surmounted them. Several of the gates are decorated with "Marzocchi," or figures of hons, con sidered as emblematical, but which are now in general too weatherworn to be very intelligible. The Porta San Giorgio, decorated with a bas-reUef of the legendary saint from whom it de; rives its name, varies in design from the others, and is not destitute of pic turesque beauty. Opposite to the Porto San Gallo is » triumphal arch, erected 1737, in commemoration of the entry of Francis II. The architecture is from the designs of Giado. It is an imitation of the arch of Constantine, covered with ponderous bas-rehefs, by artists of Uttle note. Two Medicean fortresses break the line of the ancient waUs, and are mo numents of the destruction of the hberties of the repubhc. Pope Clement VII. directed the building of the For- tezza da Basso, on the N. side, for the express purpose of keeping the City in the obedience of his nephews, the base- born Alexander and Hippohtus. The first atone waa laid on the 15th July, 1537, at 25 min. paat thirteen o'clock, according to the horoscope cast by Friar Julian Buonamici, and it was completed in less than a year. The Medici were strongly advised to erect this fortress by Filippo Strozzi, who here expired, caught in the toils which he had woven. (See Palazzo Strozzi.) There is nothing remarkable in the in terior of the fortreea, excepting some ancient camion, and the circumstance of its having been amongst the first examples of regular polygonal fortifi cation. The fortress of Belvedere, on the S. side of the city, corresponds with the Fortezza da Basso on the N. It stands upon the Poggio, or hUl of San Giorgio, adjoining the gate of that name. This fortress commands a noble view of the city, which it could batter down and destroy. It was buUt in 1590, by order of Ferdinand I,, Buontalenti being the architect. In the centre is a small but not inelegant Palazzo: Beneath are the vaults intended to contain the Grand Duke's treasures. The iron door is said to have been closed by a subtle lock, which, by its discharge of pistols would kUl any one attempting to open it, unless he possessed the secret of turning the key. A contrivance of the same nature was exhibited many years ago in London. The portion of the river within the city is crossed by four bridges, aU of wliich at various times have suffered more or lees ruin from the river's fury. The Arno, generally bo placid and low, is fed by mountain torrents : and occa- sionaUy sweUs in the course of a few hours to a most extraordinary height, inundating the adjacent parts of the city, and bearing down all obstacles before it. The Ponte alle Grazie, or di Ruba- conte, the furthermost to the E., was first buUt by Lapo, the father of Ar>- nolfo; under the direction of Messer RubaBOnte, a MUaflese, who fiUed the office of Podesta in 1235. He himself laid the first stone, and cast in the first bushel of lime. It is to this Messer Rubaconte, who was a great improver, that Florence owes its pre sent flagstone pavement, brick having been the material previously employed. This bridge has undergone frequent repairs. It was exceedingly damaged by the great piena, or flood, of 1557. The budding offers nothing remark able ; but being the furthermost bridge to the E., it commands lovely views of the country. There are smah dwelling- houses, built in pairs, upon the pierg of this bridge, in one of which Menzini the poet was born (1646). The Ponte Vecchio, said to be buUt on Etruscan piers, but probably not earher than 1080, was entirely carried away by a flood in 1177, and again in 1333. After the second destruction, it was rebuilt by Taddeo Gaddi. Like the Rialto, it is a street of shops, ap propriated, with few exceptions, to jeweUera, goldsmiths, and other workers in metal ; and, according to tradition, here Maso Finiguerra practised his 462 Route 44.— Florence — Bridge of the Holy Trinity. Sect. VI. art.. The butchers, and other trades, had intruded themselves, and it was only under Cosmo I. that they were expeUed. Above, runs a gaUery leading from the Palazzo Pitti to the Grand- ducal Museum and Palazzo Vecchio. Ponte di Sta. Trinita,. — Before the erection of the present structure the bridges which occupied this site had been frequently swept away and in jured by the floods of the Arno. That immediately preceding the present bridge had been buflt in 1274, on the ruins of that erected in 1252. In 1347 this underwent very extensive repairs, but an extraordinary flood on the 13th of Sept. 1557, entirely de stroyed it, overthrowing at the same time two of the arches of the Ponte Carraja. Bartolomeo Ammanati, who was then architect to the Grand Duke Cosmo I., was appointed to rebuUd the bridge. It was begun on the 1st of March, 1566, and finished in the spring of 1569. The design has al ways been considered a very bold one for the age. The centre arch was de signed to have a span of 50 braccia = 95 ft. 9 inch., each of the side arches 45 braccia = 86 ft. 2 inch., and the arches are remarkable for the flatness of the curve. In order to give the freest possible passage to the water in time of flood, without increasing the ascent of the roadway, the rise of the arch is only ^th of the span. But to counter act the effect of such extreme flatness .the arches are slightly pointed. Each arch is composed of two quarters of an oval: and each such quarter, or half each arch, is described from three centres. These curves meet at a very obtuse angle at the crown of the arch ; the point, or cusp, being concealed by the marble shields placed over the centre of each arch. The angle is easUy seen when passing under the bridge in a boat. The bridge has the defect which was general before the days of Perronet, that of the piers being disproportionately large. The bridge was considered insecure, inso much so that at the beginning of the last centy. no carriages were aUowed to cross it; but this restriction has been removed without danger to the fabric. At the angles are four statues, representing the four seasons. The best is " Winter," by Taddeo Landini.; but they are more valuable for their general effect than for their individual merit. This bridge is a favourite even ing walk. The real nature of the curve of the arches of this bridge has been always a subject of hvely controversy among writers on art and science, from the time of Vasari to the present. But the question has, apparently, been set at rest by an elaborate essay by Sig. Pietro Ferroni, originaUy pubhshed in the 14th vol. of the Transactions of the Italian Society of Sciences at Modena, and repubhshed in a separate form at Verona in 1808, with this title, ' Delia Vera Curva degh Archi del Ponte di Sta. Trinita in Firenze.' As this work is scarce, and written with more than usual Italian prolixity, some travel lers may not be diapleased to have the results there stated more fuUy given. There is a shght accidental irregu larity in the span of the side arches. The chord of the centre arch is 95 ft. 6| in., the vers. sin. 14 ft. lOf in. The arch on the Santo Spirito side has a chord of 87 ft. ; that on the other side of 85 ft. The vers. sin. of the side arches is 13 ft. 7£ in. Each half of the centre arch is made up of 3 circular arcs of the foUowing propor tions : — The curve springing from the impost of the pier is an arc of 60° of a circle whose radius is 5 ft. 11£ in., or i of half the chord. The curve of the part of the arch next above this is an arc of 16° 6' 7" 37'" of a circle whose radius is 47 ft. 6 in., or half the chord ; and the remainder of the half-arch up to the crown is an arc of 10° 53' 2" of a circle whose radius is 172 ft. 71 in. The angle formed by the two half-ovals, or ra ther theh tangents, at the point of their meeting, is 174° 4' 12" 46'-", whose supplement 5° 55' 47" 14"' wUl therefore represent the extent to which the arch is pointed or varies from a continuous curve. For the method of constructing the curve by deter- Tuscany. Route 44. — Florence — Bridges. 463 mining the positions of the centres of the circles, of course Ferroni's work must be referred to, p. 27. The smaUer arches are in every respect simUar to the centre arch, the propor tions being regulated by their smaUer span. The total thickness of the bridge at the crown, from the soffit to the roadway, is 4 ft. 2\ in. The depth of the voussoirs being through out 2 ft. 9T'j in. The flatness of the curve may be seen from this, that, while the chord is 95 ft. 3 in., the length of the curve measured along the soffit is only 110 ft. 6 in. The clear width of the bridge between the parapets is 32 ft. 6 in., and of the roadway 21 ft. 3 in. ; the width of the piers is 21 ft. 2 in. Two lines of pUes driven into the bed of the river extend across it just above the piers ; a conti nuous line of blocks of atone being laid horizontaUy on each side of the heads of the pUes, to prevent the scouring away of the bed of the river. The length of the bridge in 323 ft. The height of the lower edge of the keystone of the centre arch above the bed of the river ia 28 J ft. Ponte alia Carraja. Thia, the most westerly of the bridges, was second in point of antiquity, having been first erected in 1218, when it was called the Ponte Nuovo, in contradistinction to the Ponte Vecchio. Lapo was the architect, and he buUt it of wood, but it lasted only a- short time, having been swept away by a flood in 1269. It was next constructed of timber upon stone piers. The usage of old time at Florence was to welcome May day by Bhows and pageants, prepared by the citizens of the several quarters and districts, each vying with each, both for invention and splendour. Now in 1304, the merry companies, "brigata de' Solazzi," of the Borgo San' Priano, gave notice that who ever wished to hear news of the other world should come to the Ponte alia Carraja upon May-day morning. The show itself was exhibited upon the river, upon which were moored va rious rafts and barges, containing (as it should seem, upon a scaffold) a re presentation of the infernal regions. They were peopled by mummers, some disguised as demons, others figuring as condemned souls, aU rushing to and fro midst flames and torments, and uttering the most terrific yells and cries. This strange spectacle drew enormous crowds, greater than the bridge could bear. The timbers gave way beneath the weight, and numbers of the spectators were either drowned or suffocated, or dreadfully maimed and injured; and thus, says VUlani, did the joke prove earnest ; for so many were sent to the other world, that there was hardly a famUy in Flo rence which had not lost a relative by the calamity. In 1304 it was first built throughout with stone, and, hav ing been entirely destroyed by a flood in 1333, it was rebuUt in its present form. Fra Giovanni da Campi is said to have been the architect. Two arches of this bridge were carried away in 1557 ; when it was restored to the state in which it stiU remains, by Am- manati. Beyond the Ponte alle Grazie on the one side of the eity, and the Ponte alia Carraja on the other, were two new suspension-bridges, the Ponte San Fer- dinando and the Ponte San Leopoldo, completed in 1837 by a French engi neer. But that above the, Ponte aUe Grazie was carried away by the great flood of November, 1844, which rose above the level of the roadway, broke it away from the suspending rods, and carried it down against the piers of the Ponte aUe Grazie, which for some time was in great danger, owing to the waters being thus dammed up. The remaining bridge, which is at the be ginning of the Cascine, like almost aU the suspension bridges on the Conti nent, is constructed with wire ropes or cables, and is under certain restrictions as to the amount and speed of traffic passing over it, together with a severe penalty for trotting horses over, with or without carriages. Santa Maria del Fiore, anciently Santa Reparata, the Duomo or Ca thedral. — The Florentines had, at an early period, according to VUlani, de- 464 Route 44. — Florence— The Cathedral. Sect. VI. termined to erect in their city a monu ment which should surpass all that had yet appeared ; and in 1298 Arnolfo di Lapo, according to Vasari, but, accord ing to Mohni, Arnolfo di Cambio da CoUe, to whom they had by a decree passed in 1294 confided the execution, had so prepared his plans that its foundations were in that year laid on the day of the feast of the Nativity, and the name of Santa Maria del Fiore was then given to it. Arnolfo's design, which was afterwards modified by the change introduced 4)y BruneUeschi in raising the cupola, may be seen in Memmi's fresco on the E. waU of the chapter-house of Santa Maria NoveUa. This edifice, though commenced long before the revival of the arts, seems to have been conceived by its architect in an original style, forming as it were a mean between the pointed and ancient style. It is, therefore, one of particular interest and instruction in the history of architecture, and one wherein we find a construction in which prepara tion was made for changing the style then prevalent into one sanctioned by the ancient principles of the art ; and it is certain that it was the first which gave the hint for the grandest monu ments of modern architecture. The walls are almost entirely cased with marble on the outside. The whole length of it is 454 ft. ; from the pave ment to the summit of the cross is nearly 387 ft. ; the transept is nearly 334 ft. long ; the height of the nave 153 ft., and that of the side aisles 961 ft. The nave was intended by Arnolfo to contain five arches ; but as the fa milies of the Falconieri and the Bis- ehieri refused to give up some build ings on the E. required for the choir, he was eompeUed to diminish the length of the nave, making it contain only four archea. Between the period of the beginning of the edifice and that in which its completion was intrusted to Brunel- leschi, many architects of great talent had been employed in carrying on the works : among whom we find the names of Giotto ; Taddeo Gaddi ; Andrea Oryagna, a man of extraordinary pow ers, as his loggia in the Piazza Gran Duca amply testifies; and Filippo di Lorenzo. Arnolfo died in 1300, and the Work stopped until Giotto was requested to continue it in 1331, with an order that he should remain as a resident in Flo rence to insure the regular procedure of the operations. He erected the campanile and the fa9ade of the cathe dral, which he carried up two-thirds of its height, and upon which he bestowed his utmost care. It thus subsisted tiU the 16th centy., having been adorned with statues by the best masters, in cluding DonateUo, when in 1558 it was destroyed by the Proveditore, Be nedetto Uguccione, for the purpose, as he professed, of re-erecting it in the then modern style ; and so eager was he to effect the demolition that, instead of detaching the precious marbles, which might have been employed again, the facing was plucked off so rudely and hastily that, according to a con temporary, not a slab or a column was left entire. Giotto's facade appears in the background of a lunette in the outer cloister of S. Marco. In 1636 another facade was begun ; but the works were suspended, -and, in fact, have so remained to the present time ; the slight architectural ornaments are now nearly effaced, whieh were paiuted upon the wall on the occasion of the marriage of Cosmo III. with the Prin cess of Bavaria in 1618. The common people of Florence beheve that this and other churches were left incom plete in order to evade a tribute pay able to the Pope when the church is completely finished, but not demand- able so long as anything remains to be done. This is a mere fancy. After the death of Giotto the works pro ceeded slowly, under different artists, including those before mentioned, until 1420, when it was determined to em ploy Filippo di Ser BruneUeschi to complete the cupola. BruneUeschi was bom in 1377, and by his father Lippo Lippi, a notary of Florence, was in tended to succeed him in his own pro fession ; but the inclination of the youth was bent towards the arts, and Tuscany. Route 44. — Florence — The Catliedral. 465 the parent with reluctance yielded to it, and placed him with a goldsmith, an occupation then so connected with sculpture that the greatest artists of the time applied themselves to the chasing and casting ornaments in the precious metals. BruneUeschi, though skUful as a sculptor, had many rivals, and became desirous of devoting him self to architecture. In company with DonateUo, he therefore visited Rome, and applied himself with ardour to the study of the ruins of the Eternal City. It was there that he sUently began to meditate upon the scheme of uniting by a grand cupola the four naves of the Duomo at Florence; a project which until his time waa conaidered almost impossible. During his residence he studied the orders of architecture from classic examples, the Bcience of con struction as practised by the ancients, and the principles of equihbrium. Having thus qualified himself for the work he sought, he returned to Flo rence in 1407. In this year the citi zens convoked an assembly of archi tects and engineers to deliberate on some plan for finishing the Duomo. To this assembly BruneUeschi was in vited, and gave his advice for raising the base drum or attic story upon which the cupola should be placed. It was not, however, tUl 1420 that the work was resumed in earnest. In that year, at a meeting composed of the principal master-builders, not only of Tuscany and Lombardy, but from be yond the Alps, BruneUeschi detaUed the plan by which he eventuaUy com pleted the cupola. But the space to be covered was so much greater than that covered by any vaulting hitherto at tempted, that the citizens who formed the buUding committee hesitated to , believe in the practicability of his scheme. BruneUeschi explained and argued untU the diacussion grew ao warm that the " donzeUi," or uahera, by order of the committee, Ufted him off his legs, and carried him out of the room. BruneUeschi, however, perse vered, and the completion of the work was ultimately intrusted to him. He was, however,-thwarted by the jealousies of rivals, and Lorenzo Ghiberti was assigned as a coUeague, whose inca pacity for such a task BruneUeschi Boon made manifest. Before his death in 1446 he had the satisfaction of see ing the cupola finished, with the ex ception of the exterior of the drum under the cupola; for whose decora tion, as weU aa for the lantern with which he proposed to crown the edi fice, he left designs, which, however, were lost. One of the directions he left on his death particularly insisted upon the necessity of foUowing the model he had prepared for the lantern, and that it was essential that it should be constructed of large blocks of marble so as to prevent the cupola from open ing ; an advice which experience has since proved in other cases to be far from sound. This cupola is octagonal on the plan, and is 138 ft. 6 in. in diameter, and from the cornice of the drum to the eye of the dome of the height of 133 ft. 3 in. Before it no thing had appeared with which it could be fairly put in comparison. The domes of St. Mark and that at Pisa are far below it in grandeur and simphcity of construction. It served as a model to Michael Angelo for St, Peter's. His admiration of it was so great that he used- to say, " Come te non vogUo, megUo di te non posso." The cupola is the largest dome in the world ; for though the summit of the cross of St. Peter's is at a greater distance from the ground than the summit of the cross in the cathedral of Florence (in conse quence of the large dimensions of the whole building), yet, dome separately compared with dome, that of Brunel- leschi is the higher. The Florentine dome has also the larger circumference. It is, too, the first dome that was ever exalted upon what is teehnicaUy caUed a drum; and the first double dome that ever was buUt. It exceeds in elevation what Arnolfo had designed ; for, ac cording to the original plan, the dome was to have sprung immediately from the arches and piers, on which, in fact, it rests. But BruneUeschi carried up perpendicular waUs, in the shape of an octagon, to a certain height, and, x 3 466 Route 44. — Florence — The Cathedral. Sect. VI. placing the dome upon these walla, secured for it the elevation which he desired. The finest view of the exterior is ob tained from the S.E. Here the pro portions of the dome, rising from amidst the smaUer cupolas by which it is surrounded, can best be appreciated. The traveUer should, instead of, or be sides, going up the campanUe, go up the dome ; 1st, because it is higher, and the view towards Fiesole is not interrupted by the dome itself, as it is from the campanile ; 2ndly, because the architecture of the two shells is thereby seen ; and 3rdly , becau se no correct idea of its size can be formed withoutdoing so. Over the first door on the N. side are Btatues attributed to Jacopo della Quercia; over the second door, en circled by rich Gothic work, is an As sumption, by Nanni d! Anton di Banco, called La Mandorla, or the almond, from the shape of the compartment in which it is placed. Beneath are the two small statues by DonateUo, and in the lunette is an Annunciation in mo saic, by Dom. Ghirlandajo. On the S. side the Madonna over the door nearest to the campanUe tower is attri buted to Niccolo Aretino, and that over the other door to Gio. Pisano. The interior is rather dark, owing to the smaUness of the windows, and the rich colours of the beautiful stained glass by which they are filled. The impression of size is enhanced by the proportions of the four arches, which stretch along the whole length of the nave. These arches are all pointed, but not truly Gothic, having large key stones, upon which armorial bearings are sculptured. The whole design is characterised by grandeur and sim phcity. The pavement is tesselated with red, blue, and white marble, add ing to the finish of the structure. The stained glass of the windows is said to have been executed at Lubeck, by a Florentine artist, Domenico Lim da Gambasd, 1434, who, in a coeval entry in the book of the works, is Btyled the greatest master in this art in the world : the designs of the greater part of them are attributed to Ghi berti and Donatella. Over the prin cipal door is a mosaic representing the coronation of the Virgin, by Gaddo Gaddi. Above the side-door in the W. waU, to the 1. or N. of the principal en trance, is the monumental fresco paint ing of Sir John Hawkwood. The name of this celebrated knight is with some difficulty discerned in its Itahan ver sions, — such as Giovanni Aucobedda, Falcon' del Bosco, Giovanni Aculo or Acutus, the last being here adopted in the inscription to his memory. Sir John was the son of a tanner, one GUbert Hawkwood, and bom at Sible- Hedingham, in the county of Essex. " He was first bound," says FuUer, " to a taUor in the city of London ; but soon turned his needle into a sword, and his thimble into a shield, being pressed in the service of King Edward III. for his French -wars, who rewarded his valour with knighthood. ' Great the gratitude of the State of Florence to this their general Hawkwood, who, in testimony of his surpassing valour and singular faithful service to their State, adorned him with the statue of a man of arms, and sumptuous monument, wherein his ashes remain honoured at this present day. WeU it is that monument doth remain : seeing his cenotaph, or hono rary tomb, which sometime stood in the parish-church of Sible-Hedingham (arched over, and in ahusion to his name, be-rebussed with hawks flying into a wood), is now quite flown away and abolished." " Hawkwood appears to me the first real general of modern times ; the ear hest master, however imperfect, in the science of Turenne and Wellington. Every contemporary Italian historian speaks with admiration of his skilful tactics in battle, his stratagems, his weU- conducted retreats. Praise of this description is hardly bestowed, cer tainly not so continuaUy, on any former captain." — Hallam. Besides bestowing this monument, the repubhc interred Hawkwood at their expense, and all the noble citizens of Florence came out in funeral pomp. Tuscany. Route 44. — Florence — The Cathedral.. 467 By a decree of the Signoria, Paolo Uecelli was employed to paint this The pendant to Sir John is another equestrian and monumental portrait, of the same size and nearly hi the same style, painted by Andrea del Castagno. It was Ukewise placed by the repubhc to commemorate another hired general, Nicolo Tolentino, who, taken prisoner by the army of MUan, died in captivity (1434), not without suspicion of poison. These two fres coes have been lately moved from the N. waU to the end of the nave. On the waU on the rt. hand on en tering, that is, in the S. aisle, is the monument of BruneUeschi. He was buried at the expense of the repubhc. His bust, a portrait, is by his disciple Buggiano : the inscription was com posed by Carlo Marzuppini, the chan- ceUor of the repubhc, and records the gratitude of his country. To Giotto, whose monument is a httle further on, the same tribute of respect was paid ; but his bust, by Benedetto di Majano, was placed, long afterwards, at the ex pense of Lorenzo de' Medici. The epitaph is by PoUtian. Next is a statue, which was one of those which formerly adorned the W. front, attri buted to DonateUo. Then a fresco of St. Jude, by Lorenzo di Bicd. The monument next to this, with a seated figure by Andrea Pisano, is that of Antonio d'Orso, Bishop of Florence, who, when the city was besieged by the Emperor Henry VII., manned the walls with the canons of his cathedral, whom, in full armour, he led on against the enemy. Further on, beyond the door, are two frescoes in grey, by Lor. Bicd ; the first represents Luigi Mar- sUi; the second, Bp. Pier Corsini, d. 1405. Further on is a bust, by Andrea Ferucd, of Marsilio Ficino, the great restorer of Platonic phUosophy : he also received the tribute of a pubhc funeral. The interior of the cupola is painted in Fresco from designs of Vasari, and begun by him, but finished, after his death, by Zuccheri. They represent Paradise, Prophets, Angels, Saints, the Gift of the Holy Spirit, the Punish ment of the Condemned, aU Dantesque in their general story. The figures are bold and gigantic. When first ex posed, they excited universal disap pointment : and Lasca, who made them the subject of one of his burlesque madrigals, declares that the Florentines will never rest tUl they are white washed : — " Georgin' Georgin', debb' essere incolpato, Georgin' t'ece il peccato. I'resuntuosamente il primo e stato La cupola a dipingere. E il popol' Fiorentino Non sara mHi di lamentarsi stanco, Se force un dl, non se le da il bianco." The choir and the high altar are placed beneath the dome. This posi tion has the advantage of adding a meaning to the dome. The choir is upon the plan of one previously erected by Arnolfo, but which was renewed in its present form from the designs of Bacdo di Agnolo (1547-1568) . It con sists of an octagon basement or dado, supported by Ionic columns. The basement is adorned with fine bas- rehefs, by Baceio Bandinelli, and some, of scarcely inferior merit, by his dis ciple, Giovanni deW Opera. These bas-reliefs of BandineUi " are admirable for then- breadth and fine treatment, and disposition of their draperies. The fault of his composi tion generaUy, whether of one or several figures, is in its too picturesque ar rangement, and in his placing his figures in somewhat forced and affected atti tudes." — Westmacott jun. Behind the high altar is a group of Joseph of Arimathea, the Virgin and another Mary entombing the body of our Lord, left unfinished, by Michael Angelo. "This, as a composition, is of the highest merit." — Westmacott jun. It is said that he worked at this group during the later years of his hfe, intending to have it placed upon his tomb. Over the door of the Ancient Sa cristy, which is between the S. tran sept and the tribune at the E. end, is the Ascension, in terra cotta, by Luca della Robbia, and above are reliefs by DonateUo. 468 Route 44. — Florence — The Campanile. Sect. VI. It was in this sacristy that Lorenzo de' Medid took refuge when he es caped the daggers of the Pazzi. Under the altar at- the E. end is the bronze shrine of San Zanobio, by Ghi berti. The principal compartment re presents the miracle said to have been worked by the intercession of San Zanobio, the Resuscitation of a dead ChUd. In this tribune is a statue of St. John, by DonateUo, and one of St. Peter, by Baccio Bandinelli, when young. The sacristy between the tribune of the E. end and the N. transept is caUed the Sacristia della Messa. The bronze door and the terra-cotta bas- relief over the door are by Luca della Robbia: the latter is the first work executed by him in this material. The figures in marble of Children on the Lavatory are by Buggiano. The frieze of chUdren, surrounded by flowers and fruit, is by DonateUo. The pavement of the centre of the N. transept contains a smaU circular tablet of marble, encloaing another smaUer piece placed eecentricaUy. The latter, together with a plate of brass fixed near a window of the lantern of the cupola, and pierced to admit a ray of the sun, form the gnomon, con structed by Paolo Toscanelli (died 1482), a mathematician of eminence. It has been improved by Father Xi- menes, by the addition of a graduated metal plate. One of the purposes for which it was intended was to observe the change which takes place in the obliquity of the ecliptic. Near the door in the N. aisle, nearest the choir, is the portrait of Dante, by Domenico di Michelino, placed here by a decree of the repubUc in 1465. The poet is represented with the features and costume of the generaUy adopted idea of Dante, familiarised to us by Flaxman's designs. On the rt. hand are HeU, Purgatory, and Paradise, in small groups ; on the 1. is Florence enclosed within its turreted circle of waUs; the inscription in Latin verse under it is by PoUtian (1490). Over the other side door is a wooden tomb, which seems to have been ori ginaUy draped. It is supposed to cover the remains of Pietro di Toledo, Viceroy of Naples. — Another problem atical tomb is of marble ; it is orna mented with a cross between two eagles. Tradition gives this tomb to Conrad, the son and rival of the Em peror Henry IV. ; but history rather negatives this. — Beyond is the tomb of Antonio Squarcia Lupi, the cele brated organist, erected by Lorenzo de' Medici ; his bust is by Majano. The Caympanile, or bell-tower, was designed by Giotto, and begun by him in 1334, pursuant to a decree com manding him to construct an edifice which in height and in richness of work manship should surpass any structure raised by the GreekB or Romans in the most palmy periods of their power. It is a tower, square on the plan, rising in the same dimensions to the height of 275J ft. Eng. Taddeo Gaddi, who had the direction of the works after the death of Giotto, considered that it would be better to omit the spire, which, according to the design of Giotto, was to have risen from the top of the present tower to a height of 50 braccia, i. e. 95f ft. It contains only four stories, of which the taUest are the basement and the topmost one. The windows in the upper story are larger than those in the .two "beneath. The architecture is ItaUan-Gothic. On the basement story are two ranges of tablets, aUfrom the designs of Giotto, and executed by him, and by Andrea Pisano, and Luca della Robbia. The foUowing are the subjects, according to Forster : — The lower range of reliefs represent the progress of the civilisa tion of man. Commencing on the W. side, at the end nearest the duomo, and proceeding to the rt. hand round the tower, the subjects of the lower range are as foUow: 1 and 2. Creation ol Adam and Eve. 3. Their first labour. 4. Jabal, " the father of such as dweU in tents, and of such as have cattle." 5. Jubal, "the father of aU such as handle the harp and organ." 6. Tubal- Cain, " the instructor of every artificer in brass and iron." 7. Noah's disco- ¦¦ very of wine. S. side. — 1. Early Teh- Tuscany. Route 44. — Florence — Baptistery. 469 giony Sabianism, or the worship of the host of heaven. 2. House-bunding. 3. The woman provides the house with earthen vessels. 4. Man taming the Horse. 5. Woman at the loom. 6 Legislation. 7. Dasdalus, as the repre sentative of exploring and emigration. E. side. — 1. Invention of navigation. 2. Hercules and Antseus, symbolical of War. 3. Agriculture. 4. Use of the Horse as a beast of draught. 5. Archi tecture. N. side. — The seven liberal Arts and Sciences. 1. Phidias, Sculp ture. 2. ApeUes, Painting. 3. Do- natus, Grammar. 4. Orpheus, Poetry. 5. Plato and Aristotle, PhUosophy. 6. Ptolemy, Astronomy. 7. An old man with musical instruments . Upper range. W. side. — The seven cardinal virtues. S. side. — The seven works of mercy (see these enumerated, p. 420). E. side. — the seven beatitudes (?). N. side. — The seven Sacraments, or rather six, for instead of Penance there is a Madonna and child. Over the door is the Transfiguration, by Andrea Pi sano. These reliefs are curious, and of beautiful workmanship ; but some of them are explained by conjecture only. Above the two ranges of rehefs are sixteen statues larger than life, four on each side. On the W. side are the four Evangelists, three of them by DonateUo. The two centre figures re present Francesco Soderini, his patron, and Barduccio Cherichini, one of his most intimate friends. The latter is the famous Zuccone, or Baldpate, which, it is said, the artist preferred to aU his other works. " Parla" ex claimed he, as he gave the last stroke of the chisel to the dumb effigy. Dona tella worked confurid; and the excla mation was a burst by which the work and the master were equaUy charac terised. The statue next the S. side is by Gio. de' Rosd. On the S. side are the statues of four Prophets : three by Andrea Pisano, the fourth by Giottino ( ? ) . On the E. side are four saints, the two statues in the middle are by DonateUo, the two on the outside by Niccolo Aretino. On the N. side are four Sibyls, the first three to the eastward, by Luca della Robbia ; the fourth by Nanni di Bartolo. Within, the stories form finely vaulted chambers. The staircase can be easUy ascended. On the summit may be seen four great piers, from which was to have risen the spire. The cost of this tower was enormous : it is calculated in the books of the Duomo that the average cost of each square braccia (say 4 ft. square), reckoning the apertures as well, was 1000 florins. The particu lars are coUected from coeval authori ties ; yet their amount iB rather start ling. Two fine statues, by Pampaloni, have recently been erected on the S. side of the Piazza del Duomo, in honour of the architects of the Duomo, Arnolfo and BruneUeschi. They are among the best productions of modern Itahan art. The conception of BruneUeschi is good ; on his knee is the plan of the Duomo, and he is looking up to see it realised. Near this statue is the Sasso di Dante, a flagstone thus inscribed, where for merly stood a stone seat on which Dante used to sit and contemplate the cathedral. Batisterio di San Giovanni. — The chief ornaments of the baptistery, — those to which it owes its reputation, — are the three bronze doors, executed, one by Andrea Pisano, and the two others by Ghiberti, which latter were declared by Michael Angelo worthy of being the gates of Paradise. The gate executed by Andrea Pisano is the one towarda the S. It was com pleted in 1330, as appears by an inscrip tion which yet remains. Giotto, as we are told by Vasari, gave the designs. Later authorities have doubted this ; yet the figures, particularly the aUegori cal figures of virtues in the lower com partments, — are Giottesque in concep tion and in design. Hope stretching forth her hands towards the Celestial Crown is an excellent example of Christian aUegory. Above are the principal events in the life of St. John. "These compositions have a Gothic and simple grandeur." — ¦ Flaxman. " This work is admirable for its beauty ful sentiment and simphcity, though it 470 Route 44. — Florence — Baptistery. Sect. VI. must be aUowed to be deficient in the mechanical exceUences of sculpture." — Westmacott jun. "When this gate was fixed and exhibited, the event was celebrated throughout aU Tuscany as a festival. The Signoria, or rulers of the Repubhc, who never came forth from the palazzo in state except upon the most important occasions, attended the first exposition of the works whieh they deemed the pride of their city. They were accompanied by the ambassadors of the then rival crowns of Naples and of Sicily ; and the rights of citizenship were granted to the Pisan — he, the son of the rival repubhc — as the highest honour which could be awarded to him by whom Florence had been thua adorned." — Q. Review. The northern and eastern gates were added (1400-1424) at the expense of the merchant-guild. The work was thrown open to general competition, and Ghiberti, BruneUeschi, DonateUo, Jacopo della Querela, Niccolo d' Arezzo, Francesco Valdambrina, and Simone da Colle aU strove for the prize. In the casting and execution of the N. gate, Ghiberti, who is said to have been only 20 years of age when he began his work, was assiated by his father, Bartoloccio, and by nine other artists, aU of whose names are pre served in the annals of the wardens of the baptistery. Upon this gate are displayed the principal events of the ministry of our Lord. The third, or eastern gate, and the most beautiful, represents in the compartments the leading events of the Old Testament, whUst the framework is fiUed with statues and busts of patriarchs, saints, and prophets of the Jewish dispensa tion, in bas-rehef. The statues of Miriam and Judith are to be distin guished. Elegance of design is espe cially remarkable in the recumbent figures at the lower portion of the door. Flaxman observes as to these gates, " The criticism of Sir J. Rey nolds was one indisputable proof of that great man's judgment in the sister arts. His observation amounted to this, — that Ghiberti' s landscape and buUdings occupied so large a portion of the compartments, that the figures remained but secondary objects, entirely contrary to the principle of the an cients." — Led. X. " Ghiberti brought to this work a great knowledge of composition, a superior acquaintance with the more beautiful forms and movements of the human figure, a re fined feeling for expression, and con siderable powers of execution. They veiy far surpass the works of his prede cessors in the revival of sculpture, and in many respects have not often been exceUed. It is not pretended that these reliefs are free from faults. Their chief imperfection arises out of the un defined notions which then existed of the true principles that respectively govern, or should govern, composition in painting and sculpture. It is ob viously out of the province of the latter art (which is confined to representing objects by defined forms alone) to attempt perspective appearances and effects which can only be truly and correctly given by aid of colour, or by the skilful distribution of light and shadow. In the work under considera tion this principle is invaded. Objects are represented in various planes, and those which should be subordinate are, in consequence of the necessary relief given to them in order to define their forms, forced upon the attention, or cast shadows to the injury of more im portant features in the design. The number of smaU parts and a too great minuteness of detaU are also defects in this remarkable work, and deprive it of that breadth of effect which is so ad mirable a quahty in art." — Westmacott jun, A.R.A. The design of this gate was suggested, and the subjects chosen, by the cele brated Leonardo Brum, surnamed Are tino from his birthplace, in a letter addressed to the committee to whom the arrangement of the work was in trusted. In this letter he insists upon the necessity that the artists should be well informed in the histories, so as to represent them with accuracy. Very beautiful borderings of plants surround the S. and E. gates of the Batisterio. The sums paid to Ghiberti and his Tuscan v. Route 44. — Florence — Baptistery. 471 assistants for the two gates amounted to 30,798 florins, a sum which shows the exceedingly high standard by which such proficiency was measured. Groups, also of bronze, adorn the frontispieces of the three portals, all of merit. Over ' the S. door is the Decollation of St. John, by Vincentio Danti; over the eastern door is the Baptism in the Jor dan, by Andrea da Sansovino; and over the N. door, St. John preaching to a Sadducee and a Pharisee, by Fran cesco Rustid, but executed, according to Vasari, according to designs by Leonardo da Vind. Borghini con siders these statues as among the best productions of modern times. At each side of the eastern gate is a dark and shattered shaft of porphyry. It is said that, when the Florentines (1117) assisted the Pisans by guarding their city during the expedition which achieved the conquest of Majorca, they were offered their choice between two of the trophies won in the island, cer tain bronze gates, or two splendid columns of porphyry. The latter being selected, they were duly transmitted to Florence, covered with scarlet cloth : but, when the drapery was removed they had lost aU their beauty, for the rival repubUcans had spitefully passed the gift through the fire, whence, as it is said, arose the proverb, " Fio- rentini dechi, Pisani traditori." They are now encirled and kept together by hon bands : for the Piazza being entirely filled with water during a vio lent storm in AprU 1424, occasioned, as it should seem by the bursting of a water-spout, conjoined to an inunda tion of the Arno, the columns were undermined, thrown down, and broken by the faU. Above are the rusty links of the massy chain which, borne away from the Porto Pisano in 1362, were here suspended in triumph. The Baptistery itself is in form an octagon, supporting a cupola and lan tern. The external waU, of black and white marble, is a coating erected in 1288-93, by Arnolfo. The structure which this coating encloses is supposed by the early Florentines to have been the temple of their tutelar deity Mars, who, injured by the substitution of another patron, long continued to dis play his ire against his unfaithful votaries. Thus Dante introduces Ja copo di Sant' Andrea, saying, " I' fui della citta che nel Battista Cangid '1 primo padrone ; ond' ei per questo Sempre con 1' arte sua la fara trista." Inf., xiii. 143-145. " Mine was the city which exchanged of yore For John the Baptist her flr3t guardian ; h e Will always use his means to make her sad." Wright's Dante. And a statue of the god of war, formerly on the Ponte Vecchio, was supposed to have stood beneath the centre of the dome, which, in its ori ginal state was open to the sky ; the lantern having been erected in 1550. Within, the 16 splendid Corinthian and composite columns, unquestionably ancient, surmounted by a range of Ionic pUasters, as weU as the general arrangement of the structure, and its aimUarity to the Pantheon, give some countenance to the opinion of its Roman origin. On the other hand, the -irregular employment of the Roman orders, and the fragments of a reversed inscription, maybe considered as proofs that it was raised in a barbarous age ; and the Tuscan archaeologists seem in clined to consider it not older than the 6th centy. It seems clear that it was a finished buUding in 725, and it is evident that, whenever it was buUt, the architect must have had the Pantheon in his mind, so strong is the general resemblance between the two buUdings. OriginaUy, this buUding was not the baptistery, but the cathedral. It stood without the walls ; but in those times it was not unusual for cathedrals to be so placed. When the cathedral was buUt St. John's became the Baptistery. At the beginning of the 13th centy. the western door was closed up, and the tribune built for the altar, which was restored in 1732. Up to 1293 the buUding was surrounded with graves, which are spoken of by Boccaccio ; but in that year the ground around it was paved, and, owing to the accumulation of earth, the basement of steps which ran aU round was concealed. 472 Route 44. — Florence — Baptistery. Sect. VI. Dante speaks of this buUding, — "mio bel San' Giovanni" — as if he de lighted in it : though his mischance in breaking some part of a baptismal font, for the purpose of saving a chUd i fronj drowning, occasioned one of the many unjust charges from which he suffered in his troubled hfe. Speaking of the cavities in which sinners guflty of simony are punished, he compares them to the fonts, — . " nel mio bel San Giovanni, Fatti per luogo de' battezzatori ; L' un degli quali, ancor non e molt' anni, Kupp' io per un che dentro v' annegava : E questo fia suggel ch' ogni uomo ssjanni." Inf., xix. 17-81. . " In St. John's fair fane, by me beloved — Those basins form'd for water, to baptize ; (One of the same I broke some years ago, To save a drowning child ; be this my word A seal, the motive of my deed to show)." Weight's Dante. The portion which he damaged was some smaUer font or basin conjoined to the large one. But the explanations are not very clear, and the great font itself was destroyed by Francesco de' Medici, upon the occasion of the bap tism of his son PhUip (1577), greatly to the displeasure of the Florentines, who carried away, as relics, the fragments of marble and of mortar. The present font was erected in 1658, but it seems to be of an earlier period, and has been attributed to Andrea Pisano. The cupola is covered with mosaics, some by a Greek, Apollonius; others by Andrea Tafi, Taddeo and Agnolo Gaddi, Fra Jacopo da Torrita, Domenico Ghir- landajo, Alesdo Baldovinetti, Lippq Lippi, and other Florentine artists. Though executed at different periods, they exhibit nearly the same style. Perhaps few masses of mosaics are so large as those which cover this cupola, and extend for some way down the walls. — A gigantic figure of our Lord in the centre, the Rewards and the Punish ments of the Just and of the Wicked, the Orders and Powers of the Celestial Hierarchy, Prophets, Patriarchs, and the Bishops of Florence in the lowest range of the seven circles, .enrich,. whUe they darken, the vault above. In these frescoes appears the Lucifer of Dante with the soul " che ha maggior pena" half in his mouth. Beneath is a varied pavement (1200) of smalto ; which, as at Lucca, is ex actly of the same workmanship as that at Westminster Abbey. The patterns are very complicated and beautiful. The site in the centre of the demoUshed front is paved with marble, and a por tion of the pavement is occupied -by a very remarkable memorial of ancient sdence, older than the mosaic, and as cribed to Strozzo Strozzi, the great astrologer, who died 1048. In the centre is the Sun, surrounded by the foUowing verse, which may be read either way, and does not make much sense any way : " EN GIRO TOHTE SOL CICLOS ET ROTOR IQNE." This is surrounded by a zodiac or namented with arabesques, the whole in low relief. In the centre of the sculptured Sun is a point ; and it ia supposed that when the stone was in its original position (for it has been moved), the rays of the Sun shone exactly upon that centre at 12 o'clock on Midsum mer-day, on the feast of St. John the Baptist. Near the S. door, and between it and the principal altar, is a statue of Mary Magdalen, by DonateUo, of wood, smaUer than life, and remarkable from its being unhke the common conception of the character. The saint is repre sented as worn down by penance, with no luxury of dress, her beauty gone, yet its traces left. The noble tomb of Balthasar Cossa (John XXIIL, d. 1419) bears the insignia of the popedom on the armorial shields. He was deposed in the coun- cU of Constance (1414) and Ottone Colonna, or Pope Martin V., substituted in his stead. Martin objected to the title of " Quondam Papa " here given to bis predecessor, but the Florentines would not forget that their countryman had been Pope, though deposed. The tomb is in the style of the Renaissance The sarcophagus is supported by Faith Hope, and Charity ; the two latter by DonateUo ; the rest is by Michelozzi. Re fere rices Principal Churches \ Duomo _ F d 2 $. Ambrogio _H/ 3 S.S. Aruvj/hzkUa „G c AS.Qytce _ Gf 6 S. Marco .. ... G c fcl S.Lorenzo E c ill Carmine Be a S.MMaddalena II d £? S.Maria, Novetta _.D c io Or'S.Miehde E e TLS-Sptnto Ce 12 SS Trinita, Dd Public Buildings XSPalazzo Vecc/iio E e M Uffizi ___. E/ 16 Palazzo Pltti ._ Cf IB Accademia diB ArtC Gc 17 Museum ofNat-Uist ....Cf IS Hospital of 'S.M.Nuova Gd Theatres 19 Pergola ___ J...G 2D DeaKIntrepLoXor ..-T.N^uova F (i 2lGoldoni 13/ 22 Alfieri _ Gf 23 deLCacomero ... F d Z4, Palazzo ffiacardi/ F c 25 Post Of/ice.. li 20 Piazza S. Trinita- _ J) c 27 deZlJhatunzia£a..& 28 - d. 'Utjru'ss tutti C c 29 dell/Ucccilo C d 30 dei Mozzi ~F.g 3L d'Amo. F>f 32 . _ dei J?enizzi, Ff 33 Palazzo S&vzzi ¦ T>d 34 .. _ .Car-smt. Hd 35. ... Horpiiese F e 36 Guicciaj-dzrii J>p 37 . . _ Capponi .... .He 3& Posta dei Varolii Ed 3£>J3ajye2bi._ F e Primo Ceircii^o Secondo Cerchio TubErhed by John Murray. Albemarle S9Xondon.l85Z J.&C.Walka-.Sculpf Tuscany. Boute 44. — Florence — Or' San' Michele. 473 AU the baptisms of the city are stiU performed in this church, according to the ancient ritual. According to the verbal information of the registrar, the average number of baptisms is now 3500 per annum. From 1470 to 1490 the average was 2094 annuaUy ; from 1770 to 1790 it was 3355. In 1835 it was 3564. It is stated that, taking the average of months, births are scarcest in June, and most plentiful in January, February, and March. We notice this assertion, in order that those who are interested in statistical in quiries may, if they choose, examine into its accuracy. The Piazza di San' Giovanni is, in fact, one with that of the duomo. The hospital of the Bigallo on the S. side, though modernised, shows some fine remains of Gothic, attributed to Niccola Pisano. The small statues in the front, facing the Baptistery, are by Andrea or Niccola Pisano. The oratory, now used as a depository for government papers, contains three statues (one being of the Virgin) by Alberto Arnoldi (1358) ; and, on the step of the altar, many figures painted by Ridolfo Ghir- landajo. Between this buUding and the Baptistery is the column of San Zano bio, erected in the 14th century, to commemorate a miracle said to have taken place upon the translation of his rehcs : a withered trunk of a tree, which was touched by his coffin, having sprouted out in leaves. Several of the houses about the duomo, though much altered, bear the marks of repubhcan antiquity, particularly one with fine projecting shields. In the Guardaroba, near the duomo, are preserved several remarkable monu ments of ancient art. — The Dossale, or altar-table of the baptistery, is of sUver, richly enameUed, and the frame- work is of delicate G-othic workmanship. It was begun in 1366, but was not com pleted tiU after 1477. Ghiberti, Or- gagna, Bartolomeo Cenni, Andrea del Verrocchio, and Antonio del Pollajuolo were employed upon it, and the books of account, testifying the payments made to them, are yet preserved here. The table, which is about 5 ft. in height »»we and 15 in length, is in three divisions. In the centre is a fine statue of St. John, by Michelozzi di Bartolomeo. Around, in compartments, is the history of the life of St. John. The tabernacle and filigree work are of great dehcacy. In the portion executed by Antonio del Pollajuolo the countenances are re markable for their expression. The figures, of course, exhibit a progress in style. The altar-table is only used on the annual festival of the patron Saint. — A rich sUver crucifix (about 1456), by Betto di Francesco Betli, a Floren tine, Milano, the son of Domenico Bd, and. Antonio del Pollajuolo. — A pastoral staff of the same period, with the Virgin, St. John, and other figures. — A mosaic diptych of Greek workmanship of the 11th century. It had been preserved in the Imperial Chapel of Constanti nople, and was sold to the baptistery towards the end of the 14th century, by a Venetian lady, Nicoletta de Grioni- bus. Her husband had been chamber lain to the Emperor John Cantacuzene. The figures are small, and the work manship is fine and delicate : the tes serae of the mosaic are microscopic, and are so weU put together as almost to have the effect of miniature. As far as design is concerned, this diptych is the finest specimen of Byzantine art now existing. The setting is evidently of much later date than the compartments. The Guardaroba also contains many early paintings of the school of Giotto. Or' San' Michele. This buUding Bhould be viewed with the remembrance that the part which is now a church was originaUy a market-place, and that the upper part was a granary. From this latter destination the building de rives its name, " Horreum Sancti Michaehs." Erected by Arnolfo in 1284, by order of the Signoria, the basement, then an open loggia, con tained a picture of the Virgin, by TIgo- lino Sanese, which, having in 1291 per formed sundry miracles, became the object of great veneration. About 1337 it was determined to consecrate this portion of the edifice, which was there upon faced with stone and embellished by Taddeo Gaddi — if, indeed, it was 474 Boute 44. — Florence — Or' San' Michele. Sect. VI. not entirely altered according to his de signs — and a chapel was erected around the painting. The crowds who visited it disturbed the market-people; and the Signoria, having determined to convert the whole lower Btory into a church, under the direction of Andrea Orgagna, the openings of the arches of the loggia were closed up. This sanctuary com manded so much veneration, that, in the year of the great plague, described by Boccaccio, 1348, the offerings amount ed to 35,000 golden florins. The two upper stories, however, continued em ployed for their original purpose until Cosmo I. in 1569 converted them into a depository for the pubhc archives, and as such they are stUl employed. The statues with which the exterior is adorned are among the best produc tions of the ancient Florentine school, and were erected at the expense of various trading guUds. Beginning at the eastern side, and moving round to the 1., they stand in the foUowing order : St. Luke (Giovanni di Bologna), by the advoeatea and notaries. St. Thomas with Christ [Andrea del Ver- rocchio), by the Merbanzia. St. John the Baptist (Ghiberti), by the Arte de' Cahmala, or drapers. On the S. side, St. John the Evangehst (Baccio di Montelmpd), by the sUk-merchants ; St. George (DonateUo), by the sword- makers and armourers — a masterly pro duction. " DonateUo's marble statue of St. George is a simple and forcible example of sentiment ; he atanda up right, equaUy poised on both legs, his hands resting on his shield before him. Michael Angelo, after admiring this statue some time in silence, suddenly exclaimed ' March.' " — Flaxman. St. James (Nanni di Banco), by the fur riers. St. Mark (DonateUo) — greatly admired by Michael Angelo, who is said to have addressed the statue with the query, " Marco, perche non mi parlil" On the W. side, St. Eloy (Nanni di Banco) , by the blacksmiths, who have universally adopted the Bishop of Tournay as their patron saint ; he is the protector at this day of the Wor shipful Company of Blacksmiths in London. — St. Stephen (Ghiberti), by the wool trade ; so much admired, that the artist thereby procured an order from the money-changers or bankers for the St. Matthew in the next niche. This niche had been assigned to the bakers, who had proposed to adorn it with St. Lawrence ; but, being a very poor company, they resigned the post to the more opulent community. " Ghiberti's St. Matthew wants the severe chastity of the apostolic character, and the head is inferior to those in the spandrels of his gates ; the attitude also is affected, and the drapery unnatural. His talents were better suited to the elegance and dehcate finishing of smaUer works." — Flaxman. ~8. side, the next niche originaUy contained DonateUo's St. George, which explains why there is a bas-rehef by DonateUo, referring to St. George, below it. It is now filled with a statue of St. Luke, attributed to Mino da Fiesole. In the next niche is placed a group of four saints, whose names are not known, by Nanni di Banco, forced into their present Ul- adapted site by his master, DonateUo, with the aid of amputations performed on the figures. St. Philip, appertaining to the shoemakers, also by Nanni di Banco. Lastly, St. Peter, placed by the butchers, by DonateUo. Of the plates of majoUca, or circular tablets of earthenware, by Luca della Robbia, re presenting the emblems or ensigns of the trades, and inserted in the walls, only two remain. The windows- of the church are ex ceedingly beautiful. The arches are circular, but the tracery flows hi inter secting curves with deUcacy and grace ; and the niches or tabernacles are in the best style of Florentine Gothic, of which they exhibit the peculiarities. AU these are from Orgagna' s designs. A gentle man of great taste, WUUam Hamilton, Esq., some years ago proposed to have this building modelled in alabaster, and it could be weU represented by this mode. The interior (to which the principal entrance is on the W. side), as might be expected from its original destina tion, has not the usual architectural arrangement of a church. The plain Tuscany. Boute 44. — Florence — Santa Croce. 475 and massy piers which divide it into two corridors or aisles are suited to the market. The frescoes by Agnolo Gaddi, Jacopo di Casentino, and An drea del Sarto have been whitewashed. Some portions of the stained glass yet remain. It is rich and harmonious in colour. The pride of the church is the taber nacle of white marble, constructed, for holdmg the miracle-working picture, by Orgagna, 1348-1359, with offer- inga made during the great pestUence. Surmounted by a statue of St. Michael, it rises nearly to the roof, and a stair case within leads to the interior of the canopy. Arabesque patterns are formed by the richest marbles being inlaid in a fine mosaic work, enhancing the deli cate white ground; and occasionaUy bright colours are produced by bits of glass placed over foU. The interior of the vaulting of the canopy is mosaic. Every inch is finished with elegance. It is profusely adorned with sculpture, of which the following are the subjects. In front of the shrine two bas-rehefs, — the Marriage of the Virgin and the Annunciation, " the first exquisite, and like AngeUco," R. — fine. At the S.W. angle, supporting the column, are two grand heads of prophets, and three virtues, — Patience, Fortitude, and Per severance. On the S. side are the Nativity and Offering of the Wise Men. In the first, the shepherds, seen in the distance, are most characteristic of Orgagna. Between these two bas- reliefs is Charity, or Divine Love ; and at the S.E. angle, HumUity and Chas tity. On the E. side are the Presenta tion in the Temple, with Simeon and Anna; and the Angel appearing to Joseph, and bidding him flee into Egypt. At the N.E. angle Docihtas (a beautiful figure), Prudentia, and Soler- tia. On the N. side is the Birth of the Virgin: next to it, in the centre, is Faith, the least satisfactory of aU the heads : then Christ teaching in the Temple when twelve years old. " The story is told most marveUously. The head of the principal figure is broken, but the body is full of expression : some smaU figures lean forward most earn estly to hsten ; one, curiously enough, playing on a psaltery." — R. At the angle are Obedience, Justice, Devotion. There are also two heads of prophets at each angle. " The angelB round the central picture are very characteristic of Orgagna." — R. The grand compo sition behind, the Death and Assump tion of the Virgin, with the name of the artist and the date 1359 inserted, cannot be seen from below. It needs a ladder. The sculptor has here, ac cording to Vasari, introduced his own portrait in the elderly Apostle, with shaven beard and a hood wound round his head. The church also contains, over the principal altar, a fine pietS, by Orgagna. A marble statue of the Virgin and ChUd, formerly in a niche on the out side, by Simone da Fisole. A group in marble of the Virgin and Child and S. Anna, by Franc, di S. Gallo. Owing to the Florentines having succeBsfuUy risen against the tyranny of the Duke of Athens on the 26th July, 1343, they erected in this church an altar to Sta. Anna, whose anniversary is on that day. And there is stUl a procession of the Arti or trades, with banners, to this church on that day. The exterior of Or' San' Michele was dilapidated, but it is now repaired (1846). Santa Croce, the principal church of the Black or Observatine Friars in ancient Florence. St. Francis sent his earhest colony to this city in 1212, who, after some migrations, were placed in this magnificent buUding, of which the first stone was laid with great pomp in 1294. Arnolfo was the architect. It is 460 ft. long and 134 ft. wide across the nave and two aisles. Almost from its foundation this church became the favourite place of interment of the Florentinea ; and it has been called the " Westminater Abbey" and the " Pantheon" of Florence. In the front of the church a few bases of dark marble mark the begin ning of the facade, which Castiho Qua- rateai, who was not one of those " who buUd a church to God and not to fame," would have completed from a 476 Boute 44. — Florence — Santa Croce. Sect. VI. design by Baccio di Agnolo, had he been permitted to place hia arms on the buUding : but the " Operai" (the couneU of works) refused permission. In a niche over the principal door stands a bronze statue by DonateUo — St. Louis Bishop of Toulouse, Above, in a circle, are the letters I. H. s., re markable as having been placed there by St. Bemardine of Siena after the plague in 1437. He was the inventor of these initials to denote the name and mission of our Lord. Having remonstrated with a maker of playing cards, which then were Uluminated, upon the sinfulness of his calling, the man pleaded poverty, and the needs of his famUy. " Oh," replied the saint, " I wiU help you ;" and writing the letters 1. H. s., he advised the card- maker to gUd and paint these upon cards, and seU them; and they took greatly. St. Bemardine then traveUed the country, putting up i. H. s. wher ever he went ; and thus these initials may afford a criterion of antiquity. The steeple of Sta. Croce, recently erected at an expense of 10,000 scudi, is a monument of bad taste, and en tirely out of keeping with the style of the church. It was originaUy begun according to a design of Bacdo Bandi nelli, at the expense of C. Quarated, but remained unfinished for the same reason as thatwhich stopped the fa9ade. Interior. In the front is a. fine round window with stained glass, re presenting the Descent from the Cross, by Ghiberti. The pavement is strewn with sepulchral slabs. Many of the earher are in very low reUef; these effigies are interesting from the cos tume. Others are inlaid with coloured marbles. The tomb of John Ketterich, or Kerrich, successively Bishop of St. David's, Lichfield, and Exeter, and who, sent upon an embassy by Henry V. to Pope Martin V., died shortly after his arrival in Florence, 1419, is nearly in the centre of the church, and the inscription is very legible. Few, however, of the names in this pavement have much interest beyond the waUs of Florence, excepting, perhaps, that of Giovanni Magalotti (d. 1377). When the Florentines, hitherto so devoted to the papal see, declared war against Gregory XL, aUying themselves with the " itoman republic" (1375), in de fence of liberty, they appointed a " board," consisting of 8 members, caUed the Balia della Guerra, whom the common people caUed the Otto Santi, whUe the pope, less decorously, styled them the Otto Diavoli. Ma galotti, who was one of these Otto Santi, died in office, and was honoured by a pubhc funeral. Beyond the second altar, in the aisle on the rt. hand when entering, is the tomb of Michael Angelo Buona- rotti. The three sister arts, Painting, by Battista Lorenzi, Sculpture, by Cioli, and Architecture, by Giovanni delV Opera, appear as mourners. His bust, by lorenzi, was considered a most faithful hkeness. The figure of Archi tecture ia the finest : that of Painting was originaUy intended for Sculpture, and was to have stood in front of the sepulchre ; but Michael Angelo's famUy, when the tomb was in part executed, remonstrated against this arrangement,' as they considered that his peculiar ex- ceUence lay in sculpture, which Bhould, therefore, have the post of honour ; and the statue was accordingly transformed, though not so completely but that some signs of her original destination remain. It is said that M. Angelo chose the position of the monument- himself, in order that, when the great doors of the church were open, he might see from his tomb the cupola of the cathedral. A better reason is that the vault and chapel "belonged to the Buonarotti famUy. At the third chapel is Christ bearing his Cross, by Vasari. Then come the monuments of Buonarotti the antiquarian, and Micheli the botanist. Between this and the next chapel is the monument to Dante, by Stefano Ricd, so disproportional from its huge size to the rest ; it was erected at pubhe expense in 1829. On the rt., Italy points with triumph to him ; on the 1., Poetry leans on his sarcophagus mourning. Beyond the fourth chapel is Alfieri's monument, by Canova, erected at the expense of the Countess of Al- Tuscany. Boute 44. — Florence — Santa Croce. 477 bany; and beyond the fifth, that of Machiavelli, by Innocenzo Spinazzi, erected in 1787, from a subscription set on foot by the Earl of Cowper : be yond the sixth, Lanzi's, by Gius Belli. Further on is the tomb of the Caval- canti, with St. John the Baptist and St. Francis, by Andrea del Castagno, and the Annunciation, by DonateUo. Beyond the side door is the monument of Leonardo Bruni, surnamed Aretino, from his birthplace, Arezzo. — " He was the first who replaced the rude struc ture of periods by some degree of rhythm, and introduced his country men to something more brilliant than they had known before; though even he is not quite as pohshed as a fasti dious dehcaoy would require. Aretin's history of the Goths, which, though he is sUent on the obligation, is chiefly translated from Proeopius, passes for liis best work. In the conBteUation of scholars who enjoyed the sunshine of favour in the palace of Cosmo de' Me dici, Leonardo Aretino was one of the oldest and most prominent. He died at an advanced age in 1444, and is one of the six illustrious dead who repose in the church of Santa Croce. Madame de Stael unfortunately confounded this respectable scholar, in her Corinne, with Pietro Aretino : I weU remember that Ugo Foscolo could never contain his wrath against her for this mistake." — Sallam. The monument is by Ros- selini. Above is a fine bas-reUef of the Virgin by Verrocchio. On the oppo site side of the church, to the 1. on entering, are — the Descent from the Cross, by Ang. Bronzino : — the mo numents of FUicaia and of Gahleo : the tomb, the bust of Gahleo, and the statue of Astronomy, are by Foggini, 1787; the statue of Geometry is by Ticdati; the whole at the expense of his pupil Viviani. Monument of Sig- norini, member of the imperial councU under Leopold, with a figure of Phi losophy weeping, Ricd. Christ and St. Thomas, Vasari. The tomb of Marsuppini, by Desiderio da Settig- nano, exhibits the last step from me diaeval to modem Itahan art. The tombs of this class and era are of a very uniform type — a sarcophagus, ap proaching to the antique in general form ; a recumbent figure ; and, above, a medallion usuaUy with the Virgin and ChUd. Marsuppini (b. 1399, d. 1453), chanceUor or secretary of the repubUc of Florence, and one of the proteges of Cosmo de' Medici, enjoyed, whUe hving, a high reputation for eloquence and ability. The descent of the Holy Spirit, Vasari. The upper end of the chm-ch is not in its original state, having been altered by Vasari. It consists of a series of chapels, some of which contain some remarkable frescoes by early masters, though many have been effaced. In order to explain their contents more clearly, we have inserted a sketch of the ground-plan; referring to which, we wiU point out the principal objects of interest. Beginning in the N. transept, A is the Capella Salviati (now Aldobran- dini Borghese), which contains in the recess a a modem tomb of a lady of fine features and sweet expression, the Polish Countess Zamoiska; it is by Bartolini, and is in contrast with the old simphcity of manner. B is the CapeUa di SS. Ludovico e Bartolomeo ; at 1 is the monument belonging to the Bardi famUy. It corresponds in Btyle of architecture with that of the Sil- vestro Chapel, D 4 ; but its sculptures are rude. "The bold spring of the lowest part of the canopies of both, and the diminishing proportion of the upper part, gives them peculiar Ught- ness." — R. At 2 is a marble door with a Madonna and ChUd, attributed to Giotto, but both are poor. " They seem to have been painted for this place, which they fit exactly ; if they had been so placed by Giotto, Vasari would have mentioned them." — R. At 3, over the door, is DonateUo's Cru cifix, but shut up. It was one of his early works : and, being proud of it, he showed it with exultation to Brunel- leschi, who told him, " che gh pareva che egli avesse messo in croce un con- tadino," " that he had placed on the cross a figure of a peasant rather than a representation of Christ, whose person 478 Boute 44. — Florence — Santa Croce. Sect. VI. GEOUND PLAN EOE EAST END OE SANTA CBOCE, ELOEENCE. K L M N O D E F G H 6 5 lv 8 9 Choir J was of the greatest possible beauty, and who was in aU respects the most per fect man that was ever born." — The sequel wUl be hereafter told at S. Maria MbveUa. C, the Capella Nicolini, is rich with fine inlaid marbles of many colours. Around the walls are grand statues of Moses (something like that by Michael Angelo on the tomb of Pope Julius II.) and Aaron — Humility — Modesty taming a "Unicorn — Prudence, by Francavilla. The fresco Sibyls, by Franceschini (II Volterrano, about 1560), are fine. Bronzino has a ma jestic picture here, the Coronation of the Virgin, interesting as being left unfinished by the death of the artist. The Assumption of the Virgin by the same hand is also good, though too dark and heavy in colour. D, Capella S. Silvestro ; at 4 is the tomb of Bet- tino (TJbertino) de' Bardi, with the fresco of Giottino mentioned by Va sari. The upper part ia now destroyed, having been repainted. Nothing re mains but the single figure of TIbertino, and this is solemn and expressive, and looks Uke a portrait ; but, in point of art, it is decidedly inferior to Giotto. " The outline is harder, and the realisa tion less complete." — R. At#5 is Christ 10 11 18 »fl 4 laid in the Sepulchre, " given by some to Giottino, but there is internal evi dence that it is not his. It has, how ever, been dreadfuUy repainted, which makes it more difficult to judge, but it is more Uke Taddeo Gaddi than any one else. It particularly resembles the picture of the same subject attributed to him in the Accademia, both in con ception and detaUs, especiaUy in the tomb, which in both is inlaid with marble panels of various colours, painted with great brilliancy and little success. In the centre of the tomb is a medallion with a female head, in the peculiar white head-dress, bound under the chin, of which Taddeo Gaddi is so fond." — R. At 6, on each side of the altar, are St. Romulus and S. Cenobius, half effaced. At 7 are three frescoes by Giottino, from the life of S. Sil vestro. "They are hah effaced, and difficult to make out : in the highest, he is either baptizing or boiling some body in a great caldron ; I think the former. In the next, which is more important, an ox is kneeling to him, while a Madonna (?) looks on from a throne, with a saint on each side. In the lowest he takes a dragon by the nose, in the midst of a ruined city, and Tuscany. Boute 44. — Florence — Santa Croce. 479 blesses the people. The plants wliich grow in the fissures of the . rent waUs, and these fissures themselves, are a very pretty bit of naturalism, as near the thing as can be found of this pe riod. These frescoes are agreeably grouped, and remind one of Giotto, in a way most disadvantageous to Giottino, whose heads are at once more finished and have less life. He has, however, much power, and the expression of death in one or two of the bodies is true and fine." — R. E, Ca pella dd Pulcie Beraldi, also caUed Capella dd Santi Martin, contains frescoes, according to the guide, by Bernarno Daddi (?). They appear ancient, and in some respects are in teresting. The indignation and viru lence of the Pharisee seizing St. Stephen (in the martyrdom of St. Stephen at 8) is weU given, and there is energy throughout. The stones are placed as by F. Bartolomeo on St. Stephen's head : but the Martyrdom of St. Lawrence, at 9, is vulgar, and aU the drawing of both frescoes is hard and crude. Over the altar, first comes the picture of 40 martyrs, a mere daub, aad above this is a Luca deUa Kobbia, " which may, perhaps, be taken as the fairest, because the most finished, ex ample of the entire impropriety of this mode of working. It is in high rehef, and completely coloured, the prevalent colours being a blue verditer, pale, raw, and yet dead; and an equaUy valueless and intrusive green. The flesh is elay colour. The design is not equal to Eobbia's usual work, but the Madonna is very sweet, and by a great effort of imagination, in getting rid of the colour, fine qualities show through out. There is a nasty brown colour, also, in large spaces." — R. It is re markable for the disagreeableness of its colour, yet the expression is sweet. The two chapels, D and E, each con tain fine painted glass. In the next three, marked F, G, H, there is nothing worthy of notice. The choir retains the lofty prolonged octagon termina tion, with the walls and roof coated with frescoes and richly coloured glass. Behind the high altar are frescoes by Agnolo Gaddi, representing legends connected with the history of the Wood of the Cross from Adam to Constan tine. K, Capella dd Bardi della Li beria. "Behind the altar is a most interesting picture, alwayB kept covered and in a dark place. It is Cimabue's portrait of St. Francis, of which Vasari says, ' Lo ritrasse (U che fu cosa nuova in que' tempi) di naturale come seppe U megUo.' The saint is standing, the face drawn fuU front, and very much in the Greek manner ; it is much harder and more rude in drawing than the Madonnas of the Academy and Sta. Maria NoveUa; and more rigid, yet with greater power and expression. The face is emaciated and aevere, the corners of the mouth drawn down, the stigmata round and dark. Bound the picture is a most interesting series of 20 smah paintings, treated in a quaint, forcible, and dehghtful way, and rich in movement and composition. They, however, appear more archaic than those of the Uffizi picture, though, on the other hand, the central figure is, there, far more rude than the St. Fran cis. His receiving the stigmata is not here, unless it be at the top, whieh is concealed by the curtain ; or unless, indeed, it be one on the 1., in which a crucified figure is extended on the ground, and the saint standing seems touching it with a rod. On the other side he is driving out the devUs from a number of possessed persons, the former flying away in Uttle black spider-Uke shapes, as represented by F. Barto lomeo. The other histories seem highly mystical." ¦ — R. L, Capella Peruzzi, recently purchased by the Bonaparte famUy, contains the tomb of Charlotte Bonaparte, daughter of Joseph, ex-King of Spain (who married the brother of the present President of France), who, with his wife, are also here interred, and of a chUd of the Prince of Canino. It is by Lor. Bartolini, Over the altar is an Andrea del Sarto, entirely spoUed by retouching. At 10 is Giotto's fresco of the Death of St. John, lately uncovered from under a coating of whitewash ; a sinular fresco is stUl covered on the opposite waU. " Herod 480 Boute 44. — Florence — Santa Croce. sect. vi. and two other persons are sitting at table under a canopy, of which the form is the same with Giotti, whether it be the roof of a manger, or the palace of Herod the king. A musician on the 1., playing on the violin, is a beautiful figure, very Uke Perugino's treatment of simUar subjects, and full of the same subdued feehng. The Herod, also, is very grand, though perhaps not a good ideal of Herod, for he ia calm, kingly, and free fi-om appearance of evU pas sion. Herodias sits on the extreme right ; the face is nearly gone, but seems to have been made wicked and sensual. Her daughter kneehng pre sents her with the head. In the centre of the picture the daughter is dancing, or at least moving softly, wlhle she plays the lyre, and a soldier brings in the head of St. John. The two actions are thus curiously involved — the soldier comes in between the musician and the dancing maiden, who is immediately repeated on the rt. giving the head to her mother. The second figure of her is exceedingly ugly, and the like ness of her mother wonderfully kept ; but the figure with the lyre is fine, and would have been beautiful, but that the shaded side of it is in colour so nearly the same as the background, that it is lost in it, and hence half of the face looks hke a badly-drawn profile. The faces of the musician and of Hered are worthy of any period of art. The dra peries are, however, somewhat clumsier, rounder, and less felt, than those of the .Campo Santo at Pisa." — R. In the chapels marked M, N, there is nothing to note ; whitewash covers the frescoes of Giotto. In the Capella Morelli, marked O, are strange legendary re presentations by the Giotto school. At 12, St. Michael and a Dragon, much in the manner of SpineUo Aretino ; and at 11 is some legend of an ox in a cavern at the top of a mountain, &c, but it is difficult to form any opinion as to their merits, as the chapel has no window, and is therefore nearly pitch-dark. In P, the passage leading to the chapels and to the sacristy, are many works of the Giotto school, " but none to be depended upon, as either his or of anybody else of his school in particular ; but many of them are good, and aU traditionaUy valuable. The moat interesting is the Crucifix, as serted to be that sent by Margheritone to Farinata degli Uberti, after his defence of Florence. The honour is disputed by a Crucifix in the sacristy. There are two inferior works of Ange- Uco in this passage." — R. In the chapel S, called Capella dei Medid, and also del Noviziato, is an altar-piece of Luca deUa Bobbia, and many in teresting works of the Giotto school. The sacristy is rich in decorations, and Uttle altered from what it was in old times, except that the paintings by Giotto, which ornamented the doors of the presses, have been removed. A fine altar-piece and many frescoes de corate the chapel, attributed to Taddeo Gaddi. The borders to these frescoes are in arabesque. B is the Capella dei Baroncelli. At 13 are the best Taddeo Gaddi frescoes in Florence. At 14 is a work of Bandinelli, which conceals a tempera picture at 15, by Giotto, in scribed with his name. At 16 is a noble fresco, the Assumption of the Virgin, attributed to Ghn-landajo, but doubtful. At 17 is a monument like that in the opposite transept ; the statues are partly by Niccola Pisano. The chapel of the Holy Sacrament, T, contains the monument of the widow of the last Pretender of the House of Stuart, the Countess of Albany, who died at Florence in 1825, by San- tarelli. It is in imitation of the einque- eento style, and is pleasing. In this chapel Vasari has painted on wood the Cenacolo, or Last Supper. Two statues by Luca della Robbia, of St. Dominick and St. Bernardino, are very fine spe cimens of his style, but they have a porcelain brilliancy. One work of art of great excellence remains to be noticed, the pulpit, by Benedetto da Majano. It is of red and white marble. The fine bas-rehefs are, — Pope Honorius confirming the Regulations of the Order ; St. Francis walking uninjured through the fire be fore the Sultan ; St. Francis receiving the Stigmata ; the Death of the Saint ; Tuscany. Boute 44.— Florence — Santa Maria Novella. 481 the Martyrdom of Five Brethren of the Order in Mauritania. Underneath are five figures, Faith, Hope, Charity, Fortitude, and Justice. The architec ture is in the cinque-cento style. Many of the glazed terra-cottas by Luca della Robbia are on the waUs of the corridorB of the conventual buUd ings, The smaller refectory contains a fine painting by Giovanni di San ¦Giovanni, the Miracle of the Loaves and Fishes : the artist has introduced his own portrait, clad in a red gar ment. ¦ This chamber accommodates aU the friars who now Uve in the con vent; and, being much impoverished, they have iet out the great refectory aa a carpet manufactory. Yet here are two very large and weU - preserved frescoes, by Giotto and Cimabue; one of the Last Supper, the other of the Tree of St. Francis, of which our Lord is represented as the stem. The clois ters are interesting ; almost every stone bears a memorial, an armorial bearing, or an inscription. The recent epitaphs are mostly in Itahan, which is too dif fuse for the lapidary style. It is also satisfactory to observe, considering the reproach of nuptial infidelity bo often cast upon Itahan ladies, that every one here interred has been a model of conjugal purity and affection, which we may take on the best testi mony, that of the disconsolate widower ; but as it can hardly be probable that the good alone have died, we may pre sume that a simUar character is due to the survivors. The youth of a large proportion of the deceased is remark able. The paintings of the life of St. Francis are not without interest. The inner cloister contains the sepulchral chapel of the Pazzi, built by Brunei- leschi in 1420, and showing remarkable correctness in its classical details, as weU as originahty in their combination. This chapel contains the four Evan gelists, and the Apostles, &c., in terra cotta, by Luca della Robbia, and angels in marble by DonateUo. Two or three open monuments, hke those at Verona, stand near the waU. Among the an cient monuments, that of Francesco Pazzi is attributed to Nino son of N. Italy— 1852. Andrea Pisano, and that of Gastone deUa Torre, patriarch of AquUeja, to Agostino da Siena. Another tomb is of ruder workmanship, with a species of Byzantine character. That of Ala- manni de' CaraccioU, 1337, stands out boldly. The artist is unknown. The Piazza of Sta. Croce is regular and spacious. On the rt.-hand side, when looking to the church, is the Palazzo of Niccolo della Antella, the lieutenant or deputy of Cosmo II. in the academy of design. It is covered with frescoes, remarkable, besides their elegance, for theh having been executed in 27 days, in 1620. The subjects are mythological and aUegorical; faded, but of merit, being by the best artists who flourished at that period. The democracy of Florence was founded in the Piazza di Santa Croce, in the year 1250. The government of the state had been vested by Frederick II. in the GhibeUine nobles, to the ex clusion of aU others. This oUgarchy imposed heavy taxes ; and the Uberti in particular had given great offence by their pride. A sudden tumult arose ; and the goodmen, as they are styled by VUlani, assembled here, with the determination of taking the power into their own hands, which they ac comphshed without the shghtest resist ance. Having made themselves people, according to the expressive term of the Chronicles, and forcibly rendered by HaUam as " a resolution of all deriva tive powers into the immediate opera tion of the popular will," they elected Uberto di Lucca as Capitano del Popolo, and twelve mUitary chiefs; or Anzianidel Popolo, the leaders in arms of the citi zens. IJp to this period the Florentines were subject to the Emperor : with this revolution began their democracy. Santa Maria Novella was the first colony of the Preaching Friars in Flo rence. St. Dominick, the founder of this celebrated order, in the same year (1216) in which his institution was confirmed by Honorius III., having been previously approved by innocent III., sent a smah detachment of friars to Florence. In about 1222 they were, after some removals, located in a small Y 482 Boute 44. — 1'iorence — isanta Maria isovella. Beet. VI. but very ancient church, then standing without the waUs of Florence, the site of which is now included within the present magnificent edifice. The spa- -cious church, two large cloisters, and several smaller quadrangles, saeristy, refectory, and chapter-house, are spread over the area granted by the magis tracy and people. The facade of the church is com pleted — a rare thing in Florence. It is composed of compartments of white marble and serpentine. This facade is the most modem portion ; for, though begun in 1348, it was not finished tiU 1470. As it now stands, it is from the designs of Leon Batista Alberti. In serted in the front are two curious astronomical instruments, placed there by the Padre Ignazio Danti, astro nomer of Cosmo I. — a quadrant dial (1572) and an armUlary dial (1574). The use of the first is expressed in an inscription on the E. side of it. The 'ships introduced in the front are sup posed to have been the device of the RuceUai famUy, who defrayed great part of the expense. The wall of a cloister extending from the front is composed of arehea, each containing an ancient tomb, like those at Pistoia and Lucca. These were executed about ¦1300, at the time when tombs were made in imitation of the ancient sarco phagi, and when, as at Pisa, the ancient tombs were used again. From these tombs the neighbouring street has ac quired the name of Via degU AveUi (street of the tombs). The churoh, begun in 1279 from the designs of Fra Ristoro and Fret Sisto, lay brothers of the order, is Gothic. The campanUe, a fine tower with a spire in the Romanesque style, is at tributed to the same architects. The buUding was carried on by Fra, Borghese and Fra Albertini, and com pleted in 1357 by Fra, Giovanni, Bra- chetti da Campi, and Fra Jacopo Ta- lenti da Nipozzano, aU members of this community. Michael Angelo- gave to thiB church the title of his bride. The church iB 322 ft. long, 88 ft. wide across the nave and aisles,, and 203 ft. through the transepts. The arches, which rest on the columns dividing the nave from the aisles, are of varying span ; those in the middle are larger than those nearer the facade; and these last are larger than those nearest to the high-altar. The architectural decorations of the altars and chapels were added by Vasari and others, by the direction of Cosmo I. There is much splendid stained glass in this church, particularly in the cir cular window of the facade, containing the Virgin surrounded by the angehc host. Over the principal door is a crucifix attributed to Giotto. This church stands N. and S., the high altar being at the N. end. In the aisle on the rt. hand, when entering by the S. end, are the Annunciation, by Santi di Tito; St. Peter Martyr (on a pUaster), by Cigoli ; the Raising of Lazarus, by Santi di Tito ; and the beautiful monu ment by Bernardo di Matteo da Set- tignano, of the Beata VUlana, who was widow of Pietro di Rosso, and who, having died in 1360, acquired a reputa tion of sanctity, and, as a saint, was venerated by the Florentines, though she was not finally canonised till 1824. It is remarkable that the novelist Sae- chetti, her contemporary, in a very singular letter or essay, in which he blames the indiscreet devotion of the common people, expressly adduces her example as one of veneration misap- pUed. She is represented as sleeping in perfect tranquillity, perhaps in death : above are two angels of ex treme beauty, with a scroU upon which a very short epitaph is inscribed. At the end of the transept, which is on the rt. hand when looking towards the high altar, in a place raised above the level of the pavement of the church, and between the Capella dd RuceUai and that of de' Bardi da Vernio, is the celebrated picture of the Virgin seated on a throne with the infant Saviour on her lap, larger than life, upon a gold ground, with six angels around, by Cimabue, It shows a marked im provement in drawing beyond the art of the time, and, when produced, it excited the highest admiration. WhUe the painter was employed upon it, Tuscany. Boute 44.— Florence — Santa Maria Novella. 483 Charles of Anjou passed through Flo rence, and waa taken to sec it; none had then seen the picture, but, profiting by the king's admission, all Florence foUowed ; and, such was the wonder excited and pleasure given by it, that the quarter in which Cimabue hved acquired the name of Borgo Allegri, which it long retained. When com pleted the picture was carried from Cimabue's house to the church in triumphal procession. Here, on one side, is Sta. Lucia, by Ridolfo Ghirlan- daio; and, on the other, the Martyr dom of St. Catherine^ Buggiardini : some of the figures in the latter pic ture are attributed to Michael Angelo. In the Capella di Filippo Strozzi (which is that next to the high altar on this side), behind the altar, is the Tomb of FUippo Strozzi, by Benedetto da Majano. It is in the cinque-cento style : the group in the centre, Angels worshipping the Virgin and ChUd, is arranged with the simphcity and form- aUty of an early picture. Great sweet ness of expression, and finish, distin guish this work. It was this Filippo Strozzi who built the Strozzi palace. Here are frescoes by Filippino Lippi, 1486, On the ceUing, Christ, the four Evangehsts, and St. Antony. On the waUs apocryphal miracles of St. John and St. Philip ; on the 1. St. John raising Drusiana from the dead ; on the rt. the expulsion of the dragon from the temple of Mars by St. Philip. " The choir is entirely painted in fresco, by Dom. del Ghirlandaio, but cannot weU be seen even at the best time (about 9 a.m., when there is a httle reflected hght from two upper windows before the curtains are drawn) on account of a huge wooden altar erected in front of them, and which almost walls them up. Nevertheless, they weU deserve more than one visit by any one interested in the progress of art. In these works there is a great step forward in shaking off the dry shackles of earlier arti and much naivete and originahty. The portraits of contemporaries, introduced in, aU these subjects as spectators, are parti cularly mterasting-, as weh for their great character as theh' exceeding beauty and simpUcity, particularly in many of the females. ' To the student in art also these frescoes are particu larly interesting, Ghirlandaio being perhaps more facUe in execution than any other of the freacanti." — C. W. C. Theae frescoes were executed at the expense of the families of Tornalmoni and Tornaquind, to supply the place of others by Orgagna, which had be come decayed. Michael Angelo was the pupU of Ghirlandaio, and some portions of them are traditionaUy re ported to be by his hand. The sub jects of these frescoes are — on the rt.- hand waU on entering' the choir, the history of St. John the Baptist ; on the 1. hand, that of the Virgin. Beginning at the lowest painting on the rt. of the spectator, in the first series, the sub jects stand as foUows : — 1. The Angel appearing to Zacharias in the Temple. This fresco contains portraits of many of the painter's contemporaries. The four half-length figures conversing together at the side of the picture on the 1. hand of the spectator are as foUow : — the first, in the dress of a" canon, is MarsUio Ficino ; the second,. with a red cloak and a black band at the neck, is Cristofano Landino ; the figure turning to him is Gentile de' Becchi, Bishop of Arezzo ; and be tween these two last, raising his hand a httle, is Pohtian. Here are also the portraits of the whole famUy of Torna- buoni. 2. The Salutation : the single figure, foUowed by two attendants, who walks behind Elizabeth, is Ginevra de' Benci, celebrated as one of the beauties of her time. 3. The birth of John the Baptist : it contains a beautiful whole- length female portrait: 4. Zacharias declares the name of the child. 5. Preaching of John. 6. Baptism of Christ. 7. The feast on Herod's birth day, and the dancing of the daughter of Herodias. On the opposite wall, beginning with the lowest picture on the 1. hand of the spectator: — 1. Jo achim driven out of the Temple, his- offering not being received on account of his being ehUdless in Israel. Here, the four figures on the side nearest the Y 2 484 Boute 44. — Florence — Santa Maria Novella. Sect. VI. window are portraits : the old man in a red hood is Tommaso, the painter's father. The one with his head un covered, with his hand on his side, and wearing a red cloak over a blue tunic, is the painter himself. The figure with a black head of hair and thickish hps is Bastiano da S. Gemignano, his pupU and relation ; and the other, turning his back, and with a small cap on his head, is the painter's brother, David Ghirlandaio. There are also portraits of his contemporaries, including Pietro, Lorenzo, and Giovanni de' Medici, and his patron Tornaquinci. 2. The birth of the Virgin. This fresco contains a remarkably lovely group of female figures surrounding and tending the infant. 3. The Presentation of the Virgin in the Temple. 4. Her Mar riage. 5. The Adoration of the Wise Men. 6. The Massacre of the Inno cents. 7. The Death and Assumption of the Virgin. In the vaulting of the roof are the four Evangehsts : on the waU in whieh the window is are events from the hves of St. Dominic and St. Peter Martyr : St. John in the Desert, the Annunciation of the Virgin, and above the windows many of the pro tecting saints of Florence kneeling. Under the window are portraits of Giovanni Tornabuoni and his wife. The taU triple Gothic window contains fine stained glass, the designs of which are principaUy whole-length figures by Alessandro Fiorentino (1491). The seats of the choir were designed by Vasari. In the next chapel, caUed the Capella de' Gondi, on the rt. hand on leaving the choir, is the crucifix of wood, by BruneUeschi, which was exe cuted by him out of rivalry with Dona teUo, when he rallied the latter upon the inelegance of his in Santa Croce, as before told. It is said by Vasari that, when DonateUo saw this production of his rival, he was so surprised with its exceUence, that, Ufting up his hands in astonishment, he let go his apron fiUed with eggs and cheese for his dinner, aU of which feU upon the ground, saying, — " To you belongs the power of carving the figure of Christ ; to me that of representing day-labourers." — " A te e conceduto fare i Christi, ed a me i contadini." " Though it is far from the perfection that the above anecdote would imply, it is a remark able work for expression, and in that respect ranks deservedly before the performance of DonateUo." — Westma cott junior. The crucifix of DonateUo is rigid and without expression, faults which he afterwards most ably cor rected, this rivalry having doubtlessly led him to pay greater attention to expression in his subsequent works. This work of BruneUeschi is somewhat open to the criticism which Sir J. Rey nolds made upon the early paintings of the crucifixion, that they represent our Saviour as if he had been starved to death. In the Capella de' Gaddi, the Raising of the Daughter of Jairus is by Ang. Bronzino ; the two bas-rehefs in marble by Giov. delV Opera; the designs of the two tombs and of the altar-table by Michael Angelo; and the paintings on the ceUing by Aless. Allori. This chapel is a rich specimen of the best Italian archit^ture by Dodo. In the Capella Strozzi, wliich is at the end of the l.-hand transept as you look towards the high altar, and is entered by a flight of steps, are frescoes of Bernardo and Andrea Or cagna, The Inferno, with the names of the sins and of the sinners, written in Gothic capitals, has been entirely repainted, and is good for nothing. Opposite is Heaven, with endless groups of Angels and of glorified Saints. Over the altar is the Last Judgment, in which the satire of the middle ages is displayed ; those on the 1. hand being those who in this world were most honoured — bishops, abbots, monks, nuns, nobles, knights, and ladies, intermixed with grotesque fiends, amongst which may be re marked a demon dragging a reluctant corpse out of the grave. The treat ment of this subject is hke that of the same portion of Scripture in the Campo Santo at Pisa, also by Orcagna. The altar-piece, or altar-table, is by Andrea Orcagna, representing St. Do minic presented to the Virgin, with many other figures, aU dehcately Tuscany. Boute 44. — Florence — Santa Maria Novella. 485 finished. His name, wrought in early Gothic characters, forma a kind of border beneath the picture, whieh he painted, pursuant to a contract made between him and Tomaso Strozzi, 1357. In this chapel the stained glass is fine. Over the door leading to the campanile is a small fresco, by Buffal macco, the Coronation of the Virgin, with a host of Angels. The sacristy is a fine Gothic chamber, built by Fra Jacopo di Nipozzano, but it seems at first to have been intended for a chapel. Here are preserved some re liquaries, beautifully painted by Frate Angelica da Fiesole, which the sacristan wUl show upon apphcation. " The Annunciation, by Angelico, in the sacristy is by far the finest smaU work by him in Florence." — R. The cru cifix over the door is by Masacdo, and formerly existed at the altar del Ro sario in the church, surrounded by figures wliich are now covered by a picture of the Virgin of the Rosary, by Vasari. Beneath this Bacristy and the Strozzi chapel are some vaults, sup posed to be portions of the original church. They exhibit paintingB of the early Florentine school, but they are employed as depositories for lumber. In the Capella de' Pasgyuali is the Re surrection, by Vasari. " Further on is our Lord and the Woman of Samaria, by Aless. Allori. Three of Miehaei Angelo's best pupUs contributed to the mausoleum of Antonio Strozzi. Anchrea Ferrucd gave the general design ; the graceful Madonna, which forms the centre compartment, was ex ecuted by Andrea and Silvio da Fie sole ; the Angels, and some of the minor ornaments, are the work of Maso Boscoli. The pulpit is worth notice ; the sculptures give the usual events from the life of the Virgin with great purity and expression. They are by Maestro Lazzaro. The figures have been gUt. In the nave is a brOnze tomb of Fra Leonardo di Stagio Dati, by Ghiberti. The Chiostro Verde (whieh is on the W. side of the church, and may be entered either by a door in the piazza or by one in the aisle) was buUt from the designs of Fra Giovanni da Campi, in 1320, with circular arches and Gothic pUlars, and derives its name from the prevailing tint of the frescoes, green, shaded with brown ; painted, about 1348, by Paolo Uccello and by Dello, principaUy with subjects from the Book of Genesis. These frescoes find admirers, especiaUy among the German artists. AU are much injured, but some good fragments may be found, especiaUy among the figures in the portion representing the Deluge. In the representation of the FaU, Paolo Uccello has, as was usual with the painters of his age, represented the serpent with the head of a female. The life of Abraham is by Dello. In the N.W. angle of this cloister is the Crucifixion, by Stefano del Ponte Vecchio, scholar of Giotto, with St. Dominic and St. Thomas Aquinas, both fine figures, at the foot of the cross. In the distance is a curious view of ancient Florence, with the Arno, the towers, and the waUs. On the N. side of this cloister is the entrance to the ancient chapter-house, afterwards caUed the Capella degli Spagnuoli. It was buUt in 1350. The architect was Frd Giacopo Talenti da Nipozzano, and the painters Simone Memmi and Taddeo Gaddi were selected for its adornment as the best artists of the time. Memmi, who had just returned from Avignon (where some fragments of his works may still be seen . in the Papal fortress), was then at the height of his reputation. He took three sides, E., K., and S., leaving the fourth and the vaulting to Gaddi. On the E. side is a most singular and comphcated composition, intended to represent the Church Militant and Triumphant, as forming the entrance to Paradise. The Pope and the Em peror, as guardians of the Church, which is represented by Arnolfo's de sign for the cathedral of Florence, are seated on thrones. Near the Em peror are temporal counciUors — Kings, Princes ; near the Pope, spiritual — Cardinals, Bishops; and around are many distinguished persons. A troop of ravenous. Wolves, driven away from 486 Boute 44'. —Florence — Santa Maria Novella. j3ect. VI. a flock of sheep by a pack of spotted black and white Dogs (the colours of the Dominicans), figure the heretics repeUed by the exertions of the Domi nicans, or Domini canes. Some of the heretics, being converted by argument, tear their books, and theh1 souls pass to the gate of Paradise. On earth are represented human pleasures and vanities, and the means by which they are rendered innoxious. St. Do minic earnestly points out the way to heaven, which is seen over the church ; St. Peter receives the elect, and opens the gates of heaven, in which Christ is enthroned amid the host of angels. In the group Memmi has introduced, ac cording to Vasari, portraits of himself, Cimabue, Arnolfo, Lapo, Benedict XL, ¦Philip le Bel, Laura and Petrarch, Bo- caceio, Fiametta, &c. The portrait of Cimabue is in profile. The face is thin, reddish, and sharp ; the beard small. On the head is a hood of the fashion of the day, enclosing it, and fastened under the throat. By his side is Simone Memmi himself, also in profile. The soldier in full armour be tween them is Guido NoveUo. Laura is dressed in green, and represented with a small flame of fire between her breast and throat. Benedict XL is the Pope on the throne, and at his side is the Cardinal Nicola da Prato, then Legate at Florence. Opposite, on the W. side, is a com position, by Taddeo Gaddi, represent ing the triumph of St. Thomas Aquinas. Seated on >* throne in the centre, he holds an open book in his hand, in which is inscribed the text (Wisdom, -ch. vU. w. 7, 8), " Wherefore I prayed, and understanding was given me : I caUed upon God, and the Spirit of Wisdom came to me. I preferred her before sceptres and thrones, and es teemed riches nothing in comparison of her." He is surrounded by Moses, St. Paul, St. John the Evangelist, •Virtues, Angels, and Saints ; at his feet are the leaders of heresy and false ¦plhlosophy, Arius, SabelUus, and Averrhoes. In the second range are 14 female figures, personifications of the sciences and virtues, as defined by the schoolmen ; and beneath them are those who, according to the prevaUing ideas, exeeUed therein. The symbols are often very perplexing. Beginning on the 1., and proceeding regularly to the rt. : — 1. The CivU Law is repre sented holding the globe in her hand, and with her is Justinian. 2. Canon Law, and Pope Clement V. 3. Spe culative Theology, and Peter Lombard, Master of the Sentences. 4. Practical Theology, and Boethius. 5. Faith, and Dionysius the Areopagite. 6. Hope, and John of Damascus. 7. Charity, in a red robe, drawmg a bow, and St. Augustin. 8. Arithmetic, with a board for working addition, and Abraham as its inventor. 9. Geo metry, with square and compass, and Euclid. 10. Astronomy, and Atlas. 11. Music, and Tubal-Cain. 12. Logic, a beautiful matron holding a serpent, and Zeno the Eleatic. 13. Rhetorie, and Cicero. 14. Grammar, and Do- natus. On the N. side Memmi has repre sented Christ bearing his Cross, the Crucifixion, and the Descent into HeU ; the last a cavern in a rock, and fiends retreating in grinning disappointment. Under ihe character of Longinus (i. e. the Roman centurion) Memmi portrays the tyrant Walter de Brienne. The paintings on the S. wall, which did contain the life of St. Dominic, are nearly effaced. Two scenes, the Preaching of the Saint, and the Rais ing a girl to hfe, may be partly made out. Semi-Gothic arabesques divide the vaulting into compartments, in which are the four foUowing subjects : — 1. The Resurrection of Christ, in which the painter seems to have intended that the body of our Lord should radiate hght ; 2. Christ saving the Apostles from shipwreck, with St. Peter coming to him on the water ; 3. The Ascen sion ; and 4, the Descent of the Holy Ghost. The latter is represented as if it had happened at Florence in the painter's time ; the Apostles being in an upper room or sollar, such as is stUl seen in many of the old houses here; the Parthians, Medes, and Elam- Tuscany. Boute 44. — Florence — Santa Maria Novella, 487 ites, in various and strange costumes, standing without, below. The light is scantUy admitted into this spacious room, through windows opening into the cloister, divided by beautiful spiral columns, and through an aperture above, so that the paint ings can only be well seen on a bright day. ' The Chiostro Grande, the largest in Florence, consists of 56 arches ; eaeh lunette containing a painting, repre senting acts of St. Thomas Aquinas, San' Pietro Martire, and other saints of the Dominican order. The best are by Santi di Tito and Cigoli, particu larly Saint Vincent Ferrer receiving the Habit of the Order. The old refectory, which is on the E. side of the Chiostro Grande, from which there is access to it, contains a fine fresco, by Bronzino (1597). It represents the Israelites in the Desert, the Gathering of the Manna, and the Israehtes drinking the Water gushing from the Rock. The figures are larger than life. The figures drinking from the waters are fine. Here also is a Madonna of the early school, possessing some merit. One portion of the building remains to be mentioned. It is the Spezieria, where may be procured medicines care fuUy and weUcompounded,andessences and sweet waters, of which every kind may here be purchased, and at a very reasonable rate. In 1418 the republic of Florence determined to exercise public hospitahty towards distin guished strangers, like the jj-^agswa of the Greek republics, and the hospitium publicum of the Roman ; and it was decreed that a spacious building should be erected for that purpose, near the ¦monastery of Sta. Maria NoveUa. One of the first occasions on which it was used was when, in 1439, the General CouncU, which had been opened at Ferrara in 1438, for the pur pose of bringing about the reunion of the Greek and Latin churches, waa, on account of the plague having broken out there, adjourned to Florence, by Pope Eugenius IV. On that occasion the Pope, the Greek Emperor John Paheologus, and the Greek Patriarch Josephus, and numerous ecclesiastical dignitaries and theologians were lodged here ; and here also were held aU the sittings of the councU, except the last, which was held in the cathedral. The building was afterwards incorporated in the monastery, and devoted to its present use. The series of apartments constituting this establishment are ap propriately and elegantly fitted up. Many of the taU vases and jars are of very beautiful fayenee, enameUed in yeUow and green, and often decorated, not unappropriately, with the 5 pills or boluses, the arms of the Medid, who took this estabUshment under their spe cial protection. In the mineral-water room, formerly a chapel, are frescoes representing the history of Christ's passion in 12 paintings, by Spinello Aretino, in 1400. In the principal apartment is the bust of Father Tomaso Valori, the late director of the estab lishment, and by whose hberahty it was preserved. When the convent was suppressed by the French, he pur chased the laboratory and carried on the business until the restoration of the monastery, when he surrendered it to its owners. He died in 1825. The Spezieria has an entry distinct from the convent in the Via della Scala. Here ladies can enter, as weU as into the church and the Chiostro Verde, but not into the Chiostro Grande, or other portions of the monastery, unless per mission be obtained from the aroh- bishop or his official ; and this is not easUy granted. During the French rule, this fine building was occupied by troops, who damaged the pamtmgs in the cloisters. By the return of the Grand Duke, the former owners of Sta. Maria Novella were replaced in their convent, but the lion's share of their property remains in the possession of government, and their number is therefore much di minished, though they stUl constitute a respectable community. The Piazza of Sta. Maria NoveUa, formed on two sides by the church and by the conventual buUdings, is irregu lar. It has been, and stiU is, the scene 488 Boute 44. — Florence — San Lorenzo, Sect. VI. of the principal public festivities of the Florentines. In the centre are two obelisks supported by tortoises, cast by Giovanni di Bologna. They are crowned by the Giglio of Florence. San Lorenzo is externaUy a mass of rough and dingy brickwork. The draw ings by Michael Angelo, for the com pletion of the front, are extant. The original basUica was, perhaps, the oldest sacred structure in the city : it was consecrated by St. Ambrose in 393 ; but, having been greatly damaged by fire in the 15th century, it was determined that it should be rebuUt in a better style than before. The person employed, and whose name Vasari conceals, was an amateur architect : " uno che si andava dUettando di architettura per passatempo." Some portions were raised, when Giovanni de' Medici re quested BruneUeschi to give his opinion jf the buUding : the latter very openly spoke out, and exhorted his patron to contribute influence and money for the purpose of raising a more appropriate temple. BruneUeschi spoke to a wUl- ing auditor ; and by the voluntary contributions of the Florentines, of which Giovanni, and afterwards his son Cosmo, bore the greatest part, the pre sent church was begun ; the first stone having been laid in 1425. The Corin thian columns are finely proportioned. Circular arches spring from the squared cornice above each capital. The detaUs are taken with precision from Roman models — the Lamb and the Book with Seven Seals being introduced in place of heathen emblems. BruneUeschi did not Uve to complete the buUding, and hence some alterations were made which have been found fault with. Among the additions are the ornaments, with the elevations of the two doors of the Sagrestia Vecchia, by DonateUo: the terrace at the lower end of the church is attributed to Michael Angelo : the altars of the several chapels are modern. There are two fine pulpits, or Amboni, in the nave, executed, after the designs of DonateUo, by Bertoldo, his scholar. The subjects of the bronze bas-reliefs on them represent the Passion and Re surrection of our Lord. The finest are the Descent from the Cross, and the Entombment. Behind the pulpit, on the S. side of the nave, is a large fresco of the Martyrdom of S. Lorenzo, by Ang. Bronzino. In the Capella degli Operai, which is next to this towards the transept, is an Annunciation, by Filippo Lippi. In the pavement near the high altar is the monument of Cosmo de' Medici, or Cosmo U Vecchio, who died Aug. 1st, 1464, bearing on it the title of " Pater Patriae," bestowed upon him by pubhc decree in the year after his decease. The memorial consists of a slab of por phyry, inlaid with verd'-antique and precious marbles, marking the spot where his body lies. The Sagrestia Vecchia, which is on the S. side of the church, was designed by BruneUeschi before it waa settled that he should rebuUd the whole church. The bas-rehefs, the four evangehsts, the two bronze doors, and the elevations of the doorways, are by DonateUo. In the tribune over the altar is a singu lar aUegorical painting, constellations, planets, the moon in Taurus, and the sun in Cancer. — By DonateUo is the sarcophagus in the middle of the pave ment, being that of Giovanni d'Aver- ardo dei Medici (died 1428), the father of Cosmo U Vecchio, and the founder of the greatness of the famUy. The tomb is of great elegance, but unfor tunately obscured by a great marble table placed over it. Picarda, the wife of Cosmo, is buried in the same tomb. Near the door is the costly monument by Verrocchio, erected by Lorenzo and Giuhano de' Medici, to the memory of Pietro and Giovanni, their father and their uncle. Round the sarcophagus, composed of porphry and verd'-antique; are fine bronze festoons of foUage. A cabhng, in bronze, over the monument, is also a specimen of the perfection of metal work : the date is 1472. On the wall is a small painted bas-relief, appa rently contemporary, of Cosmo de' Medici. In the Sagrestia nuova, or Capella dd depodti (which is on the N. side of the church, and to which there is en- Tuscany. Boute 44. — Florence — San Lorenzo. 489 trance from the Via deUe CantoneUe) buUt by Michael Angelo, we have a building planned for its monuments, and the monuments planned for the buUding which contains them. The monuments are those of Lorenzo and Giuhano de' Medici. Lorenzo was the grandson of Lorenzo the Magnificent, and was created Duke of Urbino by his uncle Leo X. In 1518 he married Magdeleine de Boulogne, of the royal house of France, and the sole fruit of this union was Catherine dei Medici, afterwards the queen of Henry II. He died in 1519, surviving the birth of his daughter only a few days. " The statue of Lorenzo is seated. He is represented absorbed in thought. He rests his face upon his hand, which partiaUy covers the chin and mouth. The general action is one of perfect repose, and the expression that of deep meditation. It is impossible to look at this figure without being forcibly struck with the mind that pervades it. For deep and intense feeling it is one of the finest works in existence. It has been weU observed of this statue that it has no resemblance to the antique, but it rivals the best exceUences of the ancients in expression combined with repose and dignity."- Westmacott jun. The figures reclining at his feet are intended to re present Morning and Evening. The other monument is that of Giuhano de' Medici, the third son of Lorenzo the -Magnificent, who, after the elevation of his brother Leo X., held, under the title of captain-general of the Church, the chief command of the papal troops. Having intermarried with the sister of the Duke of Savoy, he was honoured by Francis I. with the title of Duke of Nemours. He died in his 37th year, in March 1516. The figures on his tomb are intended to represent Day and Night. " In the lower part of the two monu ments of Giuhano and Lorenzo are aUegorical figures of Day and Night, and the Dawn, or Morning and Even ing. They bear the impress of the master mind and hand; but the violence of action and forced expression of these statues are not in character, in the first place, with the repose which is appro priate to monumental sculpture, and they do not harmonise with the figures above them. The intimate knowledge of anatomy possessed by Michael An gelo, and the evident mastery he had over aU difficulties of execution, appear sometimes to have tempted him, as in these statues, to indulge in their dis play at the expense of propriety of design." " But these defects, and defects they undoubtedly are, must not bhnd us to the great merits of the master who, whUe sculpture may be said to have been in a transition state — balanced, as it were, between the stiff and mannered simplicity of the " rinascimento " and the ancient Greek school (just then beginning to be admired) — had the genius to strike out for himself a style as original as undeniably it is imposing. M. Angelo seems to have felt that the works of his contemporaries, admirable as were some of them for intention and expression, were eminently deficient in nobleness of form. The remains of Greek sculpture offered, it is true, the finest models in this respect, but he had no sympathy with their subjects, nor the train of thought that helped to produce them, and without these sym pathies he was of course unable to ap propriate the types supphed by these works, as with his innate feeling for the " grandiose " he was incapable of Ulus- trating his own ideas by adopting the dry and meagre forms of the revivers. His own mind supplied this want ; and thus M. Angelo stands alone as the bold inventor of a style. It has its defects, but they are aU on the Bide of greatness. Compared with that of the ancients (of one period and of one school only), the sculpture of Buo narotti, it must be granted, wants chasteness and simphcity; but there is nothing in it httle or mean, either in form or expression ; and it is more than probable that, had a pseudo-clas sical passion not raged in Italy, impos ing a bastard taste on every exercise of the inteUect, whether in art or literature, Michael Angelo would have developed the sculpture of the Christian rehgion Y 3 490 Boute 44. — Florence — Medicean Chapel. Sect. VI. as successfully and as sublimely as Phi dias did that of the ancient mythology. It would be right, then, to hesitate before we visit with overwhelming con demnation faults which were in a great measure but the consequence of circum stances. It should be remembered that no artist of any age has ventured to think so boldly for himself as M. Angelo ; and though his manner of doing it cannot always be approved, he must ever be considered one of the great landmarks in the history of the art. It is true, he has been overpraised by many more who yet have only been able to see his imperfections. His imitators have chiefly caught the faults of his style, and have caused the in fluence he has exercised on art to be deplored ; but no real judge or sound critic wiU venture to say that the beat of M. Angelo'a works do not place their author far above those who (whether, in affectation of primitive simphcity, they repeat the dry hard works of the revivera, or, in real admiration of the sculpture of the Greeks, continue to multiply copies of the ancient models) are, after all, but a race of imitators — servumpecus. In addition to the works above referred to, by M. Angelo, in the Medici Chapel is a remarkable group, unfinished, of a Virgin and ChUd. This work has the forced and overstrained character of composition which appears in so many of M. Angelo'a productions ; but it ia, notwitliBtanding, a perform ance of high merit. The style of form is large and grand, the treatment is dashing and vigorous, and it is by no means deficient in beauty. It ia im possible not to see in it the conception of a master mind and the work of a master hand!" — Westmacott jun., A.R.A. The merit of these sculptures was fully appreciated when they first ap peared. They are praised in prose and in verse, and the Notte, in par ticular, suggested to Giovanni Battista Strozzi the elegant quatrain — "La Notte elie tu vedi in si dolci atti Dormire, fu da un Angelo scolpita In questo sasso, e perche dorme ha vita: Destala, se nol' credi, e parleratti."' Michael Angelo rephed with equal, per haps superior, elegance — " Orato m' e '1 sonno e piu 1' esser di sasso ; Mentre che il danno, e la vergogna dura Non veder, non sentir m' e' gran' Ventura ; Pero non mi destar ; deh parla basso." The statue of Lorenzo has been caUed " II Pensiero" (the thought) of Michel Angelo. " The Madonna and ChUd on the N. side of this chapel is simple, and has a sentiment of maternal affection never found in the Greek sculpture, but fre quently in the works of this artist, particularly in his paintings, and that of the most tender kind." — Flaxman, Lect. X. The statue of St. Damian on the Virgin's rt. hand is by Raffaello da Montehipo, that of St. Co3mo by Frd Giov. Angelo Montorsoli. -The Medicean Chapel (which is at the back of the choir) is an Ulustration of the old story of the painter who, being unable to represent Venus beau tiful, covered her with finery. The first stone was laid in January, 1604, the architect being Giov. dei Mediei, and afterwards Matteo Nigetti. Its founder, Ferdinand I., intended the building for the actual reception of the Holy Sepulchre, In 1603 there arrived at Florence a mysterious personage from the East, styling himself Faccar- dine, Emir of the Druses. This emir, now he waa on Christian ground, re vealed the fact that he was a descendant of the " Pio Goffredo," and, as such, entertained an hereditary hatred against the Turks ; and he offered his aid to the Grand Duke to enable him to ac quire (i. e. to steal) the most revered rehe of Christendom. When Faccar- dine returned to Jerusalem in 1604, a smaU fleet of galleys was despatched to the coast of Syria, under the command of the captain-general, Inghirami ; and Faccardine and his confederates ac tually found means to enter the church, and to begin their operations for de taching the sepulchre from the rock, when, being discovered by the " malice" of the Greeks, they were eompeUed to take to flight, leaving the marks of the Tuscany. Boute 44. — Florence — Medicean Chapel. 491 saw. The Ul success of the intended larceny was viewed as a great misfor tune. Cosmo II. converted the build ing into the cemetery of the grand ducal famUy. The waUs are entirely covered with the richest marbles and pietre dure, — jasper, chalcedony, agate, lapis lazuli, and stUl more precious stones, com posing the Florentine mosaic of pietre commesse, of which the materials are entirely different from that of the modern Roman mosaic. In the Roman mosaic the colours are artificial, it being formed of little pieces of glass. called " smalto." In the Florentine mosaic no colours are employed, ex cepting what are natural to. the stone ; and the varied tints and shading are formed by a judicious adaptation of the gradations which the material afforda. By means of these only, graceful and elaborate representations of flowers, fruit, ornaments, &c, have been produced. Marbles and jaspers of brilliant colours, being, of course, very valuable, are only used in thin shoes, like veneer, about \ of an inch thick. The process is extremely tedious, and therefore expensive ; the pattern is drawn on paper ; each piece is then cut out and drawn' on the stone chosen. The stone is sawn by means of a fine wire stretched by a bow and with emery powder, and is worked down with emery at a wheel untU it fits exactly ; it is then joined to the other pieces by being set in a backing of white cement about ^ inch thick ; when the work is completed this cement is planed down even, and a slab of slate put at the back. Some of the works now in hand in the Grand Duoal manufactory, and intended for the high altar of this chapel, will be the mo3t beautiful specimens yet pro duced. This Florentine mosaic seems to be the " opus sectile " of the Romans. The armorial bearings of the cities and states of Tuscany incorporated in the dominions of the Medici, which range round the dado of the chapel, are examples of the richness of this work. The Giglio of Florence was once white; it is now red; and the alteration is de plored by Dante as one of the conse quences of her discord and divisions: — .... " vid' io glorioso, E giusto '1 popol suo tanto, che '1 giglio Non era ad asta rnai posto aTitroso, Ne per division fatto vermiglio."Paradiso, xvi. 151-153. " have 1 seen Her people just and glorious, so far that ne'er Stain'd through division had her lily been With vermeil, or reversed upon the spear." Weight's Dante. This red giglio is the most elegant of the coats. It is delicately and elabo rately formed of different hues of coral and cornelian, inlaid so as to represent the relief and the shading of the flower, which is evidently, like the fleur-de-lys of Prance, no lily, but the three-petaled iris, which still waves on the old walls of Florence. All the bearings, as be fore observed, are purely colours of nature; the giallo antico standing for or, lapis lazuli azure, rosso antico gules, and so on. In the bearing of the golden Lion of Massa the mane is represented by the insertion of darker and lighter portions of the marble, and the eye is inlaid of black marble. In only one instance is help given by art. It is in the case of the Lion argent of Pienza, which, formed of semi-transpa rent alabaster, has, beneath it, a shading on the ground, which shows through the stone. The Medicean cenotaphs are, in splen dour of material, in accordance with the mausoleum which encloses them. Chalcedony, jasper, mother-of-pearl, turquoises, and topazes, are lavished on these monuments. The statue of Ferdinand I. (died 1609) was modelled by Giovanni di Bologna, and cast by Pietro and Ferdinando Tacca, As a work of art, the statue of Cosmo II. (d. 1621), attributed to Giovanni di Bologna, stands pre-eminent. It is not, however, by Giovanni di Bologna, but also by Tacca. The cushion upon which the grand ducal crown is placed is of the most wonderful workmanship, inlaid notonerely with pietre dure, but with precious stones. The grand ducal crown, which differs in shape from all other European crowns, was the fancy of Pope Clement VII.,- when he invented 492 Boute 44. — Florence — Laurentian Library. Sect. VI. the title of " Grand Duke." The roof is covered with frescoes executed be tween 1828 and 1837, by the late director of the Academy, Benvenuti. The bodies of the Medici are contained in a crypt below. A portion of the vaults in which the bodies are laid is passed through, if the chapel is ap proached from the back entrance. The chapel may be seen from ten till four o'clock, the custode being then in at tendance ; but the churoh is only open during the usual hours. A notice is hung up in the entrance to the chapel, requesting that no fee may be given to the custode, as he receives a salary from the Grand Duke. The cloister on the S. side of the body of the church, is small and regular : a second loggia or arcade runs above. Here is the tomb of Paolo Giovio, Bishop of Nocera, who died in 1552, an eminent writer of history and historical biography, The statue is by Francesco di San Gallo. This cloister opens into the celebrated Laurentian Library. A noble but unfinished vestibule, designed, like the rest of the building, by Michael Angelo, leads into the library. Some variation was introduced in this portion by Vasari. The library itself forms a long and lofty gaUery, of which the effect is improved by the fine stained windows, from the designs of Giovanni da Udine. In each of these the armorial shield of Clement VII. is introduced. The terra-cotta pavement, with its grotesque but ele gant patterns, in brown, red, and yel low, was constructed by II Tribolo. The Rotonda attached to the library was finished in 1841, by the architect Poccianti, The Mediceo-Laurentian Library is a noble monument of the attention of the family of Medici to the advancement of learning. It has undergone many vioissitudes. It was begun by Cosmo, "whose natural disposition led him to take an active part in collecting the remains of the ancient Greek and Ro man writers, and who was enablecUiy his wealth, and his extensive mercantile intercourse with different parts of Eu rope and of Asia, to gratify a passion of this kind beyond any other individual. To this end he laid injunctions on all his friends and correspondents, as well as on the missionaries and preachers who travelled into the remotest coun tries, to search for and procure ancient manuscripts, in every language, and on every subject. Besides the services of Poggio and Traversari, Cosmo avaUed himself of those of Christoforo Buondel- monti, Antonio da Massa, Andrea de Rimino, and many others. The situa tion of the eastern empire, then daily falling into ruins by the repeated at tacks of the Turks, afforded him an opportunity of obtaining many inesti mable works in the Hebrew, Greek, Chaldaio, Arabic, and Indian lan guages." — Roscoe. " Cosmo of Medicis was the father of a line of princes whose name and age are almost synonymous with the restoration of learning: his credit was ennobled into fame ; his riches were dedicated to the service of mankind ; he corresponded at once with Cairo and London; and a cargo of In dian spices and Greek books was often imported in the same vessel. The genius and education of his grandson Lorenzo rendered him not only a patron but a judge and candidate in the lite rary race. In his palace distress was entitled to relief, and merit to reward : his leisure hours were delightfully spent in the Platonic Academy : he encouraged the emulation of Demetrius Chalcocon- dyles and Angelo Politian ; and his active missionary James Lascaris re turned from the East with a treasure of two hundred manuscripts, fourscore of which were as yet unknown in the libraries of Europe." — Gibbon. When Pietro, the unlucky son of Lorenzo, provoked the vengeance of the people, this library, with difficulty saved from destruction, was purchased by the Re public in 1496. The government, how ever, sold it to the convent of San Marco. When the Dominicans fell into trouble, on account of Savonarola, the Ubrary was taken from them and re moved to the Palazzo Publico. They soon afterwards recovered it, however (1 500) : but, being much in debt, they in their turn sold the collection to Leo-X. (then Cardinal Giovanni de' Medici), who deposited the volumes in one of his Tuscany. Botite 44. — Florence — Laurentian Library. 493 Roman palaces. They then passed to Cardinal Giuho de' Medici (Clement VII.); who determined to restore the collection to Florence, as the proudest portion of the Medicean inheritance, and he accordingly founded this struc ture to receive them, for which Michael Angelo gave the designs. At the death of the Pope, 1 534, it remained incom plete, and the manuscripts were aban doned to dust and decay, until the buUding was finished, while Michael Angelo was living in his old age at Rome. They were arranged and placed under proper care by Cosmo I . Great additions have been made to the original Medicean collection by Cosmo's successors, by whom have been added the MSS. of the Gaddi library ; those collected by the Senator Carlo Strozzi ; those of the private library of the Grand Dukes, and of the Lotaringico-Palatine library; the orien tal manuscripts illustrated by Assemanu Archbishop of Apamea; the Biscioniani, Segnani, and Scioppiani MSS. ; and those which were found in the suppressed monasteries prior to the French inva sion. Count Angelo d'Elci (1841) gave his valuable collections of Editiones Principes; Franc. Xav. Redi, the last of the family, bequeathed the MSS. of the celebrated Franc. Redi (1626- 1698) ; and the Cav. Fabre, the painter, placed here the manuscripts of Alfieri, as well as many printed Greek and Latin classics, containing marginal comments or translations by the poet. The present Marchese Luigi Tempi has also deposited here some valuable con tributions from his own library, in cluding one of the finest copies of the Divina Commedia. This library now contains upwards of 9000 manuscripts. In mere numbers many are larger, but none, the Vatican excepted, so impor tant. It is particularly rich in works in Hebrew, Arabic, Syriac, Coptic, Greek, and Latin, and of the great Italian writers of the 14th, loth, and 16th centuries. There is a catalogue of the Arabic, Persian, Syriac, and other oriental MSS. by Assemann, in 1 vol. folio, 1742. One of the Hebrew and Rabbinical MSS., by the librarian Biscioni, published in 1752; and one of the MSS. in Greek, Latin, Italian, and other modern languages, by the librarian Bandini, printed at Florence in 11 vols, folio, 1764-1793. The continuation is being executed by the present librarian, Furia. Suspended at the end of each desk is a tablet, containing the titles of the several MSS. Among the sights of the col lection are the following : —The cele brated Medicean Virgil, the earliest MS. of the poet, revised by Tertius Rufus Asterius Apronianus, about a.d. 494, containing the whole works, with the exception of a few leaves of the Bucolics. The numerous corrections whieh it contains attest the care with which it was collated. — The Pandects ; the earliest MS. : captured by the Pisans when they stormed Amalfi (1135). It was formerly generally believed, but on insufficient evidence, that, in conse quence of this discovery, the study of the civil law was revived, and its juris prudence ultimately adopted through out the greater part of Europe. This MS. was preserved at Pisa with as much veneration as if it had been the Palla dium of the Republic. Every three months it was visited by a deputation of the magistracy : and when, after the fall of Pisa (1406), it was removed to Florence, equal veneration long con tinued to be rendered to it. Tapers were lighted, monks and magistrates stood bareheaded, as- before holy relics, and the books were opened beneath a silken pall. The work is written in a bold and beautiful character, "is com posed of two quarto volumes, with large margins, on a thin parchment, and the Latin characters betray the hand of aGreek scribe." — Gibbon. — Two fragments of Tacitus. The first con tains, in a most cramped and difficult Lombard character, the first five books of the history, and the last six of the' annals. Some antiquaries place its date as high as 395; but it belongs more probably to the 11th century. The second, brought from the monas tery of Corbey, in Westphalia, was purchased by Pope Leo X. from the discoverer Areimboldi, for 500 golden florins. This MS., which is more legible than the preceding, may be as old as- 494 Boute 44. — Florence — San Marco. Sect. VI. the 6th century, and is the only MS. which contains the first five books of the annals. — A Quintus Curtius of the 10th century is the earhest text of that writer. — The Divina Commedia: The transcription of this manuscript was completed, as appears by the colophon, on the day when the "Duke of Athens," "Walter de Brienne, was expelled, 1343, or twenty -two years after the death of Dante. — The Decameron, transcribed in 1384, from the autograph, by Fran cesco Mannelli, the godson of Boccaccio, consoles the Tuscan student for the loss of the original. It contains some whimsical marginal notes, and the or thography differs widely from that of the modernised editions. Here too is the correspondence relating to the famous Deputies' edition of the Deca meron, the official version of the Roman Church. — A copy of Cicero's Epistles, Ad Familiares, is from the pen of Petrarch; some of his letters, and his autograph signature upon the first page of his Horace, are also shown. The handwritings are totally dissimilar; but inasmuch as it has been lately demon strated (by the gentleman who sold them) that Melancthon's autographs exhibited thirty-seven distinct and dif ferent handwritings, it would be cruel to doubt the authenticity of the Pe- trarchian remains. — Terence from the hand of PoUtian. — The celebrated letter of Dante in which-he rejects the con ditional permission to return to Flo rence. — Unpublished writings of Fieino. —A versified description of the poet's person in a MS. of Dante of the 1 5th century. — Some of the Syriae MSS., particularly the Gospels of the date 586, from the monastery of St. John at Zagba in Mesopotamia, contain illumi nations which are fine specimens of Byzantine art. In the Canzoniere are portraits of Laura and Petrarch, of the 14th century. — The Evangeliarium au- reum, from the Cathedral of Trebisond. — A missal of the 14th century, with Uluminations by Don Lorenzo Camal- dolense. In a bottle is kept Galileo's finger, which the antiquarian Gori stole from hiB tomb at S. Croce. The Laurentian Library is open daily, except on festivals, from 9 till 12. The assistant expects a small gratuity. The chief librarian is generally in attend ance, and those who wish to consult or use the manuscripts will experience, as in the other public establishments, all the facilities they can desire. At the N. E. corner of the Piazza, in front of the church of S. Lorenzo, is the pedestal intended to support the statue of Giovanni de' Medici, father of Cosmo I., and known as the captain of the Bande Nere. The bas-reliefs are by Baccio Bandinelli. In the principal bas-relief, which represents soldiers di viding captives and spoil, the artist has introduced a figure carrying off a hog; this is one Baldassare Turini of Pescia, against whom Bandinelli had a spite, and whom he has thus immortalized. Giovanni de' Medici died in the service of Francis I. (1526), having previously attached himself to the Imperialists. The unfinished statue which it was in tended to place upon this pedestal is now in the Palazzo Vecchio. Church and Convent of San Marco. — The Dominicans of the "strict observ ance" were introduced here in 1436, by the authority of Pope Eugenius IV.; the Silvestrini, a branch of the monks of Vallombrosa, having fallen into bad repute. The Dominicans, ever in the pulpit, long continued highly popular. Cosmo de' Mediei promised 10,000 seudi towards the re-erection of their church and monastery, and spent 36,000. The designs for both church and convent were given by Michelozzo. All the buildings, however, have been much altered, and the church exhibits little of the original master. The front was completed in 1777 from the designs of Fra. Giov. Pronti. The architectural decorations of the altars, and the Sal viati Chapel (1588), dedicated to Sanf Antonino, were designed by Giovanni di Bologna. (This chapel is on the 1. hand at the end of the nave). The statue of the Saint, in the act of benediction, is by the same artist. St. Thomas, St. Anthony the Abbot, St. Philip, St. John, St. Edward, and St. Dominic, are by Francavilla, his pupil, and from his designs. The three Angels, and the" bas-reliefs in bronze, are by Portigiani. The paintings in chiar'-oscuro on a gold Tuscany. Boute 44. — Florence — San Marco. 495 ground beneath the archivolts support ing the cupola are by Bronzino. Two large frescoes representing, one, the fu neral procession, the other, the burial of St. Antonino, are by Passignano. In the front of each are three almost naked figures, which seem to have been introduced by the artist solely to show his skill in drawing. — Chapel of the Holy Sacrament (at the upper end of •the church), begun in 1678; architect, P. F. Silvani: the walls and pavement are composed of rich marbles. Here are six large paintings relating to the institution of the Sacrament of the Eu charist, either in history or in type, such as the Falling of the Manna (Pas signano), and the Sacrifice of Isaac (Ja- oopo da Empoli), — Our Lord with the Apostles, by Santi di Tito, and finished by Tibsrio his son. This chapel con tains other paintings, frescoes, and bronzes, in the best style of the early part of the 17th century. The church also contains, on the rt.-hand side' of -the nave, the Virgin and several Saints; a fine Fra Bartolomeo, much injured by candles. — Of older art, a singular Greek Virgin and two Saints in mosaic, upon a gold ground, is encrusted in the wall of the Capella Rica, on the rt.-hand side of the nave. It is remarkable as being one of the very few relics of the ancient mosaics of St. Peter's at Rome, where it was placed by Pope John Vi. a.d. 703. It was brought here in 1609, -from the ruins of the Basilica, when it was finally demolished to make way for the present structure. A crucifix by Giotto, painted on wood, with a gold ground, now over the principal door, drew all Florence to see it when it was first brought to this convent; and it is said to be the very production -which established his popular reputa tion above that of his great predecessor ¦Cimabue. " O vano gloria dell' iimarie posse Com' poco verde in sula sima dura, Se non e giunta dull' etati grosse ! Credette Cimabue nella pintura Tener lo campo ; ed or.* na Giotto il grido, Si che la fama di colui oscura." Purgatttrio, canto xi. 91 — 96. In this church are interred Ang. PoU tian, Gir. Benivieni, and Giovanni Pieo della Mirandola, whose character is thus given by Hallam : — " On his first appearance in Florence, uniting rare beauty with high birth and unequalled renown, he had been much sought by women, and returned their love. But at the age of 2 5 he withdrew himself from all worldly distraction, destroying, as it is said, his own ama tory poems, to the regret of his friends. He now published several works, of wliich the Heptaplus is a cabalistic ex position of the first chapter of Genesis. It is remarkable that, with his exces sive tendency to belief, he rejected altogether, and confuted in a distinct treatise, the popular science of astro logy, in which men so much more con spicuous in philosophy have trusted. But he had projected many other un dertakings of vast extent : an allegorical exposition of the New Testament; a defence of the Vulgate and Septuagint against the Jews; a vindication of Chris tianity against every species of infidelity and heresy; and finally, a harmony of philosophy, reconciling the apparent inconsistencies of all writers, ancient and modern, who deserve the name of wise, as he had already attempted by Plato and Aristotle. In these arduous labours he waa cut off by a fever at the age of 31, in 1494, on the very day that Charles VIII. made his entry into Florence. A man so justly called the phoenix of his age, and so extraordinarily gifted by nature, ought not to be slightly passed over, though he may have left nothing which we could read with advantage. If we talk of the admirable Crichton, who is little better than a shadow, and lives but in panegyric, so much superior and more wonderful a person as John Pico of Mirandola should not be forgotten." The grave of this prince is indicated by an inscription, which records, if not his real reputation, the esteem in which he was held by. his contemporaries. — On a little wooden tablet below is an inscrip tion in memory of Politian, in which his death is placed in 1499, instead of 1494, when it really happened. Politian was one of those, who, " Dying, put on the weeds of Dominic, Or as Franciscan think to pass diguised." 496 Boute 44. — Florence — San Marco. Sect. VI. He was by his own request buried in the dress of the order of this monas tery. The Convent (wliich ladies are not permitted to enter) contains the finest works of Fra Beato Angelico da Fiesole (b. 1387, d. 1455), who was a member of this house. These paintings re mained unjustly neglected for more than three centuries, and have been of late years as unjustly extolled by the artists and admirers of the modern German school. Nevertheless, there are in these works qualities which' should not be overlooked by any one desirous of appreciating art. Fra An gelico may be called the last and m -,-st perfect of the Byzantine school o painters, to whose style he added as much as a mind altogether nurtured in asceticism could do. He is totally without those beauties which are so conspicuous in Leonardo da Vinci and Raffaelle, but there are in his works a holiness and purity of expression whieh, perhaps, have never been surpassed by either of those painters. The works of Fra Angelico in this monastery were formerly very nu merous: many have perished or have been removed. The situations of the existing works are as follows : — In the outer cloister, in a lunette beside the door, is the Head of St. Dominic : op posite, under a glass, is St. Dominic at the foot of the cross: in another lunette, at the farther angle, is the Head of Christ. Opening out of the N. side of this cloister is the ancient chapter house, containing the Crucifixion. On the rt. hand of the cross of our Lord (the two thieves being also represented) are the throe Marys, St. Mark, St. John the Evangelist, St. Lawrence, St. Cos mo, and St. Damian. On the 1., St. Dominic, St. Ambrose, St. Jerome, St. Augustine, St. Francis, St. Benedict, St. Bernard, St. Romuald, St. Ber- nardine, St. Peter Martyr, 'St. Peter of Verona, and St. Thomas Aquinas; the latter known, as usual, by the sun upon his breast. All these figures are nearly upon one plane : the colouring is clear and bright, the drawing timid and incorrect. The expression of the countenances disappoints as to strength, but there is purity and thoughtfulness in the heads. The dark red sky behind the cross is probably the red ground upon which, as in all the early frescoes, the blue sky, wlueh ha3 since fallen off, was painted. A border of arabesque compartments, in which are contained saints and patriarchs, the prophetic sibyls and the prophets, surrounds the picture. Each prophet bears a, label, on wliich are inscribed the words in which he foretold the sufferings of our Lord. At the summit is the emblem atical pelican, shedding her blood for her little ones. A species of frieze contains a sort of spiritual pedigree; St. Dominic, in the centre, holding a branch in each hand, whence spring smaller stems with medaUions of his most celebrated disciples and followers. "This is by no means a first-rate work of Angelico, and shows all his faults, though many of his beauties." — E. Fronting the top of the stairs, in the corridor of the first story, is the An nunciation. Opposite to it is another Crucifixion, very fine. Further on in the same corridor, on the rt.-hand side, is the Madonna and Child en throned with four saints. In three cells on the 1. hand of this corridor are, — the Coronation of the Virgin, called the finest work in the convent; Christ's descent to the spirits in prison; the three Marys at the Sepulchre. The second, or great Cloister, was designed by Michelozzo. The frescoes in the lunettes represent the works and miracles of the life of St. Dominic. Some are real acts of charity, as when he offered himself aa a slave to redeem the only son of a widowed mother; others are like dreams, real or waking, and perhaps were so. In the old re fectory is a Last Supper, by Dom. Ghir landaio. Girolamo Savonarola was » brother of this house. Strongly as he had opposed the interests of Lorenzo, the latter, when dying, sought consolation from his ministry. "Wilt thou believe with a perfect faith?" was the first question which Savonarola put, after confession, to the expiring sinner. — ¦ Lorenzo assented. " WUt thou, to the utmost of thy power, restore all that Tuscany. Boute 44. — Florence — the Annunziata. 497 thou hast wrongfully acquired?" was the second inquiry. — Lorenzo hesitated, but, after a while, he gave the required promise. "Wilt thou also restore Florence to liberty, and to the enjoy ment of her popular government, as a free commonwealth?" — was the third question of Savonarola. — Lorenzo turned his face away, and spake not a word more. The papal chair was then polluted by Borgia. Savonarola loudly urged the reform of the Church, calling upon the faithful to come forth from the mystic Babylon. He was equally un sparing of his reproofs of the vices of his countrymen ; and the huge piles, in which the works of Dante, Petrarch, Boccaccio, andPulci were consumed, — causing the present scarcity of the early editions of their works, — testified his influence and his fanaticism. But the wicked Pope, as might be expected, was his implacable enemy ; and his zeal, political as well as religious, raised up against him a whole host of relentless opponents. The convent of St. Mark was attacked by the infuriated multi tude on Palm Sunday, 1498, and after a long and stout defence by the monks, the choir, then enclosed by a high wall, whither they had retreated, was stormed. Savonarola and two of his brethren, Fra' Dominico and Fra' SUvestro, were dragged forth, and thrown into the prison of the Palazzo Vecchio. Charges of heresy and schism were preferred against him. He was repeatedly put to the torture ; the agony extorted a confession, which he re tracted as soon as he was released from the rack; and on the 23rd May, 1498, he and his companions were hanged, and then burnt on the Piazza de' Sig nori, and their ashes cast into the Arno. Previously to his execution he had been degraded. — "I separate thee from the Church militant," said the Official. "But thou canst not separate me from the Church triumph ant," was Savonarola's reply. So late as the last century there were many who honoured him as a saint and a martyr. It was through the preaching of Savonarola that Fra Bartolomeo be came a monk, and a member of this house. The convent now contains about seventy friars. One of them, Fra' Sera- fino, like his predecessors, cultivates painting, and possesses much merit as a very faithful copyist and not unsuc cessful imitator of the early Florentine master. The church of San Marco pos sesses a missal full of illuminations, attributed to Fra Angelico; and al though Kugler supposes them to have been executed by one of his scholars under his own eyes, several of them are of the highest beauty, and quite worthy of Fra Angelico himself. San Marco possesses a Spezieria, which rivals that of Sta. Maria No vella for elegance of arrangement and excellence of goods. The ancient vases of majolica, or, as we call it, Raphael's ware, constitute a great attraction to the curious in these matters. Ladies are allowed to enter the Spezieria, though even more strictly excluded (unless by special permission) from other portions of the convent than from Sta. Maria. At a short distance from S. Marco, at the end of the Via della Sapienza, which runs out of the E. side of the Piazza di S. Marco, is La Santissima Annunziata, called dei Servi.— This church was dedicated to the "Vergine Annunziata," by seven Flo rentine gentlemen, who, in 1233, had betaken themselves to a contemplative life on Mt. Senario near Florence, and instituted the order of the "Servi di Maria," under the rule of St. Augustin, in commemoration of the most holy widowhood of the blessed Virgin. This church became very popular, and so crammed with wax legs, arms, and other parts of the body, in return for miraculous cures, and with figures of distinguished persons who had visited it, that the former used to fall on the congregation, and injure the works of art, and it became necessary, when the church was repaired, to clear them out. Before the church is a cloister or atrium, of which the front towards the Piazza was designed by Caccini, following the plan set him by Antonio di San Gillo. Like several other build ings in this piazza, this front is in the BruneUeschi style, that is to say, arches 498 Boute 44.— Florence — the Annunziata. Sect. VI. supported upon columns : the disadvan tage of which mode of construction is here well shown, as between nearly every two columns is an iron tie, sub sequently introdueed to counteract the lateral thrust of the arch. The cloister is surrounded with paintings in fresco of great beauty. It has been glazed for the purpose of preserving them from the weather, and -the key of the door is kept at the Academy. On the l.-hand side of the cloister, on en tering it from the Piazza, and on the wall flanking the entrance to the church, is the earliest work of the series, a Nativity by Alesso Baldovinetti, remark able only for the elaborate finishing of the details. Next to this are six sub jects from the life of San Filippo Be- nizzi. 1. Of these, the compartment nearest the church was painted by Co- simo Roselli: it represents San Filippo assuming the habit of the order, and has little merit. The series being left unfinished by Roselli at his sudden death, Andrea del Sarto was employed to finish it : he executed, 2. The saint clothing the naked; 3. Lightning kill ing two of a party of gamblers, who had mocked his preaching; 4. San Fi- lippo healing a woman possessed by an evil spirit; 5. The death of the Saint, and a boy restored to life by being touched by the saint's bier ; 6. Six children cured by having the saint's clothes laid on their heads. The old man in red drapery bending forwards, and with a stick in his hand, is a portrait of Andrea della Robbia, the sculptor. These compartments were the first which Andrea executed. "The frescoes by Andrea del Sarto in the vestibule are full of modest simplicity and feeling, and are very remarkable in subdued but harmonious combina tions of quiet colours and tones. There is also a religious quietism and pro priety about them which render them well adapted to the place they occupy. The best are, — the People kissing the Vestments of S. Filippo Benizzi; and the Mortieini, a dead child restored to life by the grace in the dead Saint; and the Birth of the Madonna." — C. W. C. When Andrea del Sarto executed these frescoes, he was in extreme poverty, working for the most miserable pay. Through the artful bargaining of the sacristan, according to Vasari, he re ceived but ten ducats for each compart ment. Here Andrea was buried: and here is his bust, by Montelupo, taken from the life. On the opposite side of the cloister are (nearest the church) — the Adoration of the Magi. The Magi are represented as having alighted as if they had arrived close to the spot where the infant was : his nativity being drawn on the other side of the doors by Baldovinettii. — The birth of the Virgin, full of pleasing figures. These two are by Andrea del Sarto. — The Marriage of the Virgin is by Franciabigio (1483-1524). A portion, including the countenance of the Virgin, was destroyed by him, because the friars uncovered the paint ing before it was quite completed. Few of his frescoes are extant. — TbyPontormo, the scholar of Andrea del Sarto, is the Visitation. The figures are very grand in form, and the colouring is excellent. When Miohael Angelo saw a fresco whieh Pontormo painted at the age of 19 in an arch of the portico of this church, but which has now perished, he said, "Questo giovane sara anco tale, per quanto si vede, che se vive e seguita porrli quest' arte in cielo." — The. Assumption of the Virgin is by II Sosso. Vasari praises the group of in fant angels, the colouring, the attitudes, and some of the heads, but observes that the figures are rather overlaid with drapery. The head of St. James, who is dressed as a pilgrim, is a portrait of Francesco Berni, the moderniser of Boiardo's Orlando Inamorato. In the church, ' beginning on the rt.-hand side on entering, is a picture of the Virgin, St. Nicholas, and other saints, by Jacopo da Empoli. — In the Capella dei Medici is the tomb of Or lando Medici, by Simone di Betto, the brother of DonateUo. In the rt. tran sept is the tomb of Baccio Bandinelli, by himself (died 1559). It consists of a Pieta, our Lord supported by Nieo demus, and it was executed by him for its present application. On the frieze at the back of the monument are the profiles of Baccio Bandinelli and his wife Julia. The roof of the nave is Tuscan?. Boute 44. — Florence — the Annunziata. 499 painted by It Volterrano. By him also, aided by his pupil JJlivelli, are the paintings of the cupola. The cupola itself is one of the earliest works of Alberti. The high altar is also attri buted to Alberti, but some ascribe it to Leonardo da Vinci. The ohoir is, or rather was, by Alberti, for it has been altered, and its original design lost under the rich marbles with which it has been adorned by Silvani. The door of the choir, with a Pieta above it, is by Giov. Bologna.— In the Capella della Vergine del Soccorso (the farthest chapel of the choir) is the tomb of Gio. Bo logna, with a fine crucifix in bronze, and some clever but exaggerated bas- reUefs, all by him. Further on is a fine Resurrection by Any. Bronzino — The Virgin and Saints, by P. Perugino. — On a pillar of the tribune is the tomb of Angelo Marzi Medici, Bishop of Arezzo, by Francesco di San Gallo, who has subscribed his name and the date 1546. The recumbent figure of the old man is full of expression. In the VUlani chapel, at the side of the entrance to the sacristy, are buried the celebrated historians Giovanni Matteo and Filippo VUlani. In the last chapel next the transept, on the 1. of the nave, when looking to the high altar, is the Assumption by Pietro Perugino, the most important work of his in Florence for the number of figures. — The re duced copy of Michael Angelo's Last Judgment, is by Ales. Allori: in it, as is said, he has introduced a portrait of Michael Angelo himself. The Chapel of the Annunziata, the first to the 1. on entering, was built in 1448, at the expense of Pietro de' Medici, from the designs of Michelozzi. The altar and many of its ornaments are of BUver; the head of our Saviour is by Andrea del SaHo. The wealth lavished here is in honour of a miraculous fresco of the Annunciation by Pietro Caiallini, according to Vasari ; but painted by angels, according to popular belief. It is probably of the latter half of the 14th century, and has not much merit as a work of art. It is- exposed only on extraordinary occasions, and on the Feast of the Annunciation. The ora tory adjoining the chapel is richly in crusted -with ornaments in pietra dura, principally symbols of the Virgin; a rose, a star, a lily, » moon, and many others of the same class. The great cloister, which is on the N. W. side of the church, was built by Cronaca, Several ancient tombs, of earlier date than the building itself, have been pre served within its walls. Over the door leading from the cloister into the church is the celebrated "Madonna del Sacco," by Andrea del Sarto; a Holy Family, painted in fresco, for which it is said he was paid only a sack of wheat, from whence it derives its name. But St. Joseph leans on something like a wheat- sack, and this is equally given as the source. of the name. The composition is fine, broad, and simple, but the colouring is ratherinjured. The cloister is full of paintings. The main series consists of subjects taken from the Uves of the Seven Founders of the order of the Servi, all Florentines — Buonfigluolo Monaldi, Buonagiunta Manetti, Amadeo Amidei, Manetto deU' Antella, Sostegno Sostegni, Ugue- cione Uguccioni, and Alassio Falconieri, together with portraits of the most eminent personages of the order. The painters are — Poccetti (1542-1612), Frate Arsenio Mascagni, a member of the order (1579-1636), Matteo Rosselli (1578-1650), and Ventura Salimbeni, The Capella de' Pittori, which opens into the great cloister, is interesting on account of its connection with the history of Florentine art. The Com pany of Painters, or Guild of St. Luke, assembled as early as 1350, under con stitutions approved of by the then Bishop of Florence, Jacopo Palladmi. Their first place of meeting was in the Hospital of Santa Maria Nuova; but in 1563 they removed here, with the ap probation of Cosmo I. The sculptors and the architects joined them, and the chapel is now vested in the academy. Amongst other objects it contains, over the altar, three small subjects from the exploits of St. Cosmus and St. Damia- nus, rather ludicrous, but valuable, by Beato Angelico ; a fresco by Pontormo ; St. Luke, by Vasari; Santi di Tito, Cosmo I. directing the building of the Church ; the subject is treated, in 500 Boute 44. — Florence — Scalzo. Sect. VI. fresco, allegorically, and some call it the buUding of the Temple of Solomon. By the same artist also is a fine Cena- colo in the refectory. Two good, but damaged frescoes, by Andrea del Sarto, are on a wall in an adjoining garden. The Piazza della Annunziata is one of the most beautiful parts of the city. The logge of the church face the N. side. On the E. are the build ings of the Spedale degV Innocenti, or Foundling Hospital ; opposite is a building in a similar style; in the centre are the equestrian statue of Ferdinand I., and two bronze foun tains; and out of the S. side opens the Via dei Servi, at the end of which is seen the cupola of the cathedral. The Spedale degV Innocenti was established in 1421 by the influence of the celebrated Leonardo Bruno (see Santa Croce), whose speech in the great council pro duced the adoption of the scheme. BruneUeschi gave the design, but, being employed by the Florentines in the war against Lueea in 1429, and invited to Milan by Filippo Visconti to build a fortress, the buUding was intruated to Francesco della Luna, his pupil, who made several ill-judged alterations. It is said that, on BruneUeschi, at his return, finding fault with these, and in particular with the architrave being brought down to the ground at one end, della Luna defended the alteration by saying that he had taken it from the church of St. Giovanni, on which BruneUeschi replied, "S Centura! in quel tempio non vi e che un crrore, e tu lo hai riprodutto!" In the spandrils of the arches are infants in swaddling-clothes, by Luca della Robbia ; an odd but ap propriate ornament. In the court, over the door of the chapel, is an Annuncia tion, also by Luca della Robbia. In the chapel, behind the high altar, is the most important easel picture of Dom. Ghirlandaio in Florence. It is full of figures. It is painted in tempera. The subject, as of those in the Uffizi, is the Adoration of the Magi, but it is far finer than either of them : the massacre of the Innocents is represented in the distance. The statue of Ferdinand I. was cast from cannon taken by the knights of St. Stephen from the Turks ; won, as the inscription says, in the style of Tasso, "dal fiero Trace." It is by Susini, and was erected in 1608. The two fountains were cast under the direction of Tacca, and have whimsical figures something like that at Pisa. The admirable frescoes of Andrea del Sarto, in the cloister of the suppressed confraternity "dello Scalzo," are also intrusted to the care of the Academy. The proper name of the fraternity was "i disciplinati di San Giovanni Bat tista ;" but it being the custom in their processions that one brother of the order should walk barefooted carrying the crucifix, they derived their popular name from this barefoot, this Scalzo. The painting by which he began is the Baptism of our Lord, the 7th in the series (beginning on the rt. on en tering). The next whieh he executed are Justice and Charity. Andrea hav ing been allured to France, the con fraternity employed Franciabigio, who executed, 5. St. John receiving the Blessing of his Parents before he re tires to the Desert ; a most pleasing and simple composition ; and, 6. the Virgin and St. Joseph. Upon the return of Andrea to Florence, he completed the series : 10. St. John preaching. 11. St. John baptizing the Diciples. 12. St. John brought before Herod. 13. The Feast of Herod and the dance of Herodias. 14. The Decol lation of St. John. 15. Herodias with the Head of St. John 16. Hope. 2. The Vision of Zacharias, a design of great elegance. 3. The Visitation. 4. The Birth of St. John the Baptist. The border is painted by Franciabigio. Andrea, here, as at the Annunziata, was paid miserably. For the large compartments he received eight scudi each, and for the single figures of virtues three. The paintings are, un fortunately, much damaged by damp and violence ; many parts can hardly be traced. The key of the cloister is kept at the Academy. Santo Spirito, belonging to the Austin Friars. The church which preceded the present buUding, was buUt at the end of the 13th century, and was burnt in 1470. The fire was occasioned by some negligence in the management of Tuscany. Boute 44. — Florence — Spirito, 501 the theatrical decorations of a "Mys tery" representing the descent of the Holy Ghost, a show exhibited before Giovanni Galeazzo Sforza, Duke of Milan, when he visited Florence in great state. It is said that in the con flagration of the church the autograph of the Decameron, bequeathed by Boccaccio to Fra' Martino da Signa, and after his death to this convent, was consumed. The shell, however, of this church remains : it is now used as a furniture manufactory, and stands flanking the entrance from the Piazza into the first cloister. It is a quad rangular room, 109-J ft. long, 37 ft. wide, and 35 ft. high from the ground to the tie beams. Some of the win dows on the S. side are still pre served. The existing church was begun, before the fire, about the year 1433, from the designs of BruneUeschi. The first column of the interior was not raised until 1454, eight years after his death : and the church was completed about 1481. The front is an unsightly mass of brick. The interior is perhaps the finest of the works of BruneUeschi : though, from having been completed after his decease, it does not entirely agree with his designs. The alterations appear, however, not to have affected the general conception, which is splen did and graceful. The interior forms a Latin cross, 315 ft. long, 191 ft. through the transepts, and 107 ft. wide across the body of the church. The aisles, which are carried round the transepts, are formed by most elegant Corinthian columns, from which spring circular arches. The nave and tran septs are double the width of the side aisles ; and at the extremities of the arms of each cross there are four win dows instead of the usual number of three ; so that the centre ends with a column, and not with an arch and an aperture beyond. The recesses for the altars have little depth, by which the ornaments of the altars are rendered more visible. Each, it is said, accord ing to the original design, should have contained a statue. The internal de coration of the three doors of the front is novel and rich. The parts which have been criticised, and which are said to be changed from Briinelleschi's de sign, are — the great pillars which support the cupola, which are said to contrast too strongly in height and diameter with the others, and not to receive well the arches above — the members of the cornices as being heavy and bad in profile — the recesses of the altars as being too high in proportion to their width — the pUlars of the altars for being mean and disproportioned — • the windows also as being too high for their width — and the cupola for being so small and elevated as not to be seen from below, except when the spectator is immediately beneath it. The choir, enclosed by magnificent balustrades of massy bronze and marble, at six of the angles of which is a figure in white marble of an angel, and at the remaining two statues of St. John and the Virgin, was begun in the year 1599 by the Cav. Gio. Batt. Michelozzi, and completed in 1608 at an expense of not less than 100,000 crowns. It and the high altar, of rich pietra dura work, with its Baldacehino, are the work of Caccini and Silvani, The ciborium is by Giov. B. Cennini. The numerous paintings in this church include some good specimens of the Florentine school of the 15th century. Commencing the circuit of the church on the rt. hand on entering at the end of the nave, — at the first altar is an Assumption by Piero di Cosimo ; — at the 2nd is a copy of Michael Angelo's Pieta at St. Peter's at Reme, by his pupU Nanni di Baccio.— The two Angels, by Franciabigio. — In the rt. hand transept is a Madonna with two saints, by F. Lippi: near it, in the Nerli Chapel, is a Madonna and Child, with St. Martin and St. Catherine : the infant Saviour reaches towards the cross with which St. John is playing ; by Filippino Lippi. In the Capella dei Nasi, in this transept, is a good copy of a Perugino, the vision of St. Bernard. It is valuable, because the original is in Russia. Here also is a Madonna and four saints, given to Giotto, but not by him. The infant Christ has a goldfinch, "cardelUno," in his hand. In the 12th chapel from the entrance, reckon ing along this rt. hand side of the 502 Boute 44. — Florence — The Carmine. .Sect. VT, church, is a, erueifix, which was the only object saved when the old church was burnt. It belonged to the sect of the White Penitents, who exhibited such extraordinary fanaticism in Italy and other countries in the 14th cen tury. This crucifix has always been regarded with much reverence, bear ing, some reputation for performing miracles, more especially since its escape. — Capella dei Biliotti, Madonna and two saints, Botticelli. — The archi tecture and sculpture of the Capella del Sacramento are by Andrea Contucci da S. Saviiw. — In that chapel of the 1. hand transept which is the first on the rt. hand on leaving the choir is Christ bearing bis cross, by Ridolfo Ghirlandaio. The sacristy, the entrance to which is opposite to the 6th intercolumni- ation, on the 1. hand side of the nave, was built by Cronaca, and is worthy of the edifice to which it is attached. The beautiful Corinthian vestibule, which connects it with the church, is by Andrea Contucci da San Savino. He was reproached with having spoilt his composition by placing the ribs of the vaulting capriciously, and not over the pUlars, and defended himself by refer ring to a similar arrangement in the Pantheon at Rome. The sacristy itself is admirable for proportion and har mony. It is octagonal, with a square ehapel opening out of it on the N. side. It has two orders, both Corinthian. The upper is, perhaps, ratfyer insigni ficant, and with intereolumniations too great. The first cloister, on entering from the Piazza, is of the Tuscan order, by A IfMso Parigi. The cloisters are filled with emmorials, ancient and modern. Amongst the modern is a tablet placed to the memory of Napoleon Louis Bonaparte, who died at Forli, 1831. A series of frescoes by Paolo Perugino, XTlivelli, Baldi, Cascetti, and Bimbacci, in the lunettes of the first cloister, represent the lives of the Saints of the order. The second cloister, which is Dorie, is by Ammanati, 1564-1569. It has some good frescoes by Poccetti. Here was, until the suppression of the mo nastic orders by the French government, a valuable library of books and manu scripts, amongst which latter formerly were those which were bequeathed to the convent by Boeeaeoio. The Cam panile of St. Spirito is from the design of Baccio d Agnolo, though it was not completed till 1541. Milizia calls it " the most beautiful of the kind." Church and Convent of the Carmine.— This church, formerly one of the richest in Florence, was nearly destroyed by fire on the 29th January, 1771. The flimsy architecture of the restored structure requires no notice : but the Brancacci chapel, which, though opening out of the choir, escaped the flames, contains the famous series of frescoes bjMasolino, Masacico, and Filippo Lippi, They represent the life of St. Peter, but with incidents drawn from eccle siastical legends as well as from Scrip ture. The German critics have, after their manner, been exhibiting their hyper-sagaeity in authoritatively as signing various portions to the respec tive artists in opposition to the usually received account. The result of course is doubt as to almost every part. Avoiding this controversy, we will give the subjects of the paintings in order, together with the names whieh have been assigned by persons of some skill, leaving to the traveller the vain and unprofitable task of deciding between these names and those given by others. On entering the chapel, the first paint ing on the 1. hand in the upper of the two lines in which the paintings are arranged is a small work represent ing the expulsion of Adam and Eve from Paradise, by F. Lippi. The se cond, whieh is a large painting, is the Tribute Money, by Masaccio. Our Lord, standing in the midst of the Apostles, is pointing to St. Peter draw ing a fish out of the stream. To the 1. St. Andrew is calling his brother St. Peter. On the lower line, the first and narrow painting is by Masaccio, and represents St. Paul conversing; with St. Peter, who is in prison. In the figure of St. Paul will be seen the source whence Raffaelle derived the figure of St. Paul preaching at Athens. The second, or large compartment, is Tuscany. Boute 44. — Florence — The Carmine. 503 chiefly by Masaccio, the youth and some figures in the centre being by Lippi. In the centre is a naked youth, kneel ing, as just restored to life by St. Peter, surrounded by fine grave figures, looking on with deep interest. To the 1. hand of the picture, in a separate composition," three monks are seen kneeling before St. Peter. Behind is a garden wall, with flower-pots and trees, a simple scene, with very fine figures. This is sometimes called the Raising of Eutyohus ; but it represents the apo cryphal miracle, said to have been worked by the Apostles, in raising the son of the kiug, when Simon Magus had failed. The skulls and bones in the fore ground are supposed to have been used in the magician's incantations. Some say that in this composition Dante is intro duced as Simon Magus, and Pope Boni face VIII. as St. Peter ; but this is very doubtful. On the wall at the altar end, on the upper line, the narrow compartment on the 1. hand of the spectator represents the Preaching of St. Peter, and is by Masolino ; that on the rt. hand, Peter baptizing, by Masaccio. On the lower line, the sub ject of the painting on the 1. hand is Peter and- John healing the cripple, by Masaccio : of that on the rt., Peter and John distributing alms, by Masac cio. On the wall on the rt. hand, the large painting is by Masolino : the subject is a combination of Scripture and legend. It represents the Healing of the Lame Man at the Beautiful Gate of the Temple, by St. Peter and St. John. To the 1., in a distinct com position, is St. Peter raising a female, his daughter Petronilla, who, cured by him of the palsy, is sitting upon a bed in an upper loggia. The scene takes place in a city, whose streets are appa rently those of old Florence. Some call this subject the Raising of the daughter of JairTis, The next, or nar row compartment, represents the Fall of Adam, and is by Lippi. On the lower line the large compartment re presents the Crucifixion of St. Peter. To the rt. is the saint, head down wards, fastened to the cross, apparently quite dead, rigid and cold, surrounded by executioners and spectators. On the 1. hand is Nero, ordering the execution, and surrounded by a cha racteristic and animated group, amongst whom Seneca and Pyrrhus are con spicuous. The rt. hand, and finer por tion is by Masaccio ; the Crucifixion is by Lippi. The narrow picture represents St. Peter delivered by the angel from prison, while the guard is asleep in the foreground. This is by Lippi. Masolino, by whom these frescoes were begun, dying at an early age, the work was continued by Masacdo; the era is well fixed by its concurrence with the return of Cosmo de' Medici. Masaccio had quitted Florence, and disdained to return, until the restora tion of the great patron of art. Michael Angelo, and also Raffaelle and the artists of their age, diligently studied these frescoes, a circumstance alluded to in Annibal Caro's epitaph upon Masaccio, in which his peculiar merits are described. " Pinsi, e la mia pittura al ver fu pari ; 1/ attegiai, 1' avvivai, le diedi il moto, Le diedi affetto. Insegni il Buonarotti A tutti gli altri, e da me solo impari." Masacdo died at a still earlier age (26) than his predecessor ; and the paintings in the chapel were completed by Fra Filippo Lippi, who appears to have worked from the designs of his predecessors. Raphael studied these pictures with as much dihgence as Michael Angelo ; and some — as, for example, Adam and Eve in one of the smaller compartments — are said to have been copied by him in the Vatican. Behind the altar in this chapel is an antique painting of the Virgin and Child, said to be by St. Luke, and brought by the monks from Greece; It is only exposed twice a year ; but the sacristan will show it on application. Opposite is the Corsini Chapel, contain ing the body of St. Andrea Corsini, and very fine alti-rilievi,- representing him celebrating his first mass, ascending to heaven, and descending to assist the Florentines in battle; all by Foggini. Some of the tombs escaped the con flagration : that of Pietro Sdderini, by Benedetto da Rovezzano, in the choir, is singular and beautiful. The monument 504 Boute 44. — Florence — SS. Apostoli — Sta Trinita. Sect. VI. is in stucco, and consists simply of a sarcophagus standing upon a base be neath an arch. Skulls and bones com pose a great portion of the ornaments, worked and combined with foliage and other ornaments. Pietro Soderini, created in 1502 Gonfaloniere perpetuo of the Florentine republic, was wise, gentle, prudent, and possessing every qualification for the chief magistracy, except firmness of character. " Under Soderini the Republic recovered a transient independence. But, in 1512, he was deposed by the intrigues of his enemies : the Medici were recalled ; and after a series of struggles and per fidies, an imperial decree gave to the vile and profligate mulatto, Alessandro, in 1531, the title of Grand Duke of Florence, he having already absolute power." — Q. Review. In the refectory is a Last Supper, by Vasari. Santi Apostoli. (Situated behind the Lung'arno, on the rt. bank of the river, half-way between the Ponte Vecchio and Ponte Sta. Trinita.) This church, according to an inscription in the facade, referring to another de posited beneath the altar, was founded by Charlemagne after his return from Rome, and dedicated by Archbishop Turpin, in the presence of Roland and Oliver as witnesses ; "testibus Rolando et Uliverio." This is a fable ; but it can be proved that the church existed before 1000 a. d. Though subse quently altered, the original design may be easily traced. The church is in the form of a Roman basilica, with a semi circular tribune at the end. Instead of the present windows of the nave, there were formerly others, long and narrow, according to the style of the earlier churches ; and the recesses for the chapels have been added. Seven circu lar arches, supported by eight columns, built of small courses of masonry, divide the nave from the aisles. The capitals are imitated from the Compo site l the acanthus-leaves are not highly finished, but distinctly formed. As a monument of antiquity it is interest ing. There are several paintings and mo numents in this .church. Vasari : the Immaculate Conception, one of his be^t works. A Virgin in the manner of Giotto, a fresco. L. della Robbia: a tabernacle for an altar in terra-cotta. Tomb of Odo degli Altoviti (died 1507), an elegant production of Benedetto da Eovezzano. The ornament of the prin cipal door of the front is also by him. This church is generally closed at an early hour, and application must there fore be made to the sacristan. The Borgo degli Apostoli was one of the most considerable of the townships which were brought into the circuit of Florence by the second circuit of the walls, and, when a distinct locality, was famed for its springs and waters. It was full of towers, and often the scene of the most obstinate conflicts between Guelphs and Ghibellines. St. Ambrogio. — This church is con nected with a Magdalen conventual establishment, and contains the -most valuable fresco existing of Cosimo Ro selli. It is in a small chapel called the Capella del Miracolo, on the 1. hand at the end of the nave, and is so badly lighted that it is seen with difficulty. The altar-piece of this same little chapel is by Mino da Fiesole. Santa Trinita, built in 1250 by Nicola Pisano, has been much altered. The present facade was designed in the 16th century by Buontalenti, by whom also the choir was erected. The two outer aisles of the five which the church originally had have been closed up to form chapels. The older architecture is simple and good. In a chapel near the altar is a curious view of ancient Florence, in bas-relief : the buildings are. made out with great detail. In the Capella de' Sassetti, which is the last ehapel on the rt. of the High Altar, close to the door of the sacristy, is, a series of frescoes representing incidents from the life of St. Francis, by Domenico Ghirlandaio. On the wall on the 1. hand when looking to the altar, and in the upper picture is, 1. St. Francis hav ing given up all his possessions, even his garments, casts himself naked at the feet of the Bishop of Assisi. On the same level, on the wall behind the altar, is 2. Pope Honorius approving of the rules of the order. The saint per forms, the miracle of presenting roses Tuscany. Boute 44. — Florence — Churches, #c. 505 to the Pope in January. This fresco contains a portrait of Lorenzo the Magnificent. On the rt.-hand wall above is 3. St. Francis, in the presence of the Mahometan soidan, passes un hurt through the fire. On the l.-hand wall below 1, is 4. St. Francis receiv ing the stigmata. Opposite to this is 5. The Death of St. Francis surrounded by monks and priests. Above the altar is 6. St. Francis appearing in the sky and restoring a child to life. In this is -introduced a view of the Ponte Santa Trinita, and the adjoining Palazzo Spina, as it then stood, and several con temporary portraits. Beneath the last, on either side of the altar, are the donor, Francesco Sassetti, and his wife, kneel ing. These frescoes were executed in 1480, and may be classed amongst Ghir- landaio's finest works. "In that over the altar, of the Restoration to Life of a Child fallen from a Window by the apparition of the Saint, the portraits are very interesting. On the 1. of it is the famous youth, surnamed the Bello, on account of his beauty. But the best of all Ghirlandaio's works is the fresco on the rt. — 'The Death of St. Francis.' This is a most admirable work, full of intense expression and feeling. The variety of grief in the followers and friends of the saint, the simple and solemn dignity of the group at the head of the dead figure, and the contrast to these in the indifference of the boyish torehbearers are admirable. There are also two fine portraits on each side of the altar of a Man and Woman kneeling, whose heads are also done in bas-rehef on the tombs at the sides of the chapel, being the portraits of his employers." — C. w. c. The Piazza di Santa Trinita, in front of the church, is irregular but pictur esque. In it stands a fine column of oriental granite, brought from the -baths of Caracalla at Rome, and erected, in 1564, by Cosmo I., as a com memoration of the surrender of Siena in 1554, as well as of his victory at Monte Murlo, in 1537; over those whom his tyranny had made exiles, headed by Filippo and Piero Strozzi. It is surmounted by a statue of Justice, in N. Italy— 1852. porphyry, by Ferrucci; the drapery is of bronze. La Badia (near the Bargello, in the Via dei Librai). — The greater portion of the present church, which is in the form of a Greek cross, was erected in 1625 by Segaloni. There are some remains of the earlier building of the 13th century, by Arnolfo. Over the door between the vestibule and the church is a bas-relief of the Virgin and Child by Mino da Fiesole. Beginning on the rt. hand on entering— the tomb of Bernardo Giugni (died 1466) is one of the finest productions of Mino di Fiesole. Giugni filled the high office of Gonfaloniere di Giustizia, the duties of which, in an age of faction, he administered with the greatest imparti ality. The statue upon the sarcopha gus represents him extended in death. After passing the choir — by the same artist, although not put up until 20 years after his death — is the tomb of Hugh Marquis of Tuscany in the 11th century, the founder of the Badia, and to whom, in 1481, the monks erected this memorial. Above the or chestra is the Assumption, by Vasari. In the chapel of the Bianco family is a picture by Filippo Lippi, representing the Virgin, accompanied by angels, ap pearing to St. Bernard, 1480. In the first cloister is a freseo representing St. Benedict enjoining silence, much injured, attributed to Beato Angelico. In the upper loggia is St. Benedict casting himself naked on thorns, by Bronzino. The light and beautiful campanile of the Badia forms one of the principal ornaments of the views of Florence. Santa Felice, (a little beyond the Piazza de' Pitti, at the corner of the Via Romana and the Via S. Agostino,) in which the vestiges of a very ancient Romanesque style are overlaid by re cent stuccoes and adornments. It contains an altarpiece by Salvator Rosa, Christ and Peter walking on the sear. Christ, the Virgin, and Saints, Mich. Ghirlandaio: and at the high altar, a picture by Fra Angelica. Oratorio degli Angioli, (in the Via degli Alfani,) begun by BruneUeschi, but left unfinished for want of funds. Z 506 Boute 44. — Florence — Palazzo Vecchio. . Sect. VI. Had it been completed it would have been an octagon church of singularly pure architecture. The drawings are extant, and the design has been imi tated by Bramante. Santa Maria Maddalena de' Pazzi. The church, annexed to a subsisting convent, was begun by BruneUeschi, and ¦completed by G. di San Gallo. The Ionic cloister was also built by San Gallo (1479), of the Ionic order, copied from an ancient capital found in the ruins of Fiesole, and belonging appa rently to the later period of the empire. The volutes descend to the necking of the columns ; and under the ovolo is a frieze a third of the diameter high. The cloister has been spoUt by bricking up many of the interoolumniations. In the chapel, by the entrance, an excel lent specimen of Poccetti's skUl, the Martyrdom of Saints Nereus and Achil les. The church has many paintings, of which the best are— St. Ignatius and St. Rocco, Raffaellino del Garbo, — Santi di Tito, the Agony in the Garden. The high altar, containing the body of St. Mary Magdalen, is very splendid, though not in good taste. It is rather difficult to obtain entrance to the cha pel of the Mater Dolorosa, within the precinct of the monastery, as permission must be obtained from the archbishop. ' ' This chapel contains a grand and well- preserved fresco by P. Perugino, a Cru cifixion. It consists of six figures in three compartments. In the centre is Christ crucified', with the Magdalen at the foot of the Cross. The Christ is a failure ; the Magdalen is very fine. On the 1. is the Madonna and St. Bernard, on the rt. St. John and St. Peter. The whole of the sky is now nearly white, the blue having perished ; but in the 1. hand compartment the whole of the upper part of the sky and the tops of the trees have been vUlanously repainted, leaving a sharp line where Perugino's work begins. The land scape in the central division is exquisite — a river flowing at the base of rocky hills among trees and a village with a Gothic spire in the distance." — R. The Piazza del Gran' Duca, formerly the Piazza dei Signori, is the central sppt of Florence for business and in terest. On the E. side stands the vast Palazzo Vecchio, erected in 1298, as the residence of the Gonfaloniere and Priori, or superior magistracy of the Republic. After having been occupied by Walter de Brienne, it became, in 1540, the palace of Cosmo I., who in that year removed from the Palazzo in the Via Larga, where the Medici had hitherto lived as private citizens. He continued to reside here untU 1550, when, this building not affording suffi cient room for his court and establish ment, he removed to the Pitti Palace. Since that time the Palazzo Vecchio has been occupied by government offices. As soon as the great revolution, in 1250, was effected, whieh placed the government in the power of the demo cracy (see Santa Croce), the citizens determined to erect a residence for the elective niagistracy, the Gonfaloniere, and the eight Priori, who continued in office for the space of two months each. During this period, according to the singular maxims of government which then prevaUed, they were not allowed to pass the threshold of their prison, in which they were boarded, eating at a common mess or table, at the expense of the Republic, but with republican simplicity and parsimony. The present structure, however, was not raised tUl 1298, Arnolfo being the architect. It is imposing from its mass and enormous battlements, deep machicolations pro jecting over the walls, and the bold and lofty tower, bearing, not upon the walls of the structure, but upon the machi colations, so as almost to warrant the local proverb, that it is a tower buUt in the air. Beneath the machicolations are large escutcheons, with the bearings of the ancient repubUo, and of the Sestieri, or wards and quarters, into which the city was divided ; and these arms were the banners under which the citizens went forth to war. This bell- tower was part of an earUer structure.: Arnolfo was directed to include it in the new building, and accomplished this difficult task with singular skUl. But the directions which he was com pelled to obey have deprived his buUd ing of its intended and proper sym,- Tuscany. Boute 44.— Florence — Palazzo Vecchio. 507 metry. A portion of the piazza had been occupied by the palaces of the Uberti, a family of the GhibeUines, which, when the owners were baniBhed by the prevailing party, had been de molished, and the ground declared accursed, never to be built upon again. " Our palazzo must not stand upon that oondemned ground," said the citizens. Arnolfo remonstrated, but in vain, and the palazzo was deprived of its symmetry. The buUding was much altered by Taddeo . Gaddi, who added the present battlements ; and it sustained another great change under the Duke of Athens, who added the whole portion now employed as the Dogana, and in whieh strength was peculiarly consulted. These altera tions were executed under the direction of Andrea Pisano, who settled at Flo rence when at work upon the gate of the baptistery. Michelozzo,- too, en larged and improved the interior in the time of Cosmo il Vecchio. Lastly, ¦when the Duke Cosmo took possession, so many alterations (principally in the interior) were introduced by Vasari, that, as the latter says with some degree of exultation, Arnolfo would not have known his way about the buUding had he come back again. The interior cortile is supported by massy columns, alternately circular and octagon, covered with rich arabesques and fine wreaths. On the walls are views, principally of German cities, exe cuted upon the marriage of Ferdinand I., of little value, except as giving their ancient aspect. In the centre is a very beautiful though small fountain, with a Cupid cast by Verocchio. Within, ascending a grand staircase by easy steps, you enter, on the first floor, the- great saloon; which offers the principal object of curiosity. It is not, as the Florentines boast, one of the largest rooms in the world, being about 170 ft. in length by 75 in breadth, but its height, and the ponderous magnifi cence of the carved ceiling, rich in faded gUding and deep compartments filled with elaborate oil paintings, ren der it impressive. It is also connected with one of the most? remarkable pas sages in Florentine history, having been erected by the directions of Savonarola (see San Marco, p. 496), for the meet ings of the "Consiglio Popolare," when a transient but ineffectual attempt was made to restore the ancient liberties of the Commonwealth. Leonardo da Vinci, Michael Angelo (then very young), Baccio di Agnolo, and " II Cronaca," were all consulted; but the construction was intrusted to the last-named artist, who exerted all his extraordinary skill to give perfection to the edifice. All the tribunes, the amphitheatre and seats, and all the fittings-up designed by him for the accommodation of the popular assembly, have now disappeared; and the walls and ceiling are covered with the display of the triumphs of Cosmo I., by Vasari: those on the walls re present the conquest of Pisa, and the battle of Marciano, which gave Siena to the Florentine state. At the four cor ners are four other historical pictures ; two by Ligozzi. One of these repre sents Boniface VIII. receiving, in 1300 (the year of the Jubilee), the congra tulations of twelve ambassadors, who, though despatched from twelve differ ent states, were all Florentines by birth. But, aB amongst them appears Messer' Guiscardo Bastai, who represented His Subhmity the Khan of Tartary, it is probable that his Holiness did not re quire a very strict verification of their credentials. Of the two others, one is by Cigoli; the other by Passignani. The semi-heroic costume of some of these frescoes takes off the interest of truth; but those which represent the deeds of the Medici, and which are true in costume, are valuable. There is Cosmo accompanied by his dwarf, To maso Trafredi the hunchback, in ar mour, leading on the Florentines to the Siege of Siena by night; the soldiers pouring into the city in armour; and all lighted by the paper lanterns on the ends of poles now in use here, especi* ally on feast-days, among the chUdren, Many good statues are placed here, but they seem lost in the great space and dim light of the chamber: — Michael Angelo, a fine but unfinished allegorical group, Victory and Captivity. — G. di Bologna, also allegorical, Virtue over? coming Vice, — Baccio Bandinelli, Cosmo Z 2 508 Boute 44. — Florence — Palazzo Vecchio. Sect. VI. I., Duke Alessandro Giovanni de' Me dici, of the "Bande nere," Clement VII., Charles V., and Adam and Eve. The Sala dell' Udienza, painted by Salviati, is a noble apartment, in which the ceiling is more rich than that of the Salone. The rooms above the Salone are worth seeing, on account of the faded remains which they contain of the magnificence of the Medici. These and some rooms adjoining the Salone, which latter are called the Quartiere of Leo X., were painted by Vasari and his pupils. These paintings contain portraits of many ce lebrated Florentines from the time of Cosmo Vecchio to that of Cosmo I. At the end of a long suite of rooms is a chapel dedicated to S. Bernardo, painted by Ridolfo Ghirlandajo with pleasing cherubs' heads on a gold ground, and a whole altar service of amber, little figures of saints, rosaries, vases, &c, some made of the clear, and some of the opaque amber, and beautifully wrought. In a room adjoining the chapel, hung with tarnished purple and gold fleur- de-lys, with old tapestry, and many portraits, is the picture of the infamous Bianca . CapeUo, representing her as a stout, bold, jovial-looking woman of 40. The view from the upper window of the palace over the city and the adjoining country is magnificent. The Galleria Reale in the Uffizi may be entered from a side door in the Palazzo Vecchio. The area adjoining the Palazzo and the neighbouring Loggia de' Lanzi are full of statues, among which the bronze equestrian figure of Cosmo I. is one of the finest works of Giovanni di Bologna. Cosmo was the actual founder of the Medicean dynasty of princes, under whose rule, during two centuries (1537- 1737), commerce, agriculture, indus try and the fine arts declined. ¦ Nearer to the Palazzo is the cele brated fountain of Neptune, by Amma- nato. It is usually called (at least by the common people) the fountain of the giant; and certainly the Deity is of rather disproportionate magnitude. The horses of the car are exceedingly spirited. Equally animated are the tritous,' nymphs, and satyrs, who are congregated round the margin of the basin. On the site of this fountain stood the Ringhiera, or tribune, from whence the orators of the Repubhc harangued the assembled people. The David, by Michael Angelo, is on the l.-hand side of the doorway of the Palazzo Vecchio. "The powerful hand of the great sculptor is visible in it, and the grand air that is given to the figure! by the turn and expression of the head andthroat justlyclaims our admiration; but it is not one of Michael Angelo's finest works. It was executed under very unfavourable circumstances, Buo narotti havingbeen called upon to finish it when the block had already been worked upon by an inferior artist [Si mone di Fiesole], and considered to be spoiled." — Westmacott jun. This will account for the rather attenuated figure, making the head appear too large. Ano ther colossal figure, of Hercules subdu ing Cacus, by Baccio Bandinelli, flanks the other side of the doorway of the palazzo. The latter is a fine group, but not, perhaps, equal to those which stand under the Loggia de' Lanzi. — Pre eminent amongst these is the Perseus,' by Benvenuto Cellini. Cieognai-a is of opinion that the contour is too robust,' and that the character of the hero re quired a form "un po' piu. Apollinea e meno Erculeo ;" but this seems hyper- critieism. The base on which it stands is adorned with small statues and sculp tures in middle-relief, allusive to the story of Perseus, all by Cellini. Cor responding with this is the group of the Rape of the Sabines, by Giovanni di Bologna. "John de Bologna, after he had finished a group of a young man holding up a young woman in his arms/ with an old man at his feet, called his friends together to tell him what name he should give it; and it was agreed to call it the Rape of the Sabines ; and this is the celebrated group which now stands before the old palace at Flo rence." — Sir J. Reynolds. The meaning is helped by a bas-reUef of the Rape of the Sabines, inserted in the pedestaB "As a specimen of invention, it is' wonderful for its expression and its energy of action; and it is impossible not to admire the courage of the sculp tor who ventured to execute so daring Tuscany. Boute 44. — Florence— Markets. 509 a work in such a material; but it is open to criticism for the extravagant corkscrew contortions of the composi tion." — Westmacott jun, Judith slay ing Holofernes, in bronze, by DonateUo, seems too small among the otherstatues near it, being only the size of Ufe. The figure of Judith has great dignity ; but the position of Holofernes, sitting up right before her in sleep to have his head cut off, is unnatural. The group is said to be emblematical of the depo sition of Walter de Brienne, and to have been erected in that feeling by the people. Here are also six ancient co lossal statues of females, said to repre sent Sabine priestesses ; two lions, one by Flamminio Vaoca, who has inscribed his name, and the other brought from the vUla Medici at Rome, and believed to be of Greek sculpture; a Centaur by Gio. Bologna, and a marble group representing Ajax dying, supported by a soldier. It is said to be of Greek workmanship, and was restored by L. Salvetti, , a Florentine sculptor. The Loggia de' Lanzi, erected by Orgagna in 1 375, is a noble specimen of the transition style. It consists of three circular arches, supported by angular pillars apprpaehing to the Co rinthian, with a balustrade above. The amplitude and the fine proportions of this building are such, that when Michael Angelo was consulted by Cos mo I. upon the best mode of improving the piazza, he answered that the best ornament would be to continue the loggia all around. But the work having already cost 80,000 florins, the duke was discouraged by the expense. This loggia, erected by the Repubhc, was part of an intended design for the en largement of the piazza, with porticoes, gallery, and mint. Cosmo I., after as suming the sovereign authority, raised, as well for state as for protection against the Florentines, a body of German or Swiss Lands/mechts, or as the Italians call them Lanzi, under the command of Bathasar Fuggler, and who, having one of their guardhouses near the Loggia, gave it the name by whieh it is now known. The attach ment of these Lanzi to good liquor, as well as their national peculiarities — for they never adopted either the language or the costume of the Italians— always1 exposed them to a certain degree of ridicule, by whieh the Florentines re venged themselves. Opposite the Palazzo is a long, low, ancient building, now partly used as the post-office. It is called the Tetto dei Pisani, having been erected by the Pisan captives after their defeat in 1364. They were led into Florence in triumph,' and treated with every circumstance of contumely and seorn. They were brought in carts, tied together, as we are told, in bundles, as if they were merchandise. When they entered the gates they were made to pay toll like beasts. Amidst the hootings of the Florentines, they were then brought to Marzocco— a stone lion, emblematic of Florence, standing high upon the rin ghiera — and compelled to kiss him — not upon his face; and lastly they were oast into prison, but brought out daily, as convicts, to work upon this build ing. The two markets, the Mercato Vecchio and the Mercato Nuovo, stand in the very centre of the ancient Primo Cer chio. They exhibit close and narrow streets, not of the cleanest description, provisions and goods of every sort, and a most brilliant display of flowers ac cording to the season. Many of these flowers are little known to us in Eng land, particularly the Mimosa Farnesi- ana, or Gaggia, a most delicious vege table perfume. The dialect of the Mercato Vecchio has been considered as remarkable for its peculiar harshness; and to those . even who cannot follow the discourse, the strong aspirate, which, for example, transforms cavallo and casa into havallo and hasa, is very remarkable. The Loggia of the Mercato Nuovo was built by Cosmo I. from the designs of Tasso. In front is a bronze copy of the famous Boar in the Uffizi gallery, cast by Pietro Tacca, forming a fountain, In the centre of the Loggia is a circle of coloured marbles, supposed to repre sent the wheel of the Caroccio upon which the standard of the Republic was formerly borne to war. The building above the Loggia is employed as a re- 510 Boute 44. — Florence— Palaces. Sect, vi; pository for notarial instruments. Many of the shops in this part of the city have a very antique appearance, and none more so than the ancient Farmacia dello Spirito Santo. Palazzo del Podesta, or Bargello, at the corner of the Via del Palagio and Via dei Librai. This singular building was erected as the residence of the Podesta, the chief criminal magistrate of the Republic, and who, according to- the statutes, was always to be a Guelph, and a stranger from some other state of Italy. The first qualification was intended by the Guelphs to prevent the opposite party from having any possible chance of justice: the second, to secure some possible chance of justice amongst themselves. The Palazzo was erected by Lapo, about the middle of the 13th century ; the walls are encrusted with the armorial bearings of the magistrates. On the side towards the Via dei Librai is inserted the standard measure of the Florentine Braccio. On this build ing rises a lofty tower, upon which was a painting representing the trea cherous confederates of the Duke of Athens hanging with their heads down wards, their family arms being added to increase their disgrace ; but of this scarcely a vestige can now be discerned. At a later period this palazzo was ap propriated to the Bargello, or chief of the police. It is now used as a prison. The ancient apartments were richly adorned with frescoes, whieh, according to the custom of Florence, were white washed. One of these in the ehapel, painted by Giotto, was described by Vasari as containing the portraits of Dante, Brunetto Latini, Corso Donati, and others of the great poet's celebrated contemporaries. It might have been thought that, in a city where Dante is honoured as the greatestof her children, such a portrait would have been pre served as the most precious relic ; but no, the brush went over it all. The place of the paintings was weU known, yet not the slightest attempt was made to reco ver them until 1840, when a subscrip tion was raised by some foreigners, Englishmen and Americans, for de fraying the small expense of removing the whitewash; and, after repeated ap plications for two years, the government gave its permission that the money - should be so employed. The result has been, that the interior of the chapel has been cleared and cleaned out ; the whitewash having been from J to l£ inch thick. The portrait of Dante is a little damaged in one eye. In a room on the second floor is one of the best fresco works of Ridolfo Ghirlandajo. The Palazzo Riccardi (Via Larga, No. 6038) loses .some of its historical remi niscences in its present name. This stately residence was begun in 1430, by Cosmo de' Medici, from the designs of Michelozzo, It continued in the posses sion of the family till 1659, when they sold it to the Marquis Gabriele Riccardi ; but, towards the end of the last century* it was bought by the Grand Duke, and is now employed as a species of Somer set House, partly for literary purposes, and partly for government offices. The building is a noble specimen of the Florentine style. In the windows of the upper stories Doric and Corinthian pillars are introduced as mullions. The windows of the ground floor are by Michael Angelo, and they are curious as being the first example of a window- sill supported by consoles; an invention of Michael Angelo. In the interior court are eight bas-reliefs by DonateUo, good, but less interesting than his works usually are, being portraits imitated from ancient gems and medals. Seve ral antiques are deposited here ; and two fine sarcophagi, having been used hke those of Pisa for mediaeval tombs, and formerly inserted in the walls of the baptistery. The great gallery is very splendid. The paintings are by Luca Giordano (1632-1705). The subjects are the Apotheosis of the Medici, and groups explained as allegorical of the vicissitudes of human life. The quan tity of ultramarine employed was so great, that the assistant, who washed the painter's brushes, is said to have made a large sum by the operation. The chapel has some beautiful and well-preserved frescoes by Benozzb Gozzoli: "They are as fresh and pure as when first painted (and Gozzoli died in 1478). The subjects are hunting- pieces, processions, angels kneeling, Tuscany. Boute 44. — Florence — Public Buildings. 511 &c. ; fuU of vernal beauty and poetry, feehng and simphcity, and yet of variety in treatment. The delicate purity and freshness of the colour show how well fresco may be adapted to the deco ration of even smaU rooms : about its superiority for large there is no doubt." — G. W. C. These frescoes contain several Florentine portraits ; that of Gozzoli himself is fine. They contain also the figure of the ass foreshortened, which Gozzoli introduced at Pisa, and of which he was so proud. Vasari especially mentions it there, but not here. The BiUioteca Riccardi, formed by the family, and purchased by the Btate in 1812, is open to the public daily from nine till two, except on Sundays and festivals. It contains about 3600 manuscripts, and about 20,600 printed books ; many copies of Dante ; corre spondence of Italian literati ; and some valuable classics. There is also a good though small collection of coins, gems, and medals. . In this palazzo the once-famed Acca demia della Crusca still assembles. It arose out of the Accademia Fiorentina, founded in 1540, in consequence of a feud amongst the members : its first meeting as an authorised assembly was in 1582. Theh object was the cultiva tion and refinement of the Tuscan dia lect. Their conceit was that their busi ness should consist in the separation of the fine flour from the bran, or crusca, and all their devices are in accordance. A boulting machine is their heraldic coat, with the motto, " II piu. bel fior' ne coglie." The backs of their arm chairs are in the shape of a winnowing shovel ; the seats represent sacks ; every member takes a name allusive to the miller's calling, and receives a grant of an estate, properly described by metes and bounds, in Arcadia. Their first object was the selection of such writers as might justly serve as standards of language : these they have designated as " Testi di Lingua," and from these authorities the Dizionario della Crusca was compiled. This aca demy incurred much ridicule for the pedantry it displayed. By Leopold I. ,the Academia deUa Cruaca was united to the Accademia Fiorentina. It was afterwards revived, in 1814. Casa dei Peruzzi (Piazza dei Peruzzi). These buildings are interesting, not only as specimens of early domestic architecture, of which the outline, at least, is undefaced, but on account of the connection of the ancient possessors with England. The family, or firm of the Peruzzis, distinguished amongst the royal merchants of Florence, had a branch or agency established in Lon don, at least as early as the beginning of the reign of Edward I., and they continued in great credit till Edward III. To this monarch they advanced money to the amount of 135,000marks, which, not being repaid, they became bankrupt. The other great Florentine houses, the Bardis and the Frescobaldis, the Barings and RothschUds of their age, were involved in the same calamity. The Bardis and the Peruzzis famUies still subsist, and are in possession of the bonds given by Edward III. for securing the loans so made. A lofty and not inelegant areh, the remains of the Loggia dd Peruzzi, and which was used as a kind of private exchange, yet remains. It was painted by Paolo Uccello, who was commissioned to decorate the vaulting with repre sentations of the four elements. Earth, he figured as a mole; Water, by a fish; Fire, by a salamander; and Air, by a camel. Paolo had heard that the cameleon lived upon the pure element; but, not knowing exactly what kind of a beast a cameleon was, he painted a camel with a wide gaping mouth, in haling the wind. The arms of the Peruzzi, a shield semee of pears, are yet seen upon some of the adjoining walls. In the neighbourhood of this Palazzo stood the Roman amphitheatre: the site can be traced, by the very irregular oval space formed by the buUdings covering the same ground. Palazzo Strozzi (Piazza delle Cipole, No. 1013, but extending into the Via dei Legnaioli) was commenced in 1489, by Benedetto da Majano, and continued by Simone del Pollajuolo, nicknamed Oronaca, in consequence of the lengthy tales he had to tell about Rome and its wonders. The two lower stories are of 512 Boute 44. — Florence — Palazzo Strozzi. Sect. VI. bold rustic work, the lower being rougher than the upper. The decora tions, of the Tuscan order, and the magnificent Corinthian cornice, were added by Cronaea. This cornice, Va sari says, was taken exactly from an ancient design at Rome, the several parts being only enlarged by Cronaea in proportion to the size of this palazzo. About the time of the erection of the palace flourished Nicolo Grasso, called Caparra, an excellent worker in metal; and the cressets, " Lumiere maravi- gliose," as they are called by Vasari, whieh project from the angles, com posed of a species of Gothic filigree, are curious and beautiful specimens of his work. It is said that the right of fixing such cressets was a peculiar honour granted to the families who had distinguished themselves by the gown or the sword, and that those of less consideration were only allowed to illuminate the battlements of their towers ; but this rests upon very slender evidence. The interior court is also by Cronaea : "it does not correspond with the exterior, but is extremely beautiful." — Milizia. > Filippo Strozzi, the founder of this building, boasted that it should excel all others in magnificence. There was a great rivalry between him and the Pitti family; and, as -the story goes, Luca Pitti, when he built his Palazzo (see Palazzo Pitti), boasted that it should be large enough to contain the palace of Strozzi within its cortile. ¦This Filippo Strozzi was the father of the unfortunate FUippo, one of the last champions of popular liberty; who, although married to Clarice, daughter of Pietro de' Medici, was strongly op posed to the aggressions of that family, and when, upon the death of Alex ander, Cosmo I. assumed the govern ment, Strozzi joined the republican party. Taken prisoner in the battle of Montemurlo, 1537, he was cast into the "Fortezza da Basso," and, being cruelly put to the torture, is said to have committed suicide, a sword having been left, perhaps to tempt him to the act, in his cell. It is added that, with his own blood, he wrote upon the wall or floor of his dungeon the well-known line of Virgil, " Exoriare aliquis nostris ex ossibus ultor." A last will and testament, inscribed "Deo Uberatori," and in which Strozzi apologizes for the act, has been attributed to him on very doubtful authority. This Palazzo contains a good col lection of paintings, amongst which may be noticed — Giotto : his Portrait by himself. — Alessandro Allori : several very interesting specimens; a portrait of Filippo Strozzi the patriot ; Ruggiero flying from the castle of Alcina; Her cules and Antseus. — Baccio Bandinelli: his own Portrait; and many others. Palazzo Bartolini (Piazza S. Trinita, No. 1128), built by Baccio d' Agnolo, who "introduced a cornice copied from one formerly at Rome in the gardens of the Constable Colonna, but now destroyed. Baccio had not the judgment of Cronaea: he applied to this small palace so large a cornice that it appeared like an immense hat on the head of a child. This was the first palace with windows ornamented by pediments, and columns to the doors, bearing an architrave, frieze, and cor nice; a novelty which, like all others, was first blamed, and then passionately admired. All Florence ridiculed Bac cio for this new style ; not only per sonally, but with sonnets and epigrams, reproaching him with building a chapel instead of a palace. Those who ridi culed the building did not understand the subject, nor the reason for placing pediments over the windows." — Milizia. Villa Torrigiani (on the S. side of the Arno, in the Via del Campuccio) has one of the most extensive and agreeable private gardens of Florence, containing extensive conservatories. There are two villas in the gardens, which are now let to foreign families of distinction, and form the most agree able residences within the walls. In the centre is a high tower, representing the armorial bearings of the family. In the Palazzo del Nero (Piazza dei Mozzi, No. 1530), belonging to the same family, is preserved a mask in terra-cotta said to have been made from a cast taken from the face of Dante after death, and a few choice pictures. Palazzo Pandolfini, now Nencini (Via Tuscany. Boute 44. — Florence — Casa Buonaiotti. 513 S. Gallo, No. 5935). " The exquisite facade of this palace is attributed to the divine Raffaelle d' Urbino. In it almost aU the requisites of street archi tecture are displayed." — Gwilt. Palazzo Uguccioni (Piazza del Gran- duea, No. 519), built in 1550. Its design has been successively attributed to Raffaelle, Michael Angelo, and Pal ladio. Over the door is a bust of Francesco I. by Gio. Bologna. - Palazzo Borghese, a modern building. but a good specimen of street archi tecture, is now a club, to which strangers can be introduced by a mem ber. - Palazzo Corsini (Lung" arno, No. 4175), from the designs of P. F. Silvani, 1656, contains a valuable collection of paintings ; the specimens of Carlo Dolce are remarkably good of their kind. Palazzo Capponi (Via S. Sebastiano, No. 6303), of good architecture, built at the close of the 17th century, from the designs of Carlo Fontana. It con tains a valuable library and collection of manuscripts, some pictures, and is the residence of the Marquis Gino Cap poni, the worthy head of afamily which held a conspicuous place in the history of Florence. • ' Casa Gherardesca (in the Borgo Pinti), anciently belonging to the historian of Florence, Bartolomeo della Scala. The garden is pleasant. The famUy claim to be of the stock of Count Ugolino, and abas-relief in terra cotta, attributed to Michael Angelo, in the cortUe, repre sents his history. The house contains a few pictures. Calazzo Rinucdni (Fondaccio di S. Spirito, No. 2011), built from the de signs of Cigoli, about 1600, contains a small but curious collection of figures. Andrea del Sarto : two cartoons for the paintings in the Scalzi. — Gozzoli: a Madonna and Saints. — Albertinelli : a Madonna, may be particularly noticed. The fine library, and collections of curiosities and pictures, of thiB Palace, have been recently sold. Casa Guadagni (Piazza di S. Spirito, No. 2086), also has a good collection of pictures, particularly some fine Sal vator Rosas. Casa Albizzi (Borgo degl' Albizzi) contains a valuable fresco by Pietro Pe- rugino, the Entombment; it is remark able for the fineness of the colouring. Casa Altoviti, in the same street, is remarkable for the portraits of 15 illus trious Florentines, sculptured in mid dle-relief on its exterior. They were executed at the latter end of the 16th century. Casa Buonarotti (Via Ghibellina, No. 7588). The house of Michael Angelo is one of the most interesting objects in Florence. The family still exists, and has continued in dignity and ease; and they have prided themselves on pre serving the residence of their great kinsman inviolate. Not merely is the internal arrangement retained, but a great portion of the furniture continues to occupy its original station. The rooms open into each other, without any lateral communication; the first of the series is the saloon, where his own statue, by Antonio Novelli, is placed between the windows. Opposite to it is one of the only three oil paintings which can be ascribed to him with any certainty, — a Holy FamUy. It is un finished. The Battle of Hercules with the Centaurs, in high-relief, though done by him in his youth, shows great power, as Vasari remarks. On each side of the room are five paintings representing the most remarkable events of his life ; and the ceiling,, divided into fifteen compartments, is painted in like manner, with pieces relating to his history. The next room is his real studio. Here are a Cruci fixion, and a small Pieta, and his bust in bronze, by Giovanni di Bologna, full of spirit and finely executed. Michael Angelo's mode of working was exceed ingly characteristic. He would fre quently start from his bed in the midst of the night and rush into this studio; and in order to give himself light, he made a kind of helmet of pasteboard, on the top of which was a socket into which he used to fit a great tallow candle, and, thus illuminated, he con trived to chisel away, working with his right hand; when he painted, he used his left. The third room is also a studio, with good frescoes by his scholars; a Ma- z 3 514 Boute 44. — Florence — Casa MartelU. Sect. VI. donna, in low-relief, by him, executed, as Vasari says, in imitation of the style of DonateUo, but with more grace and better design; and a bust of his nephew, hyGio. Finelli. The wooden " armoiries" stand unaltered, and many of his relics are shown, — his walking-stick, his slip pers, his cup, and the like. Fortunately, they have escaped the diligence of col lectors. Here also are kept many of his manuscripts, his letters, and his ricordi, or journals. It was the custom of Florence for everybody to keep such journals for family use, and they are yet extant in many famiUes of great eminence, from the 15th century to the beginning of the 18th, containing mines of curious information. Casa Guicciardini, near the Palazzo Pitti, was the residence of the cele brated historian. Nearly opposite to it is Casa Macchiavelli, No. 1754. Via Guicciardini, the house once inhabited by Macchiavelli : a tablet in the wall marks the fact, but the house has been so often altered that its original cha racter is lost. The Casa di Dante is in the Via Rie- eiarda, No. 683 : although retaining few traces of antiquity, yet it has an interest as the place of Dante's birth, and of his residence during his youth. The longish narrow door, of antique form. in the Via Ricciarda, just before reach ing the Piazza di S, Martino, and oppo site to the torre dellg, Castagna, is the entrance. The house of Amerigo Vespucci stood upon the site of the Ospedale di San Giovanni di Dio in the Borgpgnissanti an inscription preserves the memory of its site. Casa Targioni, in the Via Ghibellina, contains the botanical and other col lections of the justly celebrated na turalist Targioni, and afterwards in habited by his scarcely less celebrated son. The coUections of Micheli, for merly here, are now deposited in the Grand-ducal museum. Casa MartelU, in the Via della Foroa, contains some works of eminent artists. Salvator Rosa : The Conspiracy of Cati line, treated in the same manner as in the picture in the Pitti. — Giulio Romano .a picture of Witchcraft. There are also pictures by Andrea del Sarto, Cigoli, Crist, Allori, &c. DonateUo : a youth ful bust of St. John; a marble statue of St. John the Baptist; and one tin- finished of David. DonateUo was in debted to one of the MartelU family, a rich merchant, for his education. The fresco by Raffaelle, which was discovered in the autumn of 1845, is in the refectory of the suppressed convent of S. Onofrio (in the Via di Faenza), now turned into a coach-painter's shop. It is very fine, and represents the Last Supper. It is in Raffaelle's second manner, and the monogram of the artist, RAPL. V. R. S., with the date mdv., has been found onthe robe of St. Thomas, and leaves httle doubt as to its origin, although no mention of this fresco is made by any of the biographers of Raffaelle, which is satisfactorily ac counted for by their having all lived after his death, and not having had access to this convent, belonging to one of the most rigorous orders, which was hermetically sealed to all persons, and especially males, from without. The fresco was cleaned by an excellent artist, Sig. Ign. Zotti, who was one of its dis coverers, and the celebrated artist Jesi has^xecuted a beautiful engraving of it. "In the remnant of an old cloister of the church of St, Maria Nuova, ad joining the Hospital, is a fresco, by Fra Bartolomeo, of the Last Judgment. It is in a ruined condition, but still suffi cient remains to show his abiUties. The arrangement of the upper part is precisely the same as that of Raffaelle in the picture of the Dispute of the Sacrament; the characters of the Apos tles and Saints are well attended to: both are drawn from Giotto and Frit Angelico, and seem to have been con ventional." — T. P. Galleria Imperiale e Reale. — Open to the pubhc every day except Sundays and holidays, between 9 and 3. This celebrated collection, the richest and most varied in the world, is depo sited in the upper story of the Uffizi, a fine building erected by Cosmo I., for the public offices or tribunals, and which besides these contains, on the second floor, the Magliabecchian Li brary. Vasari was the architect. ' ' The Tuscany. Boute 44.— Florence — Uffizi— Vestibules. 515 facade has a portico, with openings al ternately circular and level; — the centre opening supported by double insulated columns, and the others by large piers with niches. Over the entablature of this portico, which is Doric, with a plain frieze, and dentals above the cornice, is a lofty attic: the windows are small. This idea evinces an im proved taste. This is Vasari's best building." — Milizia. The buUding con sists of three sides of a parallelogram, in the form of a Greek n. It was begun in 1560. The tribune was built by Bernardo Buontalenti, by order of Francesco I. The vestibules, the hall of Niobe, the rooms for thegems, bronzes, and Etruscan vases, were completed in ¦ their present form by Zanobi del Rosso, in the middle of the last century. The gallery, properly so called, is part of the corridor built by Cosmo I., to enable him to pass from the Palazzo Pitti to the Palazzo Vecchio without- descending into the streets. This cor ridor of communication, which opens into the western gallery, is Vasari'a work, and was completed in five months. Where needful, it is carried over arches : and the roof of it may be seen from the windows of the Uffizu, winding down wards, and crossing the Ponte Vecchio, being lost amidst the buUdings of the Oltr' Arno. On the outside, at the end of the loggia, is a statue of Cosmo L, by Giov. Bologna. The niches have been re cently filled with statues of celebrated Tuscans, executed by modern artists, at the expense of a patriotic society. There are already placed — Orcagna, by Bazzanii; Dante, Demi; Lorenzo the . Magnificent, Grazzini ; Leonardi, Pam- paioni ; Petrarch, Leoni; Benv. Cellini, Cambi; Giotto, Dupre; Michael Angelo, Santarelli. The original collections of the Me dici family were dispersed at various periods ; the collections of Lorenzo were sold in 1494, and lastly their palace was plundered after the assas sination of the mulatto Alessandro, in 1537. Cosmo I., however, recovered much of what had belonged to his, an cestors, and he was the founder of this museum, in wliich he was much as sisted by the advice of Vasari. His successors rendered it what it now is. Most was done by Ferdinand I. and Cosmo II. Ascending the stairs, you enter the first Vestibule. Here are placed the busts of the Medici family; three of which, viz. of Ferdinand I. (d. 1609), Cosmo II. (d. 1621), and Ferdinand II. (d. 1 670), are in porphyry. It is said that the art of working in this material was rediscovered by Cosmo I. Fer- rucci, the author of the statue on the column in the Piazza Santa Trinita, was the earliest modern who worked successfully in porphyry. Here are also a bronze statue of Mars, and a SUenus with an infant Bacchus in his arms, and some antique bas-reliefs in serted in the waUs. Second Vestibule, — The Florentine Boar, and two noble figures of wolf- .dogs, seated, and full of animation. Several fine statues larger than life. One, called Apollo Ccelispex, is an ex ample of the extent to which restora tions have been carried in this collec tion; if these are deducted, the antique portion wUl be reduced to the trunk, part of the right thigh, and the stump of the right arm. Yet the statue, thus made up, has been treated as a valuable illustration of the second Pythian ode. There is no collection where caution is more required than in this, before a statue is admitted to be an ancient work throughout. Adrian, Trajan, Au gustus, statues larger than life ;. all pos sessing merit, particularly the latter, of which, however, the head is modern. Many busts of which the names are un known. Two four-sided votive columns, covered with interesting reliefs: that to the rt. is surmounted by a head of Cybele; that to the 1. by a fine head of Jupiter. The horse in this room was once supposed to belong to the group of Niobe. The Corridors. — These are employed both as a picture and a sculpture gal lery. The ceiling of the eastern gal lery is painted with mythological sub jects, arabesques. These were painted in 1581, and are attributed to Poccetti. In the southern and western corridors the subjects are taken from the bio- 516 Boute 44. — Florence— Uffizi — Pictures. Sect. VI. graphy and history of Florence : these were executed in 1655 by various artists. Twelve divisions of the ceiling of the W. corridor having been de stroyed by fire in 1762, they were restored at that time. Each corridor has a frieze of portraits, begun by Cosmo I., who employed Cristoforo Papi to copy the collection of Paolo Giovio : his successors continued it, and the series now numbers 533. It in cludes many men of letters and au thors, whose portraits are not easily found elsewhere; but they have little merit as works of art. Each of the following descriptions of the works of art contained in these corridors begins at the northern end of the eastern cor ridor, near the entrance, and proceeds from thence regularly round the cor ridors. Pictures. — The paintings form an historical series, chiefly of the Tuscan schools. They are arranged chrono logically, beginning at the N. end of the E. corridor, near the door of en trance. The greater part was collected by or under the directions of Vasari, who advised Cosmo I. to keep them together as illustrations of the history of art. The collection is worthy of notice in this respect, and as being the earliest formed for instruction, and as an object of curiosity. Amongst these pictures the following are more par ticularly interesting, as showing the progress of early art: — Saint Bartho lomew, by Cimabue, 1240-1300. Giotto, 1276-1336, Our Lord in the Garden. Angelico da Fiesole, 1387-1455, two good specimens ; one representing the Virgin and Child in the centre, and Saints around; the other, a similar subject, is in the form of an altar-piece, with folding-doors, which the custode will open if asked to do so. Filippo Lip pi, a Virgin and ChUd supported by Angels. Pollajolo, 1426-1498, three Saints. _ " Excellent drawing in the hands and feet, with good proportion, and large draperies. His colour ap proaching to the Venetian." — T. P. Luca Signorelli, 1440,1521, the Infant Jesus, the Virgin, and St. Joseph. "A round picture, wherein the style of form is very considerably improved or and action and expression well felt and understood. There is great intensity of look and action in the Virgin turning over the leaves of a book, with somewhat of the grace of Correggio in the fingers. There is another of his which appears to be of an earlier date, as the accompaniments are more petite. There is great ability and style in the drawing of some naked figures in the distance, in varied actions, which justify what Lanzi has saidof him, — an original mode of thinking, an aim at grace, and a variety of action, with good drawing and rotundity of form in the naked child." — T. P. Boticelli. An infant Jesus, and Virgin crowned by Angels, a circular picture, shows a great advance in grandeur and beauty of style. D. Ghirlandaio, 1451-1495, the Adoration of the Magi. " In this picture, and in another at the Academy, he exhibits the same feelings precisely as in his frescoes, but these pictures are wrought more carefully. In tins one the colour of bis draperies is ex tremely rich, but his flesh imperfect, and his keeping- completely out; — figures diminished in size, but equally strong in colour with those in the fore ground, and gilt in the armour, &c." — T.P. Busts. — The series of busts of Roman emperors is unrivalled, except in the Capitoline Museum at Rome, extending from Csesar to Constantine. Of many there are duplicates and tripUcates. The following are deserving of notice: — J, Caaar, in marble, face furrowed with wrinkles, and the hair brushed forward to hide his baldness. Augustus: 3 busts: the regular features and calm counte nance contrast strongly with those of J. Csesar. Julia, the daughter of Au gustus. Marcus Agrippa. These 'last two are remarkably fine. Caligula, highly characteristic. Busts of Agrip pa and of this Emperor are very rare. Nero, as a child and as a man: the youthful, almost infantine, head is not only delicate in feature, but sweet in expression; and in the cruel and hard ened man a resemblance may be traced to the child. Otho, considered by Win- kelman as the finest of its class, having also, like that of Caligula, the merit Tuscany. Boute 44.— Florence — Uffizi — Sculptures. 517 of scarcity. Vitellius, evidently a like ness, big and burly, almost approach ing to caricature. (See p. 94.) Julia, the daughter of Titus: a finely executed and well-preserved bust. Vespasian. The features express the plain good sense characteristic of this emperor, Nerva: "his mild disposition was re spected by the good." — Gibbon. Trajan, three busts, one colossal. Plotina, the wife of Trajan, finely executed and very rare. Adrian, of fine work manship, with an ample beard. ASlius Verus, whom Adrian adopted as his successor. "A gay and voluptuous nobleman, recommended by uncommon beauty to the lover of Antinous." — Gibbon. Marcus Aurelius, four busts, representing him at different periods of his life, and with various proportions of beard. Faustina the elder, the wife of Antoninus; two busts, one very fine. Two busts of chUdren, one of which is Annius Verus, son of Marcus Aurelius. Lucius Verus, the son of -Elius. Three busts, Commodus, rare, in consequence of the destruction of his portraits and monuments. Septimius Severus, two busts, both fine. Caracalla, evidently an unflattering likeness, of excellent workmanship. Geta, three bustB. Al- binus, the competitor of Severus for the empire, a bust in alabaster. Alexander Severus, two busts, very rare. Maximin, characteristic of the bold barbarian. The elder Gordian, the only existing bust. Philip, tolerable workmanship. Constantine; the workmanship shows many symptoms of the decline of art. Very rare. " None of these heads," ob serves Forsyth, " are absolutely entire: most of their noses and ears have been mutilated; indeed, such defects were common even in ancient galleries : — • 1 Et Curios jam dimidios, humeroque mino- rem Corvinum, et Golham auriculis nasoque ca- - rentem.' Juvenal. An imperial nose may, however, be always authentically restored, as it appears on coins in profile." - Statues. — The best statues of the eastern corridor are, — a young Athlete, holding a vase. Urania — at least so oalled, for the emblems, the globe and compasses which she holds, are modern additions or restorations. The drapery is fine. — A Vestal bearing the name of Lucilla.— Apoifo, with a serpent by his side: the portions which are antique are fine, but the restoration of the;' rt. arm is bad. In the southern cor ridor are, — a Cupid, a Bacchante, and Venus Anadyomene. In the western cor ridor are two statues of Marsyas, one rather deficient in expression, restored by DonateUo, the other of a reddish marble restored by Verocchio. Just beyond these statues a small door opens into a narrow corridor containing some fine Sculptures of the modern Tuscan School^ chiefly of the 15th century. — "Here are preserved some extremely interest ing specimens of art of this period, by Benedetto daRovezzano and others . These works merit a careful examination, as they offer not merely valuable illus tration of the progress that was behlg made in the art at the time they were' executed, but they possess qualities which claim for them high praise as- examples of rich composition and ap propriate expression. Many of them are likewise worthy of attention for an approach to great beauty of form, and for the skilful treatment of the dra peries." — By Benedetto da Rovezzano are subjects intended for the chapel and shrine of San Giovanni Gualberto, taken from the life of the saint : they are in the first part of this corridor. They were, unfortunately, sadly mutilated by some foreign soldiers, in 1530, who were quartered in the monastery of St. Salvi, where these sculptures then were. — " A long group of figures by Andrea del Verrocehio, representing the death of a lady in childbirth, is exceUent for nature and pathos in the different cha racters, though nobleness of expression may sometimes be sacrificed to truth." — If. H. In the second part of this corridor, " Two works of Luca della Robbia, bassi-rilievi in marble, formerly in the Duomo of Florence, according to Cicognara, deserve particular atten tion for their composition and the ex pression. They represent a choir, or groups, of singers. They are true to nature, although not flattering as to 518 Boute 44.-~Fkrence — Uffizi— Bacchus and Faun. Sect. VL beauty; and they only want a more elevated class of form to render them equal to the productions of the best works of the best periods of art. It is said that these rilievi were executed in competition with DonateUo, whose rival performance is still in existence. By DonateUo there are some curious bassi- rilievi, in marble, representing groups of chUdren dancing to music. The composition is most skilful, and the expression and character most care fully and successfully attended to. The relief is much more flattened than is usually seen in early works, and the background is studded with gold-leaf, laid on in small circles. These pro bably are the rilievi which he made in competition withLuea della Robbia." — Westmacott jun., A.R.A, Michael Angelo, a holy family, an unfinished circular bas-relief; Ant. Rosellino, bas- relief, the Virgin praying to the infant Christ ; DonateUo, small bust of St. John the Baptist, in black marble; Benedetto da Majano, bust of Pietro Mellini; busts by Mino da Fiesole of Pietro de' Medici, and Rinaldo della Luna; remarkable bust of Maehiavelli in 1495. Sculptor unknown. Miche- lozzi, a statue of St. John : the sculp tures of this celebrated architect are rare. Returning to the great corridor ob serve the following statueB : ffygeia, drapery good; Discobolus, supposed to be a copy of that of Myron; Minerva, in the style of the ifiginetan school; one of the two statues of Aesculapius. Marcus Aurelius, in the best style of Roman sculpture. — Melpomene or Clio, A very curious specimen of Grseco- Roman sculpture of the 5th century, in the very last era of paganism. From the inscription, in a character almost approaching to Gothic cursive, we find that the sculptor's name was Atticianus. The Bacchus and Faun of Michael An gelo, of wliich the following story is told by Wright, a very intelligent tra veller, who visited Florence somewhat more than a century ago. " When Michael Angelo's reputation was raised to a great height, his adversaries, en vious of his fame, had no other way left to lessen it, but by comparing his works with the antique, endeavouring to show how far he fell short of the ancients ; he took a resolution of put ting the skUl of his judges to the test, andmadethisBacchusandFaun. When the work was perfected, he broke off the right hand, whieh holds a cup, and laid it by in his closet; the rest of the figure he buried, and let it lie some time in the ground. At a proper op portunity workmen were ordered to dig, as for other purposes, in another part of the ground, and to carry on their work- so that they must of course come to the place where the statue was hid. They did so, and found it; and, by direction, talked of it in such a manner as that it might come early to the ear of some of his adversaries, who were not long in going to view the new discovery; and when they had cleared the earth from it; they found a fine group of a Bacchus and Faun, all entire, except one hand, which was wanting to the Bacchus. They judged it straight to be antique, and a fine antique too. The discovery was soon noised about, and among the rest that flocked to see it, Michael Angelo came himself: he was not so loud in his praises of it as the rest were. It was a ' bell a cosa/ a good, pretty thing. 'Well,' says- one of them, ' you can make as good a one, no doubt.' He played with them a while, and at last asked them, ' What will you say if I made this V It may be easily imagined how the question was received. He then only desired their patience while he stepped home, as he did, and brought with him the hand he had broken off, which, upon application, was found to tally exactly with the arm. It was broken off in the small part of the arm, just above the wrist, where the seam is very visible." — " In the gallery of Florence is a half-drunken Bacchus, by Michael Angelo. An ancient subject, it stUl has the merit of being filled with Michael Angelo's own feeling for cha racter and expression, but it falls shorv of the manner in which the Greeks would have treated it. It wants purity of taste, and the beautiful form free from affectation or display, which the ancients knew so well how to apply in all their conceptions. Michael Angelo Tuscany. Boute 44.— Florence — Uffizi — Tribune. 519 in this work attempted to represent what he could not feel as a Greek sculptor would, and to this only is to be attributed its inferiority." — ¦ Westma cott jun., A. R.A. Bacchus by Sansovino, highly praised by Vasari; Apollo, a vigorous sketch in marble, by Michael Angelo; St. John the Baptist, when young, supposed to be by Mino da Fiesole. — David as the Conqueror of Goliath, by DonateUo. The same sub ject is repeated by him in a finer bronze statue : St. John the Baptist, wasted by fasting, is also by him, and one of his finest works. At the end of the cor ridor is Bandinelli's fine copy of the Laocoon. It was executed by order of Leo X. as a present to Francis I. ; but when it was finished Clement VII. liked it so much that he kept it. At a short distance in front of this is an antique figure in touchstone of Mor pheus, represented as a boy asleep with a bundle of poppy in his hand : -Very expressive of perfect repose. Sarcophagi.— On the 14 sarcophagi which are placed in the corridors may be seen various bas-reliefs, of which the subjects are taken from the hea then mythology. The last one is Christian, and has on it the history of Jonas: the workmanship is very coarse. Near the middle of the first corridor, or eastern arm of the gallery, a door opens into The Tribune,- — This sumptuous apart ment, completed by Cosmo II. in 1610, was originally built by Francesco I. as a cabinet of miscellaneous curiosities; Amongst other objects, his curious col lection of astronomical instruments was here deposited; and an aperture (now closed) in the cupola admitted the rays of the sun upon a meridian line in the pavement. Here was also his rich collec tion of medals and gems. The cupola is beautifully iacrusted or inlaid with mother-of-pearl ; the pavement is of rich marble. Here are assembled some of the most valuable works of the gal lery; but as this room was not, when built, intended for their reception, it is not well adapted for the pictures. " The five works of sculpture which are collected together in the Tribune are sufficient in themselves to confer a reputation on any museum of art. The first which attracts attention is the far-famed marble statue, universally known as the Venus de' Medici. It is an example of perfect art in its class. It is worthy of remark that the an cients seem to have made a distinction between mere passion and the refined affections which were supposed to be presided over by the goddess of Beauty and Grace ; and in their sculpture marked the difference by the character of personation in the celestial and the terrestrial Venus. The Venus de' Me dici may be considered an example of sculpture when the art had, in a great degree, departed from its highest aim, that of addressing the sentiment by means of tranquil expression and simple grandeur of form, and had entered on the comparatively easy task of fasci nating the senses by the display of the soft and beautiful models offered by a less idealised nature. It is thought that the female figure was never represented entirely undraped till the age of Prax iteles. In the exquisite work now under consideration the spectator is captivated by the unveUed beauties of the figure, by the graceful turn of the head, the tender, smiling, and the rich flowing harmony of lines in the torso, and the lower extremities. "The countenance of the Medicean Venus is amongst its highest excellences, and gives an elevated character to the whole figure. The expression is not tender or smiling ; the mouth, indeed, retains its unrivalled sweetness, and the forehead has even a grave air. She is evidently soUcitous to disco ver whether she is observed. Yet the look does not indicate the timid modesty of a young girl, but the dig nified anxiety of a noble married lady in such circumstances. Combining this with the position of the arms, it is im possible to conceive more feminine pu> rity than the statue displays : it may be called its motive. — The Venus Ana- dyomena, in the southern corridor of the gallery (p. 517), displays the same sentiment, but with a more timid, virginal expression : it seems as if, in ease of any one appearing, one would crouch screaming on the ground ; the 520 Boute 44. — Florence — Uffizi — Tribune. Sect. VI. other, bid the intruder go about his business." — R. H. This statue was much broken when found, but the parts have been well adjusted. The feet are particularly beautiful. The only restorations are the arms and hands ; they are by Bernini, and do not corre spond in character with the rest of the figure. The height of the figure itself is 4 ft. 11^ in. Eng. measure ; if the figure stood erect it would be about 5 ft. 2 in. " The Apollino, like the Venus de' Medici, is of the school of beautiful and tender form. Its character is that known by artists as the Androgynous; a combination, or mixture, as it were, of the female with the youthful male figure. This statue is justly consi dered one of the most valuable monu ments that have reached us. It exhi bits very high qualities of art. The balance of the composition is skUful, the attitude is easy, and there is a graceful and harmonious flow of lines from almost every point of view. The individual parts, especially in the body, or torso, offer excellent examples of this class of ideal form. The height of the figure itself is 4 ft. 6 in. Eng. measure. "The Dancing Faun displays the great skiU of the artists of antiquity in the adaptation of form to a required purpose. The ideal of this class of poetical subjects requiring no prepon derance of the elements of mere physi cal strength, while at the same time it was important to avoid the appearance of refinement, the muscles are less developed than is usual in the adult male figure, and are of a firm and knotty character. There is also an appearance given of elasticity, and ca pability of agile action. The general harmony (or 'keeping' as it is techni cally called) is well sustained through out this admirable work, and the whole figure appears in motion, from the finger down to the foot which presses the scabellum. The portions of the statue whieh are restored are carried out in the true spirit of the original work. The modern additions are from the chisel of Michael Angelo. " The Lottatori. — The group of the Wrestlers, or, more correctly, of the Pancratiasts, is * remarkable example of intricate and yet compact compo sition, of which there is no similar ancient specimen remaining. It is a work abounding with energy and ex pression, while, at the same time, it has the praise of being free from undue exaggeration. It exhibits also very highly technical qualities ; in the ana tomical correctness in the details, pro priety and choice of form, and most skilful execution. The sculptor has shown, in this most difficult subject, bis perfect mastery over his materials, One of the heads is antique, but some doubt has been felt respecting the other, that of the upper figure. If it is ancient it is beheved to have been retouched. " L'Arrotino, or the slave whetting his knife, has given rise to much discus sion and speculation as to its subject ; some considering it simply as it is here designated, while others are dis posed to associate it with various well- known histories ; the conspiracy of the sons of Brutus ; that of Catiline ; or with the fable of the flaying of Marsyas. These, however, are questions which have little or nothing to do with its consideration as a work of art. In this respect its merits are of a very high order. It obviously represents a figure whose attention is suddenly arrested and withdrawn from his immediate oc cupation, and the attitude is simple and perfectly true to nature. The head especially is treated in a most masterly manner; and the earnestness manifested in the countenance assuredly entitles this statue to rank amongst the most valuable ancient works of expression." — R. Westmacott jun., A.R.A. There is some uncertainty whether the Venus was found in Hadrian's vUla at Tivoli, or at Rome, in the portico of Octavia, of wliich some noble remains exist, close to the church of S. Angelo in Pescaria. The Apollino was lately broken by the falling of a picture, but has been so well mended that the da mage is hardly visible. The choicest paintings of the collec tion are deposited in the Tribune. Michael Angelo. — The Virgin pre senting the Infant to St. Joseph (a circular painting). This is one of the three recognised easel pictures of this Tuscany. Boute 44.— Florence— Uffizi— Tribune. 521 master, and as such most highly Valued by his contemporaries. It is particu larly described by Vasari. " The im pression this work at first sight made upon me was unpleasing, accustomed as I am to seek for the most agreeable qua lities of painting, — beauty in form, in expression, in chiar'-oscuro, in colour well conducted and united so as to present to the eye, under the most pleasing aspect, harmony in the ar rangement and hues of colours, and, for serious subjects, solemnity of tone. Here are none of these requisites in a picture; but here are, to compensate, skilful drawing, a delightful fulness of sentiment, and vast and powerful knowledge of form, grand and Bevere, but not beautiful, except the two heads of Joseph and the Saviour. Here is an exhibition of great power in composi tion of lines and forms in the limbs and in the draperies. It is painted, I am told, — for I should not have dis covered it, — in tempera (body water- colours), and varnished ; and is la boured to a degree perfectly astonish ing. Every feature, every limb, every fold of the drapery, is completed to its utmost limit ; no work of Van der Werff is more so ; and the drapery is divided and subdivided into folds in tricate in themselves, and perhaps too numerous and broken for fine style, though the lines are conducted with great skill. Of its colour it is in vain to pretend to speak ; it sets all reason at defiance, in the flesh particularly. In that of the principal group, one colour is taken for the lights, and another for the shadows, and they are worked to gether to produce the form, and that is rendered most scientifically. And yet, though the colour of the flesh, in the principal figures, where he laboured most earnestly, be thus defective, there are a clearness and purity in that of some of the figures in the back ground (which, by the by, seem intro duced for no other purpose than to show his knowledge of the figure) that are extremely true and agreeable. As to harmony, that seems never to have entered his head, but it has a tone of a peculiar kind in the sky and back ground. In short, the great talent manifested here is extremely imposing,' and one regards it with increasing esti mation as one continues to look at it. The knowledge of its author thus rises to view, overpowering the discordant effect produced by its aspect at first. Every return to it adds new interest, till at length admiration of the power it exhibits so blends itself with the condemnation one feels inclined to be stow on its defects, that, if I do not leave it gratified entirely, I do humiliated." —Prof. Phillips, R.A. Raphael. — A Portrait, a Florentine lady, name unknown, called Maddalena Doni, the wife of the painter's Floren tine friend Angelo Doni, but there is doubt as to the identity. There is great beauty in this early and delicately: painted picture. The gentleness of ex pression, and the happy turn of the neck and bosom, are admirable. It has suffered by cleaning and repairs. — A Holy Family, commonly called La Madonna del Cardellino (Goldfinch), beautiful in composition, and sweet in expression. Vasari considers it as re-: markable also for the truth of its colouring. This picture was painted in Florence by Raphael for his friend Lorenzo Nasi, whose house being de stroyed by the " smottamento " of the Monte S. Giorgio, the picture was bu ried in the ruins, but was recovered and carefully joined. — La Fornarina,- a Female Portrait, which bears the date of 1512. The colouring is remark ably warm, and, as it rather differs from Raphael's usual tone, some con noisseurs have attributed it to Sebasr tian del Piombp, or Giorgone, but without the slightest foundation. There is much doubt as to whom it represents, but the best opinion seems to be that it is the portrait of one of Raphael's mistresses. — Pope Julius II. A very fine head; the picture most carefully painted, the colouring rich and deep. It is a repetition of that in the Pitti palace : at Florence no one doubts but that both are originals. — ¦ St. John preaching in the Desert. The authenticity of this picture, of whieh there are many repetitions, has been unnecessarily doubted; but its beauty, as well as the circumstance of 622 Boute 44. — Florence— Uffizi— Tribune. Sect. VI. its being painted in tela, while the others are, or were, on wood, prove this to be the celebrated San Giovanni which Rapliael painted for Cardinal Co- lonna, and whieh he gave as a fee to his physician, Messer Jacopo, who had cured him of a dangerous illness. It has been in the Medicean gallery since 1589. — By the side of these pictures hangs a Holy Family, a pleasing picture called a Raphael, but whieh, according to Passavant, is by some other artist, perhaps by Franciabigio, Wagner con tests the point, and considers it a real Raphael. Titian — The Venus, so called, but supposed by some to be the portrait of a mistress of one of the Dukes of Urbino. In her rt. hand are flowers, at her feet a little dog. Two figures in the distance are searching for clothes in a chest. " The Venus recumbent, by Titian, is perhaps the most perfect picture in the whole col lection. I do not mean to say that it is the work of the deepest thought, or the purest sentiment ; I speak of the mere application of the principles of the art of painting ; its power of con veying perfect imitation of well-ehosen form and character. Its form and its colour are as well known as prints and copies can make them : but neither has print yet given me the full idea of its effect, nor copy of its depth, its pu rity, and its brilliancy of colour and of tone." Prof. Phillips, R.A, — A second Venus, considered as inferior to the first. — Portrait of Monsignore Beeca- delli ; a fine, simple, expressive por trait, wearing a square trencher cap on his head, and holding in his hand a Brief of Pope Julius III. Beceadelli was Archbishop of Pisa, and tutor to the young Cardinal Ferdinand de' Medici. When Beceadelli was nuncio at Venice, and Titian painted this portrait, he was in his 75th year. Paul Veronese. — Holy Family, with St. John and St. Catherine. Annibal Caracci. — A Bacchante, Pan, and Cupid: one of his best works. Ribera, called Spagnoletto. — St. Je rome. , Guercino. — A Sibyl, noble in expres sion and action. — Endymion Sleeping. Fra' Bartolomeo. — Two noble fi gures of the Prophets Isaiah and Job; the latter holds a scroll, with Ipse erit Salvator mens. Daniele da Volterra. — The Massacre of the Innocents; full of figures finely drawn. Andrea del Sarto. — Madonna and- ChUd, between St. John the Evange list and St. Francis, called la Madonna di San Francesco. A very grand pic ture. The Virgin, in the simple and beautiful character of the head and dress like the Madonna del Sacco. The Saints, noble figures; and the Angels below the Virgin, graceful and beauti ful. This is considered the finest of the many fine works of this master at Florence, whose merits can only be ap preciated in his native city. Albert Purer. — Adoration of the Magi ; the heads in a grand style. Andrea Mantegna. — Three pictures-: the Circumcision, the Adoration of the Kings, the Resurrection. The figures small, and finely and carefully finished. Pietro Perugino. ¦ — The Virgin and Child, between St. John the Baptist and St. Sebastian; a simple and beauti ful composition and fine expression. The background is a grand architectural scene, carefully painted. Luini. — Herodias receiving the Head of St. John. Much like Leonardo da Vinei, and careful and delicate in exe cution. Correggio. — The Virgin kneeling in adoration before the Infant, who is sleeping on a portion of her drapery. Given by the Duke of Mantua to Cosmo II. in 1617. — The Virgin and Child in Egypt, painted by Correggio at the age of 20; Head of St. John the Baptist in the charger; Head of a Child, larger than life, and painted on paper. "There are four pictures at tributed to Correggio ; I can give credit to three, though they are not of his best;- but the fourth — a head of a youth — I doubt. The best is of the Virgin adoring her child laid down before her. It has great beauty of colour, and freedom of execution pecu liar to him ; it is exceedingly affected in the air, but at the same time great tenderness of expression is rendered in Tuscany. Boute 44. — Florence — Uffizi — Tribune. 523 it. There is too much of background to it, so that the figure loses its conse quence, although he has endeavoured to remedy that evil by making it very simple.and dark." — Prof. Phillips, R.A. Parmegiano. — Holy FamUy, with Mary Magdalen, and the prophet Za charias. Guido.— A Virgin in Contemplation, half length, and seemingly studied from the statue of Niobe. Domenichino. — A fine portrait of Car dinal Agucchia. Vandyke. — Two fine portraits, one of Charles V. on Horseback, armed; over his head an eagle holds a crown of laurel: the other, a figure dressed in black, with an expressive countenance, is called Jean de Montfort. — Baroccio : Portrait of Francis I. Duke of Urbino. —Giulio Romano : Virgin and Child. — Rubens: Hercules between Vice and Virtue, personified by Venus and Mi nerva. In two rooms on the N, side of the Tribune are placed works of the Tuscan school. In the smaller of the two, which is entered from the Tribune, the pictures most deserving of notice are the following : L. da Vinci. — A fine portrait, at one time called that of Raffaelle — Medusa's head. " Nothing struck me more than a Medusa's head by L. da Vinci. It appears just severed from the body and cast on the damp pavement of a cavern: a deadly paleness covers the countenance, and the mouth exhales a pestilential vapour; the snakes, which fill almost the whole picture, beginning to , untwist their folds ; one or two seemed already crept away, and crawl ing up the rock, in company with toads and other venomous reptiles." — Beck- ford. "The head of Medusa, so well known in story, is finished with ex treme care and delicacy; but the parts are not very well relieved: the head itself has great beauty of form. I think the great point in Leonardo's character as an artist is the extreme desire he appears to have felt to obtain perfection by carrying expression to its utmost point ; and he obtained it where he completed his work, as in this pic ture." — T. P. Fra Bartolomeo: Two small pictures, representing the Na tivity and the Circumcision, united. They are much praised by Vasari.— Fra Angelico : Six pictures : — The birth of John the Baptist; Coronation of the Virgin; Preaching of St. Peter; Mar riage of the Virgin; Adoration of th§ Magi; Death of the Virgin: interesting pictures full of figures. In the last the corpse of the Virgin is seen ex tended on a bier: above the body is a glorified figure of our Lord blessing the corpse, and holding a small figure, allegorically representing the soul of the Virgin, in his arms. The Apos-r ties, standing round, have each a flame of fire, as on Pentecost, on their heads, — Ridolfo Ghirlandaio : Adoration of the Magi. — Cristof. Allori: The Saviour sleeping on the cross. — A fine copy of the recumbent Magdalen at Dresden. — Masaccio : An old Man, painted with great truth. — Botticelli: Calumny, an allegory as described by Lucian. — Bronzino: An allegory of Happiness; Portrait of the dissolute Bianca Capelfoj mistress and wife of Francis I., a deU^ cate and almost fascinating counte nance, but also exhibiting somewhat of the embonpoint described by Mon taigne. In the background is an alle: gorical group, which is called the "Dream of Human Life," and is a duplicate of the so-called Michael An gelo in the National Gallery in London. — Cigoli: St. Francis with the stigmata. — Carlo Dolci: St. Lucia, in a red mantle, with a wound in her neck. In the second and larger room are the following pictures : — Jacopo da Empoli. — "The most per fect colourist of the Florentine school, and the picture by him here is one of his best. The subject is St. Ives reading the petitions of widows and orphans. He is seated on an elevated place, with a strong deep tone of colour in his face, a red piece of drapery on his head, and a white pelerin on his shoulders, painted to perfection over a brown mantle. He relieves from dark brown and grey architecture of exr quisite tone and clearness in its depth. The figures around him are well com posed, and, if they had not some of them been too much lost in the ground^ 524 Boute 44. — Florence — Uffizi — Pictures. Sect. VI. and if a little better arrangement of colours had been made, this picture would not yield to the best of the Fle- mishschool." — T. P. Artemisia Lomi .- Ju dith striking off the head of Holofernes. - Ridolfo Ghirlandaio. — San Zanobio raising a dead child ; excellent in each figure, in the grouping, and in the fulness with which the story is told. — Its companion is the Translation of the Body of the Saint, which gave rise to the miracle commemorated by the column near the cathedral. "These two pictures have great variety of action and power of expression, with an increased breadth, and aim at tone and colour quite Venetian, and pro duced in the same manner. It is, how ever, overdone; blackness usurps the place of shade, contrasts of red and green, in different tones of light, forbid harmony. What he did, however, was a great advance in the art, though not in the best direction. He appears to have sought, and in a measure obtained, what few Florentines before him had thought of, — chiar'-oscuro." — T. P. Mariotto Albertinelli. — The Visitation of St. Elizabeth. The two noble figures of the Virgin and St. Elizabeth approach, in style, to Fra' Bartolom- meo, with whom Albertinelli was in early life a fellow-student and a friend. "I have seen several pictures- by Al bertinelli, but not upon a scale to compare with this in any respect. It partakes largely of the colour of the best time as well as form, if we except the error, common to the school, of making colour stronger in the shade than in the light. It is exceedingly fraught with feeling ; the Virgin is the personification of delicacy, modesty, and self-possession in a female of fine and elegant form in figure and drapery. The school had not got rid of the formal arrangement of architecture and sky as background, but it is fine in colour. The whole is exceedingly strong and deep : red and blue, opposed by orange and white, with dark architecture off a Ught blue sky exceedingly luminous, compose its arrangement, which tells with immense force. There is below ft one of those painted steps of the altar, exhibiting small pictures of the Annunciation, the Nativity, the Child lying on the ground, Joseph and Mary praying beside it, and the Presentation, all full of the same feeling and richness of colour."—?. P. Andrea del Sarto. — St. James and two Children in the dress of Penitents.- The action of the Saint pleasing and affectionate, taking one child under the chin ; and the attitude of the child caressed, simple and .reverential. — His own portrait. Pontormo. — Cosmo il Vecchio, Pater Patriae. In the "abito civile" of a noble Florentine citizen, with a red velvet vestment and berretta. Before him is a laurel branching into two stems, one of which is cut down, whilst the other is flourishing; alluding probably to the fate of his two grandsons, Giuhano and Lorenzo. — Joseph present- inghis fatherto Pharaoh. A long picture, containing many pleasing groups. Vasari. — Lorenzo de' Medici. Vasari made up the portrait, not merely in countenance, but in costume, from the best contemporary paintings and draw ings whieh he could find. About the figure are many allegorical accessories, of wliich it might have been difficult to guess the meaning, had not the inter pretation been furnished by the artist himself. Lorenzo leans his hand upon a species of pilaster, against which is a very grotesque head, representing (as Vasari informs us) Falsehood biting her own tongue. Another pilaster, with a head thrown quite backwards, and a vase standing upon the forehead thereof, still more perplexingly signifies Vice conquered by Virtue. An antique lamp burning denotes the illumination which Lorenzo's successors received from his virtues. — Alessandro de' Me dici, the first Duke of Florence, is equally full of recondite meanings. Of these it may be sufficient to notice that his seat has three legs, as a perfect number, each leg being composed of three terms, whose arms are amputated, to represent that the people have neither arms nor legs. In the centre will be discerned a head, with bands issuing from its mouth, to show how the Re-; public was bridled by the strong castle erected by the Medici (see Fortezza da Tusca ny. Boute 4 4. — Florence — Uffizi — Pictures. Basso) ; and the red drapeiy east upon the seat indicates the shedding of the blood of those who were opposed to them. The swarthy complexion, thick lips, and black crisped hair, testify the negro blood of Alessandro's mother, a slave. Bronzino. — Eleanor of Toledo, wife of Cosmo I., with her son Ferdinand I. at her side. There is another picture of her, by the same artist, in the first or small room. — The Descent of our Saviour into Hades; considered the chef-d'anwre of Bronzino. It was brought into the gallery by the late Grand Duke Ferdinand III. from the church to which it belonged. — By the same hand are two Portraits of Children, the Princess Mary and the Prince Gai-zia, son and daughter of Cosmo I. : they are full of life and intelligence. - Fra' Bartolommeo. — The Virgin and Child, on a Throne, surrounded by several Saints and Protectors of the city of Florence. In front is Sta. Reparata, with a palm-branch. One of the noblest designs of this great artist. i Leonardo da V'nti. — The Adoration of the Magi, a mere sketch, very in teresting, as showing the commence ment of this artist's pictures. " The board was carefully prepared with a white gesso ground, on whieh the de sign was freely drawn. It was then passed over with dark colours, thus acquiring a deep tone at the commence ment. Some of the heads are made out with great character, but not pro ceeded far with. Some trees in the background are drawn as if they 'were never to be touched again." — T. P. ¦ Cigoli.— The Martyrdom of St. Ste phen. • In a room which opens out of the S. side of the Tribune/and opposite to the Tuscan school, are some works of other Italian artists, amongst which the fol lowing may be noticed : — Albano-. — Venus reposing, surrounded by Cupids, some shooting at a heart suspended from a tree as a target, others making arrows ; Rape of Europa; St. Peter delivered by the Angel out of Prison. — Salvator Rosa : A sea-pieee with rocky foreground; a fine landscape with a foreground of rocks, round 525 which a river flows. — Cignani .- The Virgin with the infant Jesus giving her a rosary. — Guercino: Landscape with men and women singing. — Dosso Dossi: Massacre of the Innocents. — Solimene : Diana bathing, Calisto discovered. — Garofolo : Annunciation. — Andrea Man tegna: Virgin and Child, seated near a quarry. — Titian : Christ in the house of the Pharisee. Between the room last described and the S. end of the E. corridor, are the rooms which contain the pictures of the French, Dutch, and German schools. They are usuaUy entered by a door which opens out of the southern or short corridor, and therefore at this point the following enumeration of the principal pictures begins. These schools are, however, by no means well repre sented here. On the rt. and 1. of the door are two portraits by Fabre, which are interesting : Alfieri, and the Countess of Albany. — Nic.Poussin : Theseus find ing his father's sword; Venus and Adonis onMountlda. — Largilliere: Por trait of Rousseau. — Philip de Champagne: Portrait of a man dressed in black. — Bourdon; Repose in Egypt. — 67. Poussin: Dark landscape with two figures, one fishing. — • Gagneraux : Lion - hunt ; Charge of Cavalry. — Borgognone: Two large battle-pieces. In the middle of the room are, the statue called the Venus della Spina, or a Nymph drawing a thorn from her foot; and a young man who is wounded in the foot : the last sub- jectisoftenrepeatedinantique works. German and Dutch Painters. — Denner .- Man in a fur dress and cap. — A. Durer .- Head of St. PhiUp, in tempera. — Rubens : Venus and Adonis. — Holbdn: Portrait of a man in black, with a paper in his hand. — Claude: Sea-piece, sunset. On the rt. is a palace representing the VUla Medici at Rome. — A. Elzheimer .- 10 small pictures of Apostles and Saints. —Holbein .- Portrait of Richard Southwell, Privy Councillor to Henry VIII. — • Peter Neefs : Interior of a Church. — A. Mignon: Fruit. — P. Neefs: The Death of Seneca. — Holbein: Por trait of Thomas More; Francis I. of France, in armour, on horseback. — Hemling : Virgin and Child, with two angels, one playing a violin, the other 526 Boute 44. — Florence — Uffizi— Cabinet of Gems, Sect. IV. a harp. — L. Cranach: Four pictures: Luther, Catherine Bora, Luther and Melancthon, and John and Frederick the Electors of Saxony. Dutch and Flemish Schools. — Jan Stem: Boors at table, one playing a fiddle. — Gerard Dow : A Woman selling Fritters. — Adr. v. Ostade: Man with a lantern.- — Gerard Dow: A Schoolmaster teaching a little Girl to read. — Rem brandt : A Peasant's Family. — Mieris : 8 pictures. — Adr. v. der Werff: Judg ment of Solomon ; a Nativity. — Poelen- burg: Moses striking the rock; Adora tion of the Shepherds. — Pynaker : Landscape, tower near a river. — /. Ruis- dael : Land-storm. — Adr. van der Welde : Two landscapes. In this room are two tables of oriental alabaster, on one of which is a beautiful small statue of Morpheus, considered to be a work of Grecian sculpture. " His languid hands scarcely hold a bunch of poppies; near him creeps a lizard, just yielding to his influence. Nothing can be more just than the expression of sleep in the countenance of the little Divinity."- — Beckford. At the E. end of the short, or S. cor ridor, is the Cabinet of Gems. Lorenzo de' Medici took peculiar pleasure in this branch of art, both in collecting ancient specimens and in encouraging living artists. Of these, the most eminent was Giovanni, surnamed " delle Condole," from the stone upon which he most fre quently exercised his skUl. Many spe cimens of his workmanship, as well as that of his contemporaries, are to be found in this collection. Several of these einque-cento productions have been mistaken for antiques. The small apartment, or Tribune, in which these gems are kept, has much beauty. It is supported by four fine columns of ala baster and four of verd'-antique, and the gems are contained in six presses, or cabinets, each with a number. Here are a series of busts, worked out of gems ; amethysts, chalcedonies, and tur quoises. — Imperial portraits on cameos: Vespasian, Tiberius, and Livia; Augus tus andGalba, singularly characteristic; the Salian priests bearing theh shields ; Etruscan. — Antoninus Pius sacrificing to Hope, or, as some say, Julian sacri ficing to the Moon, the largest cameo known. — Bellerophon and the Chi- msera. — Pan and the Signs of the Zo diac, now ascertained to be modern, but whieh had previously betrayed the learned into various theories. — Savona rola, with an inscription describing him as a prophet and a martyr, by Giovanni delle Corniole, and of exceedingly fine' workmanship. — The Triumph of Cosmo I. after the siege of Siena, a splendid cameo by Dominica Romano. — A Mi nerva, or at least an armed female figure, supposed to be Etruscan; upon the back is engraved "Christus vineit, Christus regnat, Christus imperat:" it was probably employed as an amulet in the Middle Ages. — Cupid riding upon a Lion, by a Greek artist; the letters badly cut in relief. — Theano delivering the PaUadium, a remarkable cameo. — A great number of vases of agate, jasper, sardonyx, lapis-lazuli, and other pietre dure. A few of the more im portant works may be more particu larly pointed out: — In Cabinet I., to the rt. on entering, a vase cut out of a block of lapis-lazuli, nearly 14 inches in diameter. Two bas-reliefs in gold, by Gio. Bologna. — Cabinet II. A vase of sardonyx, with the name of Lorenzo de' Medici engraved on it. — A casket of rock crystal, on which are admirably engraved the events of the Passion, in1 17 compartments, executed by Valeria Vicentino, the best artist of his day in works of this kind, for Pope Clement VII, The artist's daughter assisted him in this exquisite work, which was sent 'as a present from the Pope to Francis I., on the marriage of his niece- Catherine de' Medici with the younger brother of the Dauphin, afterwards." Henry II. — A species of shrine, con taining the portrait of Cosmo I., made up of enamel and precious stones. — A tazza of lapis-lazuli, with handles of gold, enamelled and mounted with dia monds ; a cup of rook crystal with a cover of gold enamelled, both attri buted to Benvenuto Cellini. — Three fine chasings in gold, by Gio. di Bologna. — Cabinet V. -A bas-relief in gold, repre- senting the Piazza del Gran Duca. Gio. Bologna. — Two beautiful small statues, St. Peter and St. Paul, Tuscany. Boute 44, — Florence — Uffizi^— Pictures. '527 Out of the western corridor open all the following rooms : — Venetian School. The first great door way on entering the southern end of the westernrcorridor opens into two rooms, in which are contained pictures of the Venetian School. The finest of these are, in the first room — Giorgione, Portrait of General Gattamelata, attended by his page. It could not, by the dates, have been done from the life, and it is da maged; but interesting as a portrait of a man so celebrated in history. — Titian, portrait of the sculptor Sansovino, in black, the right hand resting on a marble head. — Morone, an old man. — Gio. Bellini, Christ dead, in chiaro scuro. — Morone, a fine Portrait in a Spanish dress, called by some, but er roneously, St. Ignatius. — Moretto, Ve nus and her Nymphs weeping for Adonis. — Titian, Holy FamUy. — Bas sano, His own Family: a large party, aU engaged in playing on various in struments, and singing. Titian and his wife are introduced in the background. — Paul Veronese, Esther before Ahasu- erus, a, rich and grand picture, full of fine figures. — Tintoretto, Portrait of the Venetian admiral Veinerio, in armour, with his right hand on his helmet. — Titian, Francesco Maria della Rovere, Duke of Urbino, and Eleanor his wife, two noble portraits. The plate armour of the duke is finely painted, the coun tenance severe and noble; that of the duchess is pleasing, dignified, and simple ; her dress distinguished by its richness, the colouring transparent and pure. The sceptre or mace before the duke, upon which are the keys and tiara, denote that Urbino was held as a fief of the church. Through the win dow, behind thejluchess, is a beautiful piece of landscape. — Beneath are four fine heads, one by Paul Veronese, one. by P, Bordone, one by Tib, Tinelli, and the last by Gampagnola. In the second room are — Jac. Bas sano, Two Dogs.-r-?Yfta)i, Sketch for the battle of Cadore, one of the pictures destroyed in the fire at the Doge's pa lace.^— The Virgin, Infant Christ, and St. Anthony, — Giovanni de' Medici, father of Cosmo I., painted after the death of the original. The countenance is marked by severity, extreme saga city, and acuteness. The helmet and cuirass shine as if reflecting the Ught of the sun. — Tintoretto, the Marriage at Cana. " A well -finished work of great beauty of composition for playfulness of effect." — T. P. — Pordenone, Conver sion of St. Paul. — Morone, Portrait of N. Panetra, an old man seated with a book in his hand. — Titian, The Virgin, in red, Infant Christ, and St." Cathe rine. The Flora, a portrait of a lady in a white shift, with yeUow hair and fair complexion, and flowers in her left hand, "The flesh extremely natural and round." — T. P. — Sebastian del Piombo, A warrior ; a bay-tree by his side. — Morone, Portrait, a bust; a book in front. — Giorgione, Moses proving the burning coals and the gold ; Judgment of Solomon ; a Holy Society, an ob scurely allegorical picture. — " Bonifa- zio's Last Supper is an inefficient work in composition, but in clearness, truth, fulness, and brilliancy of colours,. Titian's Venus in the Tribune alone rivals it, and in some respects the flesh of Bonifazio is better than Titian's."— - T. P. — Moretto, Man playing on a gui tar. — P. Veronese, Crucifixion. — Tinto retto,- Fine Portrait of the sculptor Sansovino in his old age, a compass in his hand. — Giorgione, Portrait of a Knight of Malta, holding a chaplet. — Bordone, Portrait of a man in black, with red hair. — Titian, Catherine Cor naro, Queen of Cyprus, with a repre sentation of the wheel in the back ground, as a species of rebus denoting her name ; in the full Greek dress, a gemmed crown upon her yellow hair, splendid in the colouring of the dra pery, and pure and transparent in the flesh. Autograph Portraits of Painters. The collection was begun by the Cardinal Leopold de' Medici, and has been con tinued to the present time. Amongst the most striking are the following: — Raphael. A beautiful young head. This very remarkable painting was ex ecuted in 1506, when he was about 23 years old, and it is supposed that he left it with his relations at Urbino as a remembrance. The hair is chestnut- brown, and the eyes dark, M. Von. 528 Boute 44.— Florence — Uffizi — Portraits. Sect. VI. Rumohr, who has written very learn edly on the subject of ItaUan art, says, that the hair was flaxen and the eyes were blue, but that they have changed colour in consequence of having been repainted. Passavant denies the fact, and the Italian artists laugh at the theory. — Giulio Romano. A striking portrait on paper, in black and red chalks. — Masaccio. Head like those in his frescoes, both in costume and cha racter. — G. Bellini. Small, with a large red coif. — L. da Vinci. Esteemed one of his best and most carefully painted works. "It is exceedingly grand: it is too dark in tone, and if he proceeded ¦always in the mode in which the pre paration before spoken of was con ducted, I do not know how he could -be otherwise than dark." — T. P. — M. Angelo. In a flowered dreBsing- gown ; but not really supposed to be by himself. — Titian, Tintoret, and Bas sano. All fine portraits of old men. ¦ — And. del Sarto. Executed just before his death, at 42 years old ; much esteemed. — Pietro Perugino. One of the most remarkable in the "collection for its beauty, character, and expression. — Parmigiano. — Guido. A Flemish-looking head, in a large round hat. — Guercino. Honestly show ing his own squint, whence he has his name ; well executed. — Domenichino. Simple and interesting portrait. — The " Caracci. Five portraits, three of Anni- bale; all very intelligent-looking, espe cially the two profiles. — Vandyk. — Rembrandt. Two portraits, one very old, the face mapped over with wrinkles ; the other middle-aged. — Gerard Dow. A beautifully - finished picture. The artist with a hat on, holding a skull in one hand, and looking out of a window : the accessories beautifully painted. — - Quintin Matsys and his Wife. Interest ing in costume, and pleasing in expres sion. — Sir Godfrey Kneller. In an im mense wig and full dress. — Alessandro ¦Allori. Very good ; so also Christoforo Allori. In different styles, but all first rate, are Mieris, Antonio More, Gerard- son, Honthorst, and Albert Durer. . The Enghsh painters are Jacob More, Rey nolds, Northcote, Harland, Brockedon, and Hayter ; and in the corridor is the worthy gentleman, who is designated as " Princes Hoare." When he came to Florence, having written his name Prince Hoare in the hotel book, he was saluted as "II Principe Hoare," and charged accordingly. In the centre of the large room is the celebrated Medicean Vase, on which is sculptured the Sacrifice of Iphigenia. Those who know the tale, wUl name the figures for themselves. Much discussion has arisen on the subject, for which there is no room here. Cabinet of Egyptian Antiquities. This small collection was made in 1826. The present collection was principally formed by NizzoU, the chancellor of the Austrian Consulate at Alexandria, and purchased by the Grand Duke. The articles are generally in good pre servation ; but it presents little that is striking to those who have seen the col lections at the British Musem, Paris, or Turin. Hall of Inscriptions. These, which are very numerous, are arranged in classes by Lanzi. They are, of course, more intended for study than for hasty inspection. Many statues and sculptures are placed round the room. The most striking are the foUow ing :— A Priestess, fully draped; the head and left hand are modern. Bacchus leaning on Ampelos, nearly a duplicate of a group at Rome. — Mercury, very fine. — Venus Urania, half draped : the remains of colouring may yet be seen in the hair and head-dress. Some con sider this statue as next in beauty to the Venus. — Venus Genitrix or Eu terpe : a fine statue, but much restored, and the restorations once or twice changed, to suit the denominations which have been given it. In the middle of the room are two Egyptian statues of granite, and under the group of Bacchus and Ampelos is the Pompa Isiaca, an altar, pseudo-Egyptian, of the age of Adrian. Here are also six curious small sarcophagi, all intended for children; and a profusion of small statues and busts : among the latter of which is an interesting one of Plato. Inserted in the wall is a large and fine bas-relief, representing, according to Gori, Earth, Tuscany. Boute 44.— Florence — Uffizi — Sculpture. 529 Air, and Water, personified by three female figures. Hall of the Hermaphrodite. The statue from which this hall derives its name, is lying upon a lion's skin. The lower portion has been skilfully restored. The ancient portion is very fine. The position is the same as in the celebrated statue at Paris. — Ganimede. A torso converted into a very beautiful entirety by Benvenuto Cellini. Head, arms, feet, and the eagle, are from his chisel, and of exquisite beauty. — Infant Her cules strangling the serpents. — A frag ment of a Btatue, in Parian marble, of Bacchus, or a Faun, wearing a goat skin. — A fragment of a torso in basalt. — Cupid and Psyche. " The group of Cupid and Psyche, interesting from the beauty of youthful male and female forms and harmony of lines, is an alle gory of the Pythagorean philosophy, representing the union of desire and the soul." Flaxman. — The heads of the figures are so close to each other, that there must have been much mechani cal difficulty in the execution. — Torso of a Faun. Considered by some as su perior to that of the Belvedere Torso. Busts. — Brutus. Left unfinished by Michael Angelo ; but wonderfully ef fective. The features, particularly about the mouth, have some resem blance to those of Savonarola. Be neath it is engraved : — "Dnm Hruti effiiiiem sculptor demarmoreducit, In mentem sceleris venit, et abstinuit." To this Lord Sandwich replied : — " Brutum effecisset sculptor, sed mente recursat Multa viri virtus, sisr.it, et obstupuit." Above, is a mash, the head of a satyr, the first production of Michael Angelo, at the age of 15 years. — A very fine colossal bust of Alexander the Great, " casting up his face to heaven with a noble air of grief or diseontentedness in his looks," called Alexander dying. Alfieri wrote a fine sonnet on it. — A su perb female head, called Berenice. The head-dress is singular, and resembles that of the age of Louis XIV, — A co lossal head of Juno. — A colossal bust of Antinous. — An alto-relievo repre senting a wearied traveller reposing. Hall of Baroccio. — Gherardo dalle N. Italy— IS51. Notti (Honthorst), Adoration of the In fant Saviour. — • Bronzino, Deposition from the Cross. — Velazquez, Philip the IVth of Spain on horseback ; said to be the picture sent to Pietro Taeea, from which he executed at Florence the sta tue in bronze, formerly in the Buen Retiro, but since 1844 in the Plaza del Oriente, at Madrid. — Francia, Portrait of Scappi, whose name appears on the letter in the right hand. — Mantegna, Portrait of Elizabeth, wife of Gonzaga, Duke of Mantua. — Razzi, called II So- dorna, Apprehension of Christ by the Soldiers. — Ann. Caracci, A Man with a monkey on his shoulder. — Baroccio, The Virgin interceding with Christ, a pic ture called the " Madonna del Popolo." — Alex. Allori, Giuhano de' Medici, Duke of Nemours, a copy from Raf faelle. — Holbem, Two portraits, one of a man, the other of a woman. — Rubens, Portrait of Helena Forman, his second wife ; in her left hand is a string of pearls. — Andrea del Sarto, A woman in a blue dress. — Sustermanns, Portrait of Galileo.— Carlo Dolce, Mary Magdalen. — Sassoferrato, The Virgin of sorrows. — Vandy/t, Portrait of a princess in black, bearing some resemblance to Mary Stuart. — Rubens, Portrait of Eli zabeth Brandt, his first wife ; in her right hand is a book. — Pourbus, Por trait of the sculptor Francavilla. — — Carlo Dolce, Santa GaUa Placidia, placing a crucifix in. the place of an idol : it is a portrait of Felicia, second wife of the Emperor Leopold, dated 1675. — Gherardo dalle Notti, The Infant Saviour in the Manger.. — Ann. Caracd, Portrait of a Monk in. white. — Albano, The Infant Saviour, surrounded by angels bearing the instruments of the Passion. In this room are four tables of Flo rentine Mosaic or Opera di Commesso. The finest is the octagonal one in the centre. It is the richest work of the kind ever made. It was begun in 1613, from the design of Ligozzi, and occupied 22 workmen during 25 years, being completed in 1638. It cost 40,000 se quins. Pacetti designed the medallion in the centre. HaU of Niobe, — The fine figures of Niobe and her children were discovered 2 A 530 Boute 44. — Florence — Uffizi— Sculpture. Sect. VI. at Rome some time previously to 1583, near the Porta S. Paolo. Mr. Cockerell has most ably shown that they most probably were originally arranged in the tympanum of a temple. By some they have been supposed to be the identical statues by Seopas, which Pliny describes. They were deposited in the Villa Medici, and brought thence in 1775. The saloon in which they are placed is a fine apartment, but it is not well lighted for sculpture, nor are the statues well arranged, and the effect of the group is injured by the figures being thus scattered. They are not all of equal merit ; Niobe is the finest : the daughter on her left, the dying son, and those oneachsideofthe pedagogue, are the next in merit. The dying son should be placed next to the daughter, who is on the rt. of Niobe, and who is looking at him. One statue in this room, the second to the 1. on entering, has by some been supposed not to have formed part of the group of Niobe's children, but to be a Psyche; but this is evidently an error, as her attitude is as marked as possible. Forsyth says, — " I saw nothing here so grand as the group of Niobe; if statues which are now disjointed and placed equidistantly round a room, may be so called. Niobe herself, clasped by the arm of her terrified child, is certainly a group ; and whether the head be original or not, the contrast of passion, of beauty, and even of dress, is admirable. The dress of the other daughters appears too thin, too meretricious, for dying princesses. Some of the sons exert too much atti tude. Like gladiators, they seem taught to die picturesquely; and to this thea trical exertion we may, perhaps, impute the want of ease and of undulation, which the critics condemn in their forms." — Forsyth's Italy, p. 42. Among the pictures in this room are — Snyders, a Boar Hunt. — Rubens, Henry IV. at the Battle of Ivry, an animated sketch ; Entry of Henry IV. into Paris after the Battle of Ivry. — Lely, Portrait of Prince Rupert, and of General Monk. Gherardo dalle Notti, three pictures. Cabinet of Vases in Terra Cotta. — : Greek or Etruscan. This collection, also, offers many objects worthy of attention. The most important portion consists of those, about 800 in number, which were found at and about Sar- teano, near Chiusi, in a most remark able Necropolis of ancient Etruria. They are black, with basso-rilievos, rarely found elsewhere, and are cer tainly very interesting and valuable. In the same room are some fine speci mens of the so-called Raphael ware. In the middle of the room is an expres sive statue of the Genius of Death, which has been absurdly restored as a Cupid. Cabinet of Modern Bronzes. — The Mer cury of Giovanni Bologna. — ' ' His famous bronze statue of Mercury is conceived in the true spirit of poetry, and is deservedly admired as one of the finest productions of modern art. The form is light, and the action graceful." — Westmacott, jun. — Benvenuto Cellini. The bust of Cosmo I., considered by the artist himself as one of his finest works; and two small models of his Perseus, one in wax, the other in bronze. — Ghiberti. The sepulchre of the martyrs Probus, Hyacinthus, and Nemesius. — The trial piece, executed when he was 20 years old, representing the sacrifice of Abraham, which ob- * tained for him the order for the gates of the Baptistery. — BruneUeschi: his trial piece, when competing for the same work, and which he did not obtain. — DonateUo: a very singular and beau tiful statue, apparently allegorical, of a winged child. It stands close to the copy of the Faun of the Tribune — David as the Conqueror of Goliath (to the left on entering, in the corner.) This fine statue is historical. It stood ori ginally in the cortile of the Medici palace ; but when Cosmo was exiled in 1433, it was seized by the Signoria, and placed in the Palazzo Vecchio. — Andrea Verocchio: another David (opposite to the last.) It is rather lean. There are also here many copies in bronze of celebrated pieces of sculpture. Cabinet of Ancient Bronzes. — Contain ing some of the finest specimens of Etruscan art. Here is the Chimera discovered at Arezzo in 1558, and in the highest state of preservation; the tail, or serpent, alone is modern. The fragments of the original tail which Tuscany. Boute 44. — Florence — Uffizi— Sculpture. 531 were found with the image seem to have been lost. The goat's head is represented as dying ; the lion's head showing fierceness and vigour. " A mingled monster of no mortal kind ; liehincf a dragon's fiery tail was spread, A goat's rough body bore a lion's head. Her pitchy nostrils flaky llames expire ; Her gaping throat emits infernal fire." Pope's Hniner : Iliad. The workmanship shows that it is not of a very remote period ; but the entire similarity of the figure to the Chimera as represented upon the gold medals of Siphnos, proves that the artist strictly adhered to his mytholo gical archetype, although he improved its style. On the right fore-paw is an inscription in Etruscan characters. — A robed figure, in the act of speaking, discovered in the Valle di Sanguinetto, near the lake of Thrasimene, supj>osed to represent one of the Lucumons, or elective rulers of the Etruscan state : others have considered it to be Scipio Africanus. An inscription upon the border of the robe, as far as it can be read or guessed, gives the name ofMetello. — A Btatue of a Young Man found near Pesaro, in 1530. No statue in the collection has excited more antiquarian controversy. Some call it Mercury, Apollo, or the Genius of Pesaro. Others suppose it is a Bac chus; fragments of a vine stem, as is Said, being found near it: Bembo en graved upon the pedestal; — -"Ut potui hue veni, Delphis et fratre relicto;" "an inscription," says Addison, "which I must confess I do not know what to make of." This statue is known by the name of the Idol. The base, at tributed, but erroneously, to Ghiberti, represents Ariadne, and Bacchanalian figureB. — Minerva, found also at Arezzo : very beautiful, and ouriousfor costume. It is damaged by fire. — The Head of a Horse. — In two corners of this room are glass oases. In that on the rt. on entering are — a Genius distilling am brosia' from the lips of Bacchus— a statue of Pluto — one of an Amazon. In the case on the It. are six Niellos by Maso di Finiguerra. It was from these works that the art of engraving took its rise. Also by the same artist : the Assumption of the Virgin. Four teen cases ranged round the cabinet contain various small objects. In Case II. are several statues of Venus, in various attitudes and with various at-1 tributes. In Case VII. are animals whieh served as heads to Roman stan dards ; amongst others, the eagle of the twenty-fourth legion. — Case XI. Ivory dyptic of Basilius, consul a.u. 1295, or a.d. 542. This is a curious monument, for in BasiUus the last shadow of the dignity expired. The waxen tablets. containing the memoranda of the daily expenditure of Philip le Bel of France, about the year 1301. These tablets are dispersed; other leaves are at Ge neva and at Dijon. — Case XIII. A silver disk, representing Flavius Arda- burius, consul a.d. 342. — Case XIV. A lamp representing St. Peter's Bark, an early Christian relic. The Uffizi gallery contains also very fine collections of drawings, engravings, medals, cameos, and intaglios, which, however, it requires special permission to see, and there is some little difficulty in obtaining it, except through the medium of the British minister. Drawings and Engravings. — These are principally kept in the presses whieh are placed round the hall of Baroccio. The drawings, which "begin with Giotto and eome down to the present time, amount to about 28,000. The collec tion of engravings is not less rich in the works of great artists. Medals. — This very valuable collectidn was in great measure formed about the time of Ferdinand II. by an Eng lishman, the Rev. Peter Fitton, a Romish priest, who quitted England during the Protectorate. He was a man of rare learning, not only in numismatics, but in other branches of archaeology; and the collection has received repeated additions in every class since his time. Both the ancient and the modern coins and medals are classed according to countries, and chronologically arranged, without attending either to metal or size. This arrangement, suggested by Eckel, renders the collection more in structive than when the medals are separated by metal or magnitude. The contents of the collection have formed 2 a2 532 Boute vi. — Florence— Palazzo Pitti. Sect. VI. the subject of very magnificent works, but it is by no means exhausted. The Imperial medals, extending to Constan tine Palajologus, are remarkably fine, and amount to about 9000. Perhaps, however, the most interesting portion to a foreigner are the Italian coins and medals, and which are rarely found to any extent out of Italy. The largest proportion of the medals of Vittorio Pisano and his school are highly inter esting, not merely as works of art, but on account of the characteristic por traits which they exhibit, and the events whieh they commemorate. The series of current coins of the mediseval and modern Italian states is the most complete in existence, and has been continued to the present time. That of the gold florins of Florence is pecu liar, for they began in 1252, and are the earliest specimens of gold coinage in Western Europe. They derived their name Fiorino from the flower, the giglio, with which they are impressed. Cameos and intaglios. — These are both antique and modern, and amount to above 4000. Many are equally remark able for the extreme beauty of the workmanship and for the fineness of the material. The collection is the richest in existence. Palazzo Pitti.— ^This splendid struc ture, now the residence of the sovereign, was commenced by Luea Pitti, the formidable opponent of the Medici family, and who, at one period, en joyed the greatest popularity. This he forfeited by his plots against Pietro de' Medici in 1466. Most of those who participated with him in the conspiracy fled or were banished. — "Luca, though exempted from the fate of the other leaders of the faction, experienced a punishment of a more galling and dis graceful kind. From the high estima tion in wliich he had been before held, he fell into the lowest state of degrada tion. The progress of his magnificent palace was stopped ; the populace, who had formerly vied with each other in giving him assistance, refused any longer to labour for him. Many opu lent citizens who had contributed costly articles and materials demanded them back, alleging that they were only lent. The remainder of his days was passed in obscurity and neglect, but the extensive mansion which his pride had planned, still remains to give celebrity to his name." — Roscoe. According to popular tradition, this palace was intended by Pitti to surpass that of the Strozzi, which Pitti boasted should be contained within his cortile. Dates are said not to be entirely in ac cordance with this story. Pitti em ployed BruneUeschi to give the designs, probably about 1435. BruneUeschi car ried it up to the windows of the second story. It remained some time in an unfinished state, in which it was sold in 1559, by Luca the great grandson of the founder, to Eleonora wife of Cosmo I., who purchased the neighbouring ground, and planted the Boboli gardens. It was carried on long afterwards by i Bartolommeo Ammanati, who added the wings and finished the splendid court, The armorial bearings of the Repubhc are of still more recent date, having been executed by Alfonso and Giulio Parigi; nor is it yet completed. The exterior elevation "is entirely of rustic work. The windows of the first story . are arched ; they have been ornamented by Ammanati with elegant mouldings and triangular pediments. Between these windows are others more simple, placed a little above them. In the second story are 23 windows without any ornament, with round holes in the centre of the archivolt, and a continued balustrade before them. There then rises in the centre a third story, likewise rus ticated, which has seven windows, and on each side a balustrade with statues at the extremities. The doors are 28 ft. high, the windows being in the same proportion. The court is surrounded on three sides by a portico of three orders of architecture, of columns in half reliefs : the first Doric, the second Ionic, the third Corinthian ; the whole being worked in rustic, but much lighter. than the facade. We cannot account for the greater part of the windows in this court having their pediments bro ken. The solidity of the arches above them is ingeniously contrived : the great space of the cornices is supported in the centre by the key-stones, which Tuscany. Boute 44. — Florence — Palazzo Pitti — Halls. 533 spread out more than the lateral ones ; the impost or architrave of the smaller order does not in the least interrupt the regularity of the rustic work: the en tablature is unbroken. At the extre mity of this court, Ammanati formed a beautiful grotto of an elliptical figure, whimsically ornamented with isolated Doric columns, and embellished with various fountains, niches, statues, and rich vaultings." — Milizia. In the Cortile is a somewhat odd assemblage of sculpture. In the grotto under the fountain is Moses, made up from an ancient torso, by Corradi, surrounded by allegorical statues of Legislation, Charity, Authority, and Zeal. At the side of the grotto are Hercules and Anteus; Hercules, a copy of the Farnese Hercules; Ajax; and a basso -rilievo of the mule, which, accord ing to tradition, was commemorated by Luca Pitti in gratitude for the good service it performed in conveying ma terials. The chief attraction of the palace is the collection of pictures, whieh, formed somewhat later than the Gal leria Reale, has become the finer of the two. The principal part of the col lections of Cardinal Leopoldo de' Me dici, and Cardinal Carlo de' Medici, are also here deposited. Ferdinand II. made many important additions to it, by purchasing the best paintings then existing in the Tuscan churches. The number exceeds 500 ; none are bad, and they are, for the most part, well seen. The pictures have, many of them, more especially some of the finest, been con siderably injured by excessive cleaning and varnishing. The gallery, which is on the first floor, is open daily from 10 to 3, ex cept on Sundays and festivals. No fees are expected by the keepers, and the rooms are fitted up with chairs and ottomans, and each room contains two or more tabular catalogues of the pictures in it. No difficulties are raised, if permission be sought to copy a painting. It is obtained by a written application to the Maggior-domo. The first vestibule contains a statue of Venus, and two of Hercules, antiques, but not of very high value. In the second vestibule are two Fauns of Greek sculpture, and a fine Bacchus by Baccio Bandinelli, and a group of Mercury and Argus by Francavilla. The guard-room is a fine apartment with antiques (real or so calledj, and busts of Cosmo I., Ferdinand IL, Ferdinand III., and Leopold. The gallery consists of a series of splendid apartments, the ceilings of the first five of wliich were painted in fresco by Pietro da Cortona, about 1640. Each of these is denominated from the planet, which, according to the concetto of Michael Angelo Buon arotti (the nephew of the artist), was to denote one of the virtues or ex cellences of Cosmo I. The allegories are exceedingly forced and elaborate, and not far off from absurdity, but the general effect is very rich. Hall of Venus .- so called by the rule of contrary, the allegory being the triumph of Reason over Pleasure. Minerva rescues a youth, under whom is figured Cosmo I., and conducts him to Hercules. — 1. Lucas Cranach, Eve. — 2. Salvator Rosa, an allegorical painting, representing Falsehood by a man holding a mask. — 3. Tintoretto, Cupid, born of Venus and Vulcan : "The colour is more vivid and clear, more like flesh than Titian's, with all the peculiar brilliancy of Tinto retto hi his best time." — T. P. — 4 and 15, Salvator Rosa, Coast Views : both of these fine pictures are of an unusual size, and in an unusually bright style. — 9 and 14, Rubens, two noble Landscapes. — 11, Bassano, the Martyrdom of St. Catherine. — 13, Ros- selli, Triumph of David. — 16, Rem brandt, Portrait of an old Man. — 17, Ti tian, Marriage of St. Catherine, and, 18, Portrait of a Lady in a rich dress, called the 'Bella di Tiziano :' — 30, Feti, Parable of the Lost Piece of Money. Hall of Apollo. — The tutelary Deity of Poetry and the Fine Arts receives Cosmo, guided to him by Virtue and Glory. This ceihng, being left un finished by Pietro da Cortona, was completed by Ciro Ferri. Some of the finest pictures are: — 36, G. da Carpi, Portrait of Archbishop Barto- 534 Boute 44. — Florence — Palazzo Pitti — Halls. Sect. VI. lini Salimbeni ; 38, Palma Vecchio, the Supper at Emmaus ; 39, Murillo, a Virgin and Child; 40, And. del Sarto, Virgin and ChUd, St. John and St. Joseph. — Cristoforo Allori, the Hospi tality of St. Julian; 43, Frandabigio, a Portrait of a swarthy man ; 46, Cigoli, St. Francis in meditation; 49, T. Titi, Portrait of Prince Leopold de' Medici, afterwards cardinal, as a child; 51, Cigoli, a Descent from the Cross ; 54, Titian, Portrait of Pietro- Aretino; 55, Baroccio, Portrait of Prince Frederick d' Urbino when a child; 58, And. del Sarto, the Deposition from the Cross : the Magdalene, clasping her hands in agony, is of high merit ; 60, Rembrandt, Portrait of himself ; 59 and 61, Raphael, two Portraits ; one of Maddalena Strozzi Doni ; the other of her husband, Angelo, Raphael's friend, and painted when Raphael was twenty-two years old. These paintings continued in the possession of the Doni family till 1758, and afterwards passed by in heritance to the Marquis of Ville- jieuve, at Avignon, who, in 1823, sent them to Florence, and offered them for sale. The mysteries of picture- dealing are unfathomable. The King of Bavaria had them examined by Pro fessor Wagner, who in spite of the identification of the pictures by the very minute description of Vasari, the continued possession of the paintings by the Doni family, and the absence of any duplicates whatever which could create any uncertainty, declared his opinion that they were not genuine. The keeper of the Galleria Imperiale declared the like; but upon examination by Herr Metzger, by trade or profession a picture cleaner and restorer, they were declared to be genuine (of whieh, indeed, there eould not be any reason able doubt), purchased by the Grand Duke for the sum of 5000 seudi ; and they are justly reckoned amongst the greatest ornaments of the gallery. They have been very carefully and honestly treated, and have suffered less from cleaning than almost any of the other Raphaels. — 63, Raphael, Leo X., with two Cardinals; one his nephew, Giulio de' Medici, afterward? Clement VII.; the other, de' Rossi. " The praise due to this picture, whieh is no light portion, must be given to its fulness of character, and its rich ness of hue; it can never be extended to its composition, or its arrangement of effect. To the praise, however, thus demanded by the higher quali ties of portraiture it is justly entitled. The sedate look, the erect and firm position, accord with the condition of the person and his occupation, reading that book whence all power is derived. An illuminated bible is open before him, with the words of the beginning of Genesis, made legible. He has ceased to read, turns down his glass, and is thinking. The tone of colours of the whole accords with all this; it is serious, but clear: it is rich and deep, and in general harmonious. The defect of the work is dryness and hard ness in the execution, the features being marked with overwrought care and labour, and the shadows of the face are a great deal too dark, so as to destroy all breadth. Raffaelle has evidently laboured to be exact in the resemblance of his Holiness; but fol lowing more his historic freedom in those of the attendant Cardinals, has executed them with much more free dom in style and greater approach to nature. In composition they press too close upon the principal figure." — T. P. Hall of Mars. — The ceUing indicates the successes of Cosmo in war. Mars appears as the Thunderer: a confused Battle by Sea and Land; Victory fol lowed by Peace and Abundance. In this room are — 78, Cigoli, an Eece Homo, one of his finest works; 79, Raphael, the celebrated Madonna della Seggiola. " The sweetest of all his Madonnas, if not the grandest. Nature, unsophisticated nature, reigns trium phant through this work, highly sought for, highly felt, and most agreeably rendered. The composition has the merit of intricacy, whilst it has the ap pearance of simpheity; and lines are made to traverse each other to pro duce variety, without any probability that the art wUl be discovered unless sought for. The arrangement of colour is artfully conducted, and if it be the Tuscany. Boute 44. — Florence — Palazzo Pitti — Halls. 535 perfection pf colouring, that by its means each object in the picture be made to assume its full importance whilst it retains its proper place, then I see no reason to find fault with this : except perhaps there is rather a large portion of blue in the lower part, which might have been, and probably was, advantageously broken by shades. Though I think the arrangement of the colours good, I cannot say much for the hue, whieh is dull, and lacks clearness in the half tints and shades." — T. P. 82, Vandyke, the Portrait of Cardinal Bentivoglio : very noble. The head is distinguished by an expression of great intellect and refinement. It is most injuriously elevated so high that its pecuhar beauties are lost. — 87, Palma Vecchio, a Holy Family; 92, Titian, a Portrait of a Man, name Txnknovfn.— Raphael, a Holy Family (called "deU' impannata"), injured by cleaning and retouching. It de rives its name from the introduction of a window, closed by cloth instead of glass; 95, Rubens, his own Portrait, with that of his Brother, and the two Philosophers, Lipsius and Grotius, very fine : 96, Christoforo Allori, Ju dith with the Head of Holophernes, a master-piece of colouring. Hall of Jupiter. — Hercules and For tune introduce Cosmo to Jove, from whom he receives a Crown of Immor tality. Beneath are seen the results of peace. Vulcan rests from the labours of his forge; Mars flies away upon Pegasus, and the like. Here are: 111, Salvator Rosa, the CatiUne Conspiracy. The heads are deficient in elevated character. — 113, Michael Angelo, the Three Fates. " As an allegory it has power, as a picture it is weak. It has no great pretensions to fine form, though there is grandeur in the cha racters: it has no colour, or rather I would say tone, for colours one would not seek in such a subject, except as a painter regards colour as the vehicle of sentiment: its chiaro scuro, if not offensive, has no claims to praise. As a design, however, it conveys poetic sentiment. The earnest look of the principal figure, who has the control of the fate of a human being, and spins the thread of his good or evil destiny, is deeply felt, and as strongly con veyed : her sister, whose occupation it is to cut short the course of his ex istence, watches the token of the moment when she shall perform her potent function, with an earnestness due to its importance: whilst the third, penetrating the future, antici pates the suffering of the subject. It has, therefore, that fulness of senti ment which distinguishes the labours of M. Angelo; but it is portrayed with the feeble hand of senility." — T. P. 123, Andrea del Sirto, the Virgin in Glory, with five saints below; 124, A. del Sarto, the Annunciation; 125, Fra' Bartolomeo, St. Mark. "The figure of St. Mark must have been in its time a very extraordinary production, exhibiting, as it does, a largeness and grandeur of style with the simphcity which was the glory of his predeces sors. The position is, perhaps, some what forced in the management of the arms, but its lines are finely varied. The foldings of his drapery are large in form, giving a boundary to the figure, relieving, as it does, from the majestic architecture behind him, of an extremely grand form. The sleeve is peculiarly fine. The conception of the whole, enthroned as he is, is ad mirably invented for a religious work; and fts somewhat formal composition has an imposing and fine effect, and shows its author to have been im pressed with sentiments of an elevated class worthy of the man destined to be the friend and guide of Raffaelle." — T. P. 146, L. da Vinci, a Portrait of an unknown female. Hall of Saturn, to whom Cosmo, now in mature age, is conducted by Mars and Prudence, to receive the crown offered by Glory and Eternity. 150, Vandyke, a fine Portrait of our Charles I. and Henrietta his Queen; 151, Raphael, Pope Julius II. "A portrait so different in the character of its execution from that of Leo X., that it is with difficulty one can con ceive the same man oould paint both. Equally strong in character, as to po sition and aspeot, fuller in line, richer in colour, more free in execution, andj 536 Boute 44. — Florence — Palazzo Pitti — Halls. Sect. VI- in short, more like to nature. The JuUus of the Uffizi Gallery differs materially from this, and corresponds more with the others. It has not the air of a copy, its beard is rendered like that in our National Gallery in straight lines. The velvet is not so well understood, is redder, and its effect not luminous as in this picture, and it is, altogether, heavier, duller, and harder." T. P. — 152, Schiavone, the Death of Abel; 158, Domenichino, St. Mary Magdalene; 164, Cerugino, the Descent from the Cross; 165, Raphael, the Madonna del Baldaechino ; the Virgin and ChUd enthroned, with the four Fathers of the Church. "A picture in which is made evident his liaison with Bartolommeo, and his en deavours to learn and improve himself by association with that able man. This is so exactly in imitation of that master's style of design of colour and management, that it was at one time attributed to the Frate: but it is plainly discernible as the younger man's, by the superior delicacy which is in it, the roundness of the angels, and fulness of feeling about the Virgin and child." T. P.— 166, Annibale Ca racci, the head of an old man, not quite finished; 171, Raphael, Portrait of Inghirami. He is painted as se cretary to the eonelave in which Pope Leo X. was elected ; he is often, but erroneously, styled a cardinal; 172, Andrea del Sarto, the Dispute concern ing the Mystery of the Holy Trinity; some say, respecting the real Presence; 174, Raphael, the Vision of Ezekiel. "A sublime and beautiful little pic ture." — T. P. "Smallness of dimen sions is not accompanied by smallness of treatment. Minute imitation is not found in this picture,- diminutive as it is." Eastlahe. — 178, Raphael, Cardinal Bibbiena : character is strongly marked. There is a duplicate of this portrait at Madrid; and many parts of the present picture are supposed to have been done by Raphael's scholars. " It is as hard in form, and violent in contrast with its ground, and as imperfect as a pic ture, as the JuUus is fine in all these points." — T. P. 179, Sebastiano del Piombo, Martyrdom of St. Agatha, a disagreeable subject, showing great power of drawing, and fine colouring. Hall of the Iliad. — The ceiling painted, by Sabatelli, about 20 years ago, in which the artist has united his alle gories to the Homeric poem. 184, And. del Sarto, Portrait of himself. " There is great precision of character and expression in this portrait, of which there is a duplicate in the gallery, not so strong and rich as this. It has a steady piercing look, and a mellow and rich effect." — T. P. 185, Giorgione, a Concert of three figures. The Flo rentines imagine, oddly enough, that two "of the figures represent Luther and Calvin, quite forgetting that when Giorgione died, 1511, Calvin was not yet born, and that Luther was stUl a monk in his convent; 188, Salvator Rosa, Portrait of himself ; 191 and 225, Andrea del Sarto, the two Assumptions, placed opposite to each other. In the first of these admirable pictures, he has introduced his own portrait, as well as that of the donor, in lay habits. In the second is also the portrait of the donor, a bishop. In both, the grouping is the same. According to the tradition of Florence, after he had begun the first, the panel cracked ; and he was so much disheartened by this untoward event, that, he abandoned the work, leaving it unfinished, and began and completed the second. There are many objections against this story; but we shall only state one, viz. that the picture is not unfinished. "His characters in general lack elevation, and do not well support the serious and imposing aspect which his pictures possess from their tone, and the formal arrangement he acquired in imitation of that drawn by Fra Bartolommeo from the older masters, but rendered by him somewhat more geometric and imposing." — T. P. 192, Scipione Gae tano, Portrait of Mary de' Medici, Queen of France. — 200, Morone, a noble portrait of Philip II. of Spain; 201, Titian. Portrait of Cardinal Ippolito de' Medici, as commanding officer of the Pope's Hungarian legion ; 206, An- giolo Bronzino, Portrait of Francis I. de' Medici. — Parmegiano, " The Ma donna della Colla lunga is the very Tuscany. Boute 44.— Florence — Palazzo Pitti — Halls. 537 excess of style in grace of composition even to affectation, yet it has charms. It is beautiful in the face, and beauti fully rounded in the Virgin's head and neck. The colours of the flesh gene rally are not very far from the truth." — T, P. Salvator Rosa, a Warrior. The stufa, an elegant cabinet ; the walls painted by Pietro da Cortona, with allegories allusive to the four ages of man, and the four age3 of the world. The vaulting is by Rossellino — Virtues and Fame. In this chamber are some small antique statues and other valu able articles of virtu. Hall of the Education of Jupiter, painted by Catani. — The pictures here are not in general first rate, and seve ral are by unknown artists ; amongst those called anonymous in the catalogue is, however, an excellent portrait, 245, which some attribute to Raphael. It is the portrait " of a lady with a veil on the back of her head, somewhat in the Genoese fashion. There is a repe tition of it at Naples, with the attri butes of St. Catherine, and the same original seems to have sat for several of his Madonnas. It represents one of the mistresses of Raphael, and is de scribed as such by Vasari. — 270, Carlo Dolce, St. Andrew kneeling before the cross upon which he is to suffer mar tyrdom ; considered as one of the chefs-d'onwre of this master. 277, and 279. Angiolo Bronzino, Two interest ing portraits ; one of Lucretia, the other of Garzia de' Medici when a child. Hall of Ulysses, painted by Martellini. Ulysses returning to his home in Itha ca; aUusive (as we are told) to the re storation of the late Grand Duke Fer dinand III. — 295, Carlo Dolce, or his school, St. Lucia : pleasing, though not first rate; 297, Bordone, Pope Paul III. — 307, And. del Sarto, The Madonna and Saints. — 318, Lanfranco. The Ecstasy of St. Margaret of Cortona upon the Ap parition of the Saviour, — 321, Carlo Dolce, an Eece Homo. HaU of Prometheus, painted by Colig- none. Amongst the pictures here are some by Florentine masters; Filippo Lippi, Lorenzo di Credi, &c, which are interesting. — 337, Gaetano, Ferdinand I. de' Medici; and 369, DeW Altissimo, Pietro de' Medici.— 377, Botticelli, A Portrait of " la bella Simonetta," the mistress of Giuliano de' Medici, and whose untimely death is lamented in the poetry of Bernardo Pulci and Politian. — 391, Oliver Cromwell, by Sir P. Lely, one of the few authentic portraits of the Protector ; it was painted expressly as a present to the Grand Duke of Tuscany, and sent by the Protector in his lifetime ; it is per haps the truest likeness that now exists of that great man, Hall of Justice, by Fedi. 392, Carlo Doloe, A Royal Saint, who is called both St. Louis King of France, and St. Cassimer King of Poland.— 398, Arte misia Gentiteschi, Judith — 409, Sebasti- ano del Piombo, An Old Man's Head : powerful.— 411 and 412, Both and Swanefeld, Landscapes, HaU of Flora, painted by Marini and Landi, — Amongst the rather inferior pictures here, are some pleasing land scapes. — 416, 436, and 441, by Gaspar Poussin. Canova' s Venus occupies the centre of this room. She stands upon a pivot, and can thus be turned round by the custode. Her head, owing to the hair being curled and arranged, seems to be too large for her body. When the Venus de' Medici was oar- ried off to Paris, this statue replaced her in the tribune. Hall " dei Putii," painted by Marini and Rabbiniti.— Amongst some land scapes by Brill, Ruysdael, sea views by Backhuysen, fruit and flowers by Van Huysum and Rachel Ruysch, is a fine and large landscape, 477, by Salvator Rosa, representing the story of Dioge nes throwing away his cup on seeing a boy drink out of his hand. Gallery called the gallery of Pocetti, and painted by him with various alle gories; 489, Riminaldi, The Martyrdom of St. Cecilia : a good specimen of a somewhat rare master. The other apartments — the music- room, the pavilion, and the gallery of Hercules, are all painted by recent artists, and are elegant, but not above the ordinary class of the habitations of royalty. The Private Library of the Grand 2 A3 538 Boute 44. — Florence — Palazzo Pitti — Boboli Gardens. Sect. VI. Duke contains upwards of 60,000 volumes. It was begun by Ferdinand III., after the Grand-ducal Library had been incorporated, for the use of the pubhc, with the Magliabecchian and Laurentian Libraries, by the Grand Duke Pietro Leopoldo; and continual additions are made to it under the di rections of the present enlightened so vereign. As a useful modern library, it is one of the best in Italy. There are about 1600 MSS. The Bobol Gardens join the palace. If it be asked why they are called Bo boli, all the Academicians of the Crusca cannot tell; but for want of a better derivation, some have supposed the word to be Etruscan. They were .planned in 1550 by II Tribolo, under Cosmo I., and carried on by Buontalenti. The ground rises behind the palace ; and from the upper portion fine views of Florence, with its domes and towers, .are gained. Amongst the latter, next to Giotto's Campanile, the tower of the Badia is conspicuous. The long em bowered walks, Uke lengthened ar bours ; the living walls of verdure, are admirably adapted to this climate ; whilst the terraces and statues and vases add equally to its splendour. Many of the statues are restored an tiques, and many are by good artists. Of these, the most remarkable are four unfinished statues by Michael Angelo, said to have been intended for the tomb of Pope Julius II. They are placed at the angles of the grotto which is oppo site to the entrance to the gardens from the Piazzi dei Pitti. This grotto, con structed by Buontalenti, was used as an icehouse, and as sueh is described in Redi's clever and whimsical lines : — ' E voi Satiri lasc'ate Tante frottole e taoti riboboli, lvdel gliiaccio mi portate Dalla grotta del giardino di Boboli : Con alti picchi Di mazzapicchi Dirompetelo Sgre' olatelo Infragnetelo Stritolatelo Finchetutto si possa resolvere In minuta freddissima polvere." The group of Paris carrying off Helen .placed here is by V. de' Rossi; Venus, by Giov. Bologna ; and Apollo and Ceres, by Bandinelli. The statue of Abundance, higher up in the garden, was begun by Giov. Bologna, and finished by Tacca. The statues of rivers at the fountain in the small island, are by Giov. Bologna. The vegetation, laurels, cypresses, yuccas, &c., are magnificent. The gardens are only open twice in the week ; on Sundays and Thursdays. The Museo di Storia Naturale open daily to the public, which, with the Specola, or Observatory, joins the Pitti Palace, resulted, in the first instance, from the pursuits of the Grand Ducal Medici, several of whom encouraged experimental science. The collections were greatly enlarged by Pietro Leo poldo, and much was added from the collections of Targioni, a naturalist of very great and universal talent ; and the Museum contains many objects of importance and value. All the numerous collections are well arranged, and considerable addi tions are making to them by the mu nificence of the present Grand Duke. The mineralogieal coUection is particu larly rich in beautiful Elba minerals. The ornithological collection is well arranged: that of fossil bones, disco vered in the Val d'Amo di Sopra, is particularly worthy of the attention of the naturalist; containing remains of mastodons, elephants, rhinoceros, hip popotami, tigers, hyaenas, gigantic deer, &c. Lectures on mineralogy and geo logy, zoology, natural philosophy, and botany, are given annually by pro fessors attached to the museum ; and an extensive botanical garden, and collection of fruits, seeds, and wax models illustrative of vegetable physiology, are also a part of the esta blishment. The models in wax are interesting. The more ancient, by Zummo, a SicUian, who executed them for Cosmo III., principally represent corpses in various stages of decomposi tion. The others are, more strictly speaking, anatomical, and display every portion of the human body with wonder ful accuracy. They embrace also many curious objects of comparative anato my. Attached to the Museum is the Tribune, or Temple, erected by the pre- Tuscany. B. 44.— Florence — Palazzo Pitti — Academy of Fine Arts. 539 sent Grand Duke to Galileo, and inau gurated upon the meeting of the Italian Association for the Advancement of Science in 1840. In the centre is a statue of the Tuscan philosopher, sur rounded by niches in which are placed busts of his principal pupils, and with presses containing the instruments with which he made his discoveries, and those employed in the experiments of the celebrated Accademia del Cimento. Many of them were previously depo sited in the Museum, others have been purchased by the Grand Duke.' The walls are beautifully inlaid with mar ble and jasper : the ceiling is richly painted in compartments, representing the principal events of the life of Gali leo : all the talent of Tuscany has been employed for the purpose of rendering the tribute worthy of the object for whieh it is intended. This tribune is said to have cost up wards of 36,000?., without including the price of the manuscripts of Galileo and his pupils, which the Grand Duke has coUected, at any sum, wherever they could be obtained. Accademia delle belle Arti. — The Aca demy, which owes its origin to a so ciety of artists, established in 1339, at Florence, under the title of the Compagnia di St. Luca, and which received the title of Academy from Cosmo I., was located in the sup pressed Hospital of St. Matthew in 1784, by the Grand Duke Leopold ; it, has been enlarged by the addition of the suppressed convent of St. Cathe rine, and now includes several schools, lectureships, and professorships in va rious branches of the fine arts, and of science. The instruction given at the Academy is divided into three classes. 1. Arts of Design. 2. Music. 3. Mecha nical Arts. The building itself offers nothing remarkable in the architec ture; but in the first cortile or cloister are inserted in the walls several of the best productions of Luca della Robbia ; medallions and bas-reliefs, amongst which are many brought from the Cer tosa. Some curious specimens of sculp ture and models are deposited here ; amongst others, John of Bologna's model of the Rape of the Sabines ; and the unfinished statue of St. Matthew, by Michael Angelo. " There is an extremely curious and interesting series of pictures in the gal lery by Tuscan painters, arranged chro nologically, from Cimabue and Giotto down to Fra Bartolommeo; showing the gradual progress of the art, with its occasional steps in advance, and its blundering and stumbling as it grew. They were taken from altars in con vents and in churches during the con trol of the French, and were not re turned. The pictures of the later times are not fine." — T. P. The earliest work, indeed, the Byzantine Magdalen (1), is prior to the revival of painting in Italy. Amongst the most prominent paintings are the following : — • ¦J, Cimabue. — The Virgin, holding the infant in her arms, and surrounded by several angels. Taken from the church of Sta. Trinita, at Florence. The same subject by Giotto (A), taken from the Convent of Ognissanti, Flo rence. 5, Ten small pictures repre senting events in the life of St. Francis. 6, "Twelve pictures of a small size; the subjects from the life of Christ ; exhi biting the same fulness of sense and feeling which dictated, and is found more highly perfected in the great work at Padua. Good sense, entire devotion to the nature of the subject treated, were the basis of these productions." — T.P. 8, Giottino. — A picture in three compartments, the centre one repre senting the Virgin and St. Bernard. — Taddeo Gaddi (9), Angelo Gaddi (12), follow — 14, G. da Fabriano. — Adoration of theWiseMen, dated 1423.— A Descent from the Cross by Fra' Angelico da Fiesole (15) possesses most extraordinary bril liancy of colouring. — The Virgin and Child, by Masaccio (16), not equal to the frescoes at the Carmine. — 1 7, Mary Magdalen — 18, Saint Jerome; 19, Saint John the Baptist, A. del Castagno ; all remarkable for their ghastliness. — The Baptism of our Lord, by Andrea Teroc- chio, 25. Vasari says that the first angel on the right hand was painted by Leonardo da Vinci, when he was yet a youth : and that Verocchio, on seeing his early excellence, gave up his art in despair of equalhng his pupil. The Co- 540 Boute 44. — Florence — Academy of Fine Arts. Sect. VI. ronation of the Virgin, by Sandro Bot ticelli, 26. — 30, Virgin and ChUd and saints ; 31, Nativity, .by Dom Ghir landaio: " who in his oil pictures does not appear to so much advantage as in his frescoes." T. P.— The Bhth of our Lord, by Lorenzo di Credi, 32, one of his best works. — Pietro Perugino, 34, Our Lord in the Garden of Olives, and 35, the Assumption of the Virgin. Observe the upward turn of the Virgin's head, and a fine figure in green looking up wards : the colouring is rich and full ; 37, A Crucifixion; a Deposition from the Cross ; 38, the upper portion by Filippino Lippi, and the lower by Pietro Peruaino. " The upper portion is the best.'"— C.W.C —And. del Sarto, 40, St. Michael, St. John the Baptist, St. John Gualberto, and St. Bernard. — " It shows light delicate freedom of ex ecution." — C. W. C. — A Pieta in fresco, 42, from the Convent of the Annun ziata at Florence, Two young Chil dren ; 41, Fra Bartolommeo ; 44, Two frescoes representing the Virgin and Child ; 43, The Virgin appearing to St. Bernard. This is the first work which was executed by this artist after he took the cowl. They are not fine ; 56, Four Heads of Saints in fresco, and a fifth in oil, the last representing St. Peter Martyr with the features of Sa vonarola. — 51, Mariotto Albertinelli: The Annunciation. — 71, Angiolo Bron zino : The Taking down from the Cross ; grand, but unfortunately injured by the picture-cleaner; 70, 72, Two fine portraits: one an armed soldier, the other a female; both probably members of the familyofthe Medici.— .90, Cigoli: Saint Francis in prayer; 91, Saint Francis receiving the Stigmata. An admirable painting : the expression of fatigue and utter weakness in the coun tenance of the Saint is admirably true to nature. According to the story, Cigoli felt himself unable to reahze the idea of the Saint, when a pilgrim, wayworn and drooping, craved an alms. 'Cigoli requested him to serve as a model. The pilgrim consented, but dropped from debihty: and, at that moment, the painter made the sketch which he worked up into this composi- . tion. Opposite to the door of entrance into the gallery containing the above large pictures, is a door opening into the gallery of small paintings of the ancient Tuscan school, on wood, li terally painted tables, as they are called in our old English. There are also a few works of other schools and later times. Observe the following: — 17, A Cartoon attributed to RapJiael. Though the composition may be his, the drawing has been considered not sufficiently good for his hand. 19, Two portraits in profile, one of a superior of the order of Vallombrosa, the other of an abbot of that monas tery. Some have attributed them to Raphael, but they are by P, Perugino. There are many paintings by Fra. Angelico, among which may be noted two, 14 and 20, which served as shut ters, and which represent theological discussions. 46, An Entombment. 47, The Last Judgment ; and 59, Eight tablets divided into 35 sub jects, where the actions of our Lord's life are painted with great delicacy and beauty. These last were taken from the Convent of the Annunziata. " Fra. AngeUeo was, as far as feeling and delicacy went, a far superior artist to most of those who followed Giotto; but, at the same time, that feeling led to weakness in execution. In a small room at the Accademia there is a great number of his pictures brought from various convents and churches, when they were suppressed by the French, and never returned. Among them there are two of the Last Judgment; in one, the figure of our Saviour is surrounded by glory and angels, and accompanied by the Virgin and Saints, and Apostles arranged precisely in the manner, and the same materials are employed, as by Raffaelle in the Dis pute of the Sacrament (in the upper part). In the other there is more beauty in the groups, and agreeableness in the colour; its groups are more varied and full in action, and exhibit great originality of thought. His is a sentiment of be->uty, and his the power of blending emotion with grace. His group in the last mentioned picture, of an angel diagging a sinner from Tuscany. Boute 44. — Florence— BiUioteca MaruceUiana. 541 among the blessed, is a powerful dis play of energy in feeling of the terrible and strong; whilst another group in the same 'work, of an angel adminis tering „to the enjoyment of a good person, is the essence of all that is gentle and amiable. His disposal of drapery is perfectly Giottesque, with great intelligence, truth, and grace; and I should think there could be no doubt that Raffaelle, in the cultivation of his taste in Florence, drew largely upon his works, as well as upon those of Masaccio and Ghhlandaio. Fra. Angelico's commencement in the art was as a Miniatore with his brother, and it may be said that the quality of that style of art attaches to his larger works in their minute finishing, and the mode of it, viz. : hatching." — T. P. In the large room, in which the annual exhibition of the works of hving artists takes place, are casts of ancient bas reliefs, and many old pictures and cartoons by celebrated masters. The most remarkable are, — Two Cartoons of Fra. Bartolommeo. 11, S. Constan tino di Fabriano; 12, S. Lorenzo di Ripafratta. — 16, Cartoon of Michael An gelo, Lot and his Daughters. — Five Cartoons of Fra. Bartolommeo, 20, Car dinal Dominici; 21, St. Anthony of Turin-; 22, St. Matthew; 23, Two Saints; 26, St. Paul.— 30, Cartoon, C. Cignani, Angels and Seraphim. — 37, Cartoon, Fra. Bartolommeo, A Holy Family, very good. — 38. Cartoon, Raffaelle, Virgin and Child; the dra pery is very fine. — Five by Andrea del Sarto, 39, Cartoon, Women and Chil dren; 40, Children playing Shepherd's Pipes ; 43, Cartoon, The Virgin, Christ, and St. John ; 54, Cartoon, Two Warriors crowned; 55, Two Winged Children. — 51, Correggio, Head looking upwards. — 58, Cartoon by Bronzino, representing the Descent of our Lord into Hades. . It is fuller of figures, more beautifully and correctly drawn than the picture in the Uffizi. An interesting work is now publish ing, containing outline engravings and descriptions of the most remarkable pictures of the Galleria delle Belle Arti in chronological series. The Gallery of Casts for the use of students is in the same building as the academy. At one end of it is a fresco, representing the Repose in Egypt, by Giovanni da San Giovanni. At the door are placed casts of the finest of the three bronze gates of the Baptistery. They are beautifully executed. In this building are also rooms for those works of the pupUs of the academy which have obtained prizes, and for the usual apparatus of such institutions. The manufactory of Pietre Commesse, or Florentine Mosaic, is carried on here at the public expense. The skill attained by the workmen in turning the smallest particle to account is very entertaining. The employment is in jurious to health: and when the work men attain sixty years of age, they are comfortably pensioned by the govern ment for the remainder of their lives. There are also several dependencies of the academy in the Casa di Sta. Caterina, situated in the Via Larga. Here are the music rooms and schools of mechanics and chemistry, where lec tures on these sciences as applied to the fine arts are delivered and well at tended. Here also is a collection of Egyptian antiquities, recently founded by the Tuscan government. It was formed by Rossaltini, who was sent to the East in 1829 in company with Champollion. They are all of the usual description, excepting two, which deserve careful examination, — viz., the porcelain bottle with an inscription in Chinese charac ters, said to have been found in an Egyptian tomb: — "and the Scythian car," found in the tomb of one of the warriors or captains of the host of "Rameses the Great," B.C. 1560. Itis of wood, carefully worked, with orna ments, not numerous, of ivory. There 3re no fastenings of metal, all being of a vegetable substance supposed to be birch bark. Florence is remarkably well provided with libraries : for, besides those which we have reckoned, there are others of great importance. The Biblioteca MaruceUiana, in the Via Larga, is principally composed of 542 Boute 44. — Florence — Palazzo Pitti — Libraries. Sect. VI. printed books, and was bequeathed to the public by its munificent collector, the Abate Francesco Marucelli, who died in 1703. It was opened to the public in 1752, and from funds left by the founder, assisted by the pubUc treasury, the best new publications are added to it. It is under the same management as the Laurentian. The MaruceUiana is only open Monday, Wednesday, and Friday, from nine till one o'clock, and is closed upon every holiday. It has an excellent though rather complicated classed catalogue, compiled by the founder. The BiUioteca Magliabecchiana con tains both manuscripts and printed books. It is named from its founder, Antonio Magliabeechi (d. 1714), the most singular of bibliomaniacs, for he read all the books which he bought. Up to the age of forty years, he was a goldsmith upon the Ponte Vecehio, when he obtained the appointment of librarian to Cosmo III., having, how ever, already acquired a large portion of his stores. "Two or three rooms in the first story of his house were crowded with books, not only along their sides, but piled in heaps on the floor, so that it was difficult to sit, and more so to walk. A narrow space was contrived, indeed, so that, by walking sideways, you might extricate yourself from one room to another. This was not all; the passage below stairs was full of books, and the staircase from the top to the bottom was lined with them. When you reached the second story, you saw with astonishment three rooms, similar to those below, equally full, so crowded that two good beds in these chambers were also crammed with books. This apparent confusion did not, however, hinder Magliabeechi from immediately finding the books he wanted. He knew them all so well, that even as to the least of them it was sufficient to see its outside, to say what it was; and indeed he read them day and night, and never lost sight of any. He ate on his books, he slept on his books, and quitted them as rarely as possible." The library, which is under the same roof with the Uffizi GaUery, is, properly speaking, the British Museum of Flo rence. A copy of every book published in the Tuscan states is here deposited, and the number of volumes, which of course is constantly increasing, amounts to upwards of 150,000. The manu scripts are upwards of 12,000 in num ber. A large proportion are historical. The classification, which was effected by the first librarian Cocchi, may be profound, but is deficient in the best quality of a catalogue, — simplicity. The four principal branches, Belles Let- tres, Philosophy, and Mathematics, Profane History, and Sacred History, are each subdivided into ten sections ; and, according to this arrangement, the first section of the whole library contains works on Grammar, and the last, the various editions of the Bible. Alphabetical indexes facUitate the re searches of the inquirer. The library has an ample staff of officers, and is open every day, except Sundays and festivals, from nine till two. Among the rare works it contains are the fol lowing: — Two copies, one on vellum, of the Mayence bible, 1462; a copy on vellum of the first printed edition of Homer, Florence, 1488, with minia tures; Cicero ad FamiUares, the first book printed at Venice, 1469; a mag nificent Anthologia of Lasearis, Flo rence, 1494; Dante, with the" com mentary of Landino, printed on vellum at Florence, 1481, embellished with miniatures within, and on the outside with nielli. This copy was presented by Landino to the Signory of Florence. The charitable institutions of Flo rence are numerous and important. The enumeration of them would far exceed our limits. One of the most curious and ancient is The Compagnia della Misericordia, whose establishment is on the south side of the Piazza del Duomo, at the corner of the Via della Morte, and op posite the Campanile. It was insti tuted about 1244, and Landini (Storia della Com. d. Misericordia, p. 25) gives a curious account of its origin. It was established out of funds arising from fines for profane swearing, mu tually imposed upon themselves by the porters employed by the extensive Tuscany. Boute 44.— Florence — Hospitals — Tlieatres. 543 cloth manufactories of Florence, upon the suggestion of their " Dean," Piero di Luca Borsi. The benefits it con ferred were so great, that it soon re ceived,, the support of the principal citizens of the republic, who associated, according to the plan of the original institution, for the purpose of giving assistance in cases of accidents, of aid ing the sick or hurt, and, in case pf sudden death, to ensure for the corpse a Christian burial. This reUgious so ciety includes persons of all ranks, from the Grand Duke downwards ; but the higher orders prevail. When on duty, they wear a black monastic dress, with a hood which conceals the coun tenance. The city is divided into dis tricts, and a certain number of mem bers are always in attendance, whUst all, however they may be engaged, attend at a moment's warning, on being summoned by the toll of their great bell, to perform the duties required. The chapel contains a good bas-relief by Luca della Robbia. The Ospedale di Santa Maria Nuova was founded in 1287, by Folco Portinari, the father of Dante's Beatrice : it now contains beds for 1000 patients, and is remarkably well managed. It is, the anatomical and medical school pf Flo rence, and has produced some of the most eminent physicians and anatomists of Italy. In the cloister is Fra' Barto- hmeo's fresco of the Last Judgment ¦before mentioned. The Ospedale di Bonifacio (on the west side of the Via S. Gallo, not far from the Porta S. Gallo), so called from having been founded in 1377, by Bonifacio Lupi of Parma, Marquis of Soragna, and who had been a condot- tiero in the pay of the republic, and been made a citizen of Florence. It is a splendid building, richly endowed, and containing within its walls varieus establishments. Its principal destina tion is that of a lunatic asylum, and attached to it is the military hospital. It has also wards for cutaneous diseases and incurables. Amongst the recent institutions is fhe Societa di San Giovan' Batista, founded in 1827, partly for keeping ahve devotion to the patron Saint of Florence, and partly for the purpose of endowing poor maidens. The bestow ing of marriage endowments is one of the most favourite charities in Tuscany. The sums thus distributed amount to between 3000/. and 4000?. in Florence alene. Schools are numerous. Theatres. — There are nine theatres. The principal are, — 1, La Pergola. This is under the management of 30 noble proprietors, called "Immobili," and is now the opera: the performances are usually mediocre, excepting during the Carnival. The house is handsomely fitted up, and is capable of containing 2500 persons. The modern opera had its birth in Florence : it arose under the auspices of the Grand Duke Ferdinand I.; and the "Dafne" of Ottavio Rinuc- cini, acted 1594, is the first genuine specimen of this species of composition ; that is to say, of a drama entirely set to music. The original Pergola was buUtby Tacca, in 1650 : it was of wood, and stood till 1738, when the present fabric was erected. — 2, Teatro del Coco- mero, or degl' Infuocati, where, usually, plays are acted. — 3, Teatro Nuovo degl' Intrepidi, in the Via dei Cresci. — 4, Teatro Leopoldo, formerly called del Giglio, near the Piazza del Granduca, enlarged and embellished in 1841, and opened for the performance of music. — 5, Teatro Goldoni, in the Via S. Maria, on the south side of" the Arno; con nected with it is a day theatre, or Arena, an open place for various spec tacles. — 6, Teatro Alfieri, in the Via Pietra Piana, remarkable for the beauty of its internal decorations. — 7, Teatro dei Solleciti in the Borgognissanti. — 8, Teatro degli Arrischiati, in the Piazza Vecchia. The two last are quite minor theatres. Popular Festivals. — There are several popular and other festivals yet kept up at Florence, which are sufficiently re markable to make it worth while for the traveller to arrange his time so as not to lose them. Midsummer-day, or the feast of St. John the Baptist, the ancient protector of Florence, is Bolemnised by the races of the Gocchi, in the Piazza of Santa Maria Novella. These Cocchi axe imi tations of the Roman cars, but have 544 Boute 44. — Florence — Festivals. Sect. VI. four wheels, and were invented by Cosmo I. Each is drawn by two horses. In these races there is much fun and little skill. On the vigil of the Saint's day there are fireworks on the Ponte alia Carraja, and an illumi nation on the Lungarno. On the morn ing of the festival the Court attends high mass in the Cathedral, and after wards the races in the Piazza di S. M. Novella. In the evening performances of music take place in the Piazza del Granduca, and of the Duomo : the principal streets and buildings, such as the Cupola, and Campanile of the Ca thedral, S. Giovanni, and the Palazzo Vecchio, are Uluminated. Saturday in Passion Week. — A chariot, laden with small mortars or chambers, and filled with fireworks, is brought in the morning into the Piazza del Duomo, and placed opposite to the central door of the cathedral. A string is carried from the chariot to the choir by which a dove is made to descend on the former, whereupon fireworks go off. This takes place when the choir has reached the "Gloria in excelsis;" the mortars are then discharged, and all the bells in the city, which have been silent during the week, begin to ring. The chariot is then dragged to the " Canto de' Pazzi," and the remaining fireworks are there discharged. Pazzin' de' Pazzi is said to have been the first of the Crusaders who scaled the walls of Jerusalem in the crusade of 1088; and, as the story goes, the " Pio Gof- fredo" granted to him in reward, the arms of Bouillon, and some bits chipped off the Holy Sepulchre, which, when _ brought to Florence, served to light the holy fire. At all events, the Pazzi appear in the middle ages to have dis tributed the holy fire at Florence, in the same manner as was done at Jeru salem, going from house to house with a torch. This festival is popularly called lo scoppio del carro. Maunday Thursday. — TheGrand Duke performs the ceremony of washing the feet of twelve poor old men in the Pitti Palace. This performance is not, how ever, peculiar to Florence, but is gone through by the Pope, and other Catho lic princes. Ascension Day is kept as a species of popular jubilee; every body makes ho liday. The Cascine, in particular, are filled with family parties of the richest and of the poorest citizens, taking their merry banquets. The Assumptionof the Virgin, Aug. 15. — The images of the Virgin in the streets are dressed up with sUks and flowers, and sometimes musical ser vices are performed before them. The Nativity of the Virgin, Sept. 8th. — Altars are erected in the streets, and decorated with flowers, and the young folks, i. e., up to manhood, amuse themselves with paper lanterns, carry ing them suspended to poles. The principal scene of this festivity, which is called the rificolone or fierucolone, is the Via dei Servi. A sort of fair pre cedes it, principally attended by the inhabitants of the province of Casentino, and of the mountains round Pistoia, who bring yarn and small objects for sale. This fair is held in the Piazza deU' Annunziata, and of the Duomo, and in the Via dei Servi. Twelfth Night.— -On the vigU of this feast a strange noisy ceremony takes place among the lower classes, called the festa della befane, supposed to be derived from the ancient reUgious pan tomimes. On the Feast of Sta. Anna (26th July), the anniversary of the expulsion of Walter de Brienne, the church of Or' San Michele is decked with banners of the different Arti and Sestieri (Arts and Trades) of Florence. Neighbourhood of Florence. Besides the places described on the different routes in this beautiful neigh bourhood, the following maybe noticed, taking them according to the different gates by which they can be reached. Porta alia Croce. — At a short distance from this gate, a little to the left of the road, are the remains of the suppressed monastery of S. Salvi, containing a Last Supper by Andrea del Sarto. "It is in perfect preservation, being the only thing respected by the rabble and soldiers in the siege of Florence in 1589. So says Vasari. It is an im pressive and effective work, although Tuscany. Boute 44. — Florence — Porta San Miniato. 545 the heads are somewhat wanting in dignity."— C. W. C. Porta a San Miniato. When standing upon the bridges of the Arno, the stranger may have ob served several buUdings in the distance, upon a hill to the eastward of the city. These are the convent and church of San Miniato al Monte. After quitting Florence by the Porta San Miniato, and ascending the Via Crude, you reach a terrace commanding the city below, and on which the Franciscan convent of San Salvadore del Monte is situated. This church was built by Cronaea, and "is of such exquisite proportions, that Michael Angelo used to call it la bella Villanella." Milizia. — To the south east of this church is the convent of San Miniato, with its church, in a situ ation, used for a military post, in the last siege of Florence, when the citizens vainly endeavoured to preserve the expiring republic from the tyrannical grasp of the Medici. Michael Angelo had been appointed Commissario Generate, and to him the fortifications of the city were intrusted ; and San Miniato being a very important outpost, he raised around it the outworks and bulwarks which, in part, still remain. The campanile of San Miniato, raised by Baccio d'Agnola, in 1519, was of great use to the Flo rentines, as enabling them to watch the movements of the besiegers, who constantly shot their heavy bombards at it, perhaps at the rate of a stone bullet per hour. These discharges, however, had injured the tower to some extent, when Michael Angelo sus pended woollen mattresses from the projecting cornices of the campanile, and thus intercepted the shot, many of which are still lying about its base, and, by this ingenious contrivance, the building was saved. "The church is a very remarkable building, exhibiting, as it does, a great and sudden improvement in style. A church, in honour of St. Miniato, had been erected here in very early times. It is on record, that S. Frediano, who was bishop of Lucca in the 7th century, was accustomed to come every year in solemn procession, with his clergy, to prostrate himself before this shrine; and when Charlemagne was at Fiesole he considered this monastery to be one of the places upon whieh it became him to confer donations. But in the course of the troubled times which ensued, the church and the monastery went to decay. In the early part of the 11th centuiy, Hildebrand, bishop of Flo rence, a pious and energetic man, was animated with a strong desire of raising this edifice from its ruins; and, in 1013, laid the first stone of the church which still exists. In this undertaking he was assisted by the Emperor Henry IL, whose attention may have been more particularly drawn to St. Miniato by his near relation, James of Bavaria, who was at that time bishop of Fiesole. The plan of S. Miniato is that of the Latin Basilica. It is a noble church, of large dimensions, and, in the style of its architecture, dismissing the Lom bard altogether, seeks to return to Roman proportions and Roman simpli city, offering a remarkable contrast to the buUdings which were erected at the same time in other parts of Italy. This, no doubt, resulted in great mea sure from the materials of which it was composed, — the pillars and marbles of ancient Roman buildings; but much of the change must have been owing to the architect. Some man of genius (as was the case, afterwards, at Pisa) must have arisen at the time, whose taste was superior to the age. The pillars are single shafts; not stunted, as in the Lombard churches, but of good propor tions; with capitals free from imagery, and either antique or skilful imitations. In the construction of this church there is another architectural peculiarity. Large arches are thrown, at intervals, over the nave, connected with smaller arches, which are thrown over the aisles ; at once assisting to support the roof, banding the whole fabric together, and giving it additional strength. When these arches occur, the pillars are ex changed for compound piers, one shaft of which is carried up to meet the arch above. In this church the crypt is made of more importance than the sanctuary itself. The nave leads direct to the crypt : whilst the sanctuary can 546 Boute 44. — Florence — Poggio Imperiale. Sect. VI. only be reached by ascending a flight of steps. The mosaics are believed to have been added in the 13th century. The campanile was rebuilt in 1519. The principal front was rebuilt in the 14th century, in the style of that age." — Gaily Knight. The church contains frescoes in the style of Gaddi ; — a mosaic in the centre of the pavement of the nave, of that kind which is called " opus Alexandrinum;" — a fine marble pulpit; — and an enclosure of the pres bytery of white and green marble, with singular designs. Beckford says, "a semicircular recess, like the apsis of the church at TorceUo, glitters with barbaric paintings [mosaics] on a gold ground, and receives a fervid glow of light from five windows, filled up with transparent marble clouded like tor toise-shell." — But as this has been repeated by others, the traveller must be told not to expect to see more than these windows closed by slabs of marble, which, being partially transpa rent, show the colour of the material in patches. From these slabs not in any case covering the apertures without a join at one corner, it is evident they were taken from some more ancient building, and are apparently of the same material as the two nearest co lumns of the chancel, from whieh the fine ancient fluting and reeding have been chipped off. The Chapel of St. James on the left- hand side of the nave was erected from the designs of Antonio Rossellini. He was both sculptor and architect, and by him is the sepulchre of Jacopo, the Cardinal of Portugal (died 1459). Death, but most tranquil, is expressed with admirable truth The accessories are in a cinque-cento style. In the roof are medallions by Luca della Robbia, considered by Vasari as the best of his works. The sacristy on the S. side of the choir is a lofty chamber, on the walls and vaultings of which are fres coes of Spinello Aretino. Those on the walls represent subjects taken from the life of St. Benedict ; the others, the Evangelists. They are well preserved. The paintings in the Campo Santo, also by Spinello Aretino, are faded and da- San Miniato is the scene of the call of San Giovanni Gualberto (died 1070). (See below, Vallombrosa.) His meet ing with the murderer of his brother took place at the foot of this hill, and the crucifix, which appeared to bow its head to him, was preserved here until the suppression of the monastery. It is now in the church of the Sa. Trinita, and here a model or copy of it only remains.Porta Romana, called also Porta S. Pier Gattolini, Poggio Imperiale. — This palace is ap proached by a broad road, which in clines to the 1. hand just outside of the Porta Romana, and continues dur ing an ascent of more than half a mile, between lofty cypresses, intermixed with oak and larch. It was built by the Duchess Magdalen of Austria, wife of the Grand Duke Cosmo II. , about 1 622. The palace is extensive, and is said to contain 700 rooms, . a story, which, it has been remarked, is re futed by counting the windows. The apartments are not remarkable, but contain some good works of art. The wounded Adonis is attributed to Michael Angelo. There is also a whole room full of King Charles's beauties. In the dining-room is a small statue of Apollo which is said to be the work of Phidias, and is of exquisite beauty. It was considered to be the finest statue at Florence by Canova, who, whenever he was there, took his friends to see it, and he requested the Grand Duke to give it a more distinguished place. The present Grand Duke has allowed it to be copied, which his predecessors did not, and one of the copies is said to have been sent to Russia, another to America. In the garden are four of the statues once placed in the fagade of the Duomo, and which were re moved when it was so barbarously de ¦ stroyed. Above Poggio Imperiale is the hUl of Arcetri {in arce veteri), celebrated for -the Verdea, the sweet wine which it produces, and so praised by Redi, he who, a Teetotaller, sang the wines of Tuscany with such enthusiasm : — Tuscany. Boute 44. — Florence — Galileo. 547 "Altri beva il Faleruo, altri la To' fa, Altri il sangue che lacrima il Vesuvio : Un gentil bevitor mai non s' ingolia In quel fumoso e fervido diluvio. Oggi vob-1' io che regni entro a" rniei vetri La Verdea soavissima d' Arcetri.'' Baccu in Tuscana. Near the hill, and in the distretto of Arcetri, is Galileo's Observatory, an ciently called the Torre del Gallo, from its having belonged to the Galli family. Here, it is said, were made most of those observations on the moon to which Milton alludes, when saying that Satan's shield — " Hung o'er his shoulders like the moon whose orb Through optic glass the Tuscan artist views At evening from the top of Fiesole, Or in Valdarno, to descry new lands, Kivers or mountains, in her spotty globe." The tower is not approachable by car riages. It does not seem much altered, but is now annexed to some farming buildings. At a short distance from the observatory is the Villa del Gioiello, the residence of the astronomer, and where he is said to have received Mil ton when the latter was on his travels. Here he dwelt till he died. An in scription in Latin on the external wall points it out. Hill of Bellosguardo. — On the rt., on leaving the town by the Porta Romana. No traveller should fail to ascend this hill, whieh commands a most extensive and beautiful view of Florence and of the Val d' Arno La Certosa in Val d' Emo. — A plea sant excursion may be made to this Charter-house, situate about 2^ m, from Florence. It opens upon the road by an ancient gateway, sur mounted with St. Laurence, through which no female can enter except by permission of the archbishop, and out of which no monk can pass. This pre cinct constitutes the whole property of the once opulent community : theh lands were united to the government domains. The Certosa was founded about 1341, by Niccold Acciajuolo, a Florentine, Grand Seneschal of Queen Giovanna of Naples. Spine say that Andrea Orgagna was the architect ; and wherever the original Gothic remains, it is in a grand style. Acciajuolo re quested permission of the Republic to fortify his monastery. The buUding crowns the pleasant height, a beautiful and regularly formed hill, covered with olives and vines ; and its first aspect, with its fine Gothic windows, battlements, and tower-like masses, is entirely like that of a castle. The church is dark and grand. The series of paintings from the life of St. Bruno, by Poccetti, have merit. In the ad joining chapel, "delle reliquie," are also frescos by him. Around the main church is a curious aggregate of cha pels : the Capella di Santa Maria is nearly unaltered ; the style is an Ita lian-Gothic. The stalls for the monks are elegantly carved, and the rich pavement is kept delicately clean; and indeed, considering the very limited means of the Carthusians, the place is innapital order. The small Chapel of St. John.hsa a fine painting of the saint by Benvenuti. A subterranean chapel contains the tombs of the founder and his family : four tombs are sculptured in bas-relief by DonateUo ; the tomb of Niecofo himself by Orgagna. A canopy, supported by four twisted columns, is placed over the figure of the deceased. He is in full armour; the countenance fine and expressive. A long inscrip tion, in Gothic capitals, records his deeds. Three slab tombs, in relief, represent his father, his sister Lapa, and his son Lorenzo. They are attri buted, but probably incorrectly, to Orgagna, as they do not seem to be in his style, exhibiting a Gothic formality which he had east aside ; the details of the costume are curious, and as perfect as when they were carved. Lastly is the tomb of Angelo Acciajuolo, Bishop of Ostia (died 1409), by DonateUo: a severe countenance ; the sculpture, in hasso-relievo, most elaborate and effi cient. Very beautiful is the border of fruit and flowers, by Giuliano d% San Gallo, which surrounds the figure, rising out from two graceful figures, Justice and Charity. The Capitolo, or Chapter-House, looks like a chapel. It contains the monument of Leonardo Buonafede (died 1545), by Francesco da I San Gallo, the son of Giuliano. His : head rests on a pillow ; his feet are 548 Boute 44. — La Petraja — The Cascine. Sect. VI. bare. The Crucifixion in fresco, by Mariotto Albertinelli (died 1512), the scholar of Fra' Bartolomeo, rivals the works of his master. The courts and cloisters are inter esting. One small cloister is glazed with beautiful stained glass, from the designs of Giovanni da Udine. It con sists of tablets of the life of St. Bruno, inclosed in arabesques. The refectory is a fine apartment, with a pulpit by Mino da Fiesole, from which pulpit one monk reads to the rest during meals. The cells of the monks are, according to the rule, small detached houses. A small contribution should be given by visitors towards the repairs of the Certosa, for the monks are very poor : it will be well bestowed. Porta al Prato. 10 m. from Florence is Poggio' a Cajano, a villa of great interest, an ciently belonging to the Cancellieri of Pistoia. As it now stands, it was re built by Lorenzo, who employed Giuli ano di San Gallo as his architect. The vaulting of the principal salone was considered as a masterpiece of bold ness. This apartment was afterwards decorated at the expense of Leo X., who employed some of the best Flo rentine artists upon the frescos, which still remain, Andrea del Sarto, Francia bigio, and Pontormo : the subjects are all classical, but applied, though with some degree of straining, to the history of Lorenzo. Here, on the 19th of Oc tober, 1587, expired Francesco I., and on the following day, the profligate Bianca CapeUo. Some say they died in consequence of partaking of the poison whieh they had prepared for their brother Ferdinand, who succeeded to the Grand Duchy. Having discovered, as the story goes, the intended trea chery, he drew his dagger, and com pelled them both to feed upon the fatal viands. This seems, however, to be a legend ; and the best opinion is, that the wretched pair died in conse quence of disease brought on by their excessive gluttony and intemperance. A suspension bridge over the river Ombrone, whieh runs through the park, was erected in 1833 by the Grand Duke. It was the first bridge constructed in Tuscany on this plan. It is about a quarter of a mile from the high road. La Petraja di Castello, 3J m. from Florence, formerly a stronghold be longing to the BruneUeschi family, and sturdily defended, in 1364, against the Pisans and the bands of Sir John Hawkwood, who, at that period, was in the service of the enemies of Flo rence. One tower of the eastle re mains, but modernised. La Petraja was brought into its present form by Buontalenti, and is one of the Grand Duke's summer residences. In the garden is a beautiful fountain in the cinque-cento style, surmounted by a lovely Venus by Giovanni Bologna . The shady plantations of cypresses, the evergreen oaks and laurels, are most luxuriant, and the view of Florence, of the hilly country to the S. of it, and the Val d'Arno completes the charm of the scene. The frescoes by II Vol- terrano, in the logge, have merit as works of art. They are historical, principally relating to the history of Cosmo I. and his times, but some are from other periods ; and they are in teresting on account of the numerous portraits which they preserve. Amongst the great folks, grand dukes, popes, and cardinals, we again meet with To maso Trafredi. Some portions have a humorous cast, as, for example, a half - drunken German landsknecht, keeping back the crowd from the presence-chamber of Pope Clement VII. The gardens are well laid out, and the florist wiU find one of the richest collections of out-door plants in Italy. At the foot of the hill on which La Petraia stands, is _ Castello di Quarto, also a pleasant villa, part of the ancient patrimony of the Medici. The shady garden is em bellished with fountains fed by streams which descend from Monte Morello, and statues by Ammanato ; one colossal figure is said to represent the Aperi-: nines. About 2J m. farther is the celebrated china manufactory of La Doecia, the property of the Marquis Ginori. The Cascine are, perhaps, rather un justly depreciated by traveUers. Theh- Tuscany. Boute 44. — Careggi— Fiesole. 549 name is derived from the dairy or cheese farms, to which they are an adjunct. They are the Hyde Park of Florence, : for displaying fashionable carriages or exhibiting horsemanship. The carriage- ride is a double road, one near the Arno, perhaps to the extent of about i£ m. ; the other, on a pa rallel line. Between the roads and the Railway are jplantations, pastures for the cows, and a race-course. In these there is nothing very remarkable ; but the surrounding landscape is magnifi cent. In the early part of the summer, the fire-flies swarm here, and afford a curious spectacle. At a later period of the year they are replaced by glow worms, which, throughout the North of Italy, have a brilliancy much ex ceeding that of our English species. In the Cascine (as well as in many parts of Florence) you are beset by the flower-girls, with countenances and manners passing through all grades from innocent prettiness and sprightli- ness, to boldness and impudence ; of fering, or rather forcing, their little bouquets upon you, and repelling your tender of coppers in return. Their practice is, if you will permit them, to supply you with flowers during your stay, for which they expect, of course, a buona-mano upon your departure. The younger women generally wear the great flapping round hat, often wreathed with artificial flowers ; and, on festival days, very smart aprons, pearl necklaces, and all sorts of trinketry and finery. Porta San Gallo. Careggi, or Ca'regia, distant 3 m., built by Cosmo U Vecchio, from the designs of Michelozzo, is unaltered in its general outline ; but it is no longer a royal vUla, having passed into private hands in 1780. It has great interest, in being one of the most favourite resi dences of Lorenzo il Magnifico ; and here the meetings of the celebrated Platonic academy were held. Here, on the 1st of November, the supposed an niversary of the birth and death of Plato, the members held their sympo sium ; and here (8th April, 1492) Lorenzo died, shortly after his memo rable interview with Savonarola. Pietro de' Medici, the son of Lorenzo, con tinued at Careggi ; and here his son received the warning conveyed by the ghost of his father to the improvisatore Cardiere, telling him how he would soon be a miserable exile. Between Careggi and Fiesole are si tuated several handsome villas, — those of the late Madame Catalani ; the Villa Salviati, a fine specimen of the 16th century ; the Villa Caponi ; the Villa Pahnieri, celebrated by Boccaccio ; and at the base of the Hill of Fiesole, the Villa Rinuccini, laid out like an English pleasure-ground; the Villa Mozzi; and VUla Guadagni. Fiesole. — Two carriage-roads lead to Fiesole, from the Porta a Pinti and the Porta San Gallo, the former of which is the best : the two roads meet at the Dominican Convent. Hence, until re cently, the road was no longer practi cable for any wheel carriage, and the visitor was compelled either to walk or to ride upon mules, unless he pre ferred the only vehicle which would ascend the hill : it was literally a great wicker basket without wheels, and up you were dragged by two oxen, much as. criminals used to be drawn to the place of execution upon a sledge. There is now an excellent road, made at the expense of the city of Fiesole. We should have formed a joint-stock com pany, and issued shares to raise the supplies. The Fesulans issued titles of nobility. They have a Libro d' Oro, and those inscribed therein gain par ticular rank. No one can be presented at court unless he is noble, and there was the most ample demand for the honour. Marquesses, counts, and ba rons, who paid various sums, 300 dollars and upwards, for their patents, have been created by dozens. Both here and at Lucca, several Englishmen have bought these ridiculous titles and decorations. The road is excellent, and most lovely as it winds upwards bordered by gar dens of vUlas. From Florence to the top is an hour's drive. The Dominican convent, founded in 1406, was suppressed in 1808, and has 550 Boute 44. — View from Fiesole. Sect. VI. not been since restored. The conven tual buUdings, however, still subsist. The church is attributed to BruneUeschi; but if so it is not in his best manner, and has been much altered, though in good repair. It contains a fine picture by Fra Angelico. Higher up, upon the hUl, is the Villa Mozzi, erected by Cosmo il Vec chio. This is one of the most inter esting and beautiful spots in the neigh bourhood of Florence. In ancient times, the grounds of this villa are said to have been chosen by Catiline, as a place of deposit for his treasures. He flew to Fiesole on quitting Rome, the leader of a desperate cause ; and was defeated near Pistoia, almost within sight of this Etrurian hill. In 1829, a, treasure of about 100 pounds of Roman silver money, all of a date anterior to the Catiline conspiracy, was found in the garden. This villa continued in the possession of the Medici family, and here the Pazzi intended to have carried their conspiracy into effect in 1478. (See Machiavelli, Istor. Fior. viii.) Lorenzo ever retained a, predi lection for this villa, and the terrace still remains, which is said to have been his favourite walk. Pleasant gar dens and walks bordered by cypresses add to the beauty of the spot, from which a splendid view of Florence encircled by its amphitheatre of moun tains is obtained; and Hallam has described the scene in language so poetical and yet so true, that we give the traveller the pleasure of comparing it with the view which he will behold : — "In a villa overhanging the towers of Florence, on the steep slope of that lofty hill crowned by the mother city, the ancient Fiesole, in gardens which Tully might have envied, with Ficino, Landino, and Politian at his side, he delighted his hours of leisure with the beautiful visions of Platonic philosophy, for which the summer stillness of an Italian sky appears the most congenial accompaniment. " Never could the sympathies of the Boul with outward nature be more finely touched; never could more striking suggestions be presented , to the philo sopher and the statesman. Florence lay beneath them, not with all the magnificence that the later Mediei have given her, but, thanks to the piety of former times, presenting almost as varied an outline to the sky. One man, the wonder of Cosmo's age, Bru neUeschi, had crowned the beautiful city with the vast dome of its cathedral, a structure unthought of in Italy before, and rarely since surpassed. It seemed, amidst clustering towers of inferior churches, an emblem of the Cathohc hierarchy under its supreme head; like Rome itself, imposing, unbroken, unchangeable, radiating in equal ex pansion to every part of the earth; and directing its convergent curves to heaven. Round this were numbered, at unequal heights, the Baptistery, with its gates worthy of Paradise; the tall and richly decorated belfry of Giotto ; the church of the Carmine with the frescos of Masaccio; those of Santa Maria Novella, beautiful as a bride, of Santa Croce, second only in magni ficence to the cathedral, and of St. Mark; the San Spirito, another great monument of the genius of Brunel- leschi; the numerous convents that rose within the walls of Florence, or were scattered immediately about them. From these the eye might turn to the trophies of a republican government that was rapidly giving way before the citizen prince who now surveyed them ; the Palazzo Vecchio, in which the sig- niory of Florence held their councils, raised by the Guelph aristocracy, the exclusive but not tyrannous faction that long swayed the city ; or the new and unfinished palace wliich Brunel- leschi had designed for one of the Pitti family before they fell, as others had already done, in the fruitless struggle against the house of Medici, itself des tined to become the abode of the vic torious race, and to perpetuate, by retaining its name, the revolutions that had raised them to power. "The prospect, from an elevation, of a great city in its silence, is one of the most impressive as well as beautiful we ever behold. But far more must it have brought home seriousness to the mind of one who, by the force of events, and the generous ambition of Tuscany. Boute 44. — Fiesole— Etruscan Walls. 551 his family, and his own, was involved in the dangerous necessity of governing without the right, and, as far as might be, without the semblance of power; one who knew the vindictive and un scrupulous hostility which, at home and abroad, he had to encounter. If thoughts like these could bring a cloud over the brow of Lorenzo, unfit for the object he sought in that retreat, he might restore its serenity by other scenes which his garden commanded. Mountains bright with various hues, and clothed with wood, bounded the horizon, and, on most sides, at no great distance; but embosomed in these were other villas and domains of his own : while the level country bore witness to his agricultural improve ments, the classic diversion of a states man's cares. The same curious spirit whieh led him to fill his garden at Carreggi with exotic flowers of the East — the first instance of a botanical collection in Europe — had introduced a new animal from the same regions. Herds of buffaloes, since naturalized, in Italy, whose dingy hide, bent neck, curved horns, and lowering aspect, contrasted with the greyish hue and full mild eye of the Tuscan oxen, pastured in the valley, down wliich the yellow Arno steals silently through its long reaches to the sea." — Hullam's Hist, of Literature. Not far distant is a monument with an inscription, which, if construed strictly, would designate it as placed upon the very "Sasso" whereupon those who suffered "per man' della erudele Fesulea gehte" expired as martyrs. Here, according to tradi tion, St. Romulus, the patron of Fie sole, suffered martyrdom. There are several fine bursts of view into the valley below. The villa Salirati is the most prominent object; the Villa of Schifanoia, or dei Tre Visi, formerly belonging to the Palmieri, whieh Boc caccio made the retreat of the fair story-tellers in the pestilence of 1348, may also be hence distinguished. About half way up the hill is the Villa Vitelli, founded by Giovanni de' Medici, and a little further on, the Chapel of St. Ansano. It was restored by Bandini, the librarian, and appears to have been served by his brother: their tombs are within. The dwelling of the priest adjoins the chapel, com manding a delightful view. Within the chapel,-are eight saints attributed to Cimabue. On the right of the ascent are the shady woods of the suppressed convent of San Francesco, now La Doc- eia di Fiesole, one of the most agree ably situated villas about Florence. You now reach Fiesole. — The ground plan of this city is an irregular paral lelogram, rising and falling with the inequality of the ground. The long and almost unbroken line of Cyclopean wall towards the north, is the portion whieh has suffered least from time or violence. You descend to it by a path behind the Duomo, and the rampart may be here contemplated in all its rude magnificence. The huge stones of which the Etruscan wall is composed are very irregular in shape and unequal in size, but seldom assume a polygonal form. The form of the masses em ployed in the so-called Cyclopean con structions varies with the geological nature of the rock employed. In all the Etruscan and Pelasgic towns, it is found that when the sandstone was used, the form of the stones has been parallelipipedal, or nearly so, as at Fiesole and Cortona; whereas, when limestone was the subjacent rock, the polygonal construction alone is met with, as at Cosa, Roselle, Segni, Alatri, Ferentino, &c. : and the same observa tion will be found to apply to every part of the world, and in a marked degree to the Cyclopean constructions of Greece and Asia Minor, and even to the far-distant edifices raised by the Peruvian Incas. Sometimes the pieces of rock are dovetailed into each other: others stand joint above joint; but, however placed, the face, or out ward front, is perfectly smooth. No projection, or work advancing beyond the line of the wall, appears in the original structure. A small and simple arch, the only fragment remaining of a gateway, which is found about the centre of the northern wall, and in front of which it stands, seems to be Roman, though possibly" of very early 552 Boute 44. — Fiesole — Duomo. Sect. VI- date, and introduced when the Fesu- lans became subject to the Republic. Many competent judges, however, think it is Etruscan, Uke the wall. What is singular, there is no corresponding open ing in the Etruscan wall, so that it is probable that the city was entered by a drawbridge, let down from the top as an inclined plane, and then drawn up again. There are various holes and apertures in different parts of the walls, which, as is usual in simUar cases, have given much employment to the minute conjectures of the antiquary. Some of them may result from the mechani cal contrivances used in raising the massy blocks of which the structure is composed : some may possibly have been occasioned by the attacks of the besieger. Considered as a whole, the fortifications seem to have sustained but very little alteration ' since the period of their erection. The site of the fortress or acropolis of the Etruscan eity is now covered by a Franciscan monastery, which, from its site, well deserves a visit, and the traveller will be courteously received by the monks. Fragments of the foun dations are occasionally brought to light by excavation, and more extensive remains existed within time of memory. Within the precinct is the very ancient Church of St. Alexander. The nave is flanked by eighteen fine columns of cipollino, 15 of which are perfectly preserved, with Ionic capitals and bases of white marble, said to be Parian, but of Roman workmanship. This church had the title of a Basilica, and it is conjectured to have been one. An altar dedicated to Bacchus, but of whieh the inscription is mutilated by an excavation in the centre, and which stands near the entrance: and certain ancient cisterns discovered in 1814 in front of the building, but since covered up again, are adduced by the learned Inghirami in support of his opinion in favour of the antiquity of the building. This church was dismantled by Leo pold I. in 1784. The roof of the nave and the rich pavement were removed, and the space within the walls con verted into a public cemetery. The building continued in this state till 1814-1818, when, at the instigation of Bishop Tommasi, it was restored to divine worship. But the repairs which were needful for this purpose have, in some measure, deprived the edifice of its original character, the columns alone retaining their original appearance. Some slight remains of an amphi theatre constitute all the remaining vestiges of the edifices of the ancient city, whether of the Roman or of the Etruscan age, excepting some frag ments employed in the construction of other buildings, and the relics which have been from time to time discovered in the soil. Of these the most remark able is a bas relief, representing an augur, now in the gallery at Florence. The Fesulans were celebrated for their skill in augury, and are so described by Silius Italicus (viii. 478) in his enumeration of the nations assembled at the battle of Cannse ; and hence, the monument possesses peculiar interest. The theatre was dug out in 1 809, at the expense of a spirited foreigner, the Baron Schellersheim, a Prussian. Large and perfect portions of the exter nal wall, and of the semicircle intended for the spectators, were then brought to light; but, excepting some small portions, have since been again covered with earth or destroyed. The remains of the Etruscan acropolis have equally disappeared within time of memory. The Duomo, whose internal arrange ment resembles a good deal that of S. Miniato, was begun in 1028 by the Bishop Jacopo il Bavaro, and is rude in its construction. The pillars are built up of small courses : some have ancient Composite capitals, inartificially placed upon shafts of larger dimensions than themselves; others are in a barbarous Romanesque style. In the same style is the crypt, whose construction is in great measure unaltered. Some parts of the buUding are of as late a date as the middle of the 13th century. The frescos, by Ferrucci, representing in cidents from the life of St. Romulus, are much decayed. The altar of the chapel opposite to the tomb of Bishop Salutati is by Mino da Fiesole, repre senting the Virgin, St. Leonard, and St. Remigius; it is certified by an in- Tuscany. Boute 44. — Fiesole — Porta a Pinti. 553 scription, "opus Mini." (1465.) The bust of the bishop is also by Mino, An altar-piece, also by a Fesulan, Andrea Ferrucd, possesses great beauty, both in the figures and bas-rehefs, the latter representing- the martyrdoms of St. Matthew and St. Romulus. The humble Palazzo del Commune is decorated, according to the usual cus tom, with the arms of the PodestaS who have administered the affairs of the community. This building, the churches, the Episcopal seminary, and some few lowly dwelling-houses round the Piazza, probably the ancient forum, compose the city of Fiesole. , The views hence are peculiarly fine. On the north, you see the valley of the Mugello. On this side, and just below the height, is the villa of Scipione Am- mirato, the Florentine historian. Here many of his celebrated works were composed. Towards the south, taking your station either from the "Forum," or the more elevated point of the Fran ciscan convent, you command the cen tral Val d'Arno, from its eastern ex tremity to the gorge of the Gonfolina, by which it communicates with the Val d'Arno di Sotto, with Florence as the main object in the rich landscape below. To theT3. of Fiesole, and on the prolongation of the ridge on which it is situated, is the Monte Ceceri, celebrated for its extensive quarries of Pietra Serena, a variety of sandstone, wliich has furnished the stone for the principal edifices of the Tuscan capital. The view from the summit of the Monte Ceceri is stUl more extensive than that from the town of Fiesole. In descending, a shght deviation from the road will lead the traveller to the Badia Fiesolana, considered by tra dition as the site of the primitive cathedral of the diocese of Fiesole. In 1462, Cosmo de' Medici employed ¦ BruneUeschi to buUd the church and monastery which now exist. The con ventual portion of the building is a fine monument of his skill. The cortile is elegant. The church is not large, but admhably proportioned. It has been plundered of almost all its works of ¦art, excepting some inlayings in pietra N. Italy— 1852. dura, and a bas-relief by Desiderio da Settignano. The facade of the older church, in the style of the 12th century, remains. Cosmo would not allow it to be altered. This monastery was sup pressed by Leopold, and, after many changes, is now converted into a print ing-office and lithographic establish ment, founded by the learned Inghi rami, under the name of Tipografia Fiesolana, and where he published his principal works upon Etruscan antiqui ties. Porta a Pinti. The best road to Fiesole leads from this gate : a few hundred yards from the gate on the rt. is the Protestant Ceme tery, wliich well merits a visit from the English traveller : it is remarkably neat and well kept, for which the managing committee, composed of Swiss, German, and English Protestant gentlemen, deserve the greatest credit. It is principally tenanted by our coun trymen, over whose remains are erected some very beautiful monuments, by Bazzanti, a clever Florentine artist; the charges for interment are very moderate, and on the whole the regu lations, as regards poor Protestants, are extremely liberal. The gate is generally closed, but the Custode wUl be found at the Grocer's shop opposite the Porta a Pinti. A little further on is the Cemetery of the religious congregation of La Misericordia, and the road from thence to Fiesole is lined with handsome vil las of the Florentine nobility. Excursion to the Sanctuaries of Vallom- brosa, Verna, and Camaldoli, Florence to Vallombrosa, 18% Eng. m. Leaving Florence by the Porta alia Croce, the road runs along the rt. bank of the Arno, at a varying distance from the river, as far as Ponte a Sieve, 10 m. distant from Florence. The road passes Rovezzano, 2 m. from Florence, and Remote, -5 m. further on. It is the post-road to Arezzo, and the first sta tion is at Ponte a Sieve. On leaving this last place the river Sieve is crossed, whieh rises in that part of the Apen nines where they are traversed between 2 B 554 Boute it. — valtombrosa. Sect. VI. Bologna and Florence. About a mile beyond Ponte a Sieve the road to Val- lombrosa leaves the post-road to Arezzo, which latter road continues along the rt. bank of the Arno towards the S. : the Vallombrosa road, which is practi cable for carriages, turns to the 1., and begins to ascend the mountains towards Vallombrosa, which is now in full view, and a mile further on passes a tolerable inn called le Palaje. A little further, and at about 2 m. from Ponte a Sieve, tie road to Vallombrosa turns off to the rt. and leads to Pelago, which is nearly '4 m. from Ponte a Sieve. There is a very fair village inn at Pelago ; but it is advisable for a party whieh includes ladies to reach the Monastery before night. Here the carriage road ends, and the traveller must take to a saddle or walking. A mile and a half from Pelago, Paterno is reached, a sort of grange belonging to the monks of Val lombrosa, from which there is a pic turesque view of the dark deep valley, and of the torrent at the bottom. Beekford, who visited the convent in the third week of October, says, " After ascending a tedious- while, we began to feel the wind blow sharply from the peaks of the mountains, and to hear the murmur of the groves of pine. A paved path leads across them, quite darkened by boughs, which meeting over our heads, cast a gloom and chil liness below We galloped on, and entered a vast amphitheatre of lawns and meadows surrounded by thick woods beautifully green. The steep cliffs and mountains which guard this retired valley are clothed with beech to theh very summits; and on their slopes, whose smoothness and verdure equal our English pastures, were dispersed large flocks of sheep. The herbage, moistened by streams which fall from the eminences, has never been known to fade; thus,, whilst the chief part of Tuscany is parched by the heats of summer, these upland meadows retain the freshness of spring. I regretted not having visited them sooner, as autumn had already made great havoc among the foliage. Showers of leaves blew full in our faces as we pode towards the convent, placed at an extremity of the vale, and sheltered by firs and chestnuts towering one above another." These forests produce a considerable revenue to the monks, who cut down the oldest trees, and plant others in their stead. Here may be seen magnificent specimens of the fir tribe. The road is paved in passing through the forest, to preserve it from being torn up by the felled trunks of trees, when they are dragged down the mountain, or being washed away by the heavy rains. Up to about a mile from the summit chestnuts, oaks, and beech are seen, justifying Milton's simUe, the accuracy of which has been caUed in question on the ground that, the forest consisting entirely of fir, it could not be true that the rebel angels "lay entranced. Thick as autumnal leaves that strew the brooks In Vallombrosa, where the Etrurian shades, High overarch'd, embower." Four miles beyond Paterno, after passing through a fine forest of pines, the traveller arrives at the Santuario of Vallombrosa : " Cosl fu n ominata una. badia, Ricca e bella, ne men religiosa E cortese a chiunque vi venia." Orl. Fur. can. 22, st. 36. Vallombrosa was anciently called Acqua BeUa. The monastery was founded in the 11th century by S. Giovanni Gualberto. He was the son of the lord of Petroio of Val-di-pesa, the head of a noble and rich family in Florence : and, though piously brought up, gave himself up in his youth to dissipation and the pleasures of the world. His brother Hugh having been killed by some person of good birth, Giovanni Gualberto considered himself bound to avenge his brother's death. Returning from S. Miniato a Monte on Good Friday to Florence, accompanied by a troop of armed followers on horse back, Gualberto met the author of his brother's death in a narrow road, where there was no escape. As Gualberto was going to kill him, he threw himself at Gualberto's feet and extending his arms in the form of a cross, besought his executioner to call to mind the events commemorated on that day. Tuscany. Boute 44. — Vallombrosa. 555 Gualberto, being struck by the appeal, forgave his enemy, and conducted him to the church of S. Miniato, where upon their appearance before the cruci fix, the figure of our Saviour inclined his head to Gualberto, who thereupon became a monk of the adjoining monas tery. Finding the abbot simoniacal, he left the monastery with another monk, and being pleased with the hermitage of Camaldoli, which they visited, he retired into the solitude of Vallombrosa, and there Bhortly after wards founded an order according to the rule of S. Benedict. The institu tion received the approbation of Alex ander II. in 1070, and Gualberto became the first superior. He died 12 July, 1073, at the age of 74; and in 1193 was canonized. His life was written by Jerome, a monk of Val lombrosa, in 1480, with an account of the miracles, the performance of which had by that time been assigned to him by tradition. The monks of Vallom brosa wore originally a grey habit; in 1 500 they adopted brown. The order took its name from the place of its in stitution, and was the first which ad mitted lay brethren. It never became very numerous or acquired much im portance. The site, as well as a vast extent of land' round the monastery, was granted by Ita, the abbess of S. Ilaro, on condition that she and her successors should appoint the superior. But owing to the loose observance of their vows by the nuns of that con vent, they were in 1255 removed by Pope Alexander IV. to another estab lishment, and their connexion with this monastery ceased; and the right of nomination passed into other hands. The monastery at VaUombrosa became very rich from endowments, by the Countess Matilda and others; and in 1637 the present extensive and splendid buildings were erected. It was a great place of refuge for priests during the invasion of Italy by the French. Among the remarkable men who have been monks of Vallombrosa, was Guido Aretino, who was a member of this house when he first became known as a writer upon music (about A d. 1020). After having visited Rome twice, upon the invitation of two suc ceeding popes, he was prevaUed upon by the abbot of a monastery at Ferrara to settle there. Some writers have ascribed to Guido the invention of counterpoint, which is scarcely less absurd than ascribing the invention of a language to any individual. It is pretty certain that he was the first person to use, or recommend, the use of "lines" and "spaces" for musical notation: in fact, the "stave." But he is chiefly famous as the undoubted inventor of what is technically called " solfaing." Having observed that the music then in use to the following Hymn to John the Baptist, by Paul Diaconus (eighth century), ascended upon the first syllable of each half-line in an uninterrupted series of six sounds (hexachard), he adapted these six syl lables to represent the six sounds: — Hymn. Ut queant laxis resonare fibris Miva. gestortim/aimili tuorum, Solve j.ollul.i tabii reatum Sancte Johannes I The syllable Do was substituted for Ut, and Si added, late in the seven teenth century. The church is in the form of a Latin cross, and well designed: decorated with gilt stuccos, fine marbles, and paintings in oil and fresco. On the left of the nave is a chapel, entered under a fine arch from the left arm of the cross. In this chapel, behind the altar, wliich is of fine marble, is a choir where service is performed once a year. The sacristy is lined with fine presses of elegant workmanship in chestnut. The convent, which forms a quadrangle, is spacious, and presents a noble aspect; which, as well as every thing it contains, has the appearance of opulence and comfort. The refec tory is capable of holding 200 persons at table. There is a smaller apartment for the retinue of persons of rank. Adjoining this second refectory is a spacious hall, containing paintings, and a well-buUt kitchen, in which, every thing requisite for cooking is to be found. The upper part of the convent contains the dormitories, and the Ubrary, which once possessed some 2 B 2 556 Boute 44. — Vallombrosa — Paradisino. Sect. VI. of the most valuable manuscripts and rare books in the world; but the French on suppressing the convent despoUed the collection of all that was valuable, as well as carried off some most valuable paintings, and a fine coUection of natural history. There is a building called the Forestiera for the reception of strangers, upon whom it is the duty of one of the monks to attend. Gentlemen are pro vided with comfortable beds in the convent, but ladies, who are not al lowed to enter the convent, have apartments assigned to them in this building. No charge for board or lodging is made upon the traveller: the usual mode of payment, therefore, is, to give to the monk who attends upon strangers a sum of money, re questing him to distribute it among the servants. At a short distance from the large convent is the Paradisino, or Celle, a small convent built on the summit of an isolated rock, about 250 ft. above the other. A rough path leads to it. At the foot of the rock runs the small torrent Vicano, coming from the sum mit of the glen, and forming at this spot a pretty cascade. In this convent or hermitage is a well-built chapel, several dormitories, and two oratories: above it a handsome gallery, whieh looks down into the chapel, hung with paintings done by an Englishman, of the name of Henry Hugford, who, after a long residence at Florence, sought an asylum in this hermitage, and is known as the revivor and improver of the manufacture of scagliola. From the windows are seen most extensive and beautiful views over the rich valley of the Arno to Florence, and, when the weather is clear, to the sea in the direction of Leghorn. This fine view becomes still more magnificent a little before sunset. Still more extensive views may be obtained by ascending Monte Seccheta, a spur of the Prato Magno, lying to the south of. the Para disino. Vallombrosa to La Verna, 27 m. Those who intend to visit La Verna and Ca- maldoli, or either of them, and have come as far as Pelago in a carriage, should direct it to meet them again at the Osteria della Consuma, which is situated on the high road from Ponte-a- Sieve to Prato Vecchio and'Bibbiena, near the summit of this ridge of that branch of the Apennine which divides the valley in which the Amo rises from that in which Florence stands. This village of Consuma is about 10 m. from Pelago and 6 m. from Vallom brosa, to the north-eastward, and de rives its name from the Monte Consuma, on whose northern slope it is placed. A bridle path leads to it from Vallom brosa. The inn is wholly without ac commodation, and is a mere baiting place for charcoal carts. Leaving Con suma, on the northward is seen the Monte Falterona, from the sides of whieh rises the Arno : the prolonga tion of the chain on the right hand is called the Prato Magno. About 3 m. from Consuma » view is obtained of the upper valley of the Arno, which forms the province of Casentino, the scene of some of the severest warfare in the civil war of the Guelphs and Ghibellines, and retaining, in numerous ruins of castles and hill-forts, memo rials of the powerful families engaged in that contest. Nine m. from Con suma is BorgoaUa-Collina, where, in the church, may be seen Cristofano Lan dino, preserved like a mummy. The Florentine repubhc bestowed on him the palazzo and ancient castle of Bor goaUa-Collina, as a reward for his com mentary on Dante; and here he retired, in 1497, at the age of 73, and returned no more to Florence, in order to avoid being engaged in the intrigues against the Medici. He died here a few years after, either in 1504 or 1508. After half a mUe of descent the road crosses the Arno, and traverses a small plain, called Campaldino, the scene of a cele brated battle between the Guelphs and Ghibellines, on the 11th of June, 1289. The Aretines, who formed the chief portion of the GhibeUine party, were routed with the loss of 1700 men killed, and 2000 taken prisoners: among the former was the celebrated GugUelmino Ubertini, bishop of Arezzo, who fell fighting desperately in the thickest of the fray, having rallied his troops Tuscany. Boute 44. — Poppi — Bibliena. 557 upon the bridge at Poppi, half a mile further on. Dante was present at this battle, being then 24 years old, and served among the Florentine, i. e. the Guelph, cavalry. Poppi, , which is on the rt. bank of the Arno, singularly placed on a high rock, whose base is washed by the river (Pop. in 1845, 1874), is a very ancient town, and the capital of the Casentino. The only old building in Poppi not in ruins is its castle, occu pying the highest part of the rock, and having been a place of some strength before the use of guns for breaching. It was built by Lapo in 1230, and bears some likeness to the Palazzo Vecchio at Florence. The court-yard contains some curious ar chitecture; and a staircase celebrated for the skill shown in its construction, and resembling that in the Bargello, leads to a chapel containing frescos which, according to Vasari, are by Spinello. The land round Poppi is highly cultivated. The pronunciation of the inhabitants is said to be the best in Tuscany. The road continues along the left bank of the Arno, and four miles beyond Poppi is Bibbiena, the native town of Fran cesco Berni. Here is a decent country inn. The population is about 2300. Beyond Bibbiena, towards La Vei-na, the road is no longer practicable for a carriage ; but may be traversed for about 4 m. by a country car. It is however exceedingly steep, with awk ward turns, and for those who cannot walk, horses or mules are far prefer able. La Verna is 6 m. from Bibbiena, two m. from which latter place the road crosses the torrent Corselone. It is said to derive its name, whieh is also written Alvernia, and Vernia, from its perpetual wintry climate, to which Dante seems to allude, calling it "il crudo sasso tra Tevere ed Arno." The convent of La Verna, the most curious of the three sanctuaries, is situated on the south side of a circuit of rugged rocks. The highest point of the mountain on which it stands is called La Penna. Here is a, chapel, and from hence a most extensive view is obtained. To the eastward are seen Umbria, the march of Ancona, the mountains of Perugia: on the west, the valley of the Casentino, the chain of the Prato Magno : to the northward is the source of the Amo, and to the north-east that of the Tiber. There are also some points within the circuit of the convent inclosure, whieh are visited as curious rooks and chasms, called the Masso di fra Lupo, la Buca del Diavolo, and the Masso Spicco. Theconventof La Verna was founded in 1213: the principal church was built in 1264. The convent was nearly de stroyed by fire in 1472. It has ac commodation for about 100 monks. They provide all strangers who arrive with food and lodging, but have no property, and depend upon alms for the support of their establishment. A short distance to the south of the convent is the village and ruined castle of Chiusi, formerly a strong place. It occupies the site of the ancient town of Clusium Novum. Michael Angelo's father was appointed by the Signoria of Florence Podesta of Chiusi, and Ca- prese, a small town about 5 m. to the S. E. in the valley of the Tiber, and at the latter place the great artist was born on the 6th March, 1475. Verna to Camaldoli. The traveller may return to Bibbi ena and reach CamaldoU from thence, passing through Camprena, and Sod, and La Mausolea. The shortest way, however, is as follows : from La Verna to the crossing of the torrent Corsalone 3 m. : thence to Camprena, 3 ; to La Mausolea, 1 ; from La Mausolea to Camaldoli, 5; in all, 12 m. The ascent to the mountain on which CamaldoU stands begins at La Mausolea, a grange belonging to the convent of Camaldoli. This sanctuary, which, for comfort and for beauty of situation, is a most agreeable resting place, is situated on a rocky slope of the Apennine, inclining toward the south, and thickly covered with fine firs, and watered by streams, and called the Giogana. It is said to have been founded about a.d. 1000, by S. Romualdo, whose life and miracles were written in 1483 by the monk Jerome, and is capable of containing 558 Boute 44. — Camaldoli. Sect. VI. more than 100 monks, whose present number, however, is small. The church and convent were destroyed by fire in 1203, and were so much injured when the convent was besieged, in 1498, by the Duke of Urbino, that shortly after in 1523 the old church was rebuilt and adorned inside by some youthful paint ings of Vasari. The church was en larged and restored also in 1772-1776. There is a commodious forestiera for the reception of travellers; to the west ward of the convent are cascine, or dairy farms, where excellent butter and cheese are made; and behind the convent is a saw-mUl, by which the timber belonging to the monks is squared, and cut into planks prepara tory to its being drawn by oxen to the banks of the Arno, and floated down to Florence. Higher up the glen, and about 1J m. to the northward of the convent, is the Eremo, or hermitage; a sort of second and smaller convent, with nu merous ceUs on the ground-floor, ar ranged symmetrically in rows so as to form streets, and with a neat chapel. The order is very rigid in its discipline; the monks are summoned to prayers seven times in every 24 hours through out the year. The first prayers are at 1 in the morning, and certain of the members are appointed in turn to clear away the snow which, in the winter season, often impedes their passage from the cells to the church. The dress is perfectly white, with a cloak reaching down to the knees. From this hermitage there is a fine view of the glen and forest, which is one of the most ancient in Tuscany, and in which are to be seen a few remaining pine-trees of enormous size. Those which were recently felled for the rebuilding of the Basilica of St. Paul at Rome, and some sent to Mahemet Ali, were believed to be nearly 400 years old. One of the highest points of the ridge on wliich Camaldoli is built is called Scali, mentioned by Ari sto on account of the extensive view it affords : "... Scuopre il mar Schiavo e il Tosco Dal giogo onde a Camaldoli si viene." A path to the eastward from the hermitage crosses the central ridge of the Apennine, and by this there is a pleasant walk by Ridracoli and S. Socia to Civitella, down thei valley of the Bidente, and thence to Forli and Ravenna. Camaldoli to Florence, The best way of returning to Flo rence is by Prato Vecchio and Stia. The distance from Camaldoli to each of these places is about 7 m. There are two mountain roads in thiB direction. One, which ascends the mountain to the W. of the hermitage, and, con tinuing along the ridge to Casalino, about half a mile further on at Valiana, divides into twb branches — one leading through the village of Arna to Stia, the other along the rt. bank of the torrent Fiumecello, to Prato Vecchio. The other road, which leads more di rectly to Prato Vecchio, starts from the convent, and running at first south ward for about a mile, passes through the wood on the skirt of the glen; it is paved to facilitate the draught of the felled timber, and as a protection from the heavy rains. Hence there is a fine view of the deep glen and of the plain be yond. The road then crosses the ridge to the westward, the summit of which commands a very extensive view of the surrounding chain of the Apennines, and of the valleys formed by them. This part of the chain is perfectly barren, and the track is cut through the sandstone rock. The road then descends to the village of Moggiona, which stands on the bank of a moun tain stream; and then, again ascending. out of this ravine, crosses another ridge of mountains, from which is obtained a fine panoramic view, comprising the towns of Prato Vecchio, Stia, Poppi, and Bibbiena, and convent of La Verna; the high range of the Falterona to the northward, and to the westward the Prato Magno, and between these the Arno winding through the valley of the Casentino, and Li ruscelletti, che de' verdi colli Del Casentin discendun giuso in Arno, Facendo i lor canali e freddi e molli. Inf, Canto xxx. In front, in coming down the moun- Tuscany. Boute 44. — Camaldoli to Florence. 559 tain, upon the top of a hill upon the op posite side of the Arno, are the ruins of the castle of Romena, held formerly by counts of that name, and mentioned by Dante in the 30th Canto of the Inferno. Near it, according to some, and not at Siena, is the Fonte Branda mentioned by the poet. At the foot of the moun tain the torrent Fiumecello is crossed, and a quarter of a mile beyond is Prato Vecchio. From this town the carriage road to Florence, a distance of about 30 m., runs northward along the 1. bank of the Arno as far as Stia, where it crosses the Arno. A mountain path runs northward from Stia to the source of the Arno, and to the summit of the Falterona, from which the prospect is magnificent, extending to the Mediter ranean on one side, and to the Adriatic on the other. The road from Stia to Florence, after some broken and steep, but picturesque ascents, during about 3 m., leaving the castle of Romena on the 1., falls into the high road from Bibbiena to Ponte a Sieve and Florence. Travellers who wish to visit the three sanctuaries of Vallombrosa, La Verna, and Camaldoli, should leave Florence in good time in the morning, and reach Vallombrosa in the after noon, then proceed the next day to La Verna; on the third to CamaldoU, and return on the fourth day to Florence. Those who go only to Vallombrosa and Camaldoli may reach the latter place on the second evening and return to Florence on the third; or if they visit La Verna and omit Camaldoli, then by starting early, Florence maybe reached in one day from La Verna. On a summer's day, by starting from Flo rence very early, travellers may visit Vallombrosa and return the same day. The lodging and fare at the monas teries are better than at the country inns at Pelago, Bibbiena, or Prato Vecchio; but tourists must remember that at the monasteries meat is not to be had on Fridays or Saturdays, or on the vigils of feast days. As the atten tion whieh travellers receive varies generally inversely as their numbers, they will find a more hospitable re ception at La Verna and Camaldoli than at Vallombrosa. ( 561 ) INDEX, Abano, 227. 283. Pietro d', tomb of, 295. Abate, Nicolo del, 388. Abbey ofNovalese, 8. San Michele, 8. Chiaravalle, 205. Abbiategrasso, 42. Abbo, lord of Susa, monastery of, 8. A'Becket, Thomas, church de dicated to, 269. Academia Albertina, 5. Abetone, Pass of, 389. Carrera, 231. Academy at Turin, 18. — — at Genoa, 101. — — at Venice, 341. — — at Parma, 373. of the Crusca, 511. of Fine Arts at Florence, 539- Acqui, city of, 58. Catliedral, 59. Baths, 58. Adda, Fr. d', 167. river, 205. 228, 229. Adelaide of Susa, statue of, 7. Adige river, 250. 274. 350. Adolphua, king, tomb of, 158. Agilulph, king of the Lombards, Aglie, castle of, 30. Agogna, Castel d', 42. Agostino, St., Borgo di, 131. Alassio, 78. 105. Origin of, 78. Alba, 54. Albano, paintings of, 20. 27. 81. 91.93. 179.187.247. Albenga, city of, 79. 105. •^— , valley of, 78. Alberghetti, 3 14. Alberoni (Cardinal), bequest of, j 62. Alberti, Leon. B., 219, 220. Albertinelli, 513. 524. Alblum Intermelium, 75. Albizzola, 83. Alclat, tomb of, 202. Alda's Leap, 9. Aldighiero, 288. Aleprandi, 270. Aleramo, cavern of, 56. ANGELO, M. Alessandria, 2. 45. to Piacenza, 47. to Savona; 58. Alessio, the architect, 91. 96. 98. Alfieri, the architect, 18. 32.44. 46. 50. , the poet, 44. • , tomb of, 476. palace, 44. castle, 44. Algardi, bas-reliels of, 27. 359. Algarotti, History of, 16. Aliense, 316. 318. 320. Allori, 19. 419. 428. 442. 514. 528. Aloes at Chiavari, 108. Alpimis, Prosper, botanic gar den of, 295. Alpone torrent, 273. Altar of Liberty at Lucca, 405. of silver at Pistoia, 417. circular, 23. Altobello di Melone, painter, 208. Alvinzi, Marshal, 274. Alzano, Santuario d , 234. Amadeo, 198. 231. Amadeus, St., tomb of, 32. Amedeo, "Vittorio, IL, prison of, 10. Statue of, 16. Vic tory of, 14. 29. Tomb of, 29. Amano, vale of, 56. Amati, architect, 152. , musical instruments of, 207. Ambrogiana, 449. Ambrogio, Sant', church of, 162. , Sant', quarries of, 272. Ambrosian ritual, 152. library, 184. Ammanati, 293. 295. 409. 502. Ampezzo Pass, 352. Amphitheatre at Verona, 250. Andora castle, 78. river, 78. Angelico, Fra. Giovanni his tory of, 496. Angelo, Michael, works by, 27. 148. 173. 186, 187. 341* 345- 399. 427- 467- 482- 485- 492- 501. 507, 508, 509, 510, 53$. 539- 54<>. , birth of, 557. , house of, $i3> , tomb of, 476. ARIOSTO. Anone, 45. Annual pageant at Vicenza, 276. Anselmi, 368. 370. 375. Ansuino, 293. Antelini, sculptures of, 368. Antenor, tomb of, at Padua, 282. Antignate, 228. Antonino, St., town of, 8. Antonio, St., church of, 285. Apennines, 46. Appian, Seyssell's translation of, at Turin, 24. Appiani, 173. 181, 182. 189. Appio, Monte, 76. Aqua Negra, 207. Aquapendente, 294. Aqueduct atMarzana, 272. J of Lucca, 410. of Pisa, 424. at Leghorn, 452. Aquileja, 353. Araldi, 372. Arbal§tes at Venice, 321. Arcari, 220. Arcetri, 546. Arch at Susa, 6. 8. Archiepiscopal palace at Milan, 1V' Architects, xxii. Architectural remains at Ver celli, 33. ArchitectUTe,domestic, in Italy, xxiii. military, xxiii. , school of, 5. , Romanesque and Gothic, xxii. Military, xxiii. Do mestic, xxiii. of Lombardy, 126. Archives at Turin, 17. at Cremona, 209. at Venice, 331. Arcole town, 113. , field of, 274. Arda river, 362. Ardina valley, 5. 45. Arena at Padua, 289. at Verona, 250. , San Pier d', 85. Arenzana, 84. Arengaria, 77. Argenta, 21. Arian Lombards, persecution A by, 347- Anosto, 43. 77. 96. 204. 364. 2 r3 562 INDEX. ARLESEGA. Arlesega, 281. Armenian convent at Venice, 339- Armoury at Turin, 17. at Venice, 321. Arna, 77. Arno at Pisa, 441. Arnolfo, designs of, 460, 464. Arosia river, 78. Arpino, Cav. Cesare d', 19. Arqua, 226. Arquata, 46. Arrighi, 420. Arrigo, Pietro d', 417. Arsenal at Venice, 321. Genoa, 102. Aspertino, 408. Aspetti, Titiano, statues by, 286. Assarotti, asylum of, 101. Asti, county of, 1, , city of, 44. , wines of, 44. • Astigiano territory, 44. Attila's helmet, 321. throne, 349- Augusta Bagiermorum, ruins, SS- Augustine, St., tomb of, 199. Augustus, statue of, at Susa, 7. Aurelian way, 71. 73. Ausonius, 139. Austrian Dominions : — Pi ports— Money, 115. Weights — Measures, 117. Posting, 118. Territory, 1 19. Nature of the country — Agriculture — ? Productions, 120. Lan guage—Fine Arts, 125. Avanzi, Jacopo, frescoes by, 286. Avenza, 401. Avigliana, castle at, 10. Avogadro, 242. Asolo, vilage and castle of, 281. Azzo, Alberto, 225. Bacchiglione river, 275. Badagnano, 361. Badalocehio, 374. Badia, ruins of the, $$3. Badile, paintings by, 19, 253. Bagnadore, 240. 244, 245. Bagnasco, 56. Bagne at Genoa, 88, Bagno, F., 244. Balbi, 384. Balduccio, 160. 171. 416. Bambaja, sculptor, 148. Bandinelli Baccio, ,400 Bank of Genoa, 103. — — at Florence, 455. Bankrupt's stone at Padua, 284. BEGARELLI. Bankrupt's stone at Venice, 312. Baptisms in Florence, 472. Baptistery at Como, 130. at Padua, 285. at Parma, 368. at Milan, 150. at Verona, 260. at Pisa, 429. at Florence, 469. at Cremona, 209. BaradeUo tower, 128. 131. Barca, paintings by, 265. Barigazzo, 386. Barile, 415. Barlassina, 132, Baroni, 405. Barroccio, painter, 97. 150. 181. 240. Bartolomeo, San, ruin of, 44. , convent of, near Nice, 70. , gate of, at Vicenza, 281. , Maestro, 314. 323. 3i2. , Fra, paintings by, 27. 247. 327. 40b. 408. Barucchi, Padre, 28. Barucco, 242. Basaiti, 178. 187. 330. 338. 341. Basaltic formations, 273. Basilica of La Superga, 29. of St. Mark, description of, 303. Basiletti, 182. Bassano, city of, 281. , the painter, works of, 19. 27. 92, 93. 177. 187. 240. 276. 284. 294. 310. 315. 317, 318, 320. 332. 337. 342, 343. 360. Bassia, Martino, i$8. Baths of Acqui, 58. of Abano, 227. of Caldiero, 273. of Recoaro, 281. — — of Lucoa, 410-414. of Mount Catini, 415. of San Giuliano, or di Pisa, 423. Battaglia, 226. Battle of Arcole, 274. of Curtatone, 212. ofCustozza, 271. of Dego, 60. of Marengo, 47. of Marignano, 204. — - of Mondovi, 57, of Montebello, 49. of Montenotte, 61. of Novarra, 38. of Pavia, 198. of St. Quentin, 24. of Turin, 14. 29. Battoni, 19. 41. 181. 409. Bay of Genoa, 46. Bayard, anecdote of, 235. Beauvoisin, Pont de, 6. Begarelli, statues by, 370. 386, j *87- — - terra-cottas of, 386. I Beket, G. B., tomb of, 269. Bellini, G., 19.27. 177.179. 242. 246. 277. 308.315. 331. 336. 34J- Bellino, 92. 179, 180.320.327, 228, 329- 333, 334- W 547- Bellotti, 168, 273, 318. Beltrafilo, iy, 181. Belluno, city of, 281. Belvedere fortress, 460. Belzoni, bust of, 284. , medal of, 284. Bembo, the painter, 19. 208. Bene, 55. Berceto town, 380. Berengario, king, sacrament- ary of, 136. Bergamasco, 314. 326. Bergamo, 229. to Brescia, 234. to Lecco, 231. Bergeggi, 81. Bernard, St., 203. Bernhardt, painter, 20. Berni, description of Verona, Bernini, 80.83. Bertani, architect, 220. Bertolotto, painter, 94. Bertuccio, 305. Bevera torrent, 53. Bevilacqua, 182. 225. Bianca of Carignano, 50. Bianchi, 153. 193. Bibbiena, 557. Bible, illuminated, 24. Bicocca, 127. Biduino, 408. Bigio, Fi\, 20. Bignonia flowers, 281. Binasco, 194. Biondi, poet, 81. Birago, D., architect, 153. Bissolo, 343. Blanc,- Mont, 30. Bloemen, 178. Boara, 350. Boboli, gardens of, 458. 538. Boccaccino, B., frescoes by, 208. , paintings by, 246. Boccaccino, Cam., 211. Boccaccio's Livy, 185. Bodoni's printing-office, 376- , tomb of, 368. Boetto, frescoes by, 57. Boffalora, bridge of, 39. Bol, painter, 180. 410. Bolca mountain, 272. Bologna to Florence, 452. Bolognese, S., 179. Boltiere, 229. Bonded warehouses at Genoa. 87. Bonferraro, 225. Bonfires at Turin, 14. Boniface of Savona, 51. Bonifazio, 180. 254. 319. 338. J41. 342. Bono, San Giovanni, tomb of. 148. ' INDEX. 5W BONO. Bono, Guido, 90. Bonometti, 244. Bohsignore, 265. 269. Books on Italy, xvii. Bordighiera, 76, 105. Bordone, Paris, 27. 90. 157. 176. 246. 342. 527. Borghetti, 378. Borghetto, no. near the Minoio, 271. Borgoforte, 379. Borgo San Donino, 363. Borgognone, 21. 92. 153- 157. 159. 165. ifli. 182. 186. 196, 197. 247. 362. 525. Borguignone, 94. Bormida river, 45. — , valley of the, 58. Borromeo Palace at Milan, 189. ¦ , San Carlo, 150. Borromini, 72. Bossi collection at Venice, 345- , cartoon by, 186. Botanic garden at Rivoli, n. at Milan, 184. at Padua, 295. at Pisa, 446. Botero, Giovanni, birthplace of, 56. Both, paintings by, 21. Botticelli, 187. Bower of Correggio, 371. Bozzolo, 212. Bra, 54. Braccini, 417. Bracco, no. Bramante, works of, 13. 41. 144. 155, 156. 159. 166, 107 185. 188. 201. 205. 359- Bramantino, 41. 154. 173. 176. Brambilla, 147. 149. Brandizzo, 30. Brandt, painter, 92. Brazen Serpent at Milan, 164. Brea, Ludovico, 66. 70. 81, 82. Breglio, 53* Bregni, 329. Brenta, the, 296. 351. Brentella torrent, 281. Brera Gallery at Milan, 175. Brescello, 378. Brescia, 234-248. Capture by the French — Bayard, 234. Roman remains, 236. Anti quities, 237. Paintings, 239. Churches, 239. Palazzo della Loggia, 244. Broletto, 245. Library, 246. Galleries, 246. Palaces, 247. Campo Santo, 248. Brescia to Milan, 228. . , to Bergamo, ^34* , to Verona, 248. , to Venice, 248. Brescian school of painting, 239. Brescianino, 242, 338. Breughel, 21, 178. Brianti, 371. Brianza, La, 127. Bridge at Mantua, 220. CALEBSIO. Bridge at Pavia, 201. , fortified, at Valeggio, 271, over the Taro, 364. of boats, 206. Bridges at Florence, 358. Brignato, no. Brignola, 241. Brill, 21. Briosco, 265. Brockedon's * Italy,' xx. Broletto at Como, 130. • of Brescia, 245. Broni, 49. Bronze table at Genoa, 101. Bronzino, 19. 27. 187. 246. 416. 523, 525- Brugnoli, 267. Brull, P. 246. BruneUeschi, xxii. 398. 417. 464, 465. 470, 484* 488» 5oi, 506. Brunetta, La, ruins of, 7, Brunetti, 148. Brusasorzi, 220. 225, 253. 261. 265, 266, 267, 268, 269, 270. 273- Bruzolo, 8. Bucentoro,il,j22. Buffalmacco, 437. 442. Bugalla, 46. Buonamano, xv. Buono, 293. 312. 34°- Burano, 347. Bussola, 148. Bussolino, 8. Bussone, Fr., history of, 50. Buti, 443. Buttinoru, B., 154. Buzzacarina, bounty of, 285, Buzzi, Carlo, 143, 144. 148. 150, 192. Caccia the painter, 4. Ca' delBosco, 447. Cacciaguida, 255. Caccjatori, 143. 149, 150. Cadeo, 362. Cadibona, 61. Cadore, valley of, 353. Caffaggiolo, 453. Caffarelli villa, 21. Cagliari, 315. 319. 342. Cagnacci, 19. Cagnola, 187, 234. Cairo, 60. , Francis del, 20, 181, 182. Calabrese, 27. Caius, institutes of, 260. Calano, 173. Calceo, 228. Caldara, P., 228. Caldiero, baths of, 273, Calendario, 31 3- Calessio, castle of, 232, CAREGGI. CaUsto, 19, 162. Calusio, MSS. of, at Turin, 24 Calvart, 19. Calvi, Lazzaro, 66. -, Pantalion, 66. Calvotone, 212. Camaldoli, 557. Cambiano (Marq.), pictures of, 26. Cambiasi, 19. 81. 102. Cambiaso, frescoes by, 56. 66, 85.92, 93.97, 98- Cambrai, league of, 235 Camerlata, 131. Camerio, 253. 265, 266. Camillo, tomb of, 213. , painter, 150. Camoglia church, 107/ Campagna, 254. 319. 321. 331* 335, 33^. 34*- Campagnola, 287. 294, 295* Campello, 230. Campi, Ant., 153. 157. 171. 173. 208. 210, 211. Bernardo, 42. 156. 173. 197. 201. 206. 211.359* D., 360,384. G., 153. 173* 208.210,211. 245. Campi, castle at, 423. at Pisa, 410. at Brescia, 248. Campo Formio, 353. ¦Canaletti, paintings by, 19. 180. 247. Candelabrum of walnut-wood, 266. Candia, 42. Cangrande, court of, 255. Canocio, 369. Canonica, 157. 190, 191. 229. Canova, basso-rilievo of, 277. statues by, 289. monument by, 294. monument of, 330. works of, 2ii. 233* 247* 323. 325- 343-375* Canossa, 385. Canturio, 133* Cape Crow, 113. Capelli, Dr., 138. Capo della Croce, 78. Capo della Mele, 78. Cappucino, 27. 94. Caprajo, castle of, 449. Caprasio, Monte, 8. Car of triumph at Vicenza, 277. Caracci, the, 19. 27. 93, 94. 100. 156. 176. 179. 220.328.358, 359-374*376, 377- 388. Caracalla, statue of, 517. Caracciolo, Cardinal, tomb of, 149. Caradosso's sculpture, 155. Caravaggio town, 228. the painter, 20. 28. 94. 181. 186, 187. 228. 241. 362. Carcare, 60. Cariani, 178. 234. Careggi villa, 549. 564 INDEX. CARIGNAN. Carignan, principality of, I. Carignano, 50. 54. Carignano to Raconigi, 50. Carinagna, 77. Carlo V., coronation of, by Ricci, 270. Carlone, Battista, 67. 85. 92. 99. 100. 103. Carloni, painter, 44. Carmagnola, 50. Caronno, 192. Carotto, 255. 265, 266, 267, 268. Carpazio, 246. 342.343. Carpione, 276. Carra, 242. Carrara, 198. duchy, 401. city of, — artists, 401. — to Lucca, 402. pistol of, 321. Carriages for posting, 118. Carsaniga, 127. Cartoons at Hampton Court, 218. Casal Maggiore, 377. Pusterlengo, 206. Casale, city of, 40. Cascina, 447. de Pecchi, 228. Cascine at Pisa, 446. at Florence, 548. Casella, paintings of, 14. Casentino, 557. Cassano d' Adda, 228. Casselii, frescoes bya 208. Cassine, 58. Cassini, G. Dom., astronomer, ,6. Cassio, 380. Castagno, Andrea del, no. Casteggio, 49. Castel Alfieri, wells of, 44. ~-=^_ Ceriolo, 47. - — -of Andora, 78. S. Giovanni, 49. — — of Este, 225. of Calessio, 232. of Sermione, 248. Novo, 249. Nuovo, 249. Arquato, 362. Guelfo town, 364. Franco, 388. Castelbarco, Count of, tomb of, 268. Castellaro, 225. Castello, Bernardo, 66. 82. 85. 93. 99. Castello, Valerio, 90. Castelli, 95. 99. 144. 188. Castellucchio, 212. Castelpoggio, 381. Castiglione,i9. 93, 181, 218. , palaoe of, 219. Catalpa, the, 134. 281. Cataneo, ,267. 286, 287. 111. Cateau Cambresis, treaty of, 24. Cathedral of Susa, 7. . Turin, 13. Cathedral of Vercelli, 32. Novara, 35. Casale, 40. Voghera, 48. Coni, 52. Fossano, 57. Mondovi, 57. Acqui, 59. Ventimiglia, 75. Albenga, 79. Savona, 81. Genoa, 96. Como, 128. . Monza, 134. Milan, 143. Pavia, 1^ Lodi, 205. Cremona, 207. , Mantua, 219. Bergamo, 231. Brescia, 238. Verona, 258. Vicenza, 277. Padua, 284. Venice, 303. Treviso, 352. . Udine, 353. Aquileja, 354. 'j Parma, 365. Reggio, 383. Modena, 385. Massa, 402. Lucca, 404. Pistoia, 416. Prato, 422. Pisa, 424. Leghorn, 451. Florence, 463. Fiesole, '552. Catini, Monte, baths of, 415. , the, at Genoa, 98. Catullus, villa of, 248. ~~ Causeway, fortified, 271. Cava Tigozzi, 207. Cavalier Maggiore, 51. Cavazzolo, 269. Cave consecrated by Urban LTL. 272. Cavernago, 234. Cella, 83. Cellini, Benvenuto, 17.515.526, 529. Cenacolo of Leonardo da Vinci, 13. 167. Cenis, Monte, 11, 16. Centa river, 78. CentaUo, 51. Cerano, painter, 156. 171. 173. 182. 193. Cerea, 225. Ceresone torrent, 281. Ceriale, 80. Cerrutti, 182. Certosa church, ruin of the, 44. of Pavia, 194. of Garignano, 192. of Pisa, 447. of Florence, 547. Cervara, 107. CIRQUE-CENTO. Cervo, 78. Cesare, Giulio, 201. Ceserano, 381. Ceva, marquisate of, 1. , city, 56. Chair of Attila, 349. Chambe'iy to Turin, 12. Champagne, P. de, 21. Champollion, inscription in ho nour of, 22. Chapel of Giotto, 290. of St. Sudario, 15. Chapter-house at Florence, 482. Charities of Genoa, 100. of Turin, 28; Charlemagne, 8. 42, 43. 201. Cheese district about Milan, 229. Cherasco, 55. Treaty of, 55. ' Chiabrera, birthplace of, 82. - Chiaravalle, abbey of, 203. .' Chiari, Roman remains at, 228. Chiavari, 108. Chieri, 42. Churches, 42. Ma nufactories, 43. Chioggia, 350. Chiusa, 8. Chivasso city, 31. 40. Christiani, frescoes by, 416. Church of San Mark, 303. of Frari, 329. Churches at Turin, 15. Vercelli, 33. Novara, 36. Casale, 41 . Chieri, 42— Genoa, 98. Como, 130. Milan, 152. Pavia, 199. Cremona, 210. Mantua, 219. Bergamo, 231. — — Brescia, 239. Arerona, 261. Vicenza, 277. Padua, 285. Venice, 328. Parma, 369. Reggio, 384. Modena, 387. Lucca, 406. Pistoia, 418. Prato, 422. -Pisa, 441. 444. Leghorn, 452. Florence, 473. Ciceroni, xiv. Cicognara, xix. 199. Cicognolo, 212. Cigliano, 31. Cignani, 19. Cignaroli, the painters, 11, 428. Cimabue, pictures of, 327. 376. 479- Cmque Terre, no. Cinque-cento style, specimens of, 269, 270. INDEX. 565 CIMELLA. Cimella, 70. Ciocca, painter, 166. Cisa, Pass of the Apennines, 380. Citadel of Turin, 12. Civitali, M., statues by, 97, 405; 406. , burial-place of, 409. Civercbio, 240. Cividale, 353. Clarence, Lionel Duke of, 55. Claude, paintings of, 21. Claudius Bishop of Turin, his opposition to the use of images in Divine worship, 12. Clementi, T., 219. 368. 383. Clerch, De, 317. Climate of Turin, 13. ¦ Rivoli, n. Italy, 13. Nice, 69. Pavia, 202. • Pisa, 424. Clocks, invention of, 285. at Mantua, 219. Coccaglio, 234. Codogno, 206. Codroipo, 353. Cogoletto, 84. 105. Coins current in Italy, 116. , tables of, xxviii. Collatine nuns, 166. Colle d'Albaro, 106. Collechio, 379. College at Cremona, 210. CoUeoni, monument of, 230. statue of, 332. Colletta, MS. collections of the, 327. Collina di Torino, 13. Collina,. the, 25. 29, 30. Colonna del Rfe, 73. Colorno, 378. Columbus, birthplace of, 84. 106. Comaschi, the, 129. Cominelli, 327. Como : Situation, 127. Duomo, 128. Paintings — Monu ments, 129. Baptistery — Broletto — Antiquities, 130. Theatre — Palaces — Port, 131. Como to Milan, 127. 133* Conca, 239. Conegliano, Cimada, 178, 179. 333- 339- 341- town, 352. Conigliano, 85. Coni, 51. Fortress of, 52. Conservatorie, 101. Constantia, 21. Constantine, statue of, 517. Contarini, 318. 342. 343. Conti, bas-reliefs by, 197. Coptic inscriptions, 22. Cornara, Carlo, 196. Cornaro, Caterina, Queen of Cy prus, '327. DANTE. Cornaro, Caterina, her tomb, 335- Cornaro, Luigi, 296. Cornelius Nepos, birthplace of, 253* Corniche road, 71. Corradini, 178. Correggio's bower, 371. cupola of, 365. paintings of, 26. 178. 189. 220. 223. 345- 366. 309, 370, 37i- 374. 375, 376* 522. Corsico, 42. Corso, Nicolo, 66. Cortile San Martino, 378. Cortona, Piet. da, 19. 181. 533. Cossale, 210. 239. 241, 242. Cossali, bust of, 268. Costa, %,., 219. Cottius, statue'of, at Susa, 7. Covigliaio, 453. Cozzo, 42, 282. Crayer, G., painter, 20. Cre*cy, Genoese bowmen at, 104. Credi, Lorenzo, 416. Crema, Carlo di, 167. 265. Cremona, 207. Cathedral, 207. Churches, 210. Torrazzo, 209. Palaces, 210. S. Sigismondo, 211. Cremona to Parma, 377. Crescentino, 40. Crescenzago, 228. Crespi, Dan., 19. 17. 37. 153, 154. 166. 177. 181, 182. 192. 199. 388. , G. B., 182. 199. Crivelli, 177, 178. Cromwell, portraits, by Lely, 20. Cross-bows of great power, 321. Crostolo torrent, 378, 383. Crown, the iron, 136. Crucifixion, by Avanzi and Ze vio, 286. Crusca, academy of La, 511. CfUnella valley, 272. Currency, tables of, xxviii. Currone torrent, 48. Curtatone, battle at, 212. Curzio the poet, tomb of, 183. Custom-houses of Austria, 206. Custozza, battle of, 271. Cuzzano villa, 272. D. Dairy farms at Olona, 39. Pisa, 446. Dandolo, And., 100. Dante, xx. 37- 104. 113. 185. 252. 255. 271. 289. 322. 443, 448. 471, 472. 491. 495. DRAGUTTE. ante, grand-daugAters of, 273. villa of, 272. Daru, xviii. Daun, Marshal, 14. David, painter, 102. Davila, grave of, 273. Deaf and dumb asylumn at Genoa, 101. De Angelis (Sig.) pictures of, . 28. Decurions of Turin, 14. Dego, 59. Battle of, 60. Delfiore, Candido, 28. Deiner, painter, 180. Dentone, works of, 330, 332. Desani, 384. Desenzano, town, 248. Desiderius, king of the Lom bards, 8. Desio, 134. Dessaix, death of, 48. Devil's Mountain, 273. Dialects of Piedmont, 4. Lombardy, 125. ¦ Venice, 301.^ Diamante, 422. Diano Castello, 78. Marino, 78, 105. valley, 78. Dichat, death of, 58. Diligences, xiii. Diotti, frescoes by, 208. 228. Diottisalvi, 445. Dockyard at Villa-franca, 72. at Genoa, 104. at Venice, 321. Dogana river, 42. Doganas of Italy, xi. Austria, 206. Doges, portraits of the, 315. • Dogliani, 55. Dolce, Carlo, 19, 27, 422, 537. Dolcebono, architect, 161. Dolce Acqua, castle of, 76. Dolcino, F., 37. Dolo, 296. Domestic Architecture in Italy, xxiii. Domenichino, 19. 27. 79. 83. 92. 176. DonateUo, bronzes by, 287. 403. 422. statues by, 284. 330. 472. 477. 488. 519. Dondi, Lucrezia; bust of, 284. Donnus, king of the Alpine tribes, 6. Donzelli, birthplace of, 231. , Dora-Baltea, 31. Dora-Riparia river, 25. Dora-Susiua river, 6. 8. 13. Doria, Andrea, 78. 112. , viUa of, 84. , palace of, 95. , tomb of, 100. , Lamba, 100. Dossi, D., 388. Dow, Gerard, 20. 327. 526. Dragutte, a celebrated corsair, 107. 566 NDEX. DROVETTI. Drovetti, Cavaliere, coUections of, at Turin, 21. Due, G. le, 20. Ducal palace of Modena, 387. Duchy of Parma, 355' of Massa and Carrara, 382. of Modena, 382. Dungeon of Valeggio, 271. Dungeons at Venice, 320. Durer, Albert, 13. 21. 28. 82. 93. 102. 174. 187. 310. 328. Dusino, 44, Earthquake, singular effects of, 44. Eastlake's Handbook of Paint ing, xix. 4, 223. Eccelino, murder of, 277. Edda, mythology of the, 22. Edessa, frescoes by, 200. Egyptian Museum at Turin, 21 . at Florence, 528. Emilia, Via, 59. EmpoU, games at, 448. Enfer, Breughel d', 21. Enrico Scrovigno, 289. Enza torrent, 383. Eremitani, the church of, 293. Esa, castle of, 73, 105. Este, 225. , hiUs of, 280. Etruscan walls, 551. — -paterae, 23. Euganean bills, 280. Eugene, Prince, battle-scenes of, 14. 29. , letter of, 16. , cuirass of, 17. Eusebius, St., his copy of the Gospels, 32. , burial-place of, 32.' Exeter, Bishop of, tomb of, in Santa Croce, 476. Eyck, Van, paintings by, 102. P. Fairies, bath of the, 70. Falcieri, 268. Falconetto, 266. 285. 295. Falconi, 427. Falb at Turin, 14. Family, Piedmontese royal, succession of, 2. Fan of Queen TheodaUnda, 135. Fantiscritti, 402. Fantoccini, 26. Farinati, 260. 266, 267. 269, 270. 273. Farnese palace, 372. Favolo, 276. FLORENCE. Felizzano, 45. Ferraglia, 454. Ferramola, 242, 243. Ferrara to Venice, 350, Ferrari, Gaudenzio, 4. 18. 40. 97. 129. 153. 157. 162. 166, 167. 173. 181. 187. 192. Ferrari, Luca, 384. , architect, 157. Ferrato, Sasso, 19, 189. Ferri, Ciro, 19. Festivals at Turin, 14. Fiammenghino, 148. 240. 243. 358* Fiammingo, 315. Fiasella, Dom., 67. 85. 99. 109. Fidanza, 182. Fiescho, Luigi del, 80. Fiesole, view from, 553, , city of, 551. Figini, 150. 167. 180. Filarete, 231. Filattiera, 380. Filiberto, Emanuele, 2. , statue of, 24. Filigare, 453. Filippino, 146. Finale, 80. 105. Fino, 132. Fiorentino, 360. 419. Fiorenzuola town, 362. FiumiceUi, 292. Fivizzano, 381. Florence : — Hotels. Cafe's, 454. Miscellaneous infor mation, 455. General as pect, 458. Accademia deUe belle Arti, 539. Ace. della Crusca, 511. Bargello, 510. BoboU Gardens, 538. Bridges, 461 . Campanile, 468. Churches — S. Ambro gio, 504 ; Annunziata, 497 ; Apostoli, 504 ; Badia, 505 ; Baptistery, 469 ; Carmine, 502 ; Cathedral, 463 ; S. Croce, 475 ; S. Fehce, 505 ; S. Lorenzo, 488 ; S. M. Madda- lena, 506; S. Marco, 494; S. Maria Nuova, 514 ; S. Maria Novello, 481 ; Or* S. Michele, 473 ; Oratorio degU AngioU, 505 ; S. Spirito, 500 ; S. Trinita, 504. Festivals, 543. Fortresses, 461. Guardaroba, 473. Hospitals and Charities, 542, 543. Libraries — Lau rentian, 492 ; Magliabec- chian, 542 ; MaruceUian, 541 ; Private, of G. Duke, 537 ; Riccardi, 511. Loggia de* Lanzi, 509. Loggia dei Peruzzi, 511. Manufacture of Mosaic, 541. Markets, 509. Museo di Storia Natu- rale, " 538. Palazzo Pitti, 532. Palazzo Riccardi, 510. Palazzo Vecchio, 506. Pri vate Palaces, 510-513. Pi azza dell1 Annunziata, 500 ; FRASSINATO. S. Croce, 481 ; S. Giovanni, 473 ; del Gran Duca, 506 ; S. M. NoveUa, 48*7 ; S. Trinita, 505. RaffaeUe's fresco, 514. Tetto dei Pisani, 509. Theatres, 543. Uffizi, 514. "WaUs, 460. Florence : — Neighbourhood of. Arcetri, 546. Badia, Fie solana, 553. Bellosguardo, 547. Bibbiena, 557. Camal doli, 557- Careggi, 549. Cascine, 548. Casentino, 557. CasteUa 548. Cer tosa, 547. Fiesole, 551. Monte Ceceri, 553. Monte Falterona, 556. Monte Sec- cheta, 556. Poggio a Cajano, 548. Poggio Imperiale, 546. La Petraja, 548. Poppi, 557. Prato magno, 556. Prato Vec chio, 558. S. Salvi/ 544. Stia, 558. Vallombrosa, 554.- Verna, 557. VUla Mozzi, 550. villa Schifanoia, 551. Florence to Leghorn, 449. to Lucca, 414, 423. Floris, F. 21. Fogolino, 276. Fondulo, Gabrino, 209. Fontana, 157. 197. fredda, 362. del Tempio, 70. Fonte buona, 454. Sano, 57. Foppa, A. 152. V., 154, 176. Foreign coins, tables of, xxviii. Formentone, 244. Formigine, 389. Fornaci, 229. Fornuovo, ruins at, 379. Fortana, An., paintings by, 157- Foscari, Doge, monument of, . 329. Foscari palace, 323. Foschi, painter, 177. Fosdinovo, 381. Fossano, 57, 195. FossU remains, 44. 55. 232. 272. FostineUo, 244. Fra' Bartolomeo, 27. 522, 523 541- Fracastorius, the poet, 252. Franceschini, painter, 92, 93 388. Franchini, 358. Francia, F., 20. 27. 178. 246. 374- , Guido, 27, 242, 370. 388. 407. Franciabigio, 498. 534. Francis I., 12. 198. 204. 206. Franco, paintings by, 3 14. Frari, church of, at Venice, 329. Frassinato, 72. INDEX. 567 FRA ANGELICO. Fra Angelico da Fiesole, 496. 499. 505. 540. Frederick the. Great, 16. Freemasons of Germany, 144. Fresco painting, xxiv. Frescoes at Turin, 13. at VercelU, 33. at Novara, f$- of Luca Cambieso, 56. at Genoa, 91. — — by Cambiasi, 102. by Taormino, 106. by Mjontorfano, 170. by Luini, 161. by Campi, 206. at MUan, 157. at Mantua, 219. by Sandrini, 239. — — by Rossi, 240. at Verona, 266, 267. — — of Brusasorzi, 267. by Morone, 269. ¦*- — by P. Veronese," 272. at Padua, 285. • by Titian, 287. ¦ at Pisa, 432. at Florence, 466. 478. 496. 498. 499. 5oo* 502. 504. 546, 54T* Frisio, Adriano, r6. Friuli, mountains of, 280. Fulignate, Nic, 177. Fusina, 153, 296. Fytt, paintings by, 20, 179. G. Gaetano, 305. 536, 537. Gaggiano, 42. Gagnereau, 21. Galeazzo, 154. Galeotti, painter, 91. 100. Galileo, 289. 295. 547. , temple of, 539. , finger of, 494. , observatory of, 547. GaUery at Milan [Breraj, 175. Verona, 253. - Brescia, 239. Turin, 18. Venice, 340. Parma, 373. Modena, 387. ¦ Genoa, 90. , Imperial, at Florence, 514* 532. of the Academy, 539* , Pitti, 5*2. 537- Galliano, 133. GalUari, 182. Gallinaria, island of, 78. Gamalero, 58. Gambara, 181. 213* 240, 241, 2^2, 243, 244, 245, 246. 248. 367. Gamberato, 316. Gamolo, 42. ginguisneV Gandini, 239, 240, 241, 242, 243. Garda lake, 249. Gardens, public, at Genoa, 89. - — Venice, 346. - — Botanic, at Rivoli, 11, - — Milan, 184. 191. *— — Pisa, 446. ¦ — — Padua, 295. — — of Boboli, 538. Garessio, 56. Gargagnano, 272. Garlanda, 79. Garofali, .chapel of the, 48. Garofalo, 19. 92. 177, 178, 179. 187. 388. Gaston de FoiXj 23-5. , tomb of, 187. Gatini, painter, 97. Gattamelata, armour of, 321. Gatti, 360. 367. 371. , Bernard, 211, 212. Gaudenzio Ferrari, 4. 33- Gavassafcti, 359, 360. 384. Gavirate, 194. Gavone castle, 80. Gazzaniga, 229. Geminiani, 387. Geldorp, paintings by, 20. Genlis, Madame de, 78. Gennaro, 327. Genoa, 47. 62. Roads, 63. Money, 64. City of, 85. Inns, 85. Port regulations- passports -^steamers — carri ages— Post-office -*- Bankers, 86. Provisions — Manufac tures, 87, Description of the city, 87. Navy 88. Forti fications, 89. Palaces, 90. Paintings, 91. Churches, 96. Theatres, 101. Academy, 101. Arsenal, 102. Palazzo Ducale, 102. Goldsmiths' Street, 103. Bank of St. George, 103. Genoa, Duke of, 2. to Turin, 43. to Nice, 67. to Sarzana, 106. to Pavia, 202. Genoese States, 2. Character of the people, 65. "Women, 87. Gera, 206. Germano, San, 31. Gherardini, Mel., 148. Ghiara d'Adda, 206. GhibeUines, 45. 57. Ghiberti, 399, GhiUno Palazzo, 46. Ghirlandaio, 405. 418, 419.422. 427. Ghitti, painter, 240, 241, 242. Giacondo, Fra', 253, 326. Giandolo, 53. Giant's staircase at Venice. 314. Gibbon, anecdote of, 261. on Italy, 120. 158. 260. Ginguone, xx. GUERCINO. Giocondo, Fra, 261. 269. Giolfino, 260. 268, 269. Giordano, Luca, 92. 94. 180. 231.409. Giorgio, San, 8. 272. 361. Giorgione, paintings by, 119. 180 187.246.326.328.343. Giottino, 177, 469. 539. Giotto, paintings by, 178. 208. 291. 327* , death of, 464. 539. — — , chapel of, at Padua, 290. , architect, 289. Giovane, Palma, 161. 239, 240, 241, 242. 360. Giovanni, Fra, 266. 283. Giovenone, paintings by, 18. Giovi, tunnel of, 46. Giovio, Benedetto, monument of, 129. , Paolo, his coUection of portraits, 186. Giudetto, 404. Giugno, 240. Giusti, 285. Glass, stained, of Italy, xxiv. Gnocohi, Pietro, painter, i6r, 162. 166. Gobbino, 273. ' Golden Legend,' 84. Goldsmiths at Genoa, 103. Gondrate, 368. Gonzaga, Francesco, 214. Gorgonzola, 229. Gorlago, 232. Gospels, qncient copy of the, 32, Gotardo, San, 172. Government of Genoa, 87. Goyen, Van, 179. Gozzi, 182. Gradisca, 353. Grana river, 52. Grandonio's brazen mace, [15. Gran turco, 132. Grassi, 368. Grate, de, 371. Gravellone, 202. Greffler, 21. Greghentino, 127. Greghettb, 20. Gregory the Great, Pope, 135. Grezzana village, 272. Grimaldi, the, 74. Grimani palace at Venice, 327. Gropello, 228. Gros, Pierre le, 14. Gruamonte, 419, 420. Guala, Cardiual, 33. Gualberto, St., 554. Gualtieri, 295. Guarieut,i, frescoes by, 293. Guarini's buUdings, 13. 15, r.6. *6-?7-. Guarnieri, 207. GuastaUa, 119. 378. Guelphs, 45. 57. Guercino, 15. 19, 27. 91, 92, 93, 94, 95. 98. 176. 179, 180. 187, 188. 196. 247. 358. 384. 387. 409. 568 INDEX. GUGLIELMINA. GugUelmina, 204. Guiccardini, xviii. Guido di Arezzo, 555. Guido's paintings, 19. 27, 28. 9t, 92. 94, 95. 100. 173. 181. 187. 247. 293. 328. 387. 409. Guidotti, 408. Guilombardo, 311. Guisoni, 219. Gulf of Spezia, in. Gustavus of Sweden at Padua, 289. H. Hagiology, legends of, 241. Hals, painter, 180. Hamefinck, painter, 186. Handbook of paintiug, xix. 4. 179. Hannibal, his passage of the Alps, 8. — , fountain of, 49. Haratch, Count, pictures of, 27. Harlequin, origin of, 230. Hawkwood, Sir John, 466. Hayez, painter, 173. Helmet of Scarpa, 17. Hemlinck, Hans, 20. Hercules, temple of, 158. Hesse, the fresco-painter, xxvi. Hobbema, paintings by, 178. Holbein, Hans, 20. 92,. Homer, MS. of, 185. Hondekooter, paintings by, 20. Honthorst, paintings by, 20. Hope, Mr., on architecture, 175. Horned cattle in Lombardy, beauty of, 10. Horologe tower at Venice, 308. Hot^water streams, 58, 227. Hugtenburgh, 21. Huysum, Van, 21. Iconology of middle ages, 291. Imola, F. da, 93. India, Tullio, 270. Industria, city of, 23, 39. Inganna poltrone hill, 272. Ibns, xv. Inscriptions, Coptic, 22. , sepulchral and medical, 24. Institutes of Cains, 261. Iron crown of Lombardy, 136. Iseo, lake and town of, 232. Isiac table, 21, 40, 215. Isis, temple of, 22. Island of Palmaria, 112. of Tino, 112. — — of Venice, 300. — of Murano, J46. LANNES. Island of Torcello, 347. of Malamocco, 349. Isonzo river, 351. Italy — Passports andDoganas, xi. Routes, xii. Modes of travelUng, xii. Laquais de Place and Ciceroni, xiv. Money — inns, xv. Books, xvii. Objects to be noticed, xxi. Fresco-painting, xxiv. Music, xxvii. Tables of cur rency, xxviii. Itinerary of Antoninus, 73. Ivara, see Juvara, Ivory carvings, 23. diptychs, 36, 136. vessel, 151. Ivrea, marquisate of, 1. J. Jablonski, discoveries in my thology, 22. Jandine, 242. Jesuits, library of, 183. college of, 220. Jordaens, 21. Josephine, Empress, 133* Josephus, historian, 185. Juliet, tomb of, 271. Jupiter Ammon, statue of, 23. Juvara, works of, 10. 13. 16. 29. 128. 219. K. Kauffmann, AngeUca, 20, 231. Kellerman, 47. Kempis, Thomas a, 24. Key pistol of Carrara, 321. Kill-cats, palace of, 270. King Donnus, 6. Klenau and Napoleon, 215. Knoller, M., 173. 181. Kugler's handbook of painting, xix. 4. 179. L. Lago della Madonna, 10. di San Bartolomeo, 10. Lagune fortress, 349. Lakes at AvigUana, 10. Lake Geroudo, 206. Iseo, 232. di Garda, 248. di Como, 127. Lamazzo, 162. Lambro- river, 127. 146. Landi, 247. Lanfranchi, painter, 28. Lanfranco, 91. 537. Lanini, painter (il Pordenone), 4.42. 156.165. 176. 181. Lannes, Marshal, 47. LIONS. Lannes, Marshal, wounds of, 275. Lantana, 239. -'•"" Lanzi, xix. Laquais de Place, xiv. Larea, 388. Laurate, 436. Lavagna, 109- Lavagnaro river, 109. Lavaria, Sig.^ pictures of, 27. Laugier, Lorenzo, 20. Laurentian Ubrary, 492. Layne, paintings by, 92. Lazarini, 333. Lazzaro, 18.2. League of Cambrai, 235. of Lombardy, 45, 140. J Lecco, 127, 232. to Bergamo, 231. to Milan, 127. Lecomte, Jules, xx. Leghorn : conveyances, 449. Passports — manufactures — imports, . 450. History of buildings, 451. Aqueduct, 452- Leghorn to Florence, 449. Legnano, 171, 225. Leida, Luca de, 20. Lely, Sir Peter, 20. Leo, M-, architect, 254. Leonardo, 167. Leoni, 148, 189. Leopardo, 308. 331, 332. Lepanto, battle of, 321. Lerici, 112. Lessini, Monti, excursions to, 272. Levante, province of, 120.: Levanto, no. Leyden, Lucas van, 21. 187. 247. Liberale, 260. 265. Libraries at Susa, 8. at Turin, 16. 24. at Vercelli, 32. at Novara, 36. at Genoa, 95. 101. of Jesuits, 183. (Ambrosian), at MUan, 184. at Mantua, 220. at Brescia, 246. at Padua, 285. at Parma, 375. at Pistoia, 421. , at Florence, 492. Liceo institution, 268. Licetus, birthplace of, 107. Lighthouse at Genoa, 88. of Tino, 112. Ligozzi, 406. 409. 448. 451. Ligurians, their character, 65* Limone, 52. LinguegUa, 78. 105. Linterno, 191. Lion of St- Mark, 311. Lions of marble, from the Pelo ponnesus, 321. INDEX. 569 LIRA. Lira Italica and Austriaca, xxix Livy, monument of, 283. Loano, 80, 105. Lodi, Alberto di, 205. - — -, CaUsto da, 162. 166. 181. 205. 241. 243. 246. — , Ermeneg. di, 210. , GugUelmo di, 205. Lodi: origin — inns, 204. Ca thedral — paintings — cheese, 205. , battle of, 205. — - to MUan, 203. to Piacenza, 204. Loggia de' Banchi, 103. Lojano, 453. Lomazzo, 162. 171. Lombard ino, 159. Lombardo, 308. 314* 327. 332, 333- Lombard league, 45. 140. - — ox — plough, 10. school of art, 125. Lombardo-Venetian kingdom, 115. Lombardy, great plain of, 10. under Austria, 125. municipal buildings in, xxiii. Lomi, paintings by, 19. Lonato, 248. Londonio, 182. Lorenzi, basso-riUevos, &c., by, v 157* Loreto, 127. Lorraine, Claude, 21. 71. Lotto, 231. 232, 246. 327. 417. Lovere, 232. Lucan, 74. 377- 401- Lucca city : cathedral, 404. Re- Ucs at, 404. Paintings, 405 Antiquities, 406. Churches, 406. Baths, 410. 414. Lucca, principality of, 403. • to Florence, 414, 423. Ludovico, paintings by, 95. Lugano, 244. Lugliano village, 413. Lugo village, 272. Luini, pictures by, 19. 27. 129. 153, 154, 155. 159. 161, 162. 165. 171. 175, 176. 178. 180, 181. 186. 187. 189. 192, 193- 195. 197* 246. Lunigiana, province of, 113. Lurago, the architect, 91. Lusignano, 78. Lustermans, 20. Lutes of Amati, 207. Luther's psalter, 375. Luti, 419. Luzzara, 379. M. Mabuse, painter, 20, 102, 174. Machiavelli, xviii. , tomb of, 477. MASOLINO. Madonna di Vico, sanctuary of, 57- Maffei, tomb of, 270. Maganza, 243, 253, 276, 277, 288, 294. Magenta, 39. Magra river, 52. 64. 113. Mala, Via, 70. Malamocca island, 349. Maleotto, paintings by, 167. Malosso, 208, 210, 359. Malpaga, Castel, 234. Manfrini palace^ 327. Manin, Doge, his tomb, 338. Mansueti, 344. Mantegna, Amir., works of, 19. 27. 178, 179. 187. 189. 216, 217. 219. 247. 263. 277. 280. 293. 388. , chapel of, 293. Mantua, 119. 213. Sieges, 214. BuUdings, 216. Churches, 219. Towers, 219. Monu ments, 219. Palaces, 221. Mantua to Milan, 206. to Venice, 225. Manufactories of silk twist, 131. of straw plat, 449. of fustian, 43. MSS. at Turin, 17. 24. Vercelli, 32. Milan, 184. Venice, 310. Parma, 375. * Florence, 493. Manzoni, xx. 126. Maps of Italy, xx. Maraino, 134. Maratti,. Carlo, 19. 91. 99. Marble quarries, 56. 03* *45* 272. Marcello, 357. , San, 389. 421. March tower, 280. Marchesi, 38. 129. 131. 143- 150. 153- 166. 201. Marcone, Rocco, 327. 331- 344* Marengo village, 47. , battle of, 47. Maria Louisa, 355. Marignano, 204. Marinale, 286. Marinari, 374. Marini,. 53 7. Marino Falieri, 317. Mark, St., palace of, 309. , church of, 303. Marlia palace, 410. Marochetti, 5. 24. Marone, P., 239, 240, 241. 243. 245- Marquisate of Ivrea, 1. - — Susa, 1. Cera, 1. ¦ Saluzzo, 1. Marzana, 272. Masaccio, pictures of, 276. frescoes by, 5°2» 5°3' Masolino, 502, 5°3- MILAN. Massa, duchy of, 401. ¦ Ducale, city of, 402. — Rosa, 403. Massena, 89. 274. Masserotti, 210. Mastino della Scala, tomb of, 254- Matsys, Quintin, 27. Mattarana, no. MatteisPaoU, 179. Matthew, the artist, 5. Mauro, 317. Mazorbo, 347. Mazzola, 368. MazzucheUi, paintings by, 19. Mazzuola, 180. 187. 370, 371, 372. 375* Meaa, Giuseppe, 150. Medals, discovery of, 59, 282. , collections of, 23. Mediaeval architecture, 126. . Mela torrent, 23 6. Melas, 47. Melegnano, 206. Memmi, S., 435- 486. Mengs, Raphael, 173* 187 Mentone, 75. 106. Menzini, poet, birthplace of 461. Merula, tomb of, 160. Mestre town, 296. Mestrino, 281. Metayer system in Piedmont, 2. Meulen, Vander, 21. Meuron, death of, 275. Michele, San, 273. , monastery of, 8. Michelozzo, 496. 499. 507. 518. Miel, Jan, 5. 20, 21. Mieris, 20. Mignard, 20, 21. 27. Milan, duchy, 2. MUan :— Inns, 137. Vetturini, 137. Diligences, 138. RaU- roads, 138. Postroffice, 138- BookseUers, 175. Gates, 141. CasteUo, 142. Arco della Pace, 142. Duomo, 143-152. Churches :— -S- Alessandro, 157. S. Ambrogio, 162. S. An tonio, 156. S. Bernardino, 154. S. Carlo Borromeo, 152. S.Celso,i56. S. Eufemia, 1 56, S. Eustorgio, 159. S. Fedele, 171. S. Giorgio in Palazzo. 157. S. Giovanni in Conca, 157. S. Lorenzo, 158. S. Marco, 171. S. Maria del Carmine, 171. S. Maria presso S. Celso, 156. S. Ma ria deUe Grazie, 167. S. Ma ria Incoronata, 171. S. Maria della Passione, 153. S. Ma ria dei Servi, 153. S. Mau rizio Maggiore, 161. S. Na- zaro, 155. S. Paolo, 156. S. Pietro in Gessate, 153. S. Satiro, 154. S. Sebastiano, 157. S. Sepolcro, 155- S. 570 INDEX. MILAN. Simpliciano, 171. S. Stefano in BrogUo, 154. S. Tomaso in terra mala, 171. S. Vit tore al Corpo, 166. PubUc buildings : — Am brosian Ubrary, 184, Arci- vescovado, 173. Brera, 175. Coperto de' Figini, 188. Os pedale Maggiore, 187. Os pizio Trivulzi, 188. Palazzo Imperiale, 171. Palazzo della Citta, or Broletto, 174. Pi azza Borromeo, 188; della Fontana, 188 ; Leone di Por ta Orientale, 188 ; de' Mer canti, 174. Private buildings: — Casa Andriani, 189 ; Archinto, 189 ; Borromeo, 189 ; Me dici, 189; Melzi, 189; Pi- anca, 189; Scotti, 189; Tri vulzi, 189. Palazzo Litta, 189 ; Clerici, 189 ; Pozzi, 189. Theatres : — Arena, 191. Canobiana, 190. Carcano, 190. Fiando, 191. Filodram- matico, 190. Re, 190. La Scala, 190. Public garden clubs, 191. Milan to Turin, 39. ¦ to Como, 127. 133, to Monza, 137. — r- to Varese, 192. to Genoa, 194. to Pavia, 194. to Lodi, 203. to Piacenza, 203. ¦ to Cremona, 206. to Mantua, 206. to Venice, 206. to Bergamo, 228. — to Brescia, 228. to Chiari, 228. Milano, Gaspar, 244. , L. di, 128. 181. Milanti, sculptor, 148. Military Academy, 18. architecture, 126. l*a Italy, xxiu. Millesimo, 61. Milton, 547. Mirteto, 402. Mincio river, 248. Miracles at Curtatone, 212. Missals at Turin, 18. Mocchi, FY., 357. Modena, 119. Duchy of 382. Cathedral, 385- Wooden bucket, 387. Palace, 387. GaUery, 387. to Pistoja, 388. Molineri, birthplace of, 51. Mombelli, L., 242. 245. Mombello, villa of, 132. Monaco, 74. Monaldi, birthplace of, 76. Monastery of San Michele, 8, 273- Monbarone mountain, 71. MoncaUeri, 43 . MONTUOLO, Moncalvo, 37. 43. 44. 154- 166. 200. 201. Mondovi, 57. , battle of, 57. Mondalavia river, 55. Moneglia, no. Monet, xv. in Piedmont, 5. in Riviera, 64. in Austrian Italy, 115. in Parma, 356. in Modena, 382/ in Tuscany,394. Money, Tables of, xxviu. Monselice, 226. MonSignore, F., 220. 266. Montagna,Bartolomeo, 177.197. 266. 277. 294. 343- Montagnana, 225. 285. Montalbano, 71. Montalegro, 107. Montalto, frescoes by, 157. Montbossir, Hugh de, 9. Montebello, battle of, 49. , village, 275. Montecchio, 383. Monte Pirichiano, 8. 10. Caprasio, 8. Musine*, 10. Cenis, n. 16. Ciceri, 553- Rosa, 30. 31, 35- Negro, 76. 77. Baldo, 248. Stregone, 59. Appio, 76. negro church, 77. Bolca, 272. Cucullo, 389. di San Quirico, 85. Prinzera, 380. Moria, 361. Rovinazzo, 361. del Diavolo, 273. Catini, 415. Berico, 215. 27Q. Viso, 43 52. Zago, fossils at, 362. Murale, 225. Forte, 272. Lupo, 449. CareUi, 453. Montea del Po, 39. Montelupo, 414. 474. Montenotte, 61. Monterosso, no. Montferrat, duchy of, 2. 40. castle of, 31. Montferrat-Paleologo, dynasty of, 31. Monti, 143. 149, 150. 171. 193, 247. Monti Lessini, excursions on, 272. Montini, tomb of, 368. Montignoso Castle, 402. Montorfano, 170. Montovano, 223- Montramito, 403. Montuolo, 403. 423. MVTENS. Monuments of the Doges, 33°> at Turin, 14. at Milan, 148. at Mantua, 219. at Verona, 254. at Pisa, 431. at Florence, 472. Monza: Cathedral — town-hall — Queen Theodolinda, 134. Relics, 135. Iron crown — ivory diptychs, 136. Bas- reliefs — palace — railroad, 137- Monza to Milan, 137. to Como, 133. Moor, C, painter, 20. MoragUo, 141. Morandi, 420. Morazzone, 20. 37. 159. 173. 193. 332. Moreau, cruelty of, 58. Moreno, Lorenzo, 66. Moretto, 157. 177. 208. 231. 239, 240, 241, 242, 243, 244. 246. 265. 267. Morgagni, at Padua, 294. , MSS. of, 375- Morone, frescoes by, 269. , paintings by, 246, 247. 265. 268, 269. , And., 288. Moroni, paintings by, 260. 266. 343- Moroni, 19. 27. 177. 179. Mortara, town and battle of, 42. Mosaics, xxv. 35. , crypt of, 272. Mosca, works of, 26. 427. Mosquitoes at Mantua, 213. Motis, Christopher de, 198. Motta, 352. Moucheron, 28. Mozzecane, 272. Mozzonica, 228. Mulberry plantations, 43.133. 404. ¦*¦ Multedo, 77. Mummies at Turin, 22. Municipal bodies, powers of, 2. Municipal buildings in Lom bardy, xxni. Murani, 334. 342. 388. Murano island, 346. Murillo, 20. 327. 534. Musscher, Van, 21. Museum at Turin, 21. Parma, 375. Mantua, 220. Pavia, 202. Milan, 182. Padua, 295. Musical instruments of Amati, 207. Music of Italy, xxvii. Musine", Monte, 10. Mystical sculptures, 259. Mytens, paintings by, 20. INDEX. 571 NAPOLEON. N. Napoleon, 2. 7. 46. 60. 79. 133. 137. 145, 168. 215. , battle-scenes of, 47. 55. 57. 66, 61. 205. 215. 274. , letters of, 16. Narses expels the Ostrogoths, -7 — , ancient church of, 303. Nave, 403. Navigho Grande, 39. di Pavia, 194. Navy of Sardinia, B8. Neefs, Peter, 21. Nervi, 106. Nervia river j 76. Netscher, C., painter, 20. Nice, 2, 67. — — ., Castle, ruins of, 69. Con ference of, 70. Environs, 70. Hotels, 67. Carriages, lodging-houses, 68. Trades men, steamers, 68. Vettu rini, 68. Nice to .Genoa, 67. Nicolo di Pisa, 445. 473. 480. Niebuhr, discoveries of, 261. Niello, 362. Nipozzano, 482. Nizza, 54. Nogara, 20. 225. NoU, 81. 105. Notti, the painter, 28. Novara, 35. 38. Novaiese abbey, 8. Novelli, 513. Novi, Ber. da, 197. town, 46. Nozzano, castle of, 403. Nuns of CoUatine order, 166. Nuvolone, 37. 153. 157. 181, 182. 193. 359- 0. Obelisk at Arcole, 275. Observatory at Turin, 21. of Galileo, 547. Obstat, 247. OcchiaU, 77. Ogionno, 179, 181, 182, 186. Oglio river, 212. 231. Olando, Luca d', 91, 92, 93, 94, 107. Oldrino, stained glass by, 154- Olginate, lake of, 127. Oliyieri, paintings by, 18. Olmo, San Pietro al', 39. Olona, 39. Oltre Po Pavese, 2. Omodei, architect, 144, 145* Oneglia, 2. 56. 77. 105. ^ to Turin, 54. 57. Ora, 84. PALLAVICINO. Orbetto, 265. 267. 269, 270. Orcagna, 398. 436. 484. Oreo river, 30. Orfanotrono, garden of, 271. Orfengo, 15. Orgagna, 475. Organs at Como, 130. Ormea, 56. Orso Orseolo, Bishop, duomo by, 348- Orto, V. deU, 192. Oscuro Pi VaUone, 70. Osio, 229. Ospedaletto, 225, 234. Ospizio, Peninsula di' Sant, 73. Osservatore Fiorentino, xvui. Otho, statue of, 517. Ottini, 267. 269. Ox of Lombardy, 10. P. Pacchione, 384. Pacetti, 143. Padovano, 284. 288. 294. Padovanino, 231. 284. 327. 338- 342- Padua, 228. 281. Palace of Reason, 282. School of Paintings, 283. Cathedral, 284. Clocks, 285. Churches, 285. Giotto's Chapel, 290. University, 294. Palaces, 295. Padua to Venice, 296. to Vicenza, 281. Pageant at Vicenza, 276. PagUa, 240, 242. Painters of Cremona, 208. at Brescia, 239. of Verona, 235. Painting, school of, in Genoa, 66. , in Tuscany, 397. Paintings at Turin, 18-21, 26- 28. Como, 129. ¦ Milan, 173. Brescia, 239. Lucca, 405. Palaces near Turin, 29. GhiUno, 46. at Genoa, 90-95. 101. Imperial, at Milan, 171. of the Gonzagas at Man tua, 216, 221. Martinengo, 234. - — r deUa Loggia, 244. at Verona, 270. at Vicenza, 277. at Padua, 295. of the Doge at Venice, 313. of Venice, 323. at Pistoia, 420. Pelagi, Pelagio, works of, 16. Pallavicini, chapel of the, 97. PaUavicino, state of, 362. PENITESI. Palazzetto, 281. Palazzolo, 234. PaUadio, works of, xxiii. 275, 276, 277, 278, 279. 285. 295. 318.334.336. , vUla of, 280. Palimpsests at Milan, 184. Pallas, fountain of, 59. , temple of, 245. Palma Nova, fortress of, 353- Palma Vecchio, painter, 231. 288.316,317, 318, 319- 329, 337, 338.534, 535- Palmaria, island of, 112. Palmleri's drawings, 27. Palmizzano, 178. Palvasene, Sir H., 93. ] Pampaloni, 469, 515. Pandino, 196. Panfilo, 239. Panini, 18, 19. Pantena, 272. Paolini, 409, 416, 419. PapagaUi, 419. Pappafava family, 296. Parentino, 288. Paiima, 119. 365. Cathedral, 365. Correggio's Cupola, 365. Baptistery, 368. Steccata, 370. Farnese Palace, 372. Ducal Academy, 373. Gal lery-Library, 375. Museum, 375- Parma duchy, coins of, 356. , Alessandro, "Prince of Parma," 357. to Cremona, 377. to Mantua, 378. to Lucca, 378. to Modena, 383. Parmesan oheese distric'L 205. Parmigiano, 27. 92. 176. 370, 371, 372- 374- 376- 523, 536. Parodi, 46. 67. 92. 94. 286. 33%' Parola, 364. Passignano, 405, 408. Passports for Italy, xi. Florence, xi. Pastrengo, 249. Pauline, Princess, 133. PauUo, 389. Pavia, Certosa of, 194. Castle of, 198. City of, 198; its history. Cathedral, 198. Churches, 199. University, 201. Costume, 202. Pavia, records of, 125. to Milan, 194. to Geifoa, 198. Pazzaro, pictures by, 20. Pedone city, ruins of, 52. Pedoni, 210. Pedrini, Gio., 179. Pedrocchi, anecdote of, 282. Pegli, 84. Pellegrini, 36. 95. 144, 147. 150. 157, *58- 17*. 170- 186, 193, 196, 228. Pellizone, And., 147. Penitesi, 409. 572 PERAEO. Perabo, 143. Perinaldo, 76. Pierino de Vaga, 66. Perovano, architect, 161. Persigliano marble, 56. Perugino, Peter, 196. 210. 327. 362. 506. Peea, 244. Pesaro, General, monument of, 329. , the artist, 95. Peschiera, 249. Pescia city, 414. PestagalU, P., 150. 171. Petraja, La, 548. Petrarch, 185, 368. , retreat of, 191. , chair and inkstand of, 226. , his funeral sonnet upon Cino di Pistoia, 417. Petro, S., 148. Petronii, 387. PhilUps on the Cenacolo of Da Vinci, 169. Piacenza, 356. Piazza di Ca- vaUi, 357. Cathedral, 358. Churches, 359. Citadel, 360. Piacenza, duchy of, 355, 119. ¦ to Turin, 12. to Parma, 356. Piadena, 212, 377. Piantogna, 380. Piave river, 351. Piazetta at Venice, 311. Piazza, paintings by, 157. ¦Piazzi the astronomer, 131. Picinardi villa, 212. Pictures, collections of, at Ver celli, 33. , Genoa, 90. , Cremona, 208. , Turin, 18, 26. Piedmont: Territory— Govern ment, 1. Nature of the coun try —produce— revenue, 2. Language, 4. Fine arts — Uterature, 4. Posting — money, 5. Weights and measures, 6. Piermarini, 190. Pietra, 80. 105. Pietra-dura work, 159. 491. Santa, city, 403. ¦ — - Mala, 453. Pietrino, G-, 19. Pietro, N. di, 445. Pieve, 56. a Nievole, 415. Pelago, 389. * Pignerol earthquake, 44. to Turin, 12. Pignotti, xviii. Pilati, 243. Pinacoteca of Vicenza, 279. Pino, 42. Pinturicchio, 441. Piola, 19, 20. 67. 91. 94, 95.97, 98. — , death of, 103. , Dom., 104. PORDENONE. Piombo, Sebastiano del, 91, 93- 328. 339- Pippi, 20. Plrichiano, Monte, 8. Pitti Palace at Florence, 532. Pisa, 423. Climate, 424., Cathe dral, 424. Leaning tower, 428. Baptistery, 429. Ceme tery — Campo Santo, 430. Sarcophagi, 43T. Monu ments, 431. Frescoes, 432. Churches, 441. 444. Acca demia, 441. Palaces, 440. 443. Torre della fame, 443. Lung'arni, 440. Neighbour hood, 446. Pisanello, 253. 265. 268. Pisani, the naval commander, 324. Pisano, Andrea, 321.418.467, 468, 469. , Niccoio, 416. , Giov., 418. Pistoia, 415. Palaces, 415. Cathedral, 416. Churches, 418. Hospital, 420. Pistoia to Pescia, 414. to Modena, 421, , Giov. da, 419. Pistols, original manufactory of, 421. of Carrara, 321. Pitentino, A., 220. Piz2agalli, 171. Pizzighettone, 206. Placidia, history and tomb of, 158. Platina, G. M., 208. Pliny, birthplace of, 129. the younger, 129. Birth place of, 253. Plough of Lombardy, 10. Po river, 2. 13. 25. 43. 49, 50, 52. 202. 206. 351.378. Poelemburg, 178. Poel, Vander, 21. Poggio-a-Cajano, 548. Pola, Bartol., 197. Polcevera river, 85. Polesella, 352. PoUa, tomb of, 36. , the, 171. Pollentia, 54. Pollenzo castle, 54. Pomarancio, 99, 387. Pomponazzo, Pietro, 219. Pontedera, 447. Ponte Decimo, 46. ¦ Currone, 48. — — di Veja, 272. Nura, 362. di Lago Scuro, 352. Pontormo,1 524. Pontremoli, 380. Poppi, 557- Porata, G. 203. Pordenone, painter, 20. 174. 208. 221. 246. 327. 341, 342. 352. 359. 360. town, 153. REA. Porporati, the engraver, 5. Porta, G., sculptor, 98. , P., architect, 192. Port of Como, '131. of Genoa, 88. Porto Maurizio, 77. Venere, 112. Possagno, country of Canova, 281. Possanti, 428. Potter, Paul, 20. 27. Pourbus, painter, 20. Poussin, Gaspar, 21. 180. , N., 20. 21. 79. 179. 246, 247. 410. Prato, Bart., 368. ¦ cathedral, 422. Vecchio, 558. Precious metals, works in the, xxiii. Predore, 232. Prestinari, 150. Previtali, 179. Primaticcio, 218. 220. 222. Procaccini, 31- 13c 15°, *53t 157- 159- 167- 171- x73- 177- 188. 19J. 201. 240. 243. 358- 360. 368. 388. Procaccino, 19. 94. 98. 176, 177. 181, 182. Processions, religious, 14. Provezzi, fossU remains at, 232. Puget, statues by, 98* Puppet-shows, inventors of, 26. Putti, Giovanni, 143. Quadri, G., 166. Quails, hill of, 43. Quarries of marble, 402. Quarto and Quinto villages, 106. 423. Quentin, St., battle of, 24. Querceto, 403. Quercia, 406, 408. Quincy, 20. Quinto village, near Verona, 272. Racconigi palace, 50. Ragione palace, 282. Railroads, xiv. Rama, 242, 243. Ranuccio, tyranny of, 357. Rapallo, 107. Raphael's paintings, 18, 19. 26. 92, 93. 99. 173. 180. 186, 187. 247. 327. 345- 374- 534. 535- Ravenna, .171. 178. Ravensteiu, painter, 20. Rea torrent, 55. INDEX. 573 RECCO. Recco, 106. to Rapallo, 107. Recoaro, baths, .of, 281. Records of Pavia, 125. Reggio city, 383. , Nicola da, 368. ReUcs at Turin, 14. at Genoa, 98. Religion of Piedmont, 4. Rembrandt, 20, 21.94. 180.327. Renaissance style, xxu. Reppetti, xvui. Reptiles, 131. RevelU, 27. Rezzano, 361. Rialto al Venice, 325. Rice, cultivation of, 203. Richini, architect, 156. 159. 162. ,171. 189. Ricchino, Fr., 144. 243. 246. Ricci, 19. 270. 285. Riccio, And., 264, 287. Rigaud, 91. Riminaldi, 427. Rinaldi, 284. Ripafratta, 423. Riparia, river, 13. Riva di Chieri, 41- ¦£-— di Taggia, 77. Riviera, 71, 72. 77, 78, 79. RivoU, 249. — : — , in Piedmont, 10. Rizzi, 305. 319. Robereto castle, 45. Robbia, Giovanni del, 420. , Luca della, 399- Terra-cottas by, 416. 422. 480. Robertelli, 66. , paintings by, 81. Robillante, 52. Roccia Melone, Mont di, 8. Rodario, Tomaso, 128. 129. Rodolfi, 288. Rodolphinus, architect, 418. Rogers, Mr., on Venice, 301. Rolls, ancient, at Turin, 22. Romano, Giulio, 41. 99. 144. 187. 213. 216, 217, 218, 219, 220. 222, 223. 232. 386. 523. Romanesque churches,xxu.i26. Roman crypt and sarcophagus, ¦ 272. -, — mosaics, xxiv. remains, xxu. 39- 54- 55- ¦ 59. 70. 158. 183. 250. 272. — ¦ — , in Lombardy, 12. 24. 126. — , of Marzana, 272. Romanino, 177. 208. 239, 240, 241, 242, 243. 246. Romans, 353. Romeo and JuUet, story of, 271. Ronca, valley of, 272. Ronco, 46. Rondani, 375. Rondissone, 31. Roos, pictures of, 20. Rosa Govona, 28. , Monte, 31. 35- 53- , Pietro, 239. 243. SANGIORGIO. Rosa, Salvator, 19. 27. 92. 181, Roscoe's Lorenzo de' Mediciij xx. Roselli, 406. 498. Rose's Letters, 88. Rossi, 240. 243. 327. Rossini's History of Painting, xix. Rotari, 267. Rothenhammer, painter, 20. Rotonda Capra, 280. Rovacchia Codura, 364. Rovato, 234. RovegUa, 55. RoverbeUa, 272. Rovigo city, 350. Royal family of Sardinia, 2. Roya torrent, $3. Rubens, pictures by, 20, 21. 27, 28. 91, 92. 94, 95. 100. 176. 180. 247. 327. Rubiera, 385. Rubini, birthplace of, 231. Rudbeck's discoveries, 22. Ruta, 106. Sabbatelli, 37. 171. Sacca, 378. Sacchi, Bernardo, 211. Sacchi, P. F., 66. Sacile, 353. Sacra di San Michele, 8. Sacramentary of King Beren gario, 136. Sacristy at Turin, 14. Milan, 151. Cremona, 209. ¦¦ Venice, 307. Sagrestia Nuova, 488. Sal Dalmazio, 52. Salaert, 21. Salaino, 181, 182. Sala, V., frescoes by, 156. Saletto, 225. Sailletfco, 379- Salmeggia, paintings by, 153. 166. 180, 181. 231, 232. Salto Marina, 350. Salto della Bella Alda, 9. Saluzzo, marquisate of, 1. Salviati, 20. 328, 329. 338. SanmicheU, the architect, xxiU. 225. 252. 258. 267, 26.8,' 269, 270. 273. 275. 287. 324. Sammoggia, 388. San Benedetto, 379. San Carlo, history of, 150. Sanctuary at Monte Berico,279. San Donato, 204. 449. San Donino, Borgo, 363. Sandrini, 239. Sanese, 292. San Fedele, 78. San Fruttuoso, 107. San Giorgio, 361. Sangiorgio, painter, 143. i I SCARPAGNINO. San Giuliano, 204. Sanguinetto, 225. San Lazzaro, 362. 383. San Lorenzo, 77. 105. 107. San Marcello, 389. 421. San Martino d'ALbaro, 106. ' SanMartiri, 161. San Maurizio church, 15. 220. San Miniato vUlage, 447. church at Florence, 545. San Pietro d' Arena, 85. San Polo, 361. San Prospero 383. San Remo, 76. 105. San Romano, 447. San Sisto, 252. San Stefano, 77. Sansovino, works of, 286. 303. 307. 309, 310, 311, 312. 314. 318. 323. 325, 326. 328. 334, 335- 338, 339- 471. San Vito, 352. Santa Margherita, 107. Sant' Ambrogio, 10. 164. 272. 388. Sant' Ilario, 383. Sant' Ospizio, 73. Santuario d' Alzano, 234. Sanzio, Giov., 178. Saraina, Torello, tomb of, 264. Sarcophagus at Tortona, 48. at Milan, 168. of Maggi, 239. of Cangrande and the Sca ligers, 256. , Roman, 272. of Antenor, 282. Sardinia, poUtical changes, 62. Character of the country 62. Produce— state of the" country, 63. Roads, 63. Posting, &c, 64. Money, 64. Character of the popu lation, 65. Inns, 66. Fine Arts, 66. Sarnico, 232. Saronno, 192. Sarto, Andrea del, 19. 27. 91. 92. 173. 180. 246. 376. 388. 427. 498, 499, 500. 513, 514. 522. 534, 535, 536. 540. 544. 548- Sarzana, 114. to Genoa, 106, 108. no. to Lucca, 401. Sarzanetta, 114. Saurian reptiles, 131. SavigUano, 51. 57. Savoldi, G-, 177. 240. 246. Savona, city of, 81, 105. Savoy, Dukes of, 2. Saw-mill, ancient, 220. Scala, La, post, 447. , theatre of, at Milan, 190. Scaligeri, 254. , tombs of the, 256. Scammozi, xxiu. 230. 278. 309. 311.318,319-328.337. Scarena, 54. Scarpagnino, 325, 326, 340. 574 INDEX. SCARSELLINO. Scarsellino, 181. Schalken, paintings by, 20, 21. Schiavone, 308. 536. Schidone, 19, 375. Schio, town of, 281. Schizzi, paintings by, 211. Scrovigno, Enrico, 289. Sculpture in Italy, Lombar dy, and Tuscany, xxiU. Scuole of Venice, 340. Seborca, castles of, 76. Seechia Repita, 387. Sedan-chairs, 87. Sedriano, 39. Segurana, Catherine, bravery of, 70. Sepulture in churches, 1 29. Serafino, Fra, 497. SeravaUe, 415. Serchio river, 403, 410, 413. Serio river, 231. 234. SerUo, architect, 372. Serpent of the desert, 164, SeragUo of Mantua, 213. Sesia river, 35. Sesostris, statue of, 23. Sesto Calende, 138. Sesto, Cesare da, 19. 35- '79. 180. 182. 186. 189. 201. Sestri, 85, 105. 109. Sette Commune, district of, 281. Settignano, 477. Settimo, 30, 39. Seyssell, monument of, 14. , MSS. of, 24. Seyter, Daniel, the artist,, 5. Sforza, faU of, 38. , ancient castle of, 42. Shakspeare and Verona, 271. Shame, stone of, for bankrupts, 284. 312. Shrines (curious), 41. 97. Sienna, paintings by, 92. Siffert, paintings by, 20. Signa, 449. Signorelli, Luca, 170. Silk-twist manufactories, 131. trade of Turin, 12. Simonetta, 148. villa, 192. Sirani, Andrea, 359- , Eliz., 20, 92. Sismondi, xvu. Snyders, 21, 181. 530. Soave town, 272. Sojaro, 199. 208. 360. Solari, 4. 150. 153. 156, 197. Solimene, 19. 102. Sommiachino, 208. Sommariva, 54. Sorbolo, 378. Sori, bridge of, 106. Sorisene, 241. Solaro, C, 128. Sospello, 53. Sotto Piombi at Venice, 320. Spada, L-, 384- 388- Spadarino, 273. Spada, painter, 19. Spagna, P., 305. TAORMINO. Spagnoletto, 19. 27. 95. Spazi, architect, 128. Sperandio, 219. Spezia, gulf of, in. , town of, in. Spigno, 59. Spinazzi, 477. SpinelU, 437. Spotorno, 81. Spranger, painter, 21. Springs (hot) of Acqui, 58. of Abano, 227. Squarcione, 187. 293. Staff of Alphonso diFerrara, 17. StafFora torrent, 48. Stagio Stagi, pulpit by, 403. Other works by, 427. Stained glass of Italy, xxiv. Sandrart, 180. Statues at Susa, 7. at Turin, 13. Egyptian, 22, 23. Steamers in the Mediterrar nean, 449. to Nice, 68. on the Adriatic,, 300. to Leghorn, 449. to MarseiUes, 449. Steccata at Parma, 370. Stella, painter, 21. sanctuary,, 272. Stenta torrent, 106. Stilettoes, 11. Stone of shame, 284. 312. Strabo, in. Stracchino cheese, 229. Stradella, 49, 225. Stradivarius, 207. Stregone, Monte, 59. Strozzi, painter, 93. 472. 483. Studio of Padua, 294. Stupinigi palace, 30. Stura river, 51, 52. Subleyras, 181. Succession of royal family, z. ' Succhl, painter, 85. . Sudario Santo relic, 15. Sunday, observance of, in the Sardinian states, 4. Superga, the, n. 29. Susa to Turin, 6. , arch at, 6. ¦ , marquisate of, 1. Suzzano,.225- Swine, herds of, reared, 40. Sword of Btate,, 17. Synagogue, Jewish, at Leg horn, 452. Taddeo, Count, tomb of, 49. Tagliamento river, 351. Tambroni, 182. Tanarelo mountain, 56. Tanaro river, 45. , curiouB tradition of, 45. , sluices of,. 46. , source of, 56. Taormino, frescoes by, 106. TORRIGIANI. Taro river, 364. 379, Tarrico, paintings by, 55. Tasso, 13, 509.-^ , statue of, ^30. Tassoni, 71. Tavarone, 66. Tavella, painter, 92. Taveroni, painter, 91. Taylor, Jeremy, on the religion of Italy, 213- Tempesta, 21. 92. 246. 247. Tempio, valley of, 70. Temple of Isis, 22. of Hercules, 158. Templi, 21. Tenda, vUlage, and Col di, 53. Teniers, 20. 21. 27. 247. Terburg, G., 20. Terra-cottas, by Robbia, 48. Terra Nuova, 42. Rossa, 380. Theatres at Genoa, 101. Milan, 190. Turin, 18, 26. Como, 131. Vicenza, 279. Venice, 345. Vercelli, 35. Theodorius, Cardinal, tomb of, 265. Theodolinda, Queen, 135. Thorwaldsen, sculptures by 35- 247. 432. Tiarini, 19. 360. 384. Tibaldi,. Pellegrino* 32. Ticino river, 38. 202. Ticozzi, xix. Tidone river, 49. Tiepolo, frescoes by, 189. 231. 327. 374- Timavo river, 354. Tino, island of, 112. Tintoret, 19. Tintoretto, paintings by, 27, 90. 94. 177. 179. 240. 246, 247. 267. 315. 317, 3i8, 319- 324-331,332,333, 334, 335- 336.337-338. 339. 340, 341, 342.344.347'533.535- Titian, paintings by, 18, 19. 27, 28. 41. 91, 92, 93, 94. 156. 174. 177. 180. 186, 187. 189. 240, 241. 246, 247. 279. 288. 295. 315. 318, 319. 226, 327, 328. 330- 332. 334, 335- 338. 340, 341* 34J- 344, 345- 352. 376-522.525.534, 5J5- Tombs, ancient andcurious,266. Torano torrent,. 402. Torazzo at Cremona,. 209. Torbido, 260, 265.. Torcello island, 347. ToreUi, Hippolita, 213. Toriano, 80. Torino, hills of, 13-. Tornabuoni, 541. Torre del Mangano, 194, Torriani, 132. 2S4. Torriano, tomb, of, 160. 264. Torrigiani gardens, 512. INDEX. 575 TORSERO. Torsero torrent, 80. Tortona, 48. Fortress of, 55. Torture, instruments of, 321. Toscanelli, 468.J. Town of Carmagnola, 50. Towers of Mantua, 219. of Pavia, 202. Traini, 461. Trajan, busts of, 517. Travelling, modes of, in Italy, xii. Vetturini, diligences, xiii. Railroads, xiv. Trebbia river, 49. Trebbiano, 113. Trecallo, 133. Trecate, 38 Trescorre, baths of, 242. TrevigUo, 228. Treviso, 352. Trezza, castle of, 247. Tridate, Jac. di, 149. Trieste, 354. Trinita, La, 57. Trino, 40. Trismegistus, Hermes, his cos mogony, 22. TriveUa, castle of, 53. TrivulzU, chapel of the, 155. Trojan war, iUustrations of, 218. Trophsea Augusti, ruins of, 73. TuUp-tree, 281. Turbia, 73, 105. Turchi, 180. Turin, battle of, 14. 29. Turin, n. HotelB— restaura teurs, 11. Buildings, 12. Situation, 13. Climate, 13. Cathedral, 13. Relies, 14. Churches, 15. Palaces, ifr. Armoury,, 1 7 . Archives,, 1 7 . Theatres — picture-gaUeries, 18-21 . Observatory — mu seum, 21. Egyptian anti quities, 22. Medals — uni versity, 23. Libraries, 24. Statues, 24. Minerals, 25. Theatres, 26. Charities, 28. Hospitals, 28. Superga, 29. Turin to Susa, 6. — — to Chambery, 12. — to Geneva, 12. — to Milan, 30. 39. — to Genoa, 43. to Romagnano, 30. to Cormayeur, 30. to Val d'Aosta, 30. to Asti, 42. — to Piacenza, 47. to Nice, 49. tohOnegUa, 54. 57. to Savona, 61. to Caringano, 57. Tuscan States : — Territory — Agriculture, 390. Manufac tures, 391. Wines, 393. Money— Weights and Mea sures, 394. Posting — pass ports — servants, 396. Paint ing, 397. Sculpture, 398. Two columns, Venice, 314. VENICE. Ubbriachi, 198. Udine, 353. , G. da, 327. 353- , M. da, 178. 343. Ugolino, Count, 461. Umbria, Polla, tomb of. 36, University of Turin, 23. Pavia, 201 . ¦ Padua, 294. Urbino, Carlo, 153. 157. Utrecht, treaty of, 42. Vado, 81. 105. Vaga, Pierino del, 27. 66. 83. 96. 106. 109. 428. Val Cunella, 272. Val Pantena, 272. Val PoUcella, 272. . Valdagno, 281. Valentin, paintings by, 20. Valeggio, castle of, 271. Valenza, 2. , bridge of, xiv. Valerius Maximus, burial- place of, 56. Valley of Ronca, 272. Vallombrosa, 554. Vandyke's paintings, 20, 21. 27. 90, 91, 92, 9h 94, 95- 170- 180. 246, 247. 333-315,523. S35- Van Eyck, 102. VanUnd't, 92. Vanloo, 11. 20, 21. Vanni, painter, rg. 99. 428. Vanschuppen, 21. Vantini, architect, 141. Vaprio, 229. Varese, 193. Varigotta, 80. Varotare, 295. Varra river, no. Vasari, the architect, xviii. 284.467. 515.521. , paintings by, 416. 419. 476, 477. 480. 499. 504. 514. Vases, ancient, 23. Vecchio, Palma, 18. 27. 173. 240. 328. 338- 342- 347- 4°9- 535- , Pietro, 305* Vecellio, Marco, 318, 319, 320. Velazquez, 19. 92. 94. 108. 180. 187. 247. 327. 529- Velleia, ruins of, 361. Velours, Breughel de, 21. Velvet of Genoa, 87. Veneziano, 342. Venice :— Hotels, 298. Cafe's— gondolas— shops, &c, 299. Churches : St. Mark, 303. S. Francesco della Vigna, 334- Gesuiti, 33 8. S- Giovanni Cri- VERONA. sostomo, 339. SS. Giovanni e Paolo, 331. S. Giorgio de' Greci, 330. S. Giorgio Mag giore, 336. S. Jacopo di Ri alto, 335. S. Lazaro, 3.39. S. Lucia, 33 7. Madonna dell' Orto, 332. S.Mariadel Carmine, 339. S. Maria For-* mosa, 337. S. Maria dei Frari, 329. S. Maria de' Miracoli,334. S. Maria della Salute, 338. S. Martino, 31$. S. Nicolo, 339. S. Panta leone, 339. S. Pietro di Cas tello, 333. Redentore, 336. S. Salvatore, 334. Gli Sealzi, 339- S. Sebastiano, 335. S. Stefano 339. Toleutini, 337- o- Trovaso, 337. S. Zaccaria, 333. PubUc buildings:— Doge's Palace, 313. ArBenal, 321. Academy of Fine Arts, 341. CanalGrande, 323- Library of St. Mark, 310. P. Gri mani a S. Maria Formosa, 328. Palazzo Balbi, 323. P. Barbarigo, 324. P. Gri mani,, 324. P. Foscari, 323. P. Manfrini, 327. P. Mooe- nigbi J28. P. Pisani, 324. Procuratie, 308. Rialto Bridge, 3 26. Fabbriche, 325. Scuola di S. Marco, 340. Scuola di S. Rocco, 340. Theatres. — Fenice, 345 ; Gallo, 345 ; Apollo, 346 ; San Samuele, 346 ; MaUbran, 346. Zecca, 311. Islands :— Murano, 346 J Burano and Mazorbo, 347 ; TorceUo, 347 ; Lido, 349 ; Chioggia, 349. Venice to Ferrar% 350. to Padua, 298. to Trieste, 352. Ventimiglia,, 75. 105. VerceUi, the physician, 31. , lordship of, 1. city, 31. Its Ubrary, 32. Churches, 33. Pictures, 34. Verla, painter,, 180. Verna, 557. Vernet, 21, 27. Verolongo, 39. Verona, painter, 179. 265. 294. 305. , G. B-, 260. Verona, city of, 249. Ancient buildings : — Amphitheatre, 250. Roman theatre, 251. Porta de' Borsari, 251. Porta de' Leoni, 251. Arco de' Gavii, 251. — Fortifications, 252- Porta S. Sisto, 253. Porta Nuova, 252. — BibUo- teca Capitolare, 260. Cas tello Vecchio, 257. Museo Lapidario,, 257. Palaces, 270. Piazza delle Erbe, 254. 576 INDEX. VERONA. Piazza dei Signori, 253, Theatres, 271. Tombs of the Scaligers, 254. Churches : i 267. SS. Apostoli, 268. Bernardino, 269. Duomo, , 258. S. Elena, 265. S. Eu femia, 265. S. Fermo mag giore, 264. S. Giovanni in Fonte, 260., S. Giorgio mag giore, 267. S. Giovanni in Valle, 266. S. Maria in Or- gano, 266. S. Maria della Scala, 269. SS. Nazaro e Celso, 266. S. Sebastiano, 265. S. Stefano, 268. S. Tomaso Cantuarense, 269. S. Zenone, 261. Vicinity, 272. Verona and Shakspere, 271. Verona to Brescia, 248. to Mantua, 271. to Vicenza, 273. Veronese, Paul, 19. 27. 91. 95. 177, 178. 227. 240. 247. 267. 272. 277. 280. 288. 311. 315. 316, 317, 3i8, 319, 32o, 324. 327. 334, 335- 337- 342. 344- 347- Verri, the historian, 125. Verrocchio, 332. 417, 474. 477. 488. 507. 530. Verrua, 40. Vesalius of Padua, 294. Vettone, architect, 54. Vetturini, xiu. Via Aurelia, 64. Via Emilia, 361. Viareggio, 403. Vicentine hills, 280. Vicenza: Inns, 275. Public buildings, 275. Palaces, 276. Vicinity of, 279. to Venice (rail) 296. Victor Amadeus, 29. Vico, 1 j 1. Vicopre', 378. Vida, Jerome, 210. Vienna, congress of, 2 ; treaty of, 119. Vigevano, 42. Vignola, 359, 360, 361. Villa Martis, ruins of, 54. ViUafranca, 68, 71, 72. 105, 271. VITONI. VUla Doria, 84. Grimaldi, 84. Lomellina, 85. deU' Paradiso, 106. Cesano Borromeo, 132. of MombeUo, 132. — Mozzi, 550. Nuova, 79. 274. Church of, 274. of Plmy, 131. Picinardi, 212. Spinola, 85. of Catullus, 248. Vivaldi, 85. Arrighi, 249. Villano, 294. Vimercati, Giov. And., 148. Vicentino, 316, 3*7, 318. Vinci, Leon, da, 13. 27. 144. 167. 173. 182. 185, 186, 187. 189. 229. 345- 525- Vini, Sebastiani, 418. Vintimiglia, 75. Violins of Amati, 207. Virgil, 282 ; and Dante, 271. Virtues, allegories of, 160. Visconti, Gaspar, tomb of, 160. , Ottone, tomb of, 149. , Ettore, death of, 134. , Giovanni, ferocities of, 171. , shield of,*"i94* Vismara, sculptures by, 166. Viso, Monte, 53. Vitale, San, 158. Vite, Tim., 177. Vitelli, Van, 21. Vitozzi, architect, 57. Vittoria, 287. 311. 314. 318. 332. 336. Vivarini, 329, 330, 331. 339. 342- Voghera, 48. Volta, birthplace of, 131. Volterra, Daniel da, 19. 406. Volto Santo at Lucca, 406. Voltri, 84, 105. Voragine, 83. Votive images near Mantua, 212. Vries, 21. Vitoni, 418. w. Walnut-wood candelabrum, 266. "Warehouses at Genoa, 87. Weight, aUowance of, 118. . Werf, Vander, 20. Wimelmina, Princess, 204. 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MAPS AND PLANS OF THE SOCIETY FOR DIFFUSION OF USEFUL KNOWLEDGE. Ninepence coloured ; Sixpence plain, each, and mounted on cloth and adapted to a case at a moderate charge. Travellers will find them most useful accompaniments to Ml". Murray's Hand book, particularly the Plans of Towns, which will often save the " expense and persecution " of a Valet de Place. A com plete list will be forwarded on application to the Publisher. LONDON: GEORGE COX, 18, King-street, Covent-garden. A MONTH IN SWITZERLAND; OK, THE PHYSICIAN'S HOLIDAY. BY JOHN FORBES, M.D., F.R.S., Physician to Her Majesty's Household. With a Map and Illustrations. Third Edition. Small 8vo. Price 6s., or free by post for 6d. extra. " Very apropos is this pleasant and useful book. Now men are throwing off the accumulated ennui and paleness of a London season ; now they pack up for a breath of fresh air and a gulp of health ; and now Dr. Forbes's account of his walking tour in Switzerland will say to many, ' Go thou and walk likewise.' It is an agreeable book to read— a valuable book as a prescription to invalids. ¦ The minute practical information it contains will make it as indispensable as a Mur ray to travellers in Switzerland." — The LONDON : WM. S. ORR AND CO. AMEN CORNER. 12 MURRAY'S HAND-BOOK ADVERTISER. BLACK'S GUIDE-BOOKS AND TRAVELLING-MAPS FOR TOURISTS. IN NEAT PORTABLE VOLUMES, STRONGLY BOUND IN GREEN CXOTK, . " They should find a corner in the portmanteau of every person about to undertake a journey of pleasure or business, either in England and Wales, or Scotland." — John Bull. " The most valuable series of Picturesque Guide Books issued by Messrs. Black, of Edinburgh. "We have looked carefully through the volumes : they are admirably ' got up ;' the descriptions are accurate, and remarkably clear and comprehensive. Altogether this series of works is of immense value to Tourists." — Art-Journal. ENG LAN D - With 26 Maps and Kailway Charts. Price 10*. 6d. SCOTLAN D, With 24 Maps, Plans, and Charts ; and 50 Views of Scenery and Public Buildings. Price 8s. Gd. ENGLISH LAKES. With an Essay on the Geology of the District, by Professor Phillips ; minutely accurate Map and Charts ; and Views of the Mountain Ranges, and other Scenery. Price 5s. WALES (NORTH & SOUTH) & MONMOUTHSHIRE. Containing minutely engraved Travelling Maps, Charts of the Railways, a Chart of the Course of the River Wye, numerous Views of the Scenery, engraved on Wood and Steel, and a copious Itinerary. Price 5*. SCOTLAND- Cheap Edition. With an accurate Travelling Map, Four Engraved Charts, &c. Price 3s. 6d. HIGHLANDS AND ISLANDS OF SCOTLAND. By G. and P. Anderson, of Inverness. Third Edition. Price 108. M. EDINBURGH : A. & C. BLACK, AND SOLD BY ALL BOOKSELLERS. IMPORTANT TO RAILWAY AND CONTINENTAL TRAVELLERS. PRATT'S NEW PATENT TRAVELLING WARDROBE " portmanteau;' CONTAINS THE WHOLE "WARDROBE AND SAVES IN HAVING ONLY ONE PACKAGE. For Gentlemen,Fig. 1. e e for Hat and Bonnets ; d d for Linen ; h h for Coats & Dresses ; b b Boots and Shoes. For Ladies. Fig. 2. TO BE OBTAINED ONLY OP THE PATENTEE, 123, NEW3BOND STREET, AND 19, COCKSPUR STREET, LONDON. Where a large assortment of ArticIeB necessary for comfoit in Travelling are always iept, and The Patent Compendium Portmanteau for Continental and Railway TraveUers. MURRAY'S HAND-BOOK ADVERTISER. 13 UNDER ROYAL 4rilffiS§£$&gS PATRONAGE. PERFECT FREEDOM FROM COUGHS IN TEN MINUTES AND INSTANT RELIEF AND A RAPID CORE OF Asthma and Consumption, Coughs, Colds, and all Disorders of the Breath and Lungs, ARE INSURED BY DR. LOCOCKS PULMONIC WAFERS. CURE OP 7 YEARS COUGH. From the Rev. Geo. Dawson, Primitive Methodist Minister. Bridge Street, Peel, Isle of Man, January 29, 18S2. Gentlemen, — My wife having, been afflicted with a severe cough for seven years last past, during the last spring was brought so low that her life was despaired of, when a friend recommended her to try Dr. Locock's Pulmonic Wafers. She did so, and the benefit she derived from them was truly amazing. She was, after taking a few boxes, again able to return to her domestic duties. I think it would be a great blessing to the afflicted in our island were they adver tised here, as they appear not to be known. You are at liberty to make what use you may think proper of my testimony. I am, yours, &c. GEO. DAWSON. Primitive Methodist Minister. From the Author of the " Narrative of the Second Sikh War." June 25, 1851. Sir, — I had long suffered from a deep-seated cough, when Providence placed in my way a box of your Pulmonic Wafers. I experienced instantaneous relief, and have such a high estimate of their efficacy that I firmly believe they would effect the cure of the most consumptive person. You may make any use you please of this letter, j ^j (Signed) EDWARD JOSEPH THACKWELL, Lieut. 3rd Light Dragoons, Union Club, London. To Singers and P ublic Speakers they are invaluable, as in a few hours they remove all hoarseness, and wonderfully increase the power and flexibility of the voice. They have a pleasant taste. Price Is. 1£&, 2s. 9d., and 11 a per box. Also, may be had, DR. LOCOCK'S FAMILY APERIENT AND ANTIBILIOUS WAFERS, a mild and gentle Aperient and Stomach Medicine, having a most agreeable taste, and of great efficacy for regulating the secretions and correcting the action of the Stomach and Liver. SOLD AT Is. lie?., 2s. 9d., AND lis. PER BOX. Also, DR. LOCOCK'S COSMETIC, A Delightfully Fragrant Preparation, FOR IMPROVING AND BEAUTIFYING THE COMPLEXION, RENDERING THE SKIN CLEAR, SOFT, AND TRANSPARENT, REMOVING ALL Eruptions, Freckles, Sunburn, Tan, Pimples, and Roughness, CUBING GNAT BITES AND THE STINGS OP INSECTS GENERALLY. ' In the process of Sfiaving, it allays all smarting, and renders the skin soft and smooth. ' Sold in Bottles, at Is. l£d., 2s. 9d., and 4s. 6d. each. BEWARE OF COUNTERFEITS.— Observe the name in the Government Stamp OUTSIDE the Wrapper. Prepared at the Wholesale Warehouse, 26, Bride Lane, Fleet Street, London. SOLD BY ALL RESPECTABLE CHEMISTS. H MURRAY'S HAND-BOOK ADVERTISER. To all Persons of Taste intending to Visit London. MECHI, Of No. 4, LEADENHALL STREET, near Gracechurch Street,1$ONDON, HAS LONG BEEN RENOWNED THROUGHOUT THE CIVILISED WORLD FOR RAZORS, STROPS, CUTLERY IN GENERAL, NEEDLES, DRESSING-CASES, WORK-BOXIjS, TEA-TRAYS, AND PAPIER MACHE IN ALL ITS VARIOUS APPLICATIONS, AS WELL AS EVERT REQUISITE FOR THE TQILET AND WORK-TABLE, iHis well-known Emporium has .been, re-decorated in a style suitable to the improved spirit of the age, and has received an accession of Stock calculated to meet the extraordi nary demand which he anticipates. Among the sights of London, none are more in teresting and extraordinary than its shops, and for a combination of taste and elegance, there is not one more conspicuous than Mechi's. Those who wish to see the Manufac tures of England displayed in the most attractive manner must not omit to visit Mechi's, where they will find an abundance of objects adapted to the requirements of every class of purchasers. Catalogues will be furnished gratis, or sent to any address in England, post free. 4, LEADENHALL STREET, NEAR THE INDIA HOUSE. THE LONDON AND WESTMINSTER BANK Issues Circular Notes of £10 each, ' FOR THE USE OF TRAVELLERS AND RESIDENTS ON THE CONTINENT. They are payable at every important place in Europe, and enable a Traveller to vary his route without inconvenience. No expense is incurred, and when -cashed, no charge is made for commission. They may be obtained at the head office of the London and Westminster Bank, in Lothbury ; or of its branches, viz. : — 1, St. James's-square, 214, High Holborn, 3, Wellington-street, Borough, 87, High-street, Whitechapel, and 4, Stratford-place, Oxford-street. J. W. GILBART, General Manager. ROME. — 4 J. P. SHEA'S ENGLISH HOUSE-AGENCY OFFICES,' 14 AND 15, PIAZZA DE SPAGNA. The only practical establishment of the kind ever known here, where the comforts and requirements of a family are thoroughly understood, and the interest of employers properly attended to. The undeniable improvement which J. P. S. has in a short time effected in the system of House Letting, and the satisfaction expressed by those who have patronised him, will, he hopes, recommend him to Visitors requiring large or small Furnished Apartments. Experience enables J. P. S. to hold himself responsible for the correct execution of any commission sent by letter, wherein requirements are "properly specified.' MURRAY'S HAND-BOOK ADVERTISER. IS UNION BANK OF LONDON. SIR PETER LAURIE, Alderman, Governor. WILLIAM MOUNTFORD NURSE, Eso,, Deputy-Governor. J. Barnes, Esq. J. Farquhar, Esq. P. Northall Laurie, Esq. C. Lyall, Esq. William Wilson. Scrimgeour, General Manager. 3. Chapman, Esq. H. Hulbert, Esq.' A. Boyd, Esq. Lt.-Col. Matheson, M.P. J. Scott, Esq. Leo Schuster, Esq. Sir Johh Mtogrqve, Bart. William S. Binny, Esq. Walter Laurie, Secretary. C IRCULAR NOTE S. CIRCULAR NOTES of the value of £10 and upwards, free of expense, and LETTERS OF CREDIT payable at the places indicated below may beobtainedat the Head Office, 2, Princes Street, Mansion House ; Argyll Place ; and 4, Pall Mall East. Abbeville Camhrai Aix-en-Provence Canada Aix-la-Ch apelle Canton Alexandria Cape Town Aleppo Carlsbad Algiers Carlsruhe Alicante Cassel Almeria Catania Amiens Cephalonia Amsterdam Cette Ancona ¦Ceylon Angers Chalon Antwerp Chamhery Archangel Chaux de fonds Athens Cherbourg Augsbourg Christiana Avignon Christiansaud Avranches Civita Seechia Baden-Baden Clermont Fer- Bagdad rand. Bagneres de Bi- Coblenz gorre Cobourg Bahia Coire Barcelona Cologne Basle Constance Bayonne Constantinople Beirout Copenhagen Bergen Cordova Berlin Corfu Berne Corunna Besancon Greuznach Bilbao Damascus Blois Dantzic Bologna Darmstadt Bombay Delhi Bonn Dieppe Bordeaux Dijon Botzen Dresden Boulogne Drontheim Bremen Dunkirk Breslau Dusseldorf Bruges Elberfeld Brilnn Elsinore Brunswick Emms Brussels Florence Burgos Foix Cadiz Francfort Caen Geneva Cairo Genoa Calais Ghent Calcutta Gibraltar Gfotha Middlebourg San Francisco Gottenboui'g Milan San Sebastian Gottingen Modena Santa Cruz Graefenburg Montpellier Schwalback Granville Montreal Seville Grass© Moreton Bay Shaffhausen Gratz Moscow Siena Grenada Moulins Singapore Grenoble Moulmein Smyrna Halifax Munich Spa Hamburg Munster Stettin Hanover Murcia St. Galle Havre Nancy St. Malo Hague , Nantes St. Omer Heidelburg Naples St. Petersburg Hermanstadt * Neufchatel St. Quentin Homburg es New Orleans St. Thomas monts New York Stockholm Hong Kong Nice Strasbourg InnspruckInterlaken Nismes Stuttgardt Nurembourg Sydney Jaffa Odessa Tarbes Jerusalem Oleron Teneriffe Kissengen Oporto Toplitz K6nigsber.g Orleans Toronto Lausanne Ostend Toulon Leghorn Palermo Toulouse Leipsic Paris Tours Liege Parma Treves Lille Patras Trieste Lisbon Eau Turin Lode Perpignau ¦U.trech,t L'Orient PesW Valenciennes Lubeck Pisa Valencia Lucca Port St. Mary Venice Lucerne Prague Verona Lyons Presbourg Vevey Madeira - Quebec Vienna Madras Rastadt Vigo ¦ Madrid Ratisbonue Vitoria Magdebourg Rennes Warsaw Malaga Rheims Weimar. Malta Riga Wiesbaden Mannheim Rio de Janeiro Wildbad Mantua Rome Worms' Marlenbad Rostock Wurzbourg Marseilles Rotterdam Yverdqn Mauritius Rouen Zante Mayence Melbourne Salamanca Zaragosa Salzburg Zurich. Messina 16 MURRAY'S HAND-BOOK ADVERTISER, BRUSSELS. CARRIAGES AND HORSES. T. SUFFELL Respectfully informs British and American Travellers they can always obtain a choice of EXCELLENT VEHICLES, OR GOOD SADDLE HORSES, TO CONVEY PARTIES TO AND PROM WATERLOO, At very reasonable prices. For Carriages by the day, half day, or hour, apply to T. SUFFELL, 12, Rue de Ravenstein, Montagne de la Cour, on the right hand side descending from the Place Royale. Carriages of every description for town use. A pair of Horse Carriages for Waterloo, 20 fr. ; Gig or Cab, 15 fr. ; and a Saddle Horse, 12 fr. FOREIGN BOOKS. GERMAN, FRENCH, ITALIAN, SPANISH, SWEDISH, «BANISH, and DUTCH "^ GRAM MARS, DICTIONARIES, DIALOGUES, and a choice stock of the LITERATURE of the CONTINENT is always to be found at FRANZ THIMM'S foreign library, 3, BROOK STREET, GROSTENOR SQ. (Three doors from New Bond Street.) Lately pvblislied. s. d. Aim's German Grammar . 3 li „ Child's German Book 3 0 ,, French Grammar . . 3 G ,, Ttalian „ i II „ Spanish „ . i 0 OCEAN PARCEL DELIVERY COMPANY, 4, AGAR STREET, STRAND. (Opposite Charing Cross Hospital), This Company has been formed with the view of supplying a cheap, rapid, and certain Conveyance for Small Parcels, as well as large quantities of Goods, by the best esta blished Steamers and Sailing "Vessels, to all parts of the World. A fixed rate of Charge (upon the same principle as that of the Railway Companies and Carriers) has been adopted, thereby avoiding all trouble and expense of Bills of Lading, Customs Charges, &c. Every one having Correspondents in India, Australia, Canada, the United States, and California, must have felt the want of such a medium of communication ; and it shall be the constant effort of the Company to supply this great desideratum, directing their attention to the three chief points — Rapidity, Certainty, and Cheapness. Arrange ments have been made which insure every attention to the shipping and clearance of parcels and goods by the various lines of Packets leaving Liverpool, Southampton, and the Outports, as well as in London. INSURANCES EFFECTED FREE OF COMMISSION. G. "W. FIELD, Manager. ACROMATIC MICROSCOPES FOR TRAVELLERS, NEWLY CONSTRUCTED BY MR. PRITCHARD, (Author of A History of Animalcules, living and fossil). S. STRAKER Supplies the above of the best quality, and will be happy to forward, post free, a new price-liat of Acromatic Microscopes, Micrometers, Polarizing apparatus, Object-glasses, and Eye-pieces. 1S2, FLEET STREET, LONDON. EFFERVESCING CITRATE OF MAGNESIA. This preparation is a mild and pleasant aperient, and a valuable remedy in Bilious and Stomach Complaints, Gout, Heartburn, Sickness, &c. From its portability (each bottle being enclosed in a case) it will be found a most valuable Medicine for TRAVELLERS, TOURISTS, OFFICERS IN THE ARMY AND NAVY, AND RE3IDENTS IN FOREIGN COUNTRIES. Prepared and sold by DECASTRO, WATSON, and PALMER, 33, WILTON PLACE, BELGRAVE SQ., LONDON. MURRAY'S HAND-BOOK ADVERTISER. 17 HILLMAN'S HOTEL, *B re men, Is a magpjiflent establishment, built in the year 1847, and the best Hotel in Bremen ; is situated in the vicinity of the Railway Station, Theatre, and Exchange. It contains 100 bedrooms, elegant saloons, and bathing-rooms. To the Hotel is attached an elegant Cafe*, with a great selection of English, French, and German Newspapers. CARY'S IMPROVED POCKET TOURIST'S TELESCOPE. See Murray's Hand Book. Just Published, 16th Edition of GOULD'S COMPANION TO THE MICROSCOPE, Revised and improved by H. Gould, 181, Strand. NICE MARITIME, SARDINIA. ENGLISH PHARMACY. M. PAULIAN Bbgs to inform Visitors to Nice that his Establishment is well supplied with the best English Drugs and Pharmaceutical Preparations, according to the. Formulas of the London, Edinburgh, and Dublin Pharmacopeias, as well as every Genuine English Patent Medicine of repute. Prescriptions and Family Receipts faithfully prepared with the Purest Medicines, &c, the quality of which maybe relied on, as M. Paulian receives his supplies direct from some of the first and oldest establishments in London. N.B.— Agent for the Patent and Proprietary Preparations of Messrs. Butler and Harding, 4, Cheapside, St. Paul's, London. PRICE FOURPENCE OP ANY BOOKSELLER. Permanently Enlarged to Twenty-fov/r Large Quarto Pages. THE ATHEN/EUM JOURNAL OF LITERATURE, SCIENCE, AND ART, (Stamped to go free by Post, 5d.) contains : — REVIEWS, with copious extracts, of every important New English Book, and of the more important Foreign Works. REPORTS of the Proceedings of the Learned and Scientific Societies, with Abstracts of all Papers of Interest. AUTHENTIC ACCOUNTS of all Scientific Voyages and Expeditions. FOREIGN CORRESPONDENCE on Literature, Science, and Art. CRITICISMS ON ART, with Critical Notices of Exhibitions, Picture Collections, New Prints, E DEPOT, 440, WEST STRAND, TWO DOORS WEST OP LOWTHER ARCADE, Where an bxtbnsivb Collection of Guides, Hand-Books, Maps, Dictionaries, Dia logues, Grammars, Interpreters, &c, useful for Travellers upon the Continent and elsewhere, and much useful information concerning Passports, can be obtained. MURRAY'S HAND-BOOKS, rendered convenient Pocket-Books by J. Leu's limp leather binding, at 2s. additional charge. MOROCCO and RUSSIA PORTABLE ROLL-UP CASES, containing every essential for Writing. Moaxt'i